Truchet point

Established by the French clergyman Sébastien Truchet.

(typography, historical) A former point size of 1/144 of a French inch or 1/1728 of the royal foot.


Didot point

Established by François-Ambroise Didot in the 18th century.

(typography, historical) A former point size of 1/864 of the royal foot.


smoke proof

Progress was observed from time to time by holding the end of the punch in the sooty flame of a candle or lamp and by pressing it on slightly damp paper to make a smoke proof.

2009, James Mosley, edited by Michael F Suarez and Michael L Turner, The Cambridge History of the Book in Britain, vol. V, Cambridge, published 2014, page 171:

(typography, now chiefly historical) A temporary print made from a thin coating of carbon deposited on the punch surface by a candle flame, used in evaluating the progress of the design of the punch.


Times New Roman

From Times (“name of a British newspaper”) + new + roman (“style of typeface”).

com

(typography) A serif typeface. Notably a default Windows font.


MUFI

Medieval Unicode Font Initiative
w:Medieval Unicode Font Initiative

(typography) Initialism of Medieval Unicode Font Initiative.


microtypography

In the area of the typography, or to be more precise the microtypography – the details of how the signs and spaces relate – there was a chance to create something new.

2005 April 28, Mark Thomson, “Microtypography, Designing the new Collins dictionaries”, in Typotheque, retrieved 2016-11-26:

If you're not sure of how to use these, leave them until you have time to experiment; as your work becomes more refined, you will need to know how these microtypography defaults should be adjusted too. Do not use forced bold, italic, outline, […]

2011, Michael Harkins, Basics Typography 02: Using Type, Bloomsbury Publishing, →ISBN:

Microtypography has to do with the details; setting the right glyph, getting the appropriate kerning and tracking, and making stylistic choices such as when to use small-caps. Micro techniques have received a lot of attention recently, […]

2013, Smashing Magazine, Various Authors, Typography Best Practices, Smashing Magazine, →ISBN:

(typography) Typography on a word or character level.


caseman

(typography, historical) A compositor; a typesetter.


off stone

From the time when type was set manually on a stone slab. When the stone was finally cleared, the print run could begin.

Sunday's first edition is off stone early on Saturday evening.

(journalism, typography) A newspaper's edition is ready to start printing.


left-justified

(typography) Of text, laid out so that the left ends of lines are vertically aligned, leaving the right ends unaligned.


right-justified

(typography) Of text, laid out so that the right ends of lines are vertically aligned, leaving the left ends unaligned.


hanging indentation

en-noun

hanging indentation (plural hanging indentations)

hanging indentations (plural)
hanging indent (alternative)

(typography) An indentation that indents the rest of the text while leaving the first line in place.


retroflex hook

(typography) A hamiform diacritic ⟨◌̢⟩ used to mark consonantal retroflexion.


duospace

(computing, typography) Of a typeface, having characters of only two widths, where the narrower width is typically half that of the wider width.


ink trap

(typography) A sharp recess in an inward corner, present in certain typefaces; when printed, ink fills them (as opposed to having normal corners, resulting in bleeding and loss of crispness).


pi font

(typography) Symbol or dingbat font; font that is composed of non-alphabetic characters.


orthotypography

orthotypography (countable and uncountable, plural orthotypographies)

(typography) The study of correct typography according to established usage.


liftout

(typography) A quotation taken from the main text and given special visual treatment.


initial caps

(journalism, typography) A casing style similar to title case except that every word invariably begins with a capital letter.


overspace

en-verb

overspace (third-person singular simple present overspaces, present participle overspacing, simple past and past participle overspaced)

overspaces (present singular third-person)
overspacing (participle present)
overspaced (participle past)
overspaced (past)

(transitive, typography) To separate with too much space; to set too far apart.


free-hanging

(editing, typography; said of headings or list items) Not run in; on a separate line (or multiple separate lines) defined by hard returns.


metric-compatible

en-adj

metric-compatible (comparative more metric-compatible, superlative most metric-compatible)

more metric-compatible (comparative)
most metric-compatible (superlative)
metrically compatible (alternative)

(typography, computing) Of a font, having identical metrics as another font, enabling it to serve as a substitute for another font without affecting document layout.


dialytika

The oxia and varia are represented using the regular acute and grave accent characters, the dialytika with the regular diaeresis character, and the psili and dasia are represented using the regular combining-comma-above and combining-reversed-comma-above characters.

