1013:
226:
1880:
and dark, not from the measure of any single element...So when we just put the weights and spaces where they look right, we create a relationship that is neither arithmetic nor geometric but somewhere between. Our eyes are perpetually tough customers, and rarely accept the simplest solution...Weight will crowd together according to the angle of intersection, with the problem getting more acute as the angle gets more acute. It's why type designers will take a deep breath before starting a
Compressed Extra Bold version of something, or why they might openly swear at the capital W.
1372:
907:
1342:
398:
1287:
144:
1152:
814:
48:
4383:
732:
1503:
476:
1196:
1188:. Glyph-level metrics include the glyph bounding box, the advance width (the proper distance between the glyph's initial pen position and the next glyph's initial pen position), and sidebearings (space that pads the glyph outline on either side). Many digital (and some metal type) fonts are able to be
1879:
If we change that interval of white space without changing anything else, this doesn't add up any more. Or more accurately, it adds up to something we didn't want, if we had hoped to keep a consistent darkness. The proportion of black and white has changed, and that is where we get our sense of light
1526:
digitisation offer two heights of lining (uppercase height) figures: one slightly lower than cap height, intended to blend better into continuous text, and one at exactly the cap height to look better in combination with capitals for uses such as UK postcodes. With the OpenType format, it is possible
1032:
might be added to the design if it is to be printed at small size on poor-quality paper. This was a natural feature in the metal type period for most typefaces, since each size would be cut separately and made to its own slightly different design. As an example of this, experienced
Linotype designer
1517:
Fonts can have multiple kinds of digits, including, as described above, proportional (variable width) and tabular (fixed width) as well as lining (uppercase height) and text (lowercase height) figures. They may also include separate shapes for superscript and subscript digits. Professional computer
1271:
703:
As digital font design allows more variants to be created faster, a common development in professional font design is the use of "grades": slightly different weights intended for different types of paper and ink, or printing in a different region with different ambient temperature and humidity. For
408:
A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non-professional use come with a normal and a bold weight which are linked together. If no bold
1061:
Optical sizes are more common for serif fonts, since their typically finer detail and higher contrast benefits more from being bulked up for smaller sizes and made less overpowering at larger ones. Furthermore, it is often desirable for mathematical fonts (i.e., typefaces designed for typesetting
1404:
from the same period has two shapes of "R": one with a stretched-out leg, matching its fifteenth-century model, and one less-common shorter version. With modern digital fonts, it is possible to group related alternative characters into stylistic sets, which may be turned on and off together. For
649:
font family. In this family, the "fonts have CSS numerical weights of 400, 500, and 600. Although CSS specifies 'Bold' as a 700 weight and 600 as
Semibold or Demibold, the Go numerical weights match the actual progression of the ratios of stem thicknesses: Normal:Medium = 400:500; Normal:Bold =
261:
Unlike a digital typeface, a metal font would not include a single definition of each character, but commonly used characters (such as vowels and periods) would have more physical type-pieces included. A font when bought new would often be sold as (for example in a Roman alphabet) 12pt 14A 34a,
412:
The base weight differs among typefaces; that means one font may appear bolder than another font. For example, fonts intended to be used in posters are often bold by default while fonts for long runs of text are rather light. Weight designations in font names may differ in regard to the actual
950:
or the like. Compressing a font design to a condensed weight is a complex task, requiring the strokes to be slimmed down proportionally and often making the capitals straight-sided. It is particularly common to see condensed fonts for sans-serif and slab-serif families, since it is relatively
708:
may come out looking identical, since in the former case the ink will soak and spread out more. Grades are offered with characters having the same width on all grades, so that a change of printing materials does not affect copy-fit. Grades are common on serif fonts with their finer details.
801:
is an example of a font that offers this style. In Latin-script countries, upright italics are rare but are sometimes used in mathematics or in complex documents where a section of text already in italics needs a "double italic" style to add emphasis to it. For example, the
Cyrillic
1220:
printing system developed by Apple and Adobe. To avoid paying licensing fees for this set, many computer companies commissioned "metrically compatible" knock-off fonts with the same spacing, which could be used to display the same document without it seeming clearly different.
1208:
as originally designed was a notable example of this. (This was a standard feature of the
Linotype hot metal typesetting system with regular and italic being duplexed, requiring awkward design choices as italics normally are narrower than the roman.)
249:
an entire page. Upper- and lowercase letters get their names because of which case the metal type was located in for manual typesetting: the more distant upper case or the closer lower case. The same distinction is also referred to with the terms
133:; each of these exists in a variety of sizes. The term "font" is correctly applied to any one of these alone but may be seen used loosely to refer to the whole typeface. When used in computers, each style is in a separate digital "font file".
105:, the terms "font" and "typeface" are often used interchangeably, although the term "typeface" refers to the design of typographical lettering, whereas the term "font" refers to the specific style of a typeface, such as its size and
1456:
alternates. They are traditionally believed to be easier for children to read and less confusing as they resemble the forms used in handwriting. Often schoolbook characters are released as a supplement to popular families such as
1044:
engraving emerged, while phototypesetting and digital fonts further made printing the same font at any size simpler. A mild revival has taken place in recent years, although typefaces with optical sizes remain rare. The recent
793:
fonts are not true italics, because lowercase letter shapes do not change, but they are often marketed as such. Fonts normally do not include both oblique and italic styles: the designer chooses to supply one or the other.
1203:
Some fonts, especially those intended for professional use, are duplexed: 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.
1049:
technology further allows designers to include an optical size axis for a typeface, which means end users can manually adjust optical sizing on a continuous scale. Examples of variable fonts with such an axis are
409:
weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support a bolder font by rendering the outline a second time at an offset, or smearing it slightly at a diagonal angle.
1078:
Naming schemes for optical sizes vary. One such scheme, invented and popularised by Adobe, labels the variant designs by their typical usages (with the intended point sizes varying slightly by typefaces):
1391:
Alternative characters are often called stylistic alternates. These may be switched on to allow users more flexibility to customise the typeface to suit their needs. The practice is not new: in the 1930s,
1383:
Typefaces may be made in variants for different uses. These may be issued as separate font files, or the different characters may be included in the same font file if the font is a modern format such as
1062:
mathematical equations) to have two optical sizes below "Regular", typically for higher-order superscripts and subscripts which are very small in sizes. Examples of such mathematical fonts include
1421:
used in medieval Latin. A corporation commissioning a modified version of a commercial computer font for their own use, meanwhile, might request that their preferred alternates be set to default.
700:
are offered in a large range of weights which offer a smooth and continuous transition from one weight to the next, although some digital fonts are created with extensive manual corrections.
1901:
2736:
1004:" on a movie poster often uses extremely condensed type in order to meet union requirements on the people who must be credited and the font height relative to the rest of the poster.
308:
In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the
1024:
Optical sizes refer to different versions of the same typefaces optimised for specific font sizes. For instance, thinner stroke weight might be used if a font style is intended for
472:. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance "Helvetica 67" (HE67) translates to "Helvetica Bold Condensed".
285:(rather than the harder alloy used for other pieces). This spacing strip was made from lead because lead was a softer metal than the traditional forged metal type pieces (which was
688:
have considerable differences in weights from light to extra-bold. Since the 1980s, it has become common to use automation to construct a range of weights as points along a trend,
1518:
fonts may include even more complex settings for typesetting digits, such as digits intended to match the height of small caps. In addition, some fonts such as Adobe's Acumin and
136:
In both traditional typesetting and computing, the word "font" refers to the delivery mechanism of the typeface. In traditional typesetting, the font would be made from metal or
1413:
typeface, the default italic forms have many swashes matching the original design. For a more spare appearance, these can all be turned off at once by engaging stylistic set 4.
