nf0184: you all have the [0.8] feedback sheets [0.2] okay [0.6] and i'm going 
to [0.4] pass round [0.5] the er attendance sheet if you'll [1.3] if you'll 
sign it please [3.1] today's session is on er letter form development [1.0] and 
that [0.2] by which i mean we're going to focus on the [0.4] er display types 
of the nineteenth century [1.8] er [0.3] i have a handout here that [0.5] has 
space for you to er [0.4] to sketch some of the [0.7] typefaces that you we'll 
be looking at on the [0.2] screen in a little while [0.3] so i'll pass this 
around [0.7] 
sf0185: [0.7] [0.3] 
nf0184: and here's the [0.2] there's the attendance sheet there [0.9] er so far 
this term we've looked at [0.2] the socio-economic forces behind [0.4] a number 
of the rapid changes in [0.3] the in the nineteenth century [0.4] we have 
looked at the development in [0.3] the printing presses and machinery and at [0.
2] what happened in papermaking [1.9] for the last two weeks we've been looking 
at the new processes of photography and lithography [0.8] as well as the er the 
the rebirth er of the woodcut [0.3] er [0.2] when it came back in the course of 
the nineteenth century [0.4] as wood engraving [1.8] next week we're going to 
go on to er 
looking at how the making of type speeded up that's type manufacture [0.5] and 
composition [0.5] and both er [0.4] aspects of type [0.8] and the use of type 
[0.5] were mechanized in the course of the nineteenth century [0.5] first the 
er [0.6] manufacture of type and then actually [0.4] composing type [0.2] so 
that it could be used for er for printing [0.6] and we will have [0.3] a a 
demonstration of the working [0.3] linotype system that's here in the 
department [1.7] so this week's er topic [0.7] is the letter forms that are 
known as display type [0.9] and these were above all a response to the 
advertising needs [0.5] er of the [0.3] century's developing commerce and 
industry [0.4] and you remember in our second lecture we talked about [0.2] the 
developments er [1.1] for advertising that came out of the increased production 
[0.2] general er industrial production [0.4] following the industrial 
revolution [1.6] so what we're trying to er [0.8] achieve today er in terms of 
these letter forms [0.4] is looking at approximately [0.4] when and [0.2] why 
they developed [1.1] i'll talk a little bit about [0.4] the nature of the 
evidence 
that we have concerning [0.4] these er display type letter er type forms [0.8] 
er [0.3] which [0.3] amount to what are known as specimens [0.2] type specimens 
er [0.2] type specimens on the board there [0.5] er [0.6] that come [0.4] 
they're issued by the type founders and then er our other [0.4] principal 
source of evidence for these [0.2] display letter forms [0.4] is the examples 
of [0.3] the printed artefacts themselves so we're actually looking at the 
letter forms [0.4] er [0.2] in use [1.8] so we're going to er er learn the 
names of the five [0.3] er basic varieties and you'll if you look at your 
handout [0.4] you'll see that the names [0.9] er are listed there [0.8] and er 
[0.4] i'm going to show you in a little bit [0.2] er the [0.6] and i'll allow 
you time to sketch [0.2] the principal characteristics of these five basic 
categories [2.2] wa-, no-, we'll er discuss a little bit how these [0.6] 
display [0.2] types [0.2] relate [0.2] to book types [0.3] and you'll see on 
the board i've written [0.3] display types versus book types [0.4] by which i 
mean there are [0.2] these are [0.2] two [0.4] categories of the use of types 
[0.5] and they have very strong implications [0.2] for what those types look 
like [0.3] the ty-, types used for books [0.3] er have an entirely different 
characteristic [0.2] character and nature [0.5] from the types that are used [0.
3] for display purposes [0.2] er [0.6] which [0.2] you might in this case [0.2] 
equate to advertising er purposes [1.4] er [1.0] some of the terminology for 
the discussion of types goes back [0.2] er [0.3] to the fifteenth century [0.3] 
and relates a little bit [0.2] to what we talked about last term [2.6] all 
right now let's move to the topic of display types themselves [0.4] er [0.3] 
there were [0.8] er a great many types designed for and used more or less [0.2] 
only for [0.2] books [1.1] those are what i'm calling here book types [0.7] the 
others [0.4] are used for [0.3] er wider purposes [0.4] especially for things 
[0.3] that are meant to be posted up and seen from a distance [0.5] and these 
are the ones that we refer to a lot on this under this general heading of 
heading called [0.5] display types [2.6] now we also have a few display 
functions within books [0.6] er [0.9] because we use the same term [0.2] when 
we're talking about headings [0.3] and [0.3] types that are just used for for 
titles [0.5] er [0.7] it's a bit confusing to 
have the same term display [1.2] for both [0.7] er in both fields but 
nevertheless we have to live with it [1.1] yeah there are some [0.9] two 
handouts one relates to your [0.9] essays and the other relates to the er [1.6] 
to today's work [0.5] and there's also the er [1.5] attendance sheet please [5.
