Sans-serif - Knowledge

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

1643: 1746: 1619: 1595: 1559: 1842: 1182: 1081: 1698: 1106: 904: 1094: 1774: 1758: 3644:. Note that there is no lower-case. That would come, after 1830, with the innovative condensed 'Grotesque' of the Thorowgood foundry, which provided a model for type that would get large sizes into the lines of posters. It gave an alternative name to the design, and both the new features – the condensed proportions and the addition of lower-case – broke the link with Roman inscriptional capitals…But the antiquarian associations of the design were still there, at least in the smaller sizes, as the specimen of the Pearl size (four and three quarters points) of Figgins's type shows. It uses the text of the Latin inscription prepared for the 1734: 938: 1571: 1882: 1798: 1631: 1655: 916: 1814: 1667: 1722: 889: 1441:"Gothic": Popular with American type founders. Perhaps the first use of the term was due to the Boston Type and Stereotype Foundry, which in 1837 published a set of sans-serif typefaces under that name. It is believed that those were the first sans-serif designs to be introduced in America. The term may have derived from the architectural definition, which is neither Greek nor Roman, and from the extended adjective term of "Germany", which was the place where sans-serif typefaces became popular in the 19th to 20th centuries. Early adopters for the term includes 1786: 274: 1239: 1194: 1583: 1826: 1607: 1304: 954: 730: 1686: 50: 38: 26: 1710: 1866: 6021: 1284:... due to the absence of anything in the way of frills", making it a popular choice for the stationery of professionals such as lawyers and doctors. As Updike's comments suggest, the new, more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image. 1368: 557: 1854: 64: 364: 627:(1958), a typeface expressly designed to be suitable for both display and body text. Some humanist designs may be more geometric, as in Gill Sans and Johnston (especially their capitals), which like Roman capitals are often based on perfect squares, half-squares and circles, with considerable variation in width. These somewhat architectural designs may feel too stiff for body text. Others such as 415: 802:, the inspiration for much Latin-alphabet lettering throughout history, had prominent serifs. While simple sans-serif letters have always been common in "uncultured" writing and sometimes even in epigraphy, such as basic handwriting, most artistically-authored letters in the Latin alphabet, both sculpted and printed, since the Middle Ages have been inspired by fine calligraphy, 3640:

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

1018:... painted in Egyptian letters, which, as the Egyptians had no letters, you will doubtless conceive must be curious. They are simply the common characters, deprived of all beauty and all proportion by having all the strokes of equal thickness, so that those which should be thin look as if they had the elephantiasis." Similarly, the painter 2540:"The mid-20th century saw a reappraisal of these classic sans serif forms. Fueled by modernist ideas, they were rethought and redrawn, now with consistent details and even text color. Transferred into systematic families of numerous weights and widths, the neo-grotesque became an essential ingredient of the International Typographic Style" 1105: 1080: 1260:, as being fit only for advertisements (if that), and to this day most books remain printed in serif typefaces as body text. This impression would not have been helped by the standard of common sans-serif types of the period, many of which now seem somewhat lumpy and eccentrically-shaped. In 1922, master printer 645:, from 1976, has been particularly influential in the development of the modern humanist sans genre, especially designs intended to be particularly legible above all other design considerations. The category expanded greatly during the 1980s and 1990s, partly as a reaction against the overwhelming popularity of 1745: 995:

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

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

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

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

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

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

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

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

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

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

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

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

1045:, where 'Two Lines English' referred to the typeface's body size, which equals to about 28 points. Although it is known from its appearances in the firm's specimen books, no uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client. 2167:: Lineale typefaces with 19th-century origins. There is some contrast in thickness of strokes. They have squareness of curve, and curling close-set jaws. The R usually has a curled leg and the G is spurred. The ends of the curved strokes are usually oblique. Examples include the 1963:

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

2176:: Lineale typefaces derived from the grotesque. They have less stroke contrast and are more regular in design. The jaws are more open than in the true grotesque and the g is often open-tailed. The ends of the curved strokes are usually horizontal. Examples include Edel/Wotan, 1055:

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

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

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

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

1052:' foundry of London issued a new sans-serif in 1828. David Ryan felt that the design was "cruder but much larger" than its predecessor, making it a success. Thereafter sans-serif capitals rapidly began to be issued from London typefounders. 869: 1327:, on the nineteenth-century model: "Some of these old sans-serifs have had a real renaissance within the last twenty years, once the reaction of the 'New Objectivity' had been overcome. A purely geometrical form of type is unsustainable." 297:, since they were not needed for such uses. They were sometimes released by width, with a range of widths from extended to normal to condensed, with each style different, meaning to modern eyes they can look quite irregular and eccentric. 1990:

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

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

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

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

355:, meaning "belonging to the cave" due to their simple geometric appearance. The term arose because of adverse comparisons that were drawn with the more ornate Modern Serif and Roman typefaces that were the norm at the time. 2047:, who has examined surviving Caslon specimens and the matrices, suggests that the design is actually slightly earlier and may date to around 1812-4, noting that it appears in some undated but apparently earlier specimens. 471:

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

2189:: Lineale typefaces based on the proportions of inscriptional Roman capitals and Humanist or Garalde lower-case, rather than on early grotesques. They have some stroke contrast, with two-storey a and g. Examples include 292:

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

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

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

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

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

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

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

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

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

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

1520:"Industrial": Used to refer to grotesque and neo-grotesque sans-serifs that are not based on "artistic" principles, as humanist, geometric and decorative designs normally are. 765:(both used on road signs), may have unusual features to enhance legibility and differentiate characters, such as a lower-case 'L' with a curl or 'i' with serif under the dot. 717:. Humanist sans-serif designs can (if appropriately proportioned and spaced) be particularly suitable for use on screen or at distance, since their designs can be given wide 1685: 1181: 1071:

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

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

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

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

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

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

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

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

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

2202:: Lineale typefaces constructed on simple geometric shapes, circle or rectangle. Usually monoline, and often with single-storey a. Examples include 1145:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1401:"Egyptian": The name of Caslon's first general-purpose sans-serif printing type; also documented as being used by 3107: 3047: 1356: 524:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

880: 852:, the Caslon foundry made Etruscan types for pamphlets written by Etruscan scholar 674: 636: 612: 520:. Many geometric sans-serif alphabets of the period, such as those authored by the 489: 485: 473: 450: 403: 391: 348: 317: 313: 277: 206: 98: 68: 3834: 2500: 857: 199:, meaning "without" and "serif" of uncertain origin, possibly from the Dutch word 5915: 5802: 5797: 5717: 5685: 5576: 5313: 5115: 4923: 4896: 4888: 4792: 3706: 3641: 2762: 1715:

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

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

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

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

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

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

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

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

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Corset advertisement using multiple grotesque typefaces, United States, 1886

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

5970: 5850: 5737: 5722: 5692: 5652: 5635: 5389: 5359: 5333: 5242: 5085: 5067: 4919: 4867: 3958: 3660: 3610: 2691:"Typodermic's Raymond Larabie Talks Type, Technology & Science Fiction" 2044: 1974: 1922: 1917: 1804: 1506: 1380: 1134: 969: 958: 742: 690: 620: 580: 509: 306: 233: 4268: 4230: 1383:. Gothic Italic no. 124, an 1890s grotesque, has a true italic resembling 49: 37: 25: 5965: 5960: 5953: 5943: 5757: 5707: 5662: 5602: 5566: 5537: 5525: 5505: 5328: 5280: 5148: 4592: 1624:

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

1428: 1376: 1372: 921: 819: 811: 803: 746: 714: 608: 576: 545: 529: 465: 442: 321: 294: 221: 4044:. New York: Grolier Club, Oxford University Press. pp. xxxv–xxxvii. 3388:

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

2643: 2641: 2603: 1315:(1956), printer Kenneth Day commented that Stephenson Blake's eccentric 5938: 5752: 5642: 5488: 5465: 5420: 5384: 5338: 5295: 5290: 5285: 5270: 5110: 5105: 5100: 5059: 4238: 3614: 3605: 3603: 2227: 1951: 1410: 1257: 1125: 1057: 973: 815: 632: 244: 166: 80: 3115: 2961: 5430: 5425: 5202: 5130: 2638: 2611: 2314: 2211: 2194: 2181: 1764: 1514: 1367: 1355:

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

1351: 1265: 1242: 946: 795: 738: 710: 646: 604: 600: 537: 395: 380: 367: 210: 84: 4262:

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

4061:(1st ed.). Cambridge, MA: Harvard University Press. p. 243 3600: 2110:"25 Systems for Classifying Typography: A Study in Naming Frequency" 1299:

Grotesque sans-serif revival and the International Typographic Style

5903: 5762: 5581: 5454: 5440: 5265: 5217: 3874: 3417:

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

2898: 2566: 2554: 1549: 533: 329: 3626: 2820: 1416:"Antique": Particularly popular in France; some families such as 5727: 5513: 5364: 5275: 5207: 5143: 4578: 4217:

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

3070: 2935: 2547: 2177: 1832: 1484: 1388: 1347: 1324: 754: 698: 694: 658: 650: 556: 521: 399: 4383:"A new basis for the old Akzidenz-Grotesk (English translation)" 3689: 3687: 3588:. The Centre for Printing History and Culture. 30 September 2016 3358: 3101: 3099: 3097: 3095: 3093: 773:

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

386:

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

284:

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

153:

letterform is one that does not have extending features called "

71:

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

5630: 5247: 4451: 3953: 3951: 3155: 2190: 942: 685:, while designs developed for computer use include Microsoft's 624: 5018: 3812:[Specimens of printing types] (untitled specimen book) 2846: 2754: 1225:

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

841:(1723), used special types intended for the representation of 5473: 5212: 5180: 5028: 4992: 4176: 3765: 3684: 3090: 2589:"Types of their time – A short history of the geometric sans" 2501:"What Are Grotesque Fonts? History, Inspiration and Examples" 2207: 1600:

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

158: 154: 63: 4305:. Berkeley: University of California Press. pp. 102–5. 3948: 3530:. Reading: University of Reading (MA thesis). Archived from 3040: 1409:

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

363: 347:

According to Monotype, the term "grotesque" originates from

5829: 5675: 5620: 4648: 3238:

Fifty Typefaces That Changed the World: Design Museum Fifty

1739:

Stencilled lettering apparently based on Futura Black, 1937

1487::1967), lineale replaced sans-serif as classification name. 1006:

The inappropriateness of the name was not lost on the poet

639:

more resemble handwriting, serif typefaces or calligraphy.

390:, or Swiss style. Its members looked at the clear lines of 128: 4958:

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

4031: 3729:

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

3578: 2713: 2359: 2308: 2306: 2304: 3901: 3200: 3198: 3196: 3194: 3192: 3190: 3188: 3186: 3184: 2808: 2744: 2742: 992:

in Ancient Egypt and its blocky, geometric architecture.

741:

has both neo-grotesque and geometric influences, as does

575:, traditional serif typefaces and calligraphy. Many have 414: 134: 107: 3891: 3889: 3802: 3346:

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

2656: 2626: 2519: 1171:

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

161:

typefaces. They are often used to convey simplicity and

4245: 3071:"Robert Grabhorn Collection on the History of Printing" 2301: 1763:

1952 Jersey holiday events brochure, using the popular

374:(as Neue Haas Grotesk) in 1957. A typical neo-grotesque 4603: 4037: 4019:. 20 (second series). Business History Conference: 229 3181: 2953: 2739: 1564:

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

18:

Typeface classification for letterforms without serifs

4714: 4073: 3886: 3450:

Letters from England: by Don Manual Alvarez Espriella

3219: 3217: 3215: 3213: 2872: 2794:(Rev. ed.). London: Laurence King. p. 201. 2413: 2390: 1280:

in 1925 that "a certain dignity of effect accompanies

1272:

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

860:

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

137: 125: 116: 110: 104: 4960:. London: Friends of the St Bride Printing Library. 4511: 4328:

Revival Type: Digital Typefaces Inspired by the Past

3989: 3851: 2107: 1137:

described the claimed dates as "on stylistic grounds

591:

in italic. One of the earliest humanist designs was

131: 4999:

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

3549: 3461: 3258: 3014: 3012: 3010: 3008: 1588:

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

122: 101: 5015:(presentation by Pierre Pané-Farré to Ésad Amiens) 4348: 3929:. University of Reading (archived). Archived from 3839:. London: V. & J. Figgins Letterfounders. 1846 3779: 3659: 3653: 3419:. The American University in Cairo Press. p. 3210: 2222: 2220: 2123:(1). The Parsons Institute for Information Mapping 1636:Broad block capitals. Hungarian film poster, 1918. 3883:Also Printed in Motif as "Letters Without Serifs" 3863: 3339: 3316: 786:printing such as brush lettering or calligraphy. 6037: 4371: 3619:"Two Lines English Egyptian (comments on forum)" 3005: 2344:. American Type Founders Company. 1897. p. 2171:, Condensed Sans No. 7, Monotype Headline Bold. 1679:, allowing tight linespacing. Switzerland, 1928. 1233: 1187:Italic capitals from the Caslon specimen of 1841 753:blends humanist and grotesque influences, while 468:, was released to great acclaim and popularity. 4411: 3915: 3749: 3296:Mnémosyne: Base documentaire de l'ésad d'Amiens 2217: 1213:to give an impression of modernity and novelty. 544:, along with many of the typefaces designed by 3498:Letters of credit : a view of type design 3467: 3414: 3235: 2275:. Archived from the original on 2 January 2013 1346:By the 1960s, neo-grotesque typefaces such as 1291:" ("the typeface of our time") and in English 1199:The first section of the avant-garde magazine 5981:Intellectual property protection of typefaces 5044: 4581:. The Font Bureau, Inc. p. Introduction. 4457: 3379: 3283: 2924: 1438:"Doric": Used by the Caslon foundry in London 5523: 4277:"Futura: The Typeface of Today and Tomorrow" 3408: 3385: 3139:De la " Cité de Dieu " au " Palais du Pape " 2719: 2662: 2141: 1497: 1491: 1466: 194: 4814: 4654: 4423:"Die alte Akzidenz-Grotesk auf neuer Basis" 3663:; Lommen, Mathieu; de Zoete, Johan (1998). 3310: 3229: 2988:"V Cut Lettering and Variations on a Theme" 2117:The Parsons Journal for Information Mapping 1675:, a thick German sans-serif with shortened 1530:This gallery presents images of sans-serif 492:; more recent designs in the style include 265:category into grotesque and neo-grotesque. 200: 5051: 5037: 3703:"Original Sans Collection: Read the Story" 3693: 3471:The Farington Diary, Volume III, 1804-1806 3364: 2612:"On Erbar and Early Geometric Sans Serifs" 964:Towards the end of the eighteenth century 6007:Punctuation and other typographic symbols 4007: 4001: 3808: 2789: 2770:Journal of the Edward Johnston Foundation 2688: 2108:Childers; Griscti; Leben (January 2013). 996:than printed from type, was shown in the 599:typeface from 1916, and, a decade later, 4925:Letters of Credit: A View of Type Design 4815:Haralambous, Yannis (28 November 2007), 4763: 4492: 4417: 4377: 4319: 4182: 3869: 3468:Farington, Joseph; Greig, James (1924). 3136: 2904: 2609: 2498: 1920:, an April Fools' joke by the newspaper 1479:to describe sans-serif types. Later, in 1366: 1302: 1237: 952: 936: 932: 924:calligraphy in a fifteenth-century bible 768: 728: 555: 413: 362: 312:Examples of grotesque typefaces include 272: 62: 4946:Kupferschmid, Indra (15 January 2016), 4357:"From the Archives: Typographic Sanity" 4300: 4294: 4091: 3975: 3969: 3609: 3474:. London: Hutchinson & Co. p. 3443: 3292:"The sanserif: the search for examples" 2720:Kupferschmid, Indra (15 January 2016). 2537: 1323:wrote in 1961 on designing a new face, 425:in 1927. A typical geometric sans-serif 340:and Monotype Grotesque are examples of 336:. Akzidenz Grotesk Old Face, Knockout, 6038: 4955: 4840: 4609: 4517: 4216: 4079: 4054: 3895: 3785: 3555: 3319:The History and Technique of Lettering 3223: 3204: 3141:. Rome: École française. p. 375. 3018: 2814: 2663:Kupferschmid, Indra (6 January 2012). 2135: 1036: 257:Vox-ATypI classification § Lineal 5032: 4983:The sanserif: the search for examples 4918: 4887: 4098:. Chicago: (self published). p. 3995: 3857: 3755: 3495: 3453:. D. & G. Bruce, print. pp. 3345: 2852: 2826: 2748: 2650:The Typography of Press Advertisement 2632: 2563:"A short intro to the geometric sans" 2525: 2450: 2226: 2142:Baines, Phil; Haslam, Andrew (2005), 1496:(preliminary designations), the term 1313:The Typography of Press Advertisement 653:and also due to the need for legible 4874:(2nd ed.), Getty Publications, 4740: 4555: 4486: 4325: 4303:Graphic Design in Germany: 1890-1945 4274: 4251: 4154:"Gill Sans Promotional Poster, 1928" 3726: 3648:, which was opened on 1 August 1831. 3264: 3068: 2790:Blackwell, written by Lewis (2004). 2451:Lippa, Domenic (14 September 2013). 2146:, Laurence King Publishing, p. 2033:chapel of Trinity College, Cambridge 1929: 1819:Tightly-spaced ITC Avant Garde; 1976 1490:"Simplices": In Jean Alessandrini's 1451:(1865). In China, Japan and Korea, 1293:"the typeface of today and tomorrow" 4715:Microsoft Corporation (June 1992), 4038:Rogers; Updike; McCutcheon (1939). 3558:Type: The Secret History of Letters 3520: 3236:John L Walters (2 September 2013). 2930: 2689:Tselentis, Jason (28 August 2017). 2647: 2101: 2084:, 15th edn., 1992, Vol. 10, p. 421. 1986:Mosley's book on early sans-serifs 941:An inscription at the neoclassical 897:, the inspiration for serif letters 186: 13: 3921: 3289: 3161: 3105: 2985: 2586: 2560: 1141:... about forty years too early". 798:of the classical period. However, 174: 14: 6062: 5013:] of 19th century poster type 5009:Panorama: A reassesment [ 4976: 4794:The Elements of Typographic Style 4497:. Walter de Gruyter. p. 88. 4330:. Yale University Press. p. 3957: 3164:"James Mosley: A Life in Objects" 3022:The Nymph and the Grot, an update 2959: 2878: 2312: 2266: 1859:1997 film festival poster, Ankara 1465:"Lineale", or "linear": The term 724: 250: 243:, due to their typically blacker 6020: 6019: 4898:Meggs' History of Graphic Design 4757: 4708: 4683: 4660: 4626: 4615: 4585: 4571: 4549: 4532:"Helvetica and Univers addendum" 4529: 4523: 4354: 4055:Updike, Daniel Berkeley (1922). 3415:Jason Thompson (30 April 2015). 3386:L. Parramore (13 October 2008). 3368:Sign Writing and Glass Embossing 3019:Mosley, James (6 January 2007), 2853:Berry, John D. (5 August 2002). 2763:"In Defence of the Roman Letter" 2760: 2097:. Oxford University Press. 2022. 2050: 1880: 1864: 1852: 1840: 1824: 1812: 1796: 1784: 1772: 1767:-led British style of the period 1756: 1744: 1732: 1720: 1708: 1696: 1684: 1665: 1653: 1641: 1629: 1617: 1605: 1593: 1581: 1569: 1557: 1541: 1509:format (ISO/IEC 26300:2006) and 1218: 1192: 1180: 1164: 1104: 1092: 1079: 914: 902: 887: 868: 358: 97: 48: 36: 24: 4692:OpenDocument v1.1 specification 4210: 4185:"Preparing a Railway Timetable" 4146: 4085: 4017:Business & Economic History 3720: 3489: 3321:. Courier Corporation. p. 3130: 2979: 2827:Berry, John D. (22 July 2002). 