Italic type

Last updated

Aldus Manutius' italic, in a 1501 edition of Virgil. Italic is only used for the lower case and not for capitals. Page from the edition of Virgil printed by Aldus Manutius in 1501 (BnF, Reserve des livres rares, RES P-YC-1265).jpg
Aldus Manutius' italic, in a 1501 edition of Virgil. Italic is only used for the lower case and not for capitals.

In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. [2] [3] [4] Along with blackletter and roman type, it served as one of the major typefaces in the history of Western typography.

Contents

Owing to the influence from calligraphy, italics normally slant slightly to the right, like so. Different glyph shapes from roman type are usually used another influence from calligraphy and upper-case letters may have swashes, flourishes inspired by ornate calligraphy.

Historically, italics were a distinct style of type used entirely separately from roman type, but they have come to be used in conjunctionmost fonts now come with a roman type and an oblique version (generally called "italic" though often not true italics). In this usage, italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting a speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of underlining"; in other words, underscore in a manuscript directs a typesetter to use italic. [5]

In fonts which do not have true italics, oblique type may be used instead. The difference between true italics and oblique type is that true italics have some letterforms different from the roman type, but in oblique type letters are just slanted without changing the roman type form.

The name comes from the fact that calligraphy-inspired typefaces were first designed in Italy, to replace documents traditionally written in a handwriting style called chancery hand. Aldus Manutius and Ludovico Arrighi (both between the 15th and 16th centuries) were the main type designers involved in this process at the time.

History

Sample of Niccoli's cursive script, which developed into Italic type. Niccolo de Niccoli italic handwriting.jpg
Sample of Niccoli's cursive script, which developed into Italic type.
Catherine of Siena, Epistole ("Letters"), published in Venice by Aldo Manuzio in September 1500: illustrated table in which appear the first words ever printed in italics: iesus, inside the heart in the left hand and iesu dolce iesu amore inside the book in the right hand. Epistole di Santa Caterina 1500 - BEIC 1983402.jpg
Catherine of Siena, Epistole ("Letters"), published in Venice by Aldo Manuzio in September 1500: illustrated table in which appear the first words ever printed in italics: iesus, inside the heart in the left hand and iesu dolce iesu amore inside the book in the right hand.
A page from La Operina by Ludovico Vicentino degli Arrighi, showing early "chancery italic" typeface La Operina Arrighi 0039.jpg
A page from La Operina by Ludovico Vicentino degli Arrighi, showing early "chancery italic" typeface

Italic type was first used by Aldus Manutius and his press in Venice in 1500. [8]

Manutius intended his italic type to be used not for emphasis but for the text of small, easily carried editions of popular books (often poetry), replicating the style of handwritten manuscripts of the period. The choice of using italic type, rather than the roman type in general use at the time, was apparently made to suggest informality in editions designed for leisure reading. [lower-alpha 1] Manutius' italic type was cut by his punchcutter Francesco Griffo (who later following a dispute with Manutius claimed to have conceived it). It replicated handwriting of the period following from the style of Niccolò de' Niccoli, possibly even Manutius' own. [9] [10]

The first use in a complete volume was a 1501 edition of Virgil dedicated to Italy, although it had been briefly used in the frontispiece of a 1500 edition of Catherine of Siena's letters. [11] In 1501, Aldus wrote to his friend Scipio:

We have printed, and are now publishing, the Satires of Juvenal and Persius in a very small format, so that they may more conveniently be held in the hand and learned by heart (not to speak of being read) by everyone.

Manutius' italic was different in some ways from modern italics, being conceived for the specific use of replicating the layout of contemporary calligraphers like Pomponio Leto and Bartolomeo Sanvito. The capital letters were upright capitals on the model of Roman square capitals, shorter than the ascending lower-case italic letters, and were used at the start of each line followed by a clear space before the first lower-case letter. [12] While modern italics are often more condensed than roman types, historian Harry Carter describes Manutius' italic as about the same width as roman type. [13] To replicate handwriting, Griffo cut at least sixty-five tied letters (ligatures) in the Aldine Dante and Virgil of 1501. [12] Italic typefaces of the following century used varying but reduced numbers of ligatures. [12]

