Typographers

research
 Giambattista Bodoni

Index
William Caslon
Adrian Frutiger
Eric Gill
Frederic Goudy
Hermann Zapf

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 Jonathan Hoefler

Index Paul Renner

Max Miedinger
Matthew Carter
Claude Garamond
John Baskerville

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 Hermann Eidenbenz

Index Morris Fuller Benton

Carol Twombly
Jan Tschichold
Nicolaus Jenson
Edrward Benguiat

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Giambattista Bodoni

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Giambattista Bodoni was an Italian graphic designer and typographer. He was also worked as type-designer,
compositor, publisher and printer. His type designs were modeled after Pierre Simon Fournier’s typeface but later felt
inspired by the typography of John Baskerville. With the help of an associate he evolved the type called ‘New Face’.
On February 16, 1740, Giambattista Bodoni was born at Saluzzo in Savoy. The printmaking skill ran in the family as
his father and grandfather were in the same trade. For some time he worked as an apprentice in the Roman Catholic
Church’s Propaganda Fide printing house. His superiors were highly impressed by his meticulous work and
studiousness in mastery of ancient languages and types. That allowed him to produce his first book based on a version
of the Tibetan alphabet, Coptic Missal. In the construction of pseudoclassical typefaces Bodoni became a chief figure.
According to an English textile designer William Morris, Bodoni epitomized the modern ugliness through his
mechanical perfection in typography. Bodoni passed away in the November of 1813. Almost one and a half century
later a museum was opened in Parma in honor of the artisan, named The Bodoni Museum.

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William Caslon

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William Caslon, (born 1692, Cradley, Worcestershire, Eng.—died Jan. 23, 1766, Bethnal Green, London), English
typefounder who, between 1720 and 1726, designed the typeface that bears his name. His work helped to modernize
the book, making it a separate creation rather than a printed imitation of the old hand-produced book.
Caslon began his career as an apprentice to an engraver of gunlocks and barrels. In 1716 he opened his own engraving
shop in London and soon began to make tools for bookbinders and silver chasers. When his work came to the
attention of the printer John Watts, Caslon was given the task of cutting type punches for various presses in London.
In 1720 he designed an “English Arabic” typeface used in a psalter and a New Testament. Two years later he cut
excellent roman, italic, and Hebrew typefaces for the printer William Bowyer; the roman typeface, which was first used
in 1726, later came to be called Caslon. The success of Caslon’s new typefaces in England was almost instantaneous,
and, as a result, he received loans and sufficient trade to enable him to set up a complete typefoundry. From 1720 to
1780, few books were printed in England that did not use type from his foundry.

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Adrian Frutiger

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Adrian Frutiger was born on May 24, 1928, in Unterseen, Canton of Bern to weaver parents. At the very young age, he began
experimenting with stylized handwriting and invented scripts, defying the formal, cursive penmanship then taught at Swiss
schools. His interest in sculpturing was not met with very encouraging views by his father and teachers. However, they
supported the idea of him going into print. Frutiger studied monumental inscriptions from Roman forum rubbings, although
he primarily focused on calligraphy rather than drafting tools, also he recreated Univers typeface in a variant font. It was a set
of capitals and numbers designed for white-on-dark-blue backgrounds visible especially under poor lighting. Upon the
successful reception of this modern typeface, the French airport authority commissioned him yet again to work for the new
Charles de Gaulle International Airport. He was required to design a way-finding signage alphabet and in such way that is
both legible from afar and from any angle. Frutiger first decided to adapt Univers typeface but then relinquished the idea
considering a little outdated. He took a different approach to the matter and altered the Univers typeface and fused it with
organic influences of the Eric Gill’s Gill Sans typeface. The resultant typeface was originally titled, Roissy, though it was
named after Frutiger in 1976, when it was released for public use.Other seminal typefaces created by Adrian Frutiger include
Avenir, Versailles and Vectora. He also tried to expand and modify these typefaces. He created sixty-three variants of Univers

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and he reissued Frutiger Next as an extension of Frutiger with true italic and additional weights.
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Eric Gill

