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Posts Tagged ‘itc bodoni’

by Allan Haley

New Fonts – Lots Of New Fonts – And A Leap Into The Digital Age

Prior to 1995, ITC released about four new typeface families per year. From the summer of 1995 to the spring of 1996, nearly 40 new ITC families became available, along with a suite of Cyrillic extensions to existing designs, swashes and ornaments for the ITC Bodoni family, and a bevy of symbol fonts – all in the pages of U&lc, Volume 22. Articles on Web and video typography also peppered the pages of Volume 22, and the designers of a couple of issues had fun playing with the U&lc logo on the cover.

In addition to announcing six new display typeface designs, Volume 22, Number 1 contained two articles about books on CD (the beginning of e-publishing) and a roundup of early websites for children. It also featured the first ad for the Creative Alliance, an endeavor by the Type Division of Agfa (the precursor to Monotype Imaging) to build its own exclusive typeface library. Many of the typefaces in the Creative Alliance have since found their way into the ITC and Monotype typeface libraries. Oh, and on page 48, there is an ad for Graphic Solutions, a newsletter that I published for about three years – and that taught me how difficult the publishing business can be.

Volume 22, Number 2, continued to address the issues of publishing in a digital age and provided some guidance in designing with HTML – this was when the Times New Roman and Courier typefaces were considered the basic text designs. Chip Kidd also wrote about designing the cover of Nicholas Negroponte’s book, Being Digital, an analog solution for a hardcopy book on the future of digital technology, which is now online. Announcements for 21 new ITC typefaces (10 typeface families) filled many of the remaining pages of Volume 22, Number 2.

Volume 22, Number 3 was dedicated to “Graphics and the Cinema.” The issue also ushered in over 20 new ITC display typefaces, Cyrillic fonts for the ITC Franklin Gothic, ITC Korinna and ITC Flora typeface families, the ITC Humana super family, and a collection of swash and ornament characters for the ITC Bodoni family. ITC continued to look to the future of typography in several articles about type in film and video.

Volume 22, Number 4 focused on education and contained a wide range of articles, from advice for schools on preparing students to create meaningful digital content to a story about four educators in Japan who used experimental methods to teach students about sensitivity to the elements of design. New typeface releases included six new single-weight display typefaces, two new families and three ITC Goony ’Toons image fonts.

Click the PDFs below to find out what else was in U&lc Volume 22.

Low Resolution:

Volume 22–1 (Low Res).pdf (9.9 MB)

Volume 22–2 (Low Res).pdf (10.6 MB)

Volume 22–3 (Low Res).pdf (11.1 MB)

Volume 22–4 (Low Res).pdf (9.5 MB)

High Resolution:

Volume 22–1.pdf (48.3 MB)

Volume 22–2.pdf (58.5 MB)

Volume 22–3.pdf (58.8 MB)

Volume 22–4.pdf (50.8 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.

 


by Allan Haley

New Fonts, New Technology and Predictions For The Future

The pages of U&lc Volume 21 ushered in a typeface family extension, two new complete families, four single-weight display designs, eight Cyrillic family additions and a suite of fonts that took advantage of a new technology. Volume 21 also predicted the future of typeface design, and announced ITC Design Palette, a digital distribution center that preceded the Internet – but not by enough.

Friz Quadrata was used by graphic designers for almost 30 years before Thierry Puyfoulhoux drew its italic complement that was announced in Volume 21. Two typeface families, ITC Bodoni and ITC Edwardian Script, were also announced in the same Volume. The latter, by Ed Benguiat, found influence in the flowing character shapes drawn with a steel-point pen. Varying the pressure on this writing instrument – rather than the angle of the nib – produces thick and thin strokes.

ITC Bodoni was one of the most carefully researched and accurate interpretations of Bodoni’s typefaces ever attempted. The process involved two trips to Parma, Italy; hundreds of hours of research; and thousands more hours carefully designing fonts using one of the original copies of Bodoni’s 1818 Manuale Tipografico as a benchmark for accuracy. The complete story is told in Volume 21, Number 2. It’s worth a read.

Cartoon graphics from the 1960s influenced David Sagorski’s ITC Snap and ITC Juice typefaces, while Michael Stacey’s ITC True Grit and ITC Wisteria were revivals of designs found in an old lettering book.

The Cyrillic typefaces were a second edition of designs from ParaGraph, and included designs for both text and display applications. ParaGraph continues to provide ITC with new Cyrillic designs to this day.

ITC announced the availability of twelve fonts that took advantage of Apple’s new TrueType platform called “TrueTypeGX.” Heralded as “smart fonts,” GX fonts were predicted to revolutionize graphic communication. ITC’s offering included small caps, fancy initial letters and a bevy of biform, swash and other alternate characters. Some of these are still available today in OpenType fonts.

The 8-page feature, “Timeless Typefaces,” in Volume 21 Number 2, collected the opinions and predictions of 21 type design luminaries. The predictions – and photos of the starts of the typographic community from 18 years ago – are great fun.

The idea behind ITC Design Palette was that it would make design tools like fonts, photographs, Iine-art and design software plug-ins available “24–7” at a click of a button. Sounds like the Internet, doesn’t it?

Trouble was, ITC Design Palette had nothing to do with the Internet. It was a box containing over a hundred CDs that sat on a designer’s desk. The CDs’ content could be browsed through an interface and downloaded to the designer’s computer desktop. When the content was licensed, ITC Design Palette would send a message over phone lines to a billing center that sent out monthly invoices. It seemed like a good idea at the time, but the growth and scope of the Internet made ITC Design Palette obsolete before any devices were delivered.

Click the PDFs below to find out what else was in U&lc Volume Twenty-one.

Low Resolution:

Volume 21–1 (Low Res).pdf (9.6 MB)

Volume 21–2 (Low Res).pdf (12.3 MB)

Volume 21–3 (Low Res).pdf (10.3 MB)

Volume 21–4 (Low Res).pdf (8.7 MB)

High Resolution:

Volume 21–1.pdf (45.8 MB)

Volume 21–2.pdf (59.1 MB)

Volume 21–3.pdf (49.6 MB)

Volume 21–4.pdf (41.3 MB)

Allan Haley
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.