Roman type in the context of "Blackletter"

Hepburn (Japanese: ヘボン式ローマ字, romanized: Hebon-shiki rōmaji, lit. 'Hepburn-style Roman letters') is the main system of romanization for the Japanese language. The system was originally published in 1867 by American Christian missionary and physician James Curtis Hepburn as the standard in the first edition of his Japanese–English dictionary. The system is distinct from other romanization methods in its use of English orthography to phonetically transcribe sounds: for example, the syllable [ɕi] (し) is written as shi and [tɕa] (ちゃ) is written as cha, reflecting their spellings in English (compare to si and tya in the more systematic Nihon-shiki and Kunrei-shiki systems).

In 1886, Hepburn published the third edition of his dictionary, codifying a revised version of the system that is known today as "traditional Hepburn". A version with additional revisions, known as "modified Hepburn", was published in 1908.

In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. Along with blackletter and roman type, it served as one of the major typefaces in the history of Western typography.

Owing to the influence from calligraphy, italics normally slant slightly to the right, like so. Different glyph shapes from roman type are usually used – another influence from calligraphy – and upper-case letters may have swashes, flourishes inspired by ornate calligraphy.

Modern typographers view typography as a craft with a very long history tracing its origins back to the first punches and dies used to make seals and coinage currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together into one systematic craft. While woodblock printing and movable type had precedents in East Asia, typography in the Western world developed after the invention of the printing press by Johannes Gutenberg in the mid-15th century. The initial spread of printing throughout Germany and Italy led to the enduring legacy and continued use of blackletter, roman, and italic types.

Gaelic type (sometimes called Irish character, Irish type, or Gaelic script) is a family of Insular script typefaces devised for printing Early Modern Irish. It was widely used from the 16th century until the mid-18th century in Scotland and the mid-20th century in Ireland, but is now rarely used. Sometimes, all Gaelic typefaces are called Celtic or uncial although most Gaelic types are not uncials. The "Anglo-Saxon" types of the 17th century are included in this category because both the Anglo-Saxon types and the Gaelic/Irish types derive from the insular manuscript hand.

The terms Gaelic type, Gaelic script and Irish character translate the Modern Irish phrase cló Gaelach (pronounced [ˌkl̪ˠoː ˈɡeːl̪ˠəx]). In Ireland, the term cló Gaelach is used in opposition to the term cló Rómhánach, Roman type.

Times New Roman is a serif typeface commissioned for use by the British newspaper The Times in 1931. It has become one of the most popular typefaces of all time and is installed on most personal computers. The typeface was conceived by Stanley Morison, the artistic adviser to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in The Times's advertising department.

Asked to advise on a redesign, Morison recommended that The Times change their body text typeface from a spindly nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing tastes of the period. Morison proposed an older Monotype typeface named Plantin as a basis for the design, and Times New Roman mostly matches Plantin's dimensions. The main change was that the contrast between strokes was enhanced to give a crisper image. The new design made its debut in The Times on 3 October 1932. After one year, the design was released for commercial sale. In Times New Roman's name, Roman is a reference to the regular or roman style (sometimes also called Antiqua), the first part of the Times New Roman typeface family to be designed. Roman type has roots in Italian printing of the late 15th and early 16th centuries, but Times New Roman's design has no connection to Rome or to the Romans.

Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is named after Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo.

Monotype created Bembo during a period of renewed interest in the printing of the Italian Renaissance, under the influence of Monotype executive and printing historian Stanley Morison. It followed a previous more faithful revival of Manutius's work, Poliphilus, whose reputation it largely eclipsed. Monotype also created a second, much more eccentric italic for it to the design of calligrapher Alfred Fairbank, which also did not receive the same attention as the normal version of Bembo.

Oblique type is a form of type that slants slightly to the right, used for the same purposes as italic type. Unlike italic type, however, it does not use different glyph shapes; it uses the same glyphs as roman type, except slanted. Oblique and italic type are technical terms to distinguish between the two ways of creating slanted font styles; oblique designs may be labelled italic by companies selling fonts or by computer programs. Oblique designs may also be called slanted or sloped roman styles. Oblique fonts, as supplied by a font designer, may be simply slanted, but this is often not the case: many have slight corrections made to them to give curves more consistent widths, so they retain the proportions of counters and the thick-and-thin quality of strokes from the regular design.

Type designers have described oblique type as less organic and calligraphic than italics, which in some situations may be preferred. Contemporary type designer Jeremy Tankard stated that he had avoided a true italic 'a' and 'e' in his design Bliss due to finding them "too soft", while Hoefler and Frere-Jones have described obliques as more "keen and insistent".