Sans-serif - Knowledge (XXG)

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difficult to say why, seeing that the letters so designated do not date farther back than the close of the last century. Egyptian is perhaps as good a term as could be given to the letters bearing that name, the blocks being characteristic of the Egyptian style of architecture. These letters were first used by sign-writers at the close of the last century, and were not introduced in printing till about twenty years later. Sign-writers were content to call them "block letters," and they are sometimes so-called at the present day; but on their being taken in hand by the type founders, they were appropriately named Egyptian. The credit of having introduced the ordinary square or san-serif letters also belongs to the sign-writer, by whom they were employed half a century before the type founder gave them his attention, which was about the year 1810."

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size of the Figgins Sans-serif appears in a specimen dated 1828 (the unique known copy is in the University Library, Amsterdam).…It is a self-confident design, which in the larger sizes abandons the monoline structure of the Caslon letter for a thick-thin modulation which would remain a standard model through the 19th century, and can still be seen in the ATF

375: 1029:... painted in Egyptian letters, which, as the Egyptians had no letters, you will doubtless conceive must be curious. They are simply the common characters, deprived of all beauty and all proportion by having all the strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis." Similarly, the painter 2551:"The mid-20th century saw a reappraisal of these classic sans serif forms. Fueled by modernist ideas, they were rethought and redrawn, now with consistent details and even text color. Transferred into systematic families of numerous weights and widths, the neo-grotesque became an essential ingredient of the International Typographic Style" 426: 1116: 1091: 1756: 1271:, as being fit only for advertisements (if that), and to this day most books remain printed in serif typefaces as body text. This impression would not have been helped by the standard of common sans-serif types of the period, many of which now seem somewhat lumpy and eccentrically-shaped. In 1922, master printer 656:, from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of 1006:

Mosley writes that "in 1805 Egyptian letters were happening in the streets of London, being plastered over shops and on walls by signwriters, and they were astonishing the public, who had never seen letters like them and were not sure they wanted to". A depiction of the style, as an engraving, rather

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Neo-grotesque designs appeared in the mid-twentieth century as an evolution of grotesque types. They are relatively straightforward in appearance with limited stroke width variation. Similar to grotesque typefaces, neo-grotesques often feature capitals of uniform width and a quite 'folded-up' design,

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had become popular through reviving the nineteenth-century grotesques while offering a more unified range of styles than on previous designs, allowing a wider range of text to be set artistically through setting headings and body text in a single family. The style of design using asymmetric layouts,

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Grotesque typefaces have limited variation of stroke width (often none perceptible in capitals). The terminals of curves are usually horizontal, and many have a spurred "G" and an "R" with a curled leg. Capitals tend to be of relatively uniform width. Cap height and ascender height are generally the

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he Figgins 'Sans-serif' types (so called) are well worth looking at. In fact it might be said to be that with these types the Figgins typefoundry brought the design into typography, since the original Caslon Egyptian appeared only briefly in a specimen and has never been seen in commercial use. One

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Apparently based on traditions in his field of work, master sign-painter James Callingham writes in his textbook "Sign Writing and Glass Embossing" (1871) that "What one calls San-serif, another describes as grotesque; what is generally known as Egyptian, is some times called Antique, though it is

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These were then copied by other artists, and in London sans-serif capitals became popular for advertising, apparently because of the "astonishing" effect the unusual style had on the public. The lettering style apparently became referred to as "old Roman" or "Egyptian" characters, referencing the

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Geometric sans-serif typefaces are based on geometric shapes, like near-perfect circles and squares. Common features are a nearly-circular capital 'O', sharp and pointed uppercase 'N' vertices, and a "single-storey" lowercase letter 'a'. The 'M' is often splayed and the capitals of varying width,

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with obvious variation in stroke width. These have been called 'modulated', 'stressed' or 'high-contrast' sans-serifs. They are nowadays often placed within the humanist genre, although they predate Johnston which started the modern humanist genre. These may take inspiration from sources outside

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Sans-serif lettering and typefaces were popular due to their clarity and legibility at distance in advertising and display use, when printed very large or small. Because sans-serif type was often used for headings and commercial printing, many early sans-serif designs did not feature lower-case

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A separate inspiration for many types described "geometric" in design has been the simplified shapes of letters engraved or stenciled on metal and plastic in industrial use, which often follow a simplified structure and are sometimes known as "rectilinear" for their use of straight vertical and

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of 1805, described as "old Roman" characters. However, the style did not become used in printing for some more years. (Early sans-serif signage was not printed from type but hand-painted or carved, since at the time it was not possible to print in large sizes. This makes tracing the descent of

1056:, where 'Two Lines English' referred to the typeface's body size, which equals to about 28 points. Although it is known from its appearances in the firm's specimen books, no uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client. 880: 2178:: Lineale typefaces with 19th-century origins. There is some contrast in thickness of strokes. They have squareness of curve, and curling close-set jaws. The R usually has a curled leg and the G is spurred. The ends of the curved strokes are usually oblique. Examples include the 1974:

In this period and since, some sources have distinguished the nineteenth-century "grotesque/gothic" designs from the "sans-serifs" (those now categorised as humanist and geometric both) of the twentieth, or used some form of classification that emphasises a different between the

2187:: Lineale typefaces derived from the grotesque. They have less stroke contrast and are more regular in design. The jaws are more open than in the true grotesque and the g is often open-tailed. The ends of the curved strokes are usually horizontal. Examples include Edel/Wotan, 1653: 1066:

Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider)

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design: " represents, even more evocatively than Univers, the fresh revolutionary breeze that began to blow through typography in the early sixties" and "its rather clumsy design seems to have been one of the chief attractions to iconoclastic designers tired of

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also claimed during the 1920s to have been offering a sans-serif with lower-case by 1825. Wolfgang Homola dated it in 2004 to 1882 based on a study of Schelter & Giesecke specimens; Mosley describes this as "thoroughly discredited"; even in 1986

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Through the early twentieth century, an increase in popularity of sans-serif typefaces took place as more artistic sans-serif designs were released. While he disliked sans-serif typefaces in general, the American printer J. L. Frazier wrote of

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is named for the sculpture. The name is a dual reference, also to "grotesque" being coincidentally a term also applied to early sans-serif typefaces, although Mosley suggests that the design does not seem to be a direct source of modern

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Sample image of condensed sans-serifs from the Figgins foundry of London in an 1845 specimen-book. Much less influenced by classical models than the earliest sans-serif lettering, these faces became extremely popular for commercial

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Humanist designs vary more than gothic or geometric designs. Some humanist designs have stroke modulation (strokes that clearly vary in width along their line) or alternating thick and thin strokes. These include most popularly

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Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word

366:, meaning "belonging to the cave" due to their simple geometric appearance. The term arose because of adverse comparisons that were drawn with the more ornate Modern Serif and Roman typefaces that were the norm at the time. 2058:, who has examined surviving Caslon specimens and the matrices, suggests that the design is actually slightly earlier and may date to around 1812-4, noting that it appears in some undated but apparently earlier specimens. 1629: 1104: 482:

Geometric sans-serif typefaces were popular from the 1920s and 1930s due to their clean, modern design, and many new geometric designs and revivals have been developed since. Notable geometric types of the period include

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serif typefaces of the period and sign painting traditions, these were often quite solid, bold designs suitable for headlines and advertisements. The early sans-serif typefaces often did not feature a lower case or

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and type across different times and places from early to recent. Particular attention is given to unusual uses and more obscure typefaces, meaning this gallery should not be considered a representative

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Specimen by William Caslon IV showing his Two Lines English Egyptian sans-serif, the first general-purpose "sans-serif" printing type ever. Cut in only one size, it was apparently not promoted with any

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described sans-serif typefaces as having "no place in any artistically respectable composing-room." In 1937 he stated that he saw no need to change this opinion in general, though he felt that

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with the serifs removed. It is now known that the inspiration was more classical antiquity, and sans-serifs appeared before the first dated appearance of slab-serif letterforms in 1810. The

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A 1969 poster exemplifying the trend of the 1950s and 1960s: solid red colour, simplified images and the use of a grotesque face. This design, by Robert Geisser, appears to use Helvetica.

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A 1940s American poster. The curve of the 'r' is a common feature in grotesque typefaces, but the 'single-storey' 'a' is a classic feature of geometric typefaces from the 1920s onwards.

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Before the term "sans-serif" became standard in English typography, a number of other terms had been used. One of these terms for sans-serif was "grotesque", often used in Europe, and "

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The work of Bruce Rogers, jack of all trades, master of one : a catalogue of an exhibition arranged by the American Institute of Graphic Arts and the Grolier Club of New York

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had returned to popularity for having "a personality sometimes lacking in the condensed forms of the contemporary sans cuttings of the last thirty years." Leading type designer

1744: 1531:"Industrial": Used to refer to grotesque and neo-grotesque sans-serifs that are not based on "artistic" principles, as humanist, geometric and decorative designs normally are. 776:(both used on road signs), may have unusual features to enhance legibility and differentiate characters, such as a lower-case 'L' with a curl or 'i' with serif under the dot. 5617: 1796: 728:. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide 1720: 1082:

Similar condensed sans-serif display typefaces, often capitals-only, became very successful. Sans-serif printing types began to appear thereafter in France and Germany.

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Futura in particular was extensively marketed by Bauer and its American distribution arm by brochure as capturing the spirit of modernity, using the German slogan "

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sans-serif styles hard, since a trend can arrive in the dated, printed record from a signpainting tradition which has left less of a record or at least no dates.)

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The original metal type of Akzidenz-Grotesk did not have an oblique; this was added in the 1950s, although many sans-serif obliques of the period are similar.

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For the purposes of type classification, sans-serif designs are usually divided into three or four major groups, the fourth being the result of splitting the

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Open Document Format for Office Applications (OpenDocument) Version 1.2, Part 1: Introduction and OpenDocument Schema, Committee Draft 04, 15 December 2009

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Dutch Typefounders' Specimens from the Library of the KVB and other collections in the Amsterdam University Library with histories of the firms represented

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The earliest printing typefaces which omitted serifs were not intended to render contemporary texts, but to represent inscriptions in Ancient Greek and

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began to use 'Egyptian' lettering, monoline sans-serif capitals, to mark ancient Roman sites. This lettering was printed from copper plate engraving.

