1244:
1177:
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1400:
1469:
1376:
1312:
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1137:
1149:
1352:
1125:
1161:
1340:
1432:
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1193:
1208:
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1447:
1388:
1489:
1226:
1324:
70:
58:
46:
708:
5641:
1107:
2627:
look narrower than Jenson's, but are in fact a little wider because the short ones are bigger, and the effect of narrowness makes the face suitable for octavo pages...this Roman of Aldus is distinguishable from other faces of the time by the level cross-stroke in 'e' and the absence of top serifs from the insides of the vertical strokes of 'M', following the model of
Feliciano. We have come to regard his small 'e' as an improvement on previous practice.
1296:
899:
427:
891:
1092:
806:
1519:
1856:, and sometimes some of the later "old-style" faces such as the work of Caslon and his imitators. In addition, of course Baskerville and others of this period would not have seen their work as "transitional" but as an end in itself. Eliason (2015) provides a leading modern critique and assessment of the classification, but even in 1930 A.F. Johnson called the term "vague and unsatisfactory."
2595:: Its outstanding design became standard for Roman type in the two centuries to follow...From the 1540s onwards French Romans and Italics had begun to infiltrate, probably by way of Lyons, the typography of the neighbouring countries. In Italy, major printers replaced the older, noble but worn Italian characters and their imitations from Basle.
3041:
examining separately. Adopting a term used by
Fournier le jeune, the style is sometimes called the 'Dutch taste', and sometimes, especially in Germany, 'baroque'. Some names associated with the style are those of Van den Keere, Granjon, Briot, Van Dijck, Kis (maker of the so-called 'Janson' types), and
1690:
in
Japanese. This group is characterized by lines of even thickness for each stroke, the equivalent of "sans serif". This style, first introduced on newspaper headlines, is commonly used on headings, websites, signs and billboards. A Japanese-language font designed in imitation of western serifs also
855:
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. They remain popular in the printing of Greek, as the Didot family were among the first to establish a printing press in newly independent Greece.
837:
is a softened version of the same basic design, with reduced contrast. Didone typefaces achieved dominance of printing in the early 19th-century printing before declining in popularity in the second half of the century and especially in the 20th as new designs and revivals of old-style faces emerged.
460:
calligraphy. Old-style serif fonts have remained popular for setting body text because of their organic appearance and excellent readability on rough book paper. The increasing interest in early printing during the late 19th and early 20th centuries saw a return to the designs of
Renaissance printers
214:
is now broadly but not universally accepted: the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Another theory is that serifs were devised to neaten the ends of lines as they were chiselled
1045:
allow to render distinguishable serifs even in this case, but their proportions and appearance are off and thickness is close to many lines of the main glyph, strongly altering appearance of the glyph. Consequently, it is sometimes advised to use sans-serif fonts for content meant to be displayed on
464:
Old-style type is characterized by a lack of large differences between thick and thin lines (low line contrast) and generally, but less often, by a diagonal stress (the thinnest parts of letters are at an angle rather than at the top and bottom). An old-style font normally has a left-inclining curve
3040:
Although types on the 'Aldine' model were widely used in the 17th and 18th centuries, a new variant that was often slightly more condensed in its proportions, and darker and larger on its body, became sufficiently widespread, at least in
Northern Europe, to be worth defining as a distinct style and
2626:
was decisive in shaping the printers' alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school...the letters
1018:
fonts in print. Colin
Wheildon, who conducted scientific studies from 1982 to 1990, found that sans serif fonts created various difficulties for readers that impaired their comprehension. According to Kathleen Tinkel, studies suggest that "most sans serif typefaces may be slightly less legible than
1612:
style in particular), where each horizontal stroke is ended with a dipping motion of the brush, the ending of horizontal strokes are also thickened. These design forces resulted in the current Song typeface characterized by thick vertical strokes contrasted with thin horizontal strokes, triangular
982:
During the 19th century, genres of serif type besides conventional body text faces proliferated. These included "Tuscan" faces, with ornamental, decorative ends to the strokes rather than serifs, and "Latin" or "wedge-serif" faces, with pointed serifs, which were particularly popular in France and
816:
Didone, or modern, serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. These typefaces have a vertical stress and thin serifs with a constant width, with minimal bracketing (constant width). Serifs tend to be very thin,
718:
Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the 19th. They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less
2751:
Amsterdam specimen of c. 1688 is an important example of the increasing tendency to regard a range of roman and italic types as a coherent family, and this may well have been a conscious innovation. But italics were romanised to a greater degree in many earlier handwritten examples and occasional
513:
evolved from a quite separate genre of type, intended for informal uses such as poetry, into taking a secondary role for emphasis. Italics moved from being conceived as separate designs and proportions to being able to be fitted into the same line as roman type with a design complementary to it.
1811:
Specifically, Manutius's type, the first type now classified as "Garalde", was not so different from other typefaces around at the time. However, the waves of "Garalde" faces coming out of France from the 1530s onwards did tend to cleanly displace earlier typefaces, and became an international
1607:
on printing blocks ran horizontally, it was fairly easy to carve horizontal lines with the grain. However, carving vertical or slanted patterns was difficult because those patterns intersect with the grain and break easily. This resulted in a typeface that has thin horizontal strokes and thick
1029:
on computer screens. According to Alex Poole, "we should accept that most reasonably designed typefaces in mainstream use will be equally legible". A study suggested that serif fonts are more legible on a screen but are not generally preferred to sans serif fonts. Another study indicated that
506:, which became the inspiration for many typefaces cut in France from the 1530s onwards. Often lighter on the page and made in larger sizes than had been used for roman type before, French Garalde faces rapidly spread throughout Europe from the 1530s to become an international standard.
226:, defined 'surripses', usually pronounced "surriphs", as "projections which appear at the tops and bottoms of some letters, the O and Q excepted, at the beginning or end, and sometimes at each, of all". The standard also proposed that 'surripsis' may be a Greek word derived from
468:
Old-style faces evolved over time, showing increasing abstraction from what would now be considered handwriting and blackletter characteristics, and often increased delicacy or contrast as printing technique improved. Old-style faces have often sub-divided into 'Venetian' (or
493:
Early "humanist" roman types were introduced in Italy. Modelled on the script of the period, they tend to feature an "e" in which the cross stroke is angled, not horizontal; an "M" with two-way serifs; and often a relatively dark colour on the page. In modern times, that of
2908:
Antiqua is a term used in German to denote serif typefaces, many of them oldstyles (Garamond-Antiqua, Palatino-Antiqua, etc.). The word is used in very much the same way as "roman" in
English-speaking typography to differentiate between upright and italic typefaces in a
1874:
Early slab-serif types were given a variety of names for branding purposes, such as 'Egyptian', 'Italian', 'Ionic', 'Doric', 'French-Clarendon' and 'Antique', which generally have little or no connection to their actual history. Nonetheless, the names have persisted in
723:. Transitional faces often have an italic 'h' that opens outwards at bottom right. Because the genre bridges styles, it is difficult to define where the genre starts and ends. Many of the most popular transitional designs are later creations in the same style.
1847:
It should be realised that "Transitional" is a somewhat nebulous classification, almost always including
Baskerville and other typefaces around this period but also sometimes including 19th and 20th-century reimaginations of old-style faces, such as
926:, are slab-serif designs. While not always purely slab-serif designs, many fonts intended for newspaper use have large slab-like serifs for clearer reading on poor-quality paper. Many early slab-serif types, being intended for posters, only come in
2752:
earlier types, and Jean Jannon displayed a full range of matching roman and italic of his own cutting in his 1621 specimen... Haiman notes that this trend is foreshadowed in the specimens of Guyot in the mid-sixteenth century and Berner in 1592.
1705:
Farang Ses, designed in 1913, was the first Thai typeface to employ thick and thin strokes reflecting old-style serif Latin typefaces, and became extremely popular, with its derivatives widely used into the digital age. (Examples: Angsana UPC,
906:
Slab serif typefaces date to about 1817. Originally intended as attention-grabbing designs for posters, they have very thick serifs, which tend to be as thick as the vertical lines themselves. Slab serif fonts vary considerably: some such as
649:
often dividing along ideological or political lines. After the mid-20th century, Fraktur fell out of favor and
Antiqua-based typefaces became the official standard in Germany. (In German, the term "Antiqua" refers to serif typefaces.)
969:
are examples of newspaper and small print-oriented typefaces with some slab-serif characteristics, often most visible in the bold weights. In the late 20th century, the term "humanist slab-serif" has been applied to typefaces such as
2457:
1468:
4403:
1176:
481:
system. Nonetheless, some have argued that the difference is excessively abstract, hard to spot except to specialists and implies a clearer separation between styles than originally appeared. Modern typefaces such as
3326:
1046:
screens, as they scale better for low resolutions. Indeed, most web pages employ sans-serif type. Recent introduction of desktop displays with 300+ dpi resolution might eventually make this recommendation obsolete.
719:
dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the "R" has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by
2466:
The Aldine Press: catalogue of the
Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles : incorporating works recorded elsewhere
2004:
1399:
2648:
787:
Later 18th-century transitional typefaces in Britain begin to show influences of Didone typefaces from Europe, described below, and the two genres blur, especially in type intended for body text;
1259:
1865:
Additional subgenres of Didone type include "fat faces" (ultra-bold designs for posters) and "Scotch Modern" designs (used in the English-speaking world for book and newspaper printing).
