History of Western typography

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: 796: 323: 625: 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. 3586: 1051: 1472: 208: 1635: 46: 884: 1646: 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

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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

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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

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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

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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

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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

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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

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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

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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. 894:

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 1005:

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.

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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

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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

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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. 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

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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. 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

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. 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 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.

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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.

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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

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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.

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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

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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.

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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

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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.

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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

1818: 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 141: 4389: 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

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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. 1763:

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

675: 2532: 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

539: 1791: 1775: 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

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. 151:

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.

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

609:. Their structurally perfect design, near-perfect execution in stone, balanced angled stressing, contrasting thick and thin strokes, and incised 5070: 2574: 2335: 2110:. The Dover edition is an abridged and corrected republication of the work originally published in 1950 by Prentice-Hall, Inc. under the title 1825: 225: 59: 3545: 17: 1398:

style and adapted it for his own modern age. Like Baskerville, his italics were inspired by handwriting and the engraved lettering known as

272: 1406:, in which he recorded much European typographic history, and introduced the first standardized system of type size measurement—the " 939:) he had established a set of standards for humanistic printing which were widely copied throughout the German-speaking world and also in 244: 2139: 1065:

The svelte French style reached its fullest refinement in the roman types attributed to the best-known figure of French typography—

1238:; and long, flat serifs—prefiguring modern. They repeated the non-uniform slant of French models, and the capitals included swash 895:

abbreviations. Italic types from the 20th century up to the present are much indebted to Arrighi and his influence on French designers.

527:. Notably, early printed books matched the style of handwritten manuscripts and did not contain title pages, page numbers, or headings. 2480:. A detailed examination of Gutenberg's life and invention, skillfully interwoven with the underlying social and religious upheaval of 496: 1373:. Fleischmann's italic bore some resemblance to Granjean's but had longer ascenders and followed the established Dutch structures for 971:

Typography was introduced to France by the German printers Martin Crantz, Michael Freyburger and Ulrich Gering, who set up a press in

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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

251: 1494:. Completing trends begun by the Fell types, Fleischman, Fournier and Baskerville, the so-called "classical" modern romans eschewed 1282:

Caslon's Great Primer roman and English roman were retrogressive designs that very closely followed the Fell types and the roman of

5139: 2555: 1995: 956: 453:

Typography, type-founding, and typeface design began as closely related crafts in mid-15th-century Europe with the introduction of

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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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This article is about Western typography from the 15th to 20th centuries. For the development of typography in Asia, see

1539:. Francois Ambroise also designed "maigre" and "gras" types corresponding to later condensed and expanded font formats. 5088: 3883: 390: 181: 159: 65: 2548:

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. 1293:

William Caslon's prodigious output was influential worldwide. Caslon type and its imitations were used throughout the

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Content in this edit is translated from the existing German Knowledge article at ]; see its history for attribution.

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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

1138: 656:, and with a lapse of three hundred years since the widespread use of this style, the humanist scribes mistook 229: 919:

Soon after 1500, roman typefaces began to gain popularity north of the Alps for printing of Latin literature.

5164: 4717: 4240: 3817: 3807: 1479: 707: 2271:. Charles W. Pitkin, Raymond L. Cornwell (3rd ed.). Saratoga, Calif.: Liber Apertus Press. pp. v. 1908: 5521: 4970: 4953: 4675: 4515: 3950: 3866: 3839: 3425: 3387: 2419: 1990: 265: 99: 1832:, was influenced by the Arts and Crafts Movement. The young type designers of the pre-war era, among them 5516: 4267: 3829: 3571: 2640: 1985: 1503: 686:

reached Italy several decades later, the humanistic writing had evolved into a consistent model known as

381:—a series of key developments that were eventually drawn together into one systematic craft. While 5462: 1125:

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.

