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metal A metal (from ancient Greek, Greek μέταλλον ''métallon'', "mine, quarry, metal") is a material that, when freshly prepared, polished, or fractured, shows a lustrous appearance, and conducts electrical resistivity and conductivity, e ...
typesetting Typesetting is the composition of text by means of arranging physical ''type'' (or ''sort'') in mechanical systems or '' glyphs'' in digital systems representing '' characters'' (letters and other symbols).Dictionary.com Unabridged. Random ...
, a font is a particular size, weight and style of a
typeface A typeface (or font family) is the design of lettering that can include variations in size, weight (e.g. bold), slope (e.g. italic), width (e.g. condensed), and so on. Each of these variations of the typeface is a font. There are thousands o ...
. Each font is a matched set of type, with a piece (a " sort") for each glyph. A typeface consists of a range of such fonts that shared an overall design. In modern usage, with the advent of computer fonts, the term "font" has come to be used as a synonym for "typeface", although a typical typeface (or "font family") consists of a number of fonts. For instance, the typeface " Bauer Bodoni" (sample shown here) includes fonts "
Roman Roman or Romans most often refers to: * Rome, the capital city of Italy * Ancient Rome, Roman civilization from 8th century BC to 5th century AD *Roman people, the people of ancient Rome *''Epistle to the Romans'', shortened to ''Romans'', a lett ...
" (or "Regular"), " Bold" and ''" Italic"''; 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". In both traditional typesetting and modern usage, the word "font" refers to the delivery mechanism of the typeface. In traditional typesetting, the font would be made from metal or wood type: to compose a page may require multiple fonts or even multiple typefaces.


Etymology

The word ''font'' (traditionally spelled ''fount'' in
British English British English (BrE, en-GB, or BE) is, according to Oxford Dictionaries, "English as used in Great Britain, as distinct from that used elsewhere". More narrowly, it can refer specifically to the English language in England, or, more broadl ...
, but in any case pronounced ) derives from
Middle French Middle French (french: moyen français) is a historical division of the French language that covers the period from the 14th to the 16th century. It is a period of transition during which: * the French language became clearly distinguished from t ...
''fonte'' that has been] melted; a casting (metalworking), casting". The term refers to the process of casting metal type at a type foundry.


Metal type

In a manual printing ( letterpress) house the word "font" would refer to a complete set of metal type that would be used to typeset 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 ''majuscule'' and ''minuscule''. 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, meaning that it would be a size 12- point font containing 14 uppercase "A"s, and 34 lowercase "A"s. The rest of the characters would be provided in quantities appropriate for the
distribution Distribution may refer to: Mathematics * Distribution (mathematics), generalized functions used to formulate solutions of partial differential equations *Probability distribution, the probability of a particular value or value range of a vari ...
of letters in that language. Some metal type characters required in typesetting, such as dashes, 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 " leading", because the strips used for line spacing were made of
lead Lead is a chemical element with the symbol Pb (from the Latin ) and atomic number 82. It is a heavy metal that is denser than most common materials. Lead is soft and malleable, and also has a relatively low melting point. When freshly cut, ...
(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 part lead, antimony and tin) and would compress more easily when "locked up" in the printing "chase" (i.e. a carrier for holding all the type together). 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 Monotype technology) or in entire lines of type at one time (as in the Linotype technology).


Characteristics

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
script Script may refer to: Writing systems * Script, a distinctive writing system, based on a repertoire of specific elements or symbols, or that repertoire * Script (styles of handwriting) ** Script typeface, a typeface with characteristics of ha ...
(s) that the typeface supports. In European alphabetic scripts, i.e.
Latin Latin (, or , ) is a classical language belonging to the Italic languages, Italic branch of the Indo-European languages. Latin was originally a dialect spoken in the lower Tiber area (then known as Latium) around present-day Rome, but through ...
,
Cyrillic The Cyrillic script ( ), Slavonic script or the Slavic script, is a writing system used for various languages across Eurasia. It is the designated national script in various Slavic, Turkic, Mongolic, Uralic, Caucasian and Iranic-speaking co ...
and Greek, the main such properties are the stroke width, called weight, the style or angle and the character width. The regular or standard font is sometimes labeled ''roman'', both to distinguish it from ''bold'' or ''thin'' and from ''italic'' or ''oblique''. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be ''Bulmer regular italic'', ''Bulmer bold regular'' and even ''Bulmer regular regular''. ''Roman'' can also refer to the language coverage of a font, acting as a shorthand for "Western European". Different fonts of the same typeface may be used in the same work for various degrees of readability and emphasis, or in a specific design to make it be of more visual interest.


