Chapter 10

Question 1

The Elements of Euclid

Answer 1

Written by Oliver Bryne. William Pickering’s edition is a landmark in book design. Diagrams and symbols are woodblock printed in brilliant colors; color replaces traditional alphabet labeling to identify the lines, chapes, and forms in the geometry lessons. The dynamic color and crisp structures anticipate geometric art of the 20th century

Question 2

Arts and Crafts movement

Answer 2

This movement flourished in England during the last decade of the 19th century as a reaction against the social, moral, and artistic confusion of the Industrial Revolution. Design and a return to handicraft were advocated, and the “cheap and nasty” mass produced goods of the Victorian era were abhorred. The leader of this movement in England was William Morris, who called for a fitness of purpose, truth to the nature of materials and methods of production, and in individual expression by both designer and worker

Question 3

Red House

Answer 3

A South East London landmark in domestic architecture designed by Philip Webb for William Morris and his wife. Instead of featuring rooms in a rectangular box behind a symmetrical facade, the house had an L-shaped plan that grew out of functional interior space planning. When it came time to furnish the interior, Morris designed and supervised the execution of furniture, stained glass, and tapestries for the house

Question 4

societies and guilds

Answer 4

sought to establish democratic artistic communities united for the common good. These ranged from exhibition cooperatives to communes based on socialist and religious ideals

Question 5

Century Guild

Answer 5

A youthful group of artists and designers, led by Author Mackmurdo, who banded together in 1882 with the goal “to render all branches of art the sphere, no longer of the tradesmen, but of the artists…” and aimed to elevate the design arts to “their rightful place beside painting and sculpture.” The group evolved a new design aesthetic incorporating Renaissance and Japanese design ideas into their work. Their designed provide a bridge between the Arts and Crafts movement and the floral stylization of art nouveau. Publication of The Century Guild Hobby Horse began in 1884. The first finely printed magazine devoted exclusively to their visual arts, it sought to proclaim their philosophy and goals. Although it received ample commissions, the Century Guild disbanded in 1888; emphasis had been upon collaborative projects, but the members had become more preoccupied with their individual work

Question 6

The Century Guild Hobby Horse

Answer 6

Began publication in 1884 by the Century Guild as the first finely printed magazine devoted exclusively to the visual arts. The medieval passions of the Arts and Crafts movement were reflected in the graphic design of Selwyn Image and Herbert Horne. It sought to proclaim the philosophy and goals of the Century Guild. Its careful layout and typesetting, handmade paper, and intricate woodblock illustrations made it the harbinger of the growing Arts and Crafts interest in typography, graphic design, and printing. It was the first 1880s periodical to introduce the British Arts and Crafts viewpoint to a European audience and to treat printing as a serious design form

Question 7

Wren’s City Churches

Answer 7

An 1883 book in which the title page, designed by Arthor Mackmurdo, introduced abstract intertwining floral patterns

Question 8

Private Press movement

Answer 8

A design and printing movement advocating an aesthetic concern for the design and production of beautiful books. It sought to regain the design standards, high-quality materials, and careful workmanship of printing that existed before the Industrial Revolution

Question 9

Art Workers Guild

Answer 9

combined in 1884 of a number of groups and individuals concerned with the craft revival. The guild’s activities were expanded in 1888, when a splinter group formed the Combined Arts Society, elected Walter Crane as its first president, and planned to sponsor exhibitions

Question 10

Combined Arts Society

Answer 10

A splinter group from the Art Workers Guild formed in 1884, it elected Walter Crane as its first president and planned to sponsor exhibitions. By the October 1888 opening of the first exhibition, the name had been changed to the Arts and Crafts Exhibition Society

Question 11

Arts and Crafts Exhibition Society

Answer 11

Renamed from the Combined Arts Society. Held exhibitions featuring demonstrations and lectures in 1888, including William Morris on tapestry weaving, Walter Crane on design, and Emery Walker on book design and printing