1955:
646:
2684:
1143:
Variable fonts typically do not use any naming scheme, because the inclusion of an adjustable optical size axis means optical sizes are not released as separate products.
3073:
2653:
2622:
2010:
1930:
797:
Since italic styles clearly look different to regular (roman) styles, it is possible to have "upright italic" designs that take a more cursive form but remain upright;
841:, are sometimes seen as two styles or typographic variants of each other, but usually are considered separate character sets as a few of the characters have separate
1836:
1664:
870:
There are other aspects that can differ among font styles, but more often these are considered intrinsic features of the typeface. These include the look of digits (
2852:
277:, spaces and line-height spacers, were not part of a specific font, but were generic pieces that could be used with any font. Line spacing is still often called "
2176:
977:
output) letter widths, if the script provides the possibility. Some superfamilies include both proportional and monospaced fonts. Some fonts also provide both
880:) although the script has developed characteristic shapes for them. Some typefaces do not include separate glyphs for the cases at all, thereby abolishing the
2418:
810:"Т" or more like a roman small "m" as in its standard italic appearance; in this case, the distinction between styles is also a matter of local preference.
1037:
commented in 1947 that for a type he was working on intended for newspaper use, the 6 point size was not 50% as wide as the 12 point size, but about 71%.
3968:
2036:
2146:
2454:
1893:
753:. These designs normally slant to the right in left-to-right scripts. Oblique styles are often called italic, but differ from "true italic" styles.
3096:
2949:
3010:
1578:
1631:
4342:
2740:
783:
In many sans-serif and some serif typefaces, especially in those with strokes of even thickness, the characters of the italic fonts are only
1020:
of the typeface
Leipziger Antiqua. The fonts become thicker and more widely spaced as the point size for which they are designed decreases.
2233:
2393:
1424:
It is common for typefaces intended for use in books for young children to use simplified, single-storey forms of the lowercase letters
2479:
2562:
2207:
2537:
1951:
1168:
consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include
2919:
2676:
1756:
2707:
1866:
3208:
2588:
2104:
826:
In
Frutiger's nomenclature the second digit for upright fonts is a 5, for italic fonts a 6 and for condensed italic fonts an 8.
292:
In the 1880s–1890s, "hot lead" typesetting was invented, in which type was cast as it was set, either piece by piece (as in the
3183:
3063:
2508:
2078:
79:
2284:
2002:
1926:
1809:
289:) and would compress more easily when "locked up" in the printing "chase" (i.e. a carrier for holding all the type together).
2821:
2645:
2614:
1723:
680:
Before the arrival of computers, each weight had to be drawn manually. As a result, many older multi-weight families such as
742:
In
European typefaces, especially Roman ones, a slope or slanted style is used to emphasize important words. This is called
3412:
3272:
Simply digitally compressing the font produces ugly results, since it narrows the vertical strokes but not the horizontals.
2312:
1610:
1140:, whose variants are labelled by their intended point sizes, such as Times Ten, Times Eighteen, and Times New Roman Seven.
2886:
1832:
1656:
1257:. It is not a requirement that a metrically compatible design be identical to its origin in appearance apart from width.
2974:
Walker, Sue; Reynolds, Linda (1 January 2003). "Serifs, sans serifs and infant characters in children's reading books".
2765:
951:
practical to modify their structure to a condensed weight. Serif text faces are often only issued in the regular width.
2844:
2168:
3384:
3369:
3354:
3339:
3324:
3040:
1980:
1770:
363:. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be
2795:
2259:
1482:
commissioned custom condensed single sorts for common long names that might often appear in news headings, such as
852:
of the roman script with broken letter forms, on the other hand, is usually considered a mere typographic variant.
1128:
Other type designers and publishers might use different naming schemes. For instance, the smaller optical size of
2425:
2340:
1527:
to bundle all these into a single digital font file, but earlier font releases may have only one type per file.
3242:
2048:
1693:
4337:
3158:
4222:
4184:
2365:
17:
3132:
2450:
2142:
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3437:
1605:
959:
382:
Different fonts of the same typeface may be used in the same work for various degrees of readability and
1321:
A more common font variant, especially of serif typefaces, is that of alternate capitals. They can have
1012:
996:
was designed with the goal of having small width, to fit more text into a newspaper. On the other hand,
3948:
2032:
890:
exist which choose either the majuscule or the minuscule glyph at a common height for both characters.
772:. Although rarely encountered, a typographic face may be accompanied by a matching calligraphic face (
3103:
2942:
1396:, a British design, was sold abroad with alternative characters to make it resemble typefaces such as
1212:
A particularly important basic set of fonts that became an early standard in digital printing was the
985:) digits, where the former usually coincide with lowercase text figures and the latter with uppercase
3594:
3002:
527:
394:
The weight of a particular font is the thickness of the character outlines relative to their height.
1570:
4352:
4169:
3840:
3777:
3482:
3405:
3300:
3287:
1635:
1055:
918:), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled
416:
Attempts to systematize a range of weights led to a numerical classification first used in 1957 by
1944:
1237:
respectively. Some of these sets were created in order to be freely redistributable, for example
1213:
1063:
379:
can also refer to the language coverage of a font, acting as a shorthand for "Western
European".
3797:
3520:
2229:
930:. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called
210:
1523:
225:
4272:
3772:
3767:
3680:
3667:
3500:
2386:
1177:
689:
516:
383:
120:
35:
2475:
1921:
1919:
1229:
are notable examples of this, being functional equivalents to the PostScript standard fonts
4407:
4064:
3705:
3559:
2558:
2199:
1406:
1067:
1034:
906:
896:
are designed for headlines and displays, and have stroke widths optimized for large sizes.
765:
30:
This article is about "font" in relation to typesetting. For the electronic data file, see
1192:
so that characters can be fitted more closely; the pair "Wa" is a common example of this.
1129:
8:
4412:
4386:
4347:
4260:
4154:
4009:
3987:
3977:
3845:
3452:
3442:
3398:
1916:
1487:
787:, which is often done algorithmically, without otherwise changing their appearance. Such
273:
of letters in that language. Some metal type characters required in typesetting, such as
2911:
2529:
1371:
4417:
4310:
4237:
4217:
4207:
4179:
4149:
4109:
3736:
3599:
3584:
3525:
3515:
3068:
1858:
1748:
1519:
1491:
1478:
1322:
978:
769:
685:
263:
148:
91:
4232:
2715:
692:
or other parameterized font design. This means that many modern digital fonts such as
4255:
4174:
4129:
4059:
3530:
3380:
3365:
3350:
3347:
Thinking with Type: A Critical Guide for
Designers, Writers, Editors, & Students,
3335:
3320:
3292:
3204:
1862:
1716:
1551:
1483:
1397:
1376:
1293:
1277:
693:
669:) are used for the standard-weight font of a typeface. Where both appear and differ,
491:
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2100:
2074:
1341:
4141:
4094:
3933:
3880:
3741:
3551:
2983:
2500:
2280:
1801:
1458:
1307:
1242:
297:
270:
178:
114:
71:
397:
4277:
4164:
4159:
4079:
4047:
3938:
3675:
3477:
3332:
Typography: An Encyclopedic Survey of Type Design and Techniques Through History.
