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</li> </ul> </li> <li id="toc-Twentieth_century_and_later" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Twentieth_century_and_later"> <div class="vector-toc-text"> 4 Twentieth century and later </div> </a> <ul id="toc-Twentieth_century_and_later-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> 5 Notes </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 6 References </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle References subsection </button> <ul 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data-mw-ve-target-container> <div class="vector-body-before-content"> <div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Style of display typeface and lettering</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the UK clothes retailer, see <a href="/wiki/FatFace" title="FatFace">FatFace</a>.</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Elephant_sample.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Elephant_sample.png/220px-Elephant_sample.png" decoding="async" width="220" height="139" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Elephant_sample.png/330px-Elephant_sample.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Elephant_sample.png/440px-Elephant_sample.png 2x" data-file-width="11548" data-file-height="7319" /></a><figcaption>Elephant is a digital fat face typeface by <a href="/wiki/Matthew_Carter" title="Matthew Carter">Matthew Carter</a> based on the typefaces of <a href="/wiki/Vincent_Figgins" title="Vincent Figgins">Vincent Figgins</a>.<a href="#cite_note-FOOTNOTEMosley200335-1">[1]</a></figcaption></figure> In <a href="/wiki/Typography" title="Typography">typography</a>, a fat face letterform is a <a href="/wiki/Serif" title="Serif">serif</a> <a href="/wiki/Typeface" title="Typeface">typeface</a> or piece of lettering in the <a href="/wiki/Didone_(typography)" title="Didone (typography)">Didone or modern</a> style with an extremely bold design.<a href="#cite_note-Ford1854-2">[2]</a> Fat face typefaces appeared in <a href="/wiki/London" title="London">London</a> around 1805–1810 and became widely popular; <a href="/wiki/John_Lewis_(typographer)" title="John Lewis (typographer)">John Lewis</a> describes the fat face as "the first real <a href="/wiki/Display_typeface" title="Display typeface">display typeface</a>."<a href="#cite_note-FOOTNOTELewis196212-3">[3]</a><a href="#cite_note-The_Story_of_Our_Friend,_the_Fat_Face-4">[4]</a><a href="#cite_note-Fat_faces_Phinney-5">[5]</a><a href="#cite_note-7">[a]</a> While decorated typefaces and lettering styles existed in the past, for instance inline and shadowed forms, the fat faces' extreme design and their issue in very large <a href="/wiki/Poster" title="Poster">poster</a> sizes had an immediate impact on display typography in the early nineteenth century. Historian <a href="/wiki/James_Mosley" title="James Mosley">James Mosley</a> describes a fat face as "designed like a naval broadside to sock its commercial message ... by sheer aggressive weight of heavy metal."<a href="#cite_note-FOOTNOTEMosley200335-1">[1]</a> and that (unlike <a href="/wiki/Slab_serif" title="Slab serif">slab serif</a> typefaces) "while the thick lines were very thick, the thin ones remained the same - or in proportion, very thin indeed."<a href="#cite_note-FOOTNOTEMosley200335-1">[1]</a> The same style of letters was also widely used executed as custom <a href="/wiki/Lettering" title="Lettering">lettering</a> rather than as a typeface in the nineteenth century, in architecture, on tombstones and on signage. Versions were executed as <a href="/wiki/Roman_type" title="Roman type">roman or upright</a>, <a href="/wiki/Italic_type" title="Italic type">italics</a> and with designs inside the main bold strokes of the letter, such as a white line, patterns or decorations such as fruits or flowers. They are different in style to the slab serif typefaces which appeared shortly afterwards, in which the serifs themselves are also made bold in weight. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Historical_background">Historical background</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=1" title="Edit section: Historical background">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/220px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg" decoding="async" width="220" height="294" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/330px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/440px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg 2x" data-file-width="2996" data-file-height="4001" /></a><figcaption>London poster, c. 1840s</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Man_of_the_World_Young_Hussar_1808.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Man_of_the_World_Young_Hussar_1808.jpg/220px-Man_of_the_World_Young_Hussar_1808.jpg" decoding="async" width="220" height="282" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Man_of_the_World_Young_Hussar_1808.jpg/330px-Man_of_the_World_Young_Hussar_1808.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8b/Man_of_the_World_Young_Hussar_1808.jpg/440px-Man_of_the_World_Young_Hussar_1808.jpg 2x" data-file-width="562" data-file-height="721" /></a><figcaption>Early theatre poster, 1808: all text is in fonts similar to body text faces.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Wedi_Crywdro%E2%80%A6_1818.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Wedi_Crywdro%E2%80%A6_1818.jpg/220px-Wedi_Crywdro%E2%80%A6_1818.jpg" decoding="async" width="220" height="178" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/50/Wedi_Crywdro%E2%80%A6_1818.jpg/330px-Wedi_Crywdro%E2%80%A6_1818.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/50/Wedi_Crywdro%E2%80%A6_1818.jpg/440px-Wedi_Crywdro%E2%80%A6_1818.jpg 2x" data-file-width="798" data-file-height="647" /></a><figcaption>1818 poster; complete change in style. Fat face, or at least bold, letterforms used throughout; the main heading is in an inline italic design.</figcaption></figure> Great changes took place in the style of printed letters available from <a href="/wiki/Type_foundry" title="Type foundry">type foundries</a> in the hundred years after 1750. At the beginning of this period, fonts in Latin-alphabet printing were predominantly intended for book printing. The modern concept of text faces having companion bold fonts did not exist, although some titling capitals were quite bold; if a bolder effect was intended <a href="/wiki/Blackletter" title="Blackletter">blackletter</a> might be used.<a href="#cite_note-Typophile_Bold-8">[7]</a> From the arrival of <a href="/wiki/Roman_type" title="Roman type">roman type</a> around 1475 to the late eighteenth century, relatively little development in letter design took place, as most fonts of the period were intended for body text, and they stayed relatively similar in design, generally ignoring local styles of lettering or newer "pointed-pen" styles of calligraphy.<a href="#cite_note-Lane_Lommen_ATypI-9">[8]</a><a href="#cite_note-10">[b]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Elephant_vs_Bodoni.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Elephant_vs_Bodoni.png/220px-Elephant_vs_Bodoni.png" decoding="async" width="220" height="132" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Elephant_vs_Bodoni.png/330px-Elephant_vs_Bodoni.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d6/Elephant_vs_Bodoni.png/440px-Elephant_vs_Bodoni.png 2x" data-file-width="2524" data-file-height="1511" /></a><figcaption>Fat face types have the thin horizontals of modern-face types like Bodoni (top), but much thicker vertical strokes.</figcaption></figure> Starting in the late seventeenth century, typefounders developed what are now called <a href="/wiki/Serif#Transitional" title="Serif">transitional</a> and then <a href="/wiki/Didone_(typography)" title="Didone (typography)">Didone</a> types. These typefaces had daringly slender horizontals and serif details, catching up to the steely calligraphy and <a href="/wiki/Copperplate_engraving" class="mw-redirect" title="Copperplate engraving">copperplate engraving</a> styles of the period, that could show off the increasingly high quality of paper and printing technology of the period.<a href="#cite_note-11">[9]</a><a href="#cite_note-12">[10]</a><a href="#cite_note-FOOTNOTEMosley19938-13">[11]</a> In addition, Didone typefaces had a strictly vertical stress: without exception, the vertical lines were thicker than the horizontals, creating a much more geometric and modular design.<a href="#cite_note-14">[c]</a><a href="#cite_note-Transitional_&_Modern_Type_Families-15">[12]</a><a href="#cite_note-Didot_history_HFJ-16">[13]</a> A major development of the early nineteenth century was the arrival of the printed <a href="/wiki/Poster" title="Poster">poster</a> and increasing use of printing for publicity and advertising material. This presumably caused a desire to make eye-catching new types of letters available for printing.<a href="#cite_note-Raizman2003-17">[14]</a><a href="#cite_note-18">[15]</a><a href="#cite_note-Scrambled_Eggs_&_Serifs-19">[16]</a><a href="#cite_note-Lewis2007-20">[17]</a> Large typefaces clearly intended for poster use began to appear in London in the second half of the eighteenth century, introduced by the typefounders Thomas Cottrell and by William Caslon II by 1764,<a href="#cite_note-FOOTNOTEWolpe196459–62-21">[18]</a> although casting large <a href="/wiki/Metal_type" class="mw-redirect" title="Metal type">metal type</a> in sand for book titles was used for centuries before that.<a href="#cite_note-FOOTNOTEMosley19909–10-22">[19]</a><a href="#cite_note-Caslon's_Patagonian-23">[20]</a> Caslon's were apparently marketed for use by <a href="/wiki/Stagecoach" title="Stagecoach">stagecoach</a> services, with lists of towns on the specimen sheets.<a href="#cite_note-FOOTNOTEWolpe196463-24">[21]</a> Although influenced by a textbook on architectural lettering, they still remained similar to magnified body text forms, rather than a new departure, although they did establish one precedent later followed by both fat face typefaces and modern face types generally, that numerals were at a fixed height rather than the old <a href="/wiki/Text_figures" title="Text figures">text figures</a> of variable height.<a href="#cite_note-FOOTNOTEWolpe196462-25">[22]</a><a href="#cite_note-26">[d]</a> The term "fat face" itself is older than the modern genre. Meaning typefaces bolder than normal weight (but only slightly, by modern standards) it was used in 1683 by <a href="/wiki/Joseph_Moxon" title="Joseph Moxon">Joseph Moxon</a> as "a broad-stemmed letter".<a href="#cite_note-FOOTNOTEMorlighem20206-27">[23]</a> Reference books on printing from the nineteenth century also used it to refer to new Didone typefaces that were bolder than before but still intended for printing <a href="/wiki/Body_text" title="Body text">body text</a> or <a href="/wiki/Poetry" title="Poetry">poetry</a>.<a href="#cite_note-FOOTNOTEMorlighem20206–7-28">[24]</a> <div class="mw-heading mw-heading2"><h2 id="First_appearances">First appearances</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=2" title="Edit section: First appearances">edit</a>]</div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Robert_Thorne_ten_lines_pica_typeface.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Robert_Thorne_ten_lines_pica_typeface.jpg/220px-Robert_Thorne_ten_lines_pica_typeface.jpg" decoding="async" width="220" height="129" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/02/Robert_Thorne_ten_lines_pica_typeface.jpg/330px-Robert_Thorne_ten_lines_pica_typeface.