{"id":57341,"date":"2026-06-18T06:31:51","date_gmt":"2026-06-18T03:31:51","guid":{"rendered":"https:\/\/typetype.org\/fr\/?p=57341"},"modified":"2026-06-19T17:29:37","modified_gmt":"2026-06-19T14:29:37","slug":"universitty-lesson-1-typeface-categories-2","status":"publish","type":"post","link":"https:\/\/typetype.org\/fr\/blog\/universitty-lesson-1-typeface-categories\/","title":{"rendered":"UniversiTT\u00e9 : Le\u00e7on 1. Les cat\u00e9gories de caract\u00e8res"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00.png\" alt=\"\" class=\"wp-image-10000021296\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00.png 2000w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-1536x768.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_00-80x40.png 80w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Cet article n\u2019est pas un&nbsp;article ordinaire. Si&nbsp;vous n\u2019en avez pas encore entendu parler, nous avons lanc\u00e9 un&nbsp;nouveau projet pour toutes les personnes qui aiment les polices. Dans le&nbsp;cadre de&nbsp;cette initiative, nous publierons r\u00e9guli\u00e8rement des articles consacr\u00e9s \u00e0&nbsp;la&nbsp;typographie. Chaque texte de&nbsp;la&nbsp;s\u00e9rie abordera un&nbsp;sujet utile. L\u2019essentiel, c\u2019est que vous ne&nbsp;vous contenterez pas de&nbsp;vous immerger dans le&nbsp;domaine : vous ferez aussi connaissance avec notre formidable \u00e9quipe d\u2019experts TypeType, qui partageront avec vous leur savoir et&nbsp;leur exp\u00e9rience.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rejoignez-nous, m\u00eame si&nbsp;vous n\u2019avez jamais \u00e9tudi\u00e9 la&nbsp;typographie mais que vous souhaitez vraiment commencer ! Nous vous promettons de&nbsp;pr\u00e9senter les informations par petites portions, d\u2019expliquer tous les termes difficiles et&nbsp;d\u2019accompagner vos premiers pas avec des conseils pratiques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les sp\u00e9cialistes de&nbsp;la&nbsp;typographie sont eux aussi les bienvenus, car il&nbsp;est toujours utile d\u2019\u00e9changer des connaissances et&nbsp;de&nbsp;d\u00e9couvrir la&nbsp;mani\u00e8re dont travaillent d\u2019autres professionnels du&nbsp;secteur. Cela permet de&nbsp;regarder les choses famili\u00e8res autrement&nbsp;et, parfois, de&nbsp;trouver une nouvelle inspiration pour de&nbsp;futurs projets.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le&nbsp;sujet de&nbsp;cet article est celui des cat\u00e9gories de&nbsp;caract\u00e8res. Avec vous aujourd\u2019hui, notre directrice artistique Julia Gonina. Les caract\u00e8res qu\u2019elle supervise figurent r\u00e9guli\u00e8rement dans les shortlists et&nbsp;remportent des prix dans des concours comme Granshan, European Design Awards, Modern Cyrillic, Sreda New Design Festival et&nbsp;bien d\u2019autres.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Julia est \u00e9galement l\u2019autrice de&nbsp;polices du&nbsp;studio telles que <a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-livret\/\">TT&nbsp;Livret<\/a>, <a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-fellows\/\">TT&nbsp;Fellows<\/a>, <a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-autonomous\/\">TT&nbsp;Autonomous<\/a> et&nbsp;d\u2019autres encore. Vous l\u2019avez peut-\u00eatre entendue ou&nbsp;vue comme intervenante invit\u00e9e \u00e0&nbsp;TDS, Mail Design Conf, Design Weekend, ou&nbsp;encore parmi les membres du&nbsp;jury lors des dipl\u00f4mes de&nbsp;l\u2019\u00e9cole de&nbsp;caract\u00e8res Bold Italic.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>P.-S. Pr\u00e9parez un&nbsp;stylo et&nbsp;un&nbsp;carnet pour noter de&nbsp;nouveaux titres de&nbsp;livres ! Nous sommes s\u00fbrs qu\u2019ils viendront enrichir utilement votre biblioth\u00e8que.<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1.png\" alt=\"\" class=\"wp-image-10000021297\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_02-1-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Les classifications typographiques<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Aujourd\u2019hui, il&nbsp;n\u2019existe pas de&nbsp;syst\u00e8me de&nbsp;classification d\u00e9finitif permettant de&nbsp;ranger n\u2019importe quel caract\u00e8re dessin\u00e9 \u00e0&nbsp;la&nbsp;main dans une cat\u00e9gorie pr\u00e9cise. Certains restent toujours entre plusieurs groupes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cela dit, on&nbsp;peut trouver dans les livres et&nbsp;sur internet des sources qui proposent des classifications tr\u00e8s d\u00e9taill\u00e9es. Nous allons nous concentrer sur quelques-unes d\u2019entre elles.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Les cat\u00e9gories de&nbsp;caract\u00e8res<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">La&nbsp;classification la&nbsp;plus r\u00e9pandue a&nbsp;\u00e9t\u00e9 cr\u00e9\u00e9e en&nbsp;1954 par <a href=\"https:\/\/wiki5.ru\/wiki\/Maximilien_Vox\" target=\"_blank\" rel=\"noreferrer noopener\">Maximilien Vox<\/a>&nbsp;et, en&nbsp;1962, adopt\u00e9e par l\u2019Association Typographique Internationale (ATypI). Avec le&nbsp;temps, diff\u00e9rentes organisations et&nbsp;diff\u00e9rents chercheurs y&nbsp;ont ajout\u00e9 de&nbsp;nouveaux \u00e9l\u00e9ments ; c\u2019est pourquoi il&nbsp;en&nbsp;existe aujourd\u2019hui plusieurs interpr\u00e9tations. Il&nbsp;faut aussi garder \u00e0&nbsp;l\u2019esprit que plus de&nbsp;cinquante ans se&nbsp;sont \u00e9coul\u00e9s depuis l\u2019apparition de&nbsp;cette classification. Les tendances ont chang\u00e9, de&nbsp;nouveaux styles et&nbsp;de&nbsp;nouvelles orientations sont apparus.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1.png\" alt=\"\" class=\"wp-image-10000021298\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-420x124.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-1024x302.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-768x227.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-1200x354.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-600x177.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_03-1-80x24.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\">Maximilien Vox, \u00ab Un\u00a0projet fran\u00e7ais de\u00a0nomenclature des caract\u00e8res typographiques : La\u00a0classification \u00a0\u00bb VOX \u00a0\u00bb \u00bb, Caract\u00e8re : revue mensuelle des industries graphiques, Paris, Compagnie fran\u00e7aise d\u2019\u00e9ditions, 1954, ann\u00e9e\u00a05, n\u00b0\u00a07, p.\u00a087.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">J\u2019aimerais partager quelques ressources utiles qui vous aideront \u00e0&nbsp;explorer la&nbsp;question des classifications et&nbsp;\u00e0&nbsp;construire votre propre vision du&nbsp;monde typographique.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Dans le\u00a0livre de\u00a0Robert Bringhurst <em>The Elements of\u00a0Typographic Style<\/em>, vous trouverez un\u00a0r\u00e9cit chronologique d\u00e9taill\u00e9 de\u00a0l\u2019\u00e9volution des caract\u00e8res.<\/li>\n\n\n\n<li>Le\u00a0livre <em>Letter Fountain<\/em>, publi\u00e9 par Taschen, pr\u00e9sente une classification moderne et\u00a0concise des caract\u00e8res, avec des r\u00e9f\u00e9rences \u00e0\u00a0Maximilien Vox.<\/li>\n\n\n\n<li>Sur designhistory.org, vous pouvez d\u00e9couvrir un&nbsp;bref aper\u00e7u de&nbsp;diff\u00e9rentes classifications class\u00e9es selon leurs auteurs.