220:
The British Standard of the Capital Letters contained in the Roman Alphabet, forming a complete code of systematic rules for a mathematical construction and accurate formation of the same
409:. It would seem to mean "out of the ordinary" in this usage, as in art 'grotesque' usually means "elaborately decorated". Other synonyms include "Doric" and "Gothic", commonly used for
2551:
2400:
1415:
915:
model have a structure more like most other serif fonts, though with larger and more obvious serifs. These designs may have bracketed serifs that increase width along their length.
4639:
3013:
1821:
Early italics were intended to exist on their own on the page, and so often had very long ascenders and descenders, especially the "chancery italics" of printers such as Arrighi.
1243:
1825:'s Cancelleresca Bastarda typeface, intended to complement his serif family Romulus, was nonetheless cast on a larger body to allow it to have an appropriately expansive feel.
3310:
2811:
465:
axis with weight stress at about 8 and 2 o'clock; serifs are almost always bracketed (they have curves connecting the serif to the stroke); head serifs are often angled.
1311:
637:
common during the 15th and 16th centuries. Letters are designed to flow, and strokes connect together in a continuous fashion; in this way it is often contrasted with
577:
and ITC Legacy. Several of these blend in Garalde influences to fit modern expectations, especially placing single-sided serifs on the "M"; Cloister is an exception.
498:
has been the most admired, with many revivals. Garaldes, which tend to feature a level cross-stroke on the "e", descend from an influential 1495 font cut by engraver
2781:
2718:
1431:
3953:
3105:
1944:
2369:
4236:
the majority of the world's newspapers are typeset in one or another of the traditional Linotype 'Legibility Group', and most of the rest in their derivatives.
911:
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
1279:
1033:
When size of an individual glyph is 9–20 pixels, proportional serifs and some lines of most glyphs of common vector fonts are smaller than individual pixels.
817:
and vertical lines very heavy. Didone fonts are often considered to be less readable than transitional or old-style serif typefaces. Period examples include
2494:
4312:
3757:
3220:
Unger, Gerard (1 January 2001). "The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones".
2640:
2347:
1136:
5226:
2208:
2154:
1897:
1225:
3815:
3716:
1363:
1375:
1207:
2316:
1838:, who commissioned Times New Roman, noted that he hoped that it "has the merit of not looking as if it had been designed by somebody in particular".
3792:
2528:
254:
2185:
4487:
3384:
295:
4469:
3248:
3128:
3556:
1542:
akin to serif and sans serif fonts in the West. In Mainland China, the most popular category of serifed-like typefaces for body text is called
1124:
4120:
1160:
5600:
2406:
1351:
4167:
3024:
2118:
3652:
1148:
4589:, 2 vols., Library of the Written Word series, No. 6, The Handpress World subseries, No. 4 (Leiden: Koninklijke Brill NV, 2008-11-27),
4143:
2679:
658:
A new genre of serif type developed around the 17th century in the Netherlands and Germany that came to be called the "Dutch taste" (
3911:
1488:
1446:
3425:
2987:
2257:
2286:
1323:
1192:
3853:
2803:
3880:
918:
Because of the clear, bold nature of the large serifs, slab serif designs are often used for posters and in small print. Many
4609:
4594:
4539:
4438:
3947:
3603:
3577:
3169:
3099:
2887:
2775:
2712:
2588:
2543:
2474:
1982:
1938:
1774:
4670:
4191:
3066:
1339:
2377:
672:(tall lower-case letters) and a sharp contrast between thick and thin strokes, perhaps influenced by blackletter faces.
641:-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the
269:
were "ornamented (or rather disfigured) by additions of what believe type-founders call syrifs or cerefs". The printer
4582:
3320:
1769:
1295:
115:) is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular
4554:
4416:
4392:
4367:
4349:
4320:
4306:
4229:
4101:
4058:
4033:
3993:
3979:
3695:
2616:
1998:
1030:
comprehension times for individual words are slightly faster when written in a sans serif font versus a serif font.
974:, Caecilia and Tisa, with strong serifs but an outline structure with some influence of old-style serif typefaces.
2019:
1905:
3312:
Transitional Faces: The Lives & Work of Richard Austin, type-cutter, and Richard Turner Austin, wood-engraver
2503:
1779:
1406:
1387:
781:
4280:
Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in
2080:
3626:
2339:
2216:
2146:
178:, in order of first appearance. Some Old-style typefaces can be classified further into one of two subgroups:
5595:
4408:
4183:
Moret-Tatay, C., & Perea, M. (2011). Do serifs provide an advantage in the recognition of written words?
3824:
3712:
995:
3761:
1106:
470:
5480:
5442:
3020:
1049:
As serifs originated in inscription, they are generally not used in handwriting. A common exception is the
474:
351:, Van der Sijs lists words by first known publication in the language area that is the Netherlands today:
218:
The origin of the word 'serif' is obscure, but apparently is almost as recent as the type style. The book
5626:
4695:
3348:
Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification".
2308:
646:
4572:
4568:
3784:
5206:
4508:
4326:
4248:
3257:
2177:
17:
3391:
3341:
2581:
The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. 2 vols
1286:
745:
741:
4852:
4484:
4466:
4344:, 2nd ed., edited by Mary W. Gilroy (Davenport, Iowa: Catich Gallery, St. Ambrose University, 1991),
3136:
2840:
2748:
2399:
Dixon, Catherine (2002), "Twentieth Century Graphic Communication: Technology, Society and Culture",
1091:
684:
275:
4117:
1522:
From left to right: a serif typeface with serifs in red, a serif typeface, and a sans-serif typeface
919:
5665:
5610:
5427:
5098:
5035:
4740:
4663:
4161:
The Effects of Font Type and Size on the Legibility and Reading Time of Online Text by Older Adults
1670:
586:
478:
410:
2033:
4423:
2845:
1759:
4576:
3501:
Ovink, G.W. (1 January 1972). "Nineteenth-century reactions against the didone type model-III".
2879:
1974:
983:
other parts of Europe including for signage applications such as business cards or shop fronts.
5055:
4778:
4560:
4093:
4087:
2110:
1437:
35:
4587:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-Century Typefaces
4164:
3807:
2767:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
2765:
2704:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
2702:
930:
styles with the key differentiation being width, and often have no lower-case letters at all.
5530:
5030:
5025:
4938:
4925:
4758:
3937:
3687:
3680:
3656:
3535:
3159:
3089:
2853:
2481:: the press followed precedent; popular in France, types rapidly spread over western Europe.
2464:
1928:
1266:
1199:
1183:
1038:
737:
680:
676:
270:
199:
4505:
The 'modern face' in France and Great Britain, 1781-1825: typography as an ideal of progress
2957:
2671:
2632:
487:
5322:
4963:
4817:
4140:
2867:
1799:
1764:
1167:
971:
950:
934:
912:
856:
The period of Didone types' greatest popularity coincided with the rapid spread of printed
4089:
Type and Layout: How Typography and Design Can Get your Message Across – Or Get in the Way
3985:
8:
5670:
5644:
5605:
5518:
5412:
5267:
5245:
5235:
5103:
4710:
4700:
4656:
4643:
4433:, edited by Brooke Crutchley et al., 2nd ed. (London: Cambridge University Press, 1973),
3903:
999:
938:
908:
834:
800:
765:
692:
554:
526:
262:
203:
3417:
2979:
2242:
2027:
5568:
5495:
5475:
5465:
5437:
5407:
5367:
4994:
4857:
4842:
4783:
4773:
3550:
3474:
Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - II".
3365:
3202:
2872:
2522:
2446:
2282:
1967:
1853:
1707:
1613:
ornaments at the end of single horizontal strokes, and overall geometrical regularity.
1539:
1042:
991:
946:
852:
847:
826:
777:
769:
574:
570:
438:
5490:
3447:
Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - I".
405:
s earliest citation for "grotesque" in this sense is 1875, giving 'stone-letter' as a
5513:
5432:
5387:
5317:
4788:
4605:
4590:
4550:
4535:
4434:
4412:
4388:
4373:
4363:
4345:
4316:
4301:
4225:
4097:
4054:
4029:
3989:
3975:
3943:
3738:
3691:
3529:
3316:
3283:
3206:
3165:
3095:
2951:
2924:
2883:
2771:
2708:
2612:
2584:
2576:
2470:
2238:
1978:
1934:
1849:
1531:
1302:
966:
954:
942:
757:
538:
4404:
Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students
3849:
3369:
2450:
2424:
2422:
5399:
5352:
5191:
5138:
4999:
4809:
3876:
3510:
3483:
3456:
3357:
3291:
3229:
3194:
2950:
Updike, Daniel Berkeley (1922). "Chapter 15: Types of the Netherlands, 1500-1800".
2932:
2903:
2834:
2438:
2169:
2029:
Typographia, an Historical Sketch of the Origin and Progress of the Art of Printing
1969:
Digital Typography: Practical Advice for Getting the Type You Want When You Want It
1527:
1475:
1250:
822:
753:
597:
499:
92:
4444:———, “Type Designs of the Past and Present,” was serialized in 4 parts in 1937 in
3599:
3573:
3295:
2936:
5535:
5422:
5417:
5337:
5305:
5196:
4933:
4735:
4491:
4473:
4195:
4171:
4147:
4124:
3939:
Type on Screen: A Critical Guide for Designers, Writers, Developers, and Students
2419:
1835:
1822:
1724:
1700:
1513:
1053:
1019:
most serif faces, but ... the difference can be offset by careful setting".
