1437:, having found financial success in producing goods from sheet metal, moved into the printing business. His roman and italic types appeared later than Fleischman's but are considered transitional and partly retrogressive with a return to lower contrast, smooth transaxial modeling, finely modeled bracketed serifs, and long stems. The exquisite design and finish of Baskerville's roman however, combining elegance and strength, was modern. His roman design, and especially his italic, were rococo-influenced. His letterforms are an intentional transition between old-style forms and modern styles. They were informed by his prior experience as a writing master and the influences of his time. The types of Joseph Fry, Alexander Wilson, and John Bell closely followed Baskerville, and through his correspondence with European type founders Baskerville's influence penetrated most of western Europe. Baskerville was a meticulous artist who controlled all aspects of his creation, devising more accurate presses, blacker inks and paper sealed with hot rollers to ensure crisp impressions. Of particular note, the lower storey of his lowercase g does not fully close. Derivatives of Baskerville are often identified thus. A modern revival of Baskerville, a font called
1098:
1915:– in their works they were referring to poetry and valued the art of publishing (printing) books more than other forms of art. Władysław Strzemiński is recognized as the precursor of avant-garde typography in Poland – he was one of the first artists to set aside the primal shape of letters. He thought the content was not as important as the way it was presented because in order to understand the message of a poster/cover, one had to understand what the artist tried to communicate with the arrangement of words or each letter. The inscriptions started to be constructed in a way to catch the eye – unlike “traditional” typography which was perceived as an addition to a text. As a form of inspiration, architecture also began to lose its value because avant-garde artists were drawing their ideas from paintings and graphics.
430:
1817:, which refers to him. Essentially this movement initiated three things: a return to the antiqua-models of the Renaissance, clarity and simplicity of book illustrations, and straightforward technical processes during the production of printed matters. An immediate consequence of the Arts and Crafts Movement was the establishment of the private press movement, which more or less was committed to Morris' ideals, and whose remains partially are still present today. An established meeting point of this scene in Germany for example is the
87:
1599:
the 1860s, when so-called 'old style' faces—a largely
English-speaking phenomenon—came into use. These went to the opposite extreme from the modern faces; 'thick' strokes were attenuated, and serifs at the end of thin strokes (as in C, E, L and T) were narrow and angled whereas in modern faces they were broad and vertical or nearly so. All the upper-case characters were somewhat 'condensed' (narrowed). Old style faces remained popular until about 1910.
952:' consistently, breaking away from the Italian tradition in which title pages and headings tended to be set in the same size as the main text. By using these large faces, Froben developed the title page as a fully organized artistic whole. Froben's italic face is based on that of Aldus but more even and uniform in effect. These Swiss books are the first to have been designed in every detail as printed artifacts rather than as adaptations of manuscript technique.
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323:
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714:. The sequence of appearance and production dates for types used by these printers have yet to be established with certainty; all four are known to have printed with types ranging from textur Gothic to fully developed romans inspired by the earlier humanistic writing, and within a few years the center of printing in Italy shifted from Rome to
963:, previously based in Paris, was producing fine books which used French typefaces in conjunction with heavy but resplendent woodcut ornaments to achieve a splendid page effect; but soon after 1600 there was a general, marked decline in the quality of both skill and materials, from which German printing did not recover until the 20th century.
853:. As books printed with early roman types forced humanistic minuscule out of use, cursiva humanistica gained favor as a manuscript hand for the purpose of writing. The popularity of cursive writing itself may have created some demand for a type of this style. The more decisive catalyst was probably the printing of pocket editions of
1587:
the application of the slab serif design feature and by appending serifs to more and more typefaces, an independent intermediate group of heterogeneous fonts emerged during the 20th century. Meanwhile, the slab serifs are listed as an independent group in most typeface classifications—besides both main groups
861:
The "Aldino" italic type, commissioned by
Manutius and cut by Francesco Griffo in 1499, was a closely spaced condensed type. Griffo's punches are a delicate translation of the Italian cursive hand, featuring letters of irregular slant angle and uneven height and vertical position, with some connected
1586:
from 1845) were newspaper fonts, whose serifs were strengthened in order to prevent damage during the printing process. Stylistically the serif fonts of the mid-19th century appeared very robust and otherwise had more or less neo-classical design features, which changed during the course of time: By
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and reproduction procedures. The step-by-step development of a modern mass society provided a growing demand of printed matters. Besides the traditional letterpress beginnings of a newspaper landscape as well as a broad market for publications, advertisements, and posters of all kinds appeared. The
1598:
Slab-serif and sans-serif types were rarely used for continuous bodies of text; their realm was that of advertisements, title-pages and other attention-catching pieces of print. By about 1820, most western countries were using modern romans and italics for continuous texts. This remained true until
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techniques effected a gradual shift in typographic style. Contrast between thick and thin strokes increased. Tilted stressing transformed into vertical stressing; full rounds were compressed. Blunt bracketed serifs grew sharp and delicate until they were fine straight lines. Detail became clean and
1133:
types, imitating French gothic cursive calligraphy. His main contribution was an italic type known as "Parangon de
Granjon". Italic type design had apparently become corrupted since the Arrighi and Aldine models. Granjon's italic had a greater slant angle, slanted roman capitals, and reduced weight
791:
of extender lengths to letter bodies and the distance between lines results in balanced, harmonious body of type. Jenson also mirrors the ideal expressed in renaissance painting of carving up space (typographic "white space") with figures (letters) to articulate the relationship between the two and
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Around the same time (1468) in Rome, Pannartz and
Sweynheim were using another typeface that closely mimicked humanistic minuscule, known as "Lactantius". Unlike the rigid fractured forms of Speyer's half-Gothic, the Lactantius is characterized by smoothly rendered letters with a restrained organic
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was the location of the first press, established in 1473. From there printers moved to other cities to set up presses. Roman types were used by the printers of
Salamanca for their editions of classical authors. Printing in Portuguese began at Lisbon in 1495 (the first book printed in Portugal was a
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After their 1494 invasion of Italy the French were greatly influenced by
Renaissance culture, and later set about converting French culture from Gothic to neo-classical. The required phonetic and orthographic changes to French language hindered the evolution of type design in France until the late
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established a press in Paris in 1503. Printing with undeveloped Roman and half-Gothic types, the French pair were too occupied meeting the demand for
Humanistic and classical texts to design any original types of their own. French books nonetheless began to follow the format established by Italian
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designed a superior italic type and had the punches cut by
Lauticio di Bartolomeo dei Rotelli. The more modular structure of Arrighi's italic and its few ligatures made it less a copy of the cursive hand than Griffo's. Its slightly taller roman capitals, a gentler slant angle, taller ascenders and
1557:
In
Britain and the United States, modern romans (emerging around 1800 and totally dominant by the 1820s) took a somewhat more rounded, less geometrical form than the designs of Didot and Bodoni; an obvious difference is that in Anglo-American faces the upper-case C has only one serif (at the top)
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serifs and graceful, fluid lines characterize the French style. Robert
Estienne's roman of 1532 was similar to the de Colines face, which Estienne complemented with a fine italic type based on that of Arrighi. The craftsmen who cut the punches for the romans used by Estienne and de Colines remain
817:
The name "roman" is customarily applied uncapitalized to distinguish early Jenson and Aldine-derived types from classical Roman letters of antiquity. Some parts of Europe call roman "antiqua" from its connection with the humanistic "lettera antica"; "medieval" and "old-style" are also employed to
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in the shape of the characters but retains an echo of gothic influence in the angled serifs and the way the thick and thin strokes are organized; it was coupled with mated sets of woodcut initials (often designed by distinguished artists) and with two larger sizes of uppercase letters for use in
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The Jenson roman was an explicitly typographic letter designed on its own terms that declined to imitate the appearance of hand-lettering. Its effect is one of a unified cohesive whole, a seamless fusion of style with structure, and the successful convergence of the long progression of preceding
1225:
Dirck Voskens, mark a noticeable jump from previous designs, with considerably shorter extenders, higher stroke contrast, narrowing of round letters, and flattened serifs on the baseline and descenders. The design retained a retrogressive old-style irregularity, smooth modeling from vertical to
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Some time before 1472 in Venice, Johann and Wendelin issued material printed with a half-Gothic-half-roman type known as "Gotico-antiqua". This design paired simplified Gothic capitals with a rationalized humanistic minuscule letter set, itself combining Gothic minuscule forms with elements of
510:
Cultural tradition ensured that German typography and type design remained true to the gothic/blackletter spirit; but the parallel influence of the humanist and neo-classical typography in Italy (the first country outside of Germany with a printing press) catalyzed texture into four additional
1919:, the creator of one of many definitions and the most known theoretician of avant-garde typography stated that its basic rules should be lack of symmetry, contrast and total freedom of creation. Contrary to other genres of art, avant-garde creators were also its theoreticians and researchers.
