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83-428: The primary strength of TrueType was originally that it offered font developers a high degree of control over precisely how their fonts are displayed, right down to particular pixels , at various font sizes. With widely varying rendering technologies in use today, pixel-level control is no longer certain in a TrueType font. TrueType was known during its development stage, first by the codename "Bass" and later on by

166-470: A ttcf table that allows access to the fonts within the collection by pointing to individual headers for each included font. The fonts within a collection share the same glyph-outline table, though each font can refer to subsets within those outlines in its own manner, through its cmap , name and loca tables. Collection files bear a .ttc filename extension. In classic Mac OS and macOS, TTC has file type ttcf . The suitcase format for TrueType

249-425: A typeface , defined as the set of fonts that share an overall design. For instance, the typeface Bauer Bodoni (shown in the figure) includes fonts " Roman " (or "regular"), " bold " and " italic "; each of these exists in a variety of sizes . In the digital description of fonts ( computer fonts ), the terms "font" and "typeface" are often used interchangeably. For example, when used in computers, each style

332-521: A " smart font " technology, named TrueType Open in 1994, later renamed to OpenType in 1996 when it merged support of the Adobe Type 1 glyph outlines. Opentype now contains all of the same functionality of Apple TrueType and Apple TrueType GX. TrueType has long been the most common format for fonts on classic Mac OS , Mac OS X , and Microsoft Windows , although Mac OS X and Microsoft Windows also include native support for Adobe's Type 1 format and

415-463: 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

498-464: 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". The rest of the characters would be provided in quantities appropriate for the distribution 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

581-699: A TrueType Extension and a TrueType-aware version of Font/DA Mover for System 6 . For compatibility with the Laserwriter II, Apple developed fonts like ITC Bookman and ITC Chancery in TrueType format. All of these fonts could now scale to all sizes on screen and printer, making the Macintosh System 7 the first OS to work without any bitmap fonts. The early TrueType systems — being still part of Apple's QuickDraw graphics subsystem — did not render Type 1 fonts on-screen as they do today. At

664-455: 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

747-490: 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

830-528: A few of the characters have separate kanji 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 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

913-424: A font style is intended for large-size display use , or ink traps might be added to the design if it is 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

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996-477: A glyph independently along each of these axes. AAT font features do not alter the underlying typed text; they only affect the characters' representation during glyph conversion. Significant features of AAT include: AAT font features are supported on Mac OS 8.5 and above and all versions of macOS. The cross-platform ICU library provided basic AAT support for left-to-right scripts. HarfBuzz version 2 has added AAT shaping support, an open-source implementation of

1079-405: 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

1162-444: 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 sizes refer to different versions of the same typefaces optimised for specific font sizes. For instance, thinner stroke weight might be used if

1245-485: 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

1328-471: A scale from 100 through 900, which is also used in CSS and OpenType , where 400 is regular (roman or plain). The Mozilla Developer Network 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

1411-436: A single glyph (for something like ligature formation), or it may include dozens glyphs or even more. A special class is automatically defined for any glyph not included in any of the explicit classes. Special classes are also available for the end of the glyph stream and glyphs deleted from the glyph stream. Beginning with a start-of-text state, the layout engine parses the text, glyph by glyph. Depending on its current state and

1494-506: 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. 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 and hiragana , are sometimes seen as two styles or typographic variants of each other, but usually are considered separate character sets as

1577-515: A successor to Apple's little-used QuickDraw GX font technology of the mid-1990s. It is a set of extensions to the TrueType outline font standard, with smartfont features similar to the OpenType font format that was developed by Adobe and Microsoft, and to Graphite . It incorporates concepts from Adobe's " multiple master " font format, allowing for axes of traits to be defined and morphing of

1660-496: 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%. Optical sizing declined in use as pantograph engraving emerged, while phototypesetting and digital fonts further made printing the same font at any size simpler. A mild revival has taken place in recent years, although typefaces with optical sizes remain rare. The recent variable font technology further allows designers to include an optical size axis for

1743-404: A typeface, which means end users can manually adjust optical sizing on a continuous scale. Examples of variable fonts with such an axis are Roboto Flex and Helvetica Now Variable . 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. Furthermore, it

