In metal letters, font is the size, weight, and style of a particular font. Each font is a collection of matching types, one part (called "sort") for each glyph, and a font that consists of various fonts that share the overall design.
In modern usage, with the advent of digital typography, "fonts" are often synonymous with "typography". Each style is in a separate "font file" - for example, the "Bulmer" typeface may include "Bulmer roman", "Bulmer italic", "Bulmer bold" and "Bulmer extended" fonts - but the phrase "font" "can be applied either to one of these alone or to all fonts.
Both in traditional font settings and modern usage, the word "font" refers to the delivery mechanism of the typography design. In traditional letter settings, fonts will be made of metal or wood. Today, fonts are digital files.
Video Font
Etymology
The word font (traditionally spelled fount in English English, but in any case pronounced ) comes from the French French fonte "[something has been merged]; casting". This term refers to the process of casting a type metal on a casting type.
Maps Font
Metal type
In the manual printing (letterpress) house the word "font" will refer to a complete set of metal types that will be used to set the whole page. Uppercase and lowercase letters get their names because the typeface letters are in for manual font settings: upper and lower case letters. The same difference is also called by the terms majuscule and minuscule .
Unlike digital fonts, metal fonts will not include a single definition of each character, but commonly used characters (such as vowels and periods) will have more physical pieces included. The newly purchased fonts are often sold as (eg in the Roman alphabet) 12pt 14A 34a, meaning that it will be a 12-point font size containing 14 uppercase letters "A", and 34 lowercase "A" s.
The remaining characters will be provided in an amount appropriate for the distribution of letters in that language. Some of the metal type characters required in letter compilation, such as hyphens, spaces, and high-altitude spacers, are not part of a particular font, but are generic parts that can be used with any font. Distance between lines is often called "lead", because strips used for line spacing are made of lead (not harder alloys used for other parts). The reason for a strip of distance made from "tin" is that tin is a softer metal than a traditional piece of metal (which is part of lead, antimony and tin) and will compress more easily when "locked" in "Chase" printing (eg operator to hold all types together).
In the 1880s-1890s, the arrangement of letters "led heat" was created, in which types were cast as specified, either piece by piece (as in Monotype technology) or across line types at one time (as in Linotype technology).
Characteristics
In addition to high characters, when using the mechanical sense of the term, there are several characteristics that can distinguish fonts, although they will also depend on scripts supported by typography. In the European alphabet script, which is Latin, Cyrillic, and Greek, the main property like that is the width of a scratch, called the weight, the style or the angle and the width of the character.
Ordinary or standard fonts are sometimes labeled romance , both to distinguish them from bold or thin and from italics or italics . Keywords for default, ordinary cases are often omitted for variants and never repeated, otherwise it will be Bully regular italic , Bulmer bold regular and even regular regular Bulmer Roman can also refer to the scope of the font language, acting as an acronym for "Western Europe".
Different fonts of the same typeface can be used in the same job for different levels of readability and emphasis, or in a special design to make it more visually appealing.
Weight
The weight of a particular font is the thickness of the character's outline relative to its height.
Typography may consist of many types of weights, from ultra-bright to extra thick or black; four to six unusual weights, and some typography have many dozen. Many typography for office, web and non-professional use only with normal weight and weight are linked together. If no heavy weights are available, many renderers (browsers, word processors, graphics programs and DTPs) support forging thicker letters by displaying a second edge on the offset, or simply smearing it slightly at the diagonal angle.
The basic weight differs among typography; that means a normal font may appear bolder than any other normal font. For example, the fonts that are meant to be used in the poster are often quite bold by default while the font for long text runs rather lightly. Therefore, the weight name in the font name may differ in terms of absolute stroke weight or actual flying machine density in the font.
Attempts to systematize the various weights led to the numerical classification first used by Adrian Frutiger with the typeface of the Univers: 35 Extra Light , 45 Light , 55 Medium Regular , 75 Extra Bold , 85 Extra Bold , 95 Ultra Bold or Black . This devian is "series 6" (italics), eg. 46 Light Italics etc., "7 series" (shortened version), for example 57 Medium Condensed etc., and "8 series", eg. 68 Thick Pottery . From this short numerical system it is easier to determine what font characteristics, eg "Helvetica 67" (HE67) translates to "Helvetica Bold Condensed".
