FRANKLIN - Krop · H.I.S Menswear Advertising (1960s–70s) The company was founded in New York in...

1Franklin Gothic | Morris Fuller Benton

FRANKLINMORRIS FULLER BENTON

GOTHIC

KAY TAM

Franklin Gothic | Morris Fuller Benton

FRANKLINMORRIS FULLER BENTON

GOTHIC

KAY TAM

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B D C E F 2 4 p t . B o o k c c c c c c c

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D F G2 4 p t . B o o k c c c c c c c

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D F E G H2 4 p t . B o o k c c c c c c c

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D2 4 p t . B o o k c c c c c c c


O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C2 4 p t . B o o k c c c c c c c




O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D E F G2 4 p t . B o o k c c c c c c c

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D E F2 4 p t . B o o k c c c c c c c

O P Q R S T U V X X Y Z A B C D E F G H I J K L M N O P Q R S T U V X Y Z A B C D E2 4 p t . B o o k c c c c c c c


07 Introduction

08 Type Description

16 Morris Benton Biography

20 Challenges and Needs

24 Technology

26 The Use

30 Conclusion

Contents

Copyright © 2016Kay TamEssay copyright © 2016Kay Tam

Library of Congress Catalog Number: x000111000ISBN: 1-000000-xx-0

All right reserved. No part of this book may be repro-duced in any form or by any electronic or mechanical means without written permission of the publisher and author except for brief quotations in reviews or critical articles.

Published in 2016 by Art 430: Typography IIIThe Art 430: Typography III class produces books related to the history of type design.Print in the United States of America

Distributed by OJA Publishers, Baltimore, MD.

Cover image copyright © 2016

Kay Tam


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1 Alexander S. Lawson, Anatomy of a Typeface (New York, NY: David R. Godine, Publisher,1 1990), 298.

Introduction

6

Since the time when book printing was invented, a num-

ber of common typefaces had been developed. The

gothic-styled blackletter was the first to go to because

it resembled the handwriting of scribes. Evolving gothic

typeface had different variations and styles; by a twist of

fate, in the early twentieth century, a traditional gothic

style had very little to do with its convoluted original. In

fact, today, gothic is simply a manner of referring to sans

serifs typefaces that can also be called grotesque.

The advent of the industrialization and development

of the technology and fashion allowed an American

designer, Morris Benton, to develop a new Gothic series

called Franklin Gothic. It became very popular and

demanded by typographers, printers, and designers; the

typeface had lived well up to the twenty-first century.1

Although it has taken more than 100 years, what began life as a single-weight typefaceis evolving into a very large and extremely useful typeface family.

"

"

Introduction

9Frnaklin Gothic | Morris Fuller Benton

The heaviness and boldness of Franklin Gothic gives off

the impression of being serious and important. However,

unlike most bold typefaces,Franklin Gothic has "finesse,

lighteness and something warm and friendly about it.

Apart from Franklin Gothic presented in 1903, the Franklin

Gothic series includes Franklin Gothic Condensed, Frank-

lin Gothic Italic (1910), and Franklin Gothic Condensed

Heavy(1912). 4 Obviously, for the condensed and extra

condensed styles, letters have become thinner and

longer in order to retain their original mood of seriousness

and importance. Overall, the letters retained common

features. Both uppercase and lowercase K has arms that

meet in a cross rather than perpendicularly. Cross strokes

are unilateral in all Franklin Gothic styles, while decanters

and ascenders retain the same shape. In all additional

variations of the Franklin Gothic series, the lowercase g

has an ear that is going above the ascent line; thus, it is

double-storey, whereas Franklin Gothic has a single-sto-

rey g.5

2 Walter Tracy, Letters of Credit. A View of Type Design (Boston, MA: David R. Godine, 2 Publisher, 1986), 85.3 Ibid.4 Theodore Low De Vinne, The Practice of Typography. A Treatise On the Processes of 4 Type-Making the Point System, the Names, Sizes, Styles and Prices of Plain Printing4 Types (New York, NY: The Century Co., 1900), 316.5 Ibid., 296.