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/02/Robert_Thorne_ten_lines_pica_typeface.jpg/440px-Robert_Thorne_ten_lines_pica_typeface.jpg 2x" data-file-width="2720" data-file-height="1593" /></a><figcaption>Early typeface in what became the fat face style by Robert Thorne in his 1803 specimen<a href="#cite_note-Thorne_1803-29">[25]</a></figcaption></figure> According to Mosley, "the growth [of fat face letters] from existing models can be continuously traced. There is a clear parallel to it in contemporary architectural lettering...in printing types its fatness was steadily increased".<a href="#cite_note-FOOTNOTEMosley199310-30">[26]</a><a href="#cite_note-35">[e]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg/220px-William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg" decoding="async" width="220" height="36" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg/330px-William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/23/William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg/440px-William_Caslon_IV_Five_Lines_Pica_No._2_Italic.jpg 2x" data-file-width="2483" data-file-height="410" /></a><figcaption>An early example, not particularly bold, of c. 1816.<a href="#cite_note-Caslon_IV-36">[31]</a> <a href="/wiki/W#History" title="W">This style of 'W'</a> was common in <a href="/wiki/Roundhand" class="mw-redirect" title="Roundhand">roundhand</a> calligraphy.<a href="#cite_note-Berry_Roundhand-37">[32]</a><a href="#cite_note-Flawed_Typefaces-38">[33]</a></figcaption></figure> Two contemporary sources concurred that fat face letters were popularised by the typefounder <a href="/wiki/Robert_Thorne_(typographer)" title="Robert Thorne (typographer)">Robert Thorne</a>.<a href="#cite_note-FOOTNOTEJohnson1970409-39">[34]</a> He had been an apprentice to Thomas Cottrell,<a href="#cite_note-FOOTNOTEHansard1825360-40">[35]</a> who pioneered large-size poster types, before setting up his own company, often called the <a href="/wiki/Fann_Street_Foundry" title="Fann Street Foundry">Fann Street Foundry</a>, in North London.<a href="#cite_note-FOOTNOTEHansard1825360-40">[35]</a> According to <a href="/wiki/Thomas_Curson_Hansard" title="Thomas Curson Hansard">Thomas Curson Hansard</a> (1825), "the extremely bold and fat letter, now prevalent in job-printing, owes its introduction principally to Mr. Thorne, a spirited and successful letter-founder" and according to <a href="/wiki/William_Savage_(printer)" title="William Savage (printer)">William Savage</a> (1822) he "has been principally instrumental in the revolution that has taken place in Posting Bills by the introduction of fat types."<a href="#cite_note-FOOTNOTEHansard1825360-40">[35]</a><a href="#cite_note-FOOTNOTESavage182272-41">[36]</a> Unfortunately, few typeface specimen books from the period or from his foundry survive, making it difficult to confirm this; in addition, typeface specimens of the time generally make no comments at all on the types shown.<a href="#cite_note-Isambard-33">[29]</a><a href="#cite_note-42">[37]</a><a href="#cite_note-43">[38]</a><a href="#cite_note-FOOTNOTEMosley195832-44">[39]</a> From his study of specimen books, <a href="https://fr.wikipedia.org/wiki/S%C3%A9bastien_Morlighem" class="extiw" title="fr:Sébastien Morlighem">Sébastien Morlighem</a> does not believe that the escalating trend was entirely driven by Thorne: "a lesser-known, yet decisive, contribution came from the <a href="/wiki/Caslon_Type_Foundry" title="Caslon Type Foundry">Caslon foundry</a>"<a href="#cite_note-FOOTNOTEMorlighem20209-45">[40]</a> and that "it is more accurate to see that several people – punchcutters, founders, printers, publishers – were involved in its development and popularisation".<a href="#cite_note-FOOTNOTEMorlighem202022-46">[41]</a> As to the clients for these types, Mosley writes that "it is tempting to see" the lottery agent Thomas Bish as a force behind them: there were two Thomas Bishes, a father <a href="/wiki/Thomas_Bish" title="Thomas Bish">and son</a> who were famous lottery promoters, who were well-known for brash, startling advertising.<a href="#cite_note-50">[f]</a> Mosley highlights as significant a fat face in a later specimen book simply showcased with the single specimen word "Bish",<a href="#cite_note-52">[g]</a> and notes that Bish posters began with "heavy roman lettering engraved on wood, for which fat-face types were substituted as they became available".<a href="#cite_note-FOOTNOTEMosley199310-30">[26]</a> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="Widespread_use">Widespread use</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=3" title="Edit section: Widespread use">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg/220px-Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg" decoding="async" width="220" height="155" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg/330px-Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg/440px-Abolition_of_Slavery_The_Glorious_1st_of_August_1838.jpg 2x" data-file-width="770" data-file-height="544" /></a><figcaption>1838: variation of letterform from ultra-bold down to merely bolder than average in the extended text</figcaption></figure> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Ultra-bold_Didone,_Kinsley_1829.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/220px-Ultra-bold_Didone%2C_Kinsley_1829.jpg" decoding="async" width="220" height="141" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/330px-Ultra-bold_Didone%2C_Kinsley_1829.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/440px-Ultra-bold_Didone%2C_Kinsley_1829.jpg 2x" data-file-width="1024" data-file-height="655" /></a><figcaption>An extremely bold fat face design from A.W. Kinsley & Co., <a href="/wiki/Albany,_New_York" title="Albany, New York">Albany</a>, 1829. The <a href="/wiki/Counter_(typography)" title="Counter (typography)">counters</a> have been reduced to abrupt, tiny slits.</figcaption></figure> Fat faces rapidly became popular. Whereas early poster types and titling capitals were generally only upright, fat faces were made in roman and in <a href="/wiki/Italic_type" title="Italic type">italics</a>.<a href="#cite_note-Isambard-33">[29]</a> <a href="/wiki/Swash_(typography)" title="Swash (typography)">Swash capitals</a> for A M N V W Y were quite common; the sample text "VANWAYMAN" was used as a sample text by the Caslon type foundry to showcase them.<a href="#cite_note-Isambard-33">[29]</a><a href="#cite_note-Caslon_1821_specimen-53">[46]</a><a href="#cite_note-55">[h]</a> They were also made down into quite small sizes.<a href="#cite_note-Isambard-33">[29]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg/220px-Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg" decoding="async" width="220" height="129" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/92/Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg/330px-Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/92/Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg/440px-Caslon_1841_specimen_Canon_No._2_fat_face_typeface.jpg 2x" data-file-width="5195" data-file-height="3041" /></a><figcaption>The 1841 <a href="/wiki/Caslon_Type_Foundry" title="Caslon Type Foundry">Caslon foundry</a> specimen uses "VANWAYMAN" as a sample text for its <a href="/wiki/Swash_(typography)" title="Swash (typography)">swash</a> capitals.</figcaption></figure> Fat faces were also used in the US, where they were used on gravestones.<a href="#cite_note-Shaw_New_England_Cemeteries_numbers_2-56">[48]</a><a href="#cite_note-Shields_Aetna-57">[49]</a> In the United States Barnhurst and Nerone comment that fat face newspaper nameplates were in fashion in the 1810s; later they were often replaced by blackletter.<a href="#cite_note-BarnhurstNerone2002-58">[50]</a> Mosley has particularly praised those of <a href="/wiki/Vincent_Figgins" title="Vincent Figgins">Vincent Figgins</a>' foundry (digitised by <a href="/wiki/Matthew_Carter" title="Matthew Carter">Matthew Carter</a> as Elephant, above): "exaggeration puts a huge strain on the designer if the result is to retain any coherence at all. Whoever cut the fat-faces of Vincent Figgins ... handled the problems with what can only be described as elegance."<a href="#cite_note-FOOTNOTEMosley200335–36-59">[51]</a> New varieties were added by type foundries, including condensed, wide and <a href="/wiki/Italic_type#Left-leaning_italics" title="Italic type">contra-italic</a> versions.<a href="#cite_note-Isambard-33">[29]</a><a href="#cite_note-Baerdemaeker_Reverse-60">[52]</a><a href="#cite_note-studio_type_reverse_italics-61">[53]</a> Other display typefaces also proliferated following their lead; <a href="/wiki/Reverse-contrast_typefaces" title="Reverse-contrast typefaces">reverse-contrast typefaces</a>, introduced by 1821, may be seen as an inversion of the style.<a href="#cite_note-A_Short_History_of_the_Italian-62">[54]</a><a href="#cite_note-63">[55]</a> <div class="mw-heading mw-heading3"><h3 id="Ornamented_designs">Ornamented designs</h3>[<a href="/w/index.php?title=Fat_face&action=edit&section=4" title="Edit section: Ornamented designs">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:204px;max-width:204px"><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage" style="border:none;"><a href="/wiki/File:Austin_Foundry_1838_12_Lines_Ornamented,_No._4.jpg" class="mw-file-description"><img alt="A geometric ornamented typeface" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/32/Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg/200px-Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg" decoding="async" width="200" height="119" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/32/Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg/300px-Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/32/Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg/400px-Austin_Foundry_1838_12_Lines_Ornamented%2C_No._4.jpg 2x" data-file-width="2361" data-file-height="1409" /></a></div></div></div><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage" style="border:none;"><a href="/wiki/File:Austin_Foundry_1838_14_Lines_Ornamented,_No._1.jpg" class="mw-file-description"><img alt="An ornamented typeface with vines and grapes on a stippled background." src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg/200px-Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg" decoding="async" width="200" height="68" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg/300px-Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2e/Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg/400px-Austin_Foundry_1838_14_Lines_Ornamented%2C_No._1.jpg 2x" data-file-width="3114" data-file-height="1057" /></a></div><div class="thumbcaption text-align-left">Two decorated types from the 1838 specimen book of the Austin Letter Foundry<a href="#cite_note-Austin_Foundry_1838-64">[56]</a><a href="#cite_note-66">[i]</a></div></div></div></div></div> Besides simple typefaces, variants were designed with patterns and decorations. These extended from simple inline designs to artwork such as flowers and harvest themes. Decorated fat face typefaces were cut in wood and reproduced by dabbing, or <a href="/wiki/Stereotype_(printing)" title="Stereotype (printing)">stereotype</a>, a technique in which the wooden pattern is driven into molten metal just at the point of solidifying.