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23
Type History and Timeline
Birthdays of the 1950s
Kris Holmes (–)
American type designer who designed
typefaces for Compugraphic Corporation
and Dr-Inf Rudolf Hell in Germany
that included Isadora, Shannon,
and Lucida
David Berlow (–)
American type designer and proprietor
of the Font Bureau, one of the United
States’ most prolifi c and creative
type supply companies
Cynthia Hollandsworth (–)
American type designer and advocate
for the protection of designers’ rights
who formed the Typeface Design
Coalition in
Robert Slimbach (–)
American type designer worked as a
letter designer for Autologic and then as
a freelance designer before joining Adobe
Systems in
Carol Twombly (–)
American designer who worked at
Bitstream and Adobe Systems with
designs to her credit including Mirarae,
Charlemagne, Lithos, Trajan, and Viva
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Typography, Referenced
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Birthdays of the
Late Twentieth
Century
Zuzana Licko (–)
Czechoslovakian designer
who immigrated to the
United States in
Jonathan Hoefl er (–)
American typeface designer
who established The Hoefl er
Type Foundry (now Hoefl er
& Frere-Jones)
Tobias Frere-Jones (–)
American type designer
Christian Schwartz (–)
American type designer who
partnered with Paul Barnes
to form Commercial Type,
a digital type foundry based
in London and New York
1960s
Zuzana Licko () (–) is a
Czechoslovakian designer who immi-
grated to the United States in . Licko
fi rst created type designs for the publi-
cation Emigre, but because the young
design community loved her designs, the
faces eventually became commercial
fonts. Her more successful faces include
Matrix and Variex.
In , Nebiolo foundry released
Eurostile, a square sans () that was
fi rst a cap-only face. Later Aldo Novarese
() drew lowercase () characters
to complement the earlier designs on
which he had collaborated with A. Butti,
and the face was reissued and renamed
Microgramma.
Shortly thereafter, Linotype () and
Monotype () released Sabon (),
created by Jan Tschichold (). This was
a collaboration between the two to create
a face concurrently available as hand-set
and machine-set metal type, as well as
photo type fonts. The roman is based on
a Garamond () design, the italic on a
Granjon () font.
In , Compugraphic Corporation,
the company that made low-cost photo-
typesetting a practical reality, entered
the phototypesetting machinery
market. A year later, Herb Lubalin (),
Aaron Burns, and Photo-Lettering, Inc.,
founded . Lubalin and Burns would
provide new typeface designs and the
marketing to make them successful;
Photo-Lettering, Inc., would supply the
technical know-how to produce artwork
that would serve as production tools for
phototype font development.
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Type History and Timeline
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1970s
The year experienced the release of
Avant Garde Gothic and Souvenir.
Avant Garde Gothic was ’s fi rst typeface,
initially drawn by Herb Lubalin (95) as
the logo and headline face for Avant Garde
magazine. With the help of Photo-Lettering,
Inc., the design was later converted to a text
and display font. (Look at the caps in this
face, then go back and look at the fi fth-century
Greek lapidary type.)
That year, also released the typeface
designers love to hate, Souvenir. Originally
developed by Morris Fuller Benton (81) for
atf in , Ed Benguiat (80) revived the basic
design, enlarged the family, and created the
fi rst italic variants. One year later, in , Gary
Starkweather at Xerox invented the laser
printer by modifying a Xerox copier.
In the mid- and late-s, released
Korinna and Galliard. The former was based
on a turn-of-the-century Berthold (126)
design updated and revived by Benguiat.
Matthew Carter (85) designed the latter—
based on a sixteenth-century design by
Robert Granjon (75)—for Linotype (129), but
later licensed it to in . In between
these two releases, introduced the
, the fi rst commercially available
laser printer for use with its mainframes.
Avant Garde
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Typography, Referenced
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1980s
In the s, the Internet was invented.
In , Matthew Carter () (–) and Mike Parker
(–) founded Bitstream () to design and market type
in digital form. The son of a printing historian, Carter is
considered one of the founders of electronic type. He and
Parker designed Bell Centennial for Linotype () and
Galliard. Bitstream Charter is the fi rst of his new designs; he
continues to work on new designs now. He also cofounded
Carter & Cone Type, Inc., with Cherie Cone. A few of
Carter’s other designs include Snell Roundhand (), Skia,
Mantinia, Miller, and Charter.
In , John Warnock and Chuck Gerschke founded
Adobe Systems (). In , Adobe PostScript was
announced, one of the three most important technologi-
cal advancements in typographic history (the fi rst being
Gutenberg’s invention of the adjustable mold, the second
the Higonnet–Moyroud phototypesetting machine). It
opened up digital typesetting and created what’s now called
the Desktop Publishing Revolution. That same year,
released Berkeley Old Style, a revival of Goudy’s ()
University of California Oldstyle.
During the s, Paul Brainerd, who founded Aldus
Corporation, introduced PageMaker, the fi rst widely used
(What You See is What You Get) page layout
program for personal computers, and David Berlow () and
Roger Black formed the Boston-based foundry The Font
Bureau, Inc. (). American typeface designer Jonathan
Hoefl er () (–) established The Hoefl er Type Foundry—
now Hoefl er & Frere-Jones (), a digital type foundry
in New York that Hoefl er shares with fellow type designer
Tobias Frere-Jones () (–).
Charter
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Type History and Timeline
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1990s
released Tekton in , possibly the Souvenir of this decade.
It was designed by David Siegel for Adobe Systems (124) and based on the
hand lettering of D. K. Ching, a Seattle architect. The following year, Adobe
introduced the Portable Document Format—what’s today commonly
called —to aid in the transfer of documents across platforms. Apple
introduced its TrueType to compete with Adobe’s PostScript.
Every other year in the s but saw important milestones:
•
: The fi rst Adobe Multiple Masters font was released. Multiple Master
technology enables the type designer to create master designs at each
end of one or more predetermined design axes. The graphic designer
can then interpolate, or generate intermediate variations, between the
master designs on demand.
•
: Apple announced TrueType GX, fonts heralded as “smart fonts”
that can automatically insert ligatures, alternate character, and swash
letters, in addition to providing the graphic designer with automatic
optical alignment and other typographic refi nements. Also, the fi rst
weights of the Interstate typeface were released.
•
: Comic Sans by Vincent Connare was released.
•
: Apple announced OpenType. Built on its predecessor, TrueType,
it retained the basic structure but also added many intricate data
structures for prescribing typographic behavior. Microsoft also made
available Georgia and Verdana typefaces.
•
: Microsoft supported Embeddable OpenType (known as EOT) as
a propriety format for Internet Explorer web fonts. No other browser
companies jumped on the bandwagon.
•
: Agfa Corporation acquired Monotype Typography. Also, the
fi rst TypeCon Conference took place over Halloween weekend in
Westborough, Massachusetts.
•
: published the last issue of U&lc, its journal of typography.
The journal had a cult following when it was published as a tabloid.
That same year, Microsoft and eBook pioneers NuvoMedia and
SoftBook Press hosted the fi rst review of a draft specifi cation
for electronic book devices. And Adobe released InDesign.
Georgia
U&lc was ITC’s journal of typography.
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