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The definition of "vintage"signifies those rare periods when external forces and human craftsmanship result in products of remarkable quality. Such was the case with American design in the 20th century a time when American technology and business fostered an environment that gave rise to the graphic design industry From typography to Web design, the 20th century will be celebrated as the American Design Century.

Potlatch is pleased to bring you Volume 1 of the American Design Century, printed on new Vintage. Featuring a new clean bright white shade and a broader recycled content, new Vintage continues Potlatch's commitment to providing coated papers with superior printing qualities. While enjoying this volume, please take a moment to examine the paper. Compare Vintages Bright White and Creme shades, its Gloss and Velvet finishes and its broad choice of weights. And notice the vibrance of colors and crisp ink holdout. Then consider how Vintage can serve your needs. We think you will agree that Vintage represents the best in American paper design.

ypography is not

1 U

self expression
1

aesthetics: it is T

nditioned by the message " '"'1' isualizes

An Interview with Matthew Carter One of this century's foremost every type designers, medium Matthew Carter has had first-hand hand-cut Bitstream,

experience punches

in virtually to photo

typographic to digital

over the past

40 years, from in 1981 of

composition

technology. The co-founder

America's first digital type foundry, Cone Type in Cambridge,

today Carter is the principal

of Carter &

Massachusetts. ITC

Included in his vast portfolio of type and Mantinia, typographer.

designs are Snell Roundhand,

Galliard, Bell Centennial

among others. Carter's father was also a noted type historian and Q. Is there a seminal event that marked the beginning of 20th century typography in America?

A. I would say that the most important event occurred just before the t u r n of the century in 1892 w h e n the American Type Founders C o m p a n y (ATF) was formed through a merger of 23 of the country's most p r o m i n e n t type foundries. Until then, most big American cities had at least one type foundry to service the local newspapers and printers. These foundries designed their o w n typefaces and liberally copied each other. Q. What prompted the major American foundries to merge? A. T h e invention of the Linotype created an overpopulation of type foundries in America and led to tremendous competition and cost-cutting. But a Milwaukee engineer n a m e d Linn Boyd B e n t o n p u t the first "nail in the coffin" of local foundries in 1884 w h e n he invented a pantographic punchcutter, a router-like engraving machine for cutting the steel punches for type. T h a t was the most important technical development in typography since Gutenberg's invention of variable-width type molds in the 15th century. Benton's p u n c h c u t t i n g machine enabled O t t m a r Mergenthaler, a G e r m a n immigrant in Baltimore, to create the Linotype in 1886. Instead of setting founder's type, the Linotype cast a solid line, or slug, of hot-metal type from brass matrices brought into position by means of a keyboard. A couple of years later, Tolbert Lanston of Washington, D.C., invented the M o n o t y p e , w h i c h cast individual letters through a machine-driven process. These advances reduced the need for foundry type since brass matrices didn't wear out as quickly. To survive the inroads made by Linotype and M o n o t y p e , A T F was formed to supply precast metal type nationwide.

Q. So, ATF's famous Linn Boyd Benton actually brought about the downfall of traditional foundries through his invention?

A. Yes, the irony is that Benton invented the pantographic punchcutter I for use by traditional type founders, but it facilitated the commercial success of Linotype and Monotype.
Q. What was ATF's contribution to typography?

A. It brought together a group of remarkable people who invented the modern type business. There were the two Bentons: Linn Boyd and his son, Morris Fuller Benton; ATF's president Robert W. Nelson, who turned this amalgamation of competitors into a real company, and Henry Lewis Bullen, the publicity manager who skillfully promoted ATF products. Not only did ATF centralize type production and open sales offices around the country, it really understood marketing. It produced massive specimen books and conceived the idea of type families, reasoning that if you design a roman and an italic, you would have a captive audience for the bold face as well.
REVOLUTION

ntil the invention of the Linotype in 1886, text was

hand-set letter by letter just as it was since the days of Gutenberg circa 1450. Based on the principle of a circulating matrix of letters, the Linotype let typographers input text on a keyboard that released a single brass matrix from a "magazine" overhead. I t automatically spaced letters and words and justified lines, then cast them into molten lead slugs. Equal to the output of a half dozen men, the Linotype allowed printing to proliferate and gave rise to the graphic design profession.

