Editing Palatino (section)

== Background ==
Named after the 16th-century Italian master of [[calligraphy]] [[Giambattista Palatino]], Palatino is based on the humanist types of the [[Italian Renaissance]], which mirror the letters formed by a broad nib pen reflecting Zapf's expertise as a [[calligraphy|calligrapher]].<ref name="I’ve been asked to tell you about myself and my types">{{cite web|last1=Zapf|first1=Hermann|title=I've been asked to tell you about myself and my types|url=http://download.linotype.com/free/howtouse/ZapfBiography.pdf|publisher=Linotype|access-date=26 March 2016|archive-date=7 April 2016|archive-url=https://web.archive.org/web/20160407012339/http://download.linotype.com/free/howtouse/ZapfBiography.pdf|url-status=dead}}</ref> Its capital 'Y' is in the unusual 'palm Y' style, inspired by the Greek letter [[upsilon]], a trait found in some of the earliest versions of the letter such as that of [[Aldus Manutius]].<ref name="Flawed Typefaces">{{cite web|last1=Shaw|first1=Paul|author-link=Paul Shaw (design historian)|title=Flawed Typefaces|url=http://www.printmag.com/featured/flawed-typefaces/#comment-6378|archive-url=https://web.archive.org/web/20130816012327/http://www.printmag.com/featured/flawed-typefaces/#comment-6378|url-status=dead|archive-date=16 August 2013|website=[[Print (magazine)|Print]]|access-date=16 May 2020}}</ref> 

Unlike most Renaissance typeface revivals, which tend to have delicate proportions such as a low [[x-height]] (short lower-case letters and longer [[Ascender (typography)|ascenders]] and [[descender]]s), Palatino has larger proportions, increasing legibility.<ref name="Campbell & Dabbs">{{cite book|last1=Campbell|first1=Alastair|last2=Dabbs|first2=Alistair|title=Pocket Essentials: Typography: The History and Principles of the Art|date=2014|publisher=Hachette|location=London|isbn=9781781571552|pages=164–169|url=https://books.google.com/books?id=n9DDCAAAQBAJ&pg=PT164|access-date=27 March 2016}}</ref><ref name="Autobiography in Type">{{cite journal|last1=Zapf|first1=Hermann|title=Autobiography in Type|journal=Motif|date=1959|volume=3|pages=33–48}}</ref> Palatino was particularly intended as a design for trade or 'jobbing' use, such as headings, advertisements and display printing, and was created with a solid, wide structure and wide [[Counter (typography)|apertures]] that could appear clearly on poor-quality paper, when read at a distance or printed at small sizes. 

Palatino is one of several related typefaces by Zapf, which Stempel marketed as an "extended family".<ref name="From Condensed Light to Extended Ultra">{{cite web|last1=Ulrich|first1=Ferdinand|title=From Condensed Light to Extended Ultra|url=https://www.fontshop.com/content/from-compressed-light-to-extended-ultra|publisher=FontShop|access-date=19 August 2017}}</ref> The group includes Palatino, Sistina, Michelangelo, and Aldus; Zapf's biographer Jerry Kelly describes them as forming "the largest type family based on classic renaissance forms at the time."<ref name="About More Alphabets: The Types of Hermann Zapf">{{cite book|last1=Kelly|first1=Jerry|last2=Bringhurst|first2=Robert|title=About More Alphabets: The Types of Hermann Zapf|date=2011|publisher=Typhophiles|location=New York|isbn=9780984274406}}</ref><ref name="Blue Pencil no. 20—Zapfiana no. 1: About More Alphabets">{{cite web|last1=Shaw|first1=Paul|title=Blue Pencil no. 20—Zapfiana no. 1: About More Alphabets|url=http://www.paulshawletterdesign.com/2012/12/blue-pencil-no-20-zapfiana-no-1-about-more-alphabets/|website=Paul Shaw Letter Design|access-date=26 March 2016}}</ref><ref name="Goldberg2000">{{cite book|author=Ron Goldberg|title=Digital Typography Pocket Primer|url=https://archive.org/details/digitaltypograph0000gold|url-access=registration|year=2000|publisher=Windsor Professional Information|isbn=978-1-893190-05-4|page=[https://archive.org/details/digitaltypograph0000gold/page/n242 233]}}</ref> These designs were strongly influenced by Italian Renaissance letter forms and [[Roman square capitals]], although Zapf was unable to visit Italy until after he had finished the Palatino roman.<ref name="BLUe blood in math mode?">{{cite web|title=BLUe blood in math mode?|url=https://www.ntg.nl/maps/13/19.pdf|website=Netherlands TeX Group|access-date=26 March 2016}}</ref><ref name="Lawson1990">{{cite book|author=Alexander S. Lawson|title=Anatomy of a Typeface|url=https://books.google.com/books?id=FiJ87ixLs0sC&pg=PA124|date=January 1990|publisher=David R. Godine Publisher|isbn=978-0-87923-333-4|pages=120–128}}</ref> Palatino rapidly became popular for book body text use, overshadowing the narrower and lighter Aldus, which Zapf had designed for this role. It has been described as one of the ten most used serif typefaces.<ref name="Lawson1990" /><ref>{{cite web|url=http://www.webdesignerdepot.com/2011/08/the-most-popular-fonts-used-by-designers/ |title=Free fonts and premium fonts used by designers |publisher=Webdesigner Depot |date=2011-08-30 |access-date=2013-11-26}}</ref> Since Palatino was not originally designed for body text, some of its characters were intended to stand out with quirky, calligraphic design features, and Zapf later redesigned them with more sober alternates, which have become the norm on most digital versions.<ref name="Lawson1990" /><ref name="Philosophy in the Middle Ages">{{cite web|last1=Coles|first1=Stephen|last2=Hardwig|first2=Florian|title=Philosophy in the Middle Ages|url=http://www.fontsinuse.com/uses/9777/philosophy-in-the-middle-ages|website=Fonts In Use|date=5 August 2015 |access-date=7 April 2016}}</ref>

Linotype licensed Palatino to Adobe and Apple who incorporated it into the [[PostScript]] digital printing technology as a standard font. This guaranteed its importance in digital and [[desktop publishing]] and made it (or a variant of it) a preinstalled font on most computers. As with many popular fonts, knockoff designs and rereleases under different names are common. Zapf retained an interest in the design, and continued to collaborate on new versions into his eighties.