In typography, a typeface is the artistic representation or interpretation of characters; it is the way the type looks. Each type is designed and there are thousands of different typefaces in existence, with new ones being developed constantly.

The art and craft of designing typefaces is called ''type design''. Designers of typefaces are called ''type designers'', and often ''typographers''. In digital typography, type designers are also known as ''font developers'' or ''font designers''. Refer to the list of typographers of notable typographers around the world.

Typeface is the design of glyphs which is the looks of characters. The same glyph may be used for characters from different scripts, e.g. Roman uppercase A usually looks the same as Greek uppercase alpha, and there are typefaces tailored for special applications, such as map-making or astrology and mathematics.

The term ''typeface'' is frequently confused with term ''font'' or used as a synonym. Before the advent of digital typography and desktop publishing the two terms had a more clearly understood meaning. See font for a complete definition of that term.

Terminology

In professional typography, the term ''typeface'' is not interchangeable with the word ''font'', which was historically defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font, and 10-point Caslon Italic was another. Historically, fonts came in specific sizes determining the size of characters, and in quantities of sorts or number of each letter provided. The design of characters in a font took into account all these factors.

As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific weight (blackness or lightness) and stylistic variants (most commonly ''regular'' or ''roman'' as distinct to ''italic'', as well as ''condensed'') have led to ''font families'', collections of closely related typeface designs that can include hundreds of styles. A font family is typically a group of related fonts which vary only in weight, orientation, width, etc., but not design. For example, Times is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families typically include several fonts, though some, such as Helvetica, may consist of dozens of fonts.

The distinction between font and typeface is that a font designates a specific member of a type family such as roman, boldface, or italic type, while typeface designates a consistent visual appearance or style which can be a "family" or related set of fonts. For example, a given typeface such as Arial may include roman, bold, and italic fonts. In the metal type era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size.

The first "extended" font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting with ATF's Cheltenham (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed by Morris Fuller Benton. Later examples include Futura, Lucida, ITC Officina. Some became superfamilies as a result of revival, such as Linotype Syntax, Linotype Univers; while others have alternate styling designed as compatible replacements of each other, such as Compatil, Generis.

Typeface ''superfamilies'' began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing (serifed) Clearface. The superfamily label does not include quite different designs given the same family name for what would seem to be purely marketing, rather than design, considerations: Caslon Antique, Futura Black and Futura Display are structurally unrelated to the Caslon and Futura families, respectively, and are generally not considered part of those families by typographers, despite their names.

Additional or supplemental glyphs intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the Adobe Systems type group introduced the idea of ''expert set'' fonts, which had a standardized set of additional glyphs, including small caps, old style figures, and additional superior letters, fractions and ligatures not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as swashes, dingbats, and alternate character sets, complementing the regular fonts under the same family. However, with introduction of font formats such as OpenType, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs.

Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way. These fonts included the characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used.

The size of typefaces and fonts is traditionally measured in points; ''point'' has been defined differently at different times, but now the most popular is the Desktop Publishing point of  in (). When specified in typographic sizes (points, kyus), the height of an ''em-square'', an invisible box which is typically a bit larger than the distance from the tallest ascender to the lowest descender, is scaled to equal the specified size. For example, when setting Helvetica at 12 point, the em square defined in the Helvetica font is scaled to 12 points or  in (). Yet no particular element of 12-point Helvetica need measure exactly 12 points.

Frequently measurement in non-typographic units (feet, inches, meters) will be of the ''cap-height'', the height of the capital letters. Font size is also commonly measured in millimeters (mm) and ''q''s (a quarter of a millimeter, ''kyu'' in romanized Japanese) and inches.

History

Type foundries have cast fonts in lead alloys from the 1450s until the present, although wood served as the material for some large fonts called wood type during the 19th century, particularly in the United States. In the 1890s the mechanization of typesetting allowed automated casting of fonts on the fly as lines of type in the size and length needed. This was known as continuous casting, and remained profitable and widespread until its demise in the 1970s. The first machine of this type was the Linotype machine, invented by Ottmar Mergenthaler.

During a brief transitional period (c. 1950s – 1990s), photographic technology, known as ''phototypesetting'', utilized tiny high-resolution images of individual glyphs on a film strip (in the form of a film negative, with the letters as clear areas on an opaque black background). A high-intensity light source behind the film strip projected the image of each glyph through an optical system, which focused the desired letter onto the light-sensitive phototypesetting paper at a specific size and position. This photographic typesetting process permitted optical scaling, allowing designers to produce multiple sizes from a single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example, ink traps and spikes to allow for spread of ink encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed fine kerning between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in the 1960s and 1970s.