Q. What was Morris Fuller Benton's contribution?

A. Morris Fuller Benton designed some 246 typefaces for ATF, including Century Schoolbook, Franklin and News Gothics, Hobo, Broadway, Alternate Gothic, Stymie, and Cloister Black. He was also the commercial pioneer of historical revivals. His Bodoni and Garamond designs are still two of the most successful revivals in type history. Morris joined ATF as his father's assistant in 1896, after graduating from Cornell. His first job was to rationalize the type libraries of the 23 foundries that had come together as ATF. This involved culling out duplicate faces, integrating the rest (sometimes by combining faces from different sources into a single family), and converting them all to the newly adopted pica point system. Morris Benton's contribution to the modern type business has been greatly underestimated by most people. I think it was because he was such a reticent and unassuming person by nature that it was nearly impossible to get him to say anything about his work.
THE PHOTO COMPOSITION ERA

hototypesetting, which came into use in the 1960s, utilized an optical system

that stored a master font of characters on a grid (see right), drum or disk. The negative image was then optically projected onto film or paper. Photo-scanning systems subsequently replaced this method. Faster and more flexible than hot-metal composition, phototypesetting allowed the setting of both text and display type on the same machine, and made it possible to produce letter spacing and overlaying effects that were impossible in metal. It also eliminated the physical space needed for storing lead slugs.

Q. Where did Linotype fit into the picture?

A. Initially, all of Linotype's customers were newspapers because they had the most pressing production deadlines and were the first to move from hand to mechanical composition. In time, Linotype was used for book composition and eventually for advertising, which relied more on display faces. For the first 20 or so years of its existence, however, Linotype just followed ATF's lead and copied its faces.
Q. Why have European-originated typefaces had such an enormous influence on 20th century American design?

A. European type had always been imported into the U.S., but a greater variety of typefaces began arriving this century because companies such as Linotype had sister companies in Great Britain and Germany. These imported products had a profound influence on typographic taste in America. The internationalization of type accelerated after World War II, with the introduction of photo composition and digital technology. Before the war, if a person had been blindfolded and parachuted into a European country, he would know where he was based on the typeface around him. Today new designs from Holland, Berlin or California appear simultaneously worldwide and the international typographic scene has become homogenized.
Q. Are revivals of the classics also a 20th century phenomenon?

A. Most definitely. We have a more pluralistic view of type today. If you go back to previous centuries, say, to a type foundry in Europe in 1830, the only type you could buy was "Modern" (Bodoni and Didot). Caslon had been scrapped and melted down. When a style changed, it changed absolutely. You couldn't buy Caslon until there was a Caslon revival. Q. How did photo composition impact the availability of faces? A. Hot metal gave way to photo composition in the '60s and with it, the cost of producing a font dropped dramatically enough to instigate a huge expan-

Poster by Joseph Binder, 1941

sion of type libraries. Then in the mid-'70s, Linotype came out with a photo composition machine that could handle both text and display. That's when we saw a campaign to incorporate the text and display libraries and pull in historical revivals and oldfashioned foundry types. The distinction between American and European libraries disappeared as well.

Q. Why was the International Typeface Corporation (ITC) formed?

A. ITC started in 1970 when type fonts still had to be bought from the company that made the typesetting machine. If you had a Linofilm photosetter, for instance, you could only buy the grids (image sources) from Linofilm. Individual type designers would sell their faces to composing machine manufacturers, who adapted them for their equipment and paid the designers royalties. The problem was that photo technology made it easier for composing machine suppliers to pirate type styles. To counter this widespread abuse, designer Herb Lubalin and typographer Aaron Burns joined forces with Ed Rondthaler of Photo-Lettering, Inc., to create a type design agency. ITC worked with type designers such as Hermann Zapf to prepare their fonts and produce the original art for licensing to manufacturers. Q. How did ITC gain market acceptance of its products? A. The beauty of ITC's marketing concept was that the three founders were part of the Madison Avenue "mafia." New York's advertising scene was a hot bed for new type styles as well as a technical resource for designing them. ITC had a captive market for its work. Herb Lubalin was not only a good source of ideas, his colleagues were happy to use his faces.
Q. How did the introduction of digital technology change conditions?

