{"id":39136,"date":"2025-01-17T16:24:46","date_gmt":"2025-01-17T13:24:46","guid":{"rendered":"https:\/\/typetype.org\/fr\/?p=39136"},"modified":"2026-05-15T10:15:25","modified_gmt":"2026-05-15T07:15:25","slug":"retalic-fonts-a-complete-guide-to-reversed-italics-in-typography-and-design","status":"publish","type":"post","link":"https:\/\/typetype.org\/fr\/blog\/retalic-fonts-a-complete-guide-to-reversed-italics-in-typography-and-design\/","title":{"rendered":"Retalic or Reversed Italic: Understanding Left-Leaning Type Design"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"718\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_main.gif\" alt=\"\" class=\"wp-image-39138\"\/><\/figure>\n\n\n\n<p>Many of&nbsp;our readers are undoubtedly familiar with the term  \u201citalic\u201d as&nbsp;we&nbsp;frequently discuss these slanted and cursive fonts in&nbsp;our articles. However, the term \u201cretalic\u201d might be&nbsp;unfamiliar even to&nbsp;those well-versed in&nbsp;typography. Let\u2019s explore this unique font style and its applications in&nbsp;modern design.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">What is&nbsp;a&nbsp;Retalic?<\/h2>\n\n\n\n<p>Let\u2019s start by&nbsp;refreshing our understanding of&nbsp;italics with a&nbsp;look at&nbsp;our <a href=\"https:\/\/typetype.org\/fr\/typography-terms\/\">font dictionary<\/a>.<\/p>\n\n\n\n<p><strong><em>Italics (or&nbsp;true italics)<\/em><\/strong><em> traditionally referred specifically to&nbsp;cursive fonts where lowercase characters transformed into cursive forms (true italic). This style is&nbsp;particularly common in&nbsp;typefaces with <a href=\"https:\/\/typetype.org\/fr\/fonts\/serif\/\">serifs<\/a>. Today, the term has broadened to&nbsp;include both true italics and slanted fonts (slant, oblique).<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"535\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1.png\" alt=\"\" class=\"wp-image-39141\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-1024x380.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-768x285.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-1200x446.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-420x156.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-600x223.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_1-80x30.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>A&nbsp;retalic is&nbsp;essentially italic\u2019s mirror image\u2014a reversed italic font that leans left instead of&nbsp;right. It\u2019s literally a&nbsp;reversed italic (reitalic).<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"417\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2.png\" alt=\"\" class=\"wp-image-39142\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-1024x297.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-768x222.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-1200x348.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-420x122.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-600x174.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_2-80x23.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>Without italics, retalics wouldn\u2019t exist. While italics serve to&nbsp;emphasize text, backslanted italics create even stronger emphasis through their unexpected left lean. These contra italics are highly expressive but rarely used, as&nbsp;their unusual appearance can be&nbsp;quite striking to&nbsp;readers.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Applications and Uses<\/h3>\n\n\n\n<p>Thanks to&nbsp;their distinctive character, retalics excel at&nbsp;creating emphasis and drawing attention. They work particularly well in&nbsp;designs that need to&nbsp;convey movement, such as&nbsp;sports brand identities or&nbsp;delivery service logos, circus posters or&nbsp;album covers, book and magazine titles&nbsp;\/ fast-food restaurant menus.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"589\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3.png\" alt=\"\" class=\"wp-image-39143\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-1024x419.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-768x314.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-1200x491.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-420x172.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-600x245.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_3-80x33.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>Beyond these common applications, retalics have some surprising uses that we\u2019ll explore later.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Different Names for the Same Concept<\/h3>\n\n\n\n<p>Reversed italics, contra italics, slanted font\u2014you\u2019ll encounter various terms for retalics. Typography terminology is&nbsp;still evolving, so&nbsp;different interpretations exist across the field.<\/p>\n\n\n\n<p>At&nbsp;TypeType, we&nbsp;use \u201cretalic\u201d because we&nbsp;refer to&nbsp;slanted styles as&nbsp;italics and cursive forms as&nbsp;true italics. To&nbsp;maintain consistency, we&nbsp;chose \u201cRetalic\u201d (full name: reversed italic) for our left-leaning style.<\/p>\n\n\n\n<p>Here are the common terms for this style: <\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Contra italics; <\/li>\n\n\n\n<li>Backslanted; <\/li>\n\n\n\n<li>Left italic; <\/li>\n\n\n\n<li>Reverse oblique<\/li>\n\n\n\n<li>Reversed italic; <\/li>\n\n\n\n<li>Reclining; <\/li>\n\n\n\n<li>Reclined italics; <\/li>\n\n\n\n<li>Left italics; <\/li>\n\n\n\n<li>Linkskursiv; <\/li>\n\n\n\n<li>Left-leaning italics.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Don\u2019t Confuse Retalic with Rotalic!<\/strong><\/h3>\n\n\n\n<p>There\u2019s another fascinating and rare typographic phenomenon called rotalic. Unlike italic and retalic fonts where characters slant left or&nbsp;right, rotalic characters appear to&nbsp;rotate clockwise or&nbsp;counterclockwise around their axis. <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"506\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4.png\" alt=\"\" class=\"wp-image-39145\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-1024x360.