The mid-1970s saw all of the major typeface technologies and all their fonts in use: letterpress, continuous casting machines, phototypositors, computer-controlled phototypesetters, and the earliest digital typesetters—hulking machines with tiny processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling ''font'', which nowadays nearly always means a computer file containing scalable outline letterforms (''digital font''), in one of several common formats. Some typefaces, such as Verdana, are designed primarily for use on computer screens.

Digital type

Digital fonts store the image of each character either as a bitmap in a ''bitmap font'', or by mathematical description of lines and curves in an ''outline font'', also called a ''vector font''. When an outline font is used, a rasterizing routine (in the application software, operating system or printer) renders the character outlines, interpreting the vector instructions to decide which pixels should be black and which ones white. Rasterization is straightforward at high resolutions such as those used by laser printers and in high-end publishing systems. For computer screens, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts use hinting algorithms to make readable bitmaps at small sizes.

Digital fonts may also contain data representing the ''metrics'' used for composition, including kerning pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everyday ligatures like fl. Common font formats include TrueType, OpenType and PostScript Type 1, while METAFONT is still used by TeX and its variants. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer operating systems, Adobe Systems products and those of several other companies. Digital fonts are created with font editors such as FontForge, Fontlab's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio.

Typeface anatomy

Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all scripts. ''Serifs'', for example, are a purely decorative characteristic of typefaces used for European scripts, whereas the glyphs used in Arabic or East Asian scripts have characteristics (such as stroke width) that may be similar in some respects but cannot reasonably be called serifs and may not be purely decorative.

Serifs

{| style="float:right; margin:0 1em 1em 0;" |- | | Sans serif font |- | | Serif font |- | | Serif font with serifshighlighted in red |}

Typefaces can be divided into two main categories: serif and sans serif. Serifs comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs as sans serif (from French ''sans'', meaning ''without''), or as ''grotesque'' (or, in German, ''grotesk'').

Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serifs forms is only one of many factors to consider when choosing a typeface.

Typefaces with serifs are often considered easier to read in long passages than those without. Studies on the matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Web sites do not have to specify a font and can simply respect the browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen.

Proportion

A proportional typeface contains glyphs of varying widths, while a monospaced (non-proportional or fixed-width) typeface uses a single standard width for all glyphs in the font.

Most people generally find proportional typefaces nicer-looking and easier to read, and thus they appear more commonly in professionally published printed material. For the same reason, GUI computer applications (such as word processors and web browsers) typically use proportional fonts. However, many proportional fonts contain fixed-width (tabular) figures so that columns of numbers stay aligned.

Monospaced typefaces function better for some purposes because their glyphs line up in neat, regular columns. No glyph is given any more weight than another. Most manually-operated typewriters and text-only computer displays use monospaced fonts. Most computer programs which have a text-based interface (terminal emulators, for example) use only monospaced fonts (or add additional spacing to proportional fonts to fit them in monospaced cells) in their configuration. Monospaced fonts are commonly used by computer programmers for displaying and editing source code so that certain characters (for example parentheses used to group arithmetic expressions) are easy to see. Monospaced fonts may also come as a benefit to machines doing automatic recognition of text (cf. Optical Character Recognition).

ASCII art usually requires a monospaced font for proper viewing, with the exception of Shift JIS art which takes advantage of the proportional characters in the MS PGothic font.. In a web page, the <tt> </tt>, <code> </code> or <pre> </pre> HTML tags most commonly specify monospaced fonts. In LaTeX, the ''verbatim'' environment or the Teletype font family (e.g., \texttt{...} or {\ttfamily ...}) uses monospaced fonts (in TeX, use {\tt ...}).

Any two lines of text with the same number of characters in each line in a monospaced typeface should display as equal in width, while the same two lines in a proportional typeface may have radically different widths. This occurs because in a proportional font, glyph widths vary, such that wider glyphs (typically those for characters such as W, Q, Z, M, D, O, H, and U) use more space, and narrower glyphs (such as those for the characters i, t, l, and 1) use less space than the average.

In the publishing industry, it was once the case that editors read manuscripts in monospaced fonts (typically Courier) for ease of editing and word count estimates, and it was considered discourteous to submit a manuscript in a proportional font. This has become less universal in recent years, such that authors need to check with editors as to their preference, though monospaced fonts are still the norm.

