317:
27:
337:
491:
and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing a thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves."
325:
698:
446:
old-faced types ... and the infection has in some degree been caught by the sign-writer ... we have thus, on the one hand, a hard, an irregular and unfinished letter; and on the other, a graceful, symmetrical and highly finished letter ... there is some indication that this absurdity, like all fashions that have their birth in bad taste, is happily passing away, and the modern letter is again asserting its superiority. It has always been the case in the arts that, after periods of extravaganza and
626:
150:
467:
677:, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years. French designer Loïc Sander has suggested that the dazzle effect may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and may choose Didone fonts designed for headings. Many modern Didone digital revivals intended for professional printing, such as Parmagiano, ITC Bodoni and
281:
4046:
182:
450:, there has been a recurrence to sound taste. Positive retrogession is against nature and any tendency in this direction will most assuredly correct itself. The adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model the old
517:, he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality" As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving a white line in the centre of the thick strokes. He hoped this design,
172:
495:
786:
194:
364:', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively. Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of the fat face letter, and the pre-existing inline types with a line inside the type.
667:
The effective use of digital Didone typefaces poses unique challenges. While they can look very elegant due to their regular, rational design and fine strokes, a known effect on readers is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the
672:
of digital font has been described as particularly essential with Didone designs. Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility. Optical sizes were a
445:
It is ... marvellous to think that, after the much desiderated correction had been applied, an attempt should recently have been made to introduce these old irregular letters again to the public notice, for the vagaries of fashion have of late brought into use in the printing trade several kinds of
241:
in France towards a more extreme, precise design with intense precision and contrast, that could show off the increasingly refined printing and paper-making technologies of the period. (Lettering along these lines was already popular with calligraphers and copperplate engravers, but much printing in
432:
You ask me what kind of whim leads me to revive types of the sixteen century today.... I often have to reprint old poetry and this task invariably makes me oddly uneasy. I cannot recognise in my proofs the verses … our present day punches, which are so precise, so correct, so regularly aligned, so
490:
in the twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton
299:
has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and
300:
descenders grow longer, the letters crowd together; the normal mid nineteenth-century book is typographically dreary. The
Victorians lost the idea of good type to read." Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen".
276:
Didone typefaces came to dominate printing by the middle of the nineteenth century, although some "old style" faces continued to be sold and new ones developed by typefounders. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past.
754:
is notable as an extremely distant descendant of Didone typefaces. In
Georgia, the stroke contrast is greatly reduced and the bold made much bolder than normal in order for the design to render well on a low-resolution computer monitor, but the general letter shape and ball terminals of
388:, rejected austere, classical designs of type, ultimately in favour of gentler designs. Some of these were revivals of typefaces from between the Renaissance and the late eighteenth century such as revivals (with varying levels of faithfulness to the originals) of the work of
823:
had described them as 'typographic monstrosities'. Nonetheless, somewhat toned-down derivatives of this style persisted in popular use throughout the nineteenth century, and are commonly associated with 'wild west' printing on posters. They ultimately became part of the
308:, a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of the eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been."
588:
is inspired by later
American Didone designs, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for
793:
An eccentric method of reworking and parodying Didone typefaces has long been to invert the contrast, making the thin strokes thick and the thick strokes thin. First seen around 1821 in
Britain and occasionally revived since, these are often called
242:
western Europe up to the end of the eighteenth century used typefaces designed in the sixteenth century or relatively similar, conservative designs.) These trends were also accompanied by changes to page layout conventions and the abolition of the
294:
Many historians of printing have been critical of the later Didone faces popular in general-purpose printing of the nineteenth century, especially following the reaction of the twentieth century against
Victorian styles of art and design.
250:, speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling". Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated.
423:
An early example of the distaste some printers had for the modern type style was French printer Louis Perrin, who would eventually commission some new typeface designs on a traditional model. He wrote in 1855 (tr.
348:, the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces. These included the
767:, an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve a complementary, more balanced reading experience on paper.
470:
Custom typefaces of the
Kelmscott Press. Its medievalist approach and custom typefaces were imitated by many printers, publishers and typefounders in the late nineteenth century.
673:
natural requirement of printing technology at the time of Didone typefaces' first creation in metal type, since each size of metal type would be custom-cut, but declined as the
556:, deliberately created the system with the intention of producing an effect inspired by the "classic style" of nineteenth-century scientific printing with a family based on an
638:
536:(AtypI). The genre remains particularly popular for general-purpose use in the printing of Greek (the Didot family were among the first to set up a printing press in the
850:
Note that the classification of typefaces as "transitional" is somewhat nebulous. Eliason (2015) provides a modern assessment of the limitations of this classification.
1079:
Bodoni, Giambattista. Columbia
Electronic Encyclopedia, 6th Edition . January 2009:1-1. Available from: Academic Search Premier, Ipswich, MA. Accessed August 7, 2009.
518:
563:
Many newspapers were founded in the nineteenth century, and many newspaper typefaces have remained rooted in nineteenth-century models of type. Linotype's popular
380:
genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by the
372:
Didone fonts began to decline in popularity for general use, especially in the
English-speaking world, around the end of the nineteenth century. The rise of the
1117:
Cees W. De Jong, Alston W. Purvis, and
Friedrich Friedl. 2005. Creative Type: A Sourcebook of Classical and Contemporary Letterforms. Thames & Hudson. (223)
605:, inspired by labels on maps. Fat face typefaces remained popular for display use in the mid-twentieth century with new designs such as Monotype's Falstaff and
1187:
513:, an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about the lettering style. While he mentioned Bodoni in his book
506:. Kennerley is an example of the revival of 'old style' fonts that began to displace Didone type for much general use around the end of the nineteenth century.
290:
in the sharp, high-contrast Didone type of the period. Popular at the time, the style had disappeared almost completely by the middle of the twentieth century.
701:
As "Didone" serif text faces were the norm throughout the nineteenth century, other fonts of the period and beyond were derived on them. In this picture, a
664:
a crisp, 'European' design of type may be considered appropriate. They are used more often for general-purpose body text, such as book printing, in Europe.
1822:
3631:
681:' Didot and Surveyor, have a range of optical sizes, but this is less common on default computer fonts. Among default Didone fonts on computer systems,
819:
Intended as attention-grabbing novelty display designs more than as serious choices for body text, within four years of their introduction the printer
159:, based on 1470s Venetian printing. The narrowest part of the stroke is at top left/bottom right, so the axis is diagonal and the contrast low. Below,
2243:
124:, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as
2385:
1066:
806:
because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble
1504:
1249:
567:
of the 1930s, for many years the model for most newspaper printing worldwide, remained based on this model but toughened-up to increase clarity.
1535:
859:
The specific
Clarendon face shown is actually the Haas Clarendon of the 1950s, but it is not too dissimilar to ones of the nineteenth century.
84:
that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by:
4005:
1569:
961:
433:
mathematically symmetrical ... no doubt have their merits, but I should prefer to see them kept for printing reports on the railway.
2182:
269:
designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called
2438:
571:' Bodoni typeface, introduced around 1907-1911, became hugely popular for news headlines. Writing in 2017, digital font designer
2166:
1888:
890:
3002:
3075:
2775:
98:
Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)
1136:
2582:
789:
A document printed in 1836, showing Didone (body text), 'Italian' (the word 'proceedings') and early sans-serif fonts.
2472:
2291:
1923:
1779:
1672:
273:
designs. Later developments of the latter class have been called Scotch Modern and show increasing Didone influence.
2362:
1191:
1352:
1314:
4075:
2864:
2911:
2129:
630:
229:, remain in use today. Their goals were to create more elegant designs of printed text, developing the work of
4000:
2456:
1826:
830:
776:
437:
A revival of interest in the old styles of letter in Britain around 1870 was, however, criticised by master
3885:
3847:
2254:
1565:
1288:
2559:
332:, 1829. Similar designs, more or less inspired by typefaces, were used on gravestones in the northern USA.
