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101-407: Before the adoption of WYSIWYG techniques, text appeared in editors using the system standard typeface and style with little indication of layout ( margins , spacing , etc.). Users were required to enter special non-printing control codes (now referred to as markup code tags ) to indicate that some text should be in boldface , italics , or a different typeface or size. In this environment there

202-430: A monospaced ( non-proportional or fixed-width ) typeface uses a single standard width for all glyphs in the font. Duospaced fonts are similar to monospaced fonts, but characters can also be two character widths instead of a single character width. Many people generally find proportional typefaces nicer-looking and easier to read, and thus they appear more commonly in professionally published printed material. For

303-403: A vector font . Bitmap fonts were more commonly used in the earlier stages of digital type, and are rarely used today. These bitmapped typefaces were first produced by Casady & Greene, Inc. and were also known as Fluent Fonts. Fluent Fonts became mostly obsolete with the creation of downloadable PostScript fonts, and these new fonts are called Fluent Laser Fonts (FLF). When an outline font

404-458: A computer file containing scalable outline letterforms ( digital font ), in one of several common formats. Some typefaces, such as Verdana , are designed primarily for use on computer screens . Digital type became the dominant form of type in the late 1980s and early 1990s. 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

505-405: A font family is a set of fonts within the same typeface: for example Times Roman 8, Times Roman 10, Times Roman 12 etc. In web typography (using span style="font-family: ), a 'font family' equates to a 'typeface family' or even to a very broad category such as sans-serif that encompass many typeface families. Another way to look at the distinction between font and typeface is that a font

606-490: A 12-point font was represented with 12 pixels on a Macintosh, and 16 pixels (or a physical display height of maybe 19 ⁄ 72 inch) on a Windows platform at the same zoom, and so on. The negative consequence of this standard is that with 96 PPI displays, there is no longer a one-to-one relationship between the font size in pixels and the printout size in points. This difference is accentuated on more recent displays that feature higher pixel densities . This has been less of

707-535: A DPI aware flag (manifest) as "true" inside the EXE. Windows 8.1 retains a per-application option to disable DPI virtualization of an app. Windows 8.1 also adds the ability for different displays to use independent DPI scaling factors, although it calculates this automatically for each display and turns on DPI virtualization for all monitors at any scaling level. Windows 10 adds manual control over DPI scaling for individual monitors. There are some ongoing efforts to abandon

808-417: A PPI ( pixels per inch ) value, which is to be used when printing the image. This number lets the printer or software know the intended size of the image, or in the case of scanned images , the size of the original scanned object. For example, a bitmap image may measure 1,000 × 1,000 pixels, a resolution of 1 megapixel . If it is labelled as 250 PPI, that is an instruction to the printer to print it at

909-457: A bracketed serif and a substantial difference in weight within the strokes. Though some argument exists as to whether Transitional fonts exist as a discrete category among serif fonts, Transitional fonts lie somewhere between Old Style and Modern style typefaces. Transitional fonts exhibit a marked increase in the variation of stroke weight and a more horizontal serif compared to Old Style. Slab serif designs have particularly large serifs, and date to

1010-451: A complementary set of numeric digits. Numbers can be typeset in two main independent sets of ways: lining and non-lining figures , and proportional and tabular styles. Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters. Non-lining figures , styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to

1111-612: 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 cannot reasonably be called serifs and may not be purely decorative. Typefaces can be divided into two main categories: serif and sans serif . Serifs comprise

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1212-536: A default of 96 PPI. These default specifications arose out of the problems rendering standard fonts in the early display systems of the 1980s, including the IBM -based CGA , EGA , VGA and 8514 displays as well as the Macintosh displays featured in the 128K computer and its successors. The choice of 72 PPI by Macintosh for their displays arose from existing convention: the official 72 points per inch mirrored

1313-540: A document without changing the document's text flow are said to be "metrically identical" (or "metrically compatible"). Several typefaces have been created to be metrically compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the free and open-source Liberation fonts and Croscore fonts have been designed as metrically compatible substitutes for widely used Microsoft fonts. During

