360:
349:
293:
191:
336:
2506:
246:
38:
397:
slender (especially in the serifs) than Jenson's original. It also modernises Jenson's two-way serifs on the top of the 'M' in favour of one-way serifs. In addition, the italic capitals slope in the modern tradition, which was established after
Arrighi's time in the later 16th century. Monotype advisor and historian of printing
177:
Centaur is an elegant and quite slender design, lighter on the page than Jenson's work and most other revivals, an effect possibly amplified in the digital release compared to the metal type. It has been popular in fine book printing and is often used both for printing body text and especially titles
413:
Centaur has been digitised, both by
Monotype in collaboration with Adobe, and by LTC, who assumed the rights to many Lanston (American) Monotype typefaces, under the name of Metropolitan. The revivals have slightly different features; Monotype’s having a bold and bold italic and swash caps and LTC’s
396:
of the i and j are very visibly shifted to the right, a feature of Jenson's original design. The horizontal stroke of the 'e' is slanted, not exactly horizontal as came to be the norm in print. On the other hand, while based on study of Jenson's work, Centaur is a deliberately loose imitation, more
1515:
Modern font designer Juliet Shen comments on Jenson's books that "A type designer looking at the
Eusebius font is struck at once by how difficult it is to envision what the actual type looked like from its inked impression. Details are obscured: the stroke terminals and serifs are rounded from ink
384:
type of great distinction', emphasising its feeling of not having been restricted to allow tighter linespacing, as other types often had been in the hot metal period. Monotype has sold the design with bold and bold italic designs (their invention, since bold type did not exist until long after
1525:
Arrighi's book had a complex publication history apparently involving a dispute between
Arrighi and his publisher, making its dating and printing location(s) both somewhat involved. It is believed to have been published in Rome and Venice between 1522 and
405:
as "a freehand emphasis of the calligraphic basis of the original" and its modernisation "a concession to contemporary sense". Sebastian Carter calls it "an imaginative recreation".
206:, considered the model for the modern upright printing of the Roman alphabet, which Rogers studied through enlarged photographs. Centaur also shows the influence of types cut by
1516:
spread. So the first task of interpretation must be to decide what the skeletal form of each letter may have been before imper- fect printing added a layer of disguise."
2536:
261:
Italic typefaces did not exist in Jenson's time, and so the inspiration for
Centaur's italic comes from thirty years later, in the calligraphy and printing of
1754:
464:
began revivals of the Jenson style in 1892 with a more solid structure (no matching italic was created for it); other Jenson interpretations included the
269:, and other printed works. These used an italic font presumably based on his calligraphy. It inspired later French italic types from 1528 onwards.
1595:
1201:
1067:
1041:
230:
for the city Jenson worked in during his career as a printer. In the late nineteenth century, Jenson's work had become a popular model for
1664:
2531:
1682:- the LTC digitisation with many italic alternates and small caps in regular and italic, but no bold as in the original or swash caps
1640:
1625:
1610:
1578:
1563:
995:
982:
895:
863:
827:
793:
766:
707:
1747:
321:
262:
171:
91:
1482:
1783:
671:
2541:
2145:
569:
1535:
Centaur's italic is one of several based on the work of
Arrighi created by Monotype in the 1920s, including the italic
2526:
1740:
265:. Arrighi was a Rome-based calligrapher who made the transition to working in printing, releasing a writing manual,
2546:
1544:
518:
278:
143:
79:
480:
around 1915, during the same period as
Centaur. Ludlow created another release with italic under the direction of
401:, who was influential in Monotype's series of revival designs of the 1920s and 30s, described Centaur in his book
858:(Paperback reissue, digitally printed version. ed.). Cambridge: Cambridge University Press. pp. 30–45.
372:
The completed family was released for general use in 1929, with a first showing in
Monotype's specimen booklet
235:
219:
67:
57:
513:
485:
2168:
2005:
489:
469:
305:
573:
414:
having a more complex, less smooth digitisation with many italic alternates and complementary ornaments.
1586:
1058:
492:
also issued a very eccentric Jenson revival inspired by the work of Morris which is little-known today.
429:
Other
Monotype fonts of the hot metal period inspired by Renaissance printing included the very popular
312:
commissioned Rogers to release it for the general market. Rogers did not feel able to create a matching
254:
242:
copying Jenson's work, and several other revivals and imitations of Morris' work had followed by 1914.
