Walbaum Grotesk Font

Fraktur Wikipedia. Fraktur German faktu  listen is a calligraphic hand of the Latin alphabet and any of several blacklettertypefaces derived from this hand. The blackletter lines are broken up that is, their forms contain many angles when compared to the smooth curves of the Antiqua common typefaces modeled after antique Roman square capitals and Carolingian minuscule. Links to Arabic font pages compiled by Luc Devroye. Diese Liste bietet einen berblick ber bedeutende historische und zeitgenssische Schriftarten. SurroundingBold.otf.png' alt='Walbaum Grotesk Font' title='Walbaum Grotesk Font' />From this, Fraktur is sometimes contrasted with the Latin alphabet in northern European texts, which is sometimes called the German alphabet, simply being a typeface of the Latin alphabet. Similarly, the term Fraktur or Gothic is sometimes applied to all of the blackletter typefaces known in German as Gebrochene Schrift, Broken Script. Here is the English alphabet in Fraktur The word derives from the past participle fractus broken of Latin frangere to break the same root as the English word fracture. CharacteristicseditBesides the 2. Latin alphabet, Fraktur includes the Eszettstst, vowels with umlauts, and the long s. Some Fraktur typefaces also include a variant form of the letter r known as the r rotunda, and many a variety of ligatures which are left over from cursive handwriting and have rules for their use. Most older Fraktur typefaces make no distinction between the majuscules I and J where the common shape is more suggestive of a J, even though the minuscules i and j are differentiated. One difference between the Fraktur and other blackletter scripts is that in the lower case o, the left part of the bow is broken, but the right part is not. In Danish texts composed in Fraktur, the letter was already preferred to the German and Swedish in the 1. The first Fraktur typeface arose in the early 1. Emperor Maximilian I commissioned the design of the Triumphal Arch woodcut by Albrecht Drer and had a new typeface created specifically for this purpose, designed by Hieronymus Andreae. Fraktur types for printing were established by the Augsburg publisher Johann Schnsperger at the issuance of a series of Maximilians works such as his Prayer Book Gebetbuch, 1. Theuerdank poem 1. Fraktur quickly overtook the earlier Schwabacher and Textualis typefaces in popularity, and a wide variety of Fraktur fonts were carved and became common in the German speaking world and areas under German influence Scandinavia, the Baltic states, Central Europe. In the 1. 8th century, the German Theuerdank Fraktur was further developed by the Leipzig typographer Johann Gottlob Immanuel Breitkopf to create the typeset Breitkopf Fraktur. While over the succeeding centuries, most Central Europeans switched to Antiqua, German speakers remained a notable holdout. Front page of Gustav Vasas Bible from 1. Fraktur. The title translated to English reads The Bible That is All the Holy Scriptures in Swedish. Printed in Uppsala. Note the use of long s and th, akin to English it would later change to d. Typesetting in Fraktur was still very common in the early 2. German speaking countries and areas, as well as in Norway, Estonia, and Latvia, and was still used to a very small extent in Sweden, Finland and Denmark,2 while other countries typeset in Antiqua in the early 2. Some books at that time used related blackletter fonts such as Schwabacher however, the predominant typeface was the Normalfraktur, which came in slight variations. Usage map A map presenting the contemporary German view of the extent of scripts around 1. In reality only German speaking countries, Estonia and Latvia still used Fraktur as the majority script at this time. Denmark had shifted to antiqua during the mid 1. Norway the majority of printed texts used antiqua around 1. From the late 1. 