![]() In 1929, Eric Gill would create Solus which would firmly plant Slab serif revival. While Morris claim that the roman type from Jenson was its basis, the slab serif was very much present on the typeface. The Golden Type by William Morris can be attributed as the seed that would reincarnate the slab serif. It was until the 1930s when slab serif would become visible again. During the early 20 th century especially the 1920s, sans serif became the typeface for its no-nonsense, utilitarian appeal. With Postcards you can create and edit email templates online without any coding skills! Includes more than 100 components to help you create custom emails templates faster than ever before.Īt the end of the 19 th century, there has been a considerable disuse and unpopularity towards the use of Egyptian Slab serif. Another popular version was the Ionic which carries a robust appeal which is why it was preferred for news printing. The modulations between thick and thin are present as well as bracketed serifs and stress on verticals. By 1845, the Clarendon, a sub-category of the Slab-serif has emerged and carries a distinct appeal due to its gentler form. Slab Serif began gaining traction in the industry. A few years on, the slab serif has become commonplace as emphasis for typographic data such as headings or as bold type within texts. Even those from typefoundries felt that it may be too much.įiggins continues development of slab-serif in which italics on capital letters were introduced in 1821 while further developments of the small letters have been introduced in 1825. Like many other revolutionary and unique typographies, the slab serif met disdain and callous remarks from critics. The capital letters may carry consistent modulations but with small letters, the modulations were varied, loosely based on the fat faces. The first iteration was in upper case letters only and the serifs are thick as the main letter strokes.īased on an 1823 specimen by Figgins, experts believed that slab serif was indeed based on fat faces. Based on an analysis by James Mosely, it wasn’t until Figgins’ first Egyptian printing type appeared that a true slab-serif typeface existed. The actual origins of this typeface are hard to determine but experts agree it came from signwriting. In the first few decades of the 19 th century, radical developments in typography would result to three prominent typeface varieties including sans serif, fat faces, and the slab serif. Slab serif carries a very prominent form: slab-like, bold, and square cut fonts. ![]() Today’s take on slab serif Defining the form Even if slab serif was a young innovation compared to other typefaces, it also is one of the constantly changing and innovating typefaces, adapting to consumer need and changes in aesthetics. Posters have to shout and billboards have to scream. Typeface was initially geared towards long stretches of texts like in newspapers and in books, but with the changes in innovation as well as increase in the prevalence of advertising the need for a typeface that shouts at the person and stands out amongst the crowd became essential. The radical advances in advertising strategies inspired this bold new typeface. The birthplace of Slab Serif was Britain in which print advertising was still very popular. It seemed like it was the most convenient term and because of its popularity, has become the nomenclature for the typeface. The term Egyptian was deemed by others as a misnomer, in which it was derived from the craze the country made after the 3 year expedition of Napoleon. The early 1800 saw the birth of the Egyptian typeface, technically known as Slab serif. ![]() 2014.Slab Serif Fonts: Most Popular Typefaces, Best for Webfonts "Making Sense Of Type Classification (Part 1)." Smashing Magazine. those with unbracketed serifs and geometric construction). They have a lighter, friendlier character than the Neo-Grotesque slabs (i.e. Vincent Figgins is credited with the first slab serifs, the earliest specimen dating to 1815, and his work inspired a diversity of critiques variously commending and lambasting the new style.Ībrupt serifs, usually in heavy weights, and a no-nonsense attitude are the trademarks of this style.Ĭlarendons, a notable offshoot of the original slab serifs, are a slightly tamed slab style, often in less extreme weights and using bracketed serifs. Originally created for advertising, posters and other large media, slab serifs, alternatively called “Mechanicals” (in VOX-ATypI) and “Égyptiennes” (by Thibaudeau), were the first types expressly designed as display type. These are among the easiest to identify because of their very obvious appearance. This article wouldn’t be complete without a mention of slab serifs.
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