1923:, small indentations at the junctions of strokes that would be filled up with ink spreading out, maintaining the intended appearance of the type design. Without ink traps, the excess ink would blob and ruin the crisp edge. At larger sizes, these ink traps were not necessary, so display faces did not have them. They have also been removed from most digital fonts, as these will normally be viewed on screen or printed through inkjet printing, laser printing, offset lithography, electrophotographic printing or other processes that do not show the ink spread of letterpress. Ink traps have remained common on designs intended to be printed on low-quality, absorbent paper, especially
620:
1244:, 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 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
2257:
1732:, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Historically, most lettering on logos, displays, shop frontages did not use fonts but was rather custom-designed by signpainters and engravers, so many emulate the styles of hand-drawn signs from different historical periods. The genre has developed rapidly in recent years due to modern font formats allowing more complex simulations of handwriting. Examples include
1179:
2027:
857:
52:
565:, utilized tiny high-resolution images of individual glyphs on 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
1682:
787:
775:
763:
1964:
1023:
5719:
1549:
1678:
details and serifs, slightly more condensed letter shapes and larger differences between thick and thin strokes; many of these are most visible in serif designs. Many display typefaces in the past such as those intended for posters and newspaper headlines were also only cut in capitals, since it was assumed lower-case would not be needed, or at least with no italics. This was true of many early sans-serif fonts.
1168:
848:
serif typefaces, at least for the text body. Websites do not have to specify a font and can simply respect 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.
2164:
1863:
2106:
1829:
348:
1717:
1384:
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 the early nineteenth century. The earliest known slab serif font was first shown around 1817 by the
English typefounder
4587:
1663:
1278:
182:
1814:. These are used largely for the purpose of novelty to make something appear foreign, or to make businesses offering foreign products, such as restaurants, clearly stand out. This typographic mimicry is also known as a faux font (named faux x, where x is usually a language script), pseudoscript, ethnic typeface, simulation typeface or a "foreign look" font.
1755:
1423:
1322:
1255:, 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.
1694:
then digital fonts, which can both be printed at any size. Premium digital fonts used for magazines, books and newspapers do often include display variants, but they are often not included with typefaces bundled with operating systems and desktop publishing software. Display typefaces in the letterpress period were often made as
1113:. 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.
234:(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
750:, 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.
1840:
A reverse-contrast type is a typeface in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet printing, the horizontal lines are the thickest. Reverse-contrast types are rarely used for body text,
1615:
The glyphs found in CJK fonts are designed to fit within a square. This allows for regular vertical, horizontal, right-to-left and left-to-right orientations. CJK fonts can also include an extended set of monospaced Latin characters. This commonly results in complex, sometimes contradictory rules and
1383:
Old Style typefaces are influenced by early
Italian lettering design. Modern fonts often exhibit 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
847:
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
365:
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 was created when Morris Fuller Benton created
Clearface Gothic for ATF in 1910, a sans serif companion to
296:
Another way to look at the distinction between font and typeface is that a font 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
1878:
A "shadow" effect can also be either designed into a typeface or added to an existing typeface. Designed-in shadows can be stylized or connected to the foreground. An after-market shadow effect can be created by making two copies of each glyph, slightly offset in a diagonal direction and possibly in
1870:
Some typefaces have a structure that suggests a three-dimensional letter, such as letters carved into stone. An example of this is the genre known as 'inline', 'block' 'outline' or 'shadowed' typefaces. This renders the interior of glyphs in the background color, with a thin line around the edges of
1701:
Decades into the desktop publishing revolution, few typographers with metal foundry type experience are still working, and few digital typefaces are optimized specifically for different sizes, so the misuse of the term display typeface as a synonym for ornamental type has become widespread; properly
1568:
is narrower). The first monospaced typefaces were designed for typewriters, which could only move 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
1143:
During 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)
1116:
Typefaces that can be substituted for one another in 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
2149:
standard, allowing them to be used internationally, the number of Emoji characters has rapidly increased to meet the demands of an expanded range of cultures using them; unlike many previous symbol typefaces, they are interchangeable with the ability to display the pictures of the same meaning in a
1693:
In the days of metal type, when each size was cut individually, types intended for display use were often adjusted accordingly. These modifications continued to be made even after fonts started to be made by scaling using a pantograph, but began to fade away with the advent of phototypesetting and
1290:
are in 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,
420:
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 the characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some
1677:
Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces. Most effect typefaces are display types. Common features of display type include tighter default letter spacing, finer
1002:
Any two lines of text with 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
2034:
The process of printing typefaces has historically been far simpler than commissioning and engraving custom illustrations, especially as many non-text features of printed works like symbols and borders were likely to be reused by a printer in future. Non-character typefaces have therefore been
1440:
Sans serif (lit. without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs, 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
1845:
applications such as headings and posters, in which their unusual structure may be particularly eye-catching. First seen in London in 1821, they were particularly common in the mid- to late nineteenth century in
American and British printing and have been revived occasionally since then. They
1611:
CJK, or
Chinese, Japanese and Korean typefaces consist of large sets of glyphs. These typefaces originate in 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
1528:
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
2144:
Emoji are pictograms that can be used and displayed inline with text. They are similar to previous symbol typefaces, but with a much larger range of characters, such as symbols for common objects, animals, food types, weather and emotions. Originally developed in Japan, they are now commonly
584:
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
843:
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 a typeface.
1014:) 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 the norm.
541:. In 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
1871:
the glyphs. In some cases, the outline shows the glyph filled in with the foreground color, surrounded a thin outline mirroring the edges separated by a small gap. (This latter style is often used with "college" typefaces.) Colorized block lettering is often seen in carefully rendered
1159:: 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.
1407:
applies to fonts where 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.)
1883:
can also be dynamically created by rendering software. The shadow effect is often combined with the outline effect, where the top layer is shown in white with black outline and the bottom layer in black, for greater contrast. An example typeface with an 'inline' effect is
1982:", is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting (because it displays all the letters of the alphabet). For extended settings of typefaces graphic designers often use nonsense text (commonly referred to as
2150:
range of fonts on different operating systems. The popularity of emoji has meant that characters have sometimes gained culture-specific meanings not inherent to the design. Both colour and monochrome emoji typefaces exist, as well as at least one animated design.
662:(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
2548:, the shapes of typefaces are not eligible for copyright but may be protected by design patent (although it is rarely applied for, the first US design patent that was ever awarded was for a typeface). Typefaces can be protected in other countries, including the
1258:
Fonts intended for professional use in documents such as business reports may also make 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.
507:
1285:
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.
1702:
speaking, ornamental typefaces are a subcategory of display typefaces. At the same time, with new printing techniques, typefaces have largely replaced hand-lettering for very large signs and notices that would once have been painted or carved by hand.
2113:
Symbol, or dingbat, typefaces consist of symbols (such as decorative bullets, clock faces, railroad timetable symbols, CD-index, or TV-channel enclosed numbers) rather than normal text characters. Common, widely used symbol typeface releases include
1291:
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
92:, 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 is a
2851:
Expert set fonts are becoming less common with advent of OpenType which allows for these extras to be included in the same font that contains the default glyphs, accessed more easily, and inserted into a layout without damaging the underlying
1533:
letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.
1402:
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:
1638:
With CJK typefaces, Goth style tends to be something like Sans Serifs with squarish, cut off end-caps for the end of stems, and in fact includes Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.
1647:
With CJK typefaces, Maru style tends to be something like Sans Serifs with rounded end-caps for the end of stems, and in fact includes Rounded Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.
1148:. 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.
1353:
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:
293:, may consist of dozens of fonts. In the loose terminology of desktop publishing, these distinctions are often lost and the term "font" used for an entire typeface rather than any one specific font within it.
2062:
In the metal type era, type-founding companies often would offer pre-formed illustrations as fonts showing objects and designs likely to be useful for printing and advertisements, the equivalent of modern
366:
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:
1292:
1082:
spans the distance between 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.
64:
1850:
designs because of the serifs becoming thick, and are often characterised as part of that genre. In recent times, the reverse-contrast effect has been extended to other kinds of typeface, such as
374:
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.
1003:
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 the characters i, t, l, and 1) use less space than the average.
512:
511:
508:
569:, allowing designers to produce multiple sizes from a single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example,
513:
2746:
There are a few other styles occasionally used, most notably small-cap figures set uniformly at the height of the small capitals, and 'short-ranging figures' slightly lower than cap height.