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1826-530: Is also responsible for making sure that "morx" subtables are ordered correctly for the desired effect. AAT operates entirely with glyphs and never with characters, so all the layout information necessary for producing the proper display resides within the font itself. This allows fonts to be added for new scripts without requiring any specific support from the OS. Third parties can produce fonts for scripts not officially supported by Apple, and they will work with macOS. On

1909-410: Is not possible to convert Type 1 losslessly to the TrueType format, although in practice it is often possible to do a lossless conversion from TrueType to Type 1. TrueType systems include a virtual machine that executes programs inside the font, processing the " hints " of the glyphs , in TrueType called “instructions”. These distort the control points which define the outline, with the intention that

1992-521: Is nothing like this in OpenType. Other AAT tables can also have point-size dependent effects; for example, at 12 points, the horizontal and vertical strokes can be of similar width, but at 300 points, the stroke width variation could be quite great. In practice, few AAT fonts use any features of the technology other than those available through the "morx" table. Zapfino , Hoefler Text , and Skia are fonts that ship with macOS that illustrate

2075-417: Is often desirable for mathematical fonts (i.e., typefaces designed for typesetting mathematical equations) to have two optical sizes below "Regular", typically for higher-order superscripts and subscripts which are very small in sizes. Examples of such mathematical fonts include Minion Math and MathTime 2 . Naming schemes for optical sizes vary. One such scheme, invented and popularised by Adobe, labels

2158-456: 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. The weight of

2241-665: Is one of several formats referred to as data-fork fonts, as they lack the classic Mac resource fork. TrueType Collection (TTC) is an extension of TrueType format that allows combining multiple fonts into a single file, creating substantial space savings for a collection of fonts with many glyphs in common. They were first available in Chinese, Japanese, and Korean versions of Windows, and supported for all regions in Windows 2000 and later. Classic Mac OS included support of TTC starting with Mac OS 8 .5. A TrueType Collection file begins with

2324-482: 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

2407-687: Is processed. The set of available features in the font is made accessible to the user via the "feat" table. This table provides pointers to the localizable strings that can be used to describe a feature to the end user and the appropriate flags to send to the text engine if the feature is selected. Features can be made invisible to the user by the simple expedient of not including entries in the "feat" table for them. Apple uses this approach, for example, to support required ligatures. Subtables may perform non-contextual glyph substitutions, contextual glyph substitutions, glyph rearrangements, glyph insertions, and ligature formation. Contextual actions are sensitive to

2490-440: 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 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

2573-411: Is still often called " leading ", because the strips used for line spacing were made of lead (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

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2656-486: Is stored in a separate digital font file . In both traditional typesetting and computing, 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. The word font (US) or fount (traditional UK; in any case pronounced / f ɒ n t / ) derives from Middle French fonte , meaning "cast iron". The term refers to

2739-399: Is used on classic Mac OS and macOS. It adds additional Apple-specific information. Like TTC, it can handle multiple fonts within a single file. But unlike TTC, those fonts need not be within the same family. Suitcases come in resource-fork and data-fork formats. The resource-fork version was the original suitcase format. Data-fork-only suitcases, which place the resource fork contents into

2822-411: The OpenType extension to TrueType (since Mac OS X 10.0 and Windows 2000 ). While some fonts provided with the new operating systems are now in the OpenType format, most free or inexpensive third-party fonts use plain TrueType. Increasing resolutions and new approaches to screen rendering have reduced the requirement of extensive TrueType hinting. Apple's rendering approach on macOS ignores almost all

2905-408: The script (s) that the typeface supports. In European alphabetic scripts , i.e. Latin , Cyrillic , 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

2988-421: 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 1986 Metafont description language and interpreter. The TrueType font format introduced

3071-798: The PostScript standard fonts Helvetica and ITC Avant Garde 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 software such as Calibri . It is not a requirement that a metrically compatible design be identical to its origin in appearance apart from width. Although most typefaces are characterised by their use of serifs , there are superfamilies that incorporate serif (antiqua) and sans-serif (grotesque) or even intermediate slab serif (Egyptian) or semi-serif fonts with