2783: 2682: 2531: 2492: 2470: 2444: 2422: 2407: 2384: 2077:The New Encyclopædia Britannica 2037: 2021: 2011: 1994: 1980: 1967: 1957: 1944: 1357:International Typographic Style 1130:Schelter & Giesecke foundry 388:International Typographic Style 5058: 4799:Hartley & Marks Publishers 3556:Loxley, Simon (12 June 2006). 3137:Le Pogam, Pierre-Yves (2005). 3050:. Perkins School for the Blind 3048:"Perkins School for the Blind" 2855:"The Human Side of Sans Serif" 2829:"Not Your Father's Sans Serif" 2260: 2087: 2068: 1935: 1903:East Asian sans-serif typeface 1362: 1343:... prettiness of Gill Sans". 567:in 1969. A humanist sans-serif 178: 170: 1: 5976:History of Western typography 4495:Typefaces: The Complete Works 3985:(in German), Eugen Diederichs 2062: 1871:Distorted sans-serif in the " 1483:Classification of Typefaces ( 1234:Twentieth-century sans-serifs 846: 607:, 1928). Edward Johnston, a 454: 182: 5823:traditional point-size names 5021:(Lecture at Cooper Union by 4741:Handover, Phyllis Margaret. 4121:"Fifty Years of Typecutting" 3586:"The Song of the Sans Serif" 3076:San Francisco Public Library 2722:"Some type genres explained" 2418:. Hoefler & Frere-Jones. 2095:Oxford Dictionary of English 2082:Encyclopædia Britannica Inc. 1913:List of sans serif typefaces 1423:"Grotesque": Popularised by 1043:'Two Lines English Egyptian' 409: 268: 7: 5076:Canons of page construction 4989:The true source of the sans 3815:. London: William Caslon IV 3809:Caslon, William (c. 1816). 3500:. Boston: David R. Godine. 2499:Greta, P (21 August 2017). 2432:. Hoefler & Frere-Jones 2414:Hoefler & Frere-Jones. 2395:. Hoefler & Frere-Jones 2391:Hoefler & Frere-Jones. 2169:Stephenson Blake Grotesques 1896: 1529: 1453:East Asian gothic typefaces 839:De Etruria regali libri VII 551: 10: 6067: 4949:Some Type Genres Explained 4930:David R. Godine, Publisher 4847:David R. Godine, Publisher 4841:Lawson, Alexander (1990), 4634:"The Sans Serif Typefaces" 4160:. Monotype. Archived from 4008:Badaracco, Claire (1991). 3871:Handover, Phyllis Margaret 3365:Callingham, James (1871). 3317:Alexander Nesbitt (1998). 2665:"True Type of the Bauhaus" 2315:"A Neo-Grotesque Heritage" 1831:Governmental poster using 1524: 1493:désignations préliminaires 1459: 1252:locomotive (built in 1938) 875:Sans-serif letterforms in 789: 254: 6015: 5999: 5931: 5884: 5838: 5778: 5661: 5601: 5559: 5536: 5504: 5464: 5453: 5398: 5352: 5304: 5256: 5233:Subscript and superscript 5188: 5179: 5129: 5066: 4985:(lecture by James Mosley) 4493:Frutiger, Adrian (2014). 4460:Journal of Visual Culture 4359:. Paul Shaw Letter Design 4326:Shaw, Paul (April 2017). 4219:Journal of Design History 3909:Handbuch der Schriftarten 2538:@hardwig (16 June 2019). 2293:: CS1 maint: unfit URL ( 1847:Anti-nuclear poster, 1982 563:, originally released by 421:, originally released by 370:, originally released by 280:, originally released by 5991:Vox-ATypI classification 5121:Intentionally blank page 4622:OED Definition of Gothic 4472:10.1177/1470412914544515 4301:Aynsley, Jeremy (2000). 4183:Robinson, Edwin (1939). 3911:. Leipzig: Seeman. 1926. 2962:"Identifont blog Feb 15" 2907:"Gill Sans Alternatives" 2269:"Helvetica alternatives" 2232:"The Face of Uniformity" 1477:VOX-ATypI classification 1395: 1289:die Schrift unserer Zeit 984:, with minimal serifs. 4872:Books: A Living History 4599:. The Font Bureau, Inc. 3731:. Pomegranate. p. 3268:The Itinerary of Greece 2881:"Questioning Gill Sans" 1420:, still carry the name. 5524: 5003:fr:Sébastien Morlighem 4956:Mosley, James (1999). 4764:Thompson, Ian (2013). 4092:Frazier, J.L. (1925). 3756:Morlighem, Sébastien. 3669:. De Graaf. p. 15 3560:. I.B.Tauris. p. 3496:Tracy, Walter (2003). 3265:Gell, William (1810). 1988:The Nymph and the Grot 1887:Letterpress poster by 1498: 1492: 1467: 1392: 1387:serifs of the period. 1308: 1262:Daniel Berkeley Updike 1253: 1245:on the nameplate of a 961: 950: 734: 568: 426: 375: 352: 285: 201: 195: 76: 67:From left to right: a 4843:Anatomy of a Typeface 4817:Fonts & Encodings 4768:. Twelveheads Press. 4556:Schwartz, Christian. 3646:rebuilt London Bridge 2905:Kupferschmid, Indra. 2648:Day, Kenneth (1956). 2610:Kupferschmid, Indra. 1908:Emphasis (typography) 1875:" style, Ankara, 2002 1370: 1306: 1241: 1211:a condensed grotesque 990:contemporary interest 988:classical past and a 956: 940: 933:Developing popularity 895:Roman square capitals 808:Roman square capitals 800:Roman square capitals 769:Modulated sans-serifs 732: 573:Roman square capitals 559: 417: 366: 276: 255:Further information: 187:§ Other or mixed 66: 6051:Sans-serif typefaces 5861:Typographic features 3788:"Affichen-Schriften" 3786:Pané-Farré, Pierre. 3727:Ryan, David (2001). 3390:. Springer. p. 3112:Typophile (archived) 3069:Johnston, Alastair. 2726:kupferschrift (blog) 2505:Creative Market Blog 2453:"10 favourite fonts" 2029:Isaac Hawkins Browne 1612:Italic, Dublin, 1916 1443:Miller & Richard 1012:Letters from England 175:§ Neo-grotesque 31:Sans-serif typeface 5986:Technical lettering 5885:Typography in other 5626:Hanging punctuation 4593:"Neue Haas Grotesk" 4579:"Neue Haas Grotesk" 4558:"Neue Haas Grotesk" 4231:10.1093/jdh/8.4.291 4164:on 27 February 2020 3879:Monotype Newsletter 3875:"Grotesque Letters" 3707:Commercial Classics 3699:Schwartz, Christian 3537:on 6 September 2015 3521:Tam, Keith (2002). 3240:. Octopus. p. 2817:, pp. 326–330. 2635:, pp. 339–340. 2587:Ulrich, Ferdinand. 2561:Ulrich, Ferdinand. 2528:, pp. 376–377. 2273:FontFeed (archived) 2248:on 18 November 2016 2144:Type and Typography 1407:Isaac Hawkins Brown 1037:Entry into printing 1024:Egyptian Characters 1010:, in his satirical 75:sans-serif typeface 5949:Handwriting script 5876:Desktop publishing 5846:Character encoding 5839:Digital typography 5353:Horizontal aspects 5306:Visual distinction 5164:Widows and orphans 4789:Bringhurst, Robert 4766:Cornish Milestones 4439:on 15 October 2017 4399:on 15 October 2017 3936:on 12 January 2011 3922:Homola, Wolfgang. 3790:. Forgotten Shapes 2002:corporate typeface 1425:William Thorowgood 1393: 1371:Three sans-serif " 1336:Monotype Grotesque 1309: 1278:Copperplate Gothic 1258:fine book printing 1254: 1122:fat face typefaces 962: 951: 843:Etruscan epigraphy 735: 569: 427: 423:Bauer Type Foundry 376: 334:Monotype Grotesque 286: 77: 57:(coloured in red) 6033: 6032: 5780:Typographic units 5698:For position only 5597: 5596: 5449: 5448: 4672:, 5 February 2003 4341:978-0-300-21929-6 4192:Monotype Recorder 4134:(2): 11, 21. 1950 4128:Monotype Recorder 3963:Letters of Credit 3742:978-0-7649-1615-1 3571:978-1-84511-028-4 3430:978-977-416-599-3 3401:978-0-230-61570-0 3348:European Magazine 3332:978-0-486-40281-9 3251:978-1-84091-649-2 2932:Calvert, Margaret 2792:20th-century type 2751:, pp. 86–90. 