1233:
1166:
1249:
1389:
1458:
1365:
1301:
1353:
1126:
1138:
1341:
1114:
1150:
1329:
1421:
1269:
1182:
1197:
1405:
1436:
1377:
1478:
1215:
1313:
2616:
look narrower than Jenson's, but are in fact a little wider because the short ones are bigger, and the effect of narrowness makes the face suitable for octavo pages...this Roman of Aldus is distinguishable from other faces of the time by the level cross-stroke in 'e' and the absence of top serifs from the insides of the vertical strokes of 'M', following the model of
Feliciano. We have come to regard his small 'e' as an improvement on previous practice.
59:
47:
35:
697:
5630:
1285:
1096:
888:
1845:, and sometimes some of the later "old-style" faces such as the work of Caslon and his imitators. In addition, of course Baskerville and others of this period would not have seen their work as "transitional" but as an end in itself. Eliason (2015) provides a leading modern critique and assessment of the classification, but even in 1930 A.F. Johnson called the term "vague and unsatisfactory."
416:
880:
1081:
795:
1508:
2584:: Its outstanding design became standard for Roman type in the two centuries to follow...From the 1540s onwards French Romans and Italics had begun to infiltrate, probably by way of Lyons, the typography of the neighbouring countries. In Italy, major printers replaced the older, noble but worn Italian characters and their imitations from Basle.
3030:
examining separately. Adopting a term used by
Fournier le jeune, the style is sometimes called the 'Dutch taste', and sometimes, especially in Germany, 'baroque'. Some names associated with the style are those of Van den Keere, Granjon, Briot, Van Dijck, Kis (maker of the so-called 'Janson' types), and
1679:
in
Japanese. This group is characterized by lines of even thickness for each stroke, the equivalent of "sans serif". This style, first introduced on newspaper headlines, is commonly used on headings, websites, signs and billboards. A Japanese-language font designed in imitation of western serifs also
844:
a crisp, "European" design of type may be considered appropriate. They are used more often for general-purpose body text, such as book printing, in Europe. They remain popular in the printing of Greek, as the Didot family were among the first to establish a printing press in newly independent Greece.
826:
is a softened version of the same basic design, with reduced contrast. Didone typefaces achieved dominance of printing in the early 19th-century printing before declining in popularity in the second half of the century and especially in the 20th as new designs and revivals of old-style faces emerged.
449:
calligraphy. Old-style serif fonts have remained popular for setting body text because of their organic appearance and excellent readability on rough book paper. The increasing interest in early printing during the late 19th and early 20th centuries saw a return to the designs of
Renaissance printers
203:
is now broadly but not universally accepted: the Roman letter outlines were first painted onto stone, and the stone carvers followed the brush marks, which flared at stroke ends and corners, creating serifs. Another theory is that serifs were devised to neaten the ends of lines as they were chiselled
1034:
allow to render distinguishable serifs even in this case, but their proportions and appearance are off and thickness is close to many lines of the main glyph, strongly altering appearance of the glyph. Consequently, it is sometimes advised to use sans-serif fonts for content meant to be displayed on
453:
Old-style type is characterized by a lack of large differences between thick and thin lines (low line contrast) and generally, but less often, by a diagonal stress (the thinnest parts of letters are at an angle rather than at the top and bottom). An old-style font normally has a left-inclining curve
3029:
Although types on the 'Aldine' model were widely used in the 17th and 18th centuries, a new variant that was often slightly more condensed in its proportions, and darker and larger on its body, became sufficiently widespread, at least in
Northern Europe, to be worth defining as a distinct style and
2615:
was decisive in shaping the printers' alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school...the letters
1007:
fonts in print. Colin
Wheildon, who conducted scientific studies from 1982 to 1990, found that sans serif fonts created various difficulties for readers that impaired their comprehension. According to Kathleen Tinkel, studies suggest that "most sans serif typefaces may be slightly less legible than
1601:
style in particular), where each horizontal stroke is ended with a dipping motion of the brush, the ending of horizontal strokes are also thickened. These design forces resulted in the current Song typeface characterized by thick vertical strokes contrasted with thin horizontal strokes, triangular
971:
During the 19th century, genres of serif type besides conventional body text faces proliferated. These included "Tuscan" faces, with ornamental, decorative ends to the strokes rather than serifs, and "Latin" or "wedge-serif" faces, with pointed serifs, which were particularly popular in France and
805:
Didone, or modern, serif typefaces, which first emerged in the late 18th century, are characterized by extreme contrast between thick and thin lines. These typefaces have a vertical stress and thin serifs with a constant width, with minimal bracketing (constant width). Serifs tend to be very thin,
707:
Transitional, or baroque, serif typefaces first became common around the mid-18th century until the start of the 19th. They are in between "old style" and "modern" fonts, thus the name "transitional". Differences between thick and thin lines are more pronounced than they are in old style, but less
2740:
Amsterdam specimen of c. 1688 is an important example of the increasing tendency to regard a range of roman and italic types as a coherent family, and this may well have been a conscious innovation. But italics were romanised to a greater degree in many earlier handwritten examples and occasional
502:
evolved from a quite separate genre of type, intended for informal uses such as poetry, into taking a secondary role for emphasis. Italics moved from being conceived as separate designs and proportions to being able to be fitted into the same line as roman type with a design complementary to it.
1800:
Specifically, Manutius's type, the first type now classified as "Garalde", was not so different from other typefaces around at the time. However, the waves of "Garalde" faces coming out of France from the 1530s onwards did tend to cleanly displace earlier typefaces, and became an international
1596:
on printing blocks ran horizontally, it was fairly easy to carve horizontal lines with the grain. However, carving vertical or slanted patterns was difficult because those patterns intersect with the grain and break easily. This resulted in a typeface that has thin horizontal strokes and thick
1018:
on computer screens. According to Alex Poole, "we should accept that most reasonably designed typefaces in mainstream use will be equally legible". A study suggested that serif fonts are more legible on a screen but are not generally preferred to sans serif fonts. Another study indicated that
495:, which became the inspiration for many typefaces cut in France from the 1530s onwards. Often lighter on the page and made in larger sizes than had been used for roman type before, French Garalde faces rapidly spread throughout Europe from the 1530s to become an international standard.
215:, defined 'surripses', usually pronounced "surriphs", as "projections which appear at the tops and bottoms of some letters, the O and Q excepted, at the beginning or end, and sometimes at each, of all". The standard also proposed that 'surripsis' may be a Greek word derived from
457:
Old-style faces evolved over time, showing increasing abstraction from what would now be considered handwriting and blackletter characteristics, and often increased delicacy or contrast as printing technique improved. Old-style faces have often sub-divided into 'Venetian' (or
482:
Early "humanist" roman types were introduced in Italy. Modelled on the script of the period, they tend to feature an "e" in which the cross stroke is angled, not horizontal; an "M" with two-way serifs; and often a relatively dark colour on the page. In modern times, that of
2897:
Antiqua is a term used in German to denote serif typefaces, many of them oldstyles (Garamond-Antiqua, Palatino-Antiqua, etc.). The word is used in very much the same way as "roman" in
English-speaking typography to differentiate between upright and italic typefaces in a
1863:
Early slab-serif types were given a variety of names for branding purposes, such as 'Egyptian', 'Italian', 'Ionic', 'Doric', 'French-Clarendon' and 'Antique', which generally have little or no connection to their actual history. Nonetheless, the names have persisted in
712:. Transitional faces often have an italic 'h' that opens outwards at bottom right. Because the genre bridges styles, it is difficult to define where the genre starts and ends. Many of the most popular transitional designs are later creations in the same style.
1836:
It should be realised that "Transitional" is a somewhat nebulous classification, almost always including
Baskerville and other typefaces around this period but also sometimes including 19th and 20th-century reimaginations of old-style faces, such as
1457:
915:, are slab-serif designs. While not always purely slab-serif designs, many fonts intended for newspaper use have large slab-like serifs for clearer reading on poor-quality paper. Many early slab-serif types, being intended for posters, only come in
1165:
2741:
earlier types, and Jean Jannon displayed a full range of matching roman and italic of his own cutting in his 1621 specimen... Haiman notes that this trend is foreshadowed in the specimens of Guyot in the mid-sixteenth century and Berner in 1592.
1694:
Farang Ses, designed in 1913, was the first Thai typeface to employ thick and thin strokes reflecting old-style serif Latin typefaces, and became extremely popular, with its derivatives widely used into the digital age. (Examples: Angsana UPC,
895:
Slab serif typefaces date to about 1817. Originally intended as attention-grabbing designs for posters, they have very thick serifs, which tend to be as thick as the vertical lines themselves. Slab serif fonts vary considerably: some such as
638:
often dividing along ideological or political lines. After the mid-20th century, Fraktur fell out of favor and
Antiqua-based typefaces became the official standard in Germany. (In German, the term "Antiqua" refers to serif typefaces.)
958:
are examples of newspaper and small print-oriented typefaces with some slab-serif characteristics, often most visible in the bold weights. In the late 20th century, the term "humanist slab-serif" has been applied to typefaces such as
1388:
4392:
470:
system. Nonetheless, some have argued that the difference is excessively abstract, hard to spot except to specialists and implies a clearer separation between styles than originally appeared. Modern typefaces such as
3315:
1248:
1035:
screens, as they scale better for low resolutions. Indeed, most web pages employ sans-serif type. Recent introduction of desktop displays with 300+ dpi resolution might eventually make this recommendation obsolete.