Font metrics

Most scripts share the notion of a baseline: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The ''descent'' spans the distance between the baseline and the lowest descending glyph in a typeface, and the part of a glyph that descends below the baseline has the name ''descender''. Conversely, the ''ascent'' spans the distance between the baseline and the top of the glyph that reaches farthest from the baseline. The ascent and descent may or may not include distance added by accents or diacritical marks.

In the Latin, Greek and Cyrillic (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs (mean line) as the ''x-height'', and the part of a glyph rising above the x-height as the ''ascender''. The distance from the baseline to the top of the ascent or a regular uppercase glyphs (cap line) is also known as the cap height. The height of the ascender can have a dramatic effect on the readability and appearance of a font. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces.

Typefaces with the same metrics (i.e., with the same glyph dimensions) are said to be "metric-compatible", that is, they can be substituted for one another in a document without changing the document's text flow. Several typefaces have been created to be metric-compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the open source Liberation fonts have been designed as metric-compatible substitutes for widely used Microsoft fonts.

Types of typefaces

Because an abundance of typefaces have been created over the centuries, they are commonly categorized according to their appearance. At the highest level (in the context of Latin-script fonts), one can differentiate Roman, Blackletter, and Gaelic types. Roman types are in the most widespread use today, and are sub-classified as serif, sans serif, ornamental, and script types. Historically, the first European fonts were blackletter, followed by Roman serif, then sans serif and then the other types. The use of Gaelic faces was restricted to the Irish language, though these form a unique if minority class. Typefaces may be monospaced regardless of whether they are Roman, Blackletter, or Gaelic. Symbol typefaces are non-alphabetic. The Cyrillic script comes in two varieties, Roman type (called гражданский шрифт ''graždanskij šrift'') and traditional Slavonic type (called славянский шрифт ''slavjanskij šrift'').

Roman typefaces

Serif typefaces

Serif, or ''Roman'', typefaces are named for the features at the ends of their strokes. Times Roman and Garamond are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines. Serif fonts are often classified into three subcategories: Old Style, Transitional, and Modern. Old Style typefaces are influenced by early Italian lettering design. Though some argument exists as to whether Transitional fonts exist as a discrete category among serif fonts, Transitional fonts lie somewhere between Old Style and Modern style typefaces. Transitional fonts exhibit a marked increase in the variation of stroke weight and a more horizontal serif compared to Old Style, but not as extreme as Modern. Lastly, Modern fonts often exhibit a bracketed serif and a substantial difference in weight within the strokes. Examples of these are Times, New Baskerville, and Bodoni, respectively.

''Roman'', ''italic'', and ''oblique'' are also terms used to differentiate between upright and italicized variations of a typeface. The difference between ''italic'' and ''oblique'' is that the term ''italic'' usually applies to serif faces, where the letter forms are redesigned.

Sans serif typefaces

Sans serif (lit. without serif) designs appeared relatively recently in the history of type design. The evolution of the sans serif font very likely stemmed from the slab serif font. The earliest slab serif font, ''Antique'', later renamed ''Egyptian'', designed in 1815 by the English typefounder Vincent Figgins was succeeded one year later by the first sans serif font, created by William Caslon IV. The evidence of this is clearly shown in the uniform strokes in the letter forms. Sans serif fonts are commonly but not exclusively used for display typography such as signage, headings, and other situations demanding legibility above high readability. The text on electronic media offers an exception to print: most web pages and digitized media are laid out in sans serif typefaces because serifs often detract from readability at the low resolution of displays.

A well-known and popular sans serif font is Max Miedinger's Helvetica, popularized for desktop publishing by inclusion with Apple Computer's LaserWriter laserprinter and having been one of the first readily available digital typefaces. Arial, popularized by Microsoft, is a widely used sans serif font that is often compared to and substituted for Helvetica. Other fonts such as Futura, Gill Sans, Univers and Frutiger have also remained popular over many decades.

Script typefaces

Script typefaces imitate handwriting or calligraphy. They do not lend themselves to quantities of body text, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Examples include Coronet and Zapfino.

Ornamental typefaces

Ornamental (also known as ''novelty'' or sometimes ''display'') typefaces are used exclusively for decorative purposes, and are not suitable for body text. They have the most distinctive designs of all fonts, and may even incorporate pictures of objects, animals, etc. into the character designs. They usually have very specific characteristics (e.g., evoking the Wild West, Christmas, horror films, etc.) and hence very limited uses. See below for the historical definition of ''display typeface''.

