Atypeface (orfont family) is a design ofletters,numbers and othersymbols, to be used in printing or for electronic display.[1] Most typefaces include variations in size (e.g., 24 point), weight (e.g., light, bold), slope (e.g., italic), width (e.g., condensed), and so on. Each of these variations of the typeface is afont.
There arethousands of different typefaces in existence, with new ones being developed constantly.
The art and craft of designing typefaces is calledtype design. Designers of typefaces are calledtype designers and are often employed bytype foundries. Indesktop publishing, type designers are sometimes also called "font developers" or "font designers" (atypographer is someone whouses typefaces to design a page layout).
Every typeface is a collection ofglyphs, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used forcharacters from differentwriting systems, e.g. Roman uppercaseA looks the same asCyrillic uppercaseА and Greek uppercasealpha (Α). There are typefaces tailored for special applications, such ascartography,astrology ormathematics.
In professionaltypography,[a] the termtypeface is not interchangeable with the wordfont,[b] because the term font has historically been defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font, and 10-point Caslon Italic was another. Historically, a font came from atype foundry as a set of "sorts", with number of copies of each character included.
As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specificweight (blackness or lightness) andstylistic variants (most commonlyregular orroman as distinct fromitalic, as well ascondensed) have led tofont families, collections of closely related typeface designs that can include hundreds of styles. Atypeface family is typically a group of related typefaces which vary only in weight, orientation,width, etc., but not design. For example,Times is a typeface family, whereas Times Roman, Times Italic and Times Bold are individual typefaces making up the Times family. Typeface families typically include several typefaces, though some, such asHelvetica, may consist of dozens of fonts. In traditional typography, afont family is a set of fonts within the same typeface: for example Times Roman 8, Times Roman 10, Times Roman 12 etc. Inweb typography, the term 'font family' (as specified using theHTML codespan style="font-family: ) may equate to a 'typeface family' or even to a very broad category such assans-serif that encompass many typeface families.
Another way to look at the distinction between acomputer font and a typeface is that a computer font is the vessel (e.g. the software) that provides a set of characters with a given appearance, whereas a typeface is the actual design of such characters.[2] Therefore, a given typeface, such as Times, may be rendered by different fonts, such ascomputer font files created by this or that vendor, a set of metal type characters etc. In themetal type era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size.
The first "extended" font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting withATF'sCheltenham (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed byMorris Fuller Benton.[3] Later examples includeFutura,Lucida,ITC Officina. Some became superfamilies as a result of revival, such asLinotype Syntax,Linotype Univers; while others have alternate styling designed as compatible replacements of each other, such asCompatil,Generis.
Fontsuperfamilies began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing (serifed) Clearface. From a typographer’s perspective, thesuperfamily designation does not include sets of unrelated typefaces marketed with the same or similar family names. For example, the foundries that marketCaslon Antique andFutura Black and Display named them in association with the Caslon and Futura families despite being structurally unrelated to those families. Consequently, typographers do not considerCaslon Antique andFutura Black/Display to be valid members of any Caslon or Futura 'superfamily'.[citation needed]
Additional or supplementalglyphs intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, theAdobe Systems type group introduced the idea ofexpert set fonts, which had a standardized set of additional glyphs, includingsmall caps,old style figures, and additional superior letters,fractions andligatures not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such asswashes,dingbats, and alternate character sets, complementing the regular fonts under the same family.[4] However, with introduction of font formats such asOpenType, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs.
Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way. These fonts included the characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used.
The size of typefaces andfonts is traditionally measured inpoints;[5]point has been defined differently at different times, but now the most popular is the Desktop Publishing point of1⁄72 in (0.0139 in or 0.35 mm). When specified in typographic sizes (points, kyus), the height of anem-square, an invisible box which is typically a bit larger than the distance from the tallestascender to the lowestdescender, is scaled to equal the specified size.[6] For example, when settingHelvetica at 12 point, the em square defined in the Helvetica font is scaled to 12 points or1⁄6 in or 4.2 mm. Yet no particular element of 12-point Helvetica need measure exactly 12 points.
Frequently measurement in non-typographic units (feet, inches, meters) will be of thecap-height, the height of the capital letters. Font size is also commonly measured in millimeters (mm) andqs (a quarter of a millimeter,kyu in romanized Japanese) and inches.