2817:
1357:
1234:
1137:
993:
970:
856:
813:
798:
713:
417:
321:
293:
172:
152:
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1600:
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In all three designs, the curve on 'n' thins as it joins the left-hand vertical.
4282:
4227:
4104:
3907:
3731:
3685:
3619:
3589:
3457:
2875:
1541:
1513:
as its default digits, providing uppercase or lining figures as an alternative.
1364:
1246:
1226:
986:
955:
860:
807:
325:
317:
309:
269:
The rest of the characters would be provided in quantities appropriate for the
966:
4401:
4074:
4042:
4032:
3912:
3238:
2761:
1046:
1001:
954:
These separate fonts have to be distinguished from techniques that alter the
704:
example, a thin design printed on book paper and a thicker design printed on
645:
Font mapping varies by font designer. A good example is Bigelow and Holmes's
202:
102:
31:
2787:
1325:
to go with italic minuscules or they can be of a flourish design for use as
874:) and the minuscules, which may be smaller versions of the capital letters (
756:
Italic styles are more flowing than the normal typeface, approaching a more
140:: to compose a page may require multiple fonts or even multiple typefaces.
4332:
4212:
4099:
4084:
4054:
4014:
3997:
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3695:
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3447:
3429:
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1510:
1506:
1470:
1286:
1185:
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1133:
1051:
1025:
893:
871:
789:
750:
705:
515:
font format introduced a scale from 100 through 900, which is also used in
501:
214:
143:
110:
60:
52:
1976:
1778:
4327:
4322:
4315:
4305:
4119:
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4024:
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3928:
3899:
3887:
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3690:
3642:
3510:
2134:
1345:
881:
846:
757:
743:
246:
238:
230:
128:
63:
2255:
1151:
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4114:
4004:
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1315:
1311:
1217:
1169:
1041:
974:
876:
803:
286:
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712:
Fonts in which the bold and non-bold letters have the same width are "
233:
poster, advertising an auction, using a variety of typefaces and fonts
47:
3792:
3787:
3564:
3492:
1536:
1462:
1418:
1393:
1250:
1230:
1181:
681:
481:
402:
137:
98:. A typeface consists of various fonts that share an overall design.
1249:, which duplicate the PostScript set and other common fonts used in
914:
Some typefaces include fonts that vary the width of the characters (
4265:
4124:
3943:
3816:
3802:
3627:
3579:
3296:
3230:
1952:"What is optical sizing and how can it help your brand? - Monotype"
1685:
1546:
1502:
1414:
1385:
1173:
1165:
1029:
997:
838:
834:
735:
731:
530:
provides the following rough mapping to typical font weight names:
520:
512:
505:
475:
313:
242:
87:
42:
2379:
1270:
884:. While most of these use uppercase characters only, some labeled
484:
has a monoline design and all strokes increase in weight in bold.
4089:
3875:
3726:
3637:
3569:
3505:
3299:'s characters were cast. The typeface was the "Falcon" design by
3154:
1356:. Single-storey characters are more commonly found as default in
1326:
1254:
1238:
1189:
1017:
886:
761:
697:
421:
386:, or in a specific design to make it be of more visual interest.
278:
274:
2361:
3992:
3609:
3128:
1410:
1199:
Kerning brings A and V closer with their serifs over each other
487:
296:
technology) or in entire lines of type at one time (as in the
55:
typeface, with samples of the three of the fonts in the family
3835:
3574:
3542:
3390:
1749:"Fancy Instagram Fonts Generator 😍(𝓬𝓸𝓹𝔂 ⒶⓃⒹ 𝓅𝒶𝓈𝓉𝑒)"
1466:
1401:
1379:
font in a word-processor with two character variants selected
1303:
1222:
1205:
1195:
864:
845:
origins and the scripts are used for different purposes. The
842:
213:". The term refers to the process of casting metal type at a
95:
2248:
1469:; a well-known font intended specifically for school use is
1318:(Egyptian) or semi-serif fonts with the same base outlines.
4191:
3982:
1927:"Choosing typefaces that have optical sizes - Google Fonts"
867:, although these often depend on application, area or era.
830:
282:
1969:
1417:, intended for academic publishing, uses ss15 to enable a
1302:
Although most typefaces are characterised by their use of
266:
font containing 14 uppercase "A"s, and 34 lowercase "A"s.
187:
910:
The typeface Avenir Next in condensed and regular widths.
413:
absolute stroke weight or density of glyphs in the font.
281:", because the strips used for line spacing were made of
241:) house the word "font" would refer to a complete set of
2468:
2169:"Book Review: Size-specific Adjustments to Type Designs"
460:. Deviants of these were the "6 series" (italics), e.g.
2912:"Specimen Book of Monotype Printing Types (photograph)"
2522:
500:
The first algorithmic description of fonts was made by
90:. Each font is a matched set of type, with a piece (a "
2584:
2416:
468:
etc., and the "8 series" (condensed italics), e.g. 68
2551:
2298:
1086:: Extremely large sizes, usually larger than 72 point
992:
The width of a font will depend on its intended use.
958:
to achieve narrower or smaller words, especially for
859:
also have different styles, in this case for example
190:
184:
1476:
Besides alternate characters, in the metal type era
193:
2003:"How To Choose The Right Face For A Beautiful Body"
1571:"Typefaces vs. fonts: here's how they're different"
181:
3330:Fiedl, Frederich, Nicholas Ott and Bernard Stein.
2876:"Calligraphic-style Fonts: Problems and Solutions"
2493:
2443:
1132:is labelled "Micro", while the display variant of
343:The regular or standard font is sometimes labeled
2643:
2354:
494:increase the weight of the thicker strokes more.
479:Bold and regular versions of three common fonts.
4399:
2737:"Type Designer Showcase: Robin Nicholas – Arial"
942:. Both can be further classified by prepending
464:etc., the "7 series" (condensed versions), e.g.
2140:
27:Particular size, weight and style of a typeface
3157:. The Font Bureau, Inc. p. Introduction.
2973:
1598:
1000:has large width to increase readability. The "
4343:Intellectual property protection of typefaces
3406:
3885:
2197:
2068:
2066:
312:(s) that the typeface supports. In European
3064:"1952 | 'Eisenhower,' a True Campaign Logo"
2143:"Size-specific Adjustments to Type Designs"
1857:
1800:Porchez, Jean François (January 25, 2012).
1388:and the application used can support this.
3413:
3399:
1176:(the height of the lowercase letters) and
4369:Punctuation and other typographic symbols
2281:"Helvetica Now Variable – Variable Fonts"
2063:
1098:: Large text, typically about 14–18 point
821:
780:), giving an exaggeratedly italic style.
523:, where 400 is regular (roman or plain).
2000:
1501:
1370:
1340:
1194:
1150:
1136:is called "Titling". Another example is
1011:
905:
812:
806:"т" may look like a smaller form of its
730:
474:
396:
224:
142:
101:In the 21st century, with the advent of
46:
2072:
1799:
1292:Italic capital swashes in the typeface
1124:: Very small, typically about 4–8 point
14:
4400:
3097:"Shinntype Modern Suite specification"
3061:
2943:"Williams Caslon Text features manual"
2883:The Edward Johnston Foundation Journal
2842:
2687:from the original on 29 September 2021
2329:
2031:
1891:
1869:from the original on 24 September 2021
1830:
1348:'s regular and schoolbook versions of
817:'Upright italic' within normal italics
677:, but in some typefaces it is bolder.
