318:
418:
543:, and nineteen in a specimen dated 1821 but containing 1823 pages; no Caslon specimens are known between 1816 and 1821 but the first surviving specimen from Caslon to show slab-serifs dates from 1821 and shows eleven sizes. Thorne had four sizes in 1820. Even fewer specimens survive from other foundries; none are known from Bower and Bacon between 1813 and 1826, by which time they had eighteen sizes. Gray concluded that any of Figgins, Thorowgood and Caslon could have been first to issue a lower-case (already seen on the 1810 woodblock), as they all introduced ones around 1820.
38:
2456:
234:(1809) an intense cultural fascination with all things Egyptian followed. Suites of contemporary parlor furniture were produced resembling furniture found in tombs. Multicolored woodblock printed wallpaper could make a dining room in Edinburgh or Chicago feel like Luxor. While there was no relationship between Egyptian writing systems and slab serif types, either shrewd marketing or honest confusion led to slab serifs often being called
357:
137:
149:
161:
408:
A considerable variety of other names have been used, particularly in the 19th century: at the time the separation between typeface name and genre had yet to become established, so it is not clear if a name describes a specific typeface or is meant to refer to a subgenre. For example, slab serifs on
376:
or to create a nineteenth-century atmosphere. It was most popular from the 1860s until the early twentieth century, particularly in the United States, although the basic concept originates from London printing of the 1820s and it was used outside the United States. It has often been revived since,
277:
are other examples of newspaper and small print-orientated typefaces that have regular, monoline serifs (sometimes more visible in bold weights) but a general humanist text face structure not particularly influenced by nineteenth-century stylings (as
Clarendons are). The term "humanist slab serif"
172:
Slab serif lettering and typefaces appeared rapidly in the early nineteenth century, having little in common with previous letterforms. As the printing of advertising material began to expand in the early nineteenth century, new and notionally more attention-grabbing letterforms became popular.
293:
note that the structure of the large slab serifs imposes compromises on structure, with purely geometric designs harder to create in ultra-bold sizes where it becomes impossible to create a strictly monoline lower-case alphabet, and
Clarendon-style designs harder to create in a lighter style.
245:
The term
Egyptian was adopted by French and German foundries, where it became Egyptienne. A lighter style of slab serif with a single width of strokes was called 'engravers face' since it resembled the monoline structure of metal engravings. The term 'slab-serif' itself is relatively recent,
516:
Whether
Figgins' foundry produced the very first slab-serif is a question that is unlikely to be ever confirmed, but Nicolete Gray felt that "it seems probable" as his is the first foundry with a surviving specimen showing them. This first Figgins specimen to show them was an "1815" specimen
108:
genre have a structure more like most other serif fonts, though with larger and more obvious serifs. These designs may have bracketed serifs which increase width along their length before merging with the main strokes of the letters, while on geometrics the serifs have a constant width.
112:
Display-oriented slab serifs are often extremely bold, intended to grab the reader's attention on a poster, while slab serifs oriented towards legibility at small sizes show less extreme characteristics. Some fonts oriented towards small print use and printing on poor-quality
325:
design inspired by type designs of the eighteenth century, made slightly bolder and lower in contrast. Originally intended for use as a bolder type for emphasis, it was often used for general-purpose body text for example if legibility was considered important.
339:
Clarendon typefaces, unlike other slab serifs, actually have some bracketing and some contrast in size in the actual serif: the serifs often have curves so they change width and become wider as they approach the main stroke of the letter. Examples include
409:
the French
Clarendon model were also called 'Celtic', 'Belgian', 'Aldine' and 'Teutonic' by American printers, as well as 'Tuscan', a name which refers to slab serifs with diamond-shaped points, called median spurs, on the sides of the letterform.
203:
wrote with amusement that slab-serif and other such display types were 'the outrageous kind of face only adapted for placards, posting-bills, invitations to the wheel of
Fortune...Fashion and Fancy commonly frolic from one extreme to another.'
