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Of Men, Monsters and Machines: A Case-study on the Business-model of American Type Founders (atf)

Tobias Holzmann

Introduction 11 Hot Metal for the Typographic Scene

1. On Designing Typefaces at atf 15 Source Material at atf or the Idea of a National Printing Library Excursus: The Tragic Case of the Haas Unica The Library’s Position on the Research Market 2. Type Manufacturing at atf 25 Technological Reﬁnements Ahead of Their Time 3. What Makes a Good Salesman 31 New Guidelines and New Investments Frederic W. Goudy, the Deliberate Outsider The Right of the Mighty Design Decisions, Education and Working-class Heroes — An Attempt at Conclusion 4. Type design Today — A Democratic Profession 43 Historical Background: Digital Type in its Infancy Type 1 — Formula of Success for Individual Type Designers New Clients on an Old Market Excursus: Beyond the Western World Transversality in the 21st Century There is nothing Left But to Wait

Appendix 59 “What the heck are you doin’? Hanging out on the Internet all day long? I need to make a f… living!”

Earl Kallemeyn, 2011. INTRODUCTION The prior quote originates from Earl Kallemeyn, letterpress printer in Brooklyn, New York, with whom I used to work back in 2011. It reflects the necessity of the present essay in its clearest way: how can a type designer in the 21st century sell his work and more urgently, how can former type foundries such as American Type Founders Company (atf) help and inspire future type designers, to set up a successfully running business? First of all, we should not expect finding a universal answer to the question. Espe- cially in the case of atf, we are dealing with a very complex story and rolling back in time, pointing out the important details, is a difficult task. But where does the formula of success actually lay in? This inquire will examine the quite unique business model of atf and its different departments within the company. Furthermore, the question arises, which role played education for the typographic scene on the verge of the 20th century in the United States. The second part of this essay will deal with the present situation of the type industry and examine the influence of atf in times of digital culture: how did the profession of the type designer change and what could be his future tasks?

Hot Metal for the Typographic Scene

Before diving deeper into the ﬁeld, we should shortly hold in and go back in history to when everything started,

11 in order to set up some basic knowledge of the American be fundamentally due to Benton’s prior invention: the typographic scene, atf itself, and why it eventually became Monotype System by Tolbert Lanston (1897), the Ludlow so important. Typograph by William I. Ludlow (around 1912) or the In the 19th century, the Industrial Revolution of the Intertype Linecasting Machine by Herrmann Ridder (1917). printing industry finally arrived in the United States. News- The Industrial Revolution of the printing industry paper printing through cylinder presses had already described herein had also a strong influence on the typo- met the standards in Europe about 80 years earlier, even graphic scene and thus the formation of atf. Since though it was still very expensive and time consuming. the manufacturing process improved, more and more Inspired by James Olivie Clephane’s idea of a mechani- foundries entered into business with the result of an over- cal writing machine, the German immigrant Ottmar production of type and consequently dumping prices.5 Mergenthaler developed a band machine, which was able The latter as well as the impact of the Linotype machine to print aligned bars of metal letters in line. Despite diffi- resulted in the consolidation of 23 American type foun- culties while trying to improve his invention, in 1886, dries in 1892.6 With the financial means of the MacKellar, Mergenthaler could finally present the “Linotype”, an auto- Smiths & Jordan foundry, the pantograph of Benton & matic line casting machine for newspaper, magazine and Waldo Company as well as another important tech- poster printing.1, 2 Clephane’s role is worth being mentioned nical invention, the Barth Automatic Type Setting Machine here, since he provided the necessary financial means (1888) by the Cincinnati Type Foundry, it did not take for the work of Mergenthaler. atf long to monopolize the typographic scene in the Uni- There had been earlier versions of automatic compos- ted States. ing machines in the middle of the 19th century, none of Over the first three decades of the 20th century, the them having been entirely successful. Mergenthaler’s ma- merger dominated the market until economic recession, chine would probably have met the same fate if Linn Boyd inter alia, derogated this successful episode. During Benton would not have invented his pantographic punch- their period of prosperity, atf was not only able to produce cutting machine in 1885.3 The latter could accurately type in greater quantities and less time, but to recognize produce the needed matrices for the Linotype machine.4 the clients’ exigencies. This can be referred to key players Benton and Mergenthaler agreed on a leasing and thus hot like Robert Wickham Nelson, who took over the general metal type became standard in the printing industry in direction in 1896, or Morris Fuller Benton, son of the earlier 1889. In the following years, further composing machines mentioned engineer Linn Boyd, who became the chief came up and in the majority of cases, its success would type designer for the company in 1900.7

1 Robin Kinross, ‘La Typographie moderne’, Un essai d’histoire critique, Paris: Éditions B42, 2012 (ﬁrst published in 1992 as ‘Modern typography’, An essay in critical history, London: Hyphen Press.), p.37. 2 An entirely working model if the Linotype machine had only been presented in 1890 (cf. Patricia A. Cost, ‘The Bentons’, 2011, p.71). 3 Patricia A. Cost, ‘The Bentons’, How an American Father and Son Changed the Printing Industry, Rochester: Cary Graphic Arts Press, 2011, p.67. 4 The production of a metal piece of type back then consisted of three preliminary steps: A reversed letter 5 Theodore L. De Vinne, ‘The Century’s Printer on the Century’s Type’, in Century Magazine 51, no.5, 1896, p.795. was hammered into a piece of copper to create the matrix, which in turn would become one component 6 A complete list with all the foundries that took part in the merger can be found in the Appendix. 12 of the mold. From this mold, individual pieces of type could be cast (cf. Glossary). 13 7 Morris Fuller Benton already joined the company in 1986 (cf. Patricia A. Cost, ‘The Bentons’, 2011, p.103). 1. ON DESIGNING TYPEFACES AT ATF Inquiring the legacy of a type foundry (or should we rather say type “business”) like atf might be quite obvious: the essential idea is that future designers learn from their mistakes. Especially when considering its very dynamic evolution, from rise to fall. Naturally, this would be too sim- pliﬁed as well as too focussed on the economical part. As to atf, learning does not only mean to approve or to deny, but also to take their model as a sort of inspiration for future type foundries. And a closer look reveals that especially the practiced methods at atf as well as the con- servation of resources are providing plenty of reasons to get inspired, may it be in a positive or negative way. In equal measure, one should keep in mind that atf became inspired as well, adopting methods from Europe.

Source Material at atf or the Idea of a National Printing Library

First and foremost, creating a new typeface for atf intends designing something that “sells itself”. As a valid example within our focus we might consider the “atf Garamond” family by Morris Fuller Benton. In 1914, when Benton started to work on his Garamond revival, he did not conceive the idea on his own.1 It was actually Henry Lewis Bullen who convinced him to start developing one of the most ambitious type design projects at atf. The latter had also been involved in the organization of

15 1 Patricia A. Cost, ‘The Bentons’, 2011, p.217. the in-house library in 1908.2 The purpose being to perpe- his own legacy.7 If we assume the latter, one should not tuate the history of printed matter and other related mind inquiring how come that Benton also had access to arts for future professionals, for the time being type de- specimens from the Imprimerie Nationale in Paris, the signers working at atf. On first sight, Bullen provided so-called “Caractères de l’Université”? According to Patri- the inspiration while Benton spent several years on study- cia A. Cost, the same type models had been used as ing specimens in the archive, before he drew his own a guideline for Benton during his design process.8 Hence, interpretation, which eventually was launched in 1917.3 the question arises to which extent Benton used the docu- Now, one might think that it is due to Bullen that ments furnished by his own company? To go one step Benton adopted the method of studying historical docu- further, one could also compare the design process of ments (and also the importance of collecting them). But in atf’s Garamond revival to the one of the copy of the Fren- the end, Bullen’s impact was much less self-initiated than ch foundry Deberny & Peignot, which came out in 1926. it is communicated through the major writings on him Ironically, the research on the latter revival started in 1914 and the American type design scene.4 He also had his own as well, but their version only came out nine years after master in the company, Robert Wickham Nelson, the back the one of atf and it was much less successful.9 then director at atf.5 Furthermore, the money he inves- What is interesting here is not only the fact that the ted in buying new documents to expand the collection idea of setting up an in-house library was not necessarily came directly from atf. Interestingly enough, a couple of linked to the successful designs of atf, but also the years before installing the library, precisely in 1906, Bullen way Benton’s Garamond became widely known: initially, it had already been mentioning the idea of establishing a had been designed for book typography, but it has been National Printing Library in one of his articles for The Inland “[…] used in areas for which it was never intended, includ- Printer, the major American printing journal.6 This state- ing advertising.”10 — atf has not exactly a legacy to have ment leads to the assumption that atf just might have been a traditional type foundry, caring deeply about ethics been the accurate financial partner to implement a project and esthetics. In fact, they focussed on selling. That is of this kind. Either Bullen merely wanted to print his label why, it is even more intriguing how come that they could on the design of a successful (future) typeface — Benton provide typefaces of such a quality, in particular con- had already designed a successful Bodoni revival five years ceived for the use in body-copy size. As mentioned in the earlier, so Bullen could be confident that Benton’s design quote, the power of most of atf’s typefaces laid in the would be adequate to the task — or he wanted to push foundry’s capacity of “reading” the market and coming up the reputation of “his library” further and this way set up with new designs. This might have been one of the rea-

2 Today, the collection can be consulted at the Rare Book & Manuscript Library at Columbia University in New York City. 3 Patricia A. Cost, ‘The Bentons’, 2011, p.217. 4 More information can be found in the ofﬁcial monograph: David W. Mallison, ‘Henry Lewis Bullen and the Typographic Library and Museum of the American Type Founders Company’, Ph.D. diss., Columbia University, 7 Patricia A. Cost, ‘The Bentons’, 2011, p.208. 1976. 8 Patricia A. Cost, ‘The Bentons’, 2011, p.217. 5 Dr. Ludwig Mohr, in conversation with the author, [09.12.2015]. 9 Ministère de la Culture et de la Communication de France, ‘Garamond’. URL: http://www.garamond.culture.fr/ 6 Maurice Annenberg, ‘Type Foundries of America’, And their Catalogs, New Castle: Oak Knoll Press, 1994 (1st en/page/early_20th_century_interpretations_i, [last consulted 11.12.2015]. 16 edition: 1975), p.12. 17 10 Ministère de la Culture et de la Communication de France ‘Garamond’, [11.12.2015]. sons, why especially people from the advertising sector felt attracted to their designs. Studying the version of Ben- ton closer, and comparing it to the “Caractères de l’Uni- versité”, provides evidence: the design of two of the most commonly used letters — the lowercase “a” and “e” — are quite dynamic and unusual.11 The lack of the Linotype machine to print letters in display size gave atf another good reason to better provide body-copy typefaces that were working both, in small as well as in display size. At that time, newspaper articles and advertisements had previously been printed together. The appearance of advertising agencies led to an increas- ing demand of advertising typography, which usually would have to be printed in bigger sizes.12 Yet, the Linotype machine — running a system of line-assembled matrices — would only print type up to a size of 24 points. Compared to that, the composing machine of Monotype — based on a single letter casting system — would have been able to print faces up to 72 points, but their technological compe- tence was not on the point at that time.13

Excursus: The Tragic Story of Haas Unica

Considering what is happening nowadays, one might see parallels. Looking for examples within our focus, we should examine the prominent case of the Haas Unica, originally designed by the Swiss “Team’77” from 1973 to 1980. Back then, it was meant to be the successor of Helvetica in the

11 Ministère de la Culture et de la Communication de France ‘Garamond’, [11.12.2015]. 12 Patricia A. Cost, ‘The Bentons’, 2011, p.170. 19 13 Robin Kinross, ‘La Typographie moderne’, 2012, p.37. era of photosetting.14 Against expectations, this formerly dominant technique soon became obsolete and thus Haas Unica “[fell] into the gap of this transitional period.”15 But in the early 21st century, designers from Switzerland redis- covered the typeface and as soon the trademark had been given up by Linotype (2005), plans were made to work on a digitized version. Almost simultaneously, Monotype started distributing its (entire) revival “Neue Haas Unica” by Toshi Omagari in 2015; Lineto followed shortly after with the “ll Unica77”, designed by one of original authors of the Haas Unica, Christian Mengelt.16, 17 A few years earlier, there had already been different digitized versions based on Haas Unica, but due to copyright issues they had to be pulled from the market.18 Even if one has to decide which version to opt for, intentions are clear: while Oma- gari drew a more personal and expanded interpretation, the Lineto foundry, together with Christian Mengelt (assis- ted by Maurice Göldner), wanted the original one “[…] to [be] preserve[d] […] in its true form and […] state.”19, 20

The Library’s Position on the Research Market

Deserving closer attention, the library is in fact an impres- sive place to understand the history of American printing and type design. Primarily, since the amount of quality items printed in a very low edition is unique.21 After all, one has to decide on their value regarding the history of type design, as lots of the designs are revivals based on exter-

14 Lineto, ‘Vanishing Point of Modernism’, LL Unica77, URL: https://lineto.com, [17.12.2015]. 15 Ibid. 16 Monotype, ‘Neue Haas Unica’, URL: http://www.monotype.com/fonts/neue-haas-unica/, [19.01.2016]. 17 Lineto, ‘Vanishing Point of Modernism’, LL Unica77, [17.12.2015]. 18 Stephen Coles, ‘From Helvetica to Haas…’, URL: https://m.flickr.com/#/photos/stewf/ galleries/72157644553307792/, [19.01.2016]. 19 Linotype, ‘Interview with Toshi Omagari’, URL: http://www.linotype.com/7021-34722/interview.html, [19.01.2016]. 20 Lineto, ‘Vanishing Point of Modernism’, LL Unica77, [17.12.2015]. 21 21 Stephen H. Horgan, ‘The Old Maestro Leaves’, in The Inland Printer, vol.101, no.5, 1938, pp.33-37. nal resources that preferentially have been provided by of atf and he worked in the advertising department. The European type foundries. The archive, having been taken latter position could be a hint on where his ambition of out of its original context and being based on the book- pushing the recognition of the library was coming from. His shelves of all the individual foundries that have been part new position in the company was less important than of the consolidation of 1892, it is a pity that the actual the one before. Although, we know that the library only got tools and machines have been auctioned in 1993 for cheap the status it now has, far after Bullen and atf.26 Despite, money since there is no other authentic proof of atf’s it is undeniable that Henry Lewis Bullen himself must have existence.22 Apart from that, one of the rare places to find been an expert on curating and the science of bookmak- material on atf are the Smithsonian libraries in Washing- ing. He was lucky enough to learn his metier in a printery ton d.c., which have been able to acquire matrices of the in Australia, his home country, at the age of only 14 years.27 business trust.23 Unfortunately, one big issue of these And with all due respect, there is no proof provided, archives is their lack of organization and modern facilities. whether Bullen was simply spending money on quantity Taking the Smithsonian as an example, remarkably there instead of quality. is no catalogue yet, not even more than 20 years after the We can be certain that the library improved the collec- fall of atf. It would certainly be easier for researchers or tion of documents related to printing and type design in type designers who want to get inspired, to go through all the United States — especially those coming from abroad. their material.24 But it remains unsettled, which value the library has with Eventually, one can see parallels with the work of regard to the history of American type design. Henry Lewis Bullen: there is a series of anonymous as well What finally is inspiring about the design department as signed advertisements that have been published in The at atf, is rather their ability to understand the needs of Inland Printer, in the very early 20th century. Bullen was the(ir) client(s) and to create something time-bound, than also working there as a freelance writer, taking care of his setting up a book collection to build a personal oeuvre as proper section. — Those advertisements declared him to it seems to be the case for Bullen and the atf library be “[…] in the market for Typographia, and [being] pre- and museum. Though, in the long term view, atf miserably pared to pay cash with order if price is right, for books and failed to stay competitive and up to date with respect to pamphlets relating to ancient and modern printing; […].”25; their position on the market, using the example of a total in this case, it would be rather appropriate to call the re- absence of digital quality versions of their type today.28 sources of atf a “stock” than a library. Before starting to collect, Bullen had been the manager of the New York plant

