116 Tomáš Koprda – Ivana Bulanda 117 European Journal of Media, Art & Photography Media / Art / Culture Creation And Development Of Accent Typeface Forms Of Writing And Their Use In Advertising

repertoire failed to fulfil this task, capitals, light and slightly shaded, group of such fonts is called head Tomáš Koprda – Ivana Bulanda and therefore the whole new font but with a very fat shade that was lettering or title fonts. family, which we call the accents filled with décor. The drawing of the Fournier supplied his lettresornées ent of the day, is developing.1 Fonts in font was not very different from the and fleuragées to both French and Creation And Developm Of Accent this category are for promotional contemporary Baroque title fonts. foreign printers, and it was these and advertising printing. In the The only thing that distinguished fonts that lent the Rococo character printing industry, the term “accent them was the drawing of the feet. of the European letterpress since Typeface Forms Of Writing And Their Use printing” refers to printed materials They were distinctively ornamentally the mid-18th century, as until then that have temporary use, which stylized, something new that we mainly older Renaissance Garamond In Advertising fully corresponds to the function can call typical of the following type fonts were used in the title of the advertising communication. Rococo scripts. In another variation rate. The rococo character of the At the time of its inception, accent of these capital letters, Fournier European letterpress was also printing was considered a random emphasized the “rococo” character created by the so-called Baroque and ephemeral print next to the of the typeface by emphasizing the fleurons, typographic ornamental Abstract Introduction dominant letterpress. Today it is dotted décor and the double strokes elements from which it was possible The first forms of the accent script At the end of the 18th century, the quite the opposite.2 of vertical lines. He even applied to assemble rich decorative frames were created at the beginning of first industrial revolution began, the ornament of the typeface to the and vignettes. Fleuron was one the 19th century and at that time which also affected the creation and 1 Predecessors of accent fonts capitals of light italics. Most of the of the first to produce and supply there was no indication that they use of the font. Industry began to The first predecessors of the event strong strokes of the shank of the printers to anyone other than P. would be very popular even in the produce a large number of products, accent fonts were headlines and font are split completely and the S. Fournier. Several books from second half of the 21st century. The unlike in previous periods, when the lettering designed for printing isolated outline contours are left the Baroque period used his fonts reason for their emergence was the production of goods was the domain and decoration of the title pages unconnected in the head and foot and fleurons in the cover pages. first industrial revolution and new of craft guilds. Promoting the sale of books. It consisted of some of the letter. The split serifs develop Fournier’s success was exceptional requirements for the use of the font. of goods was a new task for printers ornamental baroque capital letters, into distinct horizontal lines, and because, according to his writings, In the 19th century, printers began who were in charge of printing which were available to the printers the gap that has arisen between many copies were made, which to print various promotional and various kinds of promotional leaflets, of the 19th century.3 A typical the lines is complemented by an were offered by several French and promotional prints more intensively posters or advertisements. However, example is the Baroque scripts by ornament. In his other scriptures, foreign font producers at the end of and did not have the appropriate they needed a new font. the French typographer Pierre Fournier developed the ornament the 18th century.4 font for this type of printing. The The repertoire of the printing Simon Fournier from the late 18th much more markedly in the In the following period of Classicism article deals with the reasons for press in the 18th century was small century. P.S. Fournier published a typeface. These fonts are referred there was a departure from the the creation of license fonts and and limited by today’s conditions, collection of his own ornamental to as lettresfleuragées. Their typical distinctive Baroque and Rococo the purpose of their use, while but it was characterized by a high fonts in his Manual (the so-called feature is the plant décor, which decorativism. It manifested itself examining whether the original standard and stylistic unity of the sample fonts book) in 1764. These disrupted the continuous drawing in the form of strict and cool function of the font still applies used fonts. Most of the fonts were fonts are