Moveable type allowed for the casting of individual letters which could be assembled into words, to make up a printed page. After printing, the letters could then be re-assembled into different words and used again in the printing press.

Text Definitions An Epoch of Typographic Genius Key Terms and Definitions: Old Style: Distinguished by understated contrast, bracketed serifs and oblique stress distinguished by their understated contrast, bracketed serifs and oblique Transitional: These broke with the traditional calligraphic qualities, bracketed serifs, and relatively even stroke weights of old style fonts. Characterized by an increased contrast between thick and thin strokes, sharp horizontal serifs, and an even balance to each letterform. Modern: A new category of roman type introduced in Europe during the eighteenth century. Text Definitions

Old Style types are characterised by greater contrast between thick and thin strokes, and are generally speaking, sharper in appearance, more refined.

The Old Style types can be further divided into four categories as in the figure below, and span the roman types from Francesco Griffo to William Caslon I. the Old Style faces held sway for more than two centuries; a number of them are still popular text faces today.

Key Players An Epoch of Typographic Genius Key Players: William Caslon = developed type of outstanding legibility (English, old style) • for nearly 60 years all English printing used Caslon fonts • Declaration of Independence uses Caslon typography John Baskerville = His types bridge the gap between Old Style and Modern (English, transitional) type designs (termed “Transitional” as a result) • did not embrace ornament Giambattista Bodoni = he develops a modern approach to (Italian) (Italian, modern) typography in his Bodoni type designs Key Players

Transitional Typefaces

Transitional Typography: Late 1600’s Romain du Roi Created by Jaques 17th century France; Louis 14th is on the throne and Jacques Jaugeon is working on what is now considered to be the first Transitional style typeface, the Romain du Roi or King’s Roman, commissioned by Louis 14th for the Imprimerie Royale in 1692. Transitional style typefaces, so-called because they mark a transition from the former Old Style type The principal graphic novelty in the ‘Romain du Roi’ is the serif. Its horizontal structure symbolizes a complete break with tradition. Also, the main strokes are thicker and the sub-strokes thinner

Phillipe Grandjean. Romain du Roi - right around 1700

Transitional Typography: Baskerville “Baskerville has less calligraphic flow than most earlier typefaces”***, and this can be said of just about all the Transitional Style types the pen’s influence has all but disappeared in the Transitional types. The following is a detail from one of Baskerville’s type specimens:

greater contrast between thick and thin (sub-) strokes:

Modern Typography Bodoni Didot final step in typography’s two-hundred-year journey away from calligraphy. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Italy Bodoni (1740-1813), and in Paris, Firmin Didot (1764-1836).

Characteristics 1. High and abrupt contrast between thick and thin strokes; 2. Abrupt (unbracketed) hairline (thin) serifs 3. Vertical axis 4. Horizontal stress 5. Small aperture

Modern Typography

didot / modern traits if you grab a Baskerville, take away the brakets that join serifs to stems, thicken up the vertical strokes, you’ll be left with something that resembles a Modern type (though don’t expect it to be pretty). the Moderns have even greater contrast.

The beautifully crafted Didot from Jonathan Hoefler,

Slab Serif Typography the Slab Serif was born in Britain, and was no doubt inspired by a new wave of advertising, and those beefy letter forms that could be found on just about every billboard, pamphlet, and poster of the day. Overemphasizes the serif rather than eliminating it. …there is sometimes a lack of understanding of the fundamental difference between types designed for display and types meant for text. The difference can be expressed as text types when enlarged can be used for headings; display types, if reduced, cannot be used for text setting.—Walter Tracy** They were designed to be noticed. Goal was to grab the viewers eye amid a busy urban environment.

Just about every typewriter face is a Slab Serif Just about every typewriter face is a Slab Serif. There are hundreds to choose from, from Courier to ITC American Typewriter immortalised in Milton Glaser’s I ‘Heart’ New York logo.