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Text of the page (random words):
rs 45 50 however the style did not become used in printing for some more years g 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 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 the inappropriateness of the name was not lost on the poet robert southey in his satirical letters from england written in the character of a spanish aristocrat 52 53 it commented the very shopboards must be 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 54 44 similarly the painter joseph farington wrote in his diary on 13 september 1805 of seeing a memorial h engraved in what is called egyptian characters 55 44 around 1816 the ordnance survey began to use egyptian lettering monoline sans serif capitals to mark ancient roman sites this lettering was printed from copper plate engraving 45 41 entry into printing edit 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 two lines english egyptian where two lines english referred to the typeface s body size which equals to about 28 points 56 57 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 58 i a second hiatus in interest in sans serif appears to have lasted for about twelve years until vincent figgins foundry of london issued a new sans serif in 1828 60 61 62 david ryan felt that the design was cruder but much larger than its predecessor making it a success 63 thereafter sans serif capitals rapidly began to be issued from london typefounders 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 slab serif and fat faces of the period it also added a lower case the term grotesque comes from the italian word for cave and was often used to describe roman decorative styles found by excavation but had long become applied in the modern sense for objects that appeared malformed or monstrous 7 the term grotesque became commonly used to describe sans serifs similar condensed sans serif display typefaces often capitals only became very successful 44 sans serif printing types began to appear thereafter in france and germany 64 65 specimen by william caslon iv showing his two lines english egyptian sans serif the first general purpose sans serif printing type ever 66 cut in only one size it was apparently not promoted with any prominence the largest type in this image is the second sans serif type known published by figgins in 1828 62 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 use 67 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 fat face typefaces or slab serifs with the serifs removed 68 69 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 41 the schelter giesecke foundry also claimed during the 1920s to have been offering a sans serif with lower case by 1825 70 71 mosley describes this as thoroughly discredited 41 as early as 1986 walter tracy described the claimed dates as on stylistic grounds about forty years too early 72 in 2004 wolfgang homola dated the typeface to 1882 based on a study of schelter giesecke specimens 73 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 letters simple sans serif capitals without use of lower case became very common in uses such as tombstones of the victorian period in britain the first use of sans serif as a running text has been proposed to be the short booklet feste des lebens und der kunst eine betrachtung des theaters als höchsten kultursymbols celebration of life and art a consideration of the theater as the highest symbol of a culture 74 by peter behrens in 1900 75 simple sans serif capitals on a late nineteenth century memorial london italic capitals from the caslon specimen of 1841 the first section of the avant garde magazine blast published by wyndham lewis in 1914 used a condensed grotesque to give an impression of modernity and novelty sans serif type in both upper and lower case on a 1914 poster twentieth century sans serifs edit gill sans on the nameplate of a 4468 mallard locomotive built in 1938 76 throughout the nineteenth and early twentieth centuries sans serif types were viewed with suspicion by many printers especially those of fine book printing as being fit only for advertisements if that and to this day when most books remain printed in serif typefaces as body text 77 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 daniel berkeley updike described sans serif typefaces as having no place in any artistically respectable composing room 78 in 1937 he stated that he saw no need to change this opinion in general though he felt that gill sans and futura were the best choices if sans serifs had to be used 79 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 copperplate gothic in 1925 that a certain dignity of effect accompanies 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 80 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 81 82 83 84 85 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 die schrift unserer zeit the typeface of our time and in english the typeface of today and tomorrow many typefaces were released under its influence as direct clones or at least offered with alternate characters allowing them to imitate it if desired 86 87 88 89 many geometric families were expanded into multiple weights and condensed styles to create matching series 90 grotesque sans serif revival and the international typographic style edit 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 in the post war period an increase of interest took place in grotesque sans serifs 91 92 93 writing in the typography of press advertisement 1956 printer kenneth day commented that stephenson blake s eccentric grotesque series had returned to popularity for having a personality sometimes lacking