1232:
708:
dramatic than they are in the Didone fonts that followed. Stress is more likely to be vertical, and often the "R" has a curled tail. The ends of many strokes are marked not by blunt or angled serifs but by
2455:
The Aldine Press: catalogue of the
Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles : incorporating works recorded elsewhere
1993:
2637:
1404:
776:
Later 18th-century transitional typefaces in Britain begin to show influences of Didone typefaces from Europe, described below, and the two genres blur, especially in type intended for body text;
1300:
1854:
Additional subgenres of Didone type include "fat faces" (ultra-bold designs for posters) and "Scotch Modern" designs (used in the English-speaking world for book and newspaper printing).
209:
The British Standard of the Capital Letters contained in the Roman Alphabet, forming a complete code of systematic rules for a mathematical construction and accurate formation of the same
398:. It would seem to mean "out of the ordinary" in this usage, as in art 'grotesque' usually means "elaborately decorated". Other synonyms include "Doric" and "Gothic", commonly used for
2540:
2389:
1420:
904:
model have a structure more like most other serif fonts, though with larger and more obvious serifs. These designs may have bracketed serifs that increase width along their length.
4628:
3002:
1810:
Early italics were intended to exist on their own on the page, and so often had very long ascenders and descenders, especially the "chancery italics" of printers such as Arrighi.
1268:
1125:
1814:'s Cancelleresca Bastarda typeface, intended to complement his serif family Romulus, was nonetheless cast on a larger body to allow it to have an appropriately expansive feel.
1364:
5215:
1352:
3299:
2800:
454:
axis with weight stress at about 8 and 2 o'clock; serifs are almost always bracketed (they have curves connecting the serif to the stroke); head serifs are often angled.
626:
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
2517:
566:
and ITC Legacy. Several of these blend in Garalde influences to fit modern expectations, especially placing single-sided serifs on the "M"; Cloister is an exception.
487:
has been the most admired, with many revivals. Garaldes, which tend to feature a level cross-stroke on the "e", descend from an influential 1495 font cut by engraver
2770:
2707:
1214:
1196:
1113:
3942:
3094:
1933:
284:
2358:
3545:
1149:
5589:
1340:
4225:
the majority of the world's newspapers are typeset in one or another of the traditional Linotype 'Legibility Group', and most of the rest in their derivatives.
1137:
900:
have a geometric design with minimal variation in stroke width—they are sometimes described as sans-serif fonts with added serifs. Others such as those of the
1022:
When size of an individual glyph is 9–20 pixels, proportional serifs and some lines of most glyphs of common vector fonts are smaller than individual pixels.
806:
and vertical lines very heavy. Didone fonts are often considered to be less readable than transitional or old-style serif typefaces. Period examples include
2483:
3746:
3209:
Unger, Gerard (1 January 2001). "The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones".
2629:
2336:
2197:
2143:
1886:
3804:
3705:
1435:
1181:
2305:
1827:, who commissioned Times New Roman, noted that he hoped that it "has the merit of not looking as if it had been designed by somebody in particular".
3781:
2174:
4476:
3373:
1477:
4458:
3237:
3117:
1531:
akin to serif and sans serif fonts in the West. In Mainland China, the most popular category of serifed-like typefaces for body text is called
1328:
4109:
1312:
4598:
4583:
4528:
4427:
3936:
3158:
3088:
2876:
2764:
2701:
2577:
2463:
2395:
1971:
1927:
1763:
4659:
4156:
3013:
2107:
4571:
3641:
4578:, 2 vols., Library of the Written Word series, No. 6, The Handpress World subseries, No. 4 (Leiden: Koninklijke Brill NV, 2008-11-27),
4132:
3309:
2668:
1758:
647:
A new genre of serif type developed around the 17th century in the Netherlands and Germany that came to be called the "Dutch taste" (
4543:
4405:
4381:
4356:
4338:
4309:
4295:
4218:
4090:
4047:
4022:
3982:
3968:
3900:
3684:
2605:
3414:
2976:
2246:
2275:
1376:
1284:
3842:
2792:
1768:
1395:
770:
3869:
907:
Because of the clear, bold nature of the large serifs, slab serif designs are often used for posters and in small print. Many
3592:
3566:
2532:
5584:
4397:
4180:
3055:
5469:
5431:
3009:
2366:
661:(tall lower-case letters) and a sharp contrast between thick and thin strokes, perhaps influenced by blackletter faces.
630:-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the
258:
were "ornamented (or rather disfigured) by additions of what believe type-founders call syrifs or cerefs". The printer
1095:
635:
104:) is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular
5615:
4684:
1987:
1019:
comprehension times for individual words are slightly faster when written in a sans serif font versus a serif font.
5195:
4315:
2737:
1275:
963:, Caecilia and Tisa, with strong serifs but an outline structure with some influence of old-style serif typefaces.
734:
730:
673:
1894:
4841:
3301:
Transitional Faces: The Lives & Work of Richard Austin, type-cutter, and Richard Turner Austin, wood-engraver
2829:
2492:
264:
4269:
Originally exhibited 18–31 October 2002 at the Jamjuree Art Gallery, Chulalongkorn University, and published in
2069:
5654:
5599:
5416:
5087:
5024:
4729:
4652:
3615:
2328:
1659:
1080:
575:
467:
463:
459:
399:
2205:
2135:
167:, in order of first appearance. Some Old-style typefaces can be classified further into one of two subgroups:
4172:
Moret-Tatay, C., & Perea, M. (2011). Do serifs provide an advantage in the recognition of written words?
3813:
3701:
3750:
2834:
1748:
1038:
As serifs originated in inscription, they are generally not used in handwriting. A common exception is the
5044:
4767:
4549:
1426:
340:, Van der Sijs lists words by first known publication in the language area that is the Netherlands today:
207:
The origin of the word 'serif' is obscure, but apparently is almost as recent as the type style. The book
24:
4301:
3337:
Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification".
2297:
5519:
5019:
5014:
4927:
4914:
4747:
4561:
4557:
3773:
1255:
1188:
1172:
1027:
726:
669:
665:
259:
188:
4497:
4237:
3246:
2166:
476:
3380:
2570:
The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. 2 vols
5311:
4952:
4806:
4473:
4455:
4333:, 2nd ed., edited by Mary W. Gilroy (Davenport, Iowa: Catich Gallery, St. Ambrose University, 1991),
3125:
2856:
2388:
Dixon, Catherine (2002), "Twentieth Century Graphic Communication: Technology, Society and Culture",
1788:
1156:
960:
939:
923:
901:
4106:
1511:
From left to right: a serif typeface with serifs in red, a serif typeface, and a sans-serif typeface
243:
5659:
5633:
5594:
5507:
5401:
5256:
5234:
5224:
5092:
4699:
4689:
4645:
4150:
The Effects of Font Type and Size on the Legibility and Reading Time of Online Text by Older Adults
988:
984:
927:
897:
823:
789:
754:
681:
543:
515:
251:
192:
2022:
5557:
5484:
5464:
5454:
5426:
5396:
5356:
4983:
4846:
4831:
4772:
4762:
4412:
3539:
3354:
3191:
2511:
2435:
1842:
1696:
1528:
1031:
980:
935:
841:
815:
766:
758:
563:
559:
427:
4565:
3490:
Ovink, G.W. (1 January 1972). "Nineteenth-century reactions against the didone type model-III".
2868:
1963:
972:
other parts of Europe including for signage applications such as business cards or shop fronts.
836:
4082:
4076:
2099:
5502:
5421:
5376:
5306:
4777:
4594:
4579:
4576:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-Century Typefaces
4539:
4524:
4423:
4401:
4377:
4362:
4352:
4334:
4305:
4290:
4214:
4153:
4086:
4043:
4018:
3978:
3964:
3932:
3727:
3680:
3305:
3272:
3154:
3084:
2913:
2872:
2760:
2756:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
2754:
2697:
2693:
The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces
2691:
2601:
2573:
2565:
2459:
2227:
1967:
1923:
1838:
1753:
1520:
1291:
955:
943:
931:
919:
styles with the key differentiation being width, and often have no lower-case letters at all.
746:
527:
3926:
3676:
3669:
3645:
3524:
3148:
3078:
2842:
2470:: the press followed precedent; popular in France, types rapidly spread over western Europe.
2453:
1917:
5388:
5341:
5180:
5127:
4988:
4798:
4494:
The 'modern face' in France and Great Britain, 1781-1825: typography as an ideal of progress
3499:
3472:
3445:
3346:
3280:
3218:
3183:
2946:
2921:
2660:
2427:
1516:
1464:
1239:
811:
742:
586:
488:
81:
4129:
845:
The period of Didone types' greatest popularity coincided with the rapid spread of printed
5524:
5411:
5406:
5326:
5294:
5185:
4922:
4724:
4480:
4462:
4184:
4160:
4136:
4113:
4078:
Type and Layout: How Typography and Design Can Get your Message Across – Or Get in the Way
3974:
1824:
1811:
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1689:
1502:
1042:
819:
750:
700:
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631:
523:
472:
212:
125:
5479:
4632:
4422:, edited by Brooke Crutchley et al., 2nd ed. (London: Cambridge University Press, 1973),
3892:
3406:
2968:
2231:
2016:
58:
46:
34:
5529:
5474:
5351:
5154:
4978:
4932:
4866:
4836:
4704:
3463:
Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - II".
3031:
2861:
2271:
1956:
1602:
ornaments at the end of single horizontal strokes, and overall geometrical regularity.
1589:
1524:
1105:
1087:
1060:
908:
738:
696:
555:
492:
484:
434:
419:
289:
277:
184:
3436:
Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - I".
394:
s earliest citation for "grotesque" in this sense is 1875, giving 'stone-letter' as a
5648:
5321:
5289:
5279:
5159:
4344:
4326:
3518:
3195:
2940:
1484:
1204:
1039:
719:
709:
196:
4393:
Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students
3838:
3358:
2439:
2413:
2411:
5579:
5459:
5346:
5331:
5301:
5261:
5244:
4998:
4968:
4942:
4851:
4694:
4676:
4387:
3922:
3865:
2939:
Updike, Daniel Berkeley (1922). "Chapter 15: Types of the Netherlands, 1500-1800".