888:
The palaeotypography of the French
Renaissance. Selected papers on sixteenth-century typefaces. 2 vols
359:
2386:
2310:
2274:
2095:
477:
282:
155:
103:
1456:
348:
2396:
2286:
2215:
2150:
2121:
2059:
1964:
1933:
1890:
1812:
946:
599:
292:
1656:
2361:
2159:
2115:
2104:
2050:
1993:
1952:
1928:
1905:
1827:
1380:
950:
493:
473:
386:
1165:
2480:
2415:
2304:
2251:
2136:
2127:
1884:
1862:
1778:
1636:
1621:
1606:
1591:
1574:
1559:
1307:
1281:
1197:
1191:
1063:
1037:
978:
891:
859:
823:
817:
789:
762:
756:
703:
481:
377:
339:
Centaur & Arrighi identified separately on a metal type specimen book, at large print size
253:, ca. 1527. At the time italic capitals had not been invented, but were always upright in the
190:
1224:
851:
783:
697:
2464:
2299:
2245:
2209:
1976:
1763:
1661:
819:
Copyright in the Renaissance: prints and the privilegio in sixteenth-century Venice and Rome
547:
542:
442:
309:
207:
159:
1033:
2077:
2038:
2011:
1999:
1833:
1668:
438:
398:
325:
301:
199:
1679:
1250:
999:
1080:
2486:
2420:
497:
457:
434:
317:
231:
226:
designs, based on the predominant influence of Jenson's work. The style is also called
167:
151:
87:
83:
1138:
1113:
628:
392:
Centaur shows some of the irregularities of early type compared to later designs. The
2520:
2330:
2227:
1490:
1354:
731:
179:
975:
Typography: an Encyclopedic Survey of Type Design and Techniques Throughout History.
452:
is a notable and extremely complete digital revival from 1996 with features such as
2425:
1792:
1726:
1713:
1699:- alternative Fontsite release; name changed for legal reasons, basic character set
1671:- September 2016 book on the history of Centaur by Jerry Kelly & Misha Beletsky
1406:
1026:
453:
449:
335:
215:
98:
17:
1718:
1696:
1571:
Typography: An Encyclopedic Survey of Type Design and Techniques Through History.
2492:
1868:
1722:
1328:
733:
La operina di Ludouico Vicentino, da imparare di scriuere littera cancellarescha
461:
418:
313:
250:
239:
163:
147:
74:
281:. Rogers later expanded it, adding lower case, for his 1915 limited edition of
2391:
2173:
1970:
1874:
1821:
1691:
465:
1685:
1433:
1303:
600:"Jan Tschichold at Penguin Books: A Resurgance(sic) of Classical Book Design"
2110:
1942:
1688:(includes swash letters in italic and small caps in the regular style only)
500:
that is bundled with some Microsoft software, adding his own italic design.
381:
245:
441:(a more personal design, as opposed to a direct revival) and the post-war
174:. The italic has sometimes been named separately as the "Arrighi" italic.
1850:
1277:
509:
277:
Rogers' revival was originally drawn as titling capitals in 1914 for the
45:
1543:. Bembo's default italic is based on the work of Arrighi's contemporary
2280:
921:
856:
Selected essays on the history of letter-forms in manuscript and print
178:
and headings. One of its most notable uses has been in the designs of
2336:
1911:
1856:
1732:
1709:
393:
227:
665:
663:
661:
659:
657:
320:
if he could pair Centaur with a design Warde had created based upon
2430:
2381:
2324:
1958:
1878:
1540:
1536:
430:
334:
291:
244:
223:
189:
139:
62:
50:
37:
170:
and based on the slightly later work of calligrapher and printer
1193:
Encyclopedia of Library and Information Science: Claude Garamond
910:
The Monotype Corporation limited, specimen blade 5-64, Bembo 270
1736:
1618:
Revival of the Fittest: Digital Versions of Classic Typefaces.
623:
621:
619:
158:. It was given widespread release by the British branch of
699:
Hebraic Aspects of the Renaissance: Sources and Encounters
785:
Writing matter: from the hands of the English Renaissance
417:
At least two open-source digital typefaces, Museum (by
508:
Outside its common uses, Centaur is also used for the
1657:
Cover of the book The Centaur printed by Bruce Rogers
536:
534:
433:(with a roman based on a slightly later font used by
2509:
Dates are approximate only. Not all typefaces shown.
2473:
2454:
2405:
2371:
2348:
2267:
2199:
2185:
1986:
1843:
1805:
1771:
468:while ATF's Satanick was a direct imitation of it.
125:
117:
109:
97:
73:
56:
44:
1569:Fiedl, Frederich, Nicholas Ott and Bernard Stein.
1025:
696:Novoa, James Nelson (2011). Zinguer, Ilana (ed.).
218:. The typeface is classified as belonging to the
890:. Leiden: Koninklijke Brill NV. pp. 90–91.
300:For the original release, matrices were cut by
1019:
1017:
154:around 1470. He used it for his design of the
1748:
1712:— Unfinished open-source implementation with
788:. Stanford University Press. pp. 70–75.
8:
1633:Printing Types Their History, Forms and Use.
977:Black Dog & Levinthal Publishers: 1998.
324:’s 1520 chancery face, made in 1926 for the
30:
1721:— Unfinished open-source implementation by
1603:Typographic Specimens: The Great Typefaces.
1196:. New York u.a.: Dekker. pp. 196–199.
852:"3: The Chancery Types of Italy and France"
332:, which appears in some earlier specimens.