Italic type rapidly became very popular and was widely (and inaccurately) imitated. The Venetian Senate gave Aldus exclusive right to its use, a patent confirmed by three successive Popes, but it was widely counterfeited as early as 1502. [14] Griffo, who had left Venice in a business dispute, cut a version for printer Girolamo "Gershom" Soncino, and other copies appeared in Italy and in Lyons. The Italians called the character Aldino, while others called it Italic. Italics spread rapidly; historian H. D. L. Vervliet dates the first production of italics in Paris to 1512. [8] [12] Some printers of Northern Europe used home-made supplements to add characters not used in Italian, or mated it to alternative capitals, including Gothic ones. [8] [12] [15]

Jan van Krimpen's Cancelleresca Bastarda, a twentieth-century revival of the chancery italic style. Cancelleresca Bastarda Magnificat detail Stanbrook.jpg
Jan van Krimpen's Cancelleresca Bastarda, a twentieth-century revival of the chancery italic style.

Besides imitations of Griffo's italic and its derivatives, a second wave appeared of "chancery" italics, most popular in Italy, which Vervliet describes as being based on "a more deliberate and formal handwriting [with] longer ascenders and descenders, sometimes with curved or bulbous terminals, and [often] only available in the bigger sizes." [8] [16] [17] Chancery italics were introduced around 1524 by Arrighi, a calligrapher and author of a calligraphy textbook who began a career as a printer in Rome, and also by Giovanni Antonio Tagliente of Venice, with imitations rapidly appearing in France by 1528. [13] Chancery italics faded as a style over the course of the sixteenth century, although revivals were made beginning in the twentieth century. [lower-alpha 2] Chancery italics may have backward-pointing serifs or round terminals pointing forwards on the ascenders. [16]

Italic capitals with a slope were introduced in the sixteenth century. The first printer known to have used them was Johann or Johannes Singriener in Vienna in 1524, and the practice spread to Germany, France and Belgium. [8] [24] Particularly influential in the switch to sloped capitals as a general practice was Robert Granjon, a prolific and extremely precise French punchcutter particularly renowned for his skill in cutting italics. [8] Vervliet comments that among punchcutters in France "the main name associated with the change is Granjon's." [8]

The evolution of use of italic to show emphasis happened in the sixteenth century and was a clear norm by the seventeenth. The trend of presenting types as matching in typefounders' specimens developed also over this period. [25] Italics developed stylistically over the following centuries, tracking changing tastes in calligraphy and type design. [26] [27] [28] One major development that slowly became popular from the end of the seventeenth century was a switch to an open form h matching the n, a development seen in the Romain du roi type of the 1690s, replacing the folded, closed-form h of sixteenth- and seventeenth-century italics, and sometimes simplification of the entrance stroke. [29] [30]

Examples

True italic styles are traditionally somewhat narrower than roman fonts. Here is an example of normal (roman) and true italics text:

Example text set in both roman and italic type Garamond Roman Italic.svg
Example text set in both roman and italic type

In oblique text, the same type is used as in normal type, but slanted to the right:

The same example text set in oblique type Oblique type example.svg
The same example text set in oblique type

Usage

A common view of when to use italics and bold text. An additional option for emphasis is to use small capitals for a word or name to stand out. Emphasis-typography-outline.svg
A common view of when to use italics and bold text. An additional option for emphasis is to use small capitals for a word or name to stand out.

No man is an Iland, intire of it selfe; every man is a peece of the Continent, a part of the maine; if a Clod bee washed away by the Sea, Europe is the lesse, as well as if a Promontorie were ...

Meditation XVII (1624)

Oblique type compared to italics

Three sans-serif italics. News Gothic, a 1908 grotesque design, has an oblique 'italic', like many designs of the period. Gothic Italic no. 124, an 1890s grotesque, has a crisp true italic resembling Didone serif families of the period. Seravek, a modern humanist family, has a more informal italic in the style of handwriting. Sans-serif italics.png
Three sans-serif italics. News Gothic, a 1908 grotesque design, has an oblique 'italic', like many designs of the period. Gothic Italic no. 124, an 1890s grotesque, has a crisp true italic resembling Didone serif families of the period. Seravek, a modern humanist family, has a more informal italic in the style of handwriting.

