Editing Serif (section)

==={{anchor|"Old Style"}}Old-style===
[[File:Garamond sample.svg|thumb|[[Adobe Garamond]], an example of an old-style serif{{efn|Note that this image includes 'Th' [[Typographic ligature|ligatures]], common in Adobe typefaces but not found in the 16th century.}}]]

Old-style typefaces date back to 1465, shortly after [[Johannes Gutenberg]]'s adoption of the [[movable type]] [[printing press]]. Early printers in Italy created types that broke with Gutenberg's [[blackletter]] printing, creating upright ("[[Roman type|roman]]") and then oblique ("[[italic type|italic]]") styles that were inspired by [[Renaissance]] calligraphy.<ref name="The first roman fonts" /><ref name="Venetian origins of roman type">{{cite web|last1=Olocco|first1=Riccardo|title=The Venetian origins of roman type|url=https://articles.c-a-s-t.com/the-venetian-origins-of-roman-type-a856eb3f0cb|website=Medium|publisher=C-A-S-T|access-date=27 January 2018|archive-date=13 November 2023|archive-url=https://web.archive.org/web/20231113230423/https://articles.c-a-s-t.com/the-venetian-origins-of-roman-type-a856eb3f0cb|url-status=live}}</ref>  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 19th and early 20th centuries saw a return to the designs of Renaissance printers and type-founders, many of whose names and designs are still used today.<ref name="Garamond, Griffo and Others: The Price of Celebrity">{{cite journal|last1=Mosley|first1=James|title=Garamond, Griffo and Others: The Price of Celebrity|journal=Bibiologia|date=2006|url=http://www.libraweb.net/articoli.php?chiave=200608401&rivista=84|access-date=3 December 2015|archive-date=8 December 2015|archive-url=https://web.archive.org/web/20151208134351/http://www.libraweb.net/articoli.php?chiave=200608401&rivista=84|url-status=live}}</ref><ref name="Coles Top Ten">{{cite web|last1=Coles|first1=Stephen|title=Top Ten Typefaces Used by Book Design Winners|url=http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|website=FontFeed (archived)|archive-url=https://web.archive.org/web/20120228035307/http://fontfeed.com/archives/top-ten-typefaces-used-by-book-design-winners/|access-date=2 July 2015|archive-date=2012-02-28}}</ref><ref name="Old-Face Types in the Victorian Age">{{cite journal|last1=Johnson|first1=A.F.|author-link1=Alfred F. Johnson|title=Old-Face Types in the Victorian Age|journal=Monotype Recorder|date=1931|volume=30|issue=242|pages=5–15|url=http://www.metaltype.co.uk/downloads/mr/mr_30_242.pdf|access-date=14 October 2016|archive-date=5 March 2016|archive-url=https://web.archive.org/web/20160305105747/http://www.metaltype.co.uk/downloads/mr/mr_30_242.pdf|url-status=live}}</ref>

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 o'clock; serifs are almost always bracketed (they have curves connecting the serif to the stroke); head serifs are often angled.<ref>{{Cite web|url=http://www.fonts.com/FavoriteFonts/OldStyleSerif.htm|title=Old Style Serif|access-date=2009-06-25|archive-date=2009-02-21|archive-url=https://web.archive.org/web/20090221095647/http://www.fonts.com/FavoriteFonts/OldStyleSerif.htm|url-status=live}}</ref>