A. The birth of independent digital type foundries coincided with the birth of the Macintosh and the open PostScript font format. Bitstream, a firm I co-founded, was the first American independent digital foundry. That meant that if you bought a Linotype digital PostScript imagesetter, you could buy your type from Linotype, Adobe, Compugraphics or Bitstream. With the desktop computer, type ceased to be a machine part. You could buy it anywhere. Emigre was a pioneer in making digital type for the Mac as soon as it was possible to do that.
Q. Why are more people designing type these days?

A. The tools are more accessible, the technology is easier to master, and the means to sell type is more convenient. In the days of hot metal, there were high barriers to getting involved in the type business because you had to get manufacturers to pay attention to you. Today even if a face enjoys only moderate sales, you won't lose money or go bankrupt.

Q. What were some of the significant type design movements in the 20th century?

A. Although sans serif type was invented in the 19th century, it was popularized this century A lot of people say that sans serif came from the Bauhaus, but that's not the whole truth. I think Edward Johnston's type design for the Underground Railway in London in 1918 was influential. Not long after the face was introduced a deputation of German printers visited London and saw the Underground sans. The development of Futura, Kabel and other important German sans serif faces in the 1920s was connected to the Bauhaus and its search for pure functional form, free of excessive ornamentation and historical baggage. Q. What about Swiss International Type Design? A. If you continue along the development of sans serif, you come straight into the phenomenon of Swiss design, which had a big influence on the teaching of graphic design in America. Helvetica which really was a rationalization of some traditional 19th century Swiss designs as well as Bauhaus influenced was introduced in the late '50s. Part of its success was due to the fact that American Linotype decided not to import the European matrices, but to manufacture them here in accordance with U.S. standards. As a result,
THE DIGITAL AGE

he

introduction

of t h e flac l a u n c h e d the

in the m i d - ' A D s age-

digital

Now t y p o g r a p h i c encoded the shape number master

characters on a grid of each

are digitally that identifies

letter

as a c e r t a i n Because

of d i s t i n c t fonts are

points-

stored

as bit p a t t e r n s n instant More

the c o m p u t e r access

gives designers of f o n t s -

to t h o u s a n d s

importantn control single

it p r o v i d e s images

integral on a

over

and t y p e

systemn

and a l l o w s typefaces

designers

to m a n i p u l a t e presentation

and t h e i r variations-

into m y r i a d

Helvetica ran immediately on American composing machines without any technical difficulties. It became the hot new face. On the other hand, Monotype imported Univers into the U.S., and it never made the inroads in America that Helvetica did.
Q. Are we in a typographic movement now?

A. We are seeing a lot of experimental work, some of it is very liberating and good. But we are passing out of this phase. Even Emigre has produced historically inspired designs.
Q. You trained as a punchcutter and worked in hot metal, photo composition and digital platforms. Which is best?

A. On balance, we are better off than we have ever been. The present technology both input and reproduction with high-end imaging devices represents the single best way of working for any type designer. I consider myself lucky to have known previous technologies with their advantages and disadvantages. I believe I appreciate what we have now more than a 20-year-old who may think: I know Fontographer, therefore I am a type designer.
Q. What sustains your fascination with type design?

A. It's a problem-solving exercise. The fascination is the tension between the functional aspects of the letters - an A has to look like an A. You can't distort an A beyond a certain point.You have huge conventions restraining you, but on the other hand, you have the desire to find a way to put a little bit of yourself into what you are doing, even if it is circumscribed. Design is very much in the personality put in the faces.
Q. Is it possible to know which '90s typefaces will become classics?