the result of a special and of the capital letters stroke by a classicist type. The period of today. in the book category, which were stylistic application of the principles shaded oval placed in the centre Classicism did not like decor and supplemented by lettering fonts. of cleavage of the serifs and, in of the font. The typeface became ornament, nevertheless a number Keywords From the point of view of typing, some cases, of the shank. Fournier a pure ornament. The decoration of ornamental fonts were created Accent typeface writing, 19th these were solely Baroque and offered two lines of typeface. The and ornament were used in the at that time, which were designed century typography, advertising, Classicist antiquities, and these first, named lettresornées, were serif drawing of the script exclusively for to decorate the title pages of promotion were sufficient for the printer to the alphabet of capitals, never for books. Classical typeface titles produce books, but also other letters of the lower-case alphabet. used ornament only on majuscule, printed materials such as posters, Calligraphic scripts were an and the basic typeface was always leaflets or newspapers. However, exception in the Baroque era, where preserved as in the case of book. these fonts were not sufficient for 1 HELLER, S., BALLANCE, G.: Graphic the ornamental principle of use was the printer to produce advertising Design History. New York : Allworth Press, 2001, p. 298. also in small alphabets. The use of 2 ERLHOFF, M., MARSHALL, T.: Design printed matter. These had to be Dictionary. Basel : Birkhäuser Verlag AG, 2008, p. 11 lettresfleuragées in typesetting had spectacular and glamorous to attract the sole purpose of creating an 4 BLANCHARD, G.: Le “Fournier”: readers’ attention and make them 3 MUZIKA, F.: Krásné písmo. 2nd Edition. attractive title page of the book that caractère du bicentenaire. In Communication & Prague : Státní vydavatelství krásné literatury, hudby Langages, 1989, No. 82, p. 40. read the ad text. The original font ě adorned the entire publication. A a um ní, 1958, p. 378. » 118 Tomáš Koprda – Ivana Bulanda 119 European Journal of Media, Art & Photography Media / Art / Culture Creation And Development Of Accent Typeface Forms Of Writing And Their Use In Advertising

For example, the contour antiquity and the emergence of a new area aesthetic criteria applied to book as valuable and decay. We must these scriptures, as in their shape was overlaid with a single had the same serif shape, with no for the use of fonts - advertising. scripts were also applied to house not, in general, consider all 19th- Renaissance or Baroque line, or hatching was used to drop on the typeface, the ductus scripts that were created on the century writing accent scripts to be periods, the drawing of the draw a shadow. The ultimate modelling was very contrasting, and 2 The emergence of accent basis of different requirements bad. They certainly provide a lot of letter remains unfilled in endeavour of the typographer the shadow axis was vertical. Typical typeface scripts and whose typeface was destined inspiration that we can use today in colour, acting only a faint was to create the illusion of the ornamental antiquity of the highest In the first half of the 19th century for a completely different mission. contemporary typography. outline. Sometimes this three-dimensional image of the classicism is characterized by in England brand new fonts were Accidental scripts should attract outline of emphasis is yet script. As in the case of accent capitals with decorated bold strokes. designed exclusively for printing attention and should not be 2.1 Expressive principles another contour, and then we prints, there are several different The delicate capillary lines of the posters, prospectuses and other readable in long “bread” texts like of accidental font characterize these fonts as types of designs in this group. serifs are preserved unchanged. advertising printed - so-called book scripts. If we understand the The production of new types of two-outline, The decoration of bold strokes special accent fonts. This was an use fonts as book fonts, they are license accent fonts in England was c. Bold fonts. In addition, the a. Shaded fonts. They are varies from simple longitudinal, important moment in the history unambiguously evil and decaying, large, resulting in a huge variety fully coloured basic image is among the simplest and most horizontal or diagonal hatching to of the script, because a new font but the mistake lies in the fact of different fonts. The problem is indicated by a thin outline, basic form of this font. Initial complex ornamental patterns, albeit family was created with a new kind that these are not written fonts at how to correctly classify them into d. Fonts hatched. Instead of forms of these fonts can be moderately classicist.5 of use. Until then, the printing font all. A certain parallel can be given classification groups so that they a monochrome black font found in antiquity renaissance The best ornamental classicistic was divided into two basic types: to us by the period before the are clearly arranged. At present image, a hatch of horizontal and transitional type fonts antiquities were created in France. 