1] in the nineteenth century [1.1] er [0.2] it was the display types [0.2] er 
that underwent the more interesting developments when we compare these two 
category of the use of that type [0.8] and it's it's generally understood that 
book types [0.4] the ones used for books were more or less in the doldrums [0.
2] much less interesting in terms [0.4] of their developments [1.8] so today 
we're looking at the [0.2] the category of of of type that had its er [0.4] an 
e-, an explosion of sorts in the nineteenth century [1.4] but we need to start 
as usual a little bit before the nineteenth century [0.5] er because for most 
of the eighteenth century [0.5] er there were no special types [0.2] that were 
designed for display purposes [1.1] instead [0.7] what was used were the 
largest available book types [1.7] and these only got to approximately two 
centimetres in height [1.2] that's what's referred to er [0.5] in [0.3] in type 
as a two-line pica [2.3] at the in the later eighteenth century though we do 
have the beginnings [0.3] of special design [0.3] for disla-, display purposes 
[0.9] in the seventeen-sixties [0.7] the French er [1.2] type founding family 
known as the Fourniers [0.7] developed letters that [0.3] that had [0.5] were 
floriated and floriated letters [0.4] er it's put up on the board [0.6] i by 
floriated i mean that that any decoration [0.6] took the form of er flowers [0.
4] floral patterns [1.6] and in the seventeen-eighties [0.5] er at least two 
English type founders er William Caslon and and the [0.8] er type founder Fry 
[0.8] developed simple er [0.3] open what were known as open types [0.3] or 
alternatively in-line [0.4] and i'm going to show you one er i-, on a slide 
just now [0.4] er they're characteristic of these open or in-line and you'll 
see i've got in-line on the board in quotation marks because [0.3] that was 
what they called it [0.5] er [0.3] was a letter that had a white line engraved 
down the thick strokes [0.4] now i want to to show you this first er [0.3] late 
eighteenth century in-line [0.2] and i have to er [0.6] turn the projector on 
[0.5] clumsy [6.5] 
and i'm going to have to turn off [0.5] some of the lights i hope you'll be 
able to er [1.3] see well enough to [0.2] sketch [1.9] just maybe [1.5] [4.3] 
all right these are the letters that were referred to as in-line [0.6] er and 
the the line they're referring to is the white line that runs down [0.4] the 
thick [0.8] er thicker portions of the letters [1.7] and you'll see they came 
in a variety of sizes there [0.5] er all the way up to [0.4] er what is listed 
there as five-line [0.2] pica [0.2] which is only er two centimetres high [3.1] 
er [1.7] and a variety of English printers began to use these large letters for 
posters [0.5] er [1.9] as early as seventeen-sixty-five we have we have Thomas 
Cottrell [0.3] using letters that are about two inches high [3.7] and i'm going 
to show you a [0.2] a slide [0.4] of just rather large letters by Thomas 
Cottrell [4.3] these are are are Thomas Cottrell's er and i want you not to be 
er [0.2] misled by the slide because that does enlarge it greatly [0.4] this is 
the actual size [0.8] and i think even at at the back of the room you should be 
able to read that just but you see 
there's [0.3] quite a difference [0.2] er [1.6] so this is the largest late 
eighteenth century er [1.0] display face that we're er ha-, know about [4.2] oh 
i've got my technology and your technology all [1.1] intertwined here [1.2] 
om0186: [1.0] 
nf0184: oh [0.3] if you 
om0186: right [0.3] yeah 
nf0184: just [0.2] yeah [1.2] okay [0.4] that's good [8.6] we were so busy 
setting up his technology we didn't get mine sorted [0.8] okay [0.9] aagh [7.9] 
now the real change in display faces came in the first er two decades of the 
nineteenth century [1.4] we already mentioned that basically it's the needs of 
the advertising industry [0.5] er that that led to this development for types 
that [0.4] come under the phrase eye-catching [1.3] now if you read Professor 
Twyman and it is his er [0.3] his chapter five that covers er [0.2] display 
lettering [0.2] [0.4] he says that they er he finds no [0.9] s-, [0.2] 
satisfactory single explanation for why all of a sudden there was this great 
development in in display types [0.9] he points to as i mentioned briefly the 
growth of trade [0.2] and then the need [0.6] the growing need for er 
competitive advertising [1.3] he points to the fact that 
certain er [0.4] new generations of of potential purchasers [0.3] were becoming 
at least partially literate [0.8] er and he er talks about a number of [0.2] 
technical developments [0.9] some of which we've already discussed this term [0.