2892:
2823:
2728:
2018:
Typographia, an Historical Sketch of the Origin and Progress of the Art of Printing
1958:
Digital Typography: Practical Advice for Getting the Type You Want When You Want It
1735:
1585:
1581:
1023:
831:
547:
431:
20:
4433:———, “Type Designs of the Past and Present,” was serialized in 4 parts in 1937 in
3588:
3562:
3284:
2925:
3928:
Type on Screen: A Critical Guide for Designers, Writers, Developers, and Students
1008:
most serif faces, but ... the difference can be offset by careful setting".
5574:
5569:
5562:
5552:
5366:
5316:
5271:
5211:
5175:
5146:
5134:
5114:
4937:
4889:
4757:
4568:
dislike of Dutch and modern-face printing, but extremely comprehensive in scope.
1411:
840:, where the paper retains the detail of their high contrast well, and for whose
623:
551:
499:
446:
442:
438:
135:
4514:
Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé
4430:. (on revivals of historical typefaces created by the British company Monotype)
4177:
3187:
3047:
887:
5547:
5361:
5251:
5104:
5097:
5074:
5029:
4993:
4947:
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4719:
4714:
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2431:
1593:
1063:
1015:
1011:
1004:
976:
947:
912:
879:
874:
762:
715:
Fonts from the original period of transitional typefaces include early on the
415:
139:
121:
71:
911:, on which all characters occupy the same amount of horizontal space as in a
657:). It was a tendency towards denser, more solid typefaces, often with a high
19:
This article is about the font characteristic. For the software company, see
5039:
5034:
4811:
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1708:
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1000:
854:
4211:
The Changing Newspaper: typographic trends in Britain and America 1622-1972
3174:
Corbeto, A. (25 September 2009). "Eighteenth Century Spanish Type Design".
794:
124:. Some typography sources refer to sans-serif typefaces as "grotesque" (in
2418:
Amert, Kay (April 2008). "Stanley Morison's Aldine Hypothesis Revisited".
5512:
5371:
5190:
5063:
5049:
4874:
4826:
3350:
3267:
3265:
916:
862:
858:
857:. As a result, many Didone typefaces are among the earliest designed for
850:
658:
619:
542:. Contemporary typefaces with Venetian old style characteristics include
539:
531:
511:
450:
and type-founders, many of whose names and designs are still used today.
183:
Serifs originated from the first official Greek writings on stone and in
109:
2893:"Renner Antiqua – Reviving a serif typeface from the designer of Futura"
5336:
5122:
4973:
4884:
4816:
4752:
2600:(Second edition (2002) ed.). London: Hyphen Press. pp. 72–4.
1919:
Typography workbook: a real-world guide to using type in graphic design
1507:
951:
777:
627:
519:
395:
4257:๑๐ ตัวพิมพ์ กับ ๑๐ ยุคสังคมไทย (10 Faces of Thai Type and Thai Nation)
1722:
151:
Serif typefaces can be broadly classified into one of four subgroups:
5239:
4856:
2065:
1532:
846:
807:
798:
685:
677:
247:
234:
222:
3619:
437:. Early printers in Italy created types that broke with Gutenberg's
4554:
Printing Types, their History, Forms, and Use: A Study in Survivals
262:
referred to them as "ceriphs" in 1825. The oldest citations in the
4821:
4789:
4593:, Annotated catalogue (Leiden: Koninklijke Brill NV, 1968-01-01),
1606:
1598:
1506:
1306:
Didone type in a book printed by the company of Firmin Didot, 1804
886:
878:
793:
695:
535:
507:
414:
2129:
2127:
2125:
1414:
in the style of Jenson and other typefaces of his Kelmscott Press
5438:
5284:
5229:
1610:
1048:, where the addition of serifs distinguishes the character from
105:
4641:
4105:
Kathleen Tinkel, "Taking it in: What makes type easy to read",
2996:
2994:
4507:
3806:
Three chapters in the development of clarendon/ionic typefaces
2630:"Aldine: the intellectuals begin their assault on font design"
2458:. Berkeley : Univ. of California Press. 2001. pp. 22–25.
1791:, common in Adobe typefaces but not found in the 16th century.
601:
90:
4637:
228:
216:
4622:, edited by Hendrik D. L. Vervliet (London: Phaidon, 1972).
4504:
Robert Thorne and the Introduction of the 'modern' fat face
1646:
The other common East Asian style of type is called black (
1523:
writing systems, there are common type styles based on the
1220:
Condensed, high x-height types in the "Dutch taste" style,
1074:
Below are some images of serif letterforms across history:
610:
1619:—"fish scales". In Chinese, the serifs are called either
1597:
vertical strokes. In accordance with Chinese calligraphy (
4213:(1. publ. ed.). London: Fraser. pp. 100–2 etc.
3557:
3555:
1056:
1052:
1045:
589:
506:
Examples of contemporary Garalde old-style typefaces are
298:, meaning "line, stroke of the pen", related to the verb
93:
4331:
The Origin of the Serif: Brush Writing and Roman Letters
2093:
2091:
2089:
2087:
334:
is documented by Van Veen and Van der Sijs. In her book
4556:, 2 vols. (Cambridge: Harvard University Press, 1922),
2942:
Printing Types: Their History, Forms and Uses: Volume 2
4127:
Which Are More Legible: Serif or Sans Serif Typefaces?
3749:. Graphic Design and Publishing Centre. Archived from
3618:. Gerry Leonidas/University of Reading. Archived from
2908:
2906:
1614:
1429:'s "Garamond" type, an example of historicist printing
272:) are 1830 for 'serif' and 1841 for 'sans serif'. The
4591:
Sixteenth Century Printing Types of the Low Countries
2572:. Leiden: Koninklijke Brill NV. pp. 90–91, etc.
2167:"Garamond, Griffo and Others: The Price of Celebrity"
1653:
1632:
1620:
1580:). The names of these lettering styles come from the
1575:
1563:
1542:
607:
604:
592:
426:
Old-style typefaces date back to 1465, shortly after
96:
87:
4521:
Revival Type: Digital Typefaces Inspired by the Past
3080:
Revival Type: Digital Typefaces Inspired by the Past
1605:
In Japanese typography, the equivalent of serifs on
1547:); in Japan, the most popular serif style is called
891:
Clarendon, an example of a less geometric slab serif
830:
In print, Didone fonts are often used on high-gloss
822:
is a popular contemporary example. The very popular
598:
5608:
5540:
5493:
5447:
5387:
5270:
5210:
5168:
5145:
5113:
5073:
5062:
5007:
4961:
4913:
4865:
4797:
4788:
4738:
4675:
3730:(1970). "Fat Faces: Their History, Forms and Use".
2560:
2558:
883:
Rockwell, an example of a more geometric slab serif
595:
84:
3812:(MA Thesis). University of Reading. Archived from
3668:
3275:(1930). "The Evolution of the Modern-Face Roman".
3245:
2860:
2822:
2533:"Nicolas Jenson and the success of his roman type"
1955:
975:Well-known typefaces in the "Latin" style include
703:, a modern example of a transitional serif design.
112:or "font family" making use of serifs is called a
2365:. Spokane Falls Community College. Archived from
4063:Merriam-Webster's Manual for Writers and Editors
1003:because they are considered easier to read than
120:), and a typeface that does not include them is
4606:French Renaissance Printing Types: A Conspectus
2198:"Top Ten Typefaces Used by Book Design Winners"
1670:
1548:
1131:Great Primer type (c. 18 pt) by Claude Garamond
773:have been described as transitional in design.
4620:The Book Through Five Thousand Years: A Survey
4174:Journal of Cognitive Psychology 23, 5, 619-24.
3973:(2nd ed.). Hartley & Marks. pp.
3118:"Type Designs of the Past and Present, Part 3"
2863:The Printing Revolution in Early Modern Europe
2359:"Type anatomy: Family Classifications of Type"
1720:
1664:
1555:
5590:Intellectual property protection of typefaces
4653:
4374:Historical Types: From Gutenberg to Ashendene
3931:. Princeton Architectural Press. p. 16.
3238:"The history of the Times New Roman typeface"
1647:
1638:
1626:
1569:
1536:
134:) or "Gothic" (although this often refers to
8:
5132:
4320:A View of Early Typography: Up to about 1600
3675:. New Haven: Yale University Press. p.
2516:: CS1 maint: multiple names: authors list (
1962:. Windsor Professional Information. p.
1719:The analogs of serifs, known in Japanese as
1562:; and in Taiwan and Hong Kong, it is called
716:
648:
285:Webster's Third New International Dictionary
143:
129:
4367:Type Designs: Their History and Development
2598:A View of Early Typography up to about 1600
664:Artists in the "Dutch taste" style include
383:(to scratch, eliminate by strike-through)).
378:
372:
366:
360:
352:
344:
335:
329:
323:
317:
311:
305:
299:
293:
5070:
4794:
4660:
4646:
4638:
3544:: CS1 maint: location missing publisher (
2733:Journal of the Printing Historical Society
5616:Punctuation and other typographic symbols
3083:. Yale University Press. pp. 85–98.
2491:. San Jose: Adobe Systems. Archived from
2329:"Unusual fifteenth-century fonts: part 2"
2298:"Unusual fifteenth-century fonts: part 1"
1398:, a reimagination of pre-Didone typefaces
922:Examples of slab-serif typefaces include
250:Greek types, remarking that the types of
4536:Letters of Credit: A View of Type Design
2482:Twardoch, Slimbach, Sousa, Slye (2007).