Mimicry typefaces

A group of decorative typefaces, sometimes called simulation typefaces, have been designed that represent the characters of the Roman alphabet but evoke another writing system. This group includes typefaces designed to appear as Arabic, Chinese characters, Cyrillic, Indic scripts, Greek, Hebrew, Kana, or Thai. These are used largely for the purpose of novelty to make something appear foreign.

Blackletter typefaces

Blackletter fonts, the earliest typefaces used with the invention of the printing press, resemble the blackletter calligraphy of that time. Many people refer to them as ''gothic script''. Various forms exist including textualis, rotunda, schwabacher, and fraktur.

Gaelic typefaces

Gaelic fonts were first used for the Irish language in 1571, and were used regularly for Irish until the early 1960s, though they continue to enjoy use in display type and type for signage, being perceived in Ireland as having cultural value. Their use was effectively confined to Ireland, though Gaelic typefaces were designed and produced in France, Belgium, and Italy. Gaelic typefaces make use of insular letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition. Early fonts used for the Anglo-Saxon language, also using insular letterforms, can be classified as Gaelic typefaces, distinct from Roman or Antiqua typefaces. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.

Monospaced typefaces

Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where the ''w'' and ''m'' are wider than most letters, and the ''i'' is narrower). The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed. Their use continued with early computers, which could only display a single font. Although modern computers can display any desired typeface, monospaced fonts are still important for computer programming, terminal emulation, and for laying out tabulated data in plain text documents. Examples of monospaced typefaces are Courier, Prestige Elite, Fixedsys, and Monaco. There exist Roman, Blackletter, and Gaelic monospaced typefaces.

Symbol typefaces

Symbol, or Dingbat, typefaces consist of symbols (such as decorative bullets, clock faces, railroad timetable symbols, CD-index, or TV-channel enclosed numbers) rather than normal text characters. Examples include Zapf Dingbats, Sonata, and Wingdings.

Display type

Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and hence are known as display faces. For typefaces used across a wide range of sizes, in the days of metal type, each size was cut individually, or even if pantographically scaled would often have adjustments made to the design for larger or smaller sizes, making a "display" face have distinct differences.

In metal type, if present in smaller sizes, ''ink traps'' (small indentations at the junctions of letter strokes) would be eliminated at display sizes. In smaller point sizes, these ink traps were intended to fill up when the letterpress was over-inked, providing some latitude in press operation while maintaining the intended appearance of the type design. At larger sizes, these ink traps were not necessary, so display faces did not have them. Today's digital typefaces are most often used for offset lithography, electrophotographic printing or other processes that are not subject to the ink supply variations of letterpress, so ink traps have largely disappeared from use.

When digital fonts feature a ''display'' variation, it is to accommodate other stylistic differences that may benefit type used at larger point sizes. Such differences, which were standard in metal type, are rare in digital type, outside of the very high end of type design. They can include: a lower x-height, higher contrast between thick and thin strokes, less space between letters, and slightly more condensed letter shapes.

Decades into the desktop publishing revolution, few typographers with metal foundry type experience are still working, and few digital typefaces are optimized specifically for different sizes, so the misuse of the term ''display typeface'' as a synonym for ''ornamental type'' has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces.

Texts used to demonstrate typefaces

A sentence that uses all of the alphabet (a pangram), such as "The quick brown fox jumps over the lazy dog", is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting (because it displays all the letters of the alphabet). For extended settings of typefaces graphic designers often use nonsense text (commonly referred to as ''greeking''), such as ''lorem ipsum'' or Latin text such as the beginning of Cicero's ''In Catilinam''. Greeking is used in typography to determine a typeface's ''colour'', or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting.

Legal aspects

Under United States law, typeface designs are not subject to copyright. However, novel and non-obvious typeface designs are subject to protection by design patents. Digital fonts that embody a particular design are often subject to copyright as computer programs. The names of the typefaces can become trademarked. As a result of these various means of legal protection, sometimes the same typeface exists in multiple names and implementations.

Some elements of the software engines used to display fonts on computers have or had software patents associated with them. In particular, Apple Inc. patented some of the hinting algorithms for TrueType, requiring open source alternatives such as FreeType to use different algorithms. However, Apple's TrueType hinting patents expired in May 2010.

