Typographers research

Prepared by:
Georgina Awad
Giambattista Bodoni

He was an Italian typographer, type-designer, compositor, printer, and publisher in Parma.

Bodoni designed many typefaces, each one in a large range of type sizes.
No printer was more acclaimed in his own lifetime than Giambattista Bodoni.
He did away with old-style letters and introduced a new clear simple type - the Modern typeface.
The roman letter he cut in 1798 is usually what we mean by a Bodoni.
His type was characterised by a severe simplicity.

In his influential Manuale Tipografico of 1818, he laid down the four principles of type design
"from which all beauty would seem to proceed"
which were: regularity, cleanness, good taste, and charm.

He achieved an unprecedented level of technical refinement, allowing him to

faithfully reproduce letterforms with very thin "hairlines", standing in sharp
contrast to the thicker lines constituting the main stems of the characters.
Fonts designed by Giambattista Bodoni: Bodoni Antiqua Bold

EF Bauer Bodoni Bodoni Classic

Bauer Bodoni Bodoni Classic Ad

Bauer Bodoni (BT) Bodoni Classic Chancery

Bauer Bodoni (URW) Bodoni Classic Hand

Bauer Bodoni Black Bodoni Classic Text

Bauer Bodoni Black Condensed Bodoni Classico

Bauer Bodoni Bold ITC Bodoni Ornaments

Linotype Gianotten Bodoni Poster

URW Bodoni Bodoni Poster Compressed

Bodoni ITC Bodoni Seventy-Two

Bodoni (BT) ITC Bodoni Six

Bodoni Antiqua Bodoni TS

CG Poster Bodoni ITC Bodoni Twelve

Bodoni typeface has five different characteristics that are used to identify it.
The first would be high and abrupt contrast between thick and thin strokes.
The second would be abrupt (unbracketed) hairline (thin) serifs.
The third characteristic is the vertical axis.
Next would be the horizontal stress.
The last characteristic would be the small aperture.
The many uses of Bodoni include
the identities of Valentino,
Vogue, Armani, Dior, Elle,
Calvin Klein and Zara.
 William Caslon

William Caslon I was born in Worcestershire in 1692.

He died in London in 1766. He was a gun smith and a typefounder.
His William Caslon Foundry was established by him in 1719, and would operate
in London for over 200 years.
His Caslon Roman Old Face was cut between 1716 and 1728.
The first fonts cut by Caslon were for Arabic (1725), Hebrew (1726) and Coptic (1731), but
the designs date back to 1722. The first catalog was printed in 1734.

Caslon’s typefaces combined delicate modeling with a typically Anglo-Saxon vigour.

There are four generations of William Caslons, numbered I (1692-1766),

II (1720-1778), III (1754-1833) and IV (1780-1869), who took
turns running the foundry. The foundry, eventually known as H.W. Caslon&Co.,
passed down through various members of the family until 1937
In 1720 he designed an “English Arabic” typeface used in a psalter and a New Testament.
Two years later he cut excellent roman, italic, and Hebrew typefaces for the printer
William Bowyer; the roman typeface, which was first used in 1726, later came to be called
Caslon.

Identifying characteristics of most Caslons include

a cap A with a scooped-out apex; a cap C with two full serifs; and
in the italic, a swashed lowercase v and w.
Boston Magazine
 Adrian Frutiger

Adrian Frutiger is a renowned twentieth century Swiss graphic designer.

His forte was typeface designing and he is considered responsible for the advancement of
typography into digital typography.
His valued contribution to typography includes the typefaces; Univers and Frutiger.

In 1954, Frutiger’s first commercial typeface Président was released.

It was designed in a manner that showcased a set of titling capital letters with small, bracketed serifs.
It was followed by Ondine, a calligraphic, informal, script face which translated as Wave in French.
Then Méridien appeared the following year, illustrating a glyphic, old-style, serif text face.