1066:are also often handwritten with serifs.
466:' (or 'Aldine'), a division made on the
4613:Liber librorum: 5000 ans d'art du livre
4496:(thesis, University of Reading, 2014),
4415:," Type, kupferschrift.de (2016-01-15).
4349:Nineteenth Century Ornamented Typefaces
4148:Effects of Font Type on the Legibility
4081:. Berkeley: Strathmoor Press. pp.
4000:Nineteenth-century Ornamented Typefaces
3774:"The Story of Our Friend, the Fat Face"
2867:. Cambridge University Press. pp.
1877:
1780:
1643:, lit. "forms with ornamental lines").
1483:Humanist slab-serif PNM Caecilia on an
1471:typefaces during the twentieth century.
1076:
749:in England. Among more recent designs,
622:used to mimic styles of handwriting or
310:now also means "serif" in Dutch). Yet,
4564:—now outdated and known for a strong,
4197:The Principles of Beautiful Web Design
3537:
2509:
2339:from the original on 30 September 2017
2308:from the original on 13 September 2017
2110:from the original on 27 September 2017
1992:. January–February 1921. p. 265.
138:type as well) and serif typefaces as "
4042:. Walter de Gruyter. pp. 26–35.
3903:from the original on 16 February 2020
3872:from the original on 24 February 2021
3845:from the original on 5 September 2015
3732:Selected Essays on Books and Printing
3318:from the original on 11 February 2017
2979:from the original on 23 December 2015
2945:. Harvard University Press. pp.
2731:(1983). "The Types of Nicholas Kis".
2394:, Friends of St Bride, archived from
2232:"Old-Face Types in the Victorian Age"
2146:from the original on 13 November 2023
1891:TA. Showker Graphic Arts & Design
1716:, a similar style in Asian typefaces
1175:, introducing the "Dutch taste" style
1119:Title page printed by Robert Estienne
865:" style becoming a common sub-genre.
441:printing, creating upright and later
195:. The explanation proposed by Father
7:
4300:version 4.0 (Vancouver, BC, Canada:
3945:from the original on 9 February 2024
3784:from the original on 9 November 2021
3772:Kennard, Jennifer (3 January 2014).
3644:. Greek Font Society. Archived from
3097:from the original on 9 February 2024
2843:participating institution membership
2793:"Searching for Morris Fuller Benton"
2671:from the original on 19 October 2017
2640:from the original on 17 January 2022
2543:from the original on 9 February 2024
2177:from the original on 8 December 2015
2136:"The Venetian origins of roman type"
2072:from the original on 16 October 2015
1996:from the original on 9 February 2024
1922:. Rockport Publishers. p. 240.
4538:, 2nd ed. (David R. Godine, 2003),
4523:(Brighton: Quid Publishing, 2017),
4437:(the last 2 are available online):
4408:, <www.thinkingwithtype.com>.
3671:Graphic design : a new history
3569:from the original on 14 August 2015
2659:Boardley, John (25 November 2014).
2628:Bergsland, David (29 August 2012).
1787:Note that this image includes 'Th'
1208:, the first "transitional" typeface
422:, an example of an old-style serif.
4238:"和文フォント大図鑑 [ダイナコムウェア／その他]"
3153:. 010 Publishers. pp. 27–29.
3054:. TYPO, republished by PampaType.
2803:from the original on 11 April 2017
2296:Boardley, John (7 February 2014).
1887:"Sans Serif: Gothic and Grotesque"
1492:Analogues in other writing systems
999:Serifed fonts are widely used for
246:printed with his own experimental
191:—words carved into stone in Roman
14:
4296:The Elements of Typographic Style
3970:The Elements of Typographic Style
3839:"Sentinel: historical background"
3708:from the original on 12 June 2018
3417:from the original on 22 June 2015
3058:from the original on 12 June 2018
2916:(1939). "The 'Goût Hollandois'".
2661:"Brief notes on the first italic"
2252:from the original on 5 March 2016
1592:flourished in China. Because the
1358:"Fat face" ultra-bold Didone type
1346:Display type with pattern inside
322:(to write). The relation between
156:
5629:
5628:
4116:Accessed 28 December 2010. p. 3.
3595:from the original on 8 July 2013
2753:Vervliet, Hendrik D. L. (2008).
2690:Vervliet, Hendrik D. L. (2008).
2098:Boardley, John (18 April 2016).
1476:
1456:
1434:
1419:
1403:
1387:
1375:
1363:
1351:
1339:
1327:
1311:
1299:
1283:
1267:
1247:
1231:
1213:
1195:
1180:
1164:
1148:
1136:
1124:
1112:
1094:
1079:
585:
562:, Goudy's Italian Old Style and
172:
80:
57:
45:
33:
4627:James Mosley's reading lists:
4038:Frutiger, Adrian (8 May 2014).
4017:. Chronicle Books. p. 23.
4013:Lupton, Ellen (15 April 2014).
3616:"A primer on Greek type design"
3405:Shaw, Paul (10 February 2011).
2773:from the original on 2023-11-01
2710:from the original on 2023-11-01
2278:from the original on 2009-02-21
2015:Hansard, Thomas Curson (1825).
1936:from the original on 2024-02-09
1738:, an elaborate typographic joke
1370:The original Clarendon typeface
688:, especially the larger sizes.
304:, "to delete, strike through" (
164:
16:Decorative detail in typography
4629:"Type and its Uses, 1455–1830"
4040:Typefaces – the complete works
3046:de Jong, Feike; Lane, John A.
3003:"Type and its Uses, 1455-1830"
2363:SFCC Graphic Design department
801:, an example of a modern serif
276:speculates that 'serif' was a
152:
1:
5585:History of Western typography
4618:Translation: Fernand Baudin,
4398:Princeton Architectural Press
4322:(London: Hyphen Press, 2002).
4065:, (Springfield, 1998) p. 329.
3841:. Hoefler & Frere-Jones.
3667:Eskilson, Stephen J. (2007).
3591:. Hoefler & Frere-Jones.
3565:. Hoefler & Frere-Jones.
1631:, lit. "forms with legs") or
1446:
1221:
5432:traditional point-size names
3893:"Most Overlooked: Chaparral"
3304:. Berkeley: Poltroon Press.
3010:Institute of English Studies
2327:Boardley, John (July 2015).
1467:typefaces, the most popular
725:in France, then the work of
684:types based on his work and
235:
223:
168:
4685:Canons of page construction
3866:"Know your type: Clarendon"
3379:. Shinntype. Archived from
3298:Johnston, Alastair (2014).
3285:10.1093/library/s4-XI.3.353
3077:Paul Shaw (18 April 2017).
3048:"The Briot project. Part I"
2926:10.1093/library/s4-XX.2.180
2759:. BRILL. pp. 287–319.
2696:. BRILL. pp. 287–289.
1671:
1654:
1633:
1621:
1615:
1576:
1564:
1549:
1543:
1143:Gros Canon type by Garamond
160:
5676:
4413:Some Type Genres Explained
2066:"A Neo-Grotesque Heritage"
1687:
1500:
1014:are considered to be more
995:Readability and legibility
872:
787:
573:
229:
217:
18:
5624:
4842:Subscript and superscript
4376:(Oak Knoll Press, 2012),
4351:, 2nd ed. (Faber, 1976),
3803:Miklavčič, Mitja (2006).
3116:Morison, Stanley (1937).
2830:Oxford English Dictionary
2432:10.1162/desi.2008.24.2.53
1893:. Showker. Archived from
1730:, literally "fish scales"
1721:
1665:
1648:
1639:
1627:
1570:
1556:
1537:
1290:Modern-face types by the
1055:(l). The printed capital
861:use, with an ultra-bold "
498:Also during this period,
400:Japanese Gothic typefaces
337:Chronologisch Woordenboek
265:Oxford English Dictionary
5600:Vox-ATypI classification
4730:Intentionally blank page
4608:(Oak Knoll Press, 2010).
4487:, 4, 4 (1937-12): 61–81.
4469:, 4, 3 (1937-11): 17–32;
4075:Wheildon, Colin (1995).
3563:"HFJ Didot introduction"
3188:10.1093/library/10.3.272
2043:Etymologisch Woordenboek
1916:Samara, Timothy (2004).
1743:Lists of serif typefaces
1382:Display-size slab-serifs
987:and the more restrained
576:Antiqua (typeface class)
468:Vox-ATypI classification
64:Serif font (red serifs)
3998:Gray, Nicolete (1976).
3504:10.1163/157006972X00229
3477:10.1163/157006971x00239
3450:10.1163/157006971x00301
3223:10.1163/157006901X00047
3147:Jan Middendorp (2004).
3124:: 17–81. Archived from
2835:Oxford University Press
2391:Typeface classification
2100:"The first roman fonts"
1754:List of typefaces#Serif
1749:List of serif typefaces
1463:Sample of the Linotype
1276:Joan Michaël Fleischman
780:is an example of this.
771:"modernised old styles"
636:Antiqua–Fraktur dispute
242:In 1827, Greek scholar
201:The Origin of the Serif
189:inscriptional lettering
5133:
4550:Daniel Berkeley Updike
4277:(211). September 2002.
4154:psychology.wichita.edu
3517:Frazier, J.L. (1925).
3407:"Overlooked Typefaces"
3279:. s4-XI (3): 353–377.
2920:. s4-XX (2): 180–196.
2596:Carter, Harry (1969).
2566:Vervliet, Hendrik D.L.
2165:Mosley, James (2006).
1954:Goldberg, Rob (2000).
1613:characters are called
1512:
892:
884:
834:for magazines such as
802:
737:in the Low Countries,
717:
704:
649:
479:may fuse both styles.
