Specimen of Trajan typeface, based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan's Column from which the typeface takes its name

Typography (from the Greek words τύπος (typos) = form and γραφή (graphe) = writing) is the art and technique of arranging type in order to make language visible. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning). Type design is a closely related craft, which some consider distinct and others a part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers.^[2][3] In modern times, typography has been put into motion—in film, television and online broadcasts—to add emotion to mass communication.^[4]

Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists, graffiti artists, clerical workers, and anyone else who arranges type for a product. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users, and it has been said that "typography is now something everybody does."^[5]

History[link]

Printing press, 16th century in Germany

Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The typographical principle, that is the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC.^[6][7][8] It has been put forward that Roman lead pipe inscriptions were created by movable type printing,^[9] but this view has been recently dismissed by the German typographer Herbert Brekle.^[10]

The essential criterion of type identity was met by medieval print artifacts such as the Latin Pruefening Abbey inscription of 1119 that was created by the same technique as the Phaistos disc.^[11] In the northern Italian town of Cividale, there is a Venetian silver retable from ca. 1200, which was printed with individual letter punches.^[12] The same printing technique can apparently be found in 10th to 12th century Byzantine staurotheca and lipsanotheca.^[13] Individual letter tiles where the words are formed by assembling single letter tiles in the desired order were reasonably widespread in medieval Northern Europe.^[14]

Modern movable type, along with the mechanical printing press, was invented in mid-15th century Europe by the German goldsmith Johannes Gutenberg.^[15] His type pieces from a lead-based alloy suited printing purposes so well that the alloy is still used today.^[16] Gutenberg developed specialized techniques for casting and combining cheap copies of letterpunches in the vast quantities required to print multiple copies of texts. This technical breakthrough was instrumental in starting the Printing Revolution.

Typography with movable type was separately invented in 11th-century China. Metal type was first invented in Korea during the Goryeo Dynasty around 1230. Both hand printing systems, however, were only sporadically used and discontinued after the introduction of Western lead type and the printing press.^[17]

Scope[link]

In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application. These include:

• typesetting and type design
• handwriting and calligraphy
• graffiti
• inscriptional and architectural lettering
• poster design and other large scale lettering such as signage and billboards
• business communications and promotional collateral
• advertising
• wordmarks and typographic logos (logotypes)
• apparel (clothing)
• labels on maps
• vehicle instrument panels
• kinetic typography in motion picture films and television
• as a component of industrial design—type on household appliances, pens and wristwatches, for example
• as a component in modern poetry (see, for example, the poetry of E. E. Cummings)

Since digitization, typography has spread to a wider ranger of applications, appearing on web pages, LCD mobile phone screens, and hand-held video games. The ubiquity of type has led typographers to coin the phrase "Type is everywhere".

Traditional typography follows four principles: repetition, contrast, proximity, and alignment.

Text typography[link]

A specimen of roman typefaces by William Caslon

In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency.

Choice of typeface(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements of appropriate typefaces and fonts. For historic material established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods.

Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly fitted seriffed text fonts specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans-serif type for headings with a high-performance seriffed font of matching style for the text of an article.

Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography is also subject to specific cultural conventions. For example, in French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.

Color[link]

In typography, color is the overall density of the ink on the page, determined mainly by the typeface, but also by the word spacing, leading and depth of the margins.^[18] Text layout, tone or color of set matter, and the interplay of text with white space of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With printed media typographers are also concerned with binding margins, paper selection and printing methods.

Readability and legibility[link]

Legibility is primarily the concern of the typeface designer, to ensure that each individual character or glyph is unambiguous and distinguishable from all other characters in the font. Legibility is also in part the concern of the typographer to select a typeface with appropriate clarity of design for the intended use at the intended size. An example of a well-known design, Brush Script, contains a number of illegible letters since many of the characters can be easily misread especially if seen out of textual context.

Readability is primarily the concern of the typographer or information designer. It is the intended result of the complete process of presentation of textual material in order to communicate meaning as unambiguously as possible. A reader should be assisted in navigating around the information with ease, by optimal inter-letter, inter-word and particularly inter-line spacing, coupled with appropriate line length and position on the page, careful editorial “chunking” and choice of the text architecture of titles, folios, and reference links.

One of the clearest distinctions between the two concepts was presented by Walter Tracy in his Letters of Credit. These … ‘two aspects of a type’ … are … ‘fundamental to its effectiveness. Because the common meaning of “legible” is “readable” there are those – even some professionally involved in typography – who think that the term “legibility” is all that is needed in any discussion on the effectiveness of types. But legibility and readability are separate, though connected aspects of type. Properly understood … the two terms can help to describe the character and function of type more precisely than legibility alone. … In typography we need to draw the definition … of legibility …to mean the quality of being decipherable and recognisable – so that we can say, for example, that the lowercase h in a particular old style italic is not legible in small sizes because its in-turned leg makes it look like the letter b; or a figure 3 in a classified advertisement is too similar to the 8. … In display sizes, legibility ceases to be a serious matter; a character that causes uncertainty at 8 point size is plain enough at 24 point.’^[19]

Note that the above applies to people with 20/20 vision at appropriate reading distance and under optimal lighting. The analogy of an opticians chart, testing for visual acuity and independent of meaning, is useful to indicate the scope of the concept of legibility.