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1.jpg\" alt=\"\" class=\"wp-image-10000021299\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-420x164.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-1024x400.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-768x300.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-1200x468.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-600x234.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_04-1-80x31.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Dans cet article, je&nbsp;ne&nbsp;vais pas mettre l\u2019accent sur la&nbsp;diversit\u00e9 des classifications. Je&nbsp;vais plut\u00f4t essayer de&nbsp;d\u00e9crire les cat\u00e9gories fondamentales de&nbsp;caract\u00e8res d\u2019une mani\u00e8re simple et&nbsp;accessible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ces informations suffiront pour acqu\u00e9rir une premi\u00e8re compr\u00e9hension g\u00e9n\u00e9rale des diff\u00e9rents types de&nbsp;caract\u00e8res ; plus tard, vous pourrez y&nbsp;superposer des classifications plus complexes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Commen\u00e7ons par une question que les d\u00e9butants posent souvent : \u00ab Pourquoi avons-nous besoin de\u00a0classifications ? N\u2019est-il pas possible de\u00a0travailler sans ces connaissances ? \u00bb Bien s\u00fbr que\u00a0si. Les caract\u00e8res contemporains n\u2019appartiennent pas toujours \u00e0\u00a0une cat\u00e9gorie historique pr\u00e9cise, et\u00a0ce\u00a0n\u2019est pas n\u00e9cessairement un\u00a0d\u00e9faut.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les cr\u00e9ateurs de&nbsp;caract\u00e8res s\u2019appuient davantage sur leur sens de&nbsp;l\u2019observation, leur sens esth\u00e9tique et&nbsp;leurs pr\u00e9f\u00e9rences pertinentes. Mais cela vaut surtout pour les professionnels exp\u00e9riment\u00e9s ; pour les d\u00e9butants, il&nbsp;est utile d\u2019apprendre les bases de&nbsp;la&nbsp;structure typographique afin de&nbsp;ne&nbsp;pas se&nbsp;perdre dans la&nbsp;vari\u00e9t\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous allons donc commencer par les choses les plus simples : quelles cat\u00e9gories de&nbsp;caract\u00e8res existent et&nbsp;en&nbsp;quoi elles diff\u00e8rent. Imaginez le&nbsp;squelette d\u2019une lettre, c\u2019est-\u00e0-dire sa&nbsp;construction pure. Pour obtenir un&nbsp;caract\u00e8re avec du&nbsp;poids et&nbsp;des particularit\u00e9s, ce&nbsp;squelette doit acqu\u00e9rir de&nbsp;la&nbsp;mati\u00e8re. Et&nbsp;il&nbsp;existe diff\u00e9rentes mani\u00e8res d\u2019y parvenir.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1.png\" alt=\"\" class=\"wp-image-10000021300\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-420x143.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-1024x348.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-768x261.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-1200x408.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-600x204.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_05-1-80x27.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\">Illustration : squelette d\u2019une lettre et&nbsp;diff\u00e9rentes cat\u00e9gories de&nbsp;caract\u00e8res.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Si&nbsp;vous ajoutez du&nbsp;poids de&nbsp;fa\u00e7on uniforme \u00e0&nbsp;l\u2019ensemble du&nbsp;squelette, vous obtenez une sans serif. Si&nbsp;vous introduisez du&nbsp;contraste dans l\u2019\u00e9paisseur des traits, de&nbsp;sorte que les lettres comportent des pleins et&nbsp;des d\u00e9li\u00e9s, comme si&nbsp;elles \u00e9taient \u00e9crites avec une plume \u00e0&nbsp;bec plat, vous obtenez une sans \u00e0&nbsp;fort contraste.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Si&nbsp;vous ajoutez des empattements aux extr\u00e9mit\u00e9s des traits de&nbsp;cette sans \u00e0&nbsp;fort contraste, vous obtenez une serif (aussi appel\u00e9e Antiqua). Ou&nbsp;bien vous pouvez revenir \u00e0&nbsp;la&nbsp;sans serif (\u00e9galement appel\u00e9e grotesque) et&nbsp;lui ajouter des empattements adapt\u00e9s \u00e0&nbsp;l\u2019\u00e9paisseur des traits : vous obtenez alors une slab.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Voil\u00e0 les quatre cat\u00e9gories de&nbsp;caract\u00e8res les plus populaires. Chacune d\u2019elles&nbsp;\u2014 sans serif, sans \u00e0&nbsp;fort contraste, serif et&nbsp;slab&nbsp;\u2014 peut ensuite \u00eatre divis\u00e9e en&nbsp;sous-groupes selon les variations de&nbsp;la&nbsp;structure des glyphes et&nbsp;de&nbsp;la&nbsp;r\u00e9partition du&nbsp;poids dans cette structure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans son livre <em>The Stroke: Theory of\u00a0Writing<\/em>, Gerrit Noordzij distingue deux approches de\u00a0la\u00a0r\u00e9partition du\u00a0poids et\u00a0du\u00a0contraste dans le\u00a0squelette d\u2019une lettre : la\u00a0translation et\u00a0l\u2019expansion. Je\u00a0vous recommande de\u00a0lire cet ouvrage\u00a0ou, au\u00a0minimum, de\u00a0l\u2019ajouter \u00e0\u00a0votre liste de\u00a0lectures futures.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour r\u00e9sumer ces deux approches de&nbsp;mani\u00e8re simple : dans le&nbsp;premier cas, nous imaginons que nous tra\u00e7ons le&nbsp;squelette de&nbsp;la&nbsp;lettre \u00e0&nbsp;l\u2019aide d\u2019une plume large ou&nbsp;d\u2019un pinceau plat tenu selon un&nbsp;certain angle. M\u00eame si&nbsp;vous ne&nbsp;connaissez pas la&nbsp;calligraphie, il&nbsp;est facile d\u2019imaginer une plume plate : prenez simplement deux crayons, attachez-les ensemble et&nbsp;tracez une ligne. L\u2019\u00e9paisseur de&nbsp;cette ligne changera selon l\u2019angle auquel vous tenez l\u2019outil.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06.png\" alt=\"\" class=\"wp-image-10000021238\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-420x143.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-1024x348.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-768x261.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-1200x408.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-600x204.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_06-80x27.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Dans la&nbsp;tradition calligraphique de&nbsp;la&nbsp;foundational hand, on&nbsp;tient g\u00e9n\u00e9ralement l\u2019outil d\u2019\u00e9criture \u00e0&nbsp;un&nbsp;angle de&nbsp;30&nbsp;degr\u00e9s. Ainsi, les traits qui montent en&nbsp;diagonale vers la&nbsp;droite sont fins, tandis que les traits qui descendent en&nbsp;diagonale vers la&nbsp;gauche sont \u00e9pais. Dans ce&nbsp;cas, les panses s\u2019inclinent vers la&nbsp;gauche.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1.png\" alt=\"\" class=\"wp-image-10000021301\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-420x163.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-1024x398.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-768x299.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-1200x467.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-600x233.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_07-1-80x31.