2003, Richard Gillam, “The Greek Alphabet”, in Unicode Demystified: A Practical Programmer’s Guide to the Encoding Standard, Boston, Mass.: Addison-Wesley, →ISBN, part II (Unicode in Depth: A Guided Tour of the Character Repertoire), chapter 7 (Scripts of Europe), page 240:

(orthography and typography) A diaeresis or trema in the Greek alphabet


type designer

(typography) A person who designs typefaces as a profession.


typometer

(typography, printing) A ruler traditionally used in the graphic arts to inspect the measures of typographic materials.


typometry

(typography) The measurement of typefaces in typographic units.


keming

Coined by various sources in the early 1990s as an intentional misspelling of kerning by combining the r and n into an m, as an example of improper kerning due to the increasing growth of desktop publishing.

When done correctly, kerning helps to improve the readability of text by adding or removing space between two letters. Bad kerning, also known as keming, leads to misreadings, and in the worst cases, incredibly bad (but humorous) misunderstandings.

2018 April 20, jkohorst, “FR E SH A VOCA DO^([sic])”, in Writing for Designers^([dead link]):

(typography, Internet slang, humorous) Improper kerning.


small capitals

Small capitals in an example identify the word receiving the nuclear accent of the clause, or (in most cases) an extra heavy contrastive accent.
[“Bill was the one who wrote this note.” — “No.] Pete wrote it.”

2006, Renaat Declerck, Susan Reed, Bert Cappelle, “The Grammar of the English Verb Phrase”, in The Grammar of the English Tense System, volume 1, →ISBN, page 6:


dumb quotes

(computing, typography, informal) straight quotes


cap up

en-verb

cap up (third-person singular simple present caps up, present participle capping up, simple past and past participle capped up)

caps up (present singular third-person)
capping up (participle present)
capped up (participle past)
capped up (past)

Do not cap up "oblast" or "province" in place names.

Secretaries of State: Cap up titles, as in Home Secretary David Blunkett and Foreign Secretary Jack Straw.

2004, Tony Harcup, Journalism: Principles and Practice, SAGE Publications, Style Guide for Journalists, page 137:

Capping up: the general presumption is against using caps. Their use should be to denote something that is unique. The Pill immediately spells the contraceptive pill and the Forces indicates that we are talking about Britain's military and not the forces of light.

2010, Simon Heffer, “The Daily Telegraph Style Guide”, in The Telegraph:

Cap up the first letter of the first word. Then, use lower case e.g.: "View and comment on planning applications" not "View And Comment On Planning Applications"

2018 August 28, “Presenting Content”, in Central Bedfordshire Council:

(typography, British) To modify (the initial letter of a word) to be a capital letter.


capline

The letter t often falls short of both the capline and the line of ascent. The line of ascent is drawn above or on the capline and equals approximately one third the distance between the capline and baseline.

1998, Sandra M. Bryan, Illustrator Draftsman: Executionable practices, page 14:

(typography) The line through the tops of capital letters of a particular typeface.


beardline

The beardline is the line reached by descenders in letters like p and q.

1992, Robert Bringhurst, The Elements of Typographic Style, Hartley & Marks Publishers, →ISBN:

(typography) The line below the baseline where the descending letters, such as ⟨p⟩ or ⟨q⟩, sit.


em rule

(typography) Alternative form of em dash.


en rule

(typography) Alternative form of en dash.


nut dash

From nut + dash to avoid ambiguity when speaking between en dash and em dash.

(typography slang) Alternative form of en dash.


mutton dash

From mutton + dash to avoid ambiguity when speaking between en dash and em dash.


asteronym

From Ancient Greek ἀστήρ (astḗr, “star”) + -onym.

In this work Mr. Quérard treats of all persons who have written in French, in all parts of Europe, and have disguised themselves under anagrams, asteronyms, cryptonyms, initials, literary names, pseudonyms, facetious or strange, etc.