Oblique type (or slanted roman, sloped roman) is type that is slanted, but lacking cursive letterforms, with features like a non-descending f and double-storey a, unlike "true italics". Many sans-serif typefaces use oblique designs (sometimes called "sloped roman" styles) instead of italic ones; some have both italic and oblique variants. Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. [44] Contemporary type designer Jeremy Tankard stated that he had avoided a true italic a and e in his sans-serif Bliss due to finding them "too soft", while Hoefler and Frere-Jones have described obliques as more "keen and insistent" than true italics. [45] [46] Adrian Frutiger has described obliques as more appropriate to the aesthetic of sans-serifs than italics. [47] In contrast, Martin Majoor has argued that obliques do not contrast enough from the regular style. [48]

Almost all modern serif fonts have true italic designs. In the late nineteenth and early twentieth centuries, a number of type foundries such as American Type Founders and Genzsch & Heyse offered serif typefaces with oblique rather than italic designs, especially display typefaces but these designs (such as Genzsch Antiqua) have mostly disappeared. [49] [50] [51] An exception is American Type Founders' Bookman, offered in some releases with the oblique of its metal type version. [52] An unusual example of an oblique font from the inter-war period is the display face Koch Antiqua. With a partly oblique lower case, it also makes the italic capitals inline in the style of blackletter capitals in the larger sizes of the metal type. It was developed by Rudolph Koch, a type designer who had previously specialised in blackletter font design (which does not use italics); Walter Tracy described his design as "uninhibited by the traditions of roman and italic". [53]

The printing historian and artistic director Stanley Morison was for a time in the inter-war period interested in the oblique type style, which he felt stood out in text less than a true italic and should supersede it. He argued in his article Towards an Ideal Italic that serif book typefaces should have as the default sloped form an oblique and as a complement a script typeface where a more decorative form was preferred. [54] He made an attempt to promote the idea by commissioning the typeface Perpetua from Eric Gill with a sloped roman rather than an italic, but came to find the style unattractive; Perpetua's italic when finally issued had the conventional italic a, e and f. [55] [56] Morison wrote to his friend, type designer Jan van Krimpen, that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that the font required a little more cursive to it." [49] [lower-alpha 3] A few other type designers replicated his approach for a time: Van Krimpen's Romulus and William Addison Dwiggins' Electra were both released with obliques. [lower-alpha 4] Morison's Times New Roman typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to Didot than dogma". [59]

Some serif designs primarily intended for headings rather than body text are not provided with an italic, Engravers and some releases of Cooper Black and Baskerville Old Style being common examples of this. In addition, computer programmes may generate an 'italic' style by simply slanting the regular style if they cannot find an italic or oblique style, though this may look awkward with serif fonts for which an italic is expected. Professional designers normally do not simply tilt fonts to generate obliques but make subtle corrections to correct the distorted curves this introduces. Many sans-serif families have oblique fonts labelled as italic, whether or not they include "true italic" characteristics.

More complex usage

Italics within italics

Straight italic type within normal italics (Latin and Cyrillic) Straight italic within italics.png
Straight italic type within normal italics (Latin and Cyrillic)

If something within a run of italics needs to be italicised itself, the type is normally switched back to non-italicized (roman) type: "I think The Scarlet Letter had a chapter about that, thought Mary." In this example, the title ("The Scarlet Letter") is within an italicised thought process and therefore this title is non-italicised. It is followed by the main narrative that is outside both. It is also non-italicised and therefore not obviously separated from the former. The reader must find additional criteria to distinguish between these. Here, apart from using the attribute of italic–non-italic styles, the title also employs the attribute of capitalization. Citation styles in which book titles are italicised differ on how to deal with a book title within a book title; for example, MLA style specifies a switch back to roman type, whereas The Chicago Manual of Style (14.94) specifies the use of quotation marks (A Key to Whitehead's "Process and Reality"). An alternative option is to switch to an 'upright italic' style if the typeface used has one; this is discussed below.

Left-leaning italics

A 'backslanted' italic fat face typeface, made for display use by the Figgins foundry of London. The typeface is an example of the increasingly attention-grabbing, bold and dramatic fonts becoming popular in British display typography in the early nineteenth century. Figgins Backslant.jpg
A 'backslanted' italic fat face typeface, made for display use by the Figgins foundry of London. The typeface is an example of the increasingly attention-grabbing, bold and dramatic fonts becoming popular in British display typography in the early nineteenth century.

Left-leaning italics are now rare in Latin script, where they are mostly used for the occasional attention-grabbing effect. [60] [61] They were once more common, however, being used for example in legal documents. [62]

They are more common in Arabic script.