4] for instance [0.2] er [0.3] the development that related to the cost of 
paper so paper prices were going down [0.6] er we've already we've talked 
earlier about [0.3] the beginnings of the use of iron presses [0.2] and the 
fact that er these could print [0.3] a larger area of dense [0.2] black type [0.
3] than earlier [0.3] because these er [1.0] these new faces didn't needed 
somewhat more er [0.2] power in the machines [1.7] likewise the origins of the 
designs [0.2] er are not [0.2] wholly [0.4] understood [0.6] some of them may 
have come out of the er profession of sign writing [0.6] er the especially [0.
2] the signs that were made for for shops [0.3] on a high street [1.0] and it 
is also possible that the er wood engravers [1.5] er [0.2] and [0.7] the work 
that they were doing as as wood engraved lettering [0.3] er [0.4] was part of 
the inspiration [2.1] and here i show you er a slide of a lottery bill [0.4] er 
printed in eighteen-ten [4.4] er which 
has the upper and lower words [0.3] er done er [0.2] by a wood engraver [4.5] 
and you can see that the letters are placed on on banners or what's known as as 
as cartouches [0.3] these are the sort of er panel that it's on [0.4] and er 
they're v-, they're very [0.4] very [0.7] broad [0.5] they have er er a shading 
that suggests [0.3] three-dimensionality [0.4] both er u-, upper and lower [0.
3] and these er at er at the bottom er have a Gothic [0.2] type inspiration [0.
4] whereas at a-, at the top [0.2] er the [0.2] inspiration is much more er [0.
5] er Roman [4.1] i said i was going to discuss what our sources of evidence 
are for these these [0.3] types of the nineteenth century [2.2] we know that 
certain type founders issued [0.4] specimen sheets that are referred to as type 
specimens [1.5] but [0.2] unfortunately as a source of evidence the type 
specimen er [1.6] is is difficult to interpret [0.3] by which i mean we don't 
always have the very earliest ones [0.3] type specimens are issued by the 
makers of these types [0.3] in order to sell the types [1.8] er they were 
showing off essentially their wares [0.3] and so by nature 
these these type specimens were ephemeral sh-, they intended to have [0.3] a 
short life their purpose wasn't to d-, document [0.3] their pur-, purpose was 
to sell [2.1] so er [0.5] we can only go by the earliest surviving ones we have 
er to help us date the beginnings of this process [0.6] and there are very good 
collections of type specimens for instance at er the Saint Bride Printing 
Library [0.9] er [0.2] and occasionally [0.3] body academic bodies like the er 
Printing Historical Society [0.3] will issue facsimiles [0.5] and they help in 
sorting out [0.4] er which [0.2] type founders started to issue these er and 
when [1.7] the the other er [0.3] main source [0.4] of evidence is the printed 
objects themselves [1.3] but again [0.2] these were often very short-lived [0.
4] printed for er [0.5] purposes er of advertising individual er events or 
objects [0.7] very often they're not dated [0.3] and [0.4] er it's highly 
possible [0.3] that in the cases of a large proportion of them [0.3] they've 
just disappeared altogether [0.3] so again [0.2] as far as records go [0.2] 
there it weren't it's not very complete [0.9] but er the 
collecting of this sort of short-lived material which is known as ephemera [0.
