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75-469: The ministry had asked for "modern" handwriting scripts to be used in offices and to be taught in school. Sütterlin created two scripts in parallel with the two typefaces that were in use (see Antiqua–Fraktur dispute ). The Sütterlin scripts were introduced in Prussia in 1915 and from the 1920s onwards they began to replace the relatively similar old German handwriting ( Kurrent ) in schools. In 1935

150-455: A Schrifterlass ("edict on script") signed by Martin Bormann , which asserted that it was falsely called "Gothic" and actually consisted of Schwabacher "Jewish letters". One of the motivations seems to have been compatibility with other European languages. The edict mentions publications destined for foreign countries, Antiqua would be more legible to those living in the occupied areas;

225-453: A type designer to create customized typefaces for their exclusive use. Different periodicals design their publications, including their typography, to achieve a particular tone or style. For example, USA Today uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, The New York Times uses

300-415: A body of text can instantaneously reveal the mood the author intends to convey to its readers. The message that a body of text conveys has a direct relationship with the typeface that is chosen. Therefore, when a person focuses on typography and setting type, they must pay very close attention to the typeface they choose. Choosing the correct typeface for a body of text can only be done after thoroughly reading

375-405: A key difference. Much of the legibility research literature is atheoretical—various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests lacked a model of reading or visual perception. Some typographers believe that the overall word shape ( Bouma ) is essential in readability and that the theory of parallel letter recognition

450-451: A minimum of distractions and anomalies, aims to produce clarity and transparency. Choice of typefaces is the primary aspect of text typography— prose fiction , non-fiction , editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces (and their fonts or styles). For historic material, established text typefaces frequently are chosen according to

525-410: A more traditional approach, with fewer colors, less typeface variation, and more columns . Especially on the front page of newspapers and on magazine covers, headlines often are set in larger display typefaces to attract attention, and are placed near the masthead . Typography utilized to characterize text: Typography is intended to reveal the character of the text. Through the use of typography,

600-412: A product. Legibility describes how easily individual characters can be distinguished from one another. It is described by Walter Tracy as "the quality of being decipherable and recognisable". For instance, if a b and an h , or a 3 and an 8 , are difficult to distinguish at small sizes, this is a problem of legibility. Typographers are concerned with legibility insofar as it is their job to select

675-533: A proposition to make Antiqua the official typeface (Fraktur had been the official typeface since the foundation of the German Empire ) and no longer teach Kurrent (blackletter cursive ) in the schools. After a long and, in places, very emotional debate, the proposition was narrowly rejected 85–82. Nazis had a complex and variable relationship with Fraktur. Adolf Hitler personally disliked it. In fact, as early as 1934 he denounced its continued use in

750-423: A scheme of historical genre acquired by a long process of accretion, with considerable overlap among historical periods. Contemporary books are more likely to be set with state-of-the-art "text romans" or "book romans" typefaces with serifs and design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson , Francesco Griffo (a punchcutter who created

825-555: A speech to the Reichstag : Your alleged Gothic internalization does not fit well in this age of steel and iron, glass and concrete, of womanly beauty and manly strength, of head raised high and intention defiant [...] In a hundred years, our language will be the European language. The nations of the east, the north and the west will, to communicate with us, learn our language. The prerequisite for this: The script called Gothic

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900-416: A wide variety of situations, including: Since digitization, typographical uses have spread to a wider range of applications, appearing on web pages, LCDs mobile phone screens, and hand-held video games. Traditionally, text is composed to create a readable, coherent, and visually satisfying block of type that works invisibly, without the awareness of the reader. Even distribution of typeset material, with

975-439: Is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information. Typography

1050-528: Is also the work of graphic designers , art directors , manga artists , comic book artists , and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from clerical workers and newsletter writers to anyone self-publishing materials. Until the Digital Age , typography was a specialized occupation. Personal computers opened up typography to new generations of previously unrelated designers and lay users. As

1125-456: Is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not. In typesetting, color is the overall density of the ink on the page, determined mainly by the typeface, but also by the word spacing, leading , and depth of the margins. Text layout, tone, or color of the set text, and the interplay of text with the white space of

