The 'Art Nouveau' movement became popular towards the end of the 19th century.
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Also at this time graphic design became a separate entity to typography. Typefaces, if successful and trademarked, were used to 'brand' products and publications. Typeface design increased rapidly at this time due to the introduction of large type foundries and type manufacturers.
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'Nineteenth Century Designers and Engravers of Type' republishes the complete series of Loy's articles together with more typefaces Loy was unable to include. In 1896 he started publishing a series of articles that profiled leading type designers. Loy was an American type vendor, printer and writer who was unhappy that typeface designers received very little credit. Nineteenth Century Designers and Engravers of Type
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The inventions of the Linotype machine (Ottmar Mergenthaler, 1886) and the Monotype machine (Tolbert Lanston, 1887) resulted in the end of manual typesetting as composition and typography were no longer manual tasks. This method was well suited to reproducing large areas of flat colour, therefore leading to the large poster designs characteristic of this period. It was introduced by Godefroy Engelmann in France. Senefelder then experimented with colour lithography but multi-colour printing, called chromolithography, was not developed until 1837. The invention of lithography in 1796 by Alois Senefelder initially had limited impact on printing because of technical difficulties but these were soon overcome. The role of the punchcutter changed to that of a largely unskilled factory worker. Typography and printing, once crafts, became part of industry.
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Improved metallurgical techniques and steam-power saw the development of machine tools which enabled metal parts to be easily and accurately cut and manufacturing machines to be built. The second wave of the Industrial Revolution was fully felt in the early 1800s. The newly-created mass market provided increasing demand for a variety of printed products including newspapers, advertisements, posters and other publications. The strengthened serif prevented damage during printing. The most notable change to typefaces at this time was the introduction of the Slab serif designs, many of which were newspaper fonts. During the 19th century manufacturing processes became mechanised. The Industrial Revolution is often seen as a black hole in the history of typography. Typewriter typefaces are also examples of slab serif fonts. Examples are Playbill and western-era posters, wanted posters. These types often have a 'western' appearance. Italienne model - these typefaces have serifs that are heavier than the stems.
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Neo-grotesque model - these typefaces have no bracketting. Slab serif typefaces can be further divided into three subgroups:Ĭlarendon model - these typefaces have a little bracketting. Slab serifs are generally thick and block-like and don't usually have a bracket connecting the stoke, or stem, of the letter to the serif. American type founders also used the term Antique. Because in England the term Egptian had already been used for sans-serif typefaces 'Antique' remained the name of slab serif fonts. He called the typeface 'Antique' but, due to the Egyptian craze, other typefounders called their slab serif typefaces 'Egyptian'. The first slab serif type was produced by the English typefounder Vincent Figgins around 1815-17. In France and Germany the term became 'Egyptienne'. Slab serif typefaces became known as 'Egyptian' although there was no resemblance or relationship between the slab serif types and Egyptian writing.
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Although his campaign was only partially successful, the availability of Egyptian images caused a huge increase in interest in Egyptian culture. Slab Serifs, Egyptian and Antique Typefaces, and Napoleon BonaparteĪt the close of the 18th century Napoleon Bonaparte attempted to establish a French pressence in the Middle East.