397:. These faces originated in monospaced format with fixed-width, meaning that every character takes up exactly the same amount of horizontal space. This feature is necessitated by the nature of the typewriter apparatus. Examples include
249:
Because of the clear, bold nature of the large serifs, designs with some slab serif characteristics are also often used for small print, for example in printing with typewriters and on newsprint paper. For example, Linotype's
173:
Poster-size types began to be developed that were not merely magnified forms of book type, but very different and bolder. Some were developments of designs of the previous fifty years: ultra-bold types known as "
507:
This can make tracing the descent of sans and slab-serif styles hard, since a trend can arrive in print directly and without apparent precedent from a signpainting tradition which has left less of a record.
192:
The first known example of a slab-serif letterform is woodblock lettering on an 1810 lottery advertisement from London. Slab-serif type was perhaps first introduced by London typefounder
310:
The earliest slab-serifs were often called "antiques" or "Egyptians". They were often quite monoline in construction and had similarities to nineteenth-century serif fonts, such as
104:
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
1172:
The
Practice of Typography: A Treatise on Title-pages, with Numerous Illustrations in Facsimile and Some Observations on the Early and Recent Printing of Books
1054:
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.
321:
Miller and
Richard's Oldstyle Antique. Just as Clarendon typefaces took the "Didone" or modern-face model as a basis for a slab-serif, it is based on their
2041:
189:
letterforms. Some of the type designs appearing around this time may be based on signpainting and architectural lettering traditions, or vice versa.
2415:
207:
Slab serifs declined following the growing popularity of sans-serif faces, with which they always competed. Notable collections of original
871:
917:
525:
with 1820 on the spine shows more. No specimens are known from
Figgins' main rivals who produced many slab serifs, the Caslon and
1010:
Carter, E., Day. B, Meggs P.: "Typographic Design: Form and Communication, Third Edition", page 35. John Wiley & Sons, 2002.
954:
212:
1326:
646:
1207:
1077:
1446:
1485:
117:
paper may have slab serifs to increase legibility, while their other features are closer to conventional book type fonts.
17:
1180:
1153:
1047:
231:
838:
615:
985:– created from hand-set letterpress prints of the original 19th century wood type by Matt Griffin & Matt Braun
317:
368:
type, the serifs are even heavier than the stems, forging a dramatic, attention-drawing effect. This is known as
322:
1283:
2485:
2410:
1381:
1099:
489:
216:
2295:
2257:
378:
2441:
1510:
725:
696:
421:
Beton Bold in a metal type sample. Contrast is minimal and letterforms take the circle as a basic shape.
2021:
933:
369:
186:
1460:. Many notable ornamented designs. Earlier books from the early 1800s survive and have been reprinted.
1667:
85:
typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (
2425:
2242:
1913:
1850:
1555:
1478:
1093:
425:
Geometric designs have no bracketing and evenly weighted stems and serifs. Early examples include
242:
has shown that the first typefaces and letters called 'Egyptian' were apparently all sans-serifs.
518:
254:, in which most newspapers were printed during much of the twentieth century, were based on the "
196:
under the name "Antique", appearing in a type-specimen dated 1815 (but probably issued in 1817).
882:
1870:
1593:
966:
372:. It is traditionally associated with use in circus and other posters, and is commonly seen in
1197:
1170:
1145:
1138:
1067:
521:; other 1815-dated Figgins specimens do not show it; another "1815" specimen that was held by
2345:
1845:
1840:
1753:
1740:
1573:
1352:
1287:
449:, several of which were influenced by geometric sans-serifs of the 1920s and 30s, especially
345:
200:
141:
31:
1224:
223:
has published a large collection of digitisations inspired by nineteenth-century wood type.
2137:
1778:
1632:
587:
Twyman, Michael. "The Bold Idea: The Use of Bold-looking Types in the Nineteenth Century".
