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Typeface

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"Font" redirects here. For other uses, see Font (disambiguation).
File:Caslonsample.jpg
A Specimen of typeset fonts and languages, by William Caslon, letter founder; from the 1728 Cyclopaedia.

In typography, a typeface consists of a coordinated set of glyphs designed with stylistic unity. A typeface usually comprises an alphabet of letters, numerals, and punctuation marks. A typeface may also include ideograms and symbols, or consist entirely of them, for example, mathematical or map-making symbols. The term typeface is often conflated with font, a term which, historically, had a number of distinct meanings prior to the advent of desktop publishing, but is now effectively synonymous with the term font when discussing digital typography.

The art of designing typefaces is called type design, and the people who design them are called type designers—not typographers, who are people that select and arrange type.

History of the term font

Note: See the Criticism section of this article regarding the verifiability of the history and meaning of the term "font."

A font, from Middle French fonte, meaning "(something that has been) melt(ed) [akin to Fondue]" and referring to letters of a typeface produced by casting molten metal at a type foundry, consists of a set of glyphs (images) representing the characters from a particular character set in a particular typeface. Historically, fonts came in specific sizes determining the size of characters, and in quantities of sorts or number of each letter provided. The design of characters in a font took into account all these factors. As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific weight (blackness or lightness) and stylistic variants—most commonly regular or roman as distinct to italic, as well as condensed) have led to font families, collections of closely-related typeface designs that can include hundreds of styles. A font family is typically a group of related fonts which vary only in weight, orientation, width, etc, but not design. For example, Times is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families typically contain several fonts, though some, such as Helvetica, may consist of dozens of fonts. Helvetica, Century Schoolbook, and Courier are examples of three widely distributed typefaces.

English-speaking printers have used the term fount for centuries to refer to the multi-part metal type used to assemble and print in a particular size and typeface. Type foundries have cast fonts in lead alloys from the 1450's until the present, although wood served as the material for some large fonts called wood type during the 19th century, particularly in the United States of America. In the 1890's mechanization 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 1970's. The first machine of this type was the Linotype invented by Ottmar Mergenthaler.

During a brief transitional period (circa 1950s – 1990s), photographic technology, known as phototypesetting, produced fonts which came on rolls or discs of film. Photographic typesetting permitted optical scaling, 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 of ink encountered in the printing stage. Manually-operated photo-composition systems using fonts on rolls of film allowed fine kerning between letters without the physical effort of manual typesetting, and spawned an enlarged type-design industry in the 1960's and 1970's.

The mid-1970's saw all of the major typeface technologies and all their fonts in use: letterpress, continuous casting machines, phototypositors, computer-controlled phototypesetters, and the earliest digital typesetters—hulking machines with tiny processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling font, which nowadays nearly always means a computer file containing scalable outline letterforms ("digital font"), in one of several common formats. Some fonts, such as Verdana, are designed primarily for use on computer screens.

Digital fonts store the image of each character either as a bitmap in a bitmap font, or by mathematical description of lines and curves in an outline font, also called a vector font. When an outline font is used a rasterizing routine in the application software 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 by laser printers and in high-end publishing systems. For computer screens, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts use hinting algorithms to make readable bitmaps at small sizes.

Digital fonts also contain data representing the metrics used for composition, including kerning pairs, component-creation data for accented characters, glyph-substitution rules for Arabic typography and for connecting script faces, and for simple everyday ligatures like fl. Common description languages that format digital type include METAFONT, PostScript, TrueType and OpenType. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer operating systems, Adobe Systems products and those of several other companies.

Typeface anatomy

Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all scripts. 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 that can't reasonably be called serifs and that may not be purely decorative.

Serifs

Sans-serif font
Serif font
Serif font (serifs
highlighted in red)

One can divide many typefaces into two main categories: serif and sans-serif. Serifs comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs as sans-serif (from French sans: "without"), or as grotesque (or, in German, 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 forms 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. Web sites 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 such as Verdana, 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 computer screens due to their lower resolution.

Proportionality

A proportional typeface displays glyphs using varying widths, while a non-proportional or fixed-width or monospace typeface uses fixed glyph widths.

Most people generally find proportional typefaces nicer-looking and easier to read; and thus they appear more commonly in professionally published printed material. For the same reason, GUI computer applications (such as word processors and web browsers) typically use proportional fonts. However, many proportional fonts contain fixed-width figures so that columns of numbers stay aligned.