22 David Pankow, ‘The Rise and Fall of ATF’, in Printing History, whole no. 43/44, vol.22, no.1-2, 2002, pp.13-14. 23 Mac McGrew, ‘American Metal Typefaces of the Twentieth Century’, New Castle: Oak Knoll Press, 1993 (1st edition: 1986), p.16. 26 Dr. Ludwig Mohr, in conversation with the author, [07.12.2015]. 24 Dr. Ludwig Mohr, in conversation with the author, [11.12.2015]. 27 Maurice Annenberg, ‘Type Foundries of America’, 1994, p.12. 22 25 Maurice Annenberg, ‘Type Foundries of America’, 1994, p.13. 23 28 Dr. Ludwig Mohr, in conversation with the author, [11.12.2015]. 2. TYPE MANUFACTURING AT ATF Being a type designer in the 21st century, it might not be obvious to consider the manufacturing as an important part of the process. We are surrounded by lots of type foundries, run by only one or two persons that are mostly both in charge of the design. Post-production is often given up to external collaborators. The latter are in charge of the mastering of fonts: licensing, hinting, kerning, etc.1 In the case of atf — around 1900 — we are touching ground in a period of designers, type casters and setters, stone carvers as well as calligraphers.2 The main difference might be that most part of the time, these people had to run through all the steps of the process — handle stone by using a chisel, setting type, using the press, etc. — to be able to design suitable type. People such as Morris Fuller Benton, Frederic W. Goudy or Robert Hunter Middleton did not get their skills in college, but generally by following their mentors from their very early days until employment in the foundry.3, 4 Education consisted of “learning by doing” next to the print shop/press. This also included failure in certain cases. A quite prominent example is Linn Boyd Benton who tried his luck as a stone carver without success; although, practicing gave him the basis to work in the ﬁeld of type design in a broader sense.5 Despite the fact that apprenticeships also existed in Europe rather than academic programs, as to the case of atf it seems important to be mentioned, considering that the company was based on a brutal hierarchy where designers usually did not talk to workers, in other words the people who cast and

1 European foundries refer to well-established typographic consultants such as Christoph Köberlin (URL: www. christoph.koeberlin.de, [12.12.2015]) or Igino Marini (www.ikern.com, [12.12.2015]). 2 I purposely exclude technical drawers from this group, their practice having been much less creative and in a certain degree pragmatic as to the designer. 3 Patricia A. Cost, ‘Linn Boyd Benton, Morris Fuller Benton, and Typemaking at ATF’, in Printing History, whole no.31/32, vol.16, no.1-2, 1994, pp.26-35. 4 Although working as type designer, Morris Fuller Benton initially graduated with a degree in mechanical engineering at Cornell University in Ithaca, New York. 24 25 5 Patricia A. Cost, ‘The Bentons’, 2001, p.22. fitted type.6 In short, new designers usually had the neces- delineating machine, a variation of the pantograph and also sary means close by in order to practice and learn what invented by Linn Boyd, would facilitate the task and cre- their business was about. Compared to that, a type design- ate new possibilities to optimize type: to approve quality, er of our time should be aware of what will happen to the sketches would be scaled up as well as considered in (digital) file, in order to provide something ready for further body-copy size.8 In a further step, the technical corrections processing. Yet, he might not have the technical know- would be made in the drawing department. But before a ledge for the entire process. new typeface could finally be cast, there were a couple of more steps — less referred to the design process — these “working drawings” would have to run through. Technological Refinements Ahead of Their Time Keeping in mind the hierarchy at atf, the function of the type drawers was much less recognized than any other One of the main advantages of the type design scene in department within the company. The drawers only had the United States at the beginning of the 20th century was a background in engineering and thus no idea about typo- the Industrial Revolution and thereby mechanization. Hen- graphy and its use. Judging the quality of a typeface in ce, their way of producing type has been much faster and body-copy size required skills that letter drawers could not efficient compared to the one of European type foundries.7 provide. — Even though, salary was high enough to nourish Indeed, the design had to be adapted to the respective a family, their role inside the company appears prepos- machine, especially regarding its size. For this very reason terous to an outstanding person, particularly in comparison it was definitely favorable that engineers and designers to the people from the sales department.9 Albeit, their could work side by side, at least from a technical point of job was of immense importance for the quality of type, one view. Albeit, there were people like type designer in chief, has to imagine the working atmosphere of a factory. Morris Fuller Benton, who formerly had joined the company Looking for an equivalent of a type drawer in the 21st especially because of his father, Linn Boyd, the inventor century, one ends up with the type designer himself. In this of the famous pantographic punchcutting machine. In the specific case, post-production is not of the same value, first instance, Morris Fuller would show the sketches for since the workman — the one who takes care of hinting or a new typeface to somebody from the department of en- kerning — habitually relies strongly on the instructions gineering, for the purpose of finding out what would have of the designer. Generally speaking, today, we might only to be adapted for the later production in metal. Apart make a difference between type designated to be used on from the automatic punchcutter, other tools such as the screen and type to be printed. However, one has to bear

8 William J. Kaup, ‘Modern Automatic Type Making Methods’, in American Machinist: A Practical Journal 6 Dr. Ludwig Mohr, in conversation with the author, [07.12.2015]. of Machine Construction, vol.32, 1909, p.1042. 26 7 Alice Savoie, interviewed by the author, [02.11.2015]. 27 9 Dr. Ludwig Mohr, in conversation with the author, [10.12.2015]. in mind that different printing techniques will lead to different results.10 A good example might be a designer veri- fying his design by printing proofs. Since quality pays off, he would use a high-quality laser printer or, right before ﬁnalizing his design, even make offset proofs, instead of relying on the quality of less adapted tools. This is just a very simple example, but when it comes to more speciﬁc techniques such as letterpress or rotogravure, type has to be adapted to accomplish its functions.11

10 Monotype Imaging (back then Monotype) produced the ﬁrst Laser typesetter, the LaserComp, in 1976, URL: www.myfonts.com/foundry/Monotype/, [11.12.2015]. 29 11 Dr. Ludwig Mohr, in conversation with the author, [13.12.2015]. 3. WHAT MAKES A GOOD SALESMAN Exploring the type design of atf, one should speciﬁcally look at its relation to the advertising sector. The company relied a lot on commissioned jobs, for example contracts with the government to produce curved type for “[…] wire making and cast logotypes.”1 Such is also the case for Linn Boyd and Morris Fuller Benton: they developed and provided atf with typographic implements. The type design business that we know and that has been investigated through lots of publications is certainly their best known business branch. — But atf was also managing a huge corporate culture with companies such as Kingsley Machines. Eventually, it also must have been due to their economical streak, that in 1986 the company was purchased by its own client. One can only assume that Kingsley preferred to pay once and for all, instead of condoning atf’s sump- tuous prices any longer.2

New Guidelines and New Investments

Considering that atf was holding a monopoly in the type market in the United States from 1900 until 1940, the management tried to find ways to make even more money, which led them to diversification, meaning the trade and development of printing presses such as Kelly or Little Giant.3 The company’s expansion into different fields might have been a reason amongst others for the slimming profit margins regarding their designs; focussing on different

1 Dr. Ludwig Mohr, in conversation with the author, [10.12.2015]. 2 Ibid. 31 3 Patricia A. Cost, ‘The Bentons’, 2011, pp.162-163. markets is often accompanied by a subliminal reduction Frederic W. Goudy, the Deliberate Outsider of quality. Even though, in the middle of the 20th century, there happened to be a reduced type market due to con- The first type designer in the United States to run a “one- stantly changing technologies.4 person” foundry also selling his own designs might have Another reason for their expansion in the field of print- been Frederic W. Goudy.8 He did not only publish speci- ing implements might have been the strong concurrence mens promoting his work through advertisements, but also from European type foundries. It was the beginning period directly offer deals via external printed matter.9 It is worth of the Swiss Style in the 1950s — a typographic style that mentioning that his first specimen only came out in 1914, emerged in Russia, the Netherlands and Germany in three years after he started publishing the advertisements early 1920s — first and foremost, through the arts as well through magazines. Goudy’s reputation as a type design- as practices of editorial design.5 Furthermore, it became er who was either disliked or treated hagiographically, can much harder for the American type foundries to copy suc- most of the time be referred to the snobbish attitude by cessful designs from European foundries, since “[…] in some of his American fellow type designers.10 — Albeit, 1957, Charles Peignot, director of the French Deberny & pointing out endlessly his independence from atf, Goudy Peignot foundry in Paris, created the Association Typogra- still has to be seen as an important actor for the business phique Internationale (atypi), with the aim of defending trust. Some of his designs have been promoted by atf, the rights of designers and founders.”6 Indeed, Peignot’s yet, considering him as a freelance collaborator. Moreover, idea was a good attempt to protect original designs. In and that might have been the reason for the antipathy fact, just a few years earlier, he had to fight with another shown to him by fellow designers such as Daniel Berkeley reowned French type designer, Roger Excoffon. Due to Updike or Stanley Morison, his designs were appreciated in the lack of legal clarity, he lost a lot of money and recogni- particular by the world of advertising.11 According to the tion for his work. In the end, the impact of atypi was quite records, Goudy’s reputation got cemented especially be- cautious and its creation can rather be seen as a proof cause of his Goudy Old Style typeface, which was launched of concept. In times of digital type, everybody can drop a in 1915 through atf.12 One can only assume that he became file into a font editor, make some minor changes and this a necessary actor in the structure of the company for way produce “[…] a legal new font [he] can charge for.”7 In his designs. Personal relations must have played an import- the 21st century, protecting digital type is still a big issue. ant role, since less recognized designers such as Warren Chappell were appreciated while “selling Goudy” was more or less a necessity, “[…] despite grumblings.”13

8 Paul Shaw, ‘An appreciation of Frederic W. Goudy as a type designer’, URL: http://www.paulshawletterdesign. com/2014/03/an-appreciation-of-frederic-w-goudy-as-a-type-designer/, [11.12.2015]. 9 Frederic W. Goudy, ‘Typographica’, A Quarterly Treating of Printing, Letter Design and Allied Arts, New York: 4 Maurice Annenberg, ‘Type Foundries of America’, 1994, p.42. The Village Press and Letter Foundery, no.1, 1911, p. unknown. 5 Richard Hollis, ‘Le Graphisme de 1890 à nos jours’, Paris: Éditions Thames & Hudson SARL, 2002 (1st edition in 10 Paul Shaw, ‘An appreciation of Frederic W. Goudy as a type designer’, [11.12.2015]. engl., ‘Graphic design: A concise history’, London: Thames & Hudson Ltd., 1994), pp.44-75. 11 Ibid. 6 Alice Savoie, ‘French type foundries in the twentieth century’, Causes and consequences of their demise, MA 12 Frederic W. Goudy relied predominantly on the work of Robert Wiebking to cut his types, with the exception diss., University of Reading, 2007, p.28. of Goudy Old Style (1915) and Goudytype (1916). 32 7 Dr. Ludwig Mohr, in conversation with the author, [12.12.2015]. 33 13 Dr. Ludwig Mohr, in conversation with the author, [10.12.2015]. atf could have benefited even more from Goudy’s types, but he was clever and experienced enough to promote them through the earlier mentioned advertisements, even before having finished them. One must imagine that a freelance designer is always seeking for money and thus clients. So he would have been lucky if one day somebody like atf is knocking on his door, asking whether it is possible to acquire the licenses for sale. He could have made a fortune this way. But if the company discovered his work earlier, it would have been a waltz to copy him and suddenly produce the type. By promoting it before the official launch, Goudy would have a published record of his design, which would be valid as proof in court, in case atf would “steal his design”, contrary to expectations.14 Compared to other freelance designers of his generation such as Otto Eckmann, Eugène Auriol, Otto Hupp or Peter Behrens, Goudy became “[…] a [true] professional type designer as opposed to a commercial artist.”15 And if there is a reason for Goudy’s liability to self-glorification, it must have been economic survival. Certainly, his outgo- ing and warm attitude was a good means to get in touch with other people easily; qualities that Morris Fuller Benton did not incarnate and for this reason was lucky enough not to be obligated to promote his types on his own.16 Goudy instead, was working from his desk at home, together with his wife Bertha, proceeding in a way that reminds a lot the work of individual, digital type foundries of the 21st century. While the latter can rely on social media, Goudy had to explore print as much as possible, as the “new

