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In typography, a slab serif (also called ''mechanistic'', ''square serif'', ''antique'' or ''Egyptian'') typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century. Slab serifs form a large and varied genre. Some such as Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs. Others such as those of the Clarendon genre have a structure more like most other serif fonts, though with larger and more obvious serifs.〔(【引用サイトリンク】url=http://www.typography.com/fonts/sentinel/history/ )〕 These designs may have bracketed serifs which increase width along their length before merging with the main strokes of the letters, while on geometrics the serifs have a constant width. Display-oriented slab serifs are often extremely bold, intended to grab the reader's attention on a poster, while slab serifs oriented towards legibility at small sizes show less extreme characteristics. Some fonts oriented towards small print use and printing on poor-quality newsprint paper may have slab serifs to increase legibility, while their other features are closer to conventional book type fonts. Slab serif fonts were also often used in typewriters, most famously Courier, and this tradition has meant many monospaced text fonts intended for computer and programming use are slab serif designs. ==History== As the printing of advertising material began to expand in the early nineteenth century, new and notionally more attention-grabbing typefaces were needed. Poster-size types began to be developed that were not merely magnified forms of book type, but very different and bolder. Some were developments of designs of the previous fifty years, such as bold and ultra-bold types such as fat faces, which were related to Didone types but much bolder. Others had completely new structures: reverse-contrast letterforms, sans-serif and slab-serif were new departures at this period. Writing in 1825, the printer and social reformer Thomas Curson Hansard wrote with amusement that slab-serif and other such display types were 'the outrageous kind of face only adapted for placards, posting-bills, invitations to the wheel of Fortune...Fashion and Fancy commonly frolic from one extreme to another.' Slab-serif type was first commercially introduced by Vincent Figgins under the name "Antique", appearing in a type-specimen dated 1815 (but probably issued in 1817).〔James Mosley, ''The Nymph and the Grot: the revival of the sanserif letter''. London: Friends of the St Bride Printing Library, 1999.〕 Following Napoleon's Egyptian campaign and dissemination of images and descriptions via publications like Description de l'Égypte (1809) an intense cultural fascination with all things Egyptian followed. Suites of contemporary parlor furniture were produced resembling furniture found in tombs. Multicolored woodblock printed wallpaper could make a dining room in Edinburgh or Chicago feel like Luxor. While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called ''Egyptians'', and many early ones are named for the subject: Cairo, Karnak, and Memphis. The common metonym "Egyptian" is derived from a craze for Egyptian artifacts in Europe and North America in the early nineteenth century, which led typefounders producing Slab Serifs after Figgins' work to call their designs Egyptian.〔Carter, E., Day. B, Meggs P.: “Typographic Design: Form and Communication, Third Edition”, page 35. John Wiley & Sons, 2002.〕 However, the term Egyptian had previously been used to describe sans-serif types in England, so the term 'Antique' was used by British and American typefounders. The term Egyptian was adopted by French and German foundries, where it became Egyptienne. A lighter style of slab serif with a single width of strokes was called 'engravers face' since it resembled the monoline structure of metal engravings. Slab serifs declined following the growing popularity of sans-serif faces, with which they always competed, and the revival of interest in old-style serif fonts as part of the Arts and Crafts movement. However, they have been regularly revived and redesigned since the nineteenth century both in modernised forms and in retro use inspired by the exuberance of Victorian design, a style of design known as Victoriana. Notable collections of original wood type are held by the Hamilton in Wisconsin and the University of Texas at Austin, collected by Rob Roy Kelly, writer of a well-known book on American poster types.〔(【引用サイトリンク】url=http://www.utexas.edu/cofa/rrk/history.php )〕 Adobe Systems has released a large collection of digitisations inspired by nineteenth-century wood type. Because of the clear, bold nature of the large serifs, slab serif designs are often used for small print, for example in printing with typewriters and on newsprint paper. Joanna, Excelsior, TheSerif, FF Meta Serif and Guardian Egyptian are examples of newspaper and small print-orientated typefaces with some slab serif characteristics, often most visible in the bold weights. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「slab serif」の詳細全文を読む スポンサード リンク
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