4694:
1943:) is a set of typefaces that share a common design concept. The simplest typeface family has just a 'regular' face and an 'oblique' face (or 'Roman' and 'Italic'); the next step up adds
922:
and third- and fourth-generation game console graphics processors, which treat the screen as a uniform grid of character cells. Most computer programs which have a text-based interface (
895:
Many people generally find proportional typefaces nicer-looking and easier to read, and thus they appear more commonly in professionally published printed material. For the same reason,
926:, 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
289:
is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families typically include several fonts, though some, such as
2560:, by industrial design protections that are similar to copyright or design patent in that they protect the abstract shapes. Additionally, in the US and some other countries, computer
655:
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).
1630:
With CJK typefaces, Mincho style tends to be something like Serifs for the end of stems, and in fact includes Serifed glyphs for Extended Latin and Cyrillic sets within a typeface.
1214:, styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to the style of running text. They are also called
914:
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
1441:
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.
2321:
5304:
510:
1597:. 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.
2544:, trademark, design patent, and related laws. The copyright status of a typeface and of any font file that describes it digitally varies between jurisdictions. In the
301:
era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size.
2568:
of the shapes as vector outlines, may be protected by copyright on the computer code that produces them. The name of a typeface may also be protected as a trademark.
2516:
742:
Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all
537:
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
5678:
2238:
685:
pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everyday
1072:
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
4562:
2306:
1979:
4531:
651:. 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
304:
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
381:
intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the
1117:
documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the free and open-source
3419:
1908:, and a chunky design. Some fonts used at such sizes may be members of a larger typeface family joining members for normal sizes. For example, the
2424:
509:
4677:
3806:
2014:, or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting. Another common demonstration word is "
2792:
1955:
forms of each of 'thin', 'extralight', 'light', 'regular', 'medium', 'demibold', 'bold', 'extrabold' and 'bold' types, in regular and italic.
1762:
Mimicry typefaces are decorative typefaces that have been designed to represent characters of one alphabet but at the same time evoke another
2382:
1097:(sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs (
631:
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
1947:
versions of these types. A modern professional typeface family (such as Danish Standard no. 737) might have as many as 54 different styles:
4748:
2439:
2341:
1151:
Typefaces may also be designed differently considering the type of paper on which they will be printed. Designs to be printed on absorbent
413:, and alternate character sets, complementing the regular fonts under the same family. However, with introduction of font formats such as
2509:
581:
between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in the 1960s and 1970s.
4271:
Specimens of type, borders, ornaments, brass rules and cuts, etc. : catalogue of printing machinery and materials, wood goods, etc
417:, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs.
1144:
for different sizes, especially designs sold for professional design use. The art of designing fonts for a specific size is known as
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4146:
4029:
3956:
3634:
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Some typefaces are specifically designed to be printed at small sizes, for example in telephone directories or on newsprint paper.
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619:
2471:
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3703:
2419:
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for government printing. The practice has declined as printing custom illustrations and colour printing using processes such as
421:
accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used.
3051:
3024:
2997:
2898:
4477:
3131:
2122:, though many may be created internally by a publication for its own use and some typefaces may have a symbol range included.
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2189:
1503:
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comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs as
1836:
design. Both are very bold, but the fat face's thick lines are the verticals and the reverse-contrast's are the horizontals.
4402:
3837:
712:
and its variants. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer
297:
by different fonts, such as computer font files created by this or that vendor, a set of metal type characters etc. In the
137:, each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for
5673:
4098:
3397:
501:
245:
As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific
4162:
5558:
5520:
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1325:
The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by
670:, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts use
5704:
4773:
3392:
3203:
1068:: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The
892:
are similar to monospaced fonts, but characters can also be two character widths instead of a single character width.
3920:
3255:
2174:
1556:
Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where the
577:
encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed fine
5284:
1823:
1210:
Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters.
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2178:
1904:, commissioned for telephone directories, are notable examples of this. Small-print designs often feature a large
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3973:
3446:
3078:
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2838:
2649:
2326:
2185:
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and its display variant, Perpetua Titling (above). The display type has slimmer stroke width and taller letters.
451: in (0.0139 in or 0.35 mm). When specified in typographic sizes (points, kyus), the height of an
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5505:
5176:
5113:
4818:
4741:
4539:
2615:
2076:
2052:
1272:
1055:
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paper will be more slender as the ink will naturally spread out as it absorbs into the paper, and may feature
405:
not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as
4139:
Decorative ornaments and alphabets of the Renaissance : 1,020 copyright-free motifs from printed sources
2945:
2035:
created for elements of documents that are not letters but are likely to be reused regularly. These include:
441:
has been defined differently at different times, but now the most popular is the Desktop Publishing point of
3609:
2331:
2301:
2291:
2145:
installed on many computer and smartphone operating systems. Following standardisation and inclusion in the
4350:
5133:
4856:
4323:
4275:
3180:
2654:
2402:
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1912:
family contains some designs intended for small print use, as do many families with optical sizes such as
402:
398:
305:
4046:
477: in or 4.2 mm. Yet no particular element of 12-point Helvetica need measure exactly 12 points.
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5108:
5103:
5016:
5003:
4836:
4300:
3423:
2885:
2537:
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documents; they may also be particularly legible at small sizes due to all characters being quite wide.
1109:
1065:
1035:
686:
585:
mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling
456:
312:(1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed by
309:
2256:
5753:
5400:
5041:
4895:
2071:
specimen of 1897 offered designs including baseball players, animals, Christmas wreaths, designs for
2056:
1570:
980:
313:
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5722:
5683:
5596:
5490:
5345:
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5313:
5181:
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4778:
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4355:
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927:
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products and those of several other companies. Digital fonts are created with font editors such as
624:
546:
3301:
2026:
5743:
5646:
5573:
5553:
5543:
5515:
5485:
5445:
5072:
4935:
4920:
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4851:
4071:
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1885:
1733:
1666:
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1011:
566:
518:
484:, the height of the capital letters. Font size is also commonly measured in millimeters (mm) and
434:
406:
341:
336:; while others have alternate styling designed as compatible replacements of each other, such as
239:
138:
119:
31:
4119:
3974:"Between script and language: The ambiguous ascription of 'English' in the linguistic landscape"
2286:
2266:
652:
382:
4709:
4563:"Woohoo! Animated Emoji Easter Eggs Overload The Latest Hangouts With Their Cuteness, Hehehehe"
2767:
856:
51:
5591:
5510:
5465:
5395:
4866:
4646:
4429:
4279:
4191:
4142:
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3057:
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3003:
2868:
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2127:
1963:
1913:
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1268:
923:
394:
371:
329:
317:
100:
81:
38:
2109:
Examples of dingbats, which could be used in documents such as tourist guides or TV listings.
2051:) typefaces are used to decorate a page. Historically complex interlocking patterns known as
5477:
5430:
5269:
5216:
5077:
4887:
4685:
3471:
2700:
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1657:
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1118:
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737:
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667:
561:
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359:
3229:
2224:
Typefaces that include musical notes and other needed symbols have been developed to print
1681:
5613:
5500:
5495:
5415:
5383:
5274:
5011:
4813:
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2397:
1909:
1901:
1799:
1779:
1711:
1543:
1385:
1346:
1252:
1231:
1186:
Most typefaces, especially modern designs, include a complementary set of numeric digits.
1182:
Proportional (left-side) and tabular (right-side) numeric digits, drawn as lining figures.
1094:
907:) typically use proportional fonts. However, many proportional fonts contain fixed-width (
833:
659:
602:
286:
142:
85:
42:
5568:
3475:
3351:
277:, collections of closely related typeface designs that can include hundreds of styles. A
3373:
1552:
Courier, a monospaced slab serif typeface. All the letters occupy spaces the same width.
786:
774:
762:
5618:
5563:
5440:
5243:
5067:
5021:
4955:
4925:
4793:
3995:
3754:
2697: – Composition of text by means of arranging physical types or digital equivalents
2549:
2444:
2407:
2336:
2281:
1791:
1763:
1606:
1586:
1530:
1525:
1479:
1122:
900:
888:
743:
367:
59:
3894:
2083:
has become cheaper, although illustration typefaces are still sold by some companies.