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Dans l\u2019autre cas, nous tra\u00e7ons le&nbsp;squelette de&nbsp;la&nbsp;lettre avec un&nbsp;outil dont le&nbsp;trait s\u2019\u00e9paissit sous la&nbsp;pression, comme un&nbsp;pinceau ou&nbsp;une plume pointue. Revenons encore une fois \u00e0&nbsp;la&nbsp;calligraphie : nous appuyons sur les traits descendants et&nbsp;nous rel\u00e2chons la&nbsp;pression sur les traits montants.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C\u2019est un&nbsp;point technique, car si&nbsp;vous prenez une plume et&nbsp;essayez de&nbsp;tracer un&nbsp;trait ascendant sous pression, cela ne&nbsp;fonctionnera pas. Les traits montants seront donc fins, et&nbsp;les traits descendants \u00e9pais.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cette seconde approche se&nbsp;distingue de&nbsp;la&nbsp;premi\u00e8re parce que l\u2019axe diagonal des panses devient vertical et&nbsp;que la&nbsp;r\u00e9partition du&nbsp;contraste est plus constante et&nbsp;plus sym\u00e9trique.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1.png\" alt=\"\" class=\"wp-image-10000021302\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-420x163.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-1024x398.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-768x299.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-1200x467.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-600x233.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_08-1-80x31.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Si&nbsp;j\u2019ai mentionn\u00e9 la&nbsp;calligraphie, ce&nbsp;n\u2019est pas par hasard. La&nbsp;r\u00e9partition du&nbsp;contraste et&nbsp;l\u2019axe diagonal sont deux notions fondamentales en&nbsp;typographie. Elles renvoient \u00e0&nbsp;l\u2019essence m\u00eame du&nbsp;caract\u00e8re. Comprendre cela vous aidera \u00e0&nbsp;mieux saisir les classifications typographiques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Revenons-y. Comme je&nbsp;l\u2019ai d\u00e9j\u00e0 dit, ma&nbsp;classification est volontairement \u00e9l\u00e9mentaire et&nbsp;loin d\u2019\u00eatre exhaustive, mais elle vous aidera \u00e0&nbsp;poser des rep\u00e8res dans la&nbsp;compr\u00e9hension de&nbsp;la&nbsp;grande vari\u00e9t\u00e9 des caract\u00e8res.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Je&nbsp;vais me&nbsp;concentrer sur les serifs (Antiqua) et&nbsp;les sans serifs (Grotesque), car ce&nbsp;sont les deux types de&nbsp;caract\u00e8res les plus courants. En&nbsp;outre, si&nbsp;vous comprenez la&nbsp;logique de&nbsp;cette classification et&nbsp;apprenez \u00e0&nbsp;l\u2019appliquer vous-m\u00eame \u00e0&nbsp;d\u2019autres groupes, comme les slabs ou&nbsp;les sans \u00e0&nbsp;fort contraste, vous comprendrez mieux les principes de&nbsp;la&nbsp;typographie.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Antiqua<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;serif old style (ou&nbsp;humaniste)<\/strong> repose sur les premiers caract\u00e8res post-gothiques de&nbsp;l\u2019\u00e9poque de&nbsp;l\u2019imprimerie, apparus dans la&nbsp;seconde moiti\u00e9 du&nbsp;XVe si\u00e8cle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>axes inclin\u00e9s ;<\/li>\n\n\n\n<li>petite oreille sur la&nbsp;lettre&nbsp;e, dont la&nbsp;barre m\u00e9diane est \u00e9galement oblique dans les versions les plus anciennes ;<\/li>\n\n\n\n<li>empattements sup\u00e9rieurs larges et&nbsp;de&nbsp;forme triangulaire ;<\/li>\n\n\n\n<li>empattements inf\u00e9rieurs g\u00e9n\u00e9ralement arrondis ;<\/li>\n\n\n\n<li>contraste des traits peu marqu\u00e9.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1.png\" alt=\"\" class=\"wp-image-10000021303\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_09-1-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;serif transitionnelle<\/strong> porte ce&nbsp;nom parce que, historiquement et&nbsp;graphiquement, elle assure la&nbsp;transition entre les formes old style et&nbsp;les formes modernes. On&nbsp;consid\u00e8re g\u00e9n\u00e9ralement que les serifs transitionnelles apparaissent au&nbsp;milieu du&nbsp;XVIIIe si\u00e8cle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Visuellement, elles ont une apparence plus raffin\u00e9e, plus contrast\u00e9e et&nbsp;plus dessin\u00e9e que les old style.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>axes moins inclin\u00e9s que dans les old style ;<\/li>\n\n\n\n<li>dans diff\u00e9rentes lettres (o, e, b), l\u2019angle de&nbsp;l\u2019axe diagonal peut varier de&nbsp;mani\u00e8re significative ;<\/li>\n\n\n\n<li>empattements inf\u00e9rieurs plus \u00e9l\u00e9gants, souvent avec une liaison courbe ;<\/li>\n\n\n\n<li>empattements sup\u00e9rieurs triangulaires, plus petits que dans les formes old style ;<\/li>\n\n\n\n<li>certaines polices pr\u00e9sentent un&nbsp;contraste marqu\u00e9.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10.png\" alt=\"\" class=\"wp-image-10000021246\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_10-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;serif moderne (ou&nbsp;n\u00e9oclassique)<\/strong> appara\u00eet \u00e0&nbsp;la&nbsp;fin du&nbsp;XVIIIe si\u00e8cle. Ces caract\u00e8res sont visuellement plus rationnels et&nbsp;mieux d\u00e9finis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>contraste marqu\u00e9 ;<\/li>\n\n\n\n<li>axe vertical des panses ;<\/li>\n\n\n\n<li>dessin enti\u00e8rement sym\u00e9trique ;<\/li>\n\n\n\n<li>empattements droits, ni&nbsp;arrondis ni&nbsp;cun\u00e9iformes.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11.png\" alt=\"\" class=\"wp-image-10000021248\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_11-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Grotesque<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;sans serif humaniste<\/strong> se&nbsp;distingue des autres par un&nbsp;contraste perceptible entre traits fins et&nbsp;traits \u00e9pais.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>contreformes ouvertes ;<\/li>\n\n\n\n<li>les glyphes a&nbsp;et&nbsp;g&nbsp;pr\u00e9sentent le&nbsp;plus souvent des formes \u00e0&nbsp;deux \u00e9tages.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12.png\" alt=\"\" class=\"wp-image-10000021250\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_12-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;sans serif g\u00e9om\u00e9trique<\/strong> repose sur des formes construites g\u00e9om\u00e9triquement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>les ovales tendent \u00e0&nbsp;\u00eatre plus ronds ;<\/li>\n\n\n\n<li>arcs sym\u00e9triques ;<\/li>\n\n\n\n<li>le&nbsp;contraste n\u2019est pratiquement pas perceptible visuellement et&nbsp;ne&nbsp;sert qu\u2019\u00e0 la&nbsp;compensation optique.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13.png\" alt=\"\" class=\"wp-image-10000021252\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_13-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La&nbsp;n\u00e9o-grotesque <\/strong>est un&nbsp;h\u00e9ritage du&nbsp;design suisse.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Caract\u00e9ristiques distinctives :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>proportions statiques des glyphes ;<\/li>\n\n\n\n<li>peu ou&nbsp;pas de&nbsp;contraste ;<\/li>\n\n\n\n<li>panses carr\u00e9es ;<\/li>\n\n\n\n<li>contreformes ferm\u00e9es.