Question 12

Kelmscott Press

Answer 12

A printing enterprise started by William Morris, located in a rented cottage near Kelmscott Manor in Hammersmith, which he had purchased as a country home. Its first production was the Story of the Glittering Plain by William Morris, with illustrations by Walter Crane. Its most outstanding volume is the ambitious, 556 page Works of Geoffrey Chaucer, with 87 woodcut illustrations from drawings by Burne-Jones and 14 large borders and 18 smaller frames around the illustrations cut from designs by Morris. The press was committed to recapturing the beauty of incunabula books with meticulous hand-printing, handmade paper, hand-cut woodblocks, and initials and borders similar to those used by Ratdolt. From 1891 until the company disbanded in 1898 (two years after Morris’s death) over 18,000 volumes of 53 different titles were produced

Question 13

Golden typeface

Answer 13

William Morris’s first typeface, which was originally meant to be used in his edition of The Golden Legend, by Jacobus de Voragine, printed as his first book. This typeface was based on the Venetian roman faces designed by Nicolas Jenson between 1470 and 1476, and was designed to capture the essence of Jenson’s work but not slavishly copy it

Question 14

Troy typeface

Answer 14

A remarkably legible black-letter typeface designed by William Morris for The Story of the Glittering Plain. Inspired by the incunabula Gothic types of Peter Scheffer, Anton Koberger, and Gunther Zainer. Morris made the characters wider than most Gothic types, increasing the differences between similar characters, and made the curved characters rounder

Question 15

Chaucer typeface

Answer 15

A smaller version of Troy, designed by William Morris. The last of Morris’s three typeface designs, which stirred a renewed interest in Jenson and Gothic styles and inspired a number of other versions in Europe and America

Question 16

The Works of Geoffrey Chaucer

Answer 16

the most outstanding volume from the Kelmscott Press. An ambitious 556 page book with 87 woodcut illustrations from drawings by Burne-Jones and 14 large borders and 18 smaller frames around the illustrations cut from designs by Morris. Morris designed over 200 initial letters and words for use in this Kelmscott edition, which was printed in black and red in large folio size. This was the final achievement of Morris’s career

Question 17

Essex House

Answer 17

An old Georgian mansion leased by the Guild of Handicraft. Charles Ashbee hired key personnel from the Kelmscott press to purchase the equipment that was available for sale and to form the Essex House Press

Question 18

Essex House Press

Answer 18

Started in an old Georgian mansion called the Essex House; Charles Ashbee hired key personnel from the Kelmscott Press to purchase the equipment that was available for sale to form his own press. The Psalter of 1902 was the design masterpiece of this press

Question 19

Psalter of 1902

Answer 19

This was the design masterpiece of the Essex House Press. The text is in vernacular 16th century English from the c. 1540 translation of Archbishop Thomas Cranmer of Canterbury. Charles Ashbee developed a graphic program for each psalm consisting of a roman numeral, the Latin title in red capitals, an English descriptive title in black capitals, an illustrated woodcut initial, and the body of the psalm. Verses were separated by woodcut leaf ornaments printed in red

Question 20

Doves Press

Answer 20

Started by T.J. Cobden-Sanderson and Emery Walker, who set out to “attack the problem of pure Typography” with the view that “the whole duty of Typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the Author.” Books from this press, including its monumental masterpiece, the 1903 Doves Press Bible, are remarkably beautiful typographic books. Illustration and ornaments were rejected in the approximately 50 volumes produced there using fine paper, perfect presswork, and exquisite type and spacing

Question 21

Doves Press Bible

Answer 21

A monumental masterpiece by Doves Press, this was an entirely typographic book that used a few striking initials designed by Edward Johnston

