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A T Y P O G R A P H I C J O U R N A L P U B L I S H E D F R O M T I M E T O T I M E B Y L I N O T Y P E

The Life & Work of William Addison Dwiggins

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www.linotype.com

Linotype GmbH Du-Pont-Strasse 1 61352 Bad Homburg Germany

Phone +49 (0) 6172 484-418 Fax +49 (0) 6172 484-429 [email protected] www.linotype.com

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Linotype MatrixIssue4.2Table of Contents

01 Editorial

02 Typographyhiddeninsideacollectionofpencils

08 TheThinGirlsfromLinotype

12 ScriptStylesintheLinotypeLibrary

16 InsidethelibraryattheGutenbergMuseum

24 TheDeberny&Peignottypefoundry

32WinningTypefaces:SelectionsfromfourofLinotype’sInternationalTypeDesignContents

36 TheLife&WorkofWilliamAddisonDwiggins

48Howtypesystemsmakedesigningeasier

56ApracticalapproachtowardsCorporateType:TheSuntorycase

Historyisoneofourgreatestteachers.AtLinotype,

wepeerintothehistoricalrecorddaily.Notonlydoes

thebeautyofthepastcontinuetoenrichthepresent,

italsohelpsusunderstandtheworldaroundus,

andinspiresfuturecreativity.Ourhistoryisfullof

milestones;thisyear,forinstance,marksthe50th

anniversaryofWilliamAddisonDwiggins’death.W.A.

Dwiggins was the first great type designer to work for

theMergenthalerLinotypeCo.inNewYork,andwe

arepleasedtodedicatethisissuetohislifeandwork.

Those who work with type find historical antecedents

ofparticularimportance.Thesehelpusbetterunder-

stand how typefaces are grouped and classified, as

wellashowtonavigatethroughstylesandselectthe

righttypeforagivenproject.Inadditiontohistorical

articleshighlightinganumberoftypefacesandhow

theycametotheirplaceatLinotype,thissecondissue

ofthenewLinotypeMatrixincludesseveralarticles

about the classification and efficient use of type.

Followingontheheelsofthelastissue,wherewe

shinedthespotlightontheheaviestfacesinour

library,wearepleasedtonowpresentthethinnest

andthelightest.Furthermore,wedetailthesorting

systembehindourvarious,andeverpopular,collec-

tionofscriptfaces.Divingdeeperintotypesystems,

weexplainhowandwhytheycangreatlyimprove

corporateandpublicationdesign.

Enjoythisissue,andthestoriesitpresents.Useful

andinspiring,wearesurethattheywillearnaplace

inyourlibrary!

T Y P E & H I S T O R Y

The ornaments used on this issue’s covers, pages 1, 36–47, and 64 are found in the Caravan™ Borders fonts, designed by W.A. Dwiggins in 1938.

normally used to write letters on pa-

per, pencils themselves are a peculiar

surface for engraved letters or icons.

most people do not usually pay at-

tention to this, but these little writing

tools—which have been our friends

since childhood—deserve a closer look.

typography hidden

inside a collection of

pencils

(*) Brazilian graphic designer Claudio Rocha's special collection includes more than 2,500 pencils from all around the world.

*

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Text set in Avenir™ Next.

The Thin Girls X

Qfrom Linotype

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Sm

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ave a new product, specialoffer, headline, or any

other string of text to set large? Does it need to stand out from other big, bold examples? Maybe you want it to come across softly, perhaps with a feminine touch? You need a light, delicate typeface. This is where the Thin Girls from Linotype step in. Following on the heels of the Fat Boys article in the last issue of the Linotype Matrix, which presented some of the world’s favorite big and chunky types, we are pleased to introduce their counterparts,the Thin Girls.

QABCDEFGHIKLMNOPRSTUVWXYZITC Avant Garde Gothic Extra Light Condensed ExtraLightCondensedOblique ExtraLight ExtraLightOblique

ABCDEFGHIJKLNOPqRSTUVWYZcirkulus

KABCDEFGHIJLMNOPQRTUVWXYZNeue Helvetica Ultra Light Extended UltraLight

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VSE ABCDFGHIJKLMNOPQRTUVWXYZPremier LightlineABCDEFGHIJKLMNOPQRSTUVWXYZWashington

QSABCDEFGHIJKLMNOPRTUVWXYZAvenir Next Ultra Light UltraLightItalic UltraLightCondensed UltraLightCondensedItalic

very typeface has its ownunique qualities and

capabilities, some of which range across multiple weights and sizes. But to get these across with just the minimum possible amount of ink on paper is a tremendous challenge. Take a look at some of the Thin Girls in our library, and see what distinctive forms our type designers been worked out for you!

E

RABCDEFGHIJKLM NOPQRSTUVWYZPuritas Light

ABCDEFGHIJKLMNOPQSTUWXYZJust Square Ultra Thin

ABCDEFGHIJKLMNOPQRSTUVWXYZWhy Square Ultra Thin

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™

™

™

™

™

Text set in Palatino™ Sans Informal, 11 pt

10

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ABCDEFGHIJKLM NOPQRSTUVWYZPuritas Light

LMABCDEFGHIJKNOPQRSTUV WXYZ

Jiffy

B

eQGABCDEFHIJKLMNOPRSTUVWXYZ

Palatino Sans Ultra Light UltraLightItalic Informal Ultra Light InformalUltraLightItalic

WBZe

ACDEFGHIJKLMNOPQRSTUVXYZITC Silvermoon

XaL

ABCDEFGHIJKLMNOPQRSTUVWXYLinotype Univers Compressed Ultra Light CondensedUltraLight BasicUltraLight ExtendedUltraLight

™

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A look at the current best-selling headline fonts on www.linotype.com shows that script-style typefaces are highly in demand. Since thousands of script faces are available in the Linotype Library, where is a font shopper to begin? Linotype’s type classification experts have put together this handy list to help you pick which general style is right for what project.

HandwrittenSome people just have better handwriting than others. As unfair as this may seem, we can all feel lucky that many of those with good penmanship talents have gone into the font drawing industry. Now, we can print up personal documents using handwriting-style fonts, giving our work a personalized feeling! Wiesbaden SwingTM is a monoline script, a digitization of designer Rosemary Kloos-Rau’s handwriting. While Wiesbaden Swing looks as if it has been written out

Mistral Choc Brody Wiesbaden Swing Sketch Expectation Staehle Graphia Colombine

Brush Brush-style script fonts mimic the hand-drawn lettering styles that are made with a fine brush. BrodyTM, an old ATF face direct from the 1950s, is reminiscent of American shocard lettering. On the other hand, continental designs like ChocTM and MistralTM are French, yet give off a 1950s vibe as well. All three of these types were originally produced as metal type for hand setting, and have remained popular for decades.

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proportions. Staehle GraphiaTM is a similar design, which still manages to capture the stress of the writing instrument. Colombine represents another sort of handwriting-style script design. Unlike fonts presented so far, Columbine is a real “family” of faces. ColombineTM was designed by Gudrun Zapf von Hesse; her casual handwriting is thoroughly captured in digital form and spread across five weights (with alternates, the Colombine family includes 12 separate fonts).

in the Linotype Library

Mistral Choc Brody Wiesbaden Swing Sketch Expectation Staehle Graphia Colombine

with a fine tipped pen, Guido Bittner’s ExpectationTM (which was also designed in the German city of Wiesbaden, coincidentally) appears to have been made by a rougher instrument. Fonts like this feel quite individual, almost as if their letters would look totally different if the designer would write them out again. Linotype SketchTM is an informal non-connecting script that could be combined well with contemporary text faces, as these often have correspondingly narrow

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Zapfino goes one step further

ExtraInspired by the work of writing masters

Ready to gracefully adorn the most serious of documents Rfullof inkof ink

Artful and Full o

f Expression

Salto

linotype noteC

inky & informal Inky & Informal “Inky”-style faces, for lack of a better term, are in-formal designs that seem immediately artful and full of expression. Their irregularity and unexpectedness enlivens any composition, similar to how jazz or modern dance animate a room. SaltoTM comes from the pen of Karlgeorg Hoefer, who spent most of the second half of the 20th century teaching calligraphy around the world. While Salto’s letterforms share similarities with brush-styles like Choc and Mistral, Linotype NotecTM is a script that is really full of ink – more like a style of notes that a slow-writing, thoughtful humanist would scribble to himself late at night. Linotype SevenTM appears speedier; hastily drawn, with features that would come from a wide, bristly brush, as though its scribe was in a hurry. In short, “inky” fonts are loaded with energy and spontaneity.

lin

oty

pe S

even

kuenStler SCript

This article is set in palatino sans

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Zapfino goes one step further

ExtraInspired by the work of writing masters

Ready to gracefully adorn the most serious of documents R

ClassicClassicFinally, many customers are always on the look out for classic-style scripts to use in formal applications. Kuenstler ScriptTM, originally called Künstler Schreib-schrift, is inspired by the work of writing masters of the distant past. It is ready to gracefully adorn the most serious of documents, including fine menus and wedding invitations. A copperplate hand, PirouetteTM, includes elaborate, two-layer capital letters. These allow the user to print carefully set two-color type, lending special touches to formal certificates and the liked. Shelley Script, also inspired by copperplate engraving styles, was designed by Matthew Carter. Carter gave ShelleyTM Script three different complete alphabets of capital letters, each more elaborate than the other, allowing the user to choose his own level of personal expression.

