This project's funding goal was not reached on May 20, 2012.
This project's funding goal was not reached on May 20, 2012.
Help me rescue this funky cool typeface from becoming forgotten history!
Cristoforo is my name for a pair of new fonts reviving classic American-Victorian art nouveau metal types by Hermann Ihlenburg: Columbus (1892), Columbus Initials (upright swash capitals) and the italic companion American Italic (1902). Cristoforo Regular will have some 300+ glyphs. You can see specimens of the source typefaces on my blog.
If you are not familiar with Kickstarter, scroll down to the FAQ and learn more about how it works.
Columbus and American Italic were classic typefaces by a master craftsman. But there's never been a decent digital version of these fonts. With Cristoforo, I want to make a pair of professional quality digital fonts, complete both in standard character coverage and in having many assorted alternate letter shapes. (For example, the graphic above shows the swash alternate versions of C, V and R originally available in Columbus Initials.)
Cristoforo has a huge history here. Its predecessor, Columbus, was the typeface used to create the logo for the Call of Cthulhu roleplaying game, inspired by the horror fiction of H.P. Lovecraft. The Call of Cthulhu RPG first appeared in 1981, and for over a decade Columbus appeared on the covers of not only the game rulebook, but also a couple of dozen supplemental books and adventures. After falling out of use on supplements in the 1990s, it has still continued to be the primary game logo to the present day, with only a couple of brief interruptions. Thus Columbus has an iconic status among many fans of Call of Cthulhu and/or H.P. Lovecraft. The game introduced many to Lovecraft’s fiction. The Call of Cthulhu campaign adventure Masks of Nyarlathotep, which I designed most of the “clues” for, remains the highest-rated campaign or adventure ever published for any role-playing game. Here are a few of the Call of Cthulhu books using Columbus.
What's that black book at the top of the picture, holding the others at a handy angle? I hand bound a copy of the rulebook, hardcover in leather. Why, yes, I am that obsessive.
Cristoforo also has a key link to classic Americana. Its predecessor, Columbus, was the typeface used as the basis for the original logo for Cracker Jack (the candied peanut and popcorn snack), back in the 1890s. The candy was such a basic part of the baseball stadium experience that it was immortalized in the hit 1908 song, still sung today at most major league baseball games, "Take Me Out to the Ball Game":
“Take me out to the ball game,
Take me out with the crowd;
Buy me some peanuts and Cracker Jack...”
Although the logo has since been updated and modernized, the current version still shows the influence of the original letterforms.
Fees from credit card processing and Kickstarter will be about 8–10%, call it $700. My initial estimate for the costs involved in creation and mailing of rewards is somewhere above $2000. I also don't have an original ATF specimen book that covers the Cristoforo model, Columbus, and I need more models for American Italic. Libraries and collectors are understandably reluctant to open up their fragile old books in the manner required for a good scan, so I am thinking I will just acquire my own. The three books I am looking at will run about $1000 altogether. Ouch! But nice to have in general, and for potential future projects. In a perfect world, I would acquire good metal versions of the typefaces, or at least commission somebody to print a complete character set of American Italic and scan it. Assuming I can even find the metal type in decent shape. No idea yet what this would cost. All of that might leave me $4500, for probably 300 hours of work, or a whopping $15/hr. I've probably put in 40-80 hours just on preparing the Kickstarter campaign alone, and the rewards production will be another 40-80 hours. Of course, I could make more if I exceed my goal—that would be great!
Although the going rate for somebody commissioning a typeface varies, my experience suggests that a basic two-style typeface from a competent, but not massively popular, type designer would run about $10,000–14,000. I hope to make a little money from retail sales over time, so hoping to clear less than half of that up front seems very reasonable to me. If I can't clear even that much, the project probably doesn't make sense!
As mentioned below, if I exceed my target I can add more language support, and if I get enough over, I could pay an intern as well (my stretch goal for funding). An intern won't necessarily add more than he/she costs in time, it's just another way of giving back to the community.
These classic typefaces were originally designed by Hermann Ihlenburg. Born in Berlin in 1843, he immigrated to the USA in 1866. Ihlenburg was among the most prolific of 19th-century type designers, creating over 70 typefaces in his career, in a dizzying array of styles, up to three years before his death in 1905. The Klingspor printing museum in Germany offers a http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigner/Ihlenburg/Ihlenburg.pdf (PDF) for Ihlenburg.
