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6TH typographic design:

FORM AND COMMUNICATION Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. 6TH typographic EDITION design:

FORM AND COMMUNICATION

Rob Carter Philip B. Meggs Ben Day Sandra Maxa Mark Sanders Cover design: Sandra Maxa and Mark Sanders

This is printed on acid-free paper.

Copyright © 2015 by John Wiley & Sons, Inc. All rights reserved

Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada

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Library of Congress Cataloging-in-Publication Data: Carter, Rob. Typographic design : form and communication / Rob Carter, Ben Day, Philip Meggs, Sandra Maxa, Mark Sanders. -- Sixth edition. pages cm Includes bibliographical references and index. ISBN 978-1-118-71576-5 () -- ISBN 978-1-118-71581-9 (pdf) -- ISBN 978-1-118-71579-6 (epub) 1. Graphic design () I. Day, Ben. II. Meggs, Philip B. III. Maxa, Sandra. IV. Sanders, Mark (Mark Allen) V. Title. Z246.C217 2015 686.2’2--dc23 2014012636 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 “The whole duty of typography, as with , is to communicate to the imagination, without loss by the way, the thought or image intended to be communicated by the Author.”

Thomas James Cobden-Sanderson

75 CONTENTS

Foreword, Rob Carter viii 5 Syntax and Communication 85 Introduction ix Typographic syntax 86

1 The Evolution of Typography 1 Typographic space 96 From the origins of writing to Gutenberg’s invention of 2 Visual hierarchy 100 ABA form 106 Typography from Gutenberg to the nineteenth century 7 6 The Typographic Message 111 The nineteenth century and the Industrial Revolution 12 A multidimensional language 112 Typography in the twentieth century 18 Verbal/visual equations 114 A new century and millennium begin 27 Function and expression 118 2 The Anatomy of Typography 31 7 The Evolution of Typographic Technology 121 Letterforms analyzed 32 Hand composition 122 The typographic font 35 Machine composition 123 Historical classification of 38 125 Typographic measurement 42 Digital 128 The type family 45 Screen-based typography 131 3 Legibility 49 8 Typography on Screen 133 Basic principles of legibility 50 Rendering type on screen 134 Legibility and digital typography 60 on screen 137 Typographic details 62 Selecting typefaces 138 4 The Typographic Grid 65 Legibility factors for on-screen typography 141 Background 66 Web design technology 145 Structure and space 67 Structuring web pages 146 Proportion 68 Case studies 148 The square 69 9 Typography in Time and Motion 155 Single column grids 71 Background 156 Multicolumn grids 74 Using type in time-based media 159 Modular grids 78 How type changes and moves 163 Improvisational structures 84 Legibility factors 167 Expression 169

vi 10 Case Studies in Typographic Design 171 Integrating type and image in poster design 172 The U.S. National Park Service Unigrid system 176 : VAS: An Opera in Flatland 179 Typographic film titles 183 Buenos Aires Underground (Subte) 186 Information design: Metropolitan World Atlas 190 A typographic program for the 17th Street Farmers’ Market 194

11 Typographic Design Education 197 Letter/digit configurations 198 Urban letterform studies 198

Flowering typography 199 12 Typographic Design Process 221 Inventing sign systems 199 A traditional model 222 Comparative relationships: type and image 200 Exploring typographic permutations 229 Sequential typographic forms in space 201 Exploring typographic transformation 234 Typography and image transformations 201 Ludd: a typographic expedition 241 Unity of form and communication 202 Composites 249

