108:
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25:
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automatically slanted design, which may look worse) unless they check their installed fonts. Slanting the regular style to create an oblique was particularly often done on early computer and phototypesetting systems in the 1970s and -80s to save time and memory space, especially in lower-quality printing of
193:
offered serif typefaces with oblique rather than italic designs, especially display typefaces, but these designs (such as
Genzsch Antiqua) have mostly disappeared. An exception is American Type Founders' Bookman, offered in some releases with the oblique of its metal type version. An unusual example
329:
Some computer programs handling text may simply generate an oblique form, a "fake italic", by slanting the normal font when they find no italic or oblique style installed. It may not be clear to the user where the oblique form comes from (whether it is a correctly installed oblique font or an
67:, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called
227:, that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that the font required a little more cursive to it." A few other type designers replicated his approach for a time: van Krimpen's Romulus and
123:
that descends below the line of text. Some may even link up, like cursive (joined-up) handwriting. Obliques by contrast are "simply" sloped. In addition, italic styles are often quite noticeably narrower than roman type, while oblique styles are not.
198:. With a partly oblique lower case, it also makes the italic capitals inline in the style of blackletter capitals in the larger sizes of the metal type. It was developed by Rudolph Koch, a type designer who had previously specialised in to
928:, which has longer ascenders and descenders than Romulus does. Digital period type designer James Puckett describes the obliques on both Romulus and Electra as "spectacular failures pretty much killed the idea for serifed types."
75:
styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of
153:
fonts to have true italics, but in the late nineteenth century some "sloped romans" were created by
European and American foundries, particularly for display type and headings. Notable typefaces in this style include
222:
with a sloped roman rather than an italic, but came to find the style unattractive; Perpetua's italic when finally issued had the conventional italic 'a', 'e' and 'f'. Morison wrote to his friend, type designer
132:
Few typefaces have both oblique and italic designs, as this is generally a fundamental design choice about how the font should look. A font designer normally decides to design their font with one or the other.
267:. (As many sans-serif fonts were intended for use on headings and posters, especially early ones, some were not designed with italics at all because these were considered unnecessary.)
206:
was for a time in the inter-war period interested in the oblique type style, which he felt stood out in text less than a true italic and should supersede it. He argued in his article
202:
font design (which does not use italics); Walter Tracy described his design as "uninhibited by the traditions of roman and italic". The printing historian and artistic director
297:
typefaces, however, often use true italic styles since they are more influenced by calligraphy and traditional serif fonts. Notable humanist sans-serif typefaces include
769:
145:
Serif typefaces with an oblique are rare, but the
Central Type Foundry's "De Vinne" (the words "American Lining System" in this specimen) is an early exception.
83:
Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer
1534:
662:
185:
Almost all modern serif fonts have true italic designs. In the late nineteenth and early twentieth centuries, a number of type foundries such as
1908:
920:
Electra was later reissued–although not in
Britain–with a true italic, which is the only form most digitisations include. An exception is
778:
Specimens of type, borders, ornaments, brass rules and cuts, etc. : catalogue of printing machinery and materials, wood goods, etc
115:
Italic designs are not just the slanted version of the regular (roman) style; they are influenced by handwriting, with a single-storey
239:
typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to
631:
875:
582:
924:'s Aluminia revival, which includes both. Romulus was issued on Morison's plan with an oblique a script typeface companion,
978:
282:, a 1908 grotesque design, has an oblique. Gothic Italic no. 124, an 1890s grotesque, has a crisp true italic resembling
256:
427:
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317:
and other prominent designers have defended obliques as more appropriate for the aesthetic of sans-serif fonts, while
214:
where a more decorative form was preferred. He made an attempt to promote the idea by commissioning the typeface
911:
Spelling modernised to avoid confusion–Morison wrote 'fount', the usual spelling in
British English at the time.
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that serif book typefaces should have as the default sloped form an oblique and as a complement a
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typefaces use plainer oblique designs instead of italic ones. This is especially true with
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290:, a modern humanist family, has a more informal italic in the style of handwriting.
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is a form of type that slants slightly to the right, used for the same purposes as
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263:, which have a spare, industrial aesthetic, and geometric ones like
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stated that he had avoided a true italic 'a' and 'e' in his design
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and the thick-and-thin quality of strokes from the regular design.
