Tobias Frere-Jones spiega in base a cosa si decide oggi — e come si decideva in passato — il nome di un font:
For centuries, punchcutters would develop their style within a narrow group of genres. There would be only one style of roman or italic, even if that style had been refined and focused over a span of years. The name only needed to pin down the remaining variable, the size. […]
In Bodoni’s epic Manuale Tipografico of 1818, over one hundred romans and italics are shown with the name of a city as a kind of nickname, though the real name was still a size and a number. Trieste is really Ascendonica (22 point) No. 9, Palermo is Sopracanoncino (28 point) No. 3, and so on.