1414-453: A film strip (in the form of a film negative, with the letters as clear areas on an opaque black background). A high-intensity light source behind the film strip projected the image of each glyph through an optical system, which focused the desired letter onto the light-sensitive phototypesetting paper at a specific size and position. This photographic typesetting process permitted optical scaling , allowing designers to produce multiple sizes from

1515-439: A glyph rising above the x-height as the ascender . The distance from the baseline to the top of the ascent or a regular uppercase glyphs (cap line) is also known as the cap height. 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 or cap height often serves to characterize typefaces. Typefaces that can be substituted for one another in

1616-429: A line within the span of 1 inch (2.54 cm). Similarly, dots per centimetre ( d/cm or dpcm ) refers to the number of individual dots that can be placed within a line of 1 centimetre (0.394 in). DPI is used to describe the resolution number of dots per inch in a digital print and the printing resolution of a hard copy print dot gain, which is the increase in the size of the halftone dots during printing. This

1717-596: A main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the Adobe Systems type group introduced the idea of expert set fonts, which had a standardized set of additional glyphs, including small caps , old style figures , and additional superior letters, fractions and ligatures not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as swashes , dingbats , and alternate character sets, complementing

1818-704: A manifest file or using an API. For programs that do not declare themselves as DPI-aware, Windows Vista supports a compatibility feature called DPI virtualization so system metrics and UI elements are presented to applications as if they are running at 96 DPI and the Desktop Window Manager then scales the resulting application window to match the DPI setting. Windows Vista retains the Windows XP style scaling option which when enabled turns off DPI virtualization for all applications globally. DPI virtualization

1919-678: A monospaced font for proper viewing, with the exception of Shift JIS art which takes advantage of the proportional characters in the MS PGothic font. In a web page , the <tt> </tt> , <code> </code> or <pre> </pre> HTML tags most commonly specify monospaced fonts. In LaTeX , the verbatim environment or the Teletype font family (e.g., \texttt{...} or {\ttfamily ...} ) uses monospaced fonts (in TeX , use {\tt ...} ). Any two lines of text with

2020-467: A new PPI for the file. For vector images , since the file is resolution independent, there is no need to resample the image before resizing it as it prints equally well at all sizes. However, there is still a target printing size. Some image formats, such as Photoshop format, can contain both bitmap and vector data in the same file. Adjusting the PPI in a Photoshop file will change the intended printing size of

2121-437: A problem with the advent of vector graphics and fonts being used in place of bitmap graphics and fonts. Moreover, many Windows software programs have been written since the 1980s which assume that the screen provides 96 PPI. Accordingly, these programs do not display properly at common alternative resolutions such as 72 PPI or 120 PPI. The solution has been to introduce two concepts: Software programs render images to

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2222-437: A relatively low resolution, typically in the range of 60 to 90 DPI (420 to 280 μm). An inkjet printer sprays ink through tiny nozzles, and is typically capable of 300–720 DPI. A laser printer applies toner through a controlled electrostatic charge, and may be in the range of 600 to 2,400 DPI. The DPI measurement of a printer often needs to be considerably higher than the pixels per inch (PPI) measurement of

2323-406: A result of revival, such as Linotype Syntax , Linotype Univers ; while others have alternate styling designed as compatible replacements of each other, such as Compatil , Generis . Font superfamilies began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily

2424-433: 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 photocomposition systems using fonts on filmstrips allowed fine kerning between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in

2525-427: A size of 4 × 4 inches. Changing the PPI to 100 in an image editing program would tell the printer to print it at a size of 10 × 10 inches. However, changing the PPI value would not change the size of the image in pixels which would still be 1,000 × 1,000. An image may also be resampled to change the number of pixels and therefore the size or resolution of the image, but this is quite different from simply setting

2626-444: A specific size is known as optical sizing . Others will be offered in only one style, but optimised for a specific size. Optical sizes are particularly common for serif fonts, since the fine detail of serif fonts can need to be bulked up for smaller sizes. Typefaces may also be designed differently considering the type of paper on which they will be printed. Designs to be printed on absorbent newsprint paper will be more slender as

