Women in World Typography – Creators of Fonts That Made History

Contents:

• Pre-war period: 1900–1940
• Beginning of the post-industrial era: 1940–1980
• Digital technologies: 1980–2000
• Modern times: 2000–2020

In modern design, there is an equal Representation of women and men. However, when mentioning famous type designers over the past century, the list is dominated by men. In this article, we will examine the reasons for this phenomenon and explain why calling modern typography a "male profession" is a mistake.

Historically, typography and type design have long remained in the shadows, and few names of female designers have become known to a wider audience. However, this does not mean that women have not made significant contributions to this field. There are many talented female designers who have created typefaces and worked in typography, but their achievements often go unnoticed.

Modern type design includes a variety of styles and approaches, and female designers are actively participating in these processes, bringing fresh ideas and unique perspectives. The increase in the number of women in type design and typography contributes to the development of a more inclusive and diverse approach to visual content creation. This confirms that typography is not just a “man’s profession”, but an area where women can also successfully work, creating fonts and shaping the visual perception of text.

Therefore, it is important to recognize the contribution of women to modern typography and support their roles in this dynamic and creative field.

In this article, you will learn about:

• why only men worked in type foundries;
• what was the name of the first female font artist;
• about the woman who created the Baikonur and Kama fonts;
• which designer’s fonts are in the MoMA collection;
• whose works are a must-see;
• what is happening with the gender balance in typography today.

One of the key reasons why women’s access to the design profession has long remained limited is the insufficient availability of education in this field. Even after opportunities to study art and design emerged, women were often relegated to learning traditionally female-dominated crafts such as weaving, textile painting, pottery, illustration, stained glass, and calligraphy. As a result, the first women's typefaces were created primarily for decorative purposes and had distinct calligraphic features. This highlights the importance of opening new horizons in education and professional development for women, which fosters diversity and innovation in design.

One of the reasons for the gender inequality in typeface design is the technical processes of printing. For a long time, creating letters, or typefaces, was associated with hard and sometimes "dirty" labor, such as wood carving or lead casting. However, with the development of technology, the typeface production process became significantly simpler, and working with them became more accessible to women. Nevertheless, working conditions remained unequal: women received significantly less pay for their work. In addition, they often used machines that were not respected by men, which also contributed to increased gender inequality in this field.

The late 19th century saw a significant transformation in printing with the invention of the Monotype and Linotype machines. These innovations put an end to hand typesetting and opened the way to mechanical typesetting. Phototypesetting later became the next step in the evolution of printing technology, and then digital technology revolutionized the field. Each of these tools significantly increased the number of women working in the profession, facilitating their involvement in the world of printing and typography.

Antebellum: 1900–1940

The early 20th century saw the first notable names in the field of typography. These were men who had received higher education in design and calligraphy in the 1880s and 1890s. The profession of typographer was accessible only to those with specialized education, which was unavailable to women. In Germany, the first department specializing in art and calligraphy began admitting women only in the early 20th century. However, women's training primarily focused on illustration, textiles, and decorative tasks, which limited their opportunities in typography. Thus, despite the emergence of the first women in this field, they faced significant barriers to professional recognition.

The Bauhaus emphasized equality in training for men and women, but most women were assigned to the weaving workshop. Only a few managed to overcome these unspoken restrictions and study more complex disciplines, such as metalworking or architecture. Walter Gropius's declaration of equal rights and opportunities remained at the level of slogans and was not translated into reality.

Despite the difficulties women faced in obtaining specialized education before World War II, significant names in typography began to emerge as early as the late 19th century. Hildegard Henning, who created the Belladonna typeface for the Julius Klinkhardt printing house in 1912, forever etched her name in history as the first female typeface designer. Her work was an important step toward the recognition of women in graphic design and typography, opening new horizons for future generations.

Famous designers of the early 20th century, such as Elizabeth Colwell and Elizabeth Friedlander, left a significant mark on the world of typography. Colwell was recognized for her unique newspaper advertisements, which featured a handwritten font, giving them originality and style. Elisabeth Friedländer, in turn, created the Elizabeth typeface, which was released by the German printing house Bauer in 1937. This period proved fateful for Friedländer, as she left Germany in search of salvation from the Holocaust. In the UK, she continued her career and achieved significant success in design, becoming one of the preeminent figures in this field. Both designers demonstrated how art and history intertwine to form unique styles and approaches in typography.