Gg Bb YyAa Dd Kk

86/76 pt. Regular

A Description of Franklin Gothic

8

In fact, the name Franklin Gothic is somewhat mislead-

ing because the typeface neither related to Benjamin

Franklin nor resembles the gothic style.2 Bold typefaces

were usually called gothic in the US, whereas in the UK,

sans serifs were called grotesque, in France antique, and

in Germany grotesk, as well.3 Therefore, Gothic is a style

that is simple and sturdy without serifs, any hairlines, and

other odd elements. Printers particularly like it because it

remains readable even if something in the printing pro-

cess goes wrong.4 The Franklin Gothic series is character-

ized by being sans serif and possess regular proportions.

As it has developed from a classic style, the typeface

resembles roman letters. Most of the letter forms have

broad heavy strokes that are attached by a lighter,

thiner stroke. The upper case letters manafe to maintain

the elegance, heavyness and lightness seen in the lower

case letters The countrast is evidence of humanist wood-

cut gothic and gemetric.

Franklin Gothic can be distinguished from other sans

serif typefaces, as it has a more tradional double story g.

Other main distinguishing characteristics are the tail of

the Q and the ear of the g. The tail of the Q curis down

from the bottom center of the letter-form in the book

weight and shifts slighty to the right in the bolder font. t is slight askew, giving its added character but is still able to

maintain finesse. Instead of its left, top side being com-

pletelystriaght it drafts ever so slightly to the right.

A Description of Franklin Gothic

11

Franklin Gothic

Franklin Gothic | Morris Fuller Benton10

Regarding the comparison of typefaces within the

category, Franklin Gothic has a range of differences. Its

lowercase g has a bowl and a tail, whereas Arial, Swiss,

Univers, and Helvetica have a single-storey g. Franklin

Gothic G has a spur, while Arial, Swiss, Univers, and Hel-

vetica do not. Similarly, Franklin Gothic has a tail in the

upper case J that is pointing slightly upwards, while the

rest of Grotesque typefaces have it pointing vertically.

Franklin Gothic and Arial have a straight leg of the up-

percase R, whereas Helvetica, Univers, and Swiss have a

rounded leg in R. While Arial and Swiss have tails that are

touching the ground in the uppercase Q, Univers and

Franklin Gothic have it crossing.

Given a substantial character of the typeface and easy

readability, the font has become very popular since the

beginning of the twentieth century.7 Among sans serifs,

it is in high demand in the newsprint and mass media.

When there’s a need for smooth power and simple clean

authority for headline and body copy, Franklin Gothic

is a primarily bold typeface that associated seriousness

and significance. Therefore, it can be used in advertising

and newspapers. At the same time, its straight lines are

good for any type of other products. It is widely used on

covers of music albums and singles, in commercials and

newspaper ads, in film titles, and as an official font of

some public and private institutions (fig. 2).7

Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.

All art is relationships, all art. Design is relationships. Design in a relationship between form and content. Your glasses are round. Your collar is diagonal. These are relationships. Your mouth is an oval. Your nose is a triangle - this is what design is.

Don't try to be original just try to be good.

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6 Mario Tomiša, Damir Vusić and Marin Milković, “The Impact of the Historical Devel 8 opment of Typography on Modern Classification of Typefaces,” Tehnički Vjesnik 20, no.8 5(2013): 909.7 “Franklin Gothic,” Fonts in Use, accessed September 25, 2016, https://fontsinuse. 8 com/typefaces/35/franklin-gothic.

According to the modernized classification of maximilien

vox, which is called Vox-ATypI, Franklin Gothic belongs to

the Modern typefaces that are further sub-classified into

the Lineal and Grotesque (fig.1).6 The typefaces of the

Modern group are characterized by simpler and purer

lines in comparison to the Classic group, which includes

triangular-shaped serif and slanting axes of Centaur

and Bembo. By acquiring did one serif and making axis

vertical, Modern typefaces have branched out into

Didone, Mechanistic, Lineal, and Franklin Gothic, which is

classified as Linear for lack of serifs and straight lines. The

Linear Grotesque group also includes Helvetica, Univers,

Swiss, and Arial and is characterized by a loop in the

lowercase g and a spur in the uppercase G. Overall, the

typeface has a shape of a rounded square.

Figure 1.Maximillien Vox’s ATypI system


Figure 2.Franklin Gothic Font in the modern media.

