Font Wikipedia. In metal typesetting, a font is a particular size, weight and style of a typeface. Each font was a matched set of type, one piece called a sort for each glyph, and a typeface consisting of a range of fonts that shared an overall design. In modern usage, with the advent of digital typography, font is frequently synonymous with typeface, although the two terms do not necessarily mean the same thing. In particular, the use of vector or outline fonts means that different sizes of a typeface can be dynamically generated from one design. Each style may still be in a separate font filefor instance, the typeface Bulmer may include the fonts Bulmer roman, Bulmer italic, Bulmer bold and Bulmer extendedbut the term font might be applied either to one of these alone or to the whole typeface. Israeli typographer Henri Friedlaender examines Hadassah Hebrew typeface sketches. The sequence was shot in his study in Motza Illit near Jerusalem in 1. EtymologyeditThe word font traditionally spelled fount in British English, but in any case pronounced derives from Middle Frenchfonte something that has been melted a casting. The term refers to the process of casting metal type at a type foundry. Metal typeeditIn a manual printing letterpress house the word font would refer to a complete set of metal type that would be used to typeset an entire page. Upper and lowercase letters get their names because of which case the metal type was located in for manual typesetting the more distant upper case or the closer lower case. The same distinction is also referred to with the terms majuscule and minuscule. Unlike a digital typeface, a metal font would not include a single definition of each character, but commonly used characters such as vowels and periods would have more physical type pieces included. A font when bought new would often be sold as for example in a Roman alphabet 1. A 3. 4a, meaning that it would be a size 1. As, and 3. 4 lowercase As. The rest of the characters would be provided in quantities appropriate for the distribution of letters in that language. Some metal type characters required in typesetting, such as dashes, spaces and line height spacers, were not part of a specific font, but were generic pieces which could be used with any font. Line spacing is still often called leading, because the strips used for line spacing were made of lead rather than the harder alloy used for other pieces. The reason for this spacing strip being made from lead was because lead was a softer metal than the traditional forged metal type pieces which was part lead, antimony and tin and would compress more easily when locked up in the printing chase i. In the 1. 88. 0s9. Adobe hat am 18. Oktober seine CreativeCloudAnwendungen aktualisiert. Hier ein Blick auf die Neuerungen im Bereich Typografie und Textverarbeitungen in den Design. A searchable archive of typographic design, indexed by typeface, format, and industry. Although there have been many other most used font posts, most of them outline fonts used by the notsowelltrained designer. In this post I want to outline the. Fonts containing futura most popular first 1 of 103. Futura EF Futura Black Futura Condensed Futura BT. Monotype technology or in entire lines of type at one time as in the Linotype technology. Font characteristicseditIn addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the scripts that the typeface supports. In European alphabetic scripts, i. Latin, Cyrillic and Greek, the main such properties are the stroke width, called weight, the style or angle and the character width. The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for Western European. Different fonts of the same typeface may be used in the same work for various degrees of readability and emphasis, or in a specific design to make it be of more visual interest. The weight of a particular font is the thickness of the character outlines relative to their height. A typeface may come in fonts of many weights, from ultra light to extra bold or black four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non professional use come with just a normal and a bold weight which are linked together. If no bold weight is provided, many renderers browsers, word processors, graphic and DTP programs support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle. The base weight differs among typefaces that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by default while fonts for long runs of text are rather light. Avenir-Next-Pro-Font-by-Adrian-Frutiger-Akira-Kobayashi.png' alt='Avenir Next Condensed Font Download' title='Avenir Next Condensed Font Download' />Font Management in macOS and OS X, by Kurt Lang. Last updated November 5, 2017. Avenir Next Condensed Font Pair With Bebas' title='Avenir Next Condensed Font Pair With Bebas' />Therefore, weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font. Attempts to systematize a range of weights led to a numerical classification first used by Adrian Frutiger with the Univers typeface 3. Windows Loader By Daz Mediafire here. Extra Light, 4. 5 Light, 5. Medium or Regular, 6. Bold, 7. 5 Extra Bold, 8. Extra Bold, 9. 