1200-450: Is more legible, although strong opinions exist. Other topics, such as justified vs. unjustified type, use of hyphens, and proper typefaces for people with reading difficulties such as dyslexia , continue to be debated. Legibility is usually measured through the speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker , who published numerous studies from

1275-407: Is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes, and images. In the early twenty-first century, typography in advertising often reflects a company's brand . A brand may use typography to express its theme, personality, and message. Just by looking at the typeface, viewers can get an idea about the message and personality of the brand, which

1350-521: Is replaced by the script we have called Latin so far [...] Nonetheless, Fraktur typefaces were particularly heavily used during the early years of the Nazi era , when they were initially represented as true German script. In fact, the press was scolded for its frequent use of "Roman characters" under "Jewish influence", and German émigrés were urged to use only "German script". However, Hitler's distaste for Fraktur saw it officially discontinued in 1941 in

1425-785: Is used to convey a certain sense of rusticity and oldness (compare the English ye olde ). However, many of these deviate from the traditional letterforms, specifically in the frequent untraditional use of the round s instead of the long s (ſ) at the beginning of a syllable, the omission of ligatures , and the use of letter-forms more similar to Antiqua for certain especially hard-to-read Fraktur letters such as k . Books wholly printed in Fraktur are nowadays read mostly for particular interests. Since many people have difficulty understanding blackletter, they may have trouble accessing older editions of classic works in German. A few organizations such as

1500-441: Is wrong, less important, or not the entire picture. Word shape differs by outline, influenced by ascending and descending elements of lowercase letters and enables reading the entire word without having to parse out each letter. Readability also may be compromised by letter-spacing , word spacing, or leading that is too tight or too loose. It may be improved when generous vertical space separates text lines, making it easier for

1575-646: The Bund für deutsche Schrift und Sprache  [ de ] continue to advocate the use of Fraktur typefaces, highlighting their cultural and historical heritage and their advantages when used for printing Germanic languages . But these organizations are small, somewhat sectarian, and not particularly well known in Germany. In the United States, Mexico, and Central America, Old Order Amish , Old Order Mennonite , and Old Colony Mennonite schools still teach

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1650-522: The Sütterlin style officially became the only German script taught in schools. The Nazi Party banned all "broken" blackletter typefaces in 1941, which were seen as chaotic, including Sütterlin , and replaced them with Latin-type letters such as Antiqua . However many German speakers who had been brought up with that writing system continued to use it well into the postwar period. Sütterlin continued to be taught in some German schools until

1725-573: The Kurrent handwriting and Fraktur script. Many German books printed by Amish and Mennonite printers use the Fraktur script. Typography This is an accepted version of this page Typography is the art and technique of arranging type to make written language legible , readable and appealing when displayed. The arrangement of type involves selecting typefaces , point sizes , line lengths , line spacing , letter spacing , and spaces between pairs of letters . The term typography

1800-793: The Mesopotamian cities of Uruk and Larsa , dating from the second millennium B.C. , may be evidence of type, wherein the reuse of identical characters was applied to create cuneiform text. Babylonian cylinder seals were used to create an impression on a surface by rolling the seal on wet clay. Typography was also implemented in the Phaistos Disc , an enigmatic Minoan printed item from Crete , which dates to between 1850 and 1600 B.C. It has been proposed that Roman lead pipe inscriptions were created with movable type printing, but German typographer Herbert Brekle recently dismissed this view. The essential criterion of type identity

1875-617: The history of Germany in which nationalists began to attempt to define cultural values common to all Germans. There was a massive effort to canonize the German national literature—for example, the Grimm Brothers ' collection of fairy tales —and to create a unified German grammar . In the context of these debates, the two styles became increasingly polarized: Antiqua typefaces were seen as "un-German", and using them took on connotations of "shallow", "light", and "not serious". In contrast, Fraktur, with its much darker and denser script,

1950-488: The 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. The Readability of Print Unit at the Royal College of Art under Professor Herbert Spencer with Brian Coe and Linda Reynolds did important work in this area. It was one of the centers that revealed the importance of the saccadic rhythm of eye movement for readability—in particular,

