The designers sought to distance themselves from the aggression and destruction of European imperialism, which was embodied in the serif. What once seemed adorned, and the very definition of “civilized,” returning to the great Roman Empire, was now seen as filthy and messy. The post-war movements of World War II sought, like the Romantics before them, to emphasize the stupidity of the elites. Slowly, the memory of the connection between the calligrapher’s wrist and the typographer’s lead began to fade. Modernism is born and it depends on the belief that minimalism allows the purest communication. The Bauhaus movement retains some decorative elements as a way to avoid definitions and stereotypes, rejecting ornamentation as a relic. Serifs played a key role in the sense of traditionalism he was trying to invoke. William Morris, a British textile designer, had a new idea against the rigors of industrialization: He combined modern printing methods with traditional art. Curiously, the serifs were liked by two different poles of society at the time: bohemians and industrialists.ĭespite warnings, serifs made another return decades later – this time to pre-Depression America, through the arts and crafts movement. fonts emerged during the Romantic era, a cultural moment that avoided the Church and industrialization. (This should not be confused with Blackletter fonts, the original thick black, heavily embellished letters that are considered Gothic until serifs appear – the definitions of “Gothic” have obviously changed over time.) The fonts were called “grotesque” and became known as Gothic. To them, unsealed letters seemed “naked” and uncivilized. However, these fonts offended the elites. As the decree contains minimal differences between the three languages, the Rosetta Stone proved to be the key to deciphering Egyptian hieroglyphs. The above and middle texts are written in ancient Egyptian, using hieroglyphs and demotic writing. Three versions of a decree issued in Memphis in 196 BC are inscribed on it. The Rosetta Stone is an epigraphic monument found in 1799 during excavations of the ancient fortress of Al-Rashid, about 7 km from the small town of Rosetta near the Nile. Today, the names of computerized fonts (Times New Roman, Comic Sans, etc.) and the form of the letters themselves cover the history of human civilization. Victorians therefore used serifs in all their fonts and they were common in Italian Renaissance architecture. And the serifs themselves are created by the detection when carving the given letter. It is a common claim that the outlines of Roman letters are first painted on the stone, and then the stone carvers follow the traces of the brushes. When carved in stone, serifs allow words to appear aligned. Over time, through practice and refinement, what was once a mechanical necessity has become an expressive ornamentation that has made writing look individualistic and complex. They help the writer gain control over the impulse to mark, the pressure, and the angles of displacement of the shoulder to form curves and change the thickness of the strokes. In calligraphy, the art of hand-painted letters, serifs serve two purposes. Others wonder if “serif” can be etymologically related to the Urdu word “sharif”, which means “cultivated and refined”. Some historians claim that the word comes from the Dutch “schreef” (pen characters). In design circles, the word “serif” itself causes controversy.
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