A. If anyone can predict that accurately, he'd be rich by now. There is something about type design that appeals to people at a certain time. Maybe the success of Ed Benguiat's Souvenir, which has fluid shapes and no hard corners, was a reaction against the Swiss sans serif in the '70s. When Baskerville appeared in print in the 18th century, people said the letters were so shocking compared to Caslon that they would damage your eyesight. Initially, people found Futura shocking as well. An avant garde face must become assimilated in a historical sense before it becomes a classic. And today the rate at which the mainstream assimilates the avant garde is fantastic.

EMIGRE N19: Starting From Zen

JI
10

HE L E T T E R F O R M

IS T H E BASIC B U I L D I N G B L O C K

OF

C O M M U N I C A T I O N S . F R O M L E T T E R S , W O R D S ARE

CONSTRUCTED

AND S T R U N G

TOGETHER

SENTENCES AND PARAGRAPHS TO C R E A T I N G AN A D , B R O C H U R E

M E S S A G E S A N D TELL S T O R I E S . W H E T H E R

ANNUAL R E P O R T O R A B O O K , DE S I GNER S MUST C O N S C I O U S L Y

CHOOSE

TYPEFAC

J I T E D FOR THE P U R P O S E , THE LAYOUT AND THE IMAGERY O N

THE PAGE. IN SO D O I N G , THEY

> AN ACUTE A P P R E C I A T I O N F O R THE

OF EACH TYPEFACE, ITS C O L O R A T I O N AS TEXT AND ITS E M O T I O N A L

T O N E , ft D U R I N G T H E 2 0 T H C E N T U R Y , P E R E N N I A L T Y P E

E M E R G E D . M A N Y ARE REVIVALS O R V A R I A T I O N S OF T Y P E F A C E S

DESIGNED

IRIES A G O . O T H E R S A R E

20TH

TO FIT T H E T E C H N O L O G Y AND T E M P E R A M E N T OF T H E T I M E S . A L T H O U G H

JSANDS OI

:FACES

NEW ONES APPEARING DAILY),

THIS SECTION

FEATURES

ONLY A R E P R E S E N T A T I V E

3 OF T Y P

CLASSICS,

CHOSEN

FOR

THEIR

WIDESPREAD

USE

AND

INFLUENCE

ON

A M E R I C A N DESIGN IN T H E 2 0 T H C E N T U R Y . M I S S I N G FROM THIS S E L E C T I O N

ARE TYPEFAC

AFTER 1 9 8 0 , SINCE TRUE CLASSICS PR

OF T I M E . LIKE BASKERVILLE, W H I C H WAS

PROVOCA"

ILLEGIBLE

AGO, SOME

RADICAL

MAY, INDEED, BECOME THE CLASSICS OF T O M O R R O W . O N L Y TIME WILL TELL

Hand-cut by William Caslon in 1734, this face is the oldest living typeface to survive in its original form. After meeting Caslon in London, Benjamin Franklin recommended that the Declaration of Independence be set in Caslon's type. Over the centuries, many foundries have issued their own Caslon face, and the font has seen many revivals, with ATF's 540 viewed as arguably the best. 13

Originally designed by > Bertram Goodhue in 1896 upon the suggestion of Cheltenham Press, this stubby-serifed face was produced in 18 variations by ATF's Morris Benton between 1904 and 1911.

Perhaps the most specified typeface of the '60s and '70s, Helvetica has embodied and is closely tied to the Swiss grid system. It was created by Swiss designer Edouard Hoffman of the Haas type foundry in collaboration with Max Miedinger. Originally issued as New Haas Grotesque in 1957, it was renamed Helvetica (the ancient name for Switzerland) when it was acquired by Stempel in Germany.

14

DiBEEB
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BB

ATF's Linn Boyd Benton and Theodore de Vinne originally designed Century Bold in 1894 for Century Magazine to provide a blacker, more readable type that could be condensed to a two-column setting. Benton's son, Morris, added to the Century family between 1900 and 1923, and Monotype's Sol Hess cut a Bold Condensed face in 1938. The entire Century family is known for its legibility, and Century Schoolbook has long been the preferred type used in children's primers.