1321: 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 755:

began printing in Venice with his original roman font from 1470. Jenson's design and the very similar

5291: 4960: 4575: 4570: 4500: 4245: 4230: 4041: 3957: 2797: 1880:. However, since 1925 avant-garde typography had been spreading to the cities of western and eastern 1283: 429: 5526: 5296: 5053: 4965: 4727: 4441: 4414: 4344: 4205: 4061: 3972: 3846: 3555: 3372: 3043: 2980: 2685: 2608: 1968: 1887:

In 1924 two exhibitions important for development of avant-garde typography were organized: one by

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822:(Italian: Manuzio). Roman faces based on those of Speyer and Jenson are also called Venetian. 5246: 5129: 4943: 4749: 4722: 4712: 4680: 4670: 4635: 4550: 4495: 4490: 4473: 4419: 4257: 4210: 4071: 3935: 3856: 3712: 3475: 2975: 2970: 2883: 2870: 2703: 1798:. Furthermore, the influence of art nouveau was expressed in a lot of book illustrations and 1664: 1441:, is named after Baskerville's mistress-turned-wife Sarah Eaves, the widow of Richard Eaves. 1385: 1214: 1038: 1034: 864: 657: 629: 618: 587: 339: 188: 1912: 1724:, nearly all currently used typefaces have their origin either in the following and ongoing 5511: 5416: 5271: 5231: 4985: 4938: 4759: 4707: 4630: 4620: 4520: 4483: 4463: 4394: 4384: 3792: 3782: 3739: 3717: 3672: 3615: 3267: 2908: 2762: 2499:. Deals with the social, religious, and technical influences on typography and book design. 2061: 1958: 1833: 1680: 1638: 1624: 1583: 1082: 2033:. Alston W. Purvis (4th ed.). Hoboken, N.J.: John Wiley & Sons, Inc. p. 70. 8: 5506: 5211: 5134: 5043: 4928: 4776: 4754: 4660: 4640: 4505: 4364: 4349: 4262: 4029: 3982: 3763: 3589: 3550: 3463: 3357: 3212: 3190: 3180: 3048: 2655: 2645: 2601: 1747: 1668: 1487: 1110: 1074: 908: 355: 2552: 1891:(the First International Zenitistic Exhibition of New Art in Belgrade) and the other by 5324: 5276: 5251: 4690: 4525: 4510: 4369: 4185: 4056: 4002: 3734: 3513: 3440: 3420: 3410: 3382: 3352: 3312: 2939: 2802: 2787: 2728: 2718: 2329: 2093: 1786:

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

534:

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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Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers

1948: 1933: 1896: 1853: 1795: 1751: 1729: 1695: 1531: 1515: 1491: 1463:

types by the Officina Bodoni in 1925. The font shown is the digital Bodoni

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

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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.

475: 442: 414: 351: 170:

to the source of your translation. A model attribution edit summary is

34: 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. 5266: 4990: 4975: 4933: 4545: 4105: 3945: 2995: 2990: 2767: 2695: 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

1892: 1799: 1720: 1649: 1454: 1449: 1438: 1346: 1206: 1157: 960: 784: 764: 693: 667: 466: 438: 2564: 2547: 2542: 1629: 1050: 358:

tracing its origins back to the first punches and dies used to make

207: 4600: 3647: 3468: 3327: 3146: 3019: 3005: 2830: 2782: 1938: 1873: 1865: 1771: 1634: 1616: 1536: 1499: 1464: 1278:. The complete canon included roman, italic, Greek, Hebrew, Arabic 1144: 1086: 868:), and unslanted small roman capitals the height of the lower case 648: 598: 558: 512: 366: 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