365:
341:
105:
8:
2480:
2459:
2420:
2333:
2227:
2082:
2060:
2050:
1918:
1525:
1515:
1471:
526:
480:
fonts of the 1950s and 60s onwards, and these may be called "neo-grotesque" slab serifs.
430:
417:
178:
153:
101:
86:
46:
1262:
846:
2383:
2310:
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1809:
1672:
1657:
1598:
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863:
426:
327:
290:
165:
121:
97:
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1603:
1203:
1176:
1149:
1073:
1043:
458:
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274:
262:
230:
Egyptian campaign and dissemination of images and descriptions via publications like
1318:
219:, collected by Rob Roy Kelly, writer of a well-known book on American poster types.
2214:
2167:
2006:
1953:
1814:
1624:
1236:
848:
Typographia, an Historical Sketch of the Origin and Progress of the Art of Printing
654:
623:
522:
446:
438:
286:
255:
251:
1457:
560:
558:
181:" text faces of the period but much bolder. Others had completely new structures:
2350:
2237:
2232:
2152:
2120:
2011:
1748:
1550:
1453:
454:
442:
382:
193:
125:
279:
2355:
2300:
2177:
1980:
1804:
1758:
1692:
1662:
1530:
555:
402:
398:
90:
1449:. Many examples of early slab serif type alongside other period display types.
1299:
2474:
2147:
2115:
2105:
1985:
1410:
998:
565:
311:
128:
text fonts intended for computer and programming use are slab serif designs.
1240:
982:
2405:
2285:
2172:
2157:
2127:
2087:
2070:
1824:
1794:
1768:
1677:
1520:
1502:
1426:
1040:
The Changing Newspaper: typographic trends in Britain and America 1622-1972
1013:
721:
373:
239:
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2192:
2142:
2097:
2037:
2001:
1972:
1960:
1940:
1763:
1715:
1583:
473:
37:
360:
French Clarendon type (top) compared to a conventional Clarendon design.
2373:
2187:
2077:
1930:
1900:
1855:
1819:
1773:
1730:
1725:
1720:
1705:
1545:
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1535:
1494:
1373:
1035:
477:
394:
285:
Describing the process of designing slab serifs, modern font designers
220:
182:
54:
1865:
1860:
1637:
1565:
994:
928:
926:
469:
208:
114:
688:
120:
Slab serif fonts were also often used in typewriters, most famously
2338:
2197:
2016:
1889:
1875:
1700:
1652:
356:
266:
227:
174:
78:
42:
923:
2162:
1948:
1799:
1710:
1642:
1578:
1129:
610:
608:
606:
604:
602:
270:
1225:"Nineteenth-century reactions against the didone type model - I"
714:
93:). Slab serifs were introduced in the early nineteenth century.
2065:
1682:
529:
foundries, over the relevant period. Figgins had four sizes in
465:
453:. Recent well-known geometric sans-serifs include ITC Lubalin,
136:
599:
1908:
1647:
1615:
1463:
148:
82:
1284:
Type classifications are useful, but the common ones are not
2264:
2110:
2055:
1059:
393:
Typewriter slab serif typefaces are named for their use in
754:
The Nymph and the Grot: the revival of the sanserif letter
302:
There are several main subgroups of slab serif typefaces:
160:
1042:(1. publ. ed.). London: Fraser. pp. 100–2 etc.
872:"The revival of slab-serif typefaces in the 20th century"
756:. London: Friends of the St Bride Printing Library, 1999.
258:" or "Clarendon" style adapted for continuous body text.
168:, a slab serif face based on strike-on typewriting faces.
45:
poster, 1848. Some headings and the lower passage are in
638:
476:
have been designed under the influence of neo-grotesque
96:
Slab serifs form a large and varied genre. Some such as
1433:. Oxford Bibliographical Society/University of Reading.
1413:(1980). "Slab-serif type design in England 1815-1845".