Old-style faces evolved over time, showing increasing abstraction from what would now be considered handwriting and blackletter characteristics, and often increased delicacy or contrast as printing technique improved.<ref name="Venetian origins of roman type" /><ref name="Unusual fifteenth-century fonts: part 1">{{cite web|last1=Boardley|first1=John|title=Unusual fifteenth-century fonts: part 1|url=http://ilovetypography.com/2014/02/08/unusual-fifteenth-century-fonts/|website=i love typography|date=7 February 2014|access-date=22 September 2017|archive-date=13 September 2017|archive-url=https://web.archive.org/web/20170913081705/http://ilovetypography.com/2014/02/08/unusual-fifteenth-century-fonts/|url-status=live}}</ref><ref name="Unusual fifteenth-century fonts: part 2">{{cite web|last1=Boardley|first1=John|title=Unusual fifteenth-century fonts: part 2|url=http://ilovetypography.com/2015/07/01/unusual-fifteenth-century-fonts-part2/|website=i love typography|date=July 2015|access-date=22 September 2017|archive-date=30 September 2017|archive-url=https://web.archive.org/web/20170930013956/http://ilovetypography.com/2015/07/01/unusual-fifteenth-century-fonts-part2/|url-status=live}}</ref> Old-style faces have often sub-divided into 'Venetian' (or '[[Vox-ATypI classification#Humanist|humanist]]') and '[[Vox-ATypI classification#Garalde|Garalde]]' (or 'Aldine'), a division made on the [[Vox-ATypI classification]] system.<ref name="Type anatomy: Family Classifications of Type">{{cite web|title=Type anatomy: Family Classifications of Type|url=http://graphicdesign.spokanefalls.edu/tutorials/process/type_basics/type_families.htm|website=SFCC Graphic Design department|publisher=Spokane Falls Community College|access-date=14 August 2015|archive-date=7 August 2015|archive-url=https://web.archive.org/web/20150807200219/http://graphicdesign.spokanefalls.edu/tutorials/process/type_basics/type_families.htm|url-status=dead}}</ref> 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.<ref name="Dixon 2002">{{Citation |last=Dixon |first=Catherine |title=Typeface classification |publisher=Friends of St Bride |contribution=Twentieth Century Graphic Communication: Technology, Society and Culture |year=2002 |url=http://www.stbride.org/friends/conference/twentiethcenturygraphiccommunication/TypefaceClassification.html |access-date=2015-08-14 |archive-date=2014-10-26 |archive-url=https://web.archive.org/web/20141026120725/http://www.stbride.org/friends/conference/twentiethcenturygraphiccommunication/TypefaceClassification.html |url-status=dead }}</ref>{{efn|Specifically, Manutius's type, the first type now classified as "Garalde", was not so different from other typefaces around at the time.<ref name="The first roman fonts" /> However, the waves of "Garalde" faces coming out of France from the 1530s onwards did tend to cleanly displace earlier typefaces, and became an international standard.<ref name="Stanley Morison's Aldine Hypothesis Revisited">{{cite journal|last1=Amert|first1=Kay|title=Stanley Morison's Aldine Hypothesis Revisited|journal=Design Issues|date=April 2008|volume=24|issue=2|pages=53–71|doi=10.1162/desi.2008.24.2.53|s2cid=57566512}}</ref><ref name="The Aldine Press: catalogue of the Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles: incorporating works recorded elsewhere.">{{cite book|title=The Aldine Press: catalogue of the Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles : incorporating works recorded elsewhere.|date=2001|publisher=Univ. of California Press|location=Berkeley [u.a.]|isbn=978-0-520-22993-8|pages=22–25|url=https://books.google.com/books?id=wfiFtIkbNsEC&pg=PA22|quote=[On the Aldine Press in Venice changing over to types from France]: the press followed precedent; popular in France, [these] types rapidly spread over western Europe.}}</ref>}} Modern typefaces such as [[Arno (typeface)|Arno]] and [[Trinité (typeface)|Trinité]] may fuse both styles.<ref name="Arno Pro specimen">{{cite book|vauthors=Twardoch, Slimbach, Sousa, Slye|title=Arno Pro|date=2007|publisher=Adobe Systems|location=San Jose|url=http://wwwimages.adobe.com/content/dam/Adobe/en/products/type/pdfs/ArnoPro.pdf|access-date=14 August 2015|archive-date=30 August 2014|archive-url=https://web.archive.org/web/20140830030331/http://wwwimages.adobe.com/content/dam/Adobe/en/products/type/pdfs/ArnoPro.pdf|url-status=dead}}</ref>