Weight

The weight of a particular font is the thickness of the character outlines relative to their height. 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 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. 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 absolute stroke weight or density of glyphs in the font. Attempts to systematize a range of weights led to a numerical classification first used by
Adrian Frutiger Adrian Johann Frutiger ( ; 24 May 1928 – 10 September 2015) was a Swiss typeface designer who influenced the direction of type design in the second half of the 20th century. His career spanned the hot metal, phototypesetting and digital ...
with the Univers typeface: 35 ''Extra Light'', 45 ''Light'', 55 ''Medium'' or ''Regular'', 65 ''Bold'', 75 ''Extra Bold'', 85 ''Extra Bold'', 95 ''Ultra Bold'' or ''Black''. Deviants of these were the "6 series" (italics), e.g. ''46 Light Italics'' etc., the "7 series" (condensed versions), e.g. ''57 Medium Condensed'' etc., and the "8 series" (condensed italics), e.g. 68 ''Bold Condensed Italics''. 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". The first algorithmic description of fonts was made by Donald Knuth in his Metafont description language and interpreter. The TrueType font format introduced a scale from 100 through 900, which is also used in
CSS Cascading Style Sheets (CSS) is a style sheet language used for describing the presentation of a document written in a markup language such as HTML or XML (including XML dialects such as SVG, MathML or XHTML). CSS is a cornerstone technolo ...
and
OpenType OpenType is a format for scalable computer fonts. It was built on its predecessor TrueType, retaining TrueType's basic structure and adding many intricate data structures for prescribing typographic behavior. OpenType is a registered trademark ...
, where 400 is regular (roman or plain). The
Mozilla Developer Network MDN Web Docs, previously Mozilla Developer Network and formerly Mozilla Developer Center, is a documentation repository and learning resource for web developers. It was started by Mozilla in 2005 as a unified place for documentation about open web ...
provides the following rough mapping to typical font weight names: Font mapping varies by font designer. A good example is Bigelow and Holmes's Go Go 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 = 400:600". The terms ''normal'', ''regular'' and ''plain'' (sometimes ''book'') are used for the standard-weight font of a typeface. Where both appear and differ, ''book'' is often lighter than ''regular'', but in some typefaces it is bolder. Before the arrival of computers, each weight had to be drawn manually. As a result, many older multi-weight families such as
Gill Sans Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Undergro ...
and Monotype Grotesque 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, multiple master or other parameterized font design. This means that many modern digital fonts such as
Myriad A myriad (from Ancient Greek grc, μυριάς, translit=myrias, label=none) is technically the number 10,000 (ten thousand); in that sense, the term is used in English almost exclusively for literal translations from Greek, Latin or Sinospher ...
and
TheSans Thesis is a large typeface family designed by Luc(as) de Groot. The typefaces were designed between 1994 and 1999 to provide a modern humanist family. Each typeface is available in a variety of weights as well as in italic. Originally released by ...
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. 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 example, a thin design printed on book paper and a thicker design printed on high-gloss magazine paper 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. Fonts in which the bold and non-bold letters have the same width are “ duplexed”.


Style


Slope

In European typefaces, especially Roman ones, a slope or slanted style is used to emphasize important words. This is called ''italic'' type or oblique type. These designs normally slant to the right in left-to-right scripts. Oblique styles are often called italic, but differ from "true italic" styles. Italic styles are more flowing than the normal typeface, approaching a more handwritten,
cursive Cursive (also known as script, among other names) is any style of penmanship in which characters are written joined in a flowing manner, generally for the purpose of making writing faster, in contrast to block letters. It varies in functionali ...
style, possibly using ligatures more commonly or gaining swashes. Although rarely encountered, a typographic face may be accompanied by a matching calligraphic face (''cursive'', ''script''), giving an exaggeratedly italic style. In many sans-serif and some serif typefaces, especially in those with strokes of even thickness, the characters of the italic fonts are only ''slanted'', which is often done algorithmically, without otherwise changing their appearance. Such '' oblique'' fonts are not true italics, because lowercase letter shapes do not change, but are often marketed as such. Fonts normally do not include both oblique and italic styles: the designer chooses to supply one or the other. 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; Computer Modern 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 minuscule "т" may look like a smaller form of its majuscule "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.