8th century to the late 1. Fraktur was progressively replaced by Antiqua as a symbol of the classicist age and emerging cosmopolitanism in most of the countries in Europe that had previously used Fraktur. This move was hotly debated in Germany, where it was known as the AntiquaFraktur dispute. The shift affected mostly scientific writing in Germany, whereas most belletristic literature and newspapers continued to be printed in broken fonts. The Fraktur typefaces were in heavy use in Nazi Germany, when they were initially represented as true German script official Nazi documents and letterheads employed the font, and the cover of Hitlers Mein Kampf used a hand drawn version of it. However, ironically, the typefaces most popular in Nazi Germany, especially for running text as opposed to decorative uses such as in titles, were actually the more modernized fonts of the Gebrochene Grotesk type such as Tannenberg, designed in the early 2. The press was scolded for its frequent use of Roman characters under Jewish influence and German migrs were urged to use only German script. This radically changed on January 3, 1. Martin Bormann issued a circular to all public offices which declared Fraktur and its corollary, the Stterlin based handwriting to be Judenlettern Jewish letters and prohibited their further use. German historian Albert Kapr has speculated that the rgime had realized that Fraktur would inhibit communication in the territories occupied during World War II. Fraktur is also used to designate a basis in Linear Algebra, commonly with a. Fraktur traditions after 1. Even with the abolition of Fraktur, some publications include elements of it in headlines. Very occasionally, academic works still used Fraktur in the text itself. Notably, Joachim Jeremiass work Die Briefe an Timotheus und Titus The Letters of Timothy and Titus was published in 1. Fraktur. More often, some ligatures ch, ck from Fraktur were used in antiqua typed editions. That continued mostly up to the offset type period. Fraktur saw a brief resurgence after the war, but quickly disappeared in a Germany keen on modernising its appearance. Fraktur is today used mostly for decorative typesetting for example, a number of traditional German newspapers such as the Frankfurter Allgemeine, as well as the Norwegian Aftenposten, still print their name in Fraktur on the masthead as indeed do some newspapers in other European countries and the U. S. and it is also popular for pub signs and the like. In this modern decorative use, the traditional rules about the use of long s and short s and of ligatures are often disregarded. Individual Fraktur letters are sometimes used in mathematics, which often denotes associated or parallel concepts by the same letter in different fonts. For example, a Lie group is often denoted by G, while its associated Lie algebra is gdisplaystyle mathfrak g. A ring ideal might be denoted by adisplaystyle mathfrak a while an element is aadisplaystyle ain mathfrak a. The Fraktur cdisplaystyle mathfrak c is also used to denote the cardinality of the continuum, that is, the cardinality of the real line. In model theory, Adisplaystyle mathfrak A is used to denote an arbitrary model, with A as its universe. Fraktur in UnicodeeditIn Unicode, Fraktur is treated as a font of the Latin alphabet, and is not encoded separately. Liste von Schriftarten Wikipediaaus Wikipedia, der freien Enzyklopdie. Diese Liste bietet einen berblick ber bedeutende historische und zeitgenssische Schriftarten. Schriftart. Beispiel. Klasse. Formprinziphistorische Klassifikation. Gestalter. Jahrursprnglicher Herausgeber. ABC Schule 1 CHSchreibschriftdynamisch. Handschriftliche Antiqua. Hans Eduard Meier. ElsnerFlake. AdelleSerifendynamisch. Serifenbetonte Linear Antiqua. Veronika Burian, Jos Scaglione. Type. Together. Agendaserifenlosdynamisch. Serifenlose Linear Antiqua. Greg Thompson. 