A description of Franklin Gothic

12


H.I.S MenswearAdvertising (1960s–70s)

The company was founded in New York in 1923 as

“Honesdale Manufacturing Co.” by Henry I. Siegel from

Lublin, Poland. In 1956, as an homage to his father, Jesse

Siegel established the H.I.S brand, whose logo is com-

posed of Henry I. Siegel’s initials set in Franklin Gothic,

one of the most popular typefaces of the era (fig.3).

Figure 3.The late ’60s and early ’70s better than menswear brand H.I.S. Strong type

A description of Franklin Gothic

14


ic letters were very legible and popular among printers

at the time. Inasmuch as printers use different type sizes,

it is important for a typeface to be easy to read. In com-

parison to Roman letters, the Gothic typeface is more

readable in a smaller size.16 In fact, ATF had a catalog

of various typefaces, which includes around 50 Gothic

styles, but they were rather chaotic. Even though one

might find all the widths and weights there, there was no

order and no unified family for the Gothic subcategory.17

Therefore, Benton decided to develop the Franklin Goth-

ic series that would feature all letters, numbers, punctua-

tion marks, and diacritic marks.

When Benton started working in the company, he first

was assigned to the duty of looking through all the ex-

isting typefaces of the conglomerate and revising and/

or improving them, as well as unifying where needed.15

This can be accredited to his background in engineering

alongside his career in typeface development. Although

Morris was not fully experienced in design, his most

impressive and influential work derived from his typeface

design and development. Benton was a special addition

to ATF, a key person involved in the development of type

design. This may have been a result of bearing the Ben-

ton name and gift of innovation, working alongside his

father, processing pleasent work ethic, or various factors.

In any respects, Benton did not go unnoticed. He was

elevated into the position at ATF that launched him into

his future as a key person in American type design.

ATF came to the understanding that types can be

arranged into series with different weights. Therefore, the

company expanded the typeface family beyond roman

and italic, to include also bold and bold italic. It was a

great move in terms of finances because a client would

see it natural to buy several weights of the same family.

In line, it had an aesthetically pleasing effect. From there

on, Benton was able to develop his type families. Franklin

Gothic was among his first developments because Goth- Figure 4. Linn Boyd Benton

10 Simon Loxley, Type: The Secret History of Letters (New York, NY: I.B.Tauris, 12 2004), 70.11 Ibid. 12 Ibid., 71.13 Ibid.14 Ibid.15 Ibid.

16 Barbara Elizabeth Roethlein, “The Relative Legibility of Different Faces of Printing 16 Types,” The American Journal of Psychology 23, no. 1 (Jan., 1912): 4, accessed16 September 25, 2016, http://www.jstor.org/stable/141311217 Lawson, 297.

Figure 5. American Type Founders (ATF)

Morris Benton Biography

16

Morris Fuller Benton was a son of a renowned American

typeface designer, Linn Boyd Benton, who invented the

typeset machine (fig. 4).10 He was born in a family of

people that were engaged in the printing business (fig. 5).11 His grandfather, Charles Swan Benton was an editor

and one of the owners of the Milwaukee Daily News.

In turn, Benton’s father went on to gain an uncommon

education in various fields of study due to a constant

relocation of the Benton family as well as his work ex-

periences. He established an own firm Benton, Walso,

and Company; later, it transformed into American Type Founders (ATF) by merging with other twenty-three type

founders.12 Therefore, it is logical that Morris Fuller Benton

learned to create types early and joined ATF (fig. 6).

In the late nineteenth century, print companies worked

in close cooperation with foundries that supplied pre-

cast metal type. In 1886, hot metal casting machines

were invented; they made it possible for printers to cast

an own type without the mediation from foundries.13

Now, printers began to use matrices for their type

and then melt them down to use for a new type. This

inventory made printing cheaper, and the automatic

punch-cutter allowed type designers to experiment with

the type more. 14

Morris BentonBiography

Figure 6. Morris Fuller Benton.

19

Franklin Gothic


Overall, Benton created more than 200 typefaces,

including Century, Globe Gothic, News Gothic, Chelten-

ham, Bodoni, Cloister, ATF Garamond, and Baskerville.18

When he decided to develop a new Gothic family,

Benton used the existing variations of the Gothic type-

face such as Akzidenz Grotesk that was made up by a

German foundry, Stempel, in 1898.19 Stempel’s Akzidenz

Grotesk also was sans serif with straight lines and no

loops. It had a single-storey g, a lowercase q without an

art of stem in the descended, and a straight tail in the

uppercase Q (fig. 7). Benton’s Franklin Gothic series had

several weights, including light and bold ones, and sever-

al widths, including condensed and extra-condensed

ones, for example.