Early "humanist" roman types were introduced in Italy. Modelled on the script of the period, they tend to feature an "e" in which the cross stroke is angled, not horizontal; an "M" with two-way serifs; and often a relatively dark colour on the page.<ref name="The first roman fonts" /><ref name="Venetian origins of roman type" /> In modern times, that of [[Nicolas Jenson]] has been the most admired, with many revivals.<ref name="Olocco Jenson">{{cite web|last1=Olocco|first1=Riccardo|title=Nicolas Jenson and the success of his roman type|url=https://articles.c-a-s-t.com/nicolas-jenson-and-the-success-of-his-roman-type-9f0afeba4103|website=Medium|publisher=C-A-S-T|access-date=21 September 2017|archive-date=9 February 2024|archive-url=https://web.archive.org/web/20240209075216/https://articles.c-a-s-t.com/nicolas-jenson-and-the-success-of-his-roman-type-9f0afeba4103?gi=51c5b3759956|url-status=live}}</ref><ref name="The first roman fonts">{{cite web|last1=Boardley|first1=John|title=The first roman fonts|url=http://ilovetypography.com/2016/04/18/the-first-roman-fonts/|website=ilovetypography|date=18 April 2016|access-date=21 September 2017|archive-date=27 September 2017|archive-url=https://web.archive.org/web/20170927071940/http://ilovetypography.com/2016/04/18/the-first-roman-fonts|url-status=live}}</ref> Garaldes, which tend to feature a level cross-stroke on the "e", descend from an influential 1495 font cut by engraver [[Francesco Griffo]] for printer [[Aldus Manutius]], which became the inspiration for many typefaces cut in France from the 1530s onwards.<ref name="palaeotypography" /><ref name="A View of Early Typography up to about 1600">{{cite book|last1=Carter|first1=Harry|title=A View of Early Typography up to about 1600|date=1969|publisher=Hyphen Press|location=London|isbn=0-907259-21-9|pages=72–4|edition=Second edition (2002)|quote=''De Aetna'' was decisive in shaping the printers' alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school...the letters look narrower than Jenson's, but are in fact a little wider because the short ones are bigger, and the effect of narrowness makes the face suitable for octavo pages...this Roman of Aldus is distinguishable from other faces of the time by the level cross-stroke in 'e' and the absence of top serifs from the insides of the vertical strokes of 'M', following the model of Feliciano. We have come to regard his small 'e' as an improvement on previous practice.}}</ref> 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 from the 1530s to become an international standard.<ref name="Stanley Morison's Aldine Hypothesis Revisited" /><ref name="palaeotypography">{{cite book|last1=Vervliet|first1=Hendrik D.L.|author-link=H. D. L. Vervliet|title=The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. 2 vols.|date=2008|publisher=Koninklijke Brill NV|location=Leiden|pages=90–91, etc.|quote=[On Robert Estienne's typefaces of the 1530s]: Its outstanding design became standard for Roman type in the two centuries to follow...From the 1540s onwards French Romans and Italics had begun to infiltrate, probably by way of Lyons, the typography of the neighbouring countries. In Italy, major printers replaced the older, noble but worn Italian characters and their imitations from Basle.|isbn=978-90-04-16982-1}}</ref><ref name="Aldine: the intellectuals begin their assault on font design">{{cite web|last1=Bergsland|first1=David|title=Aldine: the intellectuals begin their assault on font design|url=http://www.bergsland.org/2012/08/book-production/typography/aldine-the-intellectuals-begin-their-assault-on-font-design/|website=The Skilled Workman|date=29 August 2012|access-date=14 August 2015|archive-date=17 January 2022|archive-url=https://web.archive.org/web/20220117063938/https://www.bergsland.org/2012/08/book-production/typography/aldine-the-intellectuals-begin-their-assault-on-font-design/|url-status=live}}</ref>

Also during this period, [[italic type]] evolved from a quite separate genre of type, intended for informal uses such as poetry, into taking a secondary role for emphasis. Italics moved from being conceived as separate designs and proportions to being able to be fitted into the same line as roman type with a design complementary to it.<ref name="i love typography">{{cite web|last1=Boardley|first1=John|title=Brief notes on the first italic|url=http://ilovetypography.com/2014/11/25/notes-first-italic/|website=i love typography|date=25 November 2014|access-date=21 September 2017|archive-date=19 October 2017|archive-url=https://web.archive.org/web/20171019195111/http://ilovetypography.com/2014/11/25/notes-first-italic|url-status=live}}</ref><ref name="Vervliet2008 Aldine Italic">{{cite book|first=Hendrik D. L.|last=Vervliet|title=The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces|url=https://books.google.com/books?id=6sidSDlif48C&pg=PA287|year=2008|publisher=BRILL|isbn=978-90-04-16982-1|pages=287–289|access-date=2017-09-21|archive-date=2023-11-01|archive-url=https://web.archive.org/web/20231101004525/https://books.google.com/books?id=6sidSDlif48C&pg=PA287#v=onepage&q&f=false|url-status=live}}</ref><ref name="Lane JPHS">{{cite journal|last1=Lane|first1=John|author-link=John A. Lane|title=The Types of Nicholas Kis|journal=Journal of the Printing Historical Society|date=1983|pages=47–75|quote=[[Miklós Tótfalusi Kis|Kis's]] Amsterdam specimen of c. 1688 is an important example of the increasing tendency to regard a range of roman and italic types as a coherent family, and this may well have been a conscious innovation. But italics were romanised to a greater degree in many earlier handwritten examples and occasional earlier types, and Jean Jannon displayed a full range of matching roman and italic of his own cutting in his 1621 specimen...[In appendix] [György] Haiman notes that this trend is foreshadowed in the specimens of Guyot in the mid-sixteenth century and Berner in 1592.}}</ref>{{efn|Early italics were intended to exist on their own on the page, and so often had very long ascenders and descenders, especially the "chancery italics" of printers such as Arrighi.<ref name="Vervliet2008">{{cite book|first=Hendrik D. L.|last=Vervliet|title=The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces|url=https://books.google.com/books?id=6sidSDlif48C&pg=PA287|year=2008|publisher=BRILL|isbn=978-90-04-16982-1|pages=287–319|access-date=2017-09-21|archive-date=2023-11-01|archive-url=https://web.archive.org/web/20231101004525/https://books.google.com/books?id=6sidSDlif48C&pg=PA287#v=onepage&q&f=false|url-status=live}}</ref> [[Jan van Krimpen]]'s Cancelleresca Bastarda typeface, intended to complement his serif family Romulus, was nonetheless cast on a larger body to allow it to have an appropriately expansive feel.}}

