Cartographic Techniques Around That Same Time

Total Page:16

File Type:pdf, Size:1020Kb

Cartographic Techniques Around That Same Time Number 39, Spring 2001 cartographic perspectives 43 support for TrueType fonts at or external files, but distributing cartographic techniques around that same time. The main the document file that references reason for this migration was to these other files can be a frus- afford mapmakers a higher quality trating experience. option that was considerably more 3. TrueType fonts can be embed- efficient to work with. ded in digitally published Creating TrueType Fonts For Use Today ESRI has a large library of documents. As mentioned As Symbols in ArcGIS™ standard symbols that are based on above, typically GIS and map- TrueType fonts. However, despite ping software packages merely Jaynya W. Richards this plentitude of symbols, cartog- reference which characters Cartography and Symbology Product raphers always seem to want more to use. While efficient, this is Specialist or slightly different symbols. This not always an effective way to Environmental Systems Research article will introduce many of the distribute a document because Institute, Inc. concepts that pertain to TrueType others may not have the same 380 New York St fonts and the necessary knowledge TrueType font available on their Redlands CA, 92373 to create or edit TrueType fonts so computer. Rather than having Phone: (909) 793-2853 they will work with ESRI’s ArcGIS the software on somebody else’s Fax: (909) 307-3067 products. While that is obviously computer substituting another E-mail: [email protected] a product specific direction, the font, a font can be embedded in concepts and many of the specific the document with only a small Introduction settings will apply to any software file size penalty (usually about that uses TrueType fonts. 100Kb). Embedding can take Most organizations need to use several forms. ESRI’s ArcMap™ iconic symbols of some sort in Advantages of Symbols that use application supports embedding their documents and maps. These TrueType Fonts in the form of the creation of a icons may be a widely used stan- PostScript Type 3 font within its dard like the Visa or MasterCard TrueType fonts as the basis for EPS (Encapsulated PostScript) symbols or something custom like symbols on a map offer some dis- and PDF (Portable Document an organization’s logo. Using these tinct advantages to cartographers. Format) export formats. Only symbols in documents and presen- However, it would be good to the characters that are actually tations has often been a problem note that these advantages really used get embedded. because the only way to do so was apply to all vector based fonts, for 4. The graphical quality of a glyph to scan the symbol and use it as example, OpenType and PostScript in a TrueType font can be of very a bitmap. Bitmap images offer a fonts. The following are the main high quality. TrueType fonts trade-off, quality at the expense advantages to using TrueType typically store vector outlines, of performance. For presentations fonts as symbols on maps: including parametric definitions bitmap images are particularly bad for curves that can be scaled to because they are often displayed 1. TrueType fonts are easy to use. any size with no loss of quality. at large sizes and are usually Once installed, a TrueType font TrueType fonts also afford the perceived to be of low quality. It is is accessible to all software ap- ability to be displayed at any also difficult to publish documents plications. device resolution, i.e., a com- that contain bitmaps due to large 2. Using TrueType fonts generally puter screen or a high-resolution file sizes or incompatibilities in the results in smaller document printer with optimal quality. bitmap formats. sizes. Using a TrueType sym- Symbols based on bitmap im- In late 1995 ESRI began support- bol will increase the file size of ages cannot scale or adapt to ing TrueType fonts as an option for your document by just a small multiple resolutions. the source for artwork in symbols. number of bytes. This is because 5. Using TrueType fonts often re- By 1997 ESRI had replaced all its nothing that is already in the sults in work getting done faster. bitmap images with TrueType font is redundantly stored in the TrueType fonts are handled font based symbols in its ArcView document. Conversely symbols more efficiently by the operating product line and had added full that are based on bitmap im- system for display and output support for TrueType fonts in the ages often require at least one purposes. ArcInfo product line. This was a copy of the bitmap to be stored popular idea as MapInfo Corpo- in the document. Some GIS or A Brief Anatomy of a Font ration, Caliper Corporation, and map making software packages Intergraph Corporation also added permit symbols to reference The definitions of terms and 44 cartographic perspectives Number 39, Spring 2001 properties that follow apply to all on computers are designed to with the letter “A”. formats of fonts, not just TrueType. be spaced proportionally. With b. Family Name must match the proportional spacing, each let- Menu name. • Font Family: A font family is a ter is given just the amount of c. Family Name cannot conflict group of fonts that resemble one space it needs to look right and with existing installed font another, and are visually compat- be most legible. Using a pro- names. ible. One member of the fam- portional font, you can fit much d. Font UPM setting is 1000 ily may be italic, another other more text on a page than using e. Alignment is set to local zones bold, another bold and italic, etc. a fixed-pitch font and improve f. Set PANOSE Family Kind to Examples of font family names readability. Latin Text include Helvetica, New Century • Leading: Leading is the dis- g. IBM identification is set to Schoolbook, and Times New tance between lines of type and “No Classification” Roman. Font family names are is measured in points. During h. Supported Code pages is set not restricted to Latin characters. the days of metal type, print- to 1252 Latin 1, Character Set to Font families may be grouped ers inserted extra strips of lead ANSI into different categories: those between long lines of text to i. All Embedding allowed (for with or without serifs, those make them easier to read. That exportability) whose characters are or are not procedure gave rise to the term 2. It is important to use the follow- proportionally spaced, those that “leading.” ing ASCII ranges with ESRI’s resemble handwriting, those that • Resolution: Characters in ArcGIS software products: are fantasy fonts, etc. TrueType fonts are defined as ASCII 33-125, 161-172, 174, 176- • Typeface or Font: A visually resolution independent outlines. 