The strokes are the components of a letterform. Strokes may be straight, as in k l v w x z, or curved, as in c o s. If straight, they may be horizontal, vertical, or diagonal; if curved, open or closed. Typographers also speak of an instroke, where one starts writing the letter, as at the top of a c f, , and an outstroke, where the pen leaves off, as at the bottom of c e j k t y.
A main vertical stroke is called a stem. The letter m has three, the left, middle, and right stems. The central stroke of an s is called the spine. When the stroke is part of a lowercase and rises above the height of an x (called the x height) is called an ascender. Letters with ascenders are b d f h k l. A stroke which drops below the baseline is a descender. Letters with descenders are g j p q y. An arching stroke is called a shoulder as in the top of an R or sometimes just an arch, as in h n m. A closed curved stroke is called a bowl in b d o p q D O P Q ; B has two bowls. A trailing outstroke, as in j y J Q R is called a tail. The inferior diagonal stroke in K is called leg. A short horizontal stroke, as in the center of e f and the middle stroke of E F, is called a bar. When the strokes connect as in A and H or cross strokes as in t is also known as crossbar. A longer horizontal stroke at the top or bottom, as in E T, is called an arm. The bottom of the two-story g is called a loop; the very short stroke at the top is called the ear. i j each have a dot, jot, or tittle. Angles of strokes are called apices if at the top and vertices if at the bottom. w has one apex and two vertices; v has one vertex.
The font shown in the example is stressed: strokes have varying widths. In this example, the stroke at the top of the g is thinner at the top and bottom than on the sides – a vertical stress.
The terminals (ends) of instrokes and outstrokes often end in serif or sans-serif. A seriffed terminal may be described as a wedge, bulbous, teardrop, slab, etc., depending on the design of the type. Sorting typefaces can be practical based on its look. A clue feature is to define the serif style. Some designs also have spurs, which are smaller than serifs and appear on angles rather than at a terminal, as on e or G.
Areas of negative space (white space) formed by straight or curved strokes are called counters. Closed counters are found in a b d e g o p q A B D O P Q R, and open counters in a c e f h m n r s t u. The close counter in e is also named eye. Angles of white space, as in w, are corners (w has three corners); the term is not used for angles of strokes. The small corner formed by a serif, whether curved or angular, is called the serif bracket.
A subtle change in proportion impacts weight, perception, measure, and legibility. The letterform height compared to its stroke width modifies the aspect; this slight change in weight sometimes helps to create emphasis. The disparity between thick and thin strokes, known as stress, alters optical perception. As an example, the initial san serif typefaces used a constantly thin stroke. The technological advances allow drawing thinner strokes. Condense type occupies less space than expanded type, then the text written on a page can be reduced to half a page.The capline and x-height ratio improve or decrease word legibility.
Metal Type Era
During the late metal type period, many fonts (particularly in American typefounding) were issued to "common line". This meant that they were made to standardised proportions, so that fonts of different typefaces could be mixed with no difficulty. This made it possible to mix typefaces from completely different genres such as sans-serifs and serifs and have the cap height, baseline and linespacing match perfectly, something not possible with most digital fonts. It even allowed mixing of different sizes of type with a consistent baseline. It however had the disadvantage of often forcing typefaces to be issued with cropped descenders compared to historical typefaces, to allow tight linespacing. A "script line" or "art line" was used for more delicate fonts with long descenders. Titling capitals, meanwhile, were issued taking up the whole space of the metal type area, with no room for descenders.
- Studer, Anton (29 February 2016). "Is What I See What I Get? — Math & Optics in Type Design". Typographica. Retrieved 17 April 2016.
- Carter, Bob; Day, Ben; Meggs, Philip (2007). Typographic Design: Form and Communication. United States of America: John Wiley & Sons. p. 31. ISBN 9780471783909.
- Pecina, Martin; Březina, David (2008). "Type Anatomy 1.0". Typomil.
- "Introducing Ideal Sans". Fonts by Hoefler & Co. 4 May 2011.
- Bosler, Denise (2012-05-16). Mastering Type: The Essential Guide to Typography for Print and Web Design. F+W Media, Inc. p. 31. ISBN 1440313717.
individual parts such as the spine of the S
- Dean, Paul (11 April 2008). "eXtreme Type Terminology. Part Three: The ‘Black Art’". I Love Typography.
- Collen, Stephen. “Anatomy of Type: A Graphic Guide to 100 typefaces.” Harper Design, 2013.
- Dean, Paul (27 March 2008). "eXtreme Type Terminology. Part 2: Anatomy of a Letterform". I Love Typography.
- Gaskell, Philip (January 1976). "A nomenclature for the letterforms of roman type". Visible Language. 10 (1): 41–51.
|Wikimedia Commons has media related to Examples of typography terms.|
- Armannsson, Sigurdur (6 July 2009). "Wallpaper: Font Anatomy". Font.is. Full-size image (1920×1200)
- Dean, Paul (2008). eXtreme Type Terminology – Part 1, Part 2, Part 3, Part 4 and Part 5
- Devroye, Luc. "Hoefler & Frere-Jones". Retrieved 21 January 2015.
- Frere-Jones, Tobias. "Typeface Mechanics: 001". Frere-Jones Type. Retrieved 17 April 2016.
- Frere-Jones, Tobias. "Typeface Mechanics: 002". Frere-Jones Type. Retrieved 17 April 2016.
- Coles, Stephen. "The Anatomy of Type". Blog for Coles' 2012 book The Anatomy of Type: A Graphic Guide to 100 Typefaces.
- "Glossary". FontShop. Monotype.