Bright fonts: from acc forward to a set
David Jonathan Ross / Job Clarendon / 2021
Concept
The typeface is a font that combines grotesque and antique features. This typeface is often rectangular (or trapezyed) in shape, but the thickness of the vertical and horizontal strokes is approximately equal, adding to the weight font. Brussian antique usually has equal proportions of capital signs, the vertical axis of the ovals, symmetry and a large point of the lowercase. Brook fonts are also called Slab Serif, Square Serif, or Egyptian, which in Russian means. Several factors influenced this name. After Napoleon’s expedition in 1798, all Egyptian was fashionable and all new was considered Egyptian. This rule has also been extended to fonts. It is also associated with the capture by the English of the French frigate Egyptienne, which was brought to London in 1802.
The development of press technology as a result of the industrial revolution of the late 18th century has led to changes in the economy and the aesthetic preferences of society, which have also affected the development of fonts. Mechanization has also influenced the attitude of designers towards the printing trade. There was a free mix of different styles, which also influenced the font drawing. New styles began to be created. In the early 19th century, the Brusque Antique appeared in England. After the greasy fonts, the linguists wanted to continue this trend in the new garrisons as well. The main idea of the paper typefaces was to transfer the weight to the skeleton of the letter when the verticals in the font decided to add the same thickness as the horizontal. As a result, the scripts were simplified and there was almost no contrast between the strokes.
For an untying viewer’s eye, the decision to add massive readings to the font made it too dark and, of course, allocated it to the excise class. You could see a brusque antique on the signs, ads on the streets of London, and it would pick up the eyes of passers-by. Because of its monumentality, activity and expression, it was considered too bright and used for advertising purposes. However, the situation has changed over time. The hypothesis of the study is that the typeface originally used only for attribution became the most utilitarian, undesired and readable text type. The work will review the history of the development of the paper typefaces and the key garrisons. Through the evolution of the scripts in different time periods — from their appearance to modern times — it will be shown how the font has been modified throughout its path.
Early fonts. 19th century
The first string typeface will not be available until 1815, but the undocumented letters started to be used much earlier. They appeared on flyers, promotional signs, architectural inscriptions. For example, there is a lottery ticket using the Slab-Serif of 1810. Moreover, there is evidence that Egyptian-type inscriptions were in existence as early as 1754. Alan Bartram recorded them in a building in Berwick-apon-Tuid. Attach the card at this time a special style in the design of letters and printed publications is beginning to emerge. On one page of the ad, there is a free combination of different fonts in different sizes and drawings.
Unknowed author / Unknowed slab-serif / 1835
Vincent Figgins is considered to be the first wordliter to create a string typeface. In 1815, he created the Antique garrison, meaning «the ancients». It consisted only of capital letters, poured out of metal. Geometricity in the early garrisons only appeared in round signs. Their contours were approaching the shape of the perfect circle.
Vincent Figgins / Antique / 1815
In 1820, Robert Thorne’s fonts appeared in Thorowgood. His versions have already been named «Egyptian». Because of the fatty of the font itself and the concept of monolinarity, massive squares look very heavy and look like rails.
Robert Torn / Egyptian / 1820
Robert Torn / Egyptian / 1820
The printing community treated innovation differently. Some people were attracted to the weight of the paper typefaces, and some of these experiments seemed to be some kind of disrespect. During the printing of low-quality paper, all the thin antiquities were lost, so many printers quickly preferred paper typefaces. However, Thomas Curson Hansard, for example, severely criticized Egyptian fonts:
In 1821, the lowercases began to develop. The question arose as to the shape of the end of the carry-out elements: to make them straight, rounded or to add drops. Around the same time, the lithium factories produced paper typefaces with capital and lower case letters in text sizes. However, given their fattyness, it can be concluded that they were not used for the set texts. Except for short phrases with small pegs on ads and book cover sheets. In Antique No. 2 Figgins added more contrast, and the light between the labs became almost indistinguishable, giving the font a more complex view. The two-part lowercases 'a' and ''g'' also give the impression.
V. & J. Figgins / Antique No. 2 / 1825
Specimen of Modern Printing Types by Edmund Fry / 1828
Until 1825, italics were only for mausculine signs. Caslon introduced the pencil in the negative letters.
Caslon / Antique-No-6 / 1825
Hugh Hughes / Italic Antique / 1830
In the 1830's, narrow strings of antiquities began to appear. The first such type is the Throwgood 1832 model. The outer contour of the letters is rounded corners and the inner clearance in the letters is narrow. There are options where both the outer and internal contours are flat in round signs. Thanks to its long, compact forms, narrow Egyptian fonts quickly became popular among printers because of the ability to post more words in the row. In the future, they were subjected to a large number of modifications.
Robert Besley and Co. [late Wm Throwgood and Co.] ♪ Condensed Egypt ♪ 1851
In the 1840s, a more bright outline began to appear. In the 1840 Antique version of Figgins, there are long edges in the font that give the font expression, while maintaining its hardness and humerus. There are drops in the lined, folded tail at ''t', the sign’s aperture is closed.
V. and J. Figgins / Antique / 1840
Clarendon is an antique block with contrasts and a slight round-up. It was released in 1845 by Robert Besley. This typeface is easy and friendly, as opposed to the geometrical bars of antiques. After Clarendona’s release, similar fonts even have the name «clamenton» or «ion» fonts.
Robert Besley / Clarendon / 1845
The first typefaces were very figured, live, and often decorative. There were drops, round-ups, and smooth horizontal touches to the stams. They were used in commercials, flyers, dialing each line in new print, creating a sandy, diverse design.