14 Dr. Ludwig Mohr, in conversation with the author, [12.12.2015]. 15 Paul Shaw, ‘An appreciation of Frederic W. Goudy as a type designer’, [11.12.2015]. 35 16 Patricia A. Cost, ‘The Bentons’, p.173. mediums” back then such as radio transmission — the interest.18 The few individual but still forefront foundries most effective way to reach a mass of people at the same saw the merger as the only way to survive and to compete time — felt financially unreachable for small businesses. with Linotype. The less powerful foundries were affected At some point, the pressure of the concurrence must have by this “super foundry” in a different manner: once taken become a burden not being able to carry anymore, so that over, the employees most of the time lost their position he had to team up with external partners to sell his type. and income. The respective foundries’ equipment and type Consequently, The Continental Type Founders Association matrices passed into atf’s ownership as well. announced a new collaboration through “Typographica”, Being part of atf was not a choice but either chance or written by Goudy himself in the third person:“[…] the addi- bad luck. One can easily compare the situation to Europe, tional work of advertising, marketing, accounting, etc., in particular France (cf. Deberny & Peignot/Fonderie Olive) requires such an expenditure of time and labor on his or Switzerland (cf. Haas/Stempel).19, 20 Eventually, industry [Goudy] part that it seemed advisable to make an arrange- was mainly in control of the foundry’s destiny: the com- ment that would relieve him of such details […].”17 Due to panies being able to fulfill societies’ exigencies were the his engagement at Lanston Monotype, he was able to sell winners in this fight of economical power. To make matters through another foundry. worse, there was the American’s social behavior. It might Although not directly connected to the subject, the be hard to imagine for those who never visited the country role of Frederic W. Goudy is more than important, being a or lived there, but compared to Europe, business is dryer kind of “prototype” of an individual type foundry as we and based on the “right of the mighty”. Cities are much know it in the 21st century. more populated than in Europe, thus there is more competition. One’s (professional) neighborhood is not going further than the house next to one’s own. What happens The Right of the Mighty abroad is none of one’s business: “Charity begins at home: the idea of neighborhoods does not apply for companies, On the contrary, the trade department at atf must have that is why everyone is only taking care of his own […].”21 had a good strategy as well, how to sell their typographic goods. Hence, regarding the overall foundry situation in the United States, this must have been less founded on the quality of their advertisements. The consolidation to atf was a duty, rather than an idea of collaboration by

18 Dr. Ludwig Mohr, in conversation with the author, [09.12.2015]. 19 Alice Savoie, ‘French type foundries in the twentieth century’, 2007, pp.28-29. 20 Heinrich Fleischhacker, ‘400 Jahre Haas’sche Schriftgiesserei AG: Rückblick — Gegenwart — Ausblick’, in Librarium: Zeitschrift der Schweizerischen Bibliophilen-Gesellschaft, no.27, 1984, p.53. 36 17 Frederic W. Goudy, ‘Typographica’, 1927, p. unknown. 37 21 Dr. Ludwig Mohr, in conversation with the author, [11.12.2015]. Design Decisions, Education and Working-class Heroes — an Attempt at Conclusion

To conclude on the legacy of atf nowadays, it is hardly de- niable that a strong liability to economic power seems to be much less visible as to the type design scene of our time. Simultaneously, I have the feeling that the foundries, which have been set up while I started developing an interest for the profession, try to promote their work much more through esthetical advertising than atf back then. A deeper insight into their work will be provided in the following chapter. Nonetheless, Americas biggest ever existing type foundry had steady “cash cows” in the back that were only known to insiders and researchers: type that has never been licensed but for one specific client. And if we take a look at the professionals’ websites and portfolios today, we discover a lot of typefaces for specific clients as well.1 Commissioned jobs usually have stricter guidelines and thus reflect less the vision of the designer; it is easy to understand why foundries rather show the work where they took the decisions. Regarding this argument, atf and type foundries these days might have things in common. Reflecting on the production of type at atf, the question arises to which extent a designer of our time might be able to guarantee the best quality (of his design) with respect to a specific printing technique. Indeed, in this case the question of the legacy of atf relates a lot to the one of education. In the end, the answer is ambiguous: on the one hand, we can say that “learning by doing”, especially at a

1 Despite the fact that, in the end, a commissioned typeface will only be used by one single client, people seem to be much more open-minded as to the designers creativity. Type designers such as Radim Peško are 38 39 a good example. URL: http://www.radimpesko.com/fonts/mitim, [15.12.2015]. very early stage, is certainly giving a better idea of type and takes are often justified through the difficult economic its impact, rather than theory classes at college. On the circumstances, especially in the first half of the 20th cen- other hand, not every type designer will have the chance to tury. After having talked to different people who have been be born into a family of printers or have easy access to a deeply involved in the business in America, I can observe printing press. Furthermore, nowadays type designers are a tendency to romanticize the story about atf as it has trained to fulfill the clients’ exigencies in the 21st century. been officially documented for now.2 A research, conside- Collaborations with “experts” are one solution and are ring the “other” documents that are far from being acces- finally transforming the type designer into a kind of art di- sible in Europe would certainly bring forward interesting, rector; a deeper review of this topic would certainly be alternative insights. interesting in the future. Eventually, the designer should be An even bigger problem, which also concerns — at able to provide a design that is adapted to the respective least in parts — my essay, might be the difference between technique; may it be for print or on screen. the point of view of an academic person and the one of Although, American type design is based first and fore- somebody who practiced the craftsmanship. Even though, most on — carefully worded — revival culture, their designs, I used to work in a letterpress shop in Brooklyn, New York, may they be original or not, still seem to inspire desig- I have to admit that during the time I spent there, I only ners in the 21st century. These unique letterforms, witnes- got a glimpse of what my boss’s business is truly about. sing a new manner of legibility in body-copy and display size, are conserved in (local) archives. As I already tried to point out: what is rather important is the method of going to a place related to a specific kind of design/designer and get inspired, than the idea of accumulating as many documents as possible. Consequently, the idea of the atf library and museum is more on the practice of collecting by itself and the foundry’s reputation than on type design. One of the main issues while inquiring atf has certainly been the lack of objective resources; documents that are not only glorifying the masterminds and certain employees, but bringing up crucial questions related to the company and illuminating the “workman’s world”. Failure and mis-

2 I am referring especially to Dr. Ludwig Mohr, an expatriate Swiss type designer, printer and historian, as well as 40 41 to Earl Kallemeyn, American letterpress printer and teacher. 4. TYPE DESIGN TODAY — A DEMOCRATIC PROFESSION Eventually, I would like to consider my own situation as a prospective type designer and map the probable future of type foundries. For this reason, we have to make a step back in history, to establish a basic knowledge regarding the evolution of digital type.

Some Historical Background: Digital Type in its Infancy

In the late 1980s, the type design scene started exploring new shores, when American major companies Apple and Microsoft decided to join forces in order to develop a stan- dardized ﬁle system for typefaces that could run on both operating systems.1 The years before had been marked by endless different versions, provided by either Adobe Sys- tems, Apple or Microsoft. That is why the two latter agreed that one of them, Apple, would focus on the development of an outline font standard — TrueType; Microsoft came up with an alternative image interpreter — TrueImage.2 At the same time, the third party in this competition, Adobe Systems, would work on MultipleMaster (mm) fonts, an extension of their established Type 1 PostScript format, going back to the early 1980s. Back then, the company was licensing type, based on different computer languages.3 Albeit, Adobe Systems tried to challenge their concurrents by rejecting any kind of support of their formats,

1 Emily King, ‘New Faces: Type Design in the first Decade of Device-independent Digital Typesetting’, Ph.D. diss., Kingston University, 1999, Chapter One ‘Technological and Industrial Change: Setting the Scene’. 2 ’Driving Adobe: Cofounder Charles Geschke on Challenges, Change and Values’, URL: http://knowledge. wharton.upenn.edu/article/driving-adobe-co-founder-charles-geschke-on-challenges-change-and-values/, [15.12.2015]. 3 A more detailed explanation of the different files formats can be found on the blog of Adobe Typekit. 43 URL: http://blog.typekit.com, [14.12.2015]. their mm fonts died out only a couple of years after having Sumner Stone, former Director of Typography at Adobe been introduced. — Today, Microsoft’s OpenType format Systems, launched Stone Type Foundry in the United is well established on both operating systems and we are States in 1990.7 Matthew Carter, formerly working for Lino- still dealing with the same format (amongst a couple of type and later cofounder of Bitstream, one of the first di- older ones not yet having been converted and will probab- gital type foundries worldwide, left the latter in 1990 as ly never be), the only difference being that now, theoreti- well. Together with Cherie Cone, he set up Carter & Cone cally, everybody can produce (digital) typefaces. Until Type.8 It may also not be a coincidence that Joan and Erik 1988/1989, Adobe Systems kept their “[…] former Type 1 Spiekermann started running their ambitious company fonts locked up in encrypted computer language.”4 That FontShop in Berlin in 1988/1989.9 way, the concurrence was unable to improve and develop Another important parameter related to the arising in- the existing technological standards further. When shortly dividual type foundry scene are the designer’s tools that after, the company lost control on the manufacturers of became more and more affordable for smaller companies. opening PostScript technology, everybody was technically In 1986, Fontographer is launched as the first digital font able to produce fonts on their own.5 editor. Shortly after, other tools such as IkarusM by Peter Karow and Petr van Blokland follow and in 1993, Soft Union Ltd. publishes by FontLab a type editor also running on Type 1 — Windows.10 Especially noteworthy in this case is the foun- Formula of Success for Individual Type Designers dry of Rudy VanderLans and Zuzana Licko, also known as Emigre Graphics. Founded already in 1984, these two Euro- The launch of the Type 1 source code lead to an explosion pean expatriates were among the first, developing digital of individual digital type foundries in the early 1990s. It typefaces during the advent of “new media”. Remarkably, was also at that time that desktop publishing technology they were believed having ceased producing type. On became more or less economically accessible to smaller the contrary, they were “[…] preoccupied with expanding businesses. The type monopoly of bigger font providers [their work] upon and fine tuning […] earlier typeface de- such as Monotype and Adobe Systems (through their soft- signs. This was prompted by OpenType.”11 During that time, ware as well as individually) began to decrease.6 An impor- type design becomes more and more democratic, which tant point regarding this evolution is the fact that lots of can also be related to inventions outside the field, such as designers having been involved in the development of type the World Wide Web (1993) or web fonts (2007).12 As a technology, quit their jobs to start their own businesses: result of the economical recession, this new typographic

7 Robin Kinross, ‘The Digital Wave’, URL: http://www.eyemagazine.com/feature/article/the-digital-wave, [13.12.2015]. 8 Paul Shaw, ‘An Interview with Matthew Carter’, URL: http://www.printmag.com/interviews/an-interview-with- matthew-carter/, [24.10.2015]. 9 ‘Erik Spiekermann’, URL: https://www.fontshop.com/designers/erik-spiekermann, [14.12.2015]. 4 Emily King, ‘New Faces: Type Design in the ﬁrst Decade of Device-independent Digital Typesetting’, 1999, 10 ‘Type Foundries Today’, [14.12.2015]. Chapter One. 11 Zuzana Licko, interviewed by Pascal Béjean for Étapes magazine, France, 2007-2009, URL: http://www.emigre. 5 Ibid. com/Licko6.php, [22.12.2015]. 44 6 ‘Type Foundries Today’, URL: http://census.typographica.org/timeline, [14.12.2015]. 45 12 ‘Type Foundries Today’, [14.12.2015]. landscape is also marked by a broader offer on specialized type design degrees all over the world.13 Students are learning about history and different techniques, but they are naturally trained on screen.

New Clients on an Old Market

On the one hand, we are having the designer, who theoreti- cally can start running his own business from home. On the other hand, we are also dealing with a new customer. Tools are not only accessible for the creator, but also for those who are in need of typefaces: typographers. This term has to be understood in a broader sense, since we are not only considering graphic designers, but also amateurs. Hence, being a type designer and retailer, it is important to understand what the customer is looking for, may the reason for purchase be functional or esthetic. In both cases it is important to clarify what the counterpart is paying for. — Now, since typeface piracy is (still) a big problem, it will be one of the future challenges for type foundries to ﬁgure out efﬁcient distribution channels.14 What goes along with the subject of the customer, is the one of technical support. Democratizing the retail market means democratizing the client. More clients, especially amateurs, means less knowledge about typography and its use. It remains to be seen how small businesses will stick with this supplemen- tary amount of work of “after-sales service” in the long term view.

13 A list of institutions offering degrees in type design can be found on Wikipedia. URL: https://en.wikipedia.org/ wiki/List_of_institutions_offering_type_design_education, [10.12.2015]. 14 There are already some efficient renting as well as trial solutions provided by foundries such as Swiss Typefaces (URL: https://www.swisstypefaces.com/licensing/, [15.12.2015]), Dalton Maag (https://www. daltonmaag.com/library, [15.12.2015]) or Typotheque (https://fontstand.com, [15.12.2015]), but the major 47 part of the industry is still relying on previews online or downloadable pdf’s. Excursus: Beyond the Western World models. The challenge for redesigns is connected to the question of how to translate effects, which are strongly Furthermore, I imagine that one of the future tasks of type material-related, through new technologies.19 Concerning foundries will be to deal with mixed identities. Especially this matter as well as the one of new designs, the role regarding typographic monopolies like the one of atf, it will of typography on the Internet will be crucial. Screens are be interesting to see how companies are facing a growing getting better and smaller and at some point in the future, interest in digital type design in regions, having a different optical corrections such as font hinting might not be ne- typographic identity.15 Graduation programs like the Type & cessary any more. Regarding the future of commissioned Media class at the Royal Academy of Art (kabk) in The Ha- typefaces, designers might have to deal with more dyna- gue, Netherlands, are already facing these tendencies for mic, animated projects, which until now have hardly been a couple of years, proved by a strong rate of students com- explored. An interesting example of an “undefined type- ing from non-latin regions. Moreover, the course at Read- face” might be the mtdbt2f (Meta-The- Difference- ing University in the United Kingom is playing a leading role, Between-The-Two-Font) by the British-American graphic encouraging its students to produce typefaces for the design studio Dexter Sinister.20 Infinite in this case is rela- world market.16 Teachers like David Březina, Titus Nemeth ted to the possible shapes. or Miguel Sousa, all former students of the same program, Apart from that, it will be much more interesting to give the necessary guidance during the course. Sadly, it see, how websites can be used to promote typefaces. One took the typographic scene until 2005 to assume that the can already observe some cautious prototypes by Grilli scope of type design is going beyond the Western World.17 Type, a foundry from Switzerland.21 Hence, future type de- Thus, collaborations like the one between Swiss Typefaces signers will also depend on transversal (studio) solutions: and 29lt foundry should be given special importance.18 designing type on the one hand and building the platform for its promotion on the other hand. The Geneva-based graphic design studio Gavillet & Rust has certainly broken Transversality in the 21st Century new ground concerning this matter, at least in Switzerland. Back in 1998, having been fallen into the gap between One key element, however, will still be the design. Tenden- classic agencies and vanguard studio models, its founders cies in the 21st century are pending between revivals — Gilles Gavillet and David Rust started running a bi-direc- digital versions of handcrafted, usually metal type — and tional studio: creating their own “tools” for the graphic new design — letterforms without historic precedents or design production part and selling them digitally through

15 I am referring in particular to the work of The Indian Type Foundry, which has been cofounded by Peter Bi’lak. URL: http://www.indiantypefoundry.com, [15.12.2015]. 19 Gutenberg Museum Mainz ‘Neue Schriften. New Typefaces.’ Positionen und Perspektiven, Sulgen: Niggli, 2014, 16 Fred Smeijers, ‘Counterpunch’, making type in the sixteenth century [—] design typefaces now, London: pp.8-9. Hyphen Press, 2011 (1st edition: 1996), p.186. 20 Stuart Bailey and David Reinfurt, ‘Letter & Spirit’, in Bulletins of the Serving Library, no.3, 2011, pp.153-170. 17 For further information: Karen Cheng, ‘Designing Type’, New Haven: Yale University Press, 2006. 21 Online specimen for the typefaces GT Cinetype (URL: www.gt-cinetype.com, [15.12.2015]), GT Haptik (www. 48 18 Gerry Leonidas, ‘Beyond Latin’, URL: http://www.eyemagazine.com/feature/article/beyond-latin, [19.01.2016]. 49 gt-haptik.com, [15.12.2015]) and the very recently published GT Eesti (www.gt-eesti.com, [16.01.2015]). the in-house foundry Optimo.22 Ofﬁcially starting in 2001, they can not only promote their own work, but also get in touch and collaborate with other designers whose work they like and who are thinking the same way.23 One could dig even deeper into the matter and inquire a whole “regular day” of a type foundry nowadays; including tasks such as accounting, networking, maintenance of public relations, etc. — As most of these duties are hardly to put in relation with the initial topic of this essay and more or less applicable to any kind of business, I would rather keep them away from my analysis and start getting ready to transform my own typefaces into money.

