William Addison Dwiggins Caledonia Typeface
Julie A. Farrell Copyright © 2013 Julie A. Farrell Essay copyright © 2013 Julie A. Farrell
Library of Congress Catalog Number: x000111000 ISBN: 1-000000-xx-0
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means without written permission of the publisher and author except for brief quotations in reviews or critical articles.
Published in 2013 by Art 430: Typography III The Art 430: Typography III class produces books related to the history of type design. Printed in the United States of America
Distributed by JAF Publishers, Baltimore, MD
Cover Image: William Addision Dwiggins’ personal trademark/logo A puppet of William Addison Dwiggins
Contents
William Addison Dwiggins 4
Caledonia Typeface 10
The Making of Caledonia 14
Technology and Caledonia 18
Conclusion 22
Bibliography 24
William Addison Dwiggins
William Addison Dwiggins was an American type designer, advertising designer, calligrapher, book designer and illustrator. Dwiggins greatly influenced the marked improvement of book design in the 1920’s and 1930’s. He is credited with coining the term ‘graphic designer’ in 1922.1 He was an accomplished individual but also embodied a fun personality. He was well respected and highly regarded. Among the many other typefaces he produced, Caledonia is one that has stood the test of time and remains with us in the digital age. William Addison Dwiggins
design, producing work for numerous busi- nesses.3 Although he kept at this for twenty years, he is now remembered most as a dis- tinguished book designer, illustrator, and typographer.4 In Boston, Dwiggins met D.B. Updike and Bruce Rogers, two leaders in the de- sign and production of books. Updike em- ployed him with Merrymount Press in 1907. After World War I, when book production in the United States was at an all time high because of the growing economy, he was led to write about higher standards of book production in his pamphlet titled, Extracts from an Investigation into the Physical Properties of Books.5 It is a satirical essay in which he made up the Society of Callig- raphers and their president, Herman Püter- illiam Addison Dwiggins, also schein. This is one example of Dwiggins’ Wknown as WAD, was born June 19, playful attitude and creative imagination, 1880 in Ohio and died December 25, 1956 which many believe helped make him the in Massachusetts, he was 76 years old when success he was. he passed away. As a boy, Dwiggins wanted Alfred Knopf read this pamphlet and Figure 2: Carvan Borders to become an artist. He came of age during in 1923 met Dwiggins and established a the height of the influence on the turn-of- working relationship with him through the the-century Arts and Crafts movement on Plimpton Press. Dwiggins designed 340 fine printing embodied by William- Mor books for Knopf.6 The two men had over ris and his Kelmscott Press. At the age of a thirty-year association. nineteen, he attended the Frank Holme Around the same time Dwiggins also School of Illustration of Chicago. There he coined the term “graphic design” in his ar- studied typography under Fredrick Goudy, ticle “New Kind of Printing Calls for New a prolific and accomplished American type Design,” published in the Boston Evening designer, and illustration with Frank and Transcript on August 29, 1922. This term Joseph Leyendecker. In 1903, he returned used by Dwiggins describes the encom- to his home in Ohio and established the passing work of a type, typography, page Guernsey Shop, which was purposed to and ad designer.7 Philip Hofer wrote in the produce illustrated books but with a lack of Dolphin (1935) that Dwiggins was “Ameri- clientele it failed, and a year later Dwiggins ca’s one truly modern typographer, and by accepted Goudy’s invitation to join him at far her most outstanding book decorator the Village Press in Massachusetts.2 Lack and calligrapher; a mechanical wizard, type of income became a problem in work- designer, and specialist in advertising lay- ing with Goudy at the Village Press, so in out; an illustrator, mural painter, costume Boston, he began his career in advertising designer, and sculptor, a playwright, satirist,
6 William Addison Dwiggins
