Morris Fuller Benton designed Century Schoolbook in 1923 for elementaryschool textbooks, so its a highly readable font. Its one of the best fonts available. TYPE DESIGN, TYPOGRAPHY, TYPEFACES AND FONTS An encyclopedic treatment of type design, typefaces and fonts. This site is also known as on snot and fonts. Today as the competition arises, both modern and classic designersartists are looking for new ideas to enhance their designing skills and artwork to market it for. Bank Gothic is a rectilinear geometric sansserif typeface designed by Morris Fuller Benton for the American Type Founders in 1930. The typeface is an exploration of. Serif Wikipedia. In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. 1 A typeface with serifs is called a serif typeface or serifed typeface. A typeface without serifs is called sans serif or sans serif, from the Frenchsans, meaning without. Some typography sources refer to sans serif typefaces as Grotesque in German grotesk or Gothic,2 and serif typefaces as Roman. Origins and etymologyeditSerifs originated in the Latin alphabet with inscriptional letteringwords carved into stone in Roman antiquity. The explanation proposed by Father Edward Catich in his 1. The Origin of the Serif is now broadly but not universally accepted the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Another theory is that serifs were devised to neaten the ends of lines as they were chiseled into stone. 345The origin of the word serif is obscure, but apparently is almost as recent as the type style. In The British Standard of the Capital Letters contained in the Roman Alphabet, forming a complete code of systematic rules for a mathematical construction and accurate formation of the same 1. William Hollins, it defined surripses, usually pronounced surriphs, as projections which appear at the tops and bottoms of some letters, the O and Q excepted, at the beginning or end, and sometimes at each, of all. The standard also proposed that surripsis may be a Greek word derived from together and projection. In 1. 82. 7, a Greek scholar Julian Hibbert printed with his own experimental uncial Greek types, remarking that the types of Giambattista Bodonis Callimachus were ornamented or rather disfigured by additions of what he believes type founders call syrifs or cerefs. The printer Thomas Curson Hansard referred to them as ceriphs in 1. The oldest citations in the Oxford English Dictionary OED are 1. The OED speculates that serif was a back formation from sanserif. Websters Third New International Dictionary traces serif to the Dutch noun schreef, meaning line, stroke of the pen, related to the verb schrappen, to delete, strike through. Schreef now also means serif in Dutch. The relation between schreef and schrappen is documented by Van Veen and Van der Sijs in Etymologisch Woordenboek Van Dale, 1. Yet, schreef literally is past tense of schrijven to write. In her Chronologisch Woordenboek Veen, 2. Van der Sijs lists words by first known publication in the language area that is The Netherlands today. Van der Sijs schrijven, 1. I. e. schreef is from schrijven to write, not from schrappen to scratch, eliminate by strike through. The OEDs earliest citation for grotesque in this sense is 1. It would seem to mean out of the ordinary in this usage, as in art grotesque usually means elaborately decorated. Other synonyms include Doric and Gothic, commonly used for Japanese Gothic typefaces. 7ClassificationeditSerif fonts can be broadly classified into one of four subgroups old style, transitional, Didone and slab serif, in order of first appearance. Old styleeditOld style typefaces date back to 1. Johannes Gutenbergs adoption of the movable typeprinting press. Early printers in Italy created types that broke with Gutenbergs blackletter printing, creating upright and later italic styles inspired by Renaissance calligraphy. 89 Old style serif fonts have remained popular for setting body text because of their organic appearance and excellent readability on rough book paper. The increasing interest in early printing during the late 1. Renaissance printers and typefounders, many of whose names and designs are still used today. 1. Old style type is characterized by a lack of large differences between thick and thin lines low line contrast and generally but less often by a diagonal stress the thinnest parts of letters are at an angle rather than at the top and bottom. An old style font normally has a left inclining curve axis with weight stress at about 8 and 2 oclock serifs are almost always bracketed they have curves connecting the serif to the stroke head serifs are often angled. 1. Old style faces evolved over time, showing increasing abstraction from handwriting and blackletter models and often increased delicacy or contrast as printing technique improved. Old style faces have often sub divided into Venetian or humanist and Garalde or Aldine, a division made on the Vox ATyp. I classification system. 1. Nonetheless, some have argued that the difference is excessively abstract, hard to spot except to specialists and implies a clearer separation between styles than originally appeared. 1. Modern typefaces such as Arno and Trinit may fuse both styles. 9Early humanist roman types were introduced in Italy. Modelled on the script of the period, they tend to feature an e where the cross stroke is angled, not horizontal, Ms with two way serifs, and often a relatively dark colour on the page. 8 In modern times, that of Nicolas Jenson has been the most admired, with many revivals. 1. Some have visible blackletter influences or other unusual features. 81. Garaldes, which tend to feature a level cross stroke on the e, descend from an influential 1. Francesco Griffo for printer Aldus Manutius, which was the inspiration for many typefaces cut in France from the 1. Often lighter on the page and made in larger sizes than had been used for roman type before, French Garalde faces rapidly spread throughout Europe to become an international standard. 1. Meanwhile, italic type evolved from a quite separate genre of type, intended for informal uses such as poetry, into having a primary use for emphasis. Italics developed from being conceived as having separate designs and proportions to being able to be fitted into the same line as roman type with a complementary design to it. 2. A new genre of serif type developed around the 1. Netherlands and Germany that came to be called the Dutch taste got Hollandois in French. 2. It was a tendency towards denser, more solid typefaces, often with a high x height tall lower case letters and a sharp contrast between thick and thin strokes. 2. Examples of contemporary Garalde old style typefaces are Bembo, Garamond, Galliard, Granjon, Goudy Old Style, Minion, Palatino, Renard, Sabon, and Scala. Typefaces specifically in the Dutch taste style include Van Dijck, Van den Keere, Janson, Caslon and Ehrhardt. Contemporary typefaces with Venetian old style characteristics include the particularly faithful revival Cloister, Adobe Jenson, the Golden Type, Hightower Text, Centaur, and more loosely Goudys Italian Old Style and Berkeley Old Style, ITC Legacy and Trinit. Several of these blend in Garalde influences to fit modern expectations, especially placing single sided serifs on the M. 3. TransitionaleditTransitional, or baroque, serif typefaces first became common around the mid 1. They are in between old style and modern fonts, thus the name transitional. Differences between thick and thin lines are more pronounced than they are in old style, but less dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the R has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by ball terminals.