65-606: Architectural Digest (stylized in all caps ) is an American monthly magazine founded in 1920. Its principal subjects are interior design and landscaping, rather than pure external architecture . The magazine is published by Condé Nast , which also publishes international editions of Architectural Digest in China, France, Germany, India, Italy, Mexico/Latin America, the Middle East, Poland, and Spain. Architectural Digest
130-508: A script typeface where a more decorative form was preferred. He made an attempt to promote the idea by commissioning the typeface Perpetua from Eric Gill with a sloped roman rather than an italic, but came to find the style unattractive; Perpetua's italic when finally issued had the conventional italic a , e and f . Morison wrote to his friend, type designer Jan van Krimpen , that in developing Perpetua's italic "we did not give enough slope to it. When we added more slope, it seemed that
195-689: A commonly preferred alternative to all caps text is the use of small caps to emphasise key names or acronyms (for example, Text in Small Caps ), or the use of italics or (more rarely) bold . In addition, if all caps must be used it is customary to slightly widen the spacing between the letters, by around 10 per cent of the point height. This practice is known as tracking or letterspacing. Some digital fonts contain alternative spacing metrics for this purpose. Messages completely in capital letters are often equated on social media to shouting and other impolite or argumentative behaviors. This became
260-483: A computer program shouting at its user. Information technology journalist Lee Hutchinson described Microsoft's using the practice as "LITERALLY TERRIBLE ... [it] doesn't so much violate OS X's design conventions as it does take them out behind the shed, pour gasoline on them, and set them on fire." In programming, writing in all caps (possibly with underscores replacing spaces ) is an identifier naming convention in many programming languages that symbolizes that
325-495: A delicate scanning of characters (from a damaged image that needs further contextual text correction). Depending on the typeface , these similarities accidentally create various duplicates (even quite briefly and without realizing it when reading). E.g. H/A, F/E or I/T by adding a bar; P/R, O/Q, even C/G from similar errors; V/U, D/O, even B/S while rounding the shape; and more deformations implying mixings. Adding digits in all caps styled texts may multiply these confusions, which
390-491: A handwriting style called chancery hand . Aldus Manutius and Ludovico Arrighi (both between the 15th and 16th centuries) were the main type designers involved in this process at the time. Italic type was first used by Aldus Manutius and his press in Venice in 1500. Manutius intended his italic type to be used not for emphasis but for the text of small, easily carried editions of popular books (often poetry), replicating
455-399: A mainstream interpretation with the advent of networked computers, from the 1980s onward. However, a similar interpretation was already evidenced by written sources that predated the computing era, in some cases by at least a century, and the textual display of shouting or emphasis was still not a settled matter by 1984. The following sources may be relevant to the history of all caps: Before
520-536: A manuscript directs a typesetter to use italic. In fonts which do not have true italics, oblique type may be used instead. The difference between true italics and oblique type is that true italics have some letterforms different from the roman type, but in oblique type letters are just slanted without changing the roman type form. The name comes from the fact that calligraphy-inspired typefaces were first designed in Italy , to replace documents traditionally written in
585-632: A more eccentric alternative. This italic face was designed by Alfred Fairbank and named "Bembo Condensed Italic", Monotype series 294 . Some Arts and Crafts movement -influenced printers such as Gill also revived the original italic system of italic lower-case only from the nineteenth century onwards. The Chicago Manual of Style suggests that parentheses and brackets surrounding text that begins and ends in italic or oblique type should also be italicised (as in this example) , to avoid problems such as overlapping and unequally spaced characters. An exception to this rule applies when only one end of
650-437: A roman type and an oblique version (generally called "italic" though often not true italics). In this usage, italics are a way to emphasise key points in a printed text, to identify many types of creative works, to cite foreign words or phrases, or, when quoting a speaker, a way to show which words they stressed. One manual of English usage described italics as "the print equivalent of underlining "; in other words, underscore in
715-453: A run of italics needs to be italicised itself, the type is normally switched back to non-italicized ( roman ) type: " I think The Scarlet Letter had a chapter about that , thought Mary." In this example, the title (" The Scarlet Letter ") is within an italicised thought process and therefore this title is non-italicised. It is followed by the main narrative that is outside both. It is also non-italicised and therefore not obviously separated from
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#1732776888474780-532: A slowed speed is possible – but in principle too many factors of low legibility are involved." Other critics are of the opinion that all caps letters in text are often "too tightly packed against each other". Besides the aforementioned speed of reading, all caps is can be prone to character -based ambiguities. Namely, the upper-case letters are globally simpler than their lower-case counterpart. For example, they lack ascenders and descenders . Since they are built from fewer positional and building elements (e.g.