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Surviving examples of 16th-century Italian books indicate the bulk of them were printed with italic types. By mid-century the popularity of italic types for sustained text setting began to decline until they were used only for in-line citations, block quotes, preliminary text, emphasis, and
488:, around 1450, invented a lead type mold, applied it to an alphabet of about 24 characters, and used known press technology to print ink on paper. Prior printing had been done with woodblocks, but movable type was impossible due to fragility of wood at small sizes. Gutenberg employed the
1230:). Fell capitals were condensed, even-width, with wide flattened serifs; all characteristics of the definitive modern romans of the late 18th century. Fell italic types were distinguished by high contrast matching the Fell romans; wider ovals; a split-branching stroke from the stems of
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and Antoine Augereau began a phase of type design with a distinctly French character. Robert Estienne carried on the establishment of his father Henri Estienne, who had died in 1520. Simon de Colines had been the elder Estienne's assistant, married his widow, and set up his own press.
842:
The humanist spirit driving the Renaissance produced its own unique style of formal writing, known as "cursiva humanistica". This slanted and rapidly written letter evolved from humanistic minuscule and the remaining Gothic current cursive hands in Italy, served as the model for
1176:
reiterated the 16th-century French style with higher contrast, less rigor and a lighter page effect. After 1647 most Elzevir faces were cut by the highly regarded Christoffel van Dyck, whose precise renditions were regarded by some experts at the time as finer than Garamond's.
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unidentified. In 1532 Antoine Augereau cut the punches for a roman type very close to Estienne's. The lower cases of the Estienne and Augereau types became the basis for post-Renaissance old style typography, and were copied by French typographers for the next 150 years.
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Upon noticing the stylistic mismatch between these two very different letters, the scribes redesigned the small Carolingian letter, lengthening ascenders and descenders, and adding incised serifs and finishing strokes to integrate them with the Roman capitals. By the time
1534:
closely resemble the work of Bodoni, and opinion is divided over whether the Didots or Bodoni originated the first modern romans. At any rate the Didots' mathematical precision and vanishing of rococo design reflected the "enlightenment" of post-revolution France under
1290:. Caslon's slightly bracketed serifs and old-style irregularity were not novel, but a precise cut and perpendicularity gave legibility to the forms. Caslon's italic structures follow the Fell italics, but at a condensed width and with conventional branching from stems.
1772:
1602:
Above all the 19th century was innovative regarding technical aspects. Automatic manufacturing processes changed the print as well as the graphical illustrations. The illustration of printed matters could be considerably standardised due to the
906:
of dual case roman and cursive italic types as "The model and ideal for the whole western world". Venetian pre-eminence in type design was brought to an end by the political and economic turmoil that concluded the Renaissance in Italy with the
1521:
The "classical" appellation of modern romans stems from their return to long ascenders and descenders set on widely spaced lines, and a corresponding light page effect reminiscent of old-style—occurring at a time of classical revival.
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and rigor. These qualities and its contrasting thick and thin strokes gave it a dazzling appearance that made it difficult to read. It was nevertheless the main influence for italic type design until the Arrighi model was revived in 1920.
872:. The fame of Aldus Manutius and his editions made the Griffo italic widely copied and influential, although it was not the finest of the pioneer italics. The "Aldino" style quickly became known as "italic" from its Italian origin.
131:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge (XXG).
1525:
Bodoni was foremost in progressing from rococo to the new classical style. He produced an italic very close to Baskerville's, and a French cursive script type falling in between italic type and joined scripts. The roman types of
1388:(1712–1768), confessed to having copied Fleischmann's design, and was first to dub "contrast" types like the Fells, Caslon and Fleischmann "modern". Fournier's rococo-influenced designs—Fournier and Narcissus—and his
1332:
he cut punches for a large amount of material. Some time after 1743 he produced a distinguished roman design—related to the preceding transitional types but departing from them. It prefigured modern romans with sparse
1546:'s roman was influenced by Baskerville, Didot and Bodoni, but hewn nearer to old-style and used in the same classical manner, including spaced capitals. In England modern romans resembling Bodoni's were cut for the printer
1097:
1840:, rejected both the late typographical classicism and the ornaments of the popular art nouveau. The new ideal became a tidy and straightforward book typography, which dedicated itself to the ideas of the Renaissance.
730:
departed from both the Carolingian and Gothic models; a vertical backstem and right-angled top replaced the diagonal Carolingian structure, and a continuous curved stroke replaced the fractured Gothic bowl element.
651:
scholars of the early 15th century searched for ancient lower case letters to match the Roman inscriptional capitals. Practically all of the available manuscripts of classical writers had been rewritten during the
1081:". A number of roman faces used in Garamond's publishing activities can be positively attributed to him as punch-cutter. From the dates of their appearance, and their similarity to romans used by Estienne,
1164:
Transitional roman types combined the classical features of lettera antiqua with the vertical stressing and higher contrast between thick and thin strokes characteristic of the true modern romans to come.
857:
by Aldus Manutius. However, even as printing overtook production of previously handwritten materials, increased literacy created a greater demand for documents and thus calligraphers saw increased work.
1790:
became popular. Its floral ornaments, the curved forms, as well as the emphasis on graphical realisation inspired the type designers of the start of the 20th century. A popular art nouveau font was
141:
1085:
and the printer André Wechel, the types known as "Canon de Garamond" and "Petit Canon de Garamond" shown on a specimen sheet issued by the Egenolff-Berner foundry in 1592 are generally accepted as
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in 1470, where they printed with an inferior copy of the Lactantius type. Gothic types dominated in France until the end of the 15th century, when they were gradually supplanted by roman designs.
1575:
fonts, which were used already at the beginning of the 19th century. Their name likely comes from the enthusiasm of the Napoleonic era for the orient, which in turn was started by Napoleon's
557:
The early printers in Spain were Germans who began printing in contemporary roman types but soon gave these up and adopted Gothic typefaces based on the letterforms of Spanish manuscripts.
117:
1270:
The first major figure in English typography is reckoned by type historians to have ended the monopoly of Dutch type founding almost single-handedly. The gun engraver-turned-punchcutter
675:
1864:
During the 1920s, typographers in central and eastern Europe experimented with forms of avant-garde typography. The main places of development of avant-garde artists had been:
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and Paris became the new centers of activity. Eventually, the French government fixed a standard height for all type, to ensure that different batches could be used together.
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challenges had changed: since printing and typography had been a straightforward craft for centuries, it now had to face the challenges of an industry-ruled mass society.
1384:
Fleischmann was held in great esteem by his contemporaries, his designs exerting a decisive influence in the last quarter of the 18th century. Renowned French punchcutter
1357:, but did not imitate that face. Fleischmann's capitals were a new variety; an even-width scheme, compressed rounds, all-vertical stressing, and triangular beak ends of
1852:
in Offenbach as instructors were the mentors of this kind of typography. They stayed influential in the field of book typesetting until a long time after the end of
1571:
The 19th century brought fewer stylistic innovations. The most notable invention was the rise of typefaces with strengthened serifs. Forerunners were the so-called
554:, having learned his craft on the Continent, printed the first books in England with a so-called Bâtarde type (an early Schwabacher design), but soon abandoned it.
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became a more or less independent branch. The tensions between those two branches significantly determined the stylistic development of 20th century's typography.
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modeling, joining the vertical stressing to hairline thins and ball-ends. Fleischmann borrowed from the general mode of Phillipe Grandjean's and Louis Simonneau's
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464:. Handwritten letterforms of the mid-15th century calligraphy were the natural models for letterforms in systematized typography. The scribal letter known as
1805:
Altogether the return to the roots of book art become stronger around the start of the 20th century. It was initiated by British typographer, socialist, and
660:
as the authentic writing style of the ancients (as opposed to blackletter, incorrectly seen as the lettering of the Goths that conquered Rome). Dubbing it
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and type manufacturers. The result: Successful typefaces could quickly gain the status of a trademark—and therefore were able to assign a unique "
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letter styles. Jenson adapted the structural unity and component-based modular integration of Roman capitals to humanistic minuscule forms by masterful
1310:
664:, they began by copying the minuscule hand almost exactly, combining it with Roman capitals in the same manner as the manuscripts they were copying.
