An Investigation into the growing popularity of script typefaces and

Transcription

Rochester Institute of Technology
RIT Scholar Works
Theses
Thesis/Dissertation Collections
5-1-1997
An Investigation into the growing popularity of
script typefaces and the technical means by which
they are created today
Yacotzin Alva
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Rochester Institute
of
Technology
SCHOOL OF PRINTING MANAGEMENT AND SCIENCES
An Investigation into
and
the
the
Growing Popularity of Script Typefaces
Technical Means
A
by which They are
thesis project submitted
requirements
School
of
for
the
degree
in
partial
of
College
of
Imaging Arts
Rochester Institute
fulfillment
Master
Printing Management
and
of
Created Today.
and
of
Science in
Sciences
Sciences
Yacotzin Alva
Thesis Advisor: David Pankow
Technical Advisor: Archibald Provan
the
of the
of the
Technology
Rochester, New York
of the
School of Printing Management and Sciences
Rochester Institute of Technology
Rochester, New York
Certificate ofApproval
Master's Thesis
This is to certify that the Master's Thesis of
Yacotzin Alva
With a major in Graphic Arts Publishing
has been approved by the Thesis Committee as satisfactory
for the thesis requirement for the Master of Science degree
at the convocation of
May, I997
Thesis Committee:
David Pankow
Thesis Advisor
Marie Freckleton
Graduate Pro am Coordinator
Director or,Designate
An Investigation into
Growing Popularity of Script Typefaces
and the Technical Means
by which They are Created Today.
the
I, Yacotzin Alva, hereby grant permission
my
thesis
in
whole or
in
part.
to the
Wallace Memorial
Any reproduction will
not
be for
Library of
R.LT
to
reproduce
commercial use or profit.
Acknowledgments
I
would
like
to express
my
appreciation to the people who
completion of this research.
Pankow, Curator
has
of the
Especially, I
would
like
have been
to extend
Cary Graphic Arts Collection,
for
my
a great support
sincerest gratitude
during
to
the
David
the assistance and guidance that
he
given me.
I
would also
questionnaires
like
for
to thank
Professor Archie Provan,
their support and
for providing
this project.
in
and
the type
me with the
designers
necessary
who returned
material
to complete
Table
List
of
of
Contents
Tables
vi
Abstract
Chapter
vii
i
Introduction
History
i
of script
faces
2
Precursors
*
3
Development
Technical
of script
n
considerations
Endnotes for Chapter
Chapter
faces
14
1
16
2
Review
of
literature in
the
field
of
study
17
Chapter 3
Methodology
20
Chapter 4
The influence
Digital
tools
of
for
technology
21
design
22
type
Ikarus
22
Metafont
23
Fontographer
23
FontLab
23
FontStudio
24
Endnotes for Chapter 4
25
IV
Chapter 5
Script
typeface classification
Script
Joined
typeface
script
Unjoined
26
definitions
28
faces
script
30
faces
41
83
Chapter 6
Questionnaire
results and conclusions
Conclusions
84
91
93
Chapter 7
Recommendations
Appendix
94
of typefaces
95
designers
101
11
Index
Appendix
for further study
1
Index
Appendix
and suggestions
of
in
Index
Bibliography
of type
foundries
109
in
List
Table
i:
Latin
alphabet
letterform
of
Tables
styles and
dates
and
Figures
of popular use
3
Figure
i:
Roman
Figure
2:
Capitalis
quadrata
5
Figure
3:
Capitalis
rustica
5
Figure
4:
Uncials
5
Figure
5:
Half-uncial
6
Figure 6:
Insular
7
Figure
Carolingian
7:
capitals of the
Trajan Column
script
5
8
minuscule
Figure 8:
Bastarda
10
Figure
9:
Gothic book hand
10
Figure
10:
Humanistic
10
Figure
11:
Edward Johnston
Figure
12:
Copperplate
cursive
handwriting
12
14
VI
Abstract
The
examination of
designed
It is
types.
early
if it
to
type
imitate
forms,
designs
of
handwriting.
specimen catalogues of
dering variety
written
mostly
masters.
of structures
broad-edged pen,
scripts
derived from forms
and even the
paint can.
sify
as
style,
the
many historic
are
faces
days
devices.
and
breaking
are
legibility,
ments
by the
contemporary
new ground
in
and technical
fit. Such
when types were cast
from
brush. In
script
faces
powerful
computer
type
design
scripts, especially
since all
by the
a
typeface as a script
seventeenth-
and
eighteenth-
last century because
addition
of a
in
and
determine how
letterforms.
have been
digital technology
point pen
then attempted to clas
order to
fascinating
experimentation would
Therefore,
bewil
to such traditional sources,
for
type
Many recent
very limits
much more
metal or even when types were made
Also included
of script
as script
are
traditional models, while some explore the
software.
software and
types of great originality.
porary designers
design
type
known
designs
numerous examples of such written
as possible
are
faces
writing implement.
historical introduction
Today, the number and variety of script faces
in
number of
different writing instruments, includ
the structure of these
radically different from
large
typically label
those of the
by
a
felt-tipped marker, pencil, ruling pen, ball
this thesis project, the author prepared a
designers
script
spray
developed
created
the steel pen, and the
have been inspired
we
century list
differ from
such
classified as
a pen or other
restricted to styles
Modern
be
forms. Today,
the nineteenth
more recent scripts
For
Strictly speaking,
having been written with
though these are
the
of
derived from
were
look
century writing
ing
form
some
discloses
invariably
a matter of opinion which typefaces should
retains the
Type
book
current type specimen
any
of
difficult in
photocomposition
increasing at a rapid rate due to improve
this thesis project also reviews some of the
now available which allow
designers
to create
are the results of a questionnaire sent to selected contem
faces.
Vll
Chapter 1
Introduction
For 6,000 years, humans have
tive
symbol set
alphabet
(in
for
the
communicated through written symbols.
a particular
language
Western World ),
were the
ples afford us a window
to the past.
The basic design
lished
during
practical
the
from
the
were created and
As
use today.
from
ture
however,
was
broad-edged
led
soon as these
the
established
early
seventeenth
lines
made
giving
by
rise
of pointed-pen
of
were
by
century,
and
to a style of
italic
fixed in metal,
handwriting;
fifteenth
The
century.
derived
evolution and
a
today
sweeping influence
types as well as the script
little
there was
the printer and the type
a new
for
chance
were estab
elegant and
part of their
how
on
faces
texts
that we
a radical
depar
founder. Personal communication,
profession, that
of the
with the establishment of copperplate
writing master,
of
personality,
today is
intellect,
in
by professionals
styles,
ranging from
For
a
least
a
variety
disposable
a traditional or unconventional
which requires a script with at
variety
and amateurs alike.
scrawled
and mood often shine through.
kinds
broad-edged
the next 300 years, a
written with a wide
swiftly
as a means
to emulate the
pointed pen soon replaced the
as copperplate.
practiced
a mixture of
one writes
writing is communication,
burin. The
handwriting known
with results
Whether
engraving
illustrations, formal handwriting had evolved
handwriting styles were
everyday activity
one's
long
These letterforms had
the engraver's pointed
handwriting
of calligraphy.
style,
the end of the
alphabet we use
the most elegant styles.
of
an
by
latin
of the
exam
by the early sixteenth century and correspondents and record-keepers were
reproducing letterforms
is
forms
was still carried on through
in
forms
to the creation of roman and
of
The
pen.
the earliest pictograms to our current
recording human endeavor; surviving
the products of a
were
"norms"
By the
pen,
time
of this
and
evolution of an effec
by a quest for simplicity and efficiency. For centuries,
means of
elements or structural
already established
trained
primary
Italian Renaissance
letterforms
character
driven
was
handwritten documents
languages, from
or
The
manner,
Ultimately,
bare
of
instruments. It
note to a
a
formal
the
fine
or
informal
primary
minimum of
piece
purpose
legibility.
1
History of Script faces
Script types, because they derive from
into
a
tidy classification
made
in imitation
definition is
classes of types that predominate
based
are
Carolingian
minuscule.
Europe
America,
study
and
will not
Italic
Aldus Manutius
scholars.
roman
3.)
types;
cursive or
corsiva used
in
define
be
to
declare
typefaces can
To begin
capitals used
on
be
that
traced
with, there
hemisphere: roman,
derived from
were
be
them
good printer uses
organize
means
different
back
to
A
and script.
monuments and on the
preferred over
structures.
handwrit
general stylistic
italic, decorative,
in Roman
typefaces
blackletter forms in
For
that reason, this
separate
study
black-
of
well worthwhile.
by Francesco
for printing
italic,
Italy
as
it
Griffo da Bologna in
pocket
books
at that
time. Italic
for
the
for
the use of
1501
of the classics
was called almost
freer in
design,
sparingly
to add
types are much
to
they are
four
are
a common origin.
blackletter
it
since
everywhere,
was an
Venetian
printer
humanist
imitation
of the
types soon were used as companions to
their shapes are calm alongside the clear, serious and upright
Decorative
The
and were used
to
might
difficult
are
is hard
roman types came to
faces based
first developed
This early
Cancellaresca
be
would
required.
inscriptional
both
script
since all
the western
In general,
include any
types were
in
on the
though
letter scripts, however,
2.)
definition
thus the simplest
ten origins, a more precise
i.) Roman types
the word
handwriting. However,
of
handwriting styles,
"script"
Even
scheme.
different people;
things to
a profusion of
sometimes so much so as to
interest to
roman.2
be
barely recognizable.
a title page or to grab the attention of a
reader.
4.)
Script
types
long after the
derived from
designs
It is important
sidered, it
would
graphic styles of
highly
Because
what
of
less
handwritten letterforms
of roman and
bear in
be difficult
to
only
types of the
distinguish between italic
Italy during
the
fifteenth century,
humanistic hand
variation of
the
it
was adopted
by the
beauty,
cursive version
formed
the
basis
early
and script
Axrighi, Celebrino, Amphiareo, Tagliente,
flourished
its
and styles that persisted and evolved
italic forms had been fixed.
mind that were
first developed in
example
times
to
those
Vatican
and
which
as the official
sixteenth
faces. The
century
has inspired
be
con
Chancery hand for
and characterized
Palatino
to
was a
by
the calli
cursive,
some notable
hand for its documents. A
of a typeface cut around the years 1500-1501
for
some
italics.
some
the publisher
Aldus Manutius
faces.3
script
For
faces
changes
of
Venice. This
new
type of Aldus served as the model
the purposes of this thesis
share a common
in writing
then, it is important
origin, the latter
instruments,
are
for many
subsequent
to emphasize that though
predominantly designs
that
italic
italic
and
developed along with
techniques and tastes.
Precursors
All
and
script typefaces grew out of
it may be
mary
of the
useful to
basic
pre-Gutenberg inscriptional
lettering and
developments in
stylistic
the
latin
alphabet since the
ca. 1-500
Rustic Capitals
ca. 1-500
Uncials
ca. 300-900
Half-Uncials
ca. 400-900
Caroline Minuscule
783-1000
Gothic
ca. 1150-1500
Bastarda
ca. 1200-1500
Humanistic
ca.
1400-
ca.
1400-
Copperplate
ca.
1600-
Foundational
1916
(Italic)
TABLE I. LATIN ALPHABET LETTERFORM STYLES AND DATES OF POPULAR USE
book-length
handwriting was
manuscripts.
increasingly relegated
noted
in Table
1
is
first century
Square Capitals
to about 1450,
bookhands
briefly review them here. Table i below provides a brief chronological sum
Cursive Humanistic
Up
manuscript
With
the
used
to reproduce all
development
of the
4
forms
of
text, from informal
printing press,
to personal communication and record-keeping.
more
fully explained
in
the sections which
a.d.
follow.
notes to
however, handwriting was
Each
of the stylistic
forms
Square Capitals
ters and can
of
be
or
Capitalis Quadrata
their
seen at
finest in
Trajan in Rome. Square Capitals
nique of
by turning
chiselling,
are
famous inscription
the
attempted to
the pen
in
imitate
a certain
way
emperors wished to
immortalize
imperial inscriptions
were planned and executed with
These formal letters,
also called
Though Square Capitals
script
in
known
as
ous.
latter looked
almost
these
edge
the
like
letters
form.
condensed
the
reserved
U. The
a
Square
the
are
the goals of clarity,
have been
freer,
and
letters
that the
Rustic Capitals
move
legibility,
for
scribes
empire.
the
began
brush
such as the
elliptical."6
more
used
may have been
influenced
by
further away from
known Christian manuscripts,
pen and
ink
as
of
balance."5
manuscripts.
to use a
compact
First
beginning
A, X,
and
seen
of the
letters is
obvi
V;
the
thin strokes that
cut with a
Roman
the
one
The
Rome,
All facets
and economical.
survived until the
curved,
in
thick
and
finest
a vertical compression of the
Q_became
were
reserved
compressed,
seen straight were now
G, O,
of the
glory
the tech
between
craft
let
Column
of the
letters, derived from
highly developed
for monuments,
Capitals,
suggest that the pen or
Only two
was a
declare
also
inscriptional
base
at the
c.e.)
the capital
first century, Rustic Capitals
had been
impression
papyrus or parchment.
its
generally
compared to
strokes that
characterize
giving
and
Rustic Capitals (1-500 c.e.) These
"When
Diagonal
deeds
majuscules, may
were
a papyrus manuscript of
sixth century.
their
(114
carved
that an exaggerated contrast
"Stone inscriptional carving
and thin strokes was created.
early Roman
related to
plainly
used
left-oblique
specifically
on
capital style through
by Prudentius
and the other
by
Sedulius, were written in Rustic Capitals.
Both
in
styles were used
the
Roman
but were later revived in Carolingian
period as
times where
book-hands
and went out of style
by the sixth century
they were basically used for tides, headings, and begin
nings of chapters.
Another book-hand,
of the third
from
the
century
fifth
and
Uncial,
the
the
The
in
the oldest copies of the
Bible, had
by the
evolved
end
beginning of the fourth century and was the literary hand for fine books
to the eight centuries
to the vellum substrate.
seen
in
certain parts of
pen makes rounded
Europe. It
forms easily;
owes
its form
these rounded
to the quill pen and
letters
supplanted the
capitals.7
angular ones of the earlier
St. Jerome, (ca.
term
derived from
high, letters in
340-420)
the
latin
manuscripts,
an
term
early
for
church
patriarch, was the
'inch', when he
although
it
first
one to call them
condemned the use of
was not until the eighteenth
excessively
century
Uncials,
large,
a
inch-
that the name of this
specific script style was attached to them.
as
headings in
the spread of
monastic
Uncials
were still around in
"modern"
manuscripts written in more
Christianity allowed
scripts.
diffusion
the
of
both
uncial and
c.e., where
they
served
fifth
and sixth centuries,
half-uncial
scripts as the major
During
the
hands.3
"formal"
All
800
three
foregoing
scripts
belong
to the
family ot
hands.
VELAMENACAN
VOTAFVTVRAE
DESCITQVETVEl^
Figure
2.
Capitalis
quadrata.
Fragment of Virgil's Sangallensis.
jrd or 4th century.
iVONUSiN-MONUS'
ViaVliOiKOi&LCK
VI-LlNVS-KAEGtLLi-D
Figure j. Capitalis
6th
century.
later
and are
rustica.
The dots have perhaps been
intended to
indicate
added
the word
divisions.
Figure
The
1.
Roman
shapes
faithfully from
column
capitals
if the classical
the
best
of the Trajan Column.
Roman capital copied
characters
of the Trajan
inscription.
ikjsu;v pjequi si
<\Iiut
INKC&US
Figure
Italy,
j.
end
hum\Nis
Uncials.
of the 6th
century.
Literate Romans did
not
handwriting was
by
in an
used
usually
there was a tendency when
but less
precise
This
cursive
-without
led
is from
have
or informal
cursive
roman
deviations from
The letters
the same character and
first
letters in
form
a more
direct
capitals,
but
and economical
the capitals, changes that were
by scratching
produced
by
as those written
three centuries of
formal
the
Differences in writing
the scripts immediately.
affecting
the cursive scripts of the
developed from
was
to make the
to considerable
and materials also caused script to evolve.
tablet will not
formal book hand. A
writing
writing quickly
manner and
developed gradually
the
most people who wrote their correspondence on wax tablets or papyrus
cursive script.
everyday
in
write
Christianity
instruments
the surface of a wax
quill on vellum or papyrus.lt
that most of our small
letters
or minuscules trace their origin.
A
modified
form,
mixture of uncial and cursive script resulted
minuscule script called
France,
and
the modern
because
Half-Uncial,
quickly gained popularity,
Roman
alphabet.
of the ascenders and
h, k,
and
appeared
in
the
and more words could
half-uncial
could
be
instead
have ascenders,
fifth century
be
script more
considered an
marking
descenders
imaginary horizontal lines,
which
appeared
The half-uncials
four
1
which
and
g,
southern
a significant
were
j,
p, q,
in
written per page.
and
y,
the sixth.
Cursive
for
which
did.
could
c.
the
be
writing
letters: b, d, f
written more
cursives and vernacular
au
Hait'unz'.ai
Book of Kills,
of
of
letters fall between
where used as a
tjoc iTTpTjatt) aXLTRjplius
Figure
small
Italy and
development
documentary hands
They
eRajLTinapicnsquasi
From
in
first
have descenders. These hybrid forms
Half-uncials
important link between Roman
the
of the
development
the
The
in
of the extensions of certain
script and
than the uncials themselves
particularly
step forward
important
two, because
development
the
Europe,
on some of its characters.
of
and thrived
in
in
-th century.
rapidly,
influenced
book-hand
hands.
the
and
"Each
from
monastic scriptorium
cursive and
Hands. Between
developed its
documentary
elegance,
by
of their own
the
hand,
thickening
Book of Kells,
an
Insular
the
script.