4 shapes of Adobe Arabic font (Normal, Italic, Bold, Bold-Italic) Arabic text Italic-Normal.png
4 shapes of Adobe Arabic font (Normal, Italic, Bold, Bold-Italic)
4 shapes of Farsi font (Normal, Iranic, Bold, Bold-Iranic) Farsi text Iranic-Normal.png
4 shapes of Farsi font (Normal, Iranic, Bold, Bold-Iranic)

In certain Arabic fonts (e.g.: Adobe Arabic, Boutros Ads), the italic font has the top of the letter leaning to the left, instead of leaning to the right. Some font families, such as Venus, Roemisch, Topografische Zahlentafel, include left leaning fonts and letters designed for German cartographic map production, even though they do not support Arabic characters. [63]

Iranic font style

In the 1950s, Gholamhossein Mosahab invented the Iranic font style, a back-slanted italic form to go with the right-to-left direction of the script. [64]

Upright italics

Computer Modern's 'upright italic' font. CMU Serif Upright Italic.tiff
Computer Modern's 'upright italic' font.

Since italic styles clearly look different from regular (roman) styles, it is possible to have 'upright italic' designs that have a cursive style but remain upright. In Latin-script countries, upright italics are rare but are sometimes used in mathematics or in complex texts where a section of text already in italics needs a 'double italic' style to add emphasis to it. Donald Knuth's Computer Modern has an alternate upright italic as an alternative to its standard italic, since its intended use is mathematical typesetting.

Font families with an upright or near-upright italic only include Jan van Krimpen's Romanée, Eric Gill's Joanna, Martin Majoor's FF Seria and Frederic Goudy's Deepdene. The popular book typeface Bembo has been sold with two italics: one reasonably straightforward design that is commonly used today, and an alternative upright 'Condensed Italic' design, far more calligraphic, as a more eccentric alternative. This italic face was designed by Alfred Fairbank and named "Bembo Condensed Italic", Monotype series 294. [65] [19] [20] Some Arts and Crafts movement-influenced printers such as Gill also revived the original italic system of italic lower-case only from the nineteenth century onwards. [66]

Parentheses

Monotype Garamond's italic replicates the work of 17th-century punchcutter Jean Jannon quite faithfully, with a variable slant on the italic capitals. Monotype Garamond italic.png
Monotype Garamond's italic replicates the work of 17th-century punchcutter Jean Jannon quite faithfully, with a variable slant on the italic capitals.

The Chicago Manual of Style suggests that parentheses and brackets surrounding text that begins and ends in italic or oblique type should also be italicised (as in this example), to avoid problems such as overlapping and unequally spaced characters. An exception to this rule applies when only one end of the parenthetical is italicised (in which case roman type is preferred, as on the right of this example).

In The Elements of Typographic Style , however, it is argued that, since Italic delimiters are not historically correct, the upright versions should always be used, while paying close attention to kerning.

Substitutes

In media where italicization is not possible, alternatives are used as substitutes:

OpenType

OpenType has the ital feature tag to substitute a character to italic form with single font. In addition, the OpenType Font Variation has ital axis for the transition between italic and non-italic forms and slnt axis for the oblique angle of characters.

Web pages

In HTML, the <i> element is used to produce italic (or oblique) text. When the author wants to indicate emphasised text, modern Web standards recommend using the <em> element, because it conveys that the content is to be emphasised, even if it cannot be displayed in italics. Conversely, if the italics are purely ornamental rather than meaningful, then semantic markup practices would dictate that the author use the Cascading Style Sheets declaration font-style: italic; along with an appropriate, semantic class name instead of an <i> or <em> element.

Unicode

In Unicode, the Mathematical Alphanumeric Symbols block includes Latin and Greek letters in italics and boldface. However, Unicode expressly recommends against using these characters in general text in place of presentational markup. [68]

See also

Notes

  1. It has been suggested that his choice to publish such small, cheap editions was the result of a recession beginning in 1500, the result of war with the Ottoman Empire.
  2. Notable revivals include Bembo Narrow Italic, Centaur Italic or Arrighi, Poetica and Requiem. [18] [19] [20] [21] [22] [23]
  3. Spelling modernised to avoid confusion–Morison wrote 'fount', the usual spelling in British English at the time.
  4. Electra was later reissued–although not in Britain–with a true italic, which is the only form most digitisations include. An exception is Jim Parkinson's Aluminia revival, which includes both. [57] Romulus was issued on Morison's plan with an oblique a script typeface companion, Cancelleresca Bastarda, which has longer ascenders and descenders than Romulus does. Digital period type designer James Puckett describes the obliques on both Romulus and Electra as "spectacular failures [which] pretty much killed the idea for serifed types." [58]

Related Research Articles

<span class="mw-page-title-main">Palatino</span> Serif typeface

Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.