508:description language and interpreter.
113:" (sample shown here) includes fonts "
3394:
3349:Princeton Architectural Press: 2004.
3135:from the original on 17 November 2019
3000:
2705:
2582:
2081:from the original on 25 November 2021
2013:from the original on 19 November 2021
1904:from the original on December 1, 2017
1839:from the original on 24 November 2021
1714:
1336:
1310:that incorporate serif (antiqua) and
3245:from the original on 15 January 2016
3228:
3043:from the original on 27 October 2019
2892:from the original on 25 January 2021
2785:
2674:
2656:from the original on 9 December 2021
2625:from the original on 9 December 2021
2387:"The 68 individually designed fonts"
2236:from the original on 7 December 2021
2179:from the original on 5 December 2021
1812:from the original on 1 November 2021
1092:: Large sizes, typically 19–72 point
1073:
1016:A set of optical sizes developed at
83:
3013:from the original on 14 August 2019
2940:
2922:from the original on 28 August 2021
2873:
2855:from the original on 14 August 2019
2594:from the original on 11 August 2021
2198:Kupferschmid, Indra (13 May 2012).
1729:from the original on 28 August 2021
1696:from the original on 14 August 2021
328:, the main such properties are the
262:meaning that it would be a size 12-
24:
3309:
3076:from the original on 27 April 2021
2845:"Why a better OpenType UI matters"
2824:from the original on 30 March 2019
2798:from the original on 22 April 2021
2739:. Monotype Imaging. Archived from
2417:Slimbach, Souser, Slye, Twardoch.
2210:from the original on 7 August 2021
1833:"Inside the fonts: grading Bennet"
1400:popular in other countries, while
1040:Optical sizing declined in use as
303:
25:
4429:
3334:Black Dog & Leventhal: 1998.
3094:
2955:from the original on 1 March 2021
2166:
2125:
2107:from the original on 11 July 2017
1892:Schott, Ben (February 23, 2013).
1759:from the original on Feb 2, 2024.
1314:(grotesque) or even intermediate
4382:
4381:
3001:Coles, Stephen (20 March 2016).
2843:Peters, Yves (24 October 2014).
2612:
2037:"Optical scale in type founding"
1409:, a revival of the 18th century
1285:
1269:
177:
3275:
3266:
3222:
3211:from the original on 2021-04-20
3197:
3186:from the original on 2015-09-05
3180:"Neue Haas Grotesk - Font News"
3172:
3161:from the original on 2021-05-09
3147:
3121:
3088:
3055:
3025:
2994:
2967:
2934:
2904:
2867:
2836:
2810:
2779:
2768:from the original on 2017-02-15
2754:
2729:
2699:
2668:
2637:
2606:
2576:
2565:from the original on 2021-12-22
2540:from the original on 2021-03-08
2511:from the original on 2021-03-08
2482:from the original on 2023-05-13
2457:from the original on 2023-05-13
2410:
2399:from the original on 2023-05-13
2368:from the original on 2023-04-17
2343:from the original on 2023-05-02
2318:from the original on 2023-05-13
2287:from the original on 2023-04-14
2262:from the original on 2023-05-13
2222:
2191:
2160:
2149:from the original on 2021-09-04
2119:
2093:
2025:
1994:
1983:from the original on 2023-05-13
1958:from the original on 2023-05-13
1933:from the original on 2023-05-13
1885:
1851:
1824:
1717:"Equity: specimen & manual"
1667:from the original on 2017-05-25
1613:from the original on 2017-06-29
1581:from the original on 2023-06-29
1007:
973:(for example, those resembling
3420:
3062:Dunlap, David (23 June 2016).
2706:Haley, Allan (May–June 2007).
2256:"Roboto Flex – Variable Fonts"
1894:"Assembling the Billing Block"
1831:Peters, Yves (April 4, 2017).
1793:
1763:
1741:
1708:
1678:
1649:
1624:
1592:
1563:
1172:(the height of the capitals),
738:italics and allowed variations
347:, both to distinguish it from
109:. For instance, the typeface "
13:
1:
4338:History of Western typography
3379:Yale University Press: 2006.
3319:Yale University Press: 2004.
2820:. Hoefler & Frere-Jones.
2478:. Hoefler & Frere-Jones.
2103:. Hoefler & Frere-Jones.
2001:Reynolds, Dan (21 May 2012).
1777:. Font Bureau. Archived from
1557:
1108:, typically about 10–13 point
855:Cursive-only scripts such as
220:
175:, but in any case pronounced
4185:traditional point-size names
1977:"Identifont - Optical sizes"
1118:: Typically about 8–10 point
979:proportional and fixed-width
158:
7:
3438:Canons of page construction
3364:Cassell Illustrated: 2005.
3362:The Encyclopaedia of Fonts.
3102:. Shinntype. Archived from
1606:Online Etymology Dictionary
1530:
965:Most typefaces either have
330:stroke width, called weight
329:
287:part lead, antimony and tin
106:
10:
4434:
3303:, ultimately never issued.
3285:of the font describes the
3129:"Paciencias specification"
2976:Information Design Journal
2677:"Some history about Arial"
2200:"Multi-axes type families"
1146:
337:
333:
40:
29:
4377:
4361:
4293:
4246:
4200:
4140:
4023:
3963:
3921:
3898:
3866:
3826:
3815:
3760:
3714:
3666:
3618:
3595:Subscript and superscript
3550:
3541:
3491:
3428:
3377:An A–Z of Type Designers.
3291:(not width) of the metal
3207:. Christianschwartz.com.
2530:"Linotype Times Eighteen"
1863:"Typeface Mechanics: 002"
1692:(Press release). Google.
1661:Mozilla Developer Network
1632:"Basic Letterpress Tools"
1497:
1260:
768:more commonly or gaining
706:high-gloss magazine paper
634:Extra-black / Ultra-black
554:Ultra-light / Extra-light
528:Mozilla Developer Network
486:Less monoline fonts like
389:
4353:Vox-ATypI classification
3483:Intentionally blank page
3301:William Addison Dwiggins
3260:
2585:"Concourse specimen pdf"
2145:. Just Another Foundry.
960:justified text alignment
901:
726:
721:
401:Weights of the typeface
2681:Paul Shaw Letter Design
2644:Shaw (& Nicholas).
2559:"Times New Roman Seven"
2424:. Adobe. Archived from
2306:"Fonts for Mathematics"
1599:Douglas Harper (2001).
1448:); these may be called
614:Extra-bold / Ultra-bold
167:(traditionally spelled
3886:
2988:10.1075/idj.11.2.04wal
2646:"Arial addendum no. 4"
2615:"Arial Addendum no. 3"
1514:
1380:
1368:
1200:
1156:
1056:Helvetica Now Variable
1026:large-size display use
1021:
911:
822:Other style attributes
818:
764:style, possibly using
739:
673:is often lighter than
497:
470:Bold Condensed Italics
405:
373:Bulmer regular regular
245:that would be used to
237:In a manual printing (
234:
155:
84:size, weight and style
56:
34:. For other uses, see
2786:Schwartz, Christian.
2141:Ahrens and Mugikura.
2073:Frere-Jones, Tobias.