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letters. Simple sans-serif capitals, without use of lower-case, became very common in uses such as tombstones of the Victorian period in Britain.

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Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title

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commonly used sans-serif letters on his drawings and architectural designs. Soane's inspiration was apparently the inscriptions dedicating the

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horizontal lines. Designs which have been called geometric in principles but not descended from the Futura, Erbar and Kabel tradition include

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are a type style characterized by strokes of even thickness and lack of decorations, thus akin to sans-serif styles in Western type design.

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Throughout the nineteenth and early twentieth centuries sans-serif types were viewed with suspicion by many printers, especially those of

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Foundry from around 1830. The name came from the Italian word 'grottesco', meaning 'belonging to the cave'. In Germany, the name became

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Figgins 1828 one of two known copies, but with the first known appearance of the world's second sans-serif type, not in the other copy

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Specimens of type, borders, ornaments, brass rules and cuts, etc. : catalogue of printing machinery and materials, wood goods, etc

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in the west of England dated to around 1748 (replica shown), one of the first to use sans-serif letterforms since the classical period

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News Gothic's oblique was actually designed later than the original design, although many nineteenth-century sans-serifs are similar.

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A few theories about early sans-serifs now known to be incorrect may be mentioned here. One is that sans-serifs are based on either "

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Digital publishing expert Florian Hardwig describes the main features of neo-grotesques as being "consistent details and even

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The matrices used to cast the type also survive, although at least some characters were recut slightly later. Historian

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Monoline sans-serif with art-nouveau influenced tilted 'e' and 'a'. Embedded umlaut at top left for tighter linespacing.

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used in a document. Presumably refers to the popularity of sans-serif grotesque and neo-grotesque types in Switzerland.

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is an example of this. Unlike earlier grotesque designs, many were issued in large families from the time of release.

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led to architects increasingly incorporating ancient Greek and Roman designs in contemporary structures. Historian

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The geometric sans originated in Germany in the 1920s. Two early efforts in designing geometric types were made by

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in which strokes (for example on the 'c') are curved all the way round to end on a perfect horizontal or vertical.

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art school (1919–1933) and modernist poster artists, were hand-lettered and not cut into metal type at the time.

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are often short for tighter line spacing. They often avoid having a true italic in favor of a more restrained

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Microsoft Product Support Services Application Note (Text File) - GC0165: RICH-TEXT FORMAT (RTF) SPECIFICATION

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Due to the diversity of sans-serif typefaces, many do not exactly fit into the above categories. For example,

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of the United Kingdom, which manages Stourhead, was loosely designed by Paul Barnes based on the inscription.

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or separation between strokes, which is not a conventional feature on grotesque and neo-grotesque designs.

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Neo-grotesque type, Switzerland, 1972: Helvetica or a close copy. Irregular baseline may be due to using

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Letters without serifs have been common in writing across history, for example in casual, non-monumental

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This group features most of the early (19th century to early 20th) sans-serif designs. Influenced by

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Lightly modulated sans-serif lettering on a 1930s poster, pointed stroke endings suggesting a brush

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Rothbury, an early modulated sans-serif typeface from 1915. The strokes vary in width considerably.

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In the post-war period, an increase of interest took place in "grotesque" sans-serifs. Writing in

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is a geometric design not based on the circle. Sans-serif typefaces intended for signage, such as

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The largest type in this image is the second sans-serif type known, published by Figgins in 1828.

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of the period. It also added a lower-case. The term "grotesque" comes from the Italian word for

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Brideau, K.; Berret, C. (16 December 2014). "A Brief Introduction to Impact: 'The Meme Font'".

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Dwiggins' Metrolite and Metroblack typefaces, geometric types of the style popular in the 1930s

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Of this period in Britain, Mosley has commented that in 1960 "orders unexpectedly revived" for

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A second hiatus in interest in sans-serif appears to have lasted for about twelve years, until

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Artistic sans-serif keeping curves to a minimum (the line 'O Governo do Estado'), Brazil, 1930

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Art Deco thick block inline sans-serif capitals, inner details kept very thin. France, 1920s.

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on low-resolution computer displays. Designs from this period intended for print use include

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same to produce a more regular effect in texts such as titles with many capital letters, and

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written in the character of a Spanish aristocrat. It commented: "The very shopboards must be

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In British Standards Classification of Typefaces (BS 2961:1967), the following are defined:

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by profession, was inspired by classic letter forms, especially the capital letters on the

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The inscription was destroyed by mistake in 1967, and had to be replicated from historian

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wrote in his diary on 13 September 1805 of seeing a memorial engraved "in what is called

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Grotesque letters : a history of unseriffed type faces from 1816 to the present day

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Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols

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Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols

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The first use of sans-serif as a running text has been proposed to be the short booklet

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Sans-serif typefaces are sometimes, especially in older documents, used as a device for

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Calligraphic tendencies in the development of sanserif types in the twentieth century

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Swiss-style poster using Helvetica, 1964. Tight spacing characteristic of the period.

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Humanist sans-serif typefaces take inspiration from traditional letterforms, such as

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Grotesque: The Birth of The Modern Sans Serif in The Types of The Nineteenth Century

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Horn, Frederick A. (1936). "Type Tactics No. 2: Grotesques: The Sans Serif Vogue".

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can use it to specify the sans-serif generic typeface ("font family") name for the

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An early 1810 "neoclassical" use of sans-serif capitals to represent antiquity, by

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Geometric sans-serif capitals, with sharp points on 'A' and 'N'. Australia, 1934.

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Specimen of Plain & Ornamental Types from the Foundry of V. & J. Figgins

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A 12th-century Medieval Latin inscription in Italy featuring sans-serif capitals

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meaning "line" or pen-stroke. In printed media, they are more commonly used for

4069:

Printing types : their history, forms, and use; a study in survivals vol 2

320:

or sloped design, although at least some sans-serif true italics were offered.

5949: 5763: 5653: 5499: 5476: 5431: 5395: 5349: 5306: 5301: 5296: 5281: 5121: 5116: 5111: 5070: 5009: 4999: 3768: 3625: 2238: 1962: 1421: 1268: 1136: 1068: 984: 826: 643: 355:

that retain more of the eccentricities of some of the early sans-serif types.

255: 177: 91: 4482: 3542: 1802:

Ultra-condensed industrial sans-serif in the style of the 1960s; Berlin, 1966

5441: 5436: 5213: 5141: 4761: 2222: 2205: 2192: 1775: 1587:

Corset advertisement using multiple grotesque typefaces, United States, 1886

1525: 1416:

to describe seeing the sans-serif inscription on John Flaxman's memorial to

1362: 1276: 1253: 957: 806: 749: 721: 657: 615: 611: 567: 548: 406: 391: 378: 221: 95: 2702:"Typodermic's Raymond Larabie Talks Type, Technology & Science Fiction" 4241: 1394:. Gothic Italic no. 124, an 1890s grotesque, has a true italic resembling 5914: 5773: 5592: 5465: 5451: 5276: 5228: 4603: 2577: 1635:

Nearly monoline and stroke-modulated sans; Austrian war bond poster, 1916

1560: 544: 340: 4055:. New York: Grolier Club, Oxford University Press. pp. xxxv–xxxvii. 3399:

Reading the Sphinx: Ancient Egypt in Nineteenth-Century Literary Culture

2654: 2652: 1326:(1956), printer Kenneth Day commented that Stephenson Blake's eccentric 5738: 5524: 5375: 5286: 5218: 5154: 4249: 3616: 3614: 2558: 2188: 1843: 1495: 1399: 1358: 1335: 765: 709: 705: 669: 661: 532: 410: 74: 3126: 2972: 374: 5641: 5258: 2622: 2325: 2201: 1366:

Helvetica and a grid layout extensively has been called the Swiss or

953: 635: 4273:

http://magazines.iaddb.org/issue/CAI/1936-04-01/edition/null/page/18

4072:(1st ed.). Cambridge, MA: Harvard University Press. p. 243 2121:"25 Systems for Classifying Typography: A Study in Naming Frequency" 1310:

Grotesque sans-serif revival and the International Typographic Style

3885: 3428:

Wonderful Things: A History of Egyptology 1: From Antiquity to 1881

5484: 5223: 5191: 5003: 3776: 3637: 2218: 1427:"Antique": Particularly popular in France; some families such as 1377: 1313: 1248: 963: 947: 739: 566: 425: 424: 373: 283: 169: 165: 73: 4589: 4228:

Hewitt, John (1995). "East Coast Joys: Tom Purvis and the LNER".

3081: 2946: 5840: 5686: 5631: 4394:"A new basis for the old Akzidenz-Grotesk (English translation)" 3700: 3698: 3599:. The Centre for Printing History and Culture. 30 September 2016 3112: 3110: 3108: 3106: 3104: 784:

A particular subgenre of sans-serifs is those such as Rothbury,

397:

Neo-grotesque type began in the 1950s with the emergence of the

295:

in the 1890s. A popular German grotesque with a single-story 'g'

164:

letterform is one that does not have extending features called "

82:

serif typeface with serifs in red, a Ming serif typeface and an

5043: 3964: 3962: 696:, while designs developed for computer use include Microsoft's 5029: 3823:[Specimens of printing types] (untitled specimen book) 1236:

Sans-serif type in both upper- and lower-case on a 1914 poster

852:(1723), used special types intended for the representation of 5039: 2600:"Types of their time – A short history of the geometric sans" 2512:"What Are Grotesque Fonts? History, Inspiration and Examples" 1611:

Small art-nouveau flourishes on 'v' and 'w'. Ljubljana, 1916.