4031:
3100:
1213:
Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification".
540:). It also is often seen in mathematics, as the open-source standard mathematical typesetting programmes
2393:
1852:
3611:
2995:
1692:
780:
451:
1256:
728:, developed in Europe some years after their introduction. An example of this influence is the narrow
3257:
1543:
1512:
1737:
1206:
978:
955:
4015:
3832:
3503:
3440:
3145:
3068:
2201:
678:
529:
381:
356:
and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the
316:
113:
925:
708:
is shown, with the standard nineteenth-century 'R' and 'Q' but bulked-up letterforms and boosted
577:
455:
1389:
Ovink, G.W. (1 January 1972). "Nineteenth-century reactions against the didone type model-III".
668:
other, much thinner strokes that define which letter is which. For this reason, using the right
3460:
3183:
984:
568:
336:
1878:
1156:
26:
3935:
3435:
3430:
3343:
3330:
3163:
2156:
1911:
1771:
1764:
880:
820:
802:
designs because of the serifs becoming thick. In the 19th century, these designs were called
729:
717:
238:
2992:
The 'modern face' in France and Great Britain, 1781–1825: typography as an ideal of progress
2637:
1619:
3727:
3368:
3222:
1641:
Twyman, Michael. "The Bold Idea: The Use of Bold-looking Types in the Nineteenth Century".
825:
702:
606:
214:
2209:
1653:
8:
4070:
4049:
4010:
3923:
3817:
3672:
3650:
3640:
3115:
3105:
3061:
2904:
Typographia : an historical sketch of the origin and progress of the art of printing
2537:
1594:
614:
602:
585:
503:
210:
121:
105:. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
3032:
2186:
2093:
1423:
1090:
1026:
3973:
3900:
3880:
3870:
3842:
3812:
3772:
3399:
3262:
3247:
3188:
3178:
2611:
2358:
1230:
1060:
751:
682:
661:
656:
572:
417:
409:
286:
247:
226:
156:
3895:
2940:
2816:
1902:
1900:
3918:
3837:
3792:
3722:
3193:
2907:
2662:
2468:
2287:
2162:
2047:
1949:
1919:
1884:
1775:
1668:
1419:
1132:
999:
886:
808:
764:
760:
594:
528:
Nonetheless, Didone designs have remained in use, and the genre is recognised on the
262:
198:
2748:
1234:
3804:
3757:
3596:
3543:
3404:
3214:
2959:
2709:
2021:
1912:"Reviving the Classics: Matthew Carter and the Interpretation of Historical Models"
1897:
1485:
1398:
1364:
1326:
1222:
1007:
721:
705:
697:
660:, on which the paper retains the detail of their high contrast well, and for whose
564:
557:
459:
329:
305:
230:
222:
48:
3017:
2514:
2415:
1011:
502:, Goudy comments on the work of Baskerville and Bodoni in a book typeset with his
324:
3940:
3827:
3822:
3742:
3710:
3601:
3338:
3140:
3047:
2465:
Designing information : human factors and common sense in information design
2326:
2322:
1796:
1469:
720:, has been suggested as a major influence on many early sans-serif fonts such as
598:
549:
487:
413:
301:
258:
95:
Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
31:
977:
3945:
3890:
3767:
3570:
3394:
3348:
3282:
3252:
3120:
3038:
2069:
1179:
743:
610:
510:
475:
393:
389:
385:
17:
2779:
1476:
Ovink, G. Willem (1973). "Review: Jan van Krimpen, A Letter to Philip Hofer".
625:
601:. Some later Didone families have focused on subgenres of the period, such as
581:
based on the nineteenth-century model because it "had to feel like the news."
344:
Driven by the increasing popularity of advertising, whether printed or custom
4064:
3737:
3705:
3695:
3575:
2722:
1960:
950:
642:
593:
and digital composition, while modern typefaces along the same lines include
537:
522:
438:
296:
163:. The contrast has been increased and the axis of the contrast made vertical.
102:
3022:
1914:. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.).
1527:
1496:
1489:
1402:
1368:
1330:
965:. Vol. 4 (11th ed.). Cambridge University Press. pp. 111–112.
466:
3995:
3875:
3762:
3747:
3717:
3677:
3660:
3414:
3384:
3358:
3267:
3110:
3092:
2284:
The Changing Newspaper: typographic trends in Britain and America 1622-1972
1907:
1688:
1660:
1284:
954:
906:
756:
747:
740:
fold up to become vertical, similar to what is seen on Didone serif fonts.
651:
553:
425:
266:
206:
117:
35:
2842:
2793:
1995:
1944:
1942:
1456:
1454:
1452:
629:
A mixture of regular-weight and bolder Didot-style types (proclamation of
270:
3990:
3985:
3978:
3968:
3782:
3732:
3687:
3627:
3591:
3562:
3550:
3530:
3353:
3305:
3173:
2930:, National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
2250:
1991:
1226:
812:
Roman writing, although this may be a coincidence. They were also called
685:
on Windows is oriented towards body text use, while the Didot revival on
479:
328:
An ultra-bold Didone "fat face" from the A.W. Kinsley & Co. foundry,
280:
254:
3043:
1846:
1844:
828:
genre of slab-serif typefaces, and these later designs are often called
669:
3963:
3777:
3667:
3520:
3513:
3490:
3445:
3409:
3363:
3320:
3315:
3310:
3295:
3135:
3130:
3125:
3084:
2340:
2279:
1939:
1449:
799:
674:
483:
377:
373:
357:
353:
349:
234:
181:
133:
2489:
2158:
Language Culture Type: International Type Design in the Age of Unicode
1414:
1412:
149:
3455:
3450:
3227:
3155:
2377:
2210:"Remarks to Celebrate the Publication of Computers & Typesetting"
1841:
1558:
1150:
1148:
992:
725:
590:
345:
2133:
816:, an equally inauthentic term applied to slab serifs of the period.
478:'s Kelmscott Press, which commissioned new custom fonts such as his
340:
A bold inline modern face in a specimen issued by William Caslon IV.
3928:
3787:
3606:
3479:
3465:
3290:
3242:
2685:
1667:. London: Friends of the St Bride Printing Library. pp. 1–19.
1409:
709:
405:
361:
81:
2856:
1145:
759:
designs are preserved. He also developed the Scotch Roman revival
716:
The shape of nineteenth-century Didone designs, with their narrow
3752:
3538:
3389:
3300:
3232:
3168:
3037:
of Bodoni's types (1818, published posthumously by his wife), at
1681:
1353:"Nineteenth-century reactions against the didone type model - II"
689:
was specifically intended for display use and not for body text.
2740:
2039:
1981:
Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.
1967:
Mosley, James. "The Typefoundry of Vincent Figgins, 1792-1836".
1315:"Nineteenth-century reactions against the didone type model - I"
3655:
3272:
494:
397:
243:
218:
160:
116:
system. It amalgamates the surnames of the famous typefounders
92:. (The serifs have a nearly constant width along their length.)
1050:
785:
193:
189:, a posthumous showcase of his work and engraving by his wife.
3498:
3237:
3205:
3053:
3044:
Specimen of Printing Types by Vincent Figgins, Letter Founder
2121:
1044:
545:
533:
486:
printers imitated his model, and while some printers such as
401:
89:
78:
1918:. Princeton Architectural Press. pp. 35–6, 61, 84, 90.
1279:
1277:
917:
171:
3854:
3700:
3645:
1611:
686:
637:
474:
One influential example in the late nineteenth century was
69:
63:
54:
1665:
The Nymph and the Grot: the Revival of the Sanserif Letter
1570:"By the Numbers no. 2—Fat Faces in New England Cemeteries"
441:
James Callingham in his contemporary textbook on the art:
2951:
2286:(1. publ. ed.). London: Fraser. pp. 100–2 etc.