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1995:
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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The 90 years between 1890 and 1980 coined typography until now. The craft of printing became an industry, the sixth-largest in the United States.
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1687:. The result: Compilation and typographical design of the text could be more and more controlled by keyboards in contrast to manual typesetting.
1550:
c. 1786 by the punchcutter William Martin, who had been apprenticed to Baskerville and influenced by him. Martin's italic mirrored the open-tail
1328:
where he trained as a punchcutter. He found employment with Dutch type founders in Holland and settled there c. 1728. At the Enschedé foundry in
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609:. Their structurally perfect design, near-perfect execution in stone, balanced angled stressing, contrasting thick and thin strokes, and incised
2110:. The Dover edition is an abridged and corrected republication of the work originally published in 1950 by Prentice-Hall, Inc. under the title
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style and adapted it for his own modern age. Like Baskerville, his italics were inspired by handwriting and the engraved lettering known as
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1406:, in which he recorded much European typographic history, and introduced the first standardized system of type size measurement—the "
703:
939:) he had established a set of standards for humanistic printing which were widely copied throughout the German-speaking world and also in
244:
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The svelte French style reached its fullest refinement in the roman types attributed to the best-known figure of French typography—
1419:
1238:; and long, flat serifs—prefiguring modern. They repeated the non-uniform slant of French models, and the capitals included swash
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abbreviations. Italic types from the 20th century up to the present are much indebted to Arrighi and his influence on French designers.
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527:. Notably, early printed books matched the style of handwritten manuscripts and did not contain title pages, page numbers, or headings.
406:
2480:. A detailed examination of Gutenberg's life and invention, skillfully interwoven with the underlying social and religious upheaval of
5088:
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1373:. Fleischmann's italic bore some resemblance to Granjean's but had longer ascenders and followed the established Dutch structures for
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Typography was introduced to France by the German printers Martin Crantz, Michael Freyburger and Ulrich Gering, who set up a press in
668:
390:
181:
65:
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in England—most type used by 17th-century English printers was of Dutch origin. The lack of material inspired Bishop of Oxford
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After about 1550 this Swiss/German tradition was gradually overwhelmed by French influence. Towards the end of the 16th century, the
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1494:. Completing trends begun by the Fell types, Fleischman, Fournier and Baskerville, the so-called "classical" modern romans eschewed
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Caslon's Great Primer roman and English roman were retrogressive designs that very closely followed the Fell types and the roman of
309:
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73:
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Typography, type-founding, and typeface design began as closely related crafts in mid-15th-century Europe with the introduction of
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1980:
30:
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The de Colines roman of 1531 resembled Griffo's 1499 roman but did not copy it closely. Narrower forms and tighter letter fit;
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of 202 characters used to print the first printed books in Europe. A second typeface of about 300 characters designed for the
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Content in this edit is translated from the existing German Knowledge (XXG) article at ]; see its history for attribution.
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This article is about Western typography from the 15th to 20th centuries. For the development of typography in Asia, see
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1539:. Francois Ambroise also designed "maigre" and "gras" types corresponding to later condensed and expanded font formats.
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Planet typography A magazine on contemporary typography + a directory, a manual and other topics related to typography
2453:. A compilation of over fifty texts on the history, practice, and aesthetics of type design and typography. Section 4
2431:. Eight moments in history when a change in knowledge radically altered man's understanding of himself and the world.
1985:
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William Caslon's prodigious output was influential worldwide. Caslon type and its imitations were used throughout the
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c. 1455 was probably cut by the goldsmith Hans Dunne with the help of two others—Götz von Shlettstadt and
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Rozlomená doba 1918-1928 Avangardy v strednej Európe/Years of Disarray 1908-1928 Avant-gardes in Central Europe
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656:, and with a lapse of three hundred years since the widespread use of this style, the humanist scribes mistook
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Soon after 1500, roman typefaces began to gain popularity north of the Alps for printing of Latin literature.
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2271:. Charles W. Pitkin, Raymond L. Cornwell (3rd ed.). Saratoga, Calif.: Liber Apertus Press. pp. v.
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1832:, was influenced by the Arts and Crafts Movement. The young type designers of the pre-war era, among them
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reached Italy several decades later, the humanistic writing had evolved into a consistent model known as
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381:—a series of key developments that were eventually drawn together into one systematic craft. While
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worked in the second half of the 16th century, mainly at Lyon, but was also recorded at Paris, Rome and
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An open-source digitisation of the Fell Types has been released by designer and engineer Igino Marini.
1266:, from a sample issued by the Caslon foundry and quoting the same text. Compare against the Fell type.
1073:, printer to the king, helped Garamond obtain commissions to cut the sequence of Greek fonts for King
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began printing in Venice with his original roman font from 1470. Jenson's design and the very similar
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1880:. However, since 1925 avant-garde typography had been spreading to the cities of western and eastern
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In 1924 two exhibitions important for development of avant-garde typography were organized: one by
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designed by Ludovico Arrighi, c. 1527. This elegant design inspired later French italic types.
822:(Italian: Manuzio). Roman faces based on those of Speyer and Jenson are also called Venetian.
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1798:. Furthermore, the influence of art nouveau was expressed in a lot of book illustrations and
1441:, is named after Baskerville's mistress-turned-wife Sarah Eaves, the widow of Richard Eaves.
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2499:. Deals with the social, religious, and technical influences on typography and book design.
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2033:. Alston W. Purvis (4th ed.). Hoboken, N.J.: John Wiley & Sons, Inc. p. 70.
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1891:(the First International Zenitistic Exhibition of New Art in Belgrade) and the other by
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the modern art styles were reflected in graphic design and typography too. Around 1890
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The fabrication and application of typefaces more and more were affected by industrial
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roman faces that set the pattern for the majority of western text faces that followed.
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For the love of letterpress : a printing handbook for instructors & students
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from the hands of German area scribes, served as the model for the first text types.
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or Robert Granjon, usually with the objective of proselytizing the Catholic faith.
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to purchase punches & matrices from Holland c. 1670–1672 for use by the
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indicate roman types dating from the late 15th century, especially those used by
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geometry answering to a rationalized and reformed classical model driven by the
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For details on the evolution of lower case letterforms from Latin capitals, see
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produced additional Gothic, half-Gothic and Gothic-to-Roman transitional types.
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From mid-16th century until the end of the 17th, interference with printing by
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or are based on designs of this epoch. The basis was the appearance of large
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In the 16th century, Western printers also developed Oriental types, such as
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throughout Germany and Italy led to the enduring legacy and continued use of
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2126:
Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers
1645:
1463:
types by the Officina Bodoni in 1925. The font shown is the digital Bodoni
2472:(c) 2002 Headline Book Publishing, a division of Hodder Headline, London.
2301:
2168:
Rome Reborn: The Vatican Library & Renaissance Culture/ Orient to Rome
1313:. Caslon marks the rise of England as the center of typographic activity.
880:
wider separation of lines gave the elegant effect of refined handwriting.
805:
used in Venice c. 1470. Later "old style" or Venetian book romans such as
763:
c. 1499 and Erhard Ratdolt c. 1486 are acknowledged as the definitive and
495:
to help design and cut the letterpunches for the first typeface—the
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horizontal, and angled stressing of rounds (except a vertically stressed
1086:
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sub-styles that were distinct, structurally rich and highly disciplined:
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attracted the first printers known to have set up shop outside Germany,
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Carolingian, in a one step forward, half step back blending of styles.
170:
to the source of your translation. A model attribution edit summary is
2578:
1884:
and, as a result, the previous cities gradually lost their relevance.
1615:, whose establishment at the end of the 19th century led to the first
690:, which served as the basis for type style we know today as Venetian.