1. the book font and 2. the font printing press in Europe. Writers in it is accepted that we divide the or vertical lines is used, in which strong strokes Pierre Didot l´Aîné, a French head lettering or headline. Now we monastic scriptures, when creating accent fonts into classification sometimes in the middle or at were outlined in outline, typographer and typist, created have added a third font - a font of calligraphic cartoons, deliberately groups according to the basic form the end, one weaker and the other several interesting scriptures in his a commercial/accent or advertising. suppressed the utility of writing in of the drawing of the font and in e. Decorated fonts. The basic reinforced, typeface, which he founded in 1809.6 The main functions of the accent the pursuit of the aesthetic effect of such defined groups we examine form is treated with a more b. Plastic fonts. They achieve a Among his scripts, one of the most and book font are different. The writing on the page surface of the all formal variants.8 The basic form or less rich, usually negative stronger three-dimensional deserving of attention is one that typeface accent fonts must attract book. They tried to create a peculiar of the event fonts occurs either ornament, impression by attaching is unique in its own way. By default, the reader’s attention, attract his beauty, independent of their own in its pure form or is decorated in f. Fonts illustrated. The heavy black and grey hatched Didot l’Aîné formed an ornament as eyesight and quickly communicate mission. The alphabet was mainly different ways within the intentions decorative filler is shadows to bright outline shaded or shaded inside the font. the information. The main function an instrument of visual expression, of the two main graphic expressive represented by non- fonts, or by attaching outline Except for one font, which was of the font is the fluency of reading, they wanted to draw the attention principles according to which we can ornamental drawn elements shadows to dark solid fonts, created after 1809, and where Didot the font must not disturb the reader of the reader by drawing a letter categorize them into: I. areal and II. and free graphic themes such c. Bold shaded fonts. It was l’Aîné tried to create an illusion of by its shape, it must be helpful in its and to provide him with an aesthetic three-dimensional. as still-lives, figural motifs, another form of shaded a three-dimensional shape. This shape to recognize the individual experience which even today’s I. Areal accent fonts can be etc., fonts, where several types is achieved by a light, consistent font characters, and ultimately not reader does not find. characterized by several types g. Fonts ornamentalized. of shading were merged, full typeface, complemented by a too tiring to read long texts. The first writing accent scripts of designs, because they rarely The typeface image is with shaded. double, black and shaded shadow. The aesthetic evaluation of the from the high Classical period, occur in pure form: structurally distorted, much d. Fonts inside shaded. Again, Until then, no typographer had writing accent scripts in the 19th around 1800, were undoubtedly a. Full fonts. The basic form like the rococo scripts of P.S. it was a modification of the created a similar typeface; therefore century was negative. They were of a high graphic standard. From is preserved in the original, Fournier, shading of the font image. this classicist ornamental antiquarian criticised for the excessive use the fact that they have gradually fully coloured image. In this h. Fonts based. The term refers The shadow illusion was capital letters from the beginning of decor and ornament, which, degenerated into decay forms in group we can include all the to print fonts backed by a supposed to create the of the 19th century is so interesting. according to typography experts, the book production of the next accent fonts in the basic background, either hatched, impression of hollowness This font is typical of advertising and resulted in an unattractive and decades, we cannot mechanically form, but there are prevailing ornamental, or evenly black, inside the scripture, promotional printing, and heralded ugly form of typeface, mostly very conclude that all scriptures from this variants in which the basic sometimes referred to as e. Perspective fonts. They further developments in typography difficult to read.7 The whole mistake period are bad. If the creators of form is accompanied by some negative fonts. represented scriptures of the aesthetic evaluation of house 19th-century fonts have undoubtedly ornamental elements, where the pursuit of the fonts is undoubtedly that the same lost their sense of the true values b. Outline or light fonts. In II. Three-dimensional accent fonts illusion of the “perspective” of the writing, it does not mean have a non-colour drawing, reached boundary forms. The that we can deny them the sense but only a faint outline. The drawing of the typeface was 5 BRINGHURST, R.: The Elements of Typographic Style. 