1548:
1022:
480:
Frequently measurement in non-typographic units (feet, inches, meters) will be of the
455:, an invisible box which is typically a bit larger than the distance from the tallest
5737:
5410:
5378:
5368:
5248:
4430:"Emoji Additions: Animals, Compatibility, and More Popular Requests; Emoji tranche 5"
4269:
4219:
4185:
3750:
3711:
3707:
2715: – Computer font that maps glyphs to code points defined in the Unicode Standard
2597:
2545:
2466:
2361:
2115:
1811:
1787:
1783:
1245:
945:
717:
663:
614:
590:
538:
111:
3725:
3650:
3277:
3157:
122:, type designers are sometimes also called "font developers" or "font designers" (a
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5548:
5435:
5420:
5390:
5350:
5333:
5087:
5057:
5031:
4940:
4783:
4765:
4482:
2712:
2688:
2492:
2461:
2456:
2429:
2351:
2311:
2015:
2004:
1171:
1090:
1086:
671:
467:
at 12 point, the em square defined in the Helvetica font is scaled to 12 points or
325:
235:
115:
4244:
3807:"In the rarified world of Jewish letters, a mind-boggling font of Jewish history"
1888:, where the shadowed version is more widely distributed than the regular design.
17:
5663:
5658:
5651:
5641:
5455:
5405:
5360:
5300:
5264:
5235:
5223:
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5026:
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3811:
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1990:
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107:
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5163:
5118:
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5036:
4993:
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2706:
2010:
1851:
1847:
1574:
1507:
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1457:
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1445:
1417:
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1007:
915:
808:
698:
390:
298:
282:
281:
is typically a group of related fonts which vary only in weight, orientation,
259:
250:
221:
1866:
Three typefaces designed for headings, offering a clear contrast to body text
1240:, with a character width tightly matching the width of the figure itself, or
944:
usually requires a monospaced font for proper viewing, with the exception of
5128:
5123:
4900:
4828:
4454:
2541:
2412:
2356:
2276:
2119:
2030:
Specimens of printed floral borders from an 1897 type foundry specimen book.
1924:
1729:
1695:
1487:
1427:
1152:
1126:
1098:
1074:
949:
941:
919:
721:
464:
460:
347:
290:
166:
4658:
1478:"Blackletter" is the name of the class of typefaces used with the earliest
4120:"DS 737: Shortlist / Type Design & Lettering / Typeface Family / 2023"
3996:"Deep in the archives: Caslon's Italian, ca. 1821. Specimen & punches"
3500:
1716:
1662:
58:, a broadsheet with examples of typefaces and fonts available. Printed by
5601:
5279:
5138:
4963:
4915:
2639:
2488:
2434:
2271:
2064:
1984:
1944:
1920:
1905:
1872:
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1326:
1156:
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1039:
1031:
953:
705:
694:
690:
570:
414:
352:
337:
150:
2984:
Layout Workbook: A Real-World Guide to Building Pages in Graphic Design,
1919:
In the metal type era, typefaces intended to be printed small contained
1754:
1281:
Illustration of different font types and the names of specific specimens
1125:
have been designed as metrically compatible substitutes for widely used
5425:
5211:
5062:
4973:
4905:
4841:
4351:"Smile, You're Speaking EMOJI: The fast evolution of a wordless tongue"
3109:
2633:
2621:
2553:
2146:
2123:
2100:
1975:
1737:
1321:
1277:
725:
682:
598:
578:
410:
333:
181:
1422:
5328:
4945:
4628:
3627:
Irish type design: A history of printing types in the Irish character
3583:
2557:
2316:
2072:
1999:
1968:
1795:
1767:
1506:" or "gothic font", though the term "Gothic" in typography refers to
1377:
1345:, typefaces are named for the features at the ends of their strokes.
632:
321:
89:
4649:(1953, 1958, 1962, 1970, 1983, 1986, 1990, 1991, 1993, 2001, 2008).
886:) typeface uses a single standard width for all glyphs in the font.
389:
fonts, which had a standardized set of additional glyphs, including
161:(Α). There are typefaces tailored for special applications, such as
3105:
1006:
In the publishing industry, it was once the case that editors read
463:, is scaled to equal the specified size. For example, when setting
5171:
4910:
4878:
2846:
2818:
American Metal Typefaces of the Twentieth Century (second edition)
2579:
2533:
2139:
2104:
2025:
1995:
1962:
1861:
1827:
1753:
1715:
1680:
1661:
1547:
1421:
1320:
1316:
1276:
1177:
1166:
972:
855:
813:
802:
623:
Comparison between printed (top) and digital (bottom) versions of
618:
505:
378:
346:
180:
158:
134:
50:
3077:
Esfahbod, Behdad; TAGOH, Akira; Steffens, Jan; Crozat, Frederic.
2923:
5527:
5373:
5318:
2603:
2529:
1952:
1948:
1807:
1251:
Characters of uniform width are a standard feature of so-called
1145:
1138:
1047:
968:
534:
430:
230:
154:
93:
4730:
728:'s TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio.
3106:"Liberation fonts and the tricky task of internationalization"
2157:
2055:
were common in fine printing, as were floral borders known as
992:
896:
709:
574:
4726:
3050:
Raggi, Emilio; Thomas, Keir; van Vugt, Sander (17 Dec 2011).
1189:
Numbers can be typeset in two main independent sets of ways:
597:), in one of several common formats. Some typefaces, such as
3537:. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 35.
3524:. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 34.
1766:. This group includes Roman typefaces designed to appear as
1486:
style of that time and place. Various forms exist including
948:
which takes advantage of the proportional characters in the
328:. Some became superfamilies as a result of revival, such as
2008:. Greeking is used in typography to determine a typeface's
1573:, terminal emulation, and for laying out tabulated data in
1107:, and the part of a glyph rising above the x-height as the
641:, or by mathematical description of lines and curves in an
4478:"How to (pretend to) be young and down with the internet"
4379:
1298:) and traditional Slavonic type (called славянский шрифт
525:
typeface sketches. The sequence was shot in his study in
146:
3981:
Linguistic landscapes, multilingualism and social change
3895:"New Black Face: Neuland and Lithos as Stereotypography"
3204:"Book Review: Size-specific Adjustments to Type Designs"
103:
in existence, with new ones being developed constantly.
30:"Font family" redirects here. For the CSS property, see
2865:
Basics of Design: Layout & Typography for Beginners
2606: – Particular size, weight and style of a typeface
938:
used to group arithmetic expressions) are easy to see.
3029:. Springer Science & Business Media. p. 102.
872:
typeface, contains glyphs of varying widths, while a
677:
Digital fonts may also contain data representing the
242:", with number of copies of each character included.
3921:"Writing System Mimicry in the Linguistic Landscape"
2924:"Interview with Virginia Howlett, mother of Verdana"
911:) numerals so that columns of numbers stay aligned.
5697:
5629:
5582:
5536:
5476:
5359:
5299:
5257:
5234:
5202:
5162:
5151:
5096:
5050:
5002:
4954:
4886:
4877:
4827:
4764:
3132:"How To Choose The Right Face For A Beautiful Body"
2600: – Digital description of a typographical font
800:Typefaces can be divided into two main categories:
106:The art and craft of designing typefaces is called
27:
Set of characters that share common design features
4678:"A Nomenclature for the Letterforms of Roman Type"
4024:(1st ed.). Boston: Godine. pp. 321–323.
3994:Schwartz, Christian; Barnes, Paul (12 July 2011).
3693:, Vol. 5 Part 1, Paper & Printing, pg 224–226.
1368:(or Modern), representative examples of which are
4532:"The Five Non-Negotiable Best Emojis in the Land"
3608:. New York: Barnes & Noble. First printed as
2733:The art and craft of designing pages (and books)
3422:. Design & Publishing Center. Archived from
2820:. New Castle, DE: Oak Knoll Books, 1993: 85–87.
971:tags most commonly specify monospaced fonts. In
1728:. They do not lend themselves to quantities of
355:, showing the similarities in letter structure.
3948:Sacred Languages of the World: An Introduction
3651:"Gaelic Typefaces: History and Classification"
2996:Henderson, L.R.; Mumford, A.M. (20 May 2014).
2691: – Company that designs typefaces (fonts)
2673: – Graphic components of typeface letters
2594: – Character as a semiotic sign or symbol
351:PT Serif (above) and PT Sans (below) from the
5679:Intellectual property protection of typefaces
4742:
4506:"The 31 Most Nail Care Emoji Moments Of 2014"
3256:"Socialist TV Typeface Videtur Finally Freed"
3053:Beginning Ubuntu Linux: Natty Narwhal Edition
2582: – International typography organisation
2510:
2239:Intellectual property protection of typefaces
1236:The horizontal spacing of digits can also be
8:
5221:
4403:"Meet Shigetaka Kurita, the Father of Emoji"
3023:Mumford, Anne M.; Skall, Mark (7 Mar 2013).
