CALLIGRAPHIC TYPEFACES
author: Olivera Stojadinović

The first typefaces imitated the shapes of the current calligraphic models. The Gutenberg Bible was printed with types cut to resemble textur, the handwritten form which was in use in that period. The invention of moveable type was the result of efforts to create “artificial handwriting” to provide book production at lower costs than manuscripts. The image of printed books followed closely present models of manuscript editions. Large number of ligatures (two or more letters at the same body) were made in order to provide resemblance to handwriting.

In Renaissance Italy handwritten forms differed from western European, hence typefaces were created by the models of letterforms written using the pen with cut nib — Humanistic minuscule and Renaissance cursive, while majuscule resumed the shapes of Roman capitals. These models eventually became standards for text typefaces.

During the centuries of development typeface letterforms were moving away from handwritten forms. Technological improvements enabled diminishing of typeface sizes while designs followed distinct, constructive logic.

Calligraphy evolved in separate direction cultivating looser shapes inherent to rapid writing. By the invention of new kind of writing tool, steel pen with pointed nib, producing strokes of different widths by pressure change, new written forms have been developed — fine chancery scripts.

The development of digital technology made fundamental changes to typesetting and printing methods. Typefaces used in metal composition were replaced with their digital interpretations based on same design, but with new application possibilities in layout such as changing size by geometrical scaling, overlapping and combining of letter shapes.

The technique of execution of digital typefaces enables introducing drawings (by means of scanners and auxiliary graphic applications) into the programs for font creation, where shapes, sizes and spacing between letters could be adjusted. This procedure contributed to great versatility of typefaces. Practically, any simple black & white image could become a type character and be composed by method of movable type. Various handwritten letterforms also could be transformed into digital form. Nevertheless, besides the basic set of letters (font), additional fonts with alternative shapes of some characters and all necessary ligatures and varieties present in handwriting could be created.

Calligraphic typefaces could be assorted in two groups. Script typefaces are made directly from calligraphic sketches performed with tools such as brush, reed or pen. When composed, these typefaces look as written by hand. The other group comprises text faces, serif and sans serif, inspired by handwriting, but adjusted to function in text layout which demands simple shapes legible in small sizes. In this typefaces calligraphic elements are used, whether they are taken from handmade sketches or drawn in calligraphic spirit.