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194:
of an oblique font from the inter-war period is the display face
162:'s "self-spacing" type and the Central Type Foundry's "De Vinne"
1558:
1175:
947:
Compare "Univers 65 Bold
Oblique" and "Univers 66 Bold Italic"
166:
display face. European examples included
Genzsch Antiqua from
111:
A simply slanted (L) and corrected (R) example of oblique type
1401:
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60:
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726:"Draughtsman's Alphabets published by Keuffel & Esser"
59:. Unlike italic type, however, it does not use different
39:, each time with a different style. From top to bottom:
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591:
502:
500:
99:
have described obliques as more "keen and insistent".
35:
An example text written three times in a typeface by
497:
158:in metal type (although not many recent versions),
149:Historically, it was normal for all Latin-alphabet
743:
535:
533:
47:and an oblique created by sloping the roman type.
1965:
781:. American Type Founders Company. 1897. p.
356:
829:(2 ed.). Walter de Gruyter. p. 260.
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452:
1909:Intellectual property protection of typefaces
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1451:
570:
235:were both released with obliques. Morison's
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564:
562:
477:
475:
430:. Jeremy Tankard Typography. Archived from
177:Unusual backslanted oblique lettering on a
979:
965:
1935:Punctuation and other typographic symbols
824:
574:Letters of Credit: A View of Type Design
559:
472:
453:Frere-Jones, Tobias; Hoefler, Jonathan.
269:
172:
140:
106:
942:Typographica: Ain't What ITC Used to Be
749:
723:
717:
321:has supported the use of true italics.
102:
1966:
446:
344:Technical lettering § Lettering B
91:due to finding them "too soft", while
960:
325:Automated obliques, or "fake italics"
127:
868:
660:
481:
419:
399:
377:
724:Puckett, James (22 November 2016).
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246:
63:shapes; it uses the same glyphs as
13:
952:CSS font-style: oblique vs italic"
849:
14:
1985:
935:
597:
362:
1948:
1947:
750:Morison, Stanley (Autumn 2012).
28:
23:
914:
905:
843:
825:Frutiger, Adrian (8 May 2014).
818:
796:
699:"Recasting Electra as Aluminia"
654:
624:
986:
577:. D.R. Godine. pp. 61–4.
371:
286:serif families of the period.
136:
1:
1904:History of Western typography
827:Typefaces: The Complete Works
571:Walter Tracy (January 2003).
349:
1751:traditional point-size names
7:
1004:Canons of page construction
855:"My Type-Design Philosophy"
402:"Ain't What ITC Used To Be"
337:
313:; all have italic designs.
10:
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1161:Subscript and superscript
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1107:
1057:
994:
459:Hoefler & Frere-Jones
1919:Vox-ATypI classification
1049:Intentionally blank page
898:
878:. W3.org. Archived from
229:William Addison Dwiggins
618:Towards an Ideal Italic
546:Type Design Information
380:"Fake vs. True Italics"
208:Towards an Ideal Italic
1452:
926:Cancelleresca Bastarda
508:"Typophile discussion"
291:
187:American Type Founders
182:
146:
112:
661:Lo Celso, Alejandro.
273:
176:
144:
110:
1789:Typographic features
752:"Changing the Times"
103:Obliques and italics
16:Form of slanted type
1914:Technical lettering
1813:Typography in other
1554:Hanging punctuation
705:. 11 September 2017
687:on 8 November 2014.
295:Humanist sans-serif
191:Genzsch & Heyse
168:Genzsch & Heyse
1877:Handwriting script
1804:Desktop publishing
1774:Character encoding
1767:Digital typography
1281:Horizontal aspects
1234:Visual distinction
1092:Widows and orphans
703:Letterform Archive
642:on 10 January 2012
518:on 8 November 2014
292:
274:Three sans-serif "
183:
179:Norwegian banknote
147:
128:Specific typefaces
113:
1961:
1960:
1708:Typographic units
1626:For position only
1525:
1524:
1377:
1376:
730:dailytypespecimen
602:. pp. 162–3.
600:Letters of Credit
584:978-1-56792-240-0
542:"Friedrich Bauer"
426:Tankard, Jeremy.
365:Letters of Credit
156:Bookman Old Style
1981:
1951:
1950:
1928:Related template
1860:Related articles
1661:Phototypesetting
1515:reverse-contrast
1500:Display typeface
1457:
1434:Blackletter type
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1327:Vertical aspects
1308:Sentence spacing
1118:Typeface anatomy
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680:. Archived from
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638:. Archived from
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614:Morison, Stanley
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604:
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514:. Archived from
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482:Simonson, Mark.
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400:Simonson, Mark.