He won several awards for his contribution to typography such as

The Gutenberg Prize, Medal of the Type Directors Club and Typography Award
from SOTA.
 Fonts designed by Adrian Frutiger:

At the French foundry Deberny Et Peignot by Charles Peignot., he designed

various typefaces including Ondine, Méridien, and Président.

Other seminal typefaces created by Adrian Frutiger include Avenir, Versailles and Vectora.
He also tried to expand and modify these typefaces.
He created sixty-three variants of Univers and he reissued Frutiger Next
as an extension of Frutiger with true italic and additional weights
 Eric Gill

British sculptor, engraver, typographic designer, and writer, especially known for his
elegantly styled lettering and typefaces and the precise linear simplicity of his bas-reliefs.

One of the most widely used British typefaces, Gill Sans, was used in the classic design system
of Penguin Books and by the London and North Eastern Railway and later British Railways,
with many additional styles created by Monotype both during and after Gill's lifetime.
In the 1990s, the BBC adopted Gill Sans for its wordmark and many of its on-screen television
graphics.

Typefaces he designed included Perpetua (1925), Gill Sans Serif (1927),

Joanna (1930), and Bunyan, designed in 1934 but recut for machine use and
renamed Pilgrim in 1953.
Eric Gill's types include:

Gill Sans
Perpetua
Perpetua Greek
Golden Cockerel Press Type
Solus
Joanna
Aries
Floriated Capitals
Bunyan
Pilgrim (recut version of Bunyan)
Jubilee (also known as Cunard)

Gill Sans
 Frederic W. Goudy

He is an American printer and typographer who designed more than 100 typefaces
outstanding for their strength and beauty.
Goudy taught himself printing and typography while working as a bookkeeper.

From 1920 to 1940 he was art director of the Lanston Monotype Machine Company.
He produced such faces as Goudy Old Style, Kennerley, Garamond, and Forum for the
American Type Founders and Lanston companies.

He was the author of The Alphabet (1918), Elements of Lettering (1922),

Typologia (1940), and the autobiographical A Half-Century of Type Design and
Typography, 1895–1945 (1946).
-Goudy designed a total of 116 fonts and published 59 literary works. Fonts include:

Copperplate (1905)

Kennerley (1911)

Goudy™ Old Style (1915)

Deepdene (1927)

Remington Typewriter (1929)

Californian (1938)

Bulmer (1939).

Goudy font
 Hermann Zapf

Hermann Zapf is a German calligrapher and is considered one of the most admired and
important calligraphers in history, creating fonts that would serve as a guideline and
inspiration for many fonts to come. However, Zapf had not always planned to be
a calligrapher, he started out dreaming to be an electrical engineer.

He became interested in typography through the works of Rudolf Koch and started to
teach himself calligraphy through books.

As a calligrapher his most popular works were Palatino, Optima,

Zapfino and Zapf Dingbats.
 Optima

True to its Roman heritage, Optima has wide, full-bodied characters – especially in the capitals.
Only the E, F and L deviate with narrow forms. Consistent with other Zapf designs,
the cap S in Optima appears slightly top-heavy with a slight tilt to the right.
The M is splayed, and the N, like a serif design, has light vertical strokes.
The lowercase a and g in Optima are two-storied designs.
 Palatino

Palatino is based on the humanist types of the Italian Renaissance, which

mirror the letters formed by a broad nib pen reflecting Zapf's expertise as a calligrapher.
Its capital 'Y' is in the unusual 'palm Y' style, inspired
by the Greek letter upsilon.
 Jonathan Hoefler

is an American typeface designer. Hoefler founded the Hoefler Type Foundry in 1989, a type
foundry in New York. Growing up, it was the Gill Sans text on boxes of custard that drew
him to typography design. He is largely self-taught, and worked with magazine art director
Roger Black prior to forming the Hoefler Type Foundry in 1989.

Hoefler's work is part of the Cooper-Hewitt, National Design Museum's permanent collection.
In 2011, the Museum of Modern Art acquired two of Hoefler's typefaces:
Mercury, and HTF Didot.
In 2013, Hoefler was awarded an AIGA Medal along with Frere-Jones for "their contributions
to the typographic landscape through impeccable craftsmanship, skilled historical reference
and insightful vernacular considerations."