18

I
Designed by Georg Trump in 1930 for Berlin's Berthold Foundry, City was imported into the U.S. in 1936. With its rectangular letters and slab serifs, City found limited use. Paul Rand established its major claim to fame when he redesigned City Medium to create IBM's corporate logo.

Designed by W. A. Dwiggins for Linotype in 1938, Caledonia (the ancient name for Scotland) has been described as a modernized Scotch Roman without the wooden heaviness. Although Dwiggins started out trying to create an updated version of Scotch, Caledonia acquired its own unique look. As Dwiggins explained, "Scotch doesn't stay Scotch if you sweat the fat off it."

01234567 89ABCDEF GHIJKLM NOPQRSTU VWXYZ!@

$ &? + =7%

23

D
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Attempting to improve upon Caslon, John Baskerville intro-

duced this face in 1750 after redrawing it thousands of times

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. ^ k \ ^^^jjj^m. i
w-

over a six year period. More light and delicate than the current type

Hk

styles, it didn't reproduce well, so he revolutionized printing technology, reformulated inks, and j^ invented wove finish paper. Contemporaries charged that the letters' thin and narrow strokes would "blind" readers. The typeface was virtually forgotten until 1936, when the French foundry that owned the original punches and matrices put them to use.

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CO

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O U S E

27

In response to the many sans serif designs (Erbar, Futura, Berthold Grotesque) then being created by German foundries, Rudolf Koch designed Kabel for the Klingspor foundry in 1927. "The task of creating a type with a pair of compasses and a straight edge has always attracted me," said Koch, who was renowned for his calligraphic ability.

Peanut Butter

28

While 17th century Dutch founder Anton Janson was long thought to be the creator of the typeface that bears his name, two English researchers proved in 1954 that it was actually designed by a Hungarian punchcutter named Nicholas Kis circa 1690.
29

his own famous design.

The Swiss Internationa! Typographic Style that emerged in the 1950s gave birth to a new approach to typography, based on quasiscientific analysis and problem solving. In 1954, Swiss designer Adrian Frutiger created Univers, a family of 21 sans-serif fonts arranged in a numbered order that moved from 39 (light/extra condensed) to 83 (expanded/extrabold) with 55 designated as the regular weight. Although logical, the system never caught on. 32

As part of an assignment to modernize the 19th century gothics inherited when ATF was formed, Morris Benton designed News Gothic in 1908. A lighter version of Franklin Gothic, it is part of a family of American gothic faces. Overshadowed by the Bauhaus sans serifs in the 1930s, American gothics made a strong comeback in the 1950s.

33

B
35

German designer > Heinrich Jost responded to the revival of the square-serif style (known as Egyptian) in 1931 by creating Beton. Perhaps in response to the recent discovery of King Tut's tomb, Egyptian faces with names like Memphis and Cairo were in demand and every foundry scrambled to offer a few.

o
2 m
O

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2

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33

O 00

Also known as Romano Moderno, Torino was issued by the Nebiolo Foundry in Turin, Italy, in 1908 and is a condensed variation on the Bodoni model.
34

| 4 Beton Bold Condensed

16 Beton Bold Condensed

1 8 Beton Bold Condensed

2 4 Beton Bold Condensed

3 0 Beton Bold Condensed

3 6 Beton Bold Condensed

4 8 Beton Bold Condensed

6 0 Beton Bold Condensed

Schoolbook Small Caps

420A

Jchooibook Small raps

Help!

"Anyone who would letter space

36

l o w e r

Frederic Goudy's classic old style letters for ATF became an instant bestseller when they were introduced in 1915 and have remained popular ever since. Although Goudy was pleased with the design, his only regret was the short descenders in the p, q, g, j and y which he

'.

claimed ATF "inveigled" him into under protest. The short descenders, however, helped

;."