1729:
1274:
541:
2583:"Book Review: Size-specific Adjustments to Type Designs"
2063:
2061:
2059:
2013:
1710:
909:(1985). "Didot: an honoured name in French typography".
878:
584:
Among popular faces in modern use, the typeface family
2408:
2272:
2132:. Gerry Leonidas/University of Reading. Archived from
2074:. New York: Mitchell Kennerley. pp. 34–5 & 40
1825:. Graphic Design and Publishing Centre. Archived from
1190:. Graphic Design and Publishing Centre. Archived from
732:
of these designs, in which strokes on letters such as
3018:
Computer Modern release, for general use (select otf)
2056:
763:
for print use. Given these unusual design decisions,
66:
2834:
2605:
2603:
2351:
1880:
Revival Type: Digital Typefaces Inspired by the Past
1587:
650:
In print, Didone fonts are often used on high-gloss
60:
51:
1952:(1970). "Fat Faces: Their History, Forms and Use".
1916:
Typographically Speaking: The Art of Matthew Carter
205:Didone types were developed by printers including
57:
1763:
1002:(1930). "The Evolution of the Modern-Face Roman".
2890:The Practice of Typography, Plain Printing Types,
2655:
2600:
2300:
1814:
1788:
253:In Britain and America, the lasting influence of
112:The term "Didone" is a 1954 coinage, part of the
4062:
2814:
2808:
2244:"Commemorative lecture of the Kyoto Prize, 1996"
2235:
2112:
2557:
1129:Adrian Frutiger – Typefaces: The Complete Works
1127:Osterer, Heidrun; Stamm, Philipp (8 May 2014).
872:
482:on medieval and early Renaissance models. Many
136:designs, which date to the Renaissance period.
2481:
2086:
1984:
1536:"Type Designs of the Past and Present, Part 3"
1505:"Type Designs of the Past and Present, Part 4"
1113:
1111:
4006:Intellectual property protection of typefaces
3069:
2154:
1596:Untitled specimen issued by William Caslon IV
3548:
2686:"Martha Stewart's Graphic Design for Living"
1770:. New Haven: Yale University Press. p.
1717:Mosley, James (1963). "English Vernacular".
1126:
1065:: CS1 maint: multiple names: authors list (
1018:
2985:Giambattista Bodoni: His Life and His World
2560:"Size-specific Adjustments to Type Designs"
1108:
911:Bulletin of the Printing Historical Society
885:. Laurence King Publishing. pp. 50–5.
575:wrote that he had kept his font design for
320:Fat face type on a poster. London, c. 1840s
3076:
3062:
3046:- the specimen book of London typefounder
2710:My Type Design Philosophy by Martin Majoor
2683:
2045:
1643:Journal of the Printing Historical Society
770:
4032:Punctuation and other typographic symbols
2926:Provan, Archie, and Alexander S. Lawson,
2507:
2175:
2148:
1883:. Yale University Press. pp. 121–2.
1876:
1382:
1188:"Transitional & Modern Type Families"
552:family as default. The system's creator,
257:led to the creation of types such as the
1870:
1761:
1344:
949:
784:
696:
636:
624:
534:Association Typographique Internationale
493:
465:
384:and antiquarian-minded printers such as
335:
323:
315:
279:
192:
180:
25:
16:For the opera by Francesco Cavalli, see
2994:(thesis, University of Reading, 2014),
2901:
2892:The Century Co., N.Y.C., 1902, p. 333.
2720:
2386:"Type Tactics No. 4: Heavy Roman Types"
2357:
1948:
1853:"The Story of Our Friend, the Fat Face"
1850:
1617:
1533:
1502:
1463:Nineteenth-century Ornamented Typefaces
1418:
1306:
1212:
1051:Wigglesworth, Bradford, Lieber (1830).
998:
4063:
2746:
1906:
1716:
1659:
1634:
420:were new designs on the same pattern.
311:
3057:
2773:
2684:McNaughton, Melanie (December 2010).
2207:
2067:
1954:Selected Essays on Books and Printing
1851:Kennard, Jennifer (6 February 2014).
1475:
1424:"Old-Face Types in the Victorian Age"
1388:
1350:
1312:
975:
905:
108:An unornamented, "modern" appearance.
3005:. Boston, Society of Printers. 1916.
2957:
2865:"Beauty and Ugliness in Type design"
2535:
2462:
2383:
2278:
2185:. Greek Font Society. Archived from
2127:
1460:
1157:"Old and New Fashions in Typography"
1154:
1088:
454:, now so carefully preserved in the
2840:
2635:
2467:. Hoboken, NJ: Wiley. p. 140.
2436:
1990:
1820:
1794:
1766:Graphic design : a new history
1693:"The Nymph and the Grot: an Update"
1185:
879:Phil Baines; Andrew Haslam (2005).
408:. Others such as "Old Styles" from
13:
2977:
2609:
2019:
1966:
1735:
1687:
1640:
1283:
1131:. Walter de Gruyter. p. 362.
1024:
641:A Didot-style font on the logo of
304:of the printing equipment company
88:Narrow and unbracketed (hairline)
14:
4087:
3011:
2862:
2580:
2487:
2306:
2241:
1247:
976:Rines, George Edwin, ed. (1920).
923:
23:Classification of serif typefaces
4045:
4044:
2363:"Decompiled and Remixed History"
2339:
2049:Sign Writing and Glass Embossing
1564:
170:
148:
47:
2933:
2920:
2902:Hansard, Thomas Carson (2003).
2895:
2882:
2786:
2767:
2714:
2703:
2677:
2629:
2574:
2551:
2529:
2430:
2333:
2315:
2130:"A primer on Greek type design"
1975:
1755:
1241:
1120:
1089:Shaw, Paul (10 February 2011).
1082:
853:
844:
798:fonts. They effectively become
532:system of typefaces and by the
525:(density of ink) on the paper.
400:" typefaces and others such as
367:
3083:
3003:"Giambattista Bodoni of Parma"
1161:Journal of the Society of Arts
1073:
1053:Encyclopædia Americana - Didot
969:
943:
899:
692:
631:William III of the Netherlands
1:
4001:History of Western typography
2928:100 Type Histories (volume 1)
2390:Commercial Art & Industry
1762:Eskilson, Stephen J. (2007).
1620:"Scrambled Eggs & Serifs"
866:
217:, whose eponymous typefaces,
3848:traditional point-size names
1155:Reed, Talbot Baines (1890).
979:"Bodoni, Giambattista"
956:"Bodoni, Giambattista"
724:and its derivatives such as
34:, printed by the company of
7:
3101:Canons of page construction
2960:"Know your type: Clarendon"
2665:. Hoefler & Frere-Jones
2517:. Hoefler & Frere-Jones
2418:. Hoefler & Frere-Jones
2155:John D. Berry, ed. (2002).
1738:"English vernacular (2006)"
1289:"Recasting Caslon Old Face"
1255:. Shinntype. Archived from
1012:10.1093/library/s4-XI.3.353
926:"The Didot You Didn't Know"
10:
4092:
2749:"Matthew Carter interview"
2384:Horn, Frederick A (1936).
2118:Campbell 2000, p. 173
2046:Callingham, James (1871).
2022:"Louize - typeface review"
781:reverse-contrast typefaces
774:
617:is a more recent version.
139:
15:
4040:
4024:
3956:
3909:
3863:
3803:
3686:
3626:
3584:
3561:
3529:
3489:
3478:
3423:
3377:
3329:
3281:
3258:Subscript and superscript
3213:
3204:
3154:
3091:
2439:"Reviving Caslon, Part 2"
2392:: 242–245. Archived from
1801:Hoefler & Frere-Jones
1534:Morison, Stanley (1937).
1503:Morison, Stanley (1937).
1055:. Carey, Lea & Carey.