4316:. Berkeley: University of California Press. pp. 102–5. 3541:. Reading: University of Reading (MA thesis). Archived from 1420:

in 1805, though today the term is commonly used to refer to

358:

According to Monotype, the term "grotesque" originates from

3249:

Fifty Typefaces That Changed the World: Design Museum Fifty

1750:

Stencilled lettering apparently based on Futura Black, 1937

1498::1967), lineale replaced sans-serif as classification name. 1017:

The inappropriateness of the name was not lost on the poet

650:

more resemble handwriting, serif typefaces or calligraphy.

401:, or Swiss style. Its members looked at the clear lines of 139: 4969:

The Nymph and the Grot: the revival of the sanserif letter

3740:

Letter Perfect: The Art of Modernist Typography, 1896-1953

2319: 2317: 2315: 3211: 3209: 3207: 3205: 3203: 3201: 3199: 3197: 3195: 2755: 2753: 1003:

in Ancient Egypt and its blocky, geometric architecture.

752:

has both neo-grotesque and geometric influences, as does

586:, traditional serif typefaces and calligraphy. Many have 145: 118: 3902: 3900: 3357:

L. Y. (1805). "To the Editor of the European Magazine".

1182:

Simple sans-serif capitals on a late-nineteenth-century

172:

typefaces. They are often used to convey simplicity and

3082:"Robert Grabhorn Collection on the History of Printing" 1774:

1952 Jersey holiday events brochure, using the popular

385:(as Neue Haas Grotesk) in 1957. A typical neo-grotesque 4030:. 20 (second series). Business History Conference: 229 1575:

Dublin 1848, caps-only heading with crossed V-form 'W'

29:

Typeface classification for letterforms without serifs

3461:

Letters from England: by Don Manual Alvarez Espriella

3230: 3228: 3226: 3224: 2805:(Rev. ed.). London: Laurence King. p. 201. 1291:

in 1925 that "a certain dignity of effect accompanies

1283:

were the best choices if sans-serifs had to be used.

871:

for the use of the blind to read with their fingers.

148: 136: 127: 121: 115: 4971:. London: Friends of the St Bride Printing Library. 4339:

Revival Type: Digital Typefaces Inspired by the Past

1148:

described the claimed dates as "on stylistic grounds

602:

in italic. One of the earliest humanist designs was

142: 6010: 5942: 5895: 5849: 5789: 5672: 5612: 5570: 5547: 5515: 5475: 5464: 5409: 5363: 5315: 5267: 5199: 5190: 5140: 5077: 5010:

The Sans Serif in France: The Early Years (1834–44)

3025: 3023: 3021: 3019: 1599:

Light sans-serif being used for text, Germany, 1914

133: 112: 5026:(presentation by Pierre Pané-Farré to Ésad Amiens) 3940:. University of Reading (archived). Archived from 3850:. London: V. & J. Figgins Letterfounders. 1846 3430:. The American University in Cairo Press. p. 2233: 2231: 2134:(1). The Parsons Institute for Information Mapping 1647:Broad block capitals. Hungarian film poster, 1918. 3894:Also Printed in Motif as "Letters Without Serifs" 797:printing such as brush lettering or calligraphy. 3630:"Two Lines English Egyptian (comments on forum)" 2355:. American Type Founders Company. 1897. p. 2182:, Condensed Sans No. 7, Monotype Headline Bold. 1690:, allowing tight linespacing. Switzerland, 1928. 1198:Italic capitals from the Caslon specimen of 1841 764:blends humanist and grotesque influences, while 479:, was released to great acclaim and popularity. 3307:Mnémosyne: Base documentaire de l'ésad d'Amiens 1224:to give an impression of modernity and novelty. 555:, along with many of the typefaces designed by 3509:Letters of credit : a view of type design 2286:. Archived from the original on 2 January 2013 1357:By the 1960s, neo-grotesque typefaces such as 1302:" ("the typeface of our time") and in English 1210:The first section of the avant-garde magazine 5992:Intellectual property protection of typefaces 5055: 4592:. The Font Bureau, Inc. p. Introduction. 1449:"Doric": Used by the Caslon foundry in London 8: 5534: 4288:"Futura: The Typeface of Today and Tomorrow" 3150:De la " Cité de Dieu " au " Palais du Pape " 1508: 1502: 1477: 205: 4665: 4434:"Die alte Akzidenz-Grotesk auf neuer Basis" 3674:; Lommen, Mathieu; de Zoete, Johan (1998). 2999:"V Cut Lettering and Variations on a Theme" 2128:The Parsons Journal for Information Mapping 1686:, a thick German sans-serif with shortened 1541:This gallery presents images of sans-serif 503:; more recent designs in the style include 276:category into grotesque and neo-grotesque. 211: 5472: 5196: 5062: 5048: 5040: 3714:"Original Sans Collection: Read the Story" 3482:The Farington Diary, Volume III, 1804-1806 2623:"On Erbar and Early Geometric Sans Serifs" 975:Towards the end of the eighteenth century 6018:Punctuation and other typographic symbols 2781:Journal of the Edward Johnston Foundation 2119:Childers; Griscti; Leben (January 2013). 1007:than printed from type, was shown in the 610:typeface from 1916, and, a decade later, 4936:Letters of Credit: A View of Type Design 4826:Haralambous, Yannis (28 November 2007), 3479:Farington, Joseph; Greig, James (1924). 1931:, an April Fools' joke by the newspaper 1490:to describe sans-serif types. Later, in 935:calligraphy in a fifteenth-century bible 323:Examples of grotesque typefaces include 4957:Kupferschmid, Indra (15 January 2016), 4368:"From the Archives: Typographic Sanity" 3485:. London: Hutchinson & Co. p. 3303:"The sanserif: the search for examples" 2731:Kupferschmid, Indra (15 January 2016). 2078: 1945: 1549: 1334:wrote in 1961 on designing a new face, 1172: 1087: 876: 436:in 1927. A typical geometric sans-serif 351:and Monotype Grotesque are examples of 347:. Akzidenz Grotesk Old Face, Knockout, 4620: 4528: 4090: 3906: 3330:The History and Technique of Lettering 3234: 3215: 3152:. Rome: École française. p. 375. 2825: 2674:Kupferschmid, Indra (6 January 2012). 2297: 268:Vox-ATypI classification § Lineal 4994:The sanserif: the search for examples 4109:. Chicago: (self published). p. 4006: 3868: 3464:. D. & G. Bruce, print. pp. 2759: 2661:The Typography of Press Advertisement 2643: 2574:"A short intro to the geometric sans" 2536: 2153:Baines, Phil; Haslam, Andrew (2005), 1507:(preliminary designations), the term 1324:The Typography of Press Advertisement 664:and also due to the need for legible 7: 4885:(2nd ed.), Getty Publications, 4314:Graphic Design in Germany: 1890-1945 4165:"Gill Sans Promotional Poster, 1928" 3659:, which was opened on 1 August 1831. 2801:Blackwell, written by Lewis (2004). 2462:Lippa, Domenic (14 September 2013). 2157:, Laurence King Publishing, p. 2044:chapel of Trinity College, Cambridge 1830:Tightly-spaced ITC Avant Garde; 1976 1501:"Simplices": In Jean Alessandrini's 1462:(1865). In China, Japan and Korea, 1304:"the typeface of today and tomorrow" 4726:Microsoft Corporation (June 1992), 4049:Rogers; Updike; McCutcheon (1939). 3569:Type: The Secret History of Letters 3247:John L Walters (2 September 2013). 2700:Tselentis, Jason (28 August 2017). 2095:, 15th edn., 1992, Vol. 10, p. 421. 1997:Mosley's book on early sans-serifs 952:An inscription at the neoclassical 908:, the inspiration for serif letters 197: 1152:... about forty years too early". 809:of the classical period. However, 185: 25: 5024:] of 19th century poster type 5020:Panorama: A reassesment [ 4805:The Elements of Typographic Style 4508:. Walter de Gruyter. p. 88. 4341:. Yale University Press. p. 3175:"James Mosley: A Life in Objects" 3033:The Nymph and the Grot, an update 1870:1997 film festival poster, Ankara 1476:"Lineale", or "linear": The term 254:, due to their typically blacker 6031: 6030: 4909:Meggs' History of Graphic Design 4543:"Helvetica and Univers addendum" 4066:Updike, Daniel Berkeley (1922). 3426:Jason Thompson (30 April 2015). 3397:L. Parramore (13 October 2008). 3379:Sign Writing and Glass Embossing 3030:Mosley, James (6 January 2007), 2864:Berry, John D. (5 August 2002). 2774:"In Defence of the Roman Letter" 2108:. Oxford University Press. 2022. 1891: 1875: 1863: 1851: 1835: 1823: 1807: 1795: 1783: 1778:-led British style of the period 1767: 1755: 1743: 1731: 1719: 1707: 1695: 1676: 1664: 1652: 1640: 1628: 1616: 1604: 1592: 1580: 1568: 1552: 1520:format (ISO/IEC 26300:2006) and 1229: 1203: 1191: 1175: 1115: 1103: 1090: 925: 913: 898: 879: 108: 59: 47: 35: 4703:OpenDocument v1.1 specification 4196:"Preparing a Railway Timetable" 4028:Business & Economic History 3332:. Courier Corporation. p. 2838:Berry, John D. (22 July 2002). 2088:The New Encyclopædia Britannica 1368:International Typographic Style 1141:Schelter & Giesecke foundry 399:International Typographic Style 4810:Hartley & Marks Publishers 3567:Loxley, Simon (12 June 2006). 3148:Le Pogam, Pierre-Yves (2005). 3061:. Perkins School for the Blind 3059:"Perkins School for the Blind" 2866:"The Human Side of Sans Serif" 2840:"Not Your Father's Sans Serif" 1914:East Asian sans-serif typeface 1354:... prettiness of Gill Sans". 578:in 1969. A humanist sans-serif 189: 181: 1: 5987:History of Western typography 4506:Typefaces: The Complete Works 3996:(in German), Eugen Diederichs 1882:Distorted sans-serif in the " 1494:Classification of Typefaces ( 1245:Twentieth-century sans-serifs 857: 618:, 1928). Edward Johnston, a 465: 193: 5834:traditional point-size names 5032:(Lecture at Cooper Union by 4752:Handover, Phyllis Margaret. 4132:"Fifty Years of Typecutting" 3597:"The Song of the Sans Serif" 3087:San Francisco Public Library 2733:"Some type genres explained" 2429:. Hoefler & Frere-Jones. 2106:Oxford Dictionary of English 2093:Encyclopædia Britannica Inc. 1924:List of sans serif typefaces 1434:"Grotesque": Popularised by 1054:'Two Lines English Egyptian' 5087:Canons of page construction 5000:The true source of the sans 3826:. London: William Caslon IV 3820:Caslon, William (c. 1816). 3511:. Boston: David R. Godine. 2510:Greta, P (21 August 2017). 2443:. Hoefler & Frere-Jones 2425:Hoefler & Frere-Jones. 2406:. Hoefler & Frere-Jones 2402:Hoefler & Frere-Jones. 2180:Stephenson Blake Grotesques 1540: 1464:East Asian gothic typefaces 850:De Etruria regali libri VII 6078: 4960:Some Type Genres Explained 4941:David R. Godine, Publisher 4858:David R. Godine, Publisher 4852:Lawson, Alexander (1990), 4645:"The Sans Serif Typefaces" 4171:. Monotype. Archived from 4019:Badaracco, Claire (1991). 3882:Handover, Phyllis Margaret 3376:Callingham, James (1871). 3328:Alexander Nesbitt (1998). 2676:"True Type of the Bauhaus" 2326:"A Neo-Grotesque Heritage" 1842:Governmental poster using 1504:désignations préliminaires 1263:locomotive (built in 1938) 886:Sans-serif letterforms in 265: 6026: 5244:Subscript and superscript 4996:(lecture by James Mosley) 4504:Frutiger, Adrian (2014). 