Irish
They
Such
half-uncials, with
scripts are
scribes
developed
known
what is
be identified easily
can
It
is considered to
outstanding
example of the
have
reached its
Insular
script,
high
influences
as
by
National
known
their
serifs, the wedge-shaped tops of the ascenders,
of the
curve in some of the vertical strokes.
ment in the
provinces.''9
the sixth and the ninth centuries, the
the most important national
and
hands
own variations on uncials and
and
point of
in Trinity- College
as
clarity
by
the
develop
Library,
Dublin.10
The Visigothic
used in a vertical
script or
form
with this script was
scripts evolved
Tote tana
was
and the script
developed
became
laterally
very ornamental, but lacked
from
the
later Roman
in the
the
seventh
century
compressed and
legibility
of the
in
decorative. A
Insular
script.
All
pen was
page written
the national
bookhand.11
cursive and the
tendency
to transform
mdueRcucmrouajbusTiru^-ps
^^^biceboGjas cjuocurnguîiîi^j^
us ruclomum iUjcinan6j&-"QbwG(
lecrjojcheRiutT-aos <
Tx^TTicajiurnttb--^*.'
^cexjurjcs iUj pi*cmdi033bcriJU~iiE-Tf
)o<rrnceuaccrn a^r^za^toterrio.
vna.jTH]tea:ifX]()a3JU^cuTJ8f25ajK/bCeD
Figure 6. Insular
The Book
Spain. The
of
script
Kells, late 8th
or
ear/v qth
Century.
it into a
The
gentle, rounded
Scrip tura Francisca,
hands
was
that prevailed
Carolingian minuscule,
developed
during
change in calligraphic taste
a
Quarter-Uncial
but
appeared
its clear
letters
berore 7S5,
won
Carolingian
script was
supervised its use
many
writing
during
Charlemagne)
it a proud place
of the
remained the
developed bv
formalizing this
all religious
books,
had become
script.
for
then
under
by
English
in
in
northern
scholar
as the
literary
.
from
Littera Galhca
of
Alcuin
menxi
scripts.
Carolingian
Its
half-
earliest version
written
by
a
Frankish
The
forms
and
who standardized its
for
minuscule,
the production
and
he is usually
minuscule spread and was soon adopted
legal documents. The
the vertical proportions of the
elongated ascenders and
descenders in
ft ae-fr
duortarrr 2cpudfbrnctipfofirmiff
j.
influence of
not certain whether
was responsible
*rcxdr>m Con fuLarrr
From St. IVandriile.
as the result of a
until about the year 1000.
Carolingian
works and
direction, fixed
national
a mixture of cursives and
Charlemagne
Alcuin,
minuscule.
Beginning of gth century
or
Italy. The Carolingian hand
history of the
in Europe
script
The Carolingian
extremely
arose
the
projects
is known
secular
They developed
hands.12
Figure
as
the ninth century, under the
Gospel Book
dominant
the
xAlcuin's
exaggerated
known
for Renaissance humanists. It is
in Charlemagne's publishing
Carolingian script,
which
tor
manuscripts that utilized what
credited with
convents
after
dedication
m the
Godescalc. It
the
in Frankish
important as a guide
scribe called
of
the seventh and eighth centuries.
Carolingian Minuscule (named
uncial,
also
as a reaction against the ornamental characters of the
that appeared at about the same time
later became extremely
the
book hand
a medieval
for
principle of
letter
forms,
the national
"By
the eleventh
more common
in
century, capitalization
the thirteenth
century,
minuscule as an authoritative script
its
Italy guaranteed
The variety
phase of
fine
faces
invention in
both
though
types
as a
of
success
art were
in
the ninth
a
tendency
a
striking
developed in
the period
of the
the
letters
preceding
it
lifeless
hard
though
to read.
rotunda,
appeared after
ments,
of
and
and so on.
1200,
for
in
being lighter
the transitional period
played
for
rediscovery
scripts and
various
centuries.
Antiqua.
They
The
The Bastarda
known
Northern
and
casting
of
of
last
printing
penmanship
more compressed and
aspect."14
and more angular
of
its
a
the
from
Carolingian,
the
hand
freely. It
too
offers
precise, angular, compressed,
clear and
or
for
lettre
batarde,
a cursive
freer ancestor;
by
at
its worst,
lack
of curves and
its best in
the thirteenth
their
term
in
the
form
batarde, black letter,
of the
blackletter script,
faster,
giving it
sometimes used
the
to
docu
impression
describe
this
history in which this script was popular. During
characterized
spiritual
humanists
works of the classic
written
lettre
"gothic"
striving for
so-called
at
government and commercial
scholars wrote this script
the
forgotten
etc.,
They were
given names such as
Italian Renaissance
as the
it
writing
scripts were characterized
blackletter. The
and of man
libraries,
writing
the
gothic) come
for university studies, for
literature. The
also assumed
clear
called
by
development
blacker
assumed a
practicality
have been
versions
revived the
monasteries,
Carolingian
centuries constituted the
became
the script
scripts were predominant.
the remains of antiquity,
instead
"As
blackletter became
name of the period of art
of the world
spread of
lines.
than the standard
style, is derived from the
the
Blackletter
manuscripts
vernacular
era.
letters
since the
lacking
blackletter
century in France. Its many
fraktur,
it became
began;
France, Germany,
fifteenth
somewhat angular when
forms,
emphasized verticals and straight
three centuries,
The
the standardization effected
post-Gutenberg
letters
contrast to the earlier
letter,
words
being due, amongst other possible reasons, to lateral compression or to
to make rounded
ornamental
For
through
the eleventh to
Middle Ages (sometimes
scripts of the
and
the sixteenth.
calligraphic production of manuscripts and the
black,
was
century
important
internationally."13
which
features
changed shapes of
and
fixed in
and was
the nib of the quill pen was cut wider, the
The Blackletter
initial
of the
Carolingian
was much older than
saw
by
freedom,
and
the scientific
in blackletter
authors which
they found in
minuscule of the
it really
for
dis
spiritual
nothing
Latin
the enthusiasm
tenth and eleventh
was and therefore called
of the classics accorded with the spirit of the
"new
birth,"
and
it Littera
humanists
adopted the earlier
handwriting
hands for
gradually came
their own usage.
to
slope
Carolingian hands developed into
humanistic
replaced
Humanistic
earlier scripts.
blackletter forms
letters
the
rapid
direction
of the
Humanistic
cursive.
By
as the standard script
writing, the
writing.
The humanistic
script
looks
similar to the
the middle of the
for
the
14J2.
[Tffloimosjglrtqtms
9.
a
ftjhtffl
Blackletter book hand
Wurzburg,
middle
of the
rjth century.
rvwm
quod partim vro vwlwntat? cu
oartim
W
hrotrrto
ctpud
icctzres
namo
<
Figure
to.
et obferuatumt co
own
Humanistic
/6th century.
IO
u4im notcww
cursive.
ligatures
thick and thin
Figure 8. Bastarda.
Figure
written
fifteenth century,
minuscule,
more closely spaced.
smug hottuheg
Renaissance
classics.
Carolingian
eliminating differences between
Western Upper Bavaria,
upright
These rapidly
scribes attempted to eliminate most of the abbreviations and
ters are more even and regular,
the
the
in
Through
used
but its
strokes and
in
the
charac
making
Development
With
and
introduction
the
few
basis for
the
types
from
The italic,
simpler
humanistic
on
the
latter derives from
diagonal kind, but
a cursive.
are also cursive characteristics.
not all
as
Chancery for the writings
of
A more flourished version
of the script came to
in
Italy, the
scribe
It
of
official script
in
a
book-script
briefs
in
1522 that
italic types,
Operina,
in
Arrighi,
1522
for
types
for
are
of scripts.
sury
the
alphabets,
manual
briefs
to
deal
wood-blocks,
and appeared
Netherlands, Germany,
The
end of the sixteenth
beginning
more
of a period of
exaggerated,
Carolingian letter
appeared
and
helped
by
its
the use of
in
in
1524.
a
linking joins,
Its
humanistic
adoption
in
cursive
the
in European
Papal
countries.
Littera de brevi or Littera Cancellaresca
with
hand
by chancery
La Operina.
printer, scribe,
and
italic handwriting. The
instruction in writing
and
designer
pages oi
illustrate
La
the
by G. A. Tagliente, contains even
In 1540, G. B. Palatino
other countries
pen-
slope and compression of
acceptance
as well as a
offer
its
and owes
published a valuable trea
including France, Switzerland, Spain,
England.15
century
decay
commemo
former derives from
that the
correspondence.
termed as
a writer of apostolic
engraved
Similar books
throughout most
documents,
and convenience of the
handwriting,
manual on
first writing
from
roman
period,
the purposes of contrast and
joined. The
contributed to
be
is
beautiful Cancellaresca hand. Another very popular writing-book,
more scripts and
blackletter
the papal chanceries and recommended as a general
produced the
printed
letters
and
have
must
Ludovico degli Arrighi in his
was
printers
Fluency is
The clarity
both
use
by
italic lowercase
roman and
italic letters
its
a certain
scripts
to seek the easier course and to avoid uneconomical
those of a
to
Though blackletter
Europe for
replaced the
eventually
type used
particularly
hand led
the sixteenth century.
longer necessary,
no
book.
tendency of the hand
while the
by hand was
a more cursive variant of the revived
lifts. A difference between
formal hand
in
book
a
writing
to use on correspondence, official
supplementary sloping
to the
Script Typefaces
and other parts of
hands,
a skill
and the occasional
is derived from
form
made
Germany
Handwriting became
certificates,
emphasis,
in
typefaces
Italy, based
Europe.
rative
the 1450s,
lengthy manuscript books were
were
of
printing in
of
of
in
and the
the
possibly because
beginning
Italian hand. As
of the seventeenth
time went
by,
century
cursives
the calligraphers and engravers wanted to
11
marked the
became
keep
a
more and
distinction
between
whose words as well as
in
hands in
show
fine
and the
By
ing
in
a style
lovers
masters were
half of the
known
called
for carefully
as ronde in
of cursives italics and pen
eighteenth
century
however, did
handwriting.
engraving
mainstay
styles.
of social
Many
These
were accompanied
calligraphy
from
at
the
teenth-century italic
Foundational
written
a
cursive
Round Hand
and
flourishes.
are often
exceedingly
based
on
used
in his
specimen
developed, among
books. Not
to release numerous script
calligraphic
in advertising
for formal
by
on
flow
copperplate
became
the
legal documents. Toward
the
designs,
and
until the nine
faces based
hands influenced
others,
while others
scripts that showed more contrast were released and
in
some cases
and outline versions.
ebb
by
made possible
the end of the nineteenth century,
by
Edward
half-uncial, Carolingian
which
he
script which was
in Winchester. This
encouraged to master.
of them
while still others were used
its lowest
was
many
became widely
century,
by bold
Handwriting was
stages, going
soon
with
controlled pressures of the pen.
foundries begin
type
of them were
printing,
end of the nineteenth
modern
who included
France
The hairlines
the end of the eighteenth century, elaborate script typefaces were
Bodoni,
wrote
and those of the nineteenth cen
century
which the copperplate style predominated.
shading
Giambattista
teenth
In Pans, Louis Barbedor
typography.
were connected
copy-books of the second
tury
by
letters
England. English writing
The
book
typefaces and
their
Johnston,
minuscules
italic."
named
based
script
His influence
"heavy
on a
late Carolingian
became
one
of the
and compressed
script
1916
from
standards
a
and
that
calligraphy
was
Owe nw npyjctuhp^Mlorqiud-f
My Jtaffoffaith io wall<ub07is/
MyjPtip fjY; ym/nwrtzd diet.
Figure
//.
EdwardJohnston.
Handwriting,
1924.
12
blackletter
1919 he
later
in
developed in
tenth-century
profound.16
on modern
a renaissance
handwriting
whose
Between
but
to a six
created
the
manuscript
calligraphers were
Type founders had
late
not until the
scripts were
distinctively
in
nineteenth
This
informal
typeface
display
treatments of pen and
century did they began
display
contemporary
1932.
attempts to popularize
degenerate descendants
essence the
Rudolf Koch in
acteristic
intermittent
made
script
is
scripts of
brush
to see extensive use.
of the mid-nineteenth
techniques.
Many
A large
field
of
number of new script
display
Holla, designed by
direct forerunner
and opened a new
of these
century faces. The first
to obtain acceptance was called
sometimes cited as the
today,
display scripts for many years, but
of most of the char
design based
designs
were
different
on
influenced
by
Koch's innovation.
Throughout
the twentieth century,
of scripts which were
radical
instruments, many
Recendy,
on
of them
suggesting
desire
that our
type
designers
letters originally handwritten
numerous typefaces
to reflect the age-old
page,
based
famous
fashioned
inspired
satisfy
personality
technical
with
foundries
pens, pencils,
released a
brushes,
flood
and more
the needs of modern advertising.
by handwritten
to capture the
increasingly
to
and type
scripts
have appeared,
and spirit of the
society has
not
lost its
and
they
handwritten
appetite
continue
word on the
for fine
as well as
informal handwritten letterforms.
The variety
ous
centuries,
only guess
of structures characteristic of modern scripts separates them
which
is due primarily
at what the next
to the use of new and
century will bring. For now,
centuries resists attempts to arrange script types
chapter
in
into
those of previ
different writing instruments. One
the
can
diversity of writing styles over the past
a consistent classification scheme.
this thesis proposed one answer to the problem.
13
from
A later
Technical Considerations
Most
of the pre-twentieth century
hands,
written with a
broad-edged
historic
scripts
may be divided into
two
pen, and the copperplate-hands,wntten
categories:
with a
the
book-
flexible
pointed
may be
straight
pen.
The
may be
edged pen
or oblique.
The
a
quill,
a reed, or a metal
strokes naturally produced
edge, a thin stroke
(hair-line)
gradations governed
by
the
by
The
edge
the edged pen are a thick stroke as wide as the pen's
at right angles to the thick
direction
as used today.
pen,
stroke,
and intermediate thicknesses and
of the stroke and the angle of the pen.
strokes
have
pointed pen
held
Curved
gradations of mathematical regularity
The
eighteenth-
so that the
down
aim was to
imitate
and
nineteenth-century
stroke employs enough pressure to
the strokes the copperplate
that the pen was not master in
The hair-line
edged
pen,
commercial
of an
whilst the
early
its
own
of the
splay
engraving
letter
copperplate-
was made
hand
resulted
Both kinds
easy
are the uniform gradations of the copperplate-hands.
up
flexible
Seemingly,
the points of the pen.
tool produced.
nib.
of
require a
Therefore, it
could
be
the
said
house.
corsiva or chancery
hair-line
hands
by
strokes are produced
6ci/uca//j7?zJ%rt&<y
natural and
a sideways movement of an
from
easy
ui wMffiuZttv/i/iu /j/.
by
a release of pressure on the
Not
movements.
so natural and
foamy,
u/diaruâzcAcj tu net'dtrtx ow'ycyai'wz&au'ertdu,
norfar//utc/i. c/cxcc&dt/i
S^diK'tttty,
7wt to
<fc-
r/t&toui6s t-n (Mrc/aijuizj, narwi ortr (3nt7J>r to vc
6raoj]
Figure
With
12.
the exception of traditional copperplate
o-eneral use
today
ventionalized
that were available
early
them still available.
in
before
Copperplate
formal scripts,
1925.
Formal
the nineteenth century, and
The majority
of them
few,
if
copperplate scripts
innumerable
have been
14
there are
series were
produced since 1945.
any
script
designs
became rigidly
con
produced, many
A very few
in
of
alternatives
to
formal
copperplate
equally limited
nineteenth-
and
century
ry writing masters,
For
technical
were
they
copybook
such as
ones,
limitations
human hand
can
font. The
largely
in
tradition,
which
French
the upright
overshadowed
by
ronde
the more
derived from
have
tried to
imitate
easily introduce
during the period when
space.
a wide
variety
Each
character
of
forms
As
in
type was cast
paper,
the
which
find itself in
difficult
had
problem to solve concerned the
to match
perfectly in design
kerning
or
15
in
metal
faces,
the
of
its
where
every
of
the
occupy
a
matrix.1'
own
required
overhanging
par
because
handwriting,
ligatures
and physical space with
combination.
in
Script
metal type must
creation
versions of certain characters were also cut as were all the
most
scripts
eighteenth-centu
metal type.
opposed to
on the
requires
familiar inclined
their use was
1938.
handwriting
encountered throughout the process.
tradition, but
the models of the
Monotype Dorchester Script, issued in
were not common
three-dimensional
Alternative
letter
were available
centuries, typefounders
ticularly joined
strict
designs
for
a script
portions of
other
letter it
the
might
Endnotes for Chapter
i.
Adobe
Systems, Sanvito. A Two-Axis Multiple Master Typeface (California: Adobe
Inc.,
2.
1993).
Albert Kapr, The Art ofLettering. The History, Anatomy,
(Munich: K.G. Saur,
3.
Max
Caflisch, "On
4.
Leda
Avrin, Scribes,
the
5.
Ibid,
178.
6.
Ibid,
181.
7.
Alfred
Fairbank,
8.
Avrin,
183-184.
9.
Ibid,
10.
Johanna
History of Script
and
of the Roman Letterforms
Font & Function 15 (1995):
Books. The Book Artsfrom Antiquity
1991),
to the
4.
Renaissance
178.
A Book of Scripts (Baltimore: Penguin
Books,
1968), 8.
185.
Drucker,
The Alphabetic Labyrinth. The Letters in
1995),
11.
Kapr,
12.
Drucker,
13.
Avrin,
14.
Ibid,
15.
Erik Lindegren, ABC ofLettering
History and Imagination
(London:
96-98.
40.
100.
190.
192.
1976),
Avrin,
Jan
Typefaces,"
Library Association,
Thames 8c Hudson Ltd,
17
and Aesthetics
1983), 327-329.
Scripts
(Chicago: American
16.
Systems
and
Printing Types
(Sweden: Lindegrens Boktryckeri
72.
200.
van
der
Ploeg,
"Script Types", Print %
(April-May 1954):
16
17-18.
