Definitions

1. Typefaces are often described as being serif or sans serif (without serifs). (Web site)
2. The typefaces are now used for all official correspondence, brochures and advertisements.
3. Typefaces are designed to give choice and flexibility in the design of documents and publications. (Web site)
4. Typefaces are collections of letterforms and glyphs, each designed with their own characteristics or style. (Web site)
5. Typefaces are an essential resource employed by graphic designers, just as glass, stone, steel, and countless other materials are employed by architects. (Web site)

Serif Typefaces

1. Studies on the matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces.
2. Times Roman and Garamond are common examples of serif typefaces.
3. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body.

Typeface

1. Probably the most common blackletter revival typefaces in use today are Cloister Black (M.F. Benton, 1904, from J.W. Phinney) and Fette Fraktur. (Web site)
2. Typography that was first used by Gutenberg was Gothic typefaces consisting of fraktur, rotunda, and schwabacher.

Designing Typefaces

1. The art and craft of designing typefaces is called type design.
2. Many typographers consider ITC Garamond in general, and Apple Garamond in particular, to be poorly designed typefaces.
3. Since then, he has concentrated primarily on designing typefaces for digital technology, drawing inspiration from classical sources. (Web site)
4. In the succeeding centuries typographers have created some 10,000 typefaces (a complete set of letter forms of a particular design). (Web site)

Font Family

1. Americana: The Americana font family of typefaces is a classic serif font that complements Agenda.
2. Fontmenu.com is the best place for exclusive, original typefaces and font families.

Sans-Serif Typefaces

1. Serif (top) and sans-serif (bottom) typefaces exist for Chinese characters as well. (Web site)
2. As their name suggests, Geometric sans-serif typefaces are based on geometric shapes.
3. When choosing fonts, it is often better to stay with sans-serif typefaces like Arial and Verdana. (Web site)

Sans Serif

1. At the highest level, one can differentiate between serif, sans serif, script, blackletter, ornamental, monospace, and symbol typefaces.
2. Futura and Gill Sans are two of the finest sans serif typefaces ever designed, and Hoefler Text is a terrific serif text face. (Web site)
3. Sans serif typefaces do not have the added elements at the ends of the vertical and horizontal strokes. (Web site)

Comprehensive Vocabulary

1. Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography.
2. Typographers have derived a comprehensive vocabulary for describing and discussing the appearances of typefaces.

Ratio Between

1. The ratio between the x-height and the ascent often serves to characterise typefaces.
2. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces.
3. Never use all caps with highly decorative typefaces (e.g., Zapf Chancery, Kuenstler). (Web site)

Frutiger

1. In 1956 Frutiger designed his first of three slab-serif typefaces--- Egyptienne. (Web site)
2. The start of this confusion possibly appeared when Adrian Frutiger named the slanted versions of his typefaces Univers and Frutiger as italic. (Web site)

Slab Serif

1. The Clarendons or Ionics are an offspring of the slab serif typefaces in which the serifs are bracketed. (Web site)
2. Examples of slab serif typefaces include Clarendon, Rockwell and Courier. (Web site)
3. Like sans serif, slab serif typefaces are generally lower contrast and more geometric with more uniform stroke weight.

Serif Fonts

1. Other synonyms include "Doric" and "Gothic", commonly used for Japanese Gothic typefaces. (Web site)
2. For such purposes sans serif fonts are more acceptable in Europe than in North America, but still less common than serifed typefaces. (Web site)
3. Garalde Oldstyle), with only slight difference in thickness within each glyph; this category includes the Garamond and Palatino typefaces.
4. Designed on a grid, Enotmik is made up of 90-- and 45-- angles and pays homage to legendary typefaces Helvetica and Avant Garde.
5. For such purposes sans serif fonts are more acceptable in Europe than in North America, but still less common than seriffed typefaces.

Old Style

1. The humanist typefaces are the easiest to use without producing an ugly document as they are relatively compatible with the old style fonts. (Web site)
2. Old style typefaces are reminiscent of the humanist calligraphy from which their forms were derived. (Web site)
3. Most modern fonts are less readable than transitional or old style serif typefaces. (Web site)

Function Better

1. Monospaced typefaces function better for some purposes because their glyphs line up in neat, regular columns.
2. However, non-proportional typefaces function better for some purposes because their glyphs line up in nice, neat columns.

Families

1. The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed.
2. Helvetica, Century Schoolbook, and Courier are examples of three widely distributed typefaces.
3. Type families: a group of typefaces of the same basic design but with different weights and proportions.
4. Ornamental (also known as "novelty" or sometimes "display") typefaces are used exclusively for decorative purposes, and are not suitable for body text.
5. Reading the text will give up vital clues, not only for choosing the right typeface or typefaces, but will also be an aid in the overall design of the page. (Web site)

Modern Typefaces

1. Modern typefaces with high contrast between light and heavy strokes are not as readable as the old style fonts. (Web site)
2. Blackletter fonts, the earliest typefaces used with the invention of the printing press, resemble the blackletter calligraphy of that time.
3. His Palatino (1948) and Zapf Renaissance (1987) are modern typefaces with the spirit of Renaissance letterforms. (Web site)

Bodoni

1. Typefaces of the Bodoni family tend to stress this difference. (Web site)
2. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with designing and establishing the use of the "Modern" classification of typefaces.

Display

1. In the days of letterpress and phototypesetting, many of the most commonly used typefaces were available in a "display face" variation.
2. The earliest forms of sans and slab typefaces tended to be heavy, often monolithic, display faces, but there quickly evolved a wide range of styles. (Web site)
3. Outstanding performance at small display sizes is not a strength associated with casual script typefaces, ordinarily because they have a low x-height.
4. The study used two different typefaces, the 3277 CRT character set (characteristic of VDU displays at that time), and Letter Gothic.

Digital

1. Some of the more common digital art nouveau typefaces are Arnold Boecklin (Weisert, 1904), Artistik, Desdemona, Galadriel and Victorian. (Web site)
2. With the advent of digital typography, we have been inundated with typefaces. (Web site)

Typeface Designs

1. TypeRight - Mission: to promote typefaces as creative works and to advocate their legal protection as intellectual property. (Web site)
2. Some elements of the software engines used to display typefaces on computers have software patents associated with them.
3. For example, subscript letters on the baseline are quite rare, and many typefaces only provide a limited number of superscripted letters. (Web site)
4. Since the invention of printing, typefaces have been classified historically.
5. Typefaces represented as bit-map data, run-length codes, spline outlines, and other digital data formats, may also be copyrightable. (Web site)

Handwriting

1. The humanist, or Venetian typefaces followed, a style that more closely resembled handwriting.
2. Script typefaces simulate handwriting or calligraphy.
3. In typography, italic type refers to cursive typefaces based on a stylized form of calligraphic handwriting.

Foundry

1. P22 type foundry creates computer typefaces inspired by Art, History, and sometimes Science.
2. The Berthold foundry, founded in 1858, is renowned for crafting high quality typefaces. (Web site)
3. Agfa A commercial font foundry which distributes and sub-licenses typefaces. (Web site)
4. Twelve type foundries providing over 450 original, meticulously designed typefaces for both display and body copy.

Type Designers

1. At Emigre we have always had a soft spot for typefaces designed by graphic designers as opposed to typefaces designed by type designers. (Web site)
2. Digital type foundries aggregate and distribute typefaces for type designers, who may either be freelancers or employed by the foundry.

Serif Type

1. Typefaces with serifs are often considered easier to read in long passages than those without.
2. Typefaces can be divided into two main categories: serif and sans serif.
3. Some typography sources refer to sans serif typefaces as "grotesque" (in German "grotesk") or "Gothic", and serif types as "Roman". (Web site)
4. The Slab Serif typefaces are often referred to as Egyptian typefaces.
5. Serif Type: Text using typefaces that have serifs, such as Times, Baskerville, or Courier. (Web site)

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