5 Ultra Bold or Black. Deviants of these were the 6 series italics, e. Light Italics etc., the 7 series condensed versions, e. Medium Condensed etc., and the 8 series condensed italics, e. Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a fonts characteristics are, for instance Helvetica 6. HE6. 7 translates to Helvetica Bold Condensed. The first algorithmic description of fonts was perhaps made by Donald Knuth in his Metafont and Te. Avenir Next Condensed Font' title='Avenir Next Condensed Font' />X system of programs. The True. Type font format introduced a scale from 1. CSS and Open. Type, where 4. Regular and bold versions of three common fonts. Helvetica has a quite monoline design and all strokes increase in weight less monoline fonts like Optima and Utopia increase the weight of the thicker strokes more and thinner strokes less in bold. In all three designs, the curve on n thins as it joins the left hand vertical. There are many names used to describe the weight of a font in its name, differing among type foundries and designers, but their relative order is usually fixed, something like this Names. Numerical values3Thin Hairline. Ultra light Extra light. Light. 30. 0Book Semilight. Normal regular plain. Medium. 50. 0Semi bold Demi bold. Bold. 70. 0Extra bold extra. Heavy Black. 90. Extra black. Ultra black ultra. The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface. Where both appear and differ, book is often lighter than regular, but in some typefaces it is bolder. Before the arrival of computers, each weight had to be drawn manually. As a result, many older multi weight families such as Gill Sans and Monotype Grotesque have considerable differences in styles from light to extra bold. Since the 1. 98. 0s, it has become increasingly common to use automation to construct a range of weights as points along a trend, multiple master or other parameterized font design. This means that many modern digital fonts such as Myriad and The. What font should I use You really mean, What typeface should I use The typeface is the family of letters and characters that have a consistent visual design, such as Arial or Helvetica or Garamond. Every typeface has a set of fonts, which are the specific point size and style, such as Arial 2. Garamond 1. 8 point italic. Since the advent of digital publishing, the terms typeface and font are often used interchangeably. But now that you know the difference, just think of how many people you can impress. Consider Personality. Research has shown that non designers are aware of the personality of a typeface even when they dont consciously think about it. In one study, participants consistently matched a typeface with an adjective, such as cheap, cold, confident, dignified, playful and professional. See The Personality of Type for more on this. Your first consideration, therefore, is what personality do you want your typeface to express As with selecting any visual theme, your choice should be consistent with the content, tone and characteristics of the audience. You can also go with a neutral type of font, that doesnt have much personality at all. Start to examine typefaces more closely and see what each one expresses. See below. Know a Few Categories. Type can be organized into categories, according to their physical characteristics and historical context. For those who want to go more deeply into visual design, its important to know the full range of categories. For most instructional designers, thinking about type in three categories should be sufficient serif, sans serif and script. Serif type has little feet and depending on the typeface, it can express sophistication, reserve, formality or tradition. Sans serif type has no serifs and can but not always have a modern sensibility. Script type reflects the flow of lines created in handwritten letters. These range from an elegant cursive look to a haphazard handwritten look. See one typeface from each category below. The serifs are circled. Should You Stick With One Family Many experts suggest that its best to use one well respected typeface that has a full character set and an array of styles, such as Roman regular, Bold and Italic. Some also have variants, such as condensed a narrow version and black very heavy. If you use one type family, you then make a consistent role for each style and never waiver from your rules. For example, you can get many different styles from one typeface by just varying color, weight and size. In unofficial surveys, typefaces that have good reputations among web designers that could potentially work for online learning include Avenir, Baskerville, Caslon, Franklin Gothic, Futura, Gill Sans, Lucida Sans, Myriad, Palatino and Univers. Georgia and Verdana were specifically designed to be read on the computer screen, whereas most typefaces were and still are designed for print. Check Typeface after Compression. Before you make a final selection, see how well the typeface looks after it gets compressed for online delivery. Sometimes the results are disappointing. If the text is not as readable as youd like, youll have to try again. There is much more to write about typography. Look for more articles in the future.