51:
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171:
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1018:") 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.
4445:
811:
1083:
1049:
337:, most popular in Italy, which Vervliet describes as being based on "a more deliberate and formal handwriting longer ascenders and descenders, sometimes with curved or bulbous terminals, and only available in the bigger sizes." 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
386:
345:
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. Particularly influential in the switch to sloped capitals as a general practice
126:
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
1133:
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
980:
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
853:
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. Contemporary type designer
341:
of Venice, with imitations rapidly appearing in France by 1528. Chancery italics faded as a style over the course of the sixteenth century, although revivals were made beginning in the twentieth century. Chancery italics may have backward-pointing serifs or round terminals pointing forwards on the
353:
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. Italics developed stylistically over the following centuries, tracking
232:
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
953:, 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." A few other type designers replicated his approach for a time: Van Krimpen's Romulus and
1969:
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
1920:
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
981:
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.
906:. 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
138:
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.
1516:, 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 pretty much killed the idea for serifed types."
350:, a prolific and extremely precise French punchcutter particularly renowned for his skill in cutting italics. Vervliet comments that among punchcutters in France "the main name associated with the change is Granjon's."
314:
dates the first production of italics in Paris to 1512. 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.
50:
279:, 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. While modern italics are often more condensed than
897:
offered serif typefaces with oblique rather than italic designs, especially display typefaces but these designs (such as
Genzsch Antiqua) have mostly disappeared. An exception is American Type Founders'
1060:
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.
2587:
1394:
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
2383:
One of the distinctive things about French calligraphy of 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
921:
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
798:
790:
271:
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
1863:
1098:, Roemisch, Topografische Zahlentafel, include left leaning fonts and letters designed for German cartographic map production, even though they do not support Arabic characters.
1241:, 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
4030:
2646:
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".
2580:
1680:
2642:. 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
1465:
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.
354:
changing tastes in calligraphy and type design. One major development that slowly became popular from the end of the seventeenth century was a switch to an open form
1094:
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
549:". Works that appear within larger works, such as short stories, poems, newspaper articles, songs, and television episodes are not italicised, but merely set off in
1434:
block includes Latin and Greek letters in italics and boldface. However, Unicode expressly recommends against using these characters in general text in place of
4404:
2660:
2594:. *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
1068:, where they are mostly used for the occasional attention-grabbing effect. They were once more common, however, being used for example in legal documents.
902:, offered in some releases with the oblique of its metal type version. An unusual example of an oblique font from the inter-war period is the display face
2387:…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
937:
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
237:
in general use at the time, was apparently made to suggest informality in editions designed for leisure reading. Manutius' italic type was cut by his
3094:
553:. When italics are unavailable, such as on a typewriter or websites that do not support formatting, an underscore or quotes are often used instead.
244:(who later, following a dispute with Manutius, claimed to have conceived it). It replicated handwriting of the period following from the style of
889:
Almost all modern serif fonts have true italic designs. In the late nineteenth and early twentieth centuries, a number of type foundries such as
2584:
2335:
3357:
3207:
2940:
2318:
2039:
1998:
1913:
1795:
1768:
1659:
1575:
635:
Introducing or defining terms, especially technical terms or those used in an unusual or different way: "Freudian psychology is based on the
267:
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.
111:
shapes from roman type are usually used – another influence from calligraphy – and upper-case letters may have
3474:
2742:
1508:
Electra was later reissued–although not in
Britain–with a true italic, which is the only form most digitisations include. An exception is
972:
Some serif designs primarily intended for headings rather than body text are not provided with an italic, Engravers and some releases of
287:
describes
Manutius' italic as about the same width as roman type. To replicate handwriting, Griffo cut at least sixty-five tied letters (
1871:
2772:
Specimens of type, borders, ornaments, brass rules and cuts, etc. : catalogue of printing machinery and materials, wood goods, etc
2607:
2881:
965:
typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to
794:
782:
3067:
2519:
1693:
1431:
1254:
429:
396:
291:) in the Aldine Dante and Virgil of 1501. Italic typefaces of the following century used varying but reduced numbers of ligatures.
302:, but it was widely counterfeited as early as 1502. Griffo, who had left Venice in a business dispute, cut a version for printer
214:
2127:
841:(or slanted roman, sloped roman) is type that is slanted, but lacking cursive letterforms, with features like a non-descending
1177:
has been sold with two italics: one reasonably straightforward design that is commonly used today, and an alternative upright
1142:
has an alternate upright italic as an alternative to its standard italic, since its intended use is mathematical typesetting.
2473:
1512:'s Aluminia revival, which includes both. Romulus was issued on Morison's plan with an oblique a script typeface companion,
318:
2631:
2159:
4399:
1040:). An alternative option is to switch to an 'upright italic' style if the typeface used has one; this is discussed below.
1002:
If something within a run of italics needs to be italicised itself, the type is normally switched back to non-italicized (
93:
1535:
826:'italic', like many designs of the period. Gothic Italic no. 124, an 1890s grotesque, has a crisp true italic resembling
4284:
4246:
3345:
1719:
604:
182:
4430:
3499:
1707:
Manutius dated his edition...as 15 September 1500, but included in the volume is a letter...with date of
September 19.