<a href="#cite_note-Mosley_Dabbing-67">[58]</a><a href="#cite_note-Bergel_dabbing-68">[59]</a><a href="#cite_note-FOOTNOTEMosley19909–10-22">[19]</a><a href="#cite_note-FOOTNOTEMosley1993-69">[60]</a> One type foundry particularly known for decorated designs was the London foundry of <a href="/wiki/Louis_Pouch%C3%A9e" title="Louis Pouchée">Louis John Pouchée</a>, active from 1818<a href="#cite_note-70">[j]</a> to 1830.<a href="#cite_note-FIU_Ornamented_Types-32">[28]</a><a href="#cite_note-FOOTNOTEMosley1993-69">[60]</a> Pouchée was a <a href="/wiki/Freemason" class="mw-redirect" title="Freemason">Freemason</a>, and some of his foundry's types were inspired by Masonic emblems. Many of his wooden patterns are preserved.<a href="#cite_note-Ornamented_types:_a_prospectus-71">[61]</a><a href="#cite_note-Pouchee’s_lost_alphabets-72">[62]</a><a href="#cite_note-73">[63]</a><a href="#cite_note-74">[k]</a> While very striking, it is not clear that these types were much used: <a href="/wiki/John_Dreyfus" title="John Dreyfus">John Dreyfus</a> reported that "the late <a href="/wiki/Ellic_Howe" title="Ellic Howe">Ellic Howe</a>, a printing historian and a Freemason, failed to discover any piece of printing on which Pouchée's Masonic types were used".<a href="#cite_note-Dreyfus_Ornamented_Types_review-75">[64]</a> He suggested that the fine detail of Pouchée's ornamented letters was not practical for job printing work at the time and that some of the designs were too large for playbills and handbills, their likely market.<a href="#cite_note-Dreyfus_Ornamented_Types_review-75">[64]</a> Ultimately large metal types were only briefly used, as they were soon replaced by <a href="/wiki/Router_(woodworking)" title="Router (woodworking)">routed</a> and <a href="/wiki/Pantograph" title="Pantograph">pantograph</a>-engraved <a href="/wiki/Wood_type" title="Wood type">wood display type</a>, which was much lighter and cheaper.<a href="#cite_note-FOOTNOTEMosley1993-69">[60]</a><a href="#cite_note-Shields_Wood_Type-76">[65]</a> Bold lettering also appears on copperplate engraving, such as engraved maps of the period. Digital font designer Andy Clymer reports finding on engraved maps that it was more common for bold lettering to be decorated, leaving spaces not engraved out, than it was to be solid black: "whenever things would get heavier, they would often just get more ornamented…not filled in solid [but] with some kind of ornamentation or decoration."<a href="#cite_note-Clymer-77">[66]</a> This is seen in A Specimen of the Print Hands, an internal specimen of lettering styles used by the <a href="/wiki/Ordnance_Survey" title="Ordnance Survey">Ordnance Survey</a> in the early nineteenth century, in which the boldest lettering is decorated.<a href="#cite_note-Working_Letters-78">[67]</a><a href="#cite_note-Specimen_of_the_Print_Hands-79">[68]</a> <div class="mw-heading mw-heading3"><h3 id="Late_nineteenth_century">Late nineteenth century</h3>[<a href="/w/index.php?title=Fat_face&action=edit&section=5" title="Edit section: Late nineteenth century">edit</a>]</div> New types of display type proliferated in the late nineteenth century.<a href="#cite_note-FOOTNOTEGray1977-80">[69]</a> In 1863, printer H. Morgan in <a href="/wiki/Madras" class="mw-redirect" title="Madras">Madras</a> wrote that fat-face letter "is seldom used now".<a href="#cite_note-Morgan_1863-81">[70]</a> In 1901 the influential American printer <a href="/wiki/Theodore_Low_De_Vinne" title="Theodore Low De Vinne">Theodore Low De Vinne</a> criticised the style as "an object lesson of absurdity".<a href="#cite_note-Fads_in_Printing-82">[71]</a> The term "fat face" continued to be used for bolder types, not just for the ultra-bold poster types. In 1893 William B. MacKellar of the major American type foundry <a href="/wiki/Binny_%26_Ronaldson" title="Binny & Ronaldson">MacKellar, Smiths, & Jordan</a> showed a wide body text face described as a fat face in discussing pay scales for compositors.<a href="#cite_note-MacKellar-83">[72]</a> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="Twentieth_century_and_later">Twentieth century and later</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=6" title="Edit section: Twentieth century and later">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg/220px-%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg" decoding="async" width="220" height="279" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg/330px-%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1d/%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg/440px-%27off_the_Ration%27_Exhibition_-_Regents_Park_Zoo_Art.IWMPST8106.jpg 2x" data-file-width="631" data-file-height="800" /></a><figcaption>Mid-century poster by <a href="/wiki/Jan_Le_Witt" title="Jan Le Witt">Lewitt</a>-<a href="/wiki/George_Him" title="George Him">Him</a>, an example of the revival of fat faces in graphic design around this time. The "f"s are <a href="/wiki/Kerning" title="Kerning">"non-kerning"</a>, a style that only became popular from the middle of the nineteenth century.<a href="#cite_note-Type_held_in_the_hand-84">[73]</a></figcaption></figure> Fat faces returned to some popularity in the twentieth century, in the UK as part of the <a href="/wiki/Victoriana" title="Victoriana">Victoriana</a> style promoted by <a href="/wiki/John_Betjeman" title="John Betjeman">John Betjeman</a> and others in the 1930s.<a href="#cite_note-Seago1995-85">[74]</a><a href="#cite_note-FOOTNOTEJohnson1970-86">[75]</a><a href="#cite_note-FOOTNOTERennie2001110-87">[76]</a><a href="#cite_note-89">[l]</a> Fat face types sold as metal type in the twentieth century included: <ul><li>Ultra Bodoni by <a href="/wiki/Morris_Fuller_Benton" title="Morris Fuller Benton">Morris Fuller Benton</a> at <a href="/wiki/American_Type_Founders" title="American Type Founders">American Type Founders</a>.<a href="#cite_note-Ultra_Bodoni-90">[78]</a><a href="#cite_note-A_Reply_to_Rick_von_Holdt-91">[79]</a></li> <li>Falstaff by <a href="/wiki/Monotype_Imaging" title="Monotype Imaging">Monotype</a><a href="#cite_note-Falstaff-92">[80]</a></li> <li>Normande by <a href="/wiki/Berthold_Type_Foundry" title="Berthold Type Foundry">Berthold</a><a href="#cite_note-Bitstream_Normande-93">[81]</a></li> <li>Thorowgood by <a href="/wiki/Mergenthaler_Linotype_Company" title="Mergenthaler Linotype Company">Linotype</a>.<a href="#cite_note-Thorowgood_MF-94">[82]</a></li></ul> Digital-period fat face types include: <ul><li>Elephant/Big Figgins by Matthew Carter (1992, in 1998 rereleased under the second name in an expanded family)<a href="#cite_note-Elephant_-_Microsoft-95">[83]</a><a href="#cite_note-96">[84]</a><a href="#cite_note-Fonts_In_Use_-_Elephant-97">[85]</a><a href="#cite_note-Design_Museum-98">[86]</a><a href="#cite_note-New_Faces_in_Washington-99">[87]</a><a href="#cite_note-Washington_Post_2012_“Q”_Covers-100">[88]</a><a href="#cite_note-Reputations:_Matthew_Carter-101">[89]</a><a href="#cite_note-AIGA_Medalist:_Matthew_Carter-102">[90]</a></li> <li>Surveyor, designed by <a href="/wiki/Hoefler_%26_Co." title="Hoefler & Co.">Hoefler & Frere-Jones</a>,<a href="#cite_note-Wilson_Frere-Jones-103">[91]</a><a href="#cite_note-104">[92]</a> and later display companion Obsidian<a href="#cite_note-Clymer-77">[66]</a><a href="#cite_note-105">[93]</a></li> <li>Brunel and Isambard by <a href="/wiki/Paul_Barnes_(designer)" title="Paul Barnes (designer)">Paul Barnes</a> with <a href="/wiki/Christian_Schwartz" title="Christian Schwartz">Christian Schwartz</a>.<a href="#cite_note-Brunel_FIU-106">[94]</a><a href="#cite_note-Isambard-33">[29]</a> (Although not a fat face, topping out in a bold weight, Barnes' Chiswick is inspired by vernacular letterforms preceding them, with a wide range of alternates based on lettering of the period.<a href="#cite_note-Chiswick_new_release-107">[95]</a><a href="#cite_note-Cooper_Chiswick_Barnes-108">[96]</a><a href="#cite_note-Type_Chiswick-109">[97]</a><a href="#cite_note-Bradley_Chiswick_review-110">[98]</a>)</li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=7" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width reflist-lower-alpha" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-7"><a href="#cite_ref-7">^</a> Although note that, unsurprisingly, other authors have had different views: for instance <a href="/wiki/Fred_Smeijers" title="Fred Smeijers">Fred Smeijers</a> describes <a href="/wiki/Hendrik_van_den_Keere" title="Hendrik van den Keere">Hendrik van den Keere</a>'s large heavy types of the 1560s make him "one of the first to make roman display types that were explicitly conceived as such."<a href="#cite_note-Smeijers_Renard-6">[6]</a> </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> This was not the only way in which fonts could appear different, however: differences in <a href="/wiki/X-height" title="X-height">x-height</a>, spacing, condensation and <a href="/wiki/Type_color" title="Type color">colour on the page</a> can make body text fonts look different in design even if individual letters are not that different. </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> Didone types were at the time called 'modern' for their sophisticated image; the name has fallen from use as they have become less common in body text from around the end of the nineteenth century. </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> Caslon II's numerals, like many early examines of modern "lining" figures, are slightly below cap height. </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Writers on the history of printing have discussed the increasing boldness of fat face-style types in the early nineteenth century as a transition from bold designs to truly fat typefaces, although it is not clear that nineteenth-century printers made any distinction. According to <a href="/wiki/Alfred_F._Johnson" title="Alfred F. Johnson">Alfred F. Johnson</a>, bold typefaces begin to appear in the 1800s with the more extreme fat face types appearing on advertisements for the <a href="/wiki/Lottery#England,_1566–1826" title="Lottery">state lottery</a> from around 1810.<a href="#cite_note-FOOTNOTEJohnson1970410-31">[27]</a> The Fry Foundry's French Canon No. 2 of around 1806 has been described as a "semi-fat face";<a href="#cite_note-FIU_Ornamented_Types-32">[28]</a> in the opinion of <a href="/wiki/Paul_Barnes_(designer)" title="Paul Barnes (designer)">Paul Barnes</a> the letterforms in Thorne's specimen of 1803 are not yet true fat faces, only bold.<a href="#cite_note-Isambard-33">[29]</a> <a href="/wiki/Nicolete_Gray" title="Nicolete Gray">Nicolete Gray</a> in her book Nineteenth Century Ornamented Typefaces describes the Fry Foundry's as an early paradigm but not quite the "fully developed fat face": "a superb, wide, generous letter, magnificently roman, but with a good deal less of order and more of pomp than <a href="/wiki/Column_of_Trajan" class="mw-redirect" title="Column of Trajan">Trajan's classic</a>. It is the same style as the best English architectural lettering ... it is not a modern face ... this noble letter is merely transitional; by 1815 it has entirely disappeared from the specimen books. It is replaced by the fully developed fat face."<a href="#cite_note-FOOTNOTEGray197714-34">[30]</a> </li> <li id="cite_note-50"><a href="#cite_ref-50">^</a> There were two Thomas Bishes, father and son. Both have been extensively discussed in literature on the history of advertising; see following sources.<a href="#cite_note-Strachan_Bish_2007-47">[42]</a><a href="#cite_note-Short_Bodleian-48">[43]</a><a href="#cite_note-Victorian_Secrets_Adman-49">[44]</a> </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> Specifically, the <a href="/wiki/Caslon_foundry" class="mw-redirect" title="Caslon foundry">Caslon foundry</a> specimen of 1830, reprinted in 1841.