| dbo:abstract |
Italienne (im Englischen Italian genannt) sind serifenbetonte Schriftarten auf Basis der Antiqua, bei denen die waagerechten Striche der Glyphen, und damit auch die Serifen, deutlich fetter als die senkrechten Striche sind. Meist wird die Italienne zur Schriftklasse der Egyptienne (serifenbetonte Linear-Antiqua) gezählt, dies ist aber nicht unumstritten. Während die sonstigen Egyptienne-Schriften keinen oder nur einen geringen Strichstärkenkontrast aufweisen, haben Italienne-Schriften einen ausgeprägt hohen umgekehrten Strichstärkenkontrast. Zu den Linear-Antiqua-Schriften können sie somit kaum zählen. (de) A reverse-contrast or reverse-stress letterform is a design in which the stress is reversed from the norm: a typeface or custom lettering where the horizontal lines are the thickest. This is the reverse of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing. The result is a dramatic effect, in which the letters seem to have been printed the wrong way round. The style invented in the early nineteenth century as attention-grabbing novelty display designs. Modern font designer Peter Biľak, who has created a design in the genre, has described them as "a dirty trick to create freakish letterforms that stood out." Reverse-contrast letters are rarely used for body text, being more used in display applications such as headings and posters, in which the unusual structure may be particularly eye-catching. They were particularly common in the nineteenth century, and have been revived occasionally since then. They could be considered as slab serif designs because of the thickened serifs, and are often characterised as part of that genre. The reverse-contrast effect has been extended to other kinds of typeface, such as sans-serifs. There is no connection to reverse-contrast printing, where light text is printed on a black background. (en) |
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https://circuitousroot.com/artifice/letters/press/noncomptype/typography/bruce https://rrk.finearts.utexas.edu https://woodtype.org https://web.archive.org/web/woodtyper.com https://www.flickr.com/photos/taffeta/sets/72157636179625063/with/10083498474/ |
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left (en) |
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Although Bodoni and Didot fuelled their designs with the calligraphic practices of their time, they created new forms that collided with typographic tradition and unleashed a strange new world, where the structural attributes of the letter-serif and stem, thick and thin strokes, vertical and horizontal stress-would be subject to bizarre experiments...Fonts of astonishing height, width and depth appeared: expanded, contracted, shadowed, inlined, fattened, faceted and floriated. Serifs abandoned their role as finishing details to become independent architectural structures, and the vertical stress of traditional letters canted in new directions. (en) |
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Italienne (im Englischen Italian genannt) sind serifenbetonte Schriftarten auf Basis der Antiqua, bei denen die waagerechten Striche der Glyphen, und damit auch die Serifen, deutlich fetter als die senkrechten Striche sind. (de) A reverse-contrast or reverse-stress letterform is a design in which the stress is reversed from the norm: a typeface or custom lettering where the horizontal lines are the thickest. This is the reverse of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing. The result is a dramatic effect, in which the letters seem to have been printed the wrong way round. The style invented in the early nineteenth century as attention-grabbing novelty display designs. Modern font designer Peter Biľak, who has created a design in the genre, has described them as "a dirty trick to create freakish letterforms that stood out." (en) |
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Italienne (de) Reverse-contrast typefaces (en) |
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