423:
379:
373:
367:
361:
353:
345:
336:
330:
324:
318:
312:
306:
300:
294:
288:traces 'serif' to the
144:
130:
108:or family of fonts. A
25:Serif (disambiguation)
23:. For other uses, see
4516:, I.M. Imprimit, 1993
4502:Sébastien Morlighem,
4492:Sébastien Morlighem,
4411:Indra Kupferschmid, "
4396:, 2nd ed. (New York:
2859:(12 September 2005).
2857:Eisenstein, Elizabeth
1989:The Linotype Bulletin
1510:
1394:Miller and Richard's
1274:Transitional type by
1256:Pierre-Simon Fournier
1189:Christoffel van Dijck
1173:Hendrik van den Keere
1028:spatial anti-aliasing
890:
882:
797:
727:Pierre Simon Fournier
699:
670:Christoffel van Dijck
666:Hendrik van den Keere
418:
377:(to write), not from
316:is the past tense of
260:Thomas Curson Hansard
179:Origins and etymology
5470:Typographic features
4259:(in Thai). Thaifaces
4251:Pracha Suveeranont.
4209:Hutt, Allen (1973).
3819:on November 25, 2011
3704:. Forgotten-Shapes.
3702:"Affichen-Schriften"
3700:Pané-Farré, Pierre.
3351:10.1162/DESI_a_00349
2973:Typofonderie Gazette
1396:Modernised Old Style
1318:Bodoni's posthumous
1260:Manuel typographique
674:Miklós Tótfalusi Kis
5595:Technical lettering
5494:Typography in other
5235:Hanging punctuation
4566:not always accurate
4304:Publishers, 2012),
4302:Hartley & Marks
3734:. pp. 409–415.
3523:. Chicago. p.
3386:on 25 February 2021
2833:(Online ed.).
2634:The Skilled Workman
2202:FontFeed (archived)
1823:Monotype executive
1441:Memorial plaque by
1320:Manuale Tipografico
985:Johnston Delf Smith
853:and the arrival of
790:Didone (typography)
445:styles inspired by
430:'s adoption of the
252:Giambattista Bodoni
157:§ transitional
5558:Handwriting script
5485:Desktop publishing
5455:Character encoding
5448:Digital typography
4962:Horizontal aspects
4915:Visual distinction
4773:Widows and orphans
4506:, 2020, Poem, and
4479:2021-07-24 at the
4461:2017-09-04 at the
4183:2011-05-16 at the
4159:2009-10-07 at the
4135:2010-03-06 at the
4125:Literature Review
4112:2012-10-19 at the
4015:Thinking with Type
3965:Bringhurst, Robert
3925:(12 August 2014).
3864:Challand, Skylar.
3728:Johnson, Alfred F.
3273:Johnson, Alfred F.
2531:Olocco, Riccardo.
2134:Olocco, Riccardo.
1897:on 19 October 2012
1529:Chinese characters
1513:
1334:Inline modern face
1278:of Amsterdam, 1768
1086:The roman type of
1032:subpixel rendering
981:Copperplate Gothic
893:
885:
803:
769:, and the earlier
705:
668:, Nicolaas Briot,
564:Berkeley Old Style
428:Johannes Gutenberg
424:
227:, "together") and
173:§ Dutch Taste
5642:
5641:
5389:Typographic units
5307:For position only
5206:
5205:
5058:
5057:
4599:978-90-6194-859-9
4584:978-90-04-16982-1
4572:H. D. L. Vervliet
4529:978-0-300-21929-6
4451:, 4, 2 (1937-12);
4444:, 4, 1 (1937-09);
4428:978-0-521-09786-4
4418:Stanley Morison,
4363:Alfred F. Johnson
4291:Robert Bringhurst
3938:978-1-61689-346-0
3899:. Adobe Systems.
3891:Phinney, Thomas.
3753:on 9 October 2015
3745:Phinney, Thomas.
3648:on 21 August 2015
3622:on 4 January 2017
3614:Leonidas, Gerry.
3160:978-90-6450-460-0
3090:978-0-300-21929-6
3019:on 9 October 2016
2878:978-0-521-84543-4
2841:(Subscription or
2766:978-90-04-16982-1
2703:978-90-04-16982-1
2665:i love typography
2579:978-90-04-16982-1
2498:on 30 August 2014
2465:978-0-520-22993-8
2333:i love typography
2302:i love typography
2272:"Old Style Serif"
2239:Monotype Recorder
2068:. Adobe Systems.
2045:(Van Dale, 1997).
1973:978-1-893190-05-4
1929:978-1-59253-081-6
1885:Phinney, Thomas.
1658:) in Chinese and
1410:William Morris's
1292:Amoretti Brothers
956:Guardian Egyptian
650:"goût Hollandois"
280:from 'sanserif'.
239:, "projection").
199:in his 1968 book
165:§ Slab Serif
142:" (or in German,
68:
67:
5667:
5632:
5631:
5609:Related template
5541:Related articles
5342:Phototypesetting
5196:reverse-contrast
5181:Display typeface
5138:
5115:Blackletter type
5071:
5008:Vertical aspects
4989:Sentence spacing
4799:Typeface anatomy
4795:
4662:
4655:
4648:
4639:
4615:(Arcade, 1972).
4420:A Tally of Types
4369:(Grafton, 1959).
4278:
4268:
4266:
4264:
4248:
4242:
4241:
4234:
4228:
4227:
4206:
4200:
4199:, (2007) p. 113.
4194:
4188:
4170:
4164:
4146:
4140:
4123:
4117:
4103:
4097:
4096:
4072:
4066:
4060:
4054:
4053:
4035:
4029:
4028:
4010:
4004:
4003:
3995:
3989:
3988:
3961:
3955:
3954:
3952:
3950:
3919:
3913:
3912:
3910:
3908:
3888:
3882:
3881:
3879:
3877:
3861:
3855:
3854:
3852:
3850:
3835:
3829:
3828:
3826:
3824:
3818:
3811:
3800:
3794:
3793:
3791:
3789:
3769:
3763:
3762:
3760:
3758:
3742:
3736:
3735:
3724:
3718:
3717:
3715:
3713:
3697:
3691:
3690:
3674:
3664:
3658:
3657:
3655:
3653:
3638:
3632:
3631:
3629:
3627:
3611:
3605:
3604:
3602:
3600:
3585:
3579:
3578:
3576:
3574:
3559:
3550:
3549:
3543:
3535:
3533:
3531:
3514:
3508:
3507:
3487:
3481:
3480:
3460:
3454:
3453:
3433:
3427:
3426:
3424:
3422:
3402:
3396:
3395:
3393:
3391:
3385:
3378:
3369:
3363:
3362:
3334:
3328:
3327:
3325:
3323:
3295:
3289:
3288:
3269:
3260:
3259:
3257:
3255:
3249:
3244:. Archived from
3233:
3227:
3226:
3206:
3200:
3199:
3171:
3165:
3164:
3144:
3138:
3137:
3135:
3133:
3113:
3107:
3106:
3104:
3102:
3074:
3068:
3067:
3065:
3063:
3043:
3037:
3036:
3026:
3024:
3018:
3012:. Archived from
3007:
2998:
2989:
2988:
2986:
2984:
2969:"Type History 1"
2965:
2959:
2958:
2956:
2954:
2936:
2930:
2929:
2910:
2901:
2900:
2889:
2883:
2882:
2866:
2853:
2847:
2846:
2838:
2826:
2819:
2813:
2812:
2810:
2808:
2788:
2782:
2781:
2779:
2778:
2750:
2744:
2743:
2725:
2719:
2718:
2716:
2715:
2687:
2681:
2680:
2678:
2676:
2656:
2650:
2649:
2647:
2645:
2625:
2619:
2618:
2593:
2587:
2586:
2562:
2553:
2552:
2550:
2548:
2528:
2522:
2521:
2515:
2507:
2505:
2503:
2497:
2490:
2479:
2473:
2472:
2450:
2444:
2443:
2415:
2406:
2405:
2404:
2403:
2385:
2379:
2378:
2376:
2374:
2369:on 7 August 2015
2355:
2349:
2348:
2346:
2344:
2324:
2318:
2317:
2315:
2313:
2293:
2287:
2286:
2284:
2283:
2268:
2262:
2261:
2259:
2257:
2251:
2236:
2224:
2218:
2217:
2215:
2213:
2204:. Archived from
2196:Coles, Stephen.