Syntactic explorations using onomatopoeic terms 203 13 Type Specimens 255 Visual structure motion studies 204 Old Style 256 Type chronology booklet 205 258 Typographic hierarchy 206 Additional Old Style fonts 264 Calendar deconstruction 207 Sans 266 Experimental compositions with found typography 208 Franklin Gothic 268 Directional poster: from your house to the university 209 Univers 274 Visual organization and grid structures 209 Meta 280 New York Times grid analysis 210 Futura 286 Environmental grids 211 Additional sans serif fonts 292 Banknote design 212 Transitional 294 Observing systems in our surroundings 213 Baskerville 296 Typographic cubes 214 Additional transitional fonts 302 Blending Latin and non-Latin typographic forms 214 Modern 304 Type and image in the third dimension 215 Bauer Bodoni 306 Typezine: my favorite 216 Additional Modern fonts 312 Typeface design: mind/machine 217 Egyptian 314 Experimental typographic system 218 Serifa 316 Expressive typography: form amplifies message 219 Additional Egyptian fonts 322 Type as metaphor 219 Selected Decorative fonts 324 Form and counterform, scale and proportion: Glossary 326 “Ne var, ne yok?” 220 332 Credits 334 Index 338

vii FOREWORD

During the late 1970s and early 1980s, I was a youthful assistant professor of graphic design and typography at Virginia Commonwealth University. At that time, typography held special significance in the graphic design curriculum, and faculty spent much effort writing content for the typography courses. With perhaps the exception of Emil Ruder’s Manual of Typographical Design, a masterful book based on Ruder’s philosophy and typographic instruction during the 1960s at Basel School of Design, my colleagues Philip Meggs, Ben Day, and I could not find a text that moved typography beyond what was generally considered a technical discipline. Our concern was to teach typography as both a technical and theoretical discipline, one that focused on form (syntax) and communication (semantics). Finally, during a meeting sometime in 1982, we made a decision to write our own typography , based on our collections of notes from our classes. While the three of us shared a passion for typography and a commitment to typographic education, each of us also brought our own unique vision, which produced a synergistic and dynamic interaction. Researching, articulating, and blending ideas did not come easily. During weekends and long into countless nights, we struggled to invent a vocabulary and approach to typographic education that would move the discipline forward and provide students with a text that not only covered basics but also presented information within a much- needed theoretical and historical framework. Three years later, the first edition of Typographic Design: Form and Communication was published. The book, with its gray cover and elemental TD, was eventually referred to as the “Carter, Day, Meggs” book, or simply “the gray book.” It soon became a classic, one that has inspired, enlightened, and educated thousands of students over thirty years. I am proud and grateful that my former graduate students Sandra Maxa and Mark Sanders have taken up the mantle of authorship for this, the sixth edition of Typographic Design: Form and Communication. As articulate and committed design educators and practitioners, they have preserved the spirit of previous editions while brilliantly introducing vital new content. Readers who thoughtfully enter into this will gain the knowledge necessary for an informed and inspired typographic design practice.

Rob Carter

viii INTRODUCTION

Typography is a constantly evolving discipline, and this book aims to provide a concise yet comprehensive overview of the information, vocabulary, tools, and methods used in effective typographic-design practice. Included in the following chapters are the history and anatomy of typography; principles of visual organization and legibility; a study of the intersection of form, meaning, and media; projects that explore a variety of contexts; and case studies devoted to traditional and nontraditional typographic design processes. This book’s sixth edition reflects a view of typography that transcends specific technologies or media. A knowledge of typographic fundamentals is key to communicating in all environments—static, dynamic, or kinetic—and the first few chapters address the basics of form, syntax, how type communicates, and its potential for expression. Current typographic design practice can be better understood if one understands the evolution of earlier typesetting processes, and Chapter 7 provides that background for new designers, many who will work primarily in digital environments. Chapters specific to on-screen and kinetic typography provide the designer with an expanded awareness of legibility factors and enable compelling new ways to communicate. Case studies in applied problem solving are meant to inspire and show readers how to use their newfound knowledge to communicate visually. Theoretical and structural problem-solving approaches, evolved by design educators, reinforce the underlying concepts in this book. An understanding of typographic classification and subtlety of form is gained from the study of type specimens. Through the thirteen chapters of this book, the authors share a compilation of information and examples with practitioners and students. It yields both insights and inspiration, bringing order to the complex and diversified subject of typographic design.

ix

The Evolution of Typography 1

Typography is an evolution of the written word, and as such it participates in a history of visual communication extending thousands of years. That evolution is presented here in the form of a timeline that traces a development from hand, to mechanical, to digital practice, in the context of world-historical and art-historical events.