in the condensed forms of the contemporary sans cuttings of the last thirty years 22 leading type designer adrian frutiger wrote in 1961 on designing a new face univers 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 94 of this period in britain mosley has commented that in 1960 orders unexpectedly revived for monotype s eccentric monotype grotesque design it 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 the prettiness of gill sans 38 95 by the 1960s neo grotesque typefaces such as univers and helvetica 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 5 96 97 98 99 the style of design using asymmetric layouts helvetica and a grid layout extensively has been called the swiss or international typographic style other names edit three sans serif italics news gothic has an oblique j gothic italic no 124 an 1890s grotesque has a true italic resembling didone serifs of the period 8 seravek a modern humanist typeface has a more organic italic which is less folded up early edit egyptian the name of caslon s first general purpose sans serif printing type also documented as being used by joseph farington to describe seeing the sans serif inscription on john flaxman s memorial to isaac hawkins brown in 1805 44 though today when the term is commonly used to refer to slab serif not sans serif antique particularly popular in france 38 some families such as antique olive still carry the name grotesque popularised by william thorowgood of fann street foundry from around 1830 7 60 70 the name came from the italian word grottesco meaning belonging to the cave in germany the name became grotesk doric used by the caslon foundry in london citation needed 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 100 the term may have derived from the architectural definition which is neither greek nor roman 101 and from the extended adjective term of germany which was the place where sans serif typefaces became popular in the 19th to 20th centuries 102 in china japan and korea east asian gothic typefaces are a type style characterized by strokes of even thickness and lack of decorations thus akin to sans serif styles in western type design recents edit lineale or linear the term lineale was defined by maximilien vox in the vox atypi classification to describe sans serif types later in british standards classification of typefaces bs 2961 1967 lineale replaced sans serif as classification name simplices in jean alessandrini s désignations préliminaires preliminary designations the term simplices plain typefaces is used to describe sans serif on the basis that the name lineal refers to lines whereas in reality all typefaces are made of lines including those that are not lineals 103 swiss it is used as a synonym to sans serif as opposed to roman serif the opendocument format iso iec 26300 2006 and rich text format can use it to specify the sans serif generic typeface font family name for the font files used in a document 104 105 106 presumably refers to the popularity of sans serif grotesque and neo grotesque types in switzerland 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 72 107 gallery edit this gallery presents images of sans serif lettering 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 sampling simple carving cornwall 1689 108 dublin 1848 caps only heading with crossed v form w corset advertisement using multiple grotesque typefaces united states 1886 light sans serif being used for text germany 1914 small art nouveau flourishes on v and w ljubljana 1916 italic dublin 1916 nearly monoline and stroke modulated sans austrian war bond poster 1916 broad block capitals hungarian film poster 1918 monoline sans serif with art nouveau influenced tilted e and a embedded umlaut at top left for tighter linespacing art deco thick block inline sans serif capitals inner details kept very thin france 1920s berthold block a thick german sans serif with shortened descenders allowing tight linespacing switzerland 1928 artistic sans serif keeping curves to a minimum the line o governo do estado brazil 1930 lightly modulated sans serif lettering on a 1930s poster pointed stroke endings suggesting a brush geometric sans serif capitals with sharp points on a and n australia 1934 dwiggins metrolite and metroblack typefaces geometric types of the style popular in the 1930s stencilled lettering apparently based on futura black 1937 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 1952 jersey holiday events brochure using the popular gill sans led british style of the period swiss style poster using helvetica 1964 tight spacing characteristic of the period ultra condensed industrial sans serif in the style of the 1960s berlin 1966 neo grotesque type switzerland 1972 helvetica or a close copy irregular baseline may be due to using transfers tightly spaced itc avant garde 1976 governmental poster using univers 1980 anti nuclear poster 1982 1997 film festival poster ankara distorted sans serif in the grunge typography style ankara 2002 letterpress poster by alan kitching 2015 segment of ribbons by pippa hale using sans serif see also edit east asian sans serif typeface font design for cjk characters pages displaying short descriptions of redirect targets emphasis typography typographical distinction gothic disambiguation list of sans serif typefaces san serriffe an april fools joke by the newspaper the guardian explanatory notes edit 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 digital publishing expert florian hardwig describes the main features of neo grotesques as being consistent details and even text colour 17 in this period and since some sources have distinguished the nineteenth century grote...