AB,
Chapter
Review
The
following abstracts
project.
raphy
A
complete
Literature in
describe books
list
of book and
that were
journals
the
Field
of
particularly helpful in
consulted
for
Study
the completion of this thesis
this project
is
contained
in
bibliog
the
at the end.
A Book of Scripts,
This
of
2
by Alfred
text was written
information
on the
roman alphabet
to
by
(Baltimore, Maryland: Penguin Books,
a prominent
twentieth-century British
It
origins of script styles.
mid-twentieth-century
of these calligraphic
hands
a good place to
and provides an
begin
covers a wide
calligraphic styles.
important
1968)
calligrapher and contains much
from
range,
the
beginnings
This book discusses
classification scheme.
may distinguish between
that the reader
number of examples so
book is
Fairbank.
the
It
the
of the
importance
also contains a
different
script styles.
large
This
research.
Scribes, Scripts and Books. The Book Artsfrom Antiquity to the Renaissance, by Lefla Avrin.
(Chicago: American
This book
ment
Library Association,
provides a complete
before
and throughout
information for
anyone
provides a good
year of publication and
teristics.
but
The
the age of printing.
by R.
It is
letterforms, demonstrating
an
important book
author states
S. Hutchings. (London:
introduction
includes
most of them would
broad field
progress of
their
develop
and a complete source of
interested in letterforms.
A Manual of Script Typefaces,
This book
history and
1991)
that
ocMackay, 1965)
to the script types that were available
some notes on the
history of script
"typographers know
find it difficult
Cory Adams
to
define
what
the term
design."
of type
l7
they
in
metal
up
to the
types and their main charac
mean when
precisely to
they
speak of
scripts,
anyone unfamiliar with the
Anatomy ofa Typeface, by Alexander
Written
by Alexander Lawson,
famous types,
and clarity.
development
Though it does
not
and
deal
states that this
uses, their antecedents
with script
many typefaces, but
book is "not
rather
for
history,
on typeface
authority
faces
Lawson's book is enormously helpful for its
romans),
Lawson
their
an
Lawson. (Boston: David R. Godine,
for
written
importance,
and their
extensive
background
that curious part of the population that
discussed
types
be
yet
are
information.
believes
letters have
a series of
with precision
the printer convinced that there are
ed and that the production of the perfect typeface remains a goal to
by future
book documents
this
directly (almost all of the
the subtleties of refinement as applied to roman and cursive
as
1990)
the opposite; that
be
to
as much
too
already
fully investigat
desired
by present
designers."
type
ABC of Lettering and Printing Types,
by
Erik Lindegren. (Sweden: Lindegrens Boktryckeri
AB,
1976)
This book
proved
including script
tion
to
be
faces
an
important
"genealogy"
of various
on
the
their
(Cambridge: Cambridge
historical
very helpful
in
tool
determining
types
1981)
yet made.
In
italic
by Helm Wotzkow.
particular
it describes
these
types.
(New York: Dover
Publications,
1967)
This book is
which are
a practical guide to the art of
necessary
to
hand-lettering. Wotzkow gives
hand-lettering, continuing with
is extremely helpful in understanding how
what other
illustrations
to
University Press,
context and provides comparison with
The Art ofLettering. Its Mastery and Practice,
Inc.,
a
descrip
thorough
History ofLetter-forms in Manuscripts and Print, by
one of the most thorough studies of script
faces in
history of typefaces,
bookhands. With its
curves, this book becomes
"
This is
the
designs.
"On Script Types, in Selected Essays
Stanley Morison.
because it carefully describes
and their connection to manuscript
of character shapes and types of
the
source
texts
describe
and considers the
an analysis of
various script styles came
importance
of
consist of alphabets and other examples that
explain various
points the author
the
is discussing. The
18
advice on the special
different
layout,
goes
is full
of
beyond
and style.
have been drawn especially for
text
This
characters.
into being. It
spacing, weight,
tools
information, from
this
The
book
the most
elementary (such
as the selection of the
"To learn how is certainly
how
and
not always to
The Art ofLettering, History, Anatomy,
This book
Saur,
learn why, but
and
includes
development
more than 13,000
font
fonts from
reference
books
covers
every known
of issue and sizes are
learning
by Albert
Kapr.
transition
and
1995)
typefaces available
sources.
today in digital form. It
It is
considered one of the
ever produced.
Century, by Mac McGrew. (Delaware: Oak Knoll
typeface that
anyone
included along with
interested in
Encyclopedia of Typefaces,
This is
Inc.,
sixty different
has been designed
tieth century in America. Detailed descriptions
for
of
1993)
This book
source
way
Publishing, by Jeff Level, Bruce Newman
of the
almost
American Metal Typefaces of the Twentieth
Books,
the surest
of the alphabet.
more complete catalogs
most comprehensive
know why is
considerations.
history of writing and lettering, including a study of the
Brenda Newman. (New York: Precision Type
one of the
to
Aesthetics of the Roman Letterforms,
The Complete Font Software Resourcefor Electronic
This is
to numerous professional
1983)
provides a complete
of characters and the
tools)
how."
finally knowing
(Munich: K.G.
drawing
a major
It includes
tions for easy
reference.
illustrated
in
metal
during the twen
face, including designers, foundries, dates
version of the
full
alphabet.
It is
an
important
type.
by Jaspert, Berry 8c Johnson.
international
their sources.
an
of each
and cast
reference
essentially
a wide selection of
faces
19
(London: Bath Press,
concerned with metal type
arranged
alphabetically
1983)
faces, designers
under
and
three main sec
Chapter 3
Methodology
1.
A
history of script typefaces was prepared, including their origins
subsequent
in books
2.
A
3.
and
careful
able to
research
4.
in
were classified
An important
invention
of printing.
design
modern software tools enable
type
This background
software and
designers
not
of a system
include
all
developed
existing
script
and year of creation
aspect of this thesis
issues
selected
related
designer
who agreed to participate received a questionnaire.
in Chapter 6
of this thesis.
by letters, by electronic
for
naire are:
John Benson
Beatty
Tobias Frere-Jones
Robert Slimbach
Hermann Zapf
20
the
catalog
avad-
now
of script
but because
typeface sample
contemporary
mad,
Their
The contemporary type designers
Richard
authorities.
is
faces.
of their
huge
accompanied
type
designers
to the proliferation of script
was made
rized
history
(where known).
Contact
various ways:
and
research was conducted
digital technology
author,
faces. Each
involved contacting
solicit their opinions and views on various
by the
bookhands
to create types of great originality.
foundry specimens generated samples
by means
its designer
in
manuscript
and through correspondence with various type
catalog does
name of
after the
made of the powerful type
determine how
number, the
by the
journals,
study was
Extensive
These
development
in
faces.
and person-to-person.
responses
have been
to
Each
summa
who completed the question
Chapter 4
The Influence
The huge increase in
result of technical
ments
have
Before
hand
changed the practice of type
printing press, books
the
was a
labor-intensive one,
of the
middle
sequence of
innovations
Linotype
(1885)
later
and
translated
punch
in
to
printing
metal at
into
its
describe
neither
Hell in
ode
ray
directly
allied
(crt)
is
or
plate or
when
process of
invention
At last,
the
type could
type
of movable
refinements
industrial
by the
revolution
developed
by
be designed
a
in
by
the
to the
hand-
brought
introduction
The punch-cutting
machine,
book
a
writing
casting from it in
transformed
machines.
of the pantograph
of the
method changed
Linn Boyd Benton in
on a
to the growth of offset-lithographic printing,
World War II. The
Without
costly in
and
The
a matrix and
Typesetting was
Monotype casting
drawing
board
and
engraving
a
matrix
in
terms of time nor
laser
to either paper or
device.2
output
imaged
onto a
typesetters were a
the type was no
terms of capital outlay.
formulas in digital form (a
output
for
was
longer
the
a
development
brass die but
a
the economic constraints of metal type production, typeface pro
An important breakthrough in
puter-based
late 1800s,
composition, photosetting
tube
to a
1400s to the
"post-metal"
1965),
the production of them.
scribes.
striking
develop
technological
Johannes Gutenberg. Minor
character,
much a
size.1
stored as mathematical
of
to
is very
matrices without the technical and economic restrictions of
after
phototypesetting
by
Major
or so
actual
photographic negative.
to
each
adapted to cut matrices.
directly
duction was
after,
increased
and
were produced
technology.
invention
the
Another innovation,
of
late
the
soon
and,
dramatically with
1884,
from
design
last century
process.
manufacturing
attributed
for
a punch
cutting
over the
which remained true until the
fifteenth century,
mold were added
major
the type
Technology
designs
the number of typeface
developments in
of
In
drum in
type
a
now a
technique
film
the
is
often still used
now
by the
generally
German firm
coated with an emulsion of silver via a cath
press or
design technology
hybrid between
misnomer; type is
first introduced
very latest
digital
Although
developments,
type can
be
output
printing device.
started around 1973.
The
earliest com
the photocomposition machines and pure/digital
21
devices. Each device had its
The Apple Macintosh
typesetting
been
by
because
tool
echoed on the
all
computer was
PC
hands
it in
process.
More recently,
design
the
The
type.
immediacy
of
Mac
and
this new
as a
flexibility.
and
Using digital
taken
everyone
with the arrival of
result of
and some of these
developed into
PC have
designers (and
designers, whose fonts have
ty
its
platform as well.
manufacturers), the
and put
to
soon the
of
language
introduced in 1984
"Mac"
"interface";
user-friendly
own command
a
low-cost
devices
of
service.
its
design
original virtues
have
in PostScript format (now
types
typesetting away from
type-designing
in
personal computer with a
comprehensive graphic
Many
else), thus
are still
and
now
supplied
traditional typesetters
de-mystifying the whole production
programs,
everyone
has
the
opportunity
democracy is visible in the work of many contemporary type
started to change perceptions and chadenge accepted notions of beau
legibility.3
and
DIGITAL TOOLS FOR TYPE DESIGN
Digital typesetting has brought
software
major
packages
Fontographer, FontLab
new opportunities
specially designed
avadable
and
for
the creation of type
to
create
fonts:
type
faces. There
are
five
Ikarus, Metafont,
FontStudio.
Ikarus
The Ikarus
designed
system was
device-independent digital
sets the standard
autotracing
width tables
ly
or
maximum
imaging and
for quality in
the
issued
advertising
accuracy
Ikarus
by Hell.
design
text setting, as well as
typography.
and a
high level
needs a separate program called
from
type
manipulation.
importation from PS Typel
for
specialized
by Dr. Peter Karow of URW in Germany for high quality and
system was
Latest
for
The
system,
and production.
and
the
Models
T3 fonts. Ikarus
touching
Ikarus has
and
be
created
by
scanning,
kern
and
display type used in high
to the em which ensures
For autotracing capabilities, Ikarus
typeface produced
Marconi in 1977, designed
by many type foundries,
can produce multiple
15,000 x 15,000 units
LinusM. The first
22
can
overlapping
of precision and control.
version: 3.0.
used
by Hermann
for
electronic composition
Zapf
the previous year and
Metafont
Designed between 1977-1979
fessor
font
of electrical
generation system that reads
in
characters
fonts,
graphical
text
files
devices
algebraic
which
font
information
to print.
optimum
generation.
fonts. Latest
form,
image
Metafont,
it is
is
design. Each
type
parameter-driven type
(weight,
by Metafont and
It is
for
considered an
is defined
character
design software, meaning
can
width, cap-height, x-height, etc.)
most useful
the outline of
for printing high quality documents.
of screen previewers make use of the pixel
of the
programming language specificady developed for
font
specify
produced
In its
highly portable
a
"programs"
prepared with
information
various characteristics of the
to
the name of
metric
as a sub-program.
prior
a professor of computer science and pro
or other elements
symbols,
Typesetting systems like TeX make use
printer
Knuth,
Stanford University. Metafont is
at
engineering
Donald E.
by
be
the
specified
family of related
the generation of an entire
2.71.4
version:
Fontographer
In 1985, Altsys Corporation introduced Fontographer for
line font
for any
editor
personal computer.
fonts from
scratch.
Fontographer has
platforms.
Having gone
the
It
was
designed
between any
many
lighter
through several upgrades
two
and
fonts
the world
for
for
versions of
on the system.
unique opportunities
capabilities
heavier
for
fitting outlines
the
to
was the
modify existing fonts
first
out
or create new
flexibility of being used on both Window and Macintosh
in
tains over 200 enhancements to the previous one.
the creation of
Macintosh. It
the
The
last
ten years, the
and
latest
version 4.1 con
font experimentation, allowing
encourages
existing fonts
building
new
fonts
provides
auto-hinting,
images. Fontographer is
kerning,
and
the most popular
by blending
tools provide
pressure-sensitive and calligraphic pen
designer. It
of scanned
It
the
auto-tracing
font
editor
in
computers."
personal
FontLab
FontLab
was
designed in St.
Petersburg, Russia,
introduced commercially in 1993,
in 1997
a
very
and wiU
be
the
in early
upgraded to version
1990
2.5 in 1994,
by
SoftUnion. FontLab
while version 3.0 wiU
first Windows-based Multiple Master digital
responsive system and provides not
only
the normal
23
font
typeface editor.
creation tools
but
also
be
2.0 was
released
FontLab is
many
style
and modification
functions. It is
to create, modify, enhance or
i)
ScanFont, by SoftUnion
is
a picture and
imports
and
2)
font
and exports
a
digital
typeface editor
simplify Type 1
used
or
both TrueType
and
be
the
TrueType fonts
for auto-tracing
converter and can
for
and
Windows
and
includes
anything
Type 1 fonts, converting
scannable
obsolete
used
two utilities:
converting TIFF files into font
used to put
It is
environment.
characters
It
into font format. It
format fonts
to
Type 1
TrueType formats.
FindFont, by SoftUnion
is
used
for searching fonts
by user-defined
selection criteria.
FontStudio
FontStudio is
an
produced
elegant, intuitive
other standard
font
user
by Letraset.
interface. It
functions. Untd
editor available.
Latest
It is
the second most popular
contains ad the
the release of
necessary
font
drawing,
editor on the
24
with
measuring, scaring
Fontographer 4.0, FontStudio
version 2.0.
Mac
was the
and
best-designed
1.
Norman Walsh (Ed). (1992-1996). A BriefHistory of'Type. [Homepage
fonts
of
The Comp.
FAQ], [Online].
Available: http://www.ora.com/homepages/comp.fonts/FAQ/cf_28.htm
2.
Ron Eason
and
Sarah
Rookledge,
Rookledges International Directory of Type Designers. A
Biographical Handbook (New York: The Sarabande
3.
Norman Walsh (Ed). (1996-last
update).
Press,
1994): xix-xx.
Digital Type Design Tools. [Homepage
ofThe
Comp.
fontsFAQ], [Online].
Available: http://www.Hb.ox.ac.uk/internet/news/faq/archive/fonts-faq.part6.html
4.
Nicholas Fabian (Ed). (1994-last
Fabian], [Online]. Available:
5.
James Felici (Ed). (1994-last
update).
Digital Toolsfor Type Design [Homepage
of
http://webcom.net/nfhome/digital.htm
update).
Fontographer 4.0.4. [Homepage
of
MacWorld
Communications, Inc.], [Online]. Available:
http://www.macworld.eom/q/@345030tskjkt/pages/october.94/Reviews.1006.html
25
Nicolas
Chapter 5
Script Typeface Classification
As indicated
by
large
the
number of script
included in
selection of examples
for
types cads
a revaluation of their place
this classification, today's
in
design
type
history
growing
as well as type
classification systems.
One has only
the
popularity
to turn the pages of
and
variety
distant relationship
to
freely rendered brush
tated
by
new
are
of script types.
heights
More
or pen
treatments
letters,
and
and more these
of abandon.
potentially
Under
such
as numerous as the
ble
to obtain
many
many
script
The
fodowing
important
tial
and current
personal
faces
evolved.
influenced
The
by
liberties
more
or phrase shows a
new conceptions
These strongly
the
line
confirmation of
forms
personalized
limitations imposed
or
so that today's
difficult
of personal
based
to
designers
classify
script
handwriting,
upon
are
dic
by lay
often reach
types; they
often
By studying type
specimen
catalogs, it
There
were also
many
expected.
originady
is based
names
in
type
defying
a particular
face
26
was possi
cases where the
foundry catalogs.
on a personal opinion and
faces. In many cases, however,
judgement in assigning
entirely
for
fodowing script typeface classification was based on an
as possible.
different
classification
the most part
hmits have been lifted
more samples than
same typeface appeared under
and there a smart stylized
many different kinds
classification and
examination of as
have
magazines and newspapers
circumstances, it is
organization.1
ready
Here
formal types, but for
the caprices of the
out conditions.
contemporary
is dlustrated
with
the most
the author was required to exercise substan
to a certain category.
CLASSIFICATION:
JOINED
Formal
page
30
...
Ronde
35
Freestyle
Monotone
Inline
36
....
.
38
.
40
....
UNJOINED
Formal
41
Informal
47
Civilite
52
Chancery
53
Freestyle
55
Monotone
70
Inline
78
Miscedaneous
....
27
...
79
Script Typeface Definitions
JOINED.
Joined
scripts are those
in
which ad
lowercase
characters
join
one with each other.
UNJOINED.
These include
the
those typefaces where one or more
lowercase
characters
do
not
join
with
foflowing character.
FORMAL.
Joined
detads
and
or unjoined script typefaces created with great care and particular attention to
legibility. Each
character
is
elegant and wed
balanced.
INFORMAL.
Unjoined
They often
script typefaces with a casual
express a more
look, evoking
a
friendly and
informal
quality.
lively personality.
CIVILITE.
Unjoined,
upright script
typefaces with ornamental
flourishes.
RONDE.
Joined,
flourishes
upright script typefaces
derived from
the
Civilite
and
decorated
with ornamental
throughout their characters.
CHANCERY.
Unjoined
combine
ishes
the
of the
script
typefaces
spontaneity
and
based
on the
practicality
chancery hands
of a more
chancery hand.