4th Edition (version 4.3). of creating a good script with other modelling of the plastic image of ejected from the printing Vancouver : Hartley & Marks, 2019, p. 127. 7 HANSARD, T. C.: Typographia: An uses. As with the evaluation of the font was achieved by several surface with the protruding 6 MEGGS, P. B., PURVIS, A. W.: Meggs‘ Historical Sketch Of The Origin And Progress Of The book fonts for good and bad, we 8 MUZIKA, F.: Krásné písmo. 2nd Edition. drawing elements. A double line horizontal lines backwards, History of Graphic Design. 4th Edition. New Jersey : Art Of Printing. London : Baldwin, 1825, p. 360. Prague : Státní vydavatelství krásné literatury, hudby can also evaluate the accent font ě was used, or a fully coloured which was also enhanced Wiley, 2005, p. 134. a um ní, 1958, p. 300. » 120 Tomáš Koprda – Ivana Bulanda 121 European Journal of Media, Art & Photography Media / Art / Culture Creation And Development Of Accent Typeface Forms Of Writing And Their Use In Advertising

by the significant shading. began. Robert Thorne was one of Imprimerie Royale, the largest and 3.2 Egyptian Some fonts were drawn from the first to create the scripts for best known in France, ordered an The second type of accent writing, preview or soffit. the event. It was thanks to him that antiquarian accent antiquity directly which originated in the 19th f. Imitation fonts. The basic French and Italian Classicist scripts from Robert Thorne. century, was Egyptian. Unlike the drawing of the font is succeeded in territorial England. The first bold antiquities were antiquarian antiquity and Italics, it composed of various non- Robert Thorne released his only font produced only in large alphabet was indeed a new and previously graphic materials, such as. sample book in 1803, but it didn’t sets, ie as majuscules. However, non-existent font. The origin of pearls, ribbons, paper rolls, yet contain new fonts. His follower, as early as 1821, two competing the English name of this group - stone, sheet metal and the William Thorowgood, in 1820 English typefaces, Figginson and Egyptian, is interesting. Several like. In this group we can also printed the first demonstrations Thorowgood, introduced a bold older authors interpret it differently, include rustic fonts that use of a new antiquarian accent antiquity in both large and small but the closest to the truth was A. the shapes of twigs, liquorice, antiquity. According to a number alphabets. Gradually, an Italics F. Johnson, who claimed that it was masonry, etc. of indications, we can assume section was added, which in the an attempt to commercially exploit that the first antiquarian accent spirit of Classicist Italics had nothing the current sensation that in the 19th 3 Classification of groups of antiquity originated between 1803 to do with the italic drawing of the century everything that came from accent fonts and 1806, in particular on the basis Renaissance antiquity. In the case ancient Egypt was fascinating. The Transparent classification of accent of a statement by Thomas Curson of accent letters, Italics is only an general interest in Egyptian history, fonts requires us to classify their Hansard, who in 1825 wrote in inclined version of antiquity with a Figure 1.: An example of bold antiquity the 19th century, the popularity of fuelled by Napoleon’s expedition basics in the form of a font image, his book Typographia that this secondary meaning. It is no longer and italics in the Vincent Figgins sample antique accent antiquity and Italics to Egypt, increased even more even under ornamental processing, writing was created by Robert a separate and distinctive typeface, book from 1834. was great. Since the second half of by popularizing the results of the into several classification groups. Thorne.10Scripture has become but merely a complement to the the 19th century, neo-Renaissance archaeologists who accompanied Some of them are no longer used at very popular among publishers of basic shape of the font, with its Bold antiquity and italics became tendencies began to appear in Napoleon on his voyage. The name all, such as Tuscany or Italian, some popular magazines and sensational basic image consistently following very useful letters for printing English and French typography, Egyptian was known not only in are very popular such as slab-serif. literature who have taken advantage the image of the antique, so as to posters and other promotional prints which was also reflected in the England, but also in France in the The main classification groups of the of the attractive features of the