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71-474: Morris's aim in the Kelmscott Press was to revive the style of early printing and medieval manuscripts, and the design accordingly is a profound rejection of the harsh, industrial aesthetic of the contemporary Didone typefaces used at the time in general-purpose printing, and also of the relatively pallid " modernised old style " designs popular in books. Instead, the design has a relatively heavy "colour" on

142-727: A Fraktur z : ⟨ z {\displaystyle {\mathfrak {z}}} ⟩ , hence ⟨ſ z {\displaystyle {\mathfrak {z}}} ⟩ ; see ß for details ), although in Antiqua , the ligature of ⟨ſs⟩ is used instead. An alternative hypothesis claims that the German letter ß originated in Tironian notes . Some old orthographic systems of Slavonic and Baltic languages used ⟨ſ⟩ and ⟨s⟩ as two separate letters with different phonetic values. For example,

213-446: A capital form which resembles the IPA letter ⟨ʕ⟩ see Udi language § Alphabet . In the 1993 Turkmen orthography , ⟨ſ⟩ represented / ʒ / ; however, it was replaced by 1999 by the letter ⟨ ž ⟩ . The capital form was ⟨£⟩ , which was replaced by ⟨Ž⟩ . An echo of the long s survives today in the form of

284-592: A certain formality as well as the traditional. Margaret Mathewson "published" her Sketch of 8 Months a Patient in the Royal Infirmary of Edinburgh, A.D. 1877 of her experiences as a patient of Joseph Lister in the Royal Infirmary of Edinburgh by writing copies out in manuscript. In place of the first s in a double s , Mathewson recreated the long s in these copies, a practice widely used for both personal and business correspondence by her family, who lived on

355-476: A complementary, more balanced reading experience on paper. An eccentric method of reworking and parodying Didone typefaces has long been to invert the contrast, making the thin strokes thick and the thick strokes thin. First seen around 1821 in Britain and occasionally revived since, these are often called reverse-contrast fonts. They effectively become slab serif designs because of the serifs becoming thick. In

426-723: A natural requirement of printing technology at the time of Didone typefaces' first creation in metal type, since each size of metal type would be custom-cut, but declined as the pantograph , phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years. French designer Loïc Sander has suggested that the dazzle effect may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and may choose Didone fonts designed for headings. Many modern Didone digital revivals intended for professional printing, such as Parmagiano, ITC Bodoni and Hoefler & Frere-Jones ' Didot and Surveyor, have

497-698: A range of optical sizes, but this is less common on default computer fonts. Among default Didone fonts on computer systems, Century Schoolbook on Windows is oriented towards body text use, while the Didot revival on OS X was specifically intended for display use and not for body text. The shape of nineteenth-century Didone designs, with their narrow apertures , has been suggested as a major influence on many early sans-serif fonts such as Akzidenz-Grotesk and its derivatives such as Helvetica , developed in Europe some years after their introduction. An example of this influence

568-403: A recurrence to sound taste. Positive retrogession is against nature and any tendency in this direction will most assuredly correct itself. The adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model

639-457: A second stroke that formed an ascender that curled to the right. Those styles of writing, and their derivatives, in type design had a crossbar at the height of the nub for letters f and t , as well as for k . In roman type, except for the crossbar on medial s , all other cross bars disappeared. The long s was used in ligatures in various languages. Four examples were ⟨si⟩ , ⟨ss⟩ , ⟨st⟩ , and

710-530: A thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves." Frederic Goudy , an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about

781-545: A white line in the centre of the thick strokes. He hoped this design, Goudy Open , would leave a lighter colour (density of ink) on the paper. Nonetheless, Didone designs have remained in use, and the genre is recognised on the VOX-ATypI classification system of typefaces and by the Association Typographique Internationale (AtypI). The genre remains particularly popular for general-purpose use in

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852-434: Is "immune" to spaced setting . The long s was derived from the old Roman cursive medial s , ⟨ [REDACTED] ⟩ . When the distinction between majuscule (uppercase) and minuscule (lowercase) letter forms became established, toward the end of the eighth century , it developed a more vertical form. During this period, it was occasionally used at the end of a word, a practice that quickly died but that

923-531: Is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the other, much thinner strokes that define which letter is which. For this reason, using the right optical size of digital font has been described as particularly essential with Didone designs. Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility. Optical sizes were

994-464: Is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by: The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni , whose efforts defined the style around the beginning of

