Claude
Garamond (16th Century) 1523, created the Garamond typeface,
which was the first font to have the characteristic blocky look we associate
with text today, rather than all previous typefaces that looked like
handwriting.
John Baskerville (c. 1772) created roman and italic types. Considered transitional and partly retrogressive with a return to lower contrast, smooth transaxial modeling, finely modeled bracketed serifs, and long stems. The exquisite design and finish of Baskerville's roman however, combining elegance and strength, was modern. His roman design, and especially his italic, were rococo-influenced.
1780
CE, Bodoni is a
series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in
1798. The typeface is classified as Didone modern. Bodoni followed the ideas of
John Baskerville, as found in the printing type Baskerville, that of increased
stroke contrast and a more vertical, slightly condensed, upper case, but taking
them to a more extreme conclusion.
1784 CE, Didot Typeface Designed
1814 CE Steam powered press. invented
1845 CE 1st
Clarendon Typeface
1886
CE Linotype
Machine is invented. Linotype machine (play /ˈlaɪnətaɪp/), it became
the world's leading manufacturer of book and newspaper typesetting equipment;
outside North America, its only serious challenger for book production was the
United States-/England-based Monotype Corporation. Ottmar Mergenthaler
(May 11, 1854 – October 28, 1899) was an inventor who has been called a second
Gutenberg because of his invention of the Linotype machine, the first device
that could easily and quickly set complete lines of type for use in printing presses.
1896 Cheltenham is an old style serif typeface, designed in 1896 by Bertram Grosvenor Goodhue and Ingalls Kimball for use by a New York publisher, the Cheltenham Press.
1898 Akzidenz Grotesk Designed is a grotesque (early
sans-serif) typeface originally released by the H. Berthold AG type
foundry in 1898 under the name Accidenz-Grotesk. It was the first sans serif
typeface to be widely used and influenced many later neo-grotesque typefaces.
1901 Copperplate Gothic is
a typeface designed by Frederic W. Goudy and released by the American Type
Founders (ATF) in 1901. While termed a "Gothic" (a metonym for
sans-serif), the face has small glyphic serifs that act to emphasize the blunt
terminus of vertical and horizontal strokes. The typeface shows an unusual
combination of influences: the glyphs are reminiscent of stone carving, the
wide horizontal axis is typical of Victorian display types, yet the result is
far cleaner and leaves a crisp impression in letterpress or offset printing.
1904 Franklin Gothic its related faces, are realist sans-serif typefaces originated by Morris Fuller Benton (1872–1948) in
1902. “Gothic” is an increasingly archaic term meaning sans-serif. Franklin Gothic has been used in many advertisements and headlines in newspapers.
1914 Souvenir Typeface was
originally drawn by Morris Fuller Benton in 1914 as a single weight for the
American Type Founders company. Souvenir’s large x-height and open counters make
its characters highly legible. Its distinctive characters help the design stand
out from the crowd, while the soft edges and round corners allow Souvenir to be
used in a wide variety of print surfaces and imaging environments.
1923 Neuland Typeface is
a German typeface that was designed in 1923 by Rudolf Koch. Koch designed it by
directly carving the type into metal.
1932 Times New Roman, is
a serif typeface commissioned by the British newspaper The Times in 1931,
created by Victor Lardent at the English branch of Monotype. It was
commissioned after Stanley Morison had written an article criticizing The Times
for being badly printed and typographically antiquated. The font was supervised
by Morison and drawn by Victor Lardent, an artist from the advertising
department of The Times.
1953 Mistral Designed. Designed
by Roger Excoffon. Mistral was based directly on Excoffon's own handwriting, a
loose-running script with a great deal of panache.
1957 Haas Grotesque (Helvetica) Designed. Helvetica
was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas'sche
Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out
to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk
in the Swiss market. Originally called Neue Haas Grotesk, its design was based
on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to
create a neutral typeface that had great clarity, no intrinsic meaning in its
form, and could be used on a wide variety of signage.
1962 Eurostile Typeface is a
geometric sans-serif typeface designed by Aldo Novarese in
1962. Novarese originally made Eurostile
for one of the best-known Italian foundries, Nebiolo, in Turin. Novarese
developed Eurostile because although the similar Microgramma, which he had also
designed, came with a variety of weights, it had only upper-case letters. A
decade after he had designed Microgramma, Novarese remedied this flaw with his
design of Eurostile, which added lower-case letters, a bold condensed variant,
and an ultra narrow design he called Eurostile Compact, for a total of seven
fonts.
2000 Gotham Typeface
Gotham is a family of geometric sans-serif
typefaces designed by American type designer Tobias Frere-Jones & Jesse
Ragan in 2000. Gotham's letterforms are inspired by a form of architectural
signage that achieved popularity in the mid-twentieth century, and are
especially popular throughout New York City.
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