2505:
1755:
1741:
1733:
955:. Chicago: Black Cat Press. pp. 12–22
850:Morison, Stanley; Johnson, Alfred (2009).
730:Arrighi, Ludovico Vicentino degli (1524).
182:, who have regularly used it for titling.
36:
194:Jenson's roman type, from a 1475 edition.
421:) and Coelacanth, are based on Centaur.
1508:
758:The Golden Thread: the story of writing
530:
328:. Warde's design had the separate name
142:typeface by book and typeface designer
2537:Typefaces and fonts introduced in 1929
1547:, another calligrapher-turned-printer.
476:was created by its design team led by
29:
1635:Dover Publications, Inc: 1937, 1980.
816:Witcombe, Christopher L.C.E. (2004).
7:
1616:Meggs, Philip B. and McKelvey, Roy.
1276:Levien, Ralph (September 21, 2015).
920:Stössinger, Nina (9 November 2012).
854:. In McKitterick, David John (ed.).
672:"Searching for Morris Fuller Benton"
541:Heller, Steven (13 September 2016).
234:and then other fine printers of the
2178:Palace and Dorchester Script (1938)
1815:(1911) and Italian Old Style (1919)
1457:"Crispin: The Cross of Lead by Avi"
822:. Leiden: Brill. pp. 285–286.
380:. Monotype described it as a 'long-
374:The Trained Printer and the Amateur
304:and the type was privately cast by
761:. Counterpoint. pp. 128–151.
385:Jenson's and Arrighi's work), and
365:Centaur & Arrighi at text size
25:
1601:Meggs, Philip B. and Rob Carter.
1573:Black Dog & Leventhal: 1998.
1302:Whitmore, Ben (August 29, 2014).
1081:"The Fifty Best Books exhibition"
702:. Leiden: Brill. pp. 65–77.
2504:
998:. Chestnut Press. Archived from
496:created a revival in 1994 named
456:fonts for different text sizes.
358:
347:
263:Ludovico Vicentino degli Arrighi
210:in 1495 for a small book titled
172:Ludovico Vicentino degli Arrighi
92:Ludovico Vicentino degli Arrighi
1455:Gramly, P.R (28 January 2015).
1024:Stanley Morison (7 June 1973).
886:Vervliet, Hendrik D.L. (2008).
448:Among other Venetian revivals,
198:Rogers' primary influence was
1:
1558:Yale University Press: 2004.
389:italic alternate characters.
316:, and asked the calligrapher
1675:Professional digitisations:
574:"Book Review: Type Revivals"
782:Goldberg, Jonathan (1990).
516:and in the children's book
2563:
2044:Zarotto/Mardersteig (1932)
1545:Giovanni Antonio Tagliente
522:, set in the Middle Ages.
519:Crispin: The Cross of Lead
279:Metropolitan Museum of Art
2532:Old style serif typefaces
2502:
1631:Updike, Daniel Berkeley.
296:Rogers' original drawings
166:designed by calligrapher
35:
1789:French Round Face (1906)
1387:. Speice Graphics/Ludlow
1062:David R. Godine: 1990.
1032:. CUP Archive. pp.
973:Friedl, Ott, and Stein,
308:. Some years later, the
238:. Morris commissioned a
236:Arts and Crafts movement
2099:(for the Greynog Press)
1620:RC Publications: 2000.
1231:. LTC. 30 November 2010
1225:"LTC Metropolitan YWFT"
1190:Dearden, James (1973).
1166:"The First Roman Fonts"
996:"Centaur & Arrighi"
952:Chicago Letter Founding
486:Robert Hunter Middleton
1584:Lawson, Alexander S.,
1541:Bembo Condensed Italic
1094:: 6–11. September 1930
755:Clayton, Ewan (2013).
490:American Type Founders
470:American Type Founders
340:
306:American Type Founders
297:
258:
251:italic typeface design
195:
2542:Letterpress typefaces
2131:(for R & R Clark)
1686:Monotype digitisation
1587:Anatomy of a Typeface
1432:Frere-Jones, Tobias.
1059:Anatomy of a Typeface
1056:Alexander S. Lawson,
629:"Facts about Centaur"
543:"The Rise of Centaur"
338:
295:
248:
193:
186:Historical background
2074:Felix Titling (1934)
1127:(2): 2. Summer 1937.
947:Middleton, R. Hunter
598:Doubleday, Richard.
478:Morris Fuller Benton
310:Monotype Corporation
156:Oxford Lectern Bible
150:-period printing of
104:Monotype Corporation
2358:News Plantin (1979)
1915:(1926, private use)
1381:"Nicolas Jenson SG"
255:Roman inscriptional
32:
2527:Monotype typefaces
1896:Goudy Heavy (1925)
1818:Forum Title (1911)
1798:Goudy Light (1908)
1705:Amateur projects:
1667:2016-09-16 at the
1556:20th Century Type.
1554:Blackwell, Lewis.