22 Joël Vacheron, ‘Gavillet & Rust: De Aa à Jay-Z’, URL: http://joelvacheron.net/visual-culture/gavilletrust/, [19.01.2016]. 23 Gilles Gavillet and David Rust, interviewed by Joël Vacheron in 2014, URL: http://www.cominmag.ch/ 50 51 gavillet-rust-a-geneve-genealogie-helvetique/, [19.01.2016]. There is Nothing Left But to Wait

As in the case of atf, one should be aware of the future for different reasons. Aside from historical circumstances, the former “Big player” failed due to missing steadiness: an ever-changing executive board, hence less and less experience in the management as well as investments in overex- tended and futureless implements, etc. Moreover, people like Henry Lewis Bullen passed the prime of their career within the company instead of making way for new spirits who could have helped to extend atf’s life span; leastwise regarding their activity in the typographic industry. The business is short-lived and given the technological advancements in the recent years, it becomes harder and harder to be innovative, but at the same time sustainable. While concurrents are more numerous than ever, high quality and ground-breaking ideas are indispensable. Benoît Bodhuin should be mentioned among those, having been achieved first successes as a self-taught type designer.1 In addition, platforms such as Google Fonts are scaring the regular foundries in the field by providing typefaces free of charge. Commissioned jobs — type being licensed for one explicit customer — are rare and thus, the market is firmly in control by well-established companies. DaltonMaag, a British Agency with Swiss origins, is mostly reowned for this sort of work. Typefaces have been designed for Nokia, Tesco or Intel. The office of the already earlier mentioned Erik Spiekermann from Germany counts Deutsche Bahn, Audi, Volkswagen and Düsseldorf Airport

1 Bryony Quinn, ‘A look at Benoit Bodhuin’s benbenworld and latest font ZIGZAG’, URL: http://www.itsnicethat. 53 com/articles/benoit-bodhuin, [14.02.2016]. among its clients.2 Further key players are Paul Barnes (uk) for individual clients: prices vary from us$ 20 to us$ 100. and Christian Schwartz (us): under their pseudonym Com- Compared to that, a whole customized typeface can cost mercial Type, they are likewise focussing on commissioned up to thousands of us Dollars.4 work, the most famous one probably being the “Guardian These days, device optimization of typefaces is pro- Egyptian” typeface (2004/ 2005) for the British newspaper bably one of the most important tasks for type designers.5 The Guardian.3 This example is of particular interest. It Hence, the free access and affordability to everybody is can be seen as the starting point of a wave of customized a serious issue. For this very reason, I can imagine that the typefaces for newspapers: Font Bureau from the United qualities of an art director are becoming even more im- States developed “Escrow” (2006) for the Wallstreet Jour- portant than they already are. That is not to say, the type nal, the Dutch foundry Typotheque responded to a man- foundries technically not being able to fulfill certain tasks, date by one of the leading Spanish newspapers, El Correo, but I am referring in particular to time management and with Brioni (2008) and — more recently — the German of- efficacy. Equally should be considered social and economic fice ErlerSkibbeTönsmann, developed the “sz-family”, for factors. In times of financial crises on the one hand and the newspaper Süddeutsche Zeitung (2012). There are OpenSource on the other hand, the trade of typography is more, even earlier examples, the latter but to name a few. a difficult business. At the same time, one should keep in mind that com- This leads us to the change of the customer. Techno- missioned jobs also depend on the capacities of the logy being able to advance quickly, clients are rather respective foundry. Thus, smaller but still successful busi- interested in innovative agencies taking risks, rather than nesses such as Milieu Grotesque (ch) or even individual repetitive schemes. Such a behavior is especially com- type designer Radim Peško (cz/uk) can hardly be conside- mon in the United States, where clients (no longer) belong red with the leading agencies in terms of size, albeit they to only one agency. At a smaller scale, individual clients accept commissions as well. Furthermore, one has to will try to come up with own solutions; the necessary make the difference between foundries, selling their own knowledge can be found online. — Nonetheless, autodi- products and resellers. Prominent examples here are Vllg dact designers should be prepared, to provide sustainable (uk), MyFonts (us) and Fontshop (ger). solutions as well; one of the most prominent negative ex- When discussing the different foundry structures and amples being the fall of atf. For those clients, not being the kind of jobs nowadays, one should also consider at active in the field at all, methods of resolutions are some- which extent typefaces can be charged for. While a single times provided by the designer: being unable to influence cut of a typeface is habitually relatively affordable, even in which way a certain typeface will be used, Ian Party

4 Prices are based on information provided by different type resellers as well as directly selling foundries. 2 More information can be found on the respective websites of DaltonMaag (URL: https://www.daltonmaag. The information for commissioned typefaces is based on an interview with Henning Skibbe, conducted by com/, [12.02.2016]) and Erik Spiekermann (http://spiekermann.com/en/sample-page/, [12.02.2016]). Jürgen Siebert in 2012, URL: http://www.fontblog.de/helvetica-ist-kein-heiligtum/, [12.02.2016]. 54 3 The Guardian Egyptian Collection, URL: https://commercialtype.com/catalog/guardian_egyptian, [12.02.2016]. 55 5 ‘Type Foundries Today’, URL: http://census.typographica.org/analysis/, [14.12.2015]. from Swiss Typefaces already presets diacritics “typogra- phically right” regarding the letterspacing.6 As to the matter of transversality regarding type design, one easily risks to drift into fields not being related to the topic. Hence, I would like to finally and only evoke the topic of education. — Compared to the former “letter drawer”, future type designers might be confronted with problems such as Python encoding, kerning on the web or responsive type. For this purpose, multiple design skills will be required, going beyond the capacities of a “classic” type designer. Consequently, education plays an important role. Some Master, Post-Master, but even Bachelor programs try to prepare the future generation of designers in several fields at once.7 Furthermore, foundries are getting ready on their own, not only employing type designers, but also programmers, entirely focussing on the process of mastering. The purpose of this essay having been the attempt of ordering and analyzing the structure of a type foundry as well as giving a prospect on the future of the profession, one might now realize the complexity of the task. Perso- nally, a better explanation for young designers of what it means to make money through type design, is long over- due. It is hoped that the current study has taken a step in the right direction.

6 Ian Party in a discussion with the author. [11.06.2015]. 7 Again, I would like to refer to the capacities of an art director, such are provided for example at écal 56 in the different Visual Communication programs. 57 APPENDIX

59 In November 1892, a short article in New York The Inland Printer announced the James Conner’s Sons merger of 23 American type foundries. P. H. Heinrich They went into service as American A. W. Lindsay Type Founders Company (atf). The following ﬁrms are the original mem- Philadelphia bers of the incorporation.1 Collins & McLeester MacKellar, Smiths & Jordan Co. Pelouse & Co. Baltimore Charles J. Carey & Co. San Francisco J.G. Mengel & Co. Palmer & Rey John Ryan & Co. Hooper, Wilson & Co. St. Louis Central Typefoundry Boston St. Louis Typefoundry Boston Typefoundry2 Phelps, Dalton, & Co.

Buffalo Lyman & Son

Chicago Marder, Luse & Co. Union Type Foundry

Cincinnati Allison & Smith3 Cincinnati Type Foundry

Cleveland Cleveland Type Foundry

Kansas City Kansas City Type Foundry

Milwaukee Benton, Waldo & Co.

1 Patricia A. Cost, ‘The Bentons’, 2011, pp.80-81. 2 Renamed the Dickinson Type Foundry. 61 3 Renamed the Franklin Type & Stereotype Foundry. Glossary composed of glyphs that share common design features. Each font of a typeface has a speciﬁc weight, style, Band machine condensation, width, slant, italici- A type of impact line printer in which zation, ornamentation, and designer the font — characters and timing or foundry (in metal type also size). marks — is etched on a steel band. The operating principle, involving horizon- Hinting tal movement of the font, is similar Hinting, or screen optimizing, is the to that of the earlier chain printer and process by which TrueType or Post- train printer. script fonts are adjusted for maximum readability on computer monitors. Cylinder press A printing press in which the images Kerning to be printed are curved around a The process of adjusting the spacing cylinder. Printing can be done on large between characters in a propor- number of substrates, including paper, tional font, usually to achieve a visually cardboard, and plastic. pleasing result. Kerning adjusts the space between individual letter forms, Delineating machine while tracking (letterspacing) adjusts After the design of a typeface has spacing uniformly. been drawn, it is placed in the delineating machine, where an enlarged Letterpress printing outline pencil tracing or copy is made, A process by which many copies of an so large that all errors are easily image are produced by repeated di- seen and corrected. rect impression of an inked, raised surface against sheets or a continuous eula (Licensing) roll of paper. It is the oldest of the Stands for End-User License Agree- traditional printing techniques ment. When you “buy a typeface”, and remained the only important one what you are buying is a license to use from the time of Gutenberg (1450). font software in speciﬁc ways. These ways are described in your eula, which Matrix is the legally binding contract between A mold for casting a letter, known as the foundry and you. a sort (letterpress printing). The matrix of one letter is inserted into the Family (Typeface) bottom of a hand mould, the mould is An entire typeface family (also font) locked and molten type metal is is a set of one or more fonts each poured into a cavity above the matrix.

63 mm-fonts language for general purpose. Its type available. They have been An extension to Adobe Systems’ design philosophy emphasizes code an essential part of the printing trade Type 1 PostScript fonts, now mostly readability, and its syntax allows since soon after the invention superseded by the advent of Open- programmers to express concepts in of printing with movable metal type Type. MultipleMaster fonts contain fewer lines of code than would be in the 15th century. two or more “masters” — original font possible in other languages. styles — and enable a user to inter- Type metal polate between these masters along Responsive web design (rwd) Different metal alloys are used in a continuous range of “axes”. An approach to web design aimed traditional typefounding and hot metal at crafting sites to provide an optimal typesetting. Lead is the main con- Outline viewing and interaction experience — stituent of these alloys. Antimony and Collections of vector images, con- easy reading and navigation with tin are added to make the character sisting of lines and curves defining the a minimum of resizing, panning, and produced durable. boundary of glyphs. Early vector scrolling — across a wide range of fonts were used by vector monitors devices (from desktop computer mo- Typesetting and vector plotters using their nitors to mobile phones). The composition of text by means own internal fonts, usually with thin of arranging physical types or the single strokes instead of thick out- Revival digital equivalents. Stored letters and lined glyphs. Taking a classic typeface and moder- other symbols are retrieved and nizing it for the digital era. Similar ordered according to a language for Photosetting to the remastering of movie classics, visual display. In mechanical systems A method of setting type, rendered where light, color, sound and lost the letters are called sort; in digital obsolete with the popularity of scenes are digitally restored, classic systems glyphs. the personal computer and desktop typefaces are often remastered for publishing software, that used a the purpose of making them more re- Typographer photographic process to generate levant for today. A person whose job is to choose the columns of type on a scroll of photo- style, arrangement, or appearance graphic paper. Rotogravure of printed letters on a page. — Type A type of intaglio printing process design is a closely related, but not Punchcutting that involves engraving the image onto identical craft. The craft of cutting letter punches in an image carrier. In gravure printing, steel from which matrices were made the image is engraved onto a cylinder in copper for type founding in the because — like offset printing and letterpress era. Cutting punches flexography — it uses a rotary press. and casting type was the first step of traditional typesetting. Specimen The printed brochures or catalogs Python of type foundries and printers, offered A widely used high-level programming to advertise the range and quality of

64 65 This conversation has been held via (41) 78 819 14 99 Email between Earl Kallemeyn [email protected] and the author from October 30 to www.tobiasholzmann.com November 24, 2015.1

Oct 30, 2015, 2:32 pm, Oct 30, 2015, 1:58 pm, Earl Kallemeyn wrote: Tobias Holzmann wrote: I would be happy to Hi Earl, How is it going? I hope everything is ﬁne. In Switzerland, everything’s ok, Oct 30, 2015, 3:32 pm, but I am busy writing my ma-thesis. Tobias Holzmann wrote: I also started cooking on the practical part, but there is not much to show Great, thanks in advance! I will then for now. send you a resume tomorrow, ok? I wanted to ask you how up to date you are concerning the American […] Type Founder (atf)? I focus on the foundry for my thesis and I am doing a case-study on its rise and fall. I want Oct 30, 2015, 3:57 pm, to explain this ground-breaking busi- Earl Kallemeyn wrote: ness model and also investigate on how to promote and sell fonds. Ok , not sure I can help but I try You think you can help me with some additional information? I would then send you my table of contents Nov 11, 2015, 3:28 am, and explain a bit better what this Earl Kallemeyn wrote: whole thing will be about and where there is still a lack of information Hi Tobi, and knowledge. well, I spaced out on the atf subject, I’m really sorry. atf to me was kind of Many thanks in advance! unapproachable personally, although I Take it easy, Tobias fell in love with their 471 Caslon, and had a complete set of it at one time, including all the swash characters. But – those days are gone. There are some tobias holzmann guys out there who know all the de- graphic design tails, up until now who has the casters.