The description of the first font algorithm might have been made by Donald Knuth in his Metafont description and translator language. The TrueType font format introduces scales from 100 to 900, which are also used in CSS and OpenType, where 400 is common (romance or ordinary).
There are many names used to describe the font weight in its name, differing between fusion types and designers, but their relative order is usually fixed, something like this:
Normal normal , regular and terms , sometimes also books , are used for standard weight fonts of a typeface. Where both appear and are different, books are often lighter than usual , but in some typography it is more daring.
Before the arrival of the computer, any weight should be drawn manually. As a result, many older multi-weight families such as Gill Sans and Monotype Grotesque have a big difference in style from light to extra thickness. Since the 1980s, it has become increasingly common to use automation to build various weights as points along trends, multiple masters or other proprietary font designs. This means that many modern digital fonts like Myriad and TheSans are offered in a variety of weights that offer a seamless and sustainable transition from one weight to the next, though some digital fonts are made with extensive manual corrections.
Because digital font design allows more variants to be made faster, an increasingly common development in professional font design is the use of "value": slightly different weights aimed at different types of paper and ink, or printing in different regions with different environmental temperatures. and moisture. For example, thin designs printed on book paper and thicker designs printed on high-gloss magazine paper may look the same, because in the first case the ink will seep and spread more. Values ​​are usually offered with characters that have the same width across all values, so changes to printed material do not affect the copyfit. Values ​​are very common on serif fonts with finer detail.
Slope
In European typography, especially Roman-style, slant or skew is used to emphasize important words. This is called italic type or italic type. This design is usually tilted to the right on the left to right script. The italic style is often called italic, but it is different from the 'real italic' style.
The skewed style is more flowing than the normal typeface, approaching a more cursive handwriting style, perhaps using more common ligatures or getting knocked out. Although rarely encountered, typographic faces may be accompanied by appropriate calligraphic faces ( cursive , scripts ), giving an exaggerated tilt.
In many sans-serifs and some serif typography, especially on those with strokes even the characteral thickness of the italic font is just italic , which is often done algorithmically, without changing their appearance. Such a oblique font is incorrectly in italics, because the lower case letters do not change, but are often marketed as such. Fonts usually do not include bevelled and skewed styles: the designer chooses to provide one or the other.
Because italic style clearly looks different from the usual style (romance), it is possible to have a "sloping oblique" design that takes a more cursive but upright shape; Modern computers are examples of fonts that offer this style. In Latin script countries, italics are rarely upright but are sometimes used in mathematics or in complex documents where texted sections of the text require a "double italic" style to add emphasis to it. For example, the Cyrillic lowercase "?" might look like a smaller form of its majuscule "?" or more like a small "m" roman as in its standard oblique view; in this case the difference between styles is also a matter of local preference.
In Frutiger nomenclature the second digit for the upright font is 5, for the italic font 6 and for the thick italic font 8.
The two Japanese syllables, katakana and hiragana, are sometimes seen as two styles or variants of typography with each other, but are usually considered as separate sets of characters because some characters have separate kanji origins and scripts are used for different purposes. Gothic styles of roman scripts with damaged forms of mail, on the other hand, are usually regarded as mere typographical variants.
Cursive scripts just like Arabic also have different styles, in this case eg Naskh and Kufic, although this often depends on the application, area or era.
There are other aspects that can differ between font styles, but more often these are considered to be immanent features of the typeface. This includes the display of digits (digits) and minuscules, which may be smaller versions of capital letters ( small caps ) even though the script has developed characteristic forms for it. Some typography does not include separate flying machines for cases at all, thus eliminating bicamerality. While most use only uppercase characters, some are labeled unicase one that selects either a very small majuscule or glyph at the same height for both characters.