830:
761:
711:
665:
642:
534:
483:
223:
136:
4579:
dislike of Dutch and modern-face printing, but extremely comprehensive in scope.
869:
851:, where the paper retains the detail of their high contrast well, and for whose
5540:
5485:
5362:
5165:
4989:
4943:
4877:
4847:
4715:
4525:
Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé
4441:. (on revivals of historical typefaces created by the British company Monotype)
4188:
3198:
3058:
3042:
1600:
1535:
1116:
1098:
1071:
749:
566:
503:
495:
445:
430:
300:
288:
195:
2442:
726:
Fonts from the original period of transitional typefaces include early on the
5659:
5332:
5300:
5290:
5170:
4355:
4337:
1495:
1215:
1050:
922:, on which all characters occupy the same amount of horizontal space as in a
730:
720:
668:). It was a tendency towards denser, more solid typefaces, often with a high
207:
30:
This article is about the font characteristic. For the software company, see
4263:
3514:
3487:
3460:
3233:
3120:
2362:
5590:
5470:
5357:
5342:
5312:
5272:
5255:
5009:
4979:
4953:
4862:
4705:
4687:
4398:
4222:
The Changing Newspaper: typographic trends in Britain and America 1622-1972
3933:
3240:
3185:
Corbeto, A. (25 September 2009). "Eighteenth Century Spanish Type Design".
2739:
2600:
1746:
1596:
1592:
1034:
842:
558:
442:
135:. Some typography sources refer to sans-serif typefaces as "grotesque" (in
31:
2429:
Amert, Kay (April 2008). "Stanley Morison's Aldine Hypothesis Revisited".
69:
57:
45:
5585:
5580:
5573:
5563:
5377:
5327:
5282:
5222:
5186:
5157:
5145:
5125:
4948:
4900:
4768:
3361:
3278:
3276:
1422:
868:. As a result, many Didone typefaces are among the earliest designed for
707:
634:
562:
553:. Contemporary typefaces with Venetian old style characteristics include
510:
461:
and type-founders, many of whose names and designs are still used today.
457:
453:
449:
194:
Serifs originated from the first official Greek writings on stone and in
146:
2904:"Renner Antiqua – Reviving a serif typeface from the designer of Futura"
5558:
5372:
5262:
5115:
5108:
5085:
5040:
5004:
4958:
4915:
4910:
4905:
4890:
4730:
4725:
4720:
4679:
4002:
3731:
2611:(Second edition (2002) ed.). London: Hyphen Press. pp. 72–4.
2331:
2300:
1930:
Typography workbook: a real-world guide to using type in graphic design
1604:
1074:
1026:
1022:
1015:
987:
958:
923:
885:
773:
150:
132:
82:
4268:๑๐ ตัวพิมพ์ กับ ๑๐ ยุคสังคมไทย (10 Faces of Thai Type and Thai Nation)
3273:
3178:
1733:
162:
Serif typefaces can be broadly classified into one of four subgroups:
5050:
5045:
4822:
4750:
3776:
2076:
1719:
1479:
1453:
1060:
1011:
865:
245:
233:
3630:
448:. Early printers in Italy created types that broke with Gutenberg's
5523:
5382:
5201:
5074:
5060:
4885:
4837:
4565:
Printing Types, their History, Forms, and Use: A Study in Survivals
2231:
927:
898:
873:
861:
669:
630:
550:
542:
522:
273:
referred to them as "ceriphs" in 1825. The oldest citations in the
120:
4604:, Annotated catalogue (Leiden: Koninklijke Brill NV, 1968-01-01),
2795:
1317:
Didone type in a book printed by the company of Firmin Didot, 1804
890:
426:
5347:
5133:
4984:
4895:
4827:
4763:
2140:
2138:
2136:
1425:
in the style of Jenson and other typefaces of his Kelmscott Press
962:
788:
638:
530:
406:
1059:, where the addition of serifs distinguishes the character from
805:
5250:
4867:
4116:
Kathleen Tinkel, "Taking it in: What makes type easy to read",
3842:
3007:
3005:
2492:
1543:
857:
818:
809:
696:
688:
258:
4518:
3817:
Three chapters in the development of clarendon/ionic typefaces
2641:"Aldine: the intellectuals begin their assault on font design"
2469:. Berkeley : Univ. of California Press. 2001. pp. 22–25.
2133:
1802:, common in Adobe typefaces but not found in the 16th century.
612:
101:
4832:
4800:
4648:
3618:
1617:
1609:
1518:
546:
518:
239:
227:
3002:
5449:
5295:
5240:
4633:, edited by Hendrik D. L. Vervliet (London: Phaidon, 1972).
4515:
Robert Thorne and the Introduction of the 'modern' fat face
1657:
The other common East Asian style of type is called black (
1621:
1534:
writing systems, there are common type styles based on the
1231:
Condensed, high x-height types in the "Dutch taste" style,
1085:
Below are some images of serif letterforms across history:
621:
116:
2694:
1630:—"fish scales". In Chinese, the serifs are called either
1608:
vertical strokes. In accordance with Chinese calligraphy (
4224:(1. publ. ed.). London: Fraser. pp. 100–2 etc.
3868:
3568:
3566:
3151:
3050:
600:
517:
Examples of contemporary Garalde old-style typefaces are
309:, meaning "line, stroke of the pen", related to the verb
104:
4342:
The Origin of the Serif: Brush Writing and Roman Letters
2104:
2102:
2100:
2098:
345:
is documented by Van Veen and Van der Sijs. In her book
4567:, 2 vols. (Cambridge: Harvard University Press, 1922),
2953:
Printing Types: Their History, Forms and Uses: Volume 2
2068:
4213:
4138:
Which Are More Legible: Serif or Sans Serif Typefaces?
3760:. Graphic Design and Publishing Centre. Archived from
3629:. Gerry Leonidas/University of Reading. Archived from
3563:
2919:
2917:
1625:
1440:'s "Garamond" type, an example of historicist printing
283:) are 1830 for 'serif' and 1841 for 'sans serif'. The
4602:
Sixteenth Century Printing Types of the Low Countries
4017:
2583:. Leiden: Koninklijke Brill NV. pp. 90–91, etc.
2178:"Garamond, Griffo and Others: The Price of Celebrity"
2095:
1664:
1643:
1631:
1591:). The names of these lettering styles come from the
1586:
1574:
1553:
1502:
1067:
1063:
1056:
618:
615:
603:
437:
Old-style typefaces date back to 1465, shortly after
107:
98:
4532:
Revival Type: Digital Typefaces Inspired by the Past
3091:
Revival Type: Digital Typefaces Inspired by the Past
2943:
1616:
In Japanese typography, the equivalent of serifs on
1558:); in Japan, the most popular serif style is called
902:
Clarendon, an example of a less geometric slab serif
841:
In print, Didone fonts are often used on high-gloss
833:
is a popular contemporary example. The very popular
609:
3968:
3741:(1970). "Fat Faces: Their History, Forms and Use".
2914:
2571:
2569:
894:
Rockwell, an example of a more geometric slab serif
606:
95:
3823:(MA Thesis). University of Reading. Archived from
3704:
3679:
3302:
3286:(1930). "The Evolution of the Modern-Face Roman".
3256:
2871:
2833:
2544:"Nicolas Jenson and the success of his roman type"
1966:
986:Well-known typefaces in the "Latin" style include
714:, a modern example of a transitional serif design.
123:or "font family" making use of serifs is called a
3895:
3749:
2832:
2663:
2486:
2376:. Spokane Falls Community College. Archived from
5657:
4153:
4074:Merriam-Webster's Manual for Writers and Editors
2566:
1014:because they are considered easier to read than
131:), and a typeface that does not include them is
4617:French Renaissance Printing Types: A Conspectus
2209:"Top Ten Typefaces Used by Book Design Winners"
1681:
1559:
1142:Great Primer type (c. 18 pt) by Claude Garamond
784:have been described as transitional in design.
4631:The Book Through Five Thousand Years: A Survey
4261:
4185:Journal of Cognitive Psychology 23, 5, 619-24.
3984:(2nd ed.). Hartley & Marks. pp.
3157:
3129:"Type Designs of the Past and Present, Part 3"
2972:
2874:The Printing Revolution in Early Modern Europe
2860:
2370:"Type anatomy: Family Classifications of Type"
1731:
1675:
1566:
5601:Intellectual property protection of typefaces
4664:
4385:Historical Types: From Gutenberg to Ashendene
3942:. Princeton Architectural Press. p. 16.
3926:
3249:"The history of the Times New Roman typeface"
2535:
2200:
1658:
1649:
1637:
1580:
1547:
1005:
145:) or "Gothic" (although this often refers to
5143:
4331:A View of Early Typography: Up to about 1600
3686:. New Haven: Yale University Press. p.
2757:
2527:: CS1 maint: multiple names: authors list (
1973:. Windsor Professional Information. p.
1730:The analogs of serifs, known in Japanese as
1573:; and in Taiwan and Hong Kong, it is called
727:
659:
296:Webster's Third New International Dictionary
154:
140:
4378:Type Designs: Their History and Development
2609:A View of Early Typography up to about 1600
1753:
675:Artists in the "Dutch taste" style include
394:(to scratch, eliminate by strike-through)).