Columbus and American Italic were originally very much designs of their time in the Victorian art nouveau style. But “trendy” is not the same as “lasting” so neither remained in production for long. Columbus was issued by MacKellar, Smith & Jordan right before it was subsumed into the American Type Founders conglomerate, in 1892. Columbus disappeared from ATF catalogs by 1906. American Italic was released by ATF in 1902, was still around in ATF’s 1912 catalog, and was gone by the time the 1923 catalog was issued. Why the italic was named and marketed so independently, I have no idea.
Columbus was actually one of four typefaces Ihlenburg designed for the 1892 Chicago World’s Fair celebrating the 400th anniversary of Christoper Columbus’ voyage. The others were Columbian, Ferdinand and Isabella (the latter two named after the King and Queen of Spain who financed the voyage). Of the four, only Isabella is in widespread circulation today, having been converted to a digital outline font as early as 1988 by Agfa, and widely bundled since then. Ferdinand has a poorly-made free version. Columbian has no digital version I have come across.
The best source of general info about Hermann Ihlenburg is David Pankow's article “Recast in an American Image: The work of Hermann Ihlenburg, Type Designer” in http://pcba.info/publications/ampersand-archive/ (Journal of the Pacific Center for Book Arts), Vol. 13, Nos. 3&4, Fall/Winter 1993-94. The article was written to commemorate the deposition of http://library.rit.edu/cary/collections/hermann-ihlenburg-papers at the Cary Graphic Arts Collection at the Rochester (NY) Institute of Technology, a library-inside-a-library which Pankow was long the curator of.
I had a fellowship to pay me to work at the Cary while doing my MS in printing at RIT in 1995–96, and I got to go through and admire the many Ihlenburg type drawings and sketches. Ihlenburg was capable of an amazing variety of styles, all executed with amazing craftsmanship. Of course, a lot of the 19th century art nouveau stuff seems rather overwrought to modern sensibilities, but to me that's part of its charm—rather like H.P. Lovecraft’s writing.
http://en.wikipedia.org/wiki/Call_of_Cthulhu_(role-playing_game) (first issued in 1981) is a role-playing game inspired by the horror stories of http://www.hplovecraft.com/ (1890-1937). Although there are variants in many settings, the "classic" version of the game is set in the 1920s... with the twist that hiding below the surface of things are nameless horrors and incomprehensible alien gods trying to break into our world.
In any case, the game logo is set in Columbus, using the alternate swash “C” and substituting the zero for the “o” in “of.” The game logo is still in Columbus, and from 1981-91, so were the titles on the covers of virtually all supplementary material for the game—dozens of books, some of which you can see in my promo video above.
So it’s my hope that H.P. Lovecraft aficionados, Call of Cthulhu fans, and designers producing related materials may be inclined towards use of Cristoforo, thanks to its strong associations for that crowd. Among other things, they won’t find that alternate cap “C” in the currently available digital versions of Columbus.
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A backer can fund as little or as much as they want. They can take any one reward (or no reward at all) at or below their funding level. If you want to donate $1000 and pick a $10 reward, or no reward, that's up to you.
After a project is funded (assuming it is), the creator can survey their backers to get things like their address (for shipping physical items), or what t-shirt size they want, etc. Backers also have the chance to communicate with the project creator, in case they have special requests, questions, or want to pass on some of the rewards associated with their reward level.
First and foremost, I love type: both my career and my hobbies reflect that. This is just one way of expressing that. The first digital font I ever worked on, back around 1994-95, was my first stab at a version of Columbus. But I have learned quite a few things since then, mostly during my 11 years doing type at Adobe. I want to do something that really respects the original, so I threw out the version I started before and started over from scratch.
If you check out my bio on the side here, you'll see that I designed a large typeface (http://www.thomasphinney.com/2010/05/hypatia-sans-typeface-shipping/, with over 3000 glyphs per font) while I was at Adobe. For years I evangelized font production best practices for the then-new OpenType format to type designers and type foundries.
Reviving Columbus as Cristoforo excites me partly because it is such a quirky design, also because of the Call of Cthulhu connection, and because I've seen a lot of Ihlenburg's work and think it’s pretty cool. Wild, but cool.
I even have a family connection: my distant cousin Joseph W. Phinney was a vice president and founding partner in American Type Founders, the type foundry trust into which Columbus and its issuing foundry were absorbed in 1892. It was ATF that issued American Italic ten years later. There’s at least one typeface that is credited variously to J.W. Phinney or to Ihlenburg, depending on what source you look at.