Prof. Hermann Zapf’s ZapfinoTM Extra goes one step further. Every upper- and lowercase letter in Zapfino Extra’s design includes four variants; additional swash characters and ornaments are included as well. Since juggling four different versions of every glyph can be tricky when designing a piece, Linotype has a special contextually sensitive version of the font available as well, Zapfino Extra Pro. When this font is used in OpenType-savvy applications like Adobe InDesign, text can automatically set itself using glyphs taken from all of Zapfino Extra’s variants, creating as close an approximation to the variety of form found in real calligraphy as possible!

Three different alpabets of apital letters

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pirouette

Zapfino extra

Artful and Full o

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Salto

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Inside the library at DanReynolds

theGutenbergMuseumLargeorsmall,lettersseemtoinhabittheirownuniverse.Rearrangeableinanycombination,theycanspelloutallconceiv-ablemessages,beitpoetic,bureaucratic,oranythinginbetween.Butsometimesatextisjustaboutitslettersthemselves,notanobjecttoberead,butonetobelookedat.Typespecimenshavetakenvariousformsoverthecenturies,fromposterstopostcardsandfromprimerstopamphlets.Infact,themagazinethatyouarereadingnowisalsoatypespecimen,atleastofsomesort.Inourageofinputanddigitaloutput,creatingtypespecimenshasbecomeeasierthaneverbefore.Butwhatdidourpredecessorsdo100yearsago,oreven500yearsago?Thankstoahandfulofdedicated museums and libraries around the world, we can find out. This article is the first in a series introducing these collections andtheirspecimens.

MAINZ:Forhundredsofyears,thissmallGermancityalongtheRhinehasbeenknownforJohannesGutenbergandhisinvention—printingwithmovablemetaltype.Al-mostanygraphicdesignerwhohaspassedthroughMainzhasstoppedattheGutenbergMuseum.Nexttothecity’slandmarkRomanesquecathedral,theGutenbergMuseumpresentsthehistoryofWestern(andsomeEastern)print-ing.Severalincunabulabooksareondisplay—includingthreeGutenbergBibles—aswellasprintingpressesandbitsofcityparaphernalia.

Lesserknownisthemuseum’ssmalllibrary,whichisopentothepublic.Asidefromtradeandacademictitlesonprintingandtypographichistory,thelibraryhasalargecollectionoftypespecimensfromthe17ththrough20thcenturies.ThesewerelargelycollectedbyGustavMoriinthe1920s.

Today,typefoundriestendtodesignandproducecatalogstoshowofftheirtypefaces—ortheyputtheirdesignsonlineandminimizeprintadvertisingcostsaltogether.Centuriesearlier,manytypespecimenstendedtotakeanotherform:large,oversizedsinglesheets,onwhichatypefounderwoulddisplayparagraphsettingsofeachofhistypesattheirvarioussizes—almostlikeaposter.TheGutenbergMuseumlibrary’soldestspecimensalltakethisform.

TheGutenbergMuseumlibrary’sspecimencollectionisinclusive,drawingonholdingsfromalloverEurope.Tradi-tionalseriftypefaces(calledAntiquatypeinGerman)aretobefoundinabundance,asareGreek,Hebrew,Arabic,Syriac,Armenian,andofcourse,blacklettertypefaces.The first type sorts cast in lead—which were, in all likeli-

Left: Close-Upofasingle,oversizetypespecimenfromJohannErasmusLuther’stypefoundry,the Luther’sche Schriftgießerei.PrintedinFrankfurt,Germany,1678.

Textura Rotunda Bastarda

Historical

Old English

Gotisch

Fraktur Contemporary

Top row, left to right:Thebasichistoricalevolutionofblacklettertypestyles—Textura,Rotunda,Bastarda,Fraktur,andContem-porary.HistoricalTexturas,OldEnglish,andGotischdesignsarefurtherevolutionsoftheTexturaidea.SchwabacheristhestyleofBastardathathasbeentraditionallyusedinGermany.Evolvingoutoflatemedievalandearlyrenaissancehandwriting,thevariousblackletter styles also influenced each other over time.

Understanding classification schemes can be the key to choosing therighttypeface.Forexample,aGermanFrakturwouldbeapoorchoiceforanEnglishPub,whilealmostanystylecouldlookrighton a certificate, depending on its overall design.

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CaslonBlack

Letter-Founder to his Majesty.OldEnglish

Letter-Founder to his Majesty.Agincourt™

Letter-Founder to his Majesty.Linotext™

And be it further hereby enacted, That the Mayors, Bailiffs, or other head Officers of every Town and place corporate, and City within…OldEnglish

Left and below:1785–1786specimenfromWilliamCaslon’sfoundryinGreatBritain.Inadditiontotheirfamousseriftypefaces,theCaslonscutseminalablacklettertypecalledCaslonBlack.Thisformsalargepartofthebaseofwhatwerefertoas“OldEnglish”-stylefontstoday.

hood,castinMainz—wereblackletterdesigns.BlackletterremainedimmenselypopularinGermanythroughthe20thcentury;evenaslateas1900,perhapshalfofallprinteditemstherewerestillsetinit.Onlysincethebeginningofthepost-warerahasblackletterdisappearedfromtheGer-manmainstreammediaenvironment.

What styles of blackletter types can one find in this speci-mencollection?MostlyFrakturandSchwabachertype-faces. Although the first books produced in Mainz were setinTexturatypes,Schwabacher(c.1480)andFrakturstyles(c.1517)wouldcometodominatetheGermantradeduringthe16thcentury.ThebestTexturaspecimenintheGutenbergMuseumLibrary’scollectioncomesnotfromGermany,butfromGreatBritain:anOldEnglishfaceinan18thcenturycatalogfromWilliamCaslon’sfoundry.

Notethatcertainspecialcharactersfromhistoricalstylesarenotavailabletodayineverydigitalfont,e.g.,thelong-s(foundinmostDFRfonts)andtheround-r(veryseldomdigitizedatall).Modernreaders—especiallyreadersofEnglish—arenotusedtoreadingtextwiththesecharactersinthem.

CaslonBlack

Long-s

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mit Kummer und S¡mer”en sollen Kin-der gebähren/und die Welt erfüllen. Weildann sol¡e# dein göttli¡er Wille ist/wel-LinotypeLutherscheFraktur™

Left:JohannErasmusLuther’s1678specimen(close-upsvisibleonpage16andbelow).

Below:TextsetinLinotypeLutherscheFraktur™,aboveaclose-upofJohannErasmusLuther’s1678specimen.ArevivalofLuther’stype,LinotypeLutherscheFrakturwasoriginallycastinmetalbyD.StempelAGduringtheearly20thcentury.SubtledifferencesbetweenthedigitalfontandLuther’sactualtypearenoticeable—especiallyintheumlautedletters“ä,”“ö,”and“ü.”

Rotundatypes—thesecondoldestblackletterstyle—neverreallycaughtonasabooktypeinGerman-speakinglands,although20thcenturycalligraphers,aswellasartsandcraftsdesigners,haveuseditquitewellfordisplaypurposes.However,theserounderstyleswerepopularduringtheRenaissanceinItaly,SouthernFrance,andSpain—historicalregionsnotnormallyassociatedwithblacklettertypography.

Mostremarkableisthatmanyofthetypefacesusedintheseblackletterspecimensareavailableagaintodesign-ersandpublishersindigitalformat.Forinstance,Caslon’sabove-mentionedblackletterdesignissoldtodayunderthenameOldEnglish.Typefromfamous17thcenturyFrankfurttypefounder,JohannErasmusLuther,servedasthebasisforLinotypeLutherscheFraktur.WittenbergerFrakturisbasedonFraktursusedinWittenbergduringthe17thand18thcenturies.FetteGotischandFetteFrakturarebothdirectinterpretationsofbigdisplaytypesthatwerepopularalloverGermanyduringthe19thcentury.

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OriginatinginGermanyduringthelate15thcentury,Schwabacher-styletypebecamethemostpopularblackletterstyleafterFraktur.Schwabacherisn’taseparatecategoryofblackletter,butratheraGermanincarnationoftheBastarda.InFrakturtextswherenocursivestylewasavailable,Schwabacherwasoftenusedtocallattention to specific words, similar to the way weuseitalictoday.AlthoughSchwabacherremainedpopularinGermanyintothe20thcentury,thereareveryfewdigitalSchwabacherfontsavailable.

Left and above: Johann Thomas Trattner’s 1769−82 spec-imenbook.Vienna,Austria.“Garmond”doesnotexplicitlyrefertothefamoustypedesignerClaudeGaramond,butrathertoatypesizenamedafterhim—roughly10point.

Above:ChristianZinck’sspecimenbookfrom1743—showingseveralFraktursizes,aswellasacursivescript—fromWittenberg,Germany.ThetypefaceshownontheoverlayisWittenbergerFraktur,arevivalofsimilartypeproducedatthebeginningofthe20thcentury.