1871 June, “Anonymous and Pseudonymous Authors and Works”, in The National Quarterly Review, volume 23, number 45, New York: Edward I. Sears, page 48:

(typography, rare) An asterism (⁂) or similar symbol which replaces the name of the author in a literary work.

astéronyme

asterism or similar symbol which replaces the name of the author in a literary work


type color

(typography) A measure of how dense, bold or heavy the text appears on the page.


variable font

(typography) A digital font whose design features can be freely adjusted in a cline via the manipulation of various axes, such as the "weight axis" or "height axis".


astonisher

1874, The American Observer, New Series, Volume 1, “Rejoinder,” p. 525,
“ […] Nothing whatever” ! (the italics are “S. S. C.’s,” the “astonisher” is mine.)

1947, Stewart Holbrook, The Story of American Railroads, American Legacy Press, 1981, Chapter 39, p. 443,
More often than not these prophets […] belong to the oh-the-wonder-of-it-all school, who point to the sky as the new and sole artery of travel and transportation and marvel, in complete awe—which they indicate by running over with astonishers!—at the thought of monstrous planes hauling the freight and passengers of the nation, even of the world.

1984, Richard Hauer Costa, “The Grisly Graphics of Malcolm Lowry” in Gordon Bowker and Paul Tiessen (eds.), Proceedings of the London Conference on Malcolm Lowry, Goldsmith’s College, University of London and The Malcolm Lowry Review, Wilfrid Laurier University, p. 100,
An ad for a boxing match can symbolize the uncommunicable, with its curious shape-of-the-type configurations—¡BOX!, with the ‘astonisher’ written upside down before the word and right side up after.

(typography, printing, computing, chiefly US) An exclamation mark, the punctuation mark “!”.

(typography, journalism, chiefly US) A short line of smaller type above (or sometimes below) the main headline of an article, usually placed flush-left.


straight r

[…] completely informed about the decisions made and the reasons to make them, e.g. r rotunda does not figure in the transcription as the use of straight r and r rotunda is governed by the preceding character and thus completely predictable.

1989, Arend Quak, Florus (Floor) Rhee, Palaeogermanica et onomastica., Rodopi, page 3

And certain geminated consonants are represented by capitals : ɢ, ɴ, ʀ, ꜱ. Does a form like haʀ mean a long r, or is it a scribal habit on the level of the usage of r rotunda, not straight r, after round letters? The occurrence of forms with -rr […]

2000, Anna A. Grotans, Heinrich Beck, Anton Schwob, De consolatione philogiae: studies in honor of Evelyn S. Firchow, volume 2, page 624:

The distinction between r rotunda and straight r has not been kept in the transcription, as the usage of r rotunda is predictable from the preceding character: r rotunda is used after round letters.

2017, Andrea de Leeuw van Weenen, A Grammar of Möðruvallabók, BRILL, →ISBN, page 11:

(typography) The usual form of the letter r (which is r), as contrasted with r rotunda (ꝛ).


Antiqua

en-noun

Antiqua (countable and uncountable, plural Antiquas)

From Latin antīqua, feminine of antīquus.

The Tiemann antiqua of 1909 was a real success, however, and has found favour in England. The companion italic, the Tiemann kursiv is an even more handsome letter. Klingspor’s recent antiquas also include a highly successful character designed by Peter Behrens in 1914. The latest creation is an antiqua cut by Rudolph Koch.

1923, Stanley Morison, Holbrook Jackson, A Brief Survey of Printing: History and Practice, page 36:

The early letters of this kind have been classified as Transitional, implying that in their development they lay between the Antiquas and the Moderns; but when one looks at the free individualism of the street names of Bath, 25 and 26, it is obviously inappropriate nomenclature and only English will do.

1980, Jock Kinneir, Words and Buildings: The Art and Practice of Public Lettering, →ISBN, page 36:

Class VI Sanserifs is just as disorganized. Here, pure Antiquas are grouped with sanserif and classical typefaces. Moreover, there are Humanist styles and other partly-constructed sanserif styles that are meant chiefly for display purposes. / Class VII Display Antiquas can easily be regarded as a catch-all class simply from its name.