Although typeface design is not subject to copyright in the United States under the 1976 Copyright Act, the United States District Court for the Northern District of California in Adobe Systems, Inc. v. Southern Software, Inc. (No. C95-20710 RMW, N.D. Cal. January 30, 1998) found that there was original authorship in the placement of points on a computer font's outline; i.e., because a given outline can be expressed in myriad ways, a particular selection and placement of points has sufficient originality to qualify for copyright.

Many western countries extend copyright protection to typeface designs. However, this has no impact on protection in the United States, because all of the major copyright treaties and agreements to which the U.S. is a party (such as the Berne Convention, the WIPO Copyright Treaty, and TRIPS) operate under the principle of ''national treatment'', under which a country is obligated to provide no greater or lesser protection to works from other countries than it provides to domestically produced works.

See also

References

Further reading

External links

ABC typography - Introduction to the most famous typefaces

Named parts of a letter: Type Anatomy 1.0

Nwalsh.com, comp.fonts FAQ

Category:Typesetting Category:Graphic design

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Jonathan Hoefler (born August 22, 1970) is an American typeface designer. Hoefler (pronounced “Heffler”) founded Hoefler & Frere-Jones (originally The Hoefler Type Foundry, established 1989), a type foundry in New York that Hoefler shares with fellow type designer Tobias Frere-Jones.

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.

Typefaces

Jonathan Hoefler's types include: {| |

Gestalt, 1990

Champion Gothic, 1990

Hoefler Text, 1991

Ideal Sans, 1991

Ziggurat, 1991

Leviathan, 1991

Mazarin, 1991

HTF Didot, 1992

Requiem Text, 1992

Saracen, 1992

Acropolis, 1993

NYT Cheltenham, 1993

Knox, 1993

Historical Allsorts, 1994

Knockout, 1994

Fetish, 1994

Neutrino, 1994

Quantico, 1994

Oratorio, 1994

Troubadour, 1994

William Maxwell, 1994

|

Deseret, 1995

Jupiter, 1995

Pavisse, 1995

Verlag (formerly Guggenheim), 1996

Giant (formerly They Might Be Gothic), 1996

New Amsterdam, 1996

Hoefler Titling, 1996

Plainsong, 1996

Kapellmeister, 1997

Numbers (with Tobias Frere-Jones), 1997–2006

Mercury, (with Tobias Frere-Jones) 1997

Radio City, 1998

Vitesse (with Tobias Frere-Jones), 2000

Deluxe, 2000

Cyclone, 2000

Topaz, 2000

Lever Sans (with Tobias Frere-Jones), 2000

Archer (with Tobias Frere-Jones), 2001

Chronicle, (with Tobias Frere-Jones) 2002

Sentinel, (with Tobias Frere-Jones) 2002

| |}

Notes

References

Hoefler & Frere-Jones

Friedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Design and Techniques Through History.'' Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.

Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. ISBN 0-300-11151-7.

“The I.D. Forty,” ''I.D.'' magazine, Jan/Feb 1995.

Category:Typographers Category:1970 births Category:Living people Category:American graphic designers

fr:Jonathan Hoefler

Tobias Frere-Jones (born Tobias Edgar Mallory Jones, 1970) is a prolific type designer who works in New York City with fellow type designer Jonathan Hoefler at Hoefler & Frere-Jones, a type foundry in lower Manhattan. Frere-Jones teaches typeface design at the Yale School of Art MFA program, with type designer Matthew Carter.

He is a son of Robin Carpenter Jones and his wife, the former Elizabeth Frere, and a brother of music critic Sasha Frere-Jones. He is a grandson of Alexander Stuart Frere-Reeves, the former chairman of the board of William Heinemann Ltd, the British publishing house, and a great-grandson of the writer Edgar Wallace, who wrote the screenplay for the film ''King Kong''.

After receiving a BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau, Inc. in Boston. Over seven years as a Senior Designer, he created a number of the typefaces that are Font Bureau's best known, among them Interstate and Poynter Oldstyle & Gothic. He joined the Yale School of Art faculty in 1996 as a Critic. In 1999, he left Font Bureau to return to New York, where he began work with Jonathan Hoefler. Since working together, the two have collaborated on projects for ''The Wall Street Journal'', ''Martha Stewart Living'', Nike, Pentagram, ''GQ'', ''Esquire magazine'', ''The New Times'', ''Business 2.0'', and ''The New York Times Magazine''.

