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 December 17, 2025
Nothing New Under The Sun: A Look at Current Typographic Trends As a typographic historian of sorts, and owner of CARE Typography, a small design studio focusing on reviving historic and often missed typefaces, I read a number of type reports and books. Of special interest is the newsletter from the Monotype corporation highlighting trends and faces for today. (See https://bit.ly/3Y1R1BV ) A couple of statements in their latest reports by Phil Garnham, Creative Type Director, at Monotype got me thinking about culturally laced typographic styles and faces that have graced our historic type landscapes. He notes a “new universal style emerging: flat design in modern online brands, almost reverting to the minimalist style of five years past. Many companies are going for clean geometric style with type.” This is hardly a new concept or trend. A deeper dive into the history of type design over the centuries helps us understand what may be happening. In the history of typography, on which I have written (See H. Carl Shank, Typographical Beauty Through the Ages: A Christian Perspective, Lulu.com, 2025), the visual dissonance of the Dadaist movement in type was replaced by the order of Constructivism and its functional accessible design principles. Art Deco gave way to Swiss type beauty with its readability and visual harmony in the faces of Helvetica and Univers. Grunge and Psychedelic type by Wes Wilson gave way to the sans serifs used universally today. Hippie children of the 60s grew up to be corporate CEOs of the 80s and 90s, shedding their anti-establishment and even destructive behaviors for the boardroom and nice houses with ordered yards and gardens. This has been the story of all cultural movements, including typographic movements. They reflected their cultural morés of the times, but the bold, audacious, violent, raucous types always gave way to what we internally want and desire — a return to simplicity, functionality and order and type viability. From a theological viewpoint, the thought provoking words of the writer of Ecclesiastes of the Bible apply here — “What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun. Is there a thing of which it is said, “See, this is new”? It has been already in the ages before us.” (Ecclesiastes 1:9, 10) “Customers are seeking affinity with brands that seek justice in our world, and that goes beyond a brand’s mission. People want to see brands actively involved in solving societal problems.” The issues of climate change, diversity movements, equity and inclusion initiatives are seemingly new but typographically rehearse type’s movements from Gutenberg to today. Calligraphers and typographers have been dealing with cultural changes and shifts for ages. I applaud what Monotype and others are seeking to do with variable fonts and digital type, but I would historically caution us in the business not to place too much excitement and hubris after cultural trends. Carl Shank CARE Typography December 2025
By Carl Shank December 10, 2025
AI & Typography: A Christian-Theistic Present Look Monotype Corporation recently released their 2025 Report concerning Artificial Intelligence and Typography called Re-Vision (See https://bit.ly/4aEUePf ). This eReport looks at the various typographical, social and cultural issues surrounding AI and how it affects and impacts the craft and science of typography. A selected summary of the Report is available below.
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