918:
Analog, digital, virtual: @Home with Hamilton Wood Type
906:
669:
1327:"Font Wars: A Story On Rivalry Between Type Foundries"
1086:
1028:
826:
1168:
768:
766:
764:
762:
790:
778:
1195:
1065:
748:
746:
1137:
814:
759:
1368:"Look what happened to Helvetica. It grew wings."
568:. "Slab-serif type design in England 1815-1845".
156:, a slab serif face based on the geometric model.
144:, a slab serif face based on the Clarendon model.
2472:
1292:
802:
743:
1431:British type specimens before 1831: a hand-list
1202:. David R. Godine Publisher. pp. 262–280.
1072:. David R. Godine Publisher. pp. 277–294.
973:and the Hamilton Wood Type and Printing Museum
2416:Intellectual property protection of typefaces
1479:
1958:
676:Mosley, James (1963). "English Vernacular".
1344:
1022:The Use of Type: The Practice of Typography
517:containing 1817 watermarked paper, held by
185:letters, based on classical antiquity, and
1486:
1472:
1415:Journal of the Printing Historical Society
1189:
1114:
589:Journal of the Printing Historical Society
570:Journal of the Printing Historical Society
2442:Punctuation and other typographic symbols
1382:"Vintage Fonts: 35 Adverts From the Past"
1162:
955:Bringing Wood Type into the 21st Century
416:
355:
316:
159:
147:
135:
36:
1379:
1260:
1216:
844:
697:"The Story of Our Friend, the Fat Face"
694:
388:
49:type, but much body text is slab serif.
14:
2473:
1425:
1324:
1120:
907:Hamilton Wood Type and Printing Museum
796:
784:
675:
364:In the Italienne model, also known as
297:
1467:
1222:
1175:. Century Company. pp. 233–241.
1135:
1019:
580:
278:has been applied to serif text faces
1445:George Bruce & Co. of New York,
1409:
1196:Alexander S. Lawson (January 1990).
1066:Alexander S. Lawson (January 1990).
1034:
934:"Rob Roy Kelly Wood Type Collection"
832:
820:
808:
772:
695:Kennard, Jennifer (3 January 2014).
644:
124:, and this tradition has meant many
41:Slab-serif type on the heading of a
1402:
1380:Budrick, Callie (19 October 2015).
726:"The Nymph and the Grot: an Update"
24:
720:
586:
464:Some monoline slab serifs such as
412:
381:as Playbill and more recently by
351:
334:
25:
2497:
1447:1828 (& other) specimen books
1439:
1350:
1140:The Digital Typography Sourcebook
616:"Sentinel: historical background"
2455:
2454:
564:
305:
1277:
1254:
1004:
988:
976:
960:
948:
911:
900:
869:
845:Hansard, Thomas Curson (1825).
510:
1493:
1169:Theodore Low De Vinne (1902).
501:
330:is a derivative of this style.
13:
1:
2411:History of Western typography
1325:Loxley, Simon (14 May 2012).
1263:"Scrambled Eggs & Serifs"
1100:Mergenthaler Linotype Company
967:Hamilton Wood Type Collection
549:
537:
530:
401:(on the geometric model) and
217:University of Texas at Austin
199:Writing in 1825, the printer
2258:traditional point-size names
1144:. New York: Wiley. pp.
490:List of slab-serif typefaces
246:possibly twentieth-century.
7:
1511:Canons of page construction
647:"Know your type: Clarendon"
483:
30:For the 1956 typeface, see
10:
2502:
405:(on the Clarendon model).
177:", which were related to "
131:
29:
2450:
2434:
2366:
2319:
2273:
2213:
2096:
2036:
1994:
1971:
1939:
1899:
1888:
1833:
1787:
1739:
1691:
1668:Subscript and superscript
1623:
1614:
1564:
1501:
527:Thorne (later Thorowgood)
164:A sample of the typeface
152:A sample of the typeface
140:A sample of the typeface
2426:Vox-ATypI classification
1556:Intentionally blank page
969:– joint venture between
495:
1241:10.1163/157006971x00301
519:Oxford University Press
232:Description de l'Égypte
1959:
1136:Bryan, Marvin (1996).
