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43. Haarlem journal, 1746, in types by Fleischman [228]

\l THE

о Modern-face о

a ROMANS

'The whole question of the evolution of roman from old face to mod¬
ern face is largely a question of technique, rather than the rejection of
one design for another on a definite principle. In typography we shall
find that mechanical improvements in the printing press and changes
in the texture of paper allowed the engraver of types to produce effects
which would have been impossible in the early days. It was useless for
a Garamond to cut a delicately modelled serif which the processes of
reproduction available would have obscured.'1

Though founders were forbidden to copy the romain du roi many of
them did so, but because of the fear of prosecution the plagiarists did
not go as far as Grandjean himself in transforming the old-face design.
Mr Johnson says that 'thin, flat serifs and vertical shading in capitals
are frequendy found in the first half of the eighteenth century, when
the lower-case was still in the state of transition.'2 See the example on
the opposite page.

It has been said that Grandjean's romain du roi foreshadowed the
modern face, but, in fact, it was a greater step towards the full develop¬
ment ofthat face than appears from the works in which it was first used.
For this reason: Grandjean's type was well in advance of the printing
techniques of his day. It needed the improved printing presses & wove
< *A. F.Johnson. Type Designs: their History and Development.

И

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75