Question 22

Ashendene Press

Answer 22

Established in 1895 and directed by C.H. St. John Hornby of London, this proved an exceptional private press. The type designed here was inspired by the semi-gothic types used by Konrad Sweynheym and Arnold Pannartz in Subiaco. It possessed a ringing elegance and straightforward legibility with modest weight differences between the thick and thin stroked and a slightly compressed letter

Question 23

Roycroft Press and Roycroft Shop

Answer 23

Established by Elbert Hubbard in East Aurora, New York, the Roycroft Press and Roycroft shops became popular tourist attractions where 400 employees produced artistic home furnishings, copperware, leather goods, and printed materials

Question 24

Eragny Press

Answer 24

Established by Lucien Pissarro and his wife Esther Bensusan in 1894 and named after the Normady village where Lucien was born and studied with his father. They collaborated on designing, wood engraving, and printing book; many had 3 and 4 color woodblock prints produced from his artwork. Lucien deigned the Brook typeface for this press. They were inspired by both the past and the present; their books combined the traditional sensibilities of the private press movement with an interest in the blossoming art nouveau movement and expressionism

Question 25

Brook typeface

Answer 25

designed by Lucien Pissarro for his Eragny Press, drawing inspiration from Nicolas Jenson

Question 26

German arts and crafts

Answer 26

In Germany the influence of William Morris inspired a renaissance of arts and crafts activities, new typefaces, and a significant improvement in book design

Question 27

Netherland Arts and Crafts

Answer 27

The traditional vanguard was led by Sjoerd H. De Roos and the brilliant Jan van Krimpen. They were followed by J. F. van Royen and two master printer-publishers from Maastricht, Charles Nypels anf A.A. M. Stols. They sought to revive the printing arts through a return to traditional standards. Their guidelines included symmetrical layouts, tranquil harmony and balance, careful margin proportions, proper letter and word spacing, single traditional typefaces in as few sizes as possible, and skillful letterpress printing. They believed a typographer should serve the text first and otherwise stay in the background

Question 28

Lutetia typeface

Answer 28

the first typeface Jan van Krimpen designed during his 35 year association with the Haarlem printer Enschede. Het zatte hart (The drunken Heart) was the only book in the Palladium series set in this tyepface

Question 29

De Zilverdistel

Answer 29

a private press at The Hague. Two typefaces were specifically commisioned for this press. The first was De Roo’s Zilvertype, which was basically an updated version of Hollandsche Mediaeval. The second, Disteltype, a modern interpretation of the Carolingian minuscule, was designed by Lucien Pissaro

Question 30

De Kunera Pers

Answer 30

• The Kunera Press
• the new name given to the De Zilverdistel press by Jean Francois van Royen

Question 31

Camelot Typeface

Answer 31

developed by Goudy. His pencil drawing of capitals was mailed to the Dickenson Type foundry of Boston with an offer to sell the design for 5 dollars. After a week or two, a check for 10 dollars in payment for the design arrived

Question 32

Camelot Press

Answer 32

Goudy’s first press company, established with a friend in 1894

Question 33

Booklet Press

Answer 33

Goudy’s second short-lived press company, started in 1895

Question 34

Village Press

Answer 34

Goudy’s third press company, modeled on the private press handicraft ideal. It was first moved to Boston, then to New York, where a fire completely destroyed it in 1908

Question 35

Village Letter Foundry

Answer 35

established by Goudy in 1923 in an old mill on the Hudson River, where he became a successful independent type designer who cut matrixes, then cast and sold type. In 1939 a second disastrous fire burned the mill to the ground

Question 36

Graphic Designer

Answer 36

term first used by William Addison Dwiggins to describe his professional activities as a book designer

Question 37

Caledonia typeface

Answer 37

one of the most widely used typefaces in America, designed by William Addison Dwiggins in 1938

Question 38

Riverside Press

Answer 38

part of the Houghton Mifflin Company, joined by Bruce Rogers in 1896. It established a special department for high-quality limited editions in 1900 with Rogers as its designer for 60 limited editions during the following 12 years