harmonize it in colour. Italics in very quickly. Over time, small font accent letters. Gradually, the form period of egyptienne and in our fonts according to the basic form of new typeface on envelopes and in the event accent letters gradually sizes have found application in areas of Classicist drawing of the font was country as Egyptian. It should be the font image are: the typesetting of their books, as disappears and is replaced by a for which they were not originally abandoned and new forms inspired noted that the term is inaccurate 1. Accent ancient and Italics well as in the creation of posters, number of complementary variants invented. They have become by Renaissance scripts were created. and misleading, as the scripture has ff 2. Slab-serif whether for theatres or the state of the basic shape in the form part of the normal book script as Mixing di erent forms of typeface nothing to do with Egypt. Rather, it 3. Italics lottery. The first use of the font was of semi-bold, bold or extra bold marking cuts. Several authors, such was not a happy solution, because is a rarity that has been used over 4. Tuscan for advertising and promotional versions, which is more suitable as František Muzika considered unattractive and poor-quality fonts time. In modern English terminology, 5. Sans-serif9 purposes only. Gradually, the for example for the multi-level this not a very happy solution. The were created. today the name square-serif is script began to be applied to the structure of the advertising poster. success of the new antiquarian introduced, which is a much more 3.1 Accent ancient and Italics typesetting of “serious” literature. On the contrary principle, in terms antiquity and Italics in the 19th precise term.12 In Czechoslovak The first explicitly scriptural It was used to edit cover pages. of proportions, another variant of century prompted the production typography Jan Soplera used the accent letters were directly and Despite the fact that the above- the classic classical bold - the narrow of a large number of different fonts, term - linear serif font. consistently derived modifications mentioned T. C. Hansard did classic classical bold - is based. This while forcing manufacturers to be of the Classical antiquity created not consider the new font to be variant was first published in 1832 original. Therefore, ornamental by Firmin Didot and G. B. Bodoni. of good quality, it has gradually by Vincent Figgins and ten years antique antiquities and Italics began Figure 2.: George Bruce & Co. Samples Although Didot was a Frenchman established itself in the portfolio later, in an improved version, it was to appear. The ornamental antique of Ornamental Bold Antiquity Three- and Bodoni an Italian, the first letters of several printers. Confirmation printed by William Thorowgood.11 antiquity was represented rather Dimensional from New York, 1848. of the day were created in England, of this statement was the fact that modestly. Much more popular where the first industrial revolution in 1819 the Parisian printing house was the form of ornamental three- dimensional antiquarian antiquity and Italics. The font was decorated with all the above-mentioned graphic principles - plastic 9 MUZIKA, F.: Krásné písmo. 2nd Edition. 10 HANSARD, T. C.: Typographia: An 11 GRAY, N.: Nineteenth Century shading, hatching or perspective 12 HANSARD, T. C.: Typographia: An Prague : Státní vydavatelství krásné literatury, hudby Historical Sketch Of The Origin And Progress Of The Ornamented Types and Title Pages. London : Faber Historical Sketch Of The Origin And Progress Of The ě abbreviations. In the first half of a um ní, 1958, p. 302. Art Of Printing. London : Baldwin, 1825, p. 619. & Faber, 1938, p. 451. Art Of Printing. London : Baldwin, 1825, p. 618. » 122 Tomáš Koprda – Ivana Bulanda 123 European Journal of Media, Art & Photography Media / Art / Culture Creation And Development Of Accent Typeface Forms Of Writing And Their Use In Advertising

Like the antiquarian antiquity, the merge two parallel and uniformly 3.4 Tuscan 3.5 Grotesque bold Egyptian in small size grades has wide strips of the upper and The story of this font is exactly the The last type of new writing accent eventually gotten into the books as lower serifs. However, this did not same as that of Italics. The name of script, which was created in the a script for cover letters and chapter benefit the legibility of the script. the group is misleading, it has nothing 19th century, was a grotesque. titles, especially in popularizing However, this was intentionally to do with Tuscany in Italy, and the Today, this type of font is very literature. An interesting fate befell overlooked by the first creators to reason for its formation was, as we popular among graphic designers the small Egyptian, which became produce a particularly striking and would say today, a marketing effort and is often used in advertising the initial typeface for the newspaper decorative font. We