Lebar
Some typography includes fonts that vary the character width ( stretch ), although this feature is usually less frequent than the weight or scratch. Narrow fonts are usually labeled compressed , condensed or narrow . In the Frutiger system, the second digit of the condensed font is 7. The wider font can be called width , extended or expanded . Both can be further classified by adding extra , ultra or the like. Compressing font design to viscous weight is a complex task, requiring a stroke to be proportionally slender and often make the capital a straight-side. It is common to see viscous fonts for sans-serif and slab-serif families, as it is relatively practical to change their structure to a heavy weight. Serif text faces are often only published in regular width.
These separate fonts should be distinguished from techniques that change the letters to achieve narrower or smaller words, especially for justified alignment of texts.
Most typography have a width of proportional or monospaced letters (eg typewriters), if the script provides possibilities. Nevertheless, there are superfamilies that include both styles. Some fonts also provide proportional and fixed-width digits ( tabular ), where the first usually coincides with the numbers of lower case text and the last with uppercase characters.
The width of the font will depend on the intended use. Times New Roman is designed with the goal of having a small width, so that more text becomes a newspaper. On the other hand, the Palatino has a large width to improve readability. The "billing block" on movie posters often uses a very thick type to meet union requirements on people who should be credited and high fonts relative to the rest of the posters.
Optical size
Some professional digital typography includes a font that is optimized for a certain size, for example by using a thinner scratch weight if they are intended for large screen displays, or by using ink traps if they want to be printed in small sizes with poor quality. paper. This is a natural feature in the metal type period for most typography, as each size will be cut separately and made for slightly different designs. As an example of this, the experienced Linotype designer, H. Haunithy H. Griffith commented in 1947 that for the type he did intended for the use of newspapers, the size of 6 dots was not 50% as wide as 12 points, but about 71%. However, it's downhill used as pantograph engraving, and especially phototypesetting and digital fonts make printing the same font on simpler sizes. A mild revival has occurred in recent years. Optical sizes are more common for serif fonts, because the detail is usually smoother and the benefits of contrast are higher than those devoted to smaller sizes and made less powerful on larger ones.
There are several naming schemes for the design of such variants. One such scheme, created and popularized by Adobe Systems, refers to the font variant by the apps they normally use, with the exact point size being meant slightly different by the font type:
- Poster
- Very large size, usually greater than 72 dots
- Views
- Large size, usually 19-72 dots
- Subheads
- Large text, usually about 14-18 points
- (Ordinary)
- Usually left without a name, usually about 10-13 points
- Small Text ( SmText )
- Usually about 8-10 points
- Description
- Very small, usually about 6-8 points
Metrics
Font Metrics refers to metadata consisting of numerical values ​​relating to the size and space in the overall font, or in an individual flying machine. The font metrics include cap height (height of capitals), height-x (lowercase letters) and forming height, descender depth, and bounding font boxes. Glyph-level metrics include boxed grooves of the glyph, the width of the face (the exact distance between the position of the initial glyph pen and the position of the next glyph's front pen), and the side marks (the space lining the engine line on both sides). Many digital fonts (and some metals) can be categorized so that characters can be mounted closer; pair 'Wa' is a common example of this.
Some fonts, especially those intended for professional use, are duplex: made with multiple weights having the same character width so that (for example) changing from regular to bold or italic does not affect word wrap. The Sabon as originally designed is an important example of this. (This is a standard feature of Linotype hot metal typesetting system with italic and regular printing, which requires a strange design choice since italics are usually narrower than roman.)
A very important set of basic fonts that became the initial standard in digital printing is the Core Font Set included in the PostScript printing system developed by Apple and Adobe. To avoid paying a license fee for this set, many computer companies assign a "metrically compatible" knock-off font of the same distance, which can be used to display the same document without it looking distinctly different. Arial and Century Gothic are well known examples of this, which function on par with standard PostScript Helvetica and ITC Avant Garde fonts. Some of these sets were created to be freely distributed, such as the Red Hat Liberation font and Google Croscore font, which duplicate the PostScript set and other common fonts used in Microsoft software such as Calibri. It is not a requirement that the design be compatible with metrics identical to the origin in appearance apart from the width.
Serifs
Although most typography is characterized by the use of serif, there are superfamilies that combine serif (antiqua) and sans-serif (odd) or even medium serif (Egyptian) serif or semi-serif fonts with the same baseline.