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3631:
3195:
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2538:
Comp.fonts FAQ: General Info Section four of six of the newsgroup FAQ
2516:
The Myth of Content and the Encyclopedestrianization of Communication
2470:
The Gutenberg Revolution:The story of a genius that changed the world
1881:
1877:
1869:
1460:
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tracing its origins back to the first punches and dies used to make
1278:. The complete canon included roman, italic, Greek, Hebrew, Arabic
868:), and unslanted small roman capitals the height of the lower case
3692:
3038:
2777:
2745:
2504:
Graphic Design and Reading: explorations of an uneasy relationship
2435:, details on the development of moveable type in Korea and Europe.
2381:
The triumph of typography : culture, communication, new media
1770:
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2140:"The Life of a Dead Typeface: The Origins of Civilité | Newberry"
943:
and, to a lesser extent in England. His principal type is wholly
4732:
3394:
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3185:
2208:(Third ed.). John Wiley & Sons, Inc. pp. 108–109.
1156:
aesthetic trends, use of the pointed-pen for writing, and steel
1115:
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1309:) for the second half of the 18th century and was used for the
201:
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39:
2593:
2506:(c) 2000, Allworth Press, Allworth Communications, New York.
2445:(c) 2001, Allworth Press, Allworth Communications, New York.
1690:
A result of the industrialisation process was the unimagined
1365:, all characteristics prefiguring the "classical" moderns of
931:
set up his press in 1491, and by about 1519 (when he printed
1221:. The so-named Fell types, presumed to be the work of Dutch
2112:
Lettering: The History and Technique of Lettering as Design
1168:
The roman types used c. 1618 by the Dutch printing firm of
997:
1520s. At the end of this period roman types introduced by
948:
title pages and headings—Froben was the first to use such '
373:. The basic elements of typography are at least as old as
140:
to this template: there are already 1,877 articles in the
3600:
2491:, N.Y. & Cambridge:{Cambridge University Press, 2003
1486:
True modern romans arrived with the types of the Italian
1013:
with low angled bowl; elevated triangular stem serifs on
621:
exists on the base of Trajan's Column, inscribed c. 113.
1276:
stable of typefaces on the specimen sheet issued in 1734
676:
Carolingian Gospel Book produced between 820 and 830 AD
2489:
Print, Manuscript, and the Search for Order, 1450-1830
1746:, designer of 123 typefaces, founded several presses.
1742:
contributed much to typography design at this time as
1899:(the First International Exhibition Contimporanul).
1623:
Further information on the 19th-century French:
124:
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2744:
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532:
rapid spread of movable type printing across Europe
232:. Unsourced material may be challenged and removed.
120:
a machine-translated version of the German article.
2379:Hoeks, Henk; Lentjes, Ewan; Bil'ak, Peter (2015).
1663:. Significant incidents were the invention of the
694:Transition from humanistic minuscule to roman type
542:appeared in 1474. The half-Gothic Rotunda type of
1683:, 1887) and a few decades later the emergence of
1630:Hot type and phototypesetting in the 20th century
578:, the heavy gothic styles were soon displaced by
2533:Colorado College picture catalogue of Incunabula
1478:Revival designed in 1991 by Adrian Frutiger for
1145:Transition to modern type: 17th and 18th century
902:described the classically inspired Renaissance
2443:Texts on Type: Critical Writings on Typography
1108:, 1590, with Arabic types of Robert Grandjon,
166:accompanying your translation by providing an
111:Click for important translation instructions.
98:expand this article with text translated from
3616:
3546:Intellectual property protection of typefaces
2609:
1907:Among the most important Polish artists were
1102:Evangelium Sanctum Domini Nostri Jesu Christi
594:buildings and monuments were structured on a
8:
3088:
1828:movement, which formed in the decade before
1757:Besides the traditional typography of books
1393:
1350:
1338:
460:at the junction of the medieval era and the
1402:hand. Fournier also published a two volume
875:Around 1527 the Vatican chancellery scribe
178:{{Translated|de|Geschichte der Typografie}}
74:Learn how and when to remove these messages
5182:
4911:
4885:
4330:
3668:
3657:
3623:
3609:
3601:
3026:
2750:
2616:
2602:
2594:
2334:: CS1 maint: location missing publisher (
1821:, which actually is held every two years.
3572:Punctuation and other typographic symbols
2084:
2082:
1311:United States Declaration of Independence
310:Learn how and when to remove this message
292:Learn how and when to remove this message
5140:Good Design Award (Museum of Modern Art)
2076:. Harmondsworth: Penguin; pp. 94, 96, 98
1996:Spread of European movable type printing
1692:number and distribution of new typefaces
1558:whereas in European designs it has two.
1498:and organic influences, their synthetic
582:or "old style" Latin types, also called
428:
2012:
2327:
2090:The History and Technique of Lettering
1706:or new contemporary type designs like
1554:and overall finesse of Baskerville's.
433:First page of the first volume of the
145:
5145:Good Design Award (Chicago Athenaeum)
2565:ABC typography. A virtual type museum
405:in the mid-15th century. The initial
397:developed after the invention of the
7:
2022:
2020:
2018:
2016:
1129:. He is still famous because of his
775:stylization. The carefully modelled
704:Arnold Pannartz and Konrad Sweynheim
230:adding citations to reliable sources
2571:"A brief history of the Fell Types"
1087:Claude Garamond's final roman types
915:Renaissance Germany and Switzerland
706:, closely followed by the brothers
441:typeface c. 1455. In this copy the
33:. For contemporary typography, see
5089:American Institute of Graphic Arts
1846:Friedrich Hermann Ernst Schneidler
1297:. It was the dominant type in the
992:De Colines, Estienne, and Augereau
617:. The best-known example of Roman
25:
5099:Design and Industries Association
2364:Hoels Henk, Lentjes Ewan (2016).
1611:. Finally, another invention was
1274:spent 14 years creating the
979:(Josse Bade) in partnership with
613:became the typographic ideal for
55:This article has multiple issues.
3585:
3584:
2300:Ruggie-Saunders, Cathie (2013).
2128:. Paris. pp. Vol. 8, p. 73.
2030:Meggs' history of graphic design
1981:History of printing in East Asia
1903:Avant-garde typography in Poland
1562:19th and 20th century typography
698:The classically endowed city of
206:
85:
44:
31:History of printing in East Asia
1860:European avant-garde typography
1736:" to products or publications.
935:'s famous edition of the Greek
813:, were closely based on Jenson.
241:"History of Western typography"
217:needs additional citations for
63:or discuss these issues on the
5094:Chartered Society of Designers
2484:on the eve of the Renaissance.
2074:Five Hundred Years of Printing
1324:(1701–1768) was born in
1286:c. 1685 falsely attributed to
1199:First Oration against Catiline
792:make the white space dynamic.
710:(de Spira), and the Frenchman
603:discrete component-based model
566:Hebrew book printed in 1489).
176:You may also add the template
1:
5165:Prince Philip Designers Prize
3808:Architectural lighting design
3541:History of Western typography
2368:. KrakĂłw: wydawnictwo d2d.pl.
2349:Karel Srp i Lenka Bydžovská.
1794:, designed by graphic artist
1429:designed by John Baskerville.
708:Johann and Wendelin of Speyer
672:Sample of Carolingian writing
330:
4971:Electronic design automation
4954:Virtual home design software
3926:Automotive suspension design
3388:traditional point-size names
2455:Movement: Defining Modernism
2420:The Day the Universe Changed
2383:. Arnhem: Uitgeverij Terra.
1991:Printing and the Mind of Man
1767:Art Nouveau and New Book Art
1579:. In fact slab-serif fonts (
1209:thwarted the development of
645:revival of classical culture
630:Roman inscriptional capitals
354:as a craft with a very long
3830:Environmental impact design
2641:Canons of page construction
2238:Research Libraries Bulletin
2206:A History of Graphic Design
1986:History of sentence spacing
1037:serifs, delicately modeled
189:Knowledge (XXG):Translation
148:will aid in categorization.
5543:
5109:International Forum Design
4479:Engineering design process
2306:. Martha Chiplis. London.
1838:Friedrich Wilhelm Kleukens
1622:
1299:thirteen American colonies
835:
824:
745:
327:A piece of cast metal type
123:Machine translation, like
28:
5444:
5192:
5181:
4910:
4884:
4340:
4329:
4231:Integrated circuit design
4153:Stage/set lighting design
4042:Hardware interface design
3958:Hardware interface design
3667:
3656:
3638:
3580:
2798:Subscript and superscript
2457:essays by Herbert Bayer,
2433:Chapter 4. Matter of Fact
2265:Cleeton, Glen U. (2006).