2025-514: The 1970s but no longer as the primary script. Sütterlin is based on older German handwriting, which is a handwriting form of the Blackletter scripts such as Fraktur and Schwabacher , the German print scripts used at the same time. It includes the long s (ſ) as well as several standard ligatures such as ff (f-f), ſt (ſ-t), st (s-t), and ß (ſ-z or ſ-s). Because of their distinctiveness, Sütterlin letters can be used on

2100-468: The 1990s. His work caused an uproar in the design community due to his abandonment of standard practices in typeface selection, layout, and design. Experimental typography is said to place emphasis on expressing emotion, rather than having a concern for legibility while communicating ideas, hence considered bordering on being art. There are many facets to the expressive use of typography, and with those come many different techniques to help with visual aid and

2175-592: The Antiqua-style typefaces were normally used. This extended even to English–German dictionaries; the English words would all be written in Antiqua, and the German words in Fraktur. Originally this was simply a convention. Conflict over the two typeface styles first came to a head after the occupation of Germany and dissolution of the Holy Roman Empire by Napoleon in 1806, which led to a period in

2250-407: The ability to take in (i.e., recognise the meaning of groups of) about three words at once and the physiognomy of the eye, which means the eye tires if the line required more than three or four of these saccadic jumps. More than this is found to introduce strain and errors in reading (e.g., doubling). The use of all-caps renders words indistinguishable as groups, all letters presenting a uniform line to

2325-548: The basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design. Studies of both legibility and readability have examined a wide range of factors including type size and type design, comparing serif vs. sans-serif type, roman type vs. oblique type and italic type , line length , line spacing, color contrast,

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2400-505: The blackboard for certain mathematical symbols that are represented by Fraktur letters in print. The lower-case d in Kurrent and Sütterlin is used in proofreading for deleatur ("let it be deleted"). The Sütterlin lower-case 'e' contains two vertical bars close together, in which the origin of the umlaut diacritic (¨) from a small 'e' written above the modified vowel can be seen. (There are two lower-case forms of

2475-448: The brands are fully aware of and are tapping into the power of good typography. Typefaces used in advertisements convey different messages to the reader: classical ones are for a strong personality, while more modern ones may convey clean, neutral look. Bold typefaces are used for making statements and attracting attention. In any design, a balance has to be achieved between the visual impact and communication aspects. Digital technology in

2550-455: The bulk of a title has a more unfamiliar or unusual font, simpler sans-serif fonts will help complement the title while attracting more attention to the piece as a whole. In contemporary use, the practice and study of typography include a broad range, covering all aspects of letter design and application, both mechanical ( typesetting , type design , and typefaces) and manual ( handwriting and calligraphy ). Typographical elements may appear in

2625-522: The capability to create typography has become ubiquitous, the application of principles and best practices developed over generations of skilled workers and professionals has diminished. The word typography in English derives from the Greek roots týpos 'type' + -graphía 'writing'. Although typically applied to printed, published, broadcast, and reproduced materials in contemporary times, all words, letters, symbols, and numbers written alongside

2700-484: The claim that Fraktur was more suited for printing German and other Germanic languages, as their proponents claimed it to be more readable than Antiqua for this purpose. A 1910 publication by Adolf Reinecke, Die deutsche Buchstabenschrift , claims the following advantages for using Fraktur as the German script: On 4 May 1911, a peak in the dispute was reached during a vote in the Reichstag . The Verein für Altschrift ("Association for Antiqua") had submitted

2775-477: The computer industry, leading to common misuse by the public of the term font when typeface is the proper term. "Experimental typography" is defined as the unconventional and more artistic approach to typeface selection. Francis Picabia was a Dada pioneer of this practice in the early twentieth century. David Carson is often associated with this movement, particularly for his work in Ray Gun magazine in

2850-744: The correct font to use. Brush script is an example of a font containing many characters that might be difficult to distinguish. The selection of cases influences the legibility of typography because using only uppercase letters (all-caps) reduces legibility. Readability refers to how easy it is to read the text as a whole, as opposed to the individual character recognition described by legibility. Use of margins, word and line spacing, and clear document structure all impact readability. Some fonts or font styles, for instance sans-serif fonts, are considered to have low readability and so are unsuited for large quantities of prose. Legibility "refers to perception" (being able to see as determined by physical limitations of