1994, Karl H. Warkentin, “16. Classifying Typefaces according to DIN”, in Peter Karow, editor, Font Technology: Methods and Tools, →ISBN, “Summary”, page 356:

A style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries.

Any typeface with serifs and modulation (often as opposed to Gothic).


cpp

(typography) Initialism of character(s) per pica.


Caslon

Caslon or Garamond or Baskerville is shouted as the compositors search for as many cases of these types as can be found.

2010, Andrea Levy, The Long Song, Tinder Press (2017), page 381:

(typography) Any of the serif typefaces designed by William Caslon I (c. 1692–1766) in London, or inspired by his work.


reverse contrast

(typography) Having stroke thickness that is on an axis contrary to convention.

ファンテール体 (fantēru-tai, literally “fantail script”)


soft-dotted

(computing, typography) Of a character: having a dot that is removed when an accent is applied, as for example with the character i becoming í.


Helvetica

Borrowed from Latin helvētica (“Swiss”).

The famous double arrow emerged at this time, as did the new Rail Alphabet typeface (basically slightly altered Helvetica) that it still used today for station names and signposts, [...].

2021 April 7, Christian Wolmar, “Electrification is a given... but comfort matters as well”, in RAIL, number 928, page 46:

(typography) A popular and influential sans-serif typeface.


CGJ

combining grapheme joiner
w:combining grapheme joiner

(computing, typography) Initialism of combining grapheme joiner.


corner bracket

(typography) Either of a pair of symbols, 「 」, used as quotation marks in some languages.


nonserif

a nonserif typeface


line crash

(typography) A situation where a diacritic above or below a base character extends into the area used by the preceding or following line of text.


one-and-a-half-spaced

(typography) Formatted so that there is one half of a blank line between each line of text.


double-space

en-verb

double-space (third-person singular simple present double-spaces, present participle double-spacing, simple past and past participle double-spaced)

double-spaces (present singular third-person)
double-spacing (participle present)
double-spaced (participle past)
double-spaced (past)

(transitive, typography) To type (or format) text by leaving a blank line between each line of text.

(intransitive, typography) To type (or format) text with two spaces between consecutive sentences.


dry transfer

(typography, attributive) Transfer of premade letters from a sheet or letterset.


slab serif

slab serifs (plural)
slabserif (alternative)
slab-serif (alternative)

(typography) A kind of serif typeface characterized by thick, block-like serifs.


Gill Sans

All lettering will be of the gill sans type on a background of the regional colour, and all signs will consist of enamelled metal plates of certain standard sizes which will allow ample areas of background and give a high degree of clarity to the lettering.

1949 July and August, “Notes and News: Standard Station Signs”, in Railway Magazine, page 371:

(typography) An easy-to-read style of sans-serif typeface designed by Eric Gill.


substub

The first column on the left is the stub column. Its heading is referred to as the stub head. A stub is a title for a row of (horizontal) data. Should a stub column contain substubs, then the substubs are indented two or three spaces to show that they are subordinate to the stub item.

1992, Joel P. Bowman, Bernadine P. Branchaw, “Special techniques: headings, lists, and tables”, in How to Write Proposals that Produce, Greenwood, →ISBN, page 97:

(typography, in tabular matter) A subheading below a stub (stub head) in a table; a stub subordinate to another stub.


H&J

(typography) Abbreviation of hyphenation and justification.


geta mark

Partial calque from Japanese 下(げ)駄(た)記(き)号(ごう) (geta kigō), alluding to the similarity between the shape of this symbol and that of a footprint from a geta shoe.

(typography) The symbol 〓, used as a placeholder in electronic or printed text to indicate the presence of an ideographic character for which no glyph is available.


rekern

rekern (third-person singular simple present rekerns, present participle rekerning, simple past and past participle rekerned)

rekerns (present singular third-person)
rekerning (participle present)
rekerned (participle past)
rekerned (past)

Illustrator tends to treat a line of text as an object, so changing a word at the end of a line can often result in a great deal of hand-manipulation to rekern the type or move a word onto the next line.

1996, Bruce Page, Diana Holm, Web Publishing with Adobe Acrobat and PDF, page 227:

Here the original drawing is shown in grey and the infilled tracing in black. The lettering can be further refined and, unlike ink-based artwork, can be rekerned without being redrawn.