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On February 22, 1882, in Steyning, Sussex, he was born Arthur Eric Rowton Gill. The inclination toward creative art
ran in the family as his elder brother of MacDonald Gill followed the path of graphic designing attaining immense
success. When he was 15, the family moved to Chichester where he was enrolled at Chichester Technical and Art
School. Three years later he moved to London and obtained training as an architect. He took evening classes at
Westminster Technical Institute studying stonemasonary and at the Central School of Arts and Crafts learning
calligraphy. Gill withdrew himself from architectural training with the intention of pursuing calligraphy,
monumental-masonry and letter-cutting. Gill designed the typeface, Perpetua, modeled after the monumental Roman
inscriptions. In 1930, he produced
Gill Sans typeface inspired by the Sans Serif lettering. It was followed by a variety of typefaces, including Perpetua
Greek, Solus, Aries, Bunyan and Joanna.
Additionally, he penned multitude of essays discussing the relationship between art and religion, such as A Holy
Tradition of Working: An Anthology of Writings, Christianity and Art, An Essay on Typography and Work and Culture.

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Frederic Goudy

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Frederic W. Goudy, in full Frederic William Goudy, (born March 8, 1865, Bloomington, Illinois, U.S.— died
May 11, 1947, Marlboro, New York), American printer and typographer who designed more than 100 typefaces
outstanding for their strength and beauty. Goudy taught himself printing and typography while working as a
bookkeeper. In 1895, in partnership with a teacher of English, C. Lauren Hooper, he set up the Camelot Press in
Chicago, which printed the Chap-book, widely praised for its fine design, for Stone & Kimball publishers. He sold the
first typeface he designed, called Camelot, to a Boston printer for $10. In 1903, in association with his wife, Bertha, and
with Will Ransom, he started the Village Press in Park Ridge, Illinois. Goudy moved the Village Press to Massachusetts
in 1904 and to New York City in 1906. After several more moves, Goudy and the Village Press came to rest in 1923 in
Marlboro, New York. The workshop and associated type foundry burned in 1939. Goudy taught at the Art Students
League (1916–24) and New York University (1927–29). From 1920 to 1940 he was art director of the Lanston Monotype
Machine Company. He produced such faces as Goudy Old Style, Kennerley, Garamond, and Forum for the American
Type Founders and Lanston companies. He was the author of The Alphabet (1918), Elements of Lettering (1922),
Typologia (1940), and the autobiographical A Half-Century of Type Design and Typography, 1895–1945 (1946).
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Hermann Zapf

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Hermann Zapf (pronounced “tsáff,” born November 8, 1918) was a German typeface designer who lived in Darmstadt,
Germany and was married to calligrapher and typeface designer Gudrun Zapf von Hesse.
In 1935, Zapf attended an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave
him his first interest in lettering. Zapf bought two books there, using them to teach himself calligraphy. He also studied
examples of calligraphy in the Nuremberg city library. In 1938, Zapf designed his first printed typeface for D. Stempel
AG and Linotype GmbH of Frankfurt, a fraktur type called Gilgengart.
In 1976, the Rochester Institute of Technology offered Zapf a professorship in typographic computer programming, the
first of its kind in the world. He taught there from 1977 to 1987, flying between Darmstadt and Rochester. There he
developed his ideas on digital typography further, with the help of his connections in companies such as IBM and
Xerox, and his discussions with the computer specialists at RIT. Zapf used his experience to begin development of a
typesetting program called the “hz-program”, which Adobe Systems acquired and later incorporated in their
InDesign program.

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Jonathan Hoefler

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Jonathan Hoefler (born August 22, 1970) is an American typeface designer. Hoefler (pronounced “Heffler”) founded
The Hoefler Type Foundry in 1989, a type foundry in New York. In 1999 Hoefler began working with type designer
Tobias Frere-Jones, and from 2005–2014 the company operated under the name Hoefler & Frere-Jones until their
public split.Hoefler has designed original typefaces for Rolling Stone Magazine, Harper’s Bazaar, The New York Times
Magazine, Sports Illustrated, and Esquire and several institutional clients, including the Solomon R. Guggenheim
Museum and alternative band They Might Be Giants. Perhaps his best-known work is the Hoefler Text family of
typefaces, designed for Apple Computer and now appearing as part of the Macintosh operating system.In 1995,
Hoefler was named one of the forty most influential designers in America by I.D. magazine, and in 2002, the
Association Typographique Internationale (ATypI) presented him with its most prestigious award, the Prix Charles
Peignot for outstanding contributions to type design. Hoefler and Frere-Jones have been profiled in The New York
Times, Time Magazine, and Esquire Magazine, and appearances on National Public Radio and CBS Sunday Morning.
Hoefler's work is part of the Cooper-Hewitt, National Design Museum's permanent collection.