Auff di, HErr, traue i, mein Gott, hilff mir von allen mei-nen Verfolgern, und errette mich. Daß ſie nit wie Löwen meineSeele erhaſen, und zureiſſen, weil kein Erretter da iſt. Siehe ! keinUbels wird begegnen dir, keine Plage dein Hauß wird rühren : denner ſeinen Engeln für und für befiehlet di zuführen, und zubehütenfür Unfal, auf Händen tragen überal, daß kein Stein den Fuß ſetze.WittenbergerFraktur™

Whatusearetheseoldspecimenstocontemporarydesigners? The first lesson that old specimens can teach usdoesn’tapplytoblackletterdesignersalone:historically,punchcuttersandtypefacedesignersdesignedtypeinopticalsizes.Beforetheageofscalablephoto-anddigitaltypesetting,typecouldonlybesetinarangeofsizesthatwereavailableascastlead(orcarvedwooden)letters.Founderswouldproduceeachsizeindividually.Asix-pointletterlookedverydifferentfroma24-pointone.Thesedays,designerstendtouseonefontforeverysize—fromcaptiontoheadline!Theresult?Headlinesthatareoftentooheavyand too loosely spaced, and fine print that is too light and tootight.

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fett!Ihr aus den Felsenhallen und Burgen der Vorwelt hinüber- schimmernde Riesengestalten der ersten Fürsten der ABCDEFGHIKLMNOPQFetteGotisch

PreßburgEFIK123FetteFraktur™

Above:An1840specimenofaFetteFrakturdisplayweightfromtheJ.B. Metzler’schen Schrift-SchneidereiofStuttgart,Germany.Thedigital“FetteFraktur”isoneoftoday’sbestsellingblackletterfonts.Ascanbeseenhere,itwasamainstayof19thcenturyGer-manfoundriesaswell.

Right:SpecimenofaFetteGotischweightfromJ.B. Metzler’schen Schrift-Schneiderei,Stuttgart,Germany,1840.

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Contemporary uses of Blackletter

From Gutenberg – To Heavy Metal…!

Secondly,oldspecimensarebeautifulpiecesofhistory,andcanactasspringboardsforthedesignofnewblacklet-tertypes.Forovertwodecades,blackletterhasundergoneahugerevivalamongdesigners—particularlyinNorthAmerica.OtherthanmaybethecaseinCentralEurope,onemightevenarguethatitspopularityinNorthAmericaneverreallyleft.Thedigitalrevolutionmadeblackletterdemocratic:noweveryonecanusenewblackletterfonts,orevendesigntheirown!

Above:Albumcoverdesignsforthepseudo-typographicband“Fonthalla”—Children of the KËRN;The Neue Typogräphers;Small Caps, Big Dëath;andVictim of Circümflêx.Namessuggestedviathe community forums at Typophile.com. Superfluous umlauts abound.

How is blackletter used today?Mostlyfordisplay.FontslikeFetteFrakturareusedforold-fashionedheadlinesandbeeradvertising.WilhelmKlingsporGotisch™adornsmanyawinelabel.LinotextandOldEnglisharepopularchoicesfor certificates. Any of the above can be found the world overintattoos.Popcultureismoreenthralledwithblack-letterthaneverbefore,examplesrangefromnewspapermastheads(likeThe New York Times)toheavymetalbandlogos(àlaMotörhead)andsneakeradvertising(looknofurtherthanReebok’srecentglobal“I am” campaign).

Children of the KËRN

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AbouttheGutenbergMuseumCentrallylocatedinMainz’shistoricinner-city,theGutenbergMuseumisamustseeforanytype,book,orprintingfan.Themuseumwasfoundedin1900tocoincidewithacity-widecelebrationofthe500thanniversaryofJohannesGutenberg’sbirth,andisdedicatedbothtohimandtohisinventioningeneral.

Asidefromrotatingexhibitions,someofwhichareverytypographicinnature,themuseumdisplaysanenviablepermanentcollection.Books,typesettingmachines,andprintingpressescanbeseensidebyside.Aworkingprintshop,calledtheDruckladen,isevenonehandaswell.Inside,visitorsmaystillsettypeandletterpressprintbyhand,afavoriteforschoolchildrenandbookartistsalike.Themuseumalsohasanexcellentbookstore,whichsellsreproductionsofpagesfromtheGutenbergBible,aswellasthelatesttypographictitlesfromGermandesignpublishers.

Themuseumisopendaily,closedonlyonMondaysandholidays.www.gutenberg-museum.de

Text set in Linotype Gothic™, 9 pt.

Instructions for the historic setting of Blackletter Typefaces

MostrulesbelowapplytoGermanonly.

Specialrulesexistregardingtheusageofthelong-s(s)andtheclosing-s(s).Thelong-sshouldalwaysbeusedwhenthelettersbeginsaword,orsyllable.Along-sisalsorequiredwhenthelettersappearsinthefollowinglettercombinations:sp(sp),st(‰),andsch(s¡).Below,onlythelastexampleiscorrect.

Gasthaus Gasthaus Ga‰hausTheclosing-sisusedwhenthelettersisthelastletterofaword,orofasyllablewithinaword.Examples:

Häs¡en vor›¡tshalberThearealsoanumberofexceptionstothelong-s/closing-srules,mostlyrevolvingaroundwhetherthewordisborrowedfromaforeignlanguages,or includes certain prefixes or letter combinations!

Certainligaturesshouldbesubstitutedforlettercombinationswhenavailable.IntheDFRcharacterset,theprovidedligatures are ch, ck, fi, ff, fl, ft, ll, long-s +long-s,long-s+i,long-s+t,andtz.

¡,¿,fi,[,fl,], =,‹,›,‰,”Example:

noch! to no¡!Theuseoftheseligaturesisoftenmaintainedevenwhenthetextisletterspaced.Example:

g e h t n o ¡ !Lastly,theuseofstringsofcapitallettersistobeavoided,althoughitiscommontoseetwocapitallettersnexttoeachother,historically.Inthefollowing examples, only the first is inacceptable.

HERRN deine HErrn deine Herrn deineMoreinformationmaybefoundatwww.Linotype.com.

By John D. Berry

The legacy of the

type foundry

Some of the most distinctive typefaces of the 20th century come

from the French type foundry Deberny & Peignot; they are now

part of the Linotype library because of Linotype’s acquisition

in 1989 of the Swiss Haas foundry, which in turn had bought

Deberny & Peignot in 1972. The history of Deberny & Peignot

itself is one of absorption, including the merger of the two

independent Deberny and Peignot foundries in 1923. It all gets

complicated.

The Deberny side of the equation begins in the 1820s with

Louise-Antoinette-Laure de Berny, mistress of the famous French

literary writer Honoré de Balzac. Mme. de Berny had financed

Balzac’s short-lived venture into printing and publishing, which

had included the purchase of a type foundry begun in the late

18th century. When Balzac abandoned the business to devote

himself to writing, Mme. de Berny took it over and gave it

to her son Alexandre, who in turn passed on, years later, to his

illegitimate son, Charles Tuleu.

The Peignot side begins in 1868, when Gustave Peignot bought a

metal foundry in Paris and turned it into a type foundry. Gustave

built his business partly by buying the inventory of failed French

type foundries, which gave him a wide selection of typefaces to

use and sell. His five sons took over the business on Gustave’s

death, and in particular his son George led the foundry to a period

of prosperity in the heyday of the Art Nouveau style in France;

but illness took one son, and the trenches of the First World War

took all four of the others, including George. Until George’s son

Charles was old enough to join the business, it was Henri Menut

who directed the company, continuing the policy of buying up

old type by acquiring the original punches of the historic types

of John Baskerville from the Bertrand Foundry. These punches,

a treasure of English typefounding, were later returned to

their nation of origin when Charles Peignot donated them to

the Cambridge University Press.

The history of type foundries is a history of acquisitions and mergers, caused by everything from changing family alliances to new technological and business models. This is the rich typographical background behind the Linotype Library — not only the history of the Linotype company itself but the diverse traditions of a panoply of type foundries dating back hundreds of years.

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Under the direction of Charles Peignot,

Deberny & Peignot pioneered the

creation of type designs that embodied

the Art Deco style of the 1920s and

1930s, beginning with the radical

display type Bifur (1928) and perhaps

culminating with the typeface that took

the director’s own name, Peignot™

(1937); both were designed by

A. M. Cassandre, at Charles Peignot’s

insistence. Earlier, under the direction

of Charles’s father, George, the

Peignot foundry (not yet allied with

Deberny) had produced the most

instantly recognizable typeface in the

Art Nouveau style, Auriol™ (1903),

designed by George Auriol and serving

as the direct inspiration for Hector

Guimard’s lettering on the station

entrances to the Paris Metro. (Two

heavy-weight companions were de-

signed for Auriol in 1979 by Matthew

Carter: Auriol Black and Auriol

Black Italic.) The third great period

of Deberny & Peignot type develop-

ment was the 1950s, when Charles

Peignot hired the young Swiss type

designer Adrian Frutiger, who went

on to create both the excellent text

face Méridien™ (1955) and the most

systematic type family yet devised,

Univers™ (1957).

Charles Peignot is the key figure. As a

young man, he apprenticed to all the

various sections of the family foundry,

learning each part of the business in

turn. But his great love was the arts;

Peignot Auriol Univers

his friends and associates included

some of the best known names of the

Parisian avant-garde of the early 20th

century — the poet Apollinaire, the

painter Fernand Léger, the composer

Erik Satie — and he was a member

of the seminal organization of the

Modernist movement in France,

l’Union des Artistes Modernes (UAM),

founded in 1929. He completed the

designs of two typefaces begun under

his father, the Art Nouveau–style

Naudin and a historical revival of the

Renaissance French typefaces of Claude

Garamond that eventually became

the Deberny & Peignot typeface

Garamont; and under his directorship,

Deberny & Peignot distributed Paul

Renner’s classic Modernist typeface

Futura® (under the name Europe).