‘In typography … if the columns of a newspaper or magazine or the pages of a book can be read for many minutes at a time without strain or difficulty, then we can say the type has good readability. The term describes the quality of visual comfort – an important requirement in the comprehension of long stretches of text but, paradoxically, not so important in such things as telephone directories or air-line time-tables, where the reader is not reading continuously but searching for a single item of information. The difference in the two aspects of visual effectiveness is illustrated by the familiar argument on the suitability of sans-serif types for text setting. The characters in a particular sans-serif face may be perfectly legible in themselves, but no one would think of setting a popular novel in it because its readability is low.’^[20]’

Legibility ‘refers to perception’ and readability ‘refers to comprehension’.^[20] Typographers aim to achieve excellence in both.

"The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size. More often however, it is a matter of typeface design. In general typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted.

"However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design."^[21]

Studies of both legibility and readability have examined a wide range of factors including type size and type design. For example, comparing serif vs. sans-serif type, roman type vs. oblique type and italic type, line length, line spacing, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated.

Legibility research has been published since the late nineteenth century. Although there are often commonalities and agreement on many topics, others often create poignant areas of conflict and variation of opinion. For example, no one has provided a conclusive answer as to which font, serifed or sans serif, provides the most legibility according to Alex Poole.^[22]

Other topics such as justified vs unjustified type, use of hyphens, and proper fonts for people with reading difficulties such as dyslexia, have continued to be subjects of debate. Websites such as hgredbes.com, ban comic sans, UK National Literacy Trust, and Mark Simsonson Studio have raised debating opinions on the above subjects and many more each presenting a thorough and well-organized position.

Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter.

The Readability of Print Unit at the Royal College of Art under Professor Herbert Spencer with Brian Coe and Linda Reynolds^[23] did important work in this area and was one of the centres that revealed the importance of the saccadic rhythm of eye movement for readability—in particular, the ability to take in (i.e., recognise the meaning of groups of) around three words at once and the physiognomy of the eye, which means the eye tires if the line required more than 3 or 4 of these saccadic jumps. More than this is found to introduce strain and errors in reading (e.g. Doubling).

These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.

Much of the legibility research literature is somewhat atheoretical—various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture.

Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.^{[citation needed]}

Some commonly agreed findings of legibility research include:^{[citation needed]}

• Text set in lower case is more legible than text set all in upper case (capitals), presumably because lower case letter structures and word shapes are more distinctive.
• Extenders (ascenders, descenders and other projecting parts) increase salience (prominence).
• Regular upright type (roman type) is found to be more legible than italic type.
• Contrast, without dazzling brightness, has also been found to be important, with black on yellow/cream being most effective.
• Positive images (e.g. black on white) are easier to read than negative or reversed (e.g. white on black). However even this commonly accepted practice has some exceptions, for example in some cases of disability. (See UK National Literacy Trust for their findings in this area.)
• The upper portions of letters play a stronger part than the lower portions in the recognition process.

Readability can also be compromised by letter-spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.

Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colors, and other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.

Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USA Today uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, The New York Times uses a more traditional approach, with fewer colors, less typeface variation, and more columns.

Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead.

Experimental typography[link]

Experimental typography is defined as the unconventional and more artistic approach to setting type. Francis Picabia was a Dada pioneer in the early 20th Century. David Carson is often associated with this movement, particularly for his work in Ray Gun magazine in the 1990s. His work caused an uproar in the design community due to his abandonment of standards in typesetting practices, layout, and design. Experimental typography places emphasis on communicating emotion, rather than on legibility.

Display typography[link]

19th century John Wilkes Booth wanted poster printed with wood and metal types

Display typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images.

Color and size of type elements are much more prevalent than in text typography. Most display typography exploits type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter.

Display typography encompasses:

• posters; book covers;
• typographic logos and wordmarks; billboards;
• packaging and labeling; on-product typography; calligraphy;
• graffiti; inscriptional and architectural lettering;
• poster design and other large scale lettering signage;
• business communications and promotional collateral; advertising;
• wordmarks and typographic logos (logotypes),
• and kinetic typography in motion pictures and television; vending machine displays; online and computer screen displays.

The wanted poster for the assassins of Abraham Lincoln was printed with lead and woodcut type, and incorporates photography.

Advertising[link]

Typography has long been a vital part of promotional material and advertising. Designers often use typography to set a theme and mood in an advertisement; for example using bold, large text to convey a particular message to the reader. Type is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes and images. Today, typography in advertising often reflects a company's brand. Fonts used in advertisements convey different messages to the reader, classical fonts are for a strong personality, while more modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention.