Question 39

Centaur typeface

Answer 39

designed by Bruce Rogers in 1915. One of the finest of the numerous fonts inspired by Jenson, it was first used in The Centaur by Maurice de Guerin

Question 40

American Type Founders Company (ATF)

Answer 40

established an extensive typographic research library and played an important role in reviving past designs in the US. Its head of typeface development, Morris F. Benton, designed important revivals of Bodoni and Garamond

Question 41

Cloister family

Answer 41

Morris Benton’s revival of Nicolas Jenson’s type

Question 42

Cheltenham family

Answer 42

over 2 dozen typefaces developed by Morris Benton that began as one typeface by architect Bertram Goodhue

Question 43

Century Schoolbook typeface

Answer 43

Morris Benton carefully studied human perception and reading comprehension to develop this typeface, designed for and widely used in textbooks

Question 44

William Pickering

Answer 44

• 1796-1854
• played an important role in the separation of graphic design from printing production. His passion for design led him to commission new woodblock ornaments, initials, and illustrations as he maintained control over the format design, type selection, illustrations, and all other visual considerations. A cordial working relationship between publisher/designer and printer was established with Charles Whittingham of the Chiswick Press. With his fifty-three-volume series Aldine Poets, his designs moved toward classic simplicity, and he revived Gothic form with his liturgical books, including the 1844 Book of Common Prayer. Color replaced traditional alphabet labeling to identify the lines, shapes, and forms in the geometry lessons in his edition of Oliver Byrne’s The Elements of Euclid

Question 45

William Morris

Answer 45

• 1834-96
• The leader of the English Arts and Crafts movement, he called for a fitness of purpose, truth to the nature of materials and methods of production, and individual expression by both designer and worker. Morris was a pivotal figure in the history of design who proved to be a brilliant two-dimensional pattern designer. He married Jane Burden, daughter of an Oxford stableman, and during the process of establishing their home, Red House, he suddenly discovered the appalling state of Victorian product and furniture design. Over the next several years, he designed and supervised the execution of furniture, stained glass, and tapestries for Red House. He established the art-decorating firm of Morris, Marshall, Faulkner and Company, which began to assemble teams of craftsmen that eventually included furniture and cabinetmakers, weavers and dyers, stained glass fabricators, and potters and tile makers. His 1883 fabric design “Rose” demonstrates his close study of botany and drawing fluency; his willowy patterns wove decorative arabesques of natural forms. He tried to implement John Ruskin’s ideas: that art and craft could combine to create beautiful objects, from buildings to bedding. A moral concern over the exploitation of the poor led him to embrace socialism. He began working on typeface design in the late 1800s. Morris started Kelmscott Press, which produced his Golden, Troy, and Chaucer typefaces, and was also responsible for printing The Story of the Glittering Plain and the ambitious 556-page Works of Geoffrey Chaucer. He sought refuge in the handicraft of the past, and developed design attitudes that charted the future by calling for workmanship, truth to materials, making the utilitarian beautiful, and fitness of design to function

Question 46

John Ruskin

Answer 46

• 1819-1900
• the writer and artist who inspired the philosophy of the Arts and Crafts movement by rejecting the mercantile economy and pointing toward the union of art and labor in service to society, as exemplified in the design and construction of the medieval Gothic cathedral. He became concerned for social justice, advocating improved housing for industrial workers, a national education system, and retirement benefits for the elderly.

Question 47

Edward Burne-Jones

Answer 47

• 1833-98
• a lifelong friend of William Morris, whom he met at Exeter College, Oxford. He became a painter and worked on illustrations for books printed by the Kelmscott Press, including eighty-seven woodcut illustrations in The Works of Geoffrey Chaucer

Question 48

Philip Webb

Answer 48

• 1831-1915
• young architect and supervisor of William Morris at the Oxford architectural office of G. E. Street. Designed Red House for Morris and his wife, a landmark in domestic architecture.