19. Font Bureau. Akkuratserifenlosrational. Serifenlose Linear Antiqua. Laurenz Brunner. 20. Lineto. Akzidenz Groteskserifenlosrational. Serifenlose Linear Antiqua. Ferdinand Theinhardt, Gnter Gerhard Lange. H. Berthold AGAlbanyserifenlosrational. Serifenlose Linear Antiqua. Monotype Design Studio. Agfa Monotype Corp. Albertus. Serifendynamisch. Antiqua Variante. Berthold Wolpe. 19. Monotype. Alte Schwabacher. Schreibschriftdynamisch. Gebrochene Schriftca. American Typewriter. Serifenrational. Serifenbetonte Linear Antiqua. Joel Kaden, Tony Stan. ITCAmplitudeserifenlosdynamisch. Serifenlose Linear Antiqua. Christian Schwartz. Font Bureau. AMS Euler. Schreibschriftdynamisch. Handschriftliche Antiqua. Hermann Zapf, Donald E. Knuth. 19. 83. American Mathematical Society. Andale Monoserifenlosdynamisch. Nichtproportionale Schriftart. Steve Matteson. 19. Monotype. Antique Oliveserifenlosdynamisch. Serifenlose Linear Antiqua. Roger Excoffon. 19. Fonderie Olive. Apple SymbolsSymbole. Apple. 20. 03. Apple. Arabic Typesetting. Serifendynamisch. Fremde Schriften. Mamoun Sakkal, Paul Nelson, John Hudson. Microsoft. Arialserifenlosrational. Serifenlose Linear Antiqua. Robin Nicholas, Patricia Saunders. Monotype. Arnhem. Serifendynamisch. Barock Antiqua. Fred Smeijers. Our. Type. Arnold Bcklin. Serifendynamisch. Antiqua Variante. Otto Weisert. 19. Schriftgieerei Otto Weisert. Aster. Serifendynamisch. Franzsische Renaissance Antiqua. Francesco Simoncini. Mecanorma. Avant Gardeserifenlosgeometrisch. Serifenlose Linear Antiqua1. ITCAvenirserifenlosgeometrisch. Serifenlose Linear Antiqua. Adrian Frutiger. 19. Linotype. Balloon. Schreibschriftdynamisch. Handschriftliche Antiqua. Max R. Kaufmann. 19. American Type Founders. Bank Gothicserifenlosgeometrisch. Serifenlose Linear Antiqua. Morris Fuller Benton. American Type Founders. Barmenoserifenlosdynamisch. Serifenlose Linear Antiqua. Hans Reichel. 19. H. Berthold AGBaseserifenlosdynamisch. Serifenlose Linear Antiqua. Zuzana Licko. 19. Emigre. Baskerville. Serifendynamisch. Barock Antiqua. John Baskerville. Bauhausserifenlosgeometrisch. Serifenlose Linear Antiqua. Edward Benguiat, Victor Caruso. ITCBell Centennialserifenlosrational. Serifenlose Linear Antiqua. Matthew Carter. 19. Linotype. Bell Gothicserifenlosrational. Serifenlose Linear Antiqua. Chauncey H. Griffith. Mergenthaler Linotype. BelloSchreibschriftdynamisch. Schreibschrift. Underware. Underware. Bembo. Serifendynamisch. Franzsische Renaissance Antiqua. Francesco Griffo. ITC Benguiat. Serifendynamisch. Antiqua Variante. Ed Benguiat. 19. 77. ITCITC Benguiat Gothicserifenlosgeometrisch. Serifenlose Linear Antiqua. Ed Benguiat. 19. 79. ITCBenton Sansserifenlosrational. Serifenlose Linear Antiqua. Tobias Frere Jones, Cyrus Highsmith. Font Bureau. FF BeowolfSerifendynamisch. Franzsische Renaissance Antiqua. Erik van Blokland, Just van Rossum. Font. Font. ITC Berkeley Oldstyle. Serifendynamisch. Venezianische Renaissance Antiqua. Frederic W. Goudy, Tony Stan. ITCBernhard Modern. Serifendynamisch. Barock Antiqua. Lucian Bernhard. American Type Founders. Bickham ScriptSchreibschriftrational. Schreibschrift. Richard Lipton. Adobe Type. Big Caslon. Serifendynamisch. Barock Antiqua. Matthew Carter. Carter Cone. FF Blurserifenlosrational. Serifenlose Linear Antiqua. Neville Brody. 