6] er is one of the justifications for our [0.3] departmental Ephemera Studies 
Centre [0.2] here that was er founded about five years ago [0.6] [sniff] [1.0] 
all that we know for certain [0.3] is that by about eighteen-ten [0.5] large 
display types [0.3] began to appear in the type specimens [0.4] er that do 
still exist [0.6] and the first er good ranges er [0.2] turn up in a type 
specimen dated eighteen-fifteen [0.5] and this is the eighteen-fifteen [0.6] er 
[0.5] type specimen [1.1] or er this is [0.3] part of the type spe-, specimen 
this is [0.4] this is not actually a type specimen itself because you see [0.2] 
i-, it's been used as as figures ins-, inside a book but it's from a type spe-, 
specimen [0.5] from a founder known as Figgins the he's got his put his own 
name in the second m-, ma-, big line down [0.6] er [3.9] and he had this er 
reasonably wide range of different styles [0.3] er [0.9] which i'll go into in 
some detail [0.4] in a minute [4.6] now i want to move on to the five basic 
categories which are on your handout [3.3] 
er [0.8] and these were all developed in the first [0.2] first half of the 
nineteenth century [0.3] and we'll start with [0.5] er fat face because that's 
the earliest [4.0] and here [0.5] er is an example of of of a [0.4] a fat face 
[0.2] er [2.8] display type [1.7] this one er came again from er [0.3] eighteen-
fifteen [0.9] and you'll notice that it is [2.1] fairly aptly named [0.3] in 
that it is an extremely [0.3] fat face [0.5] now the fat faces [0.2] were based 
on a book type [0.4] known as modern face [0.4] and i've got modern face on the 
board over there [0.4] er in quotation marks because [0.3] modern face is not 
just a [0.9] a general term but it's a specific term [2.4] er [0.2] and it [0.
3] it relates to [1.2] er various characteristics that i'll point out to you 
now first of all [0.2] a fat face [0.2] has [0.4] a very strong vertical 
contrast [1.1] in other words [0.3] er [0.2] the main [0.3] lines as as you 
look at it are are vertical [0.9] as opposed to s-, fi-, earlier faces [0.3] 
which had er an oblique [0.3] er [0.4] angle of emphasis [0.2] so that if you 
had any fattening [0.3] it you would be more inclined to put an oblique line 
through it than a vertical line [0.5] the second characteristic general 
characteristic of modern face [0.6] is is that you have what's [0.4] referred 
to as an abrupt [0.4] transition between [0.2] the thin points and the thick 
points [0.5] goes it's not [0.2] it's not smoothed out it's very abrupt [0.9] 
now what happens in the fat face [0.3] is that they just exaggerate [0.6] they 
exaggerate the difference between the thins and the thicks [1.2] so so much so 
that the thicks [0.4] the get almost as almost as wide as a third [0.3] of the 
height of the er of the letter [2.1] and it also er the fat faces retain this 
[0.4] this verticality in the in the design [3.6] now and [0.3] when i talk 
about modern face type [0.2] i'm referring to the to the book types [0.2] so 
there there are book type designs underlying these [0.2] display [0.3] and i'll 
now show you another [1.4] fat face [0.9] which again [0.8] can see [0.2] such 
[0.2] very [0.3] strong contrasts between the the thinnest and the thickest [0.
3] and this one [0.3] probably makes er the [0.3] the overall vertical emphasis 
er even stronger [11.7] now we think that these may have been originated by a 
er [0.3] type founder named Robert Thorne [0.5] but by about 
eighteen-twenty [0.3] most other type founders er at work [0.3] were offering 
[0.2] er [1.2] fat faces [1.1] and there are important variations er on fat 
face [4.5] for instance there was a Gothic [0.3] fat face based o-, on the 
types [0.5] er the black letter types [0.3] that come er down from the 
fifteenth century [3.2] and then another variation wa-, on the fat face was to 
add [0.6] shading [1.1] so that you have this exaggerated a-, area below and to 
the right [0.4] to give a a suggestion of three-dimensiali [0.8] three-
dimensionality [1.0] [5.0] now i'm going to move on to the second major 
category on your handout and that is [0.4] the one that's called the Egyptian 
[1.7] er never mind er that the er [1.0] the heading here refers to it as 
antique [0.6] the er [1.7] type founders of the time had no er reason not to 
give each one of these types their own name [1.3] er so the er terminology [0.