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-768x270.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-1200x422.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-420x148.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-600x211.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_4-80x28.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Calligraphic Origins of&nbsp;Retalics<\/h2>\n\n\n\n<p>The first cursive fonts naturally evolved from handwriting. Since most people are right-handed, right-leaning <a href=\"https:\/\/typetype.org\/fr\/fonts\/script\/\">scripts<\/a> became the norm. However, rare historical examples of&nbsp;left-leaning writing styles do&nbsp;exist.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1010\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5.png\" alt=\"\" class=\"wp-image-39146\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-1024x359.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-768x269.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-1200x421.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-1536x539.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-2048x718.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-420x147.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-600x210.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_5-80x28.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Unexpected Applications<\/h2>\n\n\n\n<p>While left-leaning fonts are relatively uncommon, they\u2019ve found their way into some surprising areas of&nbsp;use.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Retalics in&nbsp;Maps and Cartography<\/h3>\n\n\n\n<p>German cartographers particularly favored retalics, using them primarily for river labels.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1114\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6.png\" alt=\"\" class=\"wp-image-39147\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-1024x396.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-768x297.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-1200x464.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-1536x594.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-2048x792.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-420x162.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-600x232.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_6-80x31.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Retalics in&nbsp;Tombstone Inscriptions<\/h3>\n\n\n\n<p>You might spot reversed italics lettering on&nbsp;19th-century gravestones.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"652\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_7.gif\" alt=\"\" class=\"wp-image-39148\"\/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Indicating Sarcasm<\/h3>\n\n\n\n<p>Some have suggested using retalics to&nbsp;denote sarcasm in&nbsp;text. However, we&nbsp;(and many others) find this idea impractical. After all, if&nbsp;sarcasm needs explanation, it&nbsp;loses its punch.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1046\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8.png\" alt=\"\" class=\"wp-image-39150\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-1024x372.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-768x279.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-1200x436.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-1536x558.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-2048x744.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-420x153.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-600x218.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_8-80x29.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Industrial Revolution, Display Fonts for Advertising, and Wood Type<\/h2>\n\n\n\n<p>The Second Industrial Revolution (late 19th\u2014early 20th century) transformed font design. This era saw an&nbsp;explosion of&nbsp;<a href=\"https:\/\/typetype.org\/fr\/fonts\/display\/\">display<\/a> fonts used primarily in&nbsp;advertising and posters. Retalics proved particularly effective at&nbsp;catching attention, as&nbsp;their unusual slant naturally drew the eye.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"525\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_9.gif\" alt=\"\" class=\"wp-image-39151\"\/><\/figure>\n\n\n\n<p>Seven Lines Pica No&nbsp;2 (1815) likely holds the distinction of&nbsp;being the first typographic font featuring a&nbsp;reversed slant.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1510\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10.png\" alt=\"\" class=\"wp-image-39152\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-1024x537.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-768x403.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-1200x629.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-1536x805.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-2048x1074.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-420x220.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-600x315.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_10-80x42.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<p>The Hamilton Wood Type foundry created particularly interesting examples of&nbsp;wooden retalic fonts.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"755\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_11.gif\" alt=\"\" class=\"wp-image-39158\"\/><\/figure>\n\n\n\n<p>Retalics made a&nbsp;notable appearance in&nbsp;the 1972 cover design of&nbsp;Andr\u00e9 Breton\u2019s \u201cManifesto of&nbsp;Surrealism\u201c.