2011, Andrew Haslam, Lettering: A Reference Manual of Techniques:


lettermark

LL-Q1860 (eng)-Flame, not lame-lettermark.wav

(marketing, communication, typography) A text-only logo consisting of the initials of a brand name or business.


forced justified

(typography) The alignment of all lines of text, regardless of length, where they stretch across from margin to margin.


flush left

(typography) Alignment of the text aligned along the left margin or gutter.


flush right

(typography) Alignment of the text aligned along the right margin or gutter.


flush left and right

(typography) A body of text aligned with both its left and right margins.


oblique type

LL-Q1860 (eng)-Flame, not lame-oblique type.wav

(typography) A form of type that slants slightly to the right.


dummy text

A traditional way to represent dummy text in typeset documents is with a passage of medieval Latin that begins “Lorem ipsum. ..” (or “lipsum” for short).

2006, Christian Crumlish, Kate J. Chase, Microsoft FrontPage 2003: Savvy, John Wiley & Sons, →ISBN, page 93:

This means you can easily set up text layouts without having the copy in hand and without resorting to a “dummy text” placeholder.

2010, Olav Martin Kvern, David Blatner, Bob Bringhurst, Real World Adobe InDesign CS5, Pearson Education, →ISBN:

(typography) A placeholder text used in typesetting.


single angle quote

en-noun

single angle quote (plural single angle quotes)

(typography, uncommon) An angle quote which appears as a single symbol at the beginning or end of a sentence.


double angle quote

double angle quote (plural double angle quotes)

(typography, uncommon) An angle quote which appears as two symbols at the beginning or end of a sentence.


unpied

I then dried these over a flame, and then, wrapping the formes and re-sealing them with my court seals — for my only commission, you see, was to report as to whether the type was unpied, and text ungarbled, and the formes all ready […]

1947, Harry Stephen Keeler, The Case of the Barking Clock:

(letterpress typography) Of metal type: not mixed together or disordered.


stand with

en-verb

stand with (third-person singular simple present stands with, present participle standing with, simple past and past participle stood with)

stands with (present singular third-person)
standing with (participle present)
stood with (participle past)
stood with (past)

Another advantage would be found, when a Printing-houſe ſhould happen to be ſold, that the Letter of it would ſtand with another Fount of the ſame Body.

1755, John Smith, The Printer's Grammar, page 35:

(typography, of a character) To align with.


paragraph break

en-noun

paragraph break (plural paragraph breaks)

(word processing, typography) A place within written content where such an orthographic break occurs; in computing, it is encoded with a hard return, which is sometimes represented visually with a pilcrow character (¶).


Schwabacher

(typography) A style of black letter typeface that evolved from Gothic Textualis (Textura) under the influence of Humanist type design in Italy during the 15th century.


subbullet

Type the following subbullets. Press ENTER after each of the first two lines.

1996, Lynn Marie Bacon, Wiley Getting Started with Powerpoint 7.0 for Windows 95, page 78:

(typography) A bullet that is hierarchically nested under another bullet.


compound point

(typography) An obsolete typographical construction made up of more than one punctuation mark, such as the comma dash (,—) or semicolon dash (;—).


Didot

(typography, historical) Ellipsis of Didot point.


letterset

Skill to prepare polyester form overlays by transferring letters and/or numerals from a letterset to a clear polyester sheet.

1990, United States. Office of Personnel Management. Office of Classification, Position Classification Standards: For Positions Under the General Schedule Classification System (page 7, page 30)

(typography) A sheet of letters or other characters to be applied by dry transfer.


backprime

backprimes (plural)
back prime (alternative)

From back + prime (“the ⟨′⟩ symbol”), compare backslash.

The echo and sed commands appear within backprimes (`) that indicate command substitution: The result of executing the commands within the backprimes replaces the backprimes and everything between them.