4471:Journal of Visual Culture 4370:. Paul Shaw Letter Design 4337:Shaw, Paul (April 2017). 4230:Journal of Design History 3920:Handbuch der Schriftarten 2549:@hardwig (16 June 2019). 2304:: CS1 maint: unfit URL ( 1858:Anti-nuclear poster, 1982 574:, originally released by 432:, originally released by 381:, originally released by 291:, originally released by 6002:Vox-ATypI classification 5132:Intentionally blank page 4633:OED Definition of Gothic 4483:10.1177/1470412914544515 4312:Aynsley, Jeremy (2000). 4194:Robinson, Edwin (1939). 3922:. Leipzig: Seeman. 1926. 2973:"Identifont blog Feb 15" 2918:"Gill Sans Alternatives" 2280:"Helvetica alternatives" 2243:"The Face of Uniformity" 1488:VOX-ATypI classification 1300:die Schrift unserer Zeit 995:, with minimal serifs. 4883:Books: A Living History 4610:. The Font Bureau, Inc. 3742:. Pomegranate. p. 3279:The Itinerary of Greece 2892:"Questioning Gill Sans" 1431:, still carry the name. 5535: 5014:fr:Sébastien Morlighem 4967:Mosley, James (1999). 4775:Thompson, Ian (2013). 4103:Frazier, J.L. (1925). 3767:Morlighem, Sébastien. 3680:. De Graaf. p. 15 3571:. I.B.Tauris. p. 3507:Tracy, Walter (2003). 3276:Gell, William (1810). 1999:The Nymph and the Grot 1898:Letterpress poster by 1509: 1503: 1478: 1403: 1398:serifs of the period. 1319: 1273:Daniel Berkeley Updike 1264: 1256:on the nameplate of a 972: 961: 745: 579: 437: 386: 363: 296: 212: 206: 87: 78:From left to right: a 4854:Anatomy of a Typeface 4828:Fonts & Encodings 4779:. Twelveheads Press. 4567:Schwartz, Christian. 3657:rebuilt London Bridge 2916:Kupferschmid, Indra. 2659:Day, Kenneth (1956). 2621:Kupferschmid, Indra. 1919:Emphasis (typography) 1886:" style, Ankara, 2002 1381: 1317: 1252: 1222:a condensed grotesque 1001:contemporary interest 999:classical past and a 967: 951: 944:Developing popularity 906:Roman square capitals 819:Roman square capitals 811:Roman square capitals 780:Modulated sans-serifs 743: 584:Roman square capitals 570: 428: 377: 287: 266:Further information: 198:§ Other or mixed 77: 6062:Sans-serif typefaces 5872:Typographic features 3799:"Affichen-Schriften" 3797:Pané-Farré, Pierre. 3738:Ryan, David (2001). 3401:. Springer. p. 3123:Typophile (archived) 3080:Johnston, Alastair. 2737:kupferschrift (blog) 2516:Creative Market Blog 2464:"10 favourite fonts" 2040:Isaac Hawkins Browne 1623:Italic, Dublin, 1916 1454:Miller & Richard 1023:Letters from England 186:§ Neo-grotesque 42:Sans-serif typeface 5997:Technical lettering 5896:Typography in other 5637:Hanging punctuation 4604:"Neue Haas Grotesk" 4590:"Neue Haas Grotesk" 4569:"Neue Haas Grotesk" 4242:10.1093/jdh/8.4.291 4175:on 27 February 2020 3890:Monotype Newsletter 3886:"Grotesque Letters" 3718:Commercial Classics 3710:Schwartz, Christian 3548:on 6 September 2015 3532:Tam, Keith (2002). 3251:. Octopus. p. 2828:, pp. 326–330. 2646:, pp. 339–340. 2598:Ulrich, Ferdinand. 2572:Ulrich, Ferdinand. 2539:, pp. 376–377. 2284:FontFeed (archived) 2259:on 18 November 2016 2155:Type and Typography 1418:Isaac Hawkins Brown 1048:Entry into printing 1035:Egyptian Characters 1021:, in his satirical 86:sans-serif typeface 18:Humanist sans-serif 5960:Handwriting script 5887:Desktop publishing 5857:Character encoding 5850:Digital typography 5364:Horizontal aspects 5317:Visual distinction 5175:Widows and orphans 4800:Bringhurst, Robert 4777:Cornish Milestones 4450:on 15 October 2017 4410:on 15 October 2017 3947:on 12 January 2011 3933:Homola, Wolfgang. 3801:. Forgotten Shapes 2013:corporate typeface 1436:William Thorowgood 1404: 1382:Three sans-serif " 1347:Monotype Grotesque 1320: 1289:Copperplate Gothic 1269:fine book printing 1265: 1133:fat face typefaces 973: 962: 854:Etruscan epigraphy 746: 580: 438: 434:Bauer Type Foundry 387: 345:Monotype Grotesque 297: 88: 68:(coloured in red) 6044: 6043: 5791:Typographic units 5709:For position only 5608: 5607: 5460: 5459: 4683:, 5 February 2003 4352:978-0-300-21929-6 4203:Monotype Recorder 4145:(2): 11, 21. 1950 4139:Monotype Recorder 3974:Letters of Credit 3753:978-0-7649-1615-1 3582:978-1-84511-028-4 3441:978-977-416-599-3 3412:978-0-230-61570-0 3359:European Magazine 3343:978-0-486-40281-9 3262:978-1-84091-649-2 2943:Calvert, Margaret 2803:20th-century type 2762:, pp. 86–90. 2518:. Creative Market 2441:"Knockout styles" 1941:Explanatory notes 1884:grunge typography 1492:British Standards 1424:, not sans-serif. 1040:Around 1816, the 1010:European Magazine 509:Brandon Grotesque 383:Haas Type Foundry 84:East Asian gothic 72: 71: 16:(Redirected from 6069: 6034: 6033: 6011:Related template 5943:Related articles 5744:Phototypesetting 5598:reverse-contrast 5583:Display typeface 5540: 5517:Blackletter type 5473: 5410:Vertical aspects 5391:Sentence spacing 5201:Typeface anatomy 5197: 5064: 5057: 5050: 5041: 4982: 4963: 4953: 4926: 4912:(5th ed.), 4900:Meggs, Philip B. 4895: 4874: 4848: 4822: 4808:(3rd ed.), 4791: 4790: 4772: 4766: 4765: 4749: 4743: 4742: 4741: 4739: 4734: 4723: 4717: 4716: 4715: 4713: 4708: 4698: 4692: 4691: 4690: 4688: 4675: 4669: 4666:Haralambous 2007 4663: 4657: 4656: 4651:. Archived from 4641: 4635: 4630: 4624: 4618: 4612: 4611: 4600: 4594: 4593: 4586: 4580: 4579: 4577: 4575: 4564: 4558: 4557: 4555: 4553: 4538: 4532: 4526: 4520: 4519: 4501: 4495: 4494: 4466: 4460: 4459: 4457: 4455: 4449: 4443:. Archived from 4441:Der Druckspiegel 4438: 4426: 4420: 4419: 4417: 4415: 4409: 4403:. Archived from 4401:Der Druckspiegel 4398: 4386: 4380: 4379: 4377: 4375: 4363: 4357: 4356: 4334: 4328: 4327: 4309: 4303: 4302: 4300: 4298: 4283: 4277: 4276: 4260: 4254: 4253: 4225: 4219: 4218: 4216: 4214: 4200: 4191: 4185: 4184: 4182: 4180: 4161: 4155: 4154: 4152: 4150: 4136: 4128: 4122: 4121: 4119: 4117: 4100: 4094: 4088: 4082: 4081: 4079: 4077: 4063: 4057: 4056: 4046: 4040: 4039: 4037: 4035: 4025: 4016: 4010: 4004: 3998: 3997: 3984: 3978: 3977: 3966: 3957: 3956: 3954: 3952: 3946: 3939: 3930: 3924: 3923: 3916: 3910: 3904: 3895: 3893: 3878: 3872: 3866: 3860: 3859: 3857: 3855: 3842: 3836: 3835: 3833: 3831: 3817: 3811: 3810: 3808: 3806: 3794: 3788: 3787: 3785: 3783: 3764: 3758: 3757: 3735: 3729: 3728: 3726: 3724: 3702: 3693: 3692: 3687: 3685: 3668: 3662: 3661: 3647: 3645: 3640:on 14 March 2010 3636:. Archived from 3618: 3609: 3608: 3606: 3604: 3593: 3587: 3586: 3564: 3558: 3557: 3555: 3553: 3547: 3540: 3529: 3523: 3522: 3504: 3498: 3497: 3495: 3493: 3476: 3470: 3469: 3452: 3446: 3445: 3423: 3417: 3416: 3394: 3388: 3387: 3373: 3367: 3366: 3354: 3348: 3347: 3325: 3319: 3318: 3316: 3314: 3298: 3292: 3291: 3289: 3287: 3273: 3267: 3266: 3244: 3238: 3232: 3219: 3213: 3190: 3189: 3187: 3185: 3170: 3164: 3163: 3145: 3139: 3138: 3136: 3134: 3125:. Archived from 3114: 3099: 3098: 3096: 3094: 3077: 3071: 3070: 3068: 3066: 3055: 3049: 3048: 3047: 3045: 3036:, archived from 3027: 3014: 3013: 3011: 3009: 2994: 2988: 2987: 2985: 2983: 2971:Coles, Stephen. 2968: 2962: 2961: 2959: 2957: 2939: 2933: 2932: 2930: 2928: 2913: 2907: 2906: 2904: 2902: 2890:Coles, Stephen. 2887: 2881: 2880: 2878: 2876: 2861: 2855: 2854: 2852: 2850: 2835: 2829: 2823: 2817: 2816: 2798: 2792: 2791: 2789: 2787: 2778: 2769: 2763: 2757: 2748: 2747: 2745: 2743: 2728: 2722: 2721: 2719: 2717: 2712:on 18 April 2018 2708:. Archived from 2697: 2691: 2690: 2688: 2686: 2671: 2665: 2664: 2663:. pp. 86–8. 2656: 2647: 2641: 2635: 2634: 2632: 2630: 2618: 2612: 2611: 2609: 2607: 2595: 2589: 2588: 2586: 2584: 2569: 2563: 2562: 2546: 2540: 2534: 2528: 2527: 2525: 2523: 2507: 2501: 2500: 2498: 2496: 2489:"Grotesque Sans" 2485: 2479: 2478: 2476: 2474: 2459: 2453: 2452: 2450: 2448: 2437: 2431: 2430: 2427:"Knockout sizes" 2422: 2416: 2415: 2413: 2411: 2399: 2393: 2392: 2390: 2388: 2374: 2368: 2367: 2365: 2363: 2347: 2338: 2337: 2335: 2333: 2321: 2310: 2309: 2303: 2295: 2293: 2291: 2278:Coles, Stephen. 