He has designed over seven hundred typefaces for retail publication, custom clients, and experimental purposes. His clients have included ''The Boston Globe'', ''The New York Times'', the Cooper-Hewitt, National Design Museum, the Whitney Museum, The American Institute of Graphic Arts Journal, and Neville Brody. He has lectured at Rhode Island School of Design, Yale School of Art, Pratt Institute, Royal College of Art, and Universidad de las Americas. His work has been featured in ''HOW'', ''ID'', ''Page'', ''Print'', ''Eye'', and ''Graphis Inc.'', and is included in the permanent collection of the Victoria & Albert Museum, London. In 2006, Frere-Jones received the prestigious Gerrit Noordzij Prize, an award given by The Royal Academy of Art (The Hague) to honor innovations in type design.

He married Christine Annabelle Bateup in 2006.

Typefaces

Tobias Frere-Jones' types include:

Armada, 1987–94

Dolores, 1990

Hightower, 1990–94

Nobel, 1991–93

Garage Gothic, 1992

Archipelago, 1992–98

Cafeteria, 1993

Epitaph, 1993

Reactor, 1993–96

Reiner Script, 1993

Stereo, 1993

Interstate, 1993–99

Fibonacci, 1994

Niagara, 1994

Asphalt, 1995

MSL Gothic (Benton Sans), 1995

Citadel, 1995

Microphone, 1995

Pilsner, 1995

Poynter Oldstyle, 1996–97

Poynter Gothic, 1997

Griffith Gothic, 1997

Whitney, 1996-2004

Numbers (with Jonathan Hoefler), 1997–2006

Phemister, 1997

Grand Central, 1998

Welo Script, 1998

Mercury Text (with Jonathan Hoefler), 1999

Vitesse (with Jonathan Hoefler), 2000

Lever Sans (with Jonathan Hoefler), 2000

Evolution (with Jonathan Hoefler), 2000

Retina, 2000

Nitro, 2001

Surveyor, 2001

Archer (with Jonathan Hoefler), 2001

Gotham, 2000

Idlewild, 2002

Exchange, 2002

Monarch, 2003

Dulcet, 2003

Tungsten, 2004

Argosy, 2004

Gotham Rounded, 2005

References

Notes

Sources

Hoefler & Frere-Jones

Frere-Jones biography at Hoefler & Frere-Jones

Friedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Design and Techniques Through History.'' Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.

Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. ISBN 0-300-11151-7.

Category:Rhode Island School of Design alumni Category:Typographers Category:Living people Category:1970 births Category:People from New York City Category:Yale University faculty

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Arthur Eric Rowton Gill (22 February 1882 – 17 November 1940) was a British sculptor, typeface designer, stonecutter and printmaker, who was associated with the Arts and Crafts movement. He is a controversial figure, with his well-known religious views and subject matter being seen as at odds with his sexual and paraphiliac behaviour and erotic art.

Life

Gill was born in 1882 in Brighton, Sussex (now East Sussex) and in 1897 the family moved to Chichester. He studied at Chichester Technical and Art School, and in 1900 moved to London to train as an architect with the practice of W.D. Caroe, specialists in ecclesiastical architecture. Frustrated with his training, he took evening classes in stonemasonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, where Edward Johnston, creator of the London Underground typeface, became a strong influence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and monumental mason.

In 1904 he married Ethel Hester Moore (1878–1961), and in 1907 he moved with his family to "Sopers", a house in the village of Ditchling in Sussex, which would later become the centre of an artists' community inspired by Gill. There he started producing sculpture – his first public success was ''Mother and Child'' (1912). A self-described "disciple" of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was fascinated during this period by Indian temple sculpture. Along with his friend and collaborator Jacob Epstein, he planned the construction in the Sussex countryside of a colossal, hand-carved monument in imitation of the large-scale Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been introduced by the Indiaphile William Rothenstein.

In 1913 he moved to Hopkin's Crank at Ditchling Common, two miles north of the village. In 1914 he produced sculptures for the stations of the cross in Westminster Cathedral. In the same year he met the typographer Stanley Morison. After the war, together with Hilary Pepler and Desmond Chute, Gill founded The Guild of St Joseph and St Dominic at Ditchling, where his pupils included the young David Jones, who soon began a relationship with Gill's daughter, Petra.

In 1924 he moved to Capel-y-ffin in Wales, where he set up a new workshop, to be followed by Jones and other disciples. In 1925 he designed the Perpetua typeface, with the uppercase based upon monumental Roman inscriptions, for Morison, who was working for the Monotype Corporation.