2679: – Art of designing typefaces and fonts
1974:A sentence that uses all of the alphabet (a
1431:
3614:Transactions of the Bibliographical Society
3181:"Size-specific Adjustments to Type Designs"
2307:Integrated circuit layout design protection
2192:. Unsourced material may be challenged and
1980:The quick brown fox jumps over the lazy dog
559:–1990s), photographic technology, known as
5159:
4883:
4749:
4735:
4727:
3535:Typographic Design: Form and Communication
3522:Typographic Design: Form and Communication
2685: – Organization for better typography
2642: – Structured system of communication
2517:
2503:
2244:
1740:(a much more complicated digital design).
1616:conventions for mixing languages in type.
5705:Punctuation and other typographic symbols
4710:ArchLinux list of Metric-compatible fonts
4592:United States Patent and Trademark Office
3616:, 4th Series, Vol. IV, No. 4, March 1924.
3577:
3575:
3550:. Berkeley, CA: Peachpit Press, 1998: 16.
3374:"Alternate figures: consider the context"
3296:
3294:
2212:Learn how and when to remove this message
874:
674:to make readable bitmaps at small sizes.
593:containing scalable outline letterforms (
589:, which has come to primarily refer to a
2067:and stock photographs. As examples, the
1724:Script typefaces imitate handwriting or
1502:. (Some people refer to Blackletter as "
1021:
934:so that certain characters (for example
666:and in high-end publishing systems. For
3666:"User Interface Design For Programmers"
3606:The Irish character in print: 1571–1923
2899:"Science history: the Linotype machine"
2759:
2726:
2425:Limitations and exceptions to copyright
2369:
2247:
2130:to draw elements of windows and icons.
4700:from the original on 23 December 2019.
3951:. John Wiley & Sons. p. 166.
3002:. Butterworth-Heinemann. p. 375.
2964:"Why use monospace fonts in your IDE?"
1736:(a quite simple design from 1937) and
1174:uses non-lining or lower-case figures.
689:like "fl". Common font formats include
4561:El Khoury, Rita (December 11, 2014).
4349:Adam Sternbergh (November 16, 2014).
4190:. Mansfield Center, CT: Martino Pub.
2772:Cambridge Academic Content Dictionary
2588: – Visual art related to writing
2383:Artificial intelligence and copyright
1564:are wider than most letters, and the
1524:Gaelic fonts were first used for the
285:, etc., but not design. For example,
228:is not interchangeable with the word
7:
3805:Silverstein, Andrew (22 July 2022).
3560:Phinney, Thomas (October 17, 2020).
3254:Reynolds; Koeberlin (5 April 2013).
2342:Supplementary protection certificate
2190:adding citations to reliable sources
1832:Reverse-contrast type compared to a
601:, are designed primarily for use on
552:During a brief transitional period (
130:typefaces to design a page layout).
110:. Designers of typefaces are called
37:For the Marvel Comics antihero, see
4504:Jewell, Hannah (13 December 2014).
3691:Science & Civilisation in China
3629:. Blackrock: Irish Academic Press.
3228:Kupferschmid, Indra (13 May 2012).
1959:Texts used to demonstrate typefaces
492:in romanized Japanese) and inches.
397:, and additional superior letters,
4705:Monotype printed borders specimens
4645:Jaspert, W. P.; Berry, W. Turner;
4243:Papaelias, Amy (9 November 2012).
4224:. Boston, MA: Graphic Arts Company
3928:SOAS Working Papers in Linguistics
3562:"Sans Serif: Gothic and Grotesque"
3447:"OpenType at Work | Figure Styles"
3420:"Using numbers in the proper case"
3327:"Proportional vs. Tabular Figures"
573:and spikes to allow for spread of
533:Type foundries have cast fonts in
133:Every typeface is a collection of
25:
4620:The Elements of Typographic Style
4401:Negishi, Mayumi (26 March 2014).
3664:Spolsky, Joel (24 October 2001).
3393:"Old-Style Versus Lining Figures"
3378:Butternick's Practical Typography
2087:for the historical definition of
2084:
1967:A Latin text used in a sample of
1842:
1673:typeface, printed on a large sign
5718:
5717:
4716:"Cross-Script Letterforms group"
4639:Just My Type: A Book About Fonts
4630:Butterick's Practical Typography
4141:. New York: Dover Publications.
3945:Bennett, Brian P. (2017-09-25).
3781:"Lettercentric: Type as Writing"
2630: – Scalable font technology
2472:Outline of intellectual property
2297:Indigenous intellectual property
2255:
2237:This section is an excerpt from
2162:
2126:is an example of a font used by
2059:evoking hand-drawn manuscripts.
1685:Comparison between the typeface
1579:Examples of monospaced typefaces
1042:, body size, descent and ascent.
785:
773:
761:
681:used for composition, including
658:When an outline font is used, a
101:thousands of different typefaces
62:, letter founder; from the 1728
41:. For the documentary film, see
4676:Gaskell, Philip (Winter 1976).
4324:"How emoji conquered the world"
4322:Blagdon, Jeff (March 4, 2013).
4097:Haley, Allan (10 August 2012).
3726:"Requiem: A font for all sizes"
3104:Willis, Nathan (19 June 2012).
2867:. New York: Delmar, 2002: 184.
1841:and are particularly common in
1010:in monospaced fonts (typically
899:computer applications (such as
3566:Design, Technology and Grapics
2999:The Computer Graphics Metafile
2667:, cast metal type for printing
1998:text such as the beginning of
1569:fonts are still important for
1482:in Europe, which imitated the
1034:to illustrate the concepts of
488:s (a quarter of a millimeter,
1:
5674:History of Western typography
4651:The Encyclopedia of Typefaces
4476:Hern, Alex (12 August 2015).
4372:"Why and how I created emoji"
4218:Johnson, Henry Lewis (1923).
4137:Johnson, Henry Lewis (1991).
4047:"Fontlists: reverse contrast"
3501:"Neue Haas Grotesk: Features"
3398:Chronicle of Higher Education
3130:Reynolds, Dan (21 May 2012).
2709: – Art of arranging type
2636: – Process in typography
553:
502:History of Western typography
433:is traditionally measured in
249:(blackness or lightness) and
5521:traditional point-size names
3710:. 2010-05-31. Archived from
3548:The Non-Designer's Type Book
2737:typefaces and other devices.
2703: – Units of measurement
2660:List of typographic features
2612: – CSS property in HTML
1698:, being lighter than metal.
991:) uses monospaced fonts (in
918:use monospaced fonts. So do
186:Diagram of a cast metal sort
4774:Canons of page construction
4627:Butterick, Matthew (2014),
4618:Bringhurst, Robert (2012),
4303:. Hoefler & Frere-Jones
4221:Historic Design in Printing
4187:English printers' ornaments
4165:. Hoefler & Frere-Jones
3779:Shaw, Paul (7 April 2010).
3354:. Hoefler & Frere-Jones
3280:. Hoefler & Frere-Jones
2420:Idea–expression distinction
1927:and telephone directories.
930:for displaying and editing
920:text-only computer displays
377:Additional or supplemental
5770:
4653:. London: Blandford Press.
4163:"Hoefler Text: Arabesques"
4020:Lawson, Alexander (1990).
3972:Seargeant, Philip (2012).
3584:"A Neo-Grotesque Heritage"
3230:"Multi-axes type families"
2236:
2137:
2098:
2043:Ornamental (also known as
1824:Reverse-contrast typefaces
1821:
1818:Reverse-contrast typefaces
1747:
1720:Coronet, a script typeface
1709:
1655:
1623:
1604:
1541:
1517:
1471:
1415:
1314:
1266:
1229:
1136:
1045:
962:<code> </code>
735:
612:
499:
429:The size of typefaces and
114:and are often employed by
36:
29:
5713:
4931:Subscript and superscript
4184:Plomer, Henry R. (1924).
4099:"About Typeface Families"
3919:Paul, Sutherland (2015).
3759:Mark Simonson Studio blog
3730:Hoefler & Frere-Jones
3306:Hoefler & Frere-Jones
2926:. Dmxzone.com. 2004-06-24
2886:TrueType Reference Manual
2650:Category:Typeface samples
1446:sub-classes of Sans-serif
653:Casady & Greene, Inc.