Other style attributes

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. The two Japanese syllabaries,
katakana is a Japanese syllabary, one component of the Japanese writing system along with hiragana, kanji and in some cases the Latin script (known as rōmaji). The word ''katakana'' means "fragmentary kana", as the katakana characters are derived f ...
and
hiragana is a Japanese syllabary, part of the Japanese writing system, along with ''katakana'' as well as ''kanji''. It is a phonetic lettering system. The word ''hiragana'' literally means "flowing" or "simple" kana ("simple" originally as contras ...
, 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
kanji are the logographic Chinese characters taken from the Chinese script and used in the writing of Japanese. They were made a major part of the Japanese writing system during the time of Old Japanese and are still used, along with the subsequ ...
origins and the scripts are used for different purposes. The ''gothic'' style of the roman script with broken letter forms, on the other hand, is usually considered a mere typographic variant. Cursive-only scripts such as
Arabic Arabic (, ' ; , ' or ) is a Semitic language spoken primarily across the Arab world.Semitic languages: an international handbook / edited by Stefan Weninger; in collaboration with Geoffrey Khan, Michael P. Streck, Janet C. E.Watson; Walter ...
also have different styles, in this case for example Naskh and Kufic, although these often depend on application, area or era. 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 (
text figures Text figures (also known as non-lining, lowercase, old style, ranging, hanging, medieval, billing, or antique figures or numerals) are numerals designed with varying heights in a fashion that resembles a typical line of running text, hence the ...
) and the minuscules, which may be smaller versions of the capital letters (''
small caps In typography, small caps (short for "small capitals") are characters typeset with glyphs that resemble uppercase letters (capitals) but reduced in height and weight close to the surrounding lowercase letters or text figures. This is technic ...
'') although the script has developed characteristic shapes for them. Some typefaces do not include separate glyphs for the cases at all, thereby abolishing the bicamerality. While most of these use uppercase characters only, some labeled '' unicase'' exist which choose either the majuscule or the minuscule glyph at a common height for both characters. Titling fonts are designed for headlines and displays, and have stroke widths optimized for large sizes.


Width

Some typefaces include fonts that vary the width of the characters (''stretch''), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled ''compressed'', ''condensed'' or ''narrow''. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called ''wide'', ''extended'' or ''expanded''. Both can be further classified by prepending ''extra'', ''ultra'' 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 practical to modify their structure to a condensed weight. Serif text faces are often only issued in the regular width. These separate fonts have to be distinguished from techniques that alter the
letter-spacing Examples of headline letter spacing In typography, letter spacing, character spacing or tracking is an optically consistent adjustment to the space between letters to change the visual density of a line or block of text. Letter spacing is distin ...
to achieve narrower or smaller words, especially for justified text alignment. Most typefaces either have proportional or monospaced (for example, those resembling typewriter output) letter widths, if the script provides the possibility. Some superfamilies include both proportional and monospaced fonts. Some fonts also provide both proportional and fixed-width (''tabular'') digits, where the former usually coincide with lowercase text figures and the latter with uppercase lining figures. The width of a font will depend on its intended use. Times New Roman was designed with the goal of having small width, to fit more text into a newspaper. On the other hand, Palatino has large width to increase readability. The " billing block" 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.


Optical size

Some professional digital typefaces include fonts that are optimised for certain sizes, for instance by using a thinner stroke weight if they are intended for large-size display use, or by using ink traps if they are 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 Chauncey H. Griffith 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%. However, it declined in use as pantograph engraving, and especially phototypesetting and digital fonts made printing the same font at any size simpler. A mild revival has taken place in recent years. 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. There are several naming schemes for such variant designs. One such scheme, invented and popularized by Adobe Systems, refers to the variant fonts by the applications they are typically used for, with the exact point sizes intended varying slightly by typeface: ; Poster: Extremely large sizes, usually larger than 72 point ; Display: Large sizes, typically 19–72 point ; Subhead: Large text, typically about 14–18 point ; (Regular): Usually left unnamed, typically about 10–13 point ; Small Text (''SmText''): Typically about 8–10 point ; Caption: Very small, typically about 4–8 point


Metrics

''Font metrics'' refers to metadata consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include cap height (the height of the capitals), x-height (the height of the lowercase letters) and ascender height,
descender In typography and handwriting, a descender is the portion of a letter that extends below the baseline of a font. For example, in the letter ''y'', the descender is the "tail", or that portion of the diagonal line which lies below the ''v' ...
depth, and the font bounding box. 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 kerned so that characters can be fitted more closely; the pair "Wa" is a common example of this. 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.
Sabon Sabon is an old-style serif typeface designed by the German-born typographer and designer Jan Tschichold (1902–1974) in the period 1964–1967. It was released jointly by the Linotype, Monotype, and Stempel type foundries in 1967. The design o ...
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.) A particularly important basic set of fonts that became an early standard in digital printing was the Core Font Set included in the PostScript 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.
Arial Arial (also called Arial MT) is a sans-serif typeface and set of computer fonts in the neo-grotesque style. Fonts from the Arial family are included with all versions of Microsoft Windows from Windows 3.1 on, some other Microsoft software ...
and
Century Gothic A century is a period of 100 years. Centuries are numbered ordinally in English and many other languages. The word ''century'' comes from the Latin ''centum'', meaning ''one hundred''. ''Century'' is sometimes abbreviated as c. A centennial or ...
are notable examples of this, being functional equivalents to the PostScript standard fonts Helvetica and
ITC Avant Garde ITC Avant Garde Gothic is a geometric sans serif font family based on the logo font used in the ''Avant Garde'' magazine. Herb Lubalin devised the logo concept and its companion headline typeface, and then he and Tom Carnase, a partner in Lubalin ...
respectively. Some of these sets were created in order to be freely redistributable, for example Red Hat's Liberation fonts and Google's Croscore fonts, which duplicate the PostScript set and other common fonts used in
Microsoft Microsoft Corporation is an American multinational technology corporation producing computer software, consumer electronics, personal computers, and related services headquartered at the Microsoft Redmond campus located in Redmond, Washi ...
software such as
Calibri Calibri () is a digital sans-serif typeface family in the humanist or modern style. It was designed by Luc(as) de Groot in 2002–2004 and released to the general public in 2007, with Microsoft Office 2007 and Windows Vista. In Office 2007, it r ...
. It is not a requirement that a metrically compatible design be identical to its origin in appearance apart from width.