4] of these [0.2] these different types [0.4] is er [0.2] a nightmare [0.7] er 
what i'm using is the [0.8] categories that have been set up by Professor 
Twyman in his chapter [0.3] and er Nicolette Gray [0.3] in her work on 
nineteenth century ornamented 
types and title pages [0.5] so the main characteristic [1.1] of Egyptian [0.6] 
was that [0.2] all of the lines including the serifs [1.3] ha-, are more or 
less the same thickness [1.2] so y-, you have the the main stroke and the 
serifs i mean in this in this one on the [0.2] on the screen at the moment [0.
5] the serifs are a little bit less fat than the i mean i've never not measured 
them but i they are less fat [0.3] nevertheless you have [0.2] the basic 
overall effect [0.2] is that all lines are [0.2] of equal [0.3] or nearly equal 
weight [2.2] er and this one [1.7] was for fro-, is from Figgins' type specimen 
of eighteen-seventeen [0.7] this was a very successful display face [0.6] and 
that's because it produced a very dark and dense letter [0.5] which still 
remained easy to read at a distance [2.6] when it first appeared in eighteen-
seventeen it was only in [0.2] the capitals [0.6] but er [0.3] from [0.2] in by 
the eighteen-twenties we were already having upper case and lower case capitals 
and small letters [1.0] and this [0.3] e-, Egyptian along with the fat face 
these are the two most er [0.8] popular [0.6] er [0.3] display 
types [3.7] the other three that i'm going to discuss next l-, in in the five 
basic [0.3] were somewhat less [0.2] widely used [0.2] especially before [0.2] 
about eighteen-thirty [1.6] so next move on to the third one on your handout 
which is the sans serif [1.4] in in this particular slide i'm only talking 
about er [0.4] the line here [0.5] which er you'll see is very helpfully 
referred to in this one as Egyptian [0.5] but we have now come to call this one 
er [0.9] sans serif [0.5] now the w-, de-, derivation of the term sans serif [0.
5] er simply means [0.2] without [0.2] serifs [0.6] sans means without so [0.3] 
the sans serif [2.2] which er [0.2] as you see here [0.2] er in this case was 
er originally called either Egyptian or sometimes it's called antique [2.0] er 
[1.6] this became the ancestor [0.6] er of what was the the greatest innovation 
in type design of the nineteenth century and that is the [0.5] sans serif book 
type [2.3] i-, [0.3] its des-, design [1.3] was [1.0] intended [0.7] to capture 
the spirit of the very earliest Roman letter forms [0.8] and it was er that's 
why some of the the people who [0.5] who [0.6] er [2.2] issued this as a 
type referred to it as antique because it was meant to be [0.6] antique in 
inspiration [1.7] and we another term we use for sans serif [0.4] is that it's 
monoline in other words [0.5] all of the line one size line [1.5] i mean the er 
[1.7] Egyptian that i just showed you in the previous slide [0.4] had more or 
less one side [0.2] er size line but it did have serifs [1.6] so this one has 
no [0.2] er [2.7] no serifs [0.3] it first appeared in er an eighteen-nineteen 
type specimen [0.9] er where it was labelled Egyptian [2.2] and then it 
disappears and it doesn't reappear until the eighteen-thirties when it was 
renamed by Figgins as sans serif [1.7] and by yet another type founder er [0.6] 
renamed it grotesque [0.9] and it's grotesque [0.2] not in that it's er full of 
ornate design because in fact it's rather austere [0.4] but because it was 
found in [0.5] in grottoes [1.2] which had [0.2] early [0.8] Christian [0.4] 
inscriptions that were very [0.3] simple [0.4] in [0.2] grottoes so it got an-, 
another name was grotesque [0.5] er [1.0] i i can't even apologize for these 
difference in terminologies we just have to live with the fact 
that every time the type founders [0.4] came out with [0.2] what they thought 
was something new [0.2] they gave it another name [0.3] and it's just luck i 
mean they had no responsibility to those of us [0.4] who come along later and 
look at it and try to [0.4] understand what's going on and categorize them and 
have to just live with the fact that they used the same names [0.5] er for very 
different looking letter forms [1.2] 
i'll now go on to one that that doesn't have very many different names and 
that's the Tuscan it's the fourth one on your list [2.1] er [0.4] but it's not 
the one that's on the screen [0.3] it's on i have to put this on the overhead 
[10.6] the Tuscan [3.8] has a different characterisci-, [0.5] characteristic 
and that is [0.4] that when it you come to the bottom of of the downstroke [0.
2] the serifs curl you can see how they curl in [0.4] in opposite directions [0.