In 1995, Hoefler was named one of the forty most influential designers in America
by I.D. magazine, and in 2002, the Association Typographique Internationale
(ATypI) presented him with its most prestigious award, the Prix Charles Peignot
for outstanding contributions to type design.
Jonathan Hoefler's types include:
Deseret, 1995
Gestalt, 1990 Jupiter, 1995
Champion Gothic, 1990 Pavisse, 1995
Hoefler Text, 1991 Verlag (formerly Guggenheim), 1996
Ideal Sans, 1991 Giant (formerly They Might Be Gothic), 1996
Ziggurat, 1991 New Amsterdam, 1996
Leviathan, 1991 Hoefler Titling, 1996
Mazarin, 1991 Plainsong, 1996
HTF Didot, 1992 Kapellmeister, 1997
Requiem Text, 1992 Numbers (with Tobias Frere-Jones), 1997–2006
Saracen, 1992 Mercury, (with Tobias Frere-Jones), 1997
Acropolis, 1993 Radio City, 1998
NYT Cheltenham, 1993 Vitesse. (with Tobias Frere-Jones), 2000
Knox, 1993 Deluxe, 2000
Historical Allsorts, 1994 Cyclone, 2000
Knockout, 1994 Topaz, 2000
Fetish, 1994 Lever Sans. (with Tobias Frere-Jones), 2000
Neutrino, 1994 Archer, (with Tobias Frere-Jones), 2001
Quantico, 1994 Chronicle, (with Tobias Frere-Jones), 2002
Oratorio, 1994 Sentinel, (with Tobias Frere-Jones), 2002
Troubadour, 1994 Inkwell, (with Jordan Bell), 2017[13]
William Maxwell, 1994 Decimal, 2019
 Many of Champion’s weights are close translations of classic
wood typefaces, lending the family a slightly mismatched,
Champion
eclectic quality.
Gothic
There are several details that carry through regardless of the weight:
the incised spur on the “G”, the curved leg on the “R”
and the luxurious curve on the flag of the “5.”
These shared details lend the family just enough consistency while letting each
weight stand confidently as its own design.
HTF
Didot The font's very vertical letterforms feature extremes of thickness
and thinness and have thin, long, horizontal serifs.
HTF Didot is generally used for headlines and display text;
at small sizes the reader's eye is only drawn to the thick lines, while
the thin parts of the letters disappear.
Champion
Gothic

HTF
Didot
 Paul Renner

was a German typeface designer. In 1927, he designed the Futura typeface, which became one of
the most successful and most-used types of the 20th century.

Renner was a prominent member of the Deutscher Werkbund (German Work Federation).
Two of his major texts are Typografie als Kunst (Typography as Art) and
Die Kunst der Typographie (The Art of Typography).
He created a new set of guidelines for good book design and invented the popular Futura, a
geometric sans-serif font used by many typographers throughout the 20th century and today.

The typeface Architype Renner is based upon Renner's early experimental

exploration of geometric letterforms for the Futura typeface, most of which were
deleted from the face's character set before it was issued.
Tasse, a 1994 typeface is a revival of Renner's 1953 typeface Steile Futura.
Typefaces:

Architype Renner (1927)

Futura (1927)
Plak (1930)
Futura Black (1929)
Futura light (1932)
Ballade (1938)
Renner Antiqua (1939)

Futura

v
The lowercase has tall ascenders, which rise above the cap line, and uses a single-story
'a' and 'g', previously more common in handwriting than in printed text.
The uppercase characters present proportions similar to those of classical Roman capitals.
 Max Miedinger

He was a Swiss typeface designer, best known for creating the Neue Haas Grotesk typeface in
1957, renamed Helvetica in 1960. Marketed as a symbol of cutting-edge Swiss technology,
Helvetica achieved immediate global success.

