In 1501, Aldus Manutius and Francesco Griffo created the first italic typeface, which allowed even more text to fit onto the page. While Jenson’s Roman type saved space on the printed page, others were trying to save even more space to improve the efficiency of book printing. His Roman type is the basis for multiple modern fonts, including Centaur, created by Bruce Rogers in 1914, and Adobe Jenson, created by Robert Slimbach in 1996. Jenson’s typeface was the first to be created based on typographic principles rather than manuscript models. Jenson’s early Roman typeface was more streamlined than Blackletter and saved space on the page. He created the first Roman typeface, based on Blackletter and Italian Humanist lettering. In 1470, Nicolas Jenson recognized that simpler letterforms would result in being able to fit more text on a single page, resulting in shorter books with faster setup times. But as mentioned above, the downside was that they took up considerable space on the page. Pages from Gutenberg’s bible, with original Blackletter typeface and decorative illustrations.īlackletter typefaces were the original standard for printing, mainly because they mimicked the handwriting style of the time. The downside was that it limited the amount of text that could fit on a single page, creating longer books that required more time to set up. Gutenberg’s letterforms were based on the Blackletter calligraphy that was used to write manuscripts. While arranging the letters for each page could take an entire day, the page could then be printed as many times as necessary from that single day’s work. He drew on movable type used in East Asia and screw-type presses being used by farmers in Europe to devise the idea for the first printing press.īecause Gutenberg was a goldsmith, he was able to create durable letter blocks that could be used over and over again. Gutenberg recognized that being able to mass-produce books quickly and cheaply was a lucrative prospect. Typeface history has largely been influenced by the availability of technology throughout the centuries, starting with Gutenberg’s press and continuing through digital typography advancements by designers in the 20th and 21st centuries. They were generally reserved for the elite, though growing literacy among the middle class increased their demand. However, before the invention of the printing press by Johannes Gutenberg in the mid-15th century, books were written by hand. ’s easy to take books and other printed material for granted. ERyQKcuBR0Ī QSL card for today's #FontSunday 80s fonts. #FontSunday The #eighties work of designer, artist and educator Ed Fella. To celebrate the occasion, tomorrow's #fontsunday from noon is eighties fonts. This years marks 30 years since the Design Museum opened its door in 1989. #80s #Typography #GraphicDesign #Design #Type /E87MAWAUou #FontSunday 'The Magazine That Ignores Boundaries' – Covers from #Emigre Magazine from 1988, 19. eighties fonts #fontsunday - magazine covers. eighties fonts #fontsunday - Japanese exhibition: The Modern Poster. #FontSunday #80s /AJrZDQxHPiĬS design award trophy (gold and chrome plated brass) designed by Takenobu Igarashi, 1982 #80s #FontSunday /4TGHihaFXy At the time, these brands pointed to the future (gazes into the distance, misty-eyed). Home computing in the #eighties was a strange place, but it did start me off on the coding path. Thank you for all the eighties fonts so far! Keep them coming for #fontsunday! /7SegfSGgyE She produced a dummy issue that would set the style for the relaunched publication, but would sadly die shortly after it’s completion. #FontSunday In 1981 Condé Nast announced it was a reviving Vanity Fair, with the legendary Bea Freitler as art director. #FontSunday Press advertisements for Time Out magazine, designed by 8vo, 1985. #eighties #fontsunday /xpSMb5YkK4Ĩ0’s #JamesWhite #Typography #FontSunday #Eighties /TMweswWQXc #80s DesignMuseum #FontSunday /ry9Kwstozgīlank VHS. #80s typeface tvRT MorseLibby: The quintessential 1980s TV show used a typeface that was a homage to Miami’s Art Deco heritage. #FontSunday Poster designed by April Greiman, for the exhibition The Modern Poster, The Museum of Modern Art, New York, 1988. #FontSunday imagine there’s been plenty of I-D magazine - but here’s Malcolm Garrett’s (?) I-D Lady Di cover (issue 5 1981) and then this one from 1985 which is so 80s it hurts /6jniqXiLaA Fronzoni’s poster design for Orskov, Skulptur Galerie Doktor Glas, Stockholm, 1989. Here's a final one from the Design Museum. Thank you to everyone who took part in this eighties themed #fontsunday. Cover of Spare Rib magazine, September of 1982 #FontSunday #eighties /cz8FpmAx5o
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