1505:
1374:
1344:
1198:
1154:
1015:
909:
816:
734:
594:Semi-bold / Demi-bold
478:
400:
365:Bulmer regular italic
228:
146:
50:
36:Font (disambiguation)
4223:Typographic features
2708:"Is Arial Dead Yet?"
2583:Butterick, Matthew.
2501:"Linotype Times Ten"
2451:"Helvetica Now Font"
2077:. Frere-Jones Type.
1865:. Frere-Jones Type.
1715:Butterick, Matthew.
1407:Williams Caslon Text
1184:depth, and the font
1035:Chauncey H. Griffith
831:Japanese syllabaries
80:Commonwealth English
4348:Technical lettering
4247:Typography in other
3988:Hanging punctuation
3281:In metal type, the
3155:"Neue Haas Grotesk"
3109:on 25 February 2021
2419:"Arno Pro specimen"
2362:"mtpro2 - PCTeXWeb"
2232:. Production Type.
1859:Frere-Jones, Tobias
1575:Shaping Design Blog
1419:variant form of "e"
1102:"Regular" or "Text"
466:57 Medium Condensed
369:Bulmer bold regular
4311:Handwriting script
4238:Desktop publishing
4208:Character encoding
4201:Digital typography
3715:Horizontal aspects
3668:Visual distinction
3526:Widows and orphans
3317:20th Century Type.
3315:Blackwell, Lewis.
3229:Slimbach, Robert.
3069:The New York Times
2941:Berkson, William.
2918:. 6 January 2011.
2818:"What's OpenType?"
2762:"Liberation Fonts"
2712:Step Inside Design
2101:"Requiem features"
1898:The New York Times
1520:Christian Schwartz
1515:
1479:The New York Times
1381:
1369:
1367:, shown at bottom.
1337:Character variants
1276:Serifs within the
1201:
1157:
1022:
912:
819:
740:
686:Monotype Grotesque
498:
406:
314:alphabetic scripts
235:
156:
117:" (or "Regular"),
82:) is a particular
57:
4395:
4394:
4142:Typographic units
4060:For position only
3959:
3958:
3811:
3810:
3375:Macmillan, Neil.
2849:i love typography
2476:"Hoefler Titling"
2431:on 30 August 2014
2130:. pp. 52–55.
2128:Letters of Credit
1781:on 12 August 2015
1552:List of typefaces
1524:Neue Haas Grotesk
1253:software such as
1074:Naming convention
643:
642:
539:Numerical values
16:(Redirected from
4425:
4385:
4384:
4362:Related template
4294:Related articles
4095:Phototypesetting
3949:reverse-contrast
3934:Display typeface
3891:
3868:Blackletter type
3824:
3823:
3761:Vertical aspects
3742:Sentence spacing
3552:Typeface anatomy
3548:
3547:
3415:
3408:
3401:
3392:
3391:
3304:
3279:
3273:
3270:
3255:
3254:
3252:
3250:
3231:"Acumin - usage"
3226:
3220:
3219:
3217:
3216:
3205:"Schwartzco Inc"
3201:
3195:
3194:
3192:
3191:
3182:. Linotype.com.
3176:
3170:
3169:
3167:
3166:
3151:
3145:
3144:
3142:
3140:
3131:. Typographias.
3125:
3119:
3118:
3116:
3114:
3108:
3101:
3092:
3086:
3085:
3083:
3081:
3059:
3053:
3052:
3050:
3048:
3029:
3023:
3022:
3020:
3018:
2998:
2992:
2991:
2971:
2965:
2964:
2962:
2960:
2954:
2947:
2938:
2932:
2931:
2929:
2927:
2908:
2902:
2901:
2899:
2897:
2891:
2880:
2871:
2865:
2864:
2862:
2860:
2840:
2834:
2833:
2831:
2829:
2814:
2808:
2807:
2805:
2803:
2783:
2777:
2776:
2774:
2773:
2758:
2752:
2751:
2749:
2748:
2733:
2727:
2726:
2724:
2723:
2718:on July 19, 2011
2714:. Archived from
2703:
2697:
2696:
2694:
2692:
2672:
2666:
2665:
2663:
2661:
2641:
2635:
2634:
2632:
2630:
2610:
2604:
2603:
2601:
2599:
2593:
2580:
2574:
2573:
2571:
2570:
2555:
2549:
2548:
2546:
2545:
2526:
2520:
2519:
2517:
2516:
2497:
2491:
2490:
2488:
2487:
2472:
2466:
2465:
2463:
2462:
2447:
2441:
2440:
2438:
2436:
2430:
2423:
2414:
2408:
2407:
2405:
2404:
2398:
2391:
2383:
2377:
2376:
2374:
2373:
2358:
2352:
2351:
2349:
2348:
2333:
2327:
2326:
2324:
2323:
2317:
2310:
2302:
2296:
2295:
2293:
2292:
2277:
2271:
2270:
2268:
2267:
2252:
2246:
2245:
2243:
2241:
2226:
2220:
2219:
2217:
2215:
2195:
2189:
2188:
2186:
2184:
2167:Coles, Stephen.
2164:
2158:
2157:
2155:
2154:
2138:
2132:
2131:
2123:
2117:
2116:
2114:
2112:
2097:
2091:
2090:
2088:
2086:
2070:
2061:
2060:
2058:
2056:
2047:. Archived from
2029:
2023:
2022:
2020:
2018:
1998:
1992:
1991:
1989:
1988:
1973:
1967:
1966:
1964:
1963:
1954:. 6 April 2019.
1948:
1942:
1941:
1939:
1938:
1923:
1914:
1913:
1911:
1909:
1889:
1883:
1882:
1876:
1874:
1855:
1849:
1848:
1846:
1844:
1835:. Type Network.
1828:
1822:
1821:
1819:
1817:
1797:
1791:
1790:
1788:
1786:
1767:
1761:
1760:
1745:
1739:
1738:
1736:
1734:
1728:
1721:
1712:
1706:
1705:
1703:
1701:
1682:
1676:
1675:
1673:
1672:
1653:
1647:
1646:
1644:
1643:
1634:. Archived from
1628:
1622:
1621:
1619:
1618:
1596:
1590:
1589:
1587:
1586:
1567:
1459:Akzidenz-Grotesk
1432:(sometimes also
1289:
1273:
1243:Liberation fonts
1216:included in the
574:Normal / regular
533:
532:
462:46 Light Italics
200:
199:
196:
195:
192:
189:
186:
183:
72:American English
21:
4433:
4432:
4428:
4427:
4426:
4424:
4423:
4422:
4398:
4397:
4396:
4391:
4373:
4357:
4289:
4249:writing systems
4248:
4242:
4196:
4136:
4080:Microtypography
4019:
3955:
3917:
3894:
3862:
3819:classifications
3818:
3807:
3756:
3710:
3676:Blackboard bold
3662:
3614:
3537:
3487:
3478:Recto and verso
3424:
3419:
3360:Headley, Gwyn.
3345:Lupton, Ellen.
3312:
3310:Further reading
3307:
3280:
3276:
3271:
3267:
3263:
3258:
3248:
3246:
3227:
3223:
3214:
3212:
3203:
3202:
3198:
3189:
3187:
3178:
3177:
3173:
3164:
3162:
3153:
3152:
3148:
3138:
3136:
3127:
3126:
3122:
3112:
3110:
3106:
3099:
3093:
3089:
3079:
3077:
3060:
3056:
3046:
3044:
3031:
3030:
3026:
3016:
3014:
3003:"Design Museum"
2999:
2995:
2972:
2968:
2958:
2956:
2952:
2948:. Font Bureau.
