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78-591: Bearing similarities to humanist sans-serif typefaces such as Frutiger , Verdana was designed to be readable at small sizes on the low-resolution computer screens of the period. Like many designs of this type, Verdana has a large x-height (tall lower-case characters), with wider proportions and looser letter-spacing than on print-orientated designs like Helvetica . The counters and apertures are wide, to keep strokes clearly separate from one another, and similarly shaped letters are designed to appear clearly different to increase legibility for body text. The bold weight

156-430: 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

234-403: 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

312-458: 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

390-405: 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

468-457: 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

546-451: 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

624-612: 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

702-411: A customized version of Noto Sans under the name Noto IKEA . 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 the typeface

780-540: 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

858-453: 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

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936-439: 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

1014-634: A hook in the upper left to distinguish it from lowercase l (L) and uppercase I (i). This is similar to the digit "1" found in Morris Fuller Benton 's sans-serif typefaces News Gothic and Franklin Gothic . Released in 1996, Verdana was bundled with subsequent versions of the Windows operating system , as well as their Office and Internet Explorer software on Windows, classic Mac OS , and Mac OS X . Since at least Mac OS X 10.4 it

1092-596: 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

1170-678: 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

1248-406: 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

1326-433: 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

1404-461: A slap at the principles of design by a company that has been hailed for its adherence to them." Carter addressed this controversy during an interview in 2013: Ever since there was that big ruckus about the IKEA catalog changing from Futura to Verdana, which I had nothing to do with and didn’t even know about, people ask me about that everywhere I go. I give a talk about something historical and then at

1482-444: 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

1560-488: 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

1638-422: 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

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1716-398: 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

1794-508: Is also bundled with Mac OS itself. In addition, up until 2002 it was available for download from Microsoft's web site as freeware (".exe" files for Microsoft Windows and in ".sit.hqx" archives for Mac OS) under a proprietary license imposing some restrictions on usage and distribution, allowing it to be used by end users in any system supporting installation of "exe" or ".sit.hqx" files and supporting TrueType fonts. The downloadable files are still available legally from third-party web sites; see

1872-575: Is because some font display engines substitute sequences of base character + combining character with a precomposed character glyph . This bug was subsequently fixed in the version issued with Windows Vista . It is also fixed in Verdana version 5.01 font on Windows XP by installing the European Union Expansion Font Update from Microsoft. In 2006, the Verdana typeface was named in the list of British design icons in

1950-482: Is included with Microsoft Encarta . Tahoma is similar to Verdana but with tighter letter spacing. The Windows Mobile core font Nina is a more condensed version of Tahoma and Verdana. Microsoft licensed rights to Verdana to Font Bureau for a new Verdana Pro release, published in 2011. Verdana Pro adds correct German closing quotation marks, light, semi-bold and black styles with italics, as well as condensed styles with italics across all weights. The expanded family

2028-457: 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

2106-412: Is one of the leading designers of typefaces, specializing in type designs for magazine and newspaper publishers. Font Bureau was founded in 1989 by Roger Black and David Berlow. Before founding Font Bureau, Roger Black was an established publications designer and consultant. David Berlow is a noted type designer. The New York Times Magazine , Newsweek , Esquire Magazine , Rolling Stone and

2184-512: 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 ,

2262-471: 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

2340-472: 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

2418-463: 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

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2496-400: Is thicker than would be normal with fonts for print use, suiting the limitations of onscreen display. Carter has described spacing as an area he particularly worked on during the design process. Some characteristics of the typeface are as follows: As an example of the approach of making similar characters easily distinguishable, the digit 1 (one) in Verdana was given a horizontal base and

2574-457: 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,

2652-410: 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

2730-487: The Wall Street Journal rank among Font Bureau's client list. Apart from Black and Berlow, other prominent designers at Font Bureau have included Tobias Frere-Jones , later of Hoefler & Frere-Jones and Frere-Jones Type, and Cyrus Highsmith , later of Occupant Fonts and Morisawa. Matthew Carter has been a frequent collaborator with the foundry. In October 2009, news sources reported that Font Bureau

2808-570: The External links section. However, these files include only old versions of Verdana, and updated versions are not available as freeware. According to a 2013 survey, the availability of Verdana was 99.90% on Windows, 99.26% on Mac OS, and 70.02% on free operating systems like Linux . According to a study of online fonts by the Software Usability and Research Laboratory at Wichita State University , participants preferred Verdana as

2886-510: 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

2964-472: 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

3042-586: The typeface used in its catalog from Futura to Verdana, expressing a desire to unify its branding between print and web media. The controversy has been attributed to the perception of Verdana as a symbol of homogeneity in popular typography. Time magazine and the Associated Press ran articles on the controversy including a brief interview with an IKEA representative, focusing on the opinions of typographers and designers. Design and advertising industry-focused publications such as Business Week joined