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378:Simonson, Mark.
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368:
367:. pp. 61–5.
360:
334:and newspapers.
247:Sans-serif fonts
160:Linn Boyd Benton
32:
27:
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434:on 17 July 2014
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363:Tracy, Walter.
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315:Adrian Frutiger
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237:Times New Roman
225:Jan van Krimpen
212:script typeface
204:Stanley Morison
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1849:National Fonts
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936:External links
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882:on 14 May 2019
867:
851:Majoor, Martin
842:
836:978-3038212607
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806:. Linotype.com
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540:Devroye, Luc.
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85:Jeremy Tankard
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1736:Metric units
1666:Punchcutting
1651:Movable type
1621:Font catalog
1581:Vertical bar
1318:Word spacing
1288:Figure space
1261:
1171:Text figures
1014:Even working
925:
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884:. Retrieved
880:the original
870:
860:23 September
858:. Retrieved
845:
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808:. Retrieved
804:"Goudy Sans"
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406:Typographica
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385:23 September
383:. Retrieved
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73:sloped roman
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53:Oblique type
52:
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1894:Type design
1889:Style guide
1882:Calligraphy
1872:Handwriting
1686:Type design
1636:Lorem ipsum
1631:Letterpress
1591:Typesetting
1531:Punctuation
1495:Record type
1466:Gaelic type
1454:Schwabacher
1344:Body height
1209:Letter case
1077:Line length
886:12 November
810:12 November
735:10 November
709:10 November
484:"Bookmania"
464:16 December
438:16 December
411:10 November
280:News Gothic
200:blackletter
164:wedge-serif
137:Serif fonts
97:Frere-Jones
57:italic type
37:Jean Jannon
1974:Typography
1867:Penmanship
1839:East Asian
1681:Type color
1614:monospaced
1571:Interpunct
1564:minus sign
1488:Specialist
1424:Sans-serif
1417:slab serif
1394:Roman type
1349:Cap height
1313:Thin space
1272:Whitespace
1224:Title case
1219:Snake case
1214:Small caps
1199:Camel case
1131:Diacritics
1039:Pull quote
1034:Pagination
1029:Paper size
988:Typography
646:8 November
632:"Perpetua"
551:8 November
522:8 November
350:References
303:Goudy Sans
253:sans-serif
65:roman type
1364:Overshoot
1359:Mean line
1354:Descender
1267:Underline
1109:Character
1087:Runaround
1067:Alignment
1059:Paragraph
788:17 August
636:Fonts.com
512:Typophile
455:"Whitney"
299:Gill Sans
261:Helvetica
257:grotesque
220:Eric Gill
1968:Category
1953:Category
1832:PT Fonts
1827:Cyrillic
1691:Typeface
1609:computer
1510:fat face
1383:Typeface
1369:x-height
1339:Baseline
1334:Ascender
1194:All caps
1156:Rotation
1151:Ligature
1146:Ink trap
669:Families
338:See also
332:ephemera
216:Perpetua
78:counters
1779:Hinting
1656:Pangram
1474:Insular
1447:Rotunda
1442:Fraktur
1407:Antiqua
1293:Kerning
1262:Oblique
1257:Italics
1204:Initial
1136:Dingbat
1126:Counter
1072:Leading
876:"Fonts"
761:28 July
428:"Bliss"
307:FF Meta
288:Seravek
276:italics
233:Electra
181:of 1807
119:and an
93:Hoefler
69:slanted
1822:Arabic
1721:Cicero
1559:Hyphen
1544:Bullet
1505:script
1479:Uncial
1412:Didone
1176:Tittle
1019:Margin
1009:Column
833:
665:Serial
581:
284:Didone
265:Futura
45:italic
1746:Point
1716:Agate
1576:Space
1402:Serif
1303:Pitch
1166:Swash
1141:Glyph
1082:River
899:Notes
685:(PDF)
674:(PDF)
667:Type
251:Many
241:Didot
218:from
151:serif
89:Bliss
61:glyph
41:Roman
1844:Thai
1758:Twip
1741:Pica
1696:list
1676:Sort
1604:Font
1549:Dash
1535:List
1247:Bold
1097:runt
996:Page
888:2011
862:2014
831:ISBN
812:2011
790:2015
763:2015
737:2017
711:2017
648:2014
579:ISBN
553:2014
524:2014
491:2014
466:2016
440:2016
413:2017
387:2014
309:and
189:and
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783:340
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278:".
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1731:En
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