389:
383:
377:
371:
363:
355:
346:
340:
334:
328:
322:
316:
310:
304:
4671:
4657:
4177:
3974:
3555:: CS1 maint: location missing publisher (
3213:
2866:
2744:Journal of the Printing Historical Society
2392:
5627:Punctuation and other typographic symbols
4255:
4130:
3813:
3645:
3592:
3494:
3094:. Yale University Press. pp. 85–98.
3087:
2732:
2638:
2502:. San Jose: Adobe Systems. Archived from
2340:"Unusual fifteenth-century fonts: part 2"
2309:"Unusual fifteenth-century fonts: part 1"
1409:, a reimagination of pre-Didone typefaces
933:Examples of slab-serif typefaces include
261:Greek types, remarking that the types of
4547:Letters of Credit: A View of Type Design
4085:
4048:
3677:
3467:
3308:
3081:
2896:
2763:
2700:
2669:
2575:
2493:Twardoch, Slimbach, Sousa, Slye (2007).
2337:
2306:
2108:
1964:
1517:
1077:are also often handwritten with serifs.
897:
889:
804:
706:
477:' (or 'Aldine'), a division made on the
425:
189:
4624:Liber librorum: 5000 ans d'art du livre
4507:(thesis, University of Reading, 2014),
4426:," Type, kupferschrift.de (2016-01-15).
4360:Nineteenth Century Ornamented Typefaces
4159:Effects of Font Type on the Legibility
4092:. Berkeley: Strathmoor Press. pp.
4011:Nineteenth-century Ornamented Typefaces
3785:"The Story of Our Friend, the Fat Face"
3782:
3737:
3527:
3440:
3347:
3282:
3184:
3126:
3056:
2923:
2878:. Cambridge University Press. pp.
2237:
2025:
1654:, lit. "forms with ornamental lines").
1494:Humanist slab-serif PNM Caecilia on an
1482:typefaces during the twentieth century.
760:in England. Among more recent designs,
633:used to mimic styles of handwriting or
321:now also means "serif" in Dutch). Yet,
14:
5658:
4575:—now outdated and known for a strong,
4208:The Principles of Beautiful Web Design
4023:
3932:
3710:
2949:
2606:
2350:from the original on 30 September 2017
2319:from the original on 13 September 2017
2175:
2121:from the original on 27 September 2017
2003:. January–February 1921. p. 265.
1926:
149:type as well) and serif typefaces as "
4652:
4053:. Walter de Gruyter. pp. 26–35.
3914:from the original on 16 February 2020
3883:from the original on 24 February 2021
3856:from the original on 5 September 2015
3743:Selected Essays on Books and Printing
3500:
3473:
3446:
3329:from the original on 11 February 2017
3219:
2990:from the original on 23 December 2015
2956:. Harvard University Press. pp.
2742:(1983). "The Types of Nicholas Kis".
2428:
2405:, Friends of St Bride, archived from
2398:
2243:"Old-Face Types in the Victorian Age"
2157:from the original on 13 November 2023
1920:
1902:TA. Showker Graphic Arts & Design
1727:, a similar style in Asian typefaces
1186:, introducing the "Dutch taste" style
1130:Title page printed by Robert Estienne
876:" style becoming a common sub-genre.
452:printing, creating upright and later
206:. The explanation proposed by Father
4311:version 4.0 (Vancouver, BC, Canada:
4219:
4008:
3956:from the original on 9 February 2024
3874:
3795:from the original on 9 November 2021
3783:Kennard, Jennifer (3 January 2014).
3655:. Greek Font Society. Archived from
3624:
3415:
3108:from the original on 9 February 2024
2854:participating institution membership
2804:"Searching for Morris Fuller Benton"
2738:
2682:from the original on 19 October 2017
2651:from the original on 17 January 2022
2554:from the original on 9 February 2024
2188:from the original on 8 December 2015
2147:"The Venetian origins of roman type"
2083:from the original on 16 October 2015
2007:from the original on 9 February 2024
1933:. Rockport Publishers. p. 240.
4549:, 2nd ed. (David R. Godine, 2003),
4534:(Brighton: Quid Publishing, 2017),
4448:(the last 2 are available online):
4419:, <www.thinkingwithtype.com>.
3901:
3755:
3682:Graphic design : a new history
3580:from the original on 14 August 2015
2670:Boardley, John (25 November 2014).
2639:Bergsland, David (29 August 2012).
1895:
1798:Note that this image includes 'Th'
1219:, the first "transitional" typeface
433:, an example of an old-style serif.
24:
4249:"和文フォント大図鑑 [ダイナコムウェア／その他]"
3164:. 010 Publishers. pp. 27–29.
3065:. TYPO, republished by PampaType.
3011:
2814:from the original on 11 April 2017
2541:
2307:Boardley, John (7 February 2014).
2144:
1898:"Sans Serif: Gothic and Grotesque"
1503:Analogues in other writing systems
1010:Serifed fonts are widely used for
257:printed with his own experimental
202:—words carved into stone in Roman
25:
5682:
4307:The Elements of Typographic Style
3981:The Elements of Typographic Style
3850:"Sentinel: historical background"
3719:from the original on 12 June 2018
3428:from the original on 22 June 2015
3382:
3069:from the original on 12 June 2018
2927:(1939). "The 'Goût Hollandois'".
2672:"Brief notes on the first italic"
2263:from the original on 5 March 2016
2206:
2074:
1603:flourished in China. Because the
1369:"Fat face" ultra-bold Didone type
1357:Display type with pattern inside
416:
333:(to write). The relation between
167:
5640:
5639:
4127:Accessed 28 December 2010. p. 3.
3606:from the original on 8 July 2013
3246:
2801:
2764:Vervliet, Hendrik D. L. (2008).
2701:Vervliet, Hendrik D. L. (2008).
2109:Boardley, John (18 April 2016).
1487:
1467:
1445:
1430:
1414:
1398:
1386:
1374:
1362:
1350:
1338:
1322:
1310:
1294:
1278:
1258:
1242:
1224:
1206:
1191:
1175:
1159:
1147:
1135:
1123:
1105:
1090:
596:
573:, Goudy's Italian Old Style and
183:
91:
68:
56:
44:
4638:James Mosley's reading lists:
4295:
4241:
4201:
4110:
4079:
4067:
4049:Frutiger, Adrian (8 May 2014).
4042:
4028:. Chronicle Books. p. 23.
4024:Lupton, Ellen (15 April 2014).
3671:
3627:"A primer on Greek type design"
3521:
3416:Shaw, Paul (10 February 2011).
3409:
3376:
2826:
2784:from the original on 2023-11-01
2721:from the original on 2023-11-01
2289:from the original on 2009-02-21
2275:
2026:Hansard, Thomas Curson (1825).
1947:from the original on 2024-02-09
1868:
1859:
1841:
1828:
1815:
1805:
1749:, an elaborate typographic joke
1381:The original Clarendon typeface
977:
702:
699:, especially the larger sizes.
315:, "to delete, strike through" (
175:
27:Decorative detail in typography
4678:
4640:"Type and its Uses, 1455–1830"
4051:Typefaces – the complete works
3057:de Jong, Feike; Lane, John A.
3014:"Type and its Uses, 1455-1830"
2374:SFCC Graphic Design department
2059:
2047:
1991:
1958:
1889:
1792:
812:, an example of a modern serif
653:
287:speculates that 'serif' was a
163:
13:
1:
5596:History of Western typography
4629:Translation: Fernand Baudin,
4409:Princeton Architectural Press
4333:(London: Hyphen Press, 2002).
4076:, (Springfield, 1998) p. 329.
3852:. Hoefler & Frere-Jones.
3678:Eskilson, Stephen J. (2007).
3602:. Hoefler & Frere-Jones.
3576:. Hoefler & Frere-Jones.
1642:, lit. "forms with legs") or
1457:
1232:
879:
5443:traditional point-size names
3904:"Most Overlooked: Chaparral"
3315:. Berkeley: Poltroon Press.
3021:Institute of English Studies
2338:Boardley, John (July 2015).
1882:
1507:
1478:typefaces, the most popular
736:in France, then the work of
695:types based on his work and
421:
246:
234:
179:
7:
4696:Canons of page construction
3877:"Know your type: Clarendon"
3390:. Shinntype. Archived from
3309:Johnston, Alastair (2014).
3296:10.1093/library/s4-XI.3.353
3088:Paul Shaw (18 April 2017).
3059:"The Briot project. Part I"
2937:10.1093/library/s4-XX.2.180
2770:. BRILL. pp. 287–319.
2707:. BRILL. pp. 287–289.
1713:
1682:
1665:
1644:
1632:
1626:
1587:
1575:
1560:
1554:
1154:Gros Canon type by Garamond
171:
10:
5687:
4424:Some Type Genres Explained
2077:"A Neo-Grotesque Heritage"
1698:
1511:
1080:
1025:are considered to be more
1006:Readability and legibility
883:
798:
584:
580:
240:
228:
29:
5635:
5619:
5551:
5504:
5458:
5398:
5281:
5221:
5179:
5156:
5124:
5084:
5073:
5018:
4972:
4924:
4876:
4853:Subscript and superscript
4808:
4799:
4749:
4686:
4387:(Oak Knoll Press, 2012),
4362:, 2nd ed. (Faber, 1976),
3814:Miklavčič, Mitja (2006).
3127:Morison, Stanley (1937).