1221:
1028:
669:
words "that have no equivalent in the original text but that are necessary in English": "And God saw the light, that
411:
3352:(1st U.S. ed.). Westerham, Kent: Published by Eva Svensson, and printed by the Westerham Press. pp. 51–8.
1359:
feature tag to substitute a character to italic form with single font. In addition, the OpenType Font Variation has
4010:
3423:
2511:
1827:
338:
284:
407:
3656:
2541:
2366:
929:
where a more decorative form was preferred. He made an attempt to promote the idea by commissioning the typeface
303:
3171:
2554:
1499:
Spelling modernised to avoid confusion–Morison wrote 'fount', the usual spelling in British English at the time.
245:
175:
4414:
4231:
3902:
3839:
3544:
3467:
1543:
1190:
954:
31:
3227:
2851:
2060:
1022:
in which book titles are italicised differ on how to deal with a book title within a book title; for example,
894:
162:(both between the 15th and 16th centuries) were the main type designers involved in this process at the time.
2956:
1311:
It was *absolutely* horrible. (Commonly interpreted as bold. This and the previous example signify italic in
310:. The Italians called the character Aldino, while others called it Italic. Italics spread rapidly; historian
2479:
35:
170:
3859:
3582:
2847:
1399:
1262:
are not historically correct, the upright versions should always be used, while paying close attention to
890:
3101:
1308:
I had _nothing_ to do with it. (Commonly interpreted as underlining, which is an alternative to italics.)
4334:
3834:
3829:
3742:
3729:
3562:
3436:
2455:
1600:
1107:
786:
691:
564:
542:
507:
334:
276:
3377:
1197:
also revived the original italic system of italic lower-case only from the nineteenth century onwards.
882:
has described obliques as more appropriate to the aesthetic of sans-serifs than italics. In contrast,
521:
The titles of works that stand by themselves, such as books (including those within a larger series),
4126:
3767:
3621:
2343:
515:
288:
1390:) text. When the author wants to indicate emphasised text, modern Web standards recommend using the
372:
of sixteenth- and seventeenth-century italics, and sometimes simplification of the entrance stroke.
4469:
4448:
4409:
4322:
4216:
4071:
4049:
4039:
3907:
3514:
3504:
3460:
1593:"Designing Italics: Approaches to the design of contemporary secondary text typefaces (PhD thesis)"
1292:
1170:
1035:
930:
827:
994:
925:
that serif book typefaces should have as the default sloped form an oblique and as a complement a
122:, but they have come to be used in conjunction—most fonts now come with a roman type and an
4372:
4299:
4279:
4269:
4241:
4211:
4171:
3798:
3661:
3646:
3587:
3577:
3396:
3122:
2798:
2747:
1487:
1483:
1479:
1186:
1181:
design, far more calligraphic, as a more eccentric alternative. This italic face was designed by
958:
899:
875:
731:
662:
272:
264:
256:
186:
112:
1905:
712:
498:
A common view of when to use italics and bold text. An additional option for emphasis is to use
2901:
442:
True italic styles are traditionally somewhat narrower than roman fonts. Here is an example of
255:
dedicated to Italy, although it had been briefly used in the frontispiece of a 1500 edition of
4317:
4236:
4191:
4121:
3592:
3446:
3353:
3203:
2936:
2877:
2776:
2515:
2505:
2314:
2308:
2251:
2035:
1994:
1909:
1791:
1764:
1760:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
1758:
1689:
1675:
1655:
1571:
1565:
1154:
741:
In older English usage, writers italicised words much more freely, for emphasis, for instance
687:
494:
311:
197:
in September 1500: illustrated table in which appear the first words ever printed in italics:
3197:
2930:
2222:
1986:
1785:
4203:
4156:
3995:
3942:
3803:
3613:
2604:
2289:
2259:
2166:
2025:
1629:
1621:
1095:
966:
871:
867:
590:
241:
159:
3442:
The Uses of Italic: A Primer of Information Regarding the Origin and Uses of Italic Letters
2031:
1122:
1074:
4339:
4226:
4221:
4141:
4109:
4000:
3737:
3539:
3288:
3284:
3049:
2728:
2635:
2611:
2591:
2388:
2021:
1810:
1592:
1435:
1205:
1182:
1146:
1139:
1126:
1091:
1082:
1057:
962:
950:
926:
918:
879:
679:
symbols (constants and variables) are conventionally typeset in italics: "The solution is
596:
550:
534:
322:
295:
4294:
3071:
2703:
3223:
3118:
1315:, where bolding uses **double asterisks**, and underlining uses __double underscores__.)
294:
Italic type rapidly became very popular and was widely (and inaccurately) imitated. The
209:
4344:
4289:
4166:
3969:
3793:
3747:
3681:
3651:
3519:
3373:
1898:
1334:
1321:
1166:
855:
735:
530:
499:
347:
222:
155:
54:
42:
1857:
1855:
1853:
1851:
1849:
457:
4463:
4136:
4104:
4094:
3974:
2897:
2770:
2643:
2615:
2404:
2215:
2134:
2056:
1509:
1395:
1162:
1158:
883:
364:
333:
Besides imitations of Griffo's italic and its derivatives, a second wave appeared of
151:
20:
3324:
3247:
2629:
More on Printing and Using Symbols and Numbers in Scientific and Technical Documents
1274:
In media where italicization is not possible, alternatives are used as substitutes:
603:
Mentioning a word as an example of a word rather than for its semantic content (see
478:
4394:
4274:
4161:
4146:
4116:
4076:
4059:
3813:
3783:
3757:
3666:
3509:
3491:
3013:
2384:
2277:
1625:
1387:
1383:
1338:
1234:
1135:
1114:, a back-slanted italic form to go with the right-to-left direction of the script.