2507:. Creative Market 2430:"Knockout styles" 1930:Explanatory notes 1873:grunge typography 1481:British Standards 1413:, not sans-serif. 1029:Around 1816, the 999:European Magazine 498:Brandon Grotesque 372:Haas Type Foundry 73:East Asian gothic 61: 60: 6058: 6023: 6022: 6000:Related template 5932:Related articles 5733:Phototypesetting 5587:reverse-contrast 5572:Display typeface 5529: 5506:Blackletter type 5462: 5461: 5399:Vertical aspects 5380:Sentence spacing 5190:Typeface anatomy 5186: 5185: 5053: 5046: 5039: 5030: 5029: 4971: 4952: 4942: 4915: 4901:(5th ed.), 4889:Meggs, Philip B. 4884: 4863: 4837: 4811: 4797:(3rd ed.), 4780: 4779: 4761: 4755: 4754: 4738: 4732: 4731: 4730: 4728: 4723: 4712: 4706: 4705: 4704: 4702: 4697: 4687: 4681: 4680: 4679: 4677: 4664: 4658: 4655:Haralambous 2007 4652: 4646: 4645: 4640:. Archived from 4630: 4624: 4619: 4613: 4607: 4601: 4600: 4589: 4583: 4582: 4575: 4569: 4568: 4566: 4564: 4553: 4547: 4546: 4544: 4542: 4527: 4521: 4515: 4509: 4508: 4490: 4484: 4483: 4455: 4449: 4448: 4446: 4444: 4438: 4432:. Archived from 4430:Der Druckspiegel 4427: 4415: 4409: 4408: 4406: 4404: 4398: 4392:. Archived from 4390:Der Druckspiegel 4387: 4375: 4369: 4368: 4366: 4364: 4352: 4346: 4345: 4323: 4317: 4316: 4298: 4292: 4291: 4289: 4287: 4272: 4266: 4265: 4249: 4243: 4242: 4214: 4208: 4207: 4205: 4203: 4189: 4180: 4174: 4173: 4171: 4169: 4150: 4144: 4143: 4141: 4139: 4125: 4117: 4111: 4110: 4108: 4106: 4089: 4083: 4077: 4071: 4070: 4068: 4066: 4052: 4046: 4045: 4035: 4029: 4028: 4026: 4024: 4014: 4005: 3999: 3993: 3987: 3986: 3973: 3967: 3966: 3955: 3946: 3945: 3943: 3941: 3935: 3928: 3919: 3913: 3912: 3905: 3899: 3893: 3884: 3882: 3867: 3861: 3855: 3849: 3848: 3846: 3844: 3831: 3825: 3824: 3822: 3820: 3806: 3800: 3799: 3797: 3795: 3783: 3777: 3776: 3774: 3772: 3753: 3747: 3746: 3724: 3718: 3717: 3715: 3713: 3691: 3682: 3681: 3676: 3674: 3657: 3651: 3650: 3636: 3634: 3629:on 14 March 2010 3625:. Archived from 3607: 3598: 3597: 3595: 3593: 3582: 3576: 3575: 3553: 3547: 3546: 3544: 3542: 3536: 3529: 3518: 3512: 3511: 3493: 3487: 3486: 3484: 3482: 3465: 3459: 3458: 3441: 3435: 3434: 3412: 3406: 3405: 3383: 3377: 3376: 3362: 3356: 3355: 3343: 3337: 3336: 3314: 3308: 3307: 3305: 3303: 3287: 3281: 3280: 3278: 3276: 3262: 3256: 3255: 3233: 3227: 3221: 3208: 3202: 3179: 3178: 3176: 3174: 3159: 3153: 3152: 3134: 3128: 3127: 3125: 3123: 3114:. Archived from 3103: 3088: 3087: 3085: 3083: 3066: 3060: 3059: 3057: 3055: 3044: 3038: 3037: 3036: 3034: 3025:, archived from 3016: 3003: 3002: 3000: 2998: 2983: 2977: 2976: 2974: 2972: 2960:Coles, Stephen. 2957: 2951: 2950: 2948: 2946: 2928: 2922: 2921: 2919: 2917: 2902: 2896: 2895: 2893: 2891: 2879:Coles, Stephen. 2876: 2870: 2869: 2867: 2865: 2850: 2844: 2843: 2841: 2839: 2824: 2818: 2812: 2806: 2805: 2787: 2781: 2780: 2778: 2776: 2767: 2758: 2752: 2746: 2737: 2736: 2734: 2732: 2717: 2711: 2710: 2708: 2706: 2701:on 18 April 2018 2697:. Archived from 2686: 2680: 2679: 2677: 2675: 2660: 2654: 2653: 2652:. pp. 86–8. 2645: 2636: 2630: 2624: 2623: 2621: 2619: 2607: 2601: 2600: 2598: 2596: 2584: 2578: 2577: 2575: 2573: 2558: 2552: 2551: 2535: 2529: 2523: 2517: 2516: 2514: 2512: 2496: 2490: 2489: 2487: 2485: 2478:"Grotesque Sans" 2474: 2468: 2467: 2465: 2463: 2448: 2442: 2441: 2439: 2437: 2426: 2420: 2419: 2416:"Knockout sizes" 2411: 2405: 2404: 2402: 2400: 2388: 2382: 2381: 2379: 2377: 2363: 2357: 2356: 2354: 2352: 2336: 2327: 2326: 2324: 2322: 2310: 2299: 2298: 2292: 2284: 2282: 2280: 2267:Coles, Stephen. 2264: 2258: 2257: 2255: 2253: 2247: 2241:. Archived from 2239:Graphic Exchange 2236: 2224: 2215: 2160: 2139: 2133: 2132: 2130: 2128: 2114: 2105: 2099: 2098: 2091: 2085: 2074:"sans serif" in 2072: 2057: 2054: 2048: 2041: 2035: 2025: 2019: 2015: 2009: 1998: 1992: 1984: 1978: 1971: 1965: 1961: 1955: 1948: 1942: 1939: 1884: 1868: 1856: 1844: 1828: 1816: 1800: 1788: 1776: 1760: 1748: 1736: 1724: 1712: 1700: 1688: 1669: 1657: 1645: 1633: 1621: 1609: 1597: 1585: 1573: 1561: 1548:Simple carving, 1545: 1536: 1511:Rich Text Format 1501: 1495: 1470: 1450: 1403:Joseph Farington 1342: 1317:Grotesque series 1283: 1222: 1196: 1184: 1168: 1140: 1108: 1096: 1083: 1020:Joseph Farington 1017: 918: 906: 891: 881:Cippus Perusinus 877:ancient Etruscan 872: 851: 848: 822:or occasionally 613:Column of Trajan 459: 456: 392:Akzidenz-Grotesk 314:Akzidenz-Grotesk 278:Akzidenz-Grotesk 204: 198: 179:§ Geometric 171:§ Grotesque 144: 143: 140: 139: 136: 133: 130: 127: 124: 119: 118: 113: 112: 109: 106: 103: 52: 40: 28: 21: 20: 6066: 6065: 6061: 6060: 6059: 6057: 6056: 6055: 6036: 6035: 6034: 6029: 6011: 5995: 5927: 5887:writing systems 5886: 5880: 5834: 5774: 5718:Microtypography 5657: 5593: 5555: 5532: 5500: 5457:classifications 5456: 5445: 5394: 5348: 5314:Blackboard bold 5300: 5252: 5175: 5125: 5116:Recto and verso 5062: 5057: 4979: 4974: 4968: 4945: 4940: 4913: 4882: 4866: 4861: 4835: 4809: 4787: 4783: 4776: 4762: 4758: 4739: 4735: 4726: 4724: 4721: 4713: 4709: 4700: 4698: 4695: 4689: 4688: 4684: 4675: 4673: 4666: 4665: 4661: 4653: 4649: 4632: 4631: 4627: 4620: 4616: 4608: 4604: 4591: 4590: 4586: 4577: 4576: 4572: 4562: 4560: 4554: 4550: 4540: 4538: 4528: 4524: 4516: 4512: 4505: 4491: 4487: 4456: 4452: 4442: 4440: 4436: 4425: 4416: 4412: 4402: 4400: 4396: 4385: 4376: 4372: 4362: 4360: 4353: 4349: 4342: 4324: 4320: 4313: 4299: 4295: 4285: 4283: 4275:Rhatigan, Dan. 4273: 4269: 4250: 4246: 4215: 4211: 4201: 4199: 4187: 4181: 4177: 4167: 4165: 4152: 4151: 4147: 4137: 4135: 4123: 4119: 4118: 4114: 4104: 4102: 4090: 4086: 4078: 4074: 4064: 4062: 4053: 4049: 4036: 4032: 4022: 4020: 4012: 4006: 4002: 3994: 3990: 3974: 3970: 3956: 3949: 3939: 3937: 3933: 3926: 3920: 3916: 3907: 3906: 3902: 3894: 3887: 3868: 3864: 3856: 3852: 3842: 3840: 3833: 3832: 3828: 3818: 3816: 3807: 3803: 3793: 3791: 3784: 3780: 3770: 3768: 3754: 3750: 3743: 3725: 3721: 3711: 3709: 3692: 3685: 3672: 3670: 3658: 3654: 3642:Franklin Gothic 3632: 3630: 3608: 3601: 3591: 3589: 3584: 3583: 3579: 3572: 3554: 3550: 3540: 3538: 3534: 3527: 3519: 3515: 3508: 3494: 3490: 3480: 3478: 3466: 3462: 3445:Southey, Robert 3442: 3438: 3431: 3413: 3409: 3402: 3384: 3380: 3363: 3359: 3344: 3340: 3333: 3315: 3311: 3301: 3299: 3290:Mosley, James. 3288: 3284: 3274: 3272: 3263: 3259: 3252: 3234: 3230: 3222: 3211: 3207:, p. 1–19. 3203: 3182: 3172: 3170: 3160: 3156: 3149: 3135: 3131: 3121: 3119: 3118:on 28 June 2014 3106:Mosley, James. 3104: 3091: 3081: 3079: 3067: 3063: 3053: 3051: 3046: 3045: 3041: 3032: 3030: 3029:on 10 June 2014 3017: 3006: 2996: 2994: 2986:Thomas, Barry. 