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Terminals

Serifs 1

Serifs 2

Serifs 3

Cuts

"e"

Crossbar

Aperture

Contrast

"x"

Axis

"b"

"q"

"w"

Apex

Harmony

Italic

Versions

Pen-formed terminals, related to Lyrical Modernist typefaces.
The ball terminal is never the same, it was adjusted optically
The ball terminal is never the same, it was adjusted optically
The ball terminal is never the same, it was adjusted optically
Similar to Adobe Garamond Pro Regular "r", 1989
- inspired from the middle of the 15th century.
Sharp serif not completely straight. It is called Adnate Serifs. Notice how the serifs join the stems via a curve.
Curved serif Palatino Regular "b", 1948
- inspired from 1495 italian printing types.
Straight serif Bembo Regular "b", 1929
- inspired from 1495 italian printing types.
Sharp serif not completely straight. It is called Adnate Serifs. Notice how the serifs join the stems via a curve.
Curved serif Griffo Classico "d", 1993
- based on the types cut by Francesco Griffo at the end of the 15th century.
Similar to the axis of Adobe Garamond Pro Regular "d", 1989
- inspired from the middle of the 15th century.
In Old Style types the serifs on the ascenders and descenders are more wedge shaped, as in Dante MT Std Regular, 1954
- inspired from the 15th century.
No straight serif on the midline.
Optical balance between the serifs on the midline.
The radical cuts are new changes by Robert Slimbach.
Similar axis model the typeface.
Similar axis model the typeface.
The same cut could be found in Dante MT Std Regular, 1954
The type is a serif face inspired from the types cut by Francesco Griffo between 1449 and 1516. In Old Style types the serifs on the ascenders and descenders are more wedge shaped.
The same cut could be found in Palatino Regular, 1948. In late 20th century, rediscovery of humanist form, Robert Slimbach wasn't the first one.
Robert Slimbach redesigned the "e". Transition between an old style "e" and a baroque "e".
Sloping baroque cross-bar on the "e" like Jenson Classico Regular, 1993
- inspired from Nicholas Jenson's types in the late 15th century.
Sloping baroque cross-bar on the "e" like Centaur MT Regular, 1914
- inspired from Nicholas Jenson and Francesco Griffo's types in the late 15th century.
Straignt old style "e" like Adobe Caslon Pro Regular, 1990
- based on William Caslon's specimens between 1734 and 1770.
Similar to Arno Pro Regular "e", 2007
This typeface was also created later by Robert Slimbach. The typeface draws its inspiration from 15th and 16th century early humanistic typefaces.
Axis of the cross stroke is the same axis of the pen that marks a letter.
Same cross stroke in "f"
Similar to the cross stroke of Adobe Garamond Pro Regular "f", 1989
- inspired from the middle of the 15th century.
Redesign of a large aperture.
Large aperture of Bembo Regular, 1929
- inspired from 1495 italian printing types.
Low contrast between “thick” and “thin” strokes.
High contrast between “thick” and “thin” strokes in Jenson Classico Regular, 1993
- inspired from Nicholas Jenson's types in the late 15th century.
Contrast inspired from calligraphy.
Narrow x-height, but similar contrast between "thick" and "thin" strokes in Jenson Classico Regular, 1993
- inspired from Nicholas Jenson's types in the late 15th century.
Thin strokes and larger x-height in Garamond Regular
- based on Claude Garamond's specimens.
Extended x-height in Bembo Regular, 1929
- inspired from 1495 italian printing types.
Large variations in axis from one letter to another. It is called "Humanist axis".
The typeface becomes visually dynamic.
Axis similar to Adobe Garamond Pro Regular, 1989
- inspired from the middle of the 15th century.
Axis similar to Adobe Caslon Pro Regular, 1990
- based on William Caslon's specimens between 1734 and 1770.
Same variations in Adobe Garamond Pro Regular, 1989
- inspired from the middle of the 15th century.
Simple terminal of "b"
Similar to DTL Haarlemmer Regular "b"
- based on Jan van Krimpen's specimens in 1938.
Detail of the "q"
Detail seen in Adobe Garamond Pro Regular, 1989
- inspired from the middle of the 15th century.
Detail seen in Jenson Classico Regular, 1993
- inspired from Nicholas Jenson's types in the late 15th century.
The "w" was considered as a ligature before Middle age. Robert Slimbach has removed the middle serif, which suggested originally two "v".
Different from Bembo Regular "w", 1929
- inspired from 1495 italian printing types.
Different from Centaur MT Regular "w", 1914
- inspired from Nicholas Jenson and Francesco Griffo's types in the late 15th century.
Different from Jenson Classico Regular "w", 1993
- inspired from Nicholas Jenson's types in the late 15th century.
Already present in Palatino Regular, 1948
- inspired from 1495 italian printing types.
Unique design for the apex of "t". Robert Slimbach modernized the letter shape.
Different from Bembo Regular "t", 1929
- inspired from 1495 italian printing types.
Similar details to Arno Pro Regular "t", 2007
- created later by Robert Slimbach.
Similar details to ITC Giovanni Std Book "t", 1989
- created at the same moment by Robert Slimbach.
Similar details to Versailles LT Std 55 Roman "t", 1984
The design is based on late 19th century French Latine types.
Esthetical shapes
Elegant lobe
Terminal based on the baroque italic typefaces. Aldus Pius Manutius - who founded the Aldine Press at Venice in 1494 - invented the italic types.
Terminal based on the old style italic typefaces.
Similar terminal to Adobe Caslon Pro Regular, 1990
- based on William Caslon's specimens between 1734 and 1770.
Similar terminal to Adobe Garamond Pro Regular, 1989
- inspired from the middle of the 15th century.
Axis similar to Janson Text LT Std 56 Italic, 1985
- designed by the Hungarian Nicholas Kis around 1690.
Minion Regular, 1989
Minion Cyrillic Regular, 1992
- was conceived as a non-Latin counterpart to Slimbach’s Minion typeface family.
Minion MM Regular, 1992
Sharper thin contrasted serif
Minion Pro Regular, 2000
Larger, curved serif
Minion Black, 1990
Thicker shape