1 In order to preserve the authenticity of the conversation(s), the original language has been kept. Hence, minor 67 changes had to be made, serving the clarification of the content. There is an account of the last auction Thanks also for considering my becoming obsolete soon. I would change their whole system to use the of all the atf stuff that my friend in la thesis topic! Yeah, there is definitely a be glad if you could help me again. You Linotype. gave me to read. What they had at the risk of getting way too far and I will are the man who puts the ink on the People really fell in love with end was a truly massive manufacturing make a cut soon to focus on a certain paper, so I will only contact you re- the whole Linotype thing in America, operation. I never really got too much period. garding printing questions, no worries! but I never got into it. The f’s were kind into what they did, for whatever While thinking about my :-) of funny all the time because the reason. Still, I think the subject is great plan again I was wondering if you could And even if you can’t really an- matrices were not big enough to cast and I hope you don’t get too over- probably give me some answers swer: no problemo! them long enough. whelmed with the scope of it. It could regarding my introduction/first chap- Intertype was a form of Linotype be the study of a lifetime. ter, the one on the different machines All the best, Tobi Monotype in England started in the and the inventory of the type/printing 1920s to do type revivals, classic Best scene in the United States back then. […] faces like Bembo, Poliphilus and Blado, Earl I would like to give a brief introduction Walbaum, Ehrhardt. They tend to look into what was new (Linotype ma- like of similar to me, after hav- chine) and why atf was actually able to Nov 16, 2015, 4:12 am, ing worked with them for a good part Nov 11, 2015, 5:16 pm, create their monopole in the United Earl Kallemeyn wrote: of my career. Real Monotype Bembo Earl Kallemeyn wrote: States (Barth type caster, I don’t know in metal is a super classic, but times shit about this one!). Meaning the Hi Tobi, have changed and those days are On the subject of old type faces, I just relation of the two machines and how gone, wtf. received a book published by Thames they could be combined. Why was one […] To confuse you more, there and Hudson entitled Scripts by Steven important and why completed it the was also an American Monotype that Heller and Louise filli. I can’t recom- other one? My impression is that atf was cre- was less classical, so not much mend it highly enough for your thesis, Then I would also like to talk ated more for survival than to create a is mentioned about their type faces. your career, and your mood! ;) Hahaha about the different casting machines monopoly. Hand setting type was so I don’t know if they are worth track- wtf!!! I’m serious this book is killer. like the one of Benton, Mergenthal- freaking slow that everybody was trying down. er, Intertype and Ludlow. Do you know ing to mechanize the process. In Chicago was the Ludlow com- any details about these machines Mark Twain the author lost pany. You set the matrices by hand Nov 15, 2015, 8:21 pm, and its advantages/inconveniences? his entire fortune investing in typeset- and then cast the line as a unit. People Tobias Holzmann wrote: There is one other thing I ting machines, and he was not the also love this set up. My friend in am quite interested in and where you only one! There were two systems that California has a ton of matrices and Hi Earl, could probably help me: what hap- eventually became commercial — the casters. You can gold stamp cov- thank you so much for your Email. I pened to the Kelly Offset-presses? Do Monotype, which was invented ers with it. The type designer R. Hunter was actually in Paris this weekend and you know anything about these in America and perfected in England. Middleton designed type for Ludlow. as you can imagine, I witnessed these company? I know that atf invested in The Linotype, which was invented People really love and admire him as horrible events in the center. I was this stuff from the late 1930s on but in England and perfected in America. well. He had a really great type design- quite busy and distracted and that is it didn’t went very well. I am not really Both were really complicated. ing pedigree, and is worth know- why I am answering only now. So, I interested in the relation to atf but The only reason the Linotype ing about. All the Ludlow type is really will definitely check on that book you more in the technique and what became commercially viable was that important and correct and I never gave me the reference of! made them not being a bestseller or the New York Times decided to used any of it, wtf! Hope this helps!

68 69 Btw, I was reading about Jan machine, matrix fitter, etc. I was won- but very knowledgeable about every- […] Van de Velde the Elder, the dutch cal- dering whether they used it as well thing that has to do with hot metal ligrapher from the late sixteenth cen- in the company. And then there is also type. He is from an old German Swiss I know this guy since the eighties, he tury. He had a philosophy about this Barth type caster. I don’t really family I believe. It would be great for is very very knowledgeable about copying things as a calligrapher with- know what this has been for. you to meet him. everything letterpress and hot metal out trying to be creative, but being American Monotype sounds type. Also very exact and northern true to the exemplar. That kind of familiar… I will have a look. Something European like us for better or worse. resonated with me, probably accounts else: do you know the (true) story of Nov 17, 2015, 6:52 pm, You will have a great time with him! for why I try to stick to just getting the United States Point System? I am Tobias Holzmann wrote: the ink on the paper. Thank god not a kind of confused. I also tried to figure He is in Shanghai teaching now, he will everybody is like that, haha. out the (especially economic) advan- You know this dude personally? I mean tell you whatever you want to know. tages and inconveniences for printers, in case he asks me where I got the but at first I have to understand the contact from. Otherwise I would drop Best, Nov 17, 2015, 11:15 am, whole story. I found this website him a mail later… Earl Tobias Holzmann wrote: called type heritage and there are two different versions… maybe you know Thank you in any case! I will see how I Hi Earl, more about that. At least you can tell can bother you with other questions thank you so much! That is already me whether it was a good idea or not and try to incorporate your knowledge pretty much! to invent the system! :-) into my work! ;-) I was actually wondering how atf could compete with Linotype, […] Best, T since their approach was completely different. I guess it also has some- Read these two articles once you […] thing to do with the design in the end: have time. They are talking about this guy called Nelson C. Hawks who also New machines that need to be used to be the director of atf. Quite Nov 18, 2015, 1:39 pm, promoted -> promotion through print interesting but also quite confusing! Earl Kallemeyn wrote: -> posters -> type needed -> advertis- Let me know if you know more! ing typefaces! I will start writing now! I am very close with him. I’m traveling As you already said, Linotype Best, Tobi right now, I will lyk as soon as I intro- was much more focussing on newspa- duce you. pers, that’s why one can call it a […] missed opportunity for them… I recently read that Linn Boyd Benton Nov 24, 2015, 1:56 pm, not only invented the punchcutting Nov 17, 2015, 2:48 pm, Earl Kallemeyn wrote: and matrix-engraving machine, but Earl Kallemeyn wrote: also several other machines. Have you Hi Tobi, ever seen one of them? Like the There is a guy in Los Angeles Charles Here is the Email of Charles Mohr: delineating machine, a matrix molding Mohr. He is kind of crazy like all of us,

70 71 This conversation has been held via my table of contents, that it be- Email between Dr. Ludwig Mohr comes what I am working on and why and the author from December 7 to I am turning to you… December 14, 2015. In the ﬁrst part I will give a short introduction into the type design scene with its major designers, free- Dec 7, 2015, 9:22 pm, lancers, foundries as well as the de- Tobias Holzmann wrote: pendence on printers. I will also lead to the arrival of hot metal and how Dear Charles, the whole atf-thing started (moving my name is Tobias and I am studying a the headquarter to nj, Barth type- Masters in Art Direction with focus caster, ﬁnancial power of McKellar, on typography at ÉCAL in Switzerland. Benton’s Pantograph, etc.). This intro- I don’t know if my dear friend and duction will be quite short. former mentor Earl Kallemeyn already In the second part, I would then introduced me, but I cced him anyway. like to talk about different depart- I am actually turning to you ments and show the facts why atf regarding my theoretical thesis, which worked so well, at least for a couple of is dealing with the American Type years. On the one hand, there would Founders Company. I am not doing a be the relation between engineers and historical reproduction, but focussing designers, in other words how de- on its different departments such sign depends on the production. On as the Printing library, the production the other hand, they will be the department where engineers used relation between production and to work hand in hand with the design- trade, cf. the Linotype machine could ers, the advertising department, etc. not print display-size that there was I am basically drawing 2 typefaces per a need of foundry-type. Then I would semester and at some you start ask- introduce the Printing Library to ing yourself why are you actually visualize the dependence of trade on doing this or, to put it in other words, design and also the other way round, how can one make a living out it. So the relation between design and I decided to focus on business models trade, meaning the trade of American of type foundries and since I have typefaces through the whole world (cf. some strong relations to the United success of revivals such as Bodoni States, atf seems to be a pretty and Garamond in Europe). a good example, also because their The third and last part is then monopoly during the 1920s was about my own thoughts… the legacy quite unique. of atf in the 21st century. What did I should probably introduce actually change? What is the foundry

73 situation these days? How are type Another thing I am really intertype designers? In nyc you have for (Digital Media Arts), Type design is designers getting inspired and is there ested in is this idea of archives… at example the Lubalin archive and part of the Course program in Ad- a need of all these departments, atf, the printing library by Henry you have Columbia, which of course vanced Typography (Book, Brochure, even though not in the same company L. Bullen furnished the inspiration… now has the atf collection(s). I think Advertising), other Colleges have any more. What is their value? studying original designs like Bodoni rit is also not bad, but what is there similar programs, but a specific place In the second part of this last or Garamond for years to be able to value? Are young designers going to train as a Type designer doesn’t chapter, I am also thinking about understand their dna and then, finally there, get inspired and then start really exist, the ones being good at type design as a democratic profes- start working on a revival as mf Benton working on fresh typefaces or reviv- designing digital Type came from the sion… these days everything is on did with his typefaces. What is their als? Would it be better to be an ap- Trade in Hot metal or typesetters or the Internet… knowledge, guidance, value in the 21st century and what was prentice instead of studying everything segwayed in from Graphic Design or by tools. Everybody is a graphic designer their value back then? from type theory to how to design working for Companies like Linotype or can create his own typefaces and Today, we have individual type? Well, in the Cooper Union place etc. it is way easier to build your own foundries and basically everybody can the library is at least used for young Nobody paid Attention to foundry and start selling fonts (cf. font run his own business and sell the design students to get inspired… Bullen’s Archive as long as it was at formats Type 3, etc.). There is no type he is designing. Back then, there I am not expecting precise an- atf, twenty-five years ago, Books on need anymore to build up something was no such a place apart from the swers for all these questions, I am just typography could be bought as similar to atf. The designer incorpo- library at atf, right? And if I am not trying to be as clear as possible and I Convolute in the back pages of book- rates the production part and very totally wrong, the collection was also hope that you understand what I try dealers Catalogs, that is how I form- often the trade as well… depending on meant to be a National Printing Library to figure out. If you have time and ed my archive, it became a fad to what he wants… later on. Bullen as student was also you would like to help, I would be glad collect in the last twenty years or so, I would like to know, especially hanging out a lot in local libraries, but if you could explain me your point of with institutions buying up the for the first two parts, at which point there was no place entirely dedicat- view. Many thanks in advance in existing Literature. type design and printing have been ed to printing or type design. any case! connected, once hot metal appeared I am asking all these questions, […] (or maybe even before and what did because I think that today we have it change?). Typefaces had to be programs such as mine in Lausanne, Dec 7, 2015, 9:48 pm, With regards, designed according to the machine where people are trained to be a type Ludwig Mohr wrote: and as I mentioned earlier, each designer. Benton for example was Dr. Ludwig Mohr, Dipl-Ing. (fh) machine was more or less adapted to the son of a printer and familiar with Hello Tobias, Schriftsetzer und Buchdruckermeis- a specific kind of typeface, depend- machines from his very beginning. His your notion of atf as a Company is ter (Schweitzerdegen), Lausanne ing on its size. I think this is also one father learned (and failed!) with a a rather romantically based view, the und Zurich 1988, Buchbindermeister of the reasons why advertising agen- stone carver, but there was no type Type business per se in the United (French and German style), Hand- cies began to appear. Before hot design program to specialize. The guys States from the 1840 to the forming of vergolder, Kupferdrucker, Pre-Press metal type, newspapers used to use from the drawing department were atf was a brutal one with slimmer Specialist. the same typeface for ads and body all technical drawers, but type design- and slimmer profit margins, hence atf copy, but due to the machines, ers… I don’t know. What is the situa- was formed, as a Company, atf, the PS new typefaces were necessary… art tion in the United States in the 21st Designers didn’t talk to the workers Making Money in Type design is hard, directors were asking for exciting, century? There is Cooper Union, risd, (the people who cast and fitted type, I the Type dept. At Adobe is at most a fresh type. Cranebrook, … do these guys build lectured for a 2 decades at ucla/ dma hand full of people and from all the

74 75 endless Foundries out there producing Dec 8, 2015, 2:16 am, […] […] Jewels and dross, only teff.nl seems Ludwig Mohr wrote: to be able top protect their wares.:) Until Benton made his pantograph, English is fine, as I live her now, of Dec 8, 2015, 7:48 pm, all type was created by cutting pun- course, German and french work, Ludwig Mohr wrote: ches. I fill up my Dropbox and send you Dec 8, 2015, 1:58 am, french is my mother tongue, Latin links and you pull stuff as you see fit, Tobias Holzmann wrote: and greek (the ancient versions) and Reading Theo’s book on atf will not to share, sell or distribute, took me some other stuff. I’ve been around open your eyes, I had long exchanges along time to get all that material. :) Dear Mr. Dr. Mohr, Type and Typecasting for a long time, with him about that, as I used to work many thanks for your quick reply. You used to buy from D. Stempel Ag, and for Brunnen ag in Germany, which […] seem to know pretty well what I am than become friends with Bram de is about the same corporate structure. dealing with and I guess that a Skype Does and the Boys from Enschede, as The Benton’s developed Type imple- meeting would make much more I travelled and studied all over Europe ments (setting gauges etc to standard- Dec 9, 2015 1:51 pm, sense. Since you are based in west etc, and sadly to many of my Friends ize the casting of type)and than of Tobias Holzmann wrote: coast and me in Europe, there is have passed. Theo Rehak has re- course the engraver, in Europe a time shift of 9hrs (correct me if I am tired from Typecasting, he was the in general, mats weren’t engraved, Hi Ludwig, wrong!). Unfortunately deadlines last true Typecaster (Schriftgiesser) punches were cut and the mats driven, Thank you so much for the all the in- are breathing down my neck, so until in the United States, his Foundry is this allows more of the hand of the formation! I will have a look tomorrow this weekend it’s almost impossible separated, with half in Utah and designer and punchcutter in the type morning and get quickly back to you. for me to talk. Would you be available unknown condition and the other cast, engraving is a more mechanical These European references are this weekend? I would then also be half resurrected by Patrick Gossens process. Pantographs in all variations interesting, especially when you think able to arrange a meeting in the late in Belgium.Metal Type: To cast metal are galore in Europe, Stempel had about the success of atf’s typefaces. afternoon, even though it’s in the type, for each size (Schriftgröße) a at least two Bentons and if you look Even after their golden years, the middle of the night here. In the end I separate Mat (Schriftmatrize) is need- e.g. at the guys in Vaettis who have copies of Bodoni and Garamond that am asking you to help me, so I will try ed, the same with casting the type, the massive Monotype holding, they were in use in Europe were the ones my best to fit your schedule. Let the casting machinery, the Stempel, cut on a table top pantograph. You by mf Benton. I am still wondering how me know! Kuco, Foudrinier, Kusterman automat- don’t need to dive to deep in to type atf’s legacy is influencing my genera- Btw: I saw in your biography ic machinery could cast from 4-18, history per se, as it will take you on tion of type designers… either way, in below that you used to live where I in some cases to 24 points, larger a tangent, if you want to write about Europe and the United States cince am studying now… originally I am from sizes required different machinery atf, you need to write about the Adobe offered the source code Germany and I am speaking fluently and moulds to cast from. How much corporate culture as it has direct influx for their type formats, everybody can the latter as well as French. So if you do you know about Schriftguss? into the workforce and how things now open his own foundry. There are prefer any other language that make there done on the floors. Bullen was tons of material on the Internet how fasten communication, let me know! […] a corporate archivist and neglected to master your own fonts and finally Otherwise we stick with English! at best, his archive became famous sell them… Ludwig after atf. atf never had an inkling Regarding the atf library… I read Best, Tobias to shine a light on people in the sala- everywhere that Bullen wanted to PS ried ranks. create this National printing archive… […] One of my Dr.’s is in Buchgeschichte. so there was this idea for what could