2275: 2269: 2268: 2266: 2264: 2258: 2252:. Archived from 2250:Graphic Exchange 2247: 2235: 2226: 2171: 2150: 2144: 2143: 2141: 2139: 2125: 2116: 2110: 2109: 2102: 2096: 2085:"sans serif" in 2083: 2068: 2065: 2059: 2052: 2046: 2036: 2030: 2026: 2020: 2009: 2003: 1995: 1989: 1982: 1976: 1972: 1966: 1959: 1953: 1950: 1895: 1879: 1867: 1855: 1839: 1827: 1811: 1799: 1787: 1771: 1759: 1747: 1735: 1723: 1711: 1699: 1680: 1668: 1656: 1644: 1632: 1620: 1608: 1596: 1584: 1572: 1559:Simple carving, 1556: 1547: 1522:Rich Text Format 1512: 1506: 1481: 1461: 1414:Joseph Farington 1353: 1328:Grotesque series 1294: 1233: 1207: 1195: 1179: 1151: 1119: 1107: 1094: 1031:Joseph Farington 1028: 929: 917: 902: 892:Cippus Perusinus 888:ancient Etruscan 883: 862: 859: 833:or occasionally 624:Column of Trajan 470: 467: 403:Akzidenz-Grotesk 325:Akzidenz-Grotesk 289:Akzidenz-Grotesk 215: 209: 190:§ Geometric 182:§ Grotesque 155: 154: 151: 150: 147: 144: 141: 138: 135: 130: 129: 124: 123: 120: 117: 114: 63: 51: 39: 32: 31: 21: 6077: 6076: 6072: 6071: 6070: 6068: 6067: 6066: 6047: 6046: 6045: 6040: 6022: 6006: 5938: 5898:writing systems 5897: 5891: 5845: 5785: 5729:Microtypography 5668: 5604: 5566: 5543: 5511: 5468:classifications 5467: 5456: 5405: 5359: 5325:Blackboard bold 5311: 5263: 5186: 5136: 5127:Recto and verso 5073: 5068: 4990: 4985: 4979: 4966: 4956: 4951: 4929: 4924: 4898: 4893: 4877: 4872: 4851: 4846: 4825: 4820: 4798: 4794: 4787: 4774: 4773: 4769: 4751: 4750: 4746: 4737: 4735: 4732: 4725: 4724: 4720: 4711: 4709: 4706: 4700: 4699: 4695: 4686: 4684: 4677: 4676: 4672: 4664: 4660: 4643: 4642: 4638: 4631: 4627: 4619: 4615: 4602: 4601: 4597: 4588: 4587: 4583: 4573: 4571: 4566: 4565: 4561: 4551: 4549: 4540: 4539: 4535: 4527: 4523: 4516: 4503: 4502: 4498: 4468: 4467: 4463: 4453: 4451: 4447: 4436: 4428: 4427: 4423: 4413: 4411: 4407: 4396: 4388: 4387: 4383: 4373: 4371: 4365: 4364: 4360: 4353: 4336: 4335: 4331: 4324: 4311: 4310: 4306: 4296: 4294: 4286:Rhatigan, Dan. 4285: 4284: 4280: 4262: 4261: 4257: 4227: 4226: 4222: 4212: 4210: 4198: 4193: 4192: 4188: 4178: 4176: 4163: 4162: 4158: 4148: 4146: 4134: 4130: 4129: 4125: 4115: 4113: 4102: 4101: 4097: 4089: 4085: 4075: 4073: 4065: 4064: 4060: 4048: 4047: 4043: 4033: 4031: 4023: 4018: 4017: 4013: 4005: 4001: 3986: 3985: 3981: 3968: 3967: 3960: 3950: 3948: 3944: 3937: 3932: 3931: 3927: 3918: 3917: 3913: 3905: 3898: 3880: 3879: 3875: 3867: 3863: 3853: 3851: 3844: 3843: 3839: 3829: 3827: 3819: 3818: 3814: 3804: 3802: 3796: 3795: 3791: 3781: 3779: 3766: 3765: 3761: 3754: 3737: 3736: 3732: 3722: 3720: 3704: 3703: 3696: 3683: 3681: 3670: 3669: 3665: 3653:Franklin Gothic 3643: 3641: 3620: 3619: 3612: 3602: 3600: 3595: 3594: 3590: 3583: 3566: 3565: 3561: 3551: 3549: 3545: 3538: 3531: 3530: 3526: 3519: 3506: 3505: 3501: 3491: 3489: 3478: 3477: 3473: 3456:Southey, Robert 3454: 3453: 3449: 3442: 3425: 3424: 3420: 3413: 3396: 3395: 3391: 3375: 3374: 3370: 3356: 3355: 3351: 3344: 3327: 3326: 3322: 3312: 3310: 3301:Mosley, James. 3300: 3299: 3295: 3285: 3283: 3275: 3274: 3270: 3263: 3246: 3245: 3241: 3233: 3222: 3218:, p. 1–19. 3214: 3193: 3183: 3181: 3172: 3171: 3167: 3160: 3147: 3146: 3142: 3132: 3130: 3129:on 28 June 2014 3117:Mosley, James. 3116: 3115: 3102: 3092: 3090: 3079: 3078: 3074: 3064: 3062: 3057: 3056: 3052: 3043: 3041: 3040:on 10 June 2014 3029: 3028: 3017: 3007: 3005: 2997:Thomas, Barry. 2996: 2995: 2991: 2981: 2979: 2970: 2969: 2965: 2955: 2953: 2947:"New Transport" 2941: 2940: 2936: 2926: 2924: 2915: 2914: 2910: 2900: 2898: 2889: 2888: 2884: 2874: 2872: 2863: 2862: 2858: 2848: 2846: 2837: 2836: 2832: 2824: 2820: 2813: 2800: 2799: 2795: 2785: 2783: 2776: 2771: 2770: 2766: 2758: 2751: 2741: 2739: 2730: 2729: 2725: 2715: 2713: 2699: 2698: 2694: 2684: 2682: 2673: 2672: 2668: 2658: 2657: 2650: 2642: 2638: 2628: 2626: 2620: 2619: 2615: 2605: 2603: 2597: 2596: 2592: 2582: 2580: 2571: 2570: 2566: 2548: 2547: 2543: 2535: 2531: 2521: 2519: 2509: 2508: 2504: 2494: 2492: 2487: 2486: 2482: 2472: 2470: 2461: 2460: 2456: 2446: 2444: 2439: 2438: 2434: 2424: 2423: 2419: 2409: 2407: 2401: 2400: 2396: 2386: 2384: 2378:"Italic Gothic" 2376: 2375: 2371: 2361: 2359: 2349: 2348: 2341: 2331: 2329: 2328:. Adobe Systems 2323: 2322: 2313: 2296: 2289: 2287: 2277: 2276: 2272: 2262: 2260: 2256: 2245: 2237: 2236: 2229: 2209: 2196: 2183: 2174: 2172: 2169: 2152: 2151: 2147: 2137: 2135: 2123: 2118: 2117: 2113: 2104: 2103: 2099: 2084: 2080: 2076: 2071: 2066: 2062: 2053: 2049: 2037: 2033: 2027: 2023: 2010: 2006: 1996: 1992: 1988:'s photographs. 1983: 1979: 1973: 1969: 1960: 1956: 1951: 1947: 1943: 1910: 1903: 1896: 1887: 1880: 1871: 1868: 1859: 1856: 1847: 1840: 1831: 1828: 1819: 1812: 1803: 1800: 1791: 1788: 1779: 1772: 1763: 1760: 1751: 1748: 1739: 1736: 1727: 1724: 1715: 1712: 1703: 1700: 1691: 1681: 1672: 1669: 1660: 1657: 1648: 1645: 1636: 1633: 1624: 1621: 1612: 1609: 1600: 1597: 1588: 1585: 1576: 1573: 1564: 1557: 1538: 1482:was defined by 1473: 1457: 1409: 1376: 1351: 1332:Adrian Frutiger 1312: 1292: 1247: 1242: 1241: 1240: 1237: 1234: 1225: 1216:, published by 1208: 1199: 1196: 1187: 1180: 1149: 1129: 1128: 1127: 1124: 1120: 1111: 1108: 1099: 1095: 1061:Vincent Figgins 1050: 1042:Ordnance Survey 1026: 989:Temple of Vesta 946: 941: 940: 939: 936: 930: 921: 918: 909: 903: 894: 884: 860: 846:Thomas Dempster 803: 782: 738: 604:Edward Johnston 590:rather than an 565: 505:ITC Avant Garde 493:Bernhard Gothic 468: 458:Architype Bayer 443:classical model 423: 372: 349:Grotesque No. 9 337:Franklin Gothic 282: 270: 264: 241:Franklin Gothic 194:§ Humanist 132: 126: 111: 107: 67: 54:Serif typeface 30: 23: 22: 15: 12: 11: 5: 6075: 6073: 6065: 6064: 6059: 6049: 6048: 6042: 6041: 6039: 6038: 6027: 6024: 6023: 6021: 6020: 6014: 6012: 6008: 6007: 6005: 6004: 5999: 5994: 5989: 5984: 5979: 5974: 5969: 5968: 5967: 5962: 5957: 5946: 5944: 5940: 5939: 5937: 5936: 5935: 5934: 5932:National Fonts 5924: 5919: 5918: 5917: 5907: 5901: 5899: 5893: 5892: 5890: 5889: 5884: 5879: 5877:Web typography 5874: 5869: 5864: 5859: 5853: 5851: 5847: 5846: 5844: 5843: 5838: 5837: 5836: 5826: 5821: 5816: 5811: 5806: 5801: 5795: 5793: 5787: 5786: 5784: 5783: 5782: 5781: 5771: 5766: 5761: 5756: 5754:Reversing type 5751: 5746: 5741: 5736: 5731: 5726: 5721: 5716: 5711: 5706: 5701: 5700: 5699: 5694: 5684: 5678: 5676: 5670: 5669: 5667: 5666: 5661: 5656: 5651: 5650: 5649: 5639: 5634: 5629: 5623: 5621: 5610: 5609: 5606: 5605: 5603: 5602: 5601: 5600: 5595: 5590: 5580: 5574: 5572: 5568: 5567: 5565: 5564: 5559: 5553: 5551: 5545: 5544: 5542: 5541: 5532: 5527: 5521: 5519: 5513: 5512: 5510: 5509: 5504: 5503: 5502: 5497: 5492: 5481: 5479: 5470: 5462: 5461: 5458: 5457: 5455: 5454: 5449: 5444: 5439: 5434: 5429: 5424: 5419: 5413: 5411: 5407: 5406: 5404: 5403: 5398: 5393: 5388: 5383: 5381:Letter-spacing 5378: 5373: 5367: 5365: 5361: 5360: 5358: 5357: 5352: 5347: 5342: 5337: 5335:Color printing 5332: 5327: 5321: 5319: 5313: 5312: 5310: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5273: 5271: 5269:Capitalization 5265: 5264: 5262: 5261: 5256: 5251: 5246: 5241: 5236: 5231: 5226: 5221: 5216: 5211: 5205: 5203: 5194: 5188: 5187: 5185: 5184: 5183: 5182: 5172: 5167: 5162: 5157: 5152: 5146: 5144: 5138: 5137: 5135: 5134: 5129: 5124: 5119: 5114: 5109: 5107:Page numbering 5104: 5099: 5094: 5089: 5083: 5081: 5075: 5074: 5069: 5067: 5066: 5059: 5052: 5044: 5038: 5037: 5027: 5017: 5007: 5006:by Jon Melton) 4997: 4989: 4988:External links 4986: 4984: 4983: 4977: 4964: 4954: 4949: 4927: 4922: 4904:Purvis, Alston 4896: 4891: 4875: 4870: 4849: 4844: 4832:O'Reilly Media 4823: 4818: 4795: 4793: 4792: 4785: 4767: 4744: 4718: 4693: 4670: 4668:, p. 411. 4658: 4655:on 4 May 2014. 4636: 4625: 4623:, p. 295. 4613: 4595: 4581: 4559: 4533: 4521: 4514: 4496: 4477:(3): 307–313. 4461: 4430:Gerstner, Karl 4421: 4390:Gerstner, Karl 4381: 4358: 4351: 4329: 4322: 4304: 4278: 4265:Commercial Art 4255: 4236:(4): 291–311. 4220: 4186: 4156: 4123: 4095: 4093:, p. 330. 4083: 4058: 4041: 4011: 4009:, p. 242. 3999: 3988:Behrens, Peter 3979: 3958: 3925: 3911: 3909:, p. 296. 3896: 3873: 3871:, p. 155. 