Type foundries have cast fonts inlead alloys from the 1450s until the present, although wood served as the material for some large fonts called wood type during the 19th century, particularly in theUnited States. In the 1890s, the mechanization of typesetting allowed automated casting of fonts on the fly as lines of type in the size and length needed. This was known as continuous casting, and remained profitable and widespread until its demise in the 1970s. The first machine of this type was theLinotype machine, invented byOttmar Mergenthaler.[7]
During a brief transitional period (c. 1950s–1990s), photographic technology, known asphototypesetting, utilized tiny high-resolution images of individual glyphs on a film strip (in the form of a film negative, with the letters as clear areas on an opaque black background). A high-intensity light source behind the film strip projected the image of each glyph through an optical system, which focused the desired letter onto the light-sensitive phototypesetting paper at a specific size and position. This photographic typesetting process permitted opticalscaling, allowing designers to produce multiple sizes from a single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example,ink traps and spikes to allow for spread ofink encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed finekerning between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in the 1960s and 1970s.[citation needed]
By the mid-1970s, all of the major typeface technologies and all their fonts were in use: letterpress; continuous casting machines; phototypositors; computer-controlled phototypesetters; and the earliest digital typesetters – bulky machines with primitive processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spellingfont, which has come to primarily refer to acomputer file containing scalable outline letterforms (digital font), in one of several common formats. Some typefaces, such asVerdana, are designed primarily for use oncomputer screens.[8]
Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as abitmap in abitmap font, or by mathematical description of lines and curves in anoutline font, also called avector font. Bitmap fonts were more commonly used in the earlier stages of digital type, and are rarely used today. These bitmapped typefaces were first produced byCasady & Greene, Inc. and were also known as Fluent Fonts. Fluent Fonts became mostly obsolete with the creation of downloadable PostScript fonts, and these new fonts are called Fluent Laser Fonts (FLF).
When an outline font is used, arasterizing routine (in the application software, operating system or printer) renders the character outlines, interpreting the vector instructions to decide which pixels should be black and which ones white. Rasterization is straightforward at high resolutions such as those used bylaser printers and in high-end publishing systems. Forcomputer screens, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts usehinting algorithms to make readable bitmaps at small sizes.
Digital fonts may also contain data representing themetrics used for composition, includingkerning pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everydayligatures like "fl". Common font formats includeTrueType,OpenType andPostScriptType 1, whileMetafont is still used byTeX and its variants. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computeroperating systems,Adobe Systems products and those of several other companies. Digital fonts are created with font editors such asFontForge, RoboFont, Glyphs,Fontlab's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio.
Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of allscripts.Serifs, for example, are a purely decorative characteristic of typefaces used for European scripts, whereas the glyphs used in Arabic or East Asian scripts have characteristics (such as stroke width) that may be similar in some respects but cannot reasonably be called serifs and may not be purely decorative.
 | Sans serif font |
 | Serif font |
 | Serif font with serifs highlighted in red |
Typefaces can be divided into two main categories:serif andsans serif.Serifs comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs assans serif (from Frenchsans, meaningwithout), or asgrotesque (or, inGerman,grotesk).
Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serifs represents only one of many factors to consider when choosing a typeface.
Typefaces with serifs are often considered easier to read in long passages than those without. Studies on the matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Websites do not have to specify a font and can simply respect the browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen.
Aproportional typeface, also calledvariable-width typeface, contains glyphs of varying widths, while amonospaced (non-proportional orfixed-width) typeface uses a single standard width for all glyphs in the font.Duospaced fonts are similar to monospaced fonts, but characters can also be two character widths instead of a single character width.
Many people generally find proportional typefaces nicer-looking and easier to read, and thus they appear more commonly in professionally published printed material.[citation needed] For the same reason,GUI computer applications (such asword processors andweb browsers) typically use proportional fonts. However, many proportional fonts contain fixed-width (tabular) numerals so that columns of numbers stay aligned.[9]
Monospaced typefaces function better for some purposes because their glyphs line up in neat, regular columns. No glyph is given any more weight than another. Most manually operatedtypewriters use monospaced fonts, and a typeface that looks like it was typewritten is sometimes referred to as atypescript. So dotext-only computer displays and third- and fourth-generation game console graphics processors, which treat the screen as a uniform grid of character cells. Most computer programs which have a text-based interface (terminal emulators, for example) use only monospaced fonts (or add additional spacing to proportional fonts to fit them in monospaced cells) in their configuration. Monospaced fonts are commonly used bycomputer programmers for displaying and editingsource code so that certain characters (for exampleparentheses used to group arithmetic expressions) are easy to see.[10][better source needed]
ASCII art usually requires a monospaced font for proper viewing, with the exception ofShift JIS art which takes advantage of the proportional characters in theMS PGothic font. In aweb page, the<tt> </tt>,<code> </code> or<pre> </pre>HTML tags most commonly specify monospaced fonts. InLaTeX, theverbatim environment or theTeletype font family (e.g.,\texttt{...} or{\ttfamily ...}) uses monospaced fonts (inTeX, use{\tt ...}).