1065:
973:
911:
903:
838:
834:, a modern humanist family, has a more informal italic in the style of handwriting.
823:
483:
471:
226:
194:
135:
123:
2681:
2656:
2263:
810:
734:, captions, words from other languages, and text rendered inside certain types of
131:"; in other words, underscore in a manuscript directs a typesetter to use italic.
118:
Historically, italics were a distinct style of type used entirely separately from
3145:
2483:
2430:
2109:
4389:
4384:
4377:
4367:
4181:
4131:
4086:
4026:
3990:
3961:
3949:
3929:
3704:
3572:
2628:
2293:
1280:
1213:
1209:
1048:
977:
907:
815:
238:
100:
85:
81:
2187:
1320:
Where the italics do not indicate emphasis, but are marking a title or where a
711:) are written in italics whereas protein names are written in roman type (e.g.
4362:
4176:
4066:
3919:
3912:
3889:
3844:
3808:
3762:
3719:
3714:
3709:
3694:
3534:
3529:
3524:
3483:
3417:
2084:
1949:
1242:
1003:
850:
819:
742:
738:(such as thought balloons). Bolded words are commonly also rendered in italic.
706:
581:
569:
462:
445:
298:
gave Aldus exclusive right to its use, a patent confirmed by three successive
280:
234:
119:
89:
66:
2824:
1291:
communication, italicised words are often indicated by surrounding them with
914:
described his design as "uninhibited by the traditions of roman and italic".
3854:
3849:
3626:
3554:
3259:
2639:
1950:"Reviving Unknown 16th-century Dutch Type: Shotaro Nakano, ATypI 2023 Paris"
1296:
1259:
1194:
1150:
1023:
934:
585:
128:
150:, to replace documents traditionally written in a handwriting style called
2987:
2576:
1787:
Aldo Manuzio (Aldus Manutius): Oxford Bibliographies Online Research Guide
4327:
4186:
4005:
3878:
3864:
3689:
3641:
1447:
1352:
1312:
1053:
1019:
727:
526:
475:
text, the same type is used as in normal type, but slanted to the right:
143:
1720:"Type to Print: The Book & The Type Specimen Book - Saint Catherine"
1134:
already in italics needs a 'double italic' style to add emphasis to it.
886:
has argued that obliques do not contrast enough from the regular style.
878:
have described obliques as more "keen and insistent" than true italics.
4151:
3937:
3788:
3699:
3631:
3567:
3296:
1427:
1263:
1230:
1226:
831:
676:
74:
2370:
1991:
Selected essays on the history of letter-forms in manuscript and print
4054:
3671:
3441:
1652:
Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation
1288:
723:
538:
252:
58:
414:. Statements consisting only of original research should be removed.
2581:
Guidelines For Drafting IUPAC Technical Reports And Recommendations
2556:
On the use of italic and roman fonts for symbols in scientific text
3897:
3636:
3604:
3427:
2964:
2563:
1957:
1475:
1330:
The term "even number" refers to a number that is a multiple of 2.
1204:
1178:
1174:
1145:
Font families with an upright or near-upright italic only include
1121:
1081:
1073:
1047:
993:
809:
522:
493:
477:
456:
317:
307:
208:
181:
169:
147:
108:
49:
1078:
4 shapes of Adobe Arabic font (Normal, Italic, Bold, Bold-Italic)
4253:
4099:
4044:
1407:
1376:
1363:
axis for the transition between italic and non-italic forms and
730:
may opt to use italic text for a variety of situations, such as
702:
654:
Sometimes in novels to indicate a character's thought process: "
299:
77:
3456:
1216:
quite faithfully, with a variable slant on the italic capitals.
998:
Straight italic type within normal italics (Latin and Cyrillic)
19:
This article is about printing. For the handwriting style, see
379:
61:. Italic is only used for the lower case and not for capitals.
3452:
1891:
1889:
628:
on the rankings, she finally had proof that she was the best.
275:. The capital letters were upright capitals on the model of
127:
English usage described italics as "the print equivalent of
2640:
Guide for the Use of the International System of Units (SI)
329:, a twentieth-century revival of the chancery italic style.
3146:"Draughtsman's Alphabets published by Keuffel & Esser"
2638:". Chapter 10 of NIST Special Publication 811 (SP 811):
1212:'s italic replicates the work of 17th-century punchcutter
1086:
4 shapes of Farsi font (Normal, Iranic, Bold, Bold-Iranic)
1993:. Cambridge: Cambridge University Press. pp. 30–45.