This typeface has a kind of narrow appeal to a few specific groups of people. In this case, I don’t think it makes sense to do hundreds of hours of work up front and hope to make enough money at regular retail sales. I am instead hoping that it can get funded up front from those few super-enthusiastic folks who think it is cool. The success of this project can serve as a signpost for other type designers wanting to create typefaces with less risk, while still retaining creative control and future rights.
If funding exceeds $9,000, I will add Central European (Polish, Czech, Romanian, Turkish, Baltic, etc.) support to Cristoforo. This would add about 100 glyphs to the font, essentially more accented character support, including accented versions of alternates. If funding exceeds $12,000, I will also add Cyrillic support for Russian and other languages! This would be about 120 characters for standard Cyrillic, and up to 50 more to get a fair bit of extended Cyrillic (extended = language coverage for another 60 million people.)
Half of all funding beyond $12,000 (less additional incentive expenses), will go into a special bucket to pay a summer intern, as long as I can find somebody interested, available and qualified who I think I can work with. This will be a unique educational opportunity for somebody to do a combination of work with me on Cristoforo, work on the Kickstarter rewards, read books from my personal library on typography and typeface design, and even work on one or more of their own typefaces—perhaps in roughly equal measure? I don't expect a summer intern to actually contribute more to the project than I would have gotten done without him or her, but if I’m lucky, it can be about even. I really want to be able to pass on some of the things I have learned. Job posting coming soon on my blog at http://thomasphinney.com
There are two other revivals of Columbus that I know of. First, there’s a free version of Columbus called by its original name, http://www.fontspace.com/sam-wang/columbus, by a fellow named Sam Wang.
There’s also an $18 commercial font called http://new.myfonts.com/fonts/scriptorium/beaumarchais/from Scriptorium. You can compare the quality of the letter shapes vs some draft letters from Cristoforo in this http://www.thomasphinney.com/wp-content/uploads/2012/04/Cristoforo-vs-others.pdf.
Each of the previous attempts consists of about 100 glyphs (letter shapes) per font, whereas a standard character set today consists of about 240. For Cristoforo, due to alternate forms and their accented versions, I plan about 300 glyphs per font (potentially many more, depending on language support). Of these about 100 are in passable shape right now in the upright face—I haven't started the italic.
Cristoforo will feature both the default forms and the alternate swash caps, some of which have not been digitized before. Neither Columbus revival handled multiple shapes for the same letter.
American Italic has never been revived in digital form, though it has inspired a kind of pastiche called http://www.myfonts.com/fonts/typodermic/charbroiled/ by Ray Larabie (Typodermic).
The trademark on the name Columbus for a typeface first lapsed for many years. Then, in 1992, Monotype issued a completely unrelated lovely http://www.fonts.com/findfonts/hiddengems/columbus.htm, also called Columbus, for the 500th anniversary of Columbus’ arrival in the new world (just like Ihelnburg’s typeface was for the 400th anniversary). Monotype trademarked the name at that time. So, given a currently available typeface with that name trademarked, I had to call my version something else.
I'm not certain, but I currently imagine a retail license will be $30 for the upright and $25 for the italic, or $50 for the pair. They will definitely be at least as much as the reward level on Kickstarter, without the added goodies.
Central European means adding support for accented Latin to cover: Croatian (Latin), Czech, Estonian, Hungarian, Latvian, Lithuanian, Polish, Romanian, Serbian (Latin), Slovak, Slovenian and Turkish. For font geeks, we'd be looking at including the http://blogs.adobe.com/typblography/latin_charsets/Adobe_Latin_3.html character set.
Cyrillic support would likely mean a follow-up release. Basic “Adobe Cyrillic 1” would cover Russian, Adyge, Avarish, Balkarian, Belorussian, Bulgarian, Chechen, Darginish, Ingushian, Kabardino-Cherkesian, Kumykish, Lakish, Lesginian, Macedonian, Mordovsko-Ersatian, Mordovsko-Mokshanian, Nanaish, Nenish, Nivkh, Nogaian, Selkup, Serbian, Tabasaranish, and Ukrainian.
Adobe Cyrillic 2, which I would likely do if I did Cyrillic at all, would add support for: Abaza, Adyghian, Avar, Buryat, Chechen, Dargin, Dungan, Ingush, Kabardian, Kalmyk, Kara-Kalpak, Kazakh, Kyrgyz, Lakh, Lezgi, Mongolian, Tabasaran, Tajik, Tatar, Turkmen (Cyrillic), Tuvan, Uzbek.
I might throw in support for even more than that, but first let's worry about the funding!
- (26 days)