The Beginning of the Post-Industrial Era: 1940–1980

By the second half of the 20th century, hand typesetting was completely replaced by a mechanized process. This simplified the work, but the speed of execution became more important than aesthetic aspects. In the United States, mass production of new types of machines, such as Monotype and Linotype, began. In the Soviet Union, these innovative technologies were introduced almost immediately after World War II, and by 1947, the Leningrad Printing Machine Plant had begun producing the new equipment. Mechanization of the typesetting process significantly increased the productivity and quality of printed products, which influenced the development of printing in the country.

The Monotype font required extensive preparation, as each character at a new size required a separate design and unique lettering. Drawings for metal matrices were produced in specialized studios. The designer developed the font, after which the letters were redrawn at a reduced size, which sometimes entailed changes in their form. This process required high precision and attention to detail to ensure the legibility and aesthetic harmony of the font.

The letters were produced based on the drawings, emphasizing the importance of precision in the font creation process. Although the font studios were predominantly staffed by women, as confirmed by photographs from the workshops, their contribution remained unknown. This raises questions about recognition and authorship in the field of typography.

Before 1940, women designers who created more than two typefaces were rare. However, the second half of the 20th century saw a significant increase in both the number of female designers and their work. Gudrun Zapf-von Hesse, one of the most prominent figures in this field, designed more than a dozen typefaces during her career. In the 1930s, she began studying calligraphy while working in a bookbinding shop in Weimar. By the late 1940s, she had created her first capital letter, Hesse-Antiqua, designed for book spine embossing. Gudrun's professional career in type design began when she began working at the renowned Stempel type foundry, a milestone in her creative journey.

The first typeface designed by Zapf-von Hesse for mass printing was called Diotima and was released in 1952. It was followed by the display typefaces Smaragd and Ariadne, as well as Shakespeare, designed in 1968 for the publication of William Shakespeare's Sonnets. Zapf-von Hesse dedicated her life to working with typefaces, including digital ones, which she turned to in the 1990s. Her contribution to typography and typeface design remains significant to this day.

During the same period, Galina Bannikova was engaged in the development of fonts, book and easel graphics. Her most famous achievement is the Bannikovskaya typeface, created in 1950 by the NPO Poligrafmash in the typesetting department. This typeface became an important milestone in the history of typography and continues to be used in various publications, emphasizing the unique style and quality of printing. Bannikova’s works had a significant influence on the development of graphic design in Russia.

In the process of her work, Bannikova carefully researched the first Russian civil typefaces of the early 18th century and European typefaces of the Renaissance. This allowed her to develop a unique Cyrillic font of the antique type. Among her well-known typefaces are Baikonur (1960–1969) and Kama (1967–1971), which also demonstrate her mastery of original typeface creation.

Galina Bannikova researched issues of typeface legibility and character distinguishability, which became an important aspect in typesetting texts for books and newspapers. She has also published a number of theoretical and historical works on typography, highlighting her contribution to the field. Her research helps improve the quality of printed materials and enhance reader perception.

Margaret Calvert is a prominent figure in mid-20th-century typography. In the late 1950s, this British graphic and type designer, together with her teacher and future studio partner, John Kinnear, redesigned road signs in the UK. Their work significantly influenced visual communication in public spaces, improving the readability and perception of road information. The changes they made to the typeface and design of road signs became a standard that is still used today. Margaret Calvert and John Kinnear not only changed the face of road navigation but also left a significant mark on the history of graphic design.

The typefaces and graphic solutions they developed set new design standards for transport systems in Europe. In 1963, Calvert and Kinnear designed the Transport typeface, which continues to be used on British road signs. This typeface became the foundation for the development of an effective wayfinding and visual identification system, providing clear and legible information for drivers. The influence of Transport on the design of road signs and transport information in other countries confirms its significance in the fields of graphic design and urban infrastructure.