2984: 2980: 2970: 2968: 2958: 2954: 2944: 2942: 2936:"New Transport" 2929: 2925: 2915: 2913: 2903: 2899: 2889: 2887: 2877: 2873: 2863: 2861: 2851: 2847: 2837: 2835: 2825: 2821: 2813: 2809: 2802: 2788: 2784: 2774: 2772: 2765: 2759: 2755: 2747: 2740: 2730: 2728: 2718: 2714: 2704: 2702: 2687: 2683: 2673: 2671: 2661: 2657: 2646: 2639: 2631: 2627: 2617: 2615: 2608: 2604: 2594: 2592: 2585: 2581: 2571: 2569: 2559: 2555: 2536: 2532: 2524: 2520: 2510: 2508: 2497: 2493: 2483: 2481: 2476: 2475: 2471: 2461: 2459: 2449: 2445: 2435: 2433: 2428: 2427: 2423: 2412: 2408: 2398: 2396: 2389: 2385: 2375: 2373: 2367:"Italic Gothic" 2365: 2364: 2360: 2350: 2348: 2338: 2337: 2330: 2320: 2318: 2317:. Adobe Systems 2311: 2302: 2286: 2285: 2278: 2276: 2265: 2261: 2251: 2249: 2245: 2234: 2225: 2218: 2198: 2185: 2172: 2163: 2161: 2158: 2140: 2136: 2126: 2124: 2112: 2106: 2102: 2093: 2092: 2088: 2073: 2069: 2065: 2060: 2055: 2051: 2042: 2038: 2026: 2022: 2016: 2012: 1999: 1995: 1985: 1981: 1977:'s photographs. 1972: 1968: 1962: 1958: 1949: 1945: 1940: 1936: 1932: 1899: 1892: 1885: 1876: 1869: 1860: 1857: 1848: 1845: 1836: 1829: 1820: 1817: 1808: 1801: 1792: 1789: 1780: 1777: 1768: 1761: 1752: 1749: 1740: 1737: 1728: 1725: 1716: 1713: 1704: 1701: 1692: 1689: 1680: 1670: 1661: 1658: 1649: 1646: 1637: 1634: 1625: 1622: 1613: 1610: 1601: 1598: 1589: 1586: 1577: 1574: 1565: 1562: 1553: 1546: 1527: 1471:was defined by 1462: 1446: 1398: 1365: 1340: 1321:Adrian Frutiger 1301: 1281: 1236: 1231: 1230: 1229: 1226: 1223: 1214: 1205:, published by 1197: 1188: 1185: 1176: 1169: 1138: 1118: 1117: 1116: 1113: 1109: 1100: 1097: 1088: 1084: 1050:Vincent Figgins 1039: 1031:Ordnance Survey 1015: 978:Temple of Vesta 935: 930: 929: 928: 925: 919: 910: 907: 898: 892: 883: 873: 849: 835:Thomas Dempster 792: 771: 727: 593:Edward Johnston 579:rather than an 554: 494:ITC Avant Garde 482:Bernhard Gothic 457: 447:Architype Bayer 432:classical model 412: 361: 338:Grotesque No. 9 326:Franklin Gothic 271: 259: 253: 230:Franklin Gothic 183:§ Humanist 121: 115: 100: 96: 56: 43:Serif typeface 19: 12: 11: 5: 6064: 6054: 6053: 6048: 6031: 6030: 6028: 6027: 6016: 6013: 6012: 6010: 6009: 6003: 6001: 5997: 5996: 5994: 5993: 5988: 5983: 5978: 5973: 5968: 5963: 5958: 5957: 5956: 5951: 5946: 5935: 5933: 5929: 5928: 5926: 5925: 5924: 5923: 5921:National Fonts 5913: 5908: 5907: 5906: 5896: 5890: 5888: 5882: 5881: 5879: 5878: 5873: 5868: 5866:Web typography 5863: 5858: 5853: 5848: 5842: 5840: 5836: 5835: 5833: 5832: 5827: 5826: 5825: 5815: 5810: 5805: 5800: 5795: 5790: 5784: 5782: 5776: 5775: 5773: 5772: 5771: 5770: 5760: 5755: 5750: 5745: 5743:Reversing type 5740: 5735: 5730: 5725: 5720: 5715: 5710: 5705: 5700: 5695: 5690: 5689: 5688: 5683: 5673: 5667: 5665: 5659: 5658: 5656: 5655: 5650: 5645: 5640: 5639: 5638: 5628: 5623: 5618: 5612: 5610: 5599: 5598: 5595: 5594: 5592: 5591: 5590: 5589: 5584: 5579: 5569: 5563: 5561: 5557: 5556: 5554: 5553: 5548: 5542: 5540: 5534: 5533: 5531: 5530: 5521: 5516: 5510: 5508: 5502: 5501: 5499: 5498: 5493: 5492: 5491: 5486: 5481: 5470: 5468: 5459: 5451: 5450: 5447: 5446: 5444: 5443: 5438: 5433: 5428: 5423: 5418: 5413: 5408: 5402: 5400: 5396: 5395: 5393: 5392: 5387: 5382: 5377: 5372: 5370:Letter-spacing 5367: 5362: 5356: 5354: 5350: 5349: 5347: 5346: 5341: 5336: 5331: 5326: 5324:Color printing 5321: 5316: 5310: 5308: 5302: 5301: 5299: 5298: 5293: 5288: 5283: 5278: 5273: 5268: 5262: 5260: 5258:Capitalization 5254: 5253: 5251: 5250: 5245: 5240: 5235: 5230: 5225: 5220: 5215: 5210: 5205: 5200: 5194: 5192: 5183: 5177: 5176: 5174: 5173: 5172: 5171: 5161: 5156: 5151: 5146: 5141: 5135: 5133: 5127: 5126: 5124: 5123: 5118: 5113: 5108: 5103: 5098: 5096:Page numbering 5093: 5088: 5083: 5078: 5072: 5070: 5064: 5063: 5056: 5055: 5048: 5041: 5033: 5027: 5026: 5016: 5006: 4996: 4995:by Jon Melton) 4986: 4978: 4977:External links 4975: 4973: 4972: 4966: 4953: 4943: 4938: 4916: 4911: 4893:Purvis, Alston 4885: 4880: 4864: 4859: 4838: 4833: 4821:O'Reilly Media 4812: 4807: 4784: 4782: 4781: 4774: 4756: 4733: 4707: 4682: 4659: 4657:, p. 411. 4647: 4644:on 4 May 2014. 4625: 4614: 4612:, p. 295. 4602: 4584: 4570: 4548: 4522: 4510: 4503: 4485: 4466:(3): 307–313. 4450: 4419:Gerstner, Karl 4410: 4379:Gerstner, Karl 4370: 4347: 4340: 4318: 4311: 4293: 4267: 4254:Commercial Art 4244: 4225:(4): 291–311. 4209: 4175: 4145: 4112: 4084: 4082:, p. 330. 4072: 4047: 4030: 4000: 3998:, p. 242. 3988: 3977:Behrens, Peter 3968: 3947: 3914: 3900: 3898:, p. 296. 3885: 3862: 3860:, p. 155. 3850: 3826: 3801: 3778: 3748: 3741: 3719: 3683: 3652: 3599: 3577: 3570: 3548: 3513: 3506: 3488: 3460: 3436: 3429: 3407: 3400: 3378: 3357: 3338: 3331: 3309: 3282: 3257: 3250: 3228: 3209: 3180: 3162:Barnes, Paul. 3154: 3148:978-2728307296 3147: 3129: 3089: 3061: 3039: 3004: 2992:Poor Frank Raw 2978: 2952: 2923: 2897: 2871: 2845: 2819: 2807: 2800: 2782: 2753: 2738: 2712: 2681: 2655: 2637: 2625: 2602: 2579: 2553: 2546:) – via 2530: 2518: 2491: 2469: 2443: 2421: 2406: 2383: 2358: 2328: 2300: 2259: 2216: 2156: 2134: 2100: 2086: 2066: 2064: 2061: 2059: 2058: 2049: 2036: 2020: 2010: 2006:National Trust 1993: 1979: 1966: 1956: 1943: 1933: 1931: 1928: 1927: 1926: 1915: 1910: 1905: 1898: 1895: 1894: 1893: 1886: 1879: 1877: 1870: 1863: 1861: 1858: 1851: 1849: 1846: 1839: 1837: 1830: 1823: 1821: 1818: 1811: 1809: 1802: 1795: 1793: 1790: 1783: 1781: 1778: 1771: 1769: 1762: 1755: 1753: 1750: 1743: 1741: 1738: 1731: 1729: 1726: 1719: 1717: 1714: 1707: 1705: 1702: 1695: 1693: 1690: 1683: 1681: 1673:Berthold Block 1671: 1664: 1662: 1659: 1652: 1650: 1647: 1640: 1638: 1635: 1628: 1626: 1623: 1616: 1614: 1611: 1604: 1602: 1599: 1592: 1590: 1587: 1580: 1578: 1575: 1568: 1566: 1563: 1556: 1554: 1547: 1540: 1526: 1523: 1522: 1521: 1518: 1503: 1488: 1473:Maximilien Vox 1461: 1458: 1457: 1456: 1439: 1436: 1421: 1414: 1397: 1394: 1364: 1361: 1300: 1297: 1235: 1232: 1228: 1227: 1224: 1217: 1215: 1209:in 1914, used 1198: 1191: 1189: 1186: 1179: 1177: 1170: 1163: 1160: 1159: 1158: 1115: 1114: 1110: 1103: 1101: 1098: 1091: 1089: 1085: 1078: 1075: 1074: 1073: 1038: 1035: 1008:Robert Southey 934: 931: 927: 926: 920: 913: 911: 908: 901: 899: 893: 886: 884: 874: 867: 864: 863: 862: 791: 788: 783:National Trust 770: 767: 726: 725:Other or mixed 723: 671:Charlotte Sans 655:computer fonts 553: 550: 518:Century Gothic 514:HarmonyOS Sans 430:following the 411: 408: 360: 357: 282:H. Berthold AG 270: 267: 252: 251:Classification 249: 226:Highway Gothic 59: 58: 53: 45: 44: 41: 33: 32: 29: 17: 9: 6: 4: 3: 2: 6063: 6052: 6049: 6047: 6044: 6043: 6041: 6026: 6018: 6017: 6014: 6008: 6005: 6004: 6002: 5998: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5972: 5969: 5967: 5964: 5962: 5959: 5955: 5952: 5950: 5947: 5945: 5942: 5941: 5940: 5937: 5936: 5934: 5930: 5922: 5919: 5918: 5917: 5914: 5912: 5909: 5905: 5902: 5901: 5900: 5897: 5895: 5892: 5891: 5889: 5883: 5877: 5874: 5872: 5871:Bézier curves 5869: 5867: 5864: 5862: 5859: 5857: 5856:Rasterization 5854: 5852: 5849: 5847: 5844: 