5] er [0.3] this one also happens to be shaded and so i'm i'm i'm asking you at 
this point [0.3] to ignore the shading and just look at the main downstroke [0.
3] and you'll see that there is a curl to the [0.2] 
left a curl to the right and then [0.3] at the top of the d-, er the downs-, er 
er the stroke [0.4] is an-, another pair of curls [0.9] er and that is what 
characterizes er the the Tuscan [1.4] i'm going to [1.4] show you another one 
[0.4] but i'll have to take the the the projector back [14.5] right [0.4] the 
Vincent Figgins second line again is a Tuscan [0.5] and there i'll get although 
this too [0.2] has further ornamentation on [0.3] the surface of especially the 
downstrokes [0.2] you'll see when the downstroke gets to the line [0.4] er it 
has curls in ei-, in either direction [0.3] and we sometimes refer to that as 
[0.6] as [0.3] [laugh] [0.5] bifurcated [0.2] i know you'll love this one [11.
8] it simply means that they're split [2.0] so you refer to the er [1.2] 
decoration as split [2.3] now [4.7] you've already seen that these Tuscans can 
go on to be er [1.2] further decorated and and we'll talk about that in a 
minute [1.8] but now i wa-, i'm going to move on to the fifth and last of these 
basic categories and [0.2] for that i have to go forward again [1.0] and that's 
the one that's called 
Italian [5.3] right now with the Italian [2.2] which we think actually 
originated in France [0.2] so why it's called Italian i don't know again [0.4] 
the letter in this case [0.2] reverses er our expectations about which parts of 
the letter are going to be thick and which are going to be thin [0.8] so that 
you have these huge [0.3] serifs [0.4] and very thin [0.3] er vertical strokes 
in this case [0.6] so er a [0.2] an easy one for you to sketch perhaps [0.3] is 
the I [2.6] er [0.4] and it looks it looks quite [0.5] bizarre and almost er [1.
5] perverse [2.5] and this first came to England in the specimen of er in a 
specimen of eighteen-twenty-one [2.2] now the growth of all these [0.2] er [1.
2] was quite fast [0.3] but they're not used by all printers [1.8] er most 
traditional printers were unhappy to see these used within books [1.8] they 
were considered inappropriate for books [0.4] but they were certainly used for 
posters [0.5] er and many [2.3] er would have had their m-, their greatest 
impact [1.1] on the posters that are printed in the provinces at first [2.1] er 
[2.3] some of the smaller sizes of these types were er m-, [0.5] cast in metal 
[0.4] but the 
large ones [0.3] were often er [0.8] done in wood and i have three examples [0.
4] of [0.5] display letters [0.3] of the nineteenth century here [0.3] from the 
department has very large collections [0.4] er of display letters that you may 
have noticed [0.3] now i'd like you er i want to to pass these around for you 
just to to see [0.6] they are they are these all these three are [0.2] in made 
of wood [1.0] sorry [6.6] [14.4] and while that's going around i'll show you [0.
5] er [0.2] one of the [0.2] provincial posters [1.0] that would be making use 
of [0.9] this kind of display letter [1.4] this one is dated er eighteen-thirty-
one and you see at the top [0.5] we have a a fat face [0.4] er [0.9] the second 
line down is [0.3] is a fat face but italic [0.4] with [0.2] an in-line in 
other words that white line that come-, decoration that comes down [0.5] and [2.
3] here we have a fat face that's been shadowed to give it a three-dimensional 
look [0.4] and the surfaces [0.3] have been er [1.8] have been decorated [3.9] 
so that is a typical er n-, [1.0] nineteenth century [0.2] poster making use of 
some of the [0.3] display faces that we've been discussing so far [9.3] in 
eighteen-twenty-seven 
there was a a a technical development that led to some new styles [0.5] er a 
machine known as a as a a routing machine a mechanical routing machine was 
developed invented in America [0.6] and it facilitated the making of large 
quantities of these letters [1.6] although in some cases we find that the 
routing machine itself [0.4] affected the shapes of the letters and er i'll 
show you one example of this [0.9] general phenomenon [0.3] where the [1.2] 
oops [5.4] this is a type specimen showing the different sizes of [0.3] a 
letter [0.4] where the [0.4] the cutting implement of the router [0.3] has this 
[0.2] rounded shape [0.5] on its blade and so [0.2] that in this particular 
case [0.3] the shape [0.3] that naturally developed by this new tool [0.3] has 
been built into the design of the letter [10.0] the eighteen-thirties and 
forties saw a great deal more designs some of them were three-dimensional some 
of them were [0.4] what's known as reversed out that's where [0.2] instead of 
the normal black letter [0.4] you got er a black background and the [0.2] 
letter is reversed out in white [0.2] er [0.3] from this black 
background [0.6] a great deal of ornamentation you've already seen a little bit 
of it [0.4] er and then the letters started to be [0.3] either er elongated [0.
