David Consuegra - Classic Typefaces: American Type and Type Designers

To my wife Zoraida,
my sons Juan Diego and Nicolas;
and to my brother Ramn Florez

Designer and researcher: David Consuegra

Assistant designers: Juan Diego Consuegra Zoraida Cadavid

Unless otherwise stated, the illustrations have been taken from the authors personal archives and research.

2004, 2011 by David Consuegra

All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise, without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Allworth Press, 307 West 36th Street, 11th Floor, New York, NY 10018.

Allworth Press books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fundraising, or educational purposes. Special editions can also be created to specifications. For details, contact the Special Sales Department, Allworth Press, 307 West 36th Street, 11th Floor, New York, NY 10018 or .

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Published by Allworth Press

An imprint of Skyhorse Publishing

307 West 36 th Street, 11 th Floor, New York, NY 10018.

Allworth Press is a registered trademark of Skyhorse Publishing, Inc., a Delaware corporation.

www.allworth.com

ISBN: 978-1-58115-894-6

Library of Congress Cataloging-in-Publication Data is available on file.

Printed in the United States of America

ACKNOWLEDGMENTS

First and above all to Mac McGrew, whose work American Metal Type of the Twentieth Century (1993) has been essential to this book;

To the Encyclopaedia of Type Faces (1986), by Jaspert, Berry & Johnston, which was the first book to inspired me to research American type design;

To Carol Twombly, Type Design Manager of Adobe Systems, whose immediate support of the project gave me enthusiasm to make it a reality;

To all American type designers Ronald Arnholm, Arthur Baker, Edward Benguiat, David Berlow, Charles Bigelow, Garrett Boge, Tom Carnase, Matthew Carter, Freeman Craw, Tony DiSpigna, Tobias Frere-Jones, Jonathan Hoefler, Kris Holmes, Richard Isbell, Emil J. Klumpp (through his wife), Zuzana Licko, Paul Shaw, and Carol Twomblywho generously answered questions and contributed written and graphic information, in many cases, with their original fonts;

To the staff of the Grolier Club, and to its librarian, Eric Holzenberg, who was so receptive and generous in opening their book archives to me;

To the New York Type Directors Club, and to its executive director, Carol Wahler, who were so enthusiastic and generous in allowing me to do research in their library;

To Professor Robert Sims, Professor of Modern Languages at Virginia Commonwealth University, who responded so patiently and cooperatively to my many requests for research assistance;

To the staff of Cabell Library of the Virginia Commonwealth University for their collaboration in finding so much bibliographical data;

To ITC and to Ilene Strizver, Director of Typeface Development, for providing fonts;

To Agfa/Monotype and to Allan Haley, for providing fonts;

To Colin Brignall, for his encouragement on this project;

To Sandra Kirshenbaum, editor of Fine Print , for sending information on various type designers;

To the Biblioteca de la Escuela de Diseo Elisava in Barcelona, and its book keepers, for their help in locating vital information;

To the Biblioteca Bergnes de las Casas in Barcelona, for its cooperation in finding information on type design;

To St. Bride Printing Library in London, and to James Mosley, its librarian, for his collaboration;

To Paul Gehl, curator of the History of Printing collection at the Newberry Library, Chicago, and to Miss Margaret Kulis, reference librarian, for their help in finding valuable biographical information;

To Rob Roy Kelly for his support and for lending his typographical research;

To Steven Heller, of the New York Times , for backing the project;

To Josep M. Pujol who was helpful up to the last minute in supplying additional information;

To Christopher Burke for his help in revising most of the written material;

To Nicole Potter, Senior Editor of Allworth Press, and to Monica P. Rodrguez, Editorial Assistant, for their careful editing;

To Auros Copias, Bogot, and to its manager Hernando Ramrez, who lent their type font archive for the project, and produced the preliminary printed copies of the book;

To Reprolaser, Bogot, and to Milton Senz, for lending their type font archive;

To the Biblioteca Central Universidad Nacional de Colombia, and the Biblioteca de Artes, where I have always found assistance in my search for information;

To my brother Ramn Flrez, who has always been at my side, supporting my projects;

To Luis Angel Parra, Director of Arte Dos Grfico, Bogot, for allowing photographs of some of his Ludlows equipment,

To all my friends and graphic design colleagues who have been prompt in lending their books for information;

To my wife for her help in searching many volumes of biographical and graphic data and for her support on the long road completing this work; to my son Juan Diego whose help and many hours on the computer have been essential in the making of this book.

Note : The selection of the people and type foundries both metal and digitalincluded in this book does not pretend to be complete. It has been based on data found to be a representative sample of what has been done in America, and which has some significance today.

Although many of the typefaces included in this book are digital versions, some of them sent by the designers exclusively for this publication, the majority of the alphabet samples presented have been carefully scanned from metal type catalogs.

The typefaces included in this book may not represent the entire uvre of each designer. It is possible that a designer may have created other typefaces before or after the publication of this work. The aim of the author has been to present a typographical profile as significant as possible in each case.

Biographies, where possible, have been set in types created by each designer. Where there was no option, a close typeface has been selected or News Gothic in its default.

For the general typesetting of the book, News Gothic has been used, both in light, medium and bold versions.

As an homage to Morris Fuller Benton
the book has been typeset in News Gothic ,
except for the designers biographical data
in which each individual designer
has been represented
by their own design where possible.
Where digital versions of typefaces are available,
they have been used.
In all other cases, typefaces
have been carefully scanned
from type catalogs.

CONTENTS

Note: only those alphabets that are shown in this bock are listed

PREFACE

One of my first experiences related to type dates back to my studies at Boston University, when I had to design a program cover for a Boston University Symphony Orchestra concert. I had hand lettered the text in Caslon Oldstyle 540 capitals, taken from the book I used in my lettering class. After handing a comprehensive to the printer, I was surprised to be handed a printed copy in Goudy Bold . So, for a second design commission, this time for the presentation of Handels Messiah , I decided to hand in a completely finished artwork to avoid a change in the use of the Robert Hunter Middletons Stellar .