The history treated in the first section of the timeline predates typography. It begins with the invention of writing over five thousand years ago and ends with the invention of movable type in Europe during the middle of the fifteenth century. The second section covers the long era of the handpress and hand-set metal types. This period, from Gutenberg’s invention of movable type to the end of the eighteenth century, lasted about 350 years. In the third section, the Industrial Revolution and nineteenth century are revealed as an era of technological innovation and an outpouring of new typographic forms. The fourth section begins with the year 1900 and covers the twentieth century, a time when type was shaped by the aesthetic concerns of modernism, the need for functional communication, technological progress, and the digital revolution in typography. The final section showcases typographic design in the twenty-first century, as it expands to mobile devices and embraces the many possibilities afforded by digital production.

1 From the origins of writing to 1-4 Gutenberg’s invention of movable type: 3150 BCE–1450 CE

1-8

c. 3150 BCE

1-1 1-6

1-6 c. 1800–1400 BCE: 1-8 Stonehenge, a megalithic 1-3 c. 2600 BCE: monument of 30-foot-tall Completion of the stones set into circular pyramids at Giza, Egypt. patterns.

1-1 c. 3150 BCE: 1-2 c. 3000 BCE: 1-4 c. 2400 BCE: False- 1-5 c. 2100 BCE: 1-7 c. 1570–1349 BCE: 1-8 c. 1450 BCE: The earliest written Cuneiform, a very early door stele inscribed with Cuneiform tablet listing Polychromed wood Detail, The Book of the documents, impressed writing system utilizing hieroglyphic writing, expenditures of grain and sculpture from New Dead of Tuthmosis III, clay tablets from Sumer. wedge-shaped marks on from Old Kingdom animals. Kingdom Egypt, with hieroglyphic writing on The impressions represent clay tablets, was invented Egypt. hieroglyphic inscriptions. papyrus. clay tokens, which were by the Sumerians. 1-5 used for record keeping c. 2500 BCE: Egyptians before the invention of begin to make papyrus, writing. a new writing material derived from the stems of the papyrus plant.

1-2 1-3

1-7

2 1-14

1-11 1-15

c. 1500 BCE

1-9 1-12

1-16

1-12 448–432 BCE: The Parthenon, temple of the goddess Athena, on the Acropolis in Athens, Greece.

1-9 c. 1500 BCE: The 1-10 389 BCE: 1-13 414–413 BCE: 1-14 c. 50 BCE–500 CE: 1-15 c. 79 CE: Brush 1-16 c. 100–600: twenty-two characters of Inscription in the Fragment of a Greek Roman square capitals writing from a wall at Roman rustic writing the Phoenician alphabet. Phoenician alphabet on record of sale, carved on (capitalis quadrata) were Pompeii, preserved by (capitalis rustica) a fragment of a marble stone. carefully written with a the volcanic eruption of conserved space by using c. 800 BCE: Homer bowl. flat pen. Vesuvius. condensed letters written writes the Iliad and the c. 160 BCE: Parchment, with a flat pen held in an Odyssey. 1-11 Fourth century a new writing material c. 33 CE: Crucifixion 105 CE: Ts’ai Lun almost vertical position. BCE: Greek made from animal skins, of Christ. invents paper in China. 540 BCE: The first public writing. is developed in the is established in 150 CE: The Roman Greek state of Pergamum. Athens, Greece. codex, with folded 44 BCE: Julius Caesar is pages, begins to be used murdered. alongside the rolled scroll.

1-10 1-13

THE EVOLUTION OF TYPOGRAPHY 3 118 CE 1-19 1-20

1-17 1-21

1-19 312–15: Arch of Constantine, . Carved into marble, monumental Roman 452: Attila the Hun capitals survived the invades and ravages thousand-year Dark northern Italy. Ages. 476: Emperor Romulus 325: Emperor Constantine Augustulus, last ruler adopts Christianity as of the western Roman 1-20 533–49: Church 1-17 118–25: the state religion of the Empire, is deposed by of Sant’Apollinare in The Pantheon, Rome. Roman Empire. the Ostrogoths. Classe, Ravenna, Italy.