28
formal
of the
Italian Renaissance.
typeface with the calligraphic
They
flour
FREESTYLE.
Joined
pen or a
or unjoined script typefaces
designed
with a casual
look
and created either
by a
brush.
MONOTONE.
As
their name
style throughout ad
implies,
these script
typefaces, joined
or
unjoined,
have
a monotone
the characters.
INLINE.
In line
typefaces
are created with a
writing
tool that
includes
a
double line in
the stroke
of the character.
MISCELLANEOUS.
This category
they
can not
be easdy
contains all those script typefaces which
categorized.
29
display such
unusual
features
that
JOINED. FORMAL
Amazone. Designed
by
Leonard H. D. Smith for Amsterdam
in 1959.
7K>
citica^k<flzimnapqAjAMjLUM^
American Script. Introduced
by ATF
in 1898.
'
/?
Shown
in 1906 as
American Script No.
2.
s
afcj&f$^îmn*fy.tûwM:ui
Aristocrat. Designed
Balmoral. Designed
by
Donald Stevens for Letraset
by Martin
Wait for Letraset
1994.
1978.
d<eMîuhnjw^MmcîL
Baltimore Script. Designed
by
Samuel Winfield (Tommy) Thompson. Cut
Baltimore Type in
1955.
30
by
George Batte for
JOINED. FORMAL
Bank Script. Designed
by James
Bond Script. Introduced
by
West for BBccS
ATF in
in 1895.
1905.
a vcaelgn Unlrnno-fiqsKA iavwzuo,
Cantate. Designed
by J.J.
Siercke for Bauer
1958.
cuuxieyfjfAjgAcvrisnxif^^
Commercial Script. Designed
by Morris
Fufler Benton in 1906. Cut
J<
Copperplate bold. Issued
Diane. Designed
by
by
Stephenson Blake in
Roger Excoffon for Olive
1953.
foundry
31
in 1956.
by ATF
in 1908.
JOINED. FORMAL
Hednda Rook. Designed
by
Agta.
Invitation Script. Cut bv Inland Type
foundry
in 1896.
ctucczel&sitjjci^n.mci/ia/xd-cu'i'
Isadora. Designed
by
Kris Holmes. Issued
by ITC
in
oa-ccy.'K
1985.
cA78CVTTQ^7J7<lX?A7VGTQT^STl[yWXyZ
ctbAzdefgfufhh]î^qr6tiimjM^fz
Juliet. Designed
by Aldo
Novarese for Nebiolo in
ao-cdeia,nipli
Kiinstler Script. Designed
by Hans
1955.
Cm n ah a, i &ft uv-ccutt
Bohn for Stempel Type
Palace Script. Created for Stephenson Blake
af c/sf/
type
/>///,- '/j*
foundry
*
/'/"/
foundry in
in 1923.
>jA( nriu
'/ r
1957.
JOINED. FORMAL
Sackers English Script. Agfa.
a
^ca^r/.AcÂi'/7nyrLcfir//>ui./cry uca&y:
Sackers Italian Script. Agfa.
Shelley Allegro.
Designed
Shelley Andante.
by Matthew
Designed
Carter for Linotype,
by Matthew
Carter for
1972.
Linotype,
1972.
au-ca&oanoi./clrrino-ha'xi.fu, ucaxux,
SheUey Volante.
Designed
by Matthew
Carter for Linotype,
JO
1972.
JOINED. FORMAL
Sloop
Script. Designed
by
Richard Lipton for
the
Font Bureau in
1994.
"M-'y^y/.f
OC
Sned Roundhand. Designed
Charles Sned,
the
by Matthew Carter
English writing
for Linotype
master and author of
around 1966.
"The Pen-man's
1694.
a
6-c de^-Aifk l/nn ofc<jtr>s-cu mo-jciyz
Font Company.
Yorkshire. Issued
by The
Young Baroque.
Designed
by Donald Young
for Letraset in
1984.
-^
Youthline. Stephenson Blake
type
foundry
1952
aocaefa
YJuf/ttfTtrt^ps-otutwj^
34
Based
on the
hand
Treasury open'd",
of
JOINED. RONDE
Adscript. Designed
Fuller Benton for ATF in
by Morris
1914.
abcdeiâtiijkimnahurfdi ww xwz
French Plate Script. Designed
by Sidney
Clayde Gaunt for BB8cS in
aln.'tli.'J a nii
French Script. Attributed
Gando Ronde. Designed
Cl & e
to
g
fr
S
Carter
X Z
a
TypoUpright. Also known
inncnqtoluvw-xiiT
William Schraubstadter. Cut
by Matthew
Q 8
tcl
as
c1
and
1904.
by
Hans-Jorg
X J? 31c Tl 0
Stephenson Blake in
Hunziker for Linotype in
S>
Q.# 5
n\[
"Linoscript". Released
atc<ic|.a.lii
Designed
V WX
tactefataukliuiiopawtiuM'acu:
by ATF
as an
interpretation
nineteenth-century French Scripts.
Wedding Plate Script.
1905.
by Sidney
j Icunuapt] xj.lu\NO.x.ij
:
Clyde Gaunt for BB8cS in
i-Occ/e/a&if/c
ai
35
Ctnnopq to
1904.
/'aiUSxux
of the
1970.
y
%
JOINED. FREESTYLE
Bickley Script.
Designed
Brush. Designed
by
by Alan
Meeks for Letraset
Robert E. Smith for ATF
ic
in 1942.
AgeVS?$Tyi$X^7K7lOP2'RSl'U'l/'Ws1C'ty'$
Charme. Designed
by Helmut Matheis
Elegance. Designed
for
by Karlgeorg Hoefer
Ludwig 8c Mayer
for
type
foundry in
1958.
Ludwig 8c Mayer 1968.
J ^LKA KV 0^2
,_J^44J.
Mistral. Designed
by
Roger Excoffon for OUve Type
foundry in
1953.
Based
on
handwriting.
PiECWGHtMLMNOPQ&WWYZ
36
his
own
JOINED. FREESTYLE
Rage Italic. Designed
by
Ron
Zwingelberg for
Letraset in
1984.
a^C &?CfW$K?riri0roQ^STW'Wy;'tylif.
Repro Script. Designed
by Jerry Muden
for ATF in
1953.
A'ZtlijGH3$KJ.'L%0'?a'R S
j
U 0 U %
(Locit^tjkljklnfiofxfaiittLVwttJ'i
Slogan. Designed
by Aldo
Novarese for Nebiolo
type
foundry 1957.
Vlaclimir Script. Vladimir Andrich. URW.
y?3t?Z)S7'^c7?rj?YW^
<YyMM^
37
(f
Z
JOINED. MONOTONE
Elan. Designed
by
Hans
Mohnng
for Stempel
Foundry in
1937.
S&iuckm gie da6 SzeJUai
Kaufmann Script. Designed
by Max
Richard Kaufmann for ATF in
1936.
Aiie^wqjr'9gK2MMP2(i'i,uwjnj2
Mandate. Designed
by
Robert H. Middleton for Ludlow
in 1934.
afiCQtfSxggXcfynTiopQJisju v&XVZ
xzhx^h^cjAi/AlmjwpjcjAAt^
Medial Script. Issued
by ATF
in
1909.
CUrwAA'CCW'i' Jysjists
Signal. Designed
by WWege.
Berthold
type
3*
o-wnxisAs^
foundry
Co^myjvaynyi^
1931.
MCdit^miniynhOvansiiuviijK^z
38
JOINED. MONOTONE
Swing Bold.
Issued
by Monotype
1955.
ABG'ZWqjr!!)gMMP2(lS WVIOXtyS
Wendy. Designed
Veltro. Nebiolo
by
Garret Boge for Letter Perfect
foundry 1931.
type
Vertical Writing. Introduced
by Joseph W.
in 1989.
by Boston foundry for ATF
and shown
in
1897.
Patented in
1898
Phinney.
ai3CjaeriG,>tJlXXmUGPJ2RJ3ll,rlrTU-XlQ.
''
I
D
\
p p
a i>cci t let w i u ft 1 777,77.0 Q.-CUt^LLL-l>LOX V
:h'?
39
JOINED. INLINE
Cabarga Cursiva. Designed
by
Demetno E.
and
Leslie Cabarga for Letraset
oScxlefgAifMlm-n&p
qps-kiM) wklj-z
Grevton Script. Designed bv Gerhard Schwekendiek for Letraset
1991.
aScdedhfiiiilmtiofiqt'eStutHi^yz
Inscription. Designed
by Alan
Meeks for Letraset
40
1983.
1982.
UNJOINED. FORMAL
Adagio. Designed
by
Karl Klauss for Gensch 8c Heyse
in 1953.
aScdef'/ftajllliioioprjiJtuvwxi/z
Ariadne. Designed
by
Gundrun
Zapf-
von
Hesse for Stempel
Foundry
around 1954.
WBCrDCTJlJ3XLM7{0eB
Artscript. Designed
the
writing
of
by
Sol Hess for Lanston Monotype in
Servidori
of
Madrid,
1939.
Released
until 1948.
1798).
abdcjghiMmnopqrstuvrvxyz,
Bemhard Cursive
or
:3S<'-
Madonna. Designed
by Lucian
Bernhard for Bauer in
'
abcaclglnjklmnopctrslufic.rvz
Bernhard Tango. Designed
by Lucian
Bernhard for ATF
in 1934.
ABGDE7SHiJKLmnOVQRSTUV\VXrZ
abcdefghijklmnopqrstuvu'xiiz
41
1925.
(Based
on
UNJOINED. FORMAL
Boulevard. Designed
by
Gunter Gerhard Lange for Berthold
type
foundry
in 1955.
abcc^pf^hijkhniicrYjusliivivxijz
Byron. Designed
by Pat
Hickson for Red Rooster Typefounders
1993.
^2 60) ^Qyj9Cj:DMJ\rO 9Q tf
cSJ-ÛXJXs)
aDcde/g/i///mnopqrsiuvu>ryz
CanceUaresca Script. Designed
by Alan
Meeks for Letraset
ajjcdef
Corsiva. Designed
by Patricia
A
1982.
cAif.kJrrinopursTui.'uSZif'z
Saunders for Monotype
1991.
C<D{E(FgHU'KC M^fO(pQyXSTWtWXXZ
aSccfefgfujXCmnopqrstwvw^cyz
El Greco. Designed
by
type
abcdcjahijklmno-pqrstuvrvxijz
foundry in
1964.
3X^Z
UNJOINED. FORMAL
Florentine Cursive. Designed
by
R.H. Middleton for Ludlow
in 1956.
xsem^Cdfyxxxxx/oxxxisx'vx^xx/xi
a
Floridian Script. Designed
bcclefg li ijk Im n opcfrs tu OiOxijz
by Agfa.
35SG2)79J{ZJJC/S'WrX03:><2!X<SU<UVWXyZ
aocdeJ-tyhijklmnopsTrstuuwxyz
Formal Script. Adaptation done
by
R.H. Middleton
in 1956
for Ludlow. Derived from Typo
Script.
'/.//A-//??,/?, o//q/'3/yy-yvs/:. zy-y.
a.ftcf/e/'a/>-/
LeGriffe. Designed
by Andre-Michael
5Z<BC<D
Lubac for Eisner 8c Flake
<Efg (fXvjjK
UNO TO ?v_5 T W
(LDcacfaluydmiiovarstuvwxvE.
Liberty. Designed
by Wdliard T.
Sniffin for ATF in
iXA&@Qo9gidiS
1973.
1927.
XXi:m^\Q
abcaejgnjjklninop^rsiuvwxyz
43
V <W
v>
v^
UNJOINED. FORMAL
Mayfair Cursive. Designed
by
Robert H. Middleton for Ludlow
in 1932.
je&ex&drQmgvixm nxxxji&xu \x\ 'xyz
aocae]aniinlinaopqr$,iu\wxijz
Medici Script. Designed
:T?3
by
Hermann Zapf for Linotype
CD'I'T 5
Jilf X-LM
X'
1974.
OX: QRS'TUVW XT Z
abcdefgfiii^lmnopqrstuviviyz
Nova Script. Designed
by
George F. Trenholm for Intertype in 1937
MCTi%MJJ<MJ\0mJÛbmy2
socaefjgniiRlmnopqrsluiluJxijz
Nuptial Script. Designed
by Intertypes
design group
under the
direction
7U3G2)&l?QJf3?JC!m'X07><23ZS
aXccfefgXi/Xfmnop (frsfuuaixy
Piranesi Italic. Designed
by Wdlard T
Smffin for ATF
of
Edwin Shaar.
1952.
JcUVXXyZ
z
in 1930.
XXCXXXCJ{XXJXXXH^CXCXSXXXX\'XX.
aocaefgni-jriirrinopq'istuvwxqz
44
UNJOINED. FORMAL
Pompeian Cursive. Drawn
71
S
by Oswald Bruce Cooper
for BB8cS
J a J> Cm Qi
0) & 3 g <d( J
a
0
c
Poppl-residenz. Designed
a
c
I
In
6
1
by Friednch
j
k
(
111
n
in 1927.
o
|) t|
Poppl for Berthold
r
type
r
s
I f"~)
u
foundry in
v
u>
QcPQ,
x
v
1977.
aocaefj/fifXcm)) opcpstia ncryx
Quid Script. Issued
by Keystone
type
foundry in
1899
or earlier.
TLBCV^TQHIJKCMNOPQ^SJUVWXyZ
ahcêjghijklrrmopqrstu^xyz
Stationers Semiscript. Designed
by Sidney
Clyde Gaunt for BBScS in
1899.
aocnefg nil ki riT.no no r'stuvtrxuz
Thompson Quillscript. Designed
by
Samuel Wmfield
(Tommy) Thompson for ATF
7l3CVSTqHlJKMÔTC^SOUVVXyz
aficdejghijh
Imnopq
45
rstu^rixijz
in
1952.
UNJOINED. FORMAL
Tiranti. Designed
bvTony Forster
XX c X
for Letraset in
1993.
}
X^ C7 :< XXK XX\ I X X X QXX XXl ^ g& XX X
abcdefqhijklmnopqrsruvtvxvz
Virtuosa. Designed bv Hermann Zapf for Stempel Typefoundry
in 1953.
cxxxxxxxxixxx:xxcxoxxv
aUdetzliiildniiwiicltaoluiw'XL'z
Vivaldi. Designed
by Fritz
Peters. URW
1970.
A^&^&^r^^&cJ^&Gtf&C
46
rX(3i0lQ&xXa&QXO<P(zX'Qf&
UNJOINED. INFORMAL
Adine
Kernberg Script.
Designed tor Intecsas
type
foundry.
'^'la'me^-ceznbezg Qjczwt
Admiral Script. Designed bv Robert Hunter Middleton for Ludlow in
^fnxxx
1953.
xQxoyxxxxLxoTQ xsxuxxxyx
ccbcaercrnijhlyyiYiopcTrstiivwxyz
Alys. Designed
by Pat Hickson
for Red Rooster Typefounders in
1994.
a6cdefgliijk(mnopqrstuvuji(yz
Amanda. Issued
by
Stephenson Blake in
1939.
cXXXXiX^W7^Xc4icX9XiXSXXXXXXj9
aH>c&.ciq(viklYHHCvo,rizuvwx)<j,
Axkona. Designed bv Karl Klauss for Gensch Sc Hevse in
1935.
A'BCT)^GUJ3T<WlO'VQ'KSZ
abcclej-ghiiklnmopcirdtuvwxyz.
47
UNJOINED. INFORMAL
Bordeaux. Designed bv David Quay for Letraset
in 198S.
XHXXidlXuXidtXîlyXidvX^
Burgund. Designed bv Martin Wilke.
,fyfLetropol-0-inerna
Caprice. Designed bv Martin Wdke for Berthold
type
foundry
1939.
abchajj^kiorz.krnn.O'pctsiuuujcuZ
Coronet. Designed
by R.H.
Middleton for Ludlow
in 1937.
XUXVIZ
!
:
i'
i f
a.ocG.ef-ayutttlmn.opariCu.Lu/xu:
Dorchester Script. Released bv English Monotype
1939.
.n/r
afcclejanijkd n n ova rstu via
4s
UNJOINED. INFORMAL
Diskus. Designed bv Martin Wdke for Stempel
^4
foundry
1955.
73 C2X X GL^^XX Xd}XdXXXA] X
^
Fluidium. Designed
tvpe
by Adesandro
cy"
c^j
.'n^L.'Kr^
na z:zu i\cxu =
Butti for Nebiolo
in 1951.
dPxmCjK]]KniiiixxrxTummj2
a
cde{glu(k // 1 u top qUjhw- lvxij
Georgian Cursive. Designed bv George F. Trenholm in
Company in
1934.
:-
Cast
by Machine
Composition
Boston.
Aic~zizg^4îmnQ^Qi(K^zM^%
at)cdekc]hljkl.mr\6'pc]jh<.t>iu.\ivjxi[y
Lydian Cursive. Designed
by Warren
Chapped for ATF in
1940.
AWmQHWMMXOPQ KSZUVWXVZ
abcdefgkijklmpiopqrstwwxyz
Murray Hid. Designed
by
Emil I.
Klumpp
for ATF
around 1956.
abedeâiu,it(miiopq.tstui'uvy5
49
UNJOINED. INFORMAL
Park Avenue. Designed bv Robert E. Smith. Cut
by ATF
around 1933.
^dXXXXXXXiXyXKXXXXXXQ
^XSXXXXXXXX
J-ttd^fqkLjkLrn,r.oh.q:itLLU'OJX.LjZ
Parkway Script.
Designed
by
Emil Hirt for Ludlow in
1964.
cXrGBCzLXXXGS^XydXKXXAczNOXQczRS
a oca era
Petra. Designed
by Heinrich
h uklmnoha is tu atuxuz
Pauser for Stempel
aocd-eisih
Raleigh Cursive. Designed
by Williard T
XXdXJXXXXJZ
type
foundry 1954.
ijklm. noi>ar$ iuVu>%-yz
Sniffin for ATF in
1929.