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1498\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12.png\" alt=\"\" class=\"wp-image-39159\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-1024x533.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-768x399.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-1200x624.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-1536x799.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-2048x1065.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-420x218.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-600x312.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_12-80x42.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<p>We\u2019ve also uncovered fascinating examples of&nbsp;retalic use in&nbsp;Soviet-era display typefaces.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"2880\" height=\"1232\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1.png\" alt=\"\" class=\"wp-image-39160\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1.png 2880w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-1024x438.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-768x329.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-1200x513.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-1536x657.png 1536w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-2048x876.png 2048w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-420x180.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-600x257.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_13-1-80x34.png 80w\" sizes=\"(max-width: 2880px) 100vw, 2880px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Our Approach to&nbsp;Drawing Retalics<\/h2>\n\n\n\n<p>Recently, we&nbsp;introduced our first retalic as&nbsp;part of&nbsp;<a href=\"https:\/\/typetype.org\/fr\/fonts\/tt-biersal\/\">TT&nbsp;Biersal<\/a>, a&nbsp;display font inspired by&nbsp;early 20th-century typography. Our design process began with lettering from a&nbsp;German poster from the early 1930s.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"623\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14.png\" alt=\"\" class=\"wp-image-39161\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-1024x443.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-768x332.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-1200x519.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-420x182.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-600x260.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_14-80x35.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>We&nbsp;developed the retalic following italic principles, using our proprietary methodology. Characters were \u201cslanted\u201d in&nbsp;traditional groups: square, rounded, and triangular.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-left\"><em><br>\u201cI&nbsp;created the retalic after completing the italic<\/em>\u2014<em>this approach worked better for&nbsp;me, though it\u2019s possible to&nbsp;design them independently. The extreme slant significantly distorted stem weight, requiring visual compensation. While our other fonts typically use an&nbsp;11-12 degree slant with minimal weight distortion, TT&nbsp;Biersal\u2019s 40-degree slant demanded significant optical adjustments.<\/em>\u201d<\/p>\n\n\n\n<p><em>Alina Gabidulova, idea creator and Senior Type Designer at&nbsp;TypeType<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Had we&nbsp;maintained the identical weight value between upright and slanted styles in&nbsp;TT&nbsp;Biersal, the stems would appear too bold. Therefore, the weight values in&nbsp;the slanted version are slightly lower than in&nbsp;the upright version, but visually the stems appear identical. The letter \u201cN\u201d demonstrates how the slant appears without such compensation.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"436\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_15.gif\" alt=\"\" class=\"wp-image-39162\"\/><\/figure>\n\n\n\n<p>Left-leaning creates notably thinner diagonals, requiring increased weight in downstrokes after optical adjustment. Italics present the opposite challenge\u2014descending diagonals naturally appear bolder and need thinning. This is typical for traditionally right-slanted fonts. Therefore, during optical adjustment, we make them thinner.<\/p>\n\n\n\n<p>The letter \u201cC\u201d reveals interesting terminal dynamics: in&nbsp;retalic, the upper terminal looks shorter than the lower, while italics show the reverse effect.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"436\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16.png\" alt=\"\" class=\"wp-image-39163\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-1024x310.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-768x233.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-1200x363.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-420x127.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-600x182.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_16-80x24.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>Diagonal elements display unexpected size effects. For example, in&nbsp;the extended Latin character Lslash and numeral&nbsp;1, retalics shorten the diagonal while italics lengthen&nbsp;it.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"396\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17.png\" alt=\"\" class=\"wp-image-39153\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-1024x282.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-768x211.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-1200x330.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-420x116.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-600x165.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_17-80x22.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<p>Oval characters position their stresses differently between slanted styles.