Rev. Robert Palladino, Scribe Who Shaped Apple’s Fonts, Dies at 83

Robert Palladino in his home studio in Sandy, Ore., in 2012.
Liz Devine

Source: New York Times
By MARGALIT FOX
March 4, 2016

Because of a Trappist monk, Apple computer displays look the way they do today.

The monk was the Rev. Robert Palladino, who died on Feb. 26 at 83. A Roman Catholic priest who began his vocation in a monastic order, Father Palladino was also a world-renowned master of calligraphy.

“Priest and calligrapher,” his business card read, in his unimpeachable Renaissance italic, and he long plied both trades at once. For years, babies he baptized received baptismal certificates in his flawless hand. In Oregon, where he made his home, Father Palladino hand-lettered the state medical licenses for generations of newly minted doctors.

As a Trappist brother, Father Palladino learned his art in silence, honed it over years of study and eventually, on leaving his order, taught it to others.

To his students, he brought a world of genteel scholarship and quiet contemplation; a world whose modus operandi — by hand, with ink, on paper, parchment and vellum — was little changed for centuries; a world of classical music (an accomplished singer, he liked to ply his calligraphy to Beethoven), Gregorian chant and the Latin Mass, which he continued celebrating in discreet defiance long after Vatican II.

Into that world burst a young college dropout named Steve Jobs.

It is a coincidence no less exquisite than Father Palladino’s finest calligraphy that “Silicon Valley’s future most famous screamer studied with a monk who spent years taking a vow of silence,” as The Hollywood Reporter wrote shortly after Mr. Jobs’s death in 2011.

A character based on Father Palladino, played by the strapping young actor William Mapother, appears in “Jobs,” the 2013 Hollywood film starring Ashton Kutcher. To reporters who asked Father Palladino whether he planned to see the film, he replied, characteristically, that he saw few movies of any kind.

An authority on the history, structure and aesthetics of scripts from antiquity to the present, Father Palladino taught calligraphy at Reed College in Portland, Ore., from 1969 until his retirement, in 1984.

The college’s calligraphy program, which flourished from 1938 until Father Palladino’s retirement, was widely regarded as the foremost in the country, training many respected artists, typographers and graphic designers. For decades, nearly every sign and poster on campus was the graceful fruit of its labor.

Mr. Jobs briefly attended Reed in 1972 before dropping out for economic reasons, but hung around campus for more than a year afterward; during that time, he audited Father Palladino’s class. After helping to found Apple in 1976, he often credited the company’s elegant onscreen fonts — and his larger interest in the design of computers as physical objects — to what he had been taught there.

“I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great,” Mr. Jobs said in a 2005 commencement address at Stanford. “It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating.” He continued:

“Ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them.”

Asked about his famous charge in a 2013 interview with The Catholic Sentinel, an Oregon publication, Father Palladino recalled, “He was most pleasant.”

The word “calligraphy” is born of Classical Greek κάλλος (kallos, “beautiful”) and γράφω (grapho, “write”). Though he was by all accounts too courtly to have said so, it would doubtless have pained Father Palladino — whom Mr. Jobs consulted on the design of the Mac’s Greek letters — to see the flagrant unloveliness of the only Greek font at this newspaper’s disposal.

Saint Joseph Abbey, et al. v. Castille, et al.

Challenging Louisiana's Casket Cartel (Source: Institute for Justice)

Can the government restrict economic liberty just to enrich a group of politically favored insiders?

That’s the question the Institute for Justice and its client, Saint Joseph Abbey of St. Benedict, La., have taken to federal court in challenging the constitutionality of Louisiana’s outrageous requirement that the monks of the Abbey must be licensed as funeral directors and convert their monastery into a licensed funeral home in order to sell their handmade wooden casket.

Under Louisiana law, it is a crime for anyone but a licensed funeral director to sell “funeral merchandise,” which includes caskets. To sell caskets legally, the monks would have to abandon their calling for one full year to apprentice at a licensed funeral home, learn unnecessary skills and take a funeral industry test. They would also have to convert their monastery into a “funeral establishment” by, among other things, installing equipment for embalming human remains.

Abbot Brown (Photo Credit: Institute for Justice)

On August 12, 2010, the Institute for Justice teamed up with the monks of Saint Joseph Abbey to file a federal constitutional lawsuit in the U.S. District Court for the Eastern District of Louisiana to vindicate their right to earn an honest living. In a time of 10 percent unemployment and widespread economic pessimism, this case raises one of today’s most important constitutional questions: May the government restrict economic liberty just to enrich a group of politically favored insiders such as licensed funeral directors?

One of the freedoms we enjoy as Americans is the right to earn an honest living in the occupation of our choice without arbitrary government interference. Louisiana’s casket licensing law violates that right.

Cloistered Nuns Share Record Label With Elton John

"[O]ur music appeals to a wider audience, secular and non-secular. The words have a very profound meaning that is coming from the Sacred Scripture. The singing in our daily lives is very important for us. It is our prayer," said Sister Raphael of the major record deal recently landed by her community of Benedictine nuns. It is a contract with a label the nuns now share with Lady Gaga, The Rolling Stones, and Elton John.  Read the story here.