An Introduction to the History of Printing Types: An Illustrated Summary of the Main Stages in the Development of Type Design from 1440 up to the Present Day: An Aid to Type Face Identification

By Geoffrey Dowding | Go to book overview

MISCELLANEOUS DISPLAY TYPES

So far eight groups of book faces and sixteen groups of display faces have been described. These represent a very large proportion of the types extant today. If to these are added the bold or semi-bold versions of many of our book faces, for example Baskerville, Bembo, Ehrhardt, 'Garamond'. Imprint, Perpetua and Romulus, and the bolds of jobbing faces like Plantin Series 110 and Times (which though born as jobbing faces are nevertheless used as book faces) &, further, if we remind readers of the enormous number of poorly designed faces mentioned in the introduction to this book it would seem that all type designs must surely have been accounted for. But that is far from being the case.

There are many interesting display types which cannot be placed simply in one or other of the groups described in this Introduction. Some are hybrids, a mixture say of a sans serif and a three dimensional face: others are types which have been modified in some way.

It will be agreed that Gill can be considered as a perfect example of a sans serif type. But what of Bifur and Neuland and Koloss? These can be called sans serifs only if we accept seriflessness as the sole criterion of sans serif types. But of course it is not. Bodoni divested of its serifs does not look like anything we have been taught to recognize as a sans serif type! Koloss is of course a hybrid. It has been described as an extra bold sans serif which suggests a fat face. Neuland has been described as a bold sans serif with modifications. Bifur is one of those types which

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An Introduction to the History of Printing Types: An Illustrated Summary of the Main Stages in the Development of Type Design from 1440 up to the Present Day: An Aid to Type Face Identification
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgements ix
  • Preface xiii
  • Contents xv
  • List of Illustrations xvii
  • Introduction xxi
  • Part One the Book Types I 3
  • Gothic 5
  • Roman Venetian 19
  • Roman Old Face 31
  • The Italics 43
  • The Intermediate1 or Transitional Romans 59
  • The Modern-Face Romans 75
  • The Modernized Italics 87
  • Old Style 97
  • Twentieth- Century Types 101
  • Part Two the Display Types 109
  • II 109
  • Latin or Renaissance Scripts 127
  • Decorated 145
  • Shaded 155
  • Fat Face 161
  • Antique or Egyptian 169
  • Shadowed or Three-Dimensional1 175
  • Sans Serif 179
  • Reversed or Cameo 183
  • Ionic 187
  • Outline or Open 191
  • Clarendon 195
  • Calligraphic 199
  • Stencil 203
  • Typewriter 205
  • Miscellaneous Display Types 207
  • Notes on the Illustrations 209
  • Appendix I 264
  • Appendix II Serifs 267
  • Bibliography 269
  • Index 273
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