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Paul Renner

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On August 9, 1878, Paul Friedrich August Renner was born in Wernigerode which then was located in the Prussian
state. His father was an evangelical theologian who is reason behind his strict Protestant upbringing. He grew up to
develop a German sense of leadership, responsibility and duty. Renner received his formal education from a secondary
school, Gymnasium. After nine years of learning Greek and Latin, Renner opted to study arts at several different
academies. In 1933, when Nazi rose to power they dismissed Renner from his post at the school and labeled him an
intellectual subversive, a ‘Cultural Bolshevist’. Furthermore, being a voracious reader, Renner’s ideals were influenced
by prominent scholarly figures, such as Nietzsche, Goethe, Kant and Schiller. He began writing from 1908 onwards
and prolifically produced work on design and typography. Renner’s notable works include Die Kunst der Typographie
(The Art of Typography) and Typografie als Kunst (Typography as Art The modern typographers even in the present
time used this geometric sans-serif font frequently. Another one of his creations, Architype Renner is evolved from his
early experimental exploration of geometric letterforms. His Steile Futura typeface was later transformed into Tasse
which came out posthumously.

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Max Miedinger

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Max Miedinger – born 24.12.1910 in Zurich, Switzerland, died 8.3.1980 in Zurich, Switzerland – type designer.
192630-: trains as a typesetter in Zurich, after which he attends evening classes at the Kunstgewerbeschule in Zurich.
193646-: typographer for Globus department store’s advertising studio in Zurich.
194756-: customer counselor and typeface sales representative for the Haas’sche Schriftgießerei in Münchenstein near
Basle. From 1956 onwards: freelance graphic artist in Zurich.
1956: Eduard Hoffmann, the director of the Haas’sche Schriftgießerei, commissions Miedinger to develop a new
sans-serif typeface. 1957: the Haas-Grotesk face is introduced. 1958: introduction of the roman (or normal) version of
Haas-Grotesk. 1959: introduction of a bold Haas-Grotesk. 1960: the typeface changes its name from Neue Haas
Grotesk to Helvetica™.
1983: Linotype publishes its Neue Helvetica®, based on the earlier Helvetica™.
2001: Linotype publishes Helvetica World an update to the classic Helvetica design using the OpenType font format
with multilingual characterset.

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Matthew Carter

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Matthew Carter was born and raised in England, son of the typographic historian Harry Carter. On leaving school in 1955 he spent a year
at the Enschedé typefoundry in the Netherlands learning to make metal type by hand—a skill that proved to be commercially obsolete.
Carter, in a long association with the Linotype companies, designed ITC Galliard, Helvetica Compressed, Shelley Script, Olympian (for
newspaper text), and faces for Greek, Hebrew and Devanagari. In 1981 he joined with three ex-Linotype colleagues to start Bitstream, a
digital typefoundry, in Cambridge, Massachusetts. He worked there for ten years, leaving with one of his co-founders, Cherie Cone, to
start Carter & Cone Type in 1992. At that date the personal computer and, as importantly, open font formats, were making independent
typefounding a viable business. It became possible to design typefaces and make fonts in much the same spirit that punchcutters had
worked in the early centuries of type’s history. For Carter, whose temperament considers “designing” and “making” virtually inseparable,
the last 18 years have been the most rewarding. In addition to retail fonts for general license (Mantinia, Sophia, Big Figgins, Big Caslon,
Miller), typefaces have been commissioned by Time, Newsweek, U.S. News & World Report, Sports Illustrated, Business Week, The
Washington Post, The Boston Globe, The Philadelphia Inquirer, The New York Times (the paper and the magazine), The Guardian and Le
Monde. Other custom types have been designed for the Walker Art Center, the Museum of Modern Art, and Yale University. In the
mid-’90s Carter started working with Microsoft to develop the “screen fonts” Verdana and Georgia whose priority was legibility in the
inhospitable technical environment of computer monitors. A profile in The New Yorker of December 5, 2005, began: “Matthew Carter is
often described as the most widely read man in the world .