2841:Oxford English Dictionary
2443:10.1162/desi.2008.24.2.53
1904:. Showker. Archived from
1741:, literally "fish scales"
1732:
1676:
1659:
1650:
1638:
1581:
1567:
1548:
1301:Modern-face types by the
1066:(l). The printed capital
872:use, with an ultra-bold "
794:
509:Also during this period,
411:Japanese Gothic typefaces
348:Chronologisch Woordenboek
276:Oxford English Dictionary
5611:Vox-ATypI classification
4741:Intentionally blank page
4619:(Oak Knoll Press, 2010).
4498:, 4, 4 (1937-12): 61–81.
4480:, 4, 3 (1937-11): 17–32;
4086:Wheildon, Colin (1995).
3574:"HFJ Didot introduction"
3199:10.1093/library/10.3.272
2054:Etymologisch Woordenboek
1927:Samara, Timothy (2004).
1785:
1754:Lists of serif typefaces
1393:Display-size slab-serifs
998:and the more restrained
587:Antiqua (typeface class)
479:Vox-ATypI classification
75:Serif font (red serifs)
4009:Gray, Nicolete (1976).
3515:10.1163/157006972X00229
3488:10.1163/157006971x00239
3461:10.1163/157006971x00301
3234:10.1163/157006901X00047
3158:Jan Middendorp (2004).
3135:: 17–81. Archived from
2846:Oxford University Press
2402:Typeface classification
2111:"The first roman fonts"
1765:List of typefaces#Serif
1760:List of serif typefaces
1694:
1474:Sample of the Linotype
1287:Joan Michaël Fleischman
791:is an example of this.
782:"modernised old styles"
647:Antiqua–Fraktur dispute
253:In 1827, Greek scholar
212:The Origin of the Serif
200:inscriptional lettering
5144:
4561:Daniel Berkeley Updike
4288:(211). September 2002.
4165:psychology.wichita.edu
3528:Frazier, J.L. (1925).
3418:"Overlooked Typefaces"
3290:. s4-XI (3): 353–377.
2931:. s4-XX (2): 180–196.
2607:Carter, Harry (1969).
2577:Vervliet, Hendrik D.L.
2176:Mosley, James (2006).
1965:Goldberg, Rob (2000).
1624:characters are called
1523:
903:
895:
845:for magazines such as
813:
748:in the Low Countries,
728:
715:
660:
490:may fuse both styles.
434:
390:
384:
378:
372:
364:
356:
347:
341:
335:
329:
323:
317:
311:
305:
299:traces 'serif' to the
155:
141:
119:or family of fonts. A
36:Serif (disambiguation)
34:. For other uses, see
4527:, I.M. Imprimit, 1993
4513:Sébastien Morlighem,
4503:Sébastien Morlighem,
4422:Indra Kupferschmid, "
4407:, 2nd ed. (New York:
2870:(12 September 2005).
2868:Eisenstein, Elizabeth
2000:The Linotype Bulletin
1521:
1405:Miller and Richard's
1285:Transitional type by
1267:Pierre-Simon Fournier
1200:Christoffel van Dijck
1184:Hendrik van den Keere
1039:spatial anti-aliasing
901:
893:
808:
738:Pierre Simon Fournier
710:
681:Christoffel van Dijck
677:Hendrik van den Keere
429:
388:(to write), not from
327:is the past tense of
271:Thomas Curson Hansard
190:Origins and etymology
5481:Typographic features
4270:(in Thai). Thaifaces
4262:Pracha Suveeranont.
4220:Hutt, Allen (1973).
3830:on November 25, 2011
3715:. Forgotten-Shapes.
3713:"Affichen-Schriften"
3711:Pané-Farré, Pierre.
3362:10.1162/DESI_a_00349
2984:Typofonderie Gazette
1407:Modernised Old Style
1329:Bodoni's posthumous
1271:Manuel typographique
685:Miklós Tótfalusi Kis
5606:Technical lettering
5505:Typography in other
5246:Hanging punctuation
4577:not always accurate
4315:Publishers, 2012),
4313:Hartley & Marks
3745:. pp. 409–415.
3534:. Chicago. p.
3397:on 25 February 2021
2844:(Online ed.).
2645:The Skilled Workman
2213:FontFeed (archived)
1834:Monotype executive
1452:Memorial plaque by
1331:Manuale Tipografico
996:Johnston Delf Smith
864:and the arrival of
801:Didone (typography)
456:styles inspired by
441:'s adoption of the
263:Giambattista Bodoni
168:§ transitional
5569:Handwriting script
5496:Desktop publishing
5466:Character encoding
5459:Digital typography
4973:Horizontal aspects
4926:Visual distinction
4784:Widows and orphans
4517:, 2020, Poem, and
4490:2021-07-24 at the
4472:2017-09-04 at the
4194:2011-05-16 at the
4170:2009-10-07 at the
4146:2010-03-06 at the
4136:Literature Review
4123:2012-10-19 at the
4026:Thinking with Type
3976:Bringhurst, Robert
3936:(12 August 2014).
3875:Challand, Skylar.
3739:Johnson, Alfred F.
3284:Johnson, Alfred F.
2542:Olocco, Riccardo.
2145:Olocco, Riccardo.
1908:on 19 October 2012
1540:Chinese characters
1524:
1345:Inline modern face
1289:of Amsterdam, 1768
1097:The roman type of
1043:subpixel rendering
992:Copperplate Gothic
904:
896:
814:
780:, and the earlier
716:
679:, Nicolaas Briot,
575:Berkeley Old Style
439:Johannes Gutenberg
435:
238:, "together") and
184:§ Dutch Taste
5653:
5652:
5400:Typographic units
5318:For position only
5217:
5216:
5069:
5068:
4610:978-90-6194-859-9
4595:978-90-04-16982-1
4583:H. D. L. Vervliet
4540:978-0-300-21929-6
4462:, 4, 2 (1937-12);
4455:, 4, 1 (1937-09);
4439:978-0-521-09786-4
4429:Stanley Morison,
4374:Alfred F. Johnson
4302:Robert Bringhurst
3949:978-1-61689-346-0
3910:. Adobe Systems.
3902:Phinney, Thomas.
3764:on 9 October 2015
3756:Phinney, Thomas.
3659:on 21 August 2015
3633:on 4 January 2017
3625:Leonidas, Gerry.
3171:978-90-6450-460-0
3101:978-0-300-21929-6
3030:on 9 October 2016
2889:978-0-521-84543-4
2852:(Subscription or
2777:978-90-04-16982-1
2714:978-90-04-16982-1
2676:i love typography
2590:978-90-04-16982-1
2509:on 30 August 2014
2476:978-0-520-22993-8
2344:i love typography
2313:i love typography
2283:"Old Style Serif"
2250:Monotype Recorder
2079:. Adobe Systems.
2056:(Van Dale, 1997).
1984:978-1-893190-05-4
1940:978-1-59253-081-6
1896:Phinney, Thomas.
1669:) in Chinese and
1421:William Morris's
1303:Amoretti Brothers
967:Guardian Egyptian
661:"goût Hollandois"
291:from 'sanserif'.
250:, "projection").
210:in his 1968 book
176:§ Slab Serif
153:" (or in German,
79:
78:
16:(Redirected from
5678:
5643:
5642:
5620:Related template
5552:Related articles
5353:Phototypesetting
5207:reverse-contrast
5192:Display typeface
5149:
5126:Blackletter type
5082:
5081:
5019:Vertical aspects
5000:Sentence spacing
4810:Typeface anatomy
4806:
4805:
4673:
4666:
4659:
4650:
4649:
4626:(Arcade, 1972).
4431:A Tally of Types
4380:(Grafton, 1959).
4289:
4279:
4277:
4275:
4259:
4253:
4252:
4245:
4239:
4238:
4217:
4211:
4210:, (2007) p. 113.
4205:
4199:
4181:
4175:
4157:
4151:
4134:
4128:
4114:
4108:
4107:
4083:
4077:
4071:
4065:
4064:
4046:
4040:
4039:
4021:
4015:
4014:
4006:
4000:
3999:
3972:
3966:
3965:
3963:
3961:
3930:
3924:
3923:
3921:
3919:
3899:
3893:
3892:
3890:
3888:
3872:
3866:
3865:
3863:
3861:
3846:
3840:
3839:
3837:
3835:
3829:
3822:
3811:
3805:
3804:
3802:
3800:
3780:
3774:
3773:
3771:
3769:
3753:
3747:
3746:
3735:
3729:
3728:
3726:
3724:
3708:
3702:
3701:
3685:
3675:
3669:
3668:
3666:
3664:
3649:
3643:
3642:
3640:
3638:
3622:
3616:
3615:
3613:
3611:
3596:
3590:
3589:
3587:
3585:
3570:
3561:
3560:
3554:
3546:
3544:
3542:
3525:
3519:
3518:
3498:
3492:
3491:
3471:
3465:
3464:
3444:
3438:
3437:
3435:
3433:
3413:
3407:
3406:
3404:
3402:
3396:
3389:
3380:
3374:
3373:
3345:
3339:
3338:
3336:
3334:
3306:
3300:
3299:
3280:
3271:
3270:
3268:
3266:
3260:
3255:. Archived from
3244:
3238:
3237:
3217:
3211:
3210:
3182:
3176:
3175:
3155:
3149:
3148:
3146:
3144:
3124:
3118:
3117:
3115:
3113:
3085:
3079:
3078:
3076:
3074:
3054:
3048:
3047:
3037:
3035:
3029:
3023:. Archived from
3018:
3009:
3000:
2999:
2997:
2995:
2980:"Type History 1"
2976:
2970:
2969:
2967:
2965:
2947:
2941:
2940:
2921:
2912:
2911:
2900:
2894:
2893:
2877:
2864:
2858:
2857:
2849:
2837:
2830:
2824:
2823:
2821:
2819:
2799:
2793:
2792:
2790:
2789:
2761:
2755:
2754:
2736:
2730:
2729:
2727:
2726:
2698:
2692:
2691:
2689:
2687:
2667:
2661:
2660:
2658:
2656:
2636:
2630:
2629:
2604:
2598:
2597:
2573:
2564:
2563:
2561:
2559:
2539:
2533:
2532:
2526:
2518:
2516:
2514:
2508:
2501:
2490:
2484:
2483:
2461:
2455:
2454:
2426:
2417:
2416:
2415:
2414:
2396:
2390:
2389:
2387:
2385:
2380:on 7 August 2015
2366:
2360:
2359:
2357:
2355:
2335:
2329:
2328:
2326:
2324:
2304:
2298:
2297:
2295:
2294:
2279:
2273:
2272:
2270:
2268:
2262:
2247:
2235:
2229:
2228:
2226:
2224:
2215:. Archived from
2207:Coles, Stephen.
