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Tomáš Koprda 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.
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