2925-626: The design of right-hand edge (for example, justification , straight right hand edge) vs. ragged right, and whether text is hyphenated . Justified copy must be adjusted tightly during typesetting to prevent loss of readability, something beyond the capabilities of typical personal computers. Legibility research has been published since the late nineteenth century. Although there often are commonalities and agreement on many topics, others often create poignant areas of conflict and variation of opinion. For example, Alex Poole asserts that no one has conclusively answered which typeface style, serif or sans serif,

3000-431: The details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter. Display typography encompasses: Typography has long been a vital part of promotional material and advertising . Designers often use typefaces to set a theme and mood in an advertisement (for example, using bold, large text to convey a particular message to the reader). Choice of typeface

3075-497: The development of typesetting systems. Although typography has evolved significantly from its origins, it is a largely conservative art that tends to cleave closely to tradition. This is because legibility is paramount, and so the typefaces that are the most readable usually are retained. In addition, the evolution of typography is inextricably intertwined with lettering by hand and related art forms, especially formal styles, which thrived for centuries preceding typography, and so

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3150-408: The earliest naturalistic drawings by humans may be called typography. The word, typography , is derived from the Greek words τύπος typos 'form' or "impression" and γράφειν graphein 'to write', traces its origins to the first punches and dies used to make seals and currency in ancient times , which ties the concept to printing. The uneven spacing of the impressions on brick stamps found in

3225-491: The end of the twentieth century was to pair a sans-serif typeface for headings with a high-performance serif typeface of matching style for the text of an article. Typesetting conventions are modulated by orthography and linguistics , word structures, word frequencies, morphology , phonetic constructs and linguistic syntax . Typesetting conventions also are subject to specific cultural conventions. For example, in French it

3300-428: The evolution of typography must be discussed with reference to this relationship. In the nascent stages of European printing , the typeface ( blackletter , or Gothic) was designed in imitation of the popular hand-lettering styles of scribes . Initially, this typeface was difficult to read, because each letter was set in place individually and made to fit tightly into the allocated space. The art of manuscript writing,

3375-464: The eye to distinguish one line from the next, or previous line. Poorly designed typefaces and those that are too tightly or loosely fitted also may be less legible. Underlining also may reduce readability by eliminating the recognition effect contributed by the descending elements of letters. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating

3450-435: The eye), and readability "refers to comprehension" (understanding the meaning). Good typographers and graphic designers aim to achieve excellence in both. "The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Case selection always influences legibility. In general, typefaces that are true to

3525-425: The eye, requiring special effort for separation and understanding. Currently , legibility research tends to be limited to critical issues or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces for people with visual impairment , typefaces and case selection for highway and street signs, or for other conditions where legibility may make

3600-486: The graphic design. Spacing and kerning, size-specific spacing, x-height and vertical proportions, character variation, width, weight, and contrast, are several techniques that are necessary to be taken into consideration when thinking about the appropriateness of specific typefaces or creating them. When placing two or more differing and/or contrasting fonts together, these techniques come into play for organizational strategies and demanding attractive qualities. For example, if

3675-457: The impetus for a rapid change in policy probably came from Joseph Goebbels and his Propaganda Ministry . Readers outside German-speaking countries were largely unfamiliar with Fraktur typefaces. Foreign fonts and machinery could be used for the production of propaganda and other materials in local languages, but not so easily in German as long as the official preference for Fraktur remained. Bormann's edict of 3 January 1941 at first forbade only

3750-792: The letter "s". The second one is used at the end of a syllable.) [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] [REDACTED] Antiqua%E2%80%93Fraktur dispute The Antiqua–Fraktur dispute

3825-557: The lettering style he chose. Otto von Bismarck was a keen supporter of German typefaces. He went so far as to refuse gifts of German books in Antiqua typefaces and returned them to sender with the statement Deutsche Bücher in lateinischen Buchstaben lese ich nicht! ( ' I don't read German books in Latin letters! ' ). The dispute between Antiqua and Fraktur continued well into the 20th century. Arguments for Fraktur were not only based on historical and cultural perceptions, but also on

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3900-458: The model for Aldine typefaces), and Claude Garamond . With their more specialized requirements, newspapers and magazines rely on compact, tightly fitted styles of text typefaces with serifs specially designed for the task, which offer maximum flexibility, readability, legibility, and efficient use of page space. Sans serif text typefaces (without serifs) often are used for introductory paragraphs, incidental text, and whole short articles. A fashion at