3861: 3837: 3812: 3789: 3759: 3752: 3730: 3694: 3663: 3610: 3588: 3581: 3559: 3524: 3517: 3499: 3471: 3447: 3440: 3418: 3411: 3389: 3368: 3349: 3342: 3320: 3293: 3268: 3261: 3239: 3220: 3191: 3173:Barnes, Paul. 3165: 3159:978-2728307296 3158: 3140: 3100: 3072: 3050: 3015: 3003:Poor Frank Raw 2989: 2963: 2934: 2908: 2882: 2856: 2830: 2818: 2811: 2793: 2764: 2749: 2723: 2692: 2666: 2648: 2636: 2613: 2590: 2564: 2557:) – via 2541: 2529: 2502: 2480: 2454: 2432: 2417: 2394: 2369: 2339: 2311: 2270: 2227: 2167: 2145: 2111: 2097: 2077: 2075: 2072: 2070: 2069: 2060: 2047: 2031: 2021: 2017:National Trust 2004: 1990: 1977: 1967: 1954: 1944: 1942: 1939: 1938: 1937: 1926: 1921: 1916: 1909: 1906: 1905: 1904: 1897: 1890: 1888: 1881: 1874: 1872: 1869: 1862: 1860: 1857: 1850: 1848: 1841: 1834: 1832: 1829: 1822: 1820: 1813: 1806: 1804: 1801: 1794: 1792: 1789: 1782: 1780: 1773: 1766: 1764: 1761: 1754: 1752: 1749: 1742: 1740: 1737: 1730: 1728: 1725: 1718: 1716: 1713: 1706: 1704: 1701: 1694: 1692: 1684:Berthold Block 1682: 1675: 1673: 1670: 1663: 1661: 1658: 1651: 1649: 1646: 1639: 1637: 1634: 1627: 1625: 1622: 1615: 1613: 1610: 1603: 1601: 1598: 1591: 1589: 1586: 1579: 1577: 1574: 1567: 1565: 1558: 1551: 1537: 1534: 1533: 1532: 1529: 1514: 1499: 1484:Maximilien Vox 1472: 1469: 1468: 1467: 1450: 1447: 1432: 1425: 1408: 1405: 1375: 1372: 1311: 1308: 1246: 1243: 1239: 1238: 1235: 1228: 1226: 1220:in 1914, used 1209: 1202: 1200: 1197: 1190: 1188: 1181: 1174: 1171: 1170: 1169: 1126: 1125: 1121: 1114: 1112: 1109: 1102: 1100: 1096: 1089: 1086: 1085: 1084: 1049: 1046: 1019:Robert Southey 945: 942: 938: 937: 931: 924: 922: 919: 912: 910: 904: 897: 895: 885: 878: 875: 874: 873: 802: 799: 794:National Trust 781: 778: 737: 736:Other or mixed 734: 682:Charlotte Sans 666:computer fonts 564: 561: 529:Century Gothic 525:HarmonyOS Sans 441:following the 422: 419: 371: 368: 293:H. Berthold AG 281: 278: 263: 262:Classification 260: 237:Highway Gothic 70: 69: 64: 56: 55: 52: 44: 43: 40: 28: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6074: 6063: 6060: 6058: 6055: 6054: 6052: 6037: 6029: 6028: 6025: 6019: 6016: 6015: 6013: 6009: 6003: 6000: 5998: 5995: 5993: 5990: 5988: 5985: 5983: 5980: 5978: 5975: 5973: 5970: 5966: 5963: 5961: 5958: 5956: 5953: 5952: 5951: 5948: 5947: 5945: 5941: 5933: 5930: 5929: 5928: 5925: 5923: 5920: 5916: 5913: 5912: 5911: 5908: 5906: 5903: 5902: 5900: 5894: 5888: 5885: 5883: 5882:Bézier curves 5880: 5878: 5875: 5873: 5870: 5868: 5867:Rasterization 5865: 5863: 5860: 5858: 5855: 5854: 5852: 5848: 5842: 5839: 5835: 5832: 5831: 5830: 5827: 5825: 5822: 5820: 5817: 5815: 5812: 5810: 5807: 5805: 5802: 5800: 5797: 5796: 5794: 5792: 5788: 5780: 5777: 5776: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5735: 5732: 5730: 5727: 5725: 5724:Microprinting 5722: 5720: 5717: 5715: 5712: 5710: 5707: 5705: 5702: 5698: 5695: 5693: 5690: 5689: 5688: 5685: 5683: 5682:Etaoin shrdlu 5680: 5679: 5677: 5675: 5671: 5665: 5662: 5660: 5657: 5655: 5652: 5648: 5645: 5644: 5643: 5640: 5638: 5635: 5633: 5630: 5628: 5625: 5624: 5622: 5619: 5615: 5611: 5599: 5596: 5594: 5591: 5589: 5586: 5585: 5584: 5581: 5579: 5576: 5575: 5573: 5569: 5563: 5560: 5558: 5555: 5554: 5552: 5550: 5546: 5539: 5538: 5533: 5531: 5528: 5526: 5523: 5522: 5520: 5518: 5514: 5508: 5505: 5501: 5498: 5496: 5493: 5491: 5488: 5487: 5486: 5483: 5482: 5480: 5478: 5474: 5471: 5469: 5463: 5453: 5450: 5448: 5445: 5443: 5440: 5438: 5435: 5433: 5430: 5428: 5425: 5423: 5420: 5418: 5415: 5414: 5412: 5408: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5368: 5366: 5362: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5322: 5320: 5318: 5314: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5274: 5272: 5270: 5266: 5260: 5257: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5230: 5227: 5225: 5222: 5220: 5217: 5215: 5212: 5210: 5207: 5206: 5204: 5202: 5198: 5195: 5193: 5189: 5181: 5178: 5177: 5176: 5173: 5171: 5168: 5166: 5163: 5161: 5158: 5156: 5153: 5151: 5148: 5147: 5145: 5143: 5139: 5133: 5130: 5128: 5125: 5123: 5120: 5118: 5115: 5113: 5110: 5108: 5105: 5103: 5100: 5098: 5095: 5093: 5090: 5088: 5085: 5084: 5082: 5080: 5076: 5072: 5065: 5060: 5058: 5053: 5051: 5046: 5045: 5042: 5035: 5034:Sara Soskolne 5031: 5028: 5025: 5023: 5018: 5015: 5011: 5008: 5005: 5001: 4998: 4995: 4992: 4991: 4987: 4980: 4978:9780953520107 4974: 4970: 4965: 4962: 4961: 4955: 4952: 4950:9780879236366 4946: 4942: 4938: 4937: 4932: 4931:Tracy, Walter 4928: 4925: 4923:9781118017760 4919: 4915: 4911: 4910: 4905: 4901: 4897: 4894: 4892:9781606060834 4888: 4884: 4880: 4879:Lyons, Martyn 4876: 4873: 4871:9780879233334 4867: 4863: 4859: 4855: 4850: 4847: 4845:9780596102425 4841: 4837: 4833: 4829: 4824: 4821: 4819:9780881792065 4815: 4811: 4807: 4806: 4801: 4797: 4796: 4788: 4786:9780906294789 4782: 4778: 4771: 4768: 4763: 4759: 4755: 4748: 4745: 4731: 4730: 4722: 4719: 4705: 4704: 4697: 4694: 4682: 4681: 4674: 4671: 4667: 4662: 4659: 4654: 4650: 4646: 4640: 4637: 4634: 4629: 4626: 4622: 4617: 4614: 4609: 4605: 4599: 4596: 4591: 4585: 4582: 4570: 4563: 4560: 4548: 4544: 4537: 4534: 4530: 4525: 4522: 4517: 4515:9783038212607 4511: 4507: 4500: 4497: 4492: 4488: 4484: 4480: 4476: 4472: 4465: 4462: 4446: 4442: 4435: 4431: 4425: 4422: 4406: 4402: 4395: 4391: 4385: 4382: 4369: 4362: 4359: 4354: 4348: 4344: 4340: 4333: 4330: 4325: 4323:9780520227965 4319: 4315: 4308: 4305: 4293: 4289: 4282: 4279: 4274: 4270: 4266: 4259: 4256: 4251: 4247: 4243: 4239: 4235: 4231: 4224: 4221: 4208: 4204: 4197: 4190: 4187: 4174: 4170: 4166: 4160: 4157: 4144: 4140: 4133: 4127: 4124: 4112: 4108: 4107: 4099: 4096: 4092: 4087: 4084: 4071: 4070: 4062: 4059: 4054: 4053: 4045: 4042: 4029: 4022: 4015: 4012: 4008: 4003: 4000: 3995: 3994: 3989: 3983: 3980: 3976:. p. 98. 3975: 3971: 3970:Tracy, Walter 3965: 3963: 3959: 3943: 3936: 3929: 3926: 3921: 3915: 3912: 3908: 3903: 3901: 3897: 3891: 3887: 3883: 3877: 3874: 3870: 3865: 3862: 3849: 3848: 3841: 3838: 3825: 3824: 3816: 3813: 3800: 3793: 3790: 3778: 3774: 3770: 3763: 3760: 3755: 3749: 3745: 3741: 3734: 3731: 3719: 3715: 3711: 3707: 3701: 3699: 3695: 3691: 3679: 3678: 3673: 3672:Lane, John A. 3667: 3664: 3660: 3658: 3654: 3639: 3635: 3631: 3627: 3623: 3622:Mosley, James 3617: 3615: 3611: 3598: 3592: 3589: 3584: 3578: 3574: 3570: 3563: 3560: 3544: 3537: 3536: 3528: 3525: 3520: 3518:9781567922400 3514: 3510: 3503: 3500: 3488: 3484: 3483: 3475: 3472: 3467: 3463: 3462: 3457: 3451: 3448: 3443: 3437: 3433: 3429: 3422: 3419: 3414: 3408: 3404: 3400: 3393: 3390: 3385: 3381: 3380: 3372: 3369: 3364: 3360: 3353: 3350: 3345: 3339: 3335: 3331: 3324: 3321: 3309:. ESAD Amiens 3308: 3304: 3297: 3294: 3281: 3280: 3272: 3269: 3264: 3258: 3254: 3250: 3243: 3240: 3236: 3231: 3229: 3227: 3225: 3221: 3217: 3212: 3210: 3208: 3206: 3204: 3202: 3200: 3198: 3196: 3192: 3180: 3176: 3169: 3166: 3161: 3155: 3151: 3144: 3141: 3128: 3124: 3120: 3113: 3111: 3109: 3107: 3105: 3101: 3089: 3088: 3083: 3076: 3073: 3060: 3054: 3051: 3039: 3035: 3034: 3026: 3024: 3022: 3020: 3016: 3004: 3000: 2993: 2990: 2978: 2974: 2967: 2964: 2952: 2948: 2944: 2938: 2935: 2923: 2922:Kupferschrift 2919: 2912: 2909: 2897: 2893: 2886: 2883: 2871: 2867: 2860: 2857: 2845: 2841: 2834: 2831: 2827: 2822: 2819: 2814: 2812:9781856693516 2808: 2804: 2797: 2794: 2782: 2775: 2768: 2765: 2761: 2756: 2754: 2750: 2738: 2734: 2727: 2724: 2711: 2707: 2703: 2696: 2693: 2681: 2677: 2670: 2667: 2662: 2655: 2653: 2649: 2645: 2640: 2637: 2624: 2617: 2614: 2601: 2594: 2591: 2579: 2575: 2568: 2565: 2560: 2556: 2552: 2545: 2542: 2538: 2533: 2530: 2517: 2513: 2506: 2503: 2490: 2484: 2481: 2469: 2465: 2458: 2455: 2442: 2436: 2433: 2428: 2421: 2418: 2405: 2398: 2395: 2383: 2379: 2373: 2370: 2358: 2354: 2353: 2346: 2344: 2340: 2327: 2324:Berry, John. 2320: 2318: 2316: 2312: 2307: 2301: 2285: 2281: 2274: 2271: 2255: 2251: 2244: 2240: 2234: 2232: 2228: 2224: 2220: 2216: 2212: 2207: 2203: 2199: 2194: 2190: 2186: 2185:Neo-grotesque 2181: 2177: 2170: 2168:9781856694377 2164: 2160: 2156: 2149: 2146: 2133: 2129: 2122: 2115: 2112: 2107: 2101: 2098: 2094: 2090: 2089: 2082: 2079: 2073: 2064: 2061: 2057: 2051: 2048: 2045: 2041: 2035: 2032: 2025: 2022: 2018: 2014: 2008: 2005: 2000: 1994: 1991: 1987: 1981: 1978: 1971: 1968: 1964: 1958: 1955: 1949: 1946: 1940: 1936: 1935: 1930: 1927: 1925: 1922: 1920: 1917: 1915: 1912: 1911: 1907: 1901: 1900:Alan Kitching 1894: 1889: 1885: 1878: 1873: 1866: 1861: 1854: 1849: 1845: 1838: 1833: 1826: 1821: 1817: 1810: 1805: 1798: 1793: 1786: 1781: 1777: 1770: 1765: 1758: 1753: 1746: 1741: 1734: 1729: 1722: 1717: 1710: 1705: 1698: 1693: 1689: 1685: 1679: 1674: 1667: 1662: 1655: 1650: 1643: 