<a href="#cite_note-Caslon_1841-51">[45]</a> </li> <li id="cite_note-55"><a href="#cite_ref-55">^</a> It also appears in the White Foundry of New York specimen book of 1831<a href="#cite_note-54">[47]</a> and the Caslon foundry specimen book of 1841.<a href="#cite_note-Caslon_1841-51">[45]</a> </li> <li id="cite_note-66"><a href="#cite_ref-66">^</a> A very similar design to the first type was issued in the 1841 specimen of George F. Nesbitt, this time as chromatic multi-layer wood type with multiple types for multicoloured printing.<a href="#cite_note-65">[57]</a> </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> But possibly slightly earlier.<a href="#cite_note-FOOTNOTEMosley1993-69">[60]</a> </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Some websites have assumed that Pouchée engraved these faces himself. This is unlikely to be correct as he was not an engraver but a businessman, he was the owner of a restaurant and then a coal merchant before he became a typefounder. The blocks do not have any engravers' names on them; Mosley assumes that they are the work of multiple engravers based on the mixture of styles and notes that a few similar hand-carved wooden types have come to light in England from other sources.<a href="#cite_note-FOOTNOTEMosley1993-69">[60]</a> </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> Name used for convenience: fat faces were introduced long before Victoria came to the throne in 1837; their presumed architect, Robert Thorne, died when she was less than a year old.<a href="#cite_note-FOOTNOTEGray197716-88">[77]</a> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Fat_face&action=edit&section=8" title="Edit section: References">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-FOOTNOTEMosley200335-1">^ <a href="#cite_ref-FOOTNOTEMosley200335_1-0">a</a> <a href="#cite_ref-FOOTNOTEMosley200335_1-1">b</a> <a href="#cite_ref-FOOTNOTEMosley200335_1-2">c</a> <a href="#CITEREFMosley2003">Mosley 2003</a>, p. 35. </li> <li id="cite_note-Ford1854-2"><a href="#cite_ref-Ford1854_2-0">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFFord1854" class="citation book cs1">Ford, Thomas (1854). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=qJIDAAAAQAAJ&pg=PA243">The Compositor's Handbook</a>. T. Ford. p. 243.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Compositor%27s+Handbook&rft.pages=243&rft.pub=T.+Ford&rft.date=1854&rft.aulast=Ford&rft.aufirst=Thomas&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DqJIDAAAAQAAJ%26pg%3DPA243&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTELewis196212-3"><a href="#cite_ref-FOOTNOTELewis196212_3-0">^</a> <a href="#CITEREFLewis1962">Lewis 1962</a>, p. 12. </li> <li id="cite_note-The_Story_of_Our_Friend,_the_Fat_Face-4"><a href="#cite_ref-The_Story_of_Our_Friend,_the_Fat_Face_4-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKennard2014" class="citation web cs1">Kennard, Jennifer (3 January 2014). <a rel="nofollow" class="external text" href="https://fontsinuse.com/uses/5578/the-story-of-our-friend-the-fat-face">"The Story of Our Friend, the Fat Face"</a>. Fonts in Use. Retrieved 11 August 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Fonts+in+Use&rft.atitle=The+Story+of+Our+Friend%2C+the+Fat+Face&rft.date=2014-01-03&rft.aulast=Kennard&rft.aufirst=Jennifer&rft_id=http%3A%2F%2Ffontsinuse.com%2Fuses%2F5578%2Fthe-story-of-our-friend-the-fat-face&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Fat_faces_Phinney-5"><a href="#cite_ref-Fat_faces_Phinney_5-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPhinney" class="citation web cs1">Phinney, Thomas. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20151009143543/http://www.graphic-design.com/typography/design/decorative-display-typestyles">"Fat Faces"</a>. Graphic Design and Publishing Centre. Archived from <a rel="nofollow" class="external text" href="http://graphic-design.com/typography/design/decorative-display-typestyles">the original</a> on 9 October 2015. Retrieved 10 August 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Fat+Faces&rft.pub=Graphic+Design+and+Publishing+Centre&rft.aulast=Phinney&rft.aufirst=Thomas&rft_id=http%3A%2F%2Fgraphic-design.com%2Ftypography%2Fdesign%2Fdecorative-display-typestyles&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Smeijers_Renard-6"><a href="#cite_ref-Smeijers_Renard_6-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSmeijers1999" class="citation journal cs1"><a href="/wiki/Fred_Smeijers" title="Fred Smeijers">Smeijers, Fred</a> (1999). "Renard: an idiosyncratic type revival1". Quaerendo. 29 (1): 52–60. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1163%2F157006999X00077">10.1163/157006999X00077</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Quaerendo&rft.atitle=Renard%3A+an+idiosyncratic+type+revival1&rft.volume=29&rft.issue=1&rft.pages=52-60&rft.date=1999&rft_id=info%3Adoi%2F10.1163%2F157006999X00077&rft.aulast=Smeijers&rft.aufirst=Fred&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Typophile_Bold-8"><a href="#cite_ref-Typophile_Bold_8-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley" class="citation web cs1"><a href="/wiki/James_Mosley" title="James Mosley">Mosley, James</a>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161220175431/http://www.typophile.com/node/31036">"Comments on Typophile thread "Where do bold typefaces come from?""</a>. Typophile. Archived from <a rel="nofollow" class="external text" href="http://www.typophile.com/node/31036">the original</a> on 20 December 2016. Retrieved 16 December 2016. <q>John Smith says in his Printer's grammar (London, 1755). 'Black Letter … is sometimes used … to serve for matter which the Author would particularly enforce to the reader.'</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Typophile&rft.atitle=Comments+on+Typophile+thread+%22Where+do+bold+typefaces+come+from%3F%22&rft.aulast=Mosley&rft.aufirst=James&rft_id=http%3A%2F%2Fwww.typophile.com%2Fnode%2F31036&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Lane_Lommen_ATypI-9"><a href="#cite_ref-Lane_Lommen_ATypI_9-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLaneLommen" class="citation web cs1"><a href="/wiki/John_A._Lane" title="John A. Lane">Lane, John A.</a>; Lommen, Mathieu. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=M5BSbtBEop8">"John Lane & Mathieu Lommen: ATypI Amsterdam Presentation"</a>. YouTube. ATypI. Retrieved 12 July 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=YouTube&rft.atitle=John+Lane+%26+Mathieu+Lommen%3A+ATypI+Amsterdam+Presentation&rft.aulast=Lane&rft.aufirst=John+A.&rft.au=Lommen%2C+Mathieu&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DM5BSbtBEop8&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMeggsPurvis2006" class="citation book cs1">Meggs, Philip B. & Purvis, Alston W. (2006). "Graphic Design and the Industrial Revolution". History of Graphic Design. Hoboken, NJ: Wiley. p. 122.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Graphic+Design+and+the+Industrial+Revolution&rft.btitle=History+of+Graphic+Design&rft.place=Hoboken%2C+NJ&rft.pages=122&rft.pub=Wiley&rft.date=2006&rft.aulast=Meggs&rft.aufirst=Philip+B.&rft.au=Purvis%2C+Alston+W.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSuttonSutton1988" class="citation book cs1">Sutton, James & Sutton, Alan (1988). <a rel="nofollow" class="external text" href="https://openlibrary.org/b/OL22453920M">An Atlas of Typeforms</a>. Wordsworth Editions. p. 59. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85326-911-5" title="Special:BookSources/1-85326-911-5"><bdi>1-85326-911-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=An+Atlas+of+Typeforms&rft.pages=59&rft.pub=Wordsworth+Editions&rft.date=1988&rft.isbn=1-85326-911-5&rft.aulast=Sutton&rft.aufirst=James&rft.au=Sutton%2C+Alan&rft_id=https%3A%2F%2Fopenlibrary.org%2Fb%2FOL22453920M&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMosley19938-13"><a href="#cite_ref-FOOTNOTEMosley19938_13-0">^</a> <a href="#CITEREFMosley1993">Mosley 1993</a>, p. 8. </li> <li id="cite_note-Transitional_&_Modern_Type_Families-15"><a href="#cite_ref-Transitional_&_Modern_Type_Families_15-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPhinney" class="citation web cs1">Phinney, Thomas. <a rel="nofollow" class="external text" href="http://www.graphic-design.com/typography/design/transitional-modern-type-families">"Transitional & Modern Type Families"</a>. Graphic Design & Publishing Center. Retrieved 30 October 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Graphic+Design+%26+Publishing+Center&rft.atitle=Transitional+%26+Modern+Type+Families&rft.aulast=Phinney&rft.aufirst=Thomas&rft_id=http%3A%2F%2Fwww.graphic-design.com%2Ftypography%2Fdesign%2Ftransitional-modern-type-families&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Didot_history_HFJ-16"><a href="#cite_ref-Didot_history_HFJ_16-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHoefler" class="citation web cs1">Hoefler, Jonathan. <a rel="nofollow" class="external text" href="http://www.typography.com/fonts/didot/history/">"Didot History"</a>. Hoefler & Frere-Jones. Retrieved 11 August 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Didot+History&rft.pub=Hoefler+%26+Frere-Jones&rft.aulast=Hoefler&rft.aufirst=Jonathan&rft_id=http%3A%2F%2Fwww.typography.com%2Ffonts%2Fdidot%2Fhistory%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Raizman2003-17"><a href="#cite_ref-Raizman2003_17-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavid_Raizman2003" class="citation book cs1">David Raizman (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=J_NcHIW-zt8C&pg=PA40">History of Modern Design: Graphics and Products Since the Industrial Revolution</a>. Laurence King Publishing. pp. 40–3. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85669-348-6" title="Special:BookSources/978-1-85669-348-6"><bdi>978-1-85669-348-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=History+of+Modern+Design%3A+Graphics+and+Products+Since+the+Industrial+Revolution&rft.pages=40-3&rft.pub=Laurence+King+Publishing&rft.date=2003&rft.isbn=978-1-85669-348-6&rft.au=David+Raizman&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DJ_NcHIW-zt8C%26pg%3DPA40&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEskilson2007" class="citation book cs1">Eskilson, Stephen J. (2007). <a rel="nofollow" class="external text" href="https://archive.org/details/graphicdesignnew00eski/page/25">Graphic Design: A New History</a>. New Haven: Yale University Press. p. <a rel="nofollow" class="external text" href="https://archive.org/details/graphicdesignnew00eski/page/25">25</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780300120110" title="Special:BookSources/9780300120110"><bdi>9780300120110</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Graphic+Design%3A+A+New+History&rft.place=New+Haven&rft.pages=25&rft.pub=Yale+University+Press&rft.date=2007&rft.isbn=9780300120110&rft.aulast=Eskilson&rft.aufirst=Stephen+J.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fgraphicdesignnew00eski%2Fpage%2F25&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Scrambled_Eggs_&_Serifs-19"><a href="#cite_ref-Scrambled_Eggs_&_Serifs_19-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFrere-Jones" class="citation web cs1"><a href="/wiki/Tobias_Frere-Jones" title="Tobias Frere-Jones">Frere-Jones, Tobias</a>. <a rel="nofollow" class="external text" href="http://www.frerejones.com/blog/scrambled-eggs-and-serifs/">"Scrambled Eggs & Serifs"</a>. Frere-Jones Type. Retrieved 23 October 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Scrambled+Eggs+%26+Serifs&rft.pub=Frere-Jones+Type&rft.aulast=Frere-Jones&rft.aufirst=Tobias&rft_id=http%3A%2F%2Fwww.frerejones.com%2Fblog%2Fscrambled-eggs-and-serifs%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Lewis2007-20"><a href="#cite_ref-Lewis2007_20-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJohn_Lewis2007" class="citation book cs1">John Lewis (April 2007). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=e5MkzETNcsgC&pg=PA13">Typography: Design and Practice</a>. Jeremy Mills Publishing. pp. 13–17. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-905217-45-8" title="Special:BookSources/978-1-905217-45-8"><bdi>978-1-905217-45-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Typography%3A+Design+and+Practice&rft.pages=13-17&rft.pub=Jeremy+Mills+Publishing&rft.date=2007-04&rft.isbn=978-1-905217-45-8&rft.au=John+Lewis&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3De5MkzETNcsgC%26pg%3DPA13&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEWolpe196459–62-21"><a href="#cite_ref-FOOTNOTEWolpe196459–62_21-0">^</a> <a href="#CITEREFWolpe1964">Wolpe 1964</a>, pp. 59–62. </li> <li id="cite_note-FOOTNOTEMosley19909–10-22">^ <a href="#cite_ref-FOOTNOTEMosley19909–10_22-0">a</a> <a href="#cite_ref-FOOTNOTEMosley19909–10_22-1">b</a> <a href="#CITEREFMosley1990">Mosley 1990</a>, pp. 9–10. </li> <li id="cite_note-Caslon's_Patagonian-23"><a href="#cite_ref-Caslon's_Patagonian_23-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHowes2004" class="citation journal cs1"><a href="/wiki/Justin_Howes" title="Justin Howes">Howes, Justin</a> (2004). "Caslon's Patagonian". <a href="/wiki/Matrix_(journal)" class="mw-redirect" title="Matrix (journal)">Matrix</a>. 24: 61–71.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Matrix&rft.atitle=Caslon%27s+Patagonian&rft.volume=24&rft.pages=61-71&rft.date=2004&rft.aulast=Howes&rft.aufirst=Justin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEWolpe196463-24"><a href="#cite_ref-FOOTNOTEWolpe196463_24-0">^</a> <a href="#CITEREFWolpe1964">Wolpe 1964</a>, p. 63. </li> <li id="cite_note-FOOTNOTEWolpe196462-25"><a href="#cite_ref-FOOTNOTEWolpe196462_25-0">^</a> <a href="#CITEREFWolpe1964">Wolpe 1964</a>, p. 62. </li> <li id="cite_note-FOOTNOTEMorlighem20206-27"><a href="#cite_ref-FOOTNOTEMorlighem20206_27-0">^</a> <a href="#CITEREFMorlighem2020">Morlighem 2020</a>, p. 6. </li> <li id="cite_note-FOOTNOTEMorlighem20206–7-28"><a href="#cite_ref-FOOTNOTEMorlighem20206–7_28-0">^</a> <a href="#CITEREFMorlighem2020">Morlighem 2020</a>, pp. 6–7. </li> <li id="cite_note-Thorne_1803-29"><a href="#cite_ref-Thorne_1803_29-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/20239_202207/page/n2/mode/1up">[Specimen of improved printing types]</a>. London: Robert Thorne. 1803. Retrieved 20 August 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%5BSpecimen+of+improved+printing+types%5D&rft.place=London&rft.pub=Robert+Thorne&rft.date=1803&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2F20239_202207%2Fpage%2Fn2%2Fmode%2F1up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMosley199310-30">^ <a href="#cite_ref-FOOTNOTEMosley199310_30-0">a</a> <a href="#cite_ref-FOOTNOTEMosley199310_30-1">b</a> <a href="#CITEREFMosley1993">Mosley 1993</a>, p. 10. </li> <li id="cite_note-FOOTNOTEJohnson1970410-31"><a href="#cite_ref-FOOTNOTEJohnson1970410_31-0">^</a> <a href="#CITEREFJohnson1970">Johnson 1970</a>, p. 410. </li> <li id="cite_note-FIU_Ornamented_Types-32">^ <a href="#cite_ref-FIU_Ornamented_Types_32-0">a</a> <a href="#cite_ref-FIU_Ornamented_Types_32-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFColes2016" class="citation web cs1">Coles, Stephen (7 May 2016). <a rel="nofollow" class="external text" href="https://fontsinuse.com/uses/12698/ornamented-types-introduction-and-prospectus">"Ornamented Types Introduction and Prospectus"</a>. Fonts in Use. Retrieved 26 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Fonts+in+Use&rft.atitle=Ornamented+Types+Introduction+and+Prospectus&rft.date=2016-05-07&rft.aulast=Coles&rft.aufirst=Stephen&rft_id=https%3A%2F%2Ffontsinuse.com%2Fuses%2F12698%2Fornamented-types-introduction-and-prospectus&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Isambard-33">^ <a href="#cite_ref-Isambard_33-0">a</a> <a href="#cite_ref-Isambard_33-1">b</a> <a href="#cite_ref-Isambard_33-2">c</a> <a href="#cite_ref-Isambard_33-3">d</a> <a href="#cite_ref-Isambard_33-4">e</a> <a href="#cite_ref-Isambard_33-5">f</a> <a href="#cite_ref-Isambard_33-6">g</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBarnes" class="citation web cs1"><a href="/wiki/Paul_Barnes_(designer)" title="Paul Barnes (designer)">Barnes, Paul</a>. <a rel="nofollow" class="external text" href="https://commercialclassics.com/catalogue/isambard">"Isambard: read the story"</a>. <a href="/wiki/Commercial_Type" title="Commercial Type">Commercial Type</a>. Retrieved 16 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Isambard%3A+read+the+story&rft.pub=Commercial+Type&rft.aulast=Barnes&rft.aufirst=Paul&rft_id=https%3A%2F%2Fcommercialclassics.com%2Fcatalogue%2Fisambard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEGray197714-34"><a href="#cite_ref-FOOTNOTEGray197714_34-0">^</a> <a href="#CITEREFGray1977">Gray 1977</a>, p. 14. </li> <li id="cite_note-Caslon_IV-36"><a href="#cite_ref-Caslon_IV_36-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCaslon1816" class="citation book cs1">Caslon, William IV (1816). <a rel="nofollow" class="external text" href="https://archive.org/details/ldpd_11344964_000/page/n3/mode/2up">Untitled fragment of a specimen book of printing types, c. 1816</a>. London: William Caslon IV. Retrieved 19 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Untitled+fragment+of+a+specimen+book+of+printing+types%2C+c.+1816&rft.place=London&rft.pub=William+Caslon+IV&rft.date=1816&rft.aulast=Caslon&rft.aufirst=William+IV&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fldpd_11344964_000%2Fpage%2Fn3%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Berry_Roundhand-37"><a href="#cite_ref-Berry_Roundhand_37-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBerry2016" class="citation web cs1">Berry, John (3 February 2016). <a rel="nofollow" class="external text" href="https://blog.typekit.com/alternate/a-history-english-round-hand-and-the-universal-penman/">"A History: English round hand and 'The Universal Penman'"</a>. Typekit. Adobe Systems. Retrieved 19 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Typekit&rft.atitle=A+History%3A+English+round+hand+and+%27The+Universal+Penman%27&rft.date=2016-02-03&rft.aulast=Berry&rft.aufirst=John&rft_id=https%3A%2F%2Fblog.typekit.com%2Falternate%2Fa-history-english-round-hand-and-the-universal-penman%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Flawed_Typefaces-38"><a href="#cite_ref-Flawed_Typefaces_38-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShaw" class="citation web cs1"><a href="/wiki/Paul_Shaw_(design_historian)" title="Paul Shaw (design historian)">Shaw, Paul</a>. <a rel="nofollow" class="external text" href="https://www.paulshawletterdesign.com/2011/05/flawed-typefaces/">"Flawed Typefaces"</a>. Print magazine. Retrieved 20 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Print+magazine&rft.atitle=Flawed+Typefaces&rft.aulast=Shaw&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.paulshawletterdesign.com%2F2011%2F05%2Fflawed-typefaces%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEJohnson1970409-39"><a href="#cite_ref-FOOTNOTEJohnson1970409_39-0">^</a> <a href="#CITEREFJohnson1970">Johnson 1970</a>, p. 409. </li> <li id="cite_note-FOOTNOTEHansard1825360-40">^ <a href="#cite_ref-FOOTNOTEHansard1825360_40-0">a</a> <a href="#cite_ref-FOOTNOTEHansard1825360_40-1">b</a> <a href="#cite_ref-FOOTNOTEHansard1825360_40-2">c</a> <a href="#CITEREFHansard1825">Hansard 1825</a>, p. 360. </li> <li id="cite_note-FOOTNOTESavage182272-41"><a href="#cite_ref-FOOTNOTESavage182272_41-0">^</a> <a href="#CITEREFSavage1822">Savage 1822</a>, p. 72. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMacmillan" class="citation web cs1">Macmillan, David. <a rel="nofollow" class="external text" href="https://www.circuitousroot.com/artifice/letters/press/heretics-guide/reading-metal-type-specimens/index.html">"Reading Metal Type Specimens"</a>. Circuitous Root. Retrieved 9 August 2023. <q>It is always a good idea to remember that these metal type specimens are not academic treatises on the aesthetics of typefaces - they're selling fonts of type or of matrices.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Circuitous+Root&rft.atitle=Reading+Metal+Type+Specimens&rft.aulast=Macmillan&rft.aufirst=David&rft_id=https%3A%2F%2Fwww.circuitousroot.com%2Fartifice%2Fletters%2Fpress%2Fheretics-guide%2Freading-metal-type-specimens%2Findex.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSowersby2023" class="citation web cs1"><a href="/wiki/Kris_Sowersby" class="mw-redirect" title="Kris Sowersby">Sowersby, Kris</a> (18 January 2023). <a rel="nofollow" class="external text" href="https://klim.co.nz/blog/family-design-information/">"Family design information"</a>. <a href="/wiki/Klim_Type_Foundry" title="Klim Type Foundry">Klim Type Foundry</a>. Retrieved 9 August 2023. <q>Writing about typefaces is a relatively recent act. We rarely know what typefaces designers thought about their own work, or their rationale for making them.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Family+design+information&rft.pub=Klim+Type+Foundry&rft.date=2023-01-18&rft.aulast=Sowersby&rft.aufirst=Kris&rft_id=https%3A%2F%2Fklim.co.nz%2Fblog%2Ffamily-design-information%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMosley195832-44"><a href="#cite_ref-FOOTNOTEMosley195832_44-0">^</a> <a href="#CITEREFMosley1958">Mosley 1958</a>, p. 32. </li> <li id="cite_note-FOOTNOTEMorlighem20209-45"><a href="#cite_ref-FOOTNOTEMorlighem20209_45-0">^</a> <a href="#CITEREFMorlighem2020">Morlighem 2020</a>, p. 9. </li> <li id="cite_note-FOOTNOTEMorlighem202022-46"><a href="#cite_ref-FOOTNOTEMorlighem202022_46-0">^</a> <a href="#CITEREFMorlighem2020">Morlighem 2020</a>, p. 22. </li> <li id="cite_note-Strachan_Bish_2007-47"><a href="#cite_ref-Strachan_Bish_2007_47-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStrachan2007" class="citation book cs1">Strachan, John (2007). "'Publicity to a lottery is certainly necessary': Thomas Bish and the culture of gambling". Advertising and Satirical Culture in the Romantic Period. Cambridge University Press. pp. 162–203. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-88214-9" title="Special:BookSources/978-0-521-88214-9"><bdi>978-0-521-88214-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=%27Publicity+to+a+lottery+is+certainly+necessary%27%3A+Thomas+Bish+and+the+culture+of+gambling&rft.btitle=Advertising+and+Satirical+Culture+in+the+Romantic+Period&rft.pages=162-203&rft.pub=Cambridge+University+Press&rft.date=2007&rft.isbn=978-0-521-88214-9&rft.aulast=Strachan&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Short_Bodleian-48"><a href="#cite_ref-Short_Bodleian_48-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShort" class="citation web cs1">Short, Gill. <a rel="nofollow" class="external text" href="http://blogs.bodleian.ox.ac.uk/jjcoll/tag/lotteries/">"The Art of Advertising: an exhibition in waiting"</a>. <a href="/wiki/Bodleian_Library" title="Bodleian Library">Bodleian Library</a>. 