and perhaps beyond ever the best of his art 1 Livingston, Alan and Livingston, Isabella. – a thinker and poet in prose.” Dictionary of Graphic Design and Designers (London: Thames and Hudson, 1992), 122. In 1928, Dwiggins published his most famous book, Layout in Advertising, which 2 Shaw, Paul. “Tradition and Innovation: The Design Work of William Addison Dwiggins,” Design is still used as a standard today. It was re- Figure 3: Colorful stenciled Issues, Vol. 1, No. 2 (Autumn, 1984): 26. 1948 Accessed February 22, 2013. url: http://www.jstor. issued in . The book is primarily de- ornamentation voted to the technical aspects of advertis- org/stable/1511497. ing layout, including excellent illustrative 3 Hall, Elton W. “Dwiggins, William Addison,” examples.8 In his book, he also criticizes Figure 4: Hand-signed copy American National Biography Online (2000). for LEC Accessed February 22, 2013. url: http://www.anb. American sans-serif faces in comparison org/articles/17/17-00244.html. to European designs. This led C.H. Griffith 4 Thompson, Ellen Mazur. “Early Graphic Design of Mergenthaler Linotype to commission Periodicals in America,” Journal of Design Dwiggins. To design Metroblack, a san-ser- History, Vol. 7, No. 2 (1994): 120. Accessed if used widely in America for many years.9 February 22, 2013. url: http://www.jstor.org/ stable/1316080. He went on to design a total of eighteen typefaces while with Mergenthaler Lino- 5 Hall, Elton W. “Dwiggins, William Addison,” American National Biography Online (2000). type Company. Caledonia, subsequently Accessed February 22, 2013. url: http://www.anb. furnished with a suite of decorations called org/articles/17/17-00244.html. Caravan (Fig 2), has become and American 6 Ibid classic, surviving into the digital age.10 Dwiggins’ great success was based on 7 Heller, Steven and Pettit, Elinor. Graphic Design Time Line: A Century of Design Milestones a simple principle: a book should be easy to (New York: Allworth Press, 2000), 64. read and attractive to look at. For his work, he chose easy to read typefaces, insisted on adequate margins and leading, and did not
7 William Addison Dwiggins
allow decoration to intrude. His decorative style was simplistic; this is seen especially with his distinctive system of stenciled or- namentation which much of the time in- cluded skillfully used bright colors (Fig 3).11 The Limited Editions Club was founded in 1929 by George Macy to publish finely made and finely illustrated limited editions of the classics of literature. Most of the books were beautifully illustrated with orig- inal artwork by leading book illustrators. In most cases, the illustrators hand-signed each copy of the books that they illustrated for LEC (Fig 4).12 The development of his famed stencil method of illustration can be traced to his work for Direct Advertising and the paper mills.13 Figure 6: Dwiggins’ personal logo
8 Marsh, Charles, Journal of Marketing, Vol. In 1923, Dwiggins learned he had dia- 13, No. 4, Review of “Layout in Advertising” by betes. This knowledge led him to center his WA Dwiggins. (American Marketing Association, April 1949), 159. url: http://www.jstor.org/ life on things that were important to him. stable/1247803 He ended his career in advertising, which
9 Ferguson, Lorraine and Scott, Douglass. “A he called a seduction to exploit weak- Time Line of American Typography,” Design nesses of mankind. He believed in honest Quarterly, No. 148, The Evolution of American broadcast of product information but was Typography (1990): 43. Accessed February 22, appalled by the extensive research behind 2013. url: http://www.jstor.org/stable/4091232 advertising to delude the consumers.14 He 10 Hall, Elton W. “Dwiggins, William Addison,” did however, keep developing his typogra- American National Biography Online (2000). Accessed February 22, 2013. url: http://www.anb. phy and designing for LEC and other pub- org/articles/17/17-00244.html. lishers as well as Knopf. He also amused
11 Ibid himself and his friends with an elaborate marionette theater, which he designed be- 12 Majure, Bill. “A Brief History of the Limited Editions Club,” last modified 2012, http://www. neath his studio (Fig 5, 7). In addition to majure.net/lechistory.htm. winning critical acclaim for his work, he
13 Shaw, Paul. “Tradition and Innovation: The Design also earned a gold medal of the American Work of William Addison Dwiggins,” Design Institute of Graphic Arts in 1929 and an Issues, Vol. 1, No. 2 (Autumn, 1984): 27. honorary degree from Harvard University Accessed February 22, 2013. url: http://www.jstor. in 1947. Dwiggins was an accomplished org/stable/1511497. man, had many distinguished friends, and, 14 Ibid, 27. Figure 5: Dwiggins’ marrionette it seems, a lifetime of enjoyed hard work. Graphic design truly was his field. He even Figure 7: Dwiggins’ marrionette theater designed his own personal logo (Fig 6).