1638: 1631: 1626: 1619: 1614: 1607: 1602: 1595: 1590: 1583: 1578: 1571: 1566: 1562: 1555: 1550: 1548: 1544: 1535: 1530: 1527: 1523: 1519: 1515: 1511: 1505: 1500: 1497: 1493: 1489: 1485: 1480: 1475: 1474: 1470: 1465: 1460: 1459:J. R. M. Wood 1455: 1451: 1448: 1445: 1441: 1437: 1433: 1430: 1429:Antique Olive 1426: 1423: 1419: 1415: 1411: 1410: 1406: 1401: 1397: 1393: 1389: 1385: 1380: 1373: 1371: 1369: 1364: 1360: 1355: 1348: 1344: 1339: 1337: 1333: 1329: 1325: 1316: 1309: 1307: 1305: 1301: 1296: 1290: 1284: 1282: 1278: 1274: 1270: 1262: 1261: 1255: 1251: 1244: 1232: 1227: 1223: 1219: 1218:Wyndham Lewis 1215: 1214: 1206: 1201: 1194: 1189: 1185: 1178: 1173: 1168: 1166: 1165:Peter Behrens 1162: 1157: 1153: 1147: 1142: 1138: 1134: 1118: 1113: 1106: 1101: 1093: 1088: 1083: 1080: 1078: 1074: 1070: 1064: 1062: 1057: 1055: 1047: 1045: 1043: 1038: 1036: 1032: 1024: 1020: 1015: 1012: 1011: 1004: 1002: 996: 994: 993:Tivoli, Italy 990: 986: 982: 978: 977:neoclassicism 971: 966: 959: 955: 950: 943: 934: 928: 923: 916: 911: 907: 901: 896: 893: 889: 882: 877: 872: 870: 869:Valentin Haüy 866: 855: 851: 847: 843: 838: 836: 832: 828: 824: 820: 816: 812: 808: 800: 798: 795: 791: 787: 779: 777: 775: 771: 767: 763: 759: 755: 751: 742: 735: 733: 731: 727: 723: 719: 718:Lucida Grande 716:, as well as 715: 711: 707: 703: 699: 695: 691: 687: 683: 679: 675: 671: 667: 663: 659: 655: 651: 649: 645: 641: 637: 633: 627: 625: 621: 617: 613: 609: 605: 601: 597: 593: 589: 585: 577: 576:D. Stempel AG 573: 569: 562: 560: 558: 554: 553:Handel Gothic 550: 546: 542: 536: 534: 530: 526: 522: 518: 514: 510: 506: 502: 498: 494: 490: 486: 480: 478: 474: 463: 459: 455: 451: 450:Herbert Bayer 446: 444: 435: 431: 427: 420: 418: 416: 412: 408: 404: 400: 395: 393: 384: 380: 376: 370:Neo-grotesque 369: 367: 365: 361: 356: 354: 353:digital fonts 350: 346: 342: 338: 334: 330: 326: 321: 319: 315: 309: 307: 302: 294: 290: 286: 279: 277: 275: 269: 261: 259: 257: 253: 248: 246: 242: 238: 234: 230: 225: 223: 220:and less for 219: 214: 208: 201: 199: 195: 191: 187: 183: 179: 175: 171: 167: 163: 159: 153: 105: 101: 97: 93: 85: 81: 76: 65: 62: 58: 57: 53: 50: 46: 45: 41: 38: 34: 33: 27: 19: 5982:Type foundry 5819:Metric units 5749:Punchcutting 5734:Movable type 5704:Font catalog 5664:Vertical bar 5506: 5401:Word spacing 5371:Figure space 5254:Text figures 5097:Even working 5021: 5012:(lecture by 5002:(lecture to 4968: 4959: 4935: 4908: 4882: 4853: 4827: 4804: 4776: 4770: 4753: 4747: 4736:, retrieved 4728: 4721: 4710:, retrieved 4702: 4696: 4685:, retrieved 4679: 4673: 4661: 4653:the original 4649:Linotype.com 4648: 4639: 4628: 4616: 4607: 4598: 4584: 4572:. Retrieved 4562: 4550:. Retrieved 4546: 4541:Shaw, Paul. 4536: 4531:, p. 9. 4524: 4505: 4499: 4474: 4470: 4464: 4452:. Retrieved 4445:the original 4440: 4424: 4412:. Retrieved 4405:the original 4400: 4384: 4372:. Retrieved 4366:Shaw, Paul. 4361: 4338: 4332: 4313: 4307: 4295:. Retrieved 4291: 4281: 4268: 4264: 4258: 4233: 4229: 4223: 4211:. Retrieved 4206: 4202: 4189: 4177:. Retrieved 4173:the original 4168: 4159: 4147:. Retrieved 4142: 4138: 4126: 4114:. Retrieved 4105: 4098: 4086: 4074:. Retrieved 4068: 4061: 4051: 4044: 4032:. Retrieved 4027: 4014: 4002: 3992: 3982: 3973: 3949:. Retrieved 3942:the original 3928: 3919: 3914: 3889: 3876: 3864: 3852:. Retrieved 3846: 3840: 3828:. Retrieved 3822: 3815: 3803:. Retrieved 3792: 3780:. Retrieved 3772: 3762: 3739: 3733: 3721:. Retrieved 3706:Barnes, Paul 3689: 3682:. Retrieved 3676: 3666: 3649: 3642:. Retrieved 3638:the original 3633: 3601:. Retrieved 3591: 3568: 3562: 3550:. Retrieved 3543:the original 3534: 3527: 3508: 3502: 3490:. Retrieved 3481: 3474: 3460: 3450: 3427: 3421: 3398: 3392: 3378: 3371: 3358: 3352: 3329: 3323: 3311:. Retrieved 3306: 3296: 3284:. Retrieved 3278: 3271: 3248: 3242: 3184:23 September 3182:. Retrieved 3178: 3168: 3149: 3143: 3131:. Retrieved 3127:the original 3122: 3091:. Retrieved 3085: 3075: 3063:. Retrieved 3053: 3042:, retrieved 3038:the original 3032: 3008:23 September 3006:. Retrieved 3002: 2992: 2980:. Retrieved 2976: 2966: 2954:. Retrieved 2950: 2937: 2925:. Retrieved 2921: 2911: 2899:. Retrieved 2896:Typographica 2895: 2885: 2873:. Retrieved 2870:Creative Pro 2869: 2859: 2847:. Retrieved 2844:Creative Pro 2843: 2833: 2821: 2802: 2796: 2784:. Retrieved 2780: 2772:Nash, John. 2767: 2740:. Retrieved 2736: 2726: 2714:. Retrieved 2710:the original 2705: 2695: 2683:. Retrieved 2680:Fonts in Use 2679: 2669: 2660: 2639: 2627:. Retrieved 2616: 2604:. Retrieved 2593: 2581:. Retrieved 2567: 2544: 2532: 2520:. Retrieved 2515: 2505: 2493:. Retrieved 2483: 2471:. Retrieved 2468:The Guardian 2467: 2457: 2445:. Retrieved 2435: 2420: 2408:. Retrieved 2397: 2385:. Retrieved 2382:Fonts in Use 2381: 2372: 2360:. Retrieved 2351: 2330:. Retrieved 2288:. Retrieved 2283: 2273: 2261:. Retrieved 2254:the original 2249: 2210: 2197: 2184: 2175: 2154: 2148: 2136:. Retrieved 2131: 2127: 2114: 2105: 2100: 2086: 2081: 2063: 2056:John A. Lane 2050: 2034: 2024: 2007: 2002:sans-serifs. 1998: 1993: 1986:James Mosley 1980: 1970: 1957: 1948: 1934:The Guardian 1932: 1929:San Serriffe 1539: 1518:OpenDocument 1456:(1863), and 1443: 1356: 1340: 1323: 1321: 1303: 1299: 1297: 1285: 1266: 1259: 1212: 1160: 1158: 1154: 1146:Walter Tracy 1130: 1081: 1076: 1065: 1058: 1051: 1039: 1034: 1022: 1016: 1008: 1005: 997: 981:James Mosley 974: 970:William Gell 865:John Swinton 849: 839: 817:writing and 804: 783: 754:Hermann Zapf 747: 652: 648:Sassoon Sans 632:Hermann Zapf 628: 620:calligrapher 588:true italics 581: 537: 521:Product Sans 481: 447: 439: 396: 388: 357: 322: 310: 298: 273: 271: 249: 245:Trade Gothic 226: 202: 161: 160:, or simply 157: 103: 99: 89: 26: 5977:Type design 5972:Style guide 5965:Calligraphy 5955:Handwriting 5769:Type design 5719:Lorem ipsum 5714:Letterpress 5674:Typesetting 5614:Punctuation 5578:Record type 5549:Gaelic type 5537:Schwabacher 5427:Body height 5292:Letter case 5160:Line length 4621:Lawson 1990 4574:28 November 4547:Blue Pencil 4529:Mosley 1999 4374:26 December 4292:Ultrasparky 4271:(132–135): 4091:Lawson 1990 4034:19 December 3907:Lawson 1990 3782:28 November 3626:Shinn, Nick 3382:. pp. 3313:28 November 3235:Mosley 1999 3216:Mosley 1999 2927:23 February 2901:18 December 2875:24 February 2849:24 February 2826:Lawson 1990 2583:17 December 2387:25 February 2263:31 December 2239:Shinn, Nick 2091:. Chicago: 1963:text colour 1440:Fann Street 1388:News Gothic 1374:Other names 1167:, in 1900. 1137:slab-serifs 1098:prominence. 1073:"fat faces" 933:Blackletter 861: 1745 823:blackletter 815:blackletter 758:URW Grotesk 557:Ray Larabie 541:Bank Gothic 477:Paul Renner 471:). In 1927 469: 1925 454:Jakob Erbar 333:News Gothic 233:News Gothic 218:display use 6057:Typography 6051:Categories 5950:Penmanship 5922:East Asian 5764:Type color 5697:monospaced 5654:Interpunct 5647:minus sign 5571:Specialist 5507:Sans-serif 5500:slab serif 5477:Roman type 5432:Cap height 5396:Thin space 5355:Whitespace 5307:Title case 5302:Snake case 5297:Small caps 5282:Camel case 5214:Diacritics 5122:Pull quote 5117:Pagination 5112:Paper size 5071:Typography 4860:, p. 4834:, p. 4454:15 October 4414:15 October 4297:21 January 4007:Meggs 2011 3951:17 January 3869:Meggs 2011 3854:16 October 3644:30 October 3603:16 October 3492:15 October 3361:. p. 3133:15 October 3093:15 October 3065:15 October 2977:Identifont 2786:13 October 2760:Tracy 1986 2742:31 October 2716:29 October 2685:15 October 2644:Meggs 2011 2629:20 October 2602:. FontShop 2537:Meggs 2011 2491:. Monotype 2404:"Knockout" 2332:15 October 2208:, Pascal. 2074:References 1688:descenders 1526:font files 1422:slab serif 1345:eccentric 1343:Monotype's 1069:slab serif 985:John Soane 827:roman type 726:Droid Sans 694:Scala Sans 644:Goudy Sans 489:Semplicità 314:descenders 256:type color 178:minimalism 104:sans serif 100:sans-serif 92:typography 5447:Overshoot 5442:Mean line 5437:Descender 5350:Underline 5192:Character 5170:Runaround 5150:Alignment 5142:Paragraph 4179:17 August 4116:24 August 4106:Type Lore 4076:17 August 3634:Typophile 3552:17 August 2982:17 August 2625:. 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