Introduced in
1930.
Of 3 G3)igQm<1XlMcM0TQaR3lScC3yyQY
ahco&fcj\XLfk.DmzopqrXiiv\\'xijz
Rondine. Designed bv Adesandro Butti
and
Raffaello Bertien for Nebiolo in
zXX^XXxXXX^^XXZXXXXQyXXXX
50
1948.
UNJOINED. INFORMAL
Savove. Designed bv Alan Meeks for Le traset
m iqqz.
xxxxxxxJ(^nxQix::GxrTvx\{!xy:
zzocr.ercnu-cjr.nooGiSLuvwxL'z
Sterling
Cursive. Designed bv Moms F. Benton for ATF
in iqi
919
abcdefghijklmnopqrstuvwxifz
Style Script. Designed bv Sol Hess for Monotype
in 1940.
c4JSCM9QJ43}KfMMOfmSVU
abcdefekij-klntnopcfrd
Temple Script. Issued
by
Engdsh Monotype
VWXl/Z
tuvwxyz
in 1937.
ABCDEZQWJXCMnOPORSU vwwxyz
abcdefighijklmnopcprsiuvxvxyz
Trafton Script. Also
rvoe roundr1/ in
cadec
"Quick". Designed bv Howard Allen Traitor,
German1,-.
-l.'V.Lcf
.in.
/'.:.'( 'i.'"./
Z-jmu
i-
>;/<
:
in 19:55.
Cut bv Bauer
UNJOINED. CIVILITE
Civflite. Modern Adaptation: Designed bv Morris Benton
Original
vogue.
version:
Bed eve
to
Designed bv Robert Granjon
be
the
first
cursive
design
cut
in 1922.
in
1557, to
in
type.
Cut
by ATF
imitate semi-formal
in 1923-24.
writing
in
rA3e'cf^tX3JKtX^7Cv\O^Q5l5cCcW^
niwvv:
afjcOe-faîjrUmi-iopqr^fwn
Zapf Civilite. Designed
in
1983-84.
by Hermann
Perhaps latest face
to
be
Zapf during
1940 and 1971.
Cut
by Paul
Hayden
Duensing
cut as metal type.
AA3^co^.56$5&aîJ^^^^^^0*ppQ^^S3'na
V X X- XT Pi
o.b
UWef
cr
aki]
(< LfmnorJ qu
rStuW^v;
UNJOINED. CHANCERY
Bible Script. Designed
by
Richard Bradley for Letraset
1979.
A B CDEFCHIJK L MN OPQRS TU VWX YZ
abcdcfahijklmnopqrstuvwxyz
Cadigraphic
421.
Designed
by Georg Trump
for Weber
type
foundry in
1954.
ABCDEFGHLJKLMNOPQR5TUVWXYZ
abcdefghi
j kbnnopqTstuvwxyz
Cataneo. Jacquedne Saqua 8c Richard Lipton. Bitstream
1993.
(Bernardino Cataneo
A3 CDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijktmnoyqrstuvvjxijz
Florens. Designed
by
Garret Boge for Letter Perfect
1989.
AB CDEFGHIJKLMNOPQRSTUVWX.YZ
acXXqXjIjrinopqrstuvw?iyz
JuHana. Designed
by Phidp
Bouwsma for Alphabets Inc.
A B C D E FG
1994.
H U KM ( W P C7R5TU VWX YZ
iWcx)cfi,]liij'^jw urrvnti 0 uxa
53
2
1545).
UNJOINED. CHANCERY
Marigold. Designed
by Arthur
Baker. Released
by Agfa Compugraphic
in i
ABCDEFGHIJKLMNOPC^SmWATZ
alckfflkiildfnjwjirirstiiwxyz
Oxford. Designed
by Arthur
Baker for Agfa Compugraphic in
1989.
ABCDEFGHIJKLALVOPQRSIUVIVXYZ
akcdeyGhi]kLamopoK.STUvwxvz
Pedcan. Designed
by Arthur
Baker for Agfa Compugraphic
in 1989.
ABGDEFGHIJKLMNOPQRSTUVWXYZ
alcdefghijldmnop^rstuvwxyz
Poetica. Designed
the
by
Robert Sdmbach for Adobe Systems
in 1993.
Based
on
chancery
scripts of
Italian Renaissance.
A BCDEFGHIJKLMNOPQRS T UVWXYZ
abakfghijklmnopqrsTuvwxyz
Sanvito. Designed bv Robert Sdmbach for Adobe Systems in
scribes of the
Itadan Renaissance
and
based
on the
1993.
Named
highly practical
after one of the principal
bookhands
Renaissance humanistics.
ABCDEFG-HIJkLL/vtNOPQRSTUVWXYZ
2kcdef0hijklm.nopqrstu.vw XV z
54
of the
UNJOINED. FREESTYLE
Advertisers Upright Script.
Onginady
"Odphant"
coded
in
1895.
Shown
by
BB8cS
in
1925.
aJD&g:s3Cri^sm9ig>giS5'Qimi0xy
o!efgf\i}mmôpQrstuV^x^5
Agitator. Designed
by Wolfgang
Eickhoff in
i960.
A&CDEFGHIJKJLMNOPQR STUVWXYZ
Alexa. Designed
by John
Benson for Adobe Systems in
1995.
Based
on
his
own
handwriting.
ABCDEFGHIJK.LMNOPQRSTUVWXYZ
abode
Alexia. Designed
by PhiHp
faliijklnuioptjrstuvu'tyz
Bouwsma for Alphabets Inc. in
1994.
ABCTÊFGHIJKlMMOPa^TUVWXYZ
Alhambra. Designed
by
Richard Lipton for
the
Font Bureau
in 1993.
/ABCDEFGHIJKLMWOPQRSTCIVWXYZ
55
UNJOINED. FREESTYLE
Arriba. Designed
Ashley Script.
by Phid
Designed
Gnmshaw for Letraset
by Ashley Havinden
1993.
for Monotype
1955.
A3CPEF</HIJKLMN0PqK^rUVWXyZ
abcdefghijklmnopqrftuvwxyz
Balzac. Designed
by Johannes
Boehland for Stempel
type
foundry 1951.
A<ZCrl><?QHJJKrHHO<PQ<%STUVWX
abcdefghijklrrtrjopqrstuvtoxyz
Balzano. Designed
letters
by John Benson for Adobe
by calligrapher
Systems in
1995.
Inspired
Raphael Boguslav.
ABCDEFGHIJKLMNOPqRSTUVlfXYZ
(dxdeffjli
Bazaar. Designed
by Imre
Reiner for Bauer
ijk\mr\opqrstuvwxi\z
1956.
56
by a page
of pen-written
UNJOINED. FREESTYLE
Becka Script. Designed
by David
Harris for Letraset
1985.
ABCVEF&HVKLMNOrQIZ$TUVWXYZ
abcdefghijklmnopqrstu
Bendigo. Designed
by Phid
Grimshaw for Letraset
Bernhard Hand-Brush Script. Designed
by Lucian
ippj.
Bernhard for Bauer in
1928.
Biffo Script. Designed for Monotype.
flaCDfGf//JKLM(YOPQRSTUOQKyZ
a6cdefqr)ij(dmnopqrstauoi)(cfz
Bouwsma Script. Designed
by Phdip
Bouwsma for Alphabets Inc.
1994.
A3GX>Ef^H!JKLM/XOTQJiGruVkJXyZ
cdalef^^nnabcvjtu^
57
UNJOINED. FREESTYLE
Brody Script.
Designed
by
Harold Broderson for ATF
around 1953.
A3Ct>FGH99K.WK0PQRSTUULUXlJ3
Bulletin Script. Introduced
Caflish Script. Designed
by Keystone Type
by Robert
of the swiss typographer
Foundry in
1899.
SHmbach for Adobe Systems
1993.
Based
on the
handwriting
Max Caflish.
A BCVEFQHIJKLMNOPQRSTU VWX YZ
adcXâkljidMOi^p^rîUYti^cy^
Caliban. Designed
by John
Benson for Adobe Systems in
1995.
A B CbEFCfHIJKLMNOPQRSFU VWXYZ
abcdefcj
Cartoon. Drawn
by
Howard Aden Trafton in
kuklmnopc^rstuvwxyz
1936.
Cast
by Bauer
type
foundry in
ABCDEFGHJ/KLMNOPQRSTUVWXyZ
Germany.
UNJOINED. FREESTYLE
Cascade Script. Designed
by Matthew
Carter for Linotype
in 1966.
ABCDEFGHIJKLMAJOPQJZSTUWWZ
abcdefqhiJkltnnopclrstuiJuJxyz
Champion. Designed
Choc. Designed
by
Cigogna. Designed
by
Roger Excoffon for Odve foundry
by Adesandro
Butti
and
type
foundry in
in 1955.
Aldo Novarese for Nebiolo in
1954.
accdelahi'iUlmn.upa'istHVwx.uzcuLce
Compliment. Designed
by Helmut Matheis
for
Ludwig 8c Mayer
1966.
ABCDGXQW] KUM N OpQRSTU VIM
Demian. Designed
by Jan
Van Dijk for Letraset
1984.
ASdGz-iFT-CX-MXCFXxXxii^Z
M&wXuFXmiMr~Uvxpz
59
1957.
UNJOINED. FREESTYLE
Derby. Designed
by
type
foundry in
1953.
abcdefcjhijklmnopcjrstuvwxyz
Dynamik. Designed
by Herbert
Post for Berthold in
1952.
ASC&eTgHJJKLMjVOpQRS-CUVlAZ
abc&efghijlclmnopqrstuvwxyz
Elli. Designed
by Jean
Evans for Font Bureau
1993.
A3CDITG7riI7XLA17N'OPOR5TL/VlVXYZ
abcdefyhijklmncipqrihn-ivpry?
Express. Designed
by Walter
Hohnisch for
Ludwig
8c Mayer
type
foundry in
1957
abcdefghi'lklmnopqrstuvivxifz
Fine Hand. Designed
by
Richard
Bradley for
Letraset
A& CT) E F Q 1A IJ K LÂyIN
1987.
OJ>
OUS T L L V WXYZ'
abccitfqhuXiwwpcprstuvvvxijz:.
60
UNJOINED. FREESTYLE
Flamme. Issued
Letraset
by
Schelter 8c Giesecke
1933.
Modern
version:
designed
by Alan
1993.
Flex. Designed
by
George Salter in 1937 Cast
by Amsterdam Typefoundry.
JJmicable Resolutions
Forte. Designed
by
Carl Reissberger for Monotype in
.Introduced
1962.
ABcvetGHJjKLMNOPajisjuv wxyz
aGcdefg&ijtiCHiHOpqrstHVWxyz
Fox. Designed
by W.
Rebhuhn for Gensch 8cHeyse
1955.
a$idefefii)MiHh<ipqtstuvW\iz
Freestyle Script. Designed
by Martin Wait for
Letraset in
1981.
al>cde,UkipimKOp(j^stiuY-u)x,^z
61
Meeks for
UNJOINED. FREESTYLE
Galahad. Designed
by Alan Blackman
for Adobe Systems.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
Grayda. Designed
by Frank H.
Riley. Introduced in 1939
by ATF.
XBC^SXgXX/AXJXO
aocatJqniwlmnofi<pgtuvuixyz
Hauser Script. Designed
by George
Hauser for Ludlow in
abcdefykijklmH cpqt-j,
Holla. Designed
by
Rudolf Koch for Klingspor in
1936.
tuCuxijj
1932.
AftC7)$C,H()dJ(l(KyiOVQKSlUV
abcdePghijklmnopqrstuDwxifz
Indy Italic.
Designed
by
Charles Hughes for Letraset
1990.
ABCXEFGHZXKLMNOPQRXTUVWXVZ
Jowa Script. Designed
by J. Wagner for Wagner
1967.
/t^S4^^Â%A0f,Q^Sr
62
^\)%xn
UNJOINED. FREESTYLE
Keynote. Designed
by Wifliard T
Sniffin for ATF in
1933.
PQR7UVWXljZ~
GSeDSf qHd$}C 171710
aocêtcltijklmnotcxstuOivxxjT.
Konzept. Designed bv Martin Wilke for Stempel
type
foundry 1968.
A/^7^?^7HMr<ZJANOPQRSÛ
ft6c2>e{î\ijrvlA^ô^TstuviA;xy2
Laser. Designed
by Martin Wait for
Malibu. Designed
by Alan Meeks
Letraset
1987.
for Letraset
1992.
ABCDEFCtiUKLMHOPQ/lSTUVWXYZ
akdefgkq/clifiricpqrsttiYWxyz
Matura. Designed
by Imre
Reiner for Engdsh Monotype in
1938.
^BCDEFCJHTTKLMNOPQR$TUVWXyZ
Abcdefgbi/klmnopqrstuvwxgs
Maxime. Designed
by Pete
Schneidler for Bauer
type
63
foundry in
1955.
UNJOINED. FREESTYLE
Nevison Casual Script. Designed
by T
Nevison for Image Club
1967.
A3CV^T(XXXiXL^W^Q^XST[l])WX^
oAod^qAjuJ(4bbnmjpQJu&u^M!)ipA\5
New Berolina. Designed
by Martin Wilke
for Monotype in
1965.
747CZ5^qdi3$Kj2MNOpQnSXzXVWXKyZ.
ADcdefekijkLmnopYjrgtu vwxuz.
Palette. Designed
by Martin Wilke
for Berthold
1951.
/^Cl>ÂllDOÂA4CXQ7ZSH:ui)K)^,
aScdefiYjhijkltonepqzstuotvxyz
Palomba. Designed
by George Trump
a
Papageno. Designed
for Weber
(?cdef g ni j
by Richard Weber for
foundry in
type
1955.
rUTTmopqrsruxnvxyz.
Bauer
type
foundry 1958.
ABCOfCHIJKLMNQPQRiTUVW
abcdefghijklmnopqrjtuvtHMyz.
Pendry Script.
Designed
by Martin Wait for Letraset
1981.
ABCPEFqH/JKLMHOPQRSTUVWXYZ
abcdefyhi/klmnopYyrstumxifz
64
UNJOINED. FREESTYLE
Pepita. Designed
by Imre
Reiner for Monotype in
H.fr
Polo. Designed
by
Carl Pohl. Typoart
1959.
Based
Reiner's
on
own
hand
writing.
ciclÂVj kinA.no par stuvtî'i^y Z
i960.
ABCDEFGUI^MUQPCRSTUV WXY2
a bcdef gh i
Present Script. Designed
foundries in
by Friedrich
j klr+i nopcû rstwvwxyB
Karl Sadwey. Issued
by
the
Stempel
and
Linotype
1974.
ABCVexaX\J3KLMXOXOK5TU\AXXXX
c\o<zae.jgW\jl<\yy\nopqrsiu\Y\YJxyz
Prima. Designed
by Martin
Hermersdorf for Stempel
foundry in
1957
ABCDtfgHJJKLMJdOPQRSTU
Pristina. Designed
by Phifl
Grimshaw for Letraset in
1994.
AKCVZTQmOXJlJJXO'PQ'R.STUVWXVZ
aloc/efafiijkfmnoparsfuvwpyz
Privat. Designed
by J.J.
Siercke for Bauer
type
foundry,
1966.
A<s4BCDpOE-&FCH-/?KL/V\iA4N&pc?KS TÛVVJJCyZ
65
UNJOINED. FREESTYLE
Rapier. Designed
by Martin Wait
for Letraset in
1989.
A3 C> SX^/XZÂXZ PtAXD PQ7XS TrXflAtVX^Z
Reiner Black. Designed
by Imre
Reiner for Bauer
type
foundry in
1955.
abcbefghifkltHHcpqtifttthuvu/xyz
Reiner Script. Tobias Frere-Jones. Font Bureau
type
foundry,
1993.
Original
version:
Imre Reiner for Bauer
1951.
&DCderir)ijklm.hiJK<irstuvwX02
Roundhand. Attributed
to
Herman Ihlenburg. Designed for ATF
around 1900.
JJSBQ2)&&S3(JJ3iJU(0&Q9iSTUYWSCyZ
abcdefght/klmnopyrstuuiuxyz
Ru'ach. Designed
by Tim
Donaldson for Letraset,
1990.
A-gCDZyaVUkLMNOXQKSZLiVJxjXLJZ
gbcdefghijklwyiopqrsiuviscxyz
66
UNJOINED. FREESTYLE
Ruling Script.
Designed
by
Gottfried Pott for Linotype-Hed in
Ruzicka Freehand. Designed
by Ann
Chaisson
1992.
Mark Altman for Linotype
and
in 1993.
ABGDEFGHIJKLMNOPQRXTLIVWXX
abcdefGrujklmnopqrstuvujXLjZ
Salto. Designed
by Karlgeorg Hoefer
for Kdngspor
type
foundry in
1952-53.
L^fye S^rmual G^Jinner of tfje
Sho. Designed
by Karlgeorg
Hoefer for Linotype in
^^luL
1993.
ABC"Oef CS-H I.) KLMNQPQRSTW V WKY2
Smudger. Designed
by Andrew
Smith for Letraset in
1994.
qUdeAzhijklrvrnopyrstuwxifZ-
67
UNJOINED. FREESTYLE
Spring. Designed
by
Garrett Boge for Letter Perfect in
Tiger Rag. Designed
by John
Viner for Letraset in
1988.
1989.
0XUthkLjLlmdpc1ntu.vMY.hiz
Trophy Obdque.
Designed
by Frank
Bartuska in
1950.
AbCDEX&XUXLMNOPQ^TUXWXYX
dcXikj'MmtopQrstu./^xi/z
Ulyses. Designed
by Timothy
Donaldson for Letraset in
1991.
AlfflkfqhijkllHHOMKtMIVXIfl
Venture. Designed
by
Hermann Zapf for Mergenthaler Linotype in
1969.