1065-625: Is an improvement in the art of printing equal, if not superior, to any which has taken place in recent years, and for which we are indebted to the ingenious Mr. Bell, who introduced them in his edition of the British Classics [published in the 1780s and 1790s]. They are now generally adopted, and the [type founders] scarcely ever cast a long s to their fonts, unless particularly ordered. Indeed, they omit it altogether in their specimens ... They are placed in our list of sorts, not to recommend them, but because we may not be subject to blame from those of

1136-557: Is found in handwriting into the second half of the nineteenth century, and is sometimes seen later on in archaic or traditionalist printing such as printed collections of sermons. Woodhouse 's The Principles of Analytical Calculation , published by the Cambridge University Press in 1803, uses the long s throughout its roman text. The long s disappeared from new typefaces rapidly in the mid-1790s, and most printers who could afford to do so had discarded older typefaces by

1207-505: Is that round s indicates the end of a semantic part. Thus, long ſ is used everywhere except at the end of a syllable, where further conditions need to be true. The following rules were laid down at the German Orthographic Conference of 1901 . The round s is used: Long ſ is used whenever round s is not used (for s): These rules do not cover all cases and in some corner cases, multiple variants can be found. One such case

1278-409: Is the narrow apertures of these designs, in which strokes on letters such as a and c fold up to become vertical, similar to what is seen on Didone serif fonts. Matthew Carter 's Scotch Roman -inspired computer font Georgia is notable as an extremely distant descendant of Didone typefaces. In Georgia, the stroke contrast is greatly reduced and the bold made much bolder than normal in order for

1349-584: Is used in the International Phonetic Alphabet , in which it represents the voiceless postalveolar fricative , the first sound in the English word ship . In Nordic and German-speaking countries, relics of the long s continue to be seen in signs and logos that use various forms of fraktur typefaces. Examples include the logos of the Norwegian newspapers Aftenpoſten and Adresſeaviſen ;

1420-460: Is whether to apply original semantics (that are largely unknown) or follow spoken syllables; e.g. in Asbest vs. Aſbest as it is spoken As⋅best , but comes from Ancient Greek ἄσβεστος composed of ᾰ̓- plus σβέννῡμῐ , meaning a is a prefix, and thus, a long ſ follows. In Fraktur , ligature ſt (Unicode: U+FB05 ſt LATIN SMALL LIGATURE LONG S T ) as the ligatures ch and ck,

1491-673: The Arts and Crafts movement and antiquarian-minded printers such as William Morris , rejected austere, classical designs of type, ultimately in favour of gentler designs. Some of these were revivals of typefaces from between the Renaissance and the late eighteenth century such as revivals (with varying levels of faithfulness to the originals) of the work of Nicolas Jenson , William Caslon 's " Caslon " typefaces and others such as Bembo and Garamond . Others such as "Old Styles" from Miller and Richard , Goudy Old Style and Imprint were new designs on

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1562-614: The Bohorič alphabet of the Slovene language included ⟨ſ⟩ /s/ , ⟨s⟩ /z/ , ⟨ſh⟩ /ʃ/ , ⟨sh⟩ /ʒ/ . In the original version of the alphabet, majuscule ⟨S⟩ was shared by both letters. In general, the long s fell out of use in roman and italic typefaces in professional printing well before the middle of the 19th century. It rarely appears in good-quality London printing after 1800, though it lingers provincially until 1824 and

1633-505: The Doves Type , Centaur , Adobe Jenson and Hightower Text have been created since, most more faithful to Jenson's original work. It also influenced some of the work of Frederic Goudy . The Golden Type has been digitised by ITC . The original punches and matrices , along with all of Morris's other typefaces, survive in the collection of Cambridge University Press . Didone (typography) Didone ( / d i ˈ d oʊ n i / )

1704-509: The German letter Eszett ⟨ß⟩ . The present-day German letter ß ( German : Eszett or scharfes s ; also used in Low German and historical Upper Sorbian orthographies ) is generally considered to have originated in a ( Fraktur ) ligature of ⟨ſz⟩ (which is supported by the fact that the second part of the ⟨ß⟩ grapheme usually resembles

1775-415: The long s and some ligatures found in early printing but discarded since, feeling that they made texts hard to read. To prepare the design, Morris commissioned enlarged photographs of Jenson's books from the artist Emery Walker (which survive), from which he prepared drawings; Walker was interested in the history of printing and his interest may have inspired Morris to venture into printing. The design

1846-452: The medial s or initial s , is an archaic form of the lowercase letter ⟨ s ⟩ , found mostly in works from the late 8th to early 19th centuries. It replaced one or both of the letters s in a double- s sequence (e.g., "ſinfulneſs" for "sinfulness" and "poſſeſs" or "poſseſs" for "possess", but never "poſſeſſ"). The modern ⟨s⟩ letterform is known as the "short", "terminal", or "round" s . In typography,