Later in 1913, Benton added a shaded variant. Given

the monotone character of Franklin Gothic, it was con-

venient for printers to have several widths and weights to

use in their printing. It was an extra-bold typeface; later,

Benton reduced the width by half and made Alternate

Gothic and Lightline Gothic.21

18 Lorraine Ferguson and Douglass Scott, “A Time Line of American Typography,” 19 Design Quarterly, The Evolution of American Typography, no. 148 (1990): 38, DOI: 19 10.2307/4091232, accessed September 25, 2016, http://www.jstor.org/sta19 ble/4091232.19 Yannis Haralambous, Fonts & Encodings, translated by P. Scott Horne, (Sebastopol,19 CA: O’Reilly Inc., 2007), 396.

Figure 7.Stempel’s Akzidenz Grotesk.


erywhere, especially the improvement in power sources.

Back in the day, people only used arc light to stop crime

and vice by exposing the people who perpetrated the

crimes. The eclectic light became more popular in the

small cities since it was a sign of modernization, which im-

plied future growth. The modern light made office work

easier and stain eyes less in urban workplaces. From the

same point of view, Sans serifs strain eyes less as they

have no unnecessary details and thinning hairlines that

can become less distinct if being faded with time. It is

very plain and goes well with people, who live their lives

fast-paced. Furthermore, for printers and foundries, this

typeface also promises a better durability. Franklin Goth-

ic was made in response to the developing advertising

market at the time when advertising agencies created

demand for distinctive typefaces that would make com-

mercials and ads more attractive and eye-catching.

Therefore, Benton’s idea to expand the type family to

include different weights was very appealing to custom-

ers; thus, later, other printers and foundries emulated the

approach.25

22 De Vinne, 310.23 Tracy, 19.24 Tracy, 80.25 Loxley, 70.

Figure 8.Condensed boldface.

Challenges and Needs

20

Historically, the original typefaces such as those devel-

oped by Gutenberg, emulated handwriting of medieval

scribes, who would write in an angular style with knob-

by serifs, hairlines, and decorative curvatures (fig. 8).22

Eventually, printers and typographers have changed

the shape of serifs, the slant of the axis, and the width of

strokes; thus, typefaces became more legible and easier

to work with. The transition from serifs to sans serifs has

various variations in between such as angled serifs in low-

ercase letters and blunt serif heads, as well as overshoots

in z and F (fig. 9).23 In neoclassical typefaces, serifs were

still in place, and some strokes ended in a ball-shape.

Overall, typographers and printers experimented much

with serifs and stroke width coming up with slab serifs, in

which a serif is a same width as the stroke, and glyphic

serifs with triangular shapes (fig. 10).24 However, for the

sake of the legibility and readability, many printers have

preferred the serif less gothic style.

Benton refined the existing Gothic style and created

Franklin Gothic as a response to the industrialization and

urbanization. Between the year of 1880 and 1929, indus-

trialization and urbanization affected Americans in ev-


Figure 9. Transitional variants between various serifs.


Figure 10.A slab serif typeface.


22


weights in Franklin Gothic Light and Franklin Gothic Book

respectively. However, with time, this range was broad-

ened. For instance, demonstrates a list of ITC-founded

series, ranging from ITC Franklin Gothic Heavy, Book Extra

Compressed and to Demi Compressed among around

19 others. Apart from being playful embodiments of the

classical Franklin Gothic in terms of width, heaviness and

lightness, the letters vary with regard to their balancing

between leaving more or less space for either thicker

strokes or pure spatial completeness. These several ex-

amples once again revealed that contrasting smooth-

ness of heavy-to-light features in the most differentiating

characteristic of Franklin Gothic’s technology as an

aspect of its reliability, well-framed dynamism, and easy

comprehension. Therefore, the availability of Frank-

lin-Gothic-based types allows its expanded use within

both printed and electronic media. Moreover, offering

numerous versions of the primary typeface relates to flexi-

bility of this type family which was initiated by its devel-

oper and ensured through incorporation of technologies

to enhance its commercial use and popularity.