<span class="mw-page-title-main">Optima</span> 1958 typeface by Hermann Zapf

Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958.

<span class="mw-page-title-main">Sans-serif</span> Typeface classification for letterforms without serifs

In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: § Grotesque and § Neo-grotesque, § Geometric, § Humanist and § Other or mixed.

In typography, a serif is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or "font family" making use of serifs is called a serif typeface, and a typeface that does not include them is sans-serif. Some typography sources refer to sans-serif typefaces as "grotesque" or "Gothic", and serif typefaces as "roman".

<span class="mw-page-title-main">Typeface</span> Set of characters that share common design features

A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.

<span class="mw-page-title-main">Garamond</span> Typeface family

Garamond is a group of many serif typefaces, named for sixteenth-century Parisian engraver Claude Garamond, generally spelled as Garamont in his lifetime. Garamond-style typefaces are popular and particularly often used for book printing and body text.

<span class="mw-page-title-main">Emphasis (typography)</span> Typographical distinction

In typography, emphasis is the strengthening of words in a text with a font in a different style from the rest of the text, to highlight them. It is the equivalent of prosody stress in speech.

<span class="mw-page-title-main">Gill Sans</span> Humanist sans-serif typeface family developed by Monotype

Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards.

<span class="mw-page-title-main">Antiqua (typeface class)</span> Typefaces that mimic 15C and 16C handwriting

Antiqua is a style of typeface used to mimic styles of handwriting or calligraphy 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 Fraktur-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the germanophone world, with the Antiqua–Fraktur dispute 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.

<span class="mw-page-title-main">Roman type</span> Style of typeface

In Latin script typography, roman is one of the three main kinds of historical type, alongside blackletter and italic. Sometimes called normal, it is distinct from these two for its upright style and its simplicity.

Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counters and the thick-and-thin quality of strokes from the regular design.

<span class="mw-page-title-main">Bembo</span> Serif typeface in 1495 Venetian style

Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo.

<span class="mw-page-title-main">Font</span> Particular size, weight and style of a typeface

In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece for each glyph. A typeface consists of various fonts that share an overall design.

<span class="mw-page-title-main">Perpetua (typeface)</span> Serif typeface

Perpetua is a serif typeface that was designed by the English sculptor and stonemason Eric Gill for the British Monotype Corporation. Perpetua was commissioned at the request of Stanley Morison, an influential historian of printing and adviser to Monotype around 1925, when Gill's reputation as a leading artist-craftsman was high. Perpetua was intended as a crisp, contemporary design that did not follow any specific historic model, with a structure influenced by Gill's experience of carving lettering for monuments and memorials. Perpetua is commonly used for covers and headings and also sometimes for body text and has been particularly popular in fine book printing. Perpetua was released with characters for the Greek alphabet and a matching set of titling capitals for headings.

<span class="mw-page-title-main">History of Western typography</span> Aspect of history

Modern typographers view typography as a craft with a very long history tracing its origins back to the first punches and dies used to make seals and coinage currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together into one systematic craft. While woodblock printing and movable type had precedents in East Asia, typography in the Western world developed after the invention of the printing press by Johannes Gutenberg in the mid-15th century. The initial spread of printing throughout Germany and Italy led to the enduring legacy and continued use of blackletter, roman, and italic types.

<span class="mw-page-title-main">Joanna (typeface)</span> Typeface designed by Eric Gill

Joanna is a serif typeface designed by Eric Gill (1882–1940) from 1930 to 1931 that was named for one of his daughters. Gill chose Joanna for setting An Essay on Typography, a book by Gill on his thoughts on typography, typesetting and page design. He described it as "a book face free from all fancy business".

<span class="mw-page-title-main">Requiem (typeface)</span>

Requiem is an old-style serif typeface designed by Jonathan Hoefler in 1992 for Travel + Leisure magazine and sold by his company, Hoefler & Co. The typeface takes inspiration from a set of inscriptional capitals found in Ludovico Vicentino degli Arrighi's 1523 writing manual, Il Modo de Temperare le Penne, and its italics are based on the chancery calligraphy, or cancelleresca corsiva of the period.

