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Typography History on AI

Carl Shank • February 23, 2023

Typography and Artificial Intelligence

A new way to retrieve information about most any topic, including typography, is offered through AI – artificial intelligence. More precisely, through ChatGPT, which allows the user to ask a question to an AI generated interface, a user can freely investigate topics that once took hours of painstaking research. Two models I have used, one which is free to the user (openai.com) and another service (ai-pro, which costs about $20 per month but is much more sophisticated) allow the user to get decent and mostly accurate information about most any topic. I typed into the chat box "history of typography" and "modern typography" and received the following AI generated answers:


"Typography is an artform that has evolved since the invention of the printing press in the 15th century. Its evolution has been driven by the technological advancements in typesetting and printing. During the 15th and 16th centuries, type design was largely influenced by the Gothic style. This style featured the use of slab serifs, intricate patterns, and large decorative flourishes. In the late 18th and early 19th centuries, new typefaces emerged based on the Romanesque style, a style of lettering developed by Italian priests in the Vatican as a response to the Gothic style. This style is more simplified and is often used in book typesetting today. The late 19th century saw the emergence of the Art Deco style, which featured strong contrast and geometric typefaces. This style was the source of most of the typefaces used throughout the twentieth century. The mid-twentieth century was an important period in typography, as it was during this time that the sans-serif style began to increase its prevalence. Sans-serif fonts such as Helvetica, Futura, and Arial became popular, largely replacing the Art Deco typefaces of earlier decades. Today, typography has become a specialized artform. It is used in almost every aspect of visual arts and design and continues to evolve as new technologies emerge. Computers and digital printing have allowed typographers to create intricate and complex typefaces and forms unlike anything seen before. Computers have also changed the way that typefaces are delivered, allowing designers to manipulate them in a variety of ways to create visual effects and combinations."


"The history of typography is a story of technological progress and aesthetic trends. It begins in the 15th century with the invention of the printing press and the spread of movable type. In this period, traditional calligraphic letterforms were adapted for print, leading to a variety of typefaces with elaborate serifs, ornaments and flourishes. In the 18th and 19th centuries, the typewriter and the photograph led to increased speed in typesetting, and the industrial revolution brought with it a fascination for the mechanized application of type. Late 19th and 20th century saw revolutions in type design with the appearance of sans-serif typefaces and the development of new technologies such as linotype and phototypesetting. These new technologies gave typographers more control over the design of typefaces and increased the speed of typesetting and printing. New typefaces designed in the last decades of the 20th century, such as Helvetica, Univers and Frutiger, are still widely used today. The early 21st century saw an explosion of digital technology, with the birth of desktop publishing, the World Wide Web, and digital font applications. This digital revolution made typefaces more widely available, and ushered in a new era of typographic exploration. Fonts that were once only available to professional designers and printers are now at the fingertips of everyone with a computer and an internet connection. As the digital age continues to evolve, typography will surely continue its fascinating journey."


When I asked the AI Chat about "modern typography," I got the following response: "Modern typography is the practice of arranging and designing type in a way that is aesthetically pleasing and enhances the readability and legibility of written language. It emerged in the late 19th and early 20th century as a response to the changing technological and cultural landscape of the time, particularly the rise of industrialization, mass media, and global communication.


Some of the most important writers and inventors of modern typography include:


Jan Tschichold: A German typographer and designer who played a significant role in the development of modern typography. He was a proponent of asymmetrical typography and advocated for the use of sans-serif fonts in printed materials.


Eric Gill: A British sculptor, typeface designer, and printmaker who is best known for his typeface designs, including Gill Sans and Perpetua. He was a leading figure in the Arts and Crafts movement and his work had a significant influence on modern typography.


Paul Renner: A German typographer and typeface designer who is best known for creating the iconic Futura typeface. Futura became one of the most popular and widely used typefaces of the 20th century and had a significant impact on modern typography.


Adrian Frutiger: A Swiss typeface designer who created some of the most widely used typefaces of the 20th century, including Univers, Frutiger, and Avenir. His work was characterized by a focus on clarity, legibility, and simplicity.


Herb Lubalin: An American graphic designer and typographer who is best known for his work on magazines such as Avant Garde and Eros. He was a pioneer of expressive typography and used type as a visual element in his designs.