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14.png\" alt=\"\" class=\"wp-image-10000021254\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-420x210.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-1024x512.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-768x384.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-1200x600.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-600x300.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_14-80x40.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Vous avez maintenant une compr\u00e9hension de&nbsp;base des serifs et&nbsp;des sans serifs. Il&nbsp;convient de&nbsp;souligner qu\u2019il s\u2019agit aujourd\u2019hui des types de&nbsp;caract\u00e8res les plus r\u00e9pandus dans l\u2019industrie.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Au&nbsp;d\u00e9but de&nbsp;cet article, j\u2019ai \u00e9galement mentionn\u00e9 les slabs et&nbsp;les sans \u00e0&nbsp;fort contraste. Mais il&nbsp;existe, bien s\u00fbr, bien d\u2019autres cat\u00e9gories de&nbsp;caract\u00e8res : les scripts, les gothiques et&nbsp;autres styles historiques, les d\u00e9coratifs, les ornementaux, les symboles, et&nbsp;la&nbsp;liste peut continuer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En&nbsp;plus de&nbsp;ce&nbsp;bref aper\u00e7u th\u00e9orique, je&nbsp;voulais donner quelques conseils pratiques qui vous aideront \u00e0&nbsp;saisir la&nbsp;logique profonde de&nbsp;la&nbsp;construction des lettres.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Par ailleurs, des comp\u00e9tences en&nbsp;calligraphie, m\u00eame tr\u00e8s \u00e9l\u00e9mentaires, vous aideront vraiment \u00e0&nbsp;comprendre la&nbsp;logique de&nbsp;construction des formes de&nbsp;lettres. Si&nbsp;vous d\u00e9butez en&nbsp;calligraphie, notez la&nbsp;ressource qui pourra vous aider \u00e0&nbsp;apprendre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Je\u00a0parle du\u00a0livre <em>The Art of\u00a0Calligraphy<\/em>. J\u2019y ai\u00a0s\u00e9lectionn\u00e9 plusieurs chapitres particuli\u00e8rement utiles.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Foundational Hand<\/em> d\u2019Edward Johnston, que calligraphes et\u00a0cr\u00e9ateurs de\u00a0caract\u00e8res utilisent pour commencer leur apprentissage ;<\/li>\n\n\n\n<li><em>Humanist Minuscule<\/em>, qui constitue le\u00a0contexte historique de\u00a0la\u00a0foundational script ;<\/li>\n\n\n\n<li><em>Imperial Capitals<\/em>, consacr\u00e9 aux capitales vieilles de\u00a0plus de\u00a02\u00a0000 ans ;<\/li>\n\n\n\n<li><em>Italic<\/em> et\u00a0<em>Copperplate<\/em>, qui aideront \u00e0\u00a0mieux comprendre le\u00a0sujet des italiques.<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15.jpg\" alt=\"\" class=\"wp-image-10000021256\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-420x210.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-1024x512.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-768x384.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-1200x600.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-600x300.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_15-80x40.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Classification historique<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">La&nbsp;classification de&nbsp;base des caract\u00e8res que vous venez de&nbsp;d\u00e9couvrir repose sur l\u2019anatomie typographique.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cependant, les caract\u00e8res sont \u00e9troitement li\u00e9s \u00e0&nbsp;la&nbsp;soci\u00e9t\u00e9 et&nbsp;au&nbsp;monde ; ils font partie int\u00e9grante de&nbsp;l\u2019environnement artistique dans lequel ils existent. C\u2019est pourquoi il&nbsp;est plus juste de&nbsp;relier la&nbsp;classification typographique aux styles artistiques qui se&nbsp;succ\u00e8dent au&nbsp;fil du&nbsp;temps.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le\u00a0contexte historique de\u00a0cette question est tr\u00e8s bien d\u00e9crit dans le\u00a0livre de\u00a0Robert Bringhurst <em>The Elements of\u00a0Typographic Style<\/em>. Tous ceux qui connaissent l\u2019\u00e9volution des styles artistiques en\u00a0Europe, depuis les premiers si\u00e8cles avant notre \u00e8re jusqu\u2019au XXe si\u00e8cle, appr\u00e9cieront particuli\u00e8rement cet ouvrage. Les autres auront l\u2019occasion d\u2019\u00e9tudier ce\u00a0sujet vaste et\u00a0fascinant et\u00a0d\u2019\u00e9largir leurs horizons.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ajoutez ce&nbsp;livre \u00e0&nbsp;votre liste de&nbsp;ressources utiles ; je&nbsp;vais maintenant vous en&nbsp;donner un&nbsp;bref aper\u00e7u.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Le&nbsp;d\u00e9veloppement de&nbsp;l\u2019\u00e9criture manuscrite<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">C\u2019est la&nbsp;p\u00e9riode la&nbsp;plus longue, qui commence avec les lettres monumentales grav\u00e9es dans la&nbsp;pierre, d\u2019abord par les Grecs puis perfectionn\u00e9es par les Romains. Comme nous le&nbsp;savons aujourd\u2019hui, la&nbsp;capitale monumentale romaine est le&nbsp;prototype des capitales modernes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les lettres \u00e9taient trac\u00e9es naturellement au&nbsp;pinceau plat, ce&nbsp;qui leur donnait leurs caract\u00e9ristiques propres : contreformes ouvertes, faible contraste, panses dynamiques, empattements vifs et&nbsp;\u00e9l\u00e9gants.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16.jpg\" alt=\"\" class=\"wp-image-10000021258\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-420x210.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-1024x512.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-768x384.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-1200x600.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-600x300.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_16-80x40.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\">Inscription monumentale romaine, IIe si\u00e8cle apr. J.-C., Rome.<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17.png\" alt=\"\" class=\"wp-image-10000021260\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-420x85.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-1024x206.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-768x155.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-1200x242.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-600x121.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_17-80x16.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019\u00e9criture manuscrite a&nbsp;ensuite \u00e9volu\u00e9, donnant naissance \u00e0&nbsp;diff\u00e9rentes variantes selon leurs usages ou&nbsp;les influences r\u00e9gionales. Ce&nbsp;qui nous int\u00e9resse le&nbsp;plus ici, c\u2019est la&nbsp;minuscule caroline, d\u00e9velopp\u00e9e vers le&nbsp;VIIIe si\u00e8cle sous Charlemagne. \u00c9crite avec un&nbsp;outil plat, elle est devenue plus tard le&nbsp;prototype des lettres minuscules.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18.jpg\" alt=\"\" class=\"wp-image-10000021262\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-420x143.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-1024x348.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-768x261.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-1200x408.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-600x204.