2727-488: A standard feature of so-called monospaced fonts , used in programming and on typewriters. However, many fonts that are not monospaced use tabular figures. More complex font designs may include two or more combinations with one as the default and others as alternate characters. Of the four possibilities, non-lining tabular figures are particularly rare since there is no common use for them. Fonts intended for professional use in documents such as business reports may also make

2828-422: 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. Websites do not have to specify a font and can simply respect

2929-527: A video display in order to produce similar-quality output. This is due to the limited range of colours for each dot typically available on a printer. At each dot position, the simplest type of color printer can either print no dot, or print a dot consisting of a fixed volume of ink in each of four color channels (typically CMYK with cyan , magenta , yellow and black ink) or 2 = 16 colours on laser, wax and most inkjet printers, of which only 14 or 15 (or as few as 8 or 9) may be actually discernible depending on

3030-498: Is a compatibility option as application developers are all expected to update their apps to support high DPI without relying on DPI virtualization. Windows Vista also introduces Windows Presentation Foundation . WPF .NET applications are vector-based, not pixel-based and are designed to be resolution-independent. Developers using the old GDI API and Windows Forms on .NET Framework runtime need to update their apps to be DPI aware and flag their applications as DPI-aware. Windows 7 adds

3131-480: Is caused by the spreading of ink on the surface of the media. Up to a point, printers with higher DPI produce clearer and more detailed output. A printer does not necessarily have a single DPI measurement; it is dependent on print mode, which is usually influenced by driver settings. The range of DPI supported by a printer is most dependent on the print head technology it uses. A dot matrix printer , for example, applies ink via tiny rods striking an ink ribbon, and has

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3232-457: Is no longer valid, as a single font may be scaled to any size. The first "extended" font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting with ATF 's Cheltenham (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed by Morris Fuller Benton . Later examples include Futura , Lucida , ITC Officina . Some became superfamilies as

3333-512: Is someone who uses typefaces to design a page layout). Every typeface is a collection of glyphs , each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for characters from different writing systems , e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha (Α). There are typefaces tailored for special applications, such as cartography , astrology or mathematics . In professional typography ,

3434-471: Is still used by TeX and its variants. 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. Digital fonts are created with font editors such as FontForge , RoboFont, Glyphs, Fontlab 's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio. Typographers have developed

3535-472: Is the name of the class of typefaces used with the earliest printing presses in Europe, which imitated the calligraphy style of that time and place. Various forms exist including textualis , rotunda , schwabacher and fraktur . (Some people refer to Blackletter as " gothic script " or "gothic font", though the term "Gothic" in typography refers to sans serif typefaces. ) Gaelic fonts were first used for

3636-463: Is the vessel (e.g. the software) that allows you to use a set of characters with a given appearance, whereas a typeface is the actual design of such characters. Therefore, a given typeface, such as Times, may be rendered by different fonts, such as computer font files created by this or that vendor, a set of metal type characters etc. In the metal type era, a font also meant a specific point size, but with digital scalable outline fonts this distinction

3737-457: Is typically a group of related typefaces which vary only in weight, orientation, width , etc., but not design. For example, Times is a typeface family, whereas Times Roman, Times Italic and Times Bold are individual typefaces making up the Times family. Typeface families typically include several typefaces, though some, such as Helvetica , may consist of dozens of fonts. In traditional typography,

3838-410: Is used, a rasterizing routine (in the application software, operating system or printer) 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

3939-463: The Weekly Reader advertised its Stickybear educational software with the slogan "what you see is what you get", with photographs of its Apple II graphics, but home computers of the 1970s and early 1980s lacked the sophisticated graphics capabilities necessary to display WYSIWYG documents, meaning that such applications were usually confined to limited-purpose, high-end workstations (such as

4040-615: The HP 1000 minicomputer, taking advantage of HP 2640 —HP's first bitmapped computer terminal. BRUNO was then ported to the HP-3000 and re-released as "HP Draw". By 1981, MicroPro advertised that its WordStar word processor had WYSIWYG, but its display was limited to displaying styled text in WYSIWYG fashion; bold and italic text would be represented on screen, instead of being surrounded by tags or special control characters . In 1983,