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Retrieved 26 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Victorian+Secrets&rft.atitle=The+First+Adman%3A+Thomas+Bish+and+the+Birth+of+Modern+Advertising&rft.aulast=Hicks&rft.aufirst=Gary&rft_id=https%3A%2F%2Fwww.victoriansecrets.co.uk%2Fthe-first-adman-thomas-bish-and-the-birth-of-modern-advertising%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Caslon_1841-51">^ <a href="#cite_ref-Caslon_1841_51-0">a</a> <a href="#cite_ref-Caslon_1841_51-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=LVsJAAAAQAAJ&pg=PP31">Specimen of Printing Types by Henry Caslon</a>. London. 1841. Retrieved 14 September 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Specimen+of+Printing+Types+by+Henry+Caslon&rft.pub=London&rft.date=1841&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DLVsJAAAAQAAJ%26pg%3DPP31&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Caslon_1821_specimen-53"><a href="#cite_ref-Caslon_1821_specimen_53-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://archive.org/details/19505_20211124">Specimen of Printing Types</a>. Caslon & Catherwood/Henry Caslon. 1821. Retrieved 31 December 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Specimen+of+Printing+Types&rft.pub=Caslon+%26+Catherwood%2FHenry+Caslon&rft.date=1821&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2F19505_20211124&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-54"><a href="#cite_ref-54">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWhite1831" class="citation book cs1">White, E. (1831). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A3FZaoAIkWEC&pg=PP59">Specimen of modern and light face printing types and ornaments</a>. New York. Retrieved 15 September 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Specimen+of+modern+and+light+face+printing+types+and+ornaments&rft.place=New+York&rft.date=1831&rft.aulast=White&rft.aufirst=E.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DA3FZaoAIkWEC%26pg%3DPP59&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Shaw_New_England_Cemeteries_numbers_2-56"><a href="#cite_ref-Shaw_New_England_Cemeteries_numbers_2_56-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShaw" class="citation web cs1"><a href="/wiki/Paul_Shaw_(design_historian)" title="Paul Shaw (design historian)">Shaw, Paul</a>. <a rel="nofollow" class="external text" href="https://www.paulshawletterdesign.com/2018/08/by-the-numbers-no-2-fat-faces-in-new-england-cemeteries/">"By the Numbers no. 2—Fat Faces in New England Cemeteries"</a>. Paul Shaw Letter Design. Retrieved 13 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Paul+Shaw+Letter+Design&rft.atitle=By+the+Numbers+no.+2%E2%80%94Fat+Faces+in+New+England+Cemeteries&rft.aulast=Shaw&rft.aufirst=Paul&rft_id=https%3A%2F%2Fwww.paulshawletterdesign.com%2F2018%2F08%2Fby-the-numbers-no-2-fat-faces-in-new-england-cemeteries%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Shields_Aetna-57"><a href="#cite_ref-Shields_Aetna_57-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFShields" class="citation web cs1">Shields, David. <a rel="nofollow" class="external text" href="https://etna.marksimonson.com/history/">"A History of 'Aetna' Typefaces"</a>. <a href="/wiki/Mark_Simonson" title="Mark Simonson">Mark Simonson</a>. Retrieved 2 February 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mark+Simonson&rft.atitle=A+History+of+%27Aetna%27+Typefaces&rft.aulast=Shields&rft.aufirst=David&rft_id=https%3A%2F%2Fetna.marksimonson.com%2Fhistory%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-BarnhurstNerone2002-58"><a href="#cite_ref-BarnhurstNerone2002_58-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBarnhurstNerone2002" class="citation book cs1">Barnhurst, Kevin G.; Nerone, John (1 April 2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=AIvtqbVJCAAC&pg=PA55">The Form of News: A History</a>. Guilford Press. pp. 54–58. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-57230-791-9" title="Special:BookSources/978-1-57230-791-9"><bdi>978-1-57230-791-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Form+of+News%3A+A+History&rft.pages=54-58&rft.pub=Guilford+Press&rft.date=2002-04-01&rft.isbn=978-1-57230-791-9&rft.aulast=Barnhurst&rft.aufirst=Kevin+G.&rft.au=Nerone%2C+John&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DAIvtqbVJCAAC%26pg%3DPA55&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMosley200335–36-59"><a href="#cite_ref-FOOTNOTEMosley200335–36_59-0">^</a> <a href="#CITEREFMosley2003">Mosley 2003</a>, pp. 35–36. </li> <li id="cite_note-Baerdemaeker_Reverse-60"><a href="#cite_ref-Baerdemaeker_Reverse_60-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDe_Baerdemaeker" class="citation web cs1">De Baerdemaeker, Jo. <a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=X_beT0ao-CE">"Lean Back: The Evolution of Reverse Italics"</a>. YouTube. <a href="/wiki/ATypI" title="ATypI">ATypI</a>. Retrieved 19 May 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=YouTube&rft.atitle=Lean+Back%3A+The+Evolution+of+Reverse+Italics&rft.aulast=De+Baerdemaeker&rft.aufirst=Jo&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DX_beT0ao-CE&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-studio_type_reverse_italics-61"><a href="#cite_ref-studio_type_reverse_italics_61-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDe_Baerdemaeker" class="citation web cs1">De Baerdemaeker, Jo. <a rel="nofollow" class="external text" href="https://www.studiotype.be/research/reverseitalics">"Lean back: the evolution of reverse italics"</a>. studio type. 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Ultrabold: The Journal of St Bride Library (4): 22–27.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Ultrabold%3A+The+Journal+of+St+Bride+Library&rft.atitle=A+Short+History+of+the+Italian&rft.issue=4&rft.pages=22-27&rft.date=2008&rft.aulast=Shields&rft.aufirst=David&rft_id=http%3A%2F%2Fwww.woodtyperesearch.com%2Fshort-history-of-the-italian%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTracy2003" class="citation book cs1">Tracy, Walter (2003). Letters of Credit: A View of Type Design. Boston: David R. Godine. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781567922400" title="Special:BookSources/9781567922400"><bdi>9781567922400</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Letters+of+Credit%3A+A+View+of+Type+Design&rft.place=Boston&rft.pub=David+R.+Godine&rft.date=2003&rft.isbn=9781567922400&rft.aulast=Tracy&rft.aufirst=Walter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Austin_Foundry_1838-64"><a href="#cite_ref-Austin_Foundry_1838_64-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFoundry1838" class="citation book cs1">Foundry, Austin Letter (1838). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=tZSwzg6-nnsC">The Specimen Book of Types Cast at the Austin Foundry by Wood & Sharwoods</a>. 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Retrieved 17 September 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Slate&rft.atitle=A+Typeface+Designer%27s+Illustrated+Tour+of+How+to+Create+a+Font&rft.date=2015-02-02&rft.aulast=Hohenadel&rft.aufirst=Kristin&rft_id=https%3A%2F%2Fslate.com%2Fhuman-interest%2F2015%2F02%2Fobsidian-by-jonathan-hoefler-and-andy-clymer-of-hoefler-co-is-a-contemporary-font-with-roots-in-the-industrial-revolution.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Brunel_FIU-106"><a href="#cite_ref-Brunel_FIU_106-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://fontsinuse.com/typefaces/102/brunel-fat-face">"Brunel"</a>. Fonts In Use. 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Retrieved 12 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Vimeo&rft.atitle=Chiswick%3A+A+Vernacular+Typeface+with+Paul+Barnes&rft_id=https%3A%2F%2Fvimeo.com%2F211337005&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Type_Chiswick-109"><a href="#cite_ref-Type_Chiswick_109-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavis" class="citation web cs1">Davis, Mark. <a rel="nofollow" class="external text" href="https://typemag.squarespace.com/home/2017/3/24/paul-barnes-presents-chiswick">"Quirky, Vernacular, and British: Chiswick"</a>. Type. Retrieved 12 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Type&rft.atitle=Quirky%2C+Vernacular%2C+and+British%3A+Chiswick&rft.aulast=Davis&rft.aufirst=Mark&rft_id=https%3A%2F%2Ftypemag.squarespace.com%2Fhome%2F2017%2F3%2F24%2Fpaul-barnes-presents-chiswick&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> <li id="cite_note-Bradley_Chiswick_review-110"><a href="#cite_ref-Bradley_Chiswick_review_110-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBradley" class="citation web cs1">Bradley, Graham. <a rel="nofollow" class="external text" href="https://typographica.org/typeface-reviews/chiswick/">"Chiswick"</a>. Typographica. Retrieved 12 October 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Typographica&rft.atitle=Chiswick&rft.aulast=Bradley&rft.aufirst=Graham&rft_id=https%3A%2F%2Ftypographica.org%2Ftypeface-reviews%2Fchiswick%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3>[<a href="/w/index.php?title=Fat_face&action=edit&section=9" title="Edit section: Sources">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Cited_literature">Cited literature</h3>[<a href="/w/index.php?title=Fat_face&action=edit&section=10" title="Edit section: Cited literature">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-hanging-indents refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBartram1986" class="citation book cs1"><a href="/wiki/Alan_Bartram_(design_writer)" title="Alan Bartram (design writer)">Bartram, Alan</a> (1986). <a rel="nofollow" class="external text" href="https://archive.org/details/englishlettering0000bart">The English Lettering Tradition from 1700 to the present day</a> (1st ed.). Lund Humphries. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780853315124" title="Special:BookSources/9780853315124"><bdi>9780853315124</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+English+Lettering+Tradition+from+1700+to+the+present+day&rft.edition=1st&rft.pub=Lund+Humphries&rft.date=1986&rft.isbn=9780853315124&rft.aulast=Bartram&rft.aufirst=Alan&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fenglishlettering0000bart&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGray1977" class="citation book cs1"><a href="/wiki/Nicolete_Gray" title="Nicolete Gray">Gray, Nicolete</a> (1977). Nineteenth Century Ornamented Typefaces.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Nineteenth+Century+Ornamented+Typefaces&rft.date=1977&rft.aulast=Gray&rft.aufirst=Nicolete&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHansard1825" class="citation book cs1"><a href="/wiki/Thomas_Curson_Hansard" title="Thomas Curson Hansard">Hansard, Thomas Curson</a> (1825). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vfK3BGlbxVkC&pg=PT360">Typographia: an Historical Sketch of the Origin and Progress of the Art of Printing: With Practical Directions for Conducting Every Department in an Office: with a Description of Stereotype and Lithography. Illustrated by Engravings, Biographical Notices, and Portraits</a>. Baldwin, Cradock, and Joy.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Typographia%3A+an+Historical+Sketch+of+the+Origin+and+Progress+of+the+Art+of+Printing%3A+With+Practical+Directions+for+Conducting+Every+Department+in+an+Office%3A+with+a+Description+of+Stereotype+and+Lithography.+Illustrated+by+Engravings%2C+Biographical+Notices%2C+and+Portraits&rft.pub=Baldwin%2C+Cradock%2C+and+Joy&rft.date=1825&rft.aulast=Hansard&rft.aufirst=Thomas+Curson&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvfK3BGlbxVkC%26pg%3DPT360&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJohnson1970" class="citation book cs1"><a href="/wiki/Alfred_F._Johnson" title="Alfred F. Johnson">Johnson, Alfred F.