For many years, Calvert's name remained unnoticed, and recognition only came after the death of her studio partner. Despite this, Calvert continues to actively develop typefaces and participates in design conferences, sharing her experience and knowledge with colleagues in the industry.

Digital Technologies: 1980–2000

In the 1980s, personal computers became an integral part of people's lives, which radically changed type design. Previously, creating a letter designed by a designer required a physical embodiment—the manufacture of a typeface. However, with the advent of digital outline font development programs, the process of creating and editing fonts became significantly simpler and faster. This innovation opened up new horizons for designers, allowing them to experiment with font shapes and styles, as well as create unique typographic solutions for various media.

Technology has significantly simplified the font creation process, making type production accessible to a wider audience. Designers can now independently develop and export fonts for print using computer programs that do not require specialized education. This opens up new opportunities for creative people who want to express their ideas through unique typographic solutions.

At this time, Barbara Lind, Linnea Lundquist, Kim Booker, and Lori Szujewska joined the Adobe team. Carol Twombly, another Adobe type designer, worked at the company for over ten years and played a significant role in the creation of the Trajan, Myriad, and Adobe Caslon typefaces. In 1999, she decided to leave the profession and pursue art: drawing, beadwork, basket weaving, and fabric painting. One of the reasons for her departure was a lack of love for new screen fonts, the popularity of which was caused by changes in the technological world.

Zuzana Licko is a prominent figure in the design movement of the 1980s and 1990s. Born in 1961, she designed over thirty font families and was one of the first female designers interested in digital typefaces. Her introduction to computers came from her father, who taught her data processing during the summer. In 1984, together with her husband, Rudi VanderLans, she founded Emigre magazine, where she created fonts on her new Macintosh using a bitmap font program. Her contributions to typeface design have had a significant impact on the development of typography and digital design, establishing her as a key figure in the field.

In the mid-1990s, the designer worked on interpretations of two historic typefaces: Mrs. Eaves, a modern reimagining of the classic Baskerville, and Filosofia, based on Bodoni. She updated these typefaces for use in both print and digital environments, creating an extensive library of ligatures for each. In 2011, the Museum of Modern Art (MoMA) in New York acquired five digital typefaces from the Emigre library, adding them to its design and architecture collection. This confirms the significance of her work in the field of typography and digital design.

Fiona Ross worked at Linotype from 1978 to 1989 and was the organization's first female manager. She was responsible for developing non-Latin typefaces and typesetting schemes, building an all-female team. Fiona is currently a typeface designer at Tiro Typeworks and a typeface consultant, lecturer, and professor at the University of Reading in the UK. Her work focuses on Arabic, South Asian, and Thai typeface design. Notable typefaces created in collaboration with other designers include Adobe Devanagari, Adobe Thai, and Murty Kannada. Fiona Ross continues to inspire a new generation of type designers and is actively involved in the development of typography.

Modern times: 2000–2020

The situation in the world of typography has changed dramatically since the 1990s. With the rise of personal computers and increasing screen resolutions, it became possible to clearly display even the most subtle details of fonts. Designers began to actively use not only desktop computers but also laptops, which provided the opportunity to work anytime and anywhere. These changes contributed to the development of a new approach to design and fonts, making typography more accessible and diverse. As a result, modern designers can experiment with font shapes and styles, creating unique and attractive visual solutions for a variety of projects.

Since the early 2000s, the number of font design programs has increased significantly. FontLab was the leading program in this field for a long time, followed by applications like RoboFont and Glyphs. This expansion of tools has made the type design profession more accessible, attracting young professionals, including an increasing number of women. Advances in technology and software are opening up new horizons for type design, enabling the creation of unique and creative fonts and fostering diversity in the field.

Alexandra Korolkova began her career in typography in the early 2000s while studying at university. To date, her work has received numerous awards and recognition in the professional community. Korolkova is an employee of ParaType, one of the leading typeface companies in Russia, where she develops typefaces. She also teaches typeface design and is the author of the book "Living Typography," which explores contemporary typographic trends and their impact on visual communication.