1095:The Legibility of Type
997:– typeface adapted by
422:
361:
331:
169:
157:
145:
50:
27:Type of serif typeface
1261:Frere-Jones, Tobias.
1199:Anatomy of a Typeface
1069:Anatomy of a Typeface
936:. University of Texas
420:
395:strike-on typewriting
370:reverse-contrast type
359:
320:
215:in Wisconsin and the
201:Thomas Curson Hansard
163:
151:
139:
40:
32:Egyptienne (typeface)
2486:Slab serif typefaces
2296:Typographic features
1452:From the company of
1223:Ovink, G.W. (1971).
1020:Biggs, John (1954).
389:Typewriter typefaces
2421:Technical lettering
2320:Typography in other
2061:Hanging punctuation
1458:Specimen book, 1845
1125:. pp. 192 etc.
298:Sub-classifications
18:Egyptian (typeface)
2384:Handwriting script
2311:Desktop publishing
2281:Character encoding
2274:Digital typography
1788:Horizontal aspects
1741:Visual distinction
1599:Widows and orphans
1288:Indra Kupferschmid
1265:. Frere-Jones Type
1024:. Blandford Press.
957:by Angela Riechers
835:, pp. 12, 15.
645:Challand, Skylar.
423:
362:
332:
291:Tobias Frere-Jones
170:
158:
146:
51:
2468:
2467:
2215:Typographic units
2133:For position only
2032:
2031:
1884:
1883:
1331:Smashing Magazine
1209:978-0-87923-333-4
1121:Middendorp, Jan.
1079:978-0-87923-333-4
983:Wood Type Revival
275:Guardian Egyptian
16:(Redirected from
2493:
2458:
2457:
2435:Related template
2367:Related articles
2168:Phototypesetting
2022:reverse-contrast
2007:Display typeface
1964:
1941:Blackletter type
1897:
1896:
1834:Vertical aspects
1815:Sentence spacing
1625:Typeface anatomy
1621:
1620:
1488:
1481:
1474:
1465:
1464:
1434:
1422:
1403:Cited literature
1397:
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1351:Coles, Stephen.
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971:P22 Type Foundry
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945:
943:
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904:
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881:. Archived from
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730:Typefoundry blog
718:
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686:
685:
673:
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664:
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653:. Archived from
642:
636:
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631:
622:. Archived from
612:
597:
596:
584:
578:
577:
562:
544:
542:
539:
535:
532:
523:Stephenson Blake
514:
508:
505:
366:French Clarendon
287:Jonathan Hoefler
252:Legibility Group
211:are held by the
187:reverse-contrast
21:
2501:
2500:
2496:
2495:
2494:
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2471:
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2322:writing systems
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2315:
2269:
2209:
2153:Microtypography
2092:
2028:
1990:
1967:
1935:
1892:classifications
1891:
1880:
1829:
1783:
1749:Blackboard bold
1735:
1687:
1610:
1560:
1551:Recto and verso
1497:
1492:
1454:Vincent Figgins
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939:
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916:
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868:
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839:
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827:
819:
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511:
506:
502:
498:
486:
455:Neutraface Slab
415:
413:Geometric model
391:
383:Adrian Frutiger
377:for example by
354:
352:Italienne model
337:
335:Clarendon model
308:
300:
194:Vincent Figgins
134:
89:), or rounded (
35:
28:
23:
22:
15:
12:
11:
5:
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2356:National Fonts
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2178:Reversing type
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1759:Color printing
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1693:Capitalization
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1440:External links
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1411:Gray, Nicolete
1406:
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1353:"Twitter post"
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1001:from HWT Aetna
987:
975:
959:
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922:
920:by Molly Doane
910:
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862:
837:
825:
813:
801:
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752:James Mosley,
742:
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566:Gray, Nicolete
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414:
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403:Prestige Elite
390:
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379:Robert Harling
353:
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312:ball terminals
307:
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261:More loosely,
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2148:Microprinting
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1427:Mosley, James
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1182:9780838309353
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1155:9780471148111
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1049:9780900406225
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999:Mark Simonson
996:
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888:on 2022-02-18
884:
880:
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851:. p. 618
850:
849:
841:
834:
829:
823:, p. 22.