3] or perhaps [0.3] m-, turned into rustic letters [0.9] and here's an example 
[0.4] er of a Figgins [0.5] er [3.7] type specimen of eighteen-fifty [0.6] so 
that you see up the top you've got a-, an Egyptian that is put at a slant [0.4] 
and er given a three-dimensionality [0.4] you've got er a a fat face er Gothic 
[0.4] you've got a reversed out [0.3] er [0.4] Egyptian [0.6] another er [2.2] 
er oh [1.2] Egyptian [0.6] er [0.6] turned on an angle and er with the opposite 
of the word virtue but made three-dimensional again [4.9] er an Egyptian er 
that er has been reversed out [0.2] or [0.2] outlined depending on how you [0.
3] how you want to er [1.3] look at it [0.4] er then Gothic [1.1] and [0.2] 
down at the bottom [0.3] our our classic [0.2] Tuscan [0.4] with ornamentation 
o-, on the surface [6.9] and the eighteen-forties saw yet er another 
development [0.6] which is known a-, a-, as the Clarendon [1.5] oh [0.9] oh 
sorry [2.4] er [0.2] [throat] i've got this slightly out of order in in fact in 
the this this specimen [0.3] shows a variety of sizes of sans of sans 
serifs [2.3] er [3.0] but the development of the eighteen-forties that i just 
started to say was er s-, th-, the er [0.4] family known as the Clarendons now 
this one is not on [0.4] on your sheet [0.4] er and it's not easy to see the 
impact that the Clarendons would have [0.3] but they were like like the er [0.
5] very heavy Egyptian only in this case is [0.4] n-, as i say you can't really 
see it from back there [0.3] instead of having having your [0.3] serif [0.7] 
meet the a vertical at a at at a stiff right angle [0.3] they [0.2] added 
what's known as a little bracket you soften it you put a little [0.3] curve 
between the [0.3] the vertical and th-, and the serif [1.3] and so you get [0.
2] a slightly more [0.3] elegant letter [0.4] that still has the er [0.2] i-, 
the [0.4] a-, ability for the [0.3] density and impact of of the Egyptian [6.1] 
now i i said that apart from type specimens the other source of information [0.
2] er [1.0] that we have about these type faces [0.5] display faces of the 
nineteenth century are the [0.8] er [3.9] artefacts that they printed 
themselves [0.5] er [2.5] and [0.8] er in a minute i'm going to show you some 
of the the l-, very l-, end of the nineteenth century's developments [1.2] 
well first i just [0.4] mention some of the er [0.4] influences behind these 
new letter forms [1.8] er we know that there was er for instance a a g-, [0.4] 
a growing interest i-, in the Middle Ages [0.7] in the nineteenth century [0.3] 
one of the reasons that they picked off the er Gothic or black letter [0.2] er 
[2.1] shapes that had been around since the fifteenth century [0.3] and we will 
see er when we er in the lecture on on coloured printing [0.4] er how some of 
the interest in the Middle Ages er [0.5] er manifested itself [0.4] there were 
also er [0.3] a number of excavations go-, that had gone on in the in the 
eighteenth century [0.4] that led to interests in in Rome er and and antiquity 
[1.4] there were er [0.2] excavations [0.2] in Rome itself and in Herculaneum 
[1.4] there was [0.4] er [0.5] interest in travel [0.3] and and er arc-, [0.2] 
other archaeological [1.3] er expeditions [0.9] that led us mo-, a greater 
familiarity with exotic languages [1.0] for instance the Rosetta Stone was d-, 
er [0.4] discovered around er s-, in seventeen-ninety-nine [1.0] so er there 
were [0.2] general influences from outside that were coming in [1.1] and 
that er the when they [0.8] type founders did pick names like Egyptian [0.4] or 
antique [0.4] er [0.2] it [0.5] suggests [0.3] that they were responding to 
some of these er outside influences [1.2] a bit later in the century [0.5] we 
find that there m-, [0.3] may have been influence from the [0.3] er flexibility 
[0.2] that the lithographic [0.3] printers er were developing [1.8] and that 
the that their ability to er draw anything they liked [0.4] in terms of shape 
er [0.6] on to the lithographic stone [0.3] was [0.3] beginning to work 
backwards and have have effects on [0.3] these much more rigid letter forms [0.