ABCDEFGHlJKLMNOPORSTUVWXrZ
ab cdefqkijkimnofjcjMrshivwxyz
68
UNJOINED. FREESTYLE
Visigoth. Designed
by Arthur
Baker for Alpha Omega Typography in
1988.
ABCDEFqHlJKLMNOTQttTUVWXyZ
*U*fgki]Uwurfr<&tKVX-yz
Wave. Designed
by
Robert H. Middleton for Ludlow in
1962.
o43G&7g769?lCJim'nOPQr&S'j'ZtV?V'X'%Z
adcdetekcfktmnopcfzttuvwxy}
69
UNJOINED. MONOTONE
Archi-text. Designed
by Marshad
Bohlin for EmDash in
1989.
^tzZZZF<GA\AG~MN0POPGTAAXArZ
ablnd(fP^hi|L.!n'i,i7^pcqrf)Djv7'xwz
Balloon. Designed
by Max
R. Kaufmann for ATF in
1939.
ABCDEFGWJKLMNOPQRZTUVWXyZ
Blueprint. Designed
by
Steve Matteson for Monotype
1993.
Challenge Bold. Designed
by Martin Wait for
Letraset
1982.
ABCOBFGHUKLMNOPqPS TUVWXYZ
dbcdefgkljkLmnopqrstuV'WKyz
Comic book. Designed
by Greg
Kolodziejzyk for Image Club
1987.
ABCDEPGHIJkLWNOPQRSTUVWXYZ
7
UNJOINED. MONOTONE
Comicbook. Designed
by Nicholas
D. Kent for Vanguard Media
1992.
A3CPBFGH\J\<lfAUOPQRGTUVV/XyZ
Dom Casual. Designed
by
Peter Domberzian for
photolettenng.
Cut
by ATF
around 1952.
Doodle. Designed
by Jonathan Macagba
for Handcrafted Fonts
1994.
ABCDEFGHlJKLMNOPqRSTUVWXYZ
Eaglefeather. David Siegel & Carol Toriumi-Lawrence. Agfa
1994.
(Frank Lloyd Wright,
AbCC^LirGhUKLM/IOPQR/TUVWX/Z
abcdefghijklmnopqr5tuvv/xyz
Farfell. Designed
by Noel
Rubin for Image Club
71
1992.
1920)
UNJOINED. MONOTONE
Flash. Designed
by
Edwin W. Shaar
and caded
"Flash
Bold"
Cut
by Monotype
in
1939.
ABCdEFGHIJKLMNOPQRSTUWXyZ
Fontoon. Designed
by
Steve Zafarana for Galapagos Design
Group
1994.
Gillies Gothic. Designed
by William
aire
Graphite. Designed
by David
S. Gidies in
1935.
Cast
by Bauer
in Germany.
deâk ijk LmnopcLtitu.vwxy^
Siegel for Monotype
1993.
A5CÊ=5HiJKLMN0PQR5TUVWXY:
:bcdefghijklmno3 crsrjvwxvi
Grove Script. Designed
by
Pat 8c Paul Hickson for Red Rooster Type Founders
ABCDEFQ^/JKLmnOPQRSTUVUJXl(Z
abcd^ghgkifnnopqrstuvuixyz
72
1994.
UNJOINED. MONOTONE
Hurry. Designed
by Marshad
Bohlin for EmDash
1994.
XiXXVXZXXXXXLX)XOPO(25XUXXrXX2
XcdefpjfajjklMriopqrstu^^XLj,z
Kristen. Designed bv George Ryan for Galapagos Design
Group
1994.
ABCDE?GHIJKLMNO?QI^TlJVWXYZ
abcdefghijKimnopqrstuvujxyz
Langer. Designed
Paul
by
Lang
for Monotype in
1993.
Lemonade. Designed
byTy
Semaka for Image Club
1991.
ABCDEFGHIJKLMM0PQRSTUVWXY2
aDcdefghijklmnopqpsxuvwxy2
Lightnin'. Designed
by Alan
Meeks for Letraset
1994.
AftGVefStilcJtCLWr/OPQftSTUVWXXZ
abcde^hi^klmnapqiituw/xyz
73
UNJOINED. MONOTONE
Limehouse Script. Designed
by Alan
Meeks for Letraset
1986.
flSCDfgtfimM0P$KSW(O)Cy2
abcie(^k(jHin,ftcp^rstavvotjz
Mead. Designed
by
Steve Matteson for Monotype
1993.
^6D6F6HlJlcLMN0?QP-<DTL!VWKYZ-
Nadianne. Designed
by Aldo
Novarese for Agfa
1990.
ASCDEJQH^KCMNOPQKSTUVWXLjZ-
abctlefghi'iklmiYiopqrstLAVwxLjz
Papyrus. Designed
by
Chris Costedo for Letraset
1983.
A5CDEPGHIJKLM NOPQRSTUVWXYZ
abcdergnijUmnopqrstuvwxLj;
xuz
Perky. Designed
by Marshad
Bohlin for EmDash
1994.
^XCXGVGXXXtL\\]]0XQ^XXX^1X:
abed
efgjdj V I iu.HjDp^rs+ulv/vjz
74
UNJOINED. MONOTONE
Santafe. Designed
by David Quay for
Letraset in
1983.
rfC9Q^q<jq<CWWV<PQK-2TUUlU9<lX'Z
abcdtfighJj'Idmjwpcp&tujMipqifr
Sassoon Primary. Designed
by Rosemary
Sassoon for Adobe Systems
1990.
abcde/ghijklmaopqrstuvwxyz
Signature. Designed
by Greg
Kolodziejzyk for Image Club in
1987.
ASGDEFfflf'Jkl.MOPQ.RgntWXfZ
(Xxx/^/Ân^j^r^tuHiYmz
Sinclair Script. Designed
Pat Hickson for Red Rooster Typefounders
by
1993.
abcdefgkijklmnopqrstuuwxyz
Squire. Designed
by Michael
Neugebauer for Letraset in
1980.
ABCDEFGBDKLMNDPQRSTWVWXyZ
abcdefgXuklmmpqrstiAvwxyz
75
UNJOINED. MONOTONE
Studio Script. Designed
by
Pat Hickson for ITC.
Studio Scppt
Stylus. Designed
by
Dennis Pasternak for Galapagos Design
Group
in
1994.
Tannhauser. Designed
by Alan
Meeks for Letraset in
1988.
Tekton. Designed
by
David Siegel
handlettering of West
Coast
and
Jim Wasco for Adobe Systems in
architect
Frank Ching.
ABCDEFGHiJKLMNOPaKSTU VWXYZ&
Tomboy. Designed
by
Garrett Boge for Letter Perfect in
1989.
A bCDEFQHIXKLMNOPQPSTMVWXyZ
abcdefghi/klnwopqrstwwxyz
76
1989.
Based
on the
UNJOINED. MONOTONE
Van Dijk. Designed
by Jan
Van Dijk for Letraset
1982.
AbCDLF(qrilXKLXANO?Qi\3TlAAWXiZ
abcdefghijklfHopqrstuvwwfz
Wiesbaden Swing. Designed bv Rosemarie Kloos-Rau for Linotype-Hed in
1992.
x-xcxgxXl,xxixxx^jôxq-rxxxxix)<:^^
77
UNJOINED. INLINE
Oberon. Designed
by
Phid Grimshaw for Letraset
1986.
abcdefghijklmnopqrstiwwxyz
78
UNJOINED. MISCELLANEOUS
BergeU. Designed
by Thomas
Finke for Letraset
1991.
Xz^^X^dJX^^XrXrXXXGxyGjX
,\k7-l;"f^lvi[-kliMu
Charcoal. Introduced
Typefounders
of
by
Keystone Type
Foundry
in
1899.
Recut
by
Charles Broad
Phoenix.
Christmas Gift Script. Designed
by Andy Hudinger
for
T[26]
1993.
abc^^rM'^WrvOpqrsUYWXvjZ
Handwrite Inkblot. Designed
John Handy. Designed
by Todd
by Tim
Brei forT[26]
ippj.
Donaldson for Letraset
1995.
AZCXZTXU.\}lAl^HPrT>rZX^VASXi<JZ
79
of
Judy Finckel.
Designed
by Intecsas.
:^3CVcF^HXXmXG?GXXXm\X^2:
jbc,lctYr',iyk!mncp(/"ifUW-JX^
Kidtype. Designed bv Jake
Lariat. Designed
by
and
Scott Scarano for Monotype
Helmuth Thorns for Type founders
Marguerita. Designed
by
David
<&&%$)
Quay
for Letraset
of
1994.
Phoenix in
1963.
1993.
tW%H3C%M$y*@$ fi SfXsU XXi*X f%
(%4&d6j^dujMmnc^p^r$tuvicxyz
Party. Designed
by
Carol
Kemp
for Letraset
1993.
XXzX&ETGffLJKLMXf%}Xi3TVVXXYZ
ahcaejahXXnlb'Pcp^^K'^'?CLiz
80
Roughedge. Robert J. howed. RJH Productions
1994.
ABC^Hf^kIJ:<LMNO-PaRSTUYV'y.YZ
abcdef3HijklTmop^r5tav^vxyz
Scorpio. Designed
by Jim
Marcus
forT[26]
in
1993.
^^zmimme>n\^\;\vm
Scotty. Designed
by
Scott Smith for
T[26]
in
1993.
ABCDEFGrtDKLfANOPORSn/VV/XYZ
docdeF^ki)klmhopqrSttiYwKyi
Scratch. Designed
by Greg
Samata
forT[26]
in
1993.
ABODBTO-HiJUUM NOPQRSTUVWXYZ
Stop. Designed
by Walter
Hohnisch for
Ludwig oc Mayer 1939.
ABCOEFGH1JKLMNOPQRS TUVWXVZ
81
Twang. Designed
by Tim
Donaldson for Letraset in
1994.
A^CPeFCHrjrCL/MN0P^>MTUVVo(V2
Variator. Jim Marcus.
T[26]
1993.
82
1.
Clarence P. Hornung.
2.
Jeff Level,
et al.
Type,
Monotype
Publishing Corporation,
Books,
Publishing Version 5.0
1954).
(New
1995).
Mac McGrew. American Metal Typefaces
pf the Twentieth
Oak Knod
4.
Z (New York: Penn
York: Precision
3.
Letteringfrom A to
Century (New Castle,
Delaware:
1993).
Typography Ltd.
The Monotype Index 5.0 (Chicago: Monotype
Typography Ltd,
1995)-
5.
Ron Eason
and
Sarah Rookledge. Rookledge's International Directory of Type Designers. A
Biographical Handbook (New York: The Sarabande
Press,
6.
R.S. Hutchings. A Manual of Script Typefaces (London:
7.
Stuart
8.
W. Pincus
9.
Lawrence Wadis. Modern Encyclopedia of Typefaces
Booth,
et al.
Jaspert,
1994).
Cory Adams
Pen & Brush Lettering. A Book ofAlphabets (London: Studio
et al.
The Encyclopedia of Type Faces (London: Bath
1990).
83
1960-90
Ltd.,
1965).
Vista,
1993).
ocMackay
Press,
1983).
(London: Lund Humphries,
Chapter 6
Questionnaire Results
The
compiladon of the
arrangement,
ing,
face
whose
perusal of the
letters
(but
otten
look
large
of
European
counterparts
oped over
hundreds
for
Later,
in
the
The
sparkling array
of
brush
of the most
writing
wide
variety
Assyrian
earlv
great
late
and pen styles
many
most
and
typicady
chapter
of
upon cursive writ
for
secondly, a type
indicates
of
which also
after the
invention
Louis Barbedor
and
of
commerce,
foremost
bit
to the
John Benson
Beatty
Tobias Frere-Jones
Robert SHmbach
Hermann Zapf
H
of
France
masters of
designers. A
was the
of script
letter
by great freedom
project, therefore,
of whom responded:
of print
development
to the evolution of the script
script type
be
and the coundess copybooks of
of which are characterized
aspects of this thesis
devel
must also
instructions for writing beautifully. The
days
Non-
more and more writing.
letter
England
that script
the quicker pen motions
Persian letterforms
of the script
brush.
a pen or a
clearly
forms in
periods added their
Richard
based
sixteenth-century writing masters,
designers contributing
interesting
designers, five
foregoing
Edward Cocker
of
sodcit the opinions of some of today's
ten type
the
manuals of the
England's
confirm the author's opinion that
a typeface
production caded
examples and provided
our own
be, first,
writing tool,
further development
during
find
in
its
see
increase in book
and ornamental
Today we
One
We
the 1600s, masters such as
inspired
with a
miscedaneous section
of years.
the round-hand style
penmanship
designers
derive from historic models, and,
always)
may be found in
influencing
produced their
forms.
not
resist efforts at categorization.
credited
classification of those specimens into a sensible
are that it must
being written
of medieval scribes when the
ing.
specimens, the
face
of a script
letterrorms
that retains the
A
of
and the contacts with contemporary type
features
the essential
catalog
Conclusions
and
with a
of
style.1
opportunity
to
questionnaire was sent to
Their
i.
responses to the questionnaire
How do you describe
Benson
'A type
have been
collected and organized as
fodows:
typeface?
a script
face based
writing, dgated
upon cursive
vernacular models.
or
Ideady of pen-written origin,
not,
whose
letter forms derive from
scripts can also
be based
upon
brush-
forms."
written
"I
Beatty
from
range
by the
a
copy
both
consider the
a typeface.
of script
if
have flourished
lettering of architects
Though
Slimbach
''Any
Zapf
"Any design
variety
of
present
so
large
typeface that retains the
based
a script
designs, but can
because
as to
be
useless.
leave
carry
bear
face
look
Renaissance.
through the ages.
o
is
a script when it
'cursive', I
My definition
o
I
translated to
consider them a
form
the imprint of the
making
a classification
that a typeface whose
opposed to
drawn)
could
be
extremely
difficult,
primary design
source
caded a
tool."
of
handwriting or
can contain
being written with
a
writing
the other
a
caldgraphic
many ingredients
also make classification
On
say
be
the name
at once
would
(as
the elaborate control exhibited
has handwriting
o
as
replication can
forms."
on
defining any face with
movement would
forms
and engineers to
ingredients
or cadigraphed
handwriting. The
handwriting to
the swash elements appear to
is handwritten
on
in each period since the
several typefaces
typeface contains many
summarize,
based
connected and unconnected
if not impossible. Given that, I
To
anv
ot verv rapid and coarse
penmen that
includes
Frere-Jones 'A
be
consider a script typeface to
at once.
difficult. These
handwritten influence
hand, picking
the category small and
onlv the
isolated.
3^
This
adows
for
a wonderful
characteristics should always
as a script would make the
faces
that
direcdy
be
category
mimic the
hand's
2.
What inspired you to design
admired,
Benson
or
a script
i.e., your own writing or lettering,
"My interest centers
on the overad patterns and textured surfaces of
hand-lettered
Cursive
"Of my
by
pages.
a
Ad
cdent,
of
exemplar you
my
comments are
job,
although
by
the
in
rooted
letter form
hang with
handwriting
is needed of
not a
by people
I did because
the wav
way
to make a
ready script,
that come
don't find
"Part
of
a
parody
of
was requested
General Menou,
in any
the
be
is
one of
the most subjective
many elements
of design
controded so that each
After
combination.
every background
and
dedberately sloppy and
every
ad that
stydsh
inconsistent hand
of typographic conventions.
was an experiment
in
I hadn't
sources.
Cafeteria,
basic forms
'livening
to make the revival of Reiner
only from handwritten
Script because
seen elsewhere.
They are
not
with
the original
I try
not to
necessarily bad, I just
interesting."
them
particularly
my background is in
scripts which are the
types,
how
which then must
a mix of calligraphic and typographic attitudes
do faces
of
my opinion that type
ad of the others
judged
hand-drawn detads. I decided
had
inspired
Yale Script
job."
was a good
it's
a translation of
great
Frere-fones "I designed Dolores
rendering
My hope
textures.
typographic
typefaces,
strongly
results are then
bent. Tough
in
A full understanding
element can
work, the
lively of such
and
in Egypt.
officers
their controls over each
disparate
hand-written
forms."
vitality
and the other was
of ad the appded -arts.
ply
scripts produce the most
two ventures into script
Napoleon's
Slimbach
historic
something else?
was to capture some of this
Beatty
a
basis
calligraphy.
I
have
also
an appreciation of
of our modern roman and
Poetica, Caflisch Script,
and
Sanvito, I
italic
typefaces.
Renaissance
With my
wanted to recognize certain classic
script
writing
types."
styles as vital and
Zapf
The
Trying
contemporary
"As
a commission to
the
face
should go.
sources of inspiration
design
a new
Normady
the
Script you
get precise instructions
in
which
directions
inspiration is
for twentieth-century
cadigraphers and type
to capture particular styles and patterns, either
86
by
designers vary
specific instructions or
because
greatly.
of one's
own interests and
script
j.
faces
Do
you
are
dvely
think
forms is
them into typographic
turning
difficult,
but
The best
also rewarding.
and contemporary.
script
types are
becoming more popular?
"Yes."
Benson
"I bedeve
Beatty
convey
script typefaces
have
had
always
the impression of the personal
touch,
centage of the usage of script typefaces
faces
appears that script
the
larger
are
has
fodowing
a regular
the
imprint
probably
per
If it
being used more often in recent years, it should be considered
number of unstudied and
They are
human hand. The
of a
never varied much through the years.
uncaring
users that
type usage and are compeded in their use of typefaces
style.
those who want to
right
in
their choices
because
have little understanding
only
by
frivodty of
the current
most of what
of
typeset is
they
substance."
without
Frere-Jones
"I
think
overtly
they
are,
but only
rebellious or
the ones that use the script environment to make
'ugly'. Emigre's
but because it's different. I
think
Making a script face
popularity.
forms
Remedy didn't become popular because it's
that's
anything
that's
different
these
different from any
days
other
is
will
a
enjoy
that
script,
some
an easier task
than,
face."
say,
a
ready
unique old style text
"They have
Slimbach
a
flood
of
always
quickly
the advent of
been
made
digital
around
in
informal
auto-trace
the more
script
formal varieties,
faces (some good,
programs, it
adows
many
whereas
today
there
some not so good).
short cuts
in
the
is
With
way
of
design."
alphabet
"They are
Zapf
already very
popular.