Inscriptional and architectural lettering[link]

The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms and the craft of the hand. The widespread use of the computer and various etching and sandblasting techniques today has made the hand carved monument a rarity, and the number of letter-carvers left in the USA continues to dwindle.

For monumental lettering to be effective it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert letterer gains understanding of these nuances through much practice and observation of their craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each can also take up to an hour to carve,^{[citation needed]} so it is no wonder that the automated sandblasting process has become the industry standard.

To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications that create these files and interface with the laser cutter do not have many typefaces available, and often have inferior versions of typefaces that are available.^{[citation needed]} What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter that allows light to play across its distinct interior planes.^{[citation needed]}

See also[link]

• List of type designers

Supporting organizations[link]

• ATypI (French: Association Typographique Internationale; International Typographic Association)
• International Society of Typographic Designers
• Emil Ruder
• Society of Typographic Aficionados
• The Typophiles
• Type Directors Club
• Typophile (Internet forum)

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Typography

Look up typography in Wiktionary, the free dictionary.

• AIGA typography articles – Articles and interviews relating to typography from AIGA's Voice section.
• Decode Unicode – A wiki with all 98,884 Unicode characters, including full text search capability.
• Luc Devroye's typography pages^{[dead link]} – Large list of typography and font resources
• Type-Culture Academic Resource – Educational resources, including documentary videos about typography.
• Typography and the Invisible Goblet in Graphic Design – Online essay.
• Typography from Vancouver film school – A short 2-minute infographic video explaining what Typography is.
• Examples of incunabula styles in McCune Collection
• Baseline magazine – A magazine for people interested in type, typography, graphic design and art related themes.
• I Love Typography.com – A typography- and font-centered blog.
• NYC Type – Daily photographs taken of interesting typography around NYC.
• Typedesk – An online journal of typography and graphic communication.
• Symbols - Comprehensive list of typographical symbols

v t e Typography terminology Page Column Canons of page construction Margin Page numbering Pagination Pull quote Recto and verso Paragraph Alignment Justification Leading River Sentence spacing Widows and orphans Character Typeface anatomy Counter Diacritics Dingbat Glyph Initial Kerning Letter-spacing Ligature Subscript and superscript Swash Text figures Capitalization Letter case Small caps CamelCase Petite caps All caps Vertical aspects Ascender Descender Baseline Cap height Median Overshoot x-height Classifications Roman type Antiqua (Old Style) Transitional Didone (Modern) Serif Slab serif Sans-serif Script Blackletter type Textualis Rotunda Schwabacher Fraktur Gaelic type Angular Uncial Punctuation Dashes Hanging punctuation Hyphenation Quotation mark Prime mark Typesetting Calligraphy ETAOIN SHRDLU Font Computer font Font catalog Letterpress Lorem ipsum Movable type Pangram Phototypesetting Punchcutting Type design Typeface Type foundry Microtypography Typographic units Point Pica Cicero Em En Figure space Thin space Paren space Agate Measure Digital typography Font formats Typesetting software Character encoding Rasterization Hinting

Specimens of typefaces by Erik Spiekermann.

Erik Spiekermann (born May 30, 1947 in Stadthagen, Lower Saxony) is a German typographer and designer. He is a professor at the University of the Arts Bremen.

Spiekermann studied art history at Berlin's Free University, funding himself by running a letterpress printing press in the basement of his house.^[1]

Between 1972 and 1979, he worked as a freelance graphic designer in London before returning to Berlin and founding MetaDesign with two partners.

In 1989 he and his wife, Joan Spiekermann, started FontShop, the first mail-order distributor for digital fonts. FSI FontShop International followed and now publishes the FontFont range of typefaces. MetaDesign combined clean, teutonic-looking information design and complex corporate design systems for clients like BVG (Berlin Transit), Düsseldorf Airport, Audi, Volkswagen and Heidelberg Printing, amongst others.

In 2001 Spiekermann left MetaDesign over policy disagreements and started UDN | United Designers Networks with offices in Berlin, London and San Francisco.

In April 2006, the Art Center College of Design in Pasadena awarded Spiekermann an Honorary Doctorship for his contribution to design.^[2] His family of typefaces for Deutsche Bahn (German Railways), designed with Christian Schwartz, received a Gold Medal at the German Federal Design Prize in 2006, the highest such award in Germany.^[2]

As of January 2007, UDN has been renamed SpiekermannPartners, and as of January 2009 it has been renamed Edenspiekermann.^[3]

Notable works[link]

Spiekermann has designed many commercial typefaces as well as typefaces as part of corporate design programmes.^[4][5]

• Berliner Grotesk (original is from 1913, digitization is from 1979)
• Lo-Type (original is from 1911/14, digitization is from 1980)
• ITC Officina Sans (1990)
• ITC Officina Serif (1990)
• FF Meta (1991–1998)
• FF Govan (2001)
• FF Info (2000)
• FF Unit (2003)
• FF Meta Serif (with Christian Schwartz and Kris Sowersby, 2007)

Spiekermann co-authored Stop Stealing Sheep & Find Out How Type Works. He also participated in the creation of numerous corporate identities and other works, including redesigns of the publications The Economist and Reason.^[6]

Spiekermann also appeared in the documentary Helvetica.