1471: 1418: 5221: 5149: 4889: 3759: 3292: 3078: 2929: 2840: 2772: 2708: 2140:"The Life of a Dead Typeface: The Origins of Civilité | Newberry" 1739: 1329: 1149: 1126: 943:

and, to a lesser extent in England. His principal type is wholly

883: 845: 2208:(Third ed.). John Wiley & Sons, Inc. pp. 108–109. 1645: 1156:

aesthetic trends, use of the pointed-pen for writing, and steel

128: 4980: 3631: 3195: 2812: 2180: 1881: 1877: 1869: 1460: 1366: 1309:) for the second half of the 18th century and was used for the 1275: 1262: 1194: 1173: 1153: 1105: 776: 715: 547: 489: 334: 3692: 3038: 2777: 2745: 2593: 2506:(c) 2000, Allworth Press, Allworth Communications, New York. 2445:(c) 2001, Allworth Press, Allworth Communications, New York. 1733: 1690:

A result of the industrialisation process was the unimagined

1365:, all characteristics prefiguring the "classical" moderns of 972: 940: 931:

set up his press in 1491, and by about 1519 (when he printed

924: 810: 788: 780: 610: 575: 1221:. The so-named Fell types, presumed to be the work of Dutch 4732: 3394: 3240: 3185: 2112:

Lettering: The History and Technique of Lettering as Design

1168:

The roman types used c. 1618 by the Dutch printing firm of

1115: 997:

1520s. At the end of this period roman types introduced by

985: 948:

title pages and headings—Froben was the first to use such '

699: 363: 373:. The basic elements of typography are at least as old as 140:

to this template: there are already 1,880 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.

2363: 1276:

stable of typefaces on the specimen sheet issued in 1734

2348: 676:

Carolingian Gospel Book produced between 820 and 830 AD

2489:

Print, Manuscript, and the Search for Order, 1450-1830

2378: 1746:, designer of 123 typefaces, founded several presses. 1742:

contributed much to typography design at this time as

914: 991: 1899:(the First International Exhibition Contimporanul). 1623:

Further information on the 19th-century French:

