In 1994, she received the Charles Peignot award from the Association Typographique Internationale for outstanding contributions to type design. Designs like Viva and Nueva explore new territory while maintaining traditional roots. Designs like Trajan, Charlemagne, Lithos, and Adobe Caslon are inspired by classic letterforms of the past - from early Greek inscriptions, circa 400 B.C., to William Caslon’s typefaces of the 1700s. Soon after, Carol began working for Adobe Systems and in 1988 became a full-time type designer in the Adobe Originals program.ĭuring her eleven+ years with Adobe, Carol has designed a number of very popular text and display typefaces. To Twombly’s surprise and delight, she won first prize in the Latin text category, and Morisawa subsequently licensed and marketed her design under the name Mirarae™. Carol continued to work for the Bigelow and Holmes studio for the next four years and, during this time, entered her first type design in an international competition sponsored by Morisawa Ltd., a Japanese manufacturer of typesetting equipment. The program, since discontinued, awarded Carol and her colleagues Masters of Science degrees after two years of study in computer science and typographic design. In addition to editing letters numerically (“hands-on” drawing apps weren’t around yet) on an early digital type design system, she gained valuable experience by drawing outline letters on vellum, inking them in, and then tacking them to a wall where she would view them through a reducing glass.Īfter graduation from RISD and a year spent working in a Boston graphic design studio, Carol accepted an invitation from Bigelow to join a small group of students in a newly formed digital typography program at Stanford University. Working during summer months in their studio, she began to understand the intricate process of designing type. One of her RISD professors, Chuck Bigelow, and his partner, Kris Holmes, gradually introduced Carol to the world of type design. About this decision Carol says, “I discovered that communicating through graphics - by placing black shapes on a white page - offered a welcome balance between freedom and structure.” Though graphic design became her career focus, Carol hasn’t abandoned her other artistic pursuits, which include basketweaving, drawing, painting, and jewelry making. Once there, however, she decided that graphic design would be a more practical course of study. Settling on sculpture, Carol followed her architect brother to Rhode Island School of Design (RISD). During her childhood in New England, Carol spent much of her time exploring various artistic disciplines. Designers who enjoy using the graceful characters found in typefaces such as Trajan and Charlemagne should be thankful that Carol Twombly strayed from her initial artistic endeavors.
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