" '

'-, , - o : - . v . -

to endear the type to commercial printers who found they made economical use of vertical space.

t..**^.

Vht

c a s e

would steal sheep " - Frederic Goudy

37

Customers
O S W A L D C O O P E R The creative genius behind Bertsch & Cooper, Chicago's busiest design and advertising agency early in the century, Oswald Cooper was first celebrated for his lettering, design and copywriting. His creation of Cooper Black in 1921 was an instant hit among designers and advertisers. It saw a major revival in the '60s when psychedelic designers imitated its friendly, fat-faced look.
38

Designed by Matthew Carter in 1978 for Mergenthaler Linotype, Galliard was the first of its genre to be designed exclusively for photo composition. Carter has described Galliard as an "anthology" of type made by 16th century punchcutter Robert Granjon since "neither the roman nor the italic derive exclusively from particular Granjon faces." Granjon's italics had been used as models for some Garamond revivals and his roman faces are reflected in Plantin. In Galliard, Carter interpreted the spirit of Granjon's original.

39

Designed by Bruce Rogers in 1915 for the Museum Press of the Metropolitan Museum in New York, Centaur is based on a ;,?. roman face created by Nicolas Jenson in 1470. Issued in a recut version by English Monotype in 1929, Centaur was used for the Oxford University Press lectern bible of 1935.

THE SOUTHERN
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BY SLENDER THREADS WHEN RIPE. 1

41

Frederic Goudy designed this face for publisher Mitchell Kennerley in 1911 because he was disappointed in the look of dummy copy set in 18-point Caslon. Wanting a typeface that appeared more solid and compact but in the same color as Caslon, Goudy set about designing such a face when he couldn't find one that fit his needs. It took him five months from start to finish, and the successful introduction of Kennerley established Goudy's reputation as a type designer.

FOl

!86S~OL, C L X . N O 3 i

PAGE A

S A N FRANCIS^

TW^

L M1N O P S~T U X Y Z
Known for championing asymmetric typographic arrangements in his early years, and his design of Penguin Books, Jan Tschichold created only one noteworthy typeface Sabon. Issued in 1966, Sabon was Tschichold's response to a group of German printers who asked him to design a typeface that would look identical across all composition platforms Linotype, Monotype, handset or photo composition. 46

< During the Great Depression, the National Recovery Administration of 1933 featured a blue eagle emblem with its initials, NRA, rendered in gothic letters. Businesses across the country showed their support for the NRA by displaying the eagle emblem on advertising, signs and stationery. ATF's Morris Benton made the letters the basis of a font, which he named Eagle Bold.

Who?
When The Times of London offered to set the text for an English Monotype ad for free, Stanley Morison exclaimed, "We'd do much better to pay them a thousand to keep their comps off it!" Charging that the newspaper was badly printed and typographically out of date, Morison was challenged by The Times to make it better. Morison not only redesigned the paper, he created a new typeface, modeled somewhat after Monotype's Plantin 113. Issued in 1931, Times Roman rose to become one of the definitive typefaces of the 20th century.
49

A C GH N O
50

UV

D KLM R X
In the 1920s, Stanley Morison, English Monotype's typographic director, undertook a program to recut numerous historic typefaces, including Bembo, a revival of an Italian renaissance face cut by Francesco Griffo for the Venetian printer Aldus Manutius. The original cut was used in Cardinal

-o

Bembo's De Aetna, 1495, hence the "modern" name. Introduced in 1929, Bembo quickly became one of the century's most popular type-

&

faces for book composition.

51

52

The roman style that Giambattista Bodoni introduced in 1787 fully defined a look that has become known as Modern roman. More geometric and mechanical in appearance, the Bodoni letterforms were standardized and measurable units, unlike the calligraphic traditions of the early 18th century. Sometimes called "the perfect type," Bodoni's clean-cut face, devoid of eccentricities, found an appreciative audience in 1901 when it was reissued by the Nebiolo foundry in Italy and has never gone out of style.

