Baroque Antiqua
The Baroque Antiqua is a font class according to DIN 16518 .
The development of the third typeface class according to DIN 16518 coincides with the Baroque era , but the term transitional antiqua , also pre-classical antiqua , which was used earlier , describes this type class better, as it serves as a link between the Renaissance antiqua , which was shaped by writing, and the planned well thought-out forms of later classes, and has a calming of the typeface rather than a baroque appearance.
In the English language is instead Baroque Antiqua the designation Transitional familiar and France Réales , in Holland real and Italy Transizionali .
history
Baroque Antiqua can be divided into three subspecies: Dutch, English and French. The Dutch Baroque Antiqua was developed in the middle of the 17th century by the type cutters Anton Janson , Christoffel van Dijck and Johann Michael Fleischmann . It is characterized by its slim line and still reminiscent of the Renaissance Antiqua. The main exponents in England in the 18th century were William Caslon and John Baskerville . Thanks to these two type cutters, England achieved a prestigious place in the typeface industry. In contrast to the Dutch style, the English style is stronger and finely tuned to fat. The French style originated in 1692 when it was commissioned by the French King Louis XIV . Philippe Grandjean then cut the Romain du Roi. This font was only allowed to be used by the royal printing press, which is why Pierre Simon Fournier created a similar one, with an improved form for general use. This type is based on the classicist Antiqua .
Well-known representatives
- Janson ( Miklós Misztótfalusi Kis 1690), was wrongly assigned to the Dutchman Janson for a long time, replaced Caslon as the standard book font in the 1930s , noble and expressive, Dutch style
- Caslon ( William Caslon 1734–1770), inspired by Christoffel van Dijck and Janson, was the most popular book font for a long time. B. the pressure of the Declaration of Independence used
- Fleischmann (Johann Michael Fleischmann 1739)
- Fournier (Pierre Simon Fournier 1742)
- Baskerville ( John Baskerville 1752)
- Bulmer (William Martin 1792)
- Cochin (Deberny & Peignot 1912, Matthew Carter 1977)
- Perpetua ( Eric Gill 1925–32) and Joanna (Eric Gill 1930)
- Times ( Stanley Morison 1932), developed from Plantin ( French Renaissance Antiqua )
- Concorde ( Günter Gerhard Lange 1967), designed as an alternative to the Times
- Slimbach ( Robert Slimbach 1987)
- Utopia (Robert Slimbach 1989)
- Elzevir (Gerard Daniëls 1992), based on Christoffel van Dijck (1660)
features
Still based on writing with a broad nib , the Baroque Antiqua symbolizes the virtuoso, playful handling of this writing instrument. It is no longer the balancer, but the turning, tilting and turning of the spring that is visible. However, due to a number of characteristics of the font, it is difficult to actually realize this with a pen.
In the baroque antiqua, the contrast between the base and hairline is more pronounced than in the renaissance antiqua, but not as strong as in the subsequent classicist antiqua. The hairlines are refined and the basic strokes are strengthened. The shadow axis tends to be steeper and, in the case of individual cuts, already vertical.
The serifs are also refined and the curves at the transition from the strong base line to the final serif are kept smaller. At the same time, the horizontal vibrations of the serifs are flatter, almost even, and some fraction letters (such as the r) have drop endings.
The uppercase letters , which were previously shortened, are given the same height as the ascenders of the base letters . The R often has a curvy tail.