Distinguishing marks:
rounded serifs
sloping axis of curves
sloping attachment of serifs
oblique e-head
few differences in thickness of lines
Developped around 1470 by Nicholas Jenson, Venice, from the humanistic minuscule.
The hand-written idol of this type was written with a quill cut at cross.
Well-known representatives:
Berkeley Old Style, Centaur, Deepdene, Horley Old Style, Kennerley Old Style, Trajanus, Schneidler-Mediaeval, Seneca
Distinguishing marks:
rounded serifs, sloping axis of curves
sloping attachment of serifs
horizontal stroke by e
few differences in thickness of lines
Developped around 1540 by the French Claude Garamond from the humanistic minuscule.
Old name: Medieval
Model for the capital letters was the Roman capital letter script (Capitalis Quadrata) and for the small letters the Caroline minuscule.
Well-known representatives:
Aldus-Buchschrift, Bembo, Berling, Diethelm-Antiqua, Garamond, Goudy, Palatino, Sabon-Antiqua, Tump-Mediäval, Weiß-Antiqua
Distinguishing marks:
hardly rounded serifs
axis or curves nearly vertical
more differences in thickness of lines
Summit of its peak around 1750
Old names: preclassical roman, half-medieval
The marks of copperplate engraving become more evident. The flow of quill steps more and more back.
Well-known representatives:
Baskerville, Caslon, Imprimatur, Janson-Antiqua, Poppl-Antiqua, Tiffany, Times-Antiqua
Distinguishing marks:
horizontal serifs without curves, thickness of lines like hairlines
vertical axis of the curves
attachments are horizontal on top and bottom
horizontal line at e
high contrast between basiclines and hairlines/serifs
Highest peak around 1800.
The characters were mainly developped by G. Bodoni and
F. Didot.
The model for this type were the dainty scripts of copperplate engraving. Final revelation of the flow of gouch. Consequently constructed letters. The written marks of quill-flow have disappeared.
Well-known representatives:
Bodoni-Antiqua, Didot, Madison-Antiqua, Torino, Walbaum-Antiqua
Distinguishing marks:
serifs angular (Egyptienne)
serifs rounded (Clarendon)
serifs thicker than basiclines (Italienne)
vertical axis of the curves
attachments are horizontal and strongly pointed
horizontal line at e
upper lengths equal the capital letter height
middle length:upper length = near 2:3
Arised in the first half of the 19th century
Is divided up further according to the look (above all the serifs):
a) Egyptienne
Well-known representatives:
American Typewriter, Beton, City, Lubalin Graph, Memphis, Rockwell, Serifa, Stymie
b) Clarendon
Well-known representatives:
Clarendon, Melior, Volta
c) Italienne
Well-known representatives:
Churchward Maricia, Figaro, Hidalgo, Memory, Pro Arte
group VI–XI