![]() ![]() Clarendons (press antiquas) have square serifs with brackets.Regular Egyptians which have square serifs without brackets.Three subgroups can be distinguished within this group: They were also known as Egyptian: this name is derived from their presence in a publication about Napoleon's campaign to Egypt. A large number of these typefaces were suitable for decorating, which was often overdone. The name “mechanistic” which unintentionally sounds mocking to the sensitive ear, points to the fact that these typefaces origin in the best days of industrial revolution, which needed the resources to draw attention, for ads, posters, fliers and other printed materials. Group V: Mechanistic (Egyptian) typefaces Bodoni), Walbaum, Falstaff, Pergamon, Corvinus. Serifs are horizontal, without brackets.Įxamples: Didot (F. ![]() Contrast between the thick and thin strokes is extreme, and the bracket between them is short. The main stress and the letter axis are vertical. It emerged in the middle of the 18th century, after improvements in paper and printing technology enabled reproduction of fine strokes. Neoclassical antiqua emerges with the spreading of copper and steel engraving, techniques of the 17th and the 18th century. (Neoclassical antiqua, the name derived from Didot and Bodoni) Baskerville), Janson, Imprimatur, Bell, Times (S. Serifs are flat and thinner, and still have the brackets. The letter axis is vertical or slightly slanted. In transitional typefaces, the difference in the strokes thickness is bigger than in Garalde antique. The influence of this typeface, property of Royal printing house, emerged sixty years later in John Baskerville’s projects these typefaces “preserved the spirit of the encyclopedic epoch, at the same time rational and realistic”. Each letter was engraved within a square divided into 2304 small squares, which is the first anticipation of the digital letterform. Within it, a geometrically detailed construction of each character was made. Prototype of this typeface is Roman du Roi (1694) by French punchcutter Grandjean, which was designed based on the Academy of Science report. The strokes became finer and richer in the contrast. The emergence of these typefaces was influenced by spreading of the copper engraving technique in the 17th century. This is a transitional form between the classical and Neoclassical Antiqua. Group III: Transitional (Baroque) typefaces Zapf), Weiß-Antiqua, Trump Mediäval, Goudy Catalog. Caslon), Vendôme, Dante (Mardersteig), Garaldus (A. In our language, the term classical (Renaissance) antique is used for both groups. In English language terminology, the usual name for these two groups is “Old face” this is not precise enough since it does not make a difference between the groups. The crossbar of the lowercase e is horizontal. The contrast between the thick and thin strokes increases compared to the Venetian typeface, and the serifs are finer. The brackets between the main strokes and serifs are rounded. The axis of the letter is slanted to the left (see o and b). One of the most famous examples from this group is a well known Garamond, which represents the most important typeface of the renaissance and early baroque. These Antiquas originate from the punches cut by Francesco Griffo for the Venetian publisher and printer Aldus Manutius. (the name was made from Garamond and Aldus) The crossbar of the lowercase e is rising. The contrast between the thick and thin strokes is modest. Brackets between the main strokes and the serifs are rounded. The axis of the letter is noticeably slanted to the left (see o and b). Letterforms show that they were made based on the templates written with broad pen. Humanist typeface was used for the first time in press in 1465. The earliest Antiquas, based on humanist manuscript, emerged in Venetia in 15th century. It has to be emphasized that each group has few “clear” examples – many typefaces belong to the neighboring groups based on characteristics – but the Vox's system is a precious help in communication and typefaces description. This system has been adopted by ATypI (Association Typographique Internationale). Within one period of typography development, when it came to international exchange of printing services, there was a need for finding classification system of typefaces, which could be comprehended in several countries at the same time.Īfter numerous classification attempts, a system developed by French designer Maximilien Vox (1894–1974) has been adopted he invented the names for some typeface categories, so that they do not remind of earlier names, and cause no confusion. Translation into English: Danijela Tomazovićįor a long time, certain typefaces had different names in different countries. ![]()
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