5843: 5841: 5837: 5831: 5828: 5824: 5821: 5820: 5819: 5816: 5814: 5811: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5785: 5783: 5781: 5777: 5769: 5766: 5765: 5764: 5761: 5759: 5756: 5754: 5751: 5749: 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5729: 5726: 5724: 5721: 5719: 5716: 5714: 5713:Microprinting 5711: 5709: 5706: 5704: 5701: 5699: 5696: 5694: 5691: 5687: 5684: 5682: 5679: 5678: 5677: 5674: 5672: 5671:Etaoin shrdlu 5669: 5668: 5666: 5664: 5660: 5654: 5651: 5649: 5646: 5644: 5641: 5637: 5634: 5633: 5632: 5629: 5627: 5624: 5622: 5619: 5617: 5614: 5613: 5611: 5608: 5604: 5600: 5588: 5585: 5583: 5580: 5578: 5575: 5574: 5573: 5570: 5568: 5565: 5564: 5562: 5558: 5552: 5549: 5547: 5544: 5543: 5541: 5539: 5535: 5528: 5527: 5522: 5520: 5517: 5515: 5512: 5511: 5509: 5507: 5503: 5497: 5494: 5490: 5487: 5485: 5482: 5480: 5477: 5476: 5475: 5472: 5471: 5469: 5467: 5463: 5460: 5458: 5452: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5407: 5404: 5403: 5401: 5397: 5391: 5388: 5386: 5383: 5381: 5378: 5376: 5373: 5371: 5368: 5366: 5363: 5361: 5358: 5357: 5355: 5351: 5345: 5342: 5340: 5337: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5315: 5312: 5311: 5309: 5307: 5303: 5297: 5294: 5292: 5289: 5287: 5284: 5282: 5279: 5277: 5274: 5272: 5269: 5267: 5264: 5263: 5261: 5259: 5255: 5249: 5246: 5244: 5241: 5239: 5236: 5234: 5231: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5204: 5201: 5199: 5196: 5195: 5193: 5191: 5187: 5184: 5182: 5178: 5170: 5167: 5166: 5165: 5162: 5160: 5157: 5155: 5152: 5150: 5147: 5145: 5142: 5140: 5137: 5136: 5134: 5132: 5128: 5122: 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5073: 5071: 5069: 5065: 5061: 5054: 5049: 5047: 5042: 5040: 5035: 5034: 5031: 5024: 5023:Sara Soskolne 5020: 5017: 5014: 5012: 5007: 5004: 5000: 4997: 4994: 4990: 4987: 4984: 4981: 4980: 4969: 4967:9780953520107 4963: 4959: 4954: 4951: 4950: 4944: 4941: 4939:9780879236366 4935: 4931: 4927: 4926: 4921: 4920:Tracy, Walter 4917: 4914: 4912:9781118017760 4908: 4904: 4900: 4899: 4894: 4890: 4886: 4883: 4881:9781606060834 4877: 4873: 4869: 4868:Lyons, Martyn 4865: 4862: 4860:9780879233334 4856: 4852: 4848: 4844: 4839: 4836: 4834:9780596102425 4830: 4826: 4822: 4818: 4813: 4810: 4808:9780881792065 4804: 4800: 4796: 4795: 4790: 4786: 4785: 4777: 4775:9780906294789 4771: 4767: 4760: 4752: 4748: 4744: 4737: 4720: 4719: 4711: 4694: 4693: 4686: 4671: 4670: 4663: 4656: 4651: 4643: 4639: 4635: 4629: 4623: 4618: 4611: 4606: 4598: 4594: 4588: 4580: 4574: 4559: 4552: 4537: 4533: 4526: 4519: 4514: 4506: 4504:9783038212607 4500: 4496: 4489: 4481: 4477: 4473: 4469: 4465: 4461: 4454: 4435: 4431: 4424: 4420: 4414: 4395: 4391: 4384: 4380: 4374: 4358: 4351: 4343: 4337: 4333: 4329: 4322: 4314: 4312:9780520227965 4308: 4304: 4297: 4282: 4278: 4271: 4263: 4259: 4255: 4248: 4240: 4236: 4232: 4228: 4224: 4220: 4213: 4197: 4193: 4186: 4179: 4163: 4159: 4155: 4149: 4133: 4129: 4122: 4116: 4101: 4097: 4096: 4088: 4081: 4076: 4060: 4059: 4051: 4043: 4042: 4034: 4018: 4011: 4004: 3997: 3992: 3984: 3983: 3978: 3972: 3965:. p. 98. 3964: 3960: 3959:Tracy, Walter 3954: 3952: 3932: 3925: 3918: 3910: 3904: 3897: 3892: 3890: 3880: 3876: 3872: 3866: 3859: 3854: 3838: 3837: 3830: 3814: 3813: 3805: 3789: 3782: 3767: 3763: 3759: 3752: 3744: 3738: 3734: 3730: 3723: 3708: 3704: 3700: 3696: 3690: 3688: 3680: 3668: 3667: 3662: 3661:Lane, John A. 3656: 3649: 3647: 3643: 3628: 3624: 3620: 3616: 3612: 3611:Mosley, James 3606: 3604: 3587: 3581: 3573: 3567: 3563: 3559: 3552: 3533: 3526: 3525: 3517: 3509: 3507:9781567922400 3503: 3499: 3492: 3477: 3473: 3472: 3464: 3456: 3452: 3451: 3446: 3440: 3432: 3426: 3422: 3418: 3411: 3403: 3397: 3393: 3389: 3382: 3374: 3370: 3369: 3361: 3353: 3349: 3342: 3334: 3328: 3324: 3320: 3313: 3298:. ESAD Amiens 3297: 3293: 3286: 3270: 3269: 3261: 3253: 3247: 3243: 3239: 3232: 3225: 3220: 3218: 3216: 3214: 3206: 3201: 3199: 3197: 3195: 3193: 3191: 3189: 3187: 3185: 3169: 3165: 3158: 3150: 3144: 3140: 3133: 3117: 3113: 3109: 3102: 3100: 3098: 3096: 3094: 3078: 3077: 3072: 3065: 3049: 3043: 3028: 3024: 3023: 3015: 3013: 3011: 3009: 2993: 2989: 2982: 2967: 2963: 2956: 2941: 2937: 2933: 2927: 2912: 2911:Kupferschrift 2908: 2901: 2886: 2882: 2875: 2860: 2856: 2849: 2834: 2830: 2823: 2816: 2811: 2803: 2801:9781856693516 2797: 2793: 2786: 2771: 2764: 2757: 2750: 2745: 2743: 2727: 2723: 2716: 2700: 2696: 2692: 2685: 2670: 2666: 2659: 2651: 2644: 2642: 2634: 2629: 2613: 2606: 2590: 2583: 2568: 2564: 2557: 2549: 2545: 2541: 2534: 2527: 2522: 2506: 2502: 2495: 2479: 2473: 2458: 2454: 2447: 2431: 2425: 2417: 2410: 2394: 2387: 2372: 2368: 2362: 2347: 2343: 2342: 2335: 2333: 2316: 2313:Berry, John. 2309: 2307: 2305: 2296: 2290: 2274: 2270: 2263: 2244: 2240: 2233: 2229: 2223: 2221: 2213: 2209: 2205: 2201: 2196: 2192: 2188: 2183: 2179: 2175: 2174:Neo-grotesque 2170: 2166: 2159: 2157:9781856694377 2153: 2149: 2145: 2138: 2122: 2118: 2111: 2104: 2096: 2090: 2083: 2079: 2078: 2071: 2067: 2053: 2046: 2040: 2034: 2030: 2024: 2014: 2007: 2003: 1997: 1989: 1983: 1976: 1970: 1960: 1953: 1947: 1938: 1934: 1925: 1924: 1919: 1916: 1914: 1911: 1909: 1906: 1904: 1901: 1900: 1890: 1889:Alan Kitching 1883: 1878: 1874: 1867: 1862: 1855: 1850: 1843: 1838: 1834: 1827: 1822: 1815: 1810: 1806: 1799: 1794: 1787: 1782: 1775: 1770: 1766: 1759: 1754: 1747: 1742: 1735: 1730: 1723: 1718: 1711: 1706: 1699: 1694: 1687: 1682: 1678: 1674: 1668: 1663: 1656: 1651: 1644: 1639: 1632: 1627: 1620: 1615: 1608: 1603: 1596: 1591: 1584: 1579: 1572: 1567: 1560: 1555: 1551: 1544: 1539: 1538: 1537: 1533: 1519: 1516: 1512: 1508: 1504: 1500: 1494: 1489: 1486: 1482: 1478: 1474: 1469: 1464: 1463: 1454: 1449: 1448:J. R. M. Wood 1444: 1440: 1437: 1434: 1430: 1426: 1422: 1419: 1418:Antique Olive 1415: 1412: 1408: 1404: 1400: 1399: 1390: 1386: 1382: 1378: 1374: 1369: 1360: 1358: 1353: 1349: 1344: 1337: 1333: 1328: 1326: 1322: 1318: 1314: 1305: 1296: 1294: 1290: 1285: 1279: 1273: 1271: 1267: 1263: 1259: 1251: 1250: 1244: 1240: 1221: 1216: 1212: 1208: 1207:Wyndham Lewis 1204: 1203: 1195: 1190: 1183: 1178: 1174: 1167: 1162: 1161: 1157: 1155: 1154:Peter Behrens 1151: 1146: 1142: 1136: 1131: 1127: 1123: 1107: 1102: 1095: 1090: 1082: 1077: 1076: 1072: 1069: 1067: 1063: 1059: 1053: 1051: 1046: 1044: 1034: 1032: 1027: 1025: 1021: 1013: 1009: 1004: 1001: 1000: 993: 991: 985: 983: 982:Tivoli, Italy 979: 975: 971: 967: 966:neoclassicism 960: 955: 948: 944: 939: 923: 917: 912: 905: 900: 896: 890: 885: 882: 878: 871: 866: 865: 861: 859: 858:Valentin Haüy 855: 844: 840: 836: 832: 827: 825: 821: 817: 813: 809: 805: 801: 797: 787: 784: 780: 776: 766: 764: 760: 756: 752: 748: 744: 740: 731: 722: 720: 716: 712: 708: 707:Lucida Grande 705:, as well as 704: 700: 696: 692: 688: 684: 680: 676: 672: 668: 664: 660: 