The Lost Dwiggins Fonts

Contents:

• Dwiggins vs. Gothic
• The Dreaming Typeface
• "Gothic" Not Taken into the Future
• "...when we stop the slaughter and return to rational human activity"
• Missing Fonts
• Design That Is
• Lost and Reborn

The "Design That Never Was" section features a translation by Mikhail Voronin dedicated to the unrealized ideas of the famous graphic design enthusiast. Here, we explore unique concepts and creative ideas that, despite their originality, never found their way into reality. This material will be of interest to those who appreciate innovation in design and seek to understand what ideas could change visual culture.

Dwiggins vs. Gothic

Designer William Addison Dwiggins was an innovator in the world of typography and had a unique sense of humor. However, in the mid-1920s, he faced a period when he could not calmly read the newspaper, feeling irritated when looking at the font used for printing. This dissatisfaction was caused not only by the content of the news, although there was a lot of it, but also by the quality of the typography, which did not meet his high standards. Dwiggins strived for perfection in typeface design, which made his works iconic in the typographic industry.

The Gothic newspaper font and its various variants have few positive qualities. The author mentioned this in his treatise "Advertising Layout", published in 1928. He noted that such a font was not distinguished by high legibility and lacked elegance. Despite the mandatory use of capital letters in Gothic, they lacked truly high-quality examples.

The statements were provocative, especially considering that the criticized letters could not respond to this criticism.

A few months later, Dwiggins received a letter from Harry Gage, assistant director of typography at Mergenthaler Linotype, urging him to "answer his words with his pen." Gage planned to expand the range of new fonts his company offered to clients. After reading Dwiggins's criticism of Gothic, he agreed with it completely.

Could Dwiggins have designed a Linotype typeface that could surpass Gothic? The question of whether a designer is capable of creating a unique typeface that could surpass the classic Gothic requires in-depth analysis. Gothic has become an icon in the typographic world due to its expressive style and versatility. However, given Dwiggins's experience and creativity, it is conceivable that he could have come up with innovative solutions and improvements.

Creating a new typeface requires not only artistic vision but also an understanding of contemporary design trends. If Dwiggins could adapt elements of Gothic, adding modern accents and functionality for digital media, the result could have been impressive. It is important to remember that each typeface carries its own unique aesthetic and history, and creating a new typeface is not simply a matter of competition but an opportunity to expand the horizons of typographic art.

He could do it. "Tell me, what's the turnaround time?" Dwiggins replied. "I'll be as busy as a bee all summer, but type design is something to dream about."

The Dreaming Typeface

For the next 28 years, until his death in 1956, Dwiggins was actively involved in typeface design. He not only dreamed of typefaces, but also created them for a variety of media, including books, magazines, and newspaper articles. His work also encompassed headlines and typefaces for typewriters, including one for an early IBM model. Dwiggins's contributions to typography had a significant influence on printed design and the development of typeface art.

Letterforms emerged effortlessly from his fingers, as noted by his colleague Rudolf Ruzicka. This process highlights the talent and skill he displayed in creating unique typefaces and typography. His ability to intuitively perceive and convey letterforms became the basis of his professional success.

Most of them disappeared without a trace, forgotten due to unfavorable circumstances or an unfortunate coincidence. Only a few of them survive in the design world.

Despite Dwiggins's significant legacy across various fields, his influence on graphic design is difficult to overstate. By the time this progressive book designer, calligrapher, and illustrator began designing typefaces, he had already left a distinctive mark on the American visual landscape. Dwiggins may have been the first to coin the term "graphic designer" in 1922, highlighting his innovative approach. It was his methods of working in graphic design and related disciplines that determined the development of this field for many years to come.

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W. A. ​​Dwiggins demonstrated a unique and inspiring clarity of vision throughout every project, notes Bruce Kennett, book designer and author of his biography, "W. A. ​​Dwiggins: A Life in Design." Dwiggins always kept the end user in mind, making his approach to design particularly valuable and relevant.

Today, end users have the opportunity to explore lost Dwiggins's typefaces, considering them in the context of his life's work. This allows us not only to appreciate his artistic legacy, but also to learn important lessons about creativity and design.

The "Gothic" Not Carried into the Future

After receiving Gage's letter, Dwiggins immersed himself in the process of refining the Gothic typeface. He created specimens at ten times the original 12-point size and cut stencils to evaluate how the letters would appear in typesetting. This painstaking process allowed him to analyze the proportions and harmony of the typeface in detail, which played a key role in its further development.

By the end of 1929, Metroblack was created—a serious sans-serif that harmoniously combined the simplicity of Gothic with a humanistic warmth and grace. This font features curved loops on the g and dynamic tails on the Q. Linotype developed several variants of this font in different weights, such as Metrolite, Metrothin, and Metromedium, and began selling them commercially. The Metroblack font has become a popular choice for designers due to its versatility and aesthetics, making it sought after across various fields of graphic design and typography.

Unfortunately, there are factors that can negatively impact the perception of a font. One such factor is public opinion. It can significantly change attitudes toward a particular font style, which in turn affects its popularity and use in design. Public opinion is formed under the influence of various trends, as well as personal preferences of users. Therefore, it is important to consider these aspects when choosing a font for a project so that it meets the expectations of the target audience and fits into the overall design concept.