2] that are cast in metal or cut in wood [3.4] er [2.0] and i refer you in this 
case to some of the discussions in [0.2] er Professor Twyman's book [0.5] er [0.
9] which is er chapter five [0.6] now i want [0.2] just to finish off by 
showing you [0.5] some of the er exuberant [1.0] designs of the late [0.2] 
nineteenth century and their use as posters [1.0] er [1.0] could i ask you to 
turn the [0.3] projector off please [1.8] first i'll start with some letter 
forms that were [0.7] er [0.4] probably [0.5] a-, as developed as you could get 
er [0.8] in terms of the [0.2] er exploitation of the 
surface of the fat face [0.6] and these er [1.4] are very large display letters 
done by a man named Pouché [0.5] er [0.2] that's P-O-U-C-H- [0.5] E-acute [0.
6] er [1.5] these have [0.3] fairly recently been [0.3] been published in full 
because they er [0.2] original letter forms [0.2] were discovered [0.4] er [0.
4] and [0.3] the wood letters were not intended to be printed from directly but 
to cast er be cast as er [0.4] electrotypes [0.3] and and printed from [0.2] 
the electrotypes [0.5] but you can see er [1.0] not only do they have er the 
the sh-, the shading [0.4] which gives them this suggestion of three-
dimensionality [0.4] but the the er [0.2] er floral and fruit patterns are are 
extremely elaborate [3.0] that was a-, that is about as [0.3] as beautiful as 
the letter form gets [0.4] er [1.1] i'll just show you two or three [2.9] 
examples of how they're used [2.6] er [0.6] at the top we have a ha-, have a 
sans serif [0.7] er [0.6] in the middle [0.8] Tuscans [0.5] these are Tuscans 
[0.7] just some fat face [0.3] here more Tuscans [0.7] then er [1.2] sans 
serifs [0.4] that have been shadowed [0.5] and er the rest is is largely in [0.
2] in sans serif [14.3] [cough] [0.5] these letter forms er [0.3] which are 
done 
in in this case on on c-, in a copper plate engraving [0.4] you can see well [0.
2] i'm i'm not going to stand here and name them all to you but you can see 
Gothics [0.4] you can see Tuscans [0.4] you can see [0.3] sans serifs [0.2] fat 
faces [1.1] really the lot [0.3] er [0.6] and and this is [0.2] about er 
eighteen-seventy this particular [0.2] image [7.8] and finally [0.3] even 
closer to the end of the century i'm sorry this [0.6] this this new machine [0.
2] doesn't let you [1.3] move it up [3.9] but here you can see er a very [1.3] 
interesting if odd way of of [0.5] handling the letter form so that you're 
actually supposed to read the shadows that are cast by these individual [0.5] 
er figures [0.7] so the so word itself the letters themselves come up as as 
shadows [0.9] and here er [0.7] a Tuscan [0.9] shadowed Tuscan [0.3] up here [0.
5] letter forms that are made er out of er out of little people [0.7] at the 
top er a reversed out er [0.5] 
sans serif [2.3] so by the end of the nineteenth century [0.3] er the letter 
forms [0.5] er were completely transformed from er what we had [0.2] er [0.4] 
started with [0.3] which were merely [0.2] large sizes of of book faces [0.4] 
that were er used occasionally for display [0.3] at the beginning er [0.2] of 
the nineteenth century [0.6] now er i would [0.2] recommend that you follow 
this up by having a good look at er [1.0] Twyman [0.3] chapter five and oner [0.
4] er or another of the books by Nicolette Gray [1.8] er next week we have the 
demonstrations [0.2] er on the monotype machine and we talk about [0.5] type 
casting [0.3] type making and type casting [0.3] and the combination of those 
two [0.5] now if any of the rest of you haven't signed the register [0.6] or [1.
7] filled out one of these cover sheets for your essay [0.8] please do that [1.
3] that's it