8
Caledonia Typeface
Caledonia typeface is classified through the ATypI system, of the Association Typographique Internationale, as a Transitional typeface. The Transitional typeface is a bridge between Old Style and Modern serifed typefaces in that it has a more vertical axis and sharper serifs than that of its predecessor. The most widely used font within this category is Times New Roman, which is easily comparable with Caledonia in similarity and disparity. However, the font most recognized in association with Transitional is Baskerville. Transitional typefaces derive their heritage from Scotch Roman Type.15 What may be considered the first of the Transitional style typeface is the King’s Roman.16 Caledonia Typeface
Figure 8: Roman du Roi
he King’s Roman (Romain du Roi) 15 Ascender Fonts, “Scotch Roman Roman,” Scotch marked a significant departure from Roman Roman Type Information, 15 May T 2003, http://www.ascenderfonts.com/font/ the former Old Style types. Louis XIV, scotch-roman-roman.aspx (15 May 2003). King of France, commissioned it in 1692. 16 I Love Typography, “History of Typography: This time period was the beginning of Transitional,” Part 3: Siecle Des Lumieres, the Enlightenment, which was marked by 17 Jan 2008, http://ilovetypography. a resistance to tradition.17 This resistance com/2008/01/17/type-terms-transitional- type (17 Jan 2008). enveloped all areas of life: art, literature, philosophy, religion, as well as typogra- 17 Felici, James. The Complete Manual of Typography (Berkeley: Peachpit Press, 2003), 46. phy. The Romain du Roi typeface was a novelty. It was based on rational prin- 18 Morison, Stanley. Letter Forms (Point Roberts: Hartley and Marks, 1997), 23. ciples of mathematics (Fig 8, 9). Where Humanist and Old Style typefaces owed 19 I Love Typography, “History of Typography: Transitional,” Part 3: Siecle Des Lumieres, much to the handwritten letterform, Tran- 17 Jan 2008, http://ilovetypography. sitional types had decreased calligraphic com/2008/01/17/type-terms-transitional- flow and increased readability.18 19 type (17 Jan 2008).
Figure 9: Roman du Roi
11 Caledonia Typeface
Transitional typeface characteristics are as follows: 20 STROKE CONTRAST 1. Greater contrast between thick and thin strokes (Fig 10)
2. Wider, gracefully bracketed serifs with flat bases
3. Larger x-height
4. Vertical stress in rounded strokes (Fig 11) OLD STYLE TRANSITIONAL Palatino Baskerville Comparing and contrasting Caledonia with other types within this category is es- sential but it is also important to notice the details of the typeface on its own stand- ing. Two letters in particular are telling of a 20 Craig, James. Designing with Type (New York: ERTICAL TRESS typeface, the O and the H, h. Watson-Guptill, 2006), 34. V S The O is more oval and upright (ver-
21 Felici, James. The Complete Manual of tical stress), with both higher and lower Typography (Berkeley: Peachpit Press, 2003), 46. contrasts, like that of all Transitional type- 21 22 Beier, Sofie.Reading Letters (Amsterdam: BIS, faces. The capital letter forms of C, G and 2012), 93. Q follow the specs of the O form almost
23 Cheng, Karen. Designing Type (New Haven: perfectly. The lower case includes much Yale University Press, 2005), 44. more letters that follow the curvature of
24 Kraus, Nick. History of American Art Deco, the o: c, e, and the rounded side of the b, p, Last modified December 2005,http://www. d and q. The stemmed side of these letters brynmawr.edu/cities/archx/05-600/proj/ follow the curvature of the h. The optical p2/npk/historydeco.htm O OLD STYLE TRANSITIONAL and mathematical centers are equal in the O Caledonia typeface, whereas New Times Palatino Baskerville Roman and Baskerville have a slightly high- er optical center. Caledonia and Baskerville have a higher contrast of stroke width than New Times Roman, and the counter of Figure 10: Stroke Contrast the O and the width of the H is wider in Baskerville than the other two types. Figure 11: Vertical stress The H is almost identical in all three. Caledonia differs the most in that the crossbar is thinner and, as with many of its capital letters, the flat, horizontal portion reaching to the cap height and/or extend- ing to the baseline are slightly indented or grooved, whether it is the serif or the arm of a letter. Though all of the serifs of the
12 Caledonia Typeface