3154-489: The TrueType hinting virtual machine were patented by Apple, a fact not mentioned in the TrueType standards. (Patent holders who contribute to standards published by a major standards body such as ISO are required to disclose the scope of their patents, but TrueType was not such a standard.) FreeType 2 included an optional automatic hinter to avoid the patented technology, but these patents have now expired so FreeType 2.4 now enables these features by default. The outlines of

3237-525: The Type 1 format was open for anyone to use. Meanwhile, in exchange for TrueType, Apple got a license for TrueImage , a PostScript -compatible page-description language owned by Microsoft that Apple could use in laser printing . This was never actually included in any Apple products when a later deal was struck between Apple and Adobe, where Adobe promised to put a TrueType interpreter in their PostScript printer boards. Apple renewed its agreements with Adobe for

3320-476: The arrival of computers, each weight had to be drawn manually. As a result, many older multi-weight families such as Gill Sans 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 and TheSans are offered in

3403-495: The backing store of characters necessary for spell checkers and text searching. However, the lack of user-friendly tools for making TrueType GX fonts meant there were no more than a handful of GX fonts. Much of the technology in TrueType GX, including variations and substitution, lives on as AAT ( Apple Advanced Typography ) in macOS . Few font-developers outside Apple attempt to make AAT fonts; instead, OpenType has become

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3486-415: The bold and non-bold letters have the same width are " duplexed ". 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

3569-477: The characters (or glyphs ) in TrueType fonts are made of straight line segments and quadratic Bézier curves . These curves are mathematically simpler and faster to process than cubic Bézier curves, which are used both in the PostScript -centered world of graphic design and in Type 1 fonts. However, most shapes require more points to describe with quadratic curves than cubics. This difference also means that it

3652-509: The class of the glyph it encounters, it will switch to a new state and possibly perform an appropriate action. The process continues until the glyph stream is exhausted. The use of finite state machines allows "morx" tables to be relatively small and to be processed relatively quickly. They also provide considerable flexibility. Inasmuch, however, as Apple's font tools require the generation of "morx" tables via raw state table information, they can be difficult to produce and debug. The font designer

3735-710: The codename "Royal". The system was developed and eventually released as TrueType with the launch of Mac System 7 in May 1991. The initial TrueType outline fonts, four-weight families of Times Roman , Helvetica , Courier , and the pi font "Symbol" replicated the original PostScript fonts of the Apple LaserWriter. Apple also replaced some of their bitmap fonts used by the graphical user-interface of previous Macintosh System versions (including Geneva, Monaco and New York) with scalable TrueType outline-fonts. For compatibility with older systems, Apple shipped these fonts,

3818-424: The core fonts being bundled with PostScript equipment at the time. This included the fonts that are standard with Windows to this day: Times New Roman (compatible with Times Roman), Arial (compatible with Helvetica) and Courier New (compatible with Courier). In this context, "compatible" means two things. On an aesthetic level, it means that the fonts are similar in appearance. On a functional level, it means that

3901-428: The data fork, were first supported in macOS. A suitcase packed into the data-fork-only format has the extension dfont . In the PostScript language, TrueType outlines are handled with a PostScript wrapper as Type 42 for name-keyed or Type 11 for CID-keyed fonts. Font In metal typesetting , a font ( American English ) or fount ( Commonwealth English ) is a particular size, weight and style of

3984-561: The dominant sfnt format, and all of the font variation technology is the de facto standard today in OpenType Variations. To ensure its wide adoption, Apple licensed TrueType to Microsoft for free. Microsoft added TrueType into the Windows 3.1 operating environment. In partnership with their contractors, Monotype Imaging , Microsoft put a lot of effort into creating a set of high quality TrueType fonts that were compatible with

4067-467: The edges of fonts at the expense of a slight blurring, and more recently subpixel rendering (the Microsoft implementation goes by the name ClearType ), which exploits the pixel structure of LCD based displays to increase the apparent resolution of text. Microsoft has heavily marketed ClearType, and sub-pixel rendering techniques for text are now widely used on all platforms. Microsoft also developed

4150-411: The extent that the system supports them. This means that many OpenType fonts for Western or Middle Eastern scripts can be used without modification on Mac OS X 10.5, but South Asian scripts such as Thai and Devanagari cannot. These require AAT tables for proper layout. AAT requires the text to be turned entirely into glyphs before text layout occurs. Operations on the text take place entirely within