4141-612: The IBM Displaywriter System ) that were too expensive for the general public to afford. As improving technology allowed the production of cheaper bitmapped displays, WYSIWYG software started to appear in more popular computers, including LisaWrite for the Apple Lisa , released in 1983, and MacWrite for the Apple Macintosh , released in 1984. The Apple Macintosh system was originally designed so that

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4242-510: The Irish language in 1571, and were used regularly for Irish until the early 1960s, though they continue to be used in display type and type for signage. Their use was effectively confined to Ireland, though Gaelic typefaces were designed and produced in France, Belgium, and Italy. Gaelic typefaces make use of insular letterforms, and early fonts made use of a variety of abbreviations deriving from

4343-472: The cap-height , the height of the capital letters. Font size is also commonly measured in millimeters (mm) and q s (a quarter of a millimeter, kyu in romanized Japanese) and inches. Type foundries have cast fonts in lead alloys from the 1450s 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 . In

4444-465: The screen resolution and the resolution of the ImageWriter dot-matrix printers sold by Apple were easily scaled: 72 PPI for the screen and 144 DPI for the printers. Thus, the scale and dimensions of the on-screen display in programs such as MacWrite and MacPaint were easily translated to the printed output. If the paper were held up to the screen, the printed image would be the same size as

4545-418: The typographic unit ) was designed so that one full page of text could be seen and then printed on the first laser printers . When the text was laid out on the screen, 72 PPI font metric files were used, but when printed, 300 PPI files were used. As a result, one would occasionally find characters and words that are slightly off—a problem that would continue up to this day. Bravo was released commercially, and

4646-579: The 1890s, the mechanization of 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 1970s. The first machine of this type was the Linotype machine , invented by Ottmar Mergenthaler . During a brief transitional period ( c.  1950s –1990s), photographic technology, known as phototypesetting , utilized tiny high-resolution images of individual glyphs on

4747-521: The 1960s and 1970s. By the mid-1970s, all of the major typeface technologies and all their fonts were in use: letterpress; continuous casting machines; phototypositors; computer-controlled phototypesetters; and the earliest digital typesetters – bulky machines with primitive processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling font , which has come to primarily refer to

4848-411: The 72 pixels per inch that appeared on their display screens. ( Points are a physical unit of measure in typography , dating from the days of printing presses , where 1 point by the modern definition is 1 ⁄ 72 of the international inch (25.4 mm), which therefore makes 1 point approximately 0.0139 in or 352.8 μm). Thus, the 72 pixels per inch seen on the display had exactly

4949-462: The PC world at the time. Thus, while a Macintosh 15-inch (38 cm) monitor had the same 640 × 480 resolution as a PC, a 16-inch (41 cm) screen would be fixed at 832 × 624 rather than the 800 × 600 resolution used by PCs. With the introduction of third-party dot-matrix printers as well as laser printers and multisync monitors, resolutions deviated from even multiples of

5050-534: The Windows XP era. High DPI displays became mainstream around the time Windows 8 was released. Display scaling by entering a custom DPI irrespective of the display resolution has been a feature of Microsoft Windows since Windows 95. Windows XP introduced the GDI+ library which allows resolution-independent text scaling. Windows Vista introduced support for programs to declare themselves to the OS that they are high-DPI aware via

5151-465: The ability to change the DPI by doing only a log off, not a full reboot and makes it a per-user setting. Additionally, Windows 7 reads the monitor DPI from the EDID and automatically sets the system DPI value to match the monitor's physical pixel density, unless the effective resolution is less than 1024 × 768. In Windows 8 , only the DPI scaling percentage is shown in the DPI changing dialog and

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5252-455: 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 (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs ( mean line ) as the x-height , and the part of

5353-441: The bitmap portion of the data and also change the intended printing size of the vector data to match. This way the vector and bitmap data maintain a consistent size relationship when the target printing size is changed. Text stored as outline fonts in bitmap image formats is handled in the same way. Other formats, such as PDF, are primarily vector formats that can contain images, potentially at a mixture of resolutions. In these formats