1483:"Flawed Typefaces"
1251:"LTC Metropolitan"
1139:"Centaur Swash MT"
1002:on 13 January 2016
494:Tobias Frere-Jones
474:Cloister Old Style
341:
298:
259:
196:
18:Arrighi (typeface)
2547:Digital typefaces
2514:
2513:
2481:Classic Grotesque
2340:(general release)
2255:(general release)
2146:Twentieth Century
1885:Italian Old Style
1662:The Noblest Roman
1596:978-0-87923-333-4
1493:on 16 August 2013
1329:"ITC Golden Type"
1308:Open Font Library
1282:Open Font Library
1203:978-0-8247-2109-1
1170:i love typography
1121:Monotype Recorder
1088:Monotype Recorder
1068:978-0-87923-333-4
1043:978-0-521-09786-4
636:Monotype Recorder
482:Ernst F. Detterer
378:Alfred W. Pollard
283:Maurice de Guérin
162:, paired with an
133:
132:
16:(Redirected from
2554:
2508:
2507:
2441:Strayhorn (1995)
2412:Ellington (1990)
2315:Albertina (1964)
2294:(public release)
2242:Mercurius (1957)
2239:Castellar (1957)
2210:Festival Titling
2156:Van Dijck (1937)
2082:Van Dijck (1935)
1939:Pastonchi (1928)
1902:Horley Old Style
1757:
1750:
1743:
1734:
1680:LTC Metropolitan
1590:. Godine: 1990.
1548:
1533:
1527:
1523:
1517:
1513:
1503:
1502:
1500:
1498:
1489:. Archived from
1478:
1472:
1471:
1469:
1467:
1452:
1446:
1445:
1443:
1441:
1429:
1423:
1422:
1420:
1418:
1403:
1397:
1396:
1394:
1392:
1377:
1371:
1370:
1368:
1366:
1351:
1345:
1344:
1342:
1340:
1325:
1319:
1318:
1316:
1314:
1299:
1293:
1292:
1290:
1288:
1273:
1267:
1266:
1264:
1262:
1247:
1241:
1240:
1238:
1236:
1221:
1215:
1214:
1212:
1210:
1187:
1181:
1180:
1178:
1176:
1164:Boardley, John.
1161:
1155:
1154:
1152:
1150:
1135:
1129:
1128:
1118:
1110:
1104:
1103:
1101:
1099:
1085:
1077:
1071:
1054:
1048:
1047:
1031:
1028:A Tally of Types
1021:
1012:
1011:
1009:
1007:
992:
986:
971:
965:
964:
962:
960:
943:
937:
936:
934:
932:
917:
911:
908:
902:
901:
883:
877:
876:
874:
872:
847:
841:
840:
838:
836:
813:
807:
806:
804:
802:
779:
773:
772:
752:
746:
745:
743:
741:
727:
721:
720:
718:
716:
693:
687:
686:
684:
682:
667:
652:
651:
649:
647:
642:(1): 20–21. 1933
633:
625:
614:
613:
611:
609:
604:
595:
589:
588:
586:
584:
566:
560:
559:
557:
555:
538:
403:A Tally of Types
362:
351:
322:Ludovico Arrighi
208:Francesco Griffo
40:
33:
21:
2562:
2561:
2557:
2556:
2555:
2553:
2552:
2551:
2517:
2516:
2515:
2510:
2498:
2469:
2450:
2438:Columbus (1992)
2401:
2367:
2344:
2263:
2206:Condensa (1951)
2195:
2181:
2140:(for J.M. Dent)
2078:Tempest Titling
2047:Monoline Script
2039:Times New Roman
2000:Ashley Crawford
1982:
1887:(Goudy, 1924/7)
1839:
1834:Caslon Old Face
1801:
1795:(1907 and 1920)
1767:
1761:
1669:Wayback Machine
1650:
1551:
1534:
1530:
1524:
1520:
1514:
1510:
1506:
1496:
1494:
1480:
1479:
1475:
1465:
1463:
1454:
1453:
1449:
1439:
1437:
1431:
1430:
1426:
1416:
1414:
1405:
1404:
1400:
1390:
1388:
1379:
1378:
1374:
1364:
1362:
1353:
1352:
1348:
1338:
1336:
1327:
1326:
1322:
1312:
1310:
1301:
1300:
1296:
1286:
1284:
1275:
1274:
1270:
1260:
1258:
1249:
1248:
1244:
1234:
1232:
1223:
1222:
1218:
1208:
1206:
1204:
1189:
1188:
1184:
1174:
1172:
1163:
1162:
1158:
1148:
1146:
1137:
1136:
1132:
1116:
1112:
1111:
1107:
1097:
1095:
1083:
1079:
1078:
1074:
1055:
1051:
1044:
1023:
1022:
1015:
1005:
1003:
994:
993:
989:
972:
968:
958:
956:
945:
944:
940:
930:
928:
919:
918:
914:
909:
905:
898:
885:
884:
880:
870:
868:
866:
849:
848:
844:
834:
832:
830:
815:
814:
810:
800:
798:
796:
781:
780:
776:
769:
754:
753:
749:
739:
737:
729:
728:
724:
714:
712:
710:
695:
694:
690:
680:
678:
669:
668:
655:
645:
643:
631:
627:
626:
617:
607:
605:
602:
597:
596:
592:
582:
580:
568:
567:
563:
553:
551:
540:
539:
532:
528:
506:
439:Jan van Krimpen
427:
411:
399:Stanley Morison
370:
369:
368:
367:
366:
363:
354:
353:
352:
326:Officina Bodoni
302:Robert Wiebking
275:
200:Nicholas Jenson
188:
146:, based on the
90:
86:
82:
66:
28:
23:
22:
15:
12:
11:
5:
2560:
2558:
2550:
2549:
2544:
2539:
2534:
2529:
2519:
2518:
2512:
2511:
2503:
2500:
2499:
2497:
2496:
2490:
2484:
2477:
2475:
2471:
2470:
2468:
2467:
2462:
2458:
2456:
2452:
2451:
2449:
2448:
2445:
2442:
2439:
2436:
2433:
2428:
2423:
2421:Century Gothic
2418:
2413:
2409:
2407:
2403:
2402:
2400:
2399:
2394:
2389:
2384:
2379:
2375:
2373:
2369:
2368:
2366:
2365:
2359:
2356:
2355:Photina (1972)
2352:
2350:
2346:
2345:
2343:
2342:
2334:
2328:
2322:
2319:
2316:
2313:
2308:
2302:
2297:
2290:
2284:
2278:
2271:
2269:
2265:
2264:
2262:
2261:
2258:
2249:
2243:
2240:
2237:
2234:
2231:
2225:
2222:
2219:
2213:
2207:
2203:
2201:
2197:
2196:
2194:
2193:
2189:
2187:
2183:
2182:
2180:
2179:
2176:
2171:
2166:
2163:
2157:
2154:
2148:
2143:
2134:
2125:
2119:
2113:
2108:
2102:
2093:
2090:
2083:
2080:
2075:
2072:
2069:
2066:
2063:
2057:
2056:Jocunda (1933)
2054:
2048:
2045:
2042:
2036:
2033:
2030:
2027:
2024:
2021:
2018:
2015:
2009:
2003:
1997:
1990:
1988:
1984:
1983:
1981:
1980:
1974:
1968:
1962:
1956:
1946:
1945:(1928 onwards)
1940:
1937:
1931:
1926:
1925:Othello (1928)
1923:
1920:
1917:
1909:
1903:
1900:
1897:
1894:
1888:
1882:
1872:
1866:
1860:
1854:
1847:
1845:
1841:
1840:
1838:
1837:
1831:
1825:
1819:
1816:
1809:
1807:
1803:
1802:
1800:
1799:
1796:
1790:
1787:
1781:
1775:
1773:
1769:
1768:
1762:
1760:
1759:
1752:
1745:
1737:
1731:
1730:
1729:but no italics
1716:
1703:
1702:
1701:
1700:
1694:
1683:
1673:
1672:
1659:
1652:Bruce Rogers:
1649:
1648:External links
1646:
1645:
1644:
1629:
1614:
1599:
1582:
1567:
1550:
1549:
1528:
1518:
1507:
1505:
1504:
1487:Print magazine
1473:
1447:
1424:
1398:
1372:
1355:"LTC Cloister"
1346:
1320:
1294:
1268:
1242:
1216:
1202:
1182:
1156:
1130:
1105:
1072:
1049:
1042:
1013:
987:
966:
938:
912:
903:
896:
878:
864:
842:
828:
808:
794:
774:
767:
747:
736:. Rome/Venice?
722:
708:
688:
670:Shen, Juliet.
653:
615:
590:
561:
529:
527:
524:
505:
502:
498:Hightower Text
488:in the 1920s.