4233-534: 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

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4316-438: The font developer to make major changes (e.g., the point at which the entire font's main stems jump from 1 to 2 pixels wide) most of the way through development. Creating a very well-instructed TrueType font remains a significant amount of work, despite the increased user-friendliness of programs for adding instructions to fonts. Many TrueType fonts therefore have only rudimentary instructions, or have them automatically applied by

4399-447: The font editor, with results of various quality. The TrueType format allows for the most basic type of digital rights management  – an embeddable flag field that specifies whether the author allows embedding of the font file into things like PDF files and websites. Anyone with access to the font file can directly modify this field, and simple tools exist to facilitate modifying it (obviously, modifying this field does not modify

4482-798: The font license and does not give extra legal rights). These tools have been the subject of controversy over potential copyright issues. Apple has implemented a proprietary extension to allow color .ttf files for its emoji font Apple Color Emoji . A basic font is composed of multiple tables specified in its header. A table name can have up to 4 letters. A .ttf extension indicates a regular TrueType font or an OpenType font with TrueType outlines. Windows end user defined character editor (EUDCEDIT.EXE) creates TrueType font with name EUDC.TTE. An OpenType font with PostScript outlines must have an .otf extension. In principle an OpenType font with TrueType outlines may have an .otf extension, but this has rarely been done in practice. In classic Mac OS and macOS, OpenType

4565-448: The font), and encapsulation of code into functions. Special instructions called delta instructions are the lowest level control, moving a control point at just one pixel size. The hallmark of effective TrueType glyph programming techniques is that it does as much as possible using variables defined just once in the whole font (e.g., stem widths, cap height , x-height ). This means avoiding delta instructions as much as possible. This helps

4648-493: The font. Attempts to systematize a range of weights led to a numerical classification first used in 1957 by Adrian Frutiger 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

4731-476: The fonts have the same character widths. This allows documents which have been typeset in one font to be changed to the other, without reflow . Microsoft and Monotype technicians used TrueType's hinting technology to ensure that these fonts did not suffer from the problem of illegibility at low resolutions, which had previously forced the use of bitmapped fonts for screen display. Subsequent advances in technology have introduced first anti-aliasing, which smooths

4814-456: The glyph layer. The core table used in the AAT layout process is the "morx" table. This table is divided into a series of chains, each further divided into subtables. The chains and subtables are processed in order. When each subtable is encountered, the layout engine compares flags in the subtable against control flags, generally derived from user settings. This determines whether or not the subtable

4897-501: The hints in a TrueType font, while Microsoft's ClearType ignores many hints, and according to Microsoft, works best with "lightly hinted" fonts. The FreeType project of David Turner has created an independent implementation of the TrueType standard (as well as other font standards in FreeType 2). FreeType is included in many Linux distributions. Until May 2010, there were potential patent infringements in FreeType 1 because parts of

4980-417: The inclusion of an adjustable optical size axis means optical sizes are not released as separate products. 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 depth, and

5063-435: 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 they 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 than regular (roman) styles, it

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5146-598: The launch of TrueType GX in 1994, with additional tables in the sfnt which formed part of QuickDraw GX . This offered powerful extensions in two main areas. First was font axes (today known as variations), for example allowing fonts to be smoothly adjusted from light to bold or from narrow to extended — competition for Adobe's " multiple master " technology. Second was Line Layout Manager, where particular sequences of characters can be coded to flip to different designs in certain circumstances, useful for example to offer ligatures for "fi", "ffi", "ct", etc. while maintaining

5229-427: 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. 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,

5312-458: 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

5395-412: The normal typeface, approaching a more handwritten , cursive 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

5478-405: The operating system, it became a de facto standard for anyone involved in desktop publishing . Anti-aliased rendering, combined with Adobe applications' ability to zoom in to read small type, and further combined with the now open PostScript Type 1 font format, provided the impetus for an explosion in font design and in desktop publishing of newspapers and magazines. Apple extended TrueType with