These and other writers and inventors of modern typography have had a profound influence on the field of graphic design and continue to inspire new generations of designers today."


A couple of things to note. First, these answers are quite general, but mostly accurate for generalized information. They fail to elucidate what standard typographical texts say about typography. They give summary statements. You can drill down in the Chat and ask more specific questions and the AI will usually cooperate, but this is different than reading a typographical history book on the subject. However, the AI Chat does give enough information, as a starting point, to the study of typography.


Try it out for yourself!




Successful Layout & Design

By Carl Shank January 29, 2025
Sketch & Hand Drawn Lettering. The history of font development includes a wealth of calligraphic fonts and artistically crafted hand drawn typefaces. A number of these lettering fonts have been drawn and submitted by smaller type foundries and entrepreneurs seeking to make their mark in the font world. A casual look at ChatGPT gives some idea as to their source and character. Fonts that mimic pencil drawings often have a hand-sketched, textured, or rough-lined appearance. These fonts are great for artistic projects, children's books, casual branding, or creative typography. The sample fonts below are mostly given for personal use only, use on personal invitations and so forth, but some have been made available for commercial use as well. They demonstrate the wide range of hand drawn fonts available for use and purchase.
By Carl Shank January 20, 2025
Four Old Playful Fancy Fonts . CARE Typography is pleased in its historical search for antique inspired fonts to introduce digitized versions of Harper and Mikado, a Gutenberg typeface and Lacrosse. Unlike their modern counterparts, these fonts are display only fanciful fonts of a bygone era in typography. However, they exude a rich history of font development that should not be forgotten in our search for the new, the sleek, the up-to-date in type. They have been developed from the rich typographic heritage of Phillips Old Fashioned Type Book published in 1945 by Frederick Nelson Phillips, Inc, in New York. This volume has caught my historic typographic eye for its plethora of ancient font styles and formulations. The Harper446 font is especially playful, with its curly capitals, its specialized "Q" capital and, of course, its flavorful and playful small case lettering, with the raised c, e and o letters and the odd looking "g." This is obviously not a text font, but can uses in artful decorative work. The Mikado231 font does not at all look like the variations of the typeface called "Mikado" in typography history. As that history notes, "Mikado was apparently inspired by Gilbert and Sullivan’s comic opera of the same name. The show opened in London in March of 1885 and in New York later that same year. According to Nicolete Gray in her classic book on ornamented typefaces, the English foundry of Sir Charles Reed and Son introduced a metal type called “Japanese” also in 1885. She characterized this typeface and other oriental based typefaces as superficial in their foreign influence. Nonetheless it appears that it was later copied by several of the American Wood-type companies. The 1906 Hamilton wood-type specimen catalog shows four versions of this design; one by Hamilton and three by acquired companies. The versions by Wells, and Morgans & Wilcox are called Mikado. The Hamilton and Page versions use model numbers 204 and 156 respectively. It is difficult to determine the specific dates when this particular wood-type was introduced, but the earliest wood-type catalog I could find showing Mikado is the 1888 Page catalog. Our sample “WINTER” is a 15 line unstamped type most similar to the Hamilton version. Incidentally, another English foundry, Miller and Richard introduced a metal typeface in 1887, also named Mikado. That typeface is totally different than the one presented here." (https://www.printmuseum.org/wood-type-mikado). This Mikado adaptation has straight angular E, F, G, K, T and even raised W, X, Y in the capitals. Note the falling stems of C, L, and lower c, e, h, m and n. Again, this playful font can be used sparingly in advertisement copy and flavorful playbills. The Gutenberg700 font is again from the Phillips book samples. Note the dotted C, U, V, small g and zero. The ampersand is also interesting. Curly serifs are used in A, J, L, S. The numerals are classic old school numerals. This Gutenberg rendering is unlike any classic Gutenberg typeface that has been presented. The LacrossePhillips font has a cute left hanging serif on the capitals. It is a bold faced font, both in the upper and lower case. It is a full font offering upper and lower case lettering, numerals and other marks. These fonts are available from CARE Typography at care typography.com at NO COST. They are free to purchase and use.
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