845-416: A smaller grid pertaining to minimalist digital fonts), they are more fragile to small changes. These variations, generally involuntary but sometimes induced on purpose, are caused by a misinterpretation (the information is transferred) or by a deterioration (the data is lost, in the analysis wording). They can occur horizontally and/or vertically, while misreading (without this extra effort or time), or during
910-663: A term is conspicuous, we look at more than formatting. A term that appears in capitals can still be inconspicuous if it is hidden on the back of a contract in small type. Terms that are in capitals but also appear in hard-to-read type may flunk the conspicuousness test. A sentence in capitals, buried deep within a long paragraph in capitals will probably not be deemed conspicuous...it is entirely possible for text to be conspicuous without being in capitals. Certain musicians—such as Marina , Finneas , who are both known mononymously, and MF DOOM —as well as some bands such as Haim and Kiss —have their names stylised in all caps. Additionally, it
975-515: A true italic a and e in his sans-serif Bliss due to finding them "too soft", while Hoefler and Frere-Jones have described obliques as more "keen and insistent" than true italics. Adrian Frutiger has described obliques as more appropriate to the aesthetic of sans-serifs than italics. In contrast, Martin Majoor has argued that obliques do not contrast enough from the regular style. Almost all modern serif fonts have true italic designs. In
1040-438: A very small format, so that they may more conveniently be held in the hand and learned by heart (not to speak of being read) by everyone. Manutius' italic was different in some ways from modern italics, being conceived for the specific use of replicating the layout of contemporary calligraphers like Pomponio Leto and Bartolomeo Sanvito . The capital letters were upright capitals on the model of Roman square capitals , shorter than
1105-564: Is aimed at an affluent and style-conscious readership, and is subtitled "The International Design Authority." The magazine releases the annual AD100 list, which recognizes the most influential interior designers and architects around the world. Originally a quarterly trade directory called The Architectural Digest: A Pictorial Digest of California's Best Architecture , the magazine was launched in 1920 by John Coke Brasfield (1880–1962). Brasfield, born in Tennessee, moved to southern California in
1170-403: Is an "apparent consensus" that lower-case text is more legible, but that some editors continue to use all caps in text regardless. In his studies of all caps in headlines , he states that, "Editors who favor capitals claim that they give greater emphasis. Those who prefer lower case claim their preferences gives greater legibility." Wheildon, who informs us that "When a person reads a line of type,
1235-615: Is common for bands with vowelless names (a process colourfully known as " disemvoweling ") to use all caps, with prominent examples including STRFKR , MSTRKRFT , PWR BTTM , SBTRKT , JPNSGRLS (now known as Hotel Mira), BLK JKS , MNDR , and DWNTWN . Miles Tinker , renowned for his landmark work, Legibility of Print , performed scientific studies on the legibility and readability of all-capital print. His findings were as follows: All-capital print greatly retards speed of reading in comparison with lower-case type. Also, most readers judge all capitals to be less legible. Faster reading of
1300-435: Is less legible and readable than lower-case text. In addition, switching to all caps may make text appear hectoring and obnoxious for cultural reasons, since all-capitals is often used in transcribed speech to indicate that the speaker is shouting. All-caps text is common in comic books, as well as on older teleprinter and radio transmission systems, which often do not indicate letter case at all. In professional documents,
1365-428: Is mathematical typesetting. Font families with an upright or near-upright italic only include Jan van Krimpen 's Romanée, Eric Gill 's Joanna , Martin Majoor 's FF Seria and Frederic Goudy 's Deepdene . The popular book typeface Bembo has been sold with two italics: one reasonably straightforward design that is commonly used today, and an alternative upright 'Condensed Italic' design, far more calligraphic, as
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#17327768884741430-461: Is one aim of Leet (intentional pseudo duplicates) and can provide simple means of concealing messages (often numbers). Italic type 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
1495-526: The <em> element, because it conveys that the content is to be emphasised, even if it cannot be displayed in italics. Conversely, if the italics are purely ornamental rather than meaningful, then semantic markup practices would dictate that the author use the Cascading Style Sheets declaration font-style: italic; along with an appropriate, semantic class name instead of an <i> or <em> element. In Unicode ,