1917-414: The sans-serif , slab-serif and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the roman type form. Known as ' fat faces ', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively. Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of

1988-719: The "classic style" of nineteenth-century scientific printing with a family based on an American Monotype Company Modern face. Many newspapers were founded in the nineteenth century, and many newspaper typefaces have remained rooted in nineteenth-century models of type. Linotype's popular Legibility Group of the 1930s, for many years the model for most newspaper printing worldwide, remained based on this model but toughened-up to increase clarity. American Type Founders ' Bodoni typeface, introduced around 1907-1911, became hugely popular for news headlines. Writing in 2017, digital font designer Tobias Frere-Jones wrote that he had kept his font design for The Wall Street Journal based on

2059-515: The 19th century, these designs were called Italian because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble capitalis rustica Roman writing, although this may be a coincidence. They were also called Egyptian , an equally inauthentic term applied to slab serifs of the period. Intended as attention-grabbing novelty display designs more than as serious choices for body text, within four years of their introduction

2130-538: The Latin summa ('sum'), which he wrote ſumma . This use first appeared publicly in his paper De Geometria , published in Acta Eruditorum of June 1686, but he had been using it in private manuscripts at least since 29 October 1675. The integral of a function f ( x ) with respect to a real variable x over the interval [ a , b ] is typeset as: In linguistics, a similar character ( ʃ , called esh )

2201-737: The UK include the following: When the War of 1812 began, the contrast between the non-use of the long s by the United States, and its continued use by the United Kingdom, is illustrated by the Twelfth US Congress's use of the short s of today in the US declaration of war against the United Kingdom , and, in contrast, the continued use of long s within the text of Isaac Brock's counterpart document responding to

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2272-574: The UK until the end of the 19th century, possibly as part of a consciously antiquarian revival of old-fashioned type. For example: In Germany, Fraktur -family typefaces (such as Tannenberg , used by Deutsche Reichsbahn for station signage, as illustrated above ) continued in widespread official use until the "Normal Type" decree of 1941 required that they be phased out. (Private use had already largely ceased .) The long s survives in Fraktur typefaces. After its decline and disappearance in printing in

2343-489: The United States stopped using the long s between 1795 and 1810: for example, acts of Congress were published with the long s throughout 1803, switching to the short s in 1804. In the US, a late use of the long s was in Low's Encyclopaedia , which was published between 1805 and 1811. Its reprint in 1816 was one of the last such uses recorded in the US. The most recent recorded use of

2414-432: The art: It is ... marvellous to think that, after the much desiderated correction [to letters] had been applied, an attempt should recently have been made to introduce these old irregular letters again to the public notice, for the vagaries of fashion have of late brought into use in the printing trade several kinds of old-faced types ... and the infection has in some degree been caught by the sign-writer ... we have thus, on

2485-479: The change was accomplished mainly between the years 1760 and 1766; for example, the multivolume España Sagrada made the switch with volume 16 (1762). In France, the change occurred between 1782 and 1793: François Didot designed Didone to be used substantially without long s . The change happened in Italy at about the same time: Giambattista Bodoni also designed his Bodoni typeface without long s . Printers in

2556-474: The declaration of war by the US. Early editions of Scottish poet Robert Burns that have lost their title page can be dated by their use of the long s ; that is, James Currie's edition of the Works of Robert Burns (Liverpool, 1800 and many reprintings) does not use the long s , while editions from the 1780s and early 1790s do. In printing, instances of the long s continue in rare and sometimes notable cases in

2627-456: The design to render well on a low-resolution computer monitor, but the general letter shape and ball terminals of Scotch Roman designs are preserved. He also developed the Scotch Roman revival Miller for print use. Given these unusual design decisions, Matthew Butterick , an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve

2698-406: The early years of the 19th century, the long s persisted into the second half of the century in manuscript. In handwriting used for correspondence and diaries, its use for a single s seems to have disappeared first: most manuscript examples from the 19th century use it for the first s in a double s . For example, For these as well as others, the handwritten long s may have suggested type and

2769-532: The early years of the 19th century. Pioneer of type design John Bell (1746–1831), who started the British Letter Foundry in 1788, is often "credited with the demise of the long s ". Paul W. Nash concluded that the change mostly happened very fast in 1800, and believes that this was triggered by the Seditious Societies Act . To discourage subversive publications, this required printing to name

2840-451: The eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been." Driven by the increasing popularity of advertising, whether printed or custom lettering , the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces. These included

2911-417: The end of each component within a compound word, and there are more detailed rules and practices for special cases. The long s is often confused with the minuscule ⟨ f ⟩ , sometimes even having an f -like nub at its middle but on the left side only in various roman typefaces and in blackletter . There was no nub in its italic type form, which gave the stroke a descender that curled to