251:
The first use in a complete volume was a 1501 edition of
41:"Italicization" redirects here. Not to be confused with
2751:. p. 6. Listing, Numbering and Annotations of Acts
403:
259:'s letters. In 1501, Aldus wrote to his friend Scipio:
142:
The name comes from the fact that calligraphy-inspired
514:
guilty party, it's true". This often corresponds with
2566:
Interdivisional Committee on Nomenclature and Symbols
368:
type of the 1690s, replacing the folded, closed-form
2657:"The NCBI Style Guide: Style Points and Conventions"
1868:
Department of Typography & Graphic Communication
1832:
Type to Print: The Book & The Type Specimen Book
4423:
4355:
4308:
4262:
4202:
4085:
4025:
3983:
3960:
3928:
3888:
3877:
3822:
3776:
3728:
3680:
3612:
3603:
3553:
3490:
1980:
1978:
1233:surrounding text that begins and ends in italic or
16:
Font style with cursive typeface and slanted design
2682:"Guidelines for Formatting Gene and Protein Names"
2254:(1930). "The Evolution of the Modern-Face Roman".
2214:
2030:. Cambridge: Cambridge University Press. pp.
1897:
1676:"False Information in the Colophons of Incunabula"
752:, intire of it selfe; every man is a peece of the
2553:Mills, I. M.; Metanomski, W. V. (December 1999),
1864:"The design and spread of Froben's early Italics"
1681:Proceedings of the American Philosophical Society
567:in the taxonomy of living organisms: "A splendid
178:cursive script, which developed into Italic type.
92:, it served as one of the major typefaces in the
2876:(2nd ed.). Walter de Gruyter. p. 260.
2775:. American Type Founders Company. 1897. p.
2614:, NIST, January 1998. This cites the family of
2236:Lane, John (1983). "The Types of Nicholas Kis".
1815:The origin and development of humanistic script,
1790:. Oxford University Press, USA. pp. 10–11.
1724:Columbia University Libraries Online Exhibitions
103:, italics normally slant slightly to the right,
2605:Typefaces for Symbols in Scientific Manuscripts
1026:specifies a switch back to roman type, whereas
261:
26:"Italics" redirects here. For the similar word
3404:. Mountain View, CA: Unicode, Inc. March 2020.
3350:The Letter Forms and Type Designs of Eric Gill
2336:"Type Designs of the Past and Present, Part 3"
1752:
1750:
1748:
1746:
1744:
1742:
1740:
1032:(14.94) specifies the use of quotation marks (
1014:, thought Mary." In this example, the title ("
698:, is approximately equal to 3.00Ă—10 m/s."
614:Using a letter or number mentioned as itself:
4405:Intellectual property protection of typefaces
3468:
3196:William E. Ryan; Theodore E. Conover (2004).
2661:National Center for Biotechnology Information
2280:(1950). "The Baskerville Punches 1750–1950".
949:. Morison wrote to his friend, type designer
917:The printing historian and artistic director
263:We have printed, and are now publishing, the
115:, flourishes inspired by ornate calligraphy.
8:
3947:
2924:
2922:
961:were both released with obliques. Morison's
785:within a given year (prior to 1963, a given
306:, and other copies appeared in Italy and in
2743:"Introduction to Private and Personal Acts"
2456:"Formatting Book Titles in the Digital Age"
1987:"3: The Chancery Types of Italy and France"
1935:Printing Types: Their History, Form and Use
1258:, however, it is argued that, since Italic
3885:
3609:
3475:
3461:
3453:
2238:Journal of the Printing Historical Society
1985:Morison, Stanley; Johnson, Alfred (2009).
1367:axis for the oblique angle of characters.
910:font design (which does not use italics);
217:, showing early "chancery italic" typeface
4431:Punctuation and other typographic symbols
2507:A Textual History of the King James Bible
858:stated that he had avoided a true italic
617:John was annoyed; they had forgotten the
430:Learn how and when to remove this message
134:In fonts which do not have true italics,
80:based on a stylised form of calligraphic
3289:"FarsiTeX and the Iranian TeX Community"
2932:Letters of Credit: A View of Type Design
2846:Frere-Jones, Tobias; Hoefler, Jonathan.
2104:
2102:
1287:In plain-text computer files, including
201:, inside the heart in the left hand and
2310:The Golden Thread: A History of Writing
2079:
2077:
1870:. University of Reading. Archived from
1784:Oxford University Press (1 June 2010).
1654:, New York: Gotham Books, p. 146,
1567:The Golden Thread: The Story of Writing
1527:
1458:
1071:They are more common in Arabic script.
651:number is one that is a multiple of 2."
2313:. Counterpoint LLC. pp. 205–210.
1398:would dictate that the author use the
1324:, quotation marks may be substituted:
1056:typeface, made for display use by the
870:due to finding them "too soft", while
1064:Left-leaning italics are now rare in
793:have italic Arabic numerals, whereas
7:
2704:"Comic Book Grammar & Tradition"
2475:University of Minnesota Style Manual
1989:. In McKitterick, David John (ed.).
1406:along with an appropriate, semantic
1278:In typewritten or handwritten text,
1185:and named "Bembo Condensed Italic",
193:("Letters"), published in Venice by
3426:, Victor Gaultney (presentation to
3144:Puckett, James (22 November 2016).
2585:3rd edition of the IUPAC Green Book
594:, and my favorite newspaper is the
563:Foreign words, including the Latin
3398:The Unicode Standard, Version 13.0
3287:; Roozbeh Pournader (March 2002).
1862:Kaufmann, Ueli (11 October 2015).
1570:. Atlantic Books. pp. 104–6.
