↑ The Linotype Bulletin. January–February 1921. p. 265. เก็บจากแหล่งเดิมเมื่อ 9 February 2024. สืบค้นเมื่อ 26 October 2011.
1 2 3 4 Boardley, John (18 April 2016). "The first roman fonts". ilovetypography. เก็บจากแหล่งเดิมเมื่อ 27 September 2017. สืบค้นเมื่อ 21 September 2017.
↑ Dixon, Catherine (2002), "Twentieth Century Graphic Communication: Technology, Society and Culture", Typeface classification, Friends of St Bride, คลังข้อมูลเก่าเก็บจากแหล่งเดิมเมื่อ 2014-10-26, สืบค้นเมื่อ 2015-08-14
↑ Twardoch, Slimbach, Sousa, Slye (2007). Arno Pro (PDF). San Jose: Adobe Systems. คลังข้อมูลเก่าเก็บจากแหล่งเดิม (PDF)เมื่อ 30 August 2014. สืบค้นเมื่อ 14 August 2015.{{cite book}}: CS1 maint: multiple names: authors list (ลิงก์)
1 2 Vervliet, Hendrik D.L. (2008). The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. 2 vols. Leiden: Koninklijke Brill NV. pp. 90–91, etc. ISBN978-90-04-16982-1. [On Robert Estienne's typefaces of the 1530s]: Its outstanding design became standard for Roman type in the two centuries to follow...From the 1540s onwards French Romans and Italics had begun to infiltrate, probably by way of Lyons, the typography of the neighbouring countries. In Italy, major printers replaced the older, noble but worn Italian characters and their imitations from Basle.
↑ Carter, Harry (1969). A View of Early Typography up to about 1600 (Second edition (2002) ed.). London: Hyphen Press. pp. 72–4. ISBN0-907259-21-9. De Aetna was decisive in shaping the printers' alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school...the letters look narrower than Jenson's, but are in fact a little wider because the short ones are bigger, and the effect of narrowness makes the face suitable for octavo pages...this Roman of Aldus is distinguishable from other faces of the time by the level cross-stroke in 'e' and the absence of top serifs from the insides of the vertical strokes of 'M', following the model of Feliciano. We have come to regard his small 'e' as an improvement on previous practice.
↑ Corbeto, A. (25 September 2009). "Eighteenth Century Spanish Type Design". The Library. 10 (3): 272–297. doi:10.1093/library/10.3.272.
↑ Unger, Gerard (1 January 2001). "The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones". Quaerendo. 31 (3): 165–191. doi:10.1163/157006901X00047.
↑ Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification". Design Issues. 31 (4): 30–43. doi:10.1162/DESI_a_00349. S2CID57569313.
↑ Shinn, Nick. "Modern Suite" (PDF). Shinntype. คลังข้อมูลเก่าเก็บจากแหล่งเดิม (PDF)เมื่อ 25 February 2021. สืบค้นเมื่อ 11 August 2015.
↑ Shaw, Paul (10 February 2011). "Overlooked Typefaces". Print magazine. เก็บจากแหล่งเดิมเมื่อ 22 June 2015. สืบค้นเมื่อ 2 July 2015.
↑ Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - I". Quaerendo. 1 (2): 18–31. doi:10.1163/157006971x00301.
↑ Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - II". Quaerendo. 1 (4): 282–301. doi:10.1163/157006971x00239.
↑ Ovink, G.W. (1 January 1972). "Nineteenth-century reactions against the didone type model-III". Quaerendo. 2 (2): 122–128. doi:10.1163/157006972X00229.
↑ Frazier, J.L. (1925). Type Lore. Chicago. p. 14. สืบค้นเมื่อ 24 August 2015.