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2982-497: The fat face letter, and the pre-existing inline types with a line inside the type. Didone fonts began to decline in popularity for general use, especially in the English-speaking world, around the end of the nineteenth century . The rise of the slab serif and sans-serif genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by

3053-503: The identity of the printer, and so in Nash's view gave printers an incentive to make their work look more modern. Unlike the 1755 edition, which uses the long s throughout, the 1808 edition of the Printer's Grammar describes the transition away from the use of the long s among type founders and printers in its list of available sorts : The introduction of the round s , instead of the long,

3124-480: The lasting influence of Baskerville led to the creation of types such as the Bell , Bulmer and Scotch Roman designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called transitional serif designs. Later developments of the latter class have been called Scotch Modern and show increasing Didone influence. Didone typefaces came to dominate printing by

3195-401: The left and which is not possible without kerning in the other type forms mentioned. For this reason, the short s was also normally used in combination with f : for example, in "ſatisfaction". The nub acquired its form in the blackletter style of writing. What looks like one stroke was actually a wedge pointing downward. The wedge's widest part was at that height ( x-height ) and capped by

3266-437: The lettering style. While he mentioned Bodoni in his book Elements of Lettering , he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages [had] the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality" As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving

3337-432: The letters crowd together; the normal mid nineteenth-century book is typographically dreary. The Victorians lost the idea of good type to read." Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen". Stanley Morison of the printing equipment company Monotype , a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of

3408-400: The long s is known as a type of swash letter , commonly referred to as a "swash s ". The long s is the basis of the first half of the grapheme of the German alphabet ligature letter ⟨ ß ⟩ , ( eszett or scharfes s , 'sharp s '). As with other letters, the long s may have a variant appearance depending on typeface: ſ , ſ , ſ , ſ . This list of rules for

3479-456: The long s is not exhaustive, and it applies only to books printed during the 17th to early 19th centuries in English-speaking countries. Similar rules exist for other European languages. Long s was always used ("ſong", "ſubſtitute") except : In handwriting, these rules did not apply—the long s was usually confined to preceding a round s , either in the middle or at the end of a word—for example, "aſsure", "bleſsings". The general idea

3550-532: The long s typeset among English printed Bibles can be found in the Lunenburg, Massachusetts , 1826 printing by W. Greenough and Son. The same typeset was used for the 1826 printed later by W. Greenough and Son, and the statutes of the United Kingdom 's colony Nova Scotia also used the long s as late as 1816. Some examples of the use of the long and short s among specific well-known typefaces and publications in

3621-406: The middle of the nineteenth century, although some "old style" faces continued to be sold and new ones developed by typefounders. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past. Many historians of printing have been critical of the later Didone faces popular in general-purpose printing of the nineteenth century, especially following

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3692-487: The nineteenth century. The category was known in the period of its greatest popularity as modern or modern face , in contrast to "old-style" or "old-face" designs, which date to the Renaissance period. Didone types were developed by printers including Firmin Didot , Giambattista Bodoni and Justus Erich Walbaum , whose eponymous typefaces, Bodoni , Didot , and Walbaum , remain in use today. Their goals were to create more elegant designs of printed text, developing

3763-504: The nineteenth-century model because it "had to feel like the news." Among popular faces in modern use, the typeface family Century is inspired by later American Didone designs, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for cold type and digital composition, while modern typefaces along

3834-455: The old "Puffing Billy" , now so carefully preserved in the Patent Museum at South Kensington . One influential example in the late nineteenth century was William Morris 's Kelmscott Press, which commissioned new custom fonts such as his Golden Type on medieval and early Renaissance models. Many fine press printers imitated his model, and while some printers such as Stanley Morison in

3905-465: The old school, who are tenacious of deviating from custom, however antiquated, for giving a list which they might term imperfect. An individual instance of an important work using s instead of the long s occurred in 1749, with Joseph Ames 's Typographical Antiquities , about printing in England 1471–1600, but "the general abolition of long s began with John Bell's British Theatre (1791)". In Spain,

3976-422: The one hand, a hard, an irregular and unfinished letter; and on the other, a graceful, symmetrical and highly finished letter ... there is some indication that this absurdity, like all fashions that have their birth in bad taste, is happily passing away, and the modern letter is again asserting its superiority. It has always been the case in the arts that, after periods of extravaganza and bizzarerie , there has been