458:William Morris
437:), Lutetia by
435:Aldus Manutius
426:
423:
410:
407:
364:
357:
356:
355:
346:
345:
344:
343:
342:
318:Frederic Warde
274:
271:
232:William Morris
187:
184:
168:Frederic Warde
152:Nicolas Jenson
131:
130:
127:
123:
122:
119:
115:
114:
111:
107:
106:
101:
95:
94:
88:Nicolas Jenson
84:Frederic Warde
77:
71:
70:
60:
58:Classification
54:
53:
48:
42:
41:
27:Serif typeface
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2559:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2524:
2522:
2501:
2494:
2491:
2488:
2485:
2482:
2479:
2478:
2476:
2472:
2466:
2463:
2460:
2459:
2457:
2453:
2446:
2443:
2440:
2437:
2434:
2432:
2429:
2427:
2424:
2422:
2419:
2417:
2414:
2411:
2410:
2408:
2404:
2398:
2395:
2393:
2390:
2388:
2385:
2383:
2380:
2378:Nimrod (1980)
2377:
2376:
2374:
2370:
2363:
2360:
2357:
2354:
2353:
2351:
2347:
2341:
2338:
2335:
2332:
2331:Fleet Titling
2329:
2326:
2323:
2320:
2317:
2314:
2312:
2309:
2306:
2303:
2301:
2298:
2295:
2291:
2288:
2285:
2282:
2279:
2276:
2275:New Clarendon
2273:
2272:
2270:
2266:
2260:Pepita (1959)
2259:
2256:
2253:
2250:
2247:
2244:
2241:
2238:
2236:Headline Bold
2235:
2232:
2229:
2228:Ashley Script
2226:
2223:
2220:
2217:
2214:
2211:
2208:
2205:
2204:
2202:
2198:
2192:Figaro (1940)
2191:
2190:
2188:
2184:
2177:
2175:
2172:
2170:
2167:
2165:Matura (1938)
2164:
2161:
2158:
2155:
2152:
2149:
2147:
2144:
2141:
2138:
2135:
2132:
2129:
2126:
2123:
2120:
2117:
2114:
2112:
2109:
2106:
2103:
2100:
2097:
2094:
2091:
2088:
2087:(for Collins)
2084:
2081:
2079:
2076:
2073:
2070:
2067:
2064:
2061:
2058:
2055:
2052:
2049:
2046:
2043:
2040:
2037:
2034:
2031:
2028:
2025:
2022:
2019:
2016:
2013:
2010:
2007:
2004:
2001:
1998:
1995:
1992:
1991:
1989:
1985:
1978:
1975:
1972:
1969:
1966:
1963:
1960:
1957:
1954:
1950:
1947:
1944:
1941:
1938:
1935:
1932:
1930:
1927:
1924:
1921:
1918:
1916:
1913:
1910:
1907:
1906:Grotesque 215
1904:
1901:
1898:
1895:
1892:
1889:
1886:
1883:
1880:
1876:
1873:
1870:
1867:
1864:
1861:
1858:
1855:
1852:
1849:
1848:
1846:
1842:
1835:
1832:
1829:
1826:
1823:
1820:
1817:
1814:
1811:
1810:
1808:
1804:
1797:
1794:
1791:
1788:
1785:
1782:
1780:
1777:
1776:
1774:
1770:
1765:
1758:
1753:
1751:
1746:
1744:
1739:
1738:
1735:
1728:
1727:optical sizes
1724:
1720:
1717:
1715:
1714:optical sizes
1711:
1708:
1707:
1706:
1698:
1695:
1693:
1692:Adobe release
1690:
1689:
1687:
1684:
1681:
1678:
1677:
1676:
1670:
1666:
1663:
1660:
1658:
1655:
1654:
1653:
1647:
1642:
1641:0-486-23929-2
1638:
1634:
1630:
1627:
1626:1-883915-08-2
1623:
1619:
1615:
1612:
1611:0-471-28429-7
1608:
1605:Wiley: 1993.
1604:
1600:
1597:
1593:
1589:
1588:
1583:
1580:
1579:1-57912-023-7
1576:
1572:
1568:
1565:
1564:0-300-10073-6
1561:
1557:
1553:
1552:
1546:
1542:
1538:
1532:
1529:
1522:
1519:
1512:
1509:
1492:
1488:
1484:
1477:
1474:
1462:
1458:
1451:
1448:
1436:. Font Bureau
1435:
1428:
1425:
1412:
1408:
1402:
1399:
1386:
1382:
1376:
1373:
1360:
1356:
1350:
1347:
1334:
1330:
1324:
1321:
1309:
1305:
1298:
1295:
1283:
1279:
1272:
1269:
1256:
1252:
1246:
1243:
1230:
1226:
1220:
1217:
1205:
1199:
1195:
1194:
1186:
1183:
1171:
1167:
1160:
1157:
1144:
1140:
1134:
1131:
1126:
1122:
1115:
1109:
1106:
1093:
1089:
1082:
1076:
1073:
1069:
1065:
1061:
1060:
1053:
1050:
1045:
1039:
1035:
1030:
1029:
1020:
1018:
1014:
1001:
997:
991:
988:
985:, pp. 540-41.