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_18-80x27.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\">Minuscule caroline. <em>Moralium libri XVIII\u2013XXXV<\/em>. XIe si\u00e8cle.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Les premiers caract\u00e8res d\u2019imprimerie<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Apr\u00e8s l\u2019invention de&nbsp;l\u2019imprimerie en&nbsp;Allemagne au&nbsp;XVe si\u00e8cle, l\u2019\u00e9criture en&nbsp;usage \u00e0&nbsp;cette \u00e9poque et&nbsp;dans cette r\u00e9gion fut coul\u00e9e en&nbsp;m\u00e9tal. Il&nbsp;s\u2019agissait alors de&nbsp;la&nbsp;gothique.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19.jpg\" alt=\"\" class=\"wp-image-10000021264\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19.jpg 1560w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-420x293.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-1024x715.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-768x537.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-1200x838.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-1536x1073.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-600x419.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_19-80x56.jpg 80w\" sizes=\"(max-width: 1560px) 100vw, 1560px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.themorgan.org\/collections\/works\/gutenberg\/page\/2\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Biblia Latina<\/em>, Mayence. Imprimeurs : Johann Gutenberg et\u00a0Johann Fust.\u00a01455.<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Mais tr\u00e8s vite, l\u2019invention arriva en&nbsp;Italie, o\u00f9&nbsp;elle prit progressivement une forme plus famili\u00e8re.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled.jpg\" alt=\"\" class=\"wp-image-10000021266\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled.jpg 2560w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-420x77.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-1024x188.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-768x141.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-1200x220.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-1536x281.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-2048x375.jpg 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-600x110.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_20-scaled-80x15.jpg 80w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/dpul.princeton.edu\/gutenberg\/catalog\/zk51vn114\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Lactantius, Opera<\/em>. Subiaco. Imprimeurs : Conrad Sweynheym et\u00a0Arnold Pannartz.\u00a01465.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Renaissance<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Assez rapidement, au&nbsp;XVe si\u00e8cle, les caract\u00e8res d\u2019imprimerie sont pass\u00e9s de&nbsp;la&nbsp;gothique allemande \u00e0&nbsp;la&nbsp;minuscule humaniste italienne qui s\u2019\u00e9tait d\u00e9velopp\u00e9e sur la&nbsp;p\u00e9ninsule Apennine. Les ma\u00eetres imitaient cette \u00e9criture \u00e0&nbsp;la&nbsp;plume large et&nbsp;en&nbsp;ont h\u00e9rit\u00e9 les caract\u00e9ristiques : contraste mod\u00e9r\u00e9, axe diagonal dynamique des ovales, formes vives des empattements, barre oblique dans le&nbsp;e, panses circulaires et&nbsp;non pas arrondies dans les terminaisons.Voyez-vous le&nbsp;lien avec la&nbsp;capitale monumentale romaine d\u00e9crite plus haut ?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples d\u2019auteurs : Nicolas Jenson, Claude Garamond.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><a href=\"https:\/\/digital.bodleian.ox.ac.uk\/objects\/a9830009-a7ea-4b6e-b693-bf5d61c05421\/surfaces\/0b3924bd-1742-4b91-9e25-7bee0606c246\/\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled.jpg\" alt=\"\" class=\"wp-image-10000021268\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled.jpg 2560w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-420x155.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-1024x378.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-768x283.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-1200x443.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-1536x566.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-2048x755.jpg 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-600x221.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_21-scaled-80x30.jpg 80w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><\/a><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/digital.bodleian.ox.ac.uk\/objects\/a9830009-a7ea-4b6e-b693-bf5d61c05421\/surfaces\/0b3924bd-1742-4b91-9e25-7bee0606c246\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Vitae illustrium virorum<\/em>, etc. Imprimeur : Nicolaus Jenson.\u00a01478.<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0&nbsp;la&nbsp;m\u00eame \u00e9poque apparaissent les premi\u00e8res italiques, fond\u00e9es sur l\u2019\u00e9criture courante. Prenez par exemple Ludovico Vicentino degli Arrighi. Il&nbsp;\u00e9tait scribe pontifical et&nbsp;auteur d\u2019un manuel sur l\u2019\u00e9criture italique ; plus tard, il&nbsp;commen\u00e7a \u00e0&nbsp;d\u00e9velopper ses propres italiques typographiques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On&nbsp;consid\u00e8re cependant que le&nbsp;premier caract\u00e8re italique fut celui que Francesco Griffo dessina pour l\u2019\u00e9diteur Alde Manuce.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples d\u2019auteurs : Francesco Griffo, Ludovico Arrighi.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22.jpg\" alt=\"\" class=\"wp-image-10000021270\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22.jpg 1438w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-420x232.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-1024x566.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-768x425.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-1200x663.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-600x332.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_22-80x44.jpg 80w\" sizes=\"(max-width: 1438px) 100vw, 1438px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.loc.gov\/resource\/rbc0001.2011rosen0810\/?sp=4&amp;st=image\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Il\u00a0modo de\u00a0temperare le\u00a0penne con le\u00a0uarie sorti de\u00a0littere ordinato per Ludouico Vicentino<\/em>. Imprimeur : Ludovico degli Arrighi.\u00a01523.<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Les principales caract\u00e9ristiques de&nbsp;ces italiques sont l\u2019axe diagonal humaniste des ovales et&nbsp;la&nbsp;dynamique g\u00e9n\u00e9rale des formes, comme dans les romaines. Les formes \u00e9troites sont sensiblement plus \u00e9troites que les droites, ce&nbsp;qui se&nbsp;voit particuli\u00e8rement dans les glyphes ronds, qui passent du&nbsp;cercle \u00e0&nbsp;l\u2019ovale. L\u2019inclinaison est d\u2019environ 10&nbsp;degr\u00e9s, et, dans les premi\u00e8res italiques, les capitales restaient droites.