For
a personal touch
in many
ads
is
wanted
in contrary
to san-serif
Type designers
popular,
digital
but
agree
scripts are
auto-trace
that script
faces have been
slowly gaining
programs,
does
improving technology
which
not
around
more and more
make
necessarily
it
easier
mean
87
for
centuries and
popularity due
in part
have
to the
to turn an alphabet into a
better designs.
always
been
availability
font.
of
However,
4-
Ifyes>
"
it because of
easily
available and powerful software
design tools,
cultural reasons
,
or
something; else ?
I don't
Benson
"Yes,
Beatty
"Since my
of
yes.
know."
answer was no,
large lead-type houses
I
wid use this space to suggest that
prior to the 1950s show a
fairly
investigating
consistent number of script
The
types compared with the roman and itadcs of various weights.
faces developed
script
after the 1950s
the exuberance always
begin
found in
Electronic
same scatter-shot manner and with
peevish and
very
exactly
perishable excretions
influx of the careless
the short-dved photo-type
technology before
a new
bring pressure for control.
to
in
types are
houses
the rigors of
prove
caded
only
understanding
currendy being generated
the same result
currently
the catalogs
in the
a short-dved period of
stydsh
but
fairly soon
to
be
caded
Frere-Jones "To
pick
up from
otherwise)
the
last question,
are part of the
central cause
is
latest
trend.
are
Slimbach
entirely
"As mentioned,
but
not
find
as a reaction to an
different,
faces
Although
today's
cold and
industrial
grungy
this trend
has
designers
helping to
looking script faces
Zapf
New
world
script
very
at work as wed.
fosters
At least
a number of causes, one
to
be
a
satisfying
res
he found inhuman. While
the
the results
are
it
thinking
much the same
easier to get an alphabet on the
make a good
design.
Also,
modern
personalties than ever
computer,
display typography
before
and
spontaneous-
this."
technical possibdities
is very
or
are a natural part of
"The
software
(script
inhuman. William Morris founded
typographers'
encompasses more of the
appearance
thoughts."
the software tools make
necessarily
that present
Designers find grungy typography
the medium.
ponse to the machine that some
Kelmscott Press
the
much a
today
factor in
two of the
the
together with special software makes the use of a
popularity
respondents
bedeve
of script
faces today, but
other
that the introduction of new
a period of experimentation with results that are not always pleasing.
forces
are
technology
5-
To
what
degree do you think designers
faces to
use script
"Most designers, in advertising
Benson
pure
"I'm
Beatty
design
by
than
at
least,
explore
seem
the novelty of script
designer
and the
You
or artist.
least
makes good
certainly must
designers
of type
legibility. It is
less
faces
for
afraid that this questionnaire rings true
have
difficult
to
Frere-Jones
"This
is a
designers
either
difficult
who are
one to answer,
case, though,
I
"Legibdity comes
think that
I
think it
"I
Zapf
lack
it
the
more an
not a
is tested.
formality
expressions rather
quadty
Most,
issue
being used
in
eye-catching
by
never
that the
kind
of
designer
able
do
ripple effects
or
designers
for
know
to
been
painting, writing,
qualities.
and not
now
things that
legibility and
dst maker,
it's not clear if you are
most script
not
describe
to
thinking
uses script
but
Usts
are
a masterpiece.
playing
who are
best
what
contribute,
that rules and
a
about the type
using
faces
to
them.
In
investigate
faces
aren't ad
that
formal
or
legible.
design."
of alphabet
legibdity with
script
faces for they
be accurately gauged, for it is
if not ad script typefaces were
of romans and
than
neither
formadty and
that can
by
of
design ?
and unique expression
see no extra reason to test
Legibdity is
which
is
with
because
of
list
the scripts, or the graphic
making
legibdity, but personadty
Slimbach
description
have
and alphabet
issues
by
the professional
read enough
the variables are so numerous and so affected
not easier to make than is the
motivated
and their
through the ages
not too
issues oflegibility
some
cases,
designed
to
relative
be
used
89
legibdity.
for
text
to the conditions under
for
they lack legibdity. Scripts
to explore issues of
are not used
display setting. They
are used
to promote
6.
What do
Benson
you
is
think
"Roger
[sic]
the script
Beatty
"Again,
to
dst
the
script
face
Excoffon's Mistral, brought
faces. It
digital
pre-dates the
today
out
and why?
in
1953,
revolution
this question assumes that a current style
because it
makers
that makes them
based
innovative
most
on
style-
sculpture,
feel
as
changes
if they
frequently
doing
were
and gives the
music-do not
last because
their structural elements of substance.
why
not start a
dst
You
dst
Style
is
maker
constructive.
something
very important
something
Business
of types that wid
bent
Lve
to
do
is often
Lasting art of ad kinds-painting,
of their superficial style
seem
of
decades."
important.
things that wid soon go out of fashion.
dterature,
or other so
by several
is
innovative
remains the most
on
assembdng
through the
a
but because
dst
of
swinging
of
something
of the pen
dulum."
Frere-Jones
"I'd find it hard
although it's
technicady
with elegance you
this
here
to pick one, so
don't
out of the
often
are a
few
category,
it combines
even
in
text.
That's
a
because if the designer has done it correctly, nobody
Slimbach
"I
would
dke
readable at
retaining
tual
Zapf
the
spontaneity
It is
and
vitadty
chose a
by Jovica
favorite
remarkably different. These
typeface
includes:
according
Mistral
an unreleased version of
by
wid
Caflisch Script
90
It
which
for
is legible
and
Caflisch's) by
contains
according
adowing
new concept
many
to the order
variation
contex
in
which
in
faces."
script
to their personal opinion, ad of which are
Roger
Caflisch Script
Jovica Veljovic.
calligraphy
ignored,
that often goes
of the original model.
Veljovic. A
and
rough, choppy structure,
running hand (Max
also a multiple master typeface
"ExPonto designed
Fabnzio Schiavi,
an unreleased version of
feat
and variant characters that are substituted
are typed.
Each designer
it is
text sizes and simulates a modern
dgatures
they
to think
typography
find. FF Steel, despite its very
face is remarkably legible,
Triplex Itadc,
that come to mind:
Excoffon, Triplex Itadc, FF Steel by
by
Robert Slimbach
and
ExPonto
by
Conclusions
This
project
with
type
began
few
it was
dates
from books
difficult
when
they
tem
The
author would
large
been difficult.
Along with the
and
dke
number of script
always
discover
were
first
the
In
the
catalogs,
The
produced.
of script
faces,
their origins and
the
typefaces and their wide
foregoing
available
are
majority
catalog
which
Association
scheme
may
is
of script
of
not
of
developed
done based
classification was
variety
Such
software
easier to experiment with and create script
is
for
as
digital form
faces,
infor
Internet. In
each typeface
on the author's
a type classification sys
Font Information Interchange.
satisfy everybody; because
structure,
classifying
of the
faces has
script
presented as one solution.
author conducted a review of the actual type
now avadable.
in
magazines and through the
foundries
and
to stress that this classification
classification, the
through personal contacts
Especially helpful was
characteristics.
the
history
and
order to create the
designers
Archie Provan for
However,
digital technology
become
to
by Professor
developed
be gathered;
and specimen
face's design
analysis of each script
journals
books,
next objective was to create a classification system
are not available anymore.
mation was obtained
many cases,
The
script typefaces as could
quite a
in
research
purpose was to understand the
throughout the years.
many different
and the
background
designers. The
development
today, but
with
design
software
now so powerful and versatile that
typefaces, thereby providing
graphic
it has
designers
with an enormous repertoire of styles to use.
One
of the most
temporary
of script
quent
type
important
designers
parts of the project was to estabdsh contact with a
and obtain their personal opinions on the
faces. A questionnaire, described in
responses
were
designers'
responses
only because
compiled.
leads
chapter
The information
6,
development
was sent to each
obtained
from
designer
the
initial
to a clear conclusion: script types continue to grow
typographers are always
looking
for fresh
new
styles,
group
and
and
of con
popularity
their subse
and
the
in popularity,
not
research
but because digital technology
makes script typefaces easier to create.
In
a world
now obsessed with
anachronism, a reminder of
beauty. Our
increasing
days
redance
wonders
of
technology,
a
script type
when the simplest tools were used
on the
keyboard
9i
almost seems
to create
to
be
an
handwriting of great
and the word processor promises to make
any
handwriting
an endangered
very technology
responsible
which
for its
species,
has been
preservation
and therefore
responsible
in
another
for
especially
the
form!
92
decline
precious to us.
of the
How ironic
that the
handwritten document
is also
i.
Raymond A. Ballinger.
Corporation,
1952),
Lettering Art
in
Modern Use (New York: Reinhold
59.
93
Pubdshing
Chapter 7
Recommendations
When
a
designer
type
author and presented
Because
present
of their
catalog,
in
creates more than one
chapter
script
shapes,
it seems
contain the same
5
in
faces
that when
famdiar look. It is
face,
this project,
are
hard
a type
Suggestions for
and
according
they usuady
to classify
designer
possible that
but
between
Further
the
designers
tend to
fad
they
based
by
the
under the same category.
with the research
were ad
done
done
to prepare the
typeface,
on a specific
they
inspiration,
they have been designed
all
but
with a
long
designers
tend
them.
research can
to create their
to the classification
creates more than a single
that similar shape seems to appear one after the other even
period
Study
faces
be done
to
with the same
determine if there is
a specific reason
look. An investigation into
to obtain personal opinions.
94
why
this would
type
involve
interviews with
Appendix
Index
of
i
Typefaces
Appendix
Adagio (Pg.
Adine
I
Bendigo (Pg.
+i)
Kernberg
Script
Admiral Script (Pg.
Adscript (Pg.
(Pg.
Bernhard Cursive
35)
Agitator (Pg.
(Pg.
Alys (Pg.
Bible Script (Pg.
55)
Bickley
Blueprint (Pg.
55)
Amanda (Pg.
Amazone (Pg.
American Script (Pg.
Ariadne (Pg.
Artscript (Pg.
Badoon (Pg.
30)
56)
Bank Script (Pg.
Bazaar (Pg.
42)
58)
Caldgraphic
421
Cantate (Pg.
31)
Caprice (Pg.
48)
Cartoon (Pg.
31)
58)
(Pg. 53)
58)
Cascade Script (Pg.
56)
Becka Script (Pg.
Cadban (Pg.
40)
Cancellaresca Script (Pg.
30)
56)
Balzano (Pg.
48)
Caflish Script (Pg.
(Pg. 56)
57)
58)
Cabarga Cursiva (Pg.
Baltimore Script (Pg.
Balzac (Pg.
36)
Byron (Pg.
70)
Balmoral (Pg.
Brush Script (Pg.
Burgund (Pg.
41)
47)
Ashley Script
58)
Budetin Script (Pg.
30)
48)
42)
Script (Pg.
Brody
70)
56)
Arkona (Pg.
31)
Bouwsma Script (Pg.
30)
41)
Aristocrat (Pg.
Arriba (Pg.
70)
Boulevard (Pg.
30)
Archi-text (Pg.
36)
Bordeaux Script (Pg.
47)
41)
57)
Bond Script (Pg.
47)
Cataneo (Pg.
57)
96
53)
57)
Madonna (Pg.
53)
Script (Pg.
Biffo Script (Pg.
55)
Alhambra (Pg.
or
Bernhard Tango (Pg.
55)
55)
Alexia (Pg.
79)
Bernhard Hand-Brush Script (Pg.
47)
Advertisers Upright Script (Pg.
Alexa
Bergell (Pg.
47)
57)
59)
42)
41)
Challenge Bold
Champion (Pg.
Charcoal (Pg.
Charme (Pg.
(Pg. 70)
Farfell (Pg.
71)
Fine Hand (Pg. 60)
59)
Flamme (Pg. 6r)
79)
Flash (Pg.
36)
Choc (Pg.59)
72)
Flex (Pg. 61)
Christmas Gift Script (Pg.
Florentine Cursive (Pg.
79)
Cigogna (Pg.59)
Florens (Pg.
Cividte (Pg.
Flondian Script (Pg.
52)
Comic book (Pg.
Comicbook (Pg.
Fontoon (Pg.
71)
Commercial Script (Pg.
Compdment (Pg.
Coronet (Pg.
Corsiva (Pg.
Derby
Freestyle Script (Pg. 61)
48)
French Plate Script (Pg.
French Script (Pg.
59)
35)
Gando Ronde (Pg.
Dom Casual (Pg.
Gidies Gothic (Pg.
71)
Graphite (Pg.
71)
Dorchester Script (Pg.
49)
72)
72)
Grayda (Pg. 62)
48)
Greyton Script (Pg.
Dynamik (Pg. 60)
Eaglefeather (Pg.
35)
Georgian Cursive (Pg.
49)
Doodle (Pg.
35)
Galahad (Pg. 62)
31)
Diskus (Pg.
43)
Fox (Pg. 61)
31)
(Pg. 60)
Diane (Pg.
72)
Forte (Pg. 61)
42)
Demian (Pg.
43)
49)
Formal Script (Pg.
31)
59)
Copperplate bold (Pg.
53)
Fluidium (Pg.
-o)
43)
Grove Script (Pg.
71)
40)
72)
Handwrite Inkblot (Pg.
Elan (Pg.38)
Elegance (Pg.
36)
Hauser Script (Pg. 62)
El Greco (Pg.
42)
Helinda Rook (Pg.
Eld (Pg. 60)
Holla (Pg. 62)
ExPonto
Hurry
Express (Pg. 60)
Indy
97
(Pg. 73)
Italic (Pg. 62)
32)
79)
Inscription (Pg.
Mayfair Cursive (Pg.
40)
Invitation Script (Pg.
Isadora (Pg.
John
Mead (Pg.74)
32)
32)
Handy
(Pg. 79)
Jowa Script (Pg. 62)
Judy
Juliet (Pg.
Medial Script (Pg.
38)
Medici Script (Pg.
44)
Mistral (Pg.
Finckel (Pg. 80)
Juliana (Pg.
36)
Murray Hid
(Pg.
Nadianne (Pg.
53)
49)
74)
Nevison Casual Script (Pg. 64)
32)
Kaufmann Script (Pg.
New Berodna (Pg. 64)
38)
Keynote (Pg. 63)
Nova Script (Pg.
Kidtype (Pg. 80)
Nuptial Script (Pg.
Konzept (Pg. 63)
Oberon (Pg.
Kristen (Pg.
Oxford (Pg.54)
73)
Kiinstler Script (Pg.
Langer (Pg.
44)
Palace Script (Pg.
32)
Palomba (Pg. 64)
Laser (Pg. 63)
Papageno (Pg. 64)
Papyrus (Pg.74)
43)
Lemonade (Pg.
Park Avenue (Pg.
73)
Parkway
(Pg. 43)
Lightnin'
32)
Palette (Pg. 64)
73)
LeGriffe (Pg.
44)
78)
Lariat (Pg. 80)
Liberty
44)
Party
(Pg. 73)
Limehouse Script (Pg.
Linoscript (Pg.
50)
(Pg. 80)
Pendry
35)
Lydian Cursive (Pg.
Script (Pg.
Pedcan (Pg.
74)
50)
54)
Script (Pg. 64)
Pepita (Pg. 65)
49)
Madbu (Pg. 63)
Perky
Mandate (Pg.
Petra (Pg.
38)
(Pg.74)
50)
Marguenta (Pg. 80)
Piranesi Italic (Pg.
Marigold (Pg.
Poetica (Pg.54)
54)
44)
Matura (Pg. 63)
Polo (Pg. 65)
Maxime (Pg. 63)
Pompeian Cursive (Pg.
9S
45)
Poppl-residenz (Pg.
Shelley Andante
45)
Present Script (Pg. 65)
Shelley Volante
Prima (Pg. 65)
Sho (Pg. 67)
Pnstina (Pg. 65)
Signature (Pg.
Pnvat (Pg. 65)
Slogan (Pg.
Quid Script (Pg.
Rage Italic (Pg.
(Pg.
33)
75)
37)
Script (Pg.
Sloop
45)
(Pg. 33)
34)
Smudger (Pg. 67)
37)
Raleigh Cursive (Pg.
Sned Rounhand (Pg.
50)
34)
Rapier (Pg. 66)
Spring
Reiner Black (Pg. 66)
Squire (Pg.
Reiner Script (Pg. 66)
Stationers Semiscript (Pg.
Repro Script (Pg.
Sterdng
Rondine (Pg.
37)
Stop
50)
(Pg. 68)
75)
Cursive (Pg.
Studio Script (Pg.
Roundhand (Pg. 66)
Style Script (Pg.
Ru'ach (Pg. 66)
Stylus (Pg.
Script (Pg. 67)
Sackers EngHsh Script (Pg.
Sackers Itadan Script (Pg.
51)
76)
39)
Tannhauser (Pg.
76)
Tekton (Pg.
33)
76)
Bold (Pg.
Swing
Ruzicka Freehand (Pg. 67)
76)
Temple Script (Pg.
33)
51)
(Pg. 81)
Roughedge (Pg. 81)
Ruling
45)
51)
Salto (Pg. 67)
Thompson Quidscript (Pg.
Santafe (Pg.
75)
Tiger
Sanvito (Pg.
54)
Tiranti (Pg.
Sassoon
Primary
Savoye (Pg.
Tomboy
(Pg. 75)
(Pg. 68)
46)
(Pg.
76)
Trafton Script (Pg.
51)
Scorpio (Pg. 81)
Scotty
Rag
(Pg. 81)
Trophy
Oblique (Pg. 68)
Twang
(Pg. 82)
Scratch (Pg. 81)
Typo Upright (Pg.
Signal (Pg.