When Max Miedinger was 16, he was urged by his father to begin his career in visual design
as an apprentice typesetter at a book printing office for Jacques Bollman. From 1930 to 1936,
he was trained as a typographer and then attended night classes at the
School of Arts and Crafts in Zurich.

He designed : -Helvetica (also known as Neue Haas Grotesk)

-Pro Arte, a condensed slab serif. Undigitised.
-Horizontal, a wide capitals design similar to Microgramma. Digitised as Miedinger.
-Helvetica Monospace & Helvetica Inserat
Fonts designed by Max Miedinger: Helvetica Textbook Bold
Miedinger
Helvetica Miedinger Bold
Helvetica Black Monospace 821
Helvetica Bold Neue Haas Grotesk Display
Helvetica Condensed Neue Haas Grotesk Display Black
Helvetica Condensed Bold Neue Haas Grotesk Display Extra Thin
Helvetica Inserat Neue Haas Grotesk Text
Helvetica Light Neue Haas Grotesk Text Bold
Helvetica Narrow Neue Helvetica
Helvetica Narrow Bold Neue Helvetica Black
Helvetica Now Display Neue Helvetica Bold
Helvetica Now Display Black Neue Helvetica Bold Outline
Helvetica Now Display Bold Neue Helvetica Condensed
Helvetica Now Display Hairline Neue Helvetica Condensed Black
Helvetica Now Display Light Neue Helvetica Condensed Bold
Helvetica Now Micro Neue Helvetica Condensed Extra Black
Helvetica Now Micro Bold Neue Helvetica Condensed Ultra Light
Helvetica Now Micro Extra Bold Neue Helvetica Extended
Helvetica Now Micro Light Neue Helvetica Extended Black
Helvetica Now Text Neue Helvetica Extended Bold
Helvetica Now Text Black Neue Helvetica Extended Ultra Light
Helvetica Now Text Bold Neue Helvetica Light
Helvetica Now Text Light Neue Helvetica Ultra Light
Helvetica Now Text Thin Swiss 721
Helvetica Textbook Swiss 921
 In 1954 he created his first typeface design: Pro Arte, a condensed slab serif. At 1956, he
decided to go for freelance graphic artist and advertising consultant, like his brother, and gain
a certain amount of success over time. Being prompted by Edouard Hoffman, who believed
in Miedinger’s talent, Miedinger was asked to design a new sans serif typeface for their
advertisement to represent the company–Haas Type Foundry. During that time, Miedinger
made his mark on the design history by creating the most used typeface of the 20th century,
the Neue Haas Grotesk, which known as Helvetica.

Helvetica
 Matthew Carter

Matthew Carter is a type designer with more than forty years’ experience of typographic
technologies ranging from handcut punches to computer fonts. After a long association
with the Linotype companies he was a co-founder in 1981 of Bitstream Inc., the digital type
foundry, where he worked for ten years. He is now a principal of Carter & Cone Type Inc., in
Cambridge, Massachusetts, designers and producers of original typefaces.

He holds the honorary degree of Doctor of Fine Arts from the Minneapolis College
of Art and Design. In 2010 he was named a MacArthur Fellow by the John D. and Catherine T.
MacArthur Foundation.

He has received the Frederic W. Goudy Award for outstanding contribution to the
printing industry, the Middleton Award from the American Center for Design, a
Chrysler Award for Innovation in Design, the AIGA medal, and the Type
Directors Club medal.
Matthew Carter's typefaces include the following:

Alisal
Bell Centennial Nina
Big Caslon Olympian
Big Figgins Rocky
Big Moore Roster
Carter Sans Shelley Script
Cascade Script Sitka
Charter Snell Roundhand
Cochin (adaptation) Skia
Elephant (later republished as Big Figgins) Sophia
Fenway Stilson
ITC Galliard Tahoma
Gando Van Lanen
Georgia Verdana
Helvetica Compressed Vincent
Helvetica Greek Walker
Mantinia Wilson Greek
Meiryo (Latin range) Yale
Miller
Monticello
 Georgia