call this type to attract new customers. Today, you and promotion. The emergence of Egyptian. The main reason was the broad Italics. Already at the time will not meet Tuscan in the offer of its basic form of typeface was the good technical application of the creation of writing, it was written by any digital font producer; it is just no work of 19th century typographers, font for the need of a contemporary several typography experts, such longer in use. The first introduction which determined its main character rotary offset. The uniformity of the as T. C. Hansard, describing it as an of the script took place in 1815 and and purpose of use. The attention typeface of the Egyptian lower case extremely ugly and terrible font.14 its author was mentioned several of the early creator of the fonts in was suitable for typewriter designers. We have to add that rightly. Rather times, Vincent Figgins.15 The drawing relation to the basic form of the font Therefore, Egyptian has become than broad Italics it was narrow of Tuscan uses the old principle of image focused on the creation of the font for typewriters. Egyptian Italics in the press. Scripture cannot splitting the serifs and the shank of various graphic variants of the serifs. design with its drawing provided be denied an interesting appearance the font, which is the main principle From the serifs of the classic-style square proportions. An important Figure 3.: An example of the Egyptian in the a large space for the application and drawing of the script, which was of ornamentality in the font drawing. bold antiquity, through the square- feature of this basic form is the Vincent Figgins sample book from 1834. of ornament. Numerous versions reflected in the fact that even in the Fission is the main characteristic of footed Egyptian serifs and the high sharp-set prismatic serif, without of typeface were created in flat 20th century large fonts were used Tuscany, on the basis of which we rectangles of the Italics serif to the the haunches on the typeface, Egyptian differs from the bold accent and three-dimensional ornamental for printing advertising posters. As recognize Tuscan antiquity, Egyptian, split Tuscan serifs, all possibilities which were used in lower and antique antiquity in the very principle applications. In conclusion, we can with Egyptian, Italics had different Italics and others. Tuscany remained in this respect were essentially upper alphabets. This basic form of drawing a typeface. The thickening add that the Egyptian is indeed an ornamental variants. However, in European and American letterpress exhausted. In the end, there was of Egyptian was perpendicular to of the strokes of the classical original 19th-century accent writing, they were characterized by low until the last quarter of the 19th only one option - to drop the serifs the typeface. Around 1825, a tilted antiquity stem was supplemented by which is often used today. quality drawings of the image of century. Then suddenly its popularity completely. This made it possible Egyptian was created. It was not the same, or approximately the same, the script and were rightly assessed dropped. This type of writing received to create a completely new type of Italics because the only difference amplification of the weak strokes and 3.3 Italics as bankrupt forms of the accented the greatest disdain for experts housing script in the 19th century.16 from the basic form was just the serifs. Especially the high rectangles This accent typeface was written at script. In summary, Italics was the who were guided mainly by the The first sans serif font, only with inclination of the font characters, of the square feet are typical of the beginning of the 19th century dead end of the Egyptian drawing aesthetic criteria of 19th century book capitals, appeared in the sample box nothing more. Other variants of the Egyptians. The first version of the and is most similar to Egyptian. of the accent script, and their production. On the other hand, mainly of William Caslon’s lecture room in basic form of Egyptian can be divided Egyptian was created sometime At present, it is not used at all in emergence was merely a futile effort Tuscany lent a period character and 1816. This novelty had no immediate according to usual aspects, especially before 1806 and its author was typography and there are few to create a striking typeface. grace to printed materials from the success, as it was not until 1832 according to the degree of fatness probably Robert Thorne. However, digital replicas of this font. The mid-19th century. Tuscany, as a formal that such a font appeared again in of their drawing and according to this is not unambiguous, because name of the Italics is similarly expression of its relatively short time, the letterboxes. The first of them the proportions of the typeface. some authors, such as Nicolette misleading as the name of the quickly degenerated and disappeared was published in 1832 by William Accordingly, it