Adobe System’s page description language. Programs like Macromedia FreeHand and Adobe Illustrator use PostScript to create complex pages, text, and graphics onscreen. This language is then sent to the printer to produce high quality printed text and graphics.
The OpenType™ format is a superset of the earlier TrueType and Adobe® PostScript® Type 1 font formats. As jointly defined by Microsoft and Adobe Systems, it is technically an extension of Microsoft’s TrueType Open format, which can contain either PostScript font outlines or TrueType font outlines in a single font file that can be used on both Macintosh and Windows platforms. It can also include an expanded character set based on the Unicode encoding standard plus advanced typographic intelligence for glyph positioning and glyph substitution that allow for the inclusion of numerous alternate glyphs in one font file.
The letters, numbers, and symbols that make up a design of type. A typeface is often part of a type family of coordinated designs. The individual typefaces are named after the family and are also specified with a designation, such as italic, bold or condensed.
The word glyph is used differently in different contexts. In the context of modern computer operating systems, it is often defined as a shape in a font that is used to represent a character code on screen or paper. The most common example of a glyph is a letter, but the symbols and shapes in a font like ITC Zapf Dingbats are also glyphs.
One weight, width, and style of a typeface. Before scalable type, there was little distinction between the terms font, face, and family. Font and face still tend to be used interchangeably, although the term face is usually more correct.
the associations a particular font brings to the readers interaction with it; what it reminds the reader of, the feelings or thoughts that arise when looking at it.
An analytical descripton of a specific font, its serifs, bracketing, terminals, weight of strokes, etc.
A style of typeface developed in the late 18th century that continued through much of the 19th century. Characterized by high contrast between thick and thin strokes and flat serifs, Modern fonts are harder to read than previous and later typestyles. Some later variations of Modern include the Slab Serifs with bolder, square serifs (often considered a separate style altogether) and the related Clarendon style with less contrast and softer, rounded shapes. Also Known As: Didone | New Antiqua.
Lineale typefaces based on the proportions of inscriptional Roman capitals and Humanist or Geralde lower-case, rather than on early grotesques. They have some stroke contrast, with two-story (double-story) a and g.These are the most calligraphic of the sans-serif typefaces, with some variation in line width and more legibility than other sans-serif fonts
The typefaces of this period are called Transitional, as they represent the initial departure from centuries of Old Style tradition and immediately predate the Modern period.
- A greater contrast between thick and thin stokes.
- Wider, gracefully bracketed serifs withflat bases.
- larger x-height
- Vertical stress in rounded strokes
- the height of capitals matches that of ascenders.
- Numerals are cap-height and consistent in size.
A type face that does not have serifs. Generally a low-contrast design. Sans serif faces lend a clean, simple appearance to documents.serif
A type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular, or rounded. Slab serif typefaces generally have no bracket (feature connecting the strokes to the serifs). Some consider slab serifs to be a subset of modern serif typefaces including Clarendon, Typewriter, and Slab Serif (a separate sub-category of Slab Serif) styles