2204:
2198:
2197:
2195:
2193:
2173:
2167:
2166:
2164:
2162:
2142:
2131:
2130:
2128:
2126:
2106:
2093:
2092:
2090:
2088:
2072:
2066:
2063:
2057:
2051:
2045:
2044:
2042:
2040:
2023:
2017:
2016:
2014:
2012:
1995:
1989:
1988:
1972:
1962:
1956:
1955:
1953:
1952:
1924:
1918:
1917:
1915:
1913:
1893:
1876:
1872:
1866:
1863:
1857:
1845:
1839:
1832:
1826:
1819:
1813:
1809:
1803:
1796:
1737:
1736:
1689:
1688:
1685:
1679:
1678:
1668:
1662:
1661:
1653:
1652:
1647:
1641:
1640:
1635:
1629:
1599:dynasties, when
1590:
1584:
1583:
1578:
1572:
1570:
1569:
1563:
1557:
1551:
1550:
1491:
1476:Legibility Group
1471:
1462:
1459:
1449:
1434:
1418:
1402:
1390:
1378:
1366:
1354:
1342:
1326:
1314:
1298:
1282:
1262:
1251:John Baskerville
1246:
1237:
1234:
1228:
1210:
1195:
1179:
1166:1611 book, with
1163:
1151:
1139:
1127:
1109:
1094:
754:John Baskerville
735:
663:
645:world, with the
629:) is a style of
628:
627:
624:
623:
620:
617:
614:
611:
608:
605:
602:
500:Francesco Griffo
404:
393:
387:
381:
375:
367:
359:
350:
344:
338:
332:
326:
320:
314:
308:
249:
243:
242:
237:
231:
230:
164:§ old style
158:
144:
129:serifed typeface
114:
113:
110:
109:
106:
103:
100:
97:
72:
60:
51:Sans-serif font
48:
41:
40:
21:
5686:
5685:
5681:
5680:
5679:
5677:
5676:
5675:
5666:Serif typefaces
5656:
5655:
5654:
5649:
5631:
5615:
5547:
5507:writing systems
5506:
5500:
5454:
5394:
5338:Microtypography
5277:
5213:
5175:
5152:
5120:
5077:classifications
5076:
5065:
5014:
4968:
4934:Blackboard bold
4920:
4872:
4795:
4745:
4736:Recto and verso
4682:
4677:
4492:Wayback Machine
4474:Wayback Machine
4298:
4293:
4292:
4273:
4271:
4260:
4256:
4247:
4246:
4242:
4232:
4218:
4214:
4206:
4202:
4196:Wayback Machine
4182:
4178:
4172:Wayback Machine
4158:
4154:
4148:Wayback Machine
4135:
4131:
4125:Wayback Machine
4115:
4111:
4104:
4084:
4080:
4072:
4068:
4061:
4047:
4043:
4036:
4022:
4018:
4007:
4003:
3996:
3973:
3969:
3959:
3957:
3950:
3931:
3927:
3917:
3915:
3900:
3896:
3886:
3884:
3873:
3869:
3859:
3857:
3848:
3847:
3843:
3833:
3831:
3827:
3820:
3812:
3808:
3798:
3796:
3781:
3777:
3767:
3765:
3754:
3750:
3736:
3732:
3722:
3720:
3709:
3705:
3698:
3676:
3672:
3662:
3660:
3651:
3650:
3646:
3636:
3634:
3623:
3619:
3609:
3607:
3598:
3597:
3593:
3583:
3581:
3572:
3571:
3564:
3548:
3547:
3540:
3538:
3526:
3522:
3499:
3495:
3472:
3468:
3445:
3441:
3431:
3429:
3414:
3410:
3400:
3398:
3394:
3387:
3381:
3377:
3346:
3342:
3332:
3330:
3323:
3307:
3303:
3281:
3274:
3264:
3262:
3253:Financial Times
3245:
3241:
3218:
3214:
3183:
3179:
3172:
3156:
3152:
3142:
3140:
3125:
3121:
3111:
3109:
3102:
3086:
3082:
3072:
3070:
3055:
3051:
3033:
3031:
3027:
3016:
3012:Mosley, James.
3010:
3003:
2993:
2991:
2978:
2977:
2973:
2963:
2961:
2948:
2944:
2922:
2915:
2902:
2901:
2897:
2890:
2865:
2861:
2851:
2831:
2827:
2817:
2815:
2800:
2796:
2787:
2785:
2778:
2762:
2758:
2737:
2733:
2724:
2722:
2715:
2699:
2695:
2685:
2683:
2668:
2664:
2654:
2652:
2637:
2633:
2619:
2605:
2601:
2591:
2574:
2567:
2557:
2555:
2540:
2536:
2520:
2519:
2512:
2510:
2506:
2499:
2491:
2487:
2477:
2463:
2462:
2458:
2427:
2420:
2412:
2410:
2397:
2393:
2383:
2381:
2368:
2367:
2363:
2353:
2351:
2336:
2332:
2322:
2320:
2305:
2301:
2292:
2290:
2281:
2280:
2276:
2266:
2264:
2260:
2245:
2236:
2232:
2222:
2220:
2205:
2201:
2191:
2189:
2174:
2170:
2160:
2158:
2143:
2134:
2124:
2122:
2115:ilovetypography
2107:
2096:
2086:
2084:
2073:
2069:
2064:
2060:
2052:
2048:
2038:
2036:
2024:
2020:
2010:
2008:
1997:
1996:
1992:
1985:
1963:
1959:
1950:
1948:
1941:
1925:
1921:
1911:
1909:
1894:
1890:
1885:
1880:
1879:
1873:
1869:
1864:
1860:
1846:
1842:
1836:Stanley Morison
1833:
1829:
1823:Jan van Krimpen
1820:
1816:
1810:
1806:
1797:
1793:
1788:
1756:
1725:Ming (typeface)
1716:
1703:
1701:Thai typography
1697:
1686:
1673:
1564:
1516:
1514:Ming (typeface)
1510:
1505:
1498:
1492:
1483:
1472:
1463:
1460:
1450:
1441:
1435:
1426:
1419:
1410:
1403:
1394:
1391:
1382:
1379:
1370:
1367:
1358:
1355:
1346:
1343:
1334:
1327:
1318:
1315:
1306:
1299:
1290:
1283:
1274:
1263:
1254:
1247:
1238:
1235:
1229:
1220:
1211:
1202:
1196:
1187:
1182:Large roman by
1180:
1171:
1170:ornament border
1164:
1155:
1152:
1143:
1140:
1131:
1128:
1119:
1110:
1101:
1095:
1083:
1008:
980:
920:monospace fonts
888:
882:
860:and commercial
848:Harper's Bazaar
831:Computer Modern
803:
797:
762:Times New Roman
712:Times New Roman
705:
656:
599:
595:
589:
583:
535:Goudy Old Style
424:
419:
402:
224:William Hollins
192:
94:
90:
39:
28:
23:
22:
15:
12:
11:
5:
5684:
5674:
5673:
5668:
5651:
5650:
5648:
5647:
5636:
5633:
5632:
5630:
5629:
5623:
5621:
5617:
5616:
5614:
5613:
5608:
5603:
5598:
5593:
5588:
5583:
5578:
5577:
5576:
5571:
5566:
5555:
5553:
5549:
5548:
5546:
5545:
5544:
5543:
5541:National Fonts
5533:
5528:
5527:
5526:
5516:
5510:
5508:
5502:
5501:
5499:
5498:
5493:
5488:
5486:Web typography
5483:
5478:
5473:
5468:
5462:
5460:
5456:
5455:
5453:
5452:
5447:
5446:
5445:
5435:
5430:
5425:
5420:
5415:
5410:
5404:
5402:
5396:
5395:
5393:
5392:
5391:
5390:
5380:
5375:
5370:
5365:
5363:Reversing type
5360:
5355:
5350:
5345:
5340:
5335:
5330:
5325:
5320:
5315:
5310:
5309:
5308:
5303:
5293:
5287:
5285:
5279:
5278:
5276:
5275:
5270:
5265:
5260:
5259:
5258:
5248:
5243:
5238:
5232:
5230:
5219:
5218:
5215:
5214:
5212:
5211:
5210:
5209:
5204:
5199:
5189:
5183:
5181:
5177:
5176:
5174:
5173:
5168:
5162:
5160:
5154:
5153:
5151:
5150:
5141:
5136:
5130:
5128:
5122:
5121:
5119:
5118:
5113:
5112:
5111:
5106:
5101:
5090:
5088:
5079:
5071:
5070:
5067:
5066:
5064:
5063:
5058:
5053:
5048:
5043:
5038:
5033:
5028:
5022:
5020:
5016:
5015:
5013:
5012:
5007:
5002:
4997:
4992:
4990:Letter-spacing
4987:
4982:
4976:
4974:
4970:
4969:
4967:
4966:
4961:
4956:
4951:
4946:
4944:Color printing
4941:
4936:
4930:
4928:
4922:
4921:
4919:
4918:
4913:
4908:
4903:
4898:
4893:
4888:
4882:
4880:
4878:Capitalization
4874:
4873:
4871:
4870:
4865:
4860:
4855:
4850:
4845:
4840:
4835:
4830:
4825:
4820:
4814:
4812:
4803:
4797:
4796:
4794:
4793:
4792:
4791:
4781:
4776:
4771:
4766:
4761:
4755:
4753:
4747:
4746:
4744:
4743:
4738:
4733:
4728:
4723:
4718:
4716:Page numbering
4713:
4708:
4703:
4698:
4692:
4690:
4684:
4683:
4676:
4675:
4668:
4661:
4653:
4647:
4646:
4636:
4635:
4634:
4620:
4613:
4598:
4580:
4558:
4545:Walter Tracy,
4543:
4528:
4523:James Mosley,
4521:
4511:
4501:
4500:
4499:
4481:
4463:
4456:
4442:
4427:
4420:
4396:
4381:
4371:
4353:
4334:
4324:
4297:
4294:
4291:
4290:
4254:
4240:
4230:
4212:
4200:
4176:
4152:
4141:alexpoole.info
4129:
4109:
4102:
4078:
4066:
4059:
4041:
4034:
4016:
4001:
3994:
3967:
3948:
3925:
3894:
3867:
3841:
3806:
3775:
3748:
3730:
3703:
3696:
3670:
3644:
3617:
3591:
3562:
3520:
3509:(2): 122–128.