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Claude Garamond

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Claude Garamond – born c. 1480 in Paris, France, died 1561 in Paris, France – type founder, publisher, punch cutter,
type designer.
1510: trains as a punch cutter with Simon de Colines in Paris.
1520: trains with Geoffroy Tory.
1530: Garamond’s first type is used in an edition of the book "Paraphrasis in Elegantiarum Libros Laurentii Vallae" by
Erasmus. It is based on Aldus Manutius’ type De Aetna, cut in 1455.
1540: King Francis I commissions Garamond to cut a Greek type. Garamond’s ensuing Grec du Roi is used by Robert
Estienne in three sizes exclusively for the printing of Greek books. From 1545 onwards: Garamond also works as a
publisher, first with Pierre Gaultier and later with Jean Barbe. The books are set using typefaces designed by Garamond.
After Garamond’s death, Christoph Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry
Egenolff-Bermer acquire a large proportion of Garamond’s original punches and matrices. The typefaces Garamond
produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His fonts have been
widely copied and are still produced and in use today.
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John Baskerville

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John Baskerville, (born Jan. 28, 1706, Wolverley, Worcestershire, Eng.—died Jan. 8, 1775, Birmingham, Warwickshire),
English printer and creator of a typeface of great distinction bearing his name, whose works are among the finest
examples of the art of printing. Baskerville became a writing master at Birmingham but in 1740 established a
japanning (varnishing) business, whose profits enabled him to experiment in typefounding. He set up a printing house
and in 1757 published his first work, an edition of Virgil, followed in 1758 by an edition of John Milton. Appointed
printer to the University of Cambridge, he undertook an edition of the Bible (1763), which is considered his
masterpiece. He published a particularly beautiful edition of Horace in 1762; the success of a second edition (1770)
encouraged him to issue a series of editions of Latin authors.
The bold quality of Baskerville’s print derived from his use of a highly glossed paper and a truly black ink that he had
invented. His typography was much criticized in England, and after his death his types were purchased by the French
dramatist Pierre-Augustin Caron de Beaumarchais. Their subsequent history is uncertain, but in 1917 the surviving
punches and matrices were recognized, and in 1953 they were presented to the University of Cambridge. Baskerville
type has been revived, its clarity and balance making it a good type for continuous reading.
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Hermann Eidenbenz

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Hermann Eidenbenz – born 4. 9. 1902 in Cannanore, India, died 25. 2. 1993 in Basle, Switzerland – graphic artist,
teacher.
1918–22: studies at the Kunstgewerbeschule in Zurich.
1923–25: graphic artist for Wilhelm Deffke in Berlin. 1925–26: graphic artist for Ol H. W. Hadank in Berlin.
1926–32: teacher of type and graphics at the Kunstgewerbeschule Magdeburg.
1932_53: has a graphics studio in Basle with his brothers Reinhold and Willy.
1937: works on the Swiss pavilion for the world exhibition in Paris.
1940–43: teaches at the Allgemeine Gewerbeschule in Basle.
1953–55: teaches at the Werkkunstschule and at the Technische Hochschule in Braunschweig.
1955–67: art director and advertising consultant for the Reemtsma company in Hamburg. Eidenbenz designed
numerous posters, logos, and also bank notes for Switzerland and Germany.
Fonts: Clarendon (1953).

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Morris Fuller Benton

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Morris Fuller Benton (November 30, 1872 – June 30, 1948) was an American typeface designer who headed the design
department of the American Type Founders (ATF), for which he was the chief type designer from 1900 to 1937.
Many of Benton's designs, such as his large family of related sans-serif or "gothic" typefaces, including Alternate
Gothic, Franklin Gothic, and News Gothic, are still in everyday use.