2193:
2187:
2186:
2184:
2182:
2162:
2156:
2155:
2153:
2151:
2131:
2120:
2119:
2117:
2115:
2095:
2082:
2081:
2079:
2077:
2061:
2055:
2052:
2046:
2040:
2034:
2033:
2031:
2029:
2012:
2006:
2005:
2003:
2001:
1984:
1978:
1977:
1961:
1951:
1945:
1944:
1942:
1941:
1913:
1907:
1906:
1904:
1902:
1882:
1865:
1861:
1855:
1852:
1846:
1834:
1828:
1821:
1815:
1808:
1802:
1798:
1792:
1785:
1726:
1725:
1678:
1677:
1674:
1668:
1667:
1657:
1651:
1650:
1642:
1641:
1636:
1630:
1629:
1624:
1618:
1588:dynasties, when
1579:
1573:
1572:
1567:
1561:
1559:
1558:
1552:
1546:
1540:
1539:
1480:
1465:Legibility Group
1460:
1451:
1448:
1438:
1423:
1407:
1391:
1379:
1367:
1355:
1343:
1331:
1315:
1303:
1287:
1271:
1251:
1240:John Baskerville
1235:
1226:
1223:
1217:
1199:
1184:
1168:
1155:1611 book, with
1152:
1140:
1128:
1116:
1098:
1083:
743:John Baskerville
724:
652:
634:world, with the
618:) is a style of
617:
616:
613:
612:
609:
606:
603:
600:
597:
594:
591:
489:Francesco Griffo
393:
382:
376:
370:
364:
356:
348:
339:
333:
327:
321:
315:
309:
303:
297:
238:
232:
231:
226:
220:
219:
153:§ old style
147:
133:
118:serifed typeface
103:
102:
99:
98:
95:
92:
89:
86:
61:
49:
40:Sans-serif font
37:
30:
29:
5675:
5674:
5670:
5669:
5668:
5666:
5665:
5664:
5655:Serif typefaces
5645:
5644:
5643:
5638:
5620:
5604:
5536:
5496:writing systems
5495:
5489:
5443:
5383:
5327:Microtypography
5266:
5202:
5164:
5141:
5109:
5066:classifications
5065:
5054:
5003:
4957:
4923:Blackboard bold
4909:
4861:
4784:
4734:
4725:Recto and verso
4671:
4666:
4481:Wayback Machine
4463:Wayback Machine
4287:
4282:
4281:
4262:
4260:
4250:
4249:
4245:
4236:
4235:
4231:
4221:
4208:
4207:
4203:
4195:
4191:
4185:Wayback Machine
4171:
4167:
4161:Wayback Machine
4147:
4143:
4137:Wayback Machine
4124:
4120:
4114:Wayback Machine
4104:
4100:
4093:
4074:
4073:
4069:
4061:
4057:
4050:
4037:
4036:
4032:
4025:
4012:
4011:
4007:
3997:
3996:
3992:
3985:
3963:
3962:
3958:
3948:
3946:
3939:
3921:
3920:
3916:
3906:
3904:
3890:
3889:
3885:
3875:
3873:
3863:
3862:
3858:
3848:
3846:
3837:
3836:
3832:
3822:
3820:
3816:
3809:
3802:
3801:
3797:
3787:
3785:
3771:
3770:
3766:
3756:
3754:
3744:
3743:
3739:
3726:
3725:
3721:
3711:
3709:
3699:
3698:
3694:
3687:
3666:
3665:
3661:
3651:
3649:
3640:
3639:
3635:
3625:
3623:
3613:
3612:
3608:
3598:
3596:
3587:
3586:
3582:
3572:
3570:
3561:
3560:
3553:
3536:
3529:
3527:
3516:
3515:
3511:
3489:
3488:
3484:
3462:
3461:
3457:
3435:
3434:
3430:
3420:
3418:
3404:
3403:
3399:
3389:
3387:
3383:
3376:
3371:
3370:
3366:
3336:
3335:
3331:
3321:
3319:
3312:
3297:
3296:
3292:
3271:
3270:
3263:
3253:
3251:
3242:Financial Times
3235:
3234:
3230:
3208:
3207:
3203:
3173:
3172:
3168:
3161:
3146:
3145:
3141:
3131:
3129:
3115:
3114:
3110:
3100:
3098:
3091:
3076:
3075:
3071:
3061:
3059:
3045:
3044:
3040:
3022:
3020:
3016:
3005:
3001:Mosley, James.
3000:
2999:
2992:
2982:
2980:
2967:
2966:
2962:
2952:
2950:
2938:
2937:
2933:
2912:
2911:
2904:
2891:
2890:
2886:
2879:
2855:
2854:
2850:
2840:
2821:
2820:
2816:
2806:
2804:
2790:
2789:
2785:
2776:
2774:
2767:
2752:
2751:
2747:
2727:
2726:
2722:
2713:
2711:
2704:
2689:
2688:
2684:
2674:
2672:
2658:
2657:
2653:
2643:
2641:
2627:
2626:
2622:
2608:
2595:
2594:
2590:
2580:
2564:
2563:
2556:
2546:
2544:
2530:
2529:
2525:
2508:
2501:
2499:
2495:
2488:
2481:
2480:
2476:
2466:
2452:
2451:
2447:
2417:
2416:
2409:
2401:
2399:
2387:
2386:
2382:
2372:
2370:
2357:
2356:
2352:
2342:
2340:
2326:
2325:
2321:
2311:
2309:
2295:
2294:
2290:
2281:
2279:
2270:
2269:
2265:
2255:
2253:
2249:
2234:
2226:
2225:
2221:
2211:
2209:
2195:
2194:
2190:
2180:
2178:
2164:
2163:
2159:
2149:
2147:
2133:
2132:
2123:
2113:
2111:
2104:ilovetypography
2097:
2096:
2085:
2075:
2073:
2063:
2062:
2058:
2053:
2049:
2041:
2037:
2027:
2025:
2014:
2013:
2009:
1999:
1997:
1986:
1985:
1981:
1974:
1953:
1952:
1948:
1939:
1937:
1930:
1915:
1914:
1910:
1900:
1898:
1884:
1883:
1879:
1874:
1869:
1868:
1862:
1858:
1853:
1849:
1835:
1831:
1825:Stanley Morison
1822:
1818:
1812:Jan van Krimpen
1809:
1805:
1799:
1795:
1786:
1782:
1777:
1745:
1714:Ming (typeface)
1705:
1692:
1690:Thai typography
1686:
1675:
1662:
1553:
1505:
1503:Ming (typeface)
1499:
1494:
1487:
1481:
1472:
1461:
1452:
1449:
1439:
1430:
1424:
1415:
1408:
1399:
1392:
1383:
1380:
1371:
1368:
1359:
1356:
1347:
1344:
1335:
1332:
1323:
1316:
1307:
1304:
1295:
1288:
1279:
1272:
1263:
1252:
1243:
1236:
1227:
1224:
1218:
1209:
1200:
1191:
1185:
1176:
1171:Large roman by
1169:
1160:
1159:ornament border
1153:
1144:
1141:
1132:
1129:
1120:
1117:
1108:
1099:
1090:
1084:
1072:
997:
969:
909:monospace fonts
877:
871:
849:and commercial
837:Harper's Bazaar
820:Computer Modern
792:
786:
751:Times New Roman
701:Times New Roman
694:
645:
588:
584:
578:
572:
524:Goudy Old Style
413:
408:
391:
213:William Hollins
181:
83:
79:
28:
17:
12:
11:
5:
5673:
5671:
5663:
5662:
5657:
5647:
5646:
5640:
5639:
5637:
5636:
5625:
5622:
5621:
5619:
5618:
5612:
5610:
5606:
5605:
5603:
5602:
5597:
5592:
5587:
5582:
5577:
5572:
5567:
5566:
5565:
5560:
5555:
5544:
5542:
5538:
5537:
5535:
5534:
5533:
5532:
5530:National Fonts
5522:
5517:
5516:
5515:
5505:
5499:
5497:
5491:
5490:
5488:
5487:
5482:
5477:
5475:Web typography
5472:
5467:
5462:
5457:
5451:
5449:
5445:
5444:
5442:
5441:
5436:
5435:
5434:
5424:
5419:
5414:
5409:
5404:
5399:
5393:
5391:
5385:
5384:
5382:
5381:
5380:
5379:
5369:
5364:
5359:
5354:
5352:Reversing type
5349:
5344:
5339:
5334:
5329:
5324:
5319:
5314:
5309:
5304:
5299:
5298:
5297:
5292:
5282:
5276:
5274:
5268:
5267:
5265:
5264:
5259:
5254:
5249:
5248:
5247:
5237:
5232:
5227:
5221:
5219:
5208:
5207:
5204:
5203:
5201:
5200:
5199:
5198:
5193:
5188:
5178:
5172:
5170:
5166:
5165:
5163:
5162:
5157:
5151:
5149:
5143:
5142:
5140:
5139:
5130:
5125:
5119:
5117:
5111:
5110:
5108:
5107:
5102:
5101:
5100:
5095:
5090:
5079:
5077:
5068:
5060:
5059:
5056:
5055:
5053:
5052:
5047:
5042:
5037:
5032:
5027:
5022:
5017:
5011:
5009:
5005:
5004:
5002:
5001:
4996:
4991:
4986:
4981:
4979:Letter-spacing
4976:
4971:
4965:
4963:
4959:
4958:
4956:
4955:
4950:
4945:
4940:
4935:
4933:Color printing
4930:
4925:
4919:
4917:
4911:
4910:
4908:
4907:
4902:
4897:
4892:
4887:
4882:
4877:
4871:
4869:
4867:Capitalization
4863:
4862:
4860:
4859:
4854:
4849:
4844:
4839:
4834:
4829:
4824:
4819:
4814:
4809:
4803:
4801:
4792:
4786:
4785:
4783:
4782:
4781:
4780:
4770:
4765:
4760:
4755:
4750:
4744:
4742:
4736:
4735:
4733:
4732:
4727:
4722:
4717:
4712:
4707:
4705:Page numbering
4702:
4697:
4692:
4687:
4681:
4679:
4673:
4672:
4667:
4665:
4664:
4657:
4650:
4642:
4636:
4635:
4625:
4624:
4623:
4609:
4602:
4587:
4569:
4547:
4534:Walter Tracy,
4532:
4517:
4512:James Mosley,
4510:
4500:
4490:
4489:
4488:
4470:
4452:
4445:
4431:
4416:
4409:
4385:
4370:
4360:
4342:
4323:
4313:
4286:
4283:
4280:
4279:
4243:
4229:
4219:
4201:
4189:
4165:
4141:
4130:alexpoole.info
4118:
4098:
4091:
4067:
4055:
4048:
4030:
4023:
4005:
3990:
3983:
3956:
3937:
3914:
3883:
3856:
3830:
3795:
3764:
3737:
3719:
3692:
3685:
3659:
3633:
3606:
3580:
3551:
3509:
3498:(2): 122–128.