1560-504: The ital feature tag to substitute a character to italic form with single font. In addition, the OpenType Font Variation has ital axis for the transition between italic and non-italic forms and slnt axis for the oblique angle of characters. In HTML , the <i> element is used to produce italic (or oblique ) text. When the author wants to indicate emphasised text, modern Web standards recommend using
1625-635: The 2020 Webby People's Voice Award for Architecture & Design in the category Web. Architectural Digest employees unionized in 2022. Following the Russian invasion of Ukraine , Architectural Digest Russia closed in 2022 when Condé Nast pulled out of Russia. All caps In typography , text or font in all caps (short for " all capitals ") contains capital letters without any lowercase letters. For example: THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG. All-caps text can be seen in legal documents, advertisements , newspaper headlines , and
1690-566: The ASCII table , so can display both alphabets, but all caps only. Mikrosha is switchable to KOI-7N1, in this mode, it can display both caps and lower-case, but in Cyrillic only. Other Soviet computers, such as BK0010 , MK 85 , Corvette and Agat-9 , use 8-bit encoding called KOI-8R, they can display both Cyrillic and Latin in caps and lower-case. Many, but not all NES games use all caps because of tile graphics, where charset and tiles share
1755-573: The 1990s, more than three-quarters of newspapers in the western world used lower-case letters in headline text. Discussion regarding the use of all caps for headlines centers on the greater emphasis offered by all caps versus the greater legibility offered by lower-case letters. Colin Wheildon conducted a scientific study with 224 readers who analyzed various headline styles and concluded that "Headlines set in capital letters are significantly less legible than those set in lower case." All caps typography
1820-452: The 5 and 10-minute time limits, and 13.9 percent for the whole 20-minute period". Tinker concluded that, "Obviously, all-capital printing slows reading to a marked degree in comparison with Roman lower case." Tinker provides the following explanations for why all capital printing is more difficult to read: Text in all capitals covers about 35 percent more printing surface than the same material set in lower case. This would tend to increase
1885-641: The ascenders. Italic capitals with a slope were introduced in the sixteenth century. The first printer known to have used them was Johann or Johannes Singriener in Vienna in 1524, and the practice spread to Germany, France and Belgium. Particularly influential in the switch to sloped capitals as a general practice was Robert Granjon , a prolific and extremely precise French punchcutter particularly renowned for his skill in cutting italics. Vervliet comments that among punchcutters in France "the main name associated with
1950-507: The ascending lower-case italic letters, and were used at the start of each line followed by a clear space before the first lower-case letter. While modern italics are often more condensed than roman types , historian Harry Carter describes Manutius' italic as about the same width as roman type. To replicate handwriting, Griffo cut at least sixty-five tied letters ( ligatures ) in the Aldine Dante and Virgil of 1501. Italic typefaces of
2015-560: The bigger sizes." Chancery italics were introduced around 1524 by Arrighi, a calligrapher and author of a calligraphy textbook who began a career as a printer in Rome, and also by Giovanni Antonio Tagliente of Venice, with imitations rapidly appearing in France by 1528. Chancery italics faded as a style over the course of the sixteenth century, although revivals were made beginning in the twentieth century. Chancery italics may have backward-pointing serifs or round terminals pointing forwards on
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2080-430: The change is Granjon's." The evolution of use of italic to show emphasis happened in the sixteenth century and was a clear norm by the seventeenth. The trend of presenting types as matching in typefounders' specimens developed also over this period. Italics developed stylistically over the following centuries, tracking changing tastes in calligraphy and type design. One major development that slowly became popular from
2145-816: The character Aldino, while others called it Italic. Italics spread rapidly; historian H. D. L. Vervliet dates the first production of italics in Paris to 1512. Some printers of Northern Europe used home-made supplements to add characters not used in Italian, or mated it to alternative capitals, including Gothic ones. Besides imitations of Griffo's italic and its derivatives, a second wave appeared of "chancery" italics , most popular in Italy, which Vervliet describes as being based on "a more deliberate and formal handwriting [with] longer ascenders and descenders, sometimes with curved or bulbous terminals, and [often] only available in