An in-situ example of Gill's design and personal cutting of his Perpetua typeface can be found in the nave of Poling church in West Sussex, on a wall plaque commemorating the life of Sir Harry Johnston. The Perpetua design was followed by the Gill Sans typeface in 1927–30, based on the sans serif lettering originally designed for the London Underground. (Gill had collaborated with Edward Johnston in the early design of the Underground typeface, but dropped out of the project before it was completed.) In the period 1930-31 Gill designed the typeface Joanna which he used to hand-set his book, ''An Essay on Typography''.

Gill soon tired of Capel-y-ffin, coming to feel that it had the wrong atmosphere and was too far from London, where most of his clients were. In 1928 he moved to Pigotts at Speennear High Wycombe in Buckinghamshire, where he set up a printing press and lettering workshop. He took on a number of apprentices, including David Kindersley, who in turn became a successful sculptor and engraver, and John Skelton (1923–1999), his nephew, and also noted as an important letterer and sculptor. Other apprentices included Laurie Cribb, Donald Potter and Walter Ritchie. Others in the household included Denis Tegetmeier, married to Gill's daughter Petra, and Rene Hague, married to the other daughter, Joanna. In 1928/9, Gill carved three of eight relief sculptures on the theme of winds for Charles Holden's headquarters for the London Electric Railway (now Transport for London) at 55 Broadway, St James's. In 1932 Gill produced a group of sculptures, ''Prospero and Ariel'', and others for the BBC's Broadcasting House in London. In 1937, he designed the background of the first George VI definitive stamp series for the Post Office, and in 1938 produced ''The Creation of Adam'', three bas-reliefs in stone for the Palace of Nations, the League of Nations building in Geneva, Switzerland. During this period he was made a Royal Designer for Industry, the highest British award for designers, by the Royal Society of Arts and became a founder-member of the newly established Faculty of Royal Designers for Industry.

A deeply religious man, largely following the Roman Catholic faith, his beliefs and practices were by no means orthodox. He published numerous essays on the relationship between art and religion. He also produced a number of erotic engravings. His personal diaries describe his sexual activity in great detail including the fact that Gill sexually abused his own children, had an incestuous relationship with his sister and performed sexual acts on his dog. This aspect of Gill's life was little known until publication of the 1989 biography by Fiona MacCarthy. Robert Speaight's earlier biography mentioned none of it.

As the revelations about Gill's private life resonated, there was a reassessment of his personal and artistic achievement. As his recent biographer sums up: :"After the initial shock, […] as Gill's history of adulteries, incest, and experimental connection with his dog became public knowledge in the late 1980s, the consequent reassessment of his life and art left his artistic reputation strengthened. Gill emerged as one of the twentieth century's strangest and most original controversialists, a sometimes infuriating, always arresting spokesman for man's continuing need of God in an increasingly materialistic civilization, and for intellectual vigour in an age of encroaching triviality."

Gill died of lung cancer in Harefield Hospital, Hillingdon (formerly Middlesex), in 1940. He was buried in Speen churchyard in the Chilterns, near Princes Risborough, the village where his last artistic community had practised. His papers and library are archived at the William Andrews Clark Memorial Library at UCLA.

Typefaces

Eric Gill's types include:

Gill Sans (his most famous face and lasting legacy to typography 1927–1930)

Perpetua (1926)

Perpetua Greek (1929)

Golden Cockerel Press Type (for the Golden Cockerel Press; 1929)

Solus (1929),

Joanna (based on work by Granjon; 1930– 1931)

Aries (1932)

Floriated Capitals (1932)

Bunyan (1934)

Pilgrim (recut version of Bunyan; 1953)

Jubilee (also known as Cunard; 1934)

In his 1947–1949 redesign for Penguin Books, a project that resulted in the establishment of ''Penguin Composition Rules,'' Jan Tschichold specified use of Gill Sans for book titles, and in branding their Pelican imprint. In the 1990s, the BBC adopted Gill Sans for its wordmark and many of its on-screen television graphics.

Selected writings

''A Holy Tradition of Working: An Anthology of Writings'', Golgonooza Press, 1983, ISBN 0-903880-30-X

''Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women'', 1931, Jonathan Cape

''An Essay on Typography'', 1931, ISBN 0-87923-762-7, ISBN 0-87923-950-6 (reprints)

''Christianity and Art'', 1927

''Art'', 1934

''Work and Property'', 1937

''Work and Culture'', 1938

''Autobiography: Quod Ore Sumpsimus...'', Jonathan Cape, 1940 (published posthumously) ISBN 1-870495-13-6

''Notes on Postage Stamps'', Kat Ran Press, 2011. ISBN 0-979434-21-1

See also

Eric Gill at the Midland Hotel, Morecambe

E. M. Washington

References

Attwater, Donald. ''A Cell of Good Living.'' London : G. Chapman, 1969. ISBN 0-225-48865-5

Bringhurst, Robert. ''The Elements of Typographic Style.'' Hartley & Marks, 1992. ISBN 0-88179-033-8.