Serifs

Although most typefaces are characterised by their use of
serif In typography, a serif () is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or "font family" making use of serifs is called a serif typeface ...
s, there are superfamilies that incorporate serif (antiqua) and
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 s ...
(grotesque) or even intermediate
slab serif In typography, a slab serif (also called ''mechanistic'', ''square serif'', ''antique'' or ''Egyptian'') typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular ( Rockwell), ...
(Egyptian) or semi-serif fonts with the same base outlines. A more common font variant, especially of serif typefaces, is that of alternate capitals. They can have swashes to go with italic minuscules or they can be of a flourish design for use as
initial In a written or published work, an initial capital, also referred to as a drop capital or simply an initial cap, initial, initcapital, initcap or init or a drop cap or drop, is a letter at the beginning of a word, a chapter, or a paragraph tha ...
s (''drop caps'').


Character variants

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
OpenType OpenType is a format for scalable computer fonts. It was built on its predecessor TrueType, retaining TrueType's basic structure and adding many intricate data structures for prescribing typographic behavior. OpenType is a registered trademark ...
and the application used can support this. Alternative characters are often called stylistic alternates. These may be switched on to allow users more flexibility to customise the font to suit their needs. The practice is not new: in the 1930s,
Gill Sans Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Undergro ...
, a British design, was sold abroad with alternative characters to make it resemble fonts such as Futura popular in other countries, while Bembo 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 example, in Williams Caslon Text, a revival of the 18th century font Caslon, 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. Junicode, intended for academic publishing, uses ss15 to enable a variant form of "e" used in medieval Latin. A corporation commissioning a modified version of a commercial font for their own use, meanwhile, might request that their preferred alternates be set to default. It is common for fonts intended for use in books for young children to use simplified, single-storey forms of the lowercase letters ''a'' and ''g'' (sometimes also ''y'' and ''l''); these may be called ''infant'' or ''schoolbook'' 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
Akzidenz-Grotesk Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. ''german: label=none, italic=no, "Akzidenz"'' indicates its intended use as a typeface for commercial print runs such as publicity, t ...
,
Gill Sans Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards. Gill Sans is based on Edward Johnston's 1916 "Underground Alphabet", the corporate font of London Undergro ...
and Bembo; a well-known font intended specifically for school use is Sassoon Sans. Besides alternate characters, in the metal type era ''
The New York Times ''The New York Times'' (''the Times'', ''NYT'', or the Gray Lady) is a daily newspaper based in New York City with a worldwide readership reported in 2020 to comprise a declining 840,000 paid print subscribers, and a growing 6 million paid ...
'' commissioned custom condensed single sorts for common long names that might often appear in news headings, such as "Eisenhower", "Chamberlain" or "Rockefeller".


Digits

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 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
Christian Schwartz Christian Schwartz (born December 30, 1977 in Concord, New Hampshire, United States) is an American type designer. He has been awarded the German Design Award and the Prix Charles Peignot. Life A graduate of the Communication Design program a ...
’s Neue Haas Grotesk 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 to bundle all these into a single digital font file, but earlier font releases may have only one type per file.


See also

* Clip font * Font embedding * Graphics * List of typefaces


References


Notes


Further reading

*Blackwell, Lewis. ''20th Century Type.'' Yale University Press: 2004. . *Fiedl, Frederich, Nicholas Ott and Bernard Stein. ''Typography: An Encyclopedic Survey of Type Design and Techniques Through History.'' Black Dog & Leventhal: 1998. . *Lupton, Ellen. ''Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students,'' Princeton Architectural Press: 2004. . *Headley, Gwyn. ''The Encyclopaedia of Fonts.'' Cassell Illustrated: 2005. . *Macmillan, Neil. ''An A–Z of Type Designers.'' Yale University Press: 2006. . {{Typography terms Typesetting Typography Articles containing video clips