679:Hoefler & Frere-Jones
558:American Monotype Company
538:newly independent country
134:"old-style" or "old-face"
101:Some stroke endings show
4016:Vox-ATypI classification
3146:Intentionally blank page
2888:De Vinne, Theodore Low,
2416:"HFJ Didot introduction"
2161:. ATypI. pp. 82–4.
2068:Goudy, Frederic (1922).
1877:Paul Shaw (April 2017).
837:
750:-inspired computer font
620:
530:VOX-ATypI classification
521:, would leave a lighter
382:Arts and Crafts movement
185:Two pages from Bodoni's
114:Vox-ATypI classification
3028:Period specimen books:
2311:. pp. 82, 194–195.
2000:Type Design Information
1574:Paul Shaw Letter Design
1542:: 17–81. Archived from
1511:: 61–81. Archived from
1490:10.1163/157006973X00237
1461:Gray, Nicolete (1976).
1403:10.1163/157006972X00229
1369:10.1163/157006971x00239
1331:10.1163/157006971x00301
962:Encyclopædia Britannica
771:Reverse-contrast styles
578:The Wall Street Journal
284:The 1861 title page of
32:Code civil des Français
4076:Didone serif typefaces
3549:
2815:Barnes & Schwarz.
2562:. Just Another Foundry
2208:Knuth, Donald (1986).
1091:"Overlooked Typefaces"
1006:. s4-XI (3): 353–377.
985:Encyclopedia Americana
790:
713:
654:for magazines such as
647:
634:
569:American Type Founders
507:
471:
464:
435:
341:
333:
321:
291:
202:
190:
39:
2990:Sébastien Morlighem,
2906:. Bristol: Thoemmes.
2558:Ahrens and Mugikura.
2071:Elements of Lettering
1618:Frere-Jones, Tobias.
882:Type & Typography
821:Thomas Curson Hansard
788:
777:French Clarendon type
712:for display printing.
700:
640:
628:
515:Elements of Lettering
500:Elements of Lettering
497:
469:
443:
430:
339:
327:
319:
283:
196:
184:
29:
3886:Typographic features
3023:Libre Bodoni release
2774:Butterick, Matthew.
1351:Ovink, G.W. (1971).
1313:Ovink, G.W. (1971).
1227:10.1162/DESI_a_00349
607:Morris Fuller Benton
597:and the open-source
215:Justus Erich Walbaum
30:Didot's type in the
4011:Technical lettering
3910:Typography in other
3651:Hanging punctuation
3034:Manuale Tipografico
2721:Spiekermann, Erik.
2663:"Surveyor overview"
2612:"Parmigiano review"
2463:Katz, Joel (2012).
2359:Frere-Jones, Tobias
2347:. pp. 109–115.
1956:. pp. 409–415.
1795:Hoefler, Jonathan.
1742:Type Foundry (blog)
1262:on 25 February 2021
504:Kennerley Old Style
312:Display derivatives
211:Giambattista Bodoni
187:Manuale Tipografico
122:Giambattista Bodoni
3974:Handwriting script
3901:Desktop publishing
3871:Character encoding
3864:Digital typography
3378:Horizontal aspects
3331:Visual distinction
3189:Widows and orphans
2958:Challand, Skylar.
2690:Bridgewater Review
2437:Berkson, William.
2365:. Frere-Jones Type
2260:on 27 January 2018
1950:Johnson, Alfred F.
1622:. Frere-Jones Type
1194:on 19 October 2015
791:
714:
683:Century Schoolbook
648:
635:
573:Tobias Frere-Jones
508:
472:
410:Miller and Richard
342:
334:
322:
292:
287:Great Expectations
271:transitional serif
248:Talbot Baines Reed
203:
191:
40:
4058:
4057:
3805:Typographic units
3723:For position only
3622:
3621:
3474:
3473:
2869:I love typography
2747:Middendorp, Jan.
2723:"Helvetica Sucks"
2538:"Why Bembo Sucks"
2443:I Love Typography
2309:Letters of Credit
2168:978-1-932026-01-6
2136:on 4 January 2017
2128:Leonidas, Gerry.
1890:978-0-300-21929-6
1829:on 9 October 2015
1821:Phinney, Thomas.
1599:. London. c. 1814
1431:Monotype Recorder
1186:Phinney, Thomas.
892:978-1-85669-437-7
809:capitalis rustica
765:Matthew Butterick
609:'s Ultra Bodoni;
199:Amoretti Brothers
132:, in contrast to
4083:
4048:
4047:
4025:Related template
3957:Related articles
3758:Phototypesetting
3612:reverse-contrast
3597:Display typeface
3554:
3531:Blackletter type
3487:
3486:
3424:Vertical aspects
3405:Sentence spacing
3215:Typeface anatomy
3211:
3210:
3078:
3071:
3064:
3055:
3054:
3006:
2983:Valerie Lester,
2972:
2971:
2969:
2967:
2955:
2949:
2948:
2937:
2931:
2924:
2918:
2917:
2899:
2893:
2886:
2880:
2879:
2877:
2875:
2860:
2854:
2853:
2851:
2849:
2838:
2832:
2831:
2829:
2827:
2812:
2806:
2805:
2803:
2801:
2790:
2784:
2783:
2778:. Archived from
2771:
2765:
2764:
2762:
2760:
2744:
2738:
2737:
2735:
2733:
2727:Spiekermann blog
2718:
2712:
2707:
2701:
2700:
2698:
2696:
2681:
2675:
2674:
2672:
2670:
2659:
2653:
2652:
2650:
2648:
2638:"Forensic Types"
2636:Twemlow, Alice.
2633:
2627:
2626:
2624:
2622:
2607:
2598:
2597:
2595:
2593:
2581:Coles, Stephen.
2578:
2572:
2571:
2569:
2567:
2555:
2549:
2548:
2546:
2544:
2536:Sowersby, Kris.
2533:
2527:
2526:
2524:
2522:
2511:
2505:
2504:
2502:
2500:
2490:"Trianon review"
2488:Coles, Stephen.
2485:
2479:
2478:
2460:
2454:
2453:
2451:
2449:
2434:
2428:
2427:
2425:
2423:
2412:
2406:
2405:
2403:
2401:
2381:
2375:
2374:
2372:
2370:
2355:
2349:
2348:
2345:Newspaper Design
2337:
2331:
2330:
2319:
2313:
2312:
2304:
2298:
2297:
2276:
2270:
2269:
2267:
2265:
2259:
2253:. Archived from
2248:
2239:
2233:
2232:
2230:
2228:
2214:
2205:
2199:
2198:
2196:
2194:
2179:
2173:
2172:
2152:
2146:
2145:
2143:
2141:
2125:
2119:
2116:
2110:
2109:
2107:
2105:
2094:"LTC Goudy Open"
2090:
2084:
2083:
2081:
2079:
2065:
2054:
2053:
2043:
2037:
2036:
2034:
2032:
2017:
2011:
2010:
2008:
2006:
1988:
1982:
1979:
1973:
1972:
1964:
1958:
1957:
1946:
1937:
1936:
1934:
1932:
1904:
1895:
1894:
1874:
1868:
1867:
1865:
1863:
1848:
1839:
1838:
1836:
1834:
1818:
1812:
1811:
1809:
1807:
1792:
1786:
1785:
1769:
1759:
1753:
1752:
1750:
1748:
1733:
1727:
1726:
1714:
1708:
1707:
1705:
1703:
1697:Typefoundry blog
1685:
1679:
1678:
1657:
1651:
1650:
1638:
1632:
1631:
1629:
1627:
1615:
1609:
1608:
1606:
1604:
1591:
1585:
1584:
1582:
1580:
1562:
1556:
1555:
1553:
1551:
1531:
1525:
1524:
1522:
1520:
1500:
1494:
1493:
1473:
1467:
1466:
1458:
1447:
1446:
1444:
1442:
1428:
1416:
1407:
1406:
1386:
1380:
1379:
1377:
1375:
1348:
1342:
1341:
1339:
1337:
1310:
1304:
1303:
1301:
1299:
1281:
1272:
1271:
1269:
1267:
1261:
1254:
1245:
1239:
1238:
1210:
1204:
1203:
1201:
1199:
1183:
1177:
1176:
1174:
1172:
1152:
1143:
1142:
1124:
1118:
1115:
1106:
1105:
1103:
1101:
1086:
1080:
1077:
1071:
1070:
1064:
1056:
1048:
1042:
1041:
1039:
1037:
1022:
1016:
1015:
996:
990:
989:
981:
973:
967:
966:
958:
947:
941:
940:
938:
936:
924:Coles, Stephen.