2945:
2939:
2935:
2925:
2923:
2910:
2909:
2905:
2895:
2893:
2889:
2878:
2874:Benedek, Andy.
2872:
2868:
2858:
2856:
2841:
2837:
2827:
2825:
2816:
2815:
2811:
2801:
2799:
2784:
2780:
2771:
2769:
2760:
2759:
2755:
2746:
2744:
2735:
2734:
2730:
2721:
2719:
2704:
2700:
2690:
2688:
2675:McDonald, Rob.
2673:
2669:
2659:
2657:
2642:
2638:
2628:
2626:
2611:
2607:
2597:
2595:
2591:
2581:
2577:
2568:
2566:
2557:
2556:
2552:
2543:
2541:
2528:
2527:
2523:
2514:
2512:
2499:
2498:
2494:
2485:
2483:
2474:
2473:
2469:
2460:
2458:
2449:
2448:
2444:
2434:
2432:
2428:
2421:
2415:
2411:
2402:
2400:
2396:
2389:
2385:
2384:
2380:
2371:
2369:
2360:
2359:
2355:
2346:
2344:
2339:. 17 May 2018.
2335:
2334:
2330:
2321:
2319:
2315:
2308:
2304:
2303:
2299:
2290:
2288:
2279:
2278:
2274:
2265:
2263:
2254:
2253:
2249:
2239:
2237:
2228:
2227:
2223:
2213:
2211:
2196:
2192:
2182:
2180:
2165:
2161:
2152:
2150:
2139:
2135:
2126:Tracy, Walter.
2124:
2120:
2110:
2108:
2099:
2098:
2094:
2084:
2082:
2071:
2064:
2054:
2052:
2051:on 8 March 2021
2030:
2026:
2016:
2014:
1999:
1995:
1986:
1984:
1975:
1974:
1970:
1961:
1959:
1950:
1949:
1945:
1936:
1934:
1925:
1924:
1917:
1907:
1905:
1890:
1886:
1872:
1870:
1856:
1852:
1842:
1840:
1829:
1825:
1815:
1813:
1798:
1794:
1784:
1782:
1771:"Benton Modern"
1769:
1768:
1764:
1747:
1746:
1742:
1732:
1730:
1726:
1719:
1713:
1709:
1699:
1697:
1684:
1683:
1679:
1670:
1668:
1655:
1654:
1650:
1641:
1639:
1630:
1629:
1625:
1616:
1614:
1597:
1593:
1584:
1582:
1569:
1568:
1564:
1560:
1533:
1500:
1339:
1300:
1299:
1298:
1297:
1296:
1290:
1282:
1281:
1280:typeface family
1274:
1263:
1235:ITC Avant Garde
1149:
1104:: Usually left
1076:
1010:
994:Times New Roman
904:
824:
799:Computer Modern
729:
724:
690:multiple master
639:
629:
619:
609:
599:
589:
579:
569:
559:
549:
544:Thin / Hairline
495:
485:
480:
418:Adrian Frutiger
392:
338:character width
306:
304:Characteristics
223:
208:
201:) derives from
180:
176:
173:British English
161:
153:composing stick
45:
39:
28:
23:
22:
15:
12:
11:
5:
4431:
4421:
4420:
4415:
4410:
4393:
4392:
4390:
4389:
4378:
4375:
4374:
4372:
4371:
4365:
4363:
4359:
4358:
4356:
4355:
4350:
4345:
4340:
4335:
4330:
4325:
4320:
4319:
4318:
4313:
4308:
4297:
4295:
4291:
4290:
4288:
4287:
4286:
4285:
4283:National Fonts
4275:
4270:
4269:
4268:
4258:
4252:
4250:
4244:
4243:
4241:
4240:
4235:
4230:
4228:Web typography
4225:
4220:
4215:
4210:
4204:
4202:
4198:
4197:
4195:
4194:
4189:
4188:
4187:
4177:
4172:
4167:
4162:
4157:
4152:
4146:
4144:
4138:
4137:
4135:
4134:
4133:
4132:
4122:
4117:
4112:
4107:
4105:Reversing type
4102:
4097:
4092:
4087:
4082:
4077:
4072:
4067:
4062:
4057:
4052:
4051:
4050:
4045:
4035:
4029:
4027:
4021:
4020:
4018:
4017:
4012:
4007:
4002:
4001:
4000:
3990:
3985:
3980:
3974:
3972:
3961:
3960:
3957:
3956:
3954:
3953:
3952:
3951:
3946:
3941:
3931:
3925:
3923:
3919:
3918:
3916:
3915:
3910:
3904:
3902:
3896:
3895:
3893:
3892:
3883:
3878:
3872:
3870:
3864:
3863:
3861:
3860:
3855:
3854:
3853:
3848:
3843:
3832:
3830:
3821:
3813:
3812:
3809:
3808:
3806:
3805:
3800:
3795:
3790:
3785:
3780:
3775:
3770:
3764:
3762:
3758:
3757:
3755:
3754:
3749:
3744:
3739:
3734:
3732:Letter-spacing
3729:
3724:
3718:
3716:
3712:
3711:
3709:
3708:
3703:
3698:
3693:
3688:
3686:Color printing
3683:
3678:
3672:
3670:
3664:
3663:
3661:
3660:
3655:
3650:
3645:
3640:
3635:
3630:
3624:
3622:
3620:Capitalization
3616:
3615:
3613:
3612:
3607:
3602:
3597:
3592:
3587:
3582:
3577:
3572:
3567:
3562:
3556:
3554:
3545:
3539:
3538:
3536:
3535:
3534:
3533:
3523:
3518:
3513:
3508:
3503:
3497:
3495:
3489:
3488:
3486:
3485:
3480:
3475:
3470:
3465:
3460:
3458:Page numbering
3455:
3450:
3445:
3440:
3434:
3432:
3426:
3425:
3418:
3417:
3410:
3403:
3395:
3389:
3388:
3373:
3358:
3343:
3328:
3311:
3308:
3306:
3305:
3274:
3264:
3262:
3259:
3257:
3256:
3221:
3196:
3171:
3146:
3120:
3087:
3054:
3033:"Bembo Infant"
3024:
2993:
2982:(3): 106–122.
2966:
2933:
2903:
2866:
2835:
2809:
2778:
2753:
2728:
2698:
2667:
2636:
2605:
2575:
2550:
2521:
2492:
2467:
2442:
2409:
2378:
2353:
2328:
2297:
2272:
2247:
2221:
2190:
2159:
2133:
2118:
2092:
2062:
2024:
1993:
1968:
1943:
1915:
1884:
1850:
1823:
1792:
1762:
1740:
1707:
1677:
1648:
1623:
1591:
1577:. 2021-11-09.