Linotype actively promoted the Metro font family, claiming that its design was inspired by inscriptions on ancient Greek and Roman coins. However, despite such claims, the audience remained skeptical.

Kennett notes that the public was looking for modern solutions in design. People wanted design elements to reflect progress and forward movement, rather than a return to the past. During this period, slender and rational typefaces such as Futura gained popularity, symbolizing a new direction in typography.

Clients expressed dissatisfaction with some of the "inconsistent" lowercase characters of Metro, which led to a redesign by Dwiggins and Linotype. This resulted in the release of Metro 2. Although work on this typeface continued, by the 1940s it had effectively fallen out of use, giving way to more elegant and rational typefaces such as Futura and its counterpart Spartan, developed at Linotype.

Other Dwiggins designs met a similar fate, and some of them did not even have time to receive the recognition they deserved. For example, the experimental typeface No. 63, created by Dwiggins, is characterized by a thick weight and asymmetrical elements. Despite years of work on it, Linotype rejected it, calling it a "trick font," and it was archived.

"...when we stop the slaughter and return to rational human activity"

The wrong moment can negatively impact the perception of a font. It is important to consider that the choice of font and its use in a particular situation can significantly affect the overall effectiveness of the text. The right time and context for using a font play a key role in creating a harmonious visual perception. An incorrectly chosen font in an inappropriate setting can distract the reader and reduce the effectiveness of information transfer. Therefore, it is important to carefully analyze the context and select fonts that are appropriate for the situation.

In the early 1930s, Dwiggins collaborated with typewriter manufacturer Underwood to develop a unique "pot-bellied" italic typeface that he believed was ideal for home correspondence, "little league" letters, and similar purposes. However, the font was never released due to the unfavorable economic situation caused by the Great Depression, as Kennett notes.

At this time, Dwiggins sent his boss at Linotype a letter detailing his ideas for modifying Scotch Roman. He concluded the letter by adding that this was intended for future years, but later realized his mistake. He crossed out the word "war" and replaced it with "depression."

He could have written a similar letter ten years later without any changes. "Metal was scarce during World War II," Kennett emphasizes. Many companies, including printing houses, partially or completely converted their production capacity to serve the military: Linotype was engaged in the production of bomb sights and other military equipment. This limited the scope for experimentation and innovation in production.

The war coincided with Dwiggins's most productive period. During this time, he produced numerous sketches, which he said were intended to replenish the Linotype typeface library for the days when the violence would end and humanity would return to rational activity. His work during this challenging period became an important contribution to the development of typography and design, emphasizing the desire for reconstruction and harmony after conflict.

Missing Typefaces

Dwiggins worked for Linotype on a piecework basis, which allowed him considerable creative freedom, but also the absence of any guarantees. As Kennett notes, "He could imagine without limits, and then the company chose which of his ideas to put into metal." Some of Dwiggins's typefaces were so advanced that they were used to typeset entire books. However, they were never fully commercialized by Linotype.

Some fonts were created by designers with specific goals in mind. For example, Charter was designed as a fully vertical script. As Kennett notes, Dwiggins was confident that Charter would find a permanent place in legal documents. However, despite his ambitious ideas, the typeface was never developed further and remained only at the prototype stage.

Other projects emerged from Dwiggins's deep and multifaceted knowledge of design history. Kennett notes that he often encountered historical typesetting and sought to improve upon them. For example, upon seeing a typeface created in Spain in the early 1600s, he might enthusiastically declare, "Oh! This could be improved." This approach reflects his desire not simply to preserve heritage, but to adapt and develop it for a modern context.

Thus, Eldorado was born, which Dwiggins described as "a lively and colorful work, perfect for framing a fairy tale like Treasure Island." Eldorado was eventually cast in metal and used in book production, but it disappeared at another dangerous crossroads: not popular enough to be carried over into phototypesetting.

The 1942 work, titled "Tippecanoe," is a tribute to the 19th-century Italian designer Giambattista Bodoni. This preeminent typographic master has had a huge influence on modern design, and many contemporary designers strive to emulate his style. However, as Dwiggins notes, attempts at imitation sometimes come across as clumsy and lacking in grace. "Tippecanoe" serves not only as a reminder of Bodoni's legacy, but also as a demonstration of how his work continues to inspire designers today.

Linotype developed Tippecanoe to the prototype stage, but it was not promoted further. The designer drew inspiration for the Stuyvesant typeface from the works of Frans Hals, a renowned 17th-century Dutch portrait painter. Dwiggins imbued this typeface with "a certain well-fed robustness," but like Tippecanoe, Stuyvesant was also not released.

Arcadia was described by Dwiggins as "round and crisp, like the new moon on the first day—like a clipping of Diana's toenail." Winchester, meanwhile, was designed with an emphasis on ease of reading. However, neither design made it past the pilot testing stage.

By the end of the war, Dwiggins's health had deteriorated significantly. Many of his ideas remained unrealized, as he was unable to return to them.