2027:Meggs, Philip B. (2006).
1819:Mainzer Minipressen-Messe
1139:François Savary de Brèves
1069:(also Garamont). In 1541
742:Development of roman type
474:, produced by the strong
350:Modern typographers view
100:the corresponding article
5066:Industrial design rights
5054:Fashion design copyright
4966:Design quality indicator
4415:Creative problem-solving
4206:Electrical system design
4062:Sonic interaction design
3973:Photographic lens design
3847:Healthy community design
3556:Vox-ATypI classification
2686:Intentionally blank page
2231:"Dr B T Davis's bequest"
2094:Dover Publications, Inc.
2072:Steinberg, S. H. (1961)
1969:VOX-ATypI classification
1815:Arts and Crafts Movement
977:Jodocus Badius Ascensius
546:c. 1486 was cut to suit
437:, printed with an early
5262:New product development
5227:Enterprise architecture
5155:IF Product Design Award
5114:Design Research Society
4666:Reliability engineering
2124:Diderot, Denis (1765).
1726:digital typesetting era
1661:manufacturing processes
1528:Francois Ambroise Didot
1459:published with genuine
1322:Joan Michaël Fleischman
1219:Oxford University Press
1193:English roman, quoting
726:finish. The Lactantius
654:Carolingian Renaissance
449:separately by a scribe.
391:precedents in East Asia
187:For more guidance, see
4718:Top-down and bottom-up
4067:User experience design
3968:Packaging and labeling
3941:Electric guitar design
3879:Landscape architecture
3089:
2577:. 2009. Archived from
1876:and, after 1924, also
1779:
1653:
1642:
1607:technique invented by
1483:
1468:
1430:
1394:
1390:Modèles des Caractères
1351:
1339:
1267:
1202:
1119:
1062:
891:
814:
678:
647:, Italian scribes and
643:In their enthusiastic
640:
619:inscriptional capitals
607:classical architecture
588:inscriptional capitals
450:
445:colored initials were
347:
5247:Innovation management
5130:European Design Award
4896:Intellectual property
4713:Theory of constraints
4676:Responsibility-driven
4516:For manufacturability
4420:Creativity techniques
4258:Nuclear weapon design
4072:User interface design
3936:Corrugated box design
3857:Interior architecture
2520:Tracing the Invisible
2441:and Meggs, Phillip B
1909:Władysław Strzemiński
1774:
1754:studied under Goudy.
1648:
1637:
1542:The Spanish designer
1504:strict cartesian grid
1474:
1452:
1421:
1392:(1742) continued the
1386:Pierre Simon Fournier
1284:MiklĂłs (Nicholas) Kis
1260:
1188:
1100:
1053:
886:
798:
670:
658:Carolingian minuscule
627:
432:
425:Medieval design roots
325:
160:copyright attribution
18:History of Typography
5292:Unintelligent design
5272:Philosophy of design
4986:Design specification
4939:Comprehensive layout
4511:For behaviour change
4484:Probabilistic design
4246:Power network design
3783:Visual merchandising
3740:Instructional design
3718:Postage stamp design
3426:Typographic features
2581:on 24 September 2014
2487:McKitterick, David.
1959:Typometry (printing)
1834:Fritz Helmuth Ehmcke
1625:Warnery type foundry
1510:and the predictable
1404:Manuel Typographique
1263:Caslon English roman
1083:Christoffel Plantijn
909:sack of Rome in 1527
898:Swiss art historian
688:humanistic minuscule
615:western civilization
393:, typography in the
226:improve this article
5522:History of printing
5212:Creative industries
5135:German Design Award
5044:Design infringement
4929:Architectural model
4268:Organization design
4263:Nucleic acid design
4211:Experimental design
3764:Traffic sign design
3551:Technical lettering
3450:Typography in other
3191:Hanging punctuation
2088:Nesbitt, Alexander
2062:printing in England
1669:Ottmar Mergenthaler
1488:Giambattista Bodoni
1111:Typographia Medicea
1075:Francis I of France
967:16th century France
5517:History of writing
5277:Process simulation
5252:Intelligent design
4576:Intelligence-based
4571:Integrated topside
4501:Framework-oriented
4186:Behavioural design
4057:Information design
3735:Information design
3514:Handwriting script
3441:Desktop publishing
3411:Character encoding
3404:Digital typography
2918:Horizontal aspects
2871:Visual distinction
2729:Widows and orphans
2558:2008-10-18 at the
2518:by James Souttar;
1913:Mieczysław Szczuka
1848:in Stuttgart, and
1813:as well as by the
1780:
1654:
1643:
1512:clockwork universe
1484:
1469:
1431:
1345:, commissioned by
1268:
1203:
1120:
1063:
892:
815:
679:
641:
486:Johannes Gutenberg
451:
407:spread of printing
403:Johannes Gutenberg
383:woodblock printing
348:
168:interlanguage link
5494:
5493:
5440:
5439:
5207:Conceptual design
5177:
5176:
5173:
5172:
5160:James Dyson Award
5016:Website wireframe
5006:Technical drawing
4880:
4879:
4728:Transgenerational
4469:Ecological design
4345:Activity-centered
4325:
4324:
4321:
4320:
4303:Spacecraft design
4097:Public art design
4035:Video game design
4013:Experience design
3983:Production design
3963:Motorcycle design
3921:Automotive design
3825:Ecological design
3703:Film title design
3598:
3597:
3345:Typographic units
3263:For position only
3162:
3161:
3014:
3013:
2390:978-90-8989-628-5
2366:Triumf typografii
2313:978-1-4081-3941-7
2215:978-0-471-29198-5
1577:invasion in Egypt
1567:Industrialization
1353:Imprimerie Royale
1307:Benjamin Franklin
950:display typefaces
809:, and much later
779:follow an artful
570:Classical revival
563:Kingdom of Aragon
377:and the earliest
320:
319:
312:
302:
301:
294:
276:
200:
199:
112:
108:
78:
16:(Redirected from
5534:
5486:
5479:
5472:
5465:
5458:
5451:
5183:
5060:Geschmacksmuster
5034:Community design
4912:
4886:
4646:Process-centered
4442:Design–bid–build
4410:Cradle-to-cradle
4390:Concept-oriented
4331:
4308:Strategic design
4278:Processor design
4253:Mechanism design
4221:Geometric design
4181:Algorithm design
4121:Jewellery design
4052:Immersive design
3946:Furniture design
3891:Landscape design
3669:
3658:
3625:
3618:
3611:
3602:
3588:
3587:
3565:Related template
3497:Related articles
3298:Phototypesetting
3152:reverse-contrast
3137:Display typeface
3094:
3071:Blackletter type
3027:
2964:Vertical aspects
2945:Sentence spacing
2755:Typeface anatomy
2751:
2618:
2611:
2604:
2595:
2590:
2588:
2586:
2553:The Printed Book
2502:Swanson, Gunnar
2403:
2402:
2376:
2370:
2369:
2361:
2355:
2354:
2346:
2340:
2339:
2333:
2325:
2297:
2291:
2290:
2268:General printing
2262:
2256:
2255:
2253:
2252:
2235:
2226:
2220:
2219:
2202:Meggs, Philip B.