1305:They >completely< forgot me!
205:inside the book in the right hand.
14:
3325:"Bembo Condensed Italic specimen"
2307:Ewan Clayton (11 February 2014).
1564:Ewan Clayton (5 September 2013).
1432:Mathematical Alphanumeric Symbols
1255:The Elements of Typographic Style
624:When she saw her name beside the
4444:
4443:
3202:. Cengage Learning. p. 98.
2579:* and full text included in the
806:Oblique type compared to italics
502:for a word or name to stand out.
384:
215:Ludovico Vicentino degli Arrighi
3119:"Recasting Electra as Aluminia"
2872:Frutiger, Adrian (8 May 2014).
1834:. Columbia University Libraries
1757:Hendrik D. L. Vervliet (2008).
1247:as on the right of this example
849:, unlike "true italics". Many
797:have plain Arabic numerals and
722:Italics are frequently used in
248:, possibly even Manutius' own.
57:' italic, in a 1501 edition of
3224:"Nitro & Turbo - Overview"
2935:. D.R. Godine. pp. 61–4.
2482:, 18 July 2007, archived from
2367:"Comments on Typophile thread"
1386:is used to produce italic (or
830:serif families of the period.
801:have lowercase Roman numerals.
772:is the lesse, as well as if a
265:Satires of Juvenal and Persius
221:Italic type was first used by
1:
4400:History of Western typography
3248:Reverse italics at StudioType
2929:Walter Tracy (January 2003).
2874:Typefaces: The Complete Works
2221:. New York, Praeger. p.
1327:The word "the" is an article.
1193:-influenced printers such as
482:The same example text set in
94:history of Western typography
4247:traditional point-size names
3199:Graphic Communications Today
3068:"Monotype Imaging: Perpetua"
1904:. Clarendon Press. pp.
1173:. The popular book typeface
362:, a development seen in the
99:Owing to the influence from
3500:Canons of page construction
3395:"22.2 Letterlike Symbols".
2902:"My Type Design Philosophy"
2827:. Jeremy Tankard Typography
2264:10.1093/library/s4-XI.3.353
2128:"Fairbanks Italic specimen"
1763:. BRILL. pp. 287–319.
1222:The Chicago Manual of Style
1029:The Chicago Manual of Style
588:: "My favorite magazine is
410:the claims made and adding
4486:
2512:Cambridge University Press
2133:. Monotype. Archived from
1900:A View of Early Typography
1237:should also be italicised
814:Three sans-serif italics.
545:: "He wrote his thesis on
339:Giovanni Antonio Tagliente
304:Girolamo "Gershom" Soncino
213:A page from La Operina by
40:
25:
18:
4439:
3657:Subscript and superscript
3228:Hoefler & Frere-Jones
2852:Hoefler & Frere-Jones
2610:19 September 2018 at the
2590:19 September 2018 at the
2334:Morison, Stanley (1937).
2294:10.1093/library/s5-V.1.26
2061:Hoefler & Frere-Jones
1480:Centaur Italic or Arrighi
1474:Notable revivals include
1396:semantic markup practices
1129:'s 'upright italic' font.
556:The names of ships: "The
461:Example text set in both
4415:Vox-ATypI classification
3545:Intentionally blank page
2708:Blambot Comic Book Fonts
2618:31-0:1992 to 31-13:1992.
2577:slightly revised in 2007
2217:A Chronology of Printing
1544:University of Manchester
1191:Arts and Crafts movement
1012:had a chapter about that
955:William Addison Dwiggins
661:Italics are used in the
32:Italian (disambiguation)
3054:Towards an Ideal Italic
2992:Type Design Information
2480:University of Minnesota
2342:: 17–81. Archived from
1322:word is being mentioned
1302:I was /really/ annoyed.
1052:A 'backslanted' italic
923:Towards an Ideal Italic
764:bee washed away by the
694:: "The speed of light,
656:This can't be happening
621:in his name once again.
605:use–mention distinction
146:were first designed in
36:Italic (disambiguation)
3948:
3437:Hamilton, Frederick W.
3378:"The 'Garamond' Types"
3095:"Serial Type Families"
2957:"Typophile discussion"
2504:Norton, David (2005).
2258:. s4-XI (3): 353–377.
1896:Carter, Harry (1969).
1514:Cancelleresca Bastarda
1400:Cascading Style Sheets
1217:
1130:
1087:
1079:
1061:
1034:A Key to Whitehead's "
999:
990:Italics within italics
891:American Type Founders
835:
692:mathematical constants
503:
486:
466:
330:
327:Cancelleresca Bastarda
269:
218:
206:
179:
62:
34:. For other uses, see
3093:Lo Celso, Alejandro.
2799:"Inclined to be dull"
2575:. This document was
2213:Clair, Colin (1969).
1933:Updike, D.B. (1927),
1811:Berthold Louis Ullman
1674:BĂĽhler, Curt (1970).
1650:Truss, Lynne (2004),
1601:University of Reading
1436:presentational markup
1208:
1125:
1108:Gholamhossein Mosahab
1085:
1077:
1051:
997:
978:Baskerville Old Style
813:
783:UK Acts of Parliament
565:binomial nomenclature
497:
481:
460:
321:
277:Roman square capitals
212:
203:iesu dolce iesu amore
185:
173:
53:
4285:Typographic features
3419:The Essential Italic
3172:"Changing the Times"
2900:(29 November 2004).