529:(near Jerusalem) in 1978.
316:. Later examples include
5689:Vox-ATypI classification
4819:Intentionally blank page
4637:Garfield, Simon (2010),
3533:Carter, Day, and Meggs.
3520:Carter, Day, and Meggs.
3476:"Fonts for Complex Data"
3079:"30-metric-aliases.conf"
2946:"Understanding numerals"
2618: – Utility software
2616:Font management software
1273:Vox-ATypI classification
1139:Font § Optical size
1056:Metric typographic units
966:<pre> </pre>
860:Proportional v monospace
383:Adobe Systems type group
4588:"Patent #: US0D0000001"
4301:"Mercury Text: symbols"
4108:. Monotype Imaging Inc.
3610:Oxford University Press
3056:. Apress. p. 286.
2888:Retrieved on 2009-06-21
2793:"Lettering is not type"
2332:Plant genetic resources
2302:Industrial design right
2292:Geographical indication
2022:Non-character typefaces
385:introduced the idea of
145:, e.g. Roman uppercase
5222:
4276:American Type Founders
3503:. The Font Bureau, Inc
3183:. Just Another Foundry
2655:List of type designers
2403:Criticism of copyright
2327:Plant breeders' rights
2110:
2075:, and emblems such as
2069:American Type Founders
2031:
1971:
1867:
1837:
1759:
1721:
1690:
1674:
1553:
1437:
1432:
1338:
1282:
1183:
1175:
1064:share the notion of a
1043:
958:<tt> </tt>
868:typeface, also called
861:
792:Serif font with serifs
628:
530:
356:
217:
69:
4657:Pohlen, Joep (2011),
4622:, Hartley & Marks
4022:Anatomy of a typeface
3156:Frere-Jones, Tobias.
3026:CGM in the Real World
2566:digital instantiation
2538:intellectual property
2249:Intellectual property
2232:Intellectual property
2108:
2029:
1966:
1892:Small print typefaces
1865:
1831:
1757:
1719:
1684:
1665:
1551:
1468:Blackletter typefaces
1425:
1324:
1280:
1222:for the same reason.
1181:
1170:
1025:
859:
622:
516:
350:
184:
54:
5559:Typographic features
4457:. Unicode Consortium
4370:Kurita; akano; Lee.
4245:"Lady Speaker Sorts"
4076:Microsoft Typography
3372:Butterick, Matthew.
2944:Stocks, Elliot Jay.
2186:improve this section
2039:Ornamental typefaces
1571:computer programming
1538:Monospaced typefaces
1412:Sans-serif typefaces
928:computer programmers
724:, RoboFont, Glyphs,
517:Israeli typographer
314:Morris Fuller Benton
157:and Greek uppercase
5684:Technical lettering
5583:Typography in other
5324:Hanging punctuation
4408:Wall Street Journal
3983:. pp. 187–200.
3899:Lined & Unlined
3604:Lynam, E. W. 1969.
3497:Schwartz, Christian
2952:. Introducing type.
2849:on 3 January 2018.
2683:Type Directors Club
2624: – Font editor
2393:Copyright abolition
1846:effectively become
1163:Typesetting numbers
1048:Font § Metrics
983:font family (e.g.,
979:environment or the
794:highlighted in red
660:rasterizing routine
547:Ottmar Mergenthaler
353:PT font superfamily
5647:Handwriting script
5574:Desktop publishing
5544:Character encoding
5537:Digital typography
5051:Horizontal aspects
5004:Visual distinction
4862:Widows and orphans
4594:. November 9, 1842
4542:on August 20, 2016
3625:McGuinne, Dermot.
3478:. Hoefler & Co
3426:on 19 October 2007
3418:Bergsland, David.
3333:. Monotype Imaging
3325:Strizver, Elaine.
3302:"Gotham: Numerics"
3179:Ahrens; Mugikura.
3160:. Frere-Jones Type
2665:Sort (typesetting)
2610:Font family (HTML)
2592:Character (symbol)
2540:considerations in
2485:Higher categories:
2477:Outline of patents
2111:
2032:
1972:
1879:different colors.
1868:
1838:
1794:(an example being
1772:Chinese characters
1760:
1744:Mimicry typefaces
1722:
1691:
1675:
1667:London Underground
1554:
1438:
1339:
1283:
1263:Style of typefaces
1216:lower-case numbers
1212:Non-lining figures
1196:non-lining figures
1184:
1176:
1078:. Conversely, the
1044:
1032:Adobe Garamond Pro
924:terminal emulators
862:
672:hinting algorithms
629:
531:
519:Henri Friedlaender
357:
251:stylistic variants
218:
149:looks the same as
120:desktop publishing
70:
32:Font family (HTML)
5731:
5730:
5478:Typographic units
5396:For position only
5295:
5294:
5147:
5146:
4536:The Atlantic Wire
3612:offprint 1924 in
3546:Williams, Robin.
3472:Hoefler, Jonathan
2982:Cullen, Kristin.
2721:Explanatory notes
2646:List of typefaces
2527:
2526:
2222:
2221:
2214:
1433:Neue Haas Grotesk
1300:slavjanskij šrift
1296:graždanskij šrift
1293:гражданский шрифт
1269:List of typefaces
1248:and date-stamps.
798:
797:
714:operating systems
708:is still used by
514:
395:old style figures
263:as distinct from
80:) is a design of
39:Typeface (comics)
18:Metric-compatible
16:(Redirected from
5761:
5721:
5720:
5698:Related template
5630:Related articles
5431:Phototypesetting
5285:reverse-contrast
5270:Display typeface
5227:
5204:Blackletter type
5160:
5097:Vertical aspects
5078:Sentence spacing
4888:Typeface anatomy
4884:
4751:
4744:
4737:
4728:
4723:
4701:
4699:
4686:Visible Language
4682:
4664:
4642:
4633:
4623:
4604:
4603:
4601:
4599:
4584:
4578:
4577:
4575:
4573:
4558:
4552:
4551:
4549:
4547:
4538:. Archived from
4527:
4521:
4520:
4518:
4516:
4501:
4495:
4494:
4492:
4490:
4473:
4467:
4466:
4464:
4462:
4451:
4445:
4444:
4442:
4440:
4434:
4426:
4420:
4419:
4417:
4415:
4398:
4392:
4391:
4389:
4387:
4382:on June 10, 2016
4378:. Archived from
4367:
4361:
4360:
4346:
4340:
4339:
4337:
4335:
4319:
4313:
4312:
4310:
4308:
4297:
4291:
4290:
4288:
4286:
4278:. 1897. p.
4266:
4260:
4259:
4257:
4255:
4240:
4234:
4233:
4231:
4229:
4215:
4209:
4208:
4206:
4204:
4181:
4175:
4174:
4172:
4170:
4159:
4153:
4152:
4134:
4128:
4127:
4116:
4110:
4109:
4103:
4094:
4088:
4087:
4085:
4083:
4068:
4062:
4061:
4059:
4057:
4042:
4036:
4035:
4017:
4011:
4010:
4008:
4006:
3991:
3985:
3984:
3978:
3969:
3963:
3962:
3942:
3936:
3935:
3925:
3916:
3910:
3909:
3907:
3905:
3893:Giampetro, Rob.
3890:
3884:
3883:
3881:
3879:
3869:"Faux Devangari"
3864:
3858:
3857:
3855:
3853:
3844:. Archived from
3836:(17 June 2009).
3830:
3824:
3823:
3821:
3819:
3802:
3796:
3795:
3793:
3791:
3776:
3770:
3769:
3767:
3765:
3747:
3741:
3740:
3738:
3736:
3722:
3716:
3715:
3700:
3694:
3689:Joseph Needham,
3687:
3681:
3680:
3678:
3676:
3670:Joel On Software
3661:
3655:
3654:
3647:Everson, Michael
3643:
3637:
3623:
3617:
3602:
3596:
3595:
3593:
3591:
3579:
3570:
3569:
3557:
3551:
3544:
3538:
3531:
3525:
3518:
3512:
3511:
3509:
3508:
3493:
3487:
3486:
3484:
3483:
3468:
3462:
3461:
3459:
3457:
3442:
3436:
3435:
3433:
3431:
3415:
3409:
3408:
3406:
3405:
3388:
3382:
3381:
3369:
3363:
3362:
3360:
3359:
3348:
3342:
3341:
3339:
3338:
3322:
3316:
3315:
3313:
3312:
3298:
3289:
3288:
3286:
3285:
3274:
3268:
3267:
3265:
3263:
3251:
3245:
3244:
3242:
3240:
3225:
3219:
3218:
3216:
3214:
3202:Coles, Stephen.
