Century
     Century refers to a family of type faces
     derived from the original Century Ro-
     man cut by American Type Found-
     ers’ designer Linn Boyd Benton in
     1894. Despite originating in the nine-
     teenth century, use of the typeface
     remains strong, for periodicals, text-
     books, and literature. The faces are
     noted for their exceptional legibility,
     so much so that the Supreme Court of
     the United States requires that briefs
     be typeset in Century family type.
     With the merging of twenty-three
     foundries into American Type Founders
     in 1892, Linn Boyd Benton’s son, Mor-
     ris Fuller Benton, was given the task
     of consolidating and purging the faces
     of these manufacturers into a coherent
     selection. Following this, he was given
     the task of adapting Century No. 2 to
     meet the Typographical Union stan-
     dards of the time. Records now in the
     Smithsonian show that M.F. Benton
     not only re-designed his father’s face,
     but did so with reference to #16 Roman
     of the Bruce Type Foundry which A.T.F.
     had recently acquired. (And which,
     probably not coincidentally, had been
     introduced in the Bruce Foundry cata-
     log of 1877 which had been printed by
     De Vinne.)

Century

  • 1.
    Century Century refers to a family of type faces derived from the original Century Ro- man cut by American Type Found- ers’ designer Linn Boyd Benton in 1894. Despite originating in the nine- teenth century, use of the typeface remains strong, for periodicals, text- books, and literature. The faces are noted for their exceptional legibility, so much so that the Supreme Court of the United States requires that briefs be typeset in Century family type. With the merging of twenty-three foundries into American Type Founders in 1892, Linn Boyd Benton’s son, Mor- ris Fuller Benton, was given the task of consolidating and purging the faces of these manufacturers into a coherent selection. Following this, he was given the task of adapting Century No. 2 to meet the Typographical Union stan- dards of the time. Records now in the Smithsonian show that M.F. Benton not only re-designed his father’s face, but did so with reference to #16 Roman of the Bruce Type Foundry which A.T.F. had recently acquired. (And which, probably not coincidentally, had been introduced in the Bruce Foundry cata- log of 1877 which had been printed by De Vinne.)