2684:. BioScience Writers
2634:29 June 2007 at the
2460:dailywritingtips.com
2435:Practical Typography
2429:Butterick, Matthew.
2409:Practical Typography
2403:Butterick, Matthew.
1937:, Harvard University
1239:(as in this example)
1044:Left-leaning italics
705:names (for example,
510:: "Smith wasn't the
4410:Technical lettering
4309:Typography in other
4050:Hanging punctuation
3323:Bixler, M & W.
3125:. 11 September 2017
3107:on 8 November 2014.
2346:on 4 September 2017
2055:Hoefler, Jonathan.
1476:Bembo Narrow Italic
1404:font-style: italic;
1187:Monotype series 294
1036:Process and Reality
895:Genzsch & Heyse
795:public general acts
732:internal monologues
688:physical quantities
560:sailed last night."
246:Niccolò de' Niccoli
4373:Handwriting script
4300:Desktop publishing
4270:Character encoding
4263:Digital typography
3777:Horizontal aspects
3730:Visual distinction
3588:Widows and orphans
3170:Morison, Stanley.
3123:Letterform Archive
3074:on 10 January 2012
2967:on 8 November 2014
2748:legislation.gov.uk
2405:"Bold or italics?"
2252:Johnson, Alfred F.
1874:on 2 November 2016
1626:"Italics Examined"
1591:Gaultney, Victor.
1284:is typically used.
1218:
1179:'Condensed Italic'
1131:
1088:
1080:
1062:
1016:The Scarlet Letter
1010:The Scarlet Letter
1000:
985:More complex usage
866:in his sans-serif
845:and double-storey
836:
663:King James Version
547:The Scarlet Letter
504:
487:
467:
395:possibly contains
335:"chancery" italics
331:
273:Bartolomeo Sanvito
257:Catherine of Siena
219:
207:
187:Catherine of Siena
180:
63:
4457:
4456:
4204:Typographic units
4122:For position only
4021:
4020:
3873:
3872:
3447:Project Gutenberg
3359:978-0-903696-04-3
3209:978-0-7668-2075-3
3150:dailytypespecimen
3038:. pp. 162–3.
3036:Letters of Credit
2988:"Friedrich Bauer"
2942:978-1-56792-240-0
2823:Tankard, Jeremy.
2320:978-1-61902-242-3
2160:"Alfred Fairbank"
2041:978-0-521-09786-4
2000:978-0-521-18316-1
1948:Nakano, Shotaro.
1915:978-0-19-818137-8
1828:"Roman vs Italic"
1817:Rome, 1960, p. 77
1797:978-0-19-980945-5
1770:978-90-04-16982-1
1661:978-1-59240-087-4
1630:Hoefler & Co.
1622:Hoefler, Jonathan
1577:978-1-78239-034-3
1540:Pioneers of Print
1337:" was written by
1295:or other matched
1210:Monotype Garamond
1112:Iranic font style
1102:Iranic font style
440:
439:
432:
397:original research
312:H. D. L. Vervliet
4477:
4447:
4446:
4424:Related template
4356:Related articles
4157:Phototypesetting
4011:reverse-contrast
3996:Display typeface
3953:
3930:Blackletter type
3886:
3823:Vertical aspects
3804:Sentence spacing
3614:Typeface anatomy
3610:
3477:
3470:
3463:
3454:
3449:
3420:
3406:
3405:
3403:
3392:
3386:
3385:
3370:
3364:
3363:
3342:
3336:
3335:
3333:
3331:
3320:
3314:
3313:
3311:
3309:
3293:
3285:Esfahbod, Behdad
3281:
3275:
3274:
3272:
3270:
3256:
3250:
3245:
3239:
3238:
3236:
3234:
3220:
3214:
3213:
3193:
3187:
3186:
3184:
3182:
3167:
3161:
3160:
3158:
3156:
3141:
3135:
3134:
3132:
3130:
3115:
3109:
3108:
3106:
3100:. Archived from
3099:
3090:
3084:
3083:
3081:
3079:
3070:. Archived from
3064:
3058:
3057:
3050:Morison, Stanley
3046:
3040:
3039:
3031:
3025:
3024:
3022:
3020:
3012:Simonson, Mark.
3009:
3003:
3002:
3000:
2998:
2983:
2977:
2976:
2974:
2972:
2963:. Archived from
2953:
2947:
2946:
2926:
2917:
2916:
2914:
2912:
2894:
2888:
2887:
2869:
2863:
2862:
2860:
2858:
2843:
2837:
2836:
2834:
2832:
2820:
2814:
2813:
2811:
2809:
2797:Majoor, Martin.