Any two lines of text with the same number of characters in each line in a monospaced typeface should display as equal in width, while the same two lines in a proportional typeface may have radically different widths. This occurs because in a proportional font, glyph widths vary, such that wider glyphs (typically those for characters such as W, Q, Z, M, D, O, H, and U) use more space, and narrower glyphs (such as those for the characters i, t, l, and 1) use less space than the average.
In the publishing industry, it was once the case that editors readmanuscripts in monospaced fonts (typicallyCourier) for ease of editing and word count estimates, and it was considered discourteous to submit a manuscript in a proportional font.[citation needed] This has become less universal in recent years, such that authors need to check with editors as to their preference, though monospaced fonts are still the norm.
Mostscripts share the notion of abaseline: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. Thedescent spans the distance between the baseline and the lowest descending glyph in a typeface, and the part of a glyph that descends below the baseline has the namedescender. Conversely, theascent spans the distance between the baseline and the top of the glyph that reaches farthest from the baseline. The ascent and descent may or may not include distance added by accents or diacritical marks.
In theLatin,Greek andCyrillic (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs (mean line) as thex-height, and the part of a glyph rising above the x-height as theascender. The distance from the baseline to the top of the ascent or a regular uppercase glyphs (cap line) is also known as the cap height.[11] The height of the ascender can have a dramatic effect on the readability and appearance of a font. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces.
Typefaces that can be substituted for one another in a document without changing the document's text flow are said to be "metrically identical" (or "metrically compatible").[12][13][14] Several typefaces have been created to be metrically compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the free and open-sourceLiberation fonts andCroscore fonts have been designed as metrically compatible substitutes for widely usedMicrosoft fonts.[15][16]
During the metal type era, all type was cut in metal and could only be printed at a specific size. It was a natural process to vary a design at different sizes, making it chunkier and clearer to read at smaller sizes.[17][18] Many digital typefaces are offered with a range of fonts (or a variable font axis) for different sizes, especially designs sold for professional design use. The art of designing fonts for a specific size is known asoptical sizing. Others will be offered in only one style, but optimised for a specific size. Optical sizes are particularly common for serif fonts, since the fine detail of serif fonts can need to be bulked up for smaller sizes.[19][20][21]
Typefaces may also be designed differently considering the type of paper on which they will be printed. Designs to be printed on absorbentnewsprint paper will be more slender as the ink will naturally spread out as it absorbs into the paper, and may featureink traps: areas left blank into which the ink will soak as it dries. These corrections will not be needed for printing on high-gloss cardboard or display on-screen. Fonts designed for low-resolution displays, meanwhile, may avoid pure circles, fine lines and details a screen cannot render.[22]
Most typefaces, especially modern designs, include a complementary set of numeric digits.[23]
Numbers can be typeset in two main independent sets of ways:lining andnon-lining figures, andproportional andtabular styles.[c]
Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters.Non-lining figures, styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to the style of running text. They are also calledlower-case numbers ortext figures for the same reason.