3199:
3193:
3192:
3190:
3188:
3176:
3170:
3169:
3167:
3165:
3153:
3147:
3146:
3144:
3142:
3127:
3121:
3120:
3118:
3116:
3101:
3095:
3094:
3092:
3090:
3074:
3068:
3067:
3047:
3041:
3040:
3020:
3014:
3013:
2993:
2987:
2980:
2974:
2973:
2971:
2970:
2960:
2954:
2953:
2941:
2935:
2934:
2932:
2931:
2920:
2914:
2913:
2911:
2910:
2895:
2889:
2882:
2876:
2861:
2855:
2854:
2845:. Archived from
2835:
2829:
2814:
2808:
2807:
2805:
2804:
2795:. Archived from
2789:
2783:
2782:
2780:
2778:
2764:
2747:
2744:
2738:
2731:
2701:Typographic unit
2671:Typeface anatomy
2519:
2512:
2505:
2388:Brand protection
2322:Peasants' rights
2259:
2245:
2217:
2210:
2206:
2203:
2197:
2166:
2158:
2095:Symbol typefaces
2089:display typeface
1886:Imprint Shadowed
1858:Effect typefaces
1758:Simulated Hebrew
1750:Foreign branding
1706:Script typefaces
1658:Display typeface
1626:Ming (typefaces)
1514:Gaelic typefaces
1480:printing presses
1435:
1253:monospaced fonts
1119:Liberation fonts
1052:Typographic unit
998:
990:
986:
967:
963:
959:
880:non-proportional
789:
777:
768:Sans serif font
765:
758:
757:
738:Typeface anatomy
732:Typeface anatomy
668:computer screens
645:, also called a
603:computer screens
562:phototypesetting
558:
555:
543:Linotype machine
515:
476:
475:
471:
450:
449:
445:
334:Linotype Univers
220:In professional
21:
5769:
5768:
5764:
5763:
5762:
5760:
5759:
5758:
5734:
5733:
5732:
5727:
5709:
5693:
5625:
5585:writing systems
5584:
5578:
5532:
5472:
5416:Microtypography
5355:
5291:
5253:
5230:
5198:
5155:classifications
5154:
5143:
5092:
5046:
5012:Blackboard bold
4998:
4950:
4873:
4823:
4814:Recto and verso
4760:
4755:
4714:
4697:
4680:
4675:
4672:
4667:
4660:Letter Fountain
4656:
4636:
4626:
4617:
4613:
4611:Further reading
4608:
4607:
4597:
4595:
4586:
4585:
4581:
4571:
4569:
4560:
4559:
4555:
4545:
4543:
4530:Santos; Jones.
4529:
4528:
4524:
4514:
4512:
4503:
4502:
4498:
4488:
4486:
4475:
4474:
4470:
4460:
4458:
4455:"Unicode 8.0.0"
4453:
4452:
4448:
4438:
4436:
4432:
4428:
4427:
4423:
4413:
4411:
4400:
4399:
4395:
4385:
4383:
4369:
4368:
4364:
4348:
4347:
4343:
4333:
4331:
4321:
4320:
4316:
4306:
4304:
4299:
4298:
4294:
4284:
4282:
4268:
4267:
4263:
4253:
4251:
4242:
4241:
4237:
4227:
4225:
4217:
4216:
4212:
4202:
4200:
4198:
4183:
4182:
4178:
4168:
4166:
4161:
4160:
4156:
4149:
4136:
4135:
4131:
4118:
4117:
4113:
4101:
4096:
4095:
4091:
4081:
4079:
4070:
4069:
4065:
4055:
4053:
4044:
4043:
4039:
4032:
4019:
4018:
4014:
4004:
4002:
3993:
3992:
3988:
3976:
3971:
3970:
3966:
3959:
3944:
3943:
3939:
3923:
3918:
3917:
3913:
3903:
3901:
3892:
3891:
3887:
3877:
3875:
3866:
3865:
3861:
3851:
3849:
3832:
3831:
3827:
3817:
3815:
3804:
3803:
3799:
3789:
3787:
3778:
3777:
3773:
3763:
3761:
3749:
3748:
3744:
3734:
3732:
3724:
3723:
3719:
3714:on 5 June 2010.
3702:
3701:
3697:
3688:
3684:
3674:
3672:
3663:
3662:
3658:
3645:
3644:
3640:
3624:
3620:
3603:
3599:
3589:
3587:
3586:. Adobe Systems
3581:
3580:
3573:
3568:. Showker, Inc.
3559:
3558:
3554:
3545:
3541:
3532:
3528:
3519:
3515:
3506:
3504:
3495:
3494:
3490:
3481:
3479:
3470:
3469:
3465:
3455:
3453:
3444:
3443:
3439:
3429:
3427:
3417:
3416:
3412:
3403:
3401:
3391:Saller, Carol.
3390:
3389:
3385:
3371:
3370:
3366:
3357:
3355:
3350:
3349:
3345:
3336:
3334:
3324:
3323:
3319:
3310:
3308:
3300:
3299:
3292:
3283:
3281:
3276:
3275:
3271:
3261:
3259:
3253:
3252:
3248:
3238:
3236:
3227:
3226:
3222:
3212:
3210:
3201:
3200:
3196:
3186:
3184:
3178:
3177:
3173:
3163:
3161:
3155:
3154:
3150:
3140:
3138:
3129:
3128:
3124:
3114:
3112:
3103:
3102:
3098:
3088:
3086:
3076:
3075:
3071:
3064:
3049:
3048:
3044:
3037:
3022:
3021:
3017:
3010:
2995:
2994:
2990:
2981:
2977:
2968:
2966:
2962:
2961:
2957:
2943:
2942:
2938:
2929:
2927:
2922:
2921:
2917:
2908:
2906:
2903:Cosmos Magazine
2897:
2896:
2892:
2883:
2879:
2862:
2858:
2837:
2836:
2832:
2815:
2811:
2802:
2800:
2791:
2790:
2786:
2776:
2774:
2766:
2765:
2761:
2756:
2751:
2750:
2745:
2741:
2732:
2728:
2723:
2718:
2575:
2570:
2569:
2523:
2487:
2483:
2398:Copyright troll
2287:Farmers' rights
2267:Authors' rights
2242:
2234:
2218:
2207:
2201:
2198:
2183:
2167:
2156:
2154:Music typefaces
2142:
2136:
2103:
2097:
2041:
2024:
1961:
1937:typeface family
1933:
1931:Typeface family
1910:Times New Roman
1902:Bell Centennial
1894:
1860:
1826:
1820:
1752:
1746:
1714:
1712:Script typeface
1708:
1660:
1654:
1645:
1636:
1628:
1622:
1609:
1603:
1546:
1544:Monospaced font
1540:
1522:
1516:
1476:
1470:
1426:The sans-serif
1420:
1414:
1386:Vincent Figgins
1347:Times New Roman
1319:
1313:
1311:Serif typefaces
1308:
1306:Roman typefaces
1275:
1265:
1234:
1232:Tabular figures
1228:
1226:Tabular figures
1165:
1141:
1135:
1058:
1020:
996:
989:{\ttfamily ...}
988:
984:
965:
961:
957:
901:word processors
889:Duospaced fonts
854:
793:
756:
740:
734:
617:
611:
556:
523:Hadassah Hebrew
506:
504:
498:
473:
469:
468:
447:
443:
442:
427:
330:Linotype Syntax
253:(most commonly
196:body or shank,
179:
143:writing systems
141:from different
126:is someone who
49:
35:
28:
23:
22:
15:
12:
11:
5:
5767:
5765:
5757:
5756:
5751:
5746:
5736:
5735:
5729:
5728:
5726:
5725:
5714:
5711:
5710:
5708:
5707:
5701:
5699:
5695:
5694:
5692:
5691:
5686:
5681:
5676:
5671:
5666:
5661:
5656:
5655:
5654:
5649:
5644:
5633:
5631:
5627:
5626:
5624:
5623:
5622:
5621:
5619:National Fonts
5611:
5606:
5605:
5604:
5594:
5588:
5586:
5580:
5579:
5577:
5576:
5571:
5566:
5564:Web typography
5561:
5556:
5551:
5546:
5540:
5538:
5534:
5533:
5531:
5530:
5525:
5524:
5523:
5513:
5508:
5503:
5498:
5493:
5488:
5482:
5480:
5474:
5473:
5471:
5470:
5469:
5468:
5458:
5453:
5448:
5443:
5441:Reversing type
5438:
5433:
5428:
5423:
5418:
5413:
5408:
5403:
5398:
5393:
5388:
5387:
5386:
5381:
5371:
5365:
5363:
5357:
5356:
5354:
5353:
5348:
5343:
5338:
5337:
5336:
5326:
5321:
5316:
5310:
5308:
5297:
5296:
5293:
5292:
5290:
5289:
5288:
5287:
5282:
5277:
5267:
5261:
5259:
5255:
5254:
5252:
5251:
5246:
5240:
5238:
5232:
5231:
5229:
5228:
5219:
5214:
5208:
5206:
5200:
5199:
5197:
5196:
5191:
5190:
5189:
5184:
5179:
5168:
5166:
5157:
5149:
5148:
5145:
5144:
5142:
5141:
5136:
5131:
5126:
5121:
5116:
5111:
5106:
5100:
5098:
5094:
5093:
5091:
5090:
5085:
5080:
5075:
5070:
5068:Letter-spacing
5065:
5060:
5054:
5052:
5048:
5047:
5045:
5044:
5039:
5034:
5029:
5024:
5022:Color printing
5019:
5014:
5008:
5006:
5000:
4999:
4997:
4996:
4991:
4986:
4981:
4976:
4971:
4966:
4960:
4958:
4956:Capitalization
4952:
4951:
4949:
4948:
4943:
4938:
4933:
4928:
4923:
4918:
4913:
4908:
4903:
4898:
4892:
4890:
4881:
4875:
4874:
4872:
4871:
4870:
4869:
4859:
4854:
4849:
4844:
4839:
4833:
4831:
4825:
4824:
4822:
4821:
4816:
4811:
4806:
4801:
4796:
4794:Page numbering
4791:
4786:
4781:
4776:
4770:
4768:
4762:
4761:
4756:
4754:
4753:
4746:
4739:
4731:
4725:
4724:
4712:
4707:
4702:
4671:
4670:External links
4668:
4666:
4665:
4654:
4647:Johnson, A. F.