Collins, Judith. ''Eric Gill: The Sculpture.'' Woodstock, NY : Overlook Press, 1998. ISBN 0-87951-830-8

Corey, Steven and MacKenzie, Julia (eds). ''Eric Gill: A Bibliography.'' St Paul's Bibliographies, 1991. ISBN 0-906795-53-2

Dodd, Robin. ''From Gutenberg to OpenType.'' Hartley & Marks, 2006. ISBN 0-88179-210-1

Fiedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Design and Techniques Through History.'' Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.

Fuller Peter: Essay:Eric Gill,: a Man of Many Parts. Images of God, The Consolations of lost Illusions. Chatto & Windus, 1985

Gill, Cecil, Beatrice Warde and David Kindersley. ''The Life and Works of Eric Gill.'' Papers read at a Clark Library symposium, 22 April 1967. Los Angeles : William Andrews Clark Memorial Library, University of California, 1968

Gill, Evan and Peace, David (eds). ''Eric Gill: The Inscriptions.'' Herbert Press: 1994. ISBN 1-871569-66-4

Harling, Robert. ''The letter forms and type designs of Eric Gill.'' Westerham : Eva Svensson, 1976. ISBN 0-903696-04-5

Holliday, Peter. ''Eric Gill in Ditchling.'' Oak Knoll Press, 2002. ISBN 1-58456-075-4

Kindersley, David. ''Mr. Eric Gill: Further Thoughts by an Apprentice.'' Cardozo Kindersley Editions: 1967. 1982. ISBN 0-9501946-5-4

MacCarthy, Fiona. ''Eric Gill.'' Faber & Faber: 1989. ISBN 0-571-14302-4

Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. ISBN 0-300-11151-7.

Miles, Jonathan. ''Eric Gill & David Jones at Capel-y-ffin.'' Bridgend, Mid Glamorgan : Seren Books, 1992. ISBN 1-85411-051-9

Pincus, J.W., W. Turner Berry and A. F. Johnson. ''Encyclopædia of Type Faces.'' Cassell Paperback, London; 2001. ISBN 1-84188-139-2

Skelton, Christopher, (ed.) ''Eric Gill – The Engravings.'' London : Herbert, 1990. ISBN 1-871569-15-X

Speaight, Robert. ''Life of Eric Gill.'' London : Methuen, 1966

Thorp, Joseph. ''Eric Gill.'' London : J. Cape, 1929

Yorke, Malcolm. ''Eric Gill – Man of Flesh and Spirit.'' London : Constable, 1981. ISBN 0-09-463740-7

Notes

External links

The Eric Gill Society

Portraits by Eric Gill at the National Portrait Gallery (London).

Portraits of Eric Gill at the National Portrait Gallery (London).

Eric Gill in the Crafts Study Centre

Eric Gill in the Central Saint Martins Museum and Study Collection

Eric Gill (1882-1940) at Identifont

"Written in stone", article on Gill's private life in relation to his work by Fiona MacCarthy

"Baptism by fire", MacCarthy article on her discovery and publication of the details of Gill's sexual activity

"Learning to Live With Eric Gill", article on the relationship of Gill's private life to his art, by Clifford Longley

, article on the relationship of Gill's sexual deviance to his art, By Finlo Rohrer, BBC News Magazine.

"Looking for Mr Gill" BBC Storyville Documentary on Eric Gill; filmed and directed by Luke Holland

Postage stamps designed by Eric Gill

Eric Gill Article on The National Archives website which deals with many of Gill's works

London Transport Museum Photographic Archive

Category:1882 births Category:1940 deaths Category:British architectural sculptors Category:British sculptors Category:British graphic designers Category:People from Brighton Category:People from Ditchling Category:Converts to Roman Catholicism Category:English Roman Catholics Category:Typographers Category:Communication design Category:Graphic designers Category:Stamp designers Category:British pacifists Category:Alumni of the Central Saint Martins College of Art and Design Category:Arts and Crafts Movement Category:Monumental masons Category:Stone carvers

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