Question 49

Dante Gabriel Rossetti

Answer 49

• 1828-82
• Pre-Raphaelite painter who influenced William Morris and Edward Burne-Jones.

Question 50

Arthur H. Mackmurdo

Answer 50

• 1851-1942
• a twenty-six-year-old architect who met William Morris and was inspired by his ideas and accomplishments in applied design. In London, he led a youthful group of artists and designers who banded together in 1882 to establish the Century Guild, including designer/illustrator Selwyn Image and designer/writer Herbert R Horne. Mackmurdo contributed several designs with swirling organic forms that are pure art nouveau in their conception and execution. He first explored abstract intertwining floral patterns in an 1881 carved chair back, and the 1883 title page for his book Wren’s City Churches was followed by fabric designs, the Century Guild trademark, and Hobby Horse graphics

Question 51

Selwyn Image

Answer 51

• 1849-1930
• Century Guild designer/illustrator. The medieval passions of the Arts and Crafts movement were reflected in his graphic designs. He passionately argued that all forms of visual expression deserved the status of art by suggesting that “the unknown inventor of patterns to decorate a wall or a water-pot” who “employs himself in representing abstract lines and masses” deserves equal claim to being called an artist as the painter Raphael. He designed typefaces, innumerable illustrations, mosaics, stained glass, and embroidery

Question 52

Herbert R. Horne

Answer 52

• 1864-1916
• Century Guild designer/writer. The medieval passions of the Arts and Crafts movement were reflected in his graphic designs. He designed books with classic simplicity and restraint. His educational background had included typesetting, and his layouts have a precise sense of alignment, proportion, and balance

Question 53

Sir Emery Walker

Answer 53

• 1851-1933
• master printer and typographer at the Chiswick Press. Oversaw the production of The Hobby Horse. Advocating a unity of design, Walker told an audience in his lecture on November 15, 1888, “the ornament, whatever it is, picture or pattern-work, should form part of the page, should be part of the whole scheme of the book.” Walker considered book design similar to architecture, for only careful planning of every aspect—paper, ink, type, spacing, margins, illustration, and ornament—could result in a design unity. Joined T. J. Cobden-Sanderson in establishing the Doves Press at Hammersmith.

Question 54

Walter Crane

Answer 54

• became the first president of the Combined Arts Society, which was later renamed the Arts and Crafts Exhibition Society. Spoke on design in exhibitions held in 1888. Also produced illustrations for The Story of the Glittering Plain by William Morris

Question 55

William H. Hooper

Answer 55

• 1834-1912
• a master craftsman lured from his retirement to work at the Kelmscott Press engraving wood decorative borders and initials designed by William Morris.

Question 56

Charles R. Ashbee

Answer 56

• 1863-1942
• architect, graphic designer, jeweler, and silversmith who founded the Guild of Handicraft in 1888 with three members and only fifty pounds British sterling as working capital. Its School of Handicraft unified the teaching of design and theory with workshop experience and sought to restore the holistic experience of apprenticeship, which had been destroyed by the subdivision of labor and machine production. A Ruskin follower, he went furthest in establishing an idyllic workshop paradise and became a major English voice calling for integration of art and industry in a later era.

Question 57

J. Conbden-Sanderson

Answer 57

• 1840-1922
• a bookbinder who joined Emery Walker in establishing the Doves Press at Hammersmith. They set out to “attack the problem of pure Typography” with the view that “the whole duty of Typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the Author”

Question 58

Edward Johnston

Answer 58

• 1872-1944
• This master calligrapher of the Arts and Crafts movement had been inspired by William Morris and abandoned his medical studies for the life of a scribe. Johnston’s study of pen techniques and early manuscripts, as well as his teaching activities, made him a major influence on the art of letters. He designed a few striking initials in the 1903 Doves Press Bible

Question 59

H. St. John Hornby

Answer 59

directed the Ashendene Press

Question 60

Elbert Hubbard

Answer 60

• 1856-1915
• met William Morris in 1894. Established his Roycroft Press (printing) and Roycroft Shops (handicrafts) in East Aurora, New York.