More general font variations, especially of serif type letters, are alternate capital letters. They can have swashes to go with italic minuscules or they can be a developing design for use as initials ( drop caps ).
Variations of characters
Typefaces can be created in variants for different uses. It can be issued as a separate font file, or different characters can be entered in the same font file if the font is a modern format such as OpenType and the application used can support this.
Alternate characters are often called style alternatives. This can be enabled to allow users more flexibility to customize fonts according to their needs. This practice is not new: in the 1930s, Gill Sans, British design, was sold abroad with an alternate character to make it resemble a font like the popular Futura in another country, while Bembo from the same period has two 'R' styles: one with outstretched legs, according to the fifteenth-century model, and one short, less common version. With modern digital fonts, it is possible to group related alternate characters into the stylistic set, which can be turned on and off together. For example, in the Williams Caslon Text, the rise of the 18th-century Caslon letter, the default skewed shape has many fancies that match the original design. For a more spare view, all of these can be turned off at once using the 4 style set. Junicode, intended for academic publishing, uses ss15 to enable the form of the 'e' variant used in medieval Latin. A company that commissioned a modified version of a commercial font for their own use, meanwhile, may request that their alternate alternatives be set to default.
It is common for fonts that are intended to be used in books for young people to use simple and simple lowercase letters a and g (sometimes also > y and l ); this can be called baby or school alternately. They are traditionally believed to be easier for children to read and less confusing because they resemble the forms used in handwriting. Often schoolbook characters are released as a supplement to popular families such as Akzidenz-Grotesk, Gill Sans and Bembo; a well-known font specifically targeted for the school is Sassoon Sans.
In addition to alternative characters, in the era of metal types the New York Times commissioned a single type that is condensed specifically for common long names that may often appear in news headlines, such as "Eisenhower", "Chamberlain" or "Rockefeller".
Figures
Fonts can have different types of numbers, including, as described above, proportional (variable widths) and tabular (fixed width) as well as coating (high-case) and text numbers (lowercase letters). They can also include separate styles for superscript and subscript digits. A professional font can include even more complicated arrangements for numbering numbers, such as numbers intended to match the height of a small cap. In addition, some fonts such as Acumin and Kristian Neze Haas Grotesk from German Schwartz offer two layers (uppercase) letters of numbers: one lower than the cap height, which is intended to fuse better into continuous text, and another to the high limit of order looks better in combination with uppercase letters for use like the English postcode. With OpenType format, it is possible to combine all of these into a single digital font file, but earlier font releases may only have one type per file.
Subsetting
Typical fonts may contain hundreds or even thousands of glyphs, often representing characters from multiple languages. Often, users only need a small subset of the glyphs available to them. Subsetting is the process of removing unnecessary glyph from a font file, usually with the aim of reducing the file size. This is very important for web fonts, since reducing file size often means reducing page load time and server load. Alternatively, fonts can be expelled in various files for different regions of the world, though with the deployment of OpenType this format is now increasingly unusual.
See also
- Ampersand
- Font clips
- Embedding fonts
- Graphics
- List of fonts
References
Further reading
- Blackwell, Lewis. Type of the 20th Century. Yale University Press: 2004. ISBNÃ, 0-300-10073-6.
- Fiedl, Frederich, Nicholas Ott, and Bernard Stein. Typography: An Encyclopedic Survey Types of Design and Techniques Through History. Black Dog & amp; Leventhal: 1998. ISBNÃ, 1-57912-023-7.
- Lupton, Ellen. Thinking by Type: A Critical Guide to Designers, Authors, Editors, & amp; Student, Princeton Architectural Press: 2004. ISBNÃ, 1-56898-448-0.
- Headley, Gwyn. The Encyclopaedia of Fonts. Cassell Illustrated: 2005. ISBNÃ, 1-84403-206-X.
- Macmillan, Neil. An-Z Type of Designer. Yale University Press: 2006. ISBNÃ, 0-300-11151-7.
External links
- #FontSunday on Twitter
Source of the article : Wikipedia
0 Comments