Figure 12: Sharp curve in the lowercase The ascenders of the lowercase b, d, Q has a tail that extends from the bottom- this art movement. Art Deco is known for h of Caledonia Typeface h, k and l have a heavier width at the top, center of the oval form and swoops to the its ornamentation being focused on geom- which gradually thins descending down the right. This action reinforces a left-to-right etry, machinery, botany, nationalism and stem of the character. They are distinctly reading motion.23 color. American Art Deco conveyed both capped with a one-sided, slanted serif. This This typeface follows an unusual pat- beauty and strength.24 Caledonia has the capped slanted serif is also seen with other tern with many outliers and distinctions. clean sparseness of the motor age, as well lowercase letters such as the i, j, n, m, p, r This gives it its invaluable rugged feel and a as an incorporation of mathematical exact- and u, but the v, w, x, and y have straight quality that can require detailed study if de- ness, which shows strength through the horizontal caps. The crossbar of the lower- sired. The uniqueness of each letter grants stability and commonality seen throughout case t is slanted in unison with other capped a reader visual interest but also easy read- the typeface. Also in Caledonia, beauty seen slanted serifs, matching their angle. The t is ability as it still strongly fits into the guide- in the small details, through slight botanic noted as having no serifs. lines of a Transitional typeface. treatments such as flared ascenders, and a capital lettersh are bracketed, a very different Spurs and tails (Fig 13) are included in Though this typeface is categorized as delicate thinning and thickening through- aspect of Caledonia is that the serifs of the the Caledonia typeface. Letters that include Transitional (or Neoclassical), it was cre- out the letters. lowercase letters do not all include brackets. spurs are the uppercase C, G and S, and ated in 1938 during the time of Art Deco A strong example of this is the lower case lowercase q and s. However, the throat of in America. It shows, through Caledonia’s h. Where New Times Roman and Basker- the G is serifed with no spur. The capital structure, that Dwiggins was influenced by ville both show bracketing throughout, Caledonia does not show bracketing on its baseline serifs except solely on the h’s right inner leg. This stands true with many of the typeface’s lowercase letters. Ascenders In continuing to look at the lower case Stem h of Caledonia, the most noticeable differ- CAP HEIGHT ence in comparing with other types is the Terminal Ear Bowl Eye Shoulder abrupt sharpness of the inner curve of the X-HEIGHT h.22 This sharp curve is contained in the lowercase letters a, n, m and u, but is not BASELINE as prominent as it is in the h (Fig 12). This Finial BracketHCrossbaranCounterdgloveAxis ryDescender really gives Caledonia its distinction among Link/ Neck the serifed types. This characteristic will be Loop/Lobe Tail talked about later in more detail. The letters that include a hook-form, ball terminal are the J and the lowercase a, c, f, j and y. All with a reduced stem width leading into the terminal. A couple outli- Figure 13: Letter Anatomy ers to this consistency are the lowercase p and q. Their descenders include modified serifs, bracketed on one side of the stem and unbracketed on the other. Two other letters with noticeable difference from this regularity are the r and g. The ball terminal of the lowercase r is cut at an angle. Simi- larly, the g’s ear is also cut at an angle and resembles that of the r’s terminal. 13 The Making of Caledonia
In 1928, Dwiggins’ most successful writing, Layout in Advertising, was published and included a criticism he had made about the need for better sans-serif types, which led Mergenthaler Linotype Company to invite him to design one. Dwiggins accepted the challenge, and designed the Metro series. Impressed with this type, Mergenthaler Linotype offered Dwiggins a contract, where he worked with them for twenty-seven years, producing twelve type designs, five of which were issued to the trade, two of which have been digitalized and are currently used. The Making of Caledonia