However, non-proportional typefaces function better for some purposes because their glyphs line up in nice, neat columns. Most non-electronic typewriters and text-only computer displays use only non-proportional fonts. Most computer programs which have a text-based interface (terminal emulators, for example) use only monospace fonts in their configuration. Most computer programmers prefer to use monospace fonts while editing source code.

ASCII art requires a monospace font for proper viewing. In a web page, the <pre> </pre> HTML tag most commonly specifies non-proportional fonts. In LaTeX, the verbatim environment uses non-proportional fonts.

Any two lines of typical text with the same number of characters in each line in a monospace typeface should display as equal in width, while the same two lines in proportional typeface may have radically different widths. This comes about because wide glyphs (like those for the letters W, Q, Z, M, D, O, H, and U) use more linear space, and narrow glyphs (like those for the letters i, t, l, and 1) use less linear space than the average-width glyph when using a proportional font.

In the publishing industry, editors read manuscripts in fixed-width fonts for ease of editing. The publishing industry considers it discourteous to submit a manuscript in a proportional font.

Measurements

The characters "Aghfy", set in Palatino to illustrate the concepts of baseline, x-height, body size, descent and ascent.
The characters "Aghfy", set in Palatino to illustrate the concepts of baseline, x-height, body size, descent and ascent.

Most scripts share the notion of a baseline: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The descent 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 name "descender". Conversely, the ascent 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 the Latin, Greek and Cyrillic scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs as the x-height, and the part of a glyph rising above the x-height as the "ascender". 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 often serves to characterise typefaces.

Types of typefaces

File:Font types.jpg
Illustration of different font types

Since a plethora of typefaces has been created over the centuries, they are commonly categorized according to their appearance. At the highest level, one can differentiate between serif, sans-serif, script, blackletter, display, monospace, and symbol typefaces. Historically, the first fonts were blackletter, followed by serif, then sans-serif and then the other types.

Serif typefaces

Main article: Serif

Serif, or "roman", typefaces are named for the features at the ends of their strokes. Times Roman and Garamond are common examples of serif typefaces. Serif fonts are probably the most used classification in printed materials, including most books, newspapers and magazines.

"Roman" and "oblique" are also terms used to differentiate between upright and italic variations of a typeface.

Sans-serif typefaces

Main article: Sans-serif

The typographical phenomenon of sans-serif designs appeared relatively recently in the history of type design. The two-line English so-called "Egyptian" font, released in 1816 by William Caslon's foundry in England apparently furnished the first specimen. They serve commonly, but not exclusively, for display typography applications such as signage, headings, and other situations demanding clear meaning but without the need for continuous reading. The text on web pages offers an exception: it appears mostly in sans-serif font because serifs make small letters less readable on a computer monitor.

The most well-known sans-serif fonts are Helvetica, Arial, and, to a lesser extent, Univers and Frutiger.

Script typefaces

Script typefaces simulate handwriting or calligraphy. They do not lend themselves to quantities of body text, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Examples include Coronet and Zapfino.

Blackletter typefaces

Main article: Blackletter

Blackletter fonts, the earliest typefaces used with the invention of the printing press, resemble the blackletter calligraphy of that time. Many people refer to them as gothic script. Various forms exist including textualis, rotunda, schwabacher, and fraktur.

Display typefaces

Display typefaces are used exclusively for decorative purposes, and are not suitable for body text. They have the most distinctive designs of all fonts, and may even incorporate pictures of objects, animals, etc. into the character designs. They usually have very specific characteristics (e.g. evoking the Wild West, Christmas, horror films, etc.) and hence very limited uses.

Monospace typefaces

Monospace fonts are typefaces in which every glyph is the same width (usually, font width is variable; the "w" and "m" are wider than most letters, and the "i" 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 for computer programming, terminal emulation, and for laying out tabulated data in plain text documents. Examples of monospace typefaces are Courier, Prestige Elite, and Monaco.

Symbol typefaces

Main article: Dingbat

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. Examples include Zapf Dingbats, Sonata, and Wingdings.

Texts used to demonstrate typefaces

A sentence that uses all of the alphabet (a pangram), such as "the quick brown fox jumps over a lazy dog", is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting. For extended settings of typefaces graphic designers often use nonsense text (commonly referred to as "greeking"), such as lorem ipsum or Latin text such as the beginning of Cicero's in Catilinam. Greeking is used in typography to determine a typeface's "color", or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting.