Ulyses (Pg. 68)
38)
Shelley Allegro
Van Dijk (Pg.
(Pg. 33)
99
51)
77)
35)
45)
Vanator (Pg. 82)
Veltro (Pg.39)
Venture (Pg. 68)
Vertical
Writing
Virtuosa (Pg.
(Pg. 39)
46)
Visigoth (Pg. 69)
Vivaldi (Pg.
46)
Vladimir Script (Pg.
37)
Volante (Pg. 68)
Wave (Pg. 69)
Wedding
Wendy
Plate Script (Pg.
(Pg.39)
Wiesbaden
Swing
Yorkshire (Pg.
Young
35)
(Pg. 77)
34)
Baroque (Pg.
Youthdne (Pg.
34)
34)
Zapf Civdite (Pg.
52)
100
Appendix
Index
of
n
Designers
Appendix
n
Agfa Staff
Benton, Morris Fuder
Flondian Script
(Pg.
Hednda Rook
(Pg. 35)
x<\dscnpt
(Pg.
Civdite
(Pg. 52)
Sackers English Script (Pg.
Commercial Script
Sackers Itadan Script
Linoscript (Typo Upright)
(Pg.
Altman, Mark
67)'
Ruzicka Freehand
American Script
Bond Script
(Pg. 31)
(Pg. 38)
Typo Upright
(Pg.
Bernhard Cursive
or
Bernhard Tango
(Pg.
Bertieri, Raffaedo
Rondine
35)
(Pg. 50)
Blackman, Alan
Andrich, Vladimir
Vladimir Script
(Pg. 51)
Bernhard Hand-Brush Script
(Pg. 30)
Medial Script
62)"
Galahad
(Pg.
Advertisers Upright Script
(Pg.
Boehland, Johannes
Barnhart Brothers & Spindler
Balzac
(Pg. 55)
(Pg.
Boge, Garrett
Baker, Arthur
Florens
(Pg.
(Pg.
68)'
(Pg.
Oxford
(Pg.
Spring
Pedcan
(Pg.
Tomboy
(Pg.
Archi-text
68)"
Obdque
(Pg.
Hurry
Benson, John
Perky
(Pg.55)-
Alexa
Balzano
(Pg.
Cadban
(Pg.
(Pg.
Bofdin, Marshad
Bartuska, Frank
Trophy
(Pg.
Wendy
69)'
Visigoth
(Pg.
Bernhard, Lucian
(Pg.
American Type Founders
Marigold
Cursive
Sterling
(Pg.
(Pg.
(Pg.
(Pg.
Bohn, Hans
Kiinstler Script
102
(Pg.
Madonna
(Pg. 57)
(Pg.
41)
Bouwsma, Philip
Alexia
Cooper, Oswald
(Pg.
Pompeian Cursive
Bouwsma Script
Juliana
Boston
(Pg.
(Pg.
Papyrus
(Pg. 39)
Dom Casual
Bradley, Richard
Fine Hand
(Pg.
John
(Pg.
Riptide
Brody Script
(Pg.
(Pg.
Ulyses
(Pg.
68)'
(Pg. 55)
Evans, Jean
Elli
(Pg.
(Pg. 50)
6o)'
(Pg.
Excoffon, Roger
Cabarga, Lesde
Choc
Cabarga Cursiva
Diane
(Pg.
Matthew
(Pg.
(Pg.
Finke, Thomas
(Pg.
Berged
(Pg.
Shedey Adegro
Font
(Pg.
Shedey Andante
Company
(Pg.
Forster, Tony
(Pg.
Sned Roundhand
(Pg.
Yorkshire
(Pg.
Shedey Volante
31)
(Pg.36)"
Mistral
Cascade Script
Tiranti
(Pg.
(Pg.
Frere-Jones, Tobias
Chaisson, Ann
67)'
Ruzicka Freehand
Reiner Script
(Pg.
Chapped, Warren
Lvdian Cursive
Twang
Agitator
(Pg. 59)
Gando Ronde
(Pg.
Eickhoff, Wolfgang
Butti, Adesandro
Carter,
66)'
Ru'ach
82)'
(Pg.
Broderson, Harold
Rondine
(Pg.
Handy
60)'
Handwrite Inkblot
Fluidium
(Pg.
Donaldson, Timothy
Brei, Todd
Cigogna
(Pg.
Dombrezian, Peter
Writing
Bible Script
(Pg. 45)
Costedo, Chris
Foundry
Vertical
Bruce
(Pg.
103
66)'
(Pg.
Gaunt, Sidney Clayde
Hirt, Emd
French Plate Script
(Pg.
Parkway
35)
Stationers Semiscript
(Pg.
45)
Plate Script
(Pg.
35)
Wedding
Gillies, William
Elegance
Salto
(Pg.
(Pg.
81)'
Isadora
(Pg.
Howed,
Robert J.
81)'
Roughedge
(Pg.
Indy Itadc
62)'
(Pg.
62)'
Hauser Script
(Pg.
Hullinger, Andy
Christmas Gift Script
Havindon, Ashley
Ashley Script
(Pg.
Hughes, Charles
Hauser, George
(Pg.
Gando Ronde
Inland Type
(Pg. 6s)
(Pg.
Foundry
Invitation Script
Hess, Sol
Artscript
Adine
(Pg.
Kernberg
Script
80)'
Judy Finckel
(Pg.
Studio Script
(Pg.
Intecsas Staff
Hickson, Pat
Sinclair Script
66)"
Roundhand
(Pg. 51)
Grove Script
(Pg. 32)
Ihlenburg, Herman
(Pg. 41)
Style Script
(Pg.
Hunziker, Hans-Jorg
Hermersdorf, Martin
Byron
(Pg.
65)"
Becka Script
Alys
Kris
Holmes,
David
Prima
(Pg. 60)
(Pg.
Stop
(Pg.
Pnstina
Harris,
67)'
(Pg.
Express
Braganza
Oberon
(Pg. 36)
Hohnisch, Walter
(Pg.
Bendigo
50)
(Pg. 67)
Sho
Grimshaw, Phd
Arriba
(Pg.
Hoefer, Karlgeorg
S.
Gillies Gothic
Script
(Pg.
Kaufmann, Max Richard
(Pg.
Balloon
(Pg.
(Pg.
Kaufmann
(Pg.
104
(Pg.
(Pg.
Kemp, Carol
Lubac, Andre-Michael
So)"
Party
(Pg.
Le Griffe
Kent, Nicholas D.
Comicbook
Macagba, Jonathan
(Pg.
Doodle
Keystone Type Foundry
Budetin Script
Charcoal
(Pg. 58)
(Pg.
(Pg.
41)
Arkona
(Pg.
47)
Wiesbaden
Swing
Murray Hid
(Pg.
Mead
(Pg.
(Pg.
(Pg.
(Pg.
63)"
Madbu
(Pg.
Savoye
(Pg.
(Pg.
Middleton, Robert Hunter
Admiral Script (Pg.
59)
Coronet
Formal Script
Mandate
(Pg.
(Pg.
Wave
(Pg.
105
(Pg.
43)
(Pg.
Mayfair Cursive
(Pg.
47)
(Pg.
Florentine Cursive
42)
Richard
Script
(Pg.
Tannhauser
(Pg. 60)
(Pg.
(Pg.
Limehouse Script
(Pg.
Champion
(Pg.
(Pg.
Lightnin'
(Pg.
Lange, Gunter Gerhard
Sloop
(Pg.
61)'
Inscription
(Pg.
Alhambra
Script
Flamme
Lang, Paul
El Greco
(Pg.
(Pg.74)"
Cancedaresca Script
Comic Book
Boulevard
(Pg.
Steve
Bickley
Kolodziejzyk, Greg
Signature
(Pg.
Meeks, Alan
(Pg. 62)
Cataneo
82)'
Blueprint
Rudolf
Lipton,
(Pg.
Matteson,
Klumpp, EmdJ.
Derby
Vanator
Compliment
Kloos-Rau, Rosemarie
Langer
(Pg.
Charme
Adagio
Hoda
81)'
Scorpio
Matheis, Helmut
Klauss, Karl
Koch,
(Pg.
Marcus, Jim
(Pg. 79)
Quid Script
(Pg.
(Pg. 69)
(Pg. 44)
Mohring,
Hans
Post, Herbert
(Pg.38)'
60)'
Elan
Dynamik
Monotype Staff
(Pg.
Pott, Gottfried
(Pg.57)-
67)'
Biffo
Rudng
Dorchester Script
Swing
Bold
Script
(Pg.
Quay> David
(Pg.
Bordeaux Script
(Pg.
(Pg.
80)'
Temple Script
(Pg.
Marguenta
51)
Santa Fe
Muden, Jerry
Repro Script
(Pg.
(Pg.
(Pg.
Rebhuhn, W.
37)
60"
Nebiolo Type
Veltro
Fox
Foundry
(Pg.
Reiner, Imre
(Pg. 39)
Bazaar
Neugebauer, Michael
(Pg.
63)"
Squire
Matura
(Pg.
(Pg.
65)"
Pepita
Nevison, T
Nevison Casual Script
64)'
(Pg.
(Pg.
Reiner Black
(Pg. 66)
Reiner Script
(Pg.
66)'
Novarese, Aldo
Cigogna
Reissberger, Carl
(Pg. 59)
61)'
Judet
(Pg.
Nadianne
Forte
32)
(Pg.
Rdey, Frank H.
(Pg.
62)'
Slogan
Grayda
(Pg. yp
Rubin, Noel
Pasternak, Dennds
Farfed
(Pg.76)-
Stylus
(Pg.
Ryan, George
Pauser, Heinrich
Petra
(Pg.
Kristen
(Pg. 50)
(Pg.
Sadwey, Friedrich Karl
Peters, Fritz
65)'
Vivaldi
Present Script
(Pg.
Salter, George
Pohl, Carl
Polo
Poppl,
(Pg.
Flex
(Pg. 65)
(Pg. 6:)
Samata, Greg
Friedrich
81)'
Poppl-Residenz
Scratch
(Pg.
106
(Pg.
Saqua, Jacquedne
Cataneo
Sdmbach, Robert
Caflisch Script
(Pg.
Poetica
Sassoon, Rosemary
Sassoon
Primary
Sanvito
(Pg. 75)
Saunders, Patricia
Corsiva
(Pg.
Smith, Andrew
67)'
Smudger
(Pg.
(Pg.
Smit, Leonard
Scarano, Jane
80)'
Kidtype
(Pg.
(Pg.54)'
Amazone
(Pg.
Smith,
Scarano, Scott
H. D.
(Pg.
Robert E.
(Pg.
Brush Script
(Pg.
Schneidler, Peter
Park Avenue
(Pg.
80)'
Kidtype
Maxime
Smith, Scott
(Pg. 63)
81)'
Scotty
Schraubstadter, Wildam
French Script
Sniffin,WmardT
(Pg. 35)
Keynote
Schwekendiek, Gerhard
Greyton Script
Liberty
(Pg.
Lemonade
Amanda
(Pg.
Eaglefeather
Youthdne
(Pg.
Aristocrat
47)
(Pg.
(Pg.
(Pg.
34)
(Pg.
30)
Thompson, Samuel Winfield (Tommy)
Siercke, J. J.
Pnvat
Foundry
Stevens, Donald
(Pg.
(Pg.
Cantante
(Pg.
Palace Script
David
Tekton
(Pg. 50)
Copperplate bold
(Pg.72)
Graphite
(Pg.
Stephenson Blake Type
Nuptial Script
Siegel,
(Pg.
Raleigh Cursive
(Pg.
Edwin
Flash
(Pg. 63)
Piranesi Itadc
Semaka, Ty
Shaar,
(Pg.
Baltimore Script
(Pg. 31)
(Pg. 30)
Thompson Quillscnpt
(Pg. 65)
107
(Pg.
45)
Thorns,
Helmuth
Lariat
Wasco, Jim
(Pg. 80)
Tekton
Toriumi-Lawrence, Carol
Eaglefeather
Weber,
(Pg.
Signal
Trafton Script
or
Quick
(Pg. 51)
(Pg.38)
West, James
Trenholm, George F
Bank Script
Georgian Cursive
Nova Script
(Pg.
Burgund
Caprice
Trump, Georg
Diskus
(Pg.
421
(Pg. 31)
Wilke, Martin
49)
(Pg. 44)
Calligraphic
(Pg. 64)
Wege, W.
(Pg.
Palomba
Richard
Papageno
Trafton, Howard Allen
Cartoon
(Pg.
(Pg.
48)
48)
(Pg.
Konzept
(Pg. 64)
(Pg.
(Pg. 63)
64)'
Van
New Berodna
Dick, Jan
Demian
Palette
(Pg.
Van Dijk
Young,
(Pg. 77y
(Pg. 64)
Donald
Young Baroque
Veljovic, Jovica
(Pg. 34)
Zafarana, Steve
ExPonto
Fontoon
Viner, John
(Pg.
Rag
(Pg.
Zapf, Hermann
68)'
Tiger
(Pg.
Medici Script
Wagner, J.
Jowa Script
Venture
(Pg. 62)
Virtuosa
Wait, Martin
Balmoral
ChadengeBold
(Pg.
Freestyle Script
(Pg.
Zapf von
Pendry
Script
Rapier
(Pg.
(Pg. 52)
(Pg.
Zwingelberg, Ron
63)'
(Pg.
(Pg.
Hesse, Gudrun
Ariadne
61)'
Laser
(Pg. 68)
Zapf Cividte
(Pg.
(Pg.
Rage Itadc
64)'
(Pg.
(Pg.
66)"
"
AVAILABLE IN DIGITAL FORM.
108
Appendix
Index
of
in
Type Foundries
Appendix
The
following
in
dst
of type
foundries is
mentioned throughout the project.
Adobe Systems
Inland Type
Agfa Staff
Intecsas Staff
Alpha Omega Typography
Intertype
Alphabets Incorporation
ITC International Typeface Corporation
Amsterdam Type
Keystone Type
Foundry
ATF American Type Founders
Foundry
Kdngspor
Company
BB&S Barnhart Brothers 8c Spindler
Letraset
Baltimore Type
Letter Perfect
and
Composition
Ludlow Typograph
Corporation
Bauer Type
Boston
Monotype Staff
Foundry
Nebiolo Type
Foundry
Foundry
Foundry
Eisner & Flake
OHve
EmDash
Red Rooster Type
EMono Engdsh Monotype
RJH Productions
Font Bureau
Stempel Type
Font
Foundry
Foundry
Stephenson Blake Company
Company
Galapagos Design
Company
Ludwig & Mayer
Foundry
Berthold Type
Foundry
TFR Type Founders
Group
Gensch & Heyse
T[26]
Handcrafted Fonts
Vanguard Media
Image Club
Weber Type
no
Foundry
of
Phoenix
Bibliography
Selected
Avrin, Leila. Scribes, Scripts
and
(Chicago: American Library
Baldnger, Raymond A.
Blunt, Wilfrid.
Bibliography
Books. The Book Arts from
Association,
the
Renaissance
1991).
Lettering Art in Modern
The Sweet Roman Hand.
Antiquity to
500
Use (Reinhold
Publishing Corporation,
Years ofItalic Cursive Script (London: James
1952).
Barne,
1952).
Dreyfus. John. "Script into
Type,"
The Penrose Annual
Drucker, Johanna The Alphabetic Labyrinth.
The Letters
50
in
(1956).
History
and
Imagination (London:
Thames 8c Hudson Ltd, 1995)
Fairbank, Alfred.
A Book of Scripts
Font Bureau. Type Specimens
Harvard, Stephen.
Co. Inc.,
(Baltimore, Maryland: Penguin Books,
(Boston,
Massachusetts: The Font
Bureau, Inc.,
1995).
An Italic Copybook. The Cataneo Manuscript (New York: Tapdnger
Pubdshing
1981).
Heder, Steven.
"Signature
Styles,"
Upper
and
Lowercase
21
(Fad
1994).
Holme, C. G. Lettering of To-day (New York Studio Pubdcations Inc.,
Hornung, Clarence
Hutchings, R.S.
P.
Letteringfrom A to
Z (New York Penn
A Manual of Script Typefaces (London:
Jaspert, W. Pincus,
Kapr, Albert.
1968).
et al.
Pubdshing Corporation, 1954).
Cory Adams
ccMackay
The Encyclopedia of Type Faces (London: Bath
The Art of Lettering. The History, Anatomy,
1949).
Press,
and Aesthetics
Ltd.,
1965).
1983).
of the Roman Letterforms
(Munich: K.G. Saur, 1983)
Lawson, Alexander. Anatomy of a
Leach,
Mortimer. Letter Design in
Typeface (Boston: David R.
the
Godine,
1990).
Graphic Arts (New York: Reinhold
Pubdshing Corporation,
i960).
Level, Jeff,
et al.
York: Precision
Lindegren, Erik
Type,
Publishing Version
5.0
(New
1995).
ABC of Lettering
and
Printing Types
1976).
112
(Sweden: Lindegrens Boktrycken AB,
McGrew,
Mac. American Metal Typefaces
of the Twentieth
Knod Book,
Stanley,
and
Regarding Script
Types,
"
Print (Cambridge: Cambridge
Tommy. Script
Van der Ploeg, Jan. "Script
Types"
Selected Essays
Letteringfor Artists
Types,"
on
University Press,
Delaware: Oak
(New York: Press
of
Ars
Print %
the
History of Letter-forms
in
Manuscript
1981).
(New York: Dover Pubdcations, Inc.).
(April-May 1954).
Wotzkow, Helm. The Art of Lettering. Its .Mastery
Inc.,
Castle,
1925).
Monson. "On Script
Thompson,
(New
1993).
McMurtrie, Douglas C. "A Note
Typographica,
Century
and
Practice (New York: Dover
Pubdcations,
1967).
Wallis, Lawrence. Modern Encyclopedia of Typefaces
113
1960-90
(London: Lund Humphries,
1990).

An Investigation into the growing popularity of script typefaces and

Transcription

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