54

Revived interest in Clarendon and other square-serif type in Europe led ATF to commission Freeman Craw to develop an American version. The result in 1955 was Craw Clarendon. 58

S WITH

FASHION, TYPEFACES

GO IN AND

OUT

OF VOGUE

IR

1 5 MINUTES

OF FAME AND DISAPPEAR

>ULARITY DUE TO O V E R E X P O S U R E , ONLY TO BE R E D I S C O V E R E D BY

O N . C U L T U R A L AND POLITICAL

:RIES ALL C O N T R I B U T E TO THE LOOK OF THE P E R I O D . 1ENT W H O CAME T O T H E U . S . AS

UGEES IN THE

.ED THE C O U R S E OF A M E R I C A N

TYPOGRAPHY

\ N D D E S I G N . T H E S E N S A T I O N CAUSED BY R A Y M O N D L O E W Y ' S S T R E A M L I N E D

P R O D U C T S P O P U L A R I Z E D ELEGANT, STYLIZED T Y P O G R A P H Y . D U R I N G W O R L D

WAR

II

> R A C T I C A L USE Ol

BY R . H u
MOOD INTO COMMERC

CARRIED

OVER

RUGAL, NO-FRILLS

APPLICATIONS.

CO

COOPER

BLACK

FROM

ZUS STRUCK A RESPONSIVE C H O R D IN THE PSYC

'60s. I N T H E ' 8 0 S ,
NO APOLOG

JRE S BITMAPPED

FACES, W H I C H

MADE

: O M P U T E R THAT C R E A T E D T H E M ,

D T O U S H E R IN THE DIGITAL E R A .

OUR

C U L T U R A L H I S T O R Y IS W R I T T E N I N T H E S E T Y P E F A C E S . I N T H E M , WE

SENSE THE S P I R I T AND P H I L O S O P H Y

OF T H E T I M E S , AND T H E C

QUEST TO ES r

A N E W W O R L D O R D E R . T H E REVIVAL OF THESE FACES,

AND T H E I R

ULTH

ACE A M O N G T H E

CLASSICS, DEPENDS

ON

HOW

AND

E X C I T I N G THEY ARE TO

SUCCESSIVE

GE

COMSTOCK

WILLIAM

S C H R A U B S TA D T E R

1902-8

FRENCH

SCRIPT

SIDNEY

GAUNT

1904

BULLY!
COPPERPLATE GOTHIC FREDERIC GOUDY 1903

61

KM

JEEPER/
PUBLICITY GOTHIC SIDNEY GAUNT 1916

It's Jake With Me

JOHNSTON UNDERGROUND EDWARD JOHNSTON 1918

KENNERLEY

OPEN

FREDERIC

GOUDY

1911

Heaven to Betsy!
HOBO MORRIS BENTON 1910

OYER THE TOP

MAXIMILLIAN ANTIGUA RUDOLF KOCH 1914

63

Joe Sent Ate

FUTURA BLACK PAUL RENNER 1 9 2 7

You're DamnTootin!
AKZIDENZ GROTESK BERTHOLD FOUNDRY 1889

BIFUR

A.M. C A S S A N D R E

1929

TOE CEYMO OUT LOOTS

COOPER HIGHLIGHT OSWALD COOPER 1 9 2 5

\itchy-l\cc
BROADWAY MORRIS BENTON 1 9 2 7

65

i'

1/

YOWZER
PEIGNOT A . M . CASSANDRE 1937

Natch!
SALUT H. M A E H L E R 1931

Good Ship Lollipop

ROCKWELL BOLD MONOTYPE DESIGN STAFF 1934

i)Q DJfi!
SHADOW MORRIS BENTON 1934

Leapin Lizards!
PARISIAN MORRIS BENTON 1929

67

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RAILROAD GOTHIC AMERICAN TYPE FOUNDERS PRE-1900

PROFIL

EUGENE

AND

MAX

LANZ

1946

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BRUSH SCRIPT ROBERT E. SMITH 1942

The Buck Stops Here!