180, 182, 184-255. consistent set of characters or However, resolution becomes 3. Most TrueType fonts created glyphs. A font or typeface relevant when the image is for use as marker symbols in includes characteristics of style. output to either the screen or a ESRI’s ArcGIS products follow Typically a font’s name includes printer at which time the operat- a “symbol” font design. This the family name and the style, ing system will create the image means the individual characters for example, Helvetica Bold. at the resolution level of the are not intended to be used in a • Font Style: The font style speci- output device. Therefore if you text document as text, dingbats, fies whether the font is normal, are using a 600 dpi printer the or bullets. bold, italic, etc. resolution of your character will • Font Variant: The font variant be 600 dpi. Creating glyphs that are intended indicates whether the font con- to overlay in specific ways tains normal upper and lower Creating TrueType Fonts for use case characters or whether it with ESRI’s ArcGIS Software The following example will be contains small-caps characters. specific to ESRI’s ArcMap soft- • Font Weight: The font weight TrueType fonts are primarily ware. Unfortunately this example refers to the boldness or light- created using special software ness of a font’s glyphs. packages specifically created for • Font Size: The font size refers building typefaces. There are to the size of the font in point several good font editing software units. 72 points equals one stan- packages commercially avail- dard inch. able. Of these, ESRI uses FontLab • Font Menu Name: This is the by Pyrus North America Ltd. to name used to access a font in a create its TrueType fonts. Font- software application. In the case Lab has a relatively easy learning of Souvenir ™, the Menu Name curve while remaining a powerful is the same for all weights of the typography tool. Font. To create TrueType fonts for use • Glyph: A glyph is an individual with ESRI’s ArcGIS software use character within a font. these recommended internal font • Type Spacing: Type is defined settings: by the space around it, whether between letters, words, or lines. 1. Internal font settings when sav- Commercially printed text and ing a TrueType font: all the modern digital type used a. Family Name does not begin Figure 1 Number 39, Spring 2001 cartographic perspectives 45 the glyphs to have different centers of rotation. In order to compare the actual glyph alignment, it is often helpful to select, copy and paste one glyph into another glyph’s pattern cell and align the glyphs to check their relative size and fit. Summary Hopefully this article has shown that TrueType fonts are a good means for storing artwork for symbols, while affording excellent document publishing and man- Figure 2 agement options. Also, creating cannot be guaranteed to apply to and editing TrueType fonts is a other software packages, includ- task that any cartographer with a ing ArcView GIS and workstation modest background in graphics ArcInfo because the settings or software can readily learn to do.
Recommended publications
  • Does Font Type Has Effects on Web Text Readability?
    International Education Studies; Vol. 6, No. 3; 2013 ISSN 1913-9020 E-ISSN 1913-9039 Published by Canadian Center of Science and Education Reading on the Computer Screen: Does Font Type has Effects on Web Text Readability? Ahmad Zamzuri Mohamad Ali1, Rahani Wahid1, Khairulanuar Samsudin1 & Muhammad Zaffwan Idris1 1 Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Perak, Malaysia Correspondence: Ahmad Zamzuri Mohamad Ali, Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Tanjong Malim, 35900, Perak, Malaysia. Tel: 60-124-777-395. E-mail: [email protected] Received: January 9, 2013 Accepted: January 18, 2013 Online Published: January 23, 2013 doi:10.5539/ies.v6n3p26 URL: http://dx.doi.org/10.5539/ies.v6n3p26 Abstract Reading on the World Wide Web has become a daily habit nowadays. This can be seen from the perspective of changes on readers’ tendency to be more interested in materials from the internet, than the printed media. Taking these developments into account, it is important for web-based instructional designers to choose the appropriate font, especially for long blocks of text, in order to enhance the level of students’ readability. Accordingly, this study aims to evaluate the effects of serif and san serif font in the category of screen fonts and print fonts, in terms of Malay text readability on websites. For this purpose, four fonts were selected, namely Georgia (serif) and Verdana (san serif) for the first respondents and Times New Roman (serif) and Arial (san serif) for the second respondents. Georgia and Verdana were designed for computer screens display.
    [Show full text]
  • Hintz 1 DRAFT V1 – Please Do Not Cite Without Author's Permission. Susan
    Hintz 1 Susan Kare: Design Icon by Eric S. Hintz, PhD Historian, Lemelson Center for the Study of Invention and Innovation National Museum of American History, Smithsonian Institution [email protected] SHOT SIGCIS – Works in Progress Session Albuquerque, NM October 11, 2015 DEAR COLLEAGUES: Thanks