3120-579: 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

3198-521: 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

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3276-843: The Great British Design Quest organised by the BBC and the Design Museum . Carter's typeface appeared on a list which included Concorde , Mini , Jaguar E-Type , Aston Martin DB5 , Supermarine Spitfire , World Wide Web , London tube map , AEC Routemaster bus and the K2 telephone box . In 2007, the font was used for the questions in Who Wants to Be a Millionaire? , replacing the ITC Conduit font. In 2009, IKEA changed

3354-661: The IKEA catalog, it’s set in Verdana, with the big prices and everything… how do you tell it’s a screen font? What is it about Verdana that says: this is a screen font? He had no idea. He just knew it because he’d been told. There are many people who make judgments without really understanding what the typographic issues are. Students are interesting—they’ll say things to me like: my professor told me I cannot use Verdana and Georgia in print because they’re screen fonts, but I tried it and it looks perfectly all right. And I can only say: Thank you! Go ahead! In 2019, with its logo refresh, IKEA again changed their corporate typeface, from Verdana to

3432-456: The Settings app. A similar Georgia Pro release was announced at the same time. In the past, Verdana (v. 2.43) had an incorrect position for combining diacritical marks , causing them to display on the following character instead of the preceding. This made it unsuitable for Unicode -encoded text such as Cyrillic or Greek . This bug did not usually reveal itself with Latin letters . This

3510-455: 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

3588-430: The best overall font choice, and it was also perceived as being among the most legible fonts. However, Microsoft's font manager Bill Hill wrote that "with its large x-height and very generous spacing, it never felt comfortable as an eBook font". He noted that Microsoft had commissioned an alternative version of the pre-existing typefaces Berling and Frutiger for its Microsoft Reader e-book product. Despite this, Verdana

3666-449: 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

3744-399: 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

3822-468: 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

3900-610: 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),

3978-524: 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

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4056-489: 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

4134-452: The end someone will get up and say: "I started a petition to go back to Futura. You’re a villain!" You get blamed for something you had nothing to do with. There's a strange misunderstanding. A friendly guy came up to me at a conference recently and said: I signed that petition to go back to Futura. So I asked: what caused you to do that? And he said, well, Verdana is a screen font. You mustn’t use it in print. So I said: OK, well, so you open

4212-537: 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

4290-508: The fray of online posts. The branding critic blog Brand New was one of those using the Verdanagate name. The Australian online daily news site Crikey also published an article on the controversy. The Guardian ran an article asking "Ikea is changing its font to Verdana—causing outrage among typomaniacs. Should the rest of us care? Absolutely." The New York Times said the change to Verdana "is so offensive to many because it seems like

4368-626: 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. Font Bureau 42°21′1.1″N 71°3′27.5″W  /  42.350306°N 71.057639°W  / 42.350306; -71.057639 The Font Bureau, Inc. or Font Bureau is a digital type foundry based in Boston , Massachusetts , United States . The foundry

4446-574: 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

4524-427: 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

4602-403: 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,

4680-433: 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

4758-400: 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

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4836-754: 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

4914-410: 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

4992-494: 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

5070-401: 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

5148-427: 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

5226-806: 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

5304-399: 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

5382-575: 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

5460-517: 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

5538-551: 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

5616-411: 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

5694-529: 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

5772-767: Was "suing NBC Universal for at least $ 2 million over the entertainment company's use of its fonts." Font Bureau claimed NBC broke its license agreement in its use of the fonts Antenna, Bureau Grotesque and Interstate in marketing material. Following the launch of TypeNetwork in 2016, Font Bureau foundry would begin to focus primarily on type design and custom services, while the company's font licensing business, font development activities, and retail shop would be relocated to TypeNetwork. On July 6, 2016, The Font Bureau, Inc. announced all its retail typefaces are sold exclusively at TypeNetwork, withdrawing sales in Fonts.com, MyFonts , FontShop . Font Bureau withdrew their fonts from

5850-640: 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

5928-489: Was designed for organisations which had made extensive use of Verdana due to its availability but desired additional versions for greater flexibility. It is sold separately through print and web licenses, being sold by Font Bureau and Ascender, although Windows 10 users can acquire it free of charge from Microsoft Store or by activating the Pan-European Supplemental Fonts optional resource on

6006-484: Was initially used as one of the bundled book-reading fonts on the iPad before an update in 2011. Verdana Ref is a custom version of Verdana for use with Microsoft Reference. It is used in Microsoft Bookshelf 2000, Encarta Encyclopedia Deluxe 99, Encarta Virtual Globe 99, Office 2000 Premium, Publisher 2000. MS Reference Sans Serif is a derivative of Verdana Ref with bold and italic fonts. This font family

6084-460: 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"

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