But what interested Peignot most was

the radically stylized Art Deco designs,

geometrical and fashionably sleek

at the same time. He commissioned

Cassandre’s remarkable Bifur, which

was built on a simple skeleton of

geometrical capitals but took them in

a bizarre direction by deleting parts

of the letters and filling in many of

the counters with a pattern of very

fine parallel lines. As Peignot himself

described it later, “There were no new

or innovative typefaces which existed

at the time. The ‘Bifur’ created a real

scandal…at least in the small world

of publishing and printing. Engraving

this design was a remarkable tour de

force. Needless to say, ‘Bifur’ was not a

financial success, but in those happy days

one could afford to take a few risks.”

At the same time, Peignot was working

with the designer Maximilien Vox to

publish both a commercial periodical,

Les Divertissements typographiques, to

show off new type designs, and a more

ambitious cultural magazine about all

forms of art and design, Arts et métiers

graphiques.

The

Art

most instantly recognizable typeface in the Nouveau style

Auriol

A sample page from a book on Peignot, 1937

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The most famous typeface from the

foundry in this period was certainly

the one that was given the director’s

own name, Peignot (A. M. Cassandre,

1937). It was considered radically

modern when it debuted, and it still

excites partisan feelings, both for and

against, when it’s seen in use today.

As an “inscriptional” typeface, Peignot

was used extensively at the 1937

Paris world’s fair (l’Exposition inter-

nationale des arts et techniques dans

la vie moderne), where it became

emblematic of modern French design.

Its heavily weighted sans serif capitals

are complemented by a lowercase that

ignores most of the usual lowercase

forms, instead using rounded upper-

case forms with occasional extenders

and lowercase elements. Nobody

could mistake Peignot for any other

typeface.

After the Second World War, Cassandre

revisited the Peignot design and came

up with Touraine, a version with a more

“normal” lowercase. It was issued by

Deberny & Peignot in 1947.

The Peignot typeface

Original Deberny & Peignot type specimen sheets.

A sample page from a book on Peignot, 1937

Phototypsetting

It was Frutiger’s extensive sans serif

family Univers that practically defined

the look of 1950s modernism. While

the Swiss “international style” relied

on workaday German sans serifs from

the early 20th century, and the Haas

type foundry’s Helvetica™ (originally

called Neue Haas Grotesk™) built on

the same foundation, Frutiger invoked

a more humanist calligraphic tradi-

tion in Univers, while still embodying

industrial simplicity and a no-non-

sense modern style. Aside from the

elegance of its individual letters, and

the textural precision with which they

fit together, Univers was the first type-

face to be developed as a systematic

extended family, from the lightest and

most condensed forms (Univers 39)

to the heaviest and widest (Univers 83).

Frutiger gave the individual fonts

numbers, based on a logical system

of design axes, rather than names;

when the face was licensed to other

manufacturers, however, they often

reverted to imprecise but traditional

names like “heavy” and “light.”

In the early 1950s, Charles Peignot

championed the Lumitype photo-

typesetting machine, a ground-break-

ing invention though not, ultimately,

a commercial success. The technology,

however, spurred Deberny & Peignot’s

new type designer, Adrian Frutiger,

to develop typefaces that would

accommodate and take advantage of

the characteristics of the new medium.

At first, Frutiger was given the task

of adapting the foundry’s classic

typefaces for the Lumitype; in 1955,

his first “mature” original typeface,

Méridien, was released.

Original Deberny & Peignot type specimen sheet.

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This article is set in Linotype Meridien

Univers85

Linotype Univers930

Forty years after the release of the first

weights of Univers, Linotype issued

a completely revised version, Linotype

Univers, reworked and reconsidered

by Frutiger himself and Linotype’s

in-house design staff for digital type-

setting technology — much as Adrian

Frutiger adapted earlier type designs

for then-new phototypesetting tech-

nology in the days of the Lumitype.

Where the original Univers consisted

of 21 different type styles, Linotype

Univers™ has 63, and a new three-

digit numbering system. Linotype

Univers recaptures both the crispness

and the humanist flair of Univers,

which has sometimes been lost in

the compromises of the intervening

years of adaptation and technological

change. Linotype Univers is part of

Linotype’s Platinum Collection.

As an integral part of the Linotype originals, it has an opportu

nity

to

go

on

an

d s

hap

e t

he f

orm

of

the t

wen

ty f

irst

.

The richness of the Deberny & Peignot heritage can be sampled

in the current library of Linotype digital fonts, but there are still

gems to be revived and given digital form. Deberny & Peignot

helped to shape the typographic form of the 20th century.

lvoutio

b

German-Swedish designer Lutz Baar created Balder, honored with First Place in the Display Category at Linotype’s first ITDC in 1994. Balder is reminiscent of styles of advertisement and poster typefaces popular during the 1950s and 60s. An all caps face, it is perfect for initials and headlines. Balder looks as though it were written with a broad-edged pen; the light serifs at the tops’ of most of the characters, and the slant the strokes lend Balder a dynamic feeling.

Lutz Baar: “Balder is reminiscent of the Swedish name for the Nordic god Baldur. Likewise, my design expresses strength and wild liveliness; it gives text a compact appearance. Since I only drew capital letters, I decided to give each letter of the alphabet a corresponding alternate, accessible via the shift key on the keyboard. I call this the ’Gutenberg Effect.’, since Gutenberg also worked with alternate glyphs.“

Since 1994, Linotype has conducted

a series of international Type Design

Contests (ITDCs), via which Linotype

has acted as a springboard for several

designers and their typefaces to

the public. For example, Linotype’s

TakeType library is compiled in large

part from entries that were submitted

to the first three ITDCs. All in all,

Linotype’s contests have attracted

entries from hundreds of designers

in dozens of countries.

Linotype’s winning typefaces have

included an array of styles, from

blackletter and typewriter faces to

Russian folk pictograms and portraits

of residents of Ancient China! But

the most popular designs have been

those intended for text or simple

headline use. This article presents four

great examples from Linotype’s first

four contests.

WinningTypefaces

Selections from four of Linotype’s International Type Design Contests

Balder

Ab12!?&$yzRegular

™

(!?&$@#)*(!?&$@#)*

Linotype Ergo was designed by American Gary Munch, winning First Place in the Text Category at Linotype’s secondITDC in 1997. Conceived as a blend of traditional and modern type concepts, it works as a legible text family as well as a lively display or headline font. The word ergo means “consequently,” but it also comes from the Greek word “ergon” for “work.” Consequently, Munch sees this family as full of energy–an ideal font for working hard to make a point, and able to get it across with friendly vigor.

The strokes of the characters are carefully designed to accommodate the tendency of the eye to enlarge horizontals and perceive verticals as lighter. The lowercase forms have open, friendly counters and are enhanced by small quirks, such as the slightly leaning “s” and the wide “t.” The deep branching of curves from main strokes helps this humanist sans to be very readable at smaller sizes. Linotype Ergo has four weights including italics, and also has a clever Sketch weight for headlines.

TypefaceseErgoABCABCABCABCABCABCABCABC

Linotype

Regular

Medium

Demi Bold

Bold

Bold Italic

Demi Bold Italic

Medium Italic

Italic

™

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The Japanese type designer Akira Kobayashi, who since 2001 has served as Linotype’s Typographic Director, entered Conrad in the ITDC 1999, where it received first place in the Text Faces category. Conrad’s design is based on fifteenth-century type cut by Conrad Sweynheym and Arnold Pannartz, two German printers active in Rome at that time. They produced a unique, slightly unbalanced yet attractive type.

Kobayashi says of his typeface, “I have designed a couple of typefaces inspired from the past, but this time the original print acted merely as a reference. The distinctive lowercase ‘a’ and some other letters were inspired by Sweynheym and Pannartz’s second roman type, but I revived the type in a more informal way. Here I used the historical type as a springboard. The resulting type looks different, taking on a rather temporary and lively look. I assume that the Conrad is the first revival of the Sweynheym and Pannartz type, though it does not closely resemble the original.”

As well as its strong showing at the ITDC, Conrad received a Certificate of Excellence in Type Design from the Type Directors’ Club of New York in 2001.c

Conrad

AAAABBBBCCCCDDDD!%?$@&

(!?&$@#)*(!?&$@#)*Light

Regular

Bold

Extra Bold

™

34

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Argentinean designer Eduardo Manso designed the Bohemia display type family, which received one of three first-place awards at Linotype’s ITDC 2003. Bohemia‘s elegant design shows off refined letterforms that evoke the Transitional style of typeface design. The feeling given by the type is vaguely similar to faces like Baskerville, although most Baskerville revivals tend not to be as curvaceous as Manso’s! Slightly condensed, with a high amount of stroke contrast, Bohemia can function well in text settings as small as 9 point.