Furthermore, technological impact was evident in terms

of utilization of the type in software applications, for

instance Microsoft and Mac operational systems. To a

great extent, classical types, to which Franklin Gothic

can also be linked, are stylized, optimized and simplified

in order to suit for the screen legibility since these were

initially developed for print not digital dimensions of use.28

However, the discussed type was smoothly embedded

in the main computer software font systems in its original

shape (with name modified to ITC Franklin Gothic). In this

way, it is relevant to emphasize on its usability and reli-

ability in both print and digitalized forms. This characteris-

tic of the type is in addition to be valuable as application

of a particular font and style in a digital world eventually

implies the likelihood of printing the text created in it or

using a PDF format for its display. Since Franklin Gothic is

practically of the same features within both domains, this

factor is undoubtedly value-adding to its long life in the

field.

26 David Consuegra, Classical Typefaces: American Type and Type Designers (New York: Allworth Press, 2011), 1485.27 Consuegra, Classical Typefaces, 1505.28 Matthew Butterick, “System Fonts” (Practical Typography, N. p., n.d., http://practical-typography.com/system-fonts.html)

Technology

24

Due to the fact that Franklin Gothic was developed

more than 1 hundred years ago, identification of its

contemporary importance will be incomplete without

a reference to technological advancement. Therefore,

the impact of computers and thorough globalization is

briefly considered in this context. Researchers ascertain

that usually Benton’s types are “a combined product of

artistic inspiration and organized, systematic research.”26

Based on the previous analysis of the features of Franklin

Gothic, this assumption seems more than relevant.

Similarly, this approach can be attributed to technolo-

gy-centered designers who seemingly combined the

above two features for extending the length and scope

of use of this type.

On the one hand, rights-holders of Franklin Gothic,

namely ITC, and other foundries, such as Font Bureau,

worked well on the development of technology-me-

diated “readability series”27 including variations of this

typeface. Inasmuch as Franklin Gothic became a very

well-known typeface that had been used right up till

now, it was supplemented with additional widths and

Technology

When I close my eyes and think about the headlines for the day, they are set in Franklin Gothic.

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27

Franklin Gothic


Also, New York’s Museum of Modern Art had been using

Franklin Gothic since 1964. With the opening of a new

exhibition space in 2005, MoMa’s designers were plan-

ning an updated look. They noted then that the existing

form of the type had imperfect proportions and traced

the problem back to digital versions of the typeface

that had been originally scanned into a computer from

one set of “smallish” type. From this set, designers had

created versions in different weights and sizes, causing

the distortions (fig.12).

Today, after forty years of the disdain and oblivion, Frank-

lin Gothic has returned into demand under the guidance

of ITC. The company assigned the first set of the renewed

Franklin Gothic series to Victor Caruso, who created

four additional weights in 1980. In 1991, David Berlow

made twelve variants of compressed and condensed

ITC Franklin Gothic. In order to fit new purposes better

and demonstrate changes, Barlow made letters a bit

taller and wider. In comparison to more modern type-

faces, ITC Franklin Gothic retained its character and the

nineteenth-century feel of serifless letters. For example,

Univers and Helvetica are generally uniform and have

a few differences, which are rather insignificant such as

different finishing of tops, stems, or tails. Meanwhile, ITC

Franklin Gothic stands out due to its robust nature of the

old gothic style, “Capitals are wide (typographers would

call them “square”), lowercase letters share the propor-

tions and letter shapes of serif typefaces, and character

stroke weights have a far more obvious thick and thin

contrast than most modern sans serif designs.” Further-

more, ITC spaced characters in order to make it possible

to use the font in smaller sizes.

However, several decades of the usage revealed that

ITC Franklin Gothic can do better and can be improved.

Berlow, who worked with the typeface in the 1990s,

became the Head of Font Bureau and offered ITC to re-

new ITC Franklin Gothic again. In the early 2000s, Berlow

offered to “rework the ITC Franklin Gothic family, enlarge

it and once again separate it into distinct text

Figure 11.The museum of modern art in New York logo.

Overall, Franklin Gothic is used for the purposes it was

created: these letters are used in texts and headlines.