5454-449: The bold-style tabular figures take up the same width as the regular (non-bold) numbers, so a bold-style total would appear just as wide as the same sum in regular style. Because an abundance of typefaces has been created over the centuries, they are commonly categorized according to their appearance. At the highest level (in the context of Latin-script fonts), one can differentiate Roman, Blackletter, and Gaelic types. Roman types are in

5555-399: The browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, 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 the low-resolution computer screen. A proportional typeface, also called variable-width typeface, contains glyphs of varying widths, while

5656-468: The characters i, t, l, and 1) use less space than the average. In the publishing industry, it was once the case that editors read manuscripts in monospaced fonts (typically Courier ) for ease of editing and word count estimates, and it was considered discourteous to submit a manuscript in a proportional font. This has become less universal in recent years, such that authors need to check with editors as to their preference, though monospaced fonts are still

5757-610: The characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used. The size of typefaces and fonts is traditionally measured in points ; point has been defined differently at different times, but now the most popular is the Desktop Publishing point of 1 ⁄ 72  in (0.0139 in or 0.35 mm). When specified in typographic sizes (points, kyus),

5858-524: The difference between legible and illegible characters, some digital fonts use hinting algorithms to make readable bitmaps at small sizes. Digital fonts may 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 font formats include TrueType , OpenType and PostScript Type 1 , while Metafont

5959-493: The display of the raw DPI value has been removed. In Windows 8.1 , the global setting to disable DPI virtualization (only use XP-style scaling) is removed and a per-app setting added for the user to disable DPI virtualization from the Compatibility tab. When the DPI scaling setting is set to be higher than 120 PPI (125%), DPI virtualization is enabled for all applications unless the application opts out of it by specifying

6060-403: The display screen, particularly the lowercase characters. Furthermore, there was the consideration that computer screens are typically viewed (at a desk) at a distance 30% greater than printed materials, causing a mismatch between the perceived sizes seen on the computer screen and those on the printouts. Microsoft tried to solve both problems with a hack that has had long-term consequences for

6161-489: The early nineteenth century. The earliest known slab serif font was first shown around 1817 by the English typefounder Vincent Figgins . Roman , italic , and oblique are also terms used to differentiate between upright and two possible slanted forms of a typeface. Italic and oblique fonts are similar (indeed, oblique fonts are often simply called italics) but there is strictly a difference: italic applies to fonts where

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6262-537: The features at the ends of their strokes. Times New Roman and Garamond are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines. Serif fonts are often classified into three subcategories: Old Style , Transitional , and Didone (or Modern), representative examples of which are Garamond , Baskerville , and Bodoni respectively. Old Style typefaces are influenced by early Italian lettering design. Modern fonts often exhibit

6363-502: The glyphs found in brush calligraphy during the Tang dynasty. These later evolved into the Song style (宋体字) which used thick vertical strokes and thin horizontal strokes in wood block printing. Dots per inch Dots per inch ( DPI , or dpi ) is a measure of spatial printing , video or image scanner dot density, in particular the number of individual dots that can be placed in

6464-574: The height of an em-square , an invisible box which is typically a bit larger than the distance from the tallest ascender to the lowest descender , is scaled to equal the specified size. For example, when setting Helvetica at 12 point, the em square defined in the Helvetica font is scaled to 12 points or 1 ⁄ 6  in or 4.2 mm. Yet no particular element of 12-point Helvetica need measure exactly 12 points. Frequently measurement in non-typographic units (feet, inches, meters) will be of

6565-705: The image. As such, 600 dpi (sometimes 720) is now the typical output resolution of entry-level laser printers and some utility inkjet printers, with 1,200–1,440 and 2,400–2,880 being common "high" resolutions. This contrasts with the 300–360 (or 240) dpi of early models, and the approximate 200 dpi of dot-matrix printers and fax machines, which gave faxed and computer-printed documents—especially those that made heavy use of graphics or coloured block text—a characteristic "digitized" appearance, because of their coarse, obvious dither patterns, inaccurate colours, loss of clarity in photographs, and jagged ("aliased") edges on some text and line art. In printing, DPI (dots per inch) refers to