Bohemia–under it’s working name “Argot”–received a Certificate of Excellence in Type Design from the Type Directors Club of New York in 2004. Also, the typeface was selected for inclusion in the 21st International Biennale of Graphic Design 2004 in Brno, Czech Republic. Bohemia was later named one of the most relevant works in the Bienal Letras Latinas 2004, which took place in Buenos Aires, Argentina, São Paulo, Brazil, Santiago, Chile, and Veracruz, Mexico.

abcdefghijklmnopqrstuvwxyz

bBohemia

ABC!?$@*Y&Z

ABC!?$@*Y&Z

Regular

Italic

Bold

™

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W.A. Dwiggins:

Jack of all Trades,master of more than one.Written by Paul Shaw

LEFT

1. WAD at work in his studio late 1930s. Photograph by Robert Yarnall Richie.

In Layout in Advertising, published in October 1928, W.A. Dwiggins pointedly left sans serifs out of his survey of advertising typefaces. Gothic the newspaper standby in its various manifestations has little to commend it, he wrote, except simplicity; it is not overly legible, it has no grace. Gothic capitals are indispensable, but there are no good Gothic capitals. The typefounders will do a service to advertising if they will provide a Gothic of good design. In February 1929, Harry Gage, Assistant Director of Linotype Typography at Mergenthaler Linotype, challenged Dwiggins to design a good sans serif for the firm. Mergenthaler was eager to have a type that could compete with the new wave of European sans serifs specifically Futura®, but also Kabel™ and Gill Sans®—that had been released recently. Find-ing these types “fine in the capitals and bum in the lower-case,” Dwiggins agreed to try his hand at a new sans Mergenthaler’s decision to hire Dwiggins marked the first time the company had turned to an outside designer. It also marked the first time that Dwiggins had attempted a typeface.

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Mergenthaler was so confident in Dwiggins’ potential as a type design-er that in May 1929 they signed him to an exclusive contract (at $2500 per year) months before his sans serif was completed. The company wanted to snatch him away from potential rivals such as American Type Founders, Barnhart Brothers & Spindler and Continental Type-founders, all of whom had expressed an interest in commissioning type from him. The National Display Alphabet Co., makers of Innes Al-phabets—alphabets reproduced on perforated gummed paper for print-ers and advertising agencies to use in mechanicals—had already hired Dwiggins as their artistic director.

Dwiggins was a hot commodity in 1929. In January the Ameri-can Institute of Graphic Arts had awarded him its Gold Medal and sponsored an exhibition of his work at the Art Center in New York City. He had made a name for himself as a commercial artist and advertising designer—Layout in Advertising was the culmination of his knowl-edge—but after twenty-five years in the field he was shifting his atten-tion to book design, and doing so with success. Four of the thirteen books that he had completely de-signed since 1926 had been chosen for the AIGA 50 Books of the Year. He contributed decorations or il-lustrations to three other winners.

Dwiggins’ decision to get out of advertising had been building for six or seven years. In March 1922 he found himself unable to complete a job for his friend Carl Purington Rollins, printer to Yale University. “I am really puzzled to

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BY COLUMN, LEFT TO RIGHT:

2. Bookplate for Eva Siegfried Dwiggins, WAD’s mother. Signed DG implying that it was co-designed by WAD and Frederic W. Goudy. Most likely Goudy designed the ESD monogram and WAD did the remainder of the bookplate. WAD shared a studio with Goudy in Chicago for a year or two after graduating from the Frank Holme School of Illustration. 3. Measure. One of several color comps by WAD 1947. The magazine was never published. 4. The Interior (Children’s Book Number) 27 Novem-ber 1902. WAD did both the border (signed WD) and the illustration (signed Will Dwiggins). 5. Modern Color by Carl Gordon Cutler and Stephen C. Pepper (Harvard University Press, 1923). Jacket design by WAD. (Book design by Bruce Rogers.) Jacket design by WAD. 6. Hadrian the Seventh by Frederick Baron Corvo (Alfred A. Knopf, Inc., 1937). Jacket design by WAD. 7. Faust Parts One & Two by Goethe (Alfred A. Knopf, Inc. 1941). Jacket design by WAD. The only type is the translation information on the front. 8. Java Head by Joseph Hergesheimer (Alfred A. Knopf, Inc., 1946). Binding design by WAD. 9. The Song-Child: Songs for School, Home & Kindergarten (Boston Music Company, 1909). Sheet music title page with border and illustration by WAD. Printed by The Merrymount Press. 10. Mail Pouch poster c.1900. Designed by WAD in the style of the Beggarstaff Brothers. This was probably a student project. 11. In American by John V.A. Weaver (Alfred A. Knopf, Inc., 1939). Binding design by WAD. 12. Moving announcement 1910. The “digger” (“Il Faut Cultiver Nostre Jardin”) device by WAD, typography by D.B. Updike. 13. Ticket for a performance of Marionettes: Under The Püterschein Authority c.1933. Designed, illustrated and lettered by WAD. 14. Charles Hovey Pepper, North Country Exhibi-tion at Doll & Richards (Boston) 11-23 March 1929. Announcement design by WAD. 15. WAD at his desk 1942. Photograph by Randall Abbott.

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16. Border for title page of Streets in the Moon by Archibald MacLeish (Houghton Mifflin Co., 1926). Probably made from woodcut stencil elements. 17. Color comp of advertisement “The Pageant of Color / Champagne” for Old Hampshire Bond paper. The illustration is based on the work of Jean Pillement, an 18th century French artist known for his chinoiserie. 18. Illustration of Chinese junk created from acetate stencil elements. From The Travels of Marco Polo (The Printing House of Leo Hart, 1933) designed by WAD. 19. Warren Old Style Antique Laid. Page from S.D. Warren & Co. paper specimen box 1928. Illustration and let-tering by WAD. 20. Bookplate for William and Mabel Dwiggins. 1908. The figures in medieval garb are portraits of WAD and his wife. 21. Il-lustration of the railroad tracks in Cambridge, Ohio 1903. Part of a portfolio of pen and ink scenes of the town that WAD lived in during his teenage years. 22. Stencil illustration by WAD from One More Spring by Robert Nathan (Overbrook Press, 1935). 23. WAD sitting in front of his stove late 1930s. Photograph by Robert Yarnall Richie.

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know what has bitten me, some kind of stage-fright, or else I am nicked for the time being in my inventive faculties. Other work has gone sour in the same manner.” The problem was not stage-fright but adult-on-set diabetes, the same disease that contributed to his father’s death from pneumonia at the age of 39. Dwiggins was luckier than his father. By the time the diabetes was diagosed in 1923, insulin had been discovered. Although the diagnosis was not a death-sentence, Dwig-gins used it as an excuse to change careers. In June he wrote Rollins, “Me I am a happy invalid and it has revolutionized my whole attack. My back is turned on the more banal kind of advertising, and I have cancelled all commissions and am resolutely set on starving. I shall undertake only the simple childish little things like YUP [Yale Uni-versity Press] imprints that call for no compromise with the universal twelve-year-old mind of our pur-chasing public and I will produce art on paper and wood after my own heart with no heed to any market. Revolution, stark and brutal.” The revolution was not as stark as Dwig-gins had expected. Advertising was more lucrative than book illustration or book design. He continued to do advertising work, especially for Direct Advertising (the house organ of the Paper Makers Advertising Club) and S.D. Warren, through the 1920s and did not entirely abandon the field until the early 1940s.

From mid-1918 to the spring of 1919 Dwiggins had served as acting director of the Harvard University Press. The brief experience was disheartening, prompting him and his cousin L.B. Siegfried to publish Extracts from an Investigation into the Physical Properties of Books as They Are at Present Published, a withering (and hilarious) critique of contemporary book production. An opportunity to make better books

came in 1924 when Elmer Adler of Pynson Printers asked him if he wanted to design books for Alfred A. Knopf, Inc. Dwiggins was favorably inclined but balked at the low fees. His first book for Knopf, the deluxe edition of My Mortal Enemy by Willa Cather, was done in 1926. It marked the start of a close associa-tion with the New York publisher that lasted the remainder of his life.

Over the course of thirty years Dwiggins worked on a total of 329 books for Alfred A. Knopf, Inc., seventeen of which were AIGA se-lections. At first he was called upon primarily to design bindings and jackets for Knopf. It was not until 1934 that he became the firm’s prin-cipal book designer. Although he preferred designing the interiors of books, he is celebrated for his jack-ets and bindings. His best jackets, such as those for Serenade by James Cain and Sea of Grass by Conrad Richter, are astonishing mixes of abstract ornament and bold lettering rendered in wild and savage colors. His bindings are characterized by stencil-derived abstract ornament and idiosyncratically lettered spines. Dwiggins but he disliked doing jackets, viewing them as “traps to tempt people to buy books”. Bind-ings, on the other hand, fascinated him and he spent much of his time

searching for ways to make them more modern and less expensive.

The Art Deco-esque stencil designs found on Dwiggins’ Knopf bindings and elsewhere are one of his trademarks. They originated in the early 1920s as decorative ele-ments—inspired by the “stamped congeries of sprigs and flowers“ of Indian printed cottons—cut on the plank side of maple and cherry wood and then rubber stamped in combinations to form patterns and illustrations. But this technique proved too cumbersome and by 1927 Dwiggins had discovered that cutting elements—both natural (leaves, stems, flowers) and geo-metric (dots, circles, triangles, lines, etc.)—from celluloid was easier. In Paraphs (1928) he assembled ornamental compositions from these basic units and in Clothes (1929), a magazine published by Filene’s, he discovered how to use them pic-torially. Dwiggins later applied his stencil technique to type design, a procees explained in WAD to RR, A Letter about Designing Type (1940).