656: 652: 648: 644: 640: 638: 634: 630: 626: 622: 616: 614: 610: 606: 602: 598: 594: 590: 586: 582: 578: 574: 566: 565:D. Stempel AG 562: 558: 549: 547: 543: 542:Handel Gothic 539: 535: 531: 525: 523: 519: 515: 511: 507: 503: 499: 495: 491: 487: 483: 479: 475: 469: 467: 463: 452: 448: 444: 440: 439:Herbert Bayer 435: 433: 424: 420: 416: 407: 405: 401: 397: 393: 389: 384: 382: 373: 369: 365: 359:Neo-grotesque 356: 354: 350: 345: 343: 342:digital fonts 339: 335: 331: 327: 323: 319: 315: 310: 308: 304: 298: 296: 291: 283: 279: 275: 266: 264: 258: 248: 246: 242: 237: 235: 231: 227: 223: 219: 214: 212: 209:and less for 208: 203: 197: 190: 188: 184: 180: 176: 172: 168: 164: 160: 156: 152: 148: 142: 94: 90: 86: 82: 74: 70: 65: 54: 51: 47: 46: 42: 39: 35: 34: 30: 27: 23: 22: 16: 5971:Type foundry 5808:Metric units 5738:Punchcutting 5723:Movable type 5693:Font catalog 5653:Vertical bar 5495: 5390:Word spacing 5360:Figure space 5243:Text figures 5086:Even working 5010: 5001:(lecture by 4991:(lecture to 4957: 4948: 4924: 4897: 4871: 4842: 4816: 4793: 4765: 4759: 4742: 4736: 4725:, retrieved 4717: 4710: 4699:, retrieved 4691: 4685: 4674:, retrieved 4668: 4662: 4650: 4642:the original 4638:Linotype.com 4637: 4628: 4617: 4605: 4596: 4587: 4573: 4561:. Retrieved 4551: 4539:. Retrieved 4535: 4530:Shaw, Paul. 4525: 4520:, p. 9. 4513: 4494: 4488: 4463: 4459: 4453: 4441:. Retrieved 4434:the original 4429: 4413: 4401:. Retrieved 4394:the original 4389: 4373: 4361:. Retrieved 4355:Shaw, Paul. 4350: 4327: 4321: 4302: 4296: 4284:. Retrieved 4280: 4270: 4257: 4253: 4247: 4222: 4218: 4212: 4200:. Retrieved 4195: 4191: 4178: 4166:. Retrieved 4162:the original 4157: 4148: 4136:. Retrieved 4131: 4127: 4115: 4103:. Retrieved 4094: 4087: 4075: 4063:. Retrieved 4057: 4050: 4040: 4033: 4021:. Retrieved 4016: 4003: 3991: 3981: 3971: 3962: 3938:. Retrieved 3931:the original 3917: 3908: 3903: 3878: 3865: 3853: 3841:. Retrieved 3835: 3829: 3817:. Retrieved 3811: 3804: 3792:. Retrieved 3781: 3769:. Retrieved 3761: 3751: 3728: 3722: 3710:. Retrieved 3695:Barnes, Paul 3678: 3671:. Retrieved 3665: 3655: 3638: 3631:. Retrieved 3627:the original 3622: 3590:. Retrieved 3580: 3557: 3551: 3539:. Retrieved 3532:the original 3523: 3516: 3497: 3491: 3479:. Retrieved 3470: 3463: 3449: 3439: 3416: 3410: 3387: 3381: 3367: 3360: 3347: 3341: 3318: 3312: 3300:. Retrieved 3295: 3285: 3273:. Retrieved 3267: 3260: 3237: 3231: 3173:23 September 3171:. Retrieved 3167: 3157: 3138: 3132: 3120:. Retrieved 3116:the original 3111: 3080:. Retrieved 3074: 3064: 3052:. Retrieved 3042: 3031:, retrieved 3027:the original 3021: 2997:23 September 2995:. Retrieved 2991: 2981: 2969:. Retrieved 2965: 2955: 2943:. Retrieved 2939: 2926: 2914:. Retrieved 2910: 2900: 2888:. Retrieved 2885:Typographica 2884: 2874: 2862:. Retrieved 2859:Creative Pro 2858: 2848: 2836:. Retrieved 2833:Creative Pro 2832: 2822: 2810: 2791: 2785: 2773:. Retrieved 2769: 2761:Nash, John. 2756: 2729:. Retrieved 2725: 2715: 2703:. Retrieved 2699:the original 2694: 2684: 2672:. Retrieved 2669:Fonts in Use 2668: 2658: 2649: 2628: 2616:. Retrieved 2605: 2593:. Retrieved 2582: 2570:. Retrieved 2556: 2533: 2521: 2509:. Retrieved 2504: 2494: 2482:. Retrieved 2472: 2460:. Retrieved 2457:The Guardian 2456: 2446: 2434:. Retrieved 2424: 2409: 2397:. Retrieved 2386: 2374:. Retrieved 2371:Fonts in Use 2370: 2361: 2349:. Retrieved 2340: 2319:. Retrieved 2277:. Retrieved 2272: 2262: 2250:. Retrieved 2243:the original 2238: 2199: 2186: 2173: 2164: 2143: 2137: 2125:. Retrieved 2120: 2116: 2103: 2094: 2089: 2075: 2070: 2052: 2045:John A. Lane 2039: 2023: 2013: 1996: 1991:sans-serifs. 1987: 1982: 1975:James Mosley 1969: 1959: 1946: 1937: 1923:The Guardian 1921: 1918:San Serriffe 1528: 1507:OpenDocument 1445:(1863), and 1432: 1345: 1329: 1312: 1310: 1292: 1288: 1286: 1274: 1255: 1248: 1201: 1149: 1147: 1143: 1135:Walter Tracy 1119: 1070: 1065: 1054: 1047: 1040: 1028: 1023: 1011: 1005: 997: 994: 986: 970:James Mosley 963: 959:William Gell 854:John Swinton 838: 828: 806:writing and 793: 772: 743:Hermann Zapf 736: 641: 637:Sassoon Sans 621:Hermann Zapf 617: 609:calligrapher 577:true italics 570: 526: 510:Product Sans 470: 436: 428: 385: 377: 346: 311: 299: 287: 262: 260: 238: 234:Trade Gothic 215: 191: 150: 149:, or simply 146: 92: 88: 78: 15: 5966:Type design 5961:Style guide 5954:Calligraphy 5944:Handwriting 5758:Type design 5708:Lorem ipsum 5703:Letterpress 5663:Typesetting 5603:Punctuation 5567:Record type 5538:Gaelic type 5526:Schwabacher 5416:Body height 5281:Letter case 5149:Line length 4610:Lawson 1990 4563:28 November 4536:Blue Pencil 4518:Mosley 1999 4363:26 December 4281:Ultrasparky 4260:(132–135): 4080:Lawson 1990 4023:19 December 3896:Lawson 1990 3771:28 November 3615:Shinn, Nick 3371:. pp. 3302:28 November 3224:Mosley 1999 3205:Mosley 1999 2916:23 February 2890:18 December 2864:24 February 2838:24 February 2815:Lawson 1990 2572:17 December 2376:25 February 2252:31 December 2228:Shinn, Nick 2080:. Chicago: 1952:text colour 1429:Fann Street 1377:News Gothic 1363:Other names 1156:, in 1900. 1126:slab-serifs 1087:prominence. 1062:"fat faces" 922:Blackletter 850: 1745 812:blackletter 804:blackletter 747:URW Grotesk 546:Ray Larabie 530:Bank Gothic 466:Paul Renner 460:). In 1927 458: 1925 443:Jakob Erbar 322:News Gothic 222:News Gothic 207:display use 6046:Typography 6040:Categories 5939:Penmanship 5911:East Asian 5753:Type color 5686:monospaced 5643:Interpunct 5636:minus sign 5560:Specialist 5496:Sans-serif 5489:slab serif 5466:Roman type 5421:Cap height 5385:Thin space 5344:Whitespace 5296:Title case 5291:Snake case 5286:Small caps 5271:Camel case 5203:Diacritics 5111:Pull quote 5106:Pagination 5101:Paper size 5060:Typography 4849:, p. 4823:, p. 4443:15 October 4403:15 October 4286:21 January 3996:Meggs 2011 3940:17 January 3858:Meggs 2011 3843:16 October 3633:30 October 3592:16 October 3481:15 October 3350:. p. 3122:15 October 3082:15 October 3054:15 October 2966:Identifont 2775:13 October 2749:Tracy 1986 2731:31 October 2705:29 October 2674:15 October 2633:Meggs 2011 2618:20 October 2591:. FontShop 2526:Meggs 2011 2480:. Monotype 2393:"Knockout" 2321:15 October 2197:, Pascal. 2063:References 1677:descenders 1515:font files 1411:slab serif 1334:eccentric 1332:Monotype's 1058:slab serif 974:John Soane 816:roman type 715:Droid Sans 683:Scala Sans 633:Goudy Sans 478:Semplicità 303:descenders 245:type color 167:minimalism 93:sans serif 89:sans-serif 81:typography 5436:Overshoot 5431:Mean line 5426:Descender 5339:Underline 5181:Character 5159:Runaround 5139:Alignment 5131:Paragraph 4168:17 August 4105:24 August 4095:Type Lore 4065:17 August 3623:Typophile 3541:17 August 2971:17 August 2614:. 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