6666-427: The ink will naturally spread out as it absorbs into the paper, and may feature ink traps : areas left blank into which the ink will soak as it dries. These corrections will not be needed for printing on high-gloss cardboard or display on-screen. Fonts designed for low-resolution displays, meanwhile, may avoid pure circles, fine lines and details a screen cannot render. Most typefaces, especially modern designs, include

6767-403: The letter forms are redesigned, not just slanted. Almost all serif faces have italic forms; some sans-serif faces have oblique designs. (Most faces do not offer both as this is an artistic choice by the font designer about how the slanted form should look.) Sans serif (lit. without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs,

6868-433: The manuscript tradition. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features. Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where 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

6969-400: The metal type era, all type was cut in metal and could only be printed at a specific size. It was a natural process to vary a design at different sizes, making it chunkier and clearer to read at smaller sizes. Many digital typefaces are offered with a range of fonts (or a variable font axis) for different sizes, especially designs sold for professional design use. The art of designing fonts for

7070-754: The most widespread use today, and are sub-classified as serif, sans serif, ornamental, and script types. Historically, the first European fonts were blackletter, followed by Roman serif, then sans serif and then the other types. The use of Gaelic faces was restricted to the Irish language, though these form a unique if minority class. Typefaces may be monospaced regardless of whether they are Roman, Blackletter, or Gaelic. Symbol typefaces are non-alphabetic. The Cyrillic script comes in two varieties, Roman-appearance type (called гражданский шрифт graždanskij šrift ) and traditional Slavonic type (called славянский шрифт slavjanskij šrift ). Serif, or Roman , typefaces are named for

7171-410: The norm. 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

7272-407: The norm. This dithered printing process could require a region of four to six dots (measured across each side) to accurately reproduce the color in a single pixel. An image that is 100 pixels wide may need to be 400 to 600 dots in width in the printed output; if a 100 × 100-pixel image is to be printed in a one-inch square, the printer must be capable of 400 to 600 dots per inch to reproduce

7373-436: The number of colours is still typically less than on a monitor. Most printers must therefore produce additional colours through a halftone or dithering process, and rely on their base resolution being high enough to "fool" the human observer's eye into perceiving a patch of a single smooth colour. The exception to this rule is dye-sublimation printers , which can apply a much more variable amount of dye—close to or exceeding

7474-421: The number of the 256 levels per channel available on a typical monitor—to each "pixel" on the page without dithering, but with other limitations: These disadvantages mean that, despite their marked superiority in producing good photographic and non-linear diagrammatic output, dye-sublimation printers remain niche products, and thus other devices using higher resolution, lower color depth, and dither patterns remain

7575-494: The numbers to blend into the text more effectively. As tabular spacing makes all numbers with the same number of digits the same width, it is used for typesetting documents such as price lists, stock listings and sums in mathematics textbooks, all of which require columns of numeric figures to line up on top of each other for easier comparison. Tabular spacing is also a common feature of simple printing devices such as cash registers and date-stamps. Characters of uniform width are

7676-520: The on-screen image, but at twice the resolution. As the ImageWriter was the only model of printer physically compatible with the Macintosh printer port, this created an effective closed system. Later, when Macs using external displays became available, the resolution was fixed to the size of the screen to achieve 72 DPI. These resolutions often differed from the VGA-standard resolutions common in

7777-427: The output resolution of a printer or imagesetter, and PPI (pixels per inch) refers to the input resolution of a photograph or image. DPI refers to the physical dot density of an image when it is reproduced as a real physical entity, for example printed onto paper. A digitally stored image has no inherent physical dimensions, measured in inches or centimetres. Some digital file formats record a DPI value, or more commonly

7878-500: The phrase: Many variations are used only to illustrate a point or make a joke, and have very limited real use. Some that have been proposed include the following: Typeface A typeface (or font family ) is a design of letters , numbers and other symbols , to be used in printing or for electronic display. Most typefaces include variations in size (e.g., 24 point), weight (e.g., light, bold), slope (e.g., italic), width (e.g., condensed), and so on. Each of these variations of