The horizontal spacing of digits can also beproportional, with a character width tightly matching the width of the figure itself, ortabular, where all digits have the same width. Proportional spacing places the digits closely together, reducing empty space in a document, and is thought to allow the numbers to blend into the text more effectively.[24] As tabular spacing makes all numbers with the same number of digits the same width, it is used for typesetting documents such as price lists, stock listings and sums in mathematics textbooks, all of which require columns of numeric figures to line up on top of each other for easier comparison.[25] Tabular spacing is also a common feature of simple printing devices such ascash registers and date-stamps.[26]
Characters of uniform width are a standard feature of so-calledmonospaced fonts, used in programming and on typewriters. However, many fonts that are not monospaced use tabular figures. More complex font designs may include two or more combinations with one as the default and others as alternate characters.[27] Of the four possibilities, non-lining tabular figures are particularly rare since there is no common use for them.[28][29][30]
Fonts intended for professional use in documents such as business reports may also make the bold-style tabular figures take up the same width as the regular (non-bold) numbers, so a bold-style total would appear just as wide as the same sum in regular style.[31][24][32]
Because an abundance of typefaces has been created over the centuries, they are commonly categorized according to their appearance. At the highest level (in the context of Latin-script fonts), one can differentiate Roman, Blackletter, and Gaelic types.Roman types are in the most widespread use today, and are sub-classified as serif, sans serif, ornamental, and script types. Historically, the first European fonts were blackletter, followed by Roman serif, then sans serif and then the other types. The use of Gaelic faces was restricted to the Irish language, though these form a unique if minority class. Typefaces may be monospaced regardless of whether they are Roman, Blackletter, or Gaelic. Symbol typefaces are non-alphabetic. The Cyrillic script comes in two varieties, Roman-appearance type (calledгражданский шрифтgraždanskij šrift) and traditional Slavonic type (called славянский шрифтslavjanskij šrift).[citation needed]
Serif, orRoman, typefaces are named for the features at the ends of their strokes.Times New Roman andGaramond are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines. Serif fonts are often classified into three subcategories:Old Style,Transitional, andDidone (or Modern), representative examples of which areGaramond,Baskerville, andBodoni respectively.
Old Style typefaces are influenced by early Italian lettering design.[33] Modern fonts often exhibit a bracketed serif and a substantial difference in weight within the strokes. Though some argument exists as to whether Transitional fonts exist as a discrete category among serif fonts, Transitional fonts lie somewhere between Old Style and Modern style typefaces. Transitional fonts exhibit a marked increase in the variation of stroke weight and a more horizontal serif compared to Old Style. Slab serif designs have particularly large serifs, and date to the early nineteenth century. The earliest known slab serif font was first shown around 1817 by the English typefounderVincent Figgins.[34]
Roman,italic, andoblique are also terms used to differentiate between upright and two possible slanted forms of a typeface. Italic and oblique fonts are similar (indeed, oblique fonts are often simply called italics) but there is strictly a difference:italic applies to fonts where the letter forms are redesigned, not just slanted. Almost all serif faces have italic forms; some sans-serif faces have oblique designs. (Most faces do not offer both as this is an artistic choice by the font designer about how the slanted form should look.)[35]
Sans serif (lit. without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs, was shown in 1816 by William Caslon IV. Many have minimal variation in stroke width, creating the impression of a minimal, simplified design. When first introduced, the faces were disparaged as "grotesque" (or "grotesk") and "gothic":[36] but by the late nineteenth century were commonly used for san-serif without negative implication.[37]
The majorsub-classes of Sans-serif are "Grotesque", "Neo-grotesque", "Geometric" and "Humanist".
"Blackletter" is the name of the class of typefaces used with the earliestprinting presses in Europe, which imitated thecalligraphy style of that time and place. Various forms exist includingtextualis,rotunda,schwabacher andfraktur. (Some people refer to Blackletter as "gothic script" or "gothic font", though the term "Gothic" in typography refers tosans serif typefaces.[37])
Gaelic fonts were first used for theIrish language in 1571, and were used regularly for Irish until the early 1960s, though they continue to be used in display type and type for signage. Their use was effectively confined to Ireland, though Gaelic typefaces were designed and produced in France, Belgium, and Italy. Gaelic typefaces make use ofinsular letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition.[38][39] Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.[40]
Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where thew andm are wider than most letters, and thei is narrower). The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed. Their use continued with early computers, which could only display a single font. Although modern computers can display any desired typeface, monospaced fonts are still important forcomputer programming, terminal emulation, and for laying out tabulated data inplain text documents; they may also be particularly legible at small sizes due to all characters being quite wide.[41]Examples of monospaced typefaces areCourier,Prestige Elite,Fixedsys, andMonaco. Most monospaced fonts are sans-serif or slab-serif as these designs are easiest to read printed small or display on low-resolution screens, though many exceptions exist.
CJK, or Chinese, Japanese and Korean typefaces consist of large sets of glyphs. These typefaces originate in the glyphs found in brush calligraphy during the Tang dynasty. These later evolved into the Song style (宋体字) which used thick vertical strokes and thin horizontal strokes in wood block printing.[42]
The glyphs found in CJK fonts are designed to fit within a square. This allows for regular vertical, horizontal, right-to-left and left-to-right orientations. CJK fonts can also include an extended set of monospaced Latin characters. This commonly results in complex, sometimes contradictory rules and conventions for mixing languages in type.