In the years before he cemented his relationship with Knopf, Dwig-gins designed a series of limited-edition books for private presses that showed his versatility as an illustrator and decorative artist. The best of these books are Strange

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Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1929) and The Time Machine by H.G. Wells (1931) for Random House, Tales by Edgar Allan Poe (1930) for Lake-side Press, Droll Stories by Honoré Balzac (1932) and Gargantua and Pantagruel by François Rabelais (1936) for the Limited Editions Club, The Travels of Marco Polo (1933) for The Printing House of Leo Hart, One More Spring by Robert Nathan (1935) for The Overbrook Press, and The Treasure in the Forest by H.G. Wells (1936) for The Press of the Woolly Whale. Dwiggins own Towards a Reform of the Paper Currency, Particu-larly in Point of Its Design (1932), an amusing but serious critique of American currency and stamp design, also belongs on this list.

Dwiggins was in his late 40s when he began his career in type design. Born in 1880 in Martinsville, Ohio he spent his childhood and adoles-cence in a series of towns in Ohio and Indiana. He attended the Frank Holme School of Illustration in Chicago where his fellow students included Oswald Cooper and the faculty included Frederic W. Goudy. From 1901 to 1903 he shared a studio with Goudy before return-ing to Cambridge, Ohio to set up a private press. He married Mabel Hoyle, his high school sweetheart, in late 1904 and soon after he rejoined Goudy who had moved his Village Press earlier that year to Hingham, Massachusetts, a small town south of Boston. Dwiggins only stayed with Goudy until May 1905 before striking out on his own as a freelance commercial artist.

Over the next two and half de-cades Dwiggins built up a thriving career doing lettering, decorative work and illustration for printers, advertising agencies, magazines, book publishers, paper mills and a wide range of local businesses. Most of his clients were in Boston


24. “A Map from the 1704 English Edition of Los Gouditajos”. WAD’s satirical contri-bution to Diggings from Many Ampersandhogs by The Typophiles (1937), a collection of ampersands and essays about the ampersand. WAD was poking fun at Fred Goudy, his former teacher and another contributor to the book. 25. “Willie Dwiggins” doodling by WAD 1880s in German Studies: A Complete Course of Instruction in the German Language. 26. Announcement of WAD’s availability as a freelance designer 1905. First instance of his uncial lettering that eventually led to Winchester Uncial typeface. 27. Lettering for use in Gargantua and Pantagruel (The Limited Editions Club, 1936) designed by WAD. 28. Proverbs 15:17/ A Cornhill Letter-Leaflet designed and lettered by WAD for Alfred Bartlett 1906. 29. WAD whittling in his studio. Photo-graph by Randall Abbott. 30. Paste-up of Metro letters. Undated but probably Spring 1929. 31. Lowercase script letters for Pictorial Review typeface 1934. The letters were assembled as paste-ups for headline use. 32. Detail of text setting of script typeface for Underwood Typewriter Company 1932. 33. Front cover of Clothes, a magazine published by Wm. Filene’s Sons, the Boston department store (1929). Stencil illustra-tion and lettering by WAD. 34. The Occasional Bulletin of the White Elephant (1915), a self-promotional booklet illustrated, lettered, designed and letterpress printed by WAD. 35. 48-pt. Plimpton Initials. c. 1936. 36. Inked Epoch lettering which was the genesis of Winchester Uncial. 37. Proof of Exp. 264A, Winchester Uncial (1942).

energy like “metal shavings com-ing off a lathe”. Its italic, a sloped roman inspired by the theories of Stanley Morison, immediately met with strong resistance from printers forcing Dwiggins to design a “real” italic. The new design, begun at the end of 1935 but not completed until 1940, was named Electra Cursive.

Dwiggins always worked on several type designs simultaneously for Mergenthaler—while also jug-gling book designs for Knopf and the Limited Editions Club. Dur-ing Electra’s development he was trying to create a “modern version of Scotch™”. This became Cale-donia™ (1938), Dwiggins’ most enduring typeface. Of the many other designs that he pursued in the 1930s and 1940s, only three were brought to completion: Caravan™ Borders (1940), Eldorado (1953) and, posthumously, Falcon (1961). The rest remained “experimentals”.

Experimentals is a misleading term. Each design that Dwiggins began for Mergenthaler was as-signed an experimental number. For instance, Electra began life as Exp. 29 and later was renumbered as Exp. 55 before it was released. The “experimental” tag merely indicated that the design was in progress, not that it was radical in any way. Dwiggins’ unfinished types—several of which changed both number and name—included an upright script (Charter, Exp. 222), a Rosart-inspired roman (Stuyvesant Exp. 274), a flexible interpretation of Bodoni (Tippe-canoe Exp. 268 and Exp. 283), a newspaper face (Hingham Exp. 223), a Times™ Roman competitor (Exp. 267D), a rethinking of Chel-tenham (Exp. 289), the previously mentioned modelled sans serif (Exp. 10, Exp. 11A and Exp. 11B), an uncial (Canterbury Exp. 264), a half uncial (Winchester Exp. 264A and Exp. 287), and four Greek types. A few of these designs were surrepti-

tiously tested out in books: Char-ter in The Story of Aucassin and Nicolette (1946), Winchester half uncial in Tristram and Iseult (1946), Stuyvesant in The Shirley Letters (1949), Tippecanoe in The Creaking Stair (1949), and Arcadia in Some Random Recollections (1949).

External circumstances played a pivotal role in keeping so many of Dwiggins’ type designs in the experimental stage. The bleak economic climate of the 1930s made Mergenthaler very careful about which designs it carried through and the severe material restrictions of World War II effectively shut down type production. Instead, Mer-genthaler manufactured precision guidance and targeting instruments for artillery. When the war ended, the company focused its attention on replenishing its existing library of types instead of issuing new designs.

With permission from Mergen-thaler, Dwiggins designed type-faces for others. In 1934 he created roman and script alphabets for headline use in Pictorial Review, a magazine art directed by George Macy of the Limited Editions Club. For his own book designs he made four decorative titling faces, collec-tively called Plimpton Initials, some-time in the mid-1930s. His other designs never made it to fruition. They include headline types for The Christian Science Monitor and for a planned rival to Life from the Curtis Publishing Company along with music types for Music Press, Inc., a publisher of sheet music, and a series of typewriter faces for Underwood Elliott Fisher, Kip-linger’s, IBM and Remington Rand.

In the 1930s Dwiggins estab-lished a marionette theatre in his studio to perform plays written by himself and members of the Manuscript Club, a group of his Hingham neighbors. In carving the marionettes he discovered that he achieved more liveliness if he

and New England, but some were as far away as New York, Philadel-phia and Cleveland. In the years before World War I the steadiest of these clients were Alfred Bartlett, publisher of The Cornhill Booklet and Arts & Crafts ephemera, D.B. Updike of the Merrymount Press, and The Cowen Company, an advertising agency. In subsequent years his major clients were the Paine Furniture Company, S.D. Warren, Direct Advertising (the organ for the Paper Makers Adver-tising Club), Harvard University Press and Yale University Press.

The knowledge and experience that Dwiggins gained doing endless small jobs during these years—in 1914 alone he illustrated or lettered nearly ninety advertisements for Paine Furniture—provided the basis for Layout in Advertising. Through this work he honed his lettering and drawing skills, became familiar with paper stocks, and gained a broad understanding of type. He was well prepared to tackle type design when Mergenthaler challenged him.

Dwiggins finished his sans serif type—named Metroblack™—in less than a year. Its originality lay in the retention of oldstyle forms of letters such as a, e and g. This was also its flaw. Mergenthaler’s customers clamored for a face that was closer to the popular Futura. Dwiggins was asked to design alter-nate characters for A, G, J, M, N, V, W, a, e, g, v, and w. The revised face was dubbed Metroblack no. 2 and issued in 1931. It became a success.

While he was designing Metro-black Dwiggins was also working on other faces, including a mod-elled sans serif and a “contempo-rary” roman. The modelled sans serif was quickly abandoned but the contemporary roman eventually became Electra™ (1935), Dwig-gins’ response to Poliphilus, Goudy Oldstyle and other soft, antiquarian types. It had electricity, sparks, and

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TOP TO BOTTOM:

38. M-Formula. Drawing of lowercase h for Exp. 223 dated 25 August 1938. 39. Marionettes carved by WAD. From left to right: Azrael, Djul, Lilith and Draco (all from Prelude to Eden 1956) 40. WAD with marionette of himself. Photograph by Robert Yarnall Richie.

simplified the planes of their faces rather than striving for verisimili-tude. In a darkened theatre shadows and light tricked the eye into seeing the planes as smooth curves. While working on Hingham, Dwig-gins realized that he could apply his marionette discovery to type design. By building curves out of angles and straight lines he was able to make the 7 pt. newsface appear smooth and yet crackle with “whip-lash” vitality. He christened his technique the “M-Formula”.

Dwiggins died fifty years ago on Christmas morning 1956. Only five of his type designs were ever completed and of those only four are available digitally, one in an incomplete version. (There are also digital renditions of Winchester, the Plimpton Initials and his uncial lettering from The Drums of Kalkapan.) Despite this uneven digital legacy, Dwiggins’ influ-ence on contemporary type design has been enormous. His M-For-mula has inspired a generation of young type designers. Dwiggins could ask for no better legacy.

We would like to thank Roberta Zonghi, Keeper, Rare Books and Manuscripts Department, Boston Public Library for permission to reproduce photographs of items in the 1974 and 2001 Dwiggins Collections. All photos, except those credited, were taken by Paul Shaw.

The body text of this article is set in New Caledonia™ at 9.5 point.

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The above spread from the Winter 1957 issue of the original Linotype Matrix, published by Linotype and Machinery Ltd. in the UK, is reprinted at 85 percent of its original size.