t the end of the 1930’s, the Mergen- Athaler Linotype Company asked Dwiggins to produce an update to their ver- sion of the popular book typeface, Scotch Roman (Fig 14). In America, Scotch Roman was criticized for its heavy capitals and un- even color. Dwiggins studied Baskerville, Bodoni, and Didot along with studying Bulmer. Bulmer is the name of a transi- tional serif typeface originally designed by William Martin in 1792 for the Shakespeare Press. Martin worked under John Basker- ville, and his types show Baskerville’s in- fluence.25 Bulmer is said to be between Baskerville and Didot, so this was the hy- brid that Dwiggins was looking for as a base for this new typeface.26 Though Dwig- gins began with the thought of refining the Scotch Roman typeface, eventually he drew Figure 14: Scotch Roman 25 Macmillan, Neil, An A–Z of Type Designers, much inspiration from Bulmer typeface (New Haven: Yale University Press, 2006), 132. (Fig 15).27 As compared earlier, Baskerville 26 Lawson, Alexander, Anatomy of a Typeface, and Caledonia have many similarities in de- (Boston: David R. Godine Inc., 1990), 214. sign. However, Dwiggins follows the mold 27 Hlasta, Stanley C., Printing Types & How of Scotch Roman as he induced the flat top to Use Them, (Pittsburgh: Carnegie Press, of the t and long lowercase ascenders into 1950),111-114. Caledonia typeface.28 But in no way is Cale- 28 “Typefoundry: Documents for the history of type donia known to be a pastiche. Dwiggins’ and letterforms,” Scotch Roman, http:// typefoundry.blogspot.com/2007/02/scotch- sense of form was so strong that it perme- roman.html. Last modified February 14, 2009. ates even the smallest detail, preserving its 29 Unger, Gerard, “Experimental No. 223, A 29 originality. Newspaper Typeface, Designed by W.A. Dwiggins,” So in 1938, Dwiggins designed Cale- Quarendo 11 (1981): 4. donia for the Mergenthaler Linotype Com- pany. He chose the name Caledonia, the Roman name for Scotland, to express the face’s original intended basis on the early nineteenth century Scotch Roman type- face, created by Richard Austin, an English punchcutter.30 Dwiggins took great care in the details when creating Caledonia. The positiveness of stroke that he adds to the long ascend- ing stems of the lowercase letters, as they Figure 15: Bulmer start out thinner at the base and widen and
15 The Making of Caledonia
flare at the top, gives the typeface a liveli- resulting in blurred text. This usually oc- ness and rustic feel that Dwiggins inten- curred with smaller point sizes such as size tionally sought to keep. 7 and smaller. In Dwiggins’ quest to solve Also, there is a subtle pinch in the this problem, he used the basis of the M- transition of the small h, n, m and u. This Formula. He worked on Caledonia from was based on what Dwiggins termed the 1932-1939, and during the last years of this M-Formula (Fig 16, 17). The M in M-For- period, along with many other experimen- mula stands for “marionette” and refers tal typefaces, he worked on Experimental to the principles of puppet making. In No. 223 (Fig 18). The M-Formula was ap- 1928, Dwiggins became interested in mari- plied more discretely in Caledonia than in onettes. He and his friends and colleagues No. 223 and is possibly the reason why Cale- from the Hingham Manuscript Club built a donia turned out to be successful.32 marionette outfit to produce some of their writings through theater venue. Dwiggins Figure 18: M-Formula Shown in noticed that the faces of the marionettes Experimental No. 223 (See pg 17) appeared flat and unnatural from the view of the audience. He solved this problem by carving extremely angular facial features
30 Bringhurst, Robert, The Elements of Figure 16: M-Formula for the puppets. This made the features Typographic Style. (WA: Hartley and Marks, more visible and seem more lifelike from 1996), 299. far away. This new finding influenced his 31 Zonghi, Roberta, “The Dwiggins Marionettes at the typeface designs as well, especially that of Boston Public Library,” in, edited by Dirks, Phyllis Caledonia.31 T. (Jefferson: Mcfarland & Co., 2004), 199. Caledonia was also brought to final- 32 Unger, Gerard, “Experimental No. 223, A ity through Dwiggins’ experimentation Newspaper Typeface, Designed by W.A. Dwiggins,” Quarendo 11 (1981): 320. of designs for newsprint. The director of the Mergenthaler Linotype Co., Chauncey Griffith, strove toward a more legible type for newspapers. At this time, the web of the pulp paper tended to fill up the small counters of some of the lower case letters
Figure 17: M-Formula
16 The Making of Caledonia
17 Technology and Caledonia
