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It was still in wide use until the 20th century because it was used in French school manuals to teach the bases of cursive writing, and was also commonly used by the scribes of the French Ministry of Finance until right after World War II, [2] which gave this style the name of écriture ronde financière ('round financial writing', not to be ...
The Antiqua–Fraktur dispute was a typographical dispute in 19th- and early 20th-century Germany. In most European countries, blackletter typefaces like the German Fraktur were displaced with the creation of the Antiqua typefaces in the 15th and 16th centuries. However, in Germany and Austria, the two styles of printing coexisted until the ...
The abstracted long "s" (resembling a barless "f") fell out of use in the 19th century. The word "Antiqua" written in the Antiqua style. Antiqua ( / æ n ˈ t iː k w ə / ) [ 1 ] is a style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries. [ 2 ]
Pages in category "Typefaces and fonts introduced in the 19th century" The following 2 pages are in this category, out of 2 total. This list may not reflect recent changes .
Fraktur is often characterized as "the German typeface", as it remained popular in Germany and much of Eastern Europe far longer than elsewhere. Beginning in the 19th century, the use of Fraktur versus Antiqua (seen as modern) was the subject of controversy in Germany.
Miller & Richard's original specimen for their Old Style fonts, in a mock-traditional style with the long s and archaic ligatures. [1]Old Style, later referred to as modernised old style, was the name given to a series of serif typefaces cut from the mid-nineteenth century and sold by the type foundry Miller & Richard, of Edinburgh in Scotland.
Script typefaces have evolved rapidly in the second half of the 20th century due to developments in technology and the end of widespread use of metal type. Historically, most signwriting on logos, displays and shop frontages did not use fonts but was rather custom-designed lettering created by signpainters and engravers.
Stylistically the serif fonts of the mid-19th century appeared very robust and otherwise had more or less neo-classical design features, which changed during the course of time: By the application of the slab serif design feature and by appending serifs to more and more typefaces, an independent intermediate group of heterogeneous fonts emerged ...
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