1561:
1559:
1556:
1555:
1554:
1549:
1544:
1542:Font embedding
1539:
1532:
1529:
1499:
1496:
1444:and the digit
1375:The Open Type
1365:Century Gothic
1363:fonts such as
1338:
1335:
1291:
1284:
1283:
1275:
1268:
1267:
1266:
1265:
1264:
1262:
1259:
1247:Croscore fonts
1227:Century Gothic
1148:
1145:
1126:
1125:
1119:
1109:
1099:
1093:
1087:
1075:
1072:
1009:
1006:
987:lining figures
956:letter-spacing
903:
900:
823:
820:
728:
725:
723:
720:
641:
640:
637:
635:
631:
630:
627:
625:
621:
620:
617:
615:
611:
610:
607:
605:
601:
600:
597:
595:
591:
590:
587:
585:
581:
580:
577:
575:
571:
570:
567:
565:
561:
560:
557:
555:
551:
550:
547:
545:
541:
540:
537:
403:Neue Helvetica
391:
388:
334:style or angle
305:
302:
222:
219:
160:
157:
151:arranged on a
103:computer fonts
26:
9:
6:
4:
3:
2:
4430:
4419:
4416:
4414:
4411:
4409:
4406:
4405:
4403:
4388:
4380:
4379:
4376:
4370:
4367:
4366:
4364:
4360:
4354:
4351:
4349:
4346:
4344:
4341:
4339:
4336:
4334:
4331:
4329:
4326:
4324:
4321:
4317:
4314:
4312:
4309:
4307:
4304:
4303:
4302:
4299:
4298:
4296:
4292:
4284:
4281:
4280:
4279:
4276:
4274:
4271:
4267:
4264:
4263:
4262:
4259:
4257:
4254:
4253:
4251:
4245:
4239:
4236:
4234:
4233:Bézier curves
4231:
4229:
4226:
4224:
4221:
4219:
4218:Rasterization
4216:
4214:
4211:
4209:
4206:
4205:
4203:
4199:
4193:
4190:
4186:
4183:
4182:
4181:
4178:
4176:
4173:
4171:
4168:
4166:
4163:
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4158:
4156:
4153:
4151:
4148:
4147:
4145:
4143:
4139:
4131:
4128:
4127:
4126:
4123:
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4118:
4116:
4113:
4111:
4108:
4106:
4103:
4101:
4098:
4096:
4093:
4091:
4088:
4086:
4083:
4081:
4078:
4076:
4075:Microprinting
4073:
4071:
4068:
4066:
4063:
4061:
4058:
4056:
4053:
4049:
4046:
4044:
4041:
4040:
4039:
4036:
4034:
4033:Etaoin shrdlu
4031:
4030:
4028:
4026:
4022:
4016:
4013:
4011:
4008:
4006:
4003:
3999:
3996:
3995:
3994:
3991:
3989:
3986:
3984:
3981:
3979:
3976:
3975:
3973:
3970:
3966:
3962:
3950:
3947:
3945:
3942:
3940:
3937:
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3935:
3932:
3930:
3927:
3926:
3924:
3920:
3914:
3911:
3909:
3906:
3905:
3903:
3901:
3897:
3890:
3889:
3884:
3882:
3879:
3877:
3874:
3873:
3871:
3869:
3865:
3859:
3856:
3852:
3849:
3847:
3844:
3842:
3839:
3838:
3837:
3834:
3833:
3831:
3829:
3825:
3822:
3820:
3814:
3804:
3801:
3799:
3796:
3794:
3791:
3789:
3786:
3784:
3781:
3779:
3776:
3774:
3771:
3769:
3766:
3765:
3763:
3759:
3753:
3750:
3748:
3745:
3743:
3740:
3738:
3735:
3733:
3730:
3728:
3725:
3723:
3720:
3719:
3717:
3713:
3707:
3704:
3702:
3699:
3697:
3694:
3692:
3689:
3687:
3684:
3682:
3679:
3677:
3674:
3673:
3671:
3669:
3665:
3659:
3656:
3654:
3651:
3649:
3646:
3644:
3641:
3639:
3636:
3634:
3631:
3629:
3626:
3625:
3623:
3621:
3617:
3611:
3608:
3606:
3603:
3601:
3598:
3596:
3593:
3591:
3588:
3586:
3583:
3581:
3578:
3576:
3573:
3571:
3568:
3566:
3563:
3561:
3558:
3557:
3555:
3553:
3549:
3546:
3544:
3540:
3532:
3529:
3528:
3527:
3524:
3522:
3519:
3517:
3514:
3512:
3509:
3507:
3504:
3502:
3499:
3498:
3496:
3494:
3490:
3484:
3481:
3479:
3476:
3474:
3471:
3469:
3466:
3464:
3461:
3459:
3456:
3454:
3451:
3449:
3446:
3444:
3441:
3439:
3436:
3435:
3433:
3431:
3427:
3423:
3416:
3411:
3409:
3404:
3402:
3397:
3396:
3393:
3386:
3385:0-300-11151-7
3382:
3378:
3374:
3371:
3370:1-84403-206-X
3367:
3363:
3359:
3356:
3355:1-56898-448-0
3352:
3348:
3344:
3341:
3340:1-57912-023-7
3337:
3333:
3329:
3326:
3325:0-300-10073-6
3322:
3318:
3314:
3313:
3302:
3298:
3295:on which the
3294:
3290:
3289:
3284:
3278:
3269:
3265:
3244:
3240:
3239:Adobe Systems
3236:
3232:
3225:
3210:
3206:
3200:
3185:
3181:
3175:
3160:
3156:
3150:
3134:
3130:
3124:
3105:
3098:
3095:Shinn, Nick.
3091:
3075:
3071:
3070:
3065:
3058:
3042:
3038:
3034:
3028:
3012:
3008:
3004:
2997:
2989:
2985:
2981:
2977:
2970:
2951:
2944:
2937:
2921:
2917:
2913:
2907:
2888:
2884:
2877:
2870:
2854:
2850:
2846:
2839:
2823:
2819:
2813:
2797:
2793:
2789:
2782:
2767:
2763:
2757:
2743:on 2011-07-14
2742:
2738:
2732:
2717:
2713:
2709:
2702:
2686:
2682:
2678:
2671:
2655:
2651:
2647:
2640:
2624:
2620:
2616:
2609:
2590:
2586:
2579:
2564:
2560:
2554:
2539:
2535:
2531:
2525:
2510:
2506:
2502:
2496:
2481:
2477:
2471:
2456:
2452:
2446:
2427:
2420:
2413:
2395:
2388:
2382:
2367:
2363:
2357:
2342:
2338:
2332:
2314:
2307:
2301:
2286:
2282:
2276:
2261:
2257:
2251:
2235:
2231:
2225:
2209:
2205:
2204:kupferschrift
2201:
2194:
2178:
2174:
2170:
2163:
2148:
2144:
2137:
2129:
2122:
2106:
2102:
2096:
2080:
2076:
2069:
2067:
2050:
2046:
2042:
2038:
2034:
2033:Carter, Harry
2028:
2012:
2008:
2004:
1997:
1982:
1978:
1972:
1957:
1953:
1947:
1932:
1928:
1922:
1920:
1903:
1899:
1895:
1888:
1881:
1868:
1864:
1860:
1854:
1838:
1834:
1827:
1811:
1807:
1803:
1796:
1780:
1776:
1772:
1766:
1758:
1754:
1750:
1744:
1725:
1718:
1711:
1695:
1691:
1687:
1681:
1666:
1662:
1658:
1657:"font-weight"
1652:
1638:on 2008-12-24
1637:
1633:
1627:
1612:
1608:
1607:
1602:
1595:
1580:
1576:
1572:
1566:
1562:
1553:
1550:
1548:
1545:
1543:
1540:
1538:
1535:
1534:
1528:
1525:
1521:
1512:
1508:
1504:
1495:
1493:
1492:"Rockefeller"
1489:
1488:"Chamberlain"