3975-502: The more commonly used Gothic (blackletter). Roman typeface also was based on hand-lettering styles. The development of Roman typeface can be traced back to Greek lapidary letters. Greek lapidary letters were carved into stone and "one of the first formal uses of Western letterforms "; after that, Roman lapidary letterforms evolved into the monumental capitals, which laid the foundation for Western typographical design, especially serif typefaces. There are two styles of Roman typefaces:

4050-411: The old style, and the modern. The former is characterized by its similarly weighted lines, while the latter is distinguished by its contrast of light and heavy lines. Often, these styles are combined. In relation to the international graphics of the 1920s - 1930s, the term "International Typographic Style" is used. In the 1950s - 1960s, such a phenomenon as "Swiss style" was formed in typography. By

4125-592: The origin of which was during Hellenistic and Roman bookmaking, reached its zenith in the illuminated manuscripts of the Middle Ages. Metal typefaces notably altered the style, making it "crisp and uncompromising", and also brought about "new standards of composition". During the Renaissance period in France, Claude Garamond was partially responsible for the adoption of Roman typeface that eventually supplanted

4200-573: The page in combination with other graphic elements impart a "feel" or "resonance" to the subject matter. With printed media, typographers also are concerned with binding margins, paper selection, and printing methods when determining the correct color of the page. Three fundamental aspects of typography are legibility , readability , and aesthetics . Although in a non-technical sense "legible" and "readable" are often used synonymously, typographically they are separate but related concepts. Legibility and readability tend to support aesthetic aspects of

4275-430: The practical typefaces of traditional typography. Designs for typefaces could be created faster with the new technology, and for more specific functions. The cost for developing typefaces was drastically lowered, becoming widely available to the masses. The change has been called the "democratization of type" and has given new designers more opportunities to enter the field. The design of typefaces has developed alongside

4350-501: The publication, and in some cases for dramatic effect. By formulating a style guide , a publication or periodical standardizes with a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of typefaces, case, type sizes, italic, boldface, colors, and other typographic features such as combining large and small capital letters together. Some publications, such as The Guardian and The Economist , go so far as to commission

4425-495: The same period Letraset introduced dry transfer technology that allowed designers to transfer types instantly. The famous Lorem Ipsum gained popularity due to its usage in Letraset . During the mid-1980s personal computers allowed type designers to create typefaces digitally using commercial graphic design software such as Fontographer . Digital technology also enabled designers to create more experimental typefaces as well as

4500-669: The text from conveying its message to readers. A study from 2020 found that the participating subjects felt music sounded "more pleasant" when the CD cover featured round typeface. Type may be combined with negative space and images, forming relationships and dialog between the words and images for special effects. Display designs are a potent element in graphic design . Some sign designers exhibit less concern for readability, sacrificing it for an artistic manner. Color and size of type elements may be much more prevalent than in solely text designs. Most display items exploit type at larger sizes, where

4575-423: The text, understanding its context, and understanding what the text is wishing to convey. Once the typographer has an understanding of the text, then they have the responsibility of using the appropriate typeface to honor the writing done by the author of the text. Knowledge required to choose the correct typeface comes with understanding the historical background of typefaces and understanding the reason that typeface

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4650-589: The text. Although typography can potentially attract the reader's attention and create a beautiful/attractive piece of text, the craft of typography is not limited to the aesthetic appeal of the text. On the contrary, the object of typography is to make the reading experience practical and useful. Bold colors, multiple typefaces, and colorful backgrounds in a typographic design may be eye-catching; however, it may not be appropriate for all bodies of text and could potentially make text illegible. Overuse of design elements such as colors and typefaces can be unsettling, preventing

4725-407: The title to convey its importance, which directly informs the reader of the structure in which the text is intended to be read, and increases readability from varying distances. Typography utilized to make reading practical: Typography not only must honor the tone of the text but also share the responsibility of making the audience commence reading and sustaining the audience's attention throughout

