Medieval typefaces, and those inspired by the forms from this time frame,
show a loss in refinement as a result of the fall of Rome and the fracturing
of European culture. All-capital faces with more pronounced curvature in
the strokes, more fluid junctures derived from pen inscription, and the
introduction of uncial-based forms—predecessors to the modern lowercase
developed in the third through sixth centuries A.D.—relate to scribal work.
Decorative details, influenced by animal interlace and manuscript illumina-
tion, may be found adorning terminals and cross-strokes—exaggerated
curves, swash forms, curlicues, and illustrative inclusions, such as animal
or leaf forms. Medieval-style faces often show dramatic contrast between
thick and thin strokes, as in Lombardic initials or early textura forms, pop-
ular in Germany, Austria, and eastern Europe after the ninth and tenth cen-
turies. Harsh blackletter faces—with overall condensed characters made up
of dominant, heavy vertical strokes with quick, sharp junctures—bring the
late stages of Gothic type style into the mix.
European feudal society—following the fall of Rome and continuing
up through the late Gothic period, prior to the Renaissance—provides
the context for medieval type and color. The decorative manuscript
work of scribes, heraldic symbols, pageantry, and ritual inform the visual
style of this category.
Packaging top, and detail
Love Communications
Preston Wood, Amy Veach,
Scott Greer
Salt Lake City [UT] USA
Medieval
Time
+
Context
164
(Provision) Type Style Finder
L805.130 / 4228
6 TSF_TIME 1_158–191_5C.qxd 8/17/05 7:21 PM Page 164