can distinguish Gray, attributes the lead to Vincent Egyptian. It has nothing to do with with its time. Thorowgood, a follower of Robert 13 between Egyptian bold and weak, Figgins. Around 1817 the font was Italy, it is simply a common name. Thorne, and the script was called broad and narrow, but also bold wide already commonly used in event In English terminology it is called Grotesque. The second version of or weak, as well as weak wide or accent printing, e.g. on posters of the Italian and in French italienne. The the script was published two years narrow. There are two main variants state English lottery. Egyptian had characteristic form of Italics was later in 1834 by Vincent Figgins. He according to the form of footings. several basic forms. achieved by consistently completing called the script Sans-serif. In 1833, The first of them is the original Figure 4.: An example of the Italics in the principles of Egyptian drawing. the George Bruce & Co. sample book Blake & Stephenson published a Egyptian foot with no feet on the Figure 5.: A sample of the Tuscan in The first of them, Egyptian was not The height of the serif area has from 1848. similar font in Sheffield under the typeface. Another variant contains Vincent Figgins’s sample book from 1834. very bold, with capitals of about increased, which has made an feet with rounded start of the feet. insignificant accessory the main In England, this form is referred and most distinctive element of the to as Clarendon or Ionic, while in character. In the course of time, continental Europe the name used 16 MEGGS, P. B., PURVIS, A. W.: Meggs‘ 13 GRAY, N.: Nineteenth Century there was nothing else left for the 14 HANSARD, T. C.: Typographia: An 15 GRAY, N.: Nineteenth Century History of Graphic Design. 4th Edition. New Jersey : was English Egyptian. Ornamented Types and Title Pages. London : Faber actual typeface construction, but to Historical Sketch Of The Origin And Progress Of The Ornamented Types and Title Pages. London : Faber Wiley, 2005, p. 159. & Faber, 1938, p. 455. Art Of Printing. London : Baldwin, 1825, p. 601. & Faber, 1938, p. 452. » 124 Tomáš Koprda – Ivana Bulanda 125 European Journal of Media, Art & Photography Media / Art / Culture Creation And Development Of Accent Typeface Forms Of Writing And Their Use In Advertising

name Sans-surryphs. William Caslon there were font shapes that could Conclusion References Foundry. Licencia: Creative Commons Profile of the authors IV’s oil mill called it Doric. In the be confused. E.g. cap I and minus l Attribution 4.0 International licence. United States, the font was given the look exactly the same without the The accent fonts were created at BLANCHARD, G.: Le “Fournier”: Link: https://archive.org/details/ PhDr. Tomáš Koprda, PhD. – His unusual name of Gothic, probably serifs. Even the middle font height the beginning of the 19th century caractère du bicentenaire. In americanspecimen00amer/page/n8 professional focus is in the area Communication & Languages, 1989, No. Figure 5.: A sample of the Tuscan in of digital design, graphic design because it resembled dark Gothic is the same as the upper case, so as a brand new group of print fonts. ff 82, p. 32-48. ISSN 0271-5309. Vincent Figgins’s sample book from and visual communication in the scripts. In the 19th century, the there is no distinguishing feature. Their use was di erent from that BRINGHURST, R.: The Elements of 1834. Source: The Welcome Library. marketing environment. His research name Grotesque, which is still used Another problematic shape is minus of book fonts because the main Typographic Style. 4th Edition (version Licencia: Creative Commons Attribution is based on the analysis and practical to name this type of font, was most b and d. The only difference in the function of the accent fonts was to 4.3). Vancouver : Hartley & Marks, 2019. 4.0 International licence. Link: https:// recommendations related to the field widely used. shape of the letters is that they attract the reader’s attention, and ERLHOFF, M., MARSHALL, T.: Design archive.org/details/b2874231x/page/n7 of visual communication. His field are mirrored, no more. So to know they were used to print temporary Dictionary. Basel : Birkhäuser Verlag AG, Figure 6.: Sample of grotesque in Vincent of expertise at the department also which of the letters is b and which is promotional and advertising prints. 