3493:
3482:(4): 282–301.
3466:
3439:
3422:Print magazine
3408:
3385:"Modern Suite"
3375:
3340:
3322:978-0918395320
3321:
3301:
3272:
3239:
3228:(3): 165–191.
3212:
3193:(3): 272–297.
3177:
3170:
3150:
3119:
3100:
3080:
3049:
3001:
2971:
2942:
2925:Johnson, A. F.
2913:
2895:
2888:
2859:
2825:
2802:Shen, Juliet.
2794:
2776:
2756:
2731:
2713:
2693:
2662:
2631:
2617:
2599:
2589:
2565:
2534:
2485:
2475:
2456:
2418:
2391:
2361:
2330:
2299:
2274:
2230:
2199:
2168:
2132:
2094:
2067:
2058:
2046:
2018:
1990:
1983:
1957:
1939:
1919:
1887:
1886:
1884:
1881:
1878:
1877:
1867:
1858:
1840:
1827:
1814:
1804:
1790:
1789:
1787:
1784:
1783:
1782:
1777:
1772:
1767:
1762:
1755:
1752:
1751:
1750:
1744:
1743:
1742:
1722:
1715:
1712:
1696:
1693:
1601:block printing
1536:regular script
1512:Main article:
1509:
1506:
1504:
1501:
1500:
1499:
1493:
1486:
1484:
1473:
1466:
1464:
1451:
1444:
1442:
1436:
1429:
1427:
1420:
1413:
1411:
1404:
1397:
1395:
1392:
1385:
1383:
1380:
1373:
1371:
1368:
1361:
1359:
1356:
1349:
1347:
1344:
1337:
1335:
1328:
1321:
1319:
1316:
1309:
1307:
1300:
1293:
1291:
1284:
1277:
1275:
1264:
1257:
1255:
1249:Title page by
1248:
1241:
1239:
1230:
1223:
1221:
1212:
1205:
1203:
1197:
1190:
1188:
1181:
1174:
1172:
1165:
1158:
1156:
1153:
1146:
1144:
1141:
1134:
1132:
1129:
1122:
1120:
1117:Aldus Manutius
1111:
1104:
1102:
1099:Nicolas Jenson
1096:
1089:
1082:
1079:
1007:
1004:
979:
976:
884:Main article:
881:
878:
843:magazine paper
799:Main article:
796:
793:
721:ball terminals
704:
701:
655:
652:
585:Main article:
582:
579:
567:Hightower Text
504:Aldus Manutius
496:Nicolas Jenson
446:printing press
431:Adobe Garamond
423:
420:
418:
417:Classification
415:
396:
395:
369:
361:
289:back-formation
255:Julian Hibbert
196:Latin alphabet
191:
188:
180:§ Antiqua
125:serif typeface
77:
76:
73:
65:
64:
61:
53:
52:
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4365:
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3934:Lupton, Ellen
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3379:
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3350:Design Issues
3344:
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3297:
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2431:Design Issues
2425:
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2409:on 2014-10-26
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2256:(242): 5–15.
2255:
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2239:Johnson, A.F.
2234:
2219:on 2012-02-28
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2075:Berry, John.
2071:
2065:(Veen, 2001).
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1216:Romain du roi
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963:FF Meta Serif
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5591:Type foundry
5428:Metric units
5358:Punchcutting
5343:Movable type
5313:Font catalog
5273:Vertical bar
5093:
5010:Word spacing
4980:Figure space
4863:Text figures
4706:Even working
4630:
4623:
4616:
4601:
4586:
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4524:
4519:presentation
4514:
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4452:
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4430:
4402:
4399:Ellen Lupton
4384:
4377:
4359:
4341:
4330:
4327:Harry Carter
4305:
4296:Bibliography
4285:
4281:
4272:. Retrieved
4267:
4257:
4243:
4235:
4221:
4215:
4207:
4203:
4189:valencia.edu
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4019:
4010:
4004:
3980:
3970:
3958:. Retrieved
3938:
3928:
3916:. Retrieved
3908:Typekit Blog
3907:
3897:
3885:. Retrieved
3870:
3858:. Retrieved
3844:
3832:. Retrieved
3825:the original
3816:
3809:
3797:. Retrieved
3789:Fonts in Use
3788:
3778:
3766:. Retrieved
3762:the original
3751:
3742:
3733:
3721:. Retrieved
3706:
3681:
3673:
3661:. Retrieved
3657:the original
3647:
3635:. Retrieved
3631:the original
3620:
3608:. Retrieved
3594:
3582:. Retrieved
3539:. Retrieved
3530:
3523:
3506:
3502:
3496:
3479:
3475:
3469:
3455:(2): 18–31.
3452:
3448:
3442:
3430:. Retrieved
3421:
3411:
3399:. Retrieved
3392:the original
3378:
3356:(4): 30–43.
3353:
3349:
3343:
3331:. Retrieved
3311:
3304:
3287:
3263:. Retrieved
3258:the original
3252:
3247:Alas, Joel.
3242:
3225:
3221:
3215:
3190:
3186:
3180:
3160:
3153:
3141:. Retrieved
3137:the original
3132:
3122:
3110:. Retrieved
3090:
3083:
3071:. Retrieved
3062:
3052:
3039:
3032:. Retrieved
3025:the original
2992:. Retrieved
2983:
2974:
2962:. Retrieved
2952:
2945:
2928:
2907:
2906:. Linotype.
2898:
2873:
2862:
2839:
2828:
2816:. Retrieved
2808:Type Culture
2807:
2797:
2786:. Retrieved
2766:
2759:
2747:
2743:
2734:
2723:. Retrieved
2703:
2696:
2686:21 September
2684:. Retrieved
2675:
2665:
2653:. Retrieved
2644:
2634:
2623:
2622:
2608:
2602:
2594:
2580:
2558:21 September
2556:. Retrieved
2547:
2537:
2511:. Retrieved
2504:the original
2495:
2488:
2480:
2465:
2459:
2437:(2): 53–71.
2434:
2430:
2411:, retrieved
2407:the original
2401:
2394:
2382:. Retrieved
2378:the original
2373:
2364:
2354:22 September
2352:. Retrieved
2343:
2333:
2323:22 September
2321:. Retrieved
2312:
2302:
2291:. Retrieved
2277:
2265:. Retrieved
2253:
2249:
2233:
2221:. Retrieved
2217:the original
2212:
2202:
2190:. Retrieved
2181:
2171:
2159:. Retrieved
2150:
2125:21 September
2123:. Retrieved
2114:
2085:. Retrieved
2070:
2061:
2053:
2049:
2037:. Retrieved
2028:
2021:
2009:. Retrieved
1999:
1993:
1968:
1960:
1949:. Retrieved
1929:
1922:
1910:. Retrieved
1906:the original
1901:
1891:
1870:
1861:
1843:
1830:
1817:
1807:
1794:
1775:Transitional
1747:San Serriffe
1738:
1704:
1683:Goshikku-tai
1656:
1615:
1525:
1461: 1920s
1330:
1270:
1265:Alphabet by
1214:
1112:
1084:
1048:
1032:
1021:
1009:
985:
981:
978:Other styles
932:
917:
905:
846:
840:
815:
786:
778:Freight Text
725:
717:
703:Transitional
674:
657:
643:germanophone
591:
590:
559:Adobe Jenson
516:
508:
502:for printer
492:
467:
463:
443:movable type
436:
399:
397:
294:
293:
284:
280:
274:
266:
252:
219:
217:
215:into stone.