FRANKLIN GOTHIC EXTRA CONDENSED MORRIS BENTON 1902

Peachy Keen
PLAYBILL ROBERT MARLING 193! 69

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BANCO ROGER EXCOFFON 1951

NEAT-O
MICROGRAMMA ALESSANDRO BUTTI A N D A. NOVARESE 1952 CHOC ROGER EXCOFFON 1955

LATIN

WIDE

STAN

KROEGER

c.1950s

MISTRAL

ROGER

EXCOFFON

1953

71

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AVANT GARDE HERB LUBALIN c.1960

BABY

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MILTON

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1960

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SNELL ROUNDHAND MATTHEW CARTER 1966

War

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ARNOLD BOECKLIN 0. WEISERT 1904

PEACE. BROTHER
COMPACTA FRED LAMBERT 1963

73

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SHATTER VIC C A R L E S S 1973

Heavy. Man
FAT FACE BONDER A N D TOM C A R N A S E 1970

PSYCHODADDLE
SERIF GOTHIC TONY Dl S P I G N A AND HERB LUBALIN 1972-74 NEON W.SCHAEFER 1 936

Hang Loose
KABEL RUDOLF KOCH 1927

75

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OBLONG ZUZANA LICKO 1988

Like, ya know
LETTER GOTHIC ROGER ROBERTSON 1962

Chill Out, Dude

MODULA SERIF BOLD ZUZANA LICKO 1988

TOTALLY AWESOME
LITHOS CAROL TWOMBLY 1989

TIL
INDUSTRIA INLINE NEVILLE BRODY 1984

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78

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TECHNOIRE SUTURE FRANK FORD 1995

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VARIEX REGULAR ZUZANA LICKO AND RUDY V A N D E R L A N S 1989

CooU
MATRIX INLINE SCRIPT ZUZANA LICKO 1986

SurF the web

TEMPLATE GOTHIC BARRY DECK 1990

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SUBURBAN RUDY V A N D E R L A N S 1994 79

The Typeface Selection Process Our initial plan for the Typography issue of the American Design Century was to focus on the 100 best American-designed typefaces of the 20th century, with input from several of America's leading designers (see below). But as both the designers surveyed and our own research pointed out, many of the best-loved typefaces were not designed by Americans, and were not even designed in this century. Inventions from Linotype to digital technology spurred the importation of typefaces in the 20th century and encouraged the revival of classics that otherwise would have been lost to history. In the end, we decided to concentrate on typefaces, both timeless and timely, that had a major influence on 20th century American design. Versions of these popular faces were often produced by several type houses - too many to name. Wherever possible we have used original cuts of the face, otherwise we chose from the best digital cuts available. By no means are we suggesting that this list is complete. However, we believe that it provides a representative look at the typefaces that shaped the look of American design in this century.

Thanks to the following designers: Roger Black Mar go Chase Louise Fili Milton Glaser April Greiman Steven Heller Chris Hill Michael Mabry Jennifer Morla Paula Scher Jilly Simons Nancy Skolos Jennifer Sterling Michael Vanderbyl Massimo Vignelli

Some favorite typefaces of the designers surveyed, which we did not have room to include: Aardvark Adonis Arbitrary Barbera Base Bell Centennial Belucian Big Caslon Bodega Bodoni Chancery Bradley Bureau Grotesque Busorama Californian Champion Charter Citizen Compacta Dead History Deepdene Democratica Dom & Dom Casual Eden Edit Electra Envision Eve Evolution Excelsior Script Fella Parts Fetish Fournier Frankfurter Garage Gothic Giza Goudy Stout Interstate Keedy Sans Kis Leviathan Mason Mechanic Gothic Meta Metro Miller Modula Monolein Mrs. Eaves Murray Hill Nebiolo Egiziano Oakland Our Bodoni Outwest Pterra Riviera Script Shiraz Souvenir Tema Cantante Totally Gothic Trade Gothic Trajan Tribe Trixie Ultrabronzo Venus Village Vincent Walbaum Walker <
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