4643:
4634:
4624:
4614:
4612:
4609:
4606:
4605:
4579:
4567:Android Police
4553:
4522:
4496:
4468:
4446:
4421:
4393:
4362:
4341:
4314:
4292:
4261:
4235:
4210:
4196:
4176:
4154:
4147:
4129:
4111:
4089:
4063:
4045:Peters, Yves.
4037:
4030:
4012:
3986:
3964:
3957:
3937:
3911:
3885:
3867:Chachra, Deb.
3859:
3842:Print Magazine
3838:"Stereo Types"
3825:
3797:
3771:
3751:Simonson, Mark
3742:
3717:
3704:"Optical size"
3695:
3682:
3656:
3649:(2000-06-19).
3638:
3618:
3597:
3571:
3552:
3539:
3526:
3513:
3488:
3463:
3445:Peters, Yves.
3437:
3410:
3383:
3364:
3343:
3317:
3290:
3269:
3246:
3220:
3194:
3171:
3148:
3122:
3096:
3069:
3062:
3042:
3035:
3015:
3008:
2988:
2975:
2955:
2936:
2915:
2890:
2877:
2863:Graham, Lisa.
2856:
2830:
2809:
2784:
2758:
2757:
2755:
2752:
2749:
2748:
2739:
2725:
2724:
2722:
2719:
2717:
2716:
2710:
2704:
2698:
2692:
2686:
2680:
2674:
2668:
2662:
2657:
2652:
2643:
2637:
2631:
2625:
2619:
2613:
2607:
2601:
2595:
2589:
2583:
2576:
2574:
2571:
2550:United Kingdom
2525:
2524:
2522:
2521:
2514:
2507:
2499:
2496:
2495:
2482:
2481:
2480:
2479:
2469:
2464:
2459:
2454:
2449:
2448:
2447:
2445:Right to quote
2442:
2437:
2432:
2422:
2417:
2416:
2415:
2408:Bioprospecting
2405:
2400:
2395:
2390:
2385:
2380:
2372:
2371:
2370:Related topics
2367:
2366:
2365:
2364:
2359:
2354:
2349:
2344:
2339:
2337:Related rights
2334:
2329:
2324:
2319:
2314:
2309:
2304:
2299:
2294:
2289:
2284:
2282:Database right
2279:
2274:
2269:
2261:
2260:
2252:
2251:
2243:
2235:
2233:
2230:
2220:
2219:
2170:
2168:
2161:
2155:
2152:
2138:Main article:
2135:
2132:
2099:Main article:
2096:
2093:
2040:
2037:
2023:
2020:
1960:
1957:
1932:
1929:
1893:
1890:
1859:
1856:
1822:Main article:
1819:
1816:
1764:writing system
1745:
1742:
1710:Main article:
1707:
1704:
1656:Main article:
1653:
1650:
1644:
1641:
1635:
1632:
1624:Main article:
1621:
1618:
1607:CJK characters
1605:Main article:
1602:
1599:
1587:Prestige Elite
1542:Main article:
1539:
1536:
1526:Irish language
1518:Main article:
1515:
1512:
1472:Main article:
1469:
1466:
1416:Main article:
1413:
1410:
1380:respectively.
1315:Main article:
1312:
1309:
1307:
1304:
1264:
1261:
1246:cash registers
1230:Main article:
1227:
1224:
1164:
1161:
1146:optical sizing
1137:Main article:
1134:
1133:Optical sizing
1131:
1123:Croscore fonts
1019:
1016:
870:variable-width
853:
850:
796:
795:
790:
782:
781:
778:
770:
769:
766:
755:
752:
736:Main article:
733:
730:
664:laser printers
613:Main article:
610:
607:
545:, invented by
500:Main article:
497:
494:
459:to the lowest
426:
423:
368:Caslon Antique
273:) have led to
178:
175:
116:type foundries
112:type designers
60:William Caslon
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5766:
5755:
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5607:
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5600:
5599:
5598:
5595:
5593:
5590:
5589:
5587:
5581:
5575:
5572:
5570:
5569:Bézier curves
5567:
5565:
5562:
5560:
5557:
5555:
5554:Rasterization
5552:
5550:
5547:
5545:
5542:
5541:
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5535:
5529:
5526:
5522:
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5475:
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5463:
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5449:
5447:
5444:
5442:
5439:
5437:
5434:
5432:
5429:
5427:
5424:
5422:
5419:
5417:
5414:
5412:
5411:Microprinting
5409:
5407:
5404:
5402:
5399:
5397:
5394:
5392:
5389:
5385:
5382:
5380:
5377:
5376:
5375:
5372:
5370:
5369:Etaoin shrdlu
5367:
5366:
5364:
5362:
5358:
5352:
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5339:
5335:
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5286:
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5137:
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5040:
5038:
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5028:
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5023:
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5018:
5015:
5013:
5010:
5009:
5007:
5005:
5001:
4995:
4992:
4990:
4987:
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4909:
4907:
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4708:
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4523:
4511:
4507:
4500:
4497:
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4484:
4479:
4472:
4469:
4456:
4450:
4447:
4431:
4425:
4422:
4410:
4409:
4404:
4397:
4394:
4381:
4377:
4373:
4366:
4363:
4358:
4357:
4352:
4345:
4342:
4329:
4325:
4318:
4315:
4302:
4296:
4293:
4281:
4277:
4273:
4272:
4265:
4262:
4250:
4246:
4239:
4236:
4223:
4222:
4214:
4211:
4199:
4197:9781578987153
4193:
4189:
4188:
4180:
4177:
4164:
4158:
4155:
4150:
4148:9780486266053
4144:
4140:
4133:
4130:
4125:
4121:
4115:
4112:
4107:
4100:
4093:
4090:
4077:
4073:
4067:
4064:
4052:
4048:
4041:
4038:
4033:
4031:9780879233334
4027:
4023:
4016:
4013:
4001:
3997:
3990:
3987:
3982:
3975:
3968:
3965:
3960:
3958:9781118970782
3954:
3950:
3949:
3941:
3938:
3933:
3929:
3922:
3915:
3912:
3900:
3896:
3889:
3886:
3874:
3870:
3863:
3860:
3848:on 2010-01-16
3847:
3843:
3839:
3835:
3829:
3826:
3814:
3813:
3808:
3801:
3798:
3786:
3782:
3775:
3772:
3760:
3756:
3752:
3746:
3743:
3731:
3727:
3721:
3718:
3713:
3709:
3708:Adobe Systems
3705:
3699:
3696:
3692:
3686:
3683:
3671:
3667:
3660:
3657:
3652:
3648:
3642:
3639:
3636:
3635:0-7165-2463-5
3632:
3628:
3622:
3619:
3615:
3611:
3607:
3601:
3598:
3585:
3582:Berry, John.
