Two Types of Construction
For the first time this theory was put forward by Gerrit Noordzij to an international audience in the article «Broken Scripts and the classification of Typefaces,» published in the summer edition 1970 of «The Journal of Typographic Research.»
For both kinds of contrast in type (expansion and translation) there are two kinds of construction each. The difference between these can best be understood by having a close look at the process of writing.
Roman
All visible strokes are created in a downward movement. The writing tool is lifted from the paper at the foot of each stroke to be placed onto the paper again at the top of the next. This way the upstroke does not actually take place on the paper but istead happens with the pen up in the air. This writing method results in the forms of the roman.
Roman
All visible strokes are created in a downward movement. The writing tool is lifted from the paper at the foot of each stroke to be placed onto the paper again at the top of the next. This way the upstroke does not actually take place on the paper but istead happens with the pen up in the air. This writing method results in the forms of the roman.
In order to write fast and flowingly the pen leaves the paper as little as possible. This means that the upward movement is taking place on paper which results in a steady rhythm of up and down strokes. These letter shapes are called the italic.
In the categorization of latin type a distinction is made between the italic and the roman.
The angle of a typeface is called the «slant.»
Slanting of a roman is called «italicizing.» Many text editors and layout applications offer the option to italicize type. It is important for the user to know that this option will not actually result in a true italic but instead in the shapes of an automatically deformed roman.
The angle of a typeface is called the «slant.»
Slanting of a roman is called «italicizing.» Many text editors and layout applications offer the option to italicize type. It is important for the user to know that this option will not actually result in a true italic but instead in the shapes of an automatically deformed roman.
A common misunderstanding is that all slanted typefaces are to be understood as italics. It is true that many italics are slanted. However to make an italic, the angle of a glyph in respect to its baseline is not significant. This slant stems from the angle that the pen has when placed on the paper. An italic can stand up straight and a roman can be slanted.
In spite of its slant this n is a roman. The way the arc comes out of the left stem in an almost horizontal movement gives this glyph away as a roman.
In spite of its slant this n is a roman. The way the arc comes out of the left stem in an almost horizontal movement gives this glyph away as a roman.
In the categorization of latin type a distinction is made between the italic and the roman.
The angle of a typeface is called the «slant.»
Slanting of a roman is called «italicizing.» Many text editors and layout applications offer the option to italicize type. It is important for the user to know that this option will not actually result in a true italic but instead in the shapes of an automatically deformed roman.
The angle of a typeface is called the «slant.»
Slanting of a roman is called «italicizing.» Many text editors and layout applications offer the option to italicize type. It is important for the user to know that this option will not actually result in a true italic but instead in the shapes of an automatically deformed roman.
This n stands up straight and is still an italic. What gives it away is the upwards stroke that originates from the left foot of the glyph and leads into the arc.
This italic has almost no slant while construction is unmistakably italic. John Downer drew this wonderful thanksgiving card.
This italic has almost no slant while construction is unmistakably italic. John Downer drew this wonderful thanksgiving card.
In order to understand the character shapes of the italic, the concept of modularity (see Lettermodel Lesson 2) can be adopted from the roman. Again, the typical transition of contrast expansion or translation determines the overall character of the shapes of the glyphs. The letters a and g however differ in construction in the italic. The construction of the roman shapes is called the bicameral and the italics are called monocameral shapes.
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