2210-462: The development of lower-case letters in the 8th century, texts in the Latin alphabet were written in a single case, which is now considered to be capital letters. Text in all caps is not widely used in body copy . The main exception to this is the so-called fine print in legal documents. Capital letters have been widely used in printed headlines from the early days of newspapers until the 1950s. In
2275-587: The early 1900s, where he founded the John C. Brasfield Publishing Corporation in Los Angeles. Interiors and exteriors of residences were featured in the magazine, along with floor plans. By 1963, the magazine's subtitle had been altered to A Pictorial Digest of Outstanding Architecture, Interior Design, and Landscaping , and it began publishing on a bimonthly schedule. In 1965, The Architectural Digest and its publishing company were purchased by Cleon T. Knapp, who
2340-503: The end of the seventeenth century was a switch to an open form h matching the n , a development seen in the Romain du roi type of the 1690s, replacing the folded, closed-form h of sixteenth- and seventeenth-century italics, and sometimes simplification of the entrance stroke. True italic styles are traditionally somewhat narrower than roman fonts. Here is an example of normal ( roman ) and true italics text: In oblique text,
2405-534: The evidence that all-capital printing retards speed of reading to a striking degree in comparison with lower case and is not liked by readers, it would seem wise to eliminate such printing whenever rapid reading and consumer (reader) views are of importance. Examples of this would include any continuous reading material, posters, bus cards, billboards, magazine advertising copy, headings in books, business forms and records, titles of articles, books and book chapters, and newspaper headlines. Colin Wheildon stated that there
2470-538: The eye recognizes letters by the shapes of their upper halves", asserts that recognizing words in all caps "becomes a task instead of a natural process". His conclusions, based on scientific testing in 1982–1990, are: "Headlines set in capital letters are significantly less legible than those set in lower case." John Ryder , in the Case for Legibility , stated that "Printing with capital letters can be done sufficiently well to arouse interest and, with short lines, reading at
2535-544: The following century used varying but reduced numbers of ligatures. Italic type rapidly became very popular and was widely (and inaccurately) imitated. The Venetian Senate gave Aldus exclusive right to its use, a patent confirmed by three successive Popes , but it was widely counterfeited as early as 1502. Griffo, who had left Venice in a business dispute, cut a version for printer Girolamo "Gershom" Soncino , and other copies appeared in Italy and in Lyons . The Italians called
2600-692: The font required a little more cursive to it." A few other type designers replicated his approach for a time: Van Krimpen's Romulus and William Addison Dwiggins ' Electra were both released with obliques. Morison's Times New Roman typeface has a very traditional true italic in the style of the late eighteenth century, which he later wryly commented owed "more to Didot than dogma". Some serif designs primarily intended for headings rather than body text are not provided with an italic, Engravers and some releases of Cooper Black and Baskerville Old Style being common examples of this. In addition, computer programmes may generate an 'italic' style by simply slanting
2665-441: The former. The reader must find additional criteria to distinguish between these. Here, apart from using the attribute of italic–non-italic styles, the title also employs the attribute of capitalization. Citation styles in which book titles are italicised differ on how to deal with a book title within a book title; for example, MLA style specifies a switch back to roman type, whereas The Chicago Manual of Style (14.94) specifies
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2730-569: The given identifier represents a constant . A practice exists (most commonly in Francophone countries) of distinguishing the surname from the rest of a personal name by stylizing the surname only in all caps. This practice is also common among Japanese, when names are spelled using Roman letters. In April 2013, the U.S. Navy moved away from an all caps-based messaging system, which was begun with 1850s-era teleprinters that had only uppercase letters. The switch to mixed-case communications
2795-402: The inter-war period is the display face Koch Antiqua . With a partly oblique lower case, it also makes the italic capitals inline in the style of blackletter capitals in the larger sizes of the metal type. It was developed by Rudolph Koch, a type designer who had previously specialised in blackletter font design (which does not use italics); Walter Tracy described his design as "uninhibited by
