Titling capitals

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Comparison of uppercase text weight Adobe Garamond with uppercase Adobe Garamond Titling. TitlingSP.png
Comparison of uppercase text weight Adobe Garamond with uppercase Adobe Garamond Titling.

In typography, titling capitals are a variant of uppercase designed for heading and titles. The stroke width is reduced for use at larger point sizes where the stroke weight used in smaller text sizes would be too heavy.

Typography art and the craft of printing and the arranging of layouts

Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), and adjusting the space between pairs of letters (kerning). The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as a decorative device, unrelated to communication of information.

Titling faces are often made to complement text faces intended for book typesetting. Titling faces have more open counter-forms.

Counter (typography) term in typography

In typography, a counter is the area of a letter that is entirely or partially enclosed by a letter form or a symbol. The stroke that creates such a space is known as a "bowl". Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Letters containing open counters include c, f, h, i, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter. An aperture is the opening between an open counter and the outside of the letter.

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Sans-serif letter form that does not have extending features called "serifs" at the end of strokes

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 fonts tend to have less line width variation than serif fonts. In most print, they are often used for headings rather than for body text. They are often used to convey simplicity and modernity or minimalism.

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 a sans-serif one. Some typography sources refer to sans-serif typefaces as "grotesque" or "Gothic", and serif typefaces as "roman".

Bodoni typeface

Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.

Rockwell (typeface) typeface

Rockwell is a slab serif typeface designed by the Monotype Corporation and released in 1934. The project was supervised by Monotype's engineering manager Frank Hinman Pierpont. This typeface is distinguished by a serif at the apex of the uppercase A, while the lowercase a has two storeys. Because of its monoweighted stroke, Rockwell is used primarily for display or at small sizes rather than as a body text. Rockwell is based on an earlier, more condensed slab serif design cast by the Inland Type Foundry called Litho Antique.

Italic type font style characterized by cursive typeface and slanted design

In typography, italic type is a cursive font based on a stylized form of calligraphic handwriting. Owing to the influence from calligraphy, italics normally slant slightly to the right. Italics are a way to emphasise key points in a printed text, to identify many types of creative works, 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".

Caslon typeface

Caslon is the name given to serif typefaces designed by William Caslon I in London, or inspired by his work.

Copperplate Gothic

Copperplate Gothic is a typeface designed by Frederic W. Goudy and released by American Type Founders (ATF) in 1901.

Bembo typeface

Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928-9 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.

Slab serif

In typography, a slab serif typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.

Didone (typography)

Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by:

Type color an element of typography that describes how dense or heavy the text appears on the page, not to be confused with the color of the text

Type color is an element of typography that describes how dense or heavy the text appears on the page. Finding the correct balance of type color and white space can make text more easily readable. The term type color should not be confused with the usual meaning of color,, instead it has more to do with the blackness or boldness of the text on the page. A bold font creates more contrast on the page, therefore creates more emphasis. Using a bold font is therefore one way that type color can be adjusted.

Bookman (typeface) typeface

Bookman or Bookman Old Style, is a serif typeface. A wide, legible design that is slightly bolder than most body text faces, Bookman has been used for both display typography and for printing at small sizes such as in trade printing, and less commonly for body text. In advertising use it is particularly associated with the graphic design of the 1960s and 1970s, when revivals of it were very popular.

Baskerville transitional serif typeface designed in the 1750s

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon.

Brush Script

Brush Script is a casual connecting script typeface designed in 1942 by Robert E. Smith for the American Type Founders (ATF). The face exhibits an exuberant graphic stroke emulating the look of handwritten written letters with an ink brush. Lowercase letters are deliberately irregular to further affect the look of handwritten text. The typeface was introduced in 1942 and saw near immediate success with advertisers, retailers, and in posters. Its popularity continued through the 1950s, and waned as influence of the International Typographic Style grew in the 1960s. The typeface has regained considerable popularity for its nostalgic association with the post WW2 era.

Didot (typeface) typeface

Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone.

Requiem (typeface) old style serif typeface designed by Jonathan Hoefler

Requiem is an old-style serif typeface designed by Jonathan Hoefler in 1992 for Travel & Leisure magazine and sold by his company, Hoefler & Frere-Jones. 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.

Bell (typeface) typeface of Scotch Roman origin designed in 1788

Bell is the name given to a serif typeface designed and cut in 1788 by the punchcutter Richard Austin for the British Letter Foundry, operated by publisher John Bell, and revived several times since.

Bulmer (typeface)

Bulmer is the name given to a serif typeface originally designed by punchcutter William Martin around 1790 for the Shakespeare Press, run by William Bulmer (1757–1830). The types were used for printing the Boydell Shakespeare folio edition.

Modernised Old Style (typeface)

Old Style or Modernised Old Style was the name given to a series of serif typefaces cut from the mid-nineteenth century and sold by the type foundry Miller & Richard, of Edinburgh in Scotland, as well as many derivatives and copies.


International Standard Book Number Unique numeric book identifier

The International Standard Book Number (ISBN) is a numeric commercial book identifier which is intended to be unique. Publishers purchase ISBNs from an affiliate of the International ISBN Agency.