Awards[link]

• 2003 – Gerrit Noordzij Prize
• 2006 – German Design Award
• 2007 – European Designers Hall of Fame
• 2007 – Honorary Royal Designer for Industry, Royal Society for the encouragement of Arts, Manufactures & Commerce, London
• 2011 – Lifetime achievement award from German Design Prize ^[7]

See also[link]

• First Things First 2000 manifesto
• Emigre 51: First Things First, 1999. Issue 51

References[link]

Further reading[link]

• Erik Spiekermann, E. M. Ginger: Stop Stealing Sheep & Find Out How Type Works, Adobe Press, 2002. ISBN 0-201-70339-4
• Erik Spiekermann: ÜberSchrift, Hermann Schmidt Mainz, 2004, ISBN 3-87439-661-4
• Erik Spiekermann, Jan Middendorp, Made with FontFont, BIS Publishers, 2006, ISBN 90-6369-129-7
• Erik Spiekermann et al., FontBook, FSI Berlin, 2006
• Fay Sweet: MetaDesign: Design from the Word Up, Thames and Hudson, 1999. ISBN 0-500-01963-0
• Erik Spiekermann, M. Klein, Y. Schwemmer-Scheddin: Type and Typographers, Phaidon Press, 1991. ISBN 1-85454-848-4

External links[link]

• Erik Spiekermann’s blog
• EdenSpiekermann
• Biography and list of Spiekermann’s typefaces on FontFont.com
• Short autobiography/CV – PDF, written in his typeface FF Meta Serif
• Erik Spiekermann appears in the documentary Helvetica
• Postage stamps designed by Erik Spiekermann
• Erik Spiekermann on the founding of FontShop – video interview
• Erik Spiekermann on DesignChat – video interview

Stephen Fry
Fry in Happy Birthday to GNU (2008)
Born	Stephen John Fry (1957-08-24) 24 August 1957 (age 54) Hampstead, London, England
Nationality	British
Alma mater	Queens' College, Cambridge
Occupation	Actor, comedian, author, journalist, broadcaster, film director
Years active	1981–present
Influenced by	Oscar Wilde, P. G. Wodehouse, Evelyn Waugh, Hugh Laurie, Emma Thompson, Douglas Adams, Rowan Atkinson, Christopher Hitchens
Title	President of Mind (2011–present)[1] Honorary Kentucky Colonel[2][3] Patron of the Lip Theatre Company Patron of the Norwich Playhouse theatre Vice President of the Noël Coward Society Honorary fellow of Queens' College, Cambridge Honorary fellow of Cardiff University Honorary president of the Cambridge University Quiz Society Rector of the University of Dundee (1992–1998)
Religion	None (atheist)
Partner	Daniel Cohen (1995–2010)
Parents	Alan John Fry Marianne Eve Fry (née Newman)
Signature
Website
www.stephenfry.com

Stephen John Fry (born 24 August 1957) is an English^[4][5] actor, screenwriter, author, playwright, journalist, poet, comedian, television presenter, film director, and a director of Norwich City Football Club.^[6]

After a troubled childhood and adolescence, during which he was expelled from a number of schools and eventually spent three months in prison for credit card fraud, he was able to secure a place at Queens' College, Cambridge, where he studied English Literature.

He first came to public attention in the 1981 Cambridge Footlights Revue presentation "The Cellar Tapes", which also included Hugh Laurie, Emma Thompson and Tony Slattery. With Hugh Laurie, as the comedy double act Fry and Laurie, he co-wrote and co-starred in A Bit of Fry & Laurie, and took the role of Jeeves (with Laurie playing Wooster) in Jeeves and Wooster.

As an actor, Fry played the lead in the film Wilde, was Melchett in the BBC television series Blackadder, starred as the title character Peter Kingdom in the ITV series Kingdom, has a recurring guest role as Dr. Gordon Wyatt on the Fox crime series Bones and appeared as rogue TV host Gordon Deitrich in the dystopian thriller V For Vendetta. He has also written and presented several documentary series including the 2008 television series Stephen Fry in America, which saw him travelling across all 50 US states. Since 2003 he has been the host of the quiz show QI.