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fait int\u00e9ressant, pendant assez longtemps, les italiques ont v\u00e9cu leur propre vie et&nbsp;ne&nbsp;se&nbsp;sont pas encore m\u00eal\u00e9es aux romaines dans l\u2019usage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0&nbsp;la&nbsp;Renaissance, on&nbsp;peut aussi distinguer un&nbsp;sous-groupe mani\u00e9riste. Les inscriptions de&nbsp;ce&nbsp;style pr\u00e9sentaient des embellissements raffin\u00e9s, comme des volutes, ou&nbsp;des formes volontairement anguleuses. C\u2019est \u00e9galement \u00e0&nbsp;cette \u00e9poque que les imprimeurs commencent \u00e0&nbsp;combiner romaines et&nbsp;italiques dans un&nbsp;m\u00eame livre et&nbsp;\u00e0&nbsp;ajouter des capitales inclin\u00e9es aux polices italiques.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23.jpg\" alt=\"\" class=\"wp-image-10000021272\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23.jpg 1305w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-420x197.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-1024x479.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-768x360.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-1200x562.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-600x281.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_23-80x37.jpg 80w\" sizes=\"(max-width: 1305px) 100vw, 1305px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.loc.gov\/resource\/muspre1800.101511\/?sp=11&amp;r=0.26,-0.142,0.947,0.543,0\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Il\u00a0Patricio, overo De\u2019 tetracordi armonici di\u00a0Aristosseno, parere, et\u00a0vera dimostratione dell\u2019illustre Signor caualiere Hercole Bottrigaro<\/em>.\u00a01593.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Baroque<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Peu \u00e0&nbsp;peu, les caract\u00e8res cessent de&nbsp;ressembler \u00e0&nbsp;une \u00e9criture humaniste manuscrite pour adopter une apparence plus dessin\u00e9e. Cela devient particuli\u00e8rement visible dans les caract\u00e8res de&nbsp;l\u2019\u00e9poque baroque.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les principales caract\u00e9ristiques des caract\u00e8res baroques sont la&nbsp;variation des axes diagonaux des ovales et&nbsp;un&nbsp;contraste plus marqu\u00e9 que dans les formes humanistes. Les formes gagnent en&nbsp;pr\u00e9cision, ce&nbsp;qui se&nbsp;voit surtout dans les empattements, devenus plus aigus. Les contreformes sont plus ferm\u00e9es et&nbsp;les terminaisons prennent la&nbsp;forme de&nbsp;gouttes. L\u2019angle d\u2019inclinaison des italiques devient plus prononc\u00e9 et&nbsp;atteint 15&nbsp;\u00e0 20&nbsp;degr\u00e9s.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples d\u2019auteurs : William Caslon, Mikl\u00f3s Kis, Jean Jannon, Christoffel van Dijck.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled.jpg\" alt=\"\" class=\"wp-image-10000021274\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled.jpg 2560w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-420x286.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-1024x698.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-768x524.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-1200x818.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-1536x1047.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-2048x1396.jpg 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-600x409.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_24-scaled-80x55.jpg 80w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/McGillLibrary-rbsc_caslon-william-speciman-colgate3-C377C377S51734-17593\" data-type=\"URL\" data-id=\"https:\/\/archive.org\/details\/McGillLibrary-rbsc_caslon-william-speciman-colgate3-C377C377S51734-17593\" target=\"_blank\" rel=\"noreferrer noopener\">Premi\u00e8re feuille de&nbsp;sp\u00e9cimens de&nbsp;Caslon, 1734.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Rococo<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Il&nbsp;existe tr\u00e8s peu de&nbsp;repr\u00e9sentants typographiques de&nbsp;ce&nbsp;style ; on&nbsp;les rattache donc souvent aux caract\u00e8res de&nbsp;l\u2019\u00e9poque baroque. Le&nbsp;rococo se&nbsp;reconna\u00eet \u00e0&nbsp;l\u2019ajout de&nbsp;petits \u00e9l\u00e9ments d\u00e9coratifs subtils, que l\u2019on pourrait d\u00e9crire comme des raffinements gracieux.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On&nbsp;peut citer, par exemple, les caract\u00e8res dessin\u00e9s par le&nbsp;N\u00e9erlandais Joan Micha\u00ebl Fleischman et&nbsp;Jacques-Fran\u00e7ois Rosart.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25.jpg\" alt=\"\" class=\"wp-image-10000021276\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25.jpg 1980w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-420x150.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-1024x366.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-768x274.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-1200x428.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-1536x548.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-600x214.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_25-80x29.jpg 80w\" sizes=\"(max-width: 1980px) 100vw, 1980px\" \/><figcaption class=\"wp-element-caption\">No.&nbsp;58&nbsp;Didot Body&nbsp;11. J.&nbsp;M.&nbsp;Fleischman.<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">N\u00e9oclassicisme<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0&nbsp;l\u2019\u00e9poque n\u00e9oclassique, les formes deviennent plus statiques et&nbsp;plus rationnelles. La&nbsp;logique de&nbsp;la&nbsp;plume large subsiste, mais les axes des panses deviennent majoritairement verticaux. Les lettres sont clairement dessin\u00e9es, et&nbsp;non plus \u00e9crites. Ces caract\u00e8res poss\u00e8dent des empattements fins, plats et&nbsp;l\u00e9g\u00e8rement arrondis \u00e0&nbsp;leur base. Les italiques conservent les m\u00eames caract\u00e9ristiques que pendant le&nbsp;baroque, avec une inclinaison d\u2019environ 15&nbsp;degr\u00e9s. L\u2019atmosph\u00e8re g\u00e9n\u00e9rale est retenue, calme et&nbsp;rationnelle.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples d\u2019auteurs : Fournier, Baskerville, Bell.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26.jpg\" alt=\"\" class=\"wp-image-10000021278\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26.jpg 1838w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-420x351.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-1024x856.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-768x642.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-1200x1003.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-1536x1284.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-600x501.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_26-80x67.jpg 80w\" sizes=\"(max-width: 1838px) 100vw, 1838px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.loc.gov\/resource\/rbc0001.2021rosen1658v01\/?sp=20&amp;r=-0.131,0.456,1.071,0.614,0\" data-type=\"URL\" data-id=\"https:\/\/www.loc.gov\/resource\/rbc0001.2021rosen1658v01\/?sp=20&amp;r=-0.131,0.456,1.071,0.614,0\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Manuel typographique, utile aux gens de\u00a0lettres, &amp;\u00a0\u00e0\u00a0ceux qui exercent les diff\u00e9rentes parties de\u00a0l\u2019art de\u00a0l\u2019imprimerie<\/em>. Pierre Simon Fournier. 1764\u20131766.