What's In A Name?

Carl Shank • October 12, 2023

What's In A Name?  Do you remember memorizing your ABCs with the "Alphabet Song" —  "ABCDEFG / HIJKLMNOP / QRSTUV / WXYZ / Now I said my ABCs / What do you think of me?/" Our entire life has been framed by the alphabet. For those of us in the typography or typesetting business, the alphabet is our bread-and-butter. Those of us who design fonts and tweak layouts and redesign business logos are, may I say, in love with the alphabet and all that it conveys. But even if you are only slightly interested in history and the alphabet, have you ever wondered where your name came from? Not your surname, which you can find on sites such as ancestry.com, but your NAME, that which people casually call you. My name is "Carl," and I have wondered where those letters came from in the history of letter forms and cultural associations.

Alphabet History  The Alphabet is old. Very old. John Coleman Darnell, an Egyptologist from Yale University, in the 1990s made a discovery that rocked the alphabetic world. Looking for Egyptian relics, he discovered two ancient inscriptions at Wadi El-hol in central Egypt, about 30 miles northwest of ancient Thebes. This ancient road had evidence of inscriptions on the walls of the cliffs lining the roadway. The writings show the alphabet's invention from around 2000 B.C. A fascinating study of his report is found in David Sacks, Letter Perfect: The Marvelous History of Our Alphabet From A to Z.


The Egyptians wrote in hieroglyphics (called "sacred carvings"), using pictograms for letters. Pictures of familiar objects were used to convey sounds and words. The ancient Semites borrowed from these pictograms, so that, for example, the picture of a "head" was called resh, and since the word began with the sound of an "r," they selected that image for the sound. Thus, "R" is the sketch of a head.


From these backgrounds, the Phoenicians, descendants of people who lived in ancient Canaan, began writing their language in a 22-letter alphabet, sometime before 1000 B.C. They had inherited these letters from other tribes before them, but had the skill and knowledge to formally write them down. By 900 B.C. the Jews and other Near Eastern peoples copied the letters for their own use. The Greeks then followed about 800 B.C., adapting the letters for their own use. The chart on the right shows the Phoenician alphabet and how it relates to our modern alphabet.

Beyond the Phoenicians — The Phoenician alphabet begat the Greek which begat the Etruscan, a people who lived in northern Italy. From there, the Roman alphabet and writing were developed. The Phoenician alphabet had 22 letters, while the Greek alphabet had 26. Interestingly, the Hebrews, another Semitic tribe which populated the Canaanite region under the influence of Joshua's campaign (in the Bible), only khet (j), qof (q), resh (r) and shin (v) resemble their Phoenician counterparts. The Hebrew writing from right-to-left derives from the Phoenicians.


Modern letter forms have their immediate heritage in Roman inscriptions from around 50–120 A.D. The digital version called Trajan, created by Carol Twombly in 1989 for Adobe, reveals some of these Latin forms. In the sixth through tenth centuries, lower case letters (called minuscules) were formed, with modern lettering evolving from the Carolingian scripts. The Emperor Charlemagne used these letters as an educational standard. The Charlemagne font, created by Carol Twombly again, can be seen in the Latin lettering in the sample above. Italics then came into being in the form of cursive script developed in Rome and Florence.


Researching My Name — So, with all this information, and more, I investigated the letterforms that make up my name, CARL. The examples below show that tracing. If you would like more information on tracing your own name, buy a copy of  David Sacks, Letter Perfect: The Marvelous History of Our Alphabet from A to Z, available at Amazon.com.

Successful Layout & Design

By Carl Shank September 29, 2025
Calligraphy & Typography. Calligraphy, the art of beautiful handwriting, has a long and rich history that spans cultures, religions, and centuries. It developed not only as a means of communication but also as a form of artistic expression, religious devotion, and cultural preservation. While typography is not calligraphy, with much of type carefully structured, straight-backed and neatly drawn and focused on lettering for printing readability, both art forms involve visual expression of language. Both focus on the shape, proportion and beauty of letters. Both reflect religious, historical and cultural influences on writing styles. Both are used for artistic and decorative purposes in design, and much of type has been greatly influenced by calligraphic styles. Yet, they differ significantly in their methods, purposes and tools. Calligraphy is the art of hand drawn, beautiful writing, while typography focuses on the design and arrangement of type letters for print or digital use. Calligraphy is created manually with pens, brushes, or quills, while type is created digitally or mechanically using typefaces. Traditional tools used in calligraphy include dip pens, brushes and ink, while type is formed with digital or physical lettering. Calligraphy is highly expressive and free flowing, while type is usually uniform and consistent across all characters. Calligraphy is usually done for decorative and personal use, while typography is often constructed and used for mass communication in books, websites and signage. Mediums for calligraphy include paper, parchment, walls, while typography focuses on print and digital media. Yet, the roots of much of type comes from the wealth of history and styling offered by calligraphy. CARE Typography has been able with Font Lab's tools like Fontographer, to translate fine calligraphy into usable typefaces, even for the modern market tastes. The fine art of calligraphy is highlighted in the background to this post in the 2018 calligraphic rendering of the Scripture, "Well done, good and faithful servant" (Matthew 25:25a) by Calligraphy for Christ ( https://www.calligraphyforchrist.com/ ). Such beautiful religious typographic pieces actually begin not with the Gutenberg era in 1450 but with the ancient Chinese.
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Herbert Hoffmann, Albert Bruckner, Max Hertwig, and Rudolf Koch collaborated on a typographic “atlas” or specimen book titled Hoffmanns Schriftatlas: Das Schriftschaffen der Gegenwart in Alphabeten und Anwendungen (1930) ( Hoffmann’s Type Atlas: Contemporary Type Creation in Alphabets and Applications ) Also distributed in France under the title Alphabets by Herbert Hoffman and other collaborators by Arts et Métiers Graphiques magazine, it is a specimen of alphabets, initials, monograms, logos and other typographic forms from early German typography. The atlas captures typographic modernism in Germany around that time, including influences of the Bauhaus and the modernist movement. It is considered a rich visual record of type and lettering design in that period, showing both experimental and traditional forms. In Part One of this series, we investigated the typography of early Germany through the lens of Rudolf Koch, Louis Oppenheim, E.R. Weiss, Lucian Bernhard, Friedrich Wilhelm Kleukens, and Bernard Naudin. In this Part Two we revisit the typography of Ernst Deutsch, Friedrich Heinrichsen, Benjamin Krebs Nachfolger, Maria Ballé, Margarete Leins, Anna Simons and take a brief visit to the Ecole des Arts et Metiers in Stuttgart.
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