2198:
2192:
2191:
2189:
2187:
2181:"The Fell Types"
2176:
2170:
2165:
2159:
2158:
2156:
2155:
2146:. Archived from
2144:www.newberry.org
2136:
2130:
2129:
2121:
2115:
2086:
2077:
2070:
2064:
2059:
2053:
2052:
2024:
1685:phototypesetting
1681:Monotype machine
1673:Linotype machine
1609:Alois Senefelder
1480:Linotype foundry
1435:John Baskerville
1397:
1356:
1349:in 1692 for the
1344:
1215:Doctor John Fell
1077:, known as the "
1003:Simon de Colines
900:Jakob Burckhardt
877:Ludovico Arrighi
851:italic typefaces
761:Francesco Griffo
538:'s Schwabacher,
315:
308:
297:
290:
286:
283:
277:
275:
234:
210:
202:
179:
173:
147:
146:|topic=
144:, and specifying
129:Google Translate
110:
106:
89:
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81:
70:
48:
47:
40:
21:
5542:
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5527:Western culture
5497:
5496:
5495:
5490:
5484:
5477:
5470:
5463:
5456:
5449:
5436:
5237:Futures studies
5188:
5169:
5118:
5077:
5026:
5020:
4906:
4905:
4876:
4782:Value sensitive
4772:User innovation
4651:Public interest
4616:Object-oriented
4336:
4317:
4298:Software design
4288:Research design
4241:Physical design
4196:Database design
4170:
4168:
4162:
4138:Property design
4133:Game art design
4087:
4081:
4004:
3997:
3912:
3905:
3862:Interior design
3813:Building design
3794:
3787:
3674:
3663:
3652:
3634:
3629:
3599:
3594:
3576:
3560:
3492:
3452:writing systems
3451:
3445:
3399:
3339:
3283:Microtypography
3222:
3158:
3120:
3097:
3065:
3022:classifications
3021:
3010:
2959:
2913:
2879:Blackboard bold
2865:
2817:
2740:
2690:
2681:Recto and verso
2627:
2622:
2584:
2582:
2569:
2560:Wayback Machine
2529:
2522:by Katie Salen.
2482:Medieval Europe
2412:
2407:
2406:
2391:
2378:
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2373:
2363:
2362:
2358:
2348:
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2326:
2314:
2299:
2298:
2294:
2279:
2264:
2263:
2259:
2250:
2248:
2233:
2229:Penney, Chris.
2228:
2227:
2223:
2216:
2200:
2199:
2195:
2185:
2183:
2179:Marini, Igino.
2178:
2177:
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2166:
2162:
2153:
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2138:
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2133:
2123:
2122:
2118:
2087:
2080:
2071:
2067:
2060:
2056:
2041:
2026:
2025:
2014:
2009:
2004:
1977:
1975:Related history
1930:
1925:
1905:
1862:
1824:Especially the
1769:
1677:Tolbert Lanston
1632:
1627:
1569:
1564:
1490:and the French
1447:
1416:
1319:
1305:(introduced by
1303:British America
1255:
1183:
1147:
1095:
1071:Robert Estienne
1067:Claude Garamond
1059:Robert Slimbach
1048:
999:Robert Estienne
994:
969:
917:
840:
834:
829:
750:
744:
696:
636:Trajan's Column
633:on the base of
601:scheme and the
572:
550:taste. In 1476
505:Hans von Speyer
435:Gutenberg Bible
427:
379:writing systems
316:
305:
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5305:
5304:
5302:Wicked problem
5299:
5294:
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5234:
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5214:
5209:
5204:
5199:
5193:
5190:
5189:
5187:Related topics
5186:
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5162:
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5147:
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5137:
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5119:
5117:
5116:
5111:
5106:
5104:Design Council
5101:
5096:
5091:
5085:
5083:
5079:
5078:
5076:
5075:
5074:
5073:
5071:European Union
5063:
5056:
5051:
5046:
5041:
5036:
5030:
5028:
5022:
5021:
5019:
5018:
5013:
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4998:
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4983:
4978:
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4951:
4941:
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4859:
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4824:
4819:
4814:
4809:
4804:
4799:
4792:
4791:
4790:
4789:
4779:
4774:
4769:
4768:
4767:
4757:
4752:
4750:Usage-centered
4747:
4746:
4745:
4743:Design for All
4735:
4730:
4725:
4723:Transformation
4720:
4715:
4710:
4705:
4704:
4703:
4693:
4688:
4683:
4678:
4673:
4671:Research-based
4668:
4663:
4658:
4653:
4648:
4643:
4638:
4636:Platform-based
4633:
4628:
4623:
4618:
4613:
4608:
4603:
4598:
4593:
4588:
4586:KISS principle
4583:
4578:
4573:
4568:
4563:
4558:
4553:
4548:
4543:
4538:
4533:
4528:
4523:
4518:
4513:
4508:
4503:
4498:
4496:Fault-tolerant
4493:
4491:Error-tolerant
4488:
4487:
4486:
4476:
4474:Energy neutral
4471:
4466:
4461:
4456:
4455:
4454:
4444:
4439:
4434:
4433:
4432:
4430:Design fiction
4422:
4417:
4412:
4407:
4402:
4397:
4392:
4387:
4382:
4377:
4372:
4367:
4362:
4357:
4352:
4347:
4341:
4338:
4337:
4334:
4327:
4326:
4323:
4322:
4319:
4318:
4316:
4315:
4313:Systems design
4310:
4305:
4300:
4295:
4290:
4285:
4283:Protein design
4280:
4275:
4273:Process design
4270:
4265:
4260:
4255:
4250:
4249:
4248:
4243:
4238:
4236:Circuit design
4228:
4223:
4218:
4213:
4208:
4203:
4198:
4193:
4188:
4183:
4177:
4175:
4164:
4163:
4161:
4160:
4158:Textile design
4155:
4150:
4145:
4140:
4135:
4130:
4125:
4124:
4123:
4118:
4116:Costume design
4111:Fashion design
4108:
4099:
4093:
4091:
4083:
4082:
4080:
4079:
4074:
4069:
4064:
4059:
4054:
4049:
4044:
4039:
4038:
4037:
4032:
4022:
4021:
4020:
4009:
4007:
3999:
3998:
3996:
3995:
3993:Service design
3990:
3988:Sensory design
3985:
3980:
3978:Product design
3975:
3970:
3965:
3960:
3955:
3954:
3953:
3943:
3938:
3933:
3928:
3923:
3917:
3915:
3907:
3906:
3904:
3903:
3898:
3896:Spatial design
3893:
3888:
3887:
3886:
3876:
3874:Keyline design
3871:
3870:
3869:
3859:
3854:
3849:
3844:
3843:
3842:
3840:Computer-aided
3832:
3827:
3822:
3821:
3820:
3810:
3805:
3799:
3797:
3789:
3788:
3786:
3785:
3780:
3775:
3766:
3757:
3752:
3747:
3742:
3737:
3732:
3727:
3726:
3725:
3720:
3715:
3708:Graphic design
3705:
3700:
3698:Exhibit design
3695:
3690:
3685:
3679:
3677:
3665:
3664:
3661:
3654:
3653:
3651:
3650:
3645:
3639:
3636:
3635:
3630:
3628:
3627:
3620:
3613:
3605:
3596:
3595:
3593:
3592:
3581:
3578:
3577:
3575:
3574:
3568:
3566:
3562:
3561:
3559:
3558:
3553:
3548:
3543:
3538:
3533:
3528:
3523:
3522:
3521:
3516:
3511:
3500:
3498:
3494:
3493:
3491:
3490:
3489:
3488:
3486:National Fonts
3478:
3473:
3472:
3471:
3461:
3455:
3453:
3447:
3446:
3444:
3443:
3438:
3433:
3431:Web typography
3428:
3423:
3418:
3413:
3407:
3405:
3401:
3400:
3398:
3397:
3392:
3391:
3390:
3380:
3375:
3370:
3365:
3360:
3355:
3349:
3347:
3341:
3340:
3338:
3337:
3336:
3335:
3325:
3320:
3315:
3310:
3308:Reversing type
3305:
3300:
3295:
3290:
3285:
3280:
3275:
3270:
3265:
3260:
3255:
3254:
3253:
3248:
3238:
3232:
3230:
3224:
3223:
3221:
3220:
3215:
3210:
3205:
3204:
3203:
3193:
3188:
3183:
3177:
3175:
3164:
3163:
3160:
3159:
3157:
3156:
3155:
3154:
3149:
3144:
3134:
3128:
3126:
3122:
3121:
3119:
3118:
3113:
3107:
3105:
3099:
3098:
3096:
3095:
3086:
3081:
3075:
3073:
3067:
3066:
3064:
3063:
3058:
3057:
3056:
3051:
3046:
3035:
3033:
3024:
3016:
3015:
3012:
3011:
3009:
3008:
3003:
2998:
2993:
2988:
2983:
2978:
2973:
2967:
2965:
2961:
2960:
2958:
2957:
2952:
2947:
2942:
2937:
2935:Letter-spacing
2932:
2927:
2921:
2919:
2915:
2914:
2912:
2911:
2906:
2901:
2896:
2891:
2889:Color printing
2886:
2881:
2875:
2873:
2867:
2866:
2864:
2863:
2858:
2853:
2848:
2843:
2838:
2833:
2827:
2825:
2823:Capitalization
2819:
2818:
2816:
2815:
2810:
2805:
2800:
2795:
2790:
2785:
2780:
2775:
2770:
2765:
2759:
2757:
2748:
2742:
2741:
2739:
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2736:
2726:
2721:
2716:
2711:
2706:
2700:
2698:
2692:
2691:
2689:
2688:
2683:
2678:
2673:
2668:
2663:
2661:Page numbering
2658:
2653:
2648:
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2635:
2629:
2628:
2623:
2621:
2620:
2613:
2606:
2598:
2592:
2591:
2567:
2562:
2550:
2545:
2540:
2535:
2528:
2527:External links
2525:
2524:
2523:
2500:
2485:
2466:
2459:Jan Tschichold
2439:Heller, Steven
2436:
2411:
2408:
2405:
2404:
2389:
2371:
2356:
2341:
2312:
2292:
2277:
2257:
2221:
2214:
2193:
2171:
2160:
2131:
2116:
2078:
2065:
2054:
2039:
2011:
2010:
2008:
2005:
2003:
2000:
1999:
1998:
1993:
1988:
1983:
1976:
1973:
1972:
1971:
1966:
1961:
1956:
1951:
1946:
1944:Printing press
1941:
1936:
1929:
1926:
1924:
1921:
1917:Jan Tschichold
1904:
1901:
1889:Ljubomir Micić
1861:
1858:
1842:Walter Tiemann
1811:William Morris
1768:
1765:
1760:graphic design
1750:, designer of
1744:Frederic Goudy
1730:type foundries
1631:
1628:
1568:
1565:
1563:
1560:
1548:William Bulmer
1544:JoaquĂn Ibarra
1508:René Descartes
1506:philosophy of
1446:
1443:
1415:
1412:
1395:romaine du roi
1318:
1315:
1295:British Empire
1272:William Caslon
1254:
1251:
1182:
1179:
1146:
1143:
1123:Robert Granjon
1094:
1093:Robert Granjon
1091:
1047:
1044:
993:
990:
984:printers, and
981:Henri Estienne
968:
965:
916:
913:
855:Latin classics
836:Main article:
833:
830:
820:Aldus Manutius
801:Nicolas Jenson
753:Nicolas Jenson
746:Main article:
743:
740:
736:Latin alphabet
712:Nicolas Jenson
695:
692:
662:lettera antica
571:
568:
552:William Caxton
544:Erhard Ratdolt
493:Peter Schöffer
426:
423:
399:printing press
331:Garamond style
318:
317:
300:
299:
214:
212:
205:
198:
197:
193:
192:
185:
174:
152:
149:
137:adding a topic
132:
121:
114:
107:(October 2015)
95:
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91:
84:
79:
53:
52:
50:
43:
24:
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5505:
5504:
5502:
5487:
5482:
5480:
5475:
5473:
5468:
5466:
5461:
5459:
5454:
5452:
5447:
5446:
5443:
5433:
5430:
5428:
5425:
5423:
5420:
5418:
5417:specification
5415:
5413:
5410:
5408:
5405:
5403:
5400:
5398:
5395:
5393:
5390:
5388:
5385:
5383:
5380:
5378:
5375:
5373:
5370:
5368:
5365:
5363:
5360:
5358:
5355:
5353:
5350:
5348:
5345:
5343:
5340:
5336:
5333:
5331:
5330:architectural
5328:
5327:
5326:
5323:
5321:
5318:
5316:
5313:
5311:
5307:
5306:
5303:
5300:
5298:
5297:Visualization
5295:
5293:
5290:
5288:
5285:
5283:
5280:
5278:
5275:
5273:
5270:
5268:
5265:
5263:
5260:
5258:
5255:
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5250:
5248:
5245:
5243:
5240:
5238:
5235:
5233:
5230:
5228:
5225:
5223:
5220:
5218:
5217:Cultural icon
5215:
5213:
5210:
5208:
5205:
5203:
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5184:
5180:
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5148:
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5143:
5141:
5138:
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5133:
5131:
5128:
5127:
5125:
5121:
5115:
5112:
5110:
5107:
5105:
5102:
5100:
5097:
5095:
5092:
5090:
5087:
5086:
5084:
5082:Organizations
5080:
5072:
5069:
5068:
5067:
5064:
5062:
5061:
5057:
5055:
5052:
5050:
5049:Design patent
5047:
5045:
5042:
5040:
5039:Design around
5037:
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4760:User-centered
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4708:Tableless web
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4521:For Six Sigma
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4452:architect-led
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4360:Brainstorming
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4293:Social design
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4143:Scenic design
4141:
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4128:Floral design
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4119:
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3835:Garden design
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3818:Passive solar
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3793:Environmental
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3755:Retail design
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3436:BĂ©zier curves
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3421:Rasterization
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3278:Microprinting
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3236:Etaoin shrdlu
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2497:0-521-82690-X
2494:
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2478:0-7472-4504-5
2475:
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2463:Jeffery Keedy
2460:
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2451:1-58115-082-2
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2150:on 2020-11-28
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1807:private press
1803:
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1784:Impressionism
1777:
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1748:Oswald Cooper
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1445:Modern romans
1444:
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1341:Romain du Roi
1336:
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1211:type founding
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1056:
1055:Garamond type
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958:
953:
951:
946:
942:
938:
937:New Testament
934:
930:
926:
922:
921:Johann Froben
914:
912:
910:
905:
901:
896:
889:
885:
881:
878:
873:
871:
867:
866:
859:
856:
852:
848:
847:
839:
831:
828:
823:
821:
812:
808:
804:
803:'s roman type
802:
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766:
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749:
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737:
732:
729:
723:
719:
717:
713:
709:
705:
701:
693:
691:
689:
685:
684:moveable type
677:
673:
669:
665:
663:
659:
655:
650:
646:
638:
637:
632:
631:
626:
622:
620:
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589:
585:
581:
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569:
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564:
560:
555:
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549:
545:
541:
537:
536:Johann Bämler
533:
528:
526:
522:
518:
514:
508:
506:
502:
501:42-line Bible
498:
494:
491:
487:
483:
481:
477:
473:
469:
468:
463:
459:
456:
448:
447:hand-lettered
444:
440:
436:
431:
424:
422:
420:
416:
412:
408:
404:
400:
396:
395:Western world
392:
388:
384:
380:
376:
372:
371:ancient times
368:
365:
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296:
293:
285:
274:
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264:
260:
257:
253:
250:
246:
243: –
242:
238:
237:Find sources:
231:
227:
221:
220:
215:This article
213:
209:
204:
203:
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186:
183:
175:
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165:
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150:
143:
142:main category
139:
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119:
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109:
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101:
96:You can help
92:
83:
82:
77:
75:
68:
67:
62:
61:
56:
51:
42:
41:
36:
32:
27:
19:
5287:STEAM fields
5257:Lean startup
5242:Indie design
5058:
5025:Intellectual
4777:Value-driven
4755:Use-centered
4661:Regenerative
4641:Policy-based
4601:Mind mapping
4506:For assembly
4447:Design–build
4365:By committee
4350:Adaptive web
4148:Sound design
4106:glass design
4104: /
4089:applied arts
4030:Level design
3901:Urban design
3852:Hotel design
3803:Architecture
3778:Video design
3771: /
3762: /
3730:Illustration
3723:Print design
3693:Brand design
3540:
3536:Type foundry
3373:Metric units
3303:Punchcutting
3288:Movable type
3258:Font catalog
3218:Vertical bar
2955:Word spacing
2925:Figure space
2808:Text figures
2651:Even working
2583:. Retrieved
2579:the original
2575:Igino Marini
2543:Twenty Faces
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2488:
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2442:
2432:
2418:
2416:Burke, James
2380:
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2148:the original
2143:
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2089:
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2057:
2029:
1949:Punchcutting
1934:Movable type
1906:
1897:Marcel Iancu
1886:
1863:
1854:World War II
1844:in Leipzig,
1826:New Book Art
1823:
1804:
1796:Otto Eckmann
1781:
1758:
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1658:
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1592:
1588:
1580:
1570:
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1532:Firmin Didot
1524:
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1516:Isaac Newton
1496:chirographic
1485:
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1432:
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1378:
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1362:
1358:
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1288:Anton Janson
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1189:Specimen of
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1101:
1079:grecs du roi
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419:italic types
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349:
344:movable type
342:. See also:
333:
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288:
282:January 2022
279:
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236:
224:Please help
219:verification
216:
164:edit summary
155:
135:
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57:Please help
54:
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5512:Art history
5325:competition
5282:Slow design
5232:Form factor
5202:Concept art
5011:HTML editor
4691:Sustainable
4526:For testing
4370:By contract
4226:Work design
4201:Drug design
4173:engineering
4047:Icon design
4025:Game design
4003:Interaction
3951:Sustainable
3884:Sustainable
3773:Type design
3750:Photography
3745:News design
3688:Book design
3683:Advertising
3662:Disciplines
3531:Type design
3526:Style guide
3519:Calligraphy
3509:Handwriting
3323:Type design
3273:Lorem ipsum
3268:Letterpress
3228:Typesetting
3168:Punctuation
3132:Record type
3103:Gaelic type
3091:Schwabacher
2981:Body height
2846:Letter case
2714:Line length
1954:Typesetting
1850:Rudolf Koch
1830:World War I
1788:Art Nouveau
1667:machine by
1613:photography
1605:lithography
1581:e. g.