76 77 happen after atf. Maybe also to have it the Tommygun Gottes) digitized the information is hidden in footnotes and […] as his own legacy. But how come first Typeface for Berthold, Avenir secondary literature. that he didn’t really care in the end I think, it was on 5 1/4 floppy and ran So, the issue with copyright and about its future value… for other type on Berthold, later Scangraphic sys- typefaces already existed before Dec 9, 2015, 9:11 pm, designers, researchers, historians. If tems, Berthold sold like a hand digital type? This is interesting, I would Ludwig Mohr wrote: he was only focussing on the business full disks and everybody had a copy as have thought that it would be much and how to make as much money none of them ever figured out copy easier to find out and track your type Rappo, influence is to be seen as com- as possible with type or printing at atf, protection, aside, you could buy metal and its users back then. Without petition, that ermuntert die Europe why would he establish such a thing type as late as in to the early 90’s . the Internet, this must have been quite foundries to come up with new type- for the future? Or did he not think that Bullen was a salaried employee easy. At the same time I thought faces, hence the sudden influx of new atf could fail? Yeah, or to have is own and to a certain point followed about these two copies, Garamond faces in hot metal, ein letztes Hurra, legacy, that people would associate his masters voice, the money for the and Bodoni, in particular. Apart from Licht aus. Cheltenham is hated by the archive with the name Henry Lewis library came from atf, they didn’t those I have no idea about how printers in United States as it was used Bullen. What do you think? cared as they carried fat government atf typefaces and their use in the en- mainly in schooolbooks, which killed it contracts till the end and money tire world. I think that for the United for the ephemeral (social) scene. Like Best, Tobias was surplus, than changes came in States, Clearface, Cheltenham cars in Shanghai, vw came first on management and he became the guy and Century have been quite popular. the market, the vw Jetta was used as […] with the books, so he lost funding, I don’t know how I would use the a taxi and by the police, which killed but had already amassed what latter and that is probably already the it for the retail section. :) was needed. To keep it together as a reason why they never really arrived Nelson et al, even Nelson had Dec 9, 2015 2:14 pm, collection, he couldn’t push the issue, in Europe. When you say that Bul- a master. Government contract, nei- Ludwig Mohr wrote: atf was good in building as in tear- len followed his Master’s voice, do you ther, atf produced special type used ing down. To read the history of atf, mean the one of Nelson? In the for wire marking and sold to the Garamond in Europe was selected forget the cleaned books which shows literature on that topic at says quite government for huge sums. Same deal as follows: a great company bs, you have to dig often that Bullen had to convince with Kingsley, ca, atf cast the zinc thru endless secondary sources, Nelson with this idea of the library. And type and sold it to Kingsley for huge Garamont by Amsterdam much is in the side notes and tidbits. what do you mean by fat Government money per Line. Garamond by Neufville contracts? Is this related to type Start to look at court roosters Garamond by Stempel design or printing? The question of the and trade directories, starting in 1840, Dec 9, 2015, 8:49 pm, client important I think. These days, it seems that all the major players Bodoni, the truest cut was with Bauer Tobias Holzmann wrote: designers are designing and publishing inthe graphic arts didn’t do anything in Spain, the Berthold was next, typefaces they estimate being than constantly suing each other than Stempel. This is an interesting fact. I recently needed (technically, nothing is really in court. Endless patents were filed American Typefaces didn’t have spoke to François Rappo, don’t know if needed any more). It’s rarely about and defended. the huge input in Europe as you his name rings a bell, and he told me commissioned work. I would say that seem to think, rather, European type about the influence that atf typefaces back then, there was at least a need of designers were constantly ripped had in Europe. I can’t really tell, since typefaces due to new printing tech- Dec 9, 2015, 9:32 pm, off by Americans. I would not even know how to find out. niques, machinery and stuff like that… Ludwig Mohr wrote: ggl (Günther Gerhard Lange, You are probably right that a lot of how do you think about that?

78 79 Look at the Bremer Presse, Munich, […] […] (cast and such), Kingsley was a client books printed in limited editions with for the zinc type they bought for only a few typefaces of their own Well, who was this master of Nelson their foil stamping equipment they design. New printing or machinery then? Dec 10, 2015, 3:11 am, build. Only in the end, than atf was didn’t require new typefaces, to stay So in the end atf got its finan- Ludwig Mohr wrote: a floor with a handful people, not relevant in the industry, the foundries cial power jobs that people are not even a promille of a percent of former had to come up constantly with new even talking about these days, right? atypi, a Swiss organization (was a glory, it was easier for Kingsley designs, once you realize the amount As far as I understand the money is member a long Time) is pushing the to just purchase atf than buying the of work involved to do that, big money. coming from commissioned jobs, but copyright for faces (Type). But yes, it’s exorbitant prices they charged for Than atf was formed, it wasn’t the typefaces that we or I know are the wild west out there. Duensing their product. like a bunch of owners of foundries not part of it. I already heard about made a living out electroplating mats Starting from around 1900, if decides to come together and work this Kingsley relation, but I thought it and ripping people off. Caflish, on you bought type in United States, you together, you had to be on the fore- happened at the very end, when atf of my teachers and mentors, design bought atf, think about it, how many front of type production or you got was almost bankrupt and taken oven Columna (Bauer), he never sold one prints in ny alone? Look at old trade eaten up by atf, as an owner, you lost by them… however. font in United States and the face was directories, they made money than your position and income, your assets What about the zinc type? here all over the place. everybody left the building and they (machinery) scrapped and your What was it for and was it something So in the end atf got its financial farted in their sleep, they couldn’t designs and mats absorbed. atf was special? I mean, something that power jobs that people are not even prevent to make money, that is why formed in a brutal way of corporate. made atf important to produce it. talking about these days, right? As far the corporate structure of atf tried to Take over, like Lawrence of Arabia, Was there a special relation to one as I understand the money is coming diversify, they had too much cash, take no prisoners. Than atf was sold of the machines? from commissioned jobs, but the type- Chief, Little Giant, Kelly, there is lists in ’93 it was in the Kelly building, And about the copyright… faces that we or I know are not part of of schemes they engaged in trying to a huge, huge industrial building in wasn’t there also a relation to electro- it. I already heard about this Kings- make more money, the Thompson New Jersey. type, which made it pretty easy to do ley relation, but I thought it hap- fiasco, etc., etc., it wasn’t in the end, Look at the money involved knockoffs? And then as far as I know, pened at the very end, when atf was it was always, most of the time in atf’s and the real estate atf held in the in the United States only the name almost bankrupt and taken oven by history, making type wasn’t the main 1900 to 1960. is protected by the copyright, but not them… however. cash cow they owned, and typefaces the object, right? So that one could atf Cast Type, sold Presses (Kel- made money. basically take a typeface, change the ly, Little Giant et all, ) but never Dec 9, 2015, 9:52 pm, name (and do maybe some other printed for clients, they were manufac- […] Ludwig Mohr wrote: minor changes) and sell it as his tures, not retail, they had a printshop product. I remember having read that there they produced their catalogs and Look up the most popular typefaces Frutiger went to the United States Schriftproben but in general didn’t Dec 10, 2015, 9:19 pm, used in publishing, they usually publish right before publishing his Frutiger acted as printers. Tobias Holzmann wrote: this annually. Sans to be sure that American found- The core business was the pro- ries would not have the right to copy duction of type and implements […] it and just change the name. Oh yes, (spacing materials, et al), the type for Dec 10, 2015, 1:09 pm, and adding this pretentious no- the government was curved type Talk sounds good, but I am only avail- Tobias Holzmann wrote: tion “similar to…” in their specimens. (face) for wire marking and logotypes able this we due to the workshop now.

80 81 Yeah, the famous atypi. I read such a thing anymore. As I said, mas- were plundered and schemed into Very good, very interesting! I get back about this in the ma thesis of Alice. tering can be done by everybody and speculative investments. to you tomorrow with a more pre- That Charles Peignot founded it the designer also finalizes his type… Discourse, in punchcutting (Huib cise answer; once the videos are up because of the fear of being ripped of. van Krimpen: A Letter) is a book deal- and I can check. I am getting more When D&P started the partnership […] ing with punchcutting, he was Jan and more interested in this compari- with Monotype, I think it was one his van Krimpen’s son, a dear friend and son of Europe and the United States first step out this fear. And yes, boy could he drink :), There is a Book especially because of the Bremer according to Alice he was super afraid Dec 10, 2015, 9:20 pm, by Darmstadt, Vom Schriftgiessen, Presse that you mentioned earlier. I of investing in the United States for Ludwig Mohr wrote: if you can get em, I can Xerox and ship have a stack of references to check example when they started developing for expenses. Anyway, than you cut a first, now! :-) their own photosetting machine with There is a book called chronicles of punch, you can see the hand of the Photon, he didn’t really want to col- genius and folly by Frank Comparato, punchcutter in the type, the personal- […] laborate since he thought people could details the story of Hoe and Co. ity, See Prince, a punchcutter (British) steal their design. Do you have an idea and of course has side notes on the he cut for Cranach Press, Kelmscott, when this whole press selling busi- competition. I think and the Office Bodoni. Dec 11, 2015, 6:30 pm, ness started? Was it already at the atf had a whole catalog of stuff The Design department at atf Tobias Holzmann wrote: very beginning? I know that after their they were selling, as all they had to had masters who ok-ed or dammed golden 1920s, the Great Depression do was buy up a company and slap designs, certain people like Warren […] brought them back to the ground, but their label on the product. were liked at atf and certain people then they started investing money That started as soon as atf was like Goudy weren’t, most had to do This Garamond-link is awesome. I in machines (and of course failed, formed, as the main shareholders with personalities etc. But Goudy sold, somehow had it already in my refer- since they improved and kept the were all in the type and sundries busi- so they had to have it, despite grum- ences, but I never went through it. technique up to date). ness, light tables, sticks, pica poles, blings. Ludlow issued Goudy but got That’s good information. It’s actually Another question: what do you furniture, plate joiners etc. sued by atf of Course, so Middleton surprising that it says that Benton “re- think about the role of the drawing All you have to do is Google let- redesigned it and it was issued as lied” on the model from France… department? What was their relation terpress presses and search images Goudy by Ludlow. The #11 is the true since D&P wasn’t able to produce with the designers? Earlier you for the famous atf logo and you see cut Goudy by Ludlow. something similar in terms of quality. said that they were not communicat- what they sold, Chief, Kelly, Miehle, Until Benton, a type was de- Even 9 years after the atf revival. ing at all, but did they have at least it’s a long List. The drawing or design signed, punches cut, proofed and Actually I have been investigating instructions or was it only about tech- department was of utter importance, than mats struck, casting started, that a lot around the legacy of atf regard- nical improvements and adoptions? than the sales guys, the minions who is a lot of steps to eff something up ing type design in Europe. What do you And then there is dispute with actually made the type etc. got a if there are interoffice and departmen- think is going on in the United States Goudy that, according to him, atf yearly picnic, in it’s heyday one could tal grievances at play. these days? Of course, there is changed his design so much that buy a house and send the kids to the point of view of an historian and it didn’t look the same any more (and college with the money earned as a […] type critic, but how is their work he expressed his anger about that working stiff, retire with a good pen- now appreciated? Do people from the publicly). You think the role of these sion, that went downhill as early field care about what they did… their guys, the drawers, was important as the 50’s. For the people on top atf Dec 11, 2015, 2:02 am, business strategy that led to an or not? I mean, these days there isn’t was a cash cow, massive sums Tobias Holzmann wrote: immediate failure (at least regarding