As a transitional serif design, Georgia shows a number

of traditional features of "rational" serif typefaces from
around the early 19th century, such as alternating thick
and thin strokes, ball terminals and a vertical axis.
 Cochin

With a very low x-height and delicate design, Cochin is described by

Walter Tracy an example of a style of lettering and graphic design
popular in the early twentieth century in several countries.
 Tahoma

While similar to Verdana, Tahoma has a narrower body, smaller counters, much tighter
letter spacing, and a more complete Unicode character set. Carter first designed Tahoma
as a bitmap font, then "carefully wrapped" TrueType outlines around those bitmaps.
Carter based the bold weight on a double pixel width, rendering it closer to a
heavy or black weight.
 Claude Garamond

Was a French type designer, publisher and punch-cutter based in Paris.

Garamond worked as an engraver of punches, the masters used to stamp matrices, the
moulds used to cast metal type. He worked in the tradition now called old-style serif design,
which produced letters with a relatively organic structure resembling handwriting with a pen
but with a slightly more structured and upright design. Considered one of the leading type
designers of all time, he is recognised to this day for the elegance of his typefaces.
Many old-style serif typefaces are collectively known as Garamond, named after the designer.

Garamond was one of the first independent punchcutters, specialising in type

design and punch-cutting as a service to others rather than working in house for a
specific printer. His career therefore helped to define the future of commercial
printing with typefounding as a distinct industry to printing books
Fonts designed by Claude Garamond

CG Garamond
Monotype Garamond
Adobe Garamond
URW Garamond
ITC Garamond
ITC Garamond (EF)
Garamond 3
Garamond 3 Bold
Monotype Garamond Bold
ITC Garamond Bold
Adobe Garamond Bold
Garamond Classico
ITC Garamond Handtooled (EF)
ITC Garamond Italic
Adobe Garamond Italic
ITC Garamond Light Adobe Garamond
EF Garamond No. 5
ITC Garamond Ultra
Original Garamond
Stempel Garamond
Stempel Garamond Bold
 John Baskerville

He was an English businessman whose entrepreneurial attentions included japanning and

papier-mâché; he is, however, best remembered as a typographer and printer, not least
for the design of the eponymous typeface which, to this very day, bears his name.

Baskerville printed works for the University of Cambridge and, although an atheist, printed
a splendid folio bible in 1763. His typefaces were greatly admired by Benjamin Franklin, a
printer and fellow member of the Royal Society of Arts, who took the designs back to the
newly-created United States, where they were adopted for most federal government publishing.

Baskerville was responsible for numerous innovations in printing, paper and ink
production. He developed a technique which produced a smoother whiter paper
which showcased his strong black type. He also pioneered a completely new style
of typography, adding wide margins and generous leading to improve legibility.
 Fonts designed by John Baskerville

EF Baskerville
Baskerville Caps
Baskerville TS
ITC New Baskerville
ITC New Baskerville (EF)
ITC New Baskerville Bold
Old Baskerville TS

EF Baskerville

The typeface is the result of Baskerville’s intent to improve upon the types of William Caslon.
He increased the contrast between thick and thin strokes, making the serifs sharper and more
tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes
are more circular in shape, and the characters became more regular.
These changes created a greater consistency in size and form.
Hermann Eidenbenz

Hermann Eidenbenz was a Swiss graphic artist and stamp designer. He was born in India,
where his father managed several companies, and studied graphic arts in Switzerland, first at
Orell Füssli in Zurich, and then in the Kunstgewerbeschule (School of Applied Arts) in Zurich.
In 1926 he started teaching at the Handwerkerschule (arts and crafts school) in Magdeburg, and
in 1932 he opened his own graphic studio in Basel with his brothers Reinhold and Willi.

In 1945 he designed Graphique for Haas Type Foundry, and then in 1950 Clarendon.
In 1947 he designed the lettering which is still used today for car number plates in
Switzerland, and he designed several banknotes and stamps for use in Switzerland and
Germany. He died in 1993 in Basel.

