For all your design needs.

What We Do

Specializing in PageMaker – to – InDesign Conversions

Don't miss the extensive BLOG section on typography!

BEAUTY IS IN the eye of the beholder. This often quoted line, sometimes attributed to Margaret Wolfe Hungerford in the 1878 novel Molly Brown, suggests that beauty is a subjective quality with differing opinions as to what is beautiful. What is often termed “ugly” is beautiful to someone else. Philosophically, many have grappled with whether beauty is subjective or objective. In the field of typography from a Christian point of view, differing typographic periods both reveal and test what is considered beautiful. 

We believe beauty in this world comes from the presence of God in creation and life. We are made by our Creator to be “sensory-rich,” and our typographic history unfolds this in stunning and diverse ways. As one writer has so eloquently said

“Holy Scripture calls us to inhabit an ordered world of creation and providence that is sensory rich, but we suffer what we may regard as spiritual sensory deprivation. And the more we discover the depth, scope and lush richness of the divinely ordered real world, the more we discover the impoverishment of the modern condition.” (Mark Garcia, Westminster Theological Seminary)

Typographical Beauty Through The Ages

Available at Lulu.com at their Bookstore

GO TO http://bit.ly/462rzBs


THE MOST PRINTED book in the world is the Bible.  Even before the press work of Gutenberg in the 1400s, handwritten manuscripts by dedicated religious monks brought the Word of God to written light. Centuries earlier than these dedicated transcribers of Scripture, ancient Hebrew and Greek writings began the journey of Bible typography.

William Skeen in his 1872 Early Typography celebrated what he called “The Art Sublime” referring to typography and its use for divine illumination —

“That all aright the men may know

To whom Typography we owe;

The men whose names immortal ring,

Whose gifts transcendent blessings bring,

Whose monuments in every land

By wisdom rear’d, heart-honor’d stand,

Inscribed in tongues of every clime —

“Inventors of the Art Sublime!”

This little book investigates the history of Bible typography, the “art sublime,” from ancient roots to modern examples. An Appendix of older typographic fonts, many of them hand written and digitized for modern use, is also offered.


Available from Lulu Press at

Lulu.com at their Bookstore

Go To http://bit.ly/462s1Qa


TYPOGRAPHY FOR TYPISTS. I admire and value what professional typists do, whether they be document processors, or administrative assistants or data crunchers. Theirs is an often underrated and overlooked job when talking about the actual type they use and how they use it.


As also a pastor and theologian, I have worked with a number of church secretaries and administrative assistants who produce regular newsletters along with massive amounts of correspondence. What I have noticed as a typographer is the lack of knowledge of basic typographic principles used in such materials. This has led to this little book on typography for typists.


My hope and desire is that this book is an encouragement to all those typists seeking to produce accurate and good-looking documents in today’s world.



This book can be purchased directly from Lulu.com at

http://bit.ly/4fAR9A9




CARE Typography Fonts

CARE Typography has crafted with the help of public domain materials and Lewis F. Day's Alphabets Old and New (London, 1910) a number of specialty fonts for sale to the public. Many of these fonts are uncials, or capital letters, suitable for invitations or chapter openings in books and other manuals.

Your first three choices are FREE to you. Ordering more than three selections are on a sliding scale of cost. An order form is attached. Payment via PayPal upfront. Enjoy!



Order Fonts

Font Revivals

CARE Typography in its desire to revive old typefaces offers several additional old fashioned fonts to its growing collection. The playful swirly fonts in Willowby, Penelope Care, Recherche Caps, Gutenberg 700, Harper 446 and Ornament 91 are examples of fancy lettering that can be used in various ads, display work or book introductions. Most of these fonts have full lettering, though you will see a few missing letters from some of these recreations. They are available from CARE Typography at www.caretypography.com for a nominal fee.

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

  • Slide title

    Write your caption here
    Button

About Me

Hi, I'm Carl Shank.

I'm a layout, font designer and consultant specializing in church and ministry work under the umbrella of Carl Shank Consulting, a church health and leadership mentoring service.

Read More

Let’s Talk

Do you have a project or layout challenge that needs help?

Perhaps it is a special  logo or letterhead design or typeface that needs a facelift. Perhaps it is a wider ministry issue.


Whatever the design or consulting needs, we can help your ministry or business process.

Contact Us

Services

A loving community pursuing grace truth and hope in jesus

Website Design

Button
A man is typing on a laptop on a wooden table.

Ministry Publication Design

Button
A group of people are sitting at a table with a tablet and a cup of coffee.
Learn more

Blog

Advances in Typography: Late Twentieth to Twenty-First Centuries A Historical Sketch (Part 3)

By Carl Shank • December 1, 2025
Advances in Typography: Late Twentieth to Twenty-First Centuries A Historical Sketch (Part 3) Late Twentieth to Early Twenty-First Century: Corporate and Contemporary Digital Jonathan Hoefler (b. 1970) is an American type designer known for influential typefaces such as Hoefler Text, Gotham, Knockout, and Mercury. Gotham, co-designed with Tobias Frere-Jones, gained international fame through its use in Barack Obama’s 2008 campaign and has since become a staple in corporate and editorial branding. Born in New York City, Hoefler’s early fascination with everyday typography led him to a self-taught career in type design. In 1989, he founded the Hoefler Type Foundry, quickly earning recognition with Champion Gothic for Sports Illustrated. His partnership with Roger Black and later Tobias Frere-Jones resulted in dozens of widely used typefaces. Hoefler’s work is characterized by a blend of historical research and modern engineering, shaping digital typography standards. His typefaces are used by major publications, cultural institutions, and corporations worldwide. In 2021, Monotype acquired his company, marking a significant moment in the evolution of digital type design.  Hoefler’s approach has redefined contemporary type design, bridging historical revivals and modern usability. His influence extends across print and digital media, setting new standards for clarity, versatility, and typographic excellence.