4800-423: The twentieth century, computers turned typeface design into a rather simplified process. This has allowed the number of typefaces and styles to proliferate exponentially, as there now are thousands available. Confusion between typeface and font (the various styles of a single typeface) occurred in 1984 when Steve Jobs mislabeled typefaces as fonts for Apple computers and his error has been perpetuated throughout

4875-508: The use of blackletter typefaces. A second memorandum banned the use of Kurrent handwriting, including Sütterlin , which had only been introduced in the 1920s. From the academic year 1941/42 onwards, only the so-called Normalschrift ("normal script"), which had hitherto been taught alongside Sütterlin under the name of "Latin script", was allowed to be used and taught. Kurrent did remain in use until 1945 for some applications such as cloth military insignia badges. After

4950-647: The vast quantities required to print multiple copies of texts. This technical breakthrough was instrumental in starting the Printing Revolution and the first book printed with lead-based movable type was the Gutenberg Bible . Rapidly advancing technology revolutionized typography in the latter twentieth century. During the 1960s some camera-ready typesetting could be produced in any office or workshop with stand-alone machines such as those introduced by IBM (see: IBM Selectric typewriter ). During

5025-504: The war, the Sütterlin script was once again taught in the schools of some states of Germany as an additional script, but it could not hold out against the usage of Latin cursive scripts. As a consequence, most Germans find it difficult to decipher their own grandparents' letters, diaries, or certificates. However, the Fraktur script remains present in everyday life in some pub signs, beer brands and other forms of advertisement, where it

5100-529: The words are formed by assembling single letter tiles in the desired order, which were reasonably widespread in medieval Northern Europe. Typography with movable type was invented during the eleventh-century Song dynasty in China by Bi Sheng (990–1051). His movable type system was manufactured from ceramic materials, and clay type printing continued to be practiced in China until the Qing dynasty . Wang Zhen

5175-598: Was a typographical dispute in 19th- and early 20th-century Germany. In most European countries, blackletter typefaces like the German Fraktur were displaced with the creation of the Antiqua typefaces in the 15th and 16th centuries. However, in Germany and Austria, the two styles of printing coexisted until the first half of the 20th century. During that time, both styles gained ideological connotations in Germany, which led to long and heated disputes on what

5250-452: Was created. For example, if the text is titled "Commercial Real Estate Transactions" and elaborates on the real estate market throughout the body, then the appropriate typeface is a serif typeface, because the author intends to inform his audience on a serious topic and not entertain his audience with an anecdote; a serif typeface would convey a sense of seriousness to the audience instantaneously. The typographer would also employ larger type for

5325-465: Was limited and the technology did not spread beyond East and Central Asia, however. Modern lead-based movable type, along with the mechanical printing press , is most often attributed to the goldsmith Johannes Gutenberg in 1439. His type pieces, made from a lead -based alloy , suited printing purposes so well that the alloy is still used today. Gutenberg developed specialized techniques for casting and combining cheap copies of letter punches in

5400-611: Was met by medieval print artifacts such as the Latin Pruefening Abbey inscription of 1119 that was created by the same technique as the Phaistos Disc. The silver altarpiece of patriarch Pellegrinus II (1195–1204) in the cathedral of Cividale was printed with individual letter punches. Apparently, the same printing technique may be found in tenth to twelfth century Byzantine reliquaries . Other early examples include individual letter tiles where

5475-560: Was one of the pioneers of wooden movable type . Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down and the types could be replaced only by carving new pieces. Metal movable type was first invented in Korea during the Goryeo Dynasty , approximately 1230. Hua Sui introduced bronze type printing to China in 1490 AD. The diffusion of both movable-type systems

5550-478: Was the "correct" typeface to use. The eventual outcome was that the Antiqua-style typefaces prevailed when the Nazi Party chose to put an end to the use of Fraktur in favor of "normal typeface" ( German : Normalschrifterlaß ). Historically, the dispute originates in the differing use of these two typefaces in most intellectual texts. Whereas Fraktur was preferred for works written in German, for Latin texts

5625-520: Was viewed as representing allegedly German virtues such as depth and sobriety. During the Romantic Era , in which the Middle Ages were glorified, Fraktur additionally gained the (historically incorrect) interpretation that it represented German Gothicism . For instance, Goethe 's mother advised her son, who had taken to the clear Antiqua typefaces, to remain—"for God's sake"—German, even in

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