Design That Is

In a few exceptional cases, Dwiggins's typefaces have proven their resilience, successfully overcoming the transition from metal typesetting to phototypesetting and then to digital technologies. These fonts have retained their relevance and popularity, a testament to their high quality and versatility.

Caledonia is a font that is the result of years of work transforming Scotch Roman. Its development began between the Great Depression and World War II, and it has since gained popularity, particularly in book design. Caledonia continues to be used by designers for its legibility and elegant style, making it an ideal choice for print and a variety of typographic projects.

The Electra typeface was introduced in 1935 and designed to combine precision with a "warm, human character filled with vital energy." Dwiggins aimed to create typography that would combine clarity of line and emotion, making Electra an ideal choice for printed materials and books.

One of the most fascinating elements that survives today are the graphic elements that Kenneth calls "modular decorative units"—Caravan Ornaments. These elements are not intended to form words; they serve purely decorative purposes and can be used individually or combined to create complex patterns. Although they are illegible, they have clear associations with letters, like cousins ​​who share a passion for theater and dance. Kennett describes them as a magical extension of the alphabet, which emphasizes their uniqueness and artistic value.

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Lost and Reborn

The Electra, Caledonia, and Caravan Ornaments fonts are now available to all typesetters, as is the Metro font. This is a good result, demonstrating that every designer has both successful and unsuccessful projects. However, given the length and intensity of Dwiggins's work in the field of type, his legacy could be significantly more impressive. Kennett claims that there are more than 30 typeface concepts designed by Dwiggins, of which only six were released commercially. The remaining fonts remain unknown and inaccessible to a wide audience.

However, as Kennett argues, the loss is actually impossible to accurately assess.

He was likely ready to create typefaces twenty years before he was given the opportunity. I'm sure his desire to begin was strong and he looked forward to this moment.

Dwiggins's loss is felt for decades after his death, as his influence continues to manifest, sometimes in subtle forms. In 1952, Hermann Zapf, the renowned typeface designer, unveiled his masterpiece, Optima. More than a decade later, while working through archives, Zapf was astonished to realize that he had essentially reinvented Dwiggins's Experimental No. 63—the very same "trick font." This underscores the significance of Dwiggins's legacy in the world of typography and his influence on subsequent generations of designers.

Other Dwiggins designs, such as Eldorado and Winchester, have already been restored by modern type designers for the digital age. There is hope for further revivals, because even though Dwiggins is no longer a major figure, "many people still hold his work in high regard," Kennett notes. He hopes that his book will increase interest in Dwiggins's work.

The 480-page book represents a significant legacy Dwiggins. Anyone who flips through it will appreciate the unique typefaces he created. Excerpts from Dwiggins's works are set in Metro, Eldorado, Caledonia, and other typefaces. The main text is typeset in a new version of Electra, specially designed by Kennett with designer Jim Parkinson. This edition not only showcases Dwiggins's mastery but also highlights the importance of typefaces in contemporary design and typography. Kennett notes that all digital versions of Electra were thin, emaciated, and difficult to read. However, the new version retains the qualities that make it unique: the warmth and vitality inherent in typeface metal. This enduring appeal is likely due to the fact that Electra is one of the last surviving typefaces that embodies the man's dreams, heritage, and "warm animal blood" evident in his precise lines.

Designer W.A. Dwiggins left a significant legacy in the world of typography, but many of his typefaces remain undeservedly forgotten. These lost typefaces represent a valuable treasure that can enrich modern graphic design and typography. Known for his innovation and original approaches, Dwiggins created numerous unique typefaces that not only reflected his artistic vision but also changed the perception of typography.

While many of Dwiggins's typefaces were popular in their time, they have been forgotten over time and replaced by modern typographic solutions. Restoring and reimagining these typefaces can bring them back into current use and inspire a new generation of designers. Studying Dwiggins's lost typefaces not only helps us understand his contribution to typographic history but also opens up new horizons for creative expression in contemporary design.

Referring to Dwiggins's work can be a source of inspiration for designers seeking to integrate unique elements into their projects. Understanding and incorporating lost typographic solutions can not only diversify visual language but also imbue work with individuality. It is important to remember the significance of the legacy of masters such as W.A. Dwiggins and continue to explore their work to enrich contemporary design.

Mikhail Voronin's translation is a high-quality and professional example of translation. He demonstrates a high level of language proficiency and the ability to accurately convey the meaning of the original. Mikhail Voronin specializes in translating texts across various genres, which allows him to consider the specifics of the target audience. His work includes not only lexical translation but also the adaptation of cultural aspects, making the text more accessible to readers. Mikhail Voronin's translation expertise enables him to create high-quality content that meets the needs of his clients and readers.

Font designer and founder of NT Type studio, specializing in font creation and lettering. I am passionate about everything related to letters and typography. I actively share my knowledge at the Yo-fest and Design Weekend festivals. Fonts developed at NT Type were awarded bronze at the Sreda-2023 competition and were shortlisted for HSE Creative Open 2024. Developing unique fonts and lettering is not just a job, but my passion and a way to express creativity.

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