2794:
2788:
2787:
2785:
2783:
2767:
2761:
2760:
2758:
2756:
2739:
2733:
2725:
2719:
2718:
2716:
2714:
2700:
2694:
2693:
2691:
2689:
2678:
2672:
2671:
2669:
2667:
2653:
2647:
2625:
2619:
2601:
2595:
2583:and also in the
2574:
2573:
2571:
2561:
2550:
2544:
2539:
2533:
2532:
2530:
2528:
2501:
2495:
2494:
2493:
2491:
2486:on 24 March 2010
2470:
2464:
2463:
2452:
2446:
2445:
2443:
2441:
2426:
2420:
2419:
2417:
2415:
2400:
2394:
2393:
2380:
2378:
2373:on 27 March 2017
2369:. Archived from
2362:
2356:
2355:
2353:
2351:
2331:
2325:
2324:
2304:
2298:
2297:
2274:
2268:
2267:
2248:
2242:
2241:
2233:
2227:
2226:
2220:
2210:
2204:
2203:
2201:
2199:
2184:
2178:
2177:
2175:
2173:
2167:Klingspor Museum
2164:
2156:
2150:
2149:
2147:
2145:
2139:
2132:
2124:
2118:
2117:
2106:
2097:
2096:
2094:
2092:
2081:
2072:
2071:
2069:
2067:
2052:
2046:
2045:
2027:A Tally of Types
2022:Morison, Stanley
2018:
2012:
2011:
2009:
2007:
1982:
1973:
1972:
1966:
1964:
1945:
1939:
1938:
1930:
1924:
1923:
1903:
1893:
1884:
1883:
1881:
1879:
1859:
1844:
1843:
1841:
1839:
1824:
1818:
1808:
1802:
1801:
1781:
1775:
1774:
1754:
1735:
1734:
1732:
1730:
1716:
1710:
1709:
1704:
1702:
1671:
1665:
1664:
1647:
1641:
1640:
1638:
1636:
1618:
1612:
1611:
1609:
1607:
1588:
1582:
1581:
1561:
1555:
1554:
1552:
1550:
1536:"Aldus Manutius"
1532:
1517:
1506:
1500:
1497:
1491:
1472:
1466:
1463:
1417:
1413:
1405:
1393:
1382:
1366:
1362:
1358:
756:, a part of the
719:gene codes for).
683: = 2."
658:, thought Mary."
611:is an article".
591:Psychology Today
535:television shows
435:
428:
424:
421:
415:
412:inline citations
388:
387:
380:
242:Francesco Griffo
160:Ludovico Arrighi
4485:
4484:
4480:
4479:
4478:
4476:
4475:
4474:
4460:
4459:
4458:
4453:
4435:
4419:
4351:
4311:writing systems
4310:
4304:
4258:
4198:
4142:Microtypography
4081:
4017:
3979:
3956:
3924:
3881:classifications
3880:
3869:
3818:
3772:
3738:Blackboard bold
3724:
3676:
3599:
3549:
3540:Recto and verso
3486:
3481:
3435:
3418:
3414:
3409:
3401:
3394:
3393:
3389:
3374:Warde, Beatrice
3372:
3371:
3367:
3360:
3346:Harling, Robert
3344:
3343:
3339:
3329:
3327:
3322:
3321:
3317:
3307:
3305:
3291:
3283:
3282:
3278:
3268:
3266:
3258:
3257:
3253:
3246:
3242:
3232:
3230:
3222:
3221:
3217:
3210:
3195:
3194:
3190:
3180:
3178:
3169:
3168:
3164:
3154:
3152:
3143:
3142:
3138:
3128:
3126:
3117:
3116:
3112:
3104:
3097:
3092:
3091:
3087:
3077:
3075:
3066:
3065:
3061:
3048:
3047:
3043:
3034:Tracy, Walter.
3033:
3032:
3028:
3018:
3016:
3011:
3010:
3006:
2996:
2994:
2985:
2984:
2980:
2970:
2968:
2955:
2954:
2950:
2943:
2928:
2927:
2920:
2910:
2908:
2896:
2895:
2891:
2884:
2871:
2870:
2866:
2856:
2854:
2845:
2844:
2840:
2830:
2828:
2822:
2821:
2817:
2807:
2805:
2796:
2795:
2791:
2781:
2779:
2769:
2768:
2764:
2754:
2752:
2741:
2740:
2736:
2729:Meditation XVII
2726:
2722:
2712:
2710:
2702:
2701:
2697:
2687:
2685:
2680:
2679:
2675:
2665:
2663:
2655:
2654:
2650:
2636:Wayback Machine
2626:
2622:
2612:Wayback Machine
2602:
2598:
2592:Wayback Machine
2569:
2567:
2559:
2552:
2551:
2547:
2540:
2536:
2526:
2524:
2522:
2514:. p. 162.
2503:
2502:
2498:
2489:
2487:
2472:
2471:
2467:
2454:
2453:
2449:
2439:
2437:
2428:
2427:
2423:
2413:
2411:
2402:
2401:
2397:
2389:Times New Roman
2376:
2374:
2365:Mosley, James.