124: 1902: 1561: 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). 1859: 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 5498: 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 2299: 1766: 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 3088: 1828:movement, which formed in the decade before 1757:Besides the traditional typography of books 1393: 1350: 1338: 741: 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 3623: 3609: 2616: 2602: 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 1770: 1692:number and distribution of new typefaces 1644: 1633: 1558:whereas in European designs it has two. 1498:and organic influences, their synthetic 1470: 1448: 1417: 1256: 1184: 1096: 1049: 882: 794: 666: 623: 582:or "old style" Latin types, also called 428: 424: 321: 2264: 2123: 14: 5499: 2194: 2090:The History and Technique of Lettering 2079: 1706:or new contemporary type designs like 1554:and overall finesse of Baskerville's. 966: 433:First page of the first volume of the 5185: 5145:Good Design Award (Chicago Athenaeum) 4888: 4333: 3660: 3604: 2597: 2565:ABC typography. A virtual type museum 2200: 2026: 405:in the mid-15th century. The initial 397:developed after the invention of the 2022: 2020: 2018: 2016: 1566: 1129:. He is still famous because of his 775:stylization. The carefully modelled 704:Arnold Pannartz and Konrad Sweynheim 569: 230:adding citations to reliable sources 201: 80: 39: 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 24: 5186: 5089:American Institute of Graphic Arts 2228: 2178: 1974: 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: 5538: 5099:Design and Industries Association 2526: 2364:Hoels Henk, Lentjes Ewan (2016). 2013: 1611:. Finally, another invention was 1274:spent 14 years creating the 1092: 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 1444: 698:The classically endowed city of 206: 85: 44: 31:History of printing in East Asia 3661: 2372: 2357: 2342: 2293: 2258: 2222: 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 4334: 2623: 2484:on the eve of the Renaissance. 2172: 2161: 2132: 2117: 2074:Five Hundred Years of Printing 2066: 2055: 1413: 1324:(1701–1768) was born in 1316: 1286:c. 1685 falsely attributed to 1199:First Oration against Catiline 831: 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 13: 1: 5165:Prince Philip Designers Prize 3808:Architectural lighting design 3541:History of Western typography 2368:. Kraków: wydawnictwo d2d.pl. 2349:Karel Srp i Lenka Bydžovská. 2001: 1794:, designed by graphic artist 1429:designed by John Baskerville. 1180: 708:Johann and Wendelin of Speyer 672:Sample of Carolingian writing 330: 18:History of western typography 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. 2006: 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 7: 3830:Environmental impact design 2641:Canons of page construction 2238:Research Libraries Bulletin 2206:A History of Graphic Design 1986:History of sentence spacing 1922: 1045: 1037:serifs, delicately modeled 148:will aid in categorization. 10: 5543: 5109:International Forum Design 4479:Engineering design process 3630: 2409: 2306:. Martha Chiplis. London. 