82 83 type design!), but also their typo- What it means to conserve and than atf with all their might. The work Cost is an academic and has no clue graphic work. From what I heard so to make these things accessible to of Frere-Hoefler in digital eclipse the about the reality in the working mans far — especially your point of view people from the field. And how to market, atf is just a historical foot- world. Carefully researched, she — it seems to be a good example conserve! Do you think that atf (the note. Dale guild (Theo Rehak) contin- relies on what I call official sources, of mistreating people and take every archive at Columbia) has a compa- ued in the precise science of atf companies like atf always have a dollar that you can get. Forget about rable function or that it can have such casting type. official version and the rest you have ethics and no one will be honored a function? Do people care about Back than I lived in Europe, to dig up. International Printing Mu- or get a special price for what he did. theirlegacy and if so, how? (The last we had 196 variations of Garamond in seum Carson, ca, used to be a tenant What counts is the business. sentence is the actual question, I metal and digital, the 80’s were were for a short 2 years, the curator What is the role of esthetics am sorry about that!). :-) no glorious time with everybody who Mark Barbour helped himself to 1/3 of for example? Again, I refer to Swiss I guess I am still hanging on this could walk straight and chew gum my archive, I have do get another type design, where every week a new Bullen quote of a “National printing at the same time pumping out fonts. copy of the Bullen book to re read it. grotesk typeface appears, still chal- collection”, even though it was rather Switzerland, my home and coun- lenging the work from decades ago. something personal than with a try, half a century ago they came Especially at écal, though you have common sense. up with the new style, and having pro- Dec 11, 2015, 7:44 pm, a bunch of teachers that is pushing the duced nothing with a serif since, but Ludwig Mohr wrote: students to produce something fresh […] than the country turns on a century, and innovative. In the end, nobody Caflisch, on of my mentors was Until one has worked in a specific tries to watch beyond his nose and the fine using a sensible serif type, Faus- environment and circumstances, it’s “Swiss style” that became the “Inter- Dec 11, 2015, 7:16 pm, tus Dickus nailed it on the head with a difficult to understand it from the national Style” is still very Swiss. I Ludwig Mohr wrote: postcard he printed: Heil Helvetica! description in a book. You have work- mean, you have establishments such ed at Kallemeyn press and at the same as Yale, where they invite European There is nothing left of atf, the ma- time got a glimpse of the work of teachers to bring they experience and chines et al were auctioned in ’93 for Dec 11, 2015, 7:26 pm, his landlord. If you paid attention, knowledge, but apart from mimicking barely 100k, it was a disaster, the Tobias Holzmann wrote: you saw a company over 50 years old their mentors, there is not much Smithsonian has mats from atf, that and clinging to a hail marry for survival innovative outcome. means they get catalogued in a And what do you think about the publi- as they haven’t updated their means This is rather related to graphic hundred years or so, you know were cation on Henry Bullen by David Walker of production. design than to type design, but during the Bullen stuff is, it has no signi- Mallison? Have you read it? While But his gives you a unique per- the Ruder period in Basel, stu- ficance except local Lore, the archive reading the book by Cost, it felt pretty spective not a lot of people can dents from the United States were at Columbia is just that, ever tried much like a glorification of Bullen and experience any more, than I came up actually coming to over to be guided to use any of that material.? his oeuvre complet. in the trades, half a city block large these guys. As a foundry in todays market, building with a floor nothing else than Another example: next week atf failed miserably in their attempt […] type cabinets and cases and composi- I have a field trip to the Haas’sche to digitize, Gerald Giampa, the worst tors at work is normal to me, most Giesserei archive in Basel and we meet unreputable low lifer there is, aside people, if they see more than five the guys from the former Team’77. from his ability to build the most Dec 11, 2015, 7:31 pm, type cabinets they speak of a mas- The trip aims to show and make us intricate fleurons in metal, had more Ludwig Mohr wrote: sive collection. understand the value of these places. success with his Lanston revivals

84 85 Dec 11, 2015, 9:37 pm, Dec 11, 2015, 10:00 pm, presence and availability. Companies I actually meant that the culture of Tobias Holzmann wrote: Ludwig Mohr wrote: like Schnellner, Druckladen, Sellner letterpress printing in particular (from etc. die verkaufen gebrauchte Schrift- what I know) is much less spread in That’s definitely true. At the same You miss a point here, in United en und alles was man für den Druck Europe than in the United States and time, I got a few answers by Earl in the States the letterpress movement is braucht zeitlos und für immer. The that if it happens that you find one same spirit as yours… rather fo- carried by amateurs, people who amount of used presses on the market over here, it will be hard to get in touch cussed on the craftsmanship than on picked it up following Walter Hamady, in Europe tells you a different story with him and to agree on a deal. I once the design (drawings, etc.). And quite as a trained printer like Earl or me, than what you assume. got in touch with a Japanese guy often it’s also about associations… if you don’t adapt and have a website from Düsseldorf for some new “like a” or “imagine”, since people (like etc., your fucked, no way around it, business cards it was impossible for me) are not having the tiniest idea as all the college educated designers Dec 11, 2015, 10:16 pm, me to effort it (though I was studying ofthe work of a letterpress printer or would be able to find you. They can Ludwig Mohr wrote: and running out of money all the time). a typecaster/-setter. And with 90 find a six dollar cup of coffee and the Fortunately I met Earl! However, this degrees outside, you feel way better latest bobba crap in their smoothy, but […] is just my impression, I don’t know the in an office with ac in front of your they wouldn’t be able to find Earl or market at all. But I know what you screen than in a printshop! :-) me. In Germany, France, ch etc., there Und das sind diese die sich bemerkbar mean, society is much more competi- While I was presenting my thesis- is no real amateur printer movement, durch Ihre Leistung gemacht haben, tive where you live. topic in front of my fellow students, as we have a massive amount of trade da garantiere ich das es dann mind- By the way, while you weremen- we had a discussion whether it is trained printers still on the market. estens noch zwei Mal so viele gibt, die tioned the importance of auto-promo- nostalgic or not that you still find this They are out there, but Germany e.g., als Buchdrucker gelernt haben und tion to be competitive, I was thinking kind of print shops in the United is not as densely populated as Unit- dann zum Offset umgeschult haben, about advertising and typography back States I denied saying that it’s rather ed States, several large cities and the aber irgendwo in einem Hinterhof oder then in general. I mean, I am not authentic than nostalgic. What do rest is cow shit town, but here, every- einer Garage eine Presse haben und talking about the use of type for ad’s you think? I mean, in Germany I have body know everybody, same mentality noch im Buchdruck etwas an der Seite but much more how to promote the to research a lot to find a letterpress in larger cities e.g. Berlin, Schmuck- machen (Schwarzarbeit). :) typefaces. I know that Goudy became printer and if so, the guy has not even er was a letterpress printer in Berlin, Heidelberg Tiegel (windmill in quite famous as one of the first one an Email-address. While in Brooklyn direkt an der Mauer, hinter der United States), a classic workhorse in man foundries that was also promoting I can already find 10 of these shops. I schwarzen Kirche, der hat bis 2010 the print trade, here in United States, its own designs. Was there something don’t know whether it’s about passion gedruckt und nie auch nur mal einen pc a rustbucket commands several similar for atf? I can imagine that for their work, guaranteeing quality, benutzt, genug Arbeit um drei Leute thousand United States, in Germany, there was no need for them since the keeping the technique alive, … if you und zwei Heidelberg Zylinder laufen zu you can get a clean, and clean means foundry absorbed any other concur- now find more and more letterpress lassen, weil man da ja noch die Regel you drop your sandwich into the press, rent with their financial power, right? printers in Europe, I would definitely der Nachbarschaft hat. Hier in den pick it up and finish it off, for a couple say that it’s about being fancy and United States haben wir das nicht, dein hundred Euros, because there is a ton […] rather a fashion than real business. Nachbar ist das Haus nebenan und was of the market in use. um die Ecke passiert kümmert dich […] nicht. So, the use of Email and website Dec 11, 2015, 11:52 pm, to advertise ones Services is based on Dec 11, 2015, 11:43 pm, Ludwig Mohr wrote: social circumstances rather than Tobias Holzmann wrote:

86 87 Google the word Schriftprobe, Stem- Yes, Schriftproben, specimens, but den unterrichtet. But printing is poorly taught in the field pel, dp, Bauer, Weber, Giesenhart, atf ad’s with deals instead of just display- In the United States if it hap- of graphic design these days. Every- etc. etc. they all produced them and ing type (I don’t know, I was wonder- pens that lp is mentioned during thing that I know, I know it either from send them free of charge to clients ing whether they did sth different than classes in gp, I used to teach advanced Earl or by experience during intern- and prospective clients to advertise just their huge catalogs). Right, the typography at ucla/dma , than it ships and jobs. You actually found out their wares, I had a complete Stempel printshop of atf. I recently consulted is usually a tit the prof knows and as why I am enquiring atf and the relation collection from 1940 to 1980 which one of big red books. About the Japa- such a hobby printer, they never, never between printing and type. What the fuck from the printing museum nese printer… I don’t know this guy happen to actually visit a profession- I want to achieve is not to rewrite the sold for 15000k. very well, but at least he did some true al printer. At the Etienne, we went history of sth or to declare some new I mentioned it earlier that atf letterpress prints. to the Imprimerie National, Mr. Paul facts. I want to learn sth for my had a printshop and if you google atf At the same time it could be that Marie Grinvald, mon ami, aber deren own practice and I think that it’s like advertising, you will find galore. you have a lot of letterpress printers Druckerei war ja schon im Ruhestand, everywhere… If you want to do sth Well, you happen to come upon in Europe, but these guys are not well- mit dem Steindruck, dem Schrifts- wrong on purpose, at first you should a Japanese Drucker in einer deutschen known at all or at least not in the scene atz, der Buchdruck und die Buchbind- know how it works the right way. Stadt, wrong move, You have to of graphic design. Maybe it’s also be- erei, your generation Teachers id’s know the language to know what you cause of my generation, because if far to far removed from that world to […] look for: it does not happen that you run into a teach anything useful in this re- place such as Kallemeyn Press, you gard. Most of the Profs I met at ucla Deutschland: would not even learn the technique had their had so far up their asses, Dec 12, 2015, 1:05 am, during your studies, despite of a bunch they could tickle their Throat. Man I Ludwig Mohr wrote: Buchdruckerei of traditional schools such as Estienne have stories here. Akzidenzdruckerei or Leipzig. Printing doesn’t matter, in United Sozietätsdruckerei My info regarding letterpress is States and Europe, the people who Werkdruckerei coming either from my teachers or it’s Dec 12, 2015, 12:51 am, teach are so far removed from the Schriftsatz the impression that graphic designer Tobias Holzmann wrote: practice that it hurts the students. I who is practicing now gets. When you once walked into a class at dma You can’t swing a cat in 3 directions are looking for a printer in Europe Haha, me too! I had the choice and they had a four page instruction without hitting a printer in Europe. you would not consider looking for a between Estienne and Amiens… type pinned up on how to create a letter letterpress shop. or graphic design. I went to Picardie in Photoshop with a graphic surface. The culture of letterpress is massive in and studied graphisme. They are also Than I showed the students that Europe, next to it, United States pales, […] running a type design post-diplo- all you do is type a letter, magic wand, where do you get your info from, your ma there. Sébastien Morlighem is the click, take a picture with the fucking research? head of department, he might know phone of the floor, import and select, Dec 12, 2015, 12:30 am, your friend Grinewald since he also click, fill, done. I come from practice […] Ludwig Mohr wrote: taught at Estienne. I only saw him on and industrie, the person who taught pictures with Mendoza, Mandel and this class is a highly regarded prof. Da bin ich sehr vertraut mit der Bruch- the rest of the crew. However. Dec 12, 2015, 12:17 am, bude der Estienne in Paris, da habe ich I don’t really know since my […] Tobias Holzmann wrote: ja in der Handvergoldung von Einbän- education went into another direction.

88 89 Dec 12, 2015, 02:08 am, noneck, as he has the might of piasc her, and she liked him, I was privy to century. His methods are quite con- Ludwig Mohr wrote: (Printing Industry Assoc. Southern reading some personal letters which temporary. At the same time I imagine California) behind him. See a pattern? made clear that Goudy, a strong, prin- that suing for a good such as type in I’m on a dissussion list for the lo- Martha Stewart wrangled a cipled man came within a hairs breath America must have been quite forlorn, cal graphic designers, around 1400+ piece of paper thru a press on national to take her undies down. no? From what I know only the name people in the la area, if they ask tv and that single act flushed the If you were a freelance type de- is protected, but not the item… I for printing, it’s always digital/vfp, only whole tradition in the trade down the signer like Goudy, you designed once heard the story of how Matthew once I had a request for foiling, one crapper. Is there money to be made and than hoped to license the design Carter founded Bitstream and came hundred pieces of acrylic 6×10 inches, with it, of course, good money, if you to somebody like atf, but if atf got up with all the designs from Linotype the design company wanted it done know what you do and you can handle earlier wind of your design, they would under a different label… shortly after for 1.50/piece, not worth it and the nitwit clients. But that seems to have no qualms to immediately copy he left the company. they have no clue that letterpress is become a rare combination. and release it in the sense of staying still a viable option. But there a shops in United competitive and ahead of the game. […] States who a thriving. As in Europe. So Goudy started to advertise his designed before the type was Dec 12, 2015, 6:59 pm, Back to ma fully fleshed out. As if atf would Dec 12, 2015, 10:36 pm, Ludwig Mohr wrote: suddenly produce it, he would have a Ludwig Mohr wrote: bw was a spectacle, a free woman published record of his design which Letterpress is a subculture, used to of her Time, like Ruth Reich a fetish would hold up as proof in court. atypi halfheartedly fought ! For be a trade. There is ladies of letter- for hats, but than too free spirited Told you before, scour the court getting the design of type copyrighted, press, Etsy, Briarpress, endless, for the period. records, makes good bedtime reading. but all the infighting and mismanage- endless wanker blogs. All hawking all She worked a few scant years ment, aside, they like to effing party things letterpress. under Bullen as his assistant, married had nothing come out of it. But they never figured out how Ward, moved to Europe, dumped Dec 12, 2015, 9:53 pm, Protecting digital type is still the to make it mainstream. Graphic the husband a year later and wrote on Tobias Holzmann wrote: biggest issue, not even talking designers (gd) are a inbred bunch of type which let to her employment by about hot metal. You can take a digital people, reclusive connection between Monotype Corp. There she worked […] font, drop it in dtl, Fontlab, Fontogra- client and gd, every time a gd stum- until retirement. But she was close to pher, IkarusM etc. and change it 10%+ bles on letterpress (lp), oh, the sun all leading type designers of her Mainstream is maybe the right word. and you have a legal new font you has risen. period, closer, very close and extreme- I can imagine the amount of shops, but can charge for. Local gd stumbled on the ipm ly close to some. :) one has to find them and effort their (International Printing Museum in Which gave her an unwildy work! However. Carson) and get’s hooked, eventually influence about taste in type design, I will read now the rit Printing Dec 13, 2015, 12:29 pm, he gets roped in by noneck, the guy The minions in charge at atf (owners) Association issue on atf, need to write Tobias Holzmann wrote: running it to do all kind of free graphic literally bowed to he, scrapping, as she one chapter for next week and time is works, which nearly kills his own up- could move a type designer like a precious. But that’s good information. I was actually about to mention the start as a gd. He had a nice blog going, chess figure on the game board of the Also easily comparable to our time. atypi next… we already talked about pure vitriol at the end, had to take it international brotherhood of type- I felt like Goudy is actually the proto- that. On my opinion they had so clever down as he got sued beyond yonder by founders game. Goudy was smitten by type of digital foundries in the 21st ideas, but I agree that protecting files