As well as his work in television, Fry has contributed columns and articles for newspapers and magazines, and has written four novels and two volumes of autobiography, Moab Is My Washpot and The Fry Chronicles. He also appears frequently on BBC Radio 4, starring in the comedy series Absolute Power, being a frequent guest on panel games such as Just a Minute, and acting as chairman for I'm Sorry I Haven't a Clue, where he was one of a trio of hosts who succeeded the late Humphrey Lyttelton. Fry is also known in the UK for his audiobook recordings, particularly as reader for all seven Harry Potter novels.

Early life[link]

Fry, upper right, rehearsing a student production of A Midsummer Night's Dream at the Norfolk College of Arts and Technology, 1975

Fry was born in Hampstead, London, on 24 August 1957, the son of Marianne Eve Fry (née Newman) and Alan John Fry, who was an English physicist and inventor.^[7][8] His maternal grandparents, Martin and Rosa Neumann,^[8] were Hungarian Jewish immigrants from Šurany, which is now in Slovakia.^[8][9][10] His mother's aunt and cousins died in Auschwitz.^[8] Fry grew up in the village of Booton near Reepham, Norfolk, having moved from Chesham, Buckinghamshire at an early age.^[11]

Fry briefly attended Cawston Primary School, Cawston, Norfolk^[12] before going on to Stouts Hill Preparatory School at the age of seven, and then to Uppingham School, Rutland, where he joined Fircroft house and was described as a "near-asthmatic genius".^[13] He was expelled from Uppingham when he was 15, and subsequently from the Paston School.

At 17, after leaving Norfolk College of Arts and Technology, Fry absconded with a credit card stolen from a family friend, was arrested in Swindon, and as a result spent three months in Pucklechurch Prison on remand.^[14]

Following his release he resumed his education at City College Norwich, promising administrators that he would study rigorously to sit the Cambridge entrance exams. He scored well enough to gain a scholarship to Queens' College, Cambridge. At Cambridge, Fry joined the Cambridge Footlights, appeared on University Challenge, and gained a degree in English literature.^[15] It was at the Footlights that Fry met his future comedy collaborator Hugh Laurie.

Career[link]

Television[link]

Comedy[link]

Fry signing autographs at the Apple Store, Regent Street, London on 3 February 2009

Fry's career in television began with the 1982 broadcasting of The Cellar Tapes, the 1981 Cambridge Footlights Revue which was written by Fry, Hugh Laurie, Emma Thompson and Tony Slattery. The revue caught the attention of Granada Television, who, keen to replicate the success of the BBC's Not the Nine O'Clock News, hired Fry, Laurie and Thompson to star alongside Ben Elton in There's Nothing to Worry About!. A second series, re-titled Alfresco, was broadcast in 1983 and a third in 1984; it established Fry and Laurie's reputation as a comedy double act. In 1983, the BBC offered them their own show, which became The Crystal Cube, a mixture of science fiction and mockumentary that was axed after the first episode. Undeterred, Fry and Laurie appeared in an episode of The Young Ones in 1984, and Fry in Ben Elton's 1985 series, Happy Families. In 1986 and 1987 Fry and Laurie also performed sketches on the LWT/Channel 4 show Saturday Live.

Forgiving Fry and Laurie for The Crystal Cube, the BBC commissioned a sketch show in 1986 that was to become A Bit of Fry & Laurie. The programme ran for 26 episodes spanning four series between 1986 and 1995, and was very successful. During this time Fry starred in Blackadder II as Lord Melchett, made a guest appearance in Blackadder the Third as the Duke of Wellington, then returned to a starring role in Blackadder Goes Forth as General Melchett. In the 1988 television special Blackadder's Christmas Carol he played the roles of Lord Melchett and Lord Frondo.

Between 1990 and 1993, Fry starred as Jeeves (alongside Hugh Laurie's Bertie Wooster) in Jeeves and Wooster, 23 hour-long adaptations of P.G. Wodehouse's novels and short stories.

Towards the end of 2003, Fry starred alongside John Bird in the television adaptation of Absolute Power, previously a radio series on BBC Radio 4.

In 2010 Fry took part in a Christmas series of Short Films called 'Little Crackers'. Fry's short is based on a story from his childhood at school.^[16] He appeared as the Christian God in 2011's Holy Flying Circus.

Drama[link]

Fry has appeared in a number of BBC adaptations of plays and books, including a 1992 adaptation of the Simon Gray play The Common Pursuit (Fry had previously appeared in the West End stage production); a 1998 Malcolm Bradbury adaptation of the Mark Tavener novel, In the Red, with Fry taking the part of the Controller of BBC Radio 2; and in 2000 Fry took the role of Professor Bellgrove in the BBC serial Gormenghast which were adapted from the first two novels of Mervyn Peake's Gormenghast series. In 2011, Fry portrayed Professor Mildeye in the BBC adaption of Mary Norton's 1952 novel The Borrowers.

Fry narrates the English language version of the Spanish children's animated series Pocoyo.^[17]

From 2007 to 2009, Fry played the lead role in (and was executive producer for) the legal drama Kingdom, which ran for three series on ITV1.^[18] He has also taken up a recurring guest role as psychiatrist Dr. Gordon Wyatt in the popular American drama Bones.