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"436\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1.png\" alt=\"\" class=\"wp-image-39164\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-1024x310.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-768x233.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-1200x363.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-420x127.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-600x182.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_18-1-80x24.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em><br>\u201cOvals presented the greatest challenge. Starting with the italic slant, we&nbsp;normally use a&nbsp;half-rotation and half-slant technique for ovals. However, extreme slants require additional visual refinement. Like square and triangular characters, rounded forms undergo significant distortion.<\/em>\u201d<\/p>\n\n\n\n<p><em>Alina Gabidulova, idea creator and Senior Type Designer at&nbsp;TypeType<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>Stresses (the boldest areas) follow a&nbsp;bottom-left to&nbsp;top-right diagonal arrangement. Retalics mirror this pattern. These stresses are required to&nbsp;prevent characters from appearing flat or&nbsp;mechanically slanted. <\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"436\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1.png\" alt=\"\" class=\"wp-image-39165\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-1024x310.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-768x233.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-1200x363.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-420x127.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-600x182.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_19-1-80x24.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em><br>\u201cTo&nbsp;maintain oval consistency, I&nbsp;mirrored the \u2019O\u2019 from italic and used it&nbsp;as&nbsp;a&nbsp;base for other rounded characters<\/em>\u2014<em>\u2019C\u2019, \u2019G\u2019, \u2019D\u2019, \u2019Q\u2019, and their Cyrillic counterparts. Interestingly, this mirroring technique didn\u2019t work for other letters. For the \u2019C\u2019 in&nbsp;retalic, I&nbsp;took the retalic \u2019O\u2019, removed its right section to&nbsp;create terminals, then narrowed it<\/em>\u2014<em>following our standard upright design process. The italic followed similar principles. Traditional italic methods<\/em>\u2014<em>slanting each rounded character from upright through half-rotation-half-slant with visual corrections<\/em>\u2014<em>would have compromised the unified logic of&nbsp;rounded characters, creating slight variations across circles. This necessitated our alternative approach.<\/em>\u201d<\/p>\n\n\n\n<p><em>Alina Gabidulova, idea creator and Senior Type Designer at&nbsp;TypeType<\/em><\/p>\n<\/blockquote>\n\n\n\n<p>This process resulted in&nbsp;TypeType\u2019s first retalic, combining dynamic energy with adventurous spirit. The font creates striking, original designs either standalone or&nbsp;paired with TT&nbsp;Biersal\u2019s upright and slanted styles to&nbsp;suggest movement or&nbsp;shadow effects.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1440\" height=\"555\" src=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1.png\" alt=\"\" class=\"wp-image-39167\" srcset=\"https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1.png 1440w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-1024x395.png 1024w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-768x296.png 768w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-1200x463.png 1200w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-420x162.png 420w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-600x231.png 600w, https:\/\/typetype.org\/fr\/wp-content\/uploads\/sites\/15\/tt_blog_retalic_20-1-80x31.png 80w\" sizes=\"(max-width: 1440px) 100vw, 1440px\" \/><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Conclusion<\/h2>\n\n\n\n<p>Retalics boast a&nbsp;fascinating history, yet they still feel fresh to&nbsp;modern eyes. While these fonts have existed for generations, their unconventional nature continues to&nbsp;surprise and engage viewers. This enduring ability to&nbsp;catch attention and appear innovative remains their greatest strength. We&nbsp;hope our exploration inspires your own typographic experiments!<\/p>\n\n\n\n<p><br><\/p>\n\n\n\n<p><br><br><\/p>\n\n\n\n<p><br><\/p>\n\n\n\n<p><br><\/p>\n\n\n\n<p><br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Many of\u00a0our readers are undoubtedly familiar with the term \u201citalic\u201d as\u00a0we\u00a0frequently discuss these slanted and cursive fonts in\u00a0our articles. However, the term \u201cretalic\u201d might be\u00a0unfamiliar even to\u00a0those well-versed in\u00a0typography. Let\u2019s explore this unique font style and its applications in\u00a0modern design.<\/p>\n","protected":false},"author":1590,"featured_media":39138,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[188],"class_list":["post-39136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-work-with-fonts"],"acf":{"show_sidebar":true},"_links":{"self":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/39136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/users\/1590"}],"replies":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/comments?post=39136"}],"version-history":[{"count":5,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/39136\/revisions"}],"predecessor-version":[{"id":52049,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/posts\/39136\/revisions\/52049"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/media\/39138"}],"wp:attachment":[{"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/media?parent=39136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/categories?post=39136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/typetype.org\/fr\/wp-json\/wp\/v2\/tags?post=39136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}