1927: 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: 5122: 5081: 5024: 4914: 4910: 4884: 4340: 4329: 4231:Integrated circuit design 4166: 4153:Stage/set lighting design 4085: 4042:Hardware interface design 4001: 3958:Hardware interface design 3909: 3791: 3671: 3667: 3656: 3638: 3580: 3564: 3496: 3449: 3403: 3343: 3226: 3166: 3124: 3101: 3069: 3029: 3018: 2963: 2917: 2869: 2821: 2798:Subscript and superscript 2753: 2744: 2694: 2631: 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 1252: 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:Miklós (Nicholas) Kis 1260: 1188: 1100: 1053: 886: 798: 670: 658:Carolingian minuscule 627: 432: 425:Medieval design roots 325: 189:Knowledge:Translation 160:copyright attribution 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: 5182: 5060:Geschmacksmuster 5034:Community design 4912: 4911: 4886: 4885: 4646:Process-centered 4442:Design–bid–build 4410:Cradle-to-cradle 4390:Concept-oriented 4331: 4330: 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: 3668: 3658: 3657: 3625: 3618: 3611: 3602: 3601: 3588: 3587: 3565:Related template 3497:Related articles 3298:Phototypesetting 3152:reverse-contrast 3137:Display typeface 3094: 3071:Blackletter type 3027: 3026: 2964:Vertical aspects 2945:Sentence spacing 2755:Typeface anatomy 2751: 2750: 2618: 2611: 2604: 2595: 2594: 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: 88: 81: 70: 48: 47: 40: 21: 5542: 5541: 5537: 5536: 5535: 5533: 5532: 5531: 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: 2377: 2373: 2362: 2358: 2347: 2343: 2327: 2326: 2314: 2298: 2294: 2279: 2263: 2259: 2250: 2248: 2233: 2229:Penney, Chris. 2227: 2223: 2216: 2199: 2195: 2185: 2183: 2179:Marini, Igino. 2177: 2173: 2166: 2162: 2153: 2151: 2138: 2137: 2133: 2122: 2118: 2087: 2080: 2071: 2067: 2060: 2056: 2041: 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: 304: 303: 298: 287: 281: 278: 235: 233: 223: 211: 196: 195: 194: 177: 171: 145: 113: 90: 86: 49: 45: 38: 23: 22: 15: 12: 11: 5: 5540: 5530: 5529: 5524: 5519: 5514: 5509: 5492: 5491: 5489: 5488: 5481: 5474: 5467: 5460: 5453: 5445: 5442: 5441: 5438: 5437: 5435: 5434: 5429: 5424: 5419: 5414: 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5338: 5337: 5332: 5322: 5317: 5312: 5305: 5304: 5302:Wicked problem 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5229: 5224: 5219: 5214: 5209: 5204: 5199: 5193: 5190: 5189: 5187:Related topics 5179: 5178: 5175: 5174: 5171: 5170: 5168: 5167: 5162: 5157: 5152: 5147: 5142: 5137: 5132: 5126: 5124: 5120: 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: 5008: 5003: 4998: 4993: 4988: 4983: 4978: 4973: 4968: 4963: 4958: 4957: 4956: 4951: 4941: 4936: 4931: 4926: 4920: 4918: 4908: 4907: 4904: 4903: 4900: 4897: 4894: 4890: 4882: 4881: 4878: 4877: 4875: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4839: 4834: 4829: 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: 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: 3654: 3653: 3651: 3650: 3645: 3639: 3636: 3635: 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: 2738: 2737: 2736: 2726: 2721: 2716: 2711: 2706: 2700: 2698: 2692: 2691: 2689: 2688: 2683: 2678: 2673: 2668: 2663: 2661:Page numbering 2658: 2653: 2648: 2643: 2637: 2635: 2629: 2628: 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:Joaquín 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: 94: 93: 91: 84: 79: 53: 52: 50: 43: 9: 6: 4: 3: 2: 5539: 5528: 5525: 5523: 5520: 5518: 5515: 5513: 5510: 5508: 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: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5223: 