3482:
3471:(4): 282–301.
3455:
3428:
3411:Print magazine
3397:
3374:"Modern Suite"
3364:
3329:
3311:978-0918395320
3310:
3290:
3261:
3228:
3217:(3): 165–191.
3201:
3182:(3): 272–297.
3166:
3159:
3139:
3108:
3089:
3069:
3038:
2990:
2960:
2931:
2914:Johnson, A. F.
2902:
2884:
2877:
2848:
2814:
2791:Shen, Juliet.
2783:
2765:
2745:
2720:
2702:
2682:
2651:
2620:
2606:
2588:
2578:
2554:
2523:
2474:
2464:
2445:
2407:
2380:
2350:
2319:
2288:
2263:
2219:
2188:
2157:
2121:
2083:
2056:
2047:
2035:
2007:
1979:
1972:
1946:
1928:
1908:
1876:
1875:
1873:
1870:
1867:
1866:
1856:
1847:
1829:
1816:
1803:
1793:
1779:
1778:
1776:
1773:
1772:
1771:
1766:
1761:
1756:
1751:
1744:
1741:
1740:
1739:
1733:
1732:
1731:
1711:
1704:
1701:
1685:
1682:
1590:block printing
1525:regular script
1501:Main article:
1498:
1495:
1493:
1490:
1489:
1488:
1482:
1475:
1473:
1462:
1455:
1453:
1440:
1433:
1431:
1425:
1418:
1416:
1409:
1402:
1400:
1393:
1386:
1384:
1381:
1374:
1372:
1369:
1362:
1360:
1357:
1350:
1348:
1345:
1338:
1336:
1333:
1326:
1324:
1317:
1310:
1308:
1305:
1298:
1296:
1289:
1282:
1280:
1273:
1266:
1264:
1253:
1246:
1244:
1238:Title page by
1237:
1230:
1228:
1219:
1212:
1210:
1201:
1194:
1192:
1186:
1179:
1177:
1170:
1163:
1161:
1154:
1147:
1145:
1142:
1135:
1133:
1130:
1123:
1121:
1118:
1111:
1109:
1106:Aldus Manutius
1100:
1093:
1091:
1088:Nicolas Jenson
1085:
1078:
1071:
1068:
996:
993:
968:
965:
873:Main article:
870:
867:
832:magazine paper
788:Main article:
785:
782:
710:ball terminals
693:
690:
644:
641:
574:Main article:
571:
568:
556:Hightower Text
493:Aldus Manutius
485:Nicolas Jenson
435:printing press
420:Adobe Garamond
412:
409:
407:
406:Classification
404:
385:
384:
358:
350:
278:back-formation
244:Julian Hibbert
185:Latin alphabet
180:
177:
169:§ Antiqua
114:serif typeface
66:
65:
62:
54:
53:
50:
42:
41:
38:
15:
13:
10:
9:
6:
4:
3:
2:
5672:
5661:
5658:
5656:
5653:
5652:
5650:
5635:
5627:
5626:
5623:
5617:
5614:
5613:
5611:
5607:
5601:
5598:
5596:
5593:
5591:
5588:
5586:
5583:
5581:
5578:
5576:
5573:
5571:
5568:
5564:
5561:
5559:
5556:
5554:
5551:
5550:
5549:
5546:
5545:
5543:
5539:
5531:
5528:
5527:
5526:
5523:
5521:
5518:
5514:
5511:
5510:
5509:
5506:
5504:
5501:
5500:
5498:
5492:
5486:
5483:
5481:
5480:Bézier curves
5478:
5476:
5473:
5471:
5468:
5466:
5465:Rasterization
5463:
5461:
5458:
5456:
5453:
5452:
5450:
5446:
5440:
5437:
5433:
5430:
5429:
5428:
5425:
5423:
5420:
5418:
5415:
5413:
5410:
5408:
5405:
5403:
5400:
5398:
5395:
5394:
5392:
5390:
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4372:Stan Knight,
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4357:9780571102174
4354:
4350:
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4345:Nicolete Gray
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3923:Lupton, Ellen
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3372:Shinn, Nick.
3368:
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3348:
3344:
3340:
3339:Design Issues
3333:
3330:
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3278:
3274:
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3250:on 2022-12-10
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3128:on 2017-09-04
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2420:Design Issues
2414:
2412:
2408:
2398:on 2014-10-26
2397:
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2264:
2248:
2245:(242): 5–15.
2244:
2240:
2233:
2229:
2228:Johnson, A.F.
2223:
2220:
2208:on 2012-02-28
2207:
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2064:Berry, John.
2060:
2057:
2054:(Veen, 2001).
2051:
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1229:
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1205:Romain du roi
1198:
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1139:
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952:FF Meta Serif
949:
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741:in Spain and
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205:
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198:
197:Edward Catich
194:
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178:
176:
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162:
161:§ Didone
158:
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149:
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39:
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5580:Type foundry
5417:Metric units
5347:Punchcutting
5332:Movable type
5302:Font catalog
5262:Vertical bar
5082:
4999:Word spacing
4969:Figure space
4852:Text figures
4695:Even working
4619:
4612:
4605:
4590:
4575:
4553:
4535:
4520:
4513:
4508:presentation
4503:
4493:
4484:
4466:
4448:
4441:
4434:
4419:
4391:
4388:Ellen Lupton
4373:
4366:
4348:
4330:
4319:
4316:Harry Carter
4294:
4285:Bibliography
4274:
4270:
4261:. Retrieved
4256:
4246:
4232:
4224:
4210:
4204:
4196:
4192:
4178:valencia.edu
4173:
4168:
4149:
4144:
4126:
4121:
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4077:
4070:
4062:
4058:
4039:
4033:
4014:
4008:
3999:
3993:
3969:
3959:
3947:. Retrieved
3927:
3917:
3905:. Retrieved
3897:Typekit Blog
3896:
3886:
3874:. Retrieved
3859:
3847:. Retrieved
3833:
3821:. Retrieved
3814:the original
3805:
3798:
3786:. Retrieved
3778:Fonts in Use
3777:
3767:
3755:. Retrieved
3751:the original
3740:
3731:
3722:
3710:. Retrieved
3695:
3670:
3662:
3650:. Retrieved
3646:the original
3636:
3624:. Retrieved
3620:the original
3609:
3597:. Retrieved
3583:
3571:. Retrieved
3528:. Retrieved
3519:
3512:
3495:
3491:
3485:
3468:
3464:
3458:
3444:(2): 18–31.
3441:
3437:
3431:
3419:. Retrieved
3410:
3400:
3388:. Retrieved
3381:the original
3367:
3345:(4): 30–43.
3342:
3338:
3332:
3320:. Retrieved
3300:
3293:
3276:
3252:. Retrieved
3247:the original
3241:
3236:Alas, Joel.
3231:
3214:
3210:
3204:
3179:
3175:
3169:
3149:
3142:
3130:. Retrieved
3126:the original
3121:
3111:
3099:. Retrieved
3079:
3072:
3060:. Retrieved
3051:
3041:
3028:
3021:. Retrieved
3014:the original
2981:. Retrieved
2972:
2963:
2951:. Retrieved
2941:
2934:
2917:
2896:
2895:. Linotype.
2887:
2862:
2851:
2828:
2817:
2805:. Retrieved
2797:Type Culture
2796:
2786:
2775:. Retrieved
2755:
2748:
2736:
2732:
2723:
2712:. Retrieved
2692:
2685:
2675:21 September
2673:. Retrieved
2664:
2654:
2642:. Retrieved
2633:
2623:
2612:
2611:
2597:
2591:
2583:
2569:
2547:21 September
2545:. Retrieved
2536:
2526:
2500:. Retrieved
2493:the original
2484:
2477:
2469:
2454:
2448:
2426:(2): 53–71.
2423:
2419:
2400:, retrieved
2396:the original
2390:
2383:
2371:. Retrieved
2367:the original
2362:
2353:
2343:22 September
2341:. Retrieved
2332:
2322:
2312:22 September
2310:. Retrieved
2301:
2291:
2280:. Retrieved
2266:
2254:. Retrieved
2242:
2238:
2222:
2210:. Retrieved
2206:the original
2201:
2191:
2179:. Retrieved
2170:
2160:
2148:. Retrieved
2139:
2114:21 September
2112:. Retrieved
2103:
2074:. Retrieved
2059:
2050:
2042:
2038:
2026:. Retrieved
2017:
2010:
1998:. Retrieved
1988:
1982:
1957:
1949:
1938:. Retrieved
1918:
1911:
1899:. Retrieved
1895:the original
1890:
1880:
1859:
1850:
1832:
1819:
1806:
1796:
1783:
1764:Transitional
1736:San Serriffe
1727:
1693:
1672:Goshikku-tai
1645:
1604:
1514:
1450: 1920s
1319:
1259:
1254:Alphabet by
1203:
1101:
1073:
1037:
1021:
1010:
998:
974:
970:
967:Other styles
921:
906:
894:
835:
829:
804:
775:
767:Freight Text
714:
706:
692:Transitional
663:
646:
632:germanophone
580:
579:
548:Adobe Jenson
505:
497:
491:for printer
481:
456:
452:
432:movable type
425:
388:
386:
283:
282:
273:
269:
263:
255:
241:
208:
206:
204:into stone.
200:
182:
150:
117:
113:
75:
69:
21:Serif Europe
5575:Type design
5570:Style guide
5563:Calligraphy
5553:Handwriting
5367:Type design
5317:Lorem ipsum
5312:Letterpress
5272:Typesetting
5212:Punctuation
5176:Record type
5147:Gaelic type
5135:Schwabacher
5025:Body height
4890:Letter case
4758:Line length
4519:Paul Shaw,
4485:PM Magazine
4467:PM Magazine
4449:PM Magazine
4442:PM Magazine
4435:PM Magazine
3747:"Fat faces"
3642:"GFS Didot"
3589:"HFJ Didot"
3277:The Library
3176:The Library
2983:23 December
2953:18 December
2918:The Library
2539:. C-A-S-T.