822:
817:
810:
805:
799:, p. 29.
798:
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786:
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775:, p. 12.
774:
769:
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755:
749:
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731:
727:
723:
722:Mosley, James
717:
702:
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691:
683:
679:
672:
657:on 2022-10-27
656:
652:
648:
641:
626:on 2019-04-28
625:
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385:as Westside.
384:
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374:Western films
371:
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349:
347:
343:
329:
324:
319:
315:
313:
306:Antique model
303:
295:
292:
288:
283:
281:
280:in this style
276:
272:
271:FF Meta Serif
268:
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81:is a type of
80:
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68:
64:
61:(also called
60:
56:
48:
44:
39:
33:
19:
2406:Type foundry
2243:Metric units
2173:Punchcutting
2158:Movable type
2128:Font catalog
2088:Vertical bar
1923:
1825:Word spacing
1795:Figure space
1678:Text figures
1521:Even working
1430:
1418:
1414:
1389:. Retrieved
1385:
1375:
1367:
1360:. Retrieved
1356:
1346:
1334:. Retrieved
1330:
1320:
1308:. Retrieved
1303:
1294:
1279:
1267:. Retrieved
1256:
1244:. Retrieved
1235:(2): 18–31.
1232:
1228:
1218:
1198:
1191:
1171:
1164:
1139:
1131:
1122:
1116:
1104:. Retrieved
1098:. Brooklyn:
1094:
1088:
1068:
1061:
1053:
1039:
1030:
1021:
1015:
1006:
990:
978:
962:
950:
938:. Retrieved
913:
902:
890:. Retrieved
883:the original
878:
870:Tam, Keith.
865:
853:. Retrieved
847:
840:
828:
816:
804:
792:
780:
753:
733:. Retrieved
729:
716:
704:. Retrieved
701:Fonts in Use
700:
690:
681:
677:
671:
659:. Retrieved
655:the original
650:
640:
628:. Retrieved
624:the original
619:
592:
588:
582:
573:
569:
512:
503:
463:
424:
407:
392:
363:
338:
309:
301:
284:
260:
248:
244:
240:James Mosley
238:. Historian
235:
225:
206:
198:
191:
171:
119:
111:
95:
74:
70:
67:square serif
66:
62:
58:
52:
2401:Type design
2396:Style guide
2389:Calligraphy
2379:Handwriting
2193:Type design
2143:Lorem ipsum
2138:Letterpress
2098:Typesetting
2038:Punctuation
2002:Record type
1973:Gaelic type
1961:Schwabacher
1851:Body height
1716:Letter case
1584:Line length
1246:20 February
1036:Hutt, Allen
797:Mosley 1984
785:Mosley 1984
735:12 December
541: 1820
534: 1817
474:Roboto Slab
441:, Rosmini,
323:"Old Style"
63:mechanistic
2481:Typography
2475:Categories
2374:Penmanship
2346:East Asian
2188:Type color
2121:monospaced
2078:Interpunct
2071:minus sign
1995:Specialist
1931:Sans-serif
1924:slab serif
1901:Roman type
1856:Cap height
1820:Thin space
1779:Whitespace
1731:Title case
1726:Snake case
1721:Small caps
1706:Camel case
1638:Diacritics
1546:Pull quote
1541:Pagination
1536:Paper size
1495:Typography
1300:"Helserif"
1269:23 October
1123:Dutch Type
940:23 October
595:(107–143).