William Addison Dwiggins died on December 25, 1956. The English Linotype company paid tribute to his life and work many times in the pages of the Linotype Matrix. This obituary, which took up all of page two, sums up Dwiggins’ philosophy, and highlights his three commercially-released typefaces.

How

ChaotiC, informal or systematiC? Imagine bread with jam and pickles. Or strawberries with ketchup. With all due respect to each individual’s sense of taste, most of us would find such a mixture of ingredients far from palatable. In other words, it’s all about finding the right mix – not only in the kitchen. But also in matters of love or when you’re getting dressed. And in typography as well, of course.Current technologies provide us with more opportunities then ever to produce high quality texts. On the one hand, you have perfectly formed typefaces as “building blocks”. On the other hand, there is a typographic “architecture” to satisfy even the

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most exacting demands. There’s an appropriate typeface for every purpose or content, and a myriad of ways to structure and differentiate them. The choices are overwhelming. Advertising opts for powerful contrasts. Brash and crazy typefaces are used to draw attention to the ad; the

systemsmake designing easier

by Silvia Werfel

accompanying explanatory text makes a more sedate impression. Annual reports, reference books and textbooks all require a more unobtrusive differentiation of fonts. A unified overall look is of primary importance. Names and terminology should have a characteristic typeface, but not

so as to force themselves into the center of attention. Headings and sub-headings may have a more striking appearance, but they must still be in harmony with the surrounding typefaces. Type systems that encompass a variety of styles make this kind of design work much easier.

Demos semibolD

Initial concepts for comprehensive type systems surfaced as early as the 1930s, yet remained the exception. In the days of hot-metal typesetting, handbooks generally recommended creating typeface mixtures from a single type family, a family being understood as including all of a typeface’s weights, such as light, normal, semi-bold, and bold, and including all of the italic weights as well. A well-rounded type family also includes small caps, tabular and old-style figures.

From type family to type system

These days, the OpenType format allows for further expansion with ligatures, letter variations as well as cyrillic and greek character sets. And type families can grow even further as needed. From a historic perspective, Adrian Frutiger was the first to develop an actual building block system. He replaced the often-vague descriptions of stem thickness or tracking used for the 21 finely-coordinated typefaces in his Univers™ family with a logical system of numbers (which never gained wide acceptance).

funkLI

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From type family to type system

Combining two styles with Linotype typesetting machines was not unusual in the 1930s. As proof, we have the double matrix (two-letter font) of the narrow Rundfunk™ Roman for setting ads) and its complement, the semi-bold Rundfunk™ Grotesk (for display texts), both of which were, of necessity, weight compatible so they could be combined in one matrix. The book “Specimen Book. Linotype Faces”, published in the USA by the Mergenthaler Linotype Company, also contains numerous examples of matrices containing a normal text and a display type, for instance Excelsior™ with Gothic No. 3 or Excelsior with Memphis™ Bold.

RundfunkIf a typical roman type family joins up with an appropriate sans serif group, or maybe even a slab serif form as well, or some other mix, it’s called a type tribe or, better yet, a type system, and it expands our typesetting capabilities. The Romulus typeface designed by Jan van Kimpen for Monotype and Enschedé in the 1930s was one of the first extended type designs. It included the Roman weights normal, sloped, semi-bold and condensed semi-bold, as well as a Greek alphabet and, oddly enough, a sans serif in four weights, although that last weight was never incorporated into the program. This system was augmented by his Cancelleresca Bastarda, a beautiful calligraphic italic typeface.

Unlike in many human families, the members of a type family always harmonize well, since they have many similar characteristics. Boldface is used to set the accents, while italics and small caps help highlight certain portions of text, such as names or terminology. Greater contrast, however, is not possible within a family, which can sometimes become a little boring.

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Roman and Rundfunk Grotesk are both weight compatib

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Roman and Rundfunk Grotesk are both weight compatib

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o that they could be combined in one matrix

so that they could be combined in one matrix

s

o that they could be combined in one matrix

so that they could be combined in one matrix

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In the 1970s, Gerard Unger took developments initiated in the era of hot-metal typesetting and began systematically adapting them to the electronic era.

ABCDEFGHIJKLMNOPabcdefghijklmnopq123456789ABCDEFGHIJKLMNOPabcdefghijklmnopq123456789

DemOs semIBOlD

PrAxIs BOlD

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In 1975, Unger designed a strong roman type called Demos™ for the Hell Digiset typesetter. In 1977, he added the sans serif Praxis™ and, in 1985, the straight italic called Flora™, both of similar appearance.

The true era of type systems, however, began in the 1980s. In 1985, Kris Holmes and Charles Bigelow designed Lucida® Serif and Lucida Sans specifically designed for low-resolution printers and including a screen version. Independently of one another, Kurt Weidemann and Sumner Stone began working in 1984 on the idea of a comprehensive large-scale typeface family. Stone’s typeface includes Roman, Sans Serif and a style called Informal that is similar to a typewriter font. Weidemann’s Corporate type includes Roman (A), Sans Serif (S) and Egyptienne (E). In contrast to the ITC Stone™ font, they are all weight compatible. Since 1989, Corporate has become the inhouse typeface for the multinational Mercedes-Benz company and an integral part of its Corporate Identity. That same year, Otl Aicher designed Rotis® with its four styles – serif, sans serif and two mixed forms – which appear somewhat “heady” and provoke lively discussions about the font’s legibility.

In the 1990s, the number of type systems comprising two or more styles continually grew. These systems include: Officina® by Erik Spiekermann and Just van Rossum (from 1990), consisting of the duo slab serif and sans serif; Thesis by Lucas de Groot (from 1994); Martin Majoor’s Scala (from 1991); Fred Smejers’ Quadraat (from 1992); ITC Legacy® by Ronald Arnholm (1992); Charlotte™ by Michael Gills (1992); and ITC Humana™, with Script as a third style, designed by Timothy Donaldson (from 1995).

S A N SS E R I Fstone

sanserif

OfficinaOfficina

An ABC of Taxes 13.02.2006 15:05 Uhr Seite 1

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Compatil Exquisit

the Compatil “type system” –convenient and one-stop The “building block” type system Compatil™ provides flexibility, a variety of appearances and levels of distinction as well as immense compatibility since the letterspacing is identical in all styles. The system was inspired by Professor Olaf Leu, who began examining the corporate design of both small and large companies with the goal of raising the overall level of corporate communication – in everything from the business card to the annual report. There was no type family that was capable of handling the nuances of all different purposes. The idea of Compatil was born. Its name says it all. The overall concept is to achieve the greatest possible variety within a common intrinsic character. The result is four styles, each with small caps, semi-bold and true italic weights, all with identical letterspacing within each weight, making them easy to interchange.

Corporate Design:

Each style is easy to read, even in long texts set in small point sizes. In addition, Compatil Fact and Letter are especially suitable for prominent texts, like headings or sub-headings. Style changes at short notice are also easy, as all styles are weight compatible. Despite a variety of layout structures, a completed annual report seems to come from a single mold – and matches all of the company’s printed materials as well.

A sans serif in the style of American Gothic that is concise

and functional (ideal for balance sheets and statistics).

AaBb123

AaBb123

AaBb123

AaBb123

A slab serif that is both

concise and stable.

Modelled on the classic Venetian style,

the typeface is precise yet welcoming.

Compatil Letter

Compatil Text

Compatil Fact

An old style face between transitionals and modern face,

producing texts with a cool and factual elegance.

This article is set in Linotype Diverda

Other “buddy systems” include Timothy Donaldson’s striking ITC Humana™ (1995), which is well suited to a wide range of uses where clarity is important yet a certain friendliness is desired, and the classicist-style Charlotte™, designed by Michael Gills (1992). Charlotte is perfect for almost any text application and particularly effective in bringing across a formal atmosphere.diverda

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Charlotte

Syntax variations originated from asans serif, not the other way around

linotype syntax serif

linotype syntax letter

linotype syntax lapiDar

linotype syntax

DiverDa & Co. – the buddy systemNot every typeface must be expanded into a comprehensive building block system. But the coupling of two styles has become quite common. Diverda™, designed by Daniel Lanz of Switzerland, first appeared in the Linotype library in 2004. It consists of one slab serif and one sans serif style. Diverda Sans is a geometric family of typefaces that are all free from ornament. Swiss designer Daniel Lanz optimized Diverda Sans for maximum legibility. In contrast to many other modern typefaces, which try to squeeze the traditional rounder forms of the alphabet into square designs, and which often attempt to equalize the widths of the capital letters, Diverda Sans remains true to the proper proportions of the Roman alphabet. The x-heights of Diverda’s characters are low, and the differences between curved, square, and triangular elements are very clear. Like the more calligraphic typefaces of the past, Diverda’s strokes exhibit contrast that is inspired by movements of the pen on paper; down strokes are heavier than up strokes. Possible applications for the Diverda Sans include magazine design, as well as advertising for fashion, design, or architectural products. Because of its ten different individual styles or weights, Diverda Sans is also a good fit for Corporate Identity solutions.

the syntax family – from lone warrior to team playerThe sans serif typeface Syntax™ was designed by Switzerland’s Hans Eduard Meier, based on the proportions of Renaissance type. Produced in 1968 as the last hot-metal typeface from the D. Stempel AG foundry, it has remained a classic through a variety of technical changes and adaptations. In collaboration with its creator, a gentle overhaul of the typeface was begun in 1995, named Linotype Syntax. Ultimately, after maintaining a manageable size for 20 years with semi-bold, bold and italic, the family acquired a few additions. In addition to Linotype Syntax Serif, we now have Linotype Syntax Letter (narrow type, e.g., for correspondence) and the display font Linotype Syntax Lapidar, each of which comes in numerous weights for a variety of purposes. The unusual part is that the variations originated from a sans serif type (usually it is the other way around) as well as the fact that the type family was successfully expanded to a system with four styles.