He was one of the first persons in Switzerland to describe himself as a graphic

designer.
Fonts designed by Hermann Eidenbenz

URW Clarendon
Clarendon
Clarendon (BT)
Clarendon Bold
URW Clarendon Extra Narrow
URW Clarendon Extra Wide
URW Clarendon Narrow
Clarendon No. 1
Clarendon No. 1 Bold
Clarendon No. 1 Bold Expanded
Clarendon No. 1 Light
Clarendon No. 1 Stencil Extra Bold
URW Clarendon Wide
Graphique
Graphique-AR
clarendon
Morris Fuller Benton

Benton was born into the type business. His father, Linn Boyd Benton, was a type-founder and
the inventor of the matrix-cutting machine, which revolutionised printing.

The son graduated as a mechanical engineer from Cornell and went to work with his father
in the newly established type design department of the American Type Founders company.
He went on to become the most prolific designer in America, producing more than
180 types of great diversity.

Benton is also accredited with creating some order out of chaos in the typographical
world, by establishing the concept of dividing up typefaces or fonts into families.
He was also responsible for some of the most successful revivals in typographic
history when he interpreted the Bodoni and Garamond typefaces.
 Most popular fonts designed by Morris Fuller Benton

Hobo
ITC Souvenir
Rockwell
Engravers Old English (BT)
Agency FB
ITC Franklin Gothic
ITC Franklin Gothic Compressed
Garamond 3
Alternate Gothic No. 2 (BT)

Franklin Gothic

Franklin Gothic and its related faces are a large family of sans-serif typefaces in the industrial
or grotesque style developed in the early years of the 20th century by the type foundry
American Type Founders (ATF) and credited to its head designer Morris Fuller Benton “Gothic”
was a contemporary term (now little-used except to describe period designs) meaning sans-serif.
 Carol Twombly

is an American designer, best known for her type design. She attended and graduated from
the Rhode Island School of Design (RISD) where she first studied sculpture, and later
changed her major to graphic design. She worked as a type designer at Adobe Systems
from 1988 through 1999, during which time she designed, or contributed to
the design of, many typefaces, including Trajan, Myriad and Adobe Caslon.

Twombly retired from Adobe and from type design in early 1999, to focus on her other
design interests, involving textiles and jewelry.

Twombly was awarded the Morisawa gold prize for her typeface design in 1984.
She was also the 1994 winner of the Prix Charles Peignot, given by the Association
Typographique Internationale (ATypI) - the first woman, and second American, to
receive this award given to a promising typeface designer under the age of 35.
Typefaces by Carol Twombly:

Adobe Caslon (1990)

Californian FB (roman only)
Chaparral (1997)
Charlemagne (1989)
Lithos (1989)
Mirarae (1984)
Myriad (1991)
Nueva (1994)
Trajan (1989)
Viva (1993)
Myriad

Myriad is known for its usage by Apple Inc., replacing Apple Garamond as Apple's
corporate font from April 29, 2002 to January 24, 2017. Myriad is easily distinguished
from other sans-serif fonts dueto its "y" descender (tail) and slanting "e" cut.
 Jan Tschichold

was a German calligrapher, typographer and book designer. He played a significant role in the
development of graphic design in the 20th century – first, by developing and promoting
principles of typographic modernism, and subsequently idealizing conservative typographic
structures.
Tschichold claimed that he was one of the most powerful influences on 20th century typography.
There are few who would attempt to deny that statement. The son of a sign painter and
trained in calligraphy, Tschichold began working with typography at a very early age.
Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled
to Switzerland during the rise of the Nazi party.