5220: 5218: 5217:Cultural icon 5215: 5213: 5210: 5208: 5205: 5203: 5200: 5198: 5195: 5194: 5191: 5184: 5180: 5166: 5163: 5161: 5158: 5156: 5153: 5151: 5148: 5146: 5143: 5141: 5138: 5136: 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: 5035: 5032: 5031: 5029: 5023: 5017: 5014: 5012: 5009: 5007: 5004: 5002: 4999: 4997: 4994: 4992: 4989: 4987: 4984: 4982: 4979: 4977: 4974: 4972: 4969: 4967: 4964: 4962: 4959: 4955: 4952: 4950: 4947: 4946: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4925: 4922: 4921: 4919: 4917: 4913: 4909: 4901: 4899:Organizations 4898: 4895: 4892: 4891: 4887: 4883: 4873: 4870: 4868: 4865: 4863: 4860: 4858: 4855: 4853: 4850: 4848: 4845: 4843: 4840: 4838: 4835: 4833: 4830: 4828: 4825: 4823: 4820: 4818: 4815: 4813: 4810: 4808: 4805: 4803: 4800: 4798: 4794: 4793: 4788: 4785: 4784: 4783: 4780: 4778: 4775: 4773: 4770: 4766: 4763: 4762: 4761: 4760:User-centered 4758: 4756: 4753: 4751: 4748: 4744: 4741: 4740: 4739: 4736: 4734: 4731: 4729: 4726: 4724: 4721: 4719: 4716: 4714: 4711: 4709: 4708:Tableless web 4706: 4702: 4699: 4698: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4647: 4644: 4642: 4639: 4637: 4634: 4632: 4631:Participatory 4629: 4627: 4624: 4622: 4619: 4617: 4614: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4587: 4584: 4582: 4579: 4577: 4574: 4572: 4569: 4567: 4564: 4562: 4559: 4557: 4554: 4552: 4549: 4547: 4544: 4542: 4539: 4537: 4534: 4532: 4529: 4527: 4524: 4522: 4521:For Six Sigma 4519: 4517: 4514: 4512: 4509: 4507: 4504: 4502: 4499: 4497: 4494: 4492: 4489: 4485: 4482: 4481: 4480: 4477: 4475: 4472: 4470: 4467: 4465: 4464:Domain-driven 4462: 4460: 4457: 4453: 4452:architect-led 4450: 4449: 4448: 4445: 4443: 4440: 4438: 4435: 4431: 4428: 4427: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4395:Configuration 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4360:Brainstorming 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4342: 4339: 4332: 4328: 4314: 4311: 4309: 4306: 4304: 4301: 4299: 4296: 4294: 4293:Social design 4291: 4289: 4286: 4284: 4281: 4279: 4276: 4274: 4271: 4269: 4266: 4264: 4261: 4259: 4256: 4254: 4251: 4247: 4244: 4242: 4239: 4237: 4234: 4233: 4232: 4229: 4227: 4224: 4222: 4219: 4217: 4216:Filter design 4214: 4212: 4209: 4207: 4204: 4202: 4199: 4197: 4194: 4192: 4191:Boiler design 4189: 4187: 4184: 4182: 4179: 4178: 4176: 4174: 4165: 4159: 4156: 4154: 4151: 4149: 4146: 4144: 4143:Scenic design 4141: 4139: 4136: 4134: 4131: 4129: 4128:Floral design 4126: 4122: 4119: 4117: 4114: 4113: 4112: 4109: 4107: 4103: 4100: 4098: 4095: 4094: 4092: 4090: 4084: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4053: 4050: 4048: 4045: 4043: 4040: 4036: 4033: 4031: 4028: 4027: 4026: 4023: 4019: 4016: 4015: 4014: 4011: 4010: 4008: 4006: 4000: 3994: 3991: 3989: 3986: 3984: 3981: 3979: 3976: 3974: 3971: 3969: 3966: 3964: 3961: 3959: 3956: 3952: 3949: 3948: 3947: 3944: 3942: 3939: 3937: 3934: 3932: 3929: 3927: 3924: 3922: 3919: 3918: 3916: 3914: 3908: 3902: 3899: 3897: 3894: 3892: 3889: 3885: 3882: 3881: 3880: 3877: 3875: 3872: 3868: 3865: 3864: 3863: 3860: 3858: 3855: 3853: 3850: 3848: 3845: 3841: 3838: 3837: 3836: 3835:Garden design 3833: 3831: 3828: 3826: 3823: 3819: 3818:Passive solar 3816: 3815: 3814: 3811: 3809: 3806: 3804: 3801: 3800: 3798: 3796: 3793:Environmental 3790: 3784: 3781: 3779: 3776: 3774: 3770: 3767: 