921:
915:
914:
903:
897:
896:
876:
860:
857:
851:
848:
831:French Clarendon
796:reverse-contrast
722:Akzidenz-Grotesk
706:display typeface
565:Legibility Group
460:South Kensington
360:form. Known as '
231:John Baskerville
174:
152:
77:) is a genre of
76:
75:
72:
71:
68:
65:
62:
59:
56:
53:
4091:
4090:
4086:
4085:
4084:
4082:
4081:
4080:
4061:
4060:
4059:
4054:
4036:
4020:
3952:
3912:writing systems
3911:
3905:
3859:
3799:
3743:Microtypography
3682:
3618:
3580:
3557:
3525:
3482:classifications
3481:
3470:
3419:
3373:
3339:Blackboard bold
3325:
3277:
3200:
3150:
3141:Recto and verso
3087:
3082:
3048:Vincent Figgins
3014:
3001:
3000:T. M. Cleland,
2980:
2978:Further reading
2975:
2965:
2963:
2956:
2952:
2939:
2938:
2934:
2925:
2921:
2914:
2900:
2896:
2887:
2883:
2873:
2871:
2861:
2857:
2847:
2845:
2839:
2835:
2825:
2823:
2813:
2809:
2799:
2797:
2792:
2791:
2787:
2772:
2768:
2758:
2756:
2745:
2741:
2731:
2729:
2719:
2715:
2708:
2704:
2694:
2692:
2682:
2678:
2668:
2666:
2661:
2660:
2656:
2646:
2644:
2634:
2630:
2620:
2618:
2608:
2601:
2591:
2589:
2579:
2575:
2565:
2563:
2556:
2552:
2542:
2540:
2534:
2530:
2520:
2518:
2513:
2512:
2508:
2498:
2496:
2486:
2482:
2475:
2461:
2457:
2447:
2445:
2435:
2431:
2421:
2419:
2414:
2413:
2409:
2399:
2397:
2382:
2378:
2368:
2366:
2356:
2352:
2338:
2334:
2327:Museo Bodoniano
2321:
2320:
2316:
2307:Tracy, Walter.
2305:
2301:
2294:
2277:
2273:
2263:
2261:
2257:
2246:
2242:Knuth, Donald.
2240:
2236:
2226:
2224:
2212:
2206:
2202:
2192:
2190:
2189:on 2 March 2016
2181:
2180:
2176:
2169:
2153:
2149:
2139:
2137:
2126:
2122:
2117:
2113:
2103:
2101:
2092:
2091:
2087:
2077:
2075:
2066:
2057:
2044:
2040:
2030:
2028:
2020:Savoie, Alice.
2018:
2014:
2004:
2002:
1989:
1985:
1980:
1976:
1965:
1961:
1947:
1940:
1930:
1928:
1926:
1905:
1898:
1891:
1875:
1871:
1861:
1859:
1849:
1842:
1832:
1830:
1819:
1815:
1805:
1803:
1797:"Didot history"
1793:
1789:
1782:
1760:
1756:
1746:
1744:
1736:Mosley, James.
1734:
1730:
1715:
1711:
1701:
1699:
1686:
1682:
1675:
1658:
1654:
1639:
1635:
1625:
1623:
1616:
1612:
1602:
1600:
1593:
1592:
1588:
1578:
1576:
1563:
1559:
1549:
1547:
1532:
1528:
1518:
1516:
1501:
1497:
1474:
1470:
1459:
1450:
1440:
1438:
1426:
1417:
1410:
1387:
1383:
1373:
1371:
1349:
1345:
1335:
1333:
1311:
1307:
1297:
1295:
1282:
1275:
1265:
1263:
1259:
1252:
1246:
1242:
1211:
1207:
1197:
1195:
1184:
1180:
1170:
1168:
1153:
1146:
1139:
1125:
1121:
1116:
1109:
1099:
1097:
1087:
1083:
1078:
1074:
1058:
1057:
1049:
1045:
1035:
1033:
1025:Mosley, James.
1023:
1019:
997:
993:
974:
970:
948:
944:
934:
932:
922:
918:
904:
900:
893:
877:
873:
869:
864:
863:
858:
854:
849:
845:
840:
783:
773:
695:
657:Harper's Bazaar
623:
599:Computer Modern
550:Computer Modern
488:Stanley Morison
452:"Puffing Billy"
414:Goudy Old Style
370:
314:
302:Stanley Morison
179:
178:
177:
176:
175:
166:
165:
164:
153:
142:
50:
46:
24:
21:
12:
11:
5:
4089:
4079:
4078:
4073:
4056:
4055:
4053:
4052:
4041:
4038:
4037:
4035:
4034:
4028:
4026:
4022:
4021:
4019:
4018:
4013:
4008:
4003:
3998:
3993:
3988:
3983:
3982:
3981:
3976:
3971:
3960:
3958:
3954:
3953:
3951:
3950:
3949:
3948:
3946:National Fonts
3938:
3933:
3932:
3931:
3921:
3915:
3913:
3907:
3906:
3904:
3903:
3898:
3893:
3891:Web typography
3888:
3883:
3878:
3873:
3867:
3865:
3861:
3860:
3858:
3857:
3852:
3851:
3850:
3840:
3835:
3830:
3825:
3820:
3815:
3809:
3807:
3801:
3800:
3798:
3797:
3796:
3795:
3785:
3780:
3775:
3770:
3768:Reversing type
3765:
3760:
3755:
3750:
3745:
3740:
3735:
3730:
3725:
3720:
3715:
3714:
3713:
3708:
3698:
3692:
3690:
3684:
3683:
3681:
3680:
3675:
3670:
3665:
3664:
3663:
3653:
3648:
3643:
3637:
3635:
3624:
3623:
3620:
3619:
3617:
3616:
3615:
3614:
3609:
3604:
3594:
3588:
3586:
3582:
3581:
3579:
3578:
3573:
3567:
3565:
3559:
3558:
3556:
3555:
3546:
3541:
3535:
3533:
3527:
3526:
3524:
3523:
3518:
3517:
3516:
3511:
3506:
3495:
3493:
3484:
3476:
3475:
3472:
3471:
3469:
3468:
3463:
3458:
3453:
3448:
3443:
3438:
3433:
3427:
3425:
3421:
3420:
3418:
3417:
3412:
3407:
3402:
3397:
3395:Letter-spacing
3392:
3387:
3381:
3379:
3375:
3374:
3372:
3371:
3366:
3361:
3356:
3351:
3349:Color printing
3346:
3341:
3335:
3333:
3327:
3326:
3324:
3323:
3318:
3313:
3308:
3303:
3298:
3293:
3287:
3285:
3283:Capitalization
3279:
3278:
3276:
3275:
3270:
3265:
3260:
3255:
3250:
3245:
3240:
3235:
3230:
3225:
3219:
3217:
3208:
3202:
3201:
3199:
3198:
3197:
3196:
3186:
3181:
3176:
3171:
3166:
3160:
3158:
3152:
3151:
3149:
3148:
3143:
3138:
3133:
3128:
3123:
3121:Page numbering
3118:
3113:
3108:
3103:
3097:
3095:
3089:
3088:
3081:
3080:
3073:
3066:
3058:
3052:
3051:
3041:
3039:Rare Book Room
3026:
3025:
3020:
3013:
3012:External links
3010:
3009:
3008:
2998:
2988:
2979:
2976:
2974:
2973:
2950:
2932:
2919:
2912:
2894:
2881:
2863:Bilak, Peter.
