Based on an alphabet (not necessarily a typeface) shown by
Frederick S. Copley in 1877 as Italian
Print. This version of the “Italian” style was popular
in the U.S. in the second half of the 19th century. As opposed to
the
original Italians from the early 1800s, this is not fully
inverse stressed, but rather purely horizontally stressed. Many of
the vertical and diagonal strokes are light instead of heavy, for
example. This version also adds a decorative contour line above and
below the heavy strokes.
A phototype adaptation is shown by Lettergraphics in a 1969
catalog as Italia, with two sets of caps; plain and
with double line. Also carried by Castcraft as Axel
(“similar to Italia”) [Castcraft
1978].
Hollenstein
had the design as Italian Print (used for sample)
[Hollenstein
1974], and Solotype as Italianate Barnum
[More…
Based on an alphabet (not necessarily a typeface) shown by Frederick S. Copley in 1877 as Italian Print. This version of the “Italian” style was popular in the U.S. in the second half of the 19th century. As opposed to the original Italians from the early 1800s, this is not fully inverse stressed, but rather purely horizontally stressed. Many of the vertical and diagonal strokes are light instead of heavy, for example. This version also adds a decorative contour line above and below the heavy strokes.
A phototype adaptation is shown by Lettergraphics in a 1969 catalog as Italia, with two sets of caps; plain and with double line. Also carried by Castcraft as Axel (“similar to Italia”) [Castcraft 1978].
Hollenstein had the design as Italian Print (used for sample) [Hollenstein 1974], and Solotype as Italianate Barnum [Solo 1992].
See also OK Corral.