1485:
1481:
1480:
1474:
1472:
1468:
1464:
1460:
1455:
1451:
1447:
1443:
1439:
1435:
1431:
1427:
1422:
1420:
1416:
1412:
1408:
1403:
1399:
1395:
1389:
1387:
1378:
1373:
1366:
1362:
1359:
1355:
1351:
1347:
1343:
1334:
1332:
1328:
1324:
1319:
1317:
1313:
1309:
1308:superfamilies
1305:
1295:
1288:
1279:
1272:
1258:
1256:
1252:
1248:
1245:and Google's
1244:
1240:
1236:
1232:
1228:
1224:
1219:
1215:
1214:Core Font Set
1210:
1207:
1197:
1193:
1191:
1187:
1183:
1179:
1175:
1171:
1167:
1163:
1162:
1153:
1144:
1141:
1139:
1135:
1131:
1130:Helvetica Now
1123:
1120:
1117:
1115:
1110:
1107:
1103:
1100:
1097:
1094:
1091:
1088:
1085:
1082:
1081:
1080:
1071:
1069:
1065:
1059:
1057:
1053:
1048:
1047:variable font
1043:
1038:
1036:
1031:
1027:
1019:
1014:
1005:
1003:
1002:billing block
999:
995:
990:
988:
984:
980:
976:
972:
968:
963:
961:
957:
952:
949:
945:
941:
937:
933:
929:
925:
921:
917:
908:
899:
897:
895:
894:Titling fonts
891:
889:
888:
883:
879:
878:
873:
868:
866:
862:
858:
853:
851:
849:
844:
840:
836:
832:
827:
815:
811:
809:
805:
800:
795:
792:
791:
786:
781:
779:
775:
771:
767:
763:
759:
754:
752:
748:
746:
737:
733:
719:
717:
715:
710:
707:
701:
699:
695:
691:
687:
683:
678:
676:
672:
668:
664:
660:
656:
651:
648:
636:
633:
632:
626:
624:Heavy / Black
623:
622:
616:
613:
612:
606:
603:
602:
596:
593:
592:
586:
583:
582:
576:
573:
572:
566:
563:
562:
556:
553:
552:
546:
543:
542:
538:
535:
534:
531:
529:
524:
522:
518:
514:
509:
507:
503:
493:
489:
483:
477:
473:
471:
467:
463:
459:
455:
451:
447:
443:
439:
435:
431:
427:
424:typeface: 35
423:
419:
414:
410:
404:
399:
395:
387:
385:
380:
378:
374:
370:
366:
362:
358:
354:
350:
346:
341:
339:
335:
331:
327:
323:
319:
315:
311:
301:
300:technology).
299:
295:
290:
288:
284:
280:
276:
272:
267:
265:
259:
257:
253:
248:
244:
240:
232:
227:
218:
216:
212:
207:
204:
203:Middle French
198:
174:
170:
166:
154:
150:
145:
141:
139:
134:
132:
130:
124:
122:
116:
112:
108:
104:
99:
97:
93:
89:
85:
81:
77:
73:
69:
65:
62:
54:
49:
44:
37:
33:
32:Computer font
19:
4333:Type foundry
4170:Metric units
4100:Punchcutting
4085:Movable type
4055:Font catalog
4037:
4015:Vertical bar
3752:Word spacing
3722:Figure space
3605:Text figures
3448:Even working
3376:
3361:
3346:
3331:
3316:
3286:
3277:
3268:
3247:. Retrieved
3234:
3224:
3213:. Retrieved
3199:
3188:. Retrieved
3174:
3163:. Retrieved
3149:
3137:. Retrieved
3123:
3111:. Retrieved
3104:the original
3090:
3078:. Retrieved
3067:
3057:
3045:. Retrieved
3036:
3027:
3015:. Retrieved
3007:Fonts In Use
3006:
2996:
2979:
2975:
2969:
2957:. Retrieved
2936:
2924:. Retrieved
2915:
2906:
2896:21 September
2894:. Retrieved
2882:
2869:
2857:. Retrieved
2848:
2838:
2826:. Retrieved
2812:
2800:. Retrieved
2791:
2781:
2770:. Retrieved
2756:
2745:. Retrieved
2741:the original
2731:
2720:. Retrieved
2716:the original
2711:
2701:
2689:. Retrieved
2680:
2670:
2658:. Retrieved
2649:
2639:
2627:. Retrieved
2618:
2613:Shaw, Paul.
2608:
2596:. Retrieved
2578:
2567:. Retrieved
2553:
2542:. Retrieved
2533:
2524:
2513:. Retrieved
2504:
2495:
2484:. Retrieved
2470:
2459:. Retrieved
2445:
2433:. Retrieved
2426:the original
2412:
2401:. Retrieved
2381:
2370:. Retrieved
2356:
2345:. Retrieved
2331:
2320:. Retrieved
2300:
2289:. Retrieved
2275:
2264:. Retrieved
2250:
2238:. Retrieved
2224:
2212:. Retrieved
2203:
2193:
2181:. Retrieved
2173:Typographica
2172:
2162:
2151:. Retrieved
2136:
2127:
2121:
2109:. Retrieved
2095:
2083:. Retrieved
2055:15 September
2053:. Retrieved
2049:the original
2044:
2040:
2027:
2017:13 September
2015:. Retrieved
2006:
1996:
1985:. Retrieved
1971:
1960:. Retrieved
1946:
1935:. Retrieved
1906:. Retrieved
1897:
1887:
1878:
1871:. Retrieved
1853:
1843:25 September
1841:. Retrieved
1826:
1814:. Retrieved
1806:Typographica
1805:
1795:
1783:. Retrieved
1779:the original
1774:
1765:
1752:
1743:
1731:. Retrieved
1710:
1698:. Retrieved
1689:
1680:
1669:. Retrieved
1660:
1651:
1640:. Retrieved
1636:the original
1626:
1615:. Retrieved
1604:
1594:
1583:. Retrieved
1574:
1565:
1516:
1511:text figures
1507:Hoefler Text
1484:"Eisenhower"
1477:
1475:
1471:Sassoon Sans
1453:
1449:
1445:
1441:
1437:
1433:
1429:
1425:
1423:
1405:example, in
1390:
1382:
1353:
1349:
1330:
1320:
1306:, there are
1301:
1211:
1202:
1186:bounding box
1161:Font metrics
1159:
1158:
1155:Font metrics
1142:
1134:Hoefler Text
1127:
1121:
1113:
1112:Small Text (
1111:
1105:
1101:
1095:
1089:
1083:
1077:
1060:
1039:
1023:
1008:Optical size
991:
982:
967:proportional
964:
953:
947:
943:
939:
935:
931:
927:
923:
919:
915:
913:
898:
892:
885:
882:bicamerality
875:
872:text figures
869:
854:
847:
828:
825:
796:
788:
784:
782:
777:
773:
755:
751:oblique type
744:
741:
718:
711:
702:
679:
674:
670:
666:
662:
658:
654:
652:
644:
525:
510:
504:in his 1986
502:Donald Knuth
499:
469:
465:
461:
457:
453:
449:
445:
441:
437:
433:
429:
425:
415:
411:
407:
393:
381:
376:
372:
368:
364:
360:
356:
352:
348:
344:
342:
307:
291:
271:distribution
268:
260:
255:
251:
236:
215:type foundry
209:" melted; a
205:
168:
164:
162:
135:
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