7979-401: 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 from italic , as well as condensed ) have led to font families , collections of closely related typeface designs that can include hundreds of styles. A typeface family

8080-427: The regular fonts under the same family. However, with introduction of font formats such as OpenType , those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs. Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way. These fonts included

8181-437: The rest of the world, it is 210 mm × 297 mm – called A4 . B5 is 176 mm × 250 mm). A consequence of Apple's decision was that the widely used 10-point fonts from the typewriter era had to be allotted 10 display pixels in em height, and 5 display pixels in x-height . This is technically described as 10 pixels per em ( PPEm ). This made 10-point fonts be rendered crudely and made them difficult to read on

8282-806: 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; they may also be particularly legible at small sizes due to all characters being quite wide. Examples of monospaced typefaces are Courier , Prestige Elite , Fixedsys , and Monaco . Most monospaced fonts are sans-serif or slab-serif as these designs are easiest to read printed small or display on low-resolution screens, though many exceptions exist. CJK, or Chinese, Japanese and Korean typefaces consist of large sets of glyphs. These typefaces originate in

8383-399: The same number of characters in each line in a monospaced typeface should display as equal in width, while the same two lines in a proportional typeface may have radically different widths. This occurs because in a proportional font, glyph widths vary, such that wider glyphs (typically those for characters such as W, Q, Z, M, D, O, H, and U) use more space, and narrower glyphs (such as those for

8484-553: The same physical dimensions as the 72 points per inch later seen on a printout, with 1 pt in printed text equal to 1 px on the display screen. As it is, the Macintosh 128K featured a screen measuring 512 pixels in width by 342 pixels in height, and this corresponded to the width of standard office paper (512 px ÷ 72 px/in ≈ 7.1 in, with a 0.7 in margin down each side when assuming 8 + 1 ⁄ 2  in × 11 in North American paper size ; in

8585-575: The same reason, GUI computer applications (such as word processors and web browsers ) typically use proportional fonts. However, many proportional fonts contain fixed-width ( tabular ) numerals so that columns of numbers stay aligned. Monospaced typefaces function better for some purposes because their glyphs line up in neat, regular columns. No glyph is given any more weight than another. Most manually operated typewriters use monospaced fonts. So do text-only computer displays and third- and fourth-generation game console graphics processors, which treat

8686-517: The screen as a uniform grid of character cells. Most computer programs which have a text-based interface ( terminal emulators , for example) use only monospaced fonts (or add additional spacing to proportional fonts to fit them in monospaced cells) in their configuration. Monospaced fonts are commonly used by computer programmers for displaying and editing source code so that certain characters (for example parentheses used to group arithmetic expressions) are easy to see. ASCII art usually requires

8787-540: The screen resolution, making true WYSIWYG harder to achieve. The phrase "what you see is what you get", from which the acronym derives, was a catchphrase popularized by Flip Wilson 's drag persona Geraldine , first appearing in September 1969, then regularly in the early 1970s on The Flip Wilson Show . The phrase was a statement demanding acceptance of Geraldine's entire personality and appearance. As it relates to computing, there are multiple claims to first use of

8888-551: The small features at the end of strokes within letters. The printing industry refers to typeface without serifs as sans serif (from French sans , meaning 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 represents only one of many factors to consider when choosing

8989-484: The software eventually included in the Xerox Star can be seen as a direct descendant of it. In late 1978, in parallel with but independent of the work at Xerox PARC, Hewlett-Packard developed and released the first commercial WYSIWYG software application for producing overhead slides (or what today are referred to as presentation graphics). The first release, named BRUNO (after an HP sales training puppet), ran on

9090-594: The strength of the black component, the strategy used for overlaying and combining it with the other colours, and whether it is in "color" mode. Higher-end inkjet printers can offer 5, 6 or 7 ink colours giving 32, 64 or 128 possible tones per dot location (and again, it can be that not all combinations will produce a unique result). Contrast this to a standard sRGB monitor where each pixel produces 256 intensities of light in each of three channels ( RGB ). While some color printers can produce variable drop volumes at each dot position, and may use additional ink-color channels,