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A practical approachtowards Corporate Type:The Suntory case

L inotype has been instrumental

in supporting the Japanese

corporate group Suntory in the

development of its new corporate identity.

The expert advisory team for the selection

and reworking process was headed by

Linotype’s Type Director Akira Kobayashi

together with British designer Matthew

Carter. As of January 2005, Suntory now

presents itself with an original new logo

and a new corporate type, which has been

adapted by Linotype to meet Suntory’s

needs both in Latin and Japanese variants.

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The continuation of a vision

The core business at Suntory, Japan’s leading beverage manufacturer, is primarily focused on soft drinks and spirituous beverages. For eighty years, the company has been distilling excellent whiskeys with international renown. The field of soft drinks became a similar success factor when the company acquired the Pepsi Cola bottling rights for Japan. In addition, Suntory is also involved in the floristry and gastronomy sectors. Among other achievements, Suntory developed the first rose to blossom with blue petals.

Beyond business, the company founder Shinjiro To-rii considerably shaped the development of Suntory with his vision of reinvesting company profits for the good of society. In connection with its core busi-ness in the beverages industry, for instance, Suntory places special emphasis on the protection of nature and environmental awareness. Among other efforts, Suntory has also opened an international art mu-seum in Osaka as well as the Suntory Hall in Tokyo, a concert hall now known throughout the world for its unique acoustics, especially for classical music.

To better suit its identity as a dynamic company with a unique commitment to society and the environment, Suntory decided to rework its public appearance. In the middle of 2003, the company began looking for international support. Masao Takaoka, a renowned type specialist, recommended Akira Kobayashi, Type Director at Linotype GmbH in Germany. After initial discussions with Suntory, Akira Kobayashi brought Matthew Carter on board as well. In his career, Matthew Carter has produced such highlights as Microsoft’s Verdana and Georgia. When he turned 60 in 1997, Matthew Carter was honored with the Type Directors Club medal for his lifelong contributions to typography.

The Suntory redesign project

For European or North American standards, Sun-tory chose an unusual approach to their redesign and search for a new logo. All company employees were asked to formulate in words what they found to be specifically “Suntoryesque”. The second step in their participation was the creation of 1,018 drafts of possible logos. This comprehensive and time-consuming approach also reflected a core value of the Suntory corporate philosophy, expressed in their motto “festina lente” — which may be roughly trans-lated as “act fast slowly”. This saying was penned by the Japanese writer Ken Kaiko and accurately char-acterizes the Suntory balance between acting fast in a business sense while also preserving traditional company values.

When Akira Kobayashi and Matthew Carter arrived at Suntory in the beginning of December 2003, they were greeted with logo suggestions. Their challenge was to reduce this mass of ideas to a short selection of viable logo candidates.

A series of criteria had to be taken into consider-ation in the selection. On the one hand, the logo had to be legible not only in large formats but also on small labels on bottles or cans. The logo was sup-posed to be immediately recognizable and innova-tive, yet not make concessions to short-lived trends or eccentricities, which might make the logo seem outdated in a few years. The logo also had to reflect the many facets of the company’s activities — from high grade spirits, soft drinks and mixed beverages, to restaurants and flowers.

This collaboration with Suntory turned out to be a truly enriching experience for the expert advisory team. Matthew Carter found the work on the devel-opment of the logo was analogous with one of the company’s core activities — the distillation of raw materials. In narrowing down the many suggestions, the team came closer and closer to the company’s es-sence with every refining step which was a challeng-ing and also rewarding process for the team.

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“The SUNTORY Syntax typefaces

appear fresh to a Japanese eye.

They also are lighthearted and

modern, and have a certain sense

of humor. The words ‘Corporate

Type’ may sound a bit too formal,

but I believe that our corporate

type has a friendly and tender tone

of voice, which is truly appropriate

to express ourselves.“

Kaoru Kasai

Distilling a new image

Shortly after the start of the project, Akira Kobayashi and the design team were able to reduce their selection of logos to only six. After presenting their interim suggestions to the Suntory manage-ment, a further design process began which cul-minated with the presentation of the final logo in the middle of February 2004. Without drawing on existing font designs, the typography of the logo expresses a unique personality which is also timeless in its clarity and legibility.

The new logo also served as a important guide in the selection of the new corporate typefaces. Further cri-teria included the key values of “fluidity, nature and humanism”. Akira Kobayashi suggested a series of typefaces which could be adapted by Linotype spe-cifically for Suntory. The six month’s refining of the font families came to a close in the fall of 2004 with the unveiling of Suntory Syntax and Suntory Sabon with a total of 12 Latin fonts as well as the Japanese families Suntory Gothic and Suntory Mincho. The overall redesign was officially introduced to the public in January 2005. Reflected in its original and refreshing appearance, the redesign marks a bridge between Suntory’s past successes and its progressive visions for the future.

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“The design that has been developed for

Suntory’s new logo seems to me to satisfy

brilliantly these demands. The lettering is

fresh and original — clearly not just bor-

rowed from an existing typeface — and

has plenty of personality. On the other

hand, the practical requirement of legibil-

ity at small sizes on the labels of bottles

and cans has given it a timeless clarity.”

Matthew Carter

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A lasting impression

Following is a brief description of the new type-faces as seen by Kaoru Kasai, Art Director and Vice President of the agency Sun-Ad, chief provider of Suntory’s TV and print advertising. “In the tradition of its founder, Suntory has always been interested in continuously liberalizing its corporate activities. The question arose as to which typefaces would be best suited to represent Suntory, a multi-layered company with interests in a wide variety of fields. At the same time, the corporate type should also convey a sense of youthfulness and sophistication. In the end, the selection was narrowed down to two fonts from Linotype Syntax™ and Sabon™ Next, which in a long process were adapted to work well together with Japanese characters, for instance, whenever multi-lingual texts are needed.”

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Published by Mergenthaler Edition

Linotype GmbH

A partner of the Heidelberg Group

Du-Pont-Strasse 1

61352 Bad Homburg

Germany

Phone +49 (0) 6172 484-418

Fax +49 (0) 6172 484-429

[email protected]

www.linotype.com

Linotype Matrix Volume 4, Issue 2

© 2006 Linotype GmbH

15 Euro

Designed with typefaces from Linotype.

Printed in Germany on Heidelberg presses.

Contributing Authors & Designers

John D. Berry

Nadine Chahine

Otmar Hoefer

Tony de Marco

Richard O’Meara

Dan Reynolds

Claudio Rocha

Paul Shaw

Tiffany Wardle

Sylvia Werfel

All rights reserved. No part of this publication may be

reproduced, stored in a retrieval system, or transmitted

in any form or by any means electronic, mechanical,

photocopying, recording, or otherwise, without the

prior permission of the publisher.

We reserve the rights of errors and changes.

Linotype Matrix is a typographic journal published from

time to time by Linotype. Distributed internationally by

Linotype GmbH.

Trademarks

Linotype, Linotype Library, Auriol, Avenir, Balder,

Bohemia, Caledonia, New Caledonia, Caravan,

Choc, Colombine, Compatil, Conrad, Demos,

Diverda, Eldorado, Electra, Linotype Ergo, Excelsior,

Expectation, Fette Fraktur, Neue Haas Grotesk,

Helvetica, Jiffy, Just Square, Kabel, Kuenstler Script,

Linotext, Luthersche Fraktur, Memphis, Meridien,

Metro, Metrolite, Metromedium, Metroblack,

Mistral, Linotype Notec, Palatino, Peignot, Pirouette,

Praxis, Linotype Puritas, Rundfunk, Sabon, Salto,

Shelley, Staehle Graphia, Syntax, Univers, Why

Square, Wiesbaden Swing, Wilhelm Klingspor

Gotisch, and Zapfino are Trademarks of Heidelberger

Druckmaschinen AG, which may be registered in

certain jurisdictions, exclusively licensed through

Linotype GmbH, a wholly owned subsidiary of

Heidelberger Druckmaschinen AG.

Rotis is a registered trademark of Agfa Corporation.

Futura is a registered trademark of Bauer Types SA.

Lucida is a registered trademark of Bigelow & Holmes.

Agincourt, Charlotte, ITC Humana and ITC Silvermoon

are trademarks and ITC Avant Garde Gothic, ITC Flora,

ITC Legacy, ITC Officina, and ITC Stone are registered

trademarks of International Typeface Corporation.

Cirkulus and Premier are trademarks of Esselte Letraset

Limited.

Scotch and Wittenberger Fraktur are trademarks

and Gill Sans is a registered trademark of Monotype

Typography.

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A T Y P O G R A P H I C J O U R N A L P U B L I S H E D F R O M T I M E T O T I M E B Y L I N O T Y P E

The Life & Work of William Addison Dwiggins

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www.linotype.com

Linotype GmbH Du-Pont-Strasse 1 61352 Bad Homburg Germany

Phone +49 (0) 6172 484-418 Fax +49 (0) 6172 484-429 [email protected] www.linotype.com

Matrix 4 2

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