<span class="mw-page-title-main">Centaur (typeface)</span>

Centaur is a serif typeface by book and typeface designer Bruce Rogers, based on the Renaissance-period printing of Nicolas Jenson around 1470. He used it for his design of the Oxford Lectern Bible. It was given widespread release by the British branch of Monotype, paired with an italic designed by calligrapher Frederic Warde and based on the slightly later work of calligrapher and printer Ludovico Vicentino degli Arrighi. The italic has sometimes been named separately as the "Arrighi" italic.

In typography, the Vox-ATypI classification makes it possible to classify typefaces into general classes. Devised by Maximilien Vox in 1954, it was adopted in 1962 by the Association Typographique Internationale (ATypI) and in 1967 as a British Standard, as British Standards Classification of Typefaces, which is a very basic interpretation and adaptation/modification of the earlier Vox-ATypI classification. On April 27, 2021, ATypI announced that they had de-adopted the system and that they were establishing a working group building towards a new, larger system incorporating the different scripts of the world.

Arabic typography is the typography of letters, graphemes, characters or text in Arabic script, for example for writing Arabic, Persian, or Urdu. 16th century Arabic typography was a by-product of Latin typography with Syriac and Latin proportions and aesthetics. It lacked expertise in the three core aspects of Arabic writing: calligraphy, style and system. Calligraphy requires aesthetically skilled writing in a chosen canonical style such as naskh, nastaʿlīq or ruqʿah. System denotes the script grammar covering such rules as horizontality and stretching.