1997, Mark G. Sobell, “The TC Shell”, in A Practical Guide to Linux, Reading, MA: Addison-Wesley, →ISBN, page 440:

Since deformation manifests itself as a change in the metric characteristics of continuum, in the theory of finite deformations, it is then necessary to compare the referential ‵g_(ασ) and the convective g_(ασ) metrics. We systematically employ Latin indices in order to refer to spatial components of geometrical objects, whereas Greek indices to point on convective components (only a few instances can be found in the present study) or referential components (additionally, root symbol is sometimes supplied by backprime).

2023, Yuri N. Radayev, “Two-Point Rotations in Geometry of Finite Deformations”, in Holm Altenbach, Suren Manuk Mkhitaryan, Vahram Hakobyan, Avetik Varazdat Sahakyan, editors, Solid Mechanics, Theory of Elasticity and Creep (Advanced Structured Materials), Cham: Springer, →ISBN, page 276:

(typography, computing) The ⟨‵⟩ or ⟨`⟩ symbol; a reversed prime.


sesame dot

(typography) A Japanese typographic mark resembling a comma or dot, placed above or beside words to indicate emphasis. It exists in filled and empty variants.


Grecs du roi

the Grecs du roi (canonical)
Grecs du Roi (alternative)
grecs du roi (alternative)

Unadapted borrowing from French Grecs du roi (literally “king’s Greeks”).

ubor

Garamond's caractères de l'Université, in four sizes of roman and italic, and the grecs du roi in three sizes, became the nucleus of the magnificent collection of types now belonging to the Imprimerie Nationale de France.

1922, Daniel Berkeley Updike, Printing Types, Their History, Forms, and Use; A Study in Survivals, page 236:

In Paris, the Grecs du Roi had been celebrated ever since they had been cut by Claude Garamond in the mid-sixteenth century; but they remained privileged types, restricted for the use of the Imprimerie Royale.

1992, David McKitterick, A History of Cambridge University Press: Volume 2, Scholarship and Commerce, 1698-1872, page 66:

Vergecio's hand became in turn the model for the grecs du roi, themselves the model by which Greek type was measured for almost three hundred years.

1992, Nicolas Barker, Aldus Manutius and the Development of Greek Script & Type in the Fifteenth Century, page 2:

(typography) An influential Greek typeface created by Claude Garamond.


pixels per inch

(graphic design, typography) A measurement of the pixel density of an electronic image device, such as a computer monitor or television display.


extralight

en-adj

extralight (comparative more extralight, superlative most extralight)

more extralight (comparative)
most extralight (superlative)

In England, a classification standard has been developed that contains eight weights: extralight, light, semilight, medium, semibold, bold, extrabold, and ultrabold.

2014, Rob Carter, Philip B[axter] Meggs, Ben Day, Sandra Maxa, Mark Sanders, Typographic Design: Form and Communication (Edition 6), →ISBN, page 45:

(typography) Lighter than a typical light typeface.


semilight

(typography) Of a weight between light and medium.


lenticular bracket

en-noun

lenticular bracket (plural lenticular brackets)

From lenticular + bracket, due to their resemblance to a lens.

(typography) Either of a pair of symbols,【 】, generally used in Chinese and Japanese dictionaries to enclose headwords, and sometimes for other purposes.


tortoise shell bracket

tortoise shell bracket (plural tortoise shell brackets)

tortoise shell brackets (plural)
tortoiseshell bracket (alternative)

LL-Q1860 (eng)-Flame, not lame-tortoise shell bracket.wav

Calque from Japanese 亀(きっ)甲(こう)括(かっ)弧(こ) (kikkōkakko, literally “tortoise shell bracket”), due to their resemblance to the shell of a tortoise. By surface analysis, tortoise shell + bracket.

surf

(typography) Either of a pair of symbols,〔 〕, sometimes used in Japanese to enclose comments in quoted text.


OpenType

LL-Q1860 (eng)-Flame, not lame-OpenType.wav

(computing, typography) A file format, developed jointly by Microsoft Corporation and Adobe Inc., for storing computer fonts.


TrueType

LL-Q1860 (eng)-Flame, not lame-TrueType.wav

(computing, typography) a file format for storing computer fonts developed by Apple Inc.