3765: 3761: 3758: 3756: 3755:Retail design 3753: 3751: 3748: 3746: 3743: 3741: 3738: 3736: 3733: 3731: 3728: 3724: 3721: 3719: 3716: 3714: 3711: 3710: 3709: 3706: 3704: 3701: 3699: 3696: 3694: 3691: 3689: 3686: 3684: 3681: 3680: 3678: 3676: 3673:Communication 3670: 3666: 3659: 3655: 3649: 3646: 3644: 3641: 3640: 3637: 3633: 3626: 3621: 3619: 3614: 3612: 3607: 3606: 3603: 3591: 3583: 3582: 3579: 3573: 3570: 3569: 3567: 3563: 3557: 3554: 3552: 3549: 3547: 3544: 3542: 3539: 3537: 3534: 3532: 3529: 3527: 3524: 3520: 3517: 3515: 3512: 3510: 3507: 3506: 3505: 3502: 3501: 3499: 3495: 3487: 3484: 3483: 3482: 3479: 3477: 3474: 3470: 3467: 3466: 3465: 3462: 3460: 3457: 3456: 3454: 3448: 3442: 3439: 3437: 3436:Bézier curves 3434: 3432: 3429: 3427: 3424: 3422: 3421:Rasterization 3419: 3417: 3414: 3412: 3409: 3408: 3406: 3402: 3396: 3393: 3389: 3386: 3385: 3384: 3381: 3379: 3376: 3374: 3371: 3369: 3366: 3364: 3361: 3359: 3356: 3354: 3351: 3350: 3348: 3346: 3342: 3334: 3331: 3330: 3329: 3326: 3324: 3321: 3319: 3316: 3314: 3311: 3309: 3306: 3304: 3301: 3299: 3296: 3294: 3291: 3289: 3286: 3284: 3281: 3279: 3278:Microprinting 3276: 3274: 3271: 3269: 3266: 3264: 3261: 3259: 3256: 3252: 3249: 3247: 3244: 3243: 3242: 3239: 3237: 3236:Etaoin shrdlu 3234: 3233: 3231: 3229: 3225: 3219: 3216: 3214: 3211: 3209: 3206: 3202: 3199: 3198: 3197: 3194: 3192: 3189: 3187: 3184: 3182: 3179: 3178: 3176: 3173: 3169: 3165: 3153: 3150: 3148: 3145: 3143: 3140: 3139: 3138: 3135: 3133: 3130: 3129: 3127: 3123: 3117: 3114: 3112: 3109: 3108: 3106: 3104: 3100: 3093: 3092: 3087: 3085: 3082: 3080: 3077: 3076: 3074: 3072: 3068: 3062: 3059: 3055: 3052: 3050: 3047: 3045: 3042: 3041: 3040: 3037: 3036: 3034: 3032: 3028: 3025: 3023: 3017: 3007: 3004: 3002: 2999: 2997: 2994: 2992: 2989: 2987: 2984: 2982: 2979: 2977: 2974: 2972: 2969: 2968: 2966: 2962: 2956: 2953: 2951: 2948: 2946: 2943: 2941: 2938: 2936: 2933: 2931: 2928: 2926: 2923: 2922: 2920: 2916: 2910: 2907: 2905: 2902: 2900: 2897: 2895: 2892: 2890: 2887: 2885: 2882: 2880: 2877: 2876: 2874: 2872: 2868: 2862: 2859: 2857: 2854: 2852: 2849: 2847: 2844: 2842: 2839: 2837: 2834: 2832: 2829: 2828: 2826: 2824: 2820: 2814: 2811: 2809: 2806: 2804: 2801: 2799: 2796: 2794: 2791: 2789: 2786: 2784: 2781: 2779: 2776: 2774: 2771: 2769: 2766: 2764: 2761: 2760: 2758: 2756: 2752: 2749: 2747: 2743: 2735: 2732: 2731: 2730: 2727: 2725: 2722: 2720: 2717: 2715: 2712: 2710: 2707: 2705: 2702: 2701: 2699: 2697: 2693: 2687: 2684: 2682: 2679: 2677: 2674: 2672: 2669: 2667: 2664: 2662: 2659: 2657: 2654: 2652: 2649: 2647: 2644: 2642: 2639: 2638: 2636: 2634: 2630: 2626: 2619: 2614: 2612: 2607: 2605: 2600: 2599: 2596: 2580: 2576: 2572: 2568: 2566: 2563: 2561: 2557: 2554: 2551: 2549: 2546: 2544: 2541: 2539: 2536: 2534: 2531: 2530: 2521: 2517: 2513: 2512:1-58115-063-6 2509: 2505: 2501: 2498: 2497:0-521-82690-X 2494: 2490: 2486: 2483: 2479: 2478:0-7472-4504-5 2475: 2471: 2467: 2464: 2463:Jeffery Keedy 2460: 2456: 2452: 2451:1-58115-082-2 2448: 2444: 2440: 2437: 2434: 2430: 2429:0-316-11695-5 2426: 2422: 2421: 2417: 2414: 2413: 2400: 2396: 2392: 2386: 2382: 2375: 2367: 2360: 2352: 2345: 2337: 2331: 2323: 2319: 2315: 2309: 2305: 2304: 2296: 2288: 2284: 2280: 2278:0-9785881-4-2 2274: 2270: 2269: 2261: 2247: 2243: 2239: 2232: 2225: 2217: 2211: 2207: 2203: 2197: 2182: 2175: 2169: 2164: 2150:on 2020-11-28 2149: 2145: 2141: 2135: 2127: 2120: 