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Counter (typography)
In typography, a counter is the area of a letter that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). The stroke that creates such a space is known as a "bowl". Latin letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Latin letters containing open counters include c, f, h, s etc. The digits 0, 4, 6, 8, and 9 also possess a counter. An aperture is the opening between an open counter and the outside of the letter. The lowercase ' g' has two typographic variants: the single-storey 'g' has one closed counter and one open counter (and hence one aperture); the double-storey '' has two closed counters. The digit ' 4' also has two typographic variants: the closed-top variant '4' has a closed counter, and an open-top (e.g. handwritten) '' has an open counter. Open and closed apertures Different typeface styles have different tendencies to use open or more closed apertures. This de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counter Typography
Counter may refer to: Mathematics and computing * Counter machine, a subclass of register machines * Counter (digital), an electronic device, mechanical device, or computer program for counting * Loop counter, the variable that controls the iterations of a loop * Jeton, a reckoning counter used on reckoning boards for calculations * Mechanical counter, a digital counter using mechanical components * Tally counter, a mechanical counting device * Web counter, a counter that counts the number of visits to a web page * Project COUNTER, a standard for reporting usage statistics of electronic resources Games and sport * Counter (board wargames), a playing piece used in board wargames * Counter run, an offensive play in American football * Counter turn, an element in figure skating * Counter (collectible card games), a small item used to represent certain objects or conditions in a collectible card game * Jones Counter, measures distance bicycles travel Linguistics and typography * Count ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
FF Meta
FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann and released in 1991 through his FontFont library. According to Spiekermann, FF Meta was intended to be a "complete antithesis of Helvetica", which he found "boring and bland". It originated from an unused commission for the Deutsche Bundespost (German Federal Post Office). Throughout the 1990s, FF Meta was embraced by the international design community with Spiekermann and E. M. Ginger writing that it had been dubiously praised as the ''Helvetica of the 1990s''. FF Meta has been adopted by numerous corporations and other organizations as a corporate typeface, for signage or in their logo. These include Imperial College London, The Weather Channel, Free Tibet, the television stations WSYR-TV, WIVT and WUTR in upstate New York, Herman Miller, Zimmer Holdings, Mozilla Corporation, Mozilla Foundation, Schaeffler Group, Endemol, Greggs, Digital UK, Liberal Democrats, Mumsnet and Fort Wayne International Ai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpunch (typography)
Punchcutting is a craft used in traditional typography to cut letter punches in steel as the first stage of making metal type. Steel punches in the shape of the letter would be used to stamp matrices into copper, which were locked into a mould shape to cast type. Cutting punches and casting type was the first step of traditional typesetting. The cutting of letter punches was a highly skilled craft requiring much patience and practice. Often the designer of the type would not be personally involved in the cutting. The initial design for type would be two-dimensional, but a punch has depth, and the three-dimensional shape of the punch, as well as factors such as the angle and depth to which it was driven into the matrix, would affect the appearance of the type on the page. The angle of the side of the punch was particularly significant. Process The punchcutter begins by transferring the outline of a letter design to one end of a steel bar. The outer shape of the punch could b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paren Space
A paren space is a blank typographic unit equal to the size of a parenthesis. Its size can fluctuate somewhat depending on which font is being used. See also *Em (typography) *En (typography) *Figure space A figure space or numeric space is a typographic unit equal to the size of a single numerical digit. Its size can fluctuate somewhat depending on which font is being used. This is the preferred space to use in numbers. It has the same width as a d ... Typography Whitespace {{typography-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thin Space
In typography, a thin space is a space character whose width is usually or of an em. It is used to add a narrow space, such as between nested quotation marks or to separate glyphs that interfere with one another. It is not as narrow as the hair space. It is also used in the International System of Units and in many countries as a thousands separator when writing numbers in groups of three digits, in order to facilitate reading. In Unicode, thin space is encoded at . Unicode's is a non-breaking space with a width similar to that of the thin space. In LaTeX and Plain TeX, \thinspace produces a narrow, non-breaking space. Inside and outside of math formulae in LaTeX, \, also produces a narrow, non-breaking space. In some versions of Microsoft Word, the symbol dialog (often available via ''Insert > Symbol'' or ''Insert > Special Characters''), has both the thin space and the narrow no-break space available for point-and-click insertion. In Word's Symbol dialog, under font = "(n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Figure Space