The Mergenthaler Linotype Company is a corporation founded in America in 1886 by Ottmar Mergenthaler (Fig 19, 20). With the company’s primary product, the Linotype machine, it became the world’s leading manufacturer of book and newspaper typesetting equipment; its only serious challenger for book production was the Monotype Corporation. The invention of the Linotype replaced the labor-intensive task of setting type by hand (Fig 21, 22). Mergenthaler Linotype dominated the printing industry through the twentieth century. The company endured a complex history, during which printing technology moved to phototypesetting, and then to digital.33 Technology and Caledonia
Figure 19: Current Mergenthaler Linotype Company Trademark
Figure 20: Historical Mergenthaler Linotype Company Trademark
19 Technology and Caledonia
aledonia was sold by Linotype in CEngland under the same name, and in Germany as Cornelia. A German typo- graphic foundry, Stempel, had an exclusive relationship with Mergenthaler Linotype Company. Cornelia, as it was called in Ger- many, proved so popular that the Stempel foundry cast it as a foundry type. Caledonia was specifically designed for linotype composition and has the clean sparseness of the motor age. Typefaces de- signed for the Linotype were restricted by two key factors, thus restricting the creativ- ity of the designers. First, kerning of the letters was very difficult. Special treatment of the letters, which required detailed com- positor work, was required. Second, the em was divided into only 18 units, which dis- 33 Kahan, Basil, Ottmar Mergenthaler: The Man couraged subtlety of proportion.34 and his Machine, (New Castle: Oak Knoll Press, Caledonia is primarily a book typeface 2000), 30. and Linotype sold an optional version of 34 Bringhurst, Robert, The Elements of Typographic the ascenders and descenders that were Style. (WA: Hartley and Marks, 1996), 137. longer than the shorter standard ones add- 35 Connare, Vincent, “The Type Designs of William ed to increase readability in book text sizes. Addison Dwiggins,” http://www.connare.com/ In 1982, Linotype released a typeface titled essays.htm#footnote24. Last Modified May 22, 2000. New Caledonia. The difference in the orig- inal letterpress version and the Linotype digital version of Caledonia is that the digi- tal version has very straight ascender stems and all the small letters have cupped serifs. Also, New Caledonia shows flat serifs on the bottoms of the small letters and shows retained cups on the capitals. The subtle pinch in the transition of the small n, m, h and u is better represented as well. Overall, the digital version, New Caledonia, is a bet- ter example of the original idea Dwiggins had in mind (Fig 23).35 Dwiggins also wrote articles for the Boston Evening Transcript, one of which Figure 21: Linotype Machine Logo reveals his prediction as to where the art Figure 22: Linotype Machine of typography was heading. In his article, “New Kind of Printing Calls for New De- sign” (August 29, 1922), he calls attention
20 Technology and Caledonia to the tremendous advances in printing and reproduction technology and its ef- fect on the printing industry, the growth of the advertising industry and mass media and the power contained within them, and the recognition of a new profession fac- ing new opportunities.36 Here he coins the term ‘graphic designer,’ and he was obvi- ously aware and accurate of the prospect of this new profession emerging. He also expressed his concern for standard of qual- ity and, challenging more than questioning, if this quality could be carried across the gap into this new wave of technological advancement.37 Although Dwiggins felt that advertising was not what he wanted to invest the last years of his life execut- ing, because he was a critic of American consumerism, he did promote advertising 36 Thompson, Ellen Mazur, Origins of Graphic in his article, “New Kind of Printing Calls Design in America 1870-1920, (New Haven: Yale for New Design,” and in his book, Layout University Press, 1997), 159. in Advertising. He writes about his view 37 Dwiggins, William Addison, “New Kind of that advertising design is the only form of Printing Calls for New Design,” Boston Evening Transcript (1922) in Origins of Graphic Design in 38 graphic design that influences everyone. America 1870-1920 by Thompson, Ellen Mazur, Dwiggins was very aware of the progress (New Haven: Yale University Press, 1997), 184. of his time. Though he might not have an- 38 Thompson, Ellen Mazur, Origins of Graphic ticipated the technological advancements Design in America 1870-1920, (New Haven: Yale that we have today, he certainly was correct University Press, 1997), 35. about the combination of skills that make up what we now know a graphic designer to be.