With CJK typefaces, Mincho style tends to be something like Serifs for the end of stems, and in fact includes Serifed glyphs for Extended Latin and Cyrillic sets within a typeface.
With CJK typefaces, Goth style tends to be something like Sans Serifs with squarish, cut off end-caps for the end of stems, and in fact includes Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.
With CJK typefaces, Maru style tends to be something like Sans Serifs with rounded end-caps for the end of stems, and in fact includes Rounded Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.
Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces. Most effect typefaces are display types. Common features of display type include tighter default letter spacing, finer details and serifs, slightly more condensed letter shapes and larger differences between thick and thin strokes; many of these are most visible in serif designs. Many display typefaces in the past such as those intended for posters and newspaper headlines were also only cut in capitals, since it was assumed lower-case would not be needed, or at least with no italics. This was true of many early sans-serif fonts.
In the days of metal type, when each size was cut individually, types intended for display use were often adjusted accordingly. These modifications continued to be made even after fonts started to be made by scaling using a pantograph, but began to fade away with the advent of phototypesetting and then digital fonts, which can both be printed at any size. Premium digital fonts used for magazines, books and newspapers do often include display variants, but they are often not included with typefaces bundled with operating systems and desktop publishing software.[43][44] Display typefaces in the letterpress period were often made aswood type, being lighter than metal.
Decades into the desktop publishing revolution, few typographers with metal foundry type experience are still working, and few digital typefaces are optimized specifically for different sizes, so the misuse of the term display typeface as a synonym for ornamental type has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces. At the same time, with new printing techniques, typefaces have largely replaced hand-lettering for very large signs and notices that would once have been painted or carved by hand.[45]
Script typefaces imitate handwriting orcalligraphy. They do not lend themselves to quantities ofbody text, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Historically, most lettering on logos, displays, shop frontages did not use fonts but was rather custom-designed by signpainters and engravers, so many emulate the styles of hand-drawn signs from different historical periods. The genre has developed rapidly in recent years due to modern font formats allowing more complex simulations of handwriting.[46] Examples includeCoronet (a quite simple design from 1937) andZapfino (a much more complicated digital design).
Mimicry typefaces are decorative typefaces that have been designed to represent characters of one alphabet but at the same time evoke anotherwriting system.[47] This group includes Roman typefaces designed to appear asArabic,Chinese characters (Wonton fonts),Cyrillic (Faux Cyrillic),Indic scripts,Greek (an example beingLithos),Hebrew (Faux Hebrew),Kana, orThai. These are used largely for the purpose of novelty to make something appear foreign, or to make businesses offering foreign products, such as restaurants, clearly stand out.[48][49][50] This typographic mimicry is also known as a faux font (named faux x, where x is usually a language script), pseudoscript, ethnic typeface, simulation typeface or a "foreign look" font.[51][52][53]
A reverse-contrast type is a typeface in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet printing, the horizontal lines are the thickest.[54] Reverse-contrast types are rarely used for body text, and are particularly common indisplay applications such as headings and posters, in which their unusual structure may be particularly eye-catching.[55] First seen in London in 1821, they were particularly common in the mid- to late nineteenth century in American and British printing and have been revived occasionally since then. They effectively becomeslab serif designs because of the serifs becoming thick, and are often characterised as part of that genre. In recent times, the reverse-contrast effect has been extended to other kinds of typeface, such assans-serif designs.[56]
Some typefaces have a structure that suggests a three-dimensional letter, such as letters carved into stone. An example of this is the genre known as 'inline', 'block' 'outline' or 'shadowed' typefaces. This renders the interior of glyphs in the background color, with a thin line around the edges of the glyphs. In some cases, the outline shows the glyph filled in with the foreground color, surrounded a thin outline mirroring the edges separated by a small gap. (This latter style is often used with "college" typefaces.) Colorized block lettering is often seen in carefully renderedgraffiti.
A "shadow" effect can also be either designed into a typeface or added to an existing typeface. Designed-in shadows can be stylized or connected to the foreground. An after-market shadow effect can be created by making two copies of each glyph, slightly offset in a diagonal direction and possibly in different colors.Drop shadows can also be dynamically created by rendering software. The shadow effect is often combined with the outline effect, where the top layer is shown in white with black outline and the bottom layer in black, for greater contrast. An example typeface with an 'inline' effect isImprint Shadowed, where the shadowed version is more widely distributed than the regular design.[57]
Some typefaces are specifically designed to be printed at small sizes, for example in telephone directories or on newsprint paper.Bell Gothic andBell Centennial, commissioned for telephone directories, are notable examples of this. Small-print designs often feature a largex-height, and a chunky design. Some fonts used at such sizes may be members of a larger typeface family joining members for normal sizes. For example, theTimes New Roman family contains some designs intended for small print use, as do many families with optical sizes such asMinion.
