A Midsummer Night's Typeface

A Midsummer Night ’s Typeface

A Midsummer Night ’s Typeface

umsl Saint Louis, Missouri

Dan Mongan

Copyright ©2013

All rights reserved. No part of this publication may be reproduced

by any mechanical, photographic, or electronic process, or in the

form of a photographic recording, nor may it be stored in a retrieval

system, transmitted, or otherwise copied for public or private use

without the written permission of the publisher.

First printing

Published in the United States by umsl fab

One University Boulevard

Saint Louis, Missouri 63121

Published in the USA

For my family

table of contentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . XI

Chapter Oneitc Avant Garde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter Twoitc Tiffany Std . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter ThreeAdobe Caslon Pro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter FourBickham Script Std . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Colophon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

introductionThis type specimen gives detailed information on four typefaces. Each typeface has a chapter of its own and shows the deconstruction of that typeface. There is also variety of weights and sizes, and information on the designer of the typeface. The theme of this book is A Midsummer

Night’s Dream . The inspiration came from the fantasy aspect of the book and the typefaces chosen show an elegant and formal quality.

This book is to help determine when one should each typeface for display text or body text.

XI

Herb Lubalin's logogram for Avant Garde Magazine .

chapter oneHerb Lubalin and Tom Carnase based their 1970 design of itc Avant Garde Gothic on Lubalin’s logo for Avant Garde Magazine. The condensed fonts were designed for the International Typeface Corporation in 1974 by Ed Benguiat. itc Avant Garde Gothic is a geometric sans serif type, that is, the basic shapes were made with a compass and T-square; the design is reminiscent of the work from the 1920s German Bauhaus movement. Letterforms built of circles and clean lines are highly effective for headlines and short texts. The condensed faces have the same modern look, while retaining legibility in lengthier texts.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "





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2 A Midsummer Night’s Typeface






itc Avant Garde Gothic

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book condensed

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3

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book condensed oblique

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ Œ œ æ fi fl © ® ™

< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

5itc Avant Garde Gothic

The course of true love never did run smooth.








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G RQ xo ji

low crossbar bowl does not close

curve on tail tall x- height

perfect circles rectangular dots}

}} }

}}

7itc Avant Garde Gothic

— Herb Lubalin

chapter two

Born Ephram Edward Benguiat in 1927, he grew up in Brooklyn, New York, playing with his father's drawing materials. Before the Second World War, he had a promising career as a jazz percussionist, and he picked this up again after serving with the Air Corp — which he joined with the aid of a forged birth certificate — during the war. However, acknowledging that a music career could see him still playing at bar mitzvahs as an old man, he used the GI bill to go to college. He enrolled at the Workshop School of Advertising Art, training as an illustrator.

itc Tiffany is a blend of two typefaces; Ronaldson, released in 1884 by the MacKellar Smiths & Jordan foundry, and Caxton, released in 1904 by American Type Founders. Ronaldson was an instant success and widely copied by many foundries after its release; its exaggerated serifs are its most remarkable feature. In 1974, Ed Benguiat combined these designs in a contemporary typeface he called Tiffany, which is useful for both short texts and display work.


A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™ < ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

medium

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“I do not think of type as something

— Edward Benguist

that should be readable.

It should be beautiful.”

medium italic

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x

a b c d e f g h i j k l mn o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™

< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x

a b c d e f g h i j k l mn o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

a b c d e f g h i j k l mn o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

15itc Tiffany Std

Lord, what fools these mortals be!





Lord, what fools these mortals


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RQ

eo

stem curves in the counterelegant tail

slanted eyevertical axis}

} }

}17itc Tiffany Std

chapter three

William Caslon released his first typefaces in 1722. Caslon’s types were based on seventeenth-century Dutch old style designs, which were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used any other typeface. The first printings of the American Decla-ration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied specimen pages printed by William Caslon between 1734 and 1770. The OpenType “Pro” version merges formerly separate fonts and adds both central European language support and several additional ligatures. Adobe Caslon Pro is the perfect choice for body text in magazines, journals and book publishing.


A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "



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OberonThe Fairies

TitaniaRobin Goodfellow / Puck

Peaseblossom

AA

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A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ̂ { } *|; ( = ) [ ~ ] > ? ' , & . ̀ "

24 A Midsummer Night’s Typeface 1

11N

y

I have had a dream, past the wit of man to say what dream it was.







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QQ

go

decorative tailstraight tail

enclosed loopslanted axis}

} }

}27Adobe Caslon Pro

Cobweb

Moth MustardseedSecond Fairy

First Fairy

JJ

chapter four

Richard Lipton’s Bickham Script is a flowing, formal script typeface based on the lettering of 18th century writing masters, as rendered in the unparalleled engravings of George Bickham. This ornate script lends a signature flourish to invitations, menus, annual reports, restaurant logos, and packaging. It is intended for display text. With dozens of alternate letterforms in addition to its range of weights, Bickham Script’s personality can range from poised to extravagant.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾Œ œ æ fi fl © ® ™< ! @ # / + \ $ % ^{ } *|; ( = ) [ ~ ] > ? ' , & . ` "



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The MechanicalsPeter Quince

Nick Bottom Francis Flute •••

•

•I merely attempted to capture

the energyof these extravagent

scripts.

“

”

••

•••

To show our simple skill, That is the true beginning of our end.

To show our simple skill, That is the true beginning of our end.

To show our simple skill, That is the true

To show our simple skill, That is the true

To show our simple skill, To show our simple To show our sim-

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Qp

Z•

unique, cursive capital qelegant tail

calligraphic capital zone of many flourishes}

} }

}37Bickham Script Std

Robin Starveling Tom Snout

•

•Snug

colophonThis book was created and designed with Adobe InDesign CS6.

The main typeface for this book is Perpetua Std. Other typefaces include itc Avant Garde, itc Tiffany Std, Adobe Caslon Pro and Bickham Script Std.

Information on the typefaces and designers can be found on:adobe.comidentifont.commyfonts.com

Quotes are taken from the book A Midsummer Night’s Dream .

Other quotes are by each designer.

A special thanks to Elaine Coder for her guidance and knowledge during the process of making this book.

41Colophon

A Midsummer Night's Typeface

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