2113: 2109: 2105: 2102: 2101:0-486-20427-8 2098: 2095: 2091: 2085: 2083: 2075: 2069: 2063: 2058: 2050: 2046: 2042: 2040:0-471-69902-0 2036: 2032: 2031: 2023: 2021: 2019: 2017: 2012: 1997: 1994: 1992: 1989: 1987: 1984: 1982: 1979: 1978: 1970: 1967: 1965: 1962: 1960: 1957: 1955: 1952: 1950: 1947: 1945: 1942: 1940: 1937: 1935: 1932: 1931: 1920: 1918: 1914: 1910: 1900: 1898: 1894: 1890: 1885: 1883: 1879: 1875: 1871: 1867: 1857: 1855: 1851: 1847: 1843: 1839: 1835: 1831: 1827: 1822: 1820: 1816: 1812: 1808: 1807:private press 1803: 1801: 1797: 1793: 1789: 1785: 1784:impressionism 1777: 1773: 1764: 1762: 1761: 1755: 1753: 1749: 1748:Oswald Cooper 1745: 1741: 1737: 1735: 1731: 1727: 1723: 1722: 1717: 1716: 1711: 1710: 1705: 1701: 1697: 1693: 1688: 1686: 1682: 1678: 1674: 1670: 1666: 1662: 1657: 1651: 1647: 1640: 1636: 1626: 1621: 1618: 1614: 1610: 1606: 1600: 1596: 1594: 1590: 1585: 1582: 1578: 1574: 1559: 1555: 1553: 1549: 1545: 1540: 1538: 1533: 1529: 1523: 1519: 1517: 1513: 1509: 1505: 1501: 1497: 1493: 1489: 1481: 1477: 1473: 1466: 1462: 1458: 1456: 1451: 1445:Modern romans 1442: 1440: 1436: 1428: 1426: 1420: 1411: 1409: 1405: 1401: 1396: 1391: 1387: 1382: 1380: 1376: 1372: 1368: 1364: 1360: 1355: 1354: 1348: 1343: 1342: 1341:Romain du Roi 1336: 1331: 1327: 1323: 1314: 1312: 1308: 1304: 1300: 1296: 1291: 1289: 1285: 1281: 1277: 1273: 1265: 1264: 1259: 1250: 1247: 1245: 1241: 1237: 1233: 1229: 1224: 1220: 1216: 1212: 1211:type founding 1208: 1200: 1196: 1192: 1187: 1178: 1175: 1171: 1166: 1162: 1159: 1155: 1151: 1142: 1140: 1135: 1132: 1128: 1124: 1117: 1113: 1112: 1107: 1103: 1099: 1090: 1088: 1084: 1080: 1076: 1072: 1068: 1060: 1056: 1055:Garamond type 1052: 1043: 1040: 1036: 1032: 1028: 1024: 1020: 1016: 1012: 1007: 1004: 1000: 989: 987: 982: 978: 974: 964: 962: 958: 953: 951: 946: 942: 938: 937:New Testament 934: 930: 926: 922: 921:Johann Froben 912: 910: 905: 901: 896: 889: 885: 881: 878: 873: 871: 867: 866: 859: 856: 852: 848: 847: 839: 828: 823: 821: 812: 808: 804: 803:'s roman type 802: 797: 793: 790: 786: 782: 778: 774: 768: 766: 762: 758: 754: 749: 739: 737: 732: 729: 723: 719: 717: 713: 709: 705: 701: 691: 689: 685: 684:moveable type 677: 673: 669: 665: 663: 659: 655: 650: 646: 638: 637: 632: 631: 626: 622: 620: 616: 612: 608: 604: 600: 597: 593: 589: 585: 581: 577: 567: 564: 560: 555: 553: 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: 422: 420: 416: 412: 408: 404: 400: 396: 395:Western world 392: 388: 384: 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Retrieved 2579:the original 2575:Igino Marini 2543:Twenty Faces 2519: 2515: 2503: 2488: 2469: 2454: 2442: 2432: 2418: 2416:Burke, James 2380: 2374: 2365: 2359: 2350: 2344: 2302: 2295: 2267: 2260: 2249:. Retrieved 2237: 2224: 2205: 2196: 2184:. Retrieved 2174: 2163: 2152:. 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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 2976:Baseline 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:Nürnberg 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 3181:Bullet 3142:script 3116:Uncial 3049:Didone 2813:Tittle 2656:Margin 2646:Column 2510: 2495: 2476: 2449: 2427: 2397: 2387: 2320: 2310: 2285: 2275: 2244: 2212: 2108:654540 2106: 2099: 2047: 2037: 1882:Europe 1878:Prague 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:. 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