1425:Baskerville
1414:Baskerville
1400:copperplate
1317:Fleischmann
1223:punchcutter
1057:revival by
929:Switzerland
888:Italic type
838:Italic type
832:Italic type
827:Incunabulum
757:roman types
525:Schwabacher
480:blackletter
462:Renaissance
411:blackletter
5507:Typography
5501:Categories
5485:Wiktionary
5478:Wikisource
5432:technology
5402:principles
5001:Storyboard
4827:management
4822:leadership
4787:Privacy by
4626:Parametric
4596:Metadesign
4566:Integrated
4556:High-level
4541:Generative
4536:Functional
4405:Continuous
4400:Contextual
4375:C-K theory
4335:Approaches
4077:Web design
3931:CMF design
3911:Industrial
3769:Typography
3504:Penmanship
3476:East Asian
3318:Type color
3251:monospaced
3208:Interpunct
3201:minus sign
3125:Specialist
3061:Sans-serif
3054:slab serif
3031:Roman type
2986:Cap height
2950:Thin space
2909:Whitespace
2861:Title case
2856:Snake case
2851:Small caps
2836:Camel case
2768:Diacritics
2676:Pull quote
2671:Pagination
2666:Paper size
2625:Typography
2468:Man, John
2423:(c) 1985,
2251:2008-10-16
2154:2020-11-10
2092:(c) 1957,
2002:References
1964:Typography
1809:publisher
1694:. Whether
1617:halftoning
1593:sans serif
1573:Egyptienne
1476:Didot type
1335:transaxial
1181:Fell types
959:family of
825:See also:
765:archetypal
748:Roman type
478:spirit of
443:decorative
352:typography
252:newspapers
60:improve it
35:Typography
5471:Wikiquote
5457:Wikibooks
5407:rationale
5372:knowledge
5347:education
5267:OODA loop
4991:Prototype
4976:Flowchart
4934:Blueprint
4802:computing
4738:Universal
4686:Safe-life
4591:Low-level
4581:Iterative
4561:Inclusive
4546:Geodesign
4437:Defensive
4385:Co-design
4355:Affective
3001:Overshoot
2996:Mean line
2991:Descender
2904:Underline
2746:Character
2724:Runaround
2704:Alignment
2696:Paragraph
2399:919438630
2330:cite book
2322:840432025
2246:1355-9877
2240:(6): 21.
2186:23 August
2007:Citations
1893:Ion Vinea
1802:designs.
1800:ex libris
1721:Helvetica
1584:Clarendon
1500:symmetric
1457:of sample
1455:Facsimile
1439:Mrs Eaves
1347:Louis XIV
1207:the Crown
1191:Fell type
1161:precise.
1158:engraving
961:Frankfurt
865:ligatures
785:asymmetry
674:from the
639:, c. 113.
599:geometric
596:euclidean
472:textualis
182:talk page
134:Consider
102:in German
66:talk page
5464:Wikinews
5397:paradigm
5377:language
5357:engineer
5352:elements
5342:director
5027:property
4872:thinking
4862:strategy
4847:research
4807:controls
4765:Empathic
4696:Systemic
4656:Rational
4611:New Wave
4425:Critical
3648:Designer
3590:Category
3469:PT Fonts
3464:Cyrillic
3328:Typeface
3246:computer
3147:fat face
3020:Typeface
3006:x-height
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2971:Ascender
2831:All caps
2793:Rotation
2788:Ligature
2783:Ink trap
2556:Archived
2287:85812126
2204:(1998).
2049:58829979
1939:Printing
1923:See also
1874:Belgrade
1866:Budapest
1734:branding
1700:Garamond
1665:hot type
1650:Exlibris
1639:Monotype
1537:Napoleon
1530:and son
1467:c. 1999.
1465:Monotype
1427:typeface
1326:NĂĽrnberg
1131:Civilité
1046:Garamond
1039:ascender
1035:baseline
773:abstract
649:humanist
580:Venetian
559:Valencia
548:Venetian
540:Augsburg
513:Bastarda
497:D-K type
458:printing
367:currency
340:ligature
158:provide
5450:Commons
5422:studies
5367:history
5335:student
5320:classic
5308:Design
5222:.design
5150:Graphex
4852:science
4842:pattern
4837:methods
4812:culture
4795:Design
4606:Modular
4459:Diffuse
4380:Closure
4102:Ceramic
3760:Signage
3643:Outline
3416:Hinting
3293:Pangram
3111:Insular
3084:Rotunda
3079:Fraktur
3044:Antiqua
2930:Kerning
2899:Oblique
2894:Italics
2841:Initial
2773:Dingbat
2763:Counter
2709:Leading
2585:8 April
2410:Sources
1928:General
1792:Eckmann
1778:, 1901.
1776:Eckmann
1740:Chicago
1696:digital
1641:machine
1359:E F L T
1330:Haarlem
1246:forms.
1170:Elzevir
1150:Baroque
1127:Antwerp
933:Erasmus
904:modello
862:pairs (
846:cursive
807:Aldines
759:cut by
584:antiqua
561:in the
521:rotunda
517:fraktur
364:coinage
356:history
266:scholar
180:to the
162:in the
104:.
5427:studio
5412:review
5392:museum
5315:change
5123:Awards
4996:Sketch
4981:Mockup
4961:CAutoD
4902:Awards
4867:theory
4857:sprint
4832:marker
4797:choice
4171:&
4169:design
4005:design
3913:design
3795:design
3713:Motion
3675:design
3632:Design
3459:Arabic
3358:Cicero
3196:Hyphen
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3116:Uncial
3049:Didone
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2646:Column
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1870:Zagreb
1782:Since
1718:, and
1709:Futura
1704:Bodoni
1652:, 1921
1492:Didots
1461:Bodoni
1367:Bodoni
1253:Caslon
1195:Cicero
1174:Leyden
1154:rococo
1106:Arabic
957:Wechel
787:. The
777:serifs
716:Venice
611:serifs
586:. The
523:, and
490:scribe
476:gothic
467:textur
439:textur
417:, and
335:long s
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5197:Agile
4916:Tools
4893:Tools
4531:For X
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4086:Other
3383:Point
3353:Agate
3213:Space
3039:Serif
2940:Pitch
2803:Swash
2778:Glyph
2719:River
2234:(PDF)
1715:Times
1589:serif
1408:point
1371:Didot
1232:m n r
973:Paris
945:roman
941:Spain
925:Basel
811:Bembo
789:ratio
781:logic
592:Roman
576:Italy
415:roman
360:seals
273:JSTOR
259:books
125:DeepL
5387:load
5382:life
5362:firm
4949:CAID
4817:flow
4733:TRIZ
4621:Open
3481:Thai
3395:Twip
3378:Pica
3333:list
3313:Sort
3241:Font
3186:Dash
3172:List
2884:Bold
2734:runt
2633:Page
2587:2013
2508:ISBN
2493:ISBN
2474:ISBN
2447:ISBN
2425:ISBN
2395:OCLC
2385:ISBN
2336:link
2318:OCLC
2308:ISBN
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2273:ISBN
2242:ISSN
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2188:2014
2104:OCLC
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