Italics
If you haven’t, please read the introduction to italics: part one and part two
The lowercase italic alphabet can actually be divided into three stages, represented by ‘
n’, ‘
a’, and ‘
f’, plus a couple outliers. The ‘
n’ branch, which this post will teach you how to design, is a vast swath of ten italic letters which all come quite naturally from each other. This is part of what makes italics so fun to design—the letters share so many characteristics that you can knock out large portions of the alphabet by nailing down just a few letterforms.
Typographical italics are descended from
italic calligraphy, which contains only a few fundamental pen motions. That means that there is incredible congruence among different italic letters. The ‘
h’, ‘
m’, ‘
n’, and ‘
r’ are all letters with the “shoulder” or “hump” stroke, and the linear letters—‘
i’, ‘
j’, and ‘
l’—are all degenerate forms of them. The ‘
u’ is merely a rotated ‘
n’, and the ‘
v’ and ‘
w’, are, at least sometimes, copies of ‘
u’ strokes lacking the vertical stems.
At the center of this italic family is the letter ‘
n’, from which all the other letters can be derived. Accordingly, it makes sense to spend more time on this letter and make sure that you get it right, since the shapes you draw in this letter will be reused at least nine more times.
Characteristics and parameters of the italic n
If you read
my first post on italics, you should already be familiar with the form of the calligraphic ‘
n’. This form actually resembles quite greatly the ‘n’s many people render in their handwriting, especially if they have cursive tendencies.
Many italic typefaces mix in traits of this form with those of the roman
‘n’, which is written with two strokes. The most obvious example of this is in the heights of the joins. Because the calligraphic ‘n’ is made up of a single stroke (at least visually; calligraphers are known for breaking up simple strokes into three or more components, especially when lettering at large sizes), the stem and shoulder meet at a vertex at the lower left corner of the letter.
It naturally follows that in italic type, the join of the ‘n’ is often dragged down the stem, much closer to the baseline. How far down the join is found varies. With numerous exceptions, older style typefaces generally have lower italic joins, while more modern (especially computer-claredon) typefaces have higher italic joins. This should make sense—computer-claredon type is, frankly, more closely related to sans serif type than “true” serif type, and following the sans tradition for oblique rather than italic type, these modern serifs tend to be close to visually slanted roman typefaces. Indeed, in many modern computer serifs, the joins hardly moves at all between the roman and italic styles.