550:References
478:sans-serif
346:Egyptienne
228:Napoleon's
226:Following
221:Adobe Inc.
183:sans-serif
142:Egyptienne
126:monospaced
59:slab serif
55:typography
1871:Overshoot
1866:Mean line
1861:Descender
1774:Underline
1616:Character
1594:Runaround
1574:Alignment
1566:Paragraph
1229:Quaerendo
855:12 August
833:Gray 1980
821:Gray 1980
809:Gray 1980
773:Gray 1980
706:11 August
661:13 August
342:Clarendon
236:Egyptians
209:wood type
175:fat faces
115:newsprint
106:Clarendon
2460:Category
2339:PT Fonts
2334:Cyrillic
2198:Typeface
2116:computer
2017:fat face
1890:Typeface
1876:x-height
1846:Baseline
1841:Ascender
1701:All caps
1663:Rotation
1658:Ligature
1653:Ink trap
1429:(1984).
1391:20 March
1362:20 March
1336:20 March
1310:19 March
1106:29 April
1038:(1973).
879:KeithTam
484:See also
470:Helserif
431:Rockwell
267:TheSerif
213:Hamilton
154:Rockwell
102:Rockwell
87:Rockwell
79:typeface
75:Egyptian
43:Chartist
2286:Hinting
2163:Pangram
1981:Insular
1954:Rotunda
1949:Fraktur
1914:Antiqua
1800:Kerning
1769:Oblique
1764:Italics
1711:Initial
1643:Dingbat
1633:Counter
1579:Leading
1421:: 1–35.
1357:Twitter
1306:. URW++
1304:MyFonts
1146:144–145
892:3 March
684:: 3–56.
630:15 July
576:: 1–35.
536:, nine
427:Memphis
399:Courier
328:Bookman
166:Courier
132:History
122:Courier
98:Memphis
91:Courier
71:antique
2329:Arabic
2228:Cicero
2066:Hyphen
2051:Bullet
2012:script
1986:Uncial
1919:Didone
1683:Tittle
1526:Margin
1516:Column
1206:
1179:
1152:
1102:. 1935
1076:
1046:
466:Serifa
459:Archer
451:Futura
435:Karnak
263:Joanna
179:Didone
47:Didone
2253:Point
2223:Agate
2083:Space
1909:Serif
1810:Pitch
1673:Swash
1648:Glyph
1589:River
1386:Print
886:(PDF)
875:(PDF)
678:Motif
651:IDSGN
620:IDSGN
496:Notes
447:Tower
439:Beton
256:Ionic
83:serif
2351:Thai
2265:Twip
2248:Pica
2203:list
2183:Sort
2111:Font
2056:Dash
2042:List
1754:Bold
1604:runt
1503:Page
1393:2016
1364:2016
1338:2016
1312:2016
1271:2015
1248:2016
1204:ISBN
1177:ISBN
1150:ISBN
1108:2016
1074:ISBN
1044:ISBN
995:Etna
942:2015
894:2016
857:2015
737:2015
708:2015
663:2015
632:2015
472:and
457:and
445:and
443:City
344:and
289:and
273:and
100:and
57:, a
1286:by
1237:doi
73:or
53:In
2477::
2238:En
2233:Em
1456::
1419:15
1417:.
1384:.
1366:.
1355:.
1329:.
1302:.
1231:.
1227:.
1148:.
1052:.
925:^
877:.
761:^
745:^
728:.
724:.
699:.
682:11
680:.
649:.
618:.
601:^
593:22
591:.
574:15
572:.
557:^
538:c.
531:c.
468:,
461:.
437:,
433:,
429:,
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314:.
282:.
269:,
265:,
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69:,
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2044:)
2040:(
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1395:.
1340:.
1314:.
1273:.
1250:.
1239::
1233:1
1212:.
1185:.
1158:.
1110:.
1082:.
944:.
896:.
859:.
811:.
739:.
710:.
665:.
634:.
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