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Romantisme<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Ce&nbsp;mouvement appara\u00eet simultan\u00e9ment au&nbsp;n\u00e9oclassicisme, aux XVIIIe et&nbsp;XIXe si\u00e8cles. On&nbsp;y&nbsp;observe un&nbsp;changement fondamental dans le&nbsp;graphisme typographique. Tous les mouvements pr\u00e9c\u00e9dents reposaient sur l\u2019\u00e9criture \u00e0&nbsp;la&nbsp;plume large, qui impliquait une transition progressive du&nbsp;trait \u00e9pais au&nbsp;trait fin. Plus tard, la&nbsp;plume pointue se&nbsp;r\u00e9pand, et&nbsp;la&nbsp;typographie suit cette nouvelle logique.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans le&nbsp;romantisme, le&nbsp;contraste change brutalement et&nbsp;l\u2019axe des panses devient strictement vertical. Parmi les autres caract\u00e9ristiques, les gouttes prennent une forme parfaitement circulaire, les empattements deviennent abrupts et&nbsp;fins, et&nbsp;les contreformes se&nbsp;ferment. Les italiques adoptent elles aussi cette nouvelle logique de&nbsp;contraste : elles deviennent plus larges et&nbsp;se&nbsp;rapprochent davantage des romaines. D\u2019ind\u00e9pendantes, elles deviennent leurs compagnes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples d\u2019auteurs : Didot, Bodoni, Walbaum.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27.jpg\" alt=\"\" class=\"wp-image-10000021280\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27.jpg 2506w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-420x290.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-1024x707.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-768x530.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-1200x828.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-1536x1060.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-2048x1413.jpg 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-600x414.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_27-80x55.jpg 80w\" sizes=\"(max-width: 2506px) 100vw, 2506px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.loc.gov\/resource\/rbc0001.2022rosen1896\/?sp=30&amp;r=0.19,0.404,0.493,0.283,0\" data-type=\"URL\" data-id=\"https:\/\/www.loc.gov\/resource\/rbc0001.2022rosen1896\/?sp=30&amp;r=0.19,0.404,0.493,0.283,0\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Sp\u00e9cimen des nouveaux caract\u00e8res de\u00a0la\u00a0fonderie et\u00a0de\u00a0l\u2019imprimerie de\u00a0P.\u00a0Didot, l\u2019a\u00een\u00e9<\/em>.\u00a01819.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">R\u00e9alisme<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0&nbsp;la&nbsp;fin du&nbsp;XIXe et&nbsp;au&nbsp;d\u00e9but du&nbsp;XXe si\u00e8cle, les <a href=\"https:\/\/typetype.org\/fr\/fonts\/sans-serif\/\">sans serifs<\/a> et&nbsp;les <a href=\"https:\/\/typetype.org\/fr\/fonts\/slab-serif\/\">slab serifs<\/a> entrent en&nbsp;sc\u00e8ne. Bien qu\u2019elles h\u00e9ritent de&nbsp;leur squelette des formes n\u00e9oclassiques, elles apparaissent plus brutales et&nbsp;plus rugueuses. Les principales caract\u00e9ristiques de&nbsp;ce&nbsp;mouvement sont un&nbsp;contraste faible ou&nbsp;absent, des empattements slab massifs&nbsp;\u2014 ou&nbsp;leur absence&nbsp;\u2014 et&nbsp;des contreformes ferm\u00e9es.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exemples de&nbsp;polices : Akzidenz Grotesk, Clarendon.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28.jpg\" alt=\"\" class=\"wp-image-10000021282\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-420x292.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-1024x711.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-768x533.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-1200x833.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-600x417.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_28-80x56.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.flickr.com\/photos\/28813954@N02\/4083754418\/in\/photostream\/\" data-type=\"URL\" data-id=\"https:\/\/www.flickr.com\/photos\/28813954@N02\/4083754418\/in\/photostream\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Akzidenz Grotesque Specimen<\/em>. Fonderie H. Berthold. <\/a><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29.jpg\" alt=\"\" class=\"wp-image-10000021284\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29.jpg 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-420x143.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-1024x348.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-768x261.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-1200x408.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-600x204.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_29-80x27.jpg 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/archive.org\/details\/selectionsfromsp00fann\/page\/n171\/mode\/2up\" data-type=\"URL\" data-id=\"https:\/\/archive.org\/details\/selectionsfromsp00fann\/page\/n171\/mode\/2up\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Clarendon. The specimen book of\u00a0the Fann Street Foundry<\/em>.\u00a01874.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Modernisme<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Les caract\u00e8res modernistes couvrent une grande vari\u00e9t\u00e9 de&nbsp;styles, mais ils partagent un&nbsp;objectif commun : l\u2019innovation, la&nbsp;simplification des mod\u00e8les et&nbsp;l\u2019ouverture \u00e0&nbsp;des influences internationales, rompant ainsi avec les associations strictement nationales.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gill Sans, dessin\u00e9e par Eric Gill en&nbsp;1926, est consid\u00e9r\u00e9e comme l\u2019une des repr\u00e9sentantes les plus marquantes du&nbsp;modernisme. Aujourd\u2019hui, on&nbsp;la&nbsp;classe parmi les sans serifs humanistes. \u00c0&nbsp;la&nbsp;base de&nbsp;Gill Sans se&nbsp;trouvent les proportions classiques de&nbsp;la&nbsp;capitale monumentale romaine. Elle poss\u00e8de des contreformes ouvertes et&nbsp;une grande vitalit\u00e9 plastique.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled.jpg\" alt=\"\" class=\"wp-image-10000021286\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled.jpg 2560w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-420x112.jpg 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-1024x274.jpg 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-768x205.jpg 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-1200x321.jpg 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-1536x410.jpg 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-2048x547.jpg 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-600x160.jpg 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_30-scaled-80x21.jpg 80w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/collection.sciencemuseumgroup.org.uk\/documents\/aa110126389\" data-type=\"URL\" data-id=\"https:\/\/collection.sciencemuseumgroup.org.uk\/documents\/aa110126389\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Gill Sans. Specimen Book of\u00a0Monotype<\/em>.<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Une autre police moderniste tr\u00e8s connue est Futura, dessin\u00e9e par Paul Renner en&nbsp;1927. Comme Gill Sans, elle reprend des proportions proches des formes classiques, mais son dessin est g\u00e9om\u00e9trique, presque construit au&nbsp;compas et&nbsp;\u00e0&nbsp;la&nbsp;r\u00e8gle. Lorsqu\u2019on parle de&nbsp;sans serif g\u00e9om\u00e9trique, Futura vient g\u00e9n\u00e9ralement \u00e0&nbsp;l\u2019esprit en&nbsp;premier.