984:
983:1-57912-023-7
980:
976:
970:
967:
954:
953:
948:
942:
939:
927:
923:
916:
913:
907:
904:
899:
897:9789004169821
893:
889:
882:
879:
867:
865:9780521183161
861:
857:
853:
846:
843:
831:
829:9789004137486
825:
821:
820:
812:
809:
797:
795:9780804719582
791:
787:
786:
778:
775:
770:
768:9781619023505
764:
760:
759:
751:
748:
735:
734:
726:
723:
711:
709:9789004212558
705:
701:
700:
692:
689:
677:
673:
666:
664:
662:
660:
658:
654:
641:
637:
630:
624:
622:
620:
616:
601:
594:
591:
579:
575:
571:
565:
562:
550:
549:
544:
537:
535:
531:
525:
523:
521:
520:
515:
514:John Varvatos
511:
503:
501:
499:
495:
491:
487:
483:
479:
475:
471:
467:
463:
459:
455:
451:
446:
444:
440:
436:
432:
425:Related fonts
424:
422:
420:
415:
409:Digitisations
408:
406:
404:
400:
395:
390:
388:
383:
379:
375:
361:
350:
337:
333:
331:
327:
323:
319:
315:
311:
307:
303:
294:
290:
288:
284:
280:
272:
270:
268:
264:
256:
252:
247:
243:
241:
237:
233:
229:
225:
221:
217:
213:
209:
205:
201:
192:
185:
183:
181:
180:Penguin Books
175:
173:
169:
165:
161:
157:
153:
149:
145:
141:
137:
128:
126:Also known as
124:
120:
118:Date released
116:
112:
108:
105:
102:
100:
96:
93:
89:
85:
81:
78:
76:
72:
69:
64:
61:
59:
55:
52:
49:
47:
43:
39:
34:
19:
2426:Book Antiqua
2339:
2321:New Berolina
2293:
2254:
2224:Klang (1955)
2139:
2130:
2098:
2092:Grock (1935)
2086:
1948:
1914:
1793:Scotch Roman
1704:
1697:Jenson Recut
1674:
1651:
1632:
1617:
1602:
1585:
1570:
1555:
1531:
1521:
1511:
1495:. Retrieved
1491:the original
1486:
1481:Shaw, Paul.
1476:
1466:20 September
1464:. Retrieved
1461:Fonts in Use
1460:
1450:
1438:. Retrieved
1427:
1415:. Retrieved
1410:
1407:"LTC Jenson"
1401:
1389:. Retrieved
1384:
1375:
1363:. Retrieved
1358:
1349:
1337:. Retrieved
1332:
1323:
1311:. Retrieved
1304:"Coelacanth"
1297:
1285:. Retrieved
1271:
1259:. Retrieved
1254:
1245:
1233:. Retrieved
1228:
1219:
1207:. Retrieved
1192:
1185:
1173:. Retrieved
1169:
1159:
1147:. Retrieved
1142:
1133:
1124:
1120:
1108:
1098:19 September
1096:. Retrieved
1091:
1087:
1075:
1070:, pp. 92-93.
1057:
1052:
1027:
1004:. Retrieved
1000:the original
990:
974:
969:
957:. Retrieved
951:
941:
929:. Retrieved
925:
915:
906:
887:
881:
869:. Retrieved
855:
845:
833:. Retrieved
818:
811:
799:. Retrieved
784:
777:
757:
750:
738:. Retrieved
732:
725:
713:. Retrieved
698:
691:
679:. Retrieved
676:Type Culture
675:
646:20 September
644:. Retrieved
639:
635:
606:. Retrieved
593:
583:19 September
581:. Retrieved
577:
564:
554:23 September
552:. Retrieved
546:
517:
507:
454:optical size
450:Adobe Jenson
447:
428:
416:
412:
402:
391:
373:
371:
329:
299:
286:
276:
266:
260:
240:revival font
216:Pietro Bembo
211:
203:
197:
176:
144:Bruce Rogers
135:
134:
129:Metropolitan
110:Date created
80:Bruce Rogers
2493:Joanna Sans
2483:(2012/2016)
2169:Sachsenwald
2035:Littleworth
2006:Braggadocio
1869:Baskerville
1723:Raph Levien
1440:29 December
1434:"Hightower"
1417:29 December
1391:29 December
1365:29 December
1339:29 December
1261:29 December
1235:29 December
1209:11 December
1149:29 December
1006:28 December
926:Alphabettes
871:28 December
835:28 December
801:28 December
740:28 December
715:28 December
578:Blue Pencil
462:Golden Type
419:Raph Levien
287:The Centaur
267:La operina…
214:written by
148:Renaissance
75:Designer(s)
2521:Categories
2447:Gill Facia
2435:Carré Noir
2174:Haarlemmer
2017:Leysbourne
1971:Goudy Sans
1919:Bernard MT
1875:Poliphilus
1710:Coelacanth
1145:. Monotype
1114:"Colophon"
570:Shaw, Paul
526:References
466:Doves Type
257:tradition.
249:Arrighi's
2387:Footlight
2311:Traveller
2111:Gill Kayo
2096:Gwendolin
2065:Colmcille
1979:(c. 1929)
1943:Gill Sans
1899:Engravers
1784:Old Style
1766:typefaces
1413:. MyFonts
1361:. MyFonts
922:"Centaur"
382:descender
224:old-style
222:style of
63:Old-style
2461:Neo Sans
2397:Cantoria
2292:Fontana
2287:Octavian
2216:Spectrum
2151:Ehrhardt
2124:(1935-9)
2122:Albertus
2085:Fontana
2060:Rockwell
2029:Falstaff
1965:Deepdene
1934:Perpetua
1891:Fournier
1863:Garamond
1851:Garamont
1813:Veronese
1764:Monotype
1665:Archived
1278:"Museum"
949:(1937).