1-18 Undated: c. 400–1400: During the 1-21 Third–sixth 1-22 Third–ninth 1-23 Sixth–ninth The fluid gestural quality, thousand-year medieval centuries: Uncials are centuries: Half-uncials, centuries: Insular harmonious proportions, era, knowledge and rounded, freely drawn a lettering style of majuscules, a formal and beautiful forms learning are kept alive in majuscule letters. the Christian Church, style with exaggerated of Roman writing are Christian monasteries, introduce pronounced serifs, are developed by effectively translated where manuscript books ascenders and Irish monks from the into the permanent stone are lettered in scriptoria. descenders. half-uncials. carving of monumental capitals (capitalis monumentalis).

1-18 1-22

1-2

1-23

4 732 CE

1-32

1-24 1-31

1-24 c. 800: Portrait of Christ from the 1-30 Twelfth century: 1-26 c. Eleventh Book of Kells, a Celtic Bronze and copper century: Round tower manuscript. crucifix from northern on the Rock of Cashel, 1-32 Thirteenth Italy. 868: The earliest county Tipperary, century: Byzantine extant printed text, of Ireland, a lookout and 1-28 1163–1250: 1215: The Magna Carta school, Madonna and the Diamond Sutra, is refuge against Viking Construction of Notre grants constitutional Child on a Curved printed in China. invaders. Dame Cathedral, Paris. liberties in England. Throne.

732: The Battle of Tours 1-25 Tenth century: 1-27 Eighth–twelfth 1-29 Eleventh–twelfth 1-31 Thirteenth– ends the Muslim advance High Cross at Kells, centuries: Caroline centuries: Early Gothic fifteenth centuries: into Europe. Meath County, Ireland. minuscules become the lettering, a transitional Gothic Textura Quadrata, standard throughout style between Caroline or Textura, the late- 800: Charlemagne is Europe after Charlemagne minuscules and Textura, Gothic style with crowned emperor of the issues his reform decree has an increased vertical rigorous verticality and Holy Roman Empire by of 796, calling for a emphasis. compressed forms. Pope Leo III. uniform writing style. 1347–51: First wave 1034: Bi Sheng (Pi of the Black Death, a Sheng) invents movable plague that decimates the type in China. European population.

1096–99: The First Crusade.

1-25 1-27 1-28 1-30

1-26 1-29

THE EVOLUTION OF TYPOGRAPHY 5 1-38

c. 1200

1-35

1-33

1-35 1420–36: Filippo Brunelleschi, dome of Florence Johann Gutenberg Cathedral. invents movable type in 1-34 Fourteenth 1-37 1-40 The cathedral Mainz, Germany. century: Lippo Memmi, 1431: Joan of Arc is Fra Filippo Lippi, in the medieval city of Saint John the Baptist. burned at the stake. Madonna and Child. Mainz, Germany.

1-33 Thirteenth– 1-36 Fifteenth 1-38 c. 1450–55: Page 1-39 Woodblock print of fifteenth centuries: century: First page of a from Gutenberg’s forty- the hand press, Rotunda, a more rounded block book, the biblical two-line Bible, the first with compositors setting Gothic letter, flourishes book of Apocalypse. European typographic type from a typecase in in southern Europe. book. the background. probably appeared in Europe before 1400.

1-34

1-36 1-37 1-39

1-40

6 Typography from Gutenberg to the nineteenth century: 1450–1800 CE

The humanist philosophy that flowered during the Renaissance embraced the study of classical literature, a belief in human dignity and worth, a spirit of individualism, and a shift from religious to secular concerns.

1465

1-47

1-41

1-45 1-42

1-45 c. 1485: Filippino 1-43 Lippi, Portrait of a Youth.