Therefore, there is nothing extraordinary and different

from what the type designer intended initially. Howev-

er, its range of uses has definitely expanded with time;

probably, Benton could not predict such a situation. Due

to the Information Age, the typeface can be used in the

digital media, computer software, and mobile phone

interfaces. As it was mentioned above, it also used in

film credits and film crawls, as well as in TV commercials

and film advertising materials. For example, Dark Knight

posters used Franklin Gothic because of its substantial

and solid feel and, probably, because of an association

between Gotham and Gothic (fig.11).

The Use


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Figure 11.Typrface used on The Dark Knight post-er artwork (2012)

Franklin Gothic typeface being used for advertising purposes in movies such as “Rocky Balboa”.

Frnaklin Gothic

28

31

Franklin Gothic


Today, this type has a wide use in the film industry,

commerce, and printing, for example, and experienc-

es another phase of growth in light of technology. The

latest decades witnessed an incredible development

of the digital media. In its turn, Franklin Gothic found its

use here, as well, with some modifications of versions in

terms of widths and weights for a more diversified system

of offerings. Under the trademark of ITC Franklin Gothic,

it was included in the Microsoft fonts. Moreover, other

private and public organizations and companies use it

in their merchandise, signage, and promotional designs.

Since 2008, this type has functioned under the trade-

mark of ITC Franklin™ having lost its confusing epithet

gothic. The modern fonts and typefaces such as Futura

turned out to be too cold and formalistic for modern

people. Thus, designers returned to the traditional design

of the turn of the century. Franklin Gothic showed itself

as one of the most successful sans serifs. Undoubtedly,

these are the capacities of balancing what seemingly

cannot be combined what has become the key to its

long-term outstanding role. For instance, the features

include the lightness versus heaviness, spacious letter

shapes and widths as compared to its smooth valuable

density capacity within even smallest print areas, to list a

few. Therefore, the prophetic genius of Morris Benton has

created the type that extended the unified life of Frank-

lin Roosevelt’s name for the centuries to come, even

though the US president had little to do with it.

While Morris Benton created Franklin Gothic in the early

1900s based on the patterns from the previous centuries,

its usability proved to be effective in spite of the time,

with only slight changes while been the source of inspi-

ration for other designers. This typeface has managed to

support its popularity among printers, typographers, and

designers through decades because it combines the

strength and elegance, as well as boldness and softness.

Being less complicated in the use for foundries, Franklin

Gothic was a type to go because it had neither hairlines

nor serifs. The high legibility and readability, as well as

proportions and extra-boldness, made it a good type-

face for a variety of applications. Primarily, at the begin-

ning of the century, the developing market of advertis-

ing required well-readable typefaces for the effective

promotion of various goods. Although this typeface had

experienced a lapse in demand and had been almost

forgotten for 40 years, ITC revived it in the 1980s.


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Conclusion

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De Vinne, Theodore Low. The Practice of Typography. A Treatise on the Processes of Type-Making the Point System, the Names, Sizes, Styles and Prices of Plain Printing Types. New York, NY: The Century Co., 1900.

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Tomiša, Mario, Vusic, Damir, and Marin Milkovic. “The Impact of the Historical Development of Typography on Modern Classification of Typefaces.” Tehnicki vjesnik, no. 20.5(2013): 905-911.

Tracy, Walter. Letters of Credit. A View of Type Design. Boston, MA: David R. Godine, Publisher, 1986, 85.

Stowell, Scott. “May the Type Be with You: The “Star Wars” Opening Crawl.” Typo Graphica. Last modified May 18, 2005. http://typographica.org/on-typography/may-the-type-be-wit you/

Cost, Patricia. The Contributions of Linn Boyd Benton and Morris Fuller Benton to the Technology of Typesetting and Typeface Design. 1986

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Bioliography

Images

Benton, Linn Boyd, and Theodore Low De Vinne, DeVinne on Century Roman. 1914

Fonts in Use, Franklin Gothic in use, Accessed October 2, 2016 https://fontsinuse.com/typefaces/35/franklin-gothic

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A2 Media Studies: Advanced Portfolio, Accessed October 2, 2016https://mediatrailermattv.wordpress.com/category/posters/

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Cargo Collective, Benjamin Ashworth, Accessed October 11, 2016 http://cargocollective.com/benjaminashworth/News-Gothic

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