211:
193:
161:
128:
124:
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32:Serif Europe
5586:Type design
5581:Style guide
5574:Calligraphy
5564:Handwriting
5378:Type design
5328:Lorem ipsum
5323:Letterpress
5283:Typesetting
5223:Punctuation
5187:Record type
5158:Gaelic type
5146:Schwabacher
5036:Body height
4901:Letter case
4769:Line length
4530:Paul Shaw,
4496:PM Magazine
4478:PM Magazine
4460:PM Magazine
4453:PM Magazine
4446:PM Magazine
3758:"Fat faces"
3653:"GFS Didot"
3600:"HFJ Didot"
3288:The Library
3187:The Library
2994:23 December
2964:18 December
2929:The Library
2550:. C-A-S-T.
2153:. C-A-S-T.
1423:Golden Type
1236: 1720
913:"Clarendon"
740:in France,
654:Dutch taste
635:calligraphy
563:Golden Type
511:italic type
458:Renaissance
450:blackletter
267:Callimachus
147:blackletter
63:Serif font
5671:Typography
5660:Categories
5559:Penmanship
5531:East Asian
5373:Type color
5306:monospaced
5263:Interpunct
5256:minus sign
5180:Specialist
5116:Sans-serif
5109:slab serif
5086:Roman type
5041:Cap height
5005:Thin space
4964:Whitespace
4916:Title case
4911:Snake case
4906:Small caps
4891:Camel case
4823:Diacritics
4731:Pull quote
4726:Pagination
4721:Paper size
4680:Typography
4458:“Part 2,”
4451:“Part 1,”
4264:"ฝรั่งเศส"
3333:8 February
3265:16 January
3161:Dutch Type
2856:required.)
2788:2017-09-21
2740:Lane, John
2725:2017-09-21
2413:2015-08-14
2293:2009-06-25
2267:14 October
2192:3 December
2182:Bibiologia
2161:27 January
2087:15 October
2032:. p.
2011:26 October
1951:2020-10-28
1912:1 February
1699:See also:
1605:wood grain
1023:Sans-serif
1016:sans-serif
988:Wide Latin
959:Zilla Slab
924:typewriter
886:Slab serif
880:Slab serif
774:Mrs. Eaves
742:Fleischman
545:, Renard,
222:(1813) by
133:sans-serif
83:typography
18:Serif font
5056:Overshoot
5051:Mean line
5046:Descender
4959:Underline
4801:Character
4779:Runaround
4759:Alignment
4751:Paragraph
4644:1830-2000
4411:, 2010),
4282:Sarakadee
4118:adobe.com
4094:57, 59–60
3887:13 August
3879:. IDSGN.
3834:14 August
3799:11 August
3768:10 August
3663:10 August
3610:10 August
3584:10 August
3551:cite book
3541:24 August
3531:Type Lore
3503:Quaerendo
3476:Quaerendo
3449:Quaerendo
3401:11 August
3222:Quaerendo
3207:161371751
3063:PampaType
3034:7 October
2835:"antiqua"
2746:: 47–75.
2655:14 August
2523:cite book
2513:14 August
2384:14 August
2039:12 August
1883:Citations
1812:standard.
1800:ligatures
1770:Old-style
1720:Homoglyph
1633:yǒujiǎotǐ
1508:East Asia
1480:newspaper
1454:Eric Gill
1168:arabesque
1061:lowercase
1012:body text
972:Chaparral
951:Excelsior
935:Clarendon
870:"display"
866:bold type
422:Old-style
391:schrappen
385:schrijven
373:schrappen
357:schrijven
342:schrappen
330:schrijven
318:'schreef'
312:schrappen
247:'rhîpsis'
204:antiquity
5645:Category
5524:PT Fonts
5519:Cyrillic
5383:Typeface
5301:computer
5202:fat face
5075:Typeface
5061:x-height
5031:Baseline
5026:Ascender
4886:All caps
4848:Rotation
4843:Ligature
4838:Ink trap
4573:volume 2
4569:volume 1
4488:Archived
4470:Archived
4192:Archived
4168:Archived
4144:Archived
4121:Archived
3986:218, 330
3978:(2002).
3954:Archived
3912:Archived
3881:Archived
3854:Archived
3793:Archived
3717:Archived
3604:Archived
3578:Archived
3426:Archived
3370:57569313
3327:Archived
3106:Archived
3067:Archived
2988:Archived
2818:11 April
2812:Archived
2782:Archived
2719:Archived
2680:Archived
2649:Archived
2624:De Aetna
2579:(2008).
2552:Archived
2496:Arno Pro
2451:57566512
2348:Archived
2317:Archived
2287:Archived
2258:Archived
2241:(1931).
2186:Archived
2155:Archived
2119:Archived
2081:Archived
2005:Archived
1945:Archived
1714:See also
1691:exists.
1532:Japanese
1198:Type by
1113:De Aetna
1070:and the
1000:Méridien
955:TheSerif
939:Rockwell
909:Rockwell
874:fat face
862:ephemera
766:Perpetua
764:(1932),
693:Ehrhardt
687:and the
670:x-height
631:typeface
555:Cloister
543:Palatino
527:Galliard
523:Garamond
473:') and '
471:humanist
382:is from
121:typeface
5471:Hinting
5348:Pangram
5166:Insular
5139:Rotunda
5134:Fraktur
5099:Antiqua
4985:Kerning
4954:Oblique
4949:Italics
4896:Initial
4828:Dingbat
4818:Counter
4764:Leading
4336:Father
3960:7 March
3918:7 March
3860:15 July
3723:10 June
3112:22 June
3073:10 June
2909:family.
1854:Plantin
1850:Bookman
1708:Kinnari
1528:Chinese
1526:In the
1273:, 1760s
1269:in his
1081:Gallery
1072:numeral
1054:capital
1051:printed
1035:Hinting
1027:legible
947:Courier
858:posters
835:Century
827:Walbaum
770:Plantin
750:Pradell
639:Fraktur
592:Antiqua
581:Antiqua
571:Centaur
531:Granjon
488:Trinité
475:Garalde
407:synonym
379:schreef
368:, 1350;
365:schreef
360:, 1100;
336:schreef
324:schreef
306:schreef
156:Antiqua
142:grotesk
5514:Arabic
5413:Cicero
5251:Hyphen
5236:Bullet
5197:script
5171:Uncial
5104:Didone
4868:Tittle
4711:Margin
4701:Column
4608:
4593:
4553:
4538:
4485:Part 4
4467:Part 3
4437:
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4391:
4366:
4348:
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4274:22 May
4228:
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3432:2 July
3368:
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2882:–163.
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2548:Medium
2473:
2449:
2223:2 July
2151:Medium
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1780:Didone
1671:Gothic
1588:Mingti
1561:Minchō
1555:Songti
1333:, 1818
1305:, 1797
1253:, 1757
1041:, and
957:, and
943:Archer
825:, and
819:Bodoni
810:Bodoni
795:Didone
758:Bulmer
746:Rosart
697:Caslon
689:Janson
666:French
561:, the
549:, and
539:Minion
454:italic
259:uncial
235:'syn-'
137:German
5438:Point
5408:Agate
5268:Space
5094:Serif
4995:Pitch
4858:Swash
4833:Glyph
4774:River
4622:———,
4615:———,
4600:———,
3828:(PDF)
3821:(PDF)
3395:(PDF)
3388:(PDF)
3366:S2CID
3203:S2CID
3028:(PDF)
3017:(PDF)
2850:
2749:Kis's
2507:(PDF)
2500:(PDF)
2447:S2CID
2261:(PDF)
2246:(PDF)
1786:Notes
1739:uroko
1677:ゴシック体
1666:Hēitǐ
1627:uroko
1618:kanji
1610:kaiti
853:image
823:Didot
551:Scala
547:Sabon
519:Bembo
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303:noun
301:Dutch
241:ῥῖψῐς
198:with
151:roman
87:serif
5536:Thai
5450:Twip
5433:Pica
5388:list
5368:Sort
5296:Font
5241:Dash
5227:List
4939:Bold
4789:runt
4688:Page
4606:ISBN
4591:ISBN
4571:and
4551:ISBN
4536:ISBN
4435:ISBN
4413:ISBN
4389:ISBN
4364:ISBN
4346:ISBN
4317:ISBN
4276:2020
4226:ISBN
4098:ISBN
4055:ISBN
4030:ISBN
3990:ISBN
3962:2019
3944:ISBN
3920:2019
3889:2015
3862:2015
3836:2015
3801:2015
3770:2015
3725:2018
3692:ISBN
3665:2015
3639:2017
3612:2015
3586:2015
3557:link
3543:2015
3434:2015
3403:2015
3335:2017
3317:ISBN
3267:2016
3166:ISBN
3145:2017
3114:2017
3096:ISBN
3075:2018
3036:2016
2996:2015
2966:2015
2884:ISBN
2820:2017
2772:ISBN
2709:ISBN
2688:2017
2657:2015
2613:ISBN
2585:ISBN
2560:2017
2529:link
2515:2015
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2386:2015
2356:2017
2325:2017
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2225:2015
2194:2015
2163:2018
2127:2017
2089:2015
2041:2015
2013:2011
1979:ISBN
1935:ISBN
1914:2013
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1852:and
1695:Thai
1660:黑体/體
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