1-41 1465: Germans 1-42 1467: Konrad 1-43 1470: Nicolas 1-44 1475: William 1-46 1486: Erhard 1-47 c. 1494: Scholar Konrad Sweynheym Sweynheym and Arnold Jenson, early Venetian Caxton, typography from Ratdolt, the earliest and printer Aldus and Arnold Pannartz Pannartz, the first truly roman typeface. the first book printed in known specimen sheet Manutius established the design the first type in Roman-style type, the English language. of printing types. Aldine Press in Venice Italy. It had some Roman influenced by Roman to publish works by the 1492: Christopher features. inscriptional capitals and great Greek and Roman Columbus lands in written in thinkers. America. Caroline minuscules. 1-48 1495: Francesco Griffo (punch cutter for Aldus Manutius), roman 1-44 1-46 type first used in De aetna by Pietro .

1-48

THE EVOLUTION OF TYPOGRAPHY 7 1501 1-55 1-56

1-49

1-50 Home of Albrecht 1-55 1519–47: Pierre Dürer, Nuremberg, Nepveu, château of Germany. Chambord, France.

1-49 1501: Francesco 1-51 Woodblock 1-52 1523: Lodovico 1-53 1525: Albrecht 1-54 1529: Geoffroy 1-56 c. 1480–1561: Griffo, the first italic initial by Geoffroy Arrighi, an Italian writing Dürer, construction of the Tory, construction of the , typeface, based on Tory, who returned to master, introduces his letter B. letter B. outstanding designer chancery script France from study in formal chancery italic of Old Style typefaces handwriting. Italy in 1505, inspired type. during the French by Roman letterforms Renaissance. and Renaissance design ideals.

1517: Martin Luther posts his ninety-five theses on the door of Wittenberg Castle Church, launching the Reformation. 1-52

1-53 1-54

1-50 1-51

8 1-59 1-60 1-62

c. 1540

1-57 1-60 After 1577: El Greco, Saint Martin and the Beggar. 1-57 c. 1540: Titian, portrait, Cardinal Pietro 1582: Pope Gregory Xlll Bembo. initiates the Gregorian 1-62 1607: Carlo calendar, which is still Maderna, façade of St. 1543: Nicolaus in use. Peter’s, the Vatican. Copernicus publishes his theory of the 1584: Sir Walter Raleigh 1609: Regular weekly heliocentric solar sends explorers to the newspapers appear in system. North American coast. Strasbourg, Germany.

1-58 1544: Simone de 1-59 1546: Jacques 1-61 1595: Johann 1-63 1621: Jean Jannon, 1-64 1628: The Vatican Colines, title page with Kerver, typography, Theodor de Bry, typefaces upon which Press, specimen of roman border. illustration, and illustrative initial E. twentieth-century capitals. decorative initials, which Garamonds are based. 1603: William were combined with Shakespeare writes rare elegance during the Hamlet. French Renaissance.

1-58

1-61 1-63

1-64

THE EVOLUTION OF TYPOGRAPHY 9 During the eighteenth century, type design went through a gradual transition from Old Style to Modern Style fonts designed late in the century.

1-67 1-71

1632

1-65

1-66 c. 1630: Sir Anthony van Dyck, 1-68 portrait, Henri ll de Lorraine. 1-67 c. 1664: Jan Vermeer, Woman Holding 1639: The first printing 1-69 1675–1710: 1-71 1709: Matthaus a Balance. press in the British Sir Christopher Wren, Poppelmann, Zwinger Colonies is established 1666: The Great Fire of St. Paul’s Cathedral, Palace, Dresden, in Massachusetts. London. London. Germany.

1-65 1632–43: The Taj 1657: First fountain pen 1667: Milton publishes 1700: The emergence of 1709: England adopts Mahal, India. is manufactured, in Paris. Paradise Lost. the Rococo style. the first copyright law.

1-68 c. 1670: Christoffel 1-70 1702: Philippe 1-72 1720: William van Dyck, Dutch Old Grandjean (punch Caslon, Caslon Old Style type. cutter), Romain du Roi, Style types, which from the first transitional face. this date were used 1686: Sir Isaac Newton throughout the British sets forth his law of Empire. gravity.

1-66 1-69

1-70 1-72

10 1-75 1-76

1722

1-77

1-73 1-82 1-73 1722: Castletown, near Dublin, Ireland.

1738: First spinning machines are patented 1-75 1750: François in England. Boucher, The Love Letter.