2855:
2843:"Henry Caslon"
2841:Devroye, Luc.
2833:
2817:"Type Tuesday"
2807:
2785:
2782:on 2015-06-23.
2766:
2739:
2713:
2702:
2676:
2654:
2628:
2610:Sander, Loïc.
2599:
2573:
2550:
2528:
2506:
2480:
2473:
2455:
2429:
2407:
2376:
2350:
2332:
2314:
2299:
2292:
2271:
2234:
2200:
2174:
2167:
2147:
2120:
2111:
2085:
2055:
2038:
2012:
1996:"Louis Perrin"
1983:
1974:
1959:
1938:
1924:
1896:
1889:
1869:
1840:
1813:
1787:
1780:
1754:
1728:
1709:
1680:
1673:
1652:
1633:
1610:
1586:
1557:
1526:
1495:
1484:(3): 239–242.
1468:
1448:
1408:
1397:(2): 122–128.
1381:
1363:(4): 282–301.
1343:
1305:
1273:
1250:"Modern Suite"
1240:
1205:
1178:
1144:
1138:978-3038212607
1137:
1119:
1107:
1095:Print magazine
1081:
1072:
1043:
1017:
1000:Johnson, A. F.
991:
968:
953:, ed. (1911).
951:Chisholm, Hugh
942:
916:
913:(14): 160–166.
898:
891:
870:
868:
865:
862:
861:
852:
842:
841:
839:
836:
772:
769:
744:Matthew Carter
694:
691:
652:magazine paper
622:
619:
611:Matthew Carter
511:Frederic Goudy
476:William Morris
394:William Caslon
390:Nicolas Jenson
386:William Morris
369:
366:
313:
310:
246:. Typefounder
169:
168:
167:
154:
147:
146:
145:
144:
143:
141:
138:
110:
109:
106:
103:ball terminals
99:
96:
93:
22:
18:Didone (opera)
9:
6:
4:
3:
2:
4088:
4077:
4074:
4072:
4069:
4068:
4066:
4051:
4043:
4042:
4039:
4033:
4030:
4029:
4027:
4023:
4017:
4014:
4012:
4009:
4007:
4004:
4002:
3999:
3997:
3994:
3992:
3989:
3987:
3984:
3980:
3977:
3975:
3972:
3970:
3967:
3966:
3965:
3962:
3961:
3959:
3955:
3947:
3944:
3943:
3942:
3939:
3937:
3934:
3930:
3927:
3926:
3925:
3922:
3920:
3917:
3916:
3914:
3908:
3902:
3899:
3897:
3896:Bézier curves
3894:
3892:
3889:
3887:
3884:
3882:
3881:Rasterization
3879:
3877:
3874:
3872:
3869:
3868:
3866:
3862:
3856:
3853:
3849:
3846:
3845:
3844:
3841:
3839:
3836:
3834:
3831:
3829:
3826:
3824:
3821:
3819:
3816:
3814:
3811:
3810:
3808:
3806:
3802:
3794:
3791:
3790:
3789:
3786:
3784:
3781:
3779:
3776:
3774:
3771:
3769:
3766:
3764:
3761:
3759:
3756:
3754:
3751:
3749:
3746:
3744:
3741:
3739:
3738:Microprinting
3736:
3734:
3731:
3729:
3726:
3724:
3721:
3719:
3716:
3712:
3709:
3707:
3704:
3703:
3702:
3699:
3697:
3696:Etaoin shrdlu
3694:
3693:
3691:
3689:
3685:
3679:
3676:
3674:
3671:
3669:
3666:
3662:
3659:
3658:
3657:
3654:
3652:
3649:
3647:
3644:
3642:
3639:
3638:
3636:
3633:
3629:
3625:
3613:
3610:
3608:
3605:
3603:
3600:
3599:
3598:
3595:
3593:
3590:
3589:
3587:
3583:
3577:
3574:
3572:
3569:
3568:
3566:
3564:
3560:
3553:
3552:
3547:
3545:
3542:
3540:
3537:
3536:
3534:
3532:
3528:
3522:
3519:
3515:
3512:
3510:
3507:
3505:
3502:
3501:
3500:
3497:
3496:
3494:
3492:
3488:
3485:
3483:
3477:
3467:
3464:
3462:
3459:
3457:
3454:
3452:
3449:
3447:
3444:
3442:
3439:
3437:
3434:
3432:
3429:
3428:
3426:
3422:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3391:
3388:
3386:
3383:
3382:
3380:
3376:
3370:
3367:
3365:
3362:
3360:
3357:
3355:
3352:
3350:
3347:
3345:
3342:
3340:
3337:
3336:
3334:
3332:
3328:
3322:
3319:
3317:
3314:
3312:
3309:
3307:
3304:
3302:
3299:
3297:
3294:
3292:
3289:
3288:
3286:
3284:
3280:
3274:
3271:
3269:
3266:
3264:
3261:
3259:
3256:
3254:
3251:
3249:
3246:
3244:
3241:
3239:
3236:
3234:
3231:
3229:
3226:
3224:
3221:
3220:
3218:
3216:
3212:
3209:
3207:
3203:
3195:
3192:
3191:
3190:
3187:
3185:
3182:
3180:
3177:
3175:
3172:
3170:
3167:
3165:
3162:
3161:
3159:
3157:
3153:
3147:
3144:
3142:
3139:
3137:
3134:
3132:
3129:
3127:
3124:
3122:
3119:
3117:
3114:
3112:
3109:
3107:
3104:
3102:
3099:
3098:
3096:
3094:
3090:
3086:
3079:
3074:
3072:
3067:
3065:
3060:
3059:
3056:
3049:
3045:
3042:
3040:
3036:
3035:
3031:
3030:
3029:
3024:
3021:
3019:
3016:
3015:
3004:
2999:
2997:
2996:download link
2993:
2989:
2986:
2982:
2981:
2961:
2954:
2946:
2942:
2941:"P.T. Barnum"
2936:
2929:
2923:
2915:
2909:
2905:
2898:
2891:
2885:
2870:
2866:
2859:
2844:
2837:
2822:
2818:
2811:
2796:. Font Bureau
2795:
2789:
2781:
2777:
2770:
2754:
2750:
2743:
2728:
2724:
2717:
2711:
2706:
2691:
2687:
2680:
2664:
2658:
2643:
2639:
2632:
2617:
2613:
2606:
2604:
2588:
2584:
2577:
2561:
2554:
2539:
2532:
2516:
2510:
2495:
2491:
2484:
2476:
2474:9781118420096
2470:
2466:
2459:
2444:
2440:
2433:
2417:
2411:
2396:on 2018-09-06
2395:
2391:
2387:
2380:
2364:
2360:
2354:
2346:
2342:
2336:
2328:
2324:
2318:
2310:
2303:
2295:
2293:9780900406225
2289:
2285:
2281:
2275:
2256:
2252:
2245:
2238:
2222:
2218:
2211:
2204:
2188:
2184:
2178:
2170:
2164:
2160:
2159:
2151:
2135:
2131:
2124:
2115:
2099:
2095:
2089:
2073:
2072:
2064:
2062:
2060:
2051:
2050:
2042:
2027:
2023:
2016:
2001:
1997:
1993:
1987:
1978:
1970:
1963:
1955:
1951:
1945:
1943:
1927:
1925:9781568984278
1921:
1917:
1913:
1909:
1908:Mosley, James
1903:
1901:
1892:
1886:
1882:
1881:
1873:
1858:
1854:
1847:
1845:
1828:
1824:
1817:
1802:
1798:
1791:
1783:
1781:9780300120110
1777:
1773:
1768:
1767:
1758:
1743:
1739:
1732:
1724:
1720:
1713:
1698:
1694:
1690:
1689:Mosley, James
1684:
1676:
1674:9780953520107
1670:
1666:
1662:
1661:Mosley, James
1656:
1648:
1644:
1637:
1621:
1614:
1598:
1597:
1590:
1575:
1571:
1567:
1561:
1546:on 2017-09-04
1545:
1541:
1537:
1530:
1515:on 2021-07-24
1514:
1510:
1506:
1499:
1491:
1487:
1483:
1479:
1472:
1464:
1457:
1455:
1453:
1436:
1432:
1425:
1421:
1420:Johnson, A.F.
