Bembo was digitized as a Type 1 PostScript font by Monotype in their UK office and edited for Adobe by Alan Sanders and Ernie March before its 1990–1992 release. Most of the Bembo and Bembo Italic numerals used in this book are oldstyle (also called hanging) numerals from Adobe's Bembo Expert and Bembo Italic OsF fonts.
Side notes, captions, and incidental material is in ITC Franklin Gothic Book. ITC Franklin Gothic Demi is used for authors’ names and other emphasis and the Heavy weight is featured in some drop caps and titles.
Franklin Gothic was designed in 1902 by Morris Fuller Benton (1872–1948) and released in 1905 by the American Type Founders company. The son of Linn Boyd Benton, the inventor of the Benton punch cutting machine and ATF’s technical director, M.F. Benton designed typefaces and managed the typographic design program at ATF from 1892 until 1937.
Franklin Gothic was originally issued in only one weight and later expanded to include five more weights. No light or intermediate weights were developed by ATF. The International Typeface Corporation had Victor Caruso design four new weights in roman and italic—Book, Medium, Demi, and Heavy—in 1979. Typical of ITC in the ’70s, the faces featured an enlarged x-height (the height of the lowercase letters). ITC Franklin Gothic was digitized by URW for ITC in the early 1980s and reworked for Adobe by Alan Sanders in 1995.
(A chart on Montoype's web site indicates that Bembo and Franklin Gothic are not particularly compatible typefaces.)
The following typefaces were shown courtesy of Emigre:
On pages 78 and 82: Citizen (designed by Zuzana Licko in 1986) and Template Gothic (designed by Barry Deck in 1990)
On pages 78 and 83: Democratica (designed by Miles Newlyn in 1991)
On page 82: Dead History (designed by P. Scott Makela in 1990)
On page 83: Emperor and Universal (designed by Zuzana Licko in 1985), Missionary (designed by Miles Newlyn in 1991), Senator (designed by Zuzana Licko in 1988), and Suburban (designed by Rudy VanderLans in 1993)
On pages 83 and 122: Dogma (designed by Zuzana Licko in 1994)
On page 122: Mrs Eaves (designed by Zuzana Licko in 1996)
Interstate (designed by Tobias Frere-Jones in 1993–1999) shown on page 78 was provided by the Font Bureau.
State (designed by Neville Brody in 1991) shown on page 57 thanks to FontShop.
House Industries provided Frathouse (designed by Ken Barber in 1993) shown on page 78 and Poorhouse, Condemndhouse, Crackhouse, Ashyhouse, and Nastyhouse (all designed by Jeremy Dean in 1996) shown on page 83.
Elder Futhark (designed by Curtis Clark in 1995) shown on page 5 courtesy of Mockingbird Font Works.
Bookman Swash (based on a mid 19th century Scottish typeface) shown on page 134 is from URW.
The “I” on page 137 is part of the Goudy Initials (called Cloister Initials by ATF) designed by Frederic Goudy in 1918. It was digitized by Lanston Type Co., Ltd. in 1989.
The following typefaces are from Adobe:
On page 4: Fette Fraktur is a 19th century design.
On page 78: Century Schoolbook (designed by Morris Fuller Benton in 1920), Helvetica (designed by Eduord Hoffman and Max Miedenger in 1961), and Bell Gothic (designed by Chauncey H. Griffith in 1937)
On pages 78 and 102: Univers (designed by Adrian Frutiger in 1954)
On pages 101 and 117: Bodoni is an early 20th century adaption of the late 18th century faces of Giambattista Bodoni.
On page 120: Peignot (designed by A.M. Cassandre in 1937)
On page 125: Futura (designed by Paul Renner in 1929) and Gill Sans (designed by Eric Gill in 1928)
The title type on page 111 was designed in 2000 by Hrant Papazian based on Franklin Gothic Demi. The alphabet shown on page 131 was designed by Hrant Papazian in 1999 based on Charles Bigelow and Kris Holmes' Lucida Sans. The Trajic notRoman Q on page 126 was designed by Hrant Papazian in 1998.
Old type samples shown on pages 81 and 82, including Morris Fuller Benton's Hobo, are from the 1917 Morgan Press, Linotype, and Ludlow specimens.
Graphic Design & Reading was designed and typeset by Gunnar Swanson using Adobe InDesign 1.5. Cover design by Gunnar Swanson using Adobe Illustrator 6.0 and 8.0 The book was printed and perfect bound by Transcontinental Printing and Graphics in Louiseville Québec on 60# Cougar Opaque.
©2000 Gunnar Swanson
All chapters are © their respective authors