1-74 1744: Benjamin 1-76 1750s: John 1-77 1765: Thomas 1-80 1774: John 1-81 1784: François 1-82 1791: Giambattista Franklin, title page using Baskerville creates Cottrell introduces Holt, broadside of the Ambroise Didot, the Bodoni, Modern Style Caslon type. extraordinary transitional display types two inches American revolutionary first true Modern Style typefaces of geometric typefaces. tall (shown actual size). era, using Caslon type. typeface. construction, with hairline serifs. 1-78 1768: Pierre 1775: James Watt 1789: The fall of the 1-74 Simon Fournier le Jeune, constructs the first Bastille launches the 1791: American Bill ornamented types. efficient steam engine. French Revolution. of Rights guarantees freedoms of religion, 1-79 1773: Johann 1776: American speech, and the press. David Steingruber, letter Declaration of A from Architektonisches Independence is signed. 1793: French King Alphabet. Louis XVI and Marie Antoinette are sent to the guillotine.

1796: Aloys Senefelder invents .

1799: Nicolas-Louis Robert invents the papermaking machine.

1-78 1-79 1-80

1-81

THE EVOLUTION OF TYPOGRAPHY 11 The nineteenth century and 1-88 the Industrial Revolution: 1800–1899 CE

The Industrial Revolution had a dramatic impact upon typography and the graphic arts. New technology radically altered printing, and designers responded with an outpouring of new forms and images.

1803

1-84 1812: Jacques- Louis David, Napoleon 1-89 in His Study (detail).

1814: Friedrich Koenig invents the steam- powered .

1-83 1-83 c. 1803: Robert 1-85 1815: Vincent 1-87 1816: William 1-88 1818: Page from 1-89 1821: Robert Thorne designs the first Figgins shows the first Caslon IV introduces the Manuale Tipographico, Thorne, Tuscan style fat face. Egyptian (slab-serif) first sans serif type. which presented the with splayed serifs. typefaces. lifework of Giambattista 1804: Napoleon Bodoni. Bonaparte crowned 1-86 1815: Vincent emperor of France. Figgins shows the earliest shaded type. 1808: Ludwig van Beethoven composes his Fifth Symphony.

1-85

1-86

1-87

12 1-91 1-94 1-95

1822

1-90 1822: Thomas Jefferson, rotunda of the University of Virginia in the neoclassical style based on Greek and Roman architecture.

1822: Joseph-Nicéphore Niépce produces the first photographic printing plate.

1-91 c. 1826: Bower, 1-92 1827: Darius Wells 1-93 1833: Vincent 1-94 1836: Davy and 1-95 1836: Vincent 1-96 1837: Handbill set Bacon and Bower, early invents the mechanical Figgins introduces Berry, poster printed Figgins, perspective type. in fat face. reversed type entitled router, making the outline types. with wood type. 1837: Victoria crowned White. manufacture of large 1830s–80s: Wood-type queen of England. display wood types 1826: Joseph-Nicéphore posters and broadsides possible. Niépce takes the first flourish in America and photograph from nature. Europe.

1-90 1-92

1-93 1-96

THE EVOLUTION OF TYPOGRAPHY 13 1840s: Ornamented type becomes increasingly important.

1840

1-97

1-101

1-97 c. 1840–52: Sir Charles Barry and A. W. N. Pugin, Houses of Parliament, London, inspiration for the Gothic Revival.

1-98 c. 1841: Wood and 1-99 1845: Robert 1-100 1853: Handbill 1-101 1854: Broadside 1856: Sir Henry 1-102 1859: William Sharwoods, ornamental Besley, the first combining Egyptian, using elongated fat face Bessemer develops H. Page and Company, type. Clarendon style. outline, and decorative fonts. process for converting Ornamented Clarendons. types. iron to steel. 1848: The California 1854: The United States 1859: Charles Darwin Gold Rush begins. makes its first treaty with publishes Origin of 1-100 Japan. Species by Means of 1851: Joseph Paxton Natural Selection. designs the Crystal 1856: Sir Henry Palace. Bessemer develops process for converting iron to steel.

