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Many historians believe that the H started out as the Egyptian hieroglyph for a sieve. The Semites called the character kheth, which meant "fence". Indeed, their representation of it could be imagined to resemble a fence, or at least part of one.

Somewhere around 900 B.C. the Greeks borrowed the kheth and dropped the top and bottom horizontal bars. Since they couldn’t pronounce the sound of the kheth, they called the letter eta. It was first used as a consonant. Later, however, the sign acquired the sound of a long ‘e’, to distinguish it from the short ‘e’ sound represented by the Greek letter epsilon.

The Etruscans and Romans adapted the Greek eta for their own alphabets. The Etruscans put the top and bottom crossbars back on the letter, while the Romans continued to leave them off. The monumental Roman H was the prototype of our current eighth letter.

The letters I and J follow each other in the alphabet and look a lot alike. So it comes as no surprise to discover that our ninth and tenth letters started out as the same character.

The Phoenician ancestor to our present I was a sign called “yodh,” meaning “hand.” The original Phoenician symbol evolved over time into a zigzag shape that was eventually adopted by the Greeks. The Greeks often simplified the symbols they borrowed, and the yodh was no exception. As used by the Greeks, the zigzag became a simple vertical line. The Greeks also changed the name of the letter to “iota”. Iota was the smallest letter of the Greek alphabet and, as such, has come to mean “a very small amount.” The word “jot” also derives (via Latin) from the Greek iota, and usually refers to a small note or mark.

Like the G and F, the letter I took its time deciding which sound it represented. The Phoenicians used it as a semivowel, as the ‘y’ in toy. When the I was adopted by the Greeks around 900 B.C., they used the letter to represent the long ‘ee’ vowel sound. Then, in early Latin, the I represented both the vowel ‘i’ and the semivowel ‘y.’

Eventually an attempt was made to differentiate the two sounds by lengthening the I slightly to represent the semivowel. In the 16th century, a lettering artist decided that merely lengthening the letter was too subtle a change, and added a hook to the bottom of the J.

Both the lowercase I and J have a dot, but there are two competing theories as to which got its dot first. One theory maintains that the J was first, with the dot added during the 13th century in an attempt to further distinguish J from I. The other theory posits that the I was dotted first (also during the 13th century), and that the dot’s purpose was to help distinguish the I from straight-sided characters like the M, N and U when it appeared near these letters in blocks of text copy.

Some letters have altered their appearance considerably over the years. The K, however, sticks to the tried and true. It’s remained virtually unchanged for the last three thousand years or so.

K was the 11th character of the ancient Semitic alphabets, a position it still retains in our current character set. In form, it has probably varied less than any other character. The Semitic sign “kaph,” the forerunner of our K, was a three-stroked character that represented the palm of an outstretched hand. While several versions of the kaph were used by the Semites, and more specifically the Phoenicians, all were composed of three strokes drawn in a similar fashion. First, the character was a simple drawing of a hand. Next, the character looked something like our Y with a short middle stroke between the two longer diagonals. Finally, it was simplified even more and turned on its axis so that its two diagonals pointed left (like a backwards version of our K). But even as the character was modified and turned in several directions throughout its evolution, the basic form remained nearly the same.

The Greeks took the simplified version of the kaph and introduced symmetry into the design. Eventually, they also turned the character around so that the diagonals faced right. The Greeks even kept the basic name of the letter, changing it only slightly, to “kappa.”

In the Greek language, two signs represented the ‘k’ sound: K and Q. The Etruscans, however, had three signs for the same sound: C, K, and Q. The early Romans adopted all three, but in time dropped the K, using it only for words acquired from the Greeks, or those of an official nature. The latter use was probably the reason the K made it to the Roman monumental inscriptions, which set the standard for our current design.

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