2860-528: The italic font has the top of the letter leaning to the left, instead of leaning to the right. Some font families, such as Venus , Roemisch, Topografische Zahlentafel, include left leaning fonts and letters designed for German cartographic map production, even though they do not support Arabic characters. In the 1950s, Gholamhossein Mosahab invented the Iranic font style , a back-slanted italic form to go with
2925-466: The late nineteenth and early twentieth centuries, a number of type foundries such as American Type Founders and Genzsch & Heyse offered serif typefaces with oblique rather than italic designs, especially display typefaces but these designs (such as Genzsch Antiqua) have mostly disappeared. An exception is American Type Founders' Bookman , offered in some releases with the oblique of its metal type version. An unusual example of an oblique font from
2990-567: The lower-case print is due to the characteristic word forms furnished by this type. This permits reading by word units, while all capitals tend to be read letter by letter. Furthermore, since all-capital printing takes at least one-third more space than lower case, more fixation pauses are required for reading the same amount of material. The use of all capitals should be dispensed with in every printing situation. According to Tinker, "As early as 1914, Starch reported that material set in Roman lower case
3055-523: The opportunity to add marginal notes emphasising key points. Legal writing expert Bryan A. Garner has described the practice as "ghastly". A 2020 study found that all-caps in legal texts is ineffective and is, in fact, harmful to older readers. In 2002, a US court spoke out against the practice, ruling that simply making text all-capitals has no bearing on whether it is clear and easily readable: Lawyers who think their caps lock keys are instant "make conspicuous" buttons are deluded. In determining whether
3120-427: The parenthetical is italicised (in which case roman type is preferred, as on the right of this example ). In The Elements of Typographic Style , however, it is argued that, since Italic delimiters are not historically correct, the upright versions should always be used, while paying close attention to kerning . In media where italicization is not possible, alternatives are used as substitutes: OpenType has
3185-468: The period following from the style of Niccolò de' Niccoli , possibly even Manutius' own. The first use in a complete volume was a 1501 edition of Virgil dedicated to Italy, although it had been briefly used in the frontispiece of a 1500 edition of Catherine of Siena 's letters. In 1501, Aldus wrote to his friend Scipio: We have printed, and are now publishing, the Satires of Juvenal and Persius in
3250-489: The reading time. When this is combined with the difficulty in reading words in all-capital letters as units, the hindrance to rapid reading becomes marked. In the eye-movement study by Tinker and Patterson, the principal difference in oculomotor patterns between lower case and all capitals was the very large increase in number of fixation pauses for reading the all-capital print. All caps text should be eliminated from most forms of composition, according to Tinker: Considering
3315-444: The regular style if they cannot find an italic or oblique style, though this may look awkward with serif fonts for which an italic is expected. Professional designers normally do not simply tilt fonts to generate obliques but make subtle corrections to correct the distorted curves this introduces. Many sans-serif families have oblique fonts labelled as italic, whether or not they include "true italic" characteristics. If something within
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#17327768884743380-408: 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. Historically, italics were a distinct style of type used entirely separately from roman type , but they have come to be used in conjunction—most fonts now come with
3445-549: The right-to-left direction of the script. Since italic styles clearly look different from regular (roman) styles, it is possible to have 'upright italic' designs that have a cursive style but remain upright. In Latin-script countries, upright italics are rare but are sometimes used in mathematics or in complex texts where a section of text already in italics needs a 'double italic' style to add emphasis to it. Donald Knuth 's Computer Modern has an alternate upright italic as an alternative to its standard italic, since its intended use
3510-572: The same ROM. Game designers often choose to have less characters in favor of more tiles. With the advent of the bulletin board system , or BBS, and later the Internet, typing messages in all caps commonly became closely identified with "shouting" or attention-seeking behavior, and may be considered rude. Its equivalence to shouting traces back to at least 1984 and before the Internet, back to printed typography usage of all capitals to mean shouting. For this reason, etiquette generally discourages