681:11 April
510:wordmark
228:Venetian
220:humanist
212:De Aetna
204:Eusebius
202:'s 1470
160:Monotype
68:Venetian
46:Category
2392:Calisto
2362:Calvert
2318:Cartier
2281:Univers
2221:Angelus
2160:Pegasus
2116:Romulus
2105:Emerson
2071:Menhart
2051:Walbaum
2020:Placard
1994:Lutetia
1953:Arrighi
1949:Centaur
1929:Lutetia
1828:Plantin
1822:Imprint
1385:MyFonts
1333:MyFonts
1313:May 29,
1287:May 29,
1255:MyFonts
1143:MyFonts
608:30 June
330:Arrighi
273:Revival
136:Centaur
99:Foundry
31:Centaur
2495:(2015)
2489:(2013)
2444:Cachet
2416:Amasis
2364:(1979)
2337:Barbou
2333:(1967)
2327:(1967)
2307:(1962)
2305:Apollo
2296:(1961)
2289:(1961)
2283:(1961)
2277:(1960)
2257:(1958)
2252:Joanna
2248:(1957)
2230:(1956)
2218:(1955)
2212:(1951)
2162:(1937)
2153:(1937)
2142:(1937)
2137:Joanna
2133:(1937)
2128:Bulmer
2118:(1936)
2107:(1936)
2101:(1935)
2089:(1935)
2062:(1934)
2053:(1933)
2041:(1932)
2032:Inflex
2026:Script
2014:(1931)
2008:(1930)
2002:(1930)
1996:(1930)
1973:(1929)
1967:(1929)
1961:(1929)
1955:(1929)
1936:(1928)
1922:Gallia
1912:Barbou
1908:(1926)
1893:(1925)
1881:(1923)
1871:(1923)
1865:(1922)
1859:(1921)
1857:Bodoni
1853:(1921)
1836:(1915)
1830:(1913)
1824:(1912)
1786:(1900)
1779:Modern
1719:Museum
1639:
1624:
1609:
1594:
1577:
1562:
1497:2 July
1200:
1066:
1040:
981:
959:9 July
931:15 May
894:
862:
826:
792:
765:
706:
314:italic
164:italic
2474:2010s
2465:Slate
2455:2000s
2431:Curlz
2406:1990s
2382:Arial
2372:1980s
2349:1970s
2325:Sabon
2300:Forte
2268:1960s
2246:Dante
2233:Swing
2200:1950s
2186:1940s
2068:Runic
1987:1930s
1977:Solus
1959:Bembo
1951:with
1879:Blado
1844:1920s
1806:1910s
1772:1900s
1537:Blado
1526:1525.
1335:. ITC
1257:. LTC
1175:4 May
1117:(PDF)
1084:(PDF)
632:(PDF)
603:(PDF)
548:Print
504:Usage
443:Dante
431:Bembo
387:swash
140:serif
138:is a
51:Serif
2023:Kino
2012:Bell
1877:and
1637:ISBN
1622:ISBN
1607:ISBN
1592:ISBN
1575:ISBN
1560:ISBN
1539:and
1499:2015
1468:2015
1442:2015
1419:2015
1393:2015
1367:2015
1341:2015
1315:2018
1289:2018
1263:2015
1237:2015
1229:YWFT
1211:2015
1198:ISBN
1177:2016
1151:2015
1100:2015
1064:ISBN
1038:ISBN
1036:–6.
1008:2015
979:ISBN
961:2017
933:2016
892:ISBN
873:2015
860:ISBN
837:2015
824:ISBN
803:2015
790:ISBN
763:ISBN
742:2015
717:2015
704:ISBN
683:2017
648:2015
610:2015
585:2015
556:2016
484:and
394:dots
121:1929
113:1914
2487:SST
1411:LTC
1359:LTC
512:of
460:'s
376:by
289:.
285:'s
2523::
1725:,
1485:.
1459:.
1409:.
1383:.
1357:.
1331:.
1306:.
1280:.
1253:.
1227:.
1168:.
1141:.
1125:36
1123:.
1119:.
1092:29
1090:.
1086:.
1034:41
1016:^
924:.
674:.
656:^
640:32
638:.
634:.
618:^
576:.
572:.
545:.
533:^
472:'
445:.
1756:e
1749:t
1742:v
1643:.
1628:.
1613:.
1598:.
1581:.
1566:.
1501:.
1470:.
1444:.
1421:.
1395:.
1369:.
1343:.
1317:.
1291:.
1265:.
1239:.
1213:.
1179:.
1153:.
1102:.
1046:.
1010:.
963:.
935:.
900:.
875:.
839:.
805:.
771:.
744:.
719:.
685:.
650:.
612:.
587:.
558:.
65:,
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
