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The font in Winchester Cathedral – the "most famous" of the Tournai fonts in England [14] – illustrates scenes from the life of St Nicholas of Myra on two faces, with three roundels of birds on the third and a roundel of a quadruped with birds on either side on the fourth. [14] It is the only font in the cathedral, and is located in the nave.
The following is a list of typefaces designed by Frederic Goudy.. Goudy was one of America's most prolific designers of metal type. He worked under the influence of the Arts and Crafts movement, and many of his designs are old-style serif designs inspired by the relatively organic structure of typefaces created between the fifteenth and eighteenth centuries, following the lead of earlier ...
First page of the first volume of the Gutenberg Bible, printed with an early textur typeface c. 1455. In this copy the decorative colored initials were hand-lettered separately by a scribe. Typography, type-founding, and typeface design began as closely related crafts in mid-15th-century Europe with the introduction of movable type printing at ...
One influential example in the late nineteenth century was William Morris's Kelmscott Press, which commissioned new custom fonts such as his Golden Type on medieval and early Renaissance models. Many fine press printers imitated his model, and while some printers such as Stanley Morison in the twentieth century found his work excessive, it was ...
Diagram of a cast metal sort.a face, b body or shank, c point size, 1 shoulder, 2 nick, 3 groove, 4 foot.. In professional typography, [a] the term typeface is not interchangeable with the word font (originally "fount" in British English, and pronounced "font"), because the term font has historically been defined as a given alphabet and its associated characters in a single size.
Gaelic type (sometimes called Irish character, Irish type, or Gaelic script) is a family of Insular script typefaces devised for printing Early Modern Irish.It was widely used from the 16th century until the mid-18th century in Scotland and the mid-20th century in Ireland, but is now rarely used.
A variety of Clarendon revivals have been made since the original design, often adapting the design to different widths and weights. The original Clarendon design, a quite condensed design, did not feature an italic, and many early Clarendon designs, such as wood type headline faces, have capitals only with no lower-case letters, leaving many options for individual adaptation.
Florentine poet Petrarch was one of the few medieval authors to have touched on the handwriting of his time; in two letters [5] he criticized the current scholastic hand, [a] with its protracted strokes (artificiosis litterarum tractibus) and exuberant (luxurians) letter-forms amusing the eye from a distance, but fatiguing on closer exposure ...