1415:
1413:
1404:
1400:
1396:
1392:
1385:
1370:
1366:
1362:
1358:
1354:
1347:
1332:
1328:
1324:
1320:
1316:
1309:
1294:
1290:
1286:
1285:Mosley, James
1280:
1278:
1258:
1251:
1248:Shinn, Nick.
1244:
1236:
1232:
1228:
1224:
1220:
1216:
1215:Design Issues
1209:
1193:
1189:
1182:
1166:
1162:
1158:
1151:
1149:
1140:
1134:
1130:
1123:
1114:
1112:
1096:
1092:
1085:
1076:
1068:
1062:
1054:
1047:
1032:
1028:
1021:
1013:
1009:
1005:
1001:
995:
987:
986:
980:
972:
964:
963:
957:
952:
946:
931:
927:
920:
912:
908:
907:Tracy, Walter
902:
894:
888:
884:
883:
875:
871:
856:
847:
843:
835:
833:
832:
827:
822:
817:
815:
811:
810:
805:
801:
797:
787:
782:
778:
768:
766:
762:
758:
753:
749:
745:
741:
739:
735:
731:
727:
723:
719:
711:
707:
704:
699:
690:
688:
684:
680:
676:
671:
665:
663:
659:
658:
653:
646:
645:
639:
632:
627:
618:
616:
612:
608:
604:
600:
596:
592:
587:
582:
580:
579:
574:
570:
566:
561:
560:Modern face.
559:
555:
551:
547:
543:
539:
535:
531:
526:
524:
520:
516:
512:
505:
501:
496:
492:
489:
485:
481:
477:
468:
463:
461:
457:
456:Patent Museum
453:
449:
442:
440:
434:
429:
427:
421:
419:
415:
411:
407:
403:
399:
395:
391:
387:
383:
379:
375:
365:
363:
359:
355:
351:
347:
338:
331:
326:
318:
309:
307:
303:
298:
297:Nicolete Gray
289:
288:
282:
278:
274:
272:
268:
264:
260:
256:
251:
249:
245:
240:
236:
232:
228:
224:
220:
216:
212:
208:
200:
197:Types by the
195:
188:
183:
173:
162:
158:
155:The typeface
151:
137:
135:
131:
127:
123:
119:
115:
107:
104:
100:
97:
94:
91:
87:
86:
85:
83:
80:
74:
44:
37:
33:
28:
19:
3996:Type foundry
3833:Metric units
3763:Punchcutting
3748:Movable type
3718:Font catalog
3678:Vertical bar
3508:
3415:Word spacing
3385:Figure space
3268:Text figures
3111:Even working
3033:
3027:
2991:
2984:
2964:. Retrieved
2953:
2944:
2935:
2927:
2922:
2903:
2897:
2889:
2884:
2872:. Retrieved
2868:
2858:
2846:. Retrieved
2836:
2824:. Retrieved
2820:
2810:
2798:. Retrieved
2788:
2780:the original
2769:
2757:. Retrieved
2752:
2742:
2730:. Retrieved
2726:
2716:
2705:
2693:. Retrieved
2689:
2679:
2667:. Retrieved
2657:
2645:. Retrieved
2642:Eye Magazine
2641:
2631:
2619:. Retrieved
2616:Typographica
2615:
2590:. Retrieved
2587:Typographica
2586:
2576:
2564:. Retrieved
2553:
2541:. Retrieved
2531:
2519:. Retrieved
2509:
2497:. Retrieved
2493:
2483:
2464:
2458:
2448:21 September
2446:. Retrieved
2442:
2432:
2420:. Retrieved
2410:
2398:. Retrieved
2394:the original
2389:
2379:
2367:. Retrieved
2353:
2344:
2335:
2323:"ATF Bodoni"
2317:
2308:
2302:
2283:
2274:
2262:. Retrieved
2255:the original
2237:
2227:24 September
2225:. Retrieved
2220:
2216:
2203:
2191:. Retrieved
2187:the original
2177:
2157:
2150:
2138:. Retrieved
2134:the original
2123:
2114:
2102:. Retrieved
2097:
2088:
2076:. Retrieved
2070:
2048:
2041:
2029:. Retrieved
2026:Typographica
2025:
2015:
2003:. Retrieved
1999:
1992:Devroye, Luc
1986:
1977:
1968:
1962:
1953:
1929:. Retrieved
1915:
1879:
1872:
1860:. Retrieved
1857:Fonts in Use
1856:
1831:. Retrieved
1827:the original
1816:
1804:. Retrieved
1800:
1790:
1765:
1757:
1745:. Retrieved
1741:
1731:
1722:
1718:
1712:
1700:. Retrieved
1696:
1683:
1664:
1655:
1646:
1642:
1636:
1624:. Retrieved
1613:
1601:. Retrieved
1595:
1589:
1577:. Retrieved
1573:
1560:
1548:. Retrieved
1544:the original
1539:
1529:
1517:. Retrieved
1513:the original
1508:
1498:
1481:
1477:
1471:
1462:
1439:. Retrieved
1434:
1430:
1394:
1390:
1384:
1372:. Retrieved
1360:
1356:
1346:
1334:. Retrieved
1325:(2): 18–31.
1322:
1318:
1308:
1296:. Retrieved
1293:Type Foundry
1292:
1264:. Retrieved
1257:the original
1243:
1221:(4): 30–43.
1218:
1214:
1208:
1196:. Retrieved
1192:the original
1181:
1171:17 September
1169:. Retrieved
1164:
1160:
1128:
1122:
1098:. Retrieved
1094:
1084:
1075:
1052:
1046:
1034:. Retrieved
1031:Type Foundry
1030:
1020:
1003:
994:
983:
971:
960:
945:
933:. Retrieved
930:Typographica
929:
919:
910:
901:
881:
874:
855:
846:
829:
818:
813:
807:
803:
795:
792:
757:Scotch Roman
748:Scotch Roman
742:
737:
733:
715:
670:optical size
666:
655:
649:
643:
583:
576:
562:
554:Donald Knuth
527:
514:
509:
499:
473:
447:
444:
436:
431:
426:James Mosley
422:
371:
368:Displacement
343:
293:
285:
275:
267:Scotch Roman
252:
207:Firmin Didot
204:
186:
129:
125:
118:Firmin Didot
111:
42:
41:
36:Firmin Didot
3991:Type design
3986:Style guide
3979:Calligraphy
3969:Handwriting
3783:Type design
3733:Lorem ipsum
3728:Letterpress
3688:Typesetting
3628:Punctuation
3592:Record type
3563:Gaelic type
3551:Schwabacher
3441:Body height
3306:Letter case
3174:Line length
2592:21 November
2566:21 November
2515:"HFJ Didot"
2400:5 September
2341:Hutt, Allen
2280:Hutt, Allen
2251:Kyoto Prize
2183:"GFS Didot"
2078:3 September
2031:20 February
2005:20 February
1971:(1): 29–36.