2364:
2363:
2359:
2349:
2347:
2333:
2332:
2328:
2321:
2306:
2305:
2301:
2276:
2275:
2271:
2250:
2249:
2245:
2235:
2234:
2230:
2212:
2211:
2207:
2197:
2195:
2194:. Adobe Systems
2186:
2185:
2181:
2171:
2169:
2162:
2158:
2157:
2153:
2143:
2141:
2140:on 11 June 2016
2137:
2130:
2126:
2125:
2121:
2108:
2107:
2100:
2090:
2088:
2083:
2082:
2075:
2065:
2063:
2054:
2053:
2049:
2042:
2020:
2019:
2015:
2005:
2003:
2001:
1984:
1983:
1976:
1962:
1960:
1947:
1946:
1942:
1932:
1931:
1927:
1916:
1895:
1894:
1887:
1877:
1875:
1861:
1860:
1847:
1837:
1835:
1826:
1825:
1821:
1809:
1805:
1798:
1783:
1782:
1778:
1771:
1756:
1755:
1738:
1728:
1726:
1718:
1717:
1713:
1700:
1698:
1696:
1673:
1672:
1668:
1662:
1649:
1648:
1644:
1634:
1632:
1620:
1619:
1615:
1605:
1603:
1597:Victor Gaultney
1590:
1589:
1585:
1578:
1563:
1562:
1558:
1548:
1546:
1534:
1533:
1529:
1525:
1520:
1507:
1503:
1498:
1494:
1473:
1469:
1464:
1460:
1456:
1444:
1424:
1415:
1411:
1403:
1391:
1380:
1373:
1364:
1360:
1356:
1350:
1299:. For example:
1272:
1203:
1183:Alfred Fairbank
1147:Jan van Krimpen
1140:Computer Modern
1127:Computer Modern
1120:
1118:Upright italics
1104:
1046:
1020:Citation styles
992:
987:
963:Times New Roman
951:Jan van Krimpen
927:script typeface
919:Stanley Morison
880:Adrian Frutiger
822:design, has an
808:
736:speech balloons
713:β-galactosidase
597:Chicago Tribune
551:quotation marks
492:
465:and italic type
436:
425:
419:
416:
401:
389:
385:
378:
323:Jan van Krimpen
296:Venetian Senate
227:press in Venice
168:
46:
39:
24:
17:
12:
11:
5:
4483:
4481:
4473:
4472:
4462:
4461:
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4345:National Fonts
4337:
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4331:
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4306:
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4290:Web typography
4287:
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4167:Reversing type
4164:
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3791:
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3765:
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3755:
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3748:Color printing
3745:
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3717:
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3707:
3702:
3697:
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3682:Capitalization
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3412:External links
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3026:
3004:
2986:Devroye, Luc.
2978:
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2941:
2918:
2898:Majoor, Martin
2889:
2883:978-3038212607
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2385:'sloped roman'
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1410:instead of an
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1335:Fahrenheit 451
1331:
1328:
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1309:
1306:
1303:
1285:
1271:
1268:
1245:is preferred,
1225:suggests that
1202:
1199:
1167:Frederic Goudy
1119:
1116:
1106:In the 1950s,
1103:
1100:
1045:
1042:
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856:Jeremy Tankard
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573:was served"; "
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500:small capitals
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348:Robert Granjon
223:Aldus Manutius
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156:Aldus Manutius
55:Aldus Manutius
43:Italianization
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4295:BĂ©zier curves
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2644:ISO standards
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2616:ISO standards
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2278:Dreyfus, John
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2017:
2014:
2002:
1996:
1992:
1988:
1981:
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1510:Jim Parkinson
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1159:Martin Majoor
1156:
1152:
1148:
1143:
1141:
1137:
1128:
1124:
1117:
1115:
1113:
1110:invented the
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1021:
1017:
1013:
1009:
1005:
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989:
984:
982:
979:
975:
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969:than dogma".
968:
964:
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936:
932:
928:
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892:
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884:Martin Majoor
881:
877:
873:
869:
865:
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848:
844:
840:
833:
829:
825:
821:
817:
812:
805:
800:
796:
792:
791:personal acts
788:
784:
781:In numbering
780:
775:
771:
767:
763:
759:
755:
751:
748:No man is an
747:
746:
744:
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737:
733:
729:
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613:
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607:): "The word
606:
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583:
580:The names of
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420:December 2017
413:
409:
405:
399:
398:
393:This section
391:
382:
381:
375:
373:
371:
367:
366:
365:Romain du roi
361:
358:matching the
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351:
349:
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336:
328:
324:
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152:chancery hand
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95:
91:
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84:. Along with
83:
79:
76:
72:
68:
60:
56:
52:
48:
44:
37:
33:
29:
22:
21:Italic script
4395:Type foundry
4232:Metric units
4162:Punchcutting
4147:Movable type
4117:Font catalog
4077:Vertical bar
3814:Word spacing
3784:Figure space
3752:
3667:Text figures
3510:Even working
3440:
3397:
3390:
3381:
3368:
3349:
3340:
3328:. Retrieved
3318:
3306:. Retrieved
3301:
3295:
3279:
3267:. Retrieved
3264:Fonts in Use
3263:
3254:
3243:
3231:. Retrieved
3218:
3198:
3191:
3179:. Retrieved
3175:
3165:
3153:. Retrieved
3149:
3139:
3127:. Retrieved
3113:
3102:the original
3088:
3076:. Retrieved
3072:the original
3062:
3053:
3044:
3035:
3029:
3019:23 September
3017:. Retrieved
3007:
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3233:29 February
3155:10 November
3129:10 November
3014:"Bookmania"
2911:12 November
2857:16 December
2831:16 December
2542:Genesis 1:4
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2256:The Library
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1635:10 February
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1281:underlining
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2087:. Monotype
2085:"Fairbank"
1963:11 January
1838:27 October
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2848:"Whitney"
2782:17 August
2603:See also
2188:"Poetica"
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