</a> (1970). "Fat Faces: Their History, Forms and Use (1947)". Selected essays on books and printing. Van Gendt & Co. pp. 409–415. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9789063000165" title="Special:BookSources/9789063000165"><bdi>9789063000165</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Fat+Faces%3A+Their+History%2C+Forms+and+Use+%281947%29&rft.btitle=Selected+essays+on+books+and+printing&rft.pages=409-415&rft.pub=Van+Gendt+%26+Co&rft.date=1970&rft.isbn=9789063000165&rft.aulast=Johnson&rft.aufirst=Alfred+F.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLewis1962" class="citation book cs1"><a href="/wiki/John_Lewis_(typographer)" title="John Lewis (typographer)">Lewis, John</a> (1962). <a rel="nofollow" class="external text" href="https://archive.org/details/trent_0116404139556">Printed Ephemera: the changing uses of type and letterforms in English and American printing</a>. Ipswich: W. S. Cowell.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Printed+Ephemera%3A+the+changing+uses+of+type+and+letterforms+in+English+and+American+printing&rft.place=Ipswich&rft.pub=W.+S.+Cowell&rft.date=1962&rft.aulast=Lewis&rft.aufirst=John&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Ftrent_0116404139556&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorlighem2014" class="citation thesis cs1">Morlighem, Sébastien (2014). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20220928203353/https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.651303">The 'modern face' in France and Great Britain, 1781-1825: typography as an ideal of progress</a> (PhD). <a href="/wiki/University_of_Reading" title="University of Reading">University of Reading</a>. Archived from <a rel="nofollow" class="external text" href="https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.651303">the original</a> on 28 September 2022. Retrieved 28 September 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adissertation&rft.title=The+%27modern+face%27+in+France+and+Great+Britain%2C+1781-1825%3A+typography+as+an+ideal+of+progress&rft.inst=University+of+Reading&rft.date=2014&rft.aulast=Morlighem&rft.aufirst=S%C3%A9bastien&rft_id=https%3A%2F%2Fethos.bl.uk%2FOrderDetails.do%3Fdid%3D1%26uin%3Duk.bl.ethos.651303&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorlighem2020" class="citation book cs1">Morlighem, Sébastien (2020). <a rel="nofollow" class="external text" href="https://www.poem-editions.com/products/thorne">Robert Thorne and the Introduction of the 'modern' fat face</a>. Poem.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Robert+Thorne+and+the+Introduction+of+the+%27modern%27+fat+face&rft.pub=Poem&rft.date=2020&rft.aulast=Morlighem&rft.aufirst=S%C3%A9bastien&rft_id=https%3A%2F%2Fwww.poem-editions.com%2Fproducts%2Fthorne&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorlighem2021" class="citation web cs1">Morlighem, Sébastien (2021). <a rel="nofollow" class="external text" href="https://vimeo.com/516485231">"Dusting Latin Type History #1 on the Origin of Bold and Fat Faces with Sébastien Morlighem"</a>. Vimeo. Type@Cooper. Retrieved 13 May 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Vimeo&rft.atitle=Dusting+Latin+Type+History+%231+on+the+Origin+of+Bold+and+Fat+Faces+with+S%C3%A9bastien+Morlighem&rft.date=2021&rft.aulast=Morlighem&rft.aufirst=S%C3%A9bastien&rft_id=https%3A%2F%2Fvimeo.com%2F516485231&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1958" class="citation journal cs1"><a href="/wiki/James_Mosley" title="James Mosley">Mosley, James</a> (1958). "The Typefoundry of Vincent Figgins, 1792-1836". Motif (1): 29–36.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Motif&rft.atitle=The+Typefoundry+of+Vincent+Figgins%2C+1792-1836&rft.issue=1&rft.pages=29-36&rft.date=1958&rft.aulast=Mosley&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1963" class="citation journal cs1">Mosley, James (1963). "English Vernacular". Motif. 11: 3–56.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Motif&rft.atitle=English+Vernacular&rft.volume=11&rft.pages=3-56&rft.date=1963&rft.aulast=Mosley&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1966" class="citation journal cs1">Mosley, James (1966). "Nineteenth-century decorated types at Oxford". Journal of the Printing Historical Society: 1–35.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+the+Printing+Historical+Society&rft.atitle=Nineteenth-century+decorated+types+at+Oxford&rft.pages=1-35&rft.date=1966&rft.aulast=Mosley&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1984" class="citation book cs1">Mosley, James (1984). British Type Specimens before 1831: a hand-list. Oxford Bibliographical Society, Bodleian Library in association with the Dept. of Typography & Graphic Communication, University of Reading. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780901420114" title="Special:BookSources/9780901420114"><bdi>9780901420114</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=British+Type+Specimens+before+1831%3A+a+hand-list&rft.pub=Oxford+Bibliographical+Society%2C+Bodleian+Library+in+association+with+the+Dept.+of+Typography+%26+Graphic+Communication%2C+University+of+Reading&rft.date=1984&rft.isbn=9780901420114&rft.aulast=Mosley&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1990" class="citation book cs1">Mosley, James, ed. (1990). <a rel="nofollow" class="external text" href="https://archive.org/details/bub_gb_xpzgAAAAMAAJ/page/n50">A Specimen of Printing Types & Various Ornaments 1796: Reproduced Together with the Sale Catalogue of the British Letter-Foundry 1797</a>. <a href="/wiki/Printing_Historical_Society" title="Printing Historical Society">Printing Historical Society</a>. pp. 5–12. <q>Big types had been cast in sand, using wooden patterns, for some centuries [by 1750] but there is evidence that English typefounders only began to make big letters for posters and other commercial printing towards 1770, when Thomas Cottrell made his 'Proscription or Posting letter of great bulk and dimension' and William Caslon II cast his 'Patagonian' or 'Proscription letters'.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Specimen+of+Printing+Types+%26+Various+Ornaments+1796%3A+Reproduced+Together+with+the+Sale+Catalogue+of+the+British+Letter-Foundry+1797&rft.pages=5-12&rft.pub=Printing+Historical+Society&rft.date=1990&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbub_gb_xpzgAAAAMAAJ%2Fpage%2Fn50&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley1993" class="citation book cs1">Mosley, James (1993). Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé. I.M. Imprimit in association with the St. Bride Printing Library.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ornamented+types%3A+twenty-three+alphabets+from+the+foundry+of+Louis+John+Pouche%C3%A9&rft.pub=I.M.+Imprimit+in+association+with+the+St.+Bride+Printing+Library&rft.date=1993&rft.aulast=Mosley&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMosley2003" class="citation book cs1">Mosley, James (2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA35">"Reviving the Classics: Matthew Carter and the Interpretation of Historical Models"</a>. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. pp. 35–6, 61, 84, 90. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781568984278" title="Special:BookSources/9781568984278"><bdi>9781568984278</bdi></a>. Retrieved 30 January 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Reviving+the+Classics%3A+Matthew+Carter+and+the+Interpretation+of+Historical+Models&rft.btitle=Typographically+Speaking%3A+The+Art+of+Matthew+Carter&rft.pages=35-6%2C+61%2C+84%2C+90&rft.pub=Princeton+Architectural+Press&rft.date=2003&rft.isbn=9781568984278&rft.aulast=Mosley&rft.aufirst=James&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DWqXd_w4S4SsC%26pg%3DPA35&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRennie2001" class="citation journal cs1">Rennie, Paul (2001). <a rel="nofollow" class="external text" href="http://www.rennart.co.uk/website.pdfs/festivaltypography.pdf">"Fat Faces All Around: Lettering and the Festival Style"</a> (PDF). Twentieth Century Architecture. 5: 109–115. Retrieved 26 May 2020.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Twentieth+Century+Architecture&rft.atitle=Fat+Faces+All+Around%3A+Lettering+and+the+Festival+Style&rft.volume=5&rft.pages=109-115&rft.date=2001&rft.aulast=Rennie&rft.aufirst=Paul&rft_id=http%3A%2F%2Fwww.rennart.co.uk%2Fwebsite.pdfs%2Ffestivaltypography.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSavage1822" class="citation book cs1"><a href="/wiki/William_Savage_(printer)" title="William Savage (printer)">Savage, William</a> (1822). <a rel="nofollow" class="external text" href="https://archive.org/details/McGillLibrary-rbsc_hints-decorative-printing_colgate9S28P731823-17631/page/n119/mode/2up">Practical Hints on Decorative Printing</a>. London. p. 72.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Practical+Hints+on+Decorative+Printing&rft.place=London&rft.pages=72&rft.date=1822&rft.aulast=Savage&rft.aufirst=William&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2FMcGillLibrary-rbsc_hints-decorative-printing_colgate9S28P731823-17631%2Fpage%2Fn119%2Fmode%2F2up&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWolpe1964" class="citation book cs1"><a href="/wiki/Berthold_Wolpe" title="Berthold Wolpe">Wolpe, Berthold</a> (1964). "Caslon Architectural: On the origin and design of the large letters cut and cast by William Caslon II". Alphabet. pp. 57–72.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Caslon+Architectural%3A+On+the+origin+and+design+of+the+large+letters+cut+and+cast+by+William+Caslon+II&rft.btitle=Alphabet&rft.pages=57-72&rft.date=1964&rft.aulast=Wolpe&rft.aufirst=Berthold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWolpe1967" class="citation book cs1"><a href="/wiki/Berthold_Wolpe" title="Berthold Wolpe">Wolpe, Berthold</a> (1967). Vincent Figgins: Type specimens, 1801 and 1815. London: Printing Historical Society.