2142:. C-A-S-T.
1412:Golden Type
1225: 1720
902:"Clarendon"
729:in France,
643:Dutch taste
624:calligraphy
552:Golden Type
500:italic type
447:Renaissance
439:blackletter
256:Callimachus
136:blackletter
52:Serif font
5660:Typography
5649:Categories
5548:Penmanship
5520:East Asian
5362:Type color
5295:monospaced
5252:Interpunct
5245:minus sign
5169:Specialist
5105:Sans-serif
5098:slab serif
5075:Roman type
5030:Cap height
4994:Thin space
4953:Whitespace
4905:Title case
4900:Snake case
4895:Small caps
4880:Camel case
4812:Diacritics
4720:Pull quote
4715:Pagination
4710:Paper size
4669:Typography
4447:“Part 2,”
4440:“Part 1,”
4253:"ฝรั่งเศส"
3322:8 February
3254:16 January
3150:Dutch Type
2845:required.)
2777:2017-09-21
2729:Lane, John
2714:2017-09-21
2402:2015-08-14
2282:2009-06-25
2256:14 October
2181:3 December
2171:Bibiologia
2150:27 January
2076:15 October
2021:. p.
2000:26 October
1940:2020-10-28
1901:1 February
1688:See also:
1594:wood grain
1012:Sans-serif
1005:sans-serif
977:Wide Latin
948:Zilla Slab
913:typewriter
875:Slab serif
869:Slab serif
763:Mrs. Eaves
731:Fleischman
534:, Renard,
211:(1813) by
122:sans-serif
72:typography
5045:Overshoot
5040:Mean line
5035:Descender
4948:Underline
4790:Character
4768:Runaround
4748:Alignment
4740:Paragraph
4633:1830-2000
4400:, 2010),
4271:Sarakadee
4107:adobe.com
4083:57, 59–60
3876:13 August
3868:. IDSGN.
3823:14 August
3788:11 August
3757:10 August
3652:10 August
3599:10 August
3573:10 August
3540:cite book
3530:24 August
3520:Type Lore
3492:Quaerendo
3465:Quaerendo
3438:Quaerendo
3390:11 August
3211:Quaerendo
3196:161371751
3052:PampaType
3023:7 October
2824:"antiqua"
2735:: 47–75.
2644:14 August
2512:cite book
2502:14 August
2373:14 August
2028:12 August
1872:Citations
1801:standard.
1789:ligatures
1759:Old-style
1709:Homoglyph
1622:yǒujiǎotǐ
1497:East Asia
1469:newspaper
1443:Eric Gill
1157:arabesque
1050:lowercase
1001:body text
961:Chaparral
940:Excelsior
924:Clarendon
859:"display"
855:bold type
411:Old-style
380:schrappen
374:schrijven
362:schrappen
346:schrijven
331:schrappen
319:schrijven
307:'schreef'
301:schrappen
236:'rhîpsis'
193:antiquity
5634:Category
5513:PT Fonts
5508:Cyrillic
5372:Typeface
5290:computer
5191:fat face
5064:Typeface
5050:x-height
5020:Baseline
5015:Ascender
4875:All caps
4837:Rotation
4832:Ligature
4827:Ink trap
4562:volume 2
4558:volume 1
4477:Archived
4459:Archived
4181:Archived
4157:Archived
4133:Archived
4110:Archived
3975:218, 330
3967:(2002).
3943:Archived
3901:Archived
3870:Archived
3843:Archived
3782:Archived
3706:Archived
3593:Archived
3567:Archived
3415:Archived
3359:57569313
3316:Archived
3095:Archived
3056:Archived
2977:Archived
2807:11 April
2801:Archived
2771:Archived
2708:Archived
2669:Archived
2638:Archived
2613:De Aetna
2568:(2008).
2541:Archived
2485:Arno Pro
2440:57566512
2337:Archived
2306:Archived
2276:Archived
2247:Archived
2230:(1931).
2175:Archived
2144:Archived
2108:Archived
2070:Archived
1994:Archived
1934:Archived
1703:See also
1680:exists.
1521:Japanese
1187:Type by
1102:De Aetna
1059:and the
989:Méridien
944:TheSerif
928:Rockwell
898:Rockwell
863:fat face
851:ephemera
755:Perpetua
753:(1932),
682:Ehrhardt
676:and the
659:x-height
620:typeface
544:Cloister
532:Palatino
516:Galliard
512:Garamond
462:') and '
460:humanist
371:is from
110:typeface
5460:Hinting
5337:Pangram
5155:Insular
5128:Rotunda
5123:Fraktur
5088:Antiqua
4974:Kerning
4943:Oblique
4938:Italics
4885:Initial
4817:Dingbat
4807:Counter
4753:Leading
4325:Father
3949:7 March
3907:7 March
3849:15 July
3712:10 June
3101:22 June
3062:10 June
2898:family.
1843:Plantin
1839:Bookman
1697:Kinnari
1517:Chinese
1515:In the
1262:, 1760s
1258:in his
1070:Gallery
1061:numeral
1043:capital
1040:printed
1024:Hinting
1016:legible
936:Courier
847:posters
824:Century
816:Walbaum
759:Plantin
739:Pradell
628:Fraktur
581:Antiqua
570:Antiqua
560:Centaur
520:Granjon
477:Trinité
464:Garalde
396:synonym
368:schreef
357:, 1350;
354:schreef
349:, 1100;
325:schreef
313:schreef
295:schreef
145:Antiqua
131:grotesk
5503:Arabic
5402:Cicero
5240:Hyphen
5225:Bullet
5186:script
5160:Uncial
5093:Didone
4857:Tittle
4700:Margin
4690:Column
4597:
4582:
4542:
4527:
4474:Part 4
4456:Part 3
4426:
4404:
4380:
4355:
4337:
4308:
4263:22 May
4217:
4089:
4046:
4021:
3981:
3935:
3683:
3626:14 May
3421:2 July
3357:
3308:
3194:
3157:
3132:4 June
3087:
3032:Caslon
2875:
2871:–163.
2763:
2700:
2604:
2576:
2537:Medium
2462:
2438:
2212:2 July
2140:Medium
1970:
1926:
1769:Didone
1660:Gothic
1577:Mingti
1550:Minchō
1544:Songti
1322:, 1818
1294:, 1797
1242:, 1757
1030:, and
946:, and
932:Archer
814:, and
808:Bodoni
799:Bodoni
784:Didone
747:Bulmer
735:Rosart
686:Caslon
678:Janson
655:French
550:, the
538:, and
528:Minion
443:italic
248:uncial
224:'syn-'
126:German
5427:Point
5397:Agate
5257:Space
5083:Serif
4984:Pitch
4847:Swash
4822:Glyph
4763:River
4611:———,
4604:———,
4589:———,
3817:(PDF)
3810:(PDF)
3384:(PDF)
3377:(PDF)
3355:S2CID
3192:S2CID
3017:(PDF)
3006:(PDF)
2839:
2738:Kis's
2496:(PDF)
2489:(PDF)
2436:S2CID
2250:(PDF)
2235:(PDF)
1775:Notes
1728:uroko
1666:ゴシック体
1655:Hēitǐ
1616:uroko
1607:kanji
1599:kaiti
842:image
812:Didot
540:Scala
536:Sabon
508:Bembo
392:'
292:noun
290:Dutch
230:ῥῖψῐς
187:with
140:roman
76:serif
5525:Thai
5439:Twip
5422:Pica
5377:list
5357:Sort
5285:Font
5230:Dash
5216:List
4928:Bold
4778:runt
4677:Page
4595:ISBN
4580:ISBN
4560:and
4540:ISBN
4525:ISBN
4424:ISBN
4402:ISBN
4378:ISBN
4353:ISBN
4335:ISBN
4306:ISBN
4265:2020
4215:ISBN
4087:ISBN
4044:ISBN
4019:ISBN
3979:ISBN
3951:2019
3933:ISBN
3909:2019
3878:2015
3851:2015
3825:2015
3790:2015
3759:2015
3714:2018
3681:ISBN
3654:2015
3628:2017
3601:2015
3575:2015
3546:link
3532:2015
3423:2015
3392:2015
3324:2017
3306:ISBN
3256:2016
3155:ISBN
3134:2017
3103:2017
3085:ISBN
3064:2018
3025:2016
2985:2015
2955:2015
2873:ISBN
2809:2017
2761:ISBN
2698:ISBN
2677:2017
2646:2015
2602:ISBN
2574:ISBN
2549:2017
2518:link
2504:2015
2460:ISBN
2375:2015
2345:2017
2314:2017
2258:2016
2214:2015
2183:2015
2152:2018
2116:2017
2078:2015
2030:2015
2002:2011
1968:ISBN
1924:ISBN
1903:2013
1864:use.
1841:and
1684:Thai
1649:黑体/體
1640:有衬线体
1611:kana
1609:and
1586:Ming
1584:and
1582:Song
1565:Ming
1533:Song
1527:for
1519:and
1202:The
954:and
917:bold
778:Bell
745:and
733:and
680:and
475:and
473:Arno
387:The
328:and
218:σῠν-
171:and
163:and
116:(or
106:font
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4483:,”
4465:,”
3500:doi
3473:doi
3446:doi
3347:doi
3281:doi
3219:doi
3184:doi
2922:doi
2869:123
2428:doi
2023:370
1964:264
1628:有脚体
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653:in
389:OED
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