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WSC 2024 REIMAGINING THE PRESENT ALL TERMS QUESTIONS AND ANSWERS
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WSC 2024 REIMAGINING THE PRESENT ALL TERMS QUESTIONS AND ANSWERS
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WSC 2024 - Reimagining the Present - All TermsTerms in this set (1221)
A device used to quickly produce copies of texts invented by Johannes Gutenburg in
1440. It involved arranging the stamps of letters to be stamped onto a page, which
Printing Press could take an entire day, but then be used as many times as necessary to create
many copies of the same text. The letter forms were based on Blackletter calligraphy,
which was used at the time to write manuscripts.
Johannes Gutenburg A goldsmith and inventor of the printing press in 1440.
A typeface commonly used to write manuscripts and the first to be implemented
onto a printing press. Although it mimicked the handwriting style of the time, it took
Blackletter
up a lot of space on a page, meaning more paper had to be used to convey the
same information.
Created the first Roman typeface in 1470, based on Blackletter and Italian Humanist
Nicolas Jenson lettering. [ ] was the first to use typographic principles rather than manuscript
More
models to create a typeface.
A typeface that was used as a successor of the Blackletter typeface as the standard
Roman for texts. The first was invented by Nicolas Jenson in 1470, and it was invented to look
simpler and be more efficient at using the page space than blackletter.
A text style that makes text appear slanted. It was originally used to save space, but
Italic is now used for emphasis. It was developed by Aldus Manutius and Francesco Griffo
in 1501. Its downside was it was less legible than later typefaces.
Aldus Manutius An Italian printer who, along with Francesco Griffo, developed Italic text
Francesco Griffo An Italian punchcutter who, along with Aldus Manutius, developed Italic text.
A typeface developed in 1734 by William Caslon which was created to be as legible
Old Style
as possible, making each letterform distinguishable at a glance.
An English typefounder who created Old Style in 1734, which was the first typeface
William Caslon
whose primary focus was readability.
A typeface developed in 1757 by John Baskerville that had more distinct letterforms.
Baskerville's ink was much blacker than that of his contemporaries, and the typeface
Transitional Typeface
was criticized for having its strokes extremely think and dark. Commercially, it was a
failure.
An English printer to developed the first transitional typefaces and made
improvements to type, ink, and printing presses to the point that his ink was
John Baskerville
considerably darker and criticized as such. Revived in the 20th century, his typeface
earned him the title of "greatest printer England ever produced"
Firmin Didot A French type designer who in the 1780s created the Didot font.
, Giambattista Bodoni An Italian type designer who in the 1780s created the Bodoni font.
A font developed in the 1780s by Firmin Didot. It was one of the first fonts to use
modern serifs with extreme stroke thickness differences. It is similar to Bodoni,
Didot though some differences exist, such as how the J sits on the baseline, and how only
the upper stroke is terminated with a ball. It is not the most readable font at smaller
sizes due to the high stroke thickness contrast, and is mostly reserved for headings
A font developed in the 1780s by Giambattista Bodoni. It was one of the first fonts to
use modern serifs with extreme stroke thickness differences. It is similar to Didot,
though some differences exist, such as how the J extends below the baseline, and
Bodoni
how both the upper and lower strokes are terminated with a ball. It is not the most
readable font at smaller sizes due to the high stroke thickness contrast, and is mostly
reserved for headings
A typeface whose letterforms contain serifs characterized by being block-like. These
are sometimes referred to as Egyptian fonts. These became extremely popular
Slab Serif Font around the 19th century, particularly in printed advertising due to them being eye-
catching. Some were developed specifically to be used at larger scales, which was a
departure from earlier designs, which adapted existing forms of book type
Serif Font A typeface whose letterforms contain flourishes that terminate strokes
A font developed by Vincent Figgins in 1815, it was the first commercially available
Antique
slab serif typeface
A British typefounder who developed the first commercially available slab serif
Vincent Figgins
typeface, known as antique, in 1815
A typeface whose letterforms do not contain flourishes that terminate strokes. It was
Sans serif font influenced heavily by the block lettering present in classical antiquity, which saw
serifs either minimal or omitted.
A font developed in 1816 by William Caslon IV. It was much more legible at a distance
Two Lines English Egyptian
and it caught on quickly after its availability
An English typeface designer who in 1816 created the first sans serif font, Two Lines
William Caslon IV
English Egyptian.
Egyptomania A fascination of ancient Egypt by the Western world
A British craftsman who is known for designing Johnston in 1916, a sans-serif font
Edward Johnston
used throughout the London Underground.
An American type designer who began making typefaces in the 1920s. [ ] was the
Frederic Goudy first full-time type designer, and created fonts like Copperplate Gothic and Goudy
Old Style.
Max Miedinger A Swiss type designer best known for developing Helvetica in 1957
A minimalist sans serif typeface designed in 1957 by Max Miedinger. It is often seen
Helvetica
as the most iconic typeface of the 20th century.
Futura A minimalist sans serif typeface designed in 1927 by Paul Renner.
Paul Renner A German typeface designer who designed Futura in 1927.
Optima A minimalist sans serif typeface designed in 1958 by Hermann Zapf.
Hermann Zapf A German type designer who designed Optima in 1958
A font that takes inspiration from traditional letterforms, such as Roman square
Humanist font
capitals, calligraphy, or traditional serif typefaces.
A typeface designed in 1968 by Rudolf Hell. It was the first digital typeface. It, along
Digi Grotesk with other early digital typefaces, were bitmaps, which were very illegible at small
scales and had comparably high file sizes.
A German inventor and engineer who designed Digi Grotesk, the first digital
Rudolf Hell
typeface, in 1968.
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