Examples of contemporary Garalde old-style typefaces are [[Bembo]], [[Garamond]], [[Galliard (typeface)|Galliard]], [[Granjon]], [[Goudy Old Style]], [[Minion (typeface)|Minion]], [[Palatino]], Renard, [[Sabon]], and [[FF Scala|Scala]]. Contemporary typefaces with Venetian old style characteristics include [[Cloister (typeface)|Cloister]], [[Adobe Jenson]], the [[Golden Type]], [[Hightower Text]], [[Centaur (typeface)|Centaur]], Goudy's Italian Old Style and [[Berkeley Old Style]] and ITC Legacy. Several of these blend in Garalde influences to fit modern expectations, especially placing single-sided serifs on the "M"; Cloister is an exception.<ref name="Searching for Morris Fuller Benton">{{cite web|last1=Shen|first1=Juliet|title=Searching for Morris Fuller Benton|url=http://typeculture.com/academic-resource/articles-essays/searching-for-morris-fuller-benton/|website=Type Culture|access-date=11 April 2017|archive-date=11 April 2017|archive-url=https://web.archive.org/web/20170411135132/http://typeculture.com/academic-resource/articles-essays/searching-for-morris-fuller-benton/|url-status=live}}</ref>

==== Dutch taste ====
A new genre of serif type developed around the 17th century in the Netherlands and Germany that came to be called the "Dutch taste" ({{lang|fr|goût Hollandois}} in [[French language|French]]).<ref name="Dutch Taste Johnson" /> 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, perhaps influenced by blackletter faces.<ref name="Printing Types vol 2">{{cite book|last1=Updike|first1=Daniel Berkeley|title=Printing Types: Their History, Forms and Uses: Volume 2|date=1922|publisher=Harvard University Press|pages=[https://archive.org/details/printingtypesthe02updi/page/6 6]–7|url=https://archive.org/details/printingtypesthe02updi|access-date=18 December 2015|chapter=Chapter 15: Types of the Netherlands, 1500-1800}}</ref><ref name="typo-history-1">{{cite web|url=https://typofonderie.com/gazette/post/type-history-1/|work=Typofonderie Gazette|title=Type History 1|access-date=23 December 2015|archive-date=23 December 2015|archive-url=https://web.archive.org/web/20151223141313/https://typofonderie.com/gazette/post/type-history-1/|url-status=live}}</ref><ref name="Dutch Taste Johnson">{{cite journal|last=Johnson|first=A. F.|author-link=Alfred F. Johnson|title=The 'Goût Hollandois'|journal=The Library|date=1939|volume=s4-XX|issue=2|pages=180–196|doi=10.1093/library/s4-XX.2.180}}</ref><ref name="Type and its Uses, 1455-1830">{{cite web|last1=Mosley|first1=James|title=Type and its Uses, 1455-1830|url=http://www.ies.sas.ac.uk/sites/default/files/files/LRBS/Outline%20of%20Course_Type%26itsUses2013_2.pdf|publisher=[[Institute of English Studies]]|access-date=7 October 2016|quote=Although types on the 'Aldine' model were widely used in the 17th and 18th centuries, a new variant that was often slightly more condensed in its proportions, and darker and larger on its body, became sufficiently widespread, at least in Northern Europe, to be worth defining as a distinct style and examining separately. Adopting a term used by Fournier le jeune, the style is sometimes called the 'Dutch taste', and sometimes, especially in Germany, 'baroque'. Some names associated with the style are those of Van den Keere, Granjon, Briot, Van Dijck, Kis (maker of the so-called 'Janson' types), and [[William Caslon|Caslon]].|url-status=dead|archive-url=https://web.archive.org/web/20161009181144/http://www.ies.sas.ac.uk/sites/default/files/files/LRBS/Outline%20of%20Course_Type%26itsUses2013_2.pdf|archive-date=9 October 2016}}</ref><ref name="The Briot project. Part I">{{cite web |last1=de Jong |first1=Feike |last2=Lane |first2=John A. |title=The Briot project. Part I |url=https://pampatype.com/blog/the-briot-project |website=PampaType |publisher=TYPO, republished by PampaType |access-date=10 June 2018 |archive-date=12 June 2018 |archive-url=https://web.archive.org/web/20180612144055/https://pampatype.com/blog/the-briot-project |url-status=live }}</ref>

Artists in the "Dutch taste" style include [[Hendrik van den Keere]], Nicolaas Briot, [[Christoffel van Dijck]], [[Miklós Tótfalusi Kis]] and the [[Janson]] and [[Ehrhardt (typeface)|Ehrhardt]] types based on his work and [[Caslon]], especially the larger sizes.<ref name="Type and its Uses, 1455-1830" />