5561-412: The other hand, this also means that every font for a given script requires its own copy of the script's shaping information in its own "morx" tables. Other AAT tables (or AAT-specific extensions to standard TrueType tables) allow for context-sensitive kerning, justification, and ligature splitting. AAT also supports variation fonts, in which a font's shape can vary depending on a scaled value supplied by

5644-468: The process of casting metal type at a type foundry . The spelling font is mainly used in the United States, whereas fount was historically used in most Commonwealth countries. 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

5727-631: The rasterizer produce fewer undesirable features on the glyph. Each glyph's instruction set takes account of the size (in pixels) at which the glyph is to be displayed, as well as other less important factors of the display environment. Although incapable of receiving input and producing output as normally understood in programming, the TrueType instruction language does offer the other prerequisites of programming languages: conditional branching (IF statements), looping an arbitrary number of times (FOR- and WHILE-type statements), variables (although these are simply numbered slots in an area of memory reserved by

5810-458: 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 initials ( drop caps ). Apple Advanced Typography Apple Advanced Typography ( AAT ) is Apple Inc .'s computer technology for advanced font rendering, supporting internationalization and complex features for typographers ,

5893-525: The same character width so that (for example) changing from regular to bold or italic does not affect word wrap. Sabon 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

5976-438: 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

6059-449: 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

6142-468: The surrounding text. They can be used, for example, to automatically turn an s into a medial s anywhere in a word except at its end. The "morx" subtables for non-contextual glyph substitutions are simple mapping tables between the glyph substituted and its substitute. The others all involve the use of finite state machines . For the purposes of processing the finite state machine, glyphs are organized into classes. A class may be small, containing only

6225-496: The technology which Chrome / Chromium as version 72 and LibreOffice as version 6.3 uses it instead of CoreText for rendering macOS AAT fonts in cross-platform way. As of OS X Yosemite and iOS 8 , AAT supports language-specific shaping—that is, changing how glyphs are processed depending on the human language they are being used to represent. This support is available through the use of language tags in Core Text . Provision

6308-541: The time, many users had already invested considerable money in Adobe's still proprietary Type 1 fonts. As part of Apple's tactic of opening the font format versus Adobe's desire to keep it closed to all but Adobe licensees, Apple licensed TrueType to Microsoft . When TrueType and the license to Microsoft was announced, John Warnock , co-founder and then CEO of Adobe, gave an impassioned speech in which he claimed Apple and Microsoft were selling snake oil , and then announced that

6391-538: 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). 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

6474-429: The typeface. These include the look of digits ( text figures ) and the minuscules, which may be smaller versions of the capital letters ( small caps ) 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

6557-512: The use of PostScript in its printers, resulting in lower royalty payments to Adobe, who was beginning to license printer controllers capable of competing directly with Apple's LaserWriter printers. Part of Adobe 's response to learning that TrueType was being developed was to create the Adobe Type Manager software to scale Type 1 fonts for anti-aliased output on-screen. Although ATM initially cost money, rather than coming free with

6640-560: The user. Variation fonts are similar to Adobe's defunct Multiple master fonts , where the endpoints are defined and any medial value is valid. With this, the user can then drag sliders in the user interface to make glyphs taller or shorter, to make them fatter or thinner, to increase or decrease the size of the serifs, and the like, all independently of one another. Glyphs may even have their fundamental shapes radically altered. Before OpenType introduced Font Variation in September 2016, there

6723-544: The variant designs by their typical usages (with the intended point sizes varying slightly by typefaces): Other type designers and publishers might use different naming schemes. For instance, the smaller optical size of Helvetica Now is labelled "Micro", while the display variant of Hoefler Text is called "Titling". Another example is Times , whose variants are labelled by their intended point sizes, such as Times Ten, Times Eighteen, and Times New Roman Seven. Variable fonts typically do not use any naming scheme, because

6806-411: Was added at the same time for the relative positioning of two glyphs via anchor points via the 'kerx' and 'ankr' tables. As of Mac OS X 10.5 Leopard , partial support for OpenType is available. As of 2011, support is limited to Western and Arabic scripts. If a font has AAT tables, they will be used for typography. If the font does not have AAT tables but does have OpenType tables, they will be used to

6889-483: 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 and Century Gothic are notable examples of this, being functional equivalents to

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