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A revolving type case for wooden type in China, an illustration shown in a book published in 1313 by Wang Zhen Korean movable type from 1377 used for the Jikji. Although typically applied to printed, published, broadcast, and reproduced materials in contemporary times, all words, letters, symbols, and numbers written alongside the earliest naturalistic drawings by humans may be called typography.
Typography, type-founding, and typeface design began as closely related crafts in mid-15th-century Europe with the introduction of movable type printing at the junction of the medieval era and the Renaissance. Handwritten letterforms of the mid-15th century calligraphy were the natural models for letterforms in systematized typography. [1]
Typography and design were crucial to helping these relationships progress—clarity, objectivity, region-less glyphs, and symbols are essential to communication between international partners. International Typographic Style found its niche in this communicative climate and expanded further beyond Switzerland, to America.
The history of typography may refer to: History of Western typography, for the history of typography in Europe and the wider Western world;
A recognizable feature of the Swiss style was the use of simple fonts – that is, sans-serif fonts. Simple fonts were used as a minimalist component and formed an alternative to the old serifs antiqua common in 19th-century printing. Simple fonts made it possible to create a new style that was considered not only practical, but also modern.
Fournier's type construction. In 1723, the French government agreed that types should be subject to standards. By 1737, the younger Fournier decided to begin creating his punches to a scale of 6 ciceros or 72 points to the Paris inch, instead of the then-standard height-to-paper method.
Typeface remains the groundwork for design concepts. The hallmark of early modern typography is the sans-serif typeface. "Because of its simplicity, the even weight of its lines, and its nicely balanced proportions, sans serif forms pleasing and easily distinguished word patterns — a most important element in legibility and easy reading."
Several revivals of the Didot faces have been made, first for hot metal typesetting and then for phototype and digital versions.. Digital use of Didot poses challenges. While it can look very elegant due to the regular, rational design and fine strokes, a known effect on readers is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the ...