2008. Figgins’s sample book from 1834. Source: covers subjects from the main core of d, you need to know where it is on In an effort to show the typeface HANSARD, T.C.: Typographia: An The Welcome Library. Licencia: Creative compulsory subjects, such as Design the right and where it is on the left. as possible, the creators and Historical Sketch Of The Origin And Commons Attribution 4.0 International in a Digital Environment, Graphic Progress Of The Art Of Printing. London licence. Link: https://archive.org/details/ Design, Typography, and Evolution and A little complicated, especially for printers explored the possibilities : Baldwin, 1825. b2874231x/page/n7 Classification of Lettres. children who are learning to read. of expressing the font image. They HELLER, S., BALLANCE, G.: Graphic Figure 6.: Sample of grotesque in The shapes of p and q look similar. edited, distorted, and changed the Design History. New York : Allworth PhDr. Ivana Bulanda, PhD. - is a senior Vincent Figgins’s sample book from The semi-bold sanserif was offered shape of the script image, as no Press, 2001. Authors lecturer in the field of study Mass 1834. along with the slanted versions of one had ever done before. Some GRAY, N.: Nineteenth Century Media Studies at the Department the sanserif. As we mentioned with of their “creative” creations were Ornamented Types and Title Pages. PhDr. Tomáš Koprda, PhD. of Marketing and as Vice-Rector for The oldest sans serif was in fact Egyptians, a slanted sans serif is unsuccessful, such as wide Tuscan, London : Faber & Faber, 1938. Constantine the Philosopher University Science and Research at the College Egyptian, with the serifs removed, not Italics, because his drawing is and were rightly criticized by MEGGS, P. B., PURVIS, A. W.: Meggs‘ Faculty of Arts of Entrepreneurship and Law, Prague. with which they had a common just an inclined version of the basic contemporary scripture experts. History of Graphic Design. 4th Edition. Department of Media Communication She focuses her scientific, research and New Jersey : Wiley, 2005. and Advertisement publishing activities on marketing and principle of uniform font thickness typeface, while the original Italics is Some fonts, such as sans serif, were MUZIKA, F.: Krásné písmo. 2nd Edition. Drážovská 4, Nitra media communication with an emphasis and dark colouring. The first a separate and distinctive version viable fonts that we use to this day. sans serif was solely composed Prague : Státní vydavatelství krásné SLOVAKIA on advertising. of the font with its own, unique Event fonts have found application literatury, hudby a umění, 1958. [email protected] of capitals, as shown by Vicente shapes of the typeface. In the case in several areas of promotion, not Figgins’s sample book from 1834. of sans serif, only the minus shape only in printing, but also as fonts of List of figures: PhDr. Ivana Bulanda, PhD. Later, W. Thorowgood added a has a different shape than the city information systems, various Figure 1.: An example of bold antiquity University of Entrepreneurship and Law a grotesque in the form of a basic section. The basic section is signs or traffic signs. The accent and italics in the Vincent Figgins sample VŠPP a.s. Praha small alphabet. Over time, the a double-belted and the inclined scriptures are the scriptures of book from 1834.Source: The Welcome Department of Marketing sanserif font has acquired various version is single-belly. the First Industrial Revolution, and Library. Licencia: Creative Commons Vltavská 585/14 Attribution 4.0 International licence. 150 00 Prague 5 alternatives in the width and Gradually, several variants of they owe to it their origins and the Link: https://archive.org/details/ CZECH REPUBLIC thickness of the drawing of the font grotesque fonts were added - thin, meaning of their existence. image. The first samplers introduced b2874231x/page/n7 [email protected] bold, narrow bold, round and others. Figure 2.: George Bruce & Co. Samples the sans serif in the form it now The new variants of grotesque were of Ornamental Bold Antiquity Three- calls a semi-bold sans serif. Typical mostly modifications of the Egyptian, Dimensional from New York1848. characters of the 19th century cleaned from serifs. As in previous Source: The American Type Foundry. grotesque were uniform proportions groups of accents, the grotesque Licencia: Creative Commons of capitals, except for the letters I, had various ornamental forms. Not so Attribution 4.0 International licence. M, W, the character J ending in the many as in previous groups, but we Link: https://archive.org/details/ americanspecimen00amer/page/n8 basement and not underneath. The know the ornamental grotesque areal Figure 3.: An example of the Egyptian in letter g had a single-abbreviated and three-dimensional. Most popular form, although in the oldest the Vincent Figgins sample book from was grotesque perspective. At the 1834. Source: The Welcome Library. samplers from Thorowgood the end of the 19th century, the grotesque Licencia: Creative Commons Attribution drawing g was a double-abundant. also suffered from subversive 4.0 International licence. Link: https:// Removing the serifs from the interventions and deformations of the archive.org/details/b2874231x/page/n7 Egyptian drawing and leaving the basic form, a typical example being Figure 4.: An example of the Italics in original thickness of the font duct the Art Nouveau grotesque. the George Bruce & Co. sample book was not a good solution, because from 1848. Source: The American Type »