Between 1926 and 1929, he designed a “universal alphabet” to clean up the

few multigraphs and non-phonetic spellings in the German language.
Typefaces Tschichold designed include:

-Transit (1931) for "Lettergieterij

Amsterdam, voorheen Tetterode",
-Saskia (1931/1932), for: Schelter &
Giesecke, Leipzig
-Zeus (1931) for: Schriftguss AG, Dresden
-Uhertype-Standard-Grotesk (1931)
-Sabon (1966/1967)

Sabon

Sabon was designed to be a typeface that would give the same reproduction on both
Monotype and Linotype systems and there were also matrices made for type foundries.
All type produced could be interchanged. It was used early after its release by Bradbury
Thompson to set the Washburn College Bible. A “Sabon Next” was later released by
Linotype as an ‘interpretation’ of Tschichold's original Sabon.
 Nicolaus Jenson

A French publisher and printer who developed the roman-style typeface.

Apprenticed as a cutter of dies for coinage, Jenson later became master of the royal mint at
Tours. In 1458 he went to Mainz to study printing under Johannes Gutenberg. In 1470 he
opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase
letter took on the proportions, shapes, and arrangements that marked its transition from
an imitation of handwriting to the style that has remained in use throughout subsequent
centuries of printing. Jenson also designed Greek-style type and black-letter type.

Published works:

-The Manual Of Linotype Typography, Published 1923 by Linotype Company

-Caesar, Julius. Works, 1471. Printed, in venice by Nicolas Jenson, 1471
-VK 405, Bible in Latin, Nicolas Jenson, Venice, 1479
-Pliny, Natural History, 1476. Printed in Venice by Nicolas Jenson.
Jenson’s letters are clearly borrowing their shapes from the calligraphic shapes
that preceded them, called littera antica. These were in turn based on
Carolingian minuscules, to which serifs, borrowed from the Imperial Roman
capitals, were added. It was first in use in his 1470 edition of Eusebius.
In 1471, a Greek typeface followed, which was used for quotations, and then
in 1473 a Black Letter typeface, which he used in books on medicine and history.

Fonts designed by Nicolas Jenson:

Adobe Jenson
Adobe Jenson Bold
Adobe Jenson Caption
Jenson Classico
Adobe Jenson Display
Adobe Jenson Italic
Adobe Jenson Subhead

Adobe Jenson
 Edward Benguiat

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. 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.

After his studies, he changed tack, working as a graphic designer and art director.
And he is a prolific typeface designer, with over 600 typefaces to his credit, including ITC Tiffany,
ITC Bookman, ITC Panache, and the eponymous ITC Benguiat, as well as logotypes for
The New York Times, Playboy, and Sports Illustrated. He is also credited with playing an
important role in the establishment of ITC.

His work has won him acclaim, including a gold medal from the New York
Type Directors Club and the prestigious Fredric W. Goudy Award. An avid
pilot with his own personal plane, he currently teaches at the School of
Visual Arts in New York. He also lectures and exhibits internationally.
Fonts designed by Edward Benguiat
ITC Avant Garde Condensed ITC Century Handtooled
ITC Avant Garde Condensed Bold ITC Cheltenham (EF)
ITC Avant Garde Condensed Medium ITC Cheltenham Handtooled
ITC Barcelona Ed Gothic
ITC Barcelona Bold Ed Interlock
ITC Barcelona Heavy ITC Edwardian Script
ITC Bauhaus Emfatick NF
ITC Bauhaus Bold ITC Garamond Handtooled
ITC Bauhaus Light ITC Korinna
ITC Benguiat ITC Korinna Bold
ITC Benguiat Bold Modern No. 20 (BT)
PL Benguiat Caslon ITC Modern No. 216
PL Benguiat Caslon Outline ITC Modern No. 216 (Linotype)
PL Benguiat Caslon Shadow ITC Panache
PL Benguiat Frisky ITC Souvenir
ITC Benguiat Gothic ITC Souvenir Demi
ITC Benguiat Gothic Medium ITC Souvenir Light
ITC Bookman ITC Tiffany
ITC Bookman Light ITC Tiffany Demi
ITC Caslon 224 ITC Tiffany Heavy
ITC Caslon 224 Black Italic
ITC Caslon No. 224
Bauhaus