3575-623: The same type is used as in normal type, but slanted to the right: Oblique type (or slanted roman, sloped roman) is type that is slanted, but lacking cursive letterforms, with features like a non-descending f and double-storey a , unlike "true italics". Many sans-serif typefaces use oblique designs (sometimes called "sloped roman" styles) instead of italic ones; some have both italic and oblique variants. 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
3640-404: The style of handwritten manuscripts of the period. The choice of using italic type, rather than the roman type in general use at the time, was apparently made to suggest informality in editions designed for leisure reading. Manutius' italic type was cut by his punchcutter Francesco Griffo (who later, following a dispute with Manutius, claimed to have conceived it). It replicated handwriting of
3705-425: The titles on book covers. Short strings of words in capital letters appear bolder and "louder" than mixed case, and this is sometimes referred to as "screaming" or "shouting". All caps can also be used to indicate that a given word is an acronym . Studies have been conducted on the readability and legibility of all caps text. Scientific testing from the 20th century onward has generally indicated that all caps text
3770-407: The traditions of roman and italic". The printing historian and artistic director Stanley Morison was for a time in the inter-war period interested in the oblique type style, which he felt stood out in text less than a true italic and should supersede it. He argued in his article Towards an Ideal Italic that serif book typefaces should have as the default sloped form an oblique and as a complement
3835-581: The use of all caps when posting messages online. While all caps can be used as an alternative to rich-text "bolding" for a single word or phrase, to express emphasis, repeated use of all caps can be considered "shouting" or irritating. Some aspects of Microsoft's Metro design language involve the use of all caps headings and titles. This has received particular attention when menu and ribbon titles appeared in all caps in Visual Studio 2012 and Office 2013 , respectively. Critics have compared this to
3900-615: The use of quotation marks ( A Key to Whitehead's " Process and Reality " ). An alternative option is to switch to an 'upright italic' style if the typeface used has one; this is discussed below. Left-leaning italics are now rare in Latin script , where they are mostly used for the occasional attention-grabbing effect. They were once more common, however, being used for example in legal documents. They are more common in Arabic script. In certain Arabic fonts (e.g.: Adobe Arabic, Boutros Ads),
3965-643: Was common on teletype machines, such as those used by police departments, news, and the United States' then-called Weather Bureau , as well as early computers, such as certain early Apple II models and the ZX81 , which had a limited support for lower-case text. This changed as full support of ASCII became standard, allowing lower-case characters. Some Soviet computers , such as Radio-86RK , Vector-06C , Agat-7 , use 7-bit encoding called KOI-7N2, where capital Cyrillic letters replace lower-case Latin letters in
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#17327768884744030-496: Was estimated to save the Navy $ 20 million a year and is compliant with current Internet protocol. An antiquated practice that still remains in use, especially by older American lawyers who grew up before the arrival of computers, is to use all caps text for text that is legally required to be emphasised and clearly readable. The practice dates to the period of typewriters, which generally did not offer bold text, small capitals, or
4095-427: Was read somewhat faster than similar material printed in all capitals." Another study in 1928 showed that "all-capital text was read 11.8 percent slower than lower case, or approximately 38 words per minute slower", and that "nine-tenths of adult readers consider lower case more legible than all capitals". A 1955 study by Miles Tinker showed that "all-capital text retarded speed of reading from 9.5 to 19.0 percent for
4160-513: Was renamed Knapp Communications Corporation in 1977. From 1965 on, the magazine was published in color. Condé Nast Publications purchased Architectural Digest , as well as its sister publication Bon Appétit , from Knapp in 1993. In 2011 the Chinese version of the magazine, AD China , was launched. The magazine is also published in other countries, including Germany , India , France Italy , Poland , and Spain . Architectural Digest won
4225-541: Was the magazine's "jack-of-all-trades" and Brasfield's grandson. Knapp son of Brasfield's daughter Sarah "Sally" Brasfield Knapp (1910–1996), who served, at various times, as the magazine's editor in chief, managing editor, and associate publisher. The magazine's subtitle was altered to The Quality Guide to Home Decorating Ideas in 1966, and was changed again, in 1971, to The Connoisseur's Magazine of Fine Interior Design , and in 1976 to The International Magazine of Fine Interior Design . The John C. Brasfield Publishing Company
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