9191-411: The style of running text. They are also called lower-case numbers or text figures for the same reason. The horizontal spacing of digits can also be proportional , with a character width tightly matching the width of the figure itself, or tabular , where all digits have the same width. Proportional spacing places the digits closely together, reducing empty space in a document, and is thought to allow

9292-574: The tags are made visible in the editor, however, they occupy space in the unformatted text, and as a result can disrupt the desired layout and flow. Bravo , a document preparation program for the Alto produced at Xerox PARC by Butler Lampson , Charles Simonyi and colleagues in 1974, is generally considered to be the first program to incorporate the WYSIWYG technology, displaying text with formatting (e.g. with justification, fonts, and proportional spacing of characters). The Alto monitor (72 PPI , based on

9393-497: The target PPI of the bitmaps is adjusted to match when the target print size of the file is changed. This is the converse of how it works in a primarily bitmap format like Photoshop , but has exactly the same result of maintaining the relationship between the vector and bitmap portions of the data. Since the 1980s, Macs have set the default display "DPI" to 72 PPI, while the Microsoft Windows operating system has used

9494-529: The term typeface is not interchangeable with the word font (originally "fount" in British English, and pronounced "font"), because the term font has historically been defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font, and 10-point Caslon Italic was another. Historically, a font came from a type foundry as a set of " sorts ", with number of copies of each character included. As

9595-411: The typeface is a font . There are thousands of different typefaces in existence, with new ones being developed constantly. The art and craft of designing typefaces is called type design . Designers of typefaces are called type designers and are often employed by type foundries . In desktop publishing , type designers are sometimes also called "font developers" or "font designers" (a typographer

9696-425: The understanding of what DPI and PPI mean. Microsoft began writing its software to treat the screen as though it provided a PPI characteristic that is 4 ⁄ 3 of what the screen actually displayed. Because most screens at the time provided around 72 PPI, Microsoft essentially wrote its software to assume that every screen provides 96 PPI (because 72 × 4 ⁄ 3 = 96). The short-term gain of this trickery

9797-496: The virtual screen and then the operating system renders the virtual screen onto the physical screen. With a logical PPI of 96 PPI, older programs can still run properly regardless of the actual physical PPI of the display screen, although they may exhibit some visual distortion thanks to the effective 133.3% pixel zoom level (requiring either that every third pixel be doubled in width/height, or heavy-handed smoothing be employed). Displays with high pixel densities were not common up to

9898-640: Was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing (serifed) Clearface. The superfamily label does not include quite different designs given the same family name for what would seem to be purely marketing, rather than design, considerations: Caslon Antique , Futura Black and Futura Display are structurally unrelated to the Caslon and Futura families, respectively, and are generally not considered part of those families by typographers, despite their names. Additional or supplemental glyphs intended to match

9999-460: Was shown in 1816 by William Caslon IV. Many have minimal variation in stroke width, creating the impression of a minimal, simplified design. When first introduced, the faces were disparaged as "grotesque" (or "grotesk") and "gothic": but by the late nineteenth century were commonly used for san-serif without negative implication. The major sub-classes of Sans-serif are " Grotesque ", " Neo-grotesque ", " Geometric " and " Humanist ". "Blackletter"

10100-503: Was twofold: Thus, for example, a 10-point font on a Macintosh (at 72 PPI) was represented with 10 pixels (i.e., 10 PPEm), whereas a 10-point font on a Windows platform (at 96 PPI) at the same zoom level is represented with 13 pixels (i.e., Microsoft rounded 13 + 1 ⁄ 3 to 13 pixels, or 13 PPEm) – and, on a typical consumer grade monitor, would have physically appeared around 15 ⁄ 72 to 16 ⁄ 72 inch high instead of 10 ⁄ 72 . Likewise,

10201-466: Was very little distinction between text editors and word processors . These applications typically used an arbitrary markup language to define the codes/tags. Each program had its own special way to format a document, and it was a difficult and time-consuming process to change from one word processor to another. The use of markup tags and codes remains popular today in some applications due to their ability to store complex formatting information. When

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