1823:"Fat faces"
1702:12 December
1437:(242): 5–15
1374:20 February
1336:20 February
1004:The Library
693:Derivatives
480:Golden Type
439:signpainter
255:Baskerville
130:modern face
4071:Typography
4065:Categories
3964:Penmanship
3936:East Asian
3778:Type color
3711:monospaced
3668:Interpunct
3661:minus sign
3585:Specialist
3521:Sans-serif
3514:slab serif
3491:Roman type
3446:Cap height
3410:Thin space
3369:Whitespace
3321:Title case
3316:Snake case
3311:Small caps
3296:Camel case
3228:Diacritics
3136:Pull quote
3131:Pagination
3126:Paper size
3085:Typography
2913:1843713659
2755:. Monotype
2494:Identifont
2369:13 October
1931:30 January
1747:21 October
1649:(107–143).
1626:23 October
1566:Shaw, Paul
1441:14 October
935:29 October
867:References
800:slab serif
775:See also:
675:pantograph
519:Goudy Open
484:fine press
448:bizzarerie
378:sans-serif
374:slab serif
358:roman type
354:slab-serif
350:sans-serif
235:Birmingham
3461:Overshoot
3456:Mean line
3451:Descender
3364:Underline
3206:Character
3184:Runaround
3164:Alignment
3156:Paragraph
2966:13 August
2874:10 August
2848:10 August
2826:10 August
2695:7 October
2669:11 August
2647:6 October
2621:10 August
2521:10 August
2499:10 August
2422:10 August
2264:18 August
2223:(2): 95–8
2193:10 August
2104:26 August
2100:. Myfonts
1862:11 August
1833:10 August
1806:11 August
1478:Quaerendo
1391:Quaerendo
1357:Quaerendo
1319:Quaerendo
1266:11 August
1198:10 August
1167:: 527–538
1061:cite book
1036:11 August
834:designs.
826:Clarendon
730:apertures
726:Helvetica
718:apertures
703:Clarendon
595:Filosofia
591:cold type
362:fat faces
346:lettering
4050:Category
3929:PT Fonts
3924:Cyrillic
3788:Typeface
3706:computer
3607:fat face
3480:Typeface
3466:x-height
3436:Baseline
3431:Ascender
3291:All caps
3253:Rotation
3248:Ligature
3243:Ink trap
2794:"Miller"
2776:"Miller"
2282:(1973).
1910:(2003).
1663:(1999).
1422:(1931).
1298:1 August
1235:57569313
1027:"Long s"
814:Egyptian
710:x-height
644:Vogue UK
615:Elephant
603:Surveyor
548:use the
406:Garamond
306:Monotype
239:Fournier
82:typeface
38:in 1804.
3876:Hinting
3753:Pangram
3571:Insular
3544:Rotunda
3539:Fraktur
3504:Antiqua
3390:Kerning
3359:Oblique
3354:Italics
3301:Initial
3233:Dingbat
3223:Counter
3169:Leading
2962:. IDSGN
2945:MyFonts
2800:11 July
2759:11 July
2753:MyFonts
2732:15 July
2543:30 June
2217:TUGboat
1725:: 3–56.
1603:5 March
804:Italian
752:Georgia
633:, 1849)
586:Century
418:Imprint
227:Walbaum
157:Centaur
140:History
3919:Arabic
3818:Cicero
3656:Hyphen
3641:Bullet
3602:script
3576:Uncial
3509:Didone
3273:Tittle
3116:Margin
3106:Column
3050:, 1834
3007:(1916)
2987:(2015)
2910:
2471:
2290:
2165:
2140:14 May
1922:
1887:
1778:
1671:
1579:13 May
1550:4 June
1519:4 June
1233:
1135:
1100:2 July
889:
761:Miller
523:colour
398:Caslon
330:Albany
263:Bulmer
244:long s
225:, and
219:Bodoni
161:Bodoni
126:modern
90:serifs
43:Didone
3843:Point
3813:Agate
3673:Space
3499:Serif
3400:Pitch
3263:Swash
3238:Glyph
3179:River
2258:(PDF)
2247:(PDF)
2213:(PDF)
1969:Motif
1719:Motif
1427:(PDF)
1260:(PDF)
1253:(PDF)
1231:S2CID
838:Notes
662:image
621:Usage
546:LaTeX
402:Bembo
223:Didot
79:serif
3941:Thai
3855:Twip
3838:Pica
3793:list
3773:Sort
3701:Font
3646:Dash
3632:List
3344:Bold
3194:runt
3093:Page
2968:2015
2908:ISBN
2876:2015
2850:2015
2828:2015
2802:2015
2761:2015
2734:2015
2697:2014
2671:2015
2649:2014
2623:2015
2594:2014
2568:2014
2545:2015
2523:2015
2501:2015
2469:ISBN
2450:2014
2424:2015
2402:2018
2371:2017
2288:ISBN
2266:2018
2229:2015
2195:2015
2163:ISBN
2142:2017
2106:2015
2080:2015
2033:2016
2007:2016
1933:2016
1920:ISBN
1885:ISBN
1864:2015
1835:2015
1808:2015
1776:ISBN
1749:2017
1704:2015
1669:ISBN
1628:2015
1605:2019
1581:2020
1552:2017
1521:2017
1443:2016
1376:2016
1338:2016
1300:2015
1268:2015
1200:2015
1173:2016
1133:ISBN
1102:2015
1067:link
1038:2015
937:2017
887:ISBN
779:and
736:and
687:OS X
544:and
416:and
404:and
396:'s "
376:and
265:and
259:Bell
237:and
213:and
120:and
2821:Eye
2098:LTC
1486:doi
1399:doi
1365:doi
1327:doi
1223:doi
1008:doi
746:'s
613:'s
542:TeX
498:In
458:at
428:):
233:in
128:or
4067::
3828:En
3823:Em
2943:.
2867:.
2819:.
2751:.
2725:.
2688:.
2640:.
2614:.
2602:^
2585:.
2492:.
2441:.
2388:.
2361:.
2343:.
2325:.
2249:.
2219:.
2215:.
2096:.
2058:^
2024:.
1998:.
1994:.
1941:^
1899:^
1855:.
1843:^
1799:.
1774:.
1772:25
1740:.
1723:11
1721:.
1695:.
1691:.
1647:22
1645:.
1572:.
1568:.
1540:PM
1538:.
1509:PM
1507:.
1480:.
1451:^
1435:30
1433:.
1429:.
1411:^
1393:.
1359:.
1355:.
1321:.
1317:.
1291:.
1287:.
1276:^
1229:.
1219:31
1217:.
1165:38
1163:.
1159:.
1147:^
1110:^
1093:.
1063:}}
1059:{{
1029:.
982:.
959:.
928:.
412:,
392:,
352:,
261:,
221:,
209:,
64:oʊ
3634:)
3630:(
3077:e
3070:t
3063:v
2970:.
2947:.
2916:.
2878:.
2852:.
2830:.
2804:.
2763:.
2736:.
2699:.
2673:.
2651:.
2625:.
2596:.
2570:.
2547:.
2525:.
2503:.
2477:.
2452:.
2426:.
2404:.
2373:.
2329:.
2296:.
2268:.
2231:.
2221:7
2197:.
2171:.
2144:.
2108:.
2082:.
2052:.
2035:.
2009:.
1935:.
1893:.
1866:.
1837:.
1810:.
1784:.
1751:.
1706:.
1677:.
1630:.
1607:.
1583:.
1554:.
1523:.
1492:.
1488::
1482:3
1465:.
1445:.
1405:.
1401::
1395:2
1378:.
1367::
1361:1
1340:.
1329::
1323:1
1302:.
1270:.
1237:.
1225::
1202:.
1175:.
1141:.
1104:.
1069:)
1040:.
1014:.
1010::
988:.
939:.
895:.
738:c
734:a
462:.
201:.
73:/
70:i
67:n
61:d
58:ˈ
55:i
52:d
49:/
45:(
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)