Figure 23: New Caledonia
21 Conclusion
Caledonia, accomplished its intended purpose of replacing the popular book typeface, Scotch Roman. It became one of the most widely used book typefaces of all time. The digital version, New Caledonia, released in 1982 by Linotype, and is now published by Linotype and Adobe, is available in four weights: text, semi bold, bold, and black. The format of this font is OpenType, which lends the font file to be compatible with both Macintosh and Windows computers, and it is also able to support widely expanded character sets and layout features. New Caledonia is designed to be used at a text size of 12.0 points. Because Dwiggins viewed technology to Figure 24: William Addison Dwiggins’ personal trademark be at its peak during his time, he could not have anticipated that his typeface would have been generated digitally or have endured through to this age with such popularity. He designed his own signature logo seen on the front cover, which he also sometimes used in shortened form as seen with just his initials (Fig 24). Dwiggins worked at perfecting typography and graphic design of his time and had tremendous impact on these fields. Bibliography
Ascender Fonts, “Scotch Roman Roman,” Scotch Roman Dwiggins, William Addison. “New Kind of Printing Calls Heller, Steven and Pettit, Elinor. Graphic Design Time Roman Type Information, 15 May 2003,
24 Lawson, Alexander. Anatomy of a Typeface. Boston: McLean, Ruari. Typographers On Type: An Illustrated Thompson, Ellen Mazur. Origins of Graphic Design in David R. Godine Inc., 1990. Anthology from William Morris to the Present Day. America 1870-1920. New Haven: Yale University New York: Norton, 1995. Press, 1997. Livingston, Alan and Livingston, Isabella. Dictionary of Graphic Design and Designers. London: Thames and Morison, Stanley. Letter Forms. Point Roberts: Hartley “Typefoundry: Documents for the history of type and Hudson, 1992. and Marks, 1997. letterforms,” Scotch Roman, http://typefoundry.blogspot. com/2007/02/scotch-roman.html. Last modified Macmillan, Neil. An A–Z of Type Designers. New Shaw, Paul. “Tradition and Innovation: The Design Work February 14, 2009. Haven: Yale University Press, 2006. of William Addison Dwiggins,” Design Issues, Vol. 1, No. 2 (Autumn, 1984). Accessed February 22, 2013. url: Unger, Gerard, “Experimental No. 223, A Newspaper Majure, Bill. “A Brief History of the Limited Editions http://www.jstor.org/stable/1511497. Typeface, Designed by W.A. Dwiggins,” Club,” last modified 2012, http://www.majure.net/ Quarendo 11 (1981). lechistory.htm. Thompson, Ellen Mazur. “Early Graphic Design Periodicals in America,” Journal of Design History, Vol. 7, No. 2 Zonghi, Roberta, “The Dwiggins Marionettes at the Boston Marsh, Charles, Journal of Marketing, Vol. 13, No. (1994): 120. Accessed February 22, 2013. url: http://www. Public Library,” in American Puppetry: Collections, 4, Review of “Layout in Advertising” by WA Dwiggins. jstor.org/stable/1316080. History and Performance, edited by Dirks, Phyllis T. American Marketing Association, April 1949. url: http:// Jefferson: Mcfarland & Co., 2004. www.jstor.org/stable/1247803
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Book Design, Cover Design and Typography by Julie A. Farrell
Produced using a MacBook Pro and InDesign 5.5 Typefaces used are Garamond Regular, Bold and Italic Printed by Common Vision Baltimore, MD
Printed on Coverstock 80 lb paper
Art 430, Typography III Margaret Re, Instructor