In the metal type era, typefaces intended to be printed small containedink traps, small indentations at the junctions of strokes that would be filled up with ink spreading out, maintaining the intended appearance of the type design. Without ink traps, the excess ink would blob and ruin the crisp edge. At larger sizes, these ink traps were not necessary, so display faces did not have them. They have also been removed from most digital fonts, as these will normally be viewed on screen or printed through inkjet printing, laser printing, offset lithography, electrophotographic printing or other processes that do not show the ink spread of letterpress. Ink traps have remained common on designs intended to be printed on low-quality, absorbent paper, especiallynewsprint and telephone directories.
Atypeface family (ortype family) is a set of typefaces that share a common design concept.[58] The simplest typeface family has just a 'regular' face and an 'oblique' face (or 'Roman' and 'Italic'); the next step up addsboldface versions of these types. A modern professional typeface family (such as Danish Standard no. 737) might have as many as 54 different styles:[59]condensed, normal andexpanded forms of each of 'thin', 'extralight', 'light', 'regular', 'medium', 'demibold', 'bold', 'extrabold' and 'heavy' types, in regular and italic.
A sentence that uses all of the alphabet (apangram), such as "The quick brown fox jumps over the lazy dog", is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting (because it displays all the letters of the alphabet). For extended settings of typefaces graphic designers often use nonsense text (commonly referred to asgreeking), such aslorem ipsum orLatin text such as the beginning ofCicero'sIn Catilinam. Greeking is used in typography to determine a typeface'scolour, or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting. Another common demonstration word is "Hamburgevons".
The process of printing typefaces has historically been far simpler than commissioning and engraving custom illustrations, especially as many non-text features of printed works like symbols and borders were likely to be reused by a printer in future.[60][61][62] Non-character typefaces have therefore been created for elements of documents that are not letters but are likely to be reused regularly.[63] These include:
Ornamental (also known asnovelty or sometimesdisplay) typefaces are used to decorate a page. Historically complex interlocking patterns known asarabesques were common in fine printing, as were floral borders known asfleurons evoking hand-drawn manuscripts.
In the metal type era, type-founding companies often would offer pre-formed illustrations as fonts showing objects and designs likely to be useful for printing and advertisements, the equivalent of modernclip art and stock photographs.[64] As examples, theAmerican Type Founders specimen of 1897 offered designs including baseball players, animals, Christmas wreaths, designs forcheques, and emblems such asstate seals for government printing.[65] The practice has declined as printing custom illustrations and colour printing using processes such aslithography has become cheaper, although illustration typefaces are still sold by some companies.See above for the historical definition ofdisplay typeface.
Symbol, or dingbat, typefaces consist of symbols (such as decorative bullets, clock faces, railroad timetable symbols, CD-index, or TV-channel enclosed numbers) rather than normal text characters. Common, widely used symbol typeface releases includeZapf Dingbats andWingdings, though many may be created internally by a publication for its own use and some typefaces may have a symbol range included.[66]Marlett is an example of a font used byWindows to draw elements of windows and icons.
Emoji are pictograms that can be used and displayed inline with text.[67][68] They are similar to previous symbol typefaces, but with a much larger range of characters, such as symbols for common objects, animals, food types, weather and emotions. Originally developed in Japan, they are now commonly installed on many computer and smartphone operating systems.[69][70] Following standardisation and inclusion in theUnicode standard, allowing them to be used internationally, the number of Emoji characters has rapidly increased to meet the demands of an expanded range of cultures using them; unlike many previous symbol typefaces, they are interchangeable with the ability to display the pictures of the same meaning in a range of fonts on different operating systems.[71][72] The popularity of emoji has meant that characters have sometimes gained culture-specific meanings not inherent to the design.[73][74][75] Both colour and monochrome emoji typefaces exist, as well as at least one animated design.[76]
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Typefaces that include musical notes and other needed symbols have been developed to printsheet music.
Expert set fonts are becoming less common with advent of OpenType which allows for these extras to be included in the same font that contains the default glyphs, accessed more easily, and inserted into a layout without damaging the underlying text.
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