A figure space or numeric space is a typographic unit equal to the size of a single numerical digit. Its size can fluctuate somewhat depending on which font is being used. This is the preferred space to use in numbers. It has the same width as a digit and keeps the number together for the purpose of line breaking. Standard In Unicode it is assigned . Its HTML character entity reference is . Baudot code may include a figure space. It is character 23 on the Hughes telegraph typewheel. See also * Digit grouping * Em (typography) * En (typography) * Non-breaking space * Space (punctuation) * Thin space * Whitespace character * Word joiner The word joiner (WJ) is a format character in Unicode used to indicate that word separation should not occur at a position, when using scripts such as Arabic that do not use explicit spacing. It is encoded since Unicode version 3.2 (released i ... References {{DEFAULTSORT:Figure space (Typography) Control characters Typography Unic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Didone (typography)
Didone () is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by: * Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.) * Vertical orientation of weight axes. (The vertical strokes of letters are thick.) * Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) * Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) * An unornamented, "modern" appearance. The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haettenschweiler
Haettenschweiler is a sans-serif typeface in the grotesque style that is very bold and condensed. It is intended for headlines and display text. Schmalfette Grotesk Versions of the font that are now commonly used are descend from an upper-case only design called Schmalfette Grotesk (German for bold condensed sans-serif) by Walter Haettenschweiler that was published in 1954. Schmalfette was published in the book ''Lettera'' (1954) which Haettenschweiler had written with Armin Haab. The ''Lettera'' series collected lettering designs (mostly hand-painted) and original designs, and was often used by designers as a source of inspiration. An early reuse of the design was in the German young peoples' magazine ''Twen''. Microsoft's history of the font, possibly written by Robert Norton (see below) notes that after ''Lettera 4'' was published the design 'was immediately picked up by designers at ''Paris Match'' who cut up pictures of it to make headlines' until it was publicly released. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Impact (typeface)
Impact is a sans-serif typeface in the industrial or grotesk style designed by Geoffrey Lee in 1965 and released by the Stephenson Blake foundry of Sheffield. It is well known for having been included in the core fonts for the Web Core fonts for the Web was a project started by Microsoft in 1996 to create a standard pack of fonts for the World Wide Web. It included the proprietary fonts Andalé Mono, Arial, Arial Black, Comic Sans MS, Courier New, Georgia, Impact, Times Ne ... package and distributed with Microsoft Windows since Windows 98. In the 2010s, it gained popularity for its use in image macros and other internet memes. Design Lee was an advertising design director and designed Impact with posters and publicity material in mind. Its thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to "have an impact". Impact has a high x-height, reaching nearly to three-quarters the capital line. Ascender (typograp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helvetica
Helvetica (originally Neue Haas Grotesk) is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann. Helvetica is a neo-grotesque design, one influenced by the famous 19th century (1890s) typeface Akzidenz-Grotesk and other German and Swiss designs. Its use became a hallmark of the International Typographic Style that emerged from the work of Swiss designers in the 1950s and '60s, becoming one of the most popular typefaces of the mid-20th century. Over the years, a wide range of variants have been released in different weights, widths, and sizes, as well as matching designs for a range of non-Latin alphabets. Notable features of Helvetica as originally designed include a high x-height, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, solid appearance. Developed by the ''Haas'sche Schriftgiesserei'' (Haas Type Foundry) of Münchenst ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tobias Frere-Jones
Tobias Frere-Jones (born Tobias Edgar Mallory Jones; August 28, 1970) is an American type designer who works in New York City. He operates the company Frere-Jones Type and teaches typeface design at the Yale School of Art MFA program. Among his typefaces are Gotham which was used by the Obama 2008 presidential campaign, and Archer which has been used by ''Martha Stewart Living'' and Wells Fargo. Career Frere-Jones grew up in Brooklyn and became interested in letter design while attending Saint Ann's School. He is a son of Robin Carpenter Jones, who wrote for advertising agencies, and his British wife, the former Elizabeth Frere, daughter of Alexander Stuart Frere. His brother is music critic Sasha Frere-Jones and his great-grandfather was writer Edgar Wallace. After receiving a BFA in 1992 from Rhode Island School of Design, Frere-Jones joined Font Bureau in Boston, becoming Senior Designer. He created a number of the typefaces that are Font Bureau's best known, among them Inte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sans-serif
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. Sans-serif typefaces have become the most prevalent for display of text on computer screens. On lower-resolution digital displays, fine details like serifs may disappear or appear too large. The term comes from the French word , meaning "without" and "serif" of uncertain origin, possibly from the Dutch word meaning "line" or pen-stroke. In printed media, they are more commonly used for display use and less for body text. Before the term "sans-serif" became common in English typography, a number of other terms had been used. One of these outmoded terms for sans-serif was gothic, which is still used in East Asian typography and sometimes seen in typeface na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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