Antique (from Caslon & Livermore) / 1830
Geometric string fonts. The first half of the twentieth century
After World War I, a new view of visual culture was needed. The fashion included fonts based on the simplest geometric forms: circle, square, triangle. After the success of the Futura and Kabel fonts, the printers thought about finishing the complementary pick-ups to these groves and thus creating the string typefaces. ==History==Memphis Rudolph Wolfe, created for the German firm Stempel in 1929, became the first such typeface. Already at the time of the introduction of the geometric strings, it became clear that the typeface was well received from a long distance, and that the large prints were very good in the press.
Rudolf Wolf / Memphis / 1929
After the release of the Memphis font, printers began to create similar garrisons. In 1931, Beton released the Beton under Henry Jost’s title, which he created for Bauer. It has very short stakes and almost perfectly round signs. At the same time, the German firm Ludwig & Mayer released Welt Antiqua, and Robert Middleton designed Karnak for the American company Ludlow. In 1933, Intertime released the Cairo font.
Heinrich Jost / Beton / 1931
Ludwig & Mayer / Welt Antiqua / 1931
Robert Middleton / Karnak / 1931 / Intertype / Cairo / 1933
In the United States, however, this typeface was released in 1910 as «Litho Antique» by William Schraubstedter. He became the original producer of Rockwell and many other fonts, and in the future he was subjected to many changes from different studios.
William Schraubstädter / Litho Antique / 1910
Various designers worked with Litho Antique, adding them, changing some signs and releasing them under new names. Morris Benton released Rockwell Antique in 1931 with the addition of a garrison of alternative signs, but transformed it into a narrower species and renamed it Stymie. Then he painted the extra sketches, and this version became the most widely distributed version.
William Shraubstedter / Rockwell Antique / 1910 + alternative signs / Morris Benton / 1931
Morris Benton / Stymie / 1931
In 1934, Rockwell was released for Monotype Foundation, based on Litho Antique. Rockwell has a narrower proportion, a larger point in the lower case, long vertical contacts and a slightly more pronounced contrast, which is clearly visible in its lowercase signs.
Monotype Foundry / Rockwell / 1934 // William Schraubstadter / Litho Antique / 1910
Frank Pirpont / Rockwell / 1934
Geometrical brusque antiques are often used in accedement, and powerful, cornered rods make a mathematically adjusted, accurate pattern a little more alive.
Brusque antique. Second half of the twentieth century
In the 1950s, the Candida Jakob Erbar garrison was used by Soviet designers to create a cyrillic version of the font called Baltica. It cannot be fully described as «brous» because of the high contrast and the difference between the thickness of the check and the horizontal bar, but because of its readability and its wide use, it is still identified by someone as a «breast» class. It works well in the headlines and the selection text.
Vera Chiminov, Isai Slutzer / Baltica Book / 1951-1952
Adrian Fruutiger released a typeface based on Univers — a hard, straight, geometric, and confident Serifa in 1967. It’s multifunctional and suitable for both newspapers and brand styles. Ten years later, the Glypha font was released in 1977 with an increased x-heignt.
Adrian Frutiger / Serifa / 1967
Adrian Frutiger / Glypha / 1977
In 1980, Geometric Slabserif 712 was released as a translation of Rockwell by Bitstream. In 2000, designers Isai Slucker, Manvel Schmavonian, developed a cyrillic version of the Bitstream Geometric Slabserif 712.
Cyril version: Isai Slucker, Manvel Schmavonian / Geometic Slabserif 712 / 1999
Modern Broust fonts
There are now digitized versions of metal bars such as Rockwell, Memphis, Beton and Styime. But there’s also a lot of new paper typefaces being created. For example, Libertain is a modern reading of Clarendon. It was released in 2015 and developed by Alexander Lubovenko. A very explicit excise garrison suitable for a set of headlines. The characteristic long and, however, oblique, inside-wrapped vertical pickings give the font the non-sediency and irony. With many details, it looks strong and confident.
Paratype / Liberteen / 2015
In 2018, Parathype released Lehmann Egyptian’s garrison, based on pre-revolutionary scripts from Lehmann and Bertgold’s Peterburgs. It works well in a set of short texts, but it’s more suitable for accumulation and headlines. Developed by Albert Capitonov in collaboration with Dmitry Kirsanov. It has long proportions and narrow clearances between the labs, which makes it dense and heavy.
Paratype/ Lehmann Egyptian / 2018
We can look at the scripts of the Russian Tipetype studio. For example, a typeface with wide proportions of TT Globs. It looks unusual, fresh, plastic, and friendly. In fonts, long vertical and horizontal lacerations, interesting «creepy» legs in capital and «tails» in lower case signs.
TypeType / TT Globs / 2021
There are more modest options, such as TT Rationalist. Its modern, neat view makes the font multifunctional. It has trapezy-like, short-cuts that make it open, thus mitigating.
TypeType / TT Rationalist / 2021
Another large-scale garrison, TT Slabs, is a geometric string typeface. It has short quadruples without rounding and quite round marks «o,» «e,» «c».
TypeType / TT Slabs / 2015
A little crazy is the tT Cometus brusque antique, which can also be called excised. It includes not only the massiveity of the picks and the protrusive proportions, but also the elaborate incisions.
TypeType / TT Cometus / 2024
Conclusion
In almost two centuries, the paper typefaces have gained weight, dropped it, visited not only wide but also narrow, either having smooth connections between horizontal and vertical touches or not having them at all. Starting with the string typeface, it became completely universal and multifunctional. At the beginning of their journey, they were perceived solely as excised and were used to attract attention in the headlines and in various signs. However, as technology developed, the font began to be created from metal in small cupcakes and, as a result of the simplification and elimination of decorativeity, came to the point where the bow antique, due to the low contrast, was well perceived at a long distance and worked well in the set. Nicolete Grey, in his book «Ornized 19th-century fonts», calls the brusque picks «the most brilliant printing invention of the century».
Sources
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