Question 61

Lucien Pissaro

Answer 61

• 1863-1944
• learned drawing from his father, the impressionist painter Camille Pissarro, then apprenticed as a wood engraver and illustrator under the renowned book illustrator Auguste Lepère. He married Esther Bensusan. Captivated by Kelmscott books, in 1894 they together established the Eragny Press (named after the Normandy village where he was born and studied with his father) and collaborated on designing, wood engraving, and printing Eragny Press books; many had three- and four-color woodblock prints produced from his artwork. He designed his Brook typeface for their press, drawing inspiration from Nicolas Jenson

Question 62

Sjoerd H. de Roos

Answer 62

was convinced that the typeface was the foundation of sound book design, and that ideally it should be practical, beautiful, and easily readable. The Type Foundry Amsterdam issued his Hollandsche Mediaeval, a text face in ten sizes based on fifteenth-century Venetian types. This was the first typeface designed and produced in the Netherlands for over a century, and for at least ten years was one of the most popular faces available. Between 1907 and 1942 he published 193 articles on type design and typography and also worked for a number of clients, one of the most important being the progressive Rotterdam publisher W. L. and J. Brusse

Question 63

Jan van Krimpen

Answer 63

• 1892-1958
• attended the Royal Academy of Fine Arts in The Hague, and soon after became the preeminent book designer of his generation in the Netherlands. Roland Hoist inaugurated the twenty-one-book Palladium series in which Het zatte hart (The Drunken Heart) demonstrated his deft drawing and use of initial letters; it is the only book in the Palladium series set in his own face, Lutetia. He believed the reader should never even be conscious of typography; the designer’s one purpose was to make reading as pleasurable as possible and never come between the reader and the text

Question 64

Charles Nypels

Answer 64

• 1895-1952
• In 1917 he was officially hired by his family firm, Leiter-Nypels, becoming a partner in 1920. He had a fresh approach, evidenced by his title and text pages, his use of color, and his initial letters. The finest example of his earlier work is the Constantijn Huygens’s Het Voorhout ende ’t kostelich mal (The Voorhout and the Delightful Comedy), 1927. Published in four sections between 1929 and 1931, Don Quichotte shows him at his elegant best, and exceptional initials by De Roos added the finishing touch

Question 65

M. (Sander) Stols

Answer 65

• 1900 - 73
• Committed to high design standards, his doctrine was simplicity and maximum legibility, and his work was noted for its constrained classical typography and craftsmanship. He preferred typefaces such as Garamond and Bembo, but on a number of occasions he used De Roos’s typefaces Hollandsche Mediaeval and Erasmus Mediaeval. He described the designer’s role as “Providing the form in which a book will be printed…the designer must never-the-less satisfy a number of requirements for the book, knowledge of its history and technology, artistry and taste, and insight as to production costs. In short, all those factors which make it possible to make a written text into a printed book that satisfy the greatest demands of legibility.”

Question 66

Jean Francois van Royen

Answer 66

• 1878-1942
• Although a book designer and private publisher, he made his principal contribution to graphic design in the Netherlands through his position as general secretary of the Dutch PTT (Post, Telephone and Telegraph). In 1912 he joined De Zilverdistel (The Silver Thistle), a private press at The Hague. In 1916 he designed Cheops, which was printed in Zilvertype with initial letters and titles also cut by De Roos, following his suggestions

Question 67

Rudolph Koch

Answer 67

• 1876-1934
• the most important of the German type designers, a powerful figure who was deeply mystical and medieval in his viewpoints. A devout Catholic, he taught at the Arts and Crafts School in Offenbach am Main, where he led a community of writers, printers, stonemasons, and metal and tapestry workers in a creative community. He regarded the alphabet as a supreme spiritual achievement of humanity and tried to build upon the calligraphic tradition by creating an original, simple expression from his gestures and materials. His type designs ranged from original interpretations of medieval letterforms to unexpected new designs, such as the rough-hewn chunky letterforms of his Neuland face