3578:
3576:
3572:
3567:
3563:
3556:
3553:
3549:
3543:
3540:
3536:
3530:
3527:
3523:
3517:
3514:
3502:
3498:
3492:
3489:
3477:
3473:
3467:
3464:
3452:
3448:
3441:
3438:
3425:
3421:
3414:
3411:
3400:
3399:
3394:
3387:
3384:
3379:
3375:
3368:
3365:
3353:
3347:
3344:
3332:
3328:
3321:
3318:
3307:
3303:
3297:
3295:
3291:
3279:
3273:
3270:
3257:
3250:
3247:
3235:
3234:kupferschrift
3231:
3224:
3221:
3209:
3205:
3198:
3195:
3182:
3175:
3172:
3159:
3152:
3149:
3137:
3133:
3126:
3123:
3111:
3107:
3100:
3097:
3084:
3080:
3073:
3070:
3065:
3063:9781430236276
3059:
3055:
3054:
3046:
3043:
3038:
3036:9783642736292
3032:
3028:
3027:
3019:
3016:
3011:
3009:9781483144849
3005:
3001:
3000:
2992:
2989:
2985:
2979:
2976:
2965:
2959:
2956:
2951:
2947:
2940:
2937:
2925:
2919:
2916:
2904:
2900:
2894:
2891:
2887:
2881:
2878:
2874:
2873:0-7668-1362-2
2870:
2866:
2860:
2857:
2853:
2848:
2844:
2843:Typophile.com
2840:
2839:"Expert Font"
2834:
2831:
2827:
2826:0-938768-39-5
2823:
2819:
2816:McGrew, Mac.
2813:
2810:
2799:on 2022-02-02
2798:
2794:
2788:
2785:
2773:
2769:
2763:
2760:
2753:
2743:
2740:
2736:
2730:
2727:
2720:
2714:
2711:
2708:
2705:
2702:
2699:
2696:
2693:
2690:
2687:
2684:
2681:
2678:
2675:
2672:
2669:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2647:
2644:
2641:
2638:
2635:
2632:
2629:
2626:
2623:
2620:
2617:
2614:
2611:
2608:
2605:
2602:
2599:
2598:Computer font
2596:
2593:
2590:
2587:
2584:
2581:
2578:
2577:
2572:
2567:
2563:
2559:
2555:
2551:
2547:
2546:United States
2543:
2539:
2535:
2531:
2520:
2515:
2513:
2508:
2506:
2501:
2500:
2498:
2497:
2494:
2490:
2486:
2478:
2475:
2474:
2473:
2470:
2468:
2467:Public domain
2465:
2463:
2460:
2458:
2455:
2453:
2450:
2446:
2443:
2441:
2438:
2436:
2433:
2431:
2428:
2427:
2426:
2423:
2421:
2418:
2414:
2411:
2410:
2409:
2406:
2404:
2401:
2399:
2396:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2375:
2374:
2373:
2368:
2363:
2362:Utility model
2360:
2358:
2355:
2353:
2350:
2348:
2345:
2343:
2340:
2338:
2335:
2333:
2330:
2328:
2325:
2323:
2320:
2318:
2315:
2313:
2310:
2308:
2305:
2303:
2300:
2298:
2295:
2293:
2290:
2288:
2285:
2283:
2280:
2278:
2275:
2273:
2270:
2268:
2265:
2264:
2263:
2262:
2258:
2254:
2253:
2250:
2246:
2240:
2231:
2229:
2227:
2216:
2213:
2205:
2195:
2191:
2187:
2181:
2180:
2176:
2171:This section
2169:
2165:
2160:
2159:
2153:
2151:
2148:
2141:
2133:
2131:
2129:
2125:
2121:
2117:
2116:Zapf Dingbats
2107:
2102:
2094:
2092:
2090:
2086:
2082:
2078:
2074:
2070:
2066:
2060:
2058:
2054:
2050:
2047:or sometimes
2046:
2038:
2036:
2028:
2021:
2019:
2017:
2013:
2012:
2007:
2006:
2001:
1997:
1993:
1992:
1987:
1986:
1981:
1977:
1970:
1965:
1958:
1956:
1954:
1951:, normal and
1950:
1946:
1942:
1938:
1930:
1928:
1926:
1922:
1917:
1915:
1911:
1907:
1903:
1899:
1891:
1889:
1887:
1882:
1876:
1874:
1864:
1857:
1855:
1853:
1849:
1844:
1835:
1830:
1825:
1817:
1815:
1813:
1809:
1805:
1801:
1797:
1793:
1789:
1788:Indic scripts
1785:
1784:Faux Cyrillic
1781:
1777:
1773:
1769:
1765:
1756:
1751:
1743:
1741:
1739:
1735:
1731:
1727:
1718:
1713:
1705:
1703:
1699:
1697:
1688:
1683:
1679:
1672:
1668:
1664:
1659:
1651:
1649:
1642:
1640:
1633:
1631:
1627:
1619:
1617:
1613:
1608:
1601:CJK typefaces
1600:
1598:
1596:
1592:
1588:
1584:
1580:
1576:
1572:
1567:
1563:
1559:
1550:
1545:
1537:
1535:
1532:
1527:
1521:
1513:
1511:
1509:
1505:
1504:gothic script
1501:
1497:
1493:
1489:
1485:
1481:
1475:
1467:
1465:
1463:
1459:
1455:
1454:Neo-grotesque
1451:
1447:
1442:
1434:
1429:
1424:
1419:
1411:
1409:
1406:
1401:
1397:
1393:
1389:
1387:
1381:
1379:
1375:
1371:
1367:
1366:
1361:
1357:
1352:
1348:
1344:
1336:
1332:
1328:
1323:
1318:
1310:
1305:
1303:
1301:
1297:
1294:
1289:
1279:
1274:
1270:
1262:
1260:
1256:
1254:
1249:
1247:
1243:
1239:
1233:
1225:
1223:
1221:
1217:
1213:
1208:
1206:
1202:
1198:
1197:
1192:
1187:
1180:
1173:
1169:
1162:
1160:
1158:
1154:
1149:
1147:
1140:
1132:
1130:
1128:
1124:
1120:
1114:
1112:
1111:
1106:
1105:
1100:
1096:
1092:
1088:
1083:
1081:
1077:
1076:
1071:
1067:
1063:
1057:
1053:
1049:
1041:
1037:
1033:
1029:
1024:
1017:
1015:
1013:
1009:
1004:
1000:
994:
982:
978:
974:
970:
955:
951:
947:
946:Shift JIS art
943:
939:
937:
933:
929:
925:
921:
917:
912:
910:
906:
902:
898:
893:
891:
890:
885:
881:
877:
876:
871:
867:
858:
851:
849:
845:
841:
839:
835:
831:
827:
823:
820:(from French
819:
815:
811:
810:
805:
804:
791:
788:
784:
783:
779:
776:
772:
771:
767:
764:
760:
759:
753:
751:
749:
745:
739:
731:
729:
727:
723:
719:
718:Adobe Systems
715:
711:
707:
703:
700:
696:
692:
688:
684:
680:
675:
673:
669:
665:
661:
656:
654:
650:
649:
644:
640:
639:
634:
626:
621:
616:
615:Computer font
608:
606:
604:
600:
596:
592:
591:computer file
588:
582:
580:
576:
572:
568:
564:
563:
550:
548:
544:
540:
539:United States
536:
528:
524:
520:
503:
495:
493:
491:
487:
483:
478:
466:
462:
458:
454:
440:
436:
432:
424:
422:
418:
416:
412:
408:
404:
400:
396:
392:
388:
384:
380:
375:
373:
369:
364:
363:
362:superfamilies
354:
349:
345:
343:
339:
335:
331:
327:
323:
319:
315:
311:
307:
302:
300:
294:
292:
288:
284:
280:
276:
275:font families
272:
269:, as well as
268:
267:
262:
261:
256:
252:
248:
243:
241:
238:as a set of "
237:
233:
232:
227:
223:
215:
211:
207:
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