Mincho

Borrowed from Japanese 明(みん)朝(ちょう) (Minchō, literally “Ming Dynasty”). Doublet of Myeongjo, borrowed from Korean.

ja-r

There are two popular styles of Kanji character fonts: “Mincho” and “Gothic.”[…]"Mincho" has thin horizontal strokes and thick vertical ones.[…]The role of “Mincho” in Japanese is similar to Roman style, and that of “Gothic” is similar to Bold face style.

1991 November 29, Robert A. Morris, Jacques André, Raster Imaging and Digital Typography II: Proceedings of the Conference on Raster Imaging and Digital Typography, Boston 1991, Cambridge University Press, →ISBN, page 149:

The two typefaces Mincho and Gothic are most widely used. Mincho is serif and is used for main body text. Gothic is sans serif and is used mainly for headings.

1997 May 2, Horst Bunke, Patrick S. P. Wang, Handbook Of Character Recognition And Document Image Analysis, World Scientific Publishing, →ISBN, page 298:

(typography) A style of typeface used to display kanji and kana in Japanese, roughly analogous in appearance to serif typefaces.


Mincho

(typography) Of a Japanese font or typeface, being in the Mincho style.


monocase

LL-Q1860 (eng)-Flame, not lame-monocase.wav

American and European programmers are often surprised to discover that not all locales use a two-case alphabet. Eastern languages (e.g., Japanese and Chinese) based on ideograms are monocase; while Middle Eastern languages can have four or more cases.

1996, David A. Schmitt, “Using Locale Information and Unicode” (chapter 8), in Extending the MFC Library: Add Useful Reusable Features to the Microsoft Foundation Class Library, Reading, Mass.: Addison-Wesley Developers Press, →ISBN, page 163:

Dine 1 is a ‘monocase’ font that consists of a combination of uppercase and lowercase letters. It was designed that way to provide each letter character with a distinct shape without compromising any meaning associated with that shape.

2012, Robert Hillier, “The Design and Development of the Sylexiad Typeface”, in Nicola Brunswick, editor, Supporting Dyslexic Adults in Higher Education and the Workplace, Chichester: Wiley-Blackwell, →ISBN, page 189:

(linguistics, typography) Of a script or typeface: having only one case, making no distinction between upper and lower case.

The program prompts for the old password (if any) and then for the new one (twice). The caller must supply these. New passwords should be at least four characters long if they use a sufficiently rich alphabet and at least six characters long if monocase. Only the first eight characters of the password are significant.

1985, Rebecca Thomas, Jean Yates, “Text Processing” (chapter 5), in A User Guide to the UNIX System, 2nd edition, Berkeley, Calif.: Osborne McGraw-Hill, →ISBN, page 281:

The Standard chose to stay with the old restrictions on these external names: they are not guaranteed to be different unless they differ from each other in the first six characters. Worse than that, upper and lower case letters may be treated the same! […] There is nothing to prevent any specific implementation from giving better limits than these, but for maximum portability the six monocase characters must be all that you expect.

1988, Mike Banahan, “Variables and Arithmetic” (chapter 2), in The C Book: Featuring the Draft ANSI C Standard, Wokingham: Addison-Wesley Publishing Company, →ISBN, page 23:

(computing, typography) Supporting or consisting of only one case of letters; either all uppercase or all lowercase; (also), case insensitive, treating upper and lower case as being the same.


duocase

LL-Q1860 (eng)-Flame, not lame-duocase.wav

Before the introduction of the IBM 1050, printing terminals had been limited to single case capability. But the use of an electric typewriter on the 1050 would give the capability of duocase printing—capital letters and small letters. This duocase capability was held to be a very significant marketing factor.

1980, Charles E. McKenzie, “The Size and Structure of PTTC” (chapter 6), in Coded Character Sets: History and Development (The Systems Programming Series), Reading, Mass.: Addison-Wesley Publishing Company, →ISBN, page 106:

(computing, typography, rare) Supporting or consisting of both uppercase and lowercase letters.


whiteletter

(typography, historical) A light roman and italic letterform favored by humanist scribes and typographers in Italy in the 15th and 16th centuries.


headline style

This name for the concept (one of several names for it) comes from the widespread (albeit not universal) practice of using this casing in newspaper headlines.


camerality

(typography) The number of cases in a writing system.


RTLO

(computing, typography) Initialism of right-to-left override.