Question 68

Frederic W. Goudy

Answer 68

• 1865 - 1947
• an American typeface designer with a love of books and diligent work. He was inspired by books from the Kelmscott Press, including the Works of Geoffrey Chaucer, and from other private presses represented in the rare book department of the A. C. McClurg Bookstore. In 1894 he started the Camelot Press with a friend, but returned to bookkeeping the following year when disagreements developed. In 1895 he set up the short-lived Booklet Press, then designed his first typeface, Camelot, during the period of unemployment that followed. He became a freelance designer in Chicago, specializing in lettering and typographic design. His printing venture modeled on the private-press handicraft ideal, the Village Press, was moved first to Boston, then to New York, where a terrible fire completely destroyed it in 1908. He turned his energy to the design, cutting, and casting of typefaces and began a long association with the Lanston Monotype Company, which commissioned some of his finest fonts. He designed a total of 122 typefaces, many of which were based on Venetian and French Renaissance type designs. His readable books include The Alphabet(1908), Elements of Lettering(1921), and Typologia (1940). The two journals he edited, Ars Typographicaand Typographica, impacted the course of book design. He established the Village Letter, where he became a successful independent type designer who cut matrixes, then cast and sold type

Question 69

William Addison Dwiggins

Answer 69

• 1880-1956
• a student of Frederic Goudy’s at the turn of the century who proved to be a highly literate book designer. He established a house style for the Alfred A. Knopf publishing company and designed hundreds of volumes for that firm. He was first to use the term graphic designer to describe his professional activities. In 1938 he designed Caledonia, one of the most widely used book faces in America.

Question 70

Albert Bruce Rogers

Answer 70

• 1870-1956
• Influenced by Kelmscott books, he became the most important American book designer of the early twentieth century. He joined the Riverside Press of the Houghton Mifflin Company in 1896 and designed books with a strong Arts and Crafts influence. In 1900 Riverside established a special department for high-quality limited editions, and made him the designer for sixty limited-edition books during the following twelve years. He applied the ideal of the beautifully designed book to commercial production, becoming very influential and setting the standard for the twentieth-century book. For inspiration, he shifted from the sturdy types and strong woodblock ornaments of Nicolas Jenson and Erhard Ratdolt to the lighter, graceful lettering of the French Renaissance. His 1915 typeface design Centaur is one of the finest of the numerous fonts inspired by Jenson and the first used in The Centaur by Maurice de Guerin. He possessed an outstanding sense of visual proportion and of “rightness”

Question 71

Beatrice Warde

Answer 71

An American typographer, writer, and scholar who spent much of her working life in England, she wrote that Bruce Rogers “managed to steal the Divine Fire which glowed in the Kelmscott Press books, and somehow be the first to bring it down to earth.”

Question 72

Morris F. Benton

Answer 72

• 1872-1948
• American Type Founders Company’s head of typeface development. Designed important revivals of Bodoni and Garamond, and collaborated on ATF’s Garamond with Thomas Maitland Cleland. His revival of Nicolas Jenson’s type was issued as the Cloister family. He designed approximately 225 typefaces, including nine additional members of the Goudy family and over two dozen members of the Cheltenham family. He carefully studied human perception and reading comprehension to develop Century Schoolbook, designed for and widely used in textbooks

Question 73

Thomas Maitland Cleland

Answer 73

• 1880-1964
• collaborated with Morris Benton on ATF’s Garamond. A designer whose borders, type, and images were inspired by the Italian and French Renaissance

Question 74

Bertram Goodhue

Answer 74

• an architect who designed the first of the Cheltenham family of typefaces, which were later completed by Morris Benton.