European feudal society-following the fall of Rome and continuing up through the late Gothic period. prior to the Renaissance-provides the context for medieval type and color. The decorative manuscript work of scribes, heraldic symbols, pageantry, and ritual inform the visual style of this category.
Medieval typefaces, and those inspired by the forms from this time frame, show a loss in refinement as a result of the fall of Rome and the fracturing of European culture. All-capital faces with more pronounced curvature in the strokes, more fluid junctures derived from pen inscription, and the introduction of uncial-based forms - predecessors to the modern lowercase developed in the third through sixth centuries A.D - relate to scribal work. Decorative details, influenced by animal interlace and manuscript illumina- tion, may be found adorning terminals and cross-strokes-exaggerated curves, swash forms, curlicues, and illustrative inclusions, such as animal or leaf forms. Medieval-style faces often show dramatic contrast between thick and thin strokes, as in Lombardic initials or early textura forms, popular in Germany, Austria, and eastern Europe after the ninth and tenth centuries. Harsh blackletter faces-with overall condensed characters made up of dominant, heavy vertical strokes with quick, sharp junctures - bring the late stages of Gothic type style into the mix.