United States law does not permit the copyrighting of typeface designs, while allowing the patenting of unusually novel designs. Digital fonts that embody a particular design often become copyrightable as computer programs. The names of the typefaces can become trademarked. As a result of these various means of legal protection, sometimes the same typeface exists in multiple names and implementations.

Some elements of the software engines used to display fonts on computers have software patents associated with them. In particular, Apple Computer has patented some of the hinting algorithms for TrueType, requiring open-source alternatives such as FreeType to use different algorithms.

Criticism

The section of this article discussing the history of the term "font" contains inaccuracies and misleading statements that are not supported by citations to published information and thus fail the Wikipedia policy on verifiability.

Where the historical discussion first goes wrong is in the article's introductory paragraph where it states:

"The term typeface is often conflated with font, a term which, historically, had a number of distinct meanings prior to the advent of desktop publishing, but is now effectively synonymous with the term font when discussing digital typography."

While it is technically accurate to say that there were multiple definitions of "font" prior to desktop publishing, it is a materially misleading statement in context. "Font" had only one relevant meaning in the period under discussion and it is not the meaning attributed to it by the article. A "font" was a unit of measurement for movable type and typecasting matrices, not the type itself. It was the unit by which movable type and typecasting matrices were bought and sold. The relevant definition of "font" can be found in the then-current Webster's New International Dictionary (3rd edition), pg. 884:

"an assortment of type, matrices, or characters of one size and style including a **due proportion** of all the letters in the alphabet, points, accents, and figures,"

While I no longer own a set, an extended discussion can be found in either edition of the now defunct International Typographical Union's Lessons in Printing in the volume devoted to typography. Each chapter of each volume was followed by a set of questions for a written test. Be assured that any apprentice who made the mistake included in this article would have had points deducted when the relevant answers were graded at the Union's former international headquarters in Colorado Springs, Colorado. I have not forgotten that the graders were an unforgiving lot.

As is noted in that volume, the amount of each identical alphabet character, points, accents, and figures included in a font varied from foundry to foundry and also by type sizes produced by the same foundry. E.g., a font of 96 point Bodoni Black movable type would, if sold in the same number and proportion of different pieces as was used for 10 point type of the same face and style, would never fit in a standard California job case drawer, the standard receptacle in North America for storing movable type at the time. Moreover, the number of characters ordinarily needed for very large display lines was far less.

I can provide no further references at this time. I include the following discussion in case it might assist someone doing further investigation.

I apprenticed and received my journeyman typographer credentials during the period immediately preceding the introduction of computerized typesetting systems in the newspaper and commercial printing industries. I worked in both industries. My career spanned the period in which the meaning of "font" underwent its metamorphosis.

The conditions for the word's mongrelization were in place before computerization. The word "font" was frequently used improperly in the manner used in this article by typographers who lacked formal training and a structured apprenticeship, education mandatory and almost exclusively available only to union members.

The first institutionalization of the word "font" in its contemporary mongrelized meaning that I am aware of came with the advent of computerized phototypesetting, not that of desktop publishing as implied by the article. The early phototypesetter manufacturers and vendors such as Compugraphic Corp. sold phototypesetter negative film for production of particular type faces and styles in specially adapted form called "font strips" or "font disks." This could probably be confirmed by consulting technical manuals that have survived. Those negatives spun at a fast rate in the typesetting machines and a movable light source controlled by a computer was shone through the spinning negatives to expose the photographic print paper, which was then developed to produce the "cold type." Such companies' apparently reasoned that because typographers were accustomed to placing orders for new movable type and Linotype linecasting matrices by the "font," they should market their photo negatives by the "font," notwithstanding the violence thus wrought on a well-understood term. I suspect this is the most likely explanation because typographers, who served as the guardians of the English language within their industries, undoubtedly informed the manufacturers firmly and often that they were abusing the English language. I certainly did.

Computerized phototypesetting brought with it massive layoffs of highly-skilled typographers, displaced by the less skilled. Typography was a craft communicated since the 15th Century almost exclusively by oral tradition. The massive layoffs all but ended that oral tradition. As a result, the historical meaning of the word "font" died along with the oral tradition that had created and maintained it.

The article also contains a minor error where it indicates that the use of movable wood type ended in the U.S. during the 19th century. Wood type for very large type sizes continued to the very end of the hot type era. I last used it for hand-setting a banner headline during 1974 in a U.S. daily newspaper, immediately before I opened my first commercial typesetting shop using a Compugraphic 48 phototypesetter.

This article needs extensive editing to remove the fog of error from the history of "font."

Please remove this section after correcting the article.

67.171.223.37

See also

Organizations

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