In 2013, Alexandra Korolkova became the first Russian recipient of the Charles Peignot Prize for outstanding contribution to type design. This award, presented by the International Typographic Association, is given only once every few years. Korolkova is the leading developer of such typefaces as Circe, Golos, and the new Sberbank typeface system. One of her most famous works is the PT Sans and PT Serif typeface families, which were created from 2009 to 2011 for a project to create a single typeface supporting all languages ​​spoken in Russia. This project was implemented in collaboration with Olga Umpeleva under the supervision of Vladimir Efimov. The fonts designed by Korolkova have become an important contribution to modern type design and continue to be used in various fields, from print publications to digital platforms.

The fonts of Veronica Burian, designer and co-founder of TypeTogether, have won numerous international awards. In 2004, her Maiola font received a Certificate of Excellence in Type Design from The Type Directors Club. Other fonts from TypeTogether have also been recognized at prestigious international competitions such as the ED-Awards and ISTD. The company actively supports young designers by providing the Gerard Unger Fellowship, which allows university graduates to develop projects they began during their studies. This demonstrates the high level of support and development of type design in the world today.

The early 2000s saw the beginning of the careers of many women whose achievements in typography deserve special mention. These talented designers and artists have made significant contributions to the development of graphic design and typography. Their work is distinguished by its originality and innovative approach, which has made them famous in the professional community. Below is just a small list of these outstanding individuals.

• Andrea Thinnes, founder of typecuts;
• Verena Gerlach, independent designer with her own studio;
• Laura Meseguer, founder of Type-Ø-Tones;
• Ryoko Nishizuka, senior designer at Adobe Fonts;
• Gayane Baghdasaryan, founder of Brownfox;
• Nadine Chahine, creator of the I Love Typography font project and designer of Arabic fonts for her second project, ArabicType;
• Alice Savoy, designer of her own project, Frenchtype;
• Sol Matas, co-founder of Huerta Tipográfica;
• Liron Lavi Turkenich, author of the Arawit project, which combines Hebrew and Arabic languages.

Na Women are now actively presenting their work and sharing their experiences with the professional community at international type conferences. A few years ago, the stages of these events were almost exclusively occupied by men. Louise Fili, a pioneer in this field, recalls being the only woman at type conferences in the 1980s. Now, women are becoming an important part of the discussions and influencing the development of type design, bringing diversity and new ideas to this traditional field. Paula Scher noted that designers can gain recognition by participating in conferences. Despite the fact that more than half of European art school graduates are women, event organizers often select speakers based on the notoriety of their work or the relevance of their expertise. This situation highlights the importance of equality and diversity in the design community, as well as the need to create opportunities for lesser-known but talented professionals. The participation of female designers in such events could significantly enrich discussions and lead to new ideas in the field of design.

The issue of gender balance in professions where women are equal to, and sometimes even exceed, men has become a pressing issue in recent years. Positive changes are being observed. For example, at the Typomania conference in 2018, women made up only 4% of the total number of participants; in 2019, their share increased to 16%. By 2021, the number of women attending almost equaled that of men. These data indicate progress towards gender equality in the professional environment.

The place and role of women in type design has undergone significant changes throughout history. The first typeface created by a woman appeared in 1912, and at that time, female type designers were rare. Currently, women make up the majority of students in specialized educational institutions and participants in type design courses. This demonstrates the growing interest and active participation of women in this profession, which in turn enriches the industry with new ideas and approaches. Font design is becoming more diverse and inclusive, which has a positive impact on its development and popularity.

When I, the author of a book on women's typography, am asked why we know so few female type designers, I'm always surprised. In fact, there are many, you just might not have looked for their names. These talented professionals may remain in the shadows, rarely invited to public events, but they exist and create new typefaces every day. It is important to highlight their contribution to typography and support women designers so that their achievements become more visible in the world of graphic design.

Study additional materials:

• interview with Masha Doreuli, founder of Contrast Foundry;
• the story of designer Susan Kare, creator of the first computer icons, fonts for Mac, and the cult solitaire game "Klondike" for Windows;
• direct speech by Katya Shashina, head of the Moscow chapter of Ladies, Wine & Design, aimed at supporting women in design.