References

  1. "Aldus Manutius". Pioneers of Print. University of Manchester . Retrieved 6 April 2017.
  2. Ewan Clayton (5 September 2013). The Golden Thread: The Story of Writing. Atlantic Books. pp. 104–6. ISBN   978-1-78239-034-3.
  3. Gaultney, Victor. "Designing Italics: Approaches to the design of contemporary secondary text typefaces (PhD thesis)". Victor Gaultney. University of Reading . Retrieved 30 September 2021.
  4. Hoefler, Jonathan. "Italics Examined". Hoefler & Co. Retrieved 10 February 2017.
  5. Truss, Lynne (2004), Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation, New York: Gotham Books, p. 146, ISBN   978-1-59240-087-4
  6. Bühler, Curt (1970). "False Information in the Colophons of Incunabula". Proceedings of the American Philosophical Society . 114 (5): 405. ISBN   9781422371374 . Retrieved 8 June 2020. Manutius dated his edition...as 15 September 1500, but included in the volume is a letter...with date of September 19.
  7. "Columbia University Libraries Online Exhibitions | Type to Print: The Book & The Type Specimen Book". exhibitions.library.columbia.edu. Retrieved 18 December 2018.
  8. 1 2 3 4 5 6 7 Hendrik D. L. Vervliet (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. pp. 287–319. ISBN   978-90-04-16982-1.
  9. Oxford University Press (1 June 2010). Aldo Manuzio (Aldus Manutius): Oxford Bibliographies Online Research Guide. Oxford University Press, USA. pp. 10–11. ISBN   978-0-19-980945-5.
  10. Berthold Louis Ullman, The origin and development of humanistic script, Rome, 1960, p. 77
  11. "Roman vs Italic". Type to Print: The Book & The Type Specimen Book. Columbia University Libraries. Retrieved 27 October 2014.
  12. 1 2 3 4 5 Kaufmann, Ueli (11 October 2015). "The design and spread of Froben's early Italics". Department of Typography & Graphic Communication. University of Reading. Archived from the original on 2 November 2016. Retrieved 5 April 2017.
  13. 1 2 Carter, Harry (1969). A View of Early Typography . pp.  117–126. ISBN   978-0-19-818137-8. If Aldus hoped, as it is commonly said that he did, but he never said, that cursive letterforms would save space, he must have been disappointed by the result: a Roman type on the same body gets in just as much. It is a beautiful and legible typeface.
  14. Updike, D.B. (1927), Printing Types: Their History, Form and Use, Harvard University
  15. Nakano, Shotaro. "Reviving Unknown 16th-century Dutch Type: Shotaro Nakano, ATypI 2023 Paris". YouTube. ATypI . Retrieved 11 January 2024. A type cut by an unknown punchcutter whose matrix is numbered MA174 in an inventory of Plantin Moretus Museum…is not completely italic but has traces of blackletter, which must be rare in the history of type although there are many roman types like that.
  16. 1 2 Morison, Stanley; Johnson, Alfred (2009). "3: The Chancery Types of Italy and France". In McKitterick, David John (ed.). Selected essays on the history of letter-forms in manuscript and print. Cambridge: Cambridge University Press. pp. 30–45. ISBN   978-0-521-18316-1 . Retrieved 28 December 2015.
  17. Morison, Stanley (1973). A Tally of Types. Cambridge: Cambridge University Press. pp.  41–60. ISBN   978-0-521-09786-4.
  18. Hoefler, Jonathan. "Requiem". Hoefler & Frere-Jones . Retrieved 6 April 2017.
  19. 1 2 "Fairbank". Monotype. Retrieved 30 June 2015.
  20. 1 2 "Fairbank". MyFonts. Monotype.
  21. "Fairbanks Italic specimen" (PDF). Monotype. Archived from the original (PDF) on 11 June 2016. Retrieved 14 May 2016.
  22. "Alfred Fairbank" (PDF). Klingspor Museum . Retrieved 14 May 2016.
  23. "Poetica". MyFonts. Adobe Systems. Retrieved 6 April 2017.
  24. Clair, Colin (1969). A Chronology of Printing . New York, Praeger. p.  43.
  25. Lane, John (1983). "The Types of Nicholas Kis". Journal of the Printing Historical Society: 47–75.
  26. Johnson, Alfred F. (1930). "The Evolution of the Modern-Face Roman". The Library. s4-XI (3): 353–377. doi:10.1093/library/s4-XI.3.353.
  27. Dreyfus, John (1950). "The Baskerville Punches 1750–1950". The Library. s5-V (1): 26–48. doi:10.1093/library/s5-V.1.26.
  28. Ewan Clayton (11 February 2014). The Golden Thread: A History of Writing. Counterpoint LLC. pp. 205–210. ISBN   978-1-61902-242-3.[ permanent dead link ]
  29. Morison, Stanley (1937). "Type Designs of the Past and Present, Part 3". PM: 17–81. Archived from the original on 4 September 2017. Retrieved 4 June 2017.
  30. Mosley, James. "Comments on Typophile thread". Archived from the original on 27 March 2017. Retrieved 27 March 2017. One of the distinctive things about French calligraphy of [the 1680s] is that the lead-in stroke of letters like i, m, n and so on have flat, rather 'roman', serifs, making them look a bit like a 'sloped roman'…Fournier used it fifty years later in his 'new style' italics, and later so did Firmin Didot. And that French flat serif also turns up in…the italic to Times New Roman.