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Carol Twombly

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Carol Twombly – born 13. 6. 1959 in Concord, USA – type designer. Studied at the Rhode Island School of Design
and at Stanford University.
1984: is awarded 1st prize in the Morisawa type competition in Japan for he Mirarae typeface.
1988: joins Adobe and designs Adobe’s first original display typefaces (Trajan, Charlemagne and Lithos).
Fonts: Mirarae (1984), Charlemagne™ (1989), Lithos™ (1989), Adobe Trajan™ (1989), Caslon™ (1990), Myriad® (1992),
Viva™ (1993), Nueva™ (1994) and Chaparral™ (2000).

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Jan Tschichold

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Born on April 2, 1902, Jan Tschichold grew up in Leipzig, Germany. His father was a provincial signwriter and trained in
calligraphy. Tschichold’s rich artistic background and the calligraphic training he received from his father set him apart from his
contemporary typographers. Since he didn’t receive any such formal fine art education, he felt more at home utilizing commercial
paper stocks and used stock fonts instead of handmade papers and custom fonts which other typographers prioritized. Upon
Hitler’s election in Germany, the Ministry of Culture required all designers to register themselves with the ministry. Also
communist sympathizers were barred from attaining any teaching posts. In 1923, subsequent to his visit to the first Weimar
Bauhaus exhibition, he converted to Modernist design principles. Tschichold soon became a strong advocate of Modernist design
which he manifested through influential magazine supplement published in 1925. Two years later he held a personal exhibition
showcasing Modernist design. Moreover, his magnum opus Die neue Typographie is testimonial of his support for Modernism.
The book is considered a manifesto of modern design which reflects Tschichold’s opinion of application of different typefaces. He
condemned all typefaces in his work, except sans-serif or more commonly known as Grotesk in Germany. He codified several of
Modernist design rules and approved non-centered designs. He emphasized on the use of standardized paper sizes for all printed
matter. He also explained the effective use of different sizes and weights of type in order to easily convey information.

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Nicolaus Jenson

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Nicolas Jenson, (born c. 1420, Sommevoire, Champagne—died 1480, Rome), publisher and printer who developed the
roman-style typeface.
Apprenticed as a cutter of dies for coinage, Jenson later became master of the royal mint at Tours. In 1458 he went to
Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work
he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its
transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of
printing. Jenson also designed Greek-style type and black-letter type.
Although he composed his types in a meticulously even style, he did not always print them with the accuracy they
deserved. Nonetheless, he published more than 150 titles, soundly edited by scholars of authority.

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Edrward Benguiat

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Born in Brooklyn, New York, Edward Benguiat got acquainted with design and showcard lettering when he was nine years old. His
father was display director at Bloomingdale’s and he had all the drawing tools a little boy could want. Edward would play with his
father’s pens, brushes, and drafting sets, and learned about sign painting, showcard and speedball lettering. Benguiat’s impact on the
type community involves more than just design. He played a critical role in establishing The International Typeface Corporation, the
first independent licensing company for type designers. Ed and ITC jump-started the type industry in the late ’60s and early ’70s.
Founded in 1971 by designers Herb Lubalin, Aaron Burns, and Ed Ronthaler, ITC was formed to market type to the industry.
Lubalin and Burns contacted Benguiat, whose first ITC project was working on Souvenir. Originally a singleweight face designed by
Morris Fuller Benton in the 1920s, Benguiat redrew it with additional weights and italics. Now, Souvenir is the face everybody loves
to hate. It was lTC’s best seller, and Ed did a beautiful job. It’s not his fault it’s become a cliché.
Ed became a partner with Lubalin in the development of U&lc, lTC’s award-winning magazine, and the creation of new typefaces
such as Tiffany, Benguiat, Benguiat Gothic, Korinna, Panache, Modern No. 216, Bookman, Caslon No. 225, Barcelona, Avant Garde
Condensed, and many more. This added to the more than 400 faces he’d already created for Photo-Lettering. With Herb Lubalin Ed
eventually became vice president of ITC until its sale to Esselte Ltd. Ed continues to design faces for lTC, including, most recently,
Edwardian Script .

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 Dana Majdi Daqqa
Dr. Ihsan Al Hammouri
Typography

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