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31.png\" alt=\"\" class=\"wp-image-10000021288\" style=\"width:1209px;height:899px\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31.png 2000w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-420x312.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-1024x762.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-768x571.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-1200x893.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-1536x1143.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-600x446.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_31-80x60.png 80w\" sizes=\"(max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/www.flickr.com\/photos\/lubalincenter\/7163845285\/in\/photolist-ccpQcC-bV3zqK-ccpPQU-bV3zoK-bV3zBT-ccpPVo-bunjdE-bFbeqv-bFbetV\/\" data-type=\"URL\" data-id=\"https:\/\/www.flickr.com\/photos\/lubalincenter\/7163845285\/in\/photolist-ccpQcC-bV3zqK-ccpPQU-bV3zoK-bV3zBT-ccpPVo-bunjdE-bFbeqv-bFbetV\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Futura Specimen Booklet<\/em>, ann\u00e9es 1930.<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019un des caract\u00e8res modernistes les plus populaires est Helvetica (Neue Haas Grotesk), dessin\u00e9e par Max Miedinger en&nbsp;1957&nbsp;\u00e0 partir d\u2019Akzidenz Grotesk. D\u00e8s son lancement, elle a&nbsp;connu une reconnaissance internationale et&nbsp;est devenue l\u2019une des incarnations embl\u00e9matiques du&nbsp;design suisse. Helvetica et&nbsp;d\u2019autres polices semblables sont g\u00e9n\u00e9ralement class\u00e9es parmi les n\u00e9o-grotesques.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32.png\" alt=\"\" class=\"wp-image-10000021290\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32.png 1869w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-420x184.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-1024x448.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-768x336.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-1200x525.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-1536x671.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-600x262.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_32-80x35.png 80w\" sizes=\"(max-width: 1869px) 100vw, 1869px\" \/><figcaption class=\"wp-element-caption\"><a href=\"https:\/\/collection.sciencemuseumgroup.org.uk\/documents\/aa110126492\/specimen-sheet-for-helvetica-series-number-765\" data-type=\"URL\" data-id=\"https:\/\/collection.sciencemuseumgroup.org.uk\/documents\/aa110126492\/specimen-sheet-for-helvetica-series-number-765\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Helvetica. Specimen Book of\u00a0Monotype<\/em>.<\/a><\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Postmodernisme<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c0&nbsp;la&nbsp;fin du&nbsp;XXe si\u00e8cle, le&nbsp;postmodernisme appara\u00eet comme un&nbsp;mouvement r\u00e9unissant diff\u00e9rents styles distincts du&nbsp;modernisme. Comme tout l\u2019art postmoderne, la&nbsp;typographie de&nbsp;cette p\u00e9riode se&nbsp;caract\u00e9rise par le&nbsp;m\u00e9lange des styles, les allusions aux formes historiques accompagn\u00e9es des technologies contemporaines, le&nbsp;jeu et&nbsp;l\u2019apparente spontan\u00e9it\u00e9 des formes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mais cet art n\u2019a rien d\u2019al\u00e9atoire : il&nbsp;est soigneusement r\u00e9fl\u00e9chi, d\u00e9mont\u00e9 en&nbsp;composants de&nbsp;base, puis r\u00e9assembl\u00e9. Le&nbsp;studio am\u00e9ricain Emigre Fonts peut \u00eatre consid\u00e9r\u00e9 comme une v\u00e9ritable ic\u00f4ne du&nbsp;postmodernisme dans le&nbsp;monde de&nbsp;la&nbsp;typographie.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33.png\" alt=\"\" class=\"wp-image-10000021292\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-420x292.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-1024x711.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-768x533.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-1200x833.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-600x417.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/font_class_33-80x56.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Il&nbsp;y&nbsp;aurait \u00e9videmment encore \u00e9norm\u00e9ment de&nbsp;choses \u00e0&nbsp;explorer \u00e0&nbsp;propos des caract\u00e8res. Mais trop d\u2019informations peuvent aussi encombrer l\u2019esprit, surtout lorsque les livres mentionn\u00e9s plus haut peuvent d\u00e9j\u00e0 vous accompagner pendant plusieurs soir\u00e9es enrichissantes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nous vous laissons donc avec quelques pistes de&nbsp;r\u00e9flexion et&nbsp;une liste des r\u00e9f\u00e9rences mentionn\u00e9es dans l\u2019article.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">R\u00e9f\u00e9rences :<\/h4>\n\n\n\n<ol class=\"wp-block-list\">\n<li>Robert Bringhurst, <em>The Elements of\u00a0Typographic Style<\/em><\/li>\n\n\n\n<li>Gerrit Noordzij, <em>The Stroke: Theory of\u00a0Writing<\/em><\/li>\n\n\n\n<li><a href=\"https:\/\/www.letterfountain.com\/classification.html\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/www.letterfountain.com\/classification.html<\/a><\/li>\n\n\n\n<li><a href=\"http:\/\/www.designhistory.org\/Type_milestones_pages\/TypeClassifications.html\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.designhistory.org\/Type_milestones_pages\/TypeClassifications.html<\/a><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>Cet article n\u2019est pas un\u00a0article ordinaire. Si\u00a0vous n\u2019en avez pas encore entendu parler, nous avons lanc\u00e9 un\u00a0nouveau projet pour tous ceux qui aiment les polices. Dans le\u00a0cadre de\u00a0cette initiative, nous publierons r\u00e9guli\u00e8rement des articles sur la\u00a0typographie. Chaque article de\u00a0la\u00a0s\u00e9rie abordera un\u00a0sujet utile. L\u2019essentiel, c\u2019est que vous ne\u00a0vous immergerez pas seulement dans le\u00a0secteur, mais que vous ferez aussi connaissance avec la\u00a0formidable \u00e9quipe d\u2019experts typographiques de\u00a0TypeType, qui partagera avec vous ses connaissances et\u00a0son exp\u00e9rience.<\/p>\n","protected":false},"author":4485,"featured_media":10000021296,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[892],"class_list":["post-57341","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-universitty"],"acf":{"show_sidebar":true},"_links":{"self":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/57341","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/users\/4485"}],"replies":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/comments?post=57341"}],"version-history":[{"count":4,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/57341\/revisions"}],"predecessor-version":[{"id":57446,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/57341\/revisions\/57446"}],"wp:attachment":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/media?parent=57341"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/categories?post=57341"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/tags?post=57341"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}