4047-493: The packaging logo for Finnish Siſu pastilles; and the German Jägermeiſter logo. The long s exists in some current OpenType digital fonts that are historic revivals, like Caslon , Garamond , and Bodoni . Some Latin alphabets devised in the 1920s for some Caucasian languages used the ⟨ſ⟩ for some specific sounds. These orthographies were in actual use until 1938. Some of these developed

4118-460: The page. The design is a loose revival, somewhat bolder than Jenson's original engraving, giving it something of the appearance of medieval blackletter writing, and it has been criticised for ponderousness due to this heavy appearance. (A particularly extreme response in the twentieth century was that of Stanley Morison , who while polite about its innovation and legibility described its design privately as "positively foul".) Morris decided not to use

4189-424: The paper retains the detail of their high contrast well, and for whose image a crisp, 'European' design of type may be considered appropriate. They are used more often for general-purpose body text, such as book printing, in Europe. The effective use of digital Didone typefaces poses unique challenges. While they can look very elegant due to their regular, rational design and fine strokes, a known effect on readers

4260-572: The printer Thomas Curson Hansard had described them as 'typographic monstrosities'. Nonetheless, somewhat toned-down derivatives of this style persisted in popular use throughout the nineteenth century, and are commonly associated with 'wild west' printing on posters. They ultimately became part of the Clarendon genre of slab-serif typefaces, and these later designs are often called French Clarendon designs. Period specimen books: Long s The long s , ⟨ ſ ⟩ , also known as

4331-471: The printing of Greek (the Didot family were among the first to set up a printing press in the newly independent country ). It also is often seen in mathematics, as the open-source standard mathematical typesetting programmes TeX and LaTeX use the Computer Modern family as default. The system's creator, Donald Knuth , deliberately created the system with the intention of producing an effect inspired by

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4402-420: The reaction of the twentieth century against Victorian styles of art and design. Nicolete Gray has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and descenders grow longer,

4473-411: The remote island of Yell, Shetland . The practice of using the long s in handwriting on Yell, as elsewhere, may have been a carryover from 18th-century printing conventions, but it was not unfamiliar as a convention in handwriting. The long s survives in elongated form, with an italic-styled curled descender, as the integral symbol ∫ used in calculus . Gottfried Leibniz based the character on

4544-540: The same lines include Filosofia and the open-source Computer Modern . Some later Didone families have focused on subgenres of the period, such as Surveyor , inspired by labels on maps. Fat face typefaces remained popular for display use in the mid-twentieth century with new designs such as Monotype's Falstaff and Morris Fuller Benton 's Ultra Bodoni; Matthew Carter 's Elephant is a more recent version. In print, Didone fonts are often used on high-gloss magazine paper for magazines such as Harper's Bazaar , on which

4615-486: The same pattern. An early example of the distaste some printers had for the modern type style was French printer Louis Perrin, who would eventually commission some new typeface designs on a traditional model. He wrote in 1855 (tr. James Mosley ): You ask me what kind of whim leads me to revive types of the sixteen century today.... I often have to reprint old poetry [from the sixteenth century] and this task invariably makes me oddly uneasy. I cannot recognise in my proofs

4686-466: The sixteenth century or relatively similar, conservative designs. ) These trends were also accompanied by changes to page layout conventions and the abolition of the long s . Typefounder Talbot Baines Reed , speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling". Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated. In Britain and America,

4757-425: The twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing

4828-402: The verses … our present day punches, which are so precise, so correct, so regularly aligned, so mathematically symmetrical ... no doubt have their merits, but I should prefer to see them kept for printing reports on the railway. A revival of interest in the old styles of letter in Britain around 1870 was, however, criticised by master signpainter James Callingham in his contemporary textbook on

4899-547: The work of John Baskerville in Birmingham and Fournier in France towards a more extreme, precise design with intense precision and contrast, that could show off the increasingly refined printing and paper-making technologies of the period. (Lettering along these lines was already popular with calligraphers and copperplate engravers, but much printing in western Europe up to the end of the eighteenth century used typefaces designed in

4970-468: Was occasionally revived in Italian printing between about 1465 and 1480. Thus, the general rule that the long s never occurred at the end of a word is not strictly correct, although the exceptions are rare and archaic. The double s in the middle of a word was also written with a long s and a short s , as in: "Miſsiſsippi". In German typography , the rules are more complicated: short s also appears at

5041-575: Was then cut into metal in a single size by Edward Prince and cast by the company of Morris's friend Talbot Baines Reed . The Golden Type sparked a trend of other typefaces in a similar style commissioned for fine book printing in Britain, including that of the Doves Press , which was co-founded by Walker. Several of these typefaces were also cut by Prince. Other early copies were made in America. Many similar Jenson revivals, including Cloister Old Style ,

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