1-98 1-102

1-99

14 1-104

1-105 1860

1-109

1-104 c. 1865: Honoré Daumier, The Third- Class Carriage. 1-110 1866: The first 1-107 1883: The successful transatlantic Brooklyn Bridge is cable is laid. opened to traffic. 1861–65: American 1867: Alfred Nobel 1883: William Jenney Civil War. invents dynamite. designs the first 1863: Abraham Lincoln 1867: Christopher Sholes 1-105 1868: Currier & skyscraper, a ten-story signs the Emancipation constructs the first Ives, American metal-frame building in Proclamation. practical typewriter. Homestead Winter. Chicago.

1-103 1860: Charleston 1-106 c. 1875: 1-108 c. 1885: 1-110 1886: Ottmar Mercury, broadsheet J. Ottmann, Maverick & Wissinger, Mergenthaler invents announcing the chromolithographic engraved business card. the Linotype, the first dissolution of the Union. card for Mrs. Winslow’s keyboard typesetting 1-109 c. 1880s: Soothing Syrup. machine. Lettering printed by 1-103 1876: Alexander . Graham Bell invents the telephone. 1-107 1877: Thomas Edison invents the phonograph.

1879: Thomas Edison invents the electric lightbulb.

1-106 1-108

THE EVOLUTION OF TYPOGRAPHY 15 1-115

1887

1-112 1-114

1-116

1-112 1889: Alexandre Gustave Eiffel, the Eiffel 1-114 1892: Paul Tower. Gauguin, By the Sea.

1-111 1887: 1-113 c. 1890s: 1-115 William Morris’ 1-116 1891–98: William 1-117 1892: William Advertisement for Estey Coca-Cola syrup jug. typeface designs: 1890, Morris’ Kelmscott Press Morris, page from News Organ. Golden; 1892, Troy; launches a revival of from Nowhere. 1893, Chaucer. printing and typography. 1887: Tolbert Lanston invents the Monotype machine. 1-117

1-111

16 1893

1-123

1-118 1-120 1-123 1898–1902: Hector Guimard, entrance to a Paris Métro station.

1-118 1893: Henri van 1-119 1897: Edmond 1-120 1890s–1940s: 1-121 1897: Will 1-122 1899: Josef de Velde, title page for Van Deman, title page in the Inspired by Kelmscott, Bradley, title page Hoffmann, catalog cover Nu en Straks. curvilinear art nouveau Americans Frederick in his “chap book” style, for a Vienna Secession style. Goudy and Bruce Rogers reviving Caslon type exhibition. 1895: The Lumière bring renewed excellence and colonial woodcut brothers give the to book and typeface techniques. first motion-picture design. presentation. 1899: Construction begins on the first zeppelin airship. 1-119 1-121 1-122

THE EVOLUTION OF TYPOGRAPHY 17 Typography in the twentieth century: 1900–2000

The twentieth century was a period of incredible ferment and change. Unprecedented advances in science and technology, and revolutionary developments in art and design left their marks on typography.

1900

1-124 1-125 1-127

1-127 1913: Wassily Kandinsky, Improvisation 31 (Sea Battle). 1-129 1914–18: World War I.

c. 1915: Kasimir Malevich, painting shown at the 0.10 group exhibition launching Suprematism.

1-124 1900: Peter 1-125 1909: Filippo 1-128 c. 1916: Bert 1-129 1917: John 1-130 1917: Vilmos 1-131 1919: Raoul Behrens, dedication page Marinetti founds Thomas, British war Heartfield, Dadaist Huszar, De Stijl magazine Hausmann, Dada poem. from Feste des Lebens Futurism, experiments bonds poster. advertisement. cover. 1920: Women’s suffrage und der Künst. with typographic form 1917–22: The Dada 1918: Czar Nicholas is granted in the United and syntax. 1903: The Wright movement protests the II and his family are States. brothers achieve the first 1-126 c. 1910: German war and conventional art. executed. 1920: Bolsheviks powered flight. sans serif “block style.” triumph in the Russian 1905: Albert Einstein Revolution. proposes his theory of relativity.

1-131

1-126 1-128 1-130

18