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Vincent+Figgins%3A+Type+specimens%2C+1801+and+1815&rft.place=London&rft.pub=Printing+Historical+Society&rft.date=1967&rft.aulast=Wolpe&rft.aufirst=Berthold&rfr_id=info%3Asid%2Fen.wikipedia.org%3AFat+face" class="Z3988"></li></ul> </div> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol 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<li><a href="/wiki/Pagination" title="Pagination">Pagination</a></li> <li><a href="/wiki/Pull_quote" title="Pull quote">Pull quote</a></li> <li><a href="/wiki/Recto_and_verso" title="Recto and verso">Recto and verso</a></li> <li><a href="/wiki/Intentionally_blank_page" title="Intentionally blank page">Intentionally blank page</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Paragraph" title="Paragraph">Paragraph</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Typographic_alignment" title="Typographic alignment">Alignment</a></li> <li><a href="/wiki/Leading" title="Leading">Leading</a></li> <li><a href="/wiki/Line_length" title="Line length">Line length</a></li> <li><a href="/wiki/River_(typography)" title="River (typography)">River</a></li> <li><a href="/wiki/Runaround_(typography)" title="Runaround (typography)">Runaround</a></li> <li><a href="/wiki/Widows_and_orphans" title="Widows and orphans">Widows and orphans</a> <ul><li><a href="/wiki/Runt_(typography)" class="mw-redirect" title="Runt (typography)">runt</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Glyph" title="Glyph">Character</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Typeface_anatomy" title="Typeface anatomy">Typeface anatomy</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Counter_(typography)" title="Counter (typography)">Counter</a></li> <li><a href="/wiki/Diacritic" title="Diacritic">Diacritics</a></li> <li><a href="/wiki/Dingbat" title="Dingbat">Dingbat</a></li> <li><a href="/wiki/Glyph" title="Glyph">Glyph</a></li> <li><a href="/wiki/Ink_trap" title="Ink trap">Ink trap</a></li> <li><a href="/wiki/Ligature_(writing)" title="Ligature (writing)">Ligature</a></li> <li><a href="/wiki/Rotated_letter" title="Rotated letter">Rotation</a></li> <li><a href="/wiki/Subscript_and_superscript" title="Subscript and superscript">Subscript and superscript</a></li> <li><a href="/wiki/Swash_(typography)" title="Swash (typography)">Swash</a></li> <li><a href="/wiki/Text_figures" title="Text figures">Text figures</a></li> <li><a href="/wiki/Tittle" title="Tittle">Tittle</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Capitalization" title="Capitalization">Capitalization</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/All_caps" title="All caps">All caps</a></li> <li><a href="/wiki/Camel_case" title="Camel case">Camel case</a></li> <li><a href="/wiki/Initial" title="Initial">Initial</a></li> <li><a href="/wiki/Letter_case" title="Letter case">Letter case</a></li> <li><a href="/wiki/Small_caps" title="Small caps">Small caps</a></li> <li><a href="/wiki/Snake_case" title="Snake case">Snake case</a></li> <li><a href="/wiki/Title_case" title="Title case">Title case</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Emphasis_(typography)" title="Emphasis (typography)">Visual distinction</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Blackboard_bold" title="Blackboard bold">Blackboard bold</a></li> <li><a href="/wiki/Emphasis_(typography)" title="Emphasis (typography)">Bold</a></li> <li><a href="/wiki/Color_printing" title="Color printing">Color printing</a></li> <li><a href="/wiki/Italic_type" title="Italic type">Italics</a></li> <li><a href="/wiki/Oblique_type" title="Oblique type">Oblique</a></li> <li><a href="/wiki/Underscore" title="Underscore">Underline</a></li> <li><a href="/wiki/Whitespace_character" title="Whitespace character">Whitespace</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Horizontal aspects</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Figure_space" title="Figure space">Figure space</a></li> <li><a href="/wiki/Kerning" title="Kerning">Kerning</a></li> <li><a href="/wiki/Letter-spacing" class="mw-redirect" title="Letter-spacing">Letter-spacing</a></li> <li><a href="/wiki/Pitch_(typewriter)" title="Pitch (typewriter)">Pitch</a></li> <li><a href="/wiki/Sentence_spacing" title="Sentence spacing">Sentence spacing</a></li> <li><a href="/wiki/Thin_space" title="Thin space">Thin space</a></li> <li><a href="/wiki/Word_spacing" title="Word spacing">Word spacing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Vertical aspects</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ascender_(typography)" title="Ascender (typography)">Ascender</a></li> <li><a href="/wiki/Baseline_(typography)" title="Baseline (typography)">Baseline</a></li> <li><a href="/wiki/Body_height_(typography)" title="Body height (typography)">Body height</a></li> <li><a href="/wiki/Cap_height" title="Cap height">Cap height</a></li> <li><a href="/wiki/Descender" title="Descender">Descender</a></li> <li><a href="/wiki/Mean_line" title="Mean line">Mean line</a></li> <li><a href="/wiki/Overshoot_(typography)" title="Overshoot (typography)">Overshoot</a></li> <li><a href="/wiki/X-height" title="X-height">x-height</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typeface" title="Typeface">Typeface classifications</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Roman_type" title="Roman type">Roman type</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Serif" title="Serif">Serif</a> <ul><li><a href="/wiki/Antiqua_(typeface_class)" title="Antiqua (typeface class)">Antiqua</a></li> <li><a href="/wiki/Didone_(typography)" title="Didone (typography)">Didone</a></li> <li><a href="/wiki/Slab_serif" title="Slab serif">slab serif</a></li></ul></li> <li><a href="/wiki/Sans-serif" title="Sans-serif">Sans-serif</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Blackletter" title="Blackletter">Blackletter type</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Fraktur" title="Fraktur">Fraktur</a></li> <li><a href="/wiki/Rotunda_(script)" title="Rotunda (script)">Rotunda</a></li> <li><a href="/wiki/Schwabacher" title="Schwabacher">Schwabacher</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Gaelic_type" title="Gaelic type">Gaelic type</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Insular_script" title="Insular script">Insular</a></li> <li><a href="/wiki/Uncial_script" title="Uncial script">Uncial</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Specialist</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Record_type" title="Record type">Record type</a></li> <li><a href="/wiki/Display_typeface" title="Display typeface">Display typeface</a> <ul><li><a href="/wiki/Script_typeface" title="Script typeface">script</a></li> <li><a class="mw-selflink selflink">fat face</a></li> <li><a href="/wiki/Reverse-contrast_typefaces" title="Reverse-contrast typefaces">reverse-contrast</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Punctuation" title="Punctuation">Punctuation</a> (<a href="/wiki/List_of_typographical_symbols_and_punctuation_marks" title="List of typographical symbols and punctuation marks">List</a>)</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bullet_(typography)" title="Bullet (typography)">Bullet</a></li> <li><a href="/wiki/Dash" title="Dash">Dash</a></li> <li><a href="/wiki/Hanging_punctuation" title="Hanging punctuation">Hanging punctuation</a></li> <li><a href="/wiki/Hyphen" title="Hyphen">Hyphen</a> <ul><li><a href="/wiki/Hyphen-minus" title="Hyphen-minus">minus sign</a></li></ul></li> <li><a href="/wiki/Interpunct" title="Interpunct">Interpunct</a></li> <li><a href="/wiki/Space_(punctuation)" title="Space (punctuation)">Space</a></li> <li><a href="/wiki/Vertical_bar" title="Vertical bar">Vertical bar</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typesetting" title="Typesetting">Typesetting</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Etaoin_shrdlu" title="Etaoin shrdlu">Etaoin shrdlu</a></li> <li><a href="/wiki/Font" title="Font">Font</a> <ul><li><a href="/wiki/Computer_font" title="Computer font">computer</a></li> <li><a href="/wiki/Monospaced_font" title="Monospaced font">monospaced</a></li></ul></li> <li><a href="/wiki/Font_catalog" title="Font catalog">Font catalog</a></li> <li><a href="/wiki/For_position_only" title="For position only">For position only</a></li> <li><a href="/wiki/Letterpress_printing" title="Letterpress printing">Letterpress</a></li> <li><a href="/wiki/Lorem_ipsum" title="Lorem ipsum">Lorem ipsum</a></li> <li><a href="/wiki/Microprinting" title="Microprinting">Microprinting</a></li> <li><a href="/wiki/Microtypography" title="Microtypography">Microtypography</a></li> <li><a href="/wiki/Movable_type" title="Movable type">Movable type</a></li> <li><a href="/wiki/Pangram" title="Pangram">Pangram</a></li> <li><a href="/wiki/Phototypesetting" title="Phototypesetting">Phototypesetting</a></li> <li><a href="/wiki/Punchcutting" title="Punchcutting">Punchcutting</a></li> <li><a href="/wiki/Reversing_type" title="Reversing type">Reversing type</a></li> <li><a href="/wiki/Sort_(typesetting)" title="Sort (typesetting)">Sort</a></li> <li><a href="/wiki/Type_color" title="Type color">Type color</a></li> <li><a href="/wiki/Type_design" title="Type design">Type design</a></li> <li><a href="/wiki/Typeface" title="Typeface">Typeface</a> <ul><li><a href="/wiki/List_of_typefaces" title="List of typefaces">list</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typographic_unit" title="Typographic unit">Typographic units</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Agate_(typography)" title="Agate (typography)">Agate</a></li> <li><a href="/wiki/Cicero_(typography)" title="Cicero (typography)">Cicero</a></li> <li><a href="/wiki/Em_(typography)" title="Em (typography)">Em</a></li> <li><a href="/wiki/En_(typography)" title="En (typography)">En</a></li> <li><a href="/wiki/Metric_typographic_units" title="Metric typographic units">Metric units</a></li> <li><a href="/wiki/Pica_(typography)" title="Pica (typography)">Pica</a></li> <li><a href="/wiki/Point_(typography)" title="Point (typography)">Point</a> <ul><li><a href="/wiki/Traditional_point-size_names" title="Traditional point-size names">traditional point-size names</a></li></ul></li> <li><a href="/wiki/Twip" title="Twip">Twip</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Digital typography</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Character_encoding" title="Character encoding">Character encoding</a></li> <li><a href="/wiki/Font_hinting" title="Font hinting">Hinting</a></li> <li><a href="/wiki/Font_rasterization" title="Font rasterization">Rasterization</a></li> <li><a href="/wiki/List_of_typographic_features" title="List of typographic features">Typographic features</a></li> <li><a href="/wiki/Web_typography" title="Web typography">Web typography</a></li> <li><a href="/wiki/B%C3%A9zier_curve#Fonts" title="Bézier curve">Bézier curves</a></li> <li><a href="/wiki/Desktop_publishing" title="Desktop publishing">Desktop publishing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Typography in other writing systems</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arabic_typography" title="Arabic typography">Arabic</a></li> <li><a href="/wiki/Cyrillic_typography" class="mw-redirect" title="Cyrillic typography">Cyrillic</a> <ul><li><a href="/wiki/PT_Fonts" title="PT Fonts">PT Fonts</a></li></ul></li> <li><a href="/wiki/East_Asian_typography" title="East Asian typography">East Asian</a></li> <li><a href="/wiki/Thai_typography" title="Thai typography">Thai</a> <ul><li><a href="/wiki/National_Fonts" title="National Fonts">National Fonts</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Penmanship" title="Penmanship">Penmanship</a> <ul><li><a href="/wiki/Handwriting" title="Handwriting">Handwriting</a></li> <li><a href="/wiki/Handwriting_script" title="Handwriting script">Handwriting script</a></li> <li><a href="/wiki/Calligraphy" title="Calligraphy">Calligraphy</a></li></ul></li> <li><a href="/wiki/Style_guide" title="Style guide">Style guide</a></li> <li><a href="/wiki/Type_design" title="Type design">Type design</a></li> <li><a href="/wiki/Type_foundry" title="Type foundry">Type foundry</a></li> <li><a href="/wiki/History_of_Western_typography" title="History of Western typography">History of Western typography</a></li> <li><a href="/wiki/Intellectual_property_protection_of_typefaces" title="Intellectual property protection of typefaces">Intellectual property protection of typefaces</a></li> <li><a href="/wiki/Technical_lettering" title="Technical lettering">Technical lettering</a></li> <li><a href="/wiki/Vox-ATypI_classification" title="Vox-ATypI classification">Vox-ATypI classification</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related template</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Template:Navbox_punctuation" title="Template:Navbox punctuation">Punctuation and other typographic symbols</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> <ul><li><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, 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