  31. Butterick, Matthew. "Bold or italics?". Practical Typography. Retrieved 29 July 2015.
  32. Butterick, Matthew. "Small caps". Practical Typography. Retrieved 29 July 2015.
  33. "Formatting Book Titles in the Digital Age". dailywritingtips.com.
  34. University of Minnesota Style Manual, University of Minnesota, 18 July 2007, archived from the original on 24 March 2010, retrieved 22 October 2009
  35. Norton, David (2005). A Textual History of the King James Bible. Cambridge University Press. p. 162. ISBN   9780521771009 . Retrieved 18 October 2016.
  36. Genesis 1:4
  37. Mills, I. M.; Metanomski, W. V. (December 1999), On the use of italic and roman fonts for symbols in scientific text (PDF), IUPAC Interdivisional Committee on Nomenclature and Symbols, retrieved 9 November 2012. This document was slightly revised in 2007* and full text included in the Guidelines For Drafting IUPAC Technical Reports And Recommendations and also in the 3rd edition of the IUPAC Green Book Archived 19 September 2018 at the Wayback Machine . *Refer to Chemistry International. Volume 36, Issue 5, Pages 23–24, ISSN (Online) 1365-2192, ISSN (Print) 0193-6484, DOI: 10.1515/ci-2014-0529, September 2014
  38. See also Typefaces for Symbols in Scientific Manuscripts Archived 19 September 2018 at the Wayback Machine , NIST, January 1998. This cites the family of ISO standards 31-0:1992 to 31-13:1992.
  39. "More on Printing and Using Symbols and Numbers in Scientific and Technical Documents Archived 29 June 2007 at the Wayback Machine ". Chapter 10 of NIST Special Publication 811 (SP 811): Guide for the Use of the International System of Units (SI). 2008 Edition, by Ambler Thompson and Barry N. Taylor. National Institute of Standards and Technology, Gaithersburg, MD, US. March 2008. 76 pages. This cites the ISO standards 31-0:1992 and 31-11:1992, but notes "Currently ISO 31 is being revised [...]. The revised joint standards ISO/IEC 80000-1—ISO/IEC 80000-15 will supersede ISO 31-0:1992—ISO 31-13".
  40. "The NCBI Style Guide: Style Points and Conventions". National Center for Biotechnology Information . Retrieved 28 April 2016.
  41. "Guidelines for Formatting Gene and Protein Names". BioScience Writers. Retrieved 28 April 2016.
  42. "Comic Book Grammar & Tradition". Blambot Comic Book Fonts. Retrieved 14 March 2022.
  43. Specimens of type, borders, ornaments, brass rules and cuts, etc. : catalogue of printing machinery and materials, wood goods, etc. American Type Founders Company. 1897. p.  340 . Retrieved 17 August 2015.
  44. Majoor, Martin. "Inclined to be dull". Eye magazine. Retrieved 20 June 2015.
  45. Tankard, Jeremy. "Bliss". Jeremy Tankard Typography. Retrieved 16 December 2016.
  46. Frere-Jones, Tobias; Hoefler, Jonathan. "Whitney". Hoefler & Frere-Jones . Retrieved 16 December 2016.
  47. Frutiger, Adrian (8 May 2014). Typefaces: The Complete Works (2nd ed.). Walter de Gruyter. p. 260. ISBN   978-3038212607.
  48. Majoor, Martin. "My Type Design Philosophy". Typotheque. Retrieved 12 November 2015.
  49. 1 2 Walter Tracy (January 2003). Letters of Credit: A View of Type Design. D.R. Godine. pp. 61–4. ISBN   978-1-56792-240-0.
  50. "Typophile discussion". Typophile. Archived from the original on 8 November 2014. Retrieved 8 November 2014.
  51. Devroye, Luc. "Friedrich Bauer". Type Design Information. Retrieved 8 November 2014.
  52. Simonson, Mark. "Bookmania" . Retrieved 23 September 2014.
  53. Tracy, Walter. Letters of Credit. pp. 162–3.
  54. Morison, Stanley. Towards an Ideal Italic.
  55. "Monotype Imaging: Perpetua". Archived from the original on 10 January 2012. Retrieved 8 November 2014.
  56. Lo Celso, Alejandro. "Serial Type Families" (PDF). Archived from the original (PDF) on 8 November 2014.
  57. "Recasting Electra as Aluminia". Letterform Archive . Retrieved 10 November 2017.
  58. Puckett, James. "Draughtsman's Alphabets published by Keuffel & Esser". dailytypespecimen. Retrieved 10 November 2017.
  59. Morison, Stanley. "Changing the Times". Eye. Retrieved 28 July 2015.
  60. William E. Ryan; Theodore E. Conover (2004). Graphic Communications Today. Cengage Learning. p. 98. ISBN   978-0-7668-2075-3.
  61. "Nitro & Turbo - Overview". Hoefler & Frere-Jones . Retrieved 29 February 2016.
  62. Reverse italics at StudioType
  63. "Venus". Fonts in Use. Retrieved 13 January 2017.
  64. Esfahbod, Behdad; Roozbeh Pournader (March 2002). "FarsiTeX and the Iranian TeX Community" (PDF). TUGboat . 23 (1): 41–45. Retrieved 3 January 2013.
  65. Bixler, M & W. "Bembo Condensed Italic specimen" . Retrieved 30 June 2015.
  66. Harling, Robert (1975). The Letter Forms and Type Designs of Eric Gill (1st U.S. ed.). Westerham, Kent: Published by Eva Svensson, and printed by the Westerham Press. pp. 51–8. ISBN   978-0-903696-04-3.
  67. Warde, Beatrice (1926). "The 'Garamond' Types". The Fleuron: 131–179.
  68. "22.2 Letterlike Symbols". The Unicode Standard, Version 13.0 (PDF). Mountain View, CA: Unicode, Inc. March 2020.