Advances in Typography: Twentieth Century A Historical Sketch (Part 2)

By Carl Shank • December 1, 2025
Mid-Century Modernism & Corporate Typography (1945–1980) Designers like Jan Tschichold were foundational to many of the Swiss design principles. This style evolved from Constructivist, De Stijl and Bauhaus design principles, particularly the ideas of grid systems, sans-serif type and minimalism. Emerging in Switzerland during the 1940s and 1950s, this typography, also known as the International Typographic Style, directly responded to the type chaos of Dada and the stylization of Art Deco. The International Typographic Style (or the Swiss Style) in the 1950s and 1960s focused on grid systems, objective communication and sans-serifs. Key figures were Josef Muller-Brockmann, Emil Ruder and Armin Hofmann. The Swiss style emphasized readability, visual harmony and universality. Clarity, objectivity and functionality were key components. Contributors included Max Miedinger, creator of the Helvetica typeface (1957 by Miedinger & Eduard Hoffmann), and Adrian Frutiger, creator of the Univers typeface in 1957, and Hermann Zapf, creator of Optima in 1958. Swiss style became the dominant graphic language of postwar corporate identity. Other Blogs I have written noted the development of Helvetica ( “Helvetica’s Journey” July 13, 2024 ). Adrian Frutiger (1928–2015) was a Swiss typeface designer whose career spanned hot metal, phototypesetting and digital typesetting eras. Frutiger’s most famous designs, Univers, Frutiger and Avenir, are landmark sans-serif families spanning the three main genres of sans-serif typefaces —neogrotesque, humanist and geometric. Univers is a clear, objective form suitable for typesetting of longer texts in the sans-serif style. Starting from old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. Folded into the Linotype collection in the 1980s, Univers has been updated to Univers Next, available with 59 weights. This lasting legible font is suitable for almost any typographic need. It combines well with Old Style fonts like Janson, Meridien, and Sabon, Slab Serif fonts like Egyptienne F, Script and Brush fonts like Brush Script, Blackletter fonts like Duc De Berry, Grace, San Marco and even some fun fonts. Univers is not a “free” font and must be purchased from Linotype. Other faces by Frutiger are Frutiger and Avenir. These fonts were designed to be legible, versatile and anonymous, avoiding stylistic “noise” to focus on clear communication. Swiss type used a systematized approach to typography, enabling consistent spacing, alignment and hierarchy, crucial for multilingual and complex layouts. Typography was seen as part of a harmonious, modern composition. Generous white space facilitated clarity and focus.

Advances in Typography: Twentieth Century (Part 1)

By Carl Shank • December 1, 2025
Advances in Typography: Twentieth Century A Historical Sketch (Part 1 ) Early Twentieth Century: Form Follows Function Bauhaus Precursor The Deutscher Werkbund (German Work Foundation, est. 1907, Munich) was a pivotal German association of artists, architects, designers, and industrialists that advanced rational, industrial design and laid the foundation for modernist sans-serifs. The Werkbund emphasized functionalism, simplicity, honest use of materials, and alignment with industrial production, rejecting unnecessary ornamentation and anticipating the principle “form follows function.” Its purpose was to elevate German industrial products by integrating artistic excellence, technical innovation, and industrial manufacturing, summarized by the motto: “From work to form”—good design as a cultural and economic asset. Key founders included Hermann Muthesius, Peter Behrens, Fritz Schumacher, and Karl Schmidt. Their goals were to enhance everyday objects through quality design, foster a unified visual culture in Germany, partner artists with industrial manufacturers, promote standardization and modern production techniques, and compete internationally in design excellence. The Werkbund is recognized as a precursor to the Bauhaus and modern industrial design. Notable members included Walter Gropius, Ludwig Mies van der Rohe, and Peter Behrens. The organization established principles of functional, simplified forms, standardized mass production, and the concept of design as a cultural force. They hosted influential exhibitions, notably the 1914 Cologne Exhibition, as well as publishing journals and defining standards for high-quality design. Futura & Geometric Modernism (1920s–1930s) As we saw in my last post, between 1500 and 1900 typography evolved from Renaissance humanist forms to industrial mass production and artistic revival. Old style typefaces (like Garamond) moved to Transitional faces (like Baskerville) to Modern/Didone faces (like Didot and Bodoni) to Industrial display types (fat faces, slab serifs, sans serifs) to the Arts & Crafts revivals. Art Nouveau was a reaction against the academicism, eclecticism and historicism of nineteenth century architecture and decorative art. The new art movement had its roots in Britain, in the floral designs of William Morris, and in the Arts and Crafts movement founded by the pupils of Morris.