19. Font. Font. Bodoni. Serifenrational. Klassizistische Antiqua. Giambattista Bodoni. Bookman. Serifendynamisch. Barock Antiqua. Alexander Phemister. Miller Richard. Bookshelf Symbol 7Symbole. Microsoft. 20. 03. Microsoft. Boton. Serifenrational. Serifenbetonte Linear Antiqua. Albert Boton. 19. H. Berthold AGBreeserifenlosrational. Variante. Veronika Burian, Jos Scaglione. Type. Together. Breitkopf FrakturSchreibschriftdynamisch. Gebrochene Schrift. Johann Gottlob Immanuel Breitkopf. Britannicserifenlosrational. Variante. Ludwig Wagner, Robert Arthur Schmidt. Stephenson Blake. Broadwayserifenlosrational. Serifenlose Linear Antiqua. Morris Fuller Benton. American Type Founders. FF Brokenscript. Schreibschriftdynamisch. Gebrochene Schrift. Just van Rossum. 19. Font. Font. Brush Script. Schreibschriftdynamisch. Schreibschrift. Robert E. Smith. 19. 42. American Type Founders. Bureau Grotserifenlosrational. Serifenlose Linear Antiqua. David Berlow, Jill Pichotta, Christian Schwartz, Richard Lipton. Font Bureau. Caflisch Script. Schreibschriftdynamisch. Schreibschrift. Robert Slimbach. Adobe Type. CalaSerifendynamisch. Venezianische Renaissance Antiqua. Dieter Hofrichter. Hoftype. Calibriserifenlosdynamisch. Vice City Game Full Version For Pc Window Xp. Serifenlose Linear Antiqua. Lucas de Groot. 20. Microsoft. Cambria. Serifendynamisch. Barock Antiqua. Jelle Bosma, Steve Matteson, Robin Nicholas. Microsoft. Candaraserifenlosdynamisch. Serifenlose Linear Antiqua. Gary Munch. 20. 07. Microsoft. Cardo. Serifendynamisch. Franzsische Renaissance Antiqua. David J. Perry. 20. Fonts for Scholars. Carolina. Serifendynamisch. Variante. Gottfried Pott. Linotype. CartierSerifendynamisch. Venezianische Renaissance Antiqua. Carl Dair. 19. 67. Linotype. Caslon. Serifendynamisch. Barock Antiqua. William Caslon. FF CelesteSerifendynamisch. Barock Antiqua. Christopher Burke. Font. Font. Centaur. Serifendynamisch. Venezianische Renaissance Antiqua. Bruce Rogers. 19. Monotype. Century Gothicserifenlosgeometrisch. Serifenlose Linear Antiqua. Monotype Design Studio, Sol Hess, Morris Fuller Benton. Monotype. Century SchoolbookSerifenrational. Klassizistische Antiqua. Morris Fuller Benton. American Type Founders. P2. 2 Cezanne. Schreibschriftdynamisch. Schreibschrift. Michael Want, James Grieshaber. P2. 2Chaletserifenlosgeometrisch. Serifenlose Linear Antiqua. House Industries. House Industries. Charcoalserifenlosrational. Serifenlose Linear Antiqua. David Berlow. 19. Apple. Charis SILSerifendynamisch. Barock Antiqua. Matthew Carter, SIL International. SIL International. Charter. Serifendynamisch. Barock Antiqua. Matthew Carter. Bitstream. Cheltenham. Serifendynamisch. Barock Antiqua. Hannibal Ingalls Kimball, Bertram Grosvenor Goodhue. Cheltenham Press. Chicagoserifenlosrational. Serifenlose Linear Antiqua. Susan Kare. 19. 83. Apple. FF Clanserifenlosdynamisch. Serifenlose Linear Antiqua. Lukasz Dziedzic. 20. Font. Font. Clarendon. Serifenrational. Serifenbetonte Linear Antiqua. Benjamin Fox. 18. Fann Street Foundry. Claudius. Schreibschriftdynamisch. Gebrochene Schrift. Rudolf Koch. 19. 37. Gebr. Klingspor. ClearfaceSerifendynamisch. Barock Antiqua. Victor Caruso. ITCFF Clifford. Serifendynamisch. Franzsische Renaissance Antiqua. Akira Kobayashi. 19. Font. Font. CochinSerifendynamisch. Barock Antiqua. Georges Peignot. Deberny Peignot. Columna Solid. Serifendynamisch. Variante. Max Caflisch. Linotype. Compatil Letter. Serifendynamisch. Serifenbetonte Linear Antiqua. Olaf Leu. 20. 01. Linotype. Computer Modern Roman. Serifenrational. Klassizistische Antiqua. Donald E. Knuth. 19. Donald E. Knuth. ConcordeSerifendynamisch. Barock Antiqua. Gnter Gerhard Lange. H. Berthold AGConsolasserifenlosdynamisch. Nichtproportionale Schriftart. Lucas de Groot. 20. Microsoft. Constantia.