In 2010, having learned some Irish for the role,^[19] he filmed a cameo role in Ros na Rún, an Irish language soap opera broadcast in Ireland, Scotland and the United States.^[20][21][22]

Documentaries and other factual programmes[link]

Fry made his first foray into documentary-making with the Emmy Award-winning The Secret Life of the Manic Depressive in 2006; also in 2006, he appeared in the genealogy series Who Do You Think You Are?, tracing his maternal family tree to investigate his Jewish ancestry.^[23] Fry narrated The Story of Light Entertainment, which was shown from July–September 2006.^[24][25] In 2007 he presented a documentary on the subject of HIV and AIDS, HIV and Me.^[26]

On 7 May 2008, Fry gave a speech as part of a series of BBC lectures on the future of public service broadcasting in the United Kingdom,^[27] which he later recorded for a podcast.^[28]

His six-part travel series Stephen Fry in America began on BBC One in October 2008 and saw him travel to each of the 50 US states;^[29] in the same year he narrated the nature documentaries Spectacled Bears: Shadow of the Forest for the BBC Natural World series.^[30]

In the 2009 television series Last Chance to See, Fry and zoologist Mark Carwardine sought out endangered species, some of which had been featured in Douglas Adams' and Carwardine's 1990 book and radio series of the same name^[31] Also in 2009, Fry briefly hosted CBBC series Horrible Histories, an educational TV show for school children.

In August 2011 Stephen Fry's 100 Greatest Gadgets was shown on Channel 4 as one of the 100 Greatest strand.^[32] His choice for the greatest gadget was the cigarette lighter which he described as "fire with a flick of the fingers".^[32]

In September 2011 Fry's Planet Word, a five-part documentary about language, aired on BBC HD and BBC Two.^[33][34]

[edit] QI

In 2003, Fry began hosting QI (Quite Interesting), a British comedy panel game television quiz show. QI was created and co-produced by John Lloyd, and features permanent panellist Alan Davies. QI has the highest viewing figures for any show on BBC Four and UKTV G2 (now Dave).^[35][36] In 2006, Fry won the Rose d'Or award for "Best Game Show Host" for his work on the series.^[37]

Film[link]

Having made his film debut in the 1985 film The Good Father, Fry had a brief appearance in A Fish Called Wanda (in which he is knocked out by Kevin Kline, who is posing as an airport security man) and then appeared in the lead role for Kenneth Branagh's Peter's Friends in 1992. In the 1994 romantic comedy film I.Q., he played the role of James Moreland.^[38] Portraying Oscar Wilde (of whom he had been a fan since the age of 13) in the 1997 film Wilde, he fulfilled to critical acclaim a role that he has said he was "born to play". It also earned him a nomination for Best Actor – Drama in the 1998 Golden Globe Award. A year later, Fry starred in David Yates' small independent film The Tichborne Claimant, and in 2001 he played the detective in Robert Altman's period costume drama, Gosford Park. In the same year he also appeared in the Dutch film The Discovery of Heaven, directed by Jeroen Krabbé and based on the novel by Harry Mulisch.

In 2003, Fry made his directorial debut with Bright Young Things, adapted by himself from Evelyn Waugh's Vile Bodies. In 2001, he began hosting the BAFTA Film Awards, a role from which he stepped down in 2006.^[39] Later that same year, he wrote the English libretto and dialogue for Kenneth Branagh's film adaptation of The Magic Flute.

Fry continues to make regular film appearances, notably in treatments of literary cult classics. He portrayed Maurice Woodruff in The Life and Death of Peter Sellers, served as narrator in the 2005 film version of The Hitchhiker's Guide to the Galaxy, and in 2005 he appeared in both A Cock and Bull Story, based on Tristram Shandy, and as a non-conforming TV Presenter who challenges the fascist state in V for Vendetta.^[40][41] In 2006, he played the role of gadget-master Smithers in Stormbreaker, and in 2007 he appeared as himself hosting a quiz in St Trinian's. In 2007, Fry wrote a script for a remake of The Dam Busters for director Peter Jackson.^[42]

Fry in "Happy Birthday to GNU (2008)"

Fry was offered a role in Valkyrie but was unable to participate.^[43] Fry starred in the Tim Burton version of Alice in Wonderland, as the voice of The Cheshire Cat.^[44] He played Mycroft Holmes in the sequel to Sherlock Holmes directed by Guy Ritchie.^[45] In 2010, Fry provided the voice of Socrates the Lion in the environmental animated film Animals United. He will portray the Master of Lake-town in the 2012 film adaptation of J. R. R. Tolkien's The Hobbit.^[46]

Feature filmography[link]