90 91 is a big issue. The Frutiger idea was […] plate mounted on a cylinder is inked Dec 14, 2015, 3:47 pm, quite nice, though I don’t think that he and prints on a rubber blanket Tobias Holzmann wrote: could have done much in order to which than prints on the paper. Most sue the respective foundry that would Dec 13, 2015, 1:28 am, type appears to be bolder than de- Hi Ludwig, have ripped off his design. Ludwig Mohr wrote: signed, due to the added ink factor, So it’s actually true what Ian Party Another question… comparing which becomes more visible in from Swiss Typefaces said… tracking type designers from back then to the Designing digital type is only relevant smaller sizes. fonts online is possible. But still, ones of the 21st century (that are than using for printing with ink, if I want to print holiday cards for my usually trained to provide only digital a proper hinting and ink traps have to […] family with a pirated version of type), do you think they are lacking be build in so type prints clean and Lexicon, they will probably never know knowledge to do so? I mean, imagine precise in all respected environments: it. It then depends where I get the file a young type designer wants to work Letterpress: Ink is applied in Dec 13, 2015, 1:38 am, from. In any case I think there are on a revival of let’s say Haas Unica, the largest amount and type needs to Ludwig Mohr wrote: some people that are clever enough to designed especially for photo compo- a tad thinner than it’s supposed to get rid of this embedded user-infor- sition and he does not know shit about look on paper as impression and Trying to fight people off ripping off mation before sharing the file again. the procedure of photo composition… ink will provide the optical illusion of your type design, is like trying to stay a Do you know anything about I am reflecting on the importance of the finished type. virgin in a whorehouse with a 1000 specialized PostScript-foundries? In historical, technical knowledge. Either women." ggl Translated from German. the 1990s, when MultipleMaster designers show up with new, fresh Gravure/Rotogravure: Think colored Teff.nl which has about the came up, there was a need of optical designs or they work on revivals. Tech- mass magazines. best system in the Industry, where compensation and that’s where some nical problems such as hinting are your id is embedded into the font file cracks specialized in the field. I read not so important on my opinion since Packaging: fine spindly type with micro than you buy the font, if the font is this in an older article of EyeMagazine. the big companies providing them serifs is a huge problem to repro- used online and digital, that info can Do you know anything about that? will improve screen resolution until duce perfectly due to the speed and be retrieved and checked, and still hinting is not necessary any more. May form (rotation) of the printing cylinder. their fonts got ripped off. A prominent […] it be the iPhone or projected on the female artist created a video from wall. What is the challenge? I would Offset: uses a thin film of ink and pre- producing a limited edition book say that in the 20th century, since the cise reproduction of type. in letterpress and printmaking and the Dec 14, 2015, 5:47 pm, designers were most part of the time test is Lutetia, which is a teff.nl type, Ludwig Mohr wrote: also trained as printers, had much Digital: About the most precise repro- look up the price for the family!!!! more knowledge regarding their design duction of type, proper hinting is And they never bought a font, but had MultipleMaster Series, Adobe, my and which qualities it should provide. all which is needed and the proper no issue making polymerplates from buddy Phinney, anyway, they allowed Today that’s quite different. What is amount of glyphs. the type. Only if you design it, cut the to mod the stemwidth of the font, your opinion on that? mats and cast in metal you can own think a fully fleshed out Univers font Remind me if I already asked Digit in the 21st century: than digital it to a certain degree (Scan a synopsis and you have a mm font and get the question, but I couldn’t find it in all type is used to grade a relief plate and bingo). That is why font design is away with 5 basic Fonts to cover the the Emails and this huge cloud of infor- (polymerplate) to print letterpress such a shit business, it’s hard to make entire range of Univers. mation that you provided me the last or gravure, most newspapers e.g. are coin if you can’t direct licence to a rich The first font ever ripped of was days. dry offset, a shallow relief polymer- end client. the first digitized one on 5 1/4 disk

92 93 etc., I already wrote that, That was in the very, very early 70’s, hasn’t stopped since, for every disk Adobe sold they lost 100 in pirated copies. That’s they Adobe as a company, how many people work there? The PostScript type department was never larger than a hand full of people. It’s a break even business if your lucky. I have mm around here somewhere, some other stuff, 11.6gb of licensed fonts. Fonts per see don’t matter any more in print, everybody has them, the new front in the ﬁght of font piracy is the web and digital printing, and yes, one can track. Monotype once included a sniffer with their font than you bought one from their disk (unlock code) or you downloaded from the web, it would sniff your harddrive and splash a red screen if a pirated font was detected, made for an entertain- ing time, as even high priced ethical designers ﬂashed red. Adobe basically forced anybody online, CreativeCloud, there you have Typekit and I think you know how it works?

[…]

94 Literature Goudy, Frederic W. ‘Typographica’, A Quarterly Treating of Printing, Letter Design and Allied Arts, Annenberg, Maurice New York: The Village Press and Letter ‘Type Foundries of America’, And their Foundery, no.1, 1911 Catalogs, New Castle: Oak Knoll Press, 1994 (1st edition: 1975) Gutenberg Museum Mainz ‘Neue Schriften. New Typefaces.’ Bailey, Stuart/Reinfurt, David Positionen und Perspektiven, Sulgen: ‘Letter & Spirit’, in Bulletins of the Niggli, 2014 Serving Library, no.3, 2011 Hollis, Richard Cheng, Karen ‘Le Graphisme de 1890 à nos jours’, ‘Designing Type’, New Haven: Yale Paris: Éditions Thames & Hudson sarl, University Press, 2006 2002 (1st edition in engl., ‘Graphic design: A concise history’, London: Cost, Patricia A. Thames & Hudson Ltd., 1994) ‘The Bentons’, How an American Father and Son Changed the Horgan, Stephen H. Printing Industry, Rochester: Cary ‘The Old Maestro Leaves’, in The Inland Graphic Arts Press, 2011 Printer, vol.101, no.5, 1938

‘Linn Boyd Benton, Morris Fuller Kaup, William J. Benton, and Typemaking at atf’, in ‘Modern Automatic Type Making Printing History, whole no.31/32, Methods’, in American Machinist: vol.16, no.1-2, 1994 A Practical Journal of Machine Construction, vol.32, 1909 De Vinne, Theodore L. ‘The Century’s Printer on the Century’s King, Emily Type’, in Century Magazine 51, no.5, ‘New Faces: Type Design in the ﬁrst 1896 Decade of Device-independent Digital Typesetting’, Ph.D. diss., Kingston Fleischhacker, Heinrich University, 1999 ‘400 Jahre Haas’sche Schriftgiesserei AG: Rückblick — Gegenwart — Ausblick’, in Librarium: Zeitschrift der Schweizerischen Bibliophilen- Gesellschaft, no.27, 1984

97 Kinross, Robin Internet resources Lineto ‘La Typographie moderne’, Un essai ‘Vanishing Point of Modernism’, d’histoire critique, Paris: Éditions ll Unica77, url: https://lineto.com, B42, 2012 (ﬁrst published in 1992 as Coles, Stephen [17.12.2015] ‘Modern typography’, An essay ‘From Helvetica to Haas…’, url: in critical history, London: Hyphen https://m.ﬂickr.com/#/photos/stewf/ Linotype Press.) galleries/72157644553307792/, [last ‘Interview with Toshi Omagari’, url: consulted 19.01.2016] http://www.linotype.com/7021-34722/ Mallison, David W. interview.html, [19.01.2016] ‘Henry Lewis Bullen and the Gavillet, Gilles/Rust, David Typographic Library and Museum of Interviewed by Joël Vacheron in 2014, Ministère de la Culture et the American Type Founders url: http://www.cominmag.ch/gavillet- de la Communication de France Company’, Ph.D. diss., Columbia rust-a-geneve-genealogie-helvetique/, ‘Garamond’. url: http://www. University, 1976 [19.01.2016] garamond.culture.fr/en/page/ early_20th_century_interpretations_i, McGrew, Mac Geschke, Charles [11.12.2015] ‘American Metal Typefaces of the ‘Driving Adobe: Cofounder Charles Twentieth Century’, New Castle: Oak Geschke on Challenges, Change and Monotype Knoll Press, 1993 (1st edition: 1986) Values’, url: http://knowledge. ‘Neue Haas Unica’, url: http://www. wharton.upenn.edu/article/driving- monotype.com/fonts/neue-haas- Pankow, David adobe-co-founder-charles-geschke- unica/, [19.01.2016] ‘The Rise and Fall of ATF’, in Printing on-challenges-change-and-values/, History, whole no. 43/44, vol.22, no.1-2, [15.12.2015] Shaw, Paul 2002 ‘An Interview with Matthew Carter’, Kinross, Robin url: http://www.printmag.com/ Savoie, Alice ‘The Digital Wave’, url: http://www. interviews/an-interview-with- ‘French type foundries in the twentieth eyemagazine.com/feature/article/ matthew-carter/, [24.10.2015] century’, Causes and consequences the-digital-wave, [13.12.2015] of their demise, ma diss., University of ‘An appreciation of Frederic W. Goudy Reading, 2007 Leonidas, Gerry as a type designer’, url: http://www. ‘Beyond Latin’, url: http://www. paulshawletterdesign.com/2014/03/ Smeijers, Fred eyemagazine.com/feature/article/ an-appreciation-of-frederic-w-goudy- ‘Counterpunch’, making type in the beyond-latin, [19.01.2016] as-a-type-designer/, [11.12.2015] sixteenth century [—] design typefaces now, London: Hyphen Press, Licko, Zuzana Quinn, Bryony 2011 (1st edition: 1996) Interviewed by Pascal Béjean for ‘A look at Benoit Bodhuin’s Étapes magazine, France, 2007-2009, benbenworld and latest font zigzag’, url: http://www.emigre.com/Licko6. url: http://www.itsnicethat.com/ php, [22.12.2015] articles/benoit-bodhuin, [14.02.2016]

98 99 Skibbe, Henning The following type designers and Optimo (ch) Interviewed by Jürgen Siebert in 2012, foundries and retailers have been www.optimo.ch url: http://www.fontblog.de/ mentioned within the essay. helvetica-ist-kein-heiligtum/, Radim Peško (cz/uk) [12.02.2016] www.radimpesko.com Carter & Cone (us) Unknown www.carterandcone.com Stone Type Foundry (us) ‘Erik Spiekermann’, url: https://www. www.stonetypefoundry.com fontshop.com/designers/erik- Commercial Type (uk/us) spiekermann, [14.12.2015] www.commercialtype.com Swisstypefaces (ch) www.swisstypefaces.com The Guardian Egyptian Collection, DaltonMaag (ch/uk) url: https://commercialtype.com/ www.daltonmaag.com Typotheque (nl) catalog/guardian_egyptian, www.typotheque.com [12.02.2016] Emigre Inc. (us) www.emigre.com ’Type Foundries Today’, url: http:// Other census.typographica.org/analysis/, Erik Spiekermann (ger) [14.12.2015] www.spiekermann.com Adobe Typekit http://blog.typekit.com Vacheron, Joël FontShop (ger) ’Gavillet & Rust: De Aa à Jay-Z’, url: www.fontshop.com Christoph Köberlin http://joelvacheron.net/visual-culture/ www.christoph.koeberlin.com gavilletrust/, [19.01.2016] Grilli Type (ch) www.grillitype.com gt Cinetype www.gt-cinetype.com Indian Type Foundry (in) www.indiantypefoundry.com gt Eesti www.gt-eesti.com Lineto (ch) www.lineto.com gt Haptik www.gt-haptik.com Milieu Grotesque (ch) www.milieugrotesque.com Igino Marini www.ikern.com MyFonts (us) www.myfonts.com

100 101 Credits P. 34 Advertisement for typefaces designed by Frederic W. Goudy P. 4-5, 14, 18, 24, 30, 38, 58 Goudy, Frederic W., ‘Typographica’, A Images of the American Type Founders Quarterly Treating of Printing, Letter ‘Specimen & Catalog’, 1923 Design and Allied Arts, New York: The The Herb Lubalin Study Center Village Press and Letter Foundery, for Design & Typography, no.1, 1911 41 Cooper Sq, New York, ny 10003 http://lubalincenter.cooper.edu P. 42 The mm-fonts matrix P. 10 Noordzij, Gerrit, ‘The Stroke: theory of Linecasted type (slug) writing’, London: Hyphen Press, 2006 Mergenthaler Linotype Company, ‘Linotype Machine Principles’, Brooklyn: Mergenthaler Linotype P. 46 Company, 1940 Purchased fonts right before shipping, approx. 2000 P. 20 Emigre Inc., url: www.emigre.com, Original drawings of the [29.11.2015] Haas Unica typeface Team’77/Christian Mengelt, P. 50 www.mengelt-blauen.ch Screenshots of mtdbt2f Bailey, Stuart/Reinfurt, David, P. 28 ‘Letter & Spirit’, in Bulletins of the Photosetted type compared Serving Library, no.3, 2011 to digital type Black, Roger/Carter, Matthew, ‘Type P. 52 — Design and Changing Technology’, hui necklace for purchase url: https://vimeo.com/39071550, Milieu Grotesque, [20.12.2015] url: www.milieugrotesque.com, [20.12.2015]

103 Contributions by

Earl Kallemeyn, Master printmaker and teacher, born 1949 in usa, lives and works in New York City.

Dr. Ludwig Mohr, Master printmaker, bookbinder, typographer, book collector and historian, born 1962 in Switzerland, lives and works in Los Angeles.

Ian Party, type designer, teacher and cofounder of the foundry Swisstypefaces, born 1977 in Switzerland, lives and works in Lausanne.

Alice Savoie, independent type designer, research- er, teacher, owner and founder of the foundry Frenchtype, born 1984 in France, lives and works in Lyon.

105 This publication is a Master thesis. It All rights reserved. is part of the Art Direction program at écal, Renens/Lausanne. No part of this publication may be reproduced or transmitted in any Author form or by any means — electronic, Tobias Holzmann mechanical, photocopying, recording or otherwise — to people who are Graphic Design not part of the staff or students at Tobias Holzmann écal, Renens/Lausanne.

Acknowledgements The author has made every effort to Roland Früh secure permission to reproduce the Dr. Ludwig Mohr listed material, illustrations, sketches Alice Savoie and photographs. He apologizes for any inadvertent errors or omissions. Leonardo Azzolini Parties who nevertheless believe they Matthieu Cortat can claim speciﬁc legal rights are in- Claus Gunti vited to contact the author. Philipp Herrmann Sebastian Holzmann Printed in Switzerland, February 2016. Philipp Hubert Earl Kallemeyn Ian Party François Rappo Alexander Tochilovsky