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A document printed in 1836, showing Didone (body text), 'Italian' (the word 'proceedings') and early sans-serif fonts. An eccentric method of reworking and parodying Didone typefaces has long been to invert the contrast, making the thin strokes thick and the thick strokes thin.
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 ...
Slab serifs form a large and varied genre. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs. Others such as those of the Clarendon genre have a structure more like most other serif fonts, though with larger and more obvious serifs.
[g] [60] Originally intended as attention-grabbing designs for posters, they have very thick serifs, which tend to be as thick as the vertical lines themselves. Slab serif fonts vary considerably: some such as Rockwell have a geometric design with minimal variation in stroke width—they are sometimes described as sans-serif fonts with added ...
The "Included from" column indicates the first edition of Windows in which the font was included. Included typefaces with versions. Typeface Family Spacing
While very bold, Cooper Black is based on traditional "old-style" serif lettering, rather than the hard-edged "fat face" fonts popular in the nineteenth century, giving it a soft, 'muddy' appearance, with relatively low contrast between thick and thin strokes. [8] [9] [10] [11]
Elephant is a digital fat face typeface by Matthew Carter based on the typefaces of Vincent Figgins. [1]In typography, a fat face letterform is a serif typeface or piece of lettering in the Didone or modern style with an extremely bold design. [2]
The font exemplifies the style preceding the 1530s: a font dark in colour, with wide capitals, tilted 'e's and large dots on the 'i', recalling calligraphy. De Colines, who probably engraved his own typefaces, developed his style and use of type over his lifetime, increasing the influence of classical Roman capitals [ 170 ] and making his fonts ...
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