• 1985: The Good Father – Creighton
• 1988: A Fish Called Wanda – Hutchison
• 1992: Peter's Friends – Peter
• 1994: I.Q. – James Moreland
• 1997: Wilde – Oscar Wilde
• 1998: The Tichborne Claimant – Hawkins
• 1999: Whatever Happened to Harold Smith? – Dr.Peter Robinson
• 2001: Gosford Park – Inspector Thompson
• 2001: The Discovery of Heaven – Onno
• 2002: Thunderpants – Sir Antony Silk (Judge)
• 2003: Bright Young Things – Director
• 2004: The Life and Death of Peter Sellers – Maurice Woodruff
• 2005: V for Vendetta – Deitrich
• 2005: The Hitchhikers Guide to the Galaxy – The Narrator (Voice)
• 2006: The Magic Flute – Writer
• 2006: Stormbreaker – Smithers
• 2007: St. Trinian's – Himself
• 2007: Eichmann – Minister Tormer
• 2009: House of Boys – Dr Marsh
• 2010: Alice in Wonderland – Cheshire Cat (Voice)
• 2010: Animals United – Socrates the Lion (Voice)
• 2011: Sherlock Holmes: A Game of Shadows – Mycroft Holmes
• 2012: The Hobbit: There and Back Again – Master of Lake-town

Radio[link]

Fry came to the attention of radio listeners with the 1986 creation of his alter-ego, Donald Trefusis, whose "wireless essays" were broadcast on the BBC Radio 4 programme Loose Ends. In the 1980s he starred as David Lander in four series of the BBC Radio 4 show Delve Special, written by Tony Sarchet, which became the six part Channel 4 series This is David Lander in 1988. In 1988, Fry wrote and presented a six-part comedy series entitled Saturday Night Fry; frequent radio appearances have ensued (notably on panel games Just a Minute and I'm Sorry I Haven't a Clue). In 2000, he began starring as Charles Prentiss in the Radio 4 comedy Absolute Power, reprising the role for three further series on radio and two on television. In 2002, Fry voiced Winnie-the-Pooh and was one of the narrators of A.A. Milne's Winnie-the-Pooh and The House at Pooh Corner. He presented a 20-part, two-hour series, The Incomplete and Utter History of Classical Music, a "witty guide" to the genre over the past 1,000 years, on Classic FM.

In 2007, he hosted Current Puns, an exploration of wordplay, and Radio 4: This Is Your Life, to celebrate the radio station's 40th anniversary. He also interviewed Tony Blair as part of a series of podcasts released by 10 Downing Street.^[47]

In February 2008, Fry began presenting podcasts entitled Stephen Fry's Podgrams, in which he recounts his life and recent experiences.^[28] In July 2008, he appeared as himself in I Love Stephen Fry, an Afternoon Play for Radio 4 written by former Fry and Laurie script editor Jon Canter.^[48]

Since August 2008 he has presented Fry's English Delight, a series on BBC Radio 4 about the English language.^[49] As of 2011, it has been running for four series and 15 episodes.

In the summer 2009 series of I'm Sorry I Haven't a Clue, Fry was one of a trio of hosts replacing Humphrey Lyttelton (the others being Jack Dee and Rob Brydon).^[50]

In 2012 he appeared as a guest panellist in the BBC Radio 4 comedy panel show Wordaholics.^[51]

Theatre[link]

Fry wrote the play Latin! or Tobacco and Boys for the 1980 Edinburgh Festival, where it won the Fringe First prize.^[52] It had a revival in 2009 at London's Cock Tavern Theatre, directed by Adam Spreadbury-Maher.^[53] The Cellar Tapes, the Footlights Revue of 1981, won the Perrier Comedy Award. In 1984, Fry adapted the hugely successful 1930s musical Me and My Girl for the West End, where it ran for eight years. He was also cast in a lead role in Simon Gray's 1995 play, Cell Mates, which he left three days into the West End run, pleading stage fright. He later recalled the incident as a hypomanic episode in his documentary about bipolar disorder, The Secret Life of the Manic Depressive. In 2007, Fry wrote a Christmas pantomime, Cinderella, which ran at London's Old Vic Theatre.^[54]

Fry is a long-standing fan of the anarchic 1960s British musical comedy group, the Bonzo Dog Band and, particularly, of its eccentric front man, the late Vivian Stanshall. Fry helped to fund an ill-fated 1988 London re-staging of Stanshall's acclaimed Stinkfoot, a Comic Opera, written by Vivian and Ki Longfellow-Stanshall for the Bristol-based Old Profanity Showboat. Fry performed several of Stanshall's numbers as part of the Bonzos' 2006 reunion concert at the London Astoria. He also appears as a shiny New Millennium Bonzo on their post-reunion album, Pour l'Amour des Chiens, on which he recites a recipe for "Salmon Proust", plays a butler in "Hawkeye the Gnu", and voices ads for the fictitious "Fiasco" stores.

Following three one-man shows in Australia, Fry announced a "sort of stand-up" performance at The Royal Albert Hall in London for September 2010.^[55]

Audio books[link]

Stephen Fry has been the reader for the British versions of all of J.K.Rowling's Harry Potter series of audio books. He discussed this project in an interview with J.K. Rowling in 2005.^[56] Fry has also been the reader for Douglas Adams's The Hitchhiker's Guide To The Galaxy film tie-in edition. He has also made recordings of his own books, such as The Stars' Tennis Balls and Moab Is My Washpot; and works by Roald Dahl, Michael Bond, A. A. Milne, and Anthony Buckeridge.

Video games[link]

Fry's distinctive voice has been featured in a number of video games, including an appearance as Reaver, a primary antagonist in Lionhead Studios games Fable II and Fable III, and as the narrator in LittleBigPlanet and its sequel on PlayStation 3 and PlayStation Portable.^[57][58] He also served as narrator on the first four Harry Potter games (Philosopher's Stone, Chamber of Secrets, Prisoner of Azkaban and the Goblet of Fire).

Advertisements[link]

Fry has lent himself and his voice to many advertisements, starting with an appearance as "Count Ivan Skavinsky Skavar" in a 1982 advert for Whitbread Best Bitter. Fry has said in his memoirs that after receiving his payment for this work – £25,000 – he has never subsequently experienced "what one could call serious money troubles".^[59] He has since appeared in adverts for products and companies such as Marks and Spencer, Twinings, Kenco, Vauxhall, Honda, Direct Line, Calpol, Heineken, Alliance & Leicester, After Eights, Trebor, Panama cigars and Orange Mobile.

Literature[link]

Since the publication of his first novel, The Liar (1991), Fry has written three further novels, several non-fiction works and two volumes of autobiography. Making History (1997) is partly set in an alternative universe where Adolf Hitler's father is made infertile and his replacement proves a rather more effective Führer. The book won the Sidewise Award for Alternate History. The Hippopotamus (1994) is about Edward (Ted/Tedward) Wallace and his stay at his old friend Lord Logan's country manor in Norfolk. The Stars' Tennis Balls (2000) is a modern retelling of The Count of Monte Cristo. Fry's book, The Ode Less Travelled: Unlocking the Poet Within, is a guide to writing poetry.

When writing a book review for Tatler, Fry wrote under a nom de plume, Williver Hendry, editor of A Most Peculiar Friendship: The Correspondence of Lord Alfred Douglas and Jack Dempsey, a field close to Fry's heart as an Oscar Wilde enthusiast. Once a columnist in The Listener and The Daily Telegraph, he now writes a weekly technology column in the Saturday edition of The Guardian. His blog attracted more than 300,000 visitors in its first two weeks.^[29]

In May 2009, Fry unveiled The Dongle of Donald Trefusis, an audiobook series following Donald Trefusis (a fictional character from Fry's novel The Liar and from the BBC Radio 4 series Loose Ends), set over 12 episodes.^[60] After its release, it reached No. 1 on the UK Album Chart list.

Fry's use of the word "luvvie" (spelled "lovie" by Fry) in The Guardian on 2 April 1988 is given by the Oxford English Dictionary as the earliest recorded use of the word as a humorous synonym for "actor".^[61]

Football[link]

In August 2010, Fry joined the Board of Directors at Norwich City Football Club. A lifelong fan of "the Canaries" and a regular visitor to Carrow Road, he said on being appointed "Truly this is one of the most exciting days of my life and I am as proud and pleased as I could be."^[6]

Twitter[link]

In October 2008, Fry began posting to the social networking site Twitter,^[62] which he regularly updates.^[63] On 16 May 2009, he celebrated the 500,000-follower mark: "Bless my soul 500k followers. And I love you all. Well, all except that silly one. And that's not you."^[64]

Fry wields a considerable amount of influence through his use of Twitter.^[65][66] He is frequently asked to promote various charities and causes, often inadvertently causing their websites to crash because of the volume of traffic generated by his large number of followers; as Fry notes on his website: "Four thousand hits a second all diving down the pipeline at the same time for minutes on end."^[67] Fry uses his influence to recommend underexposed musicians and authors (who often see large increases in web hits and sales)^[68][69] and to raise awareness of contemporary issues in the world of media and politics, notably the dropping of an injunction against The Guardian^[70][71] and the lambasting of Daily Mail columnist Jan Moir over her article on the death of Boyzone member Stephen Gately.^[72][73]

In October 2009 Fry again sparked debate amongst users when he announced his intention to leave the social networking site after criticism from another user on Twitter. He retracted the intention the next day.^[74] In October 2010, Fry left Twitter for a few days following press criticism of a quote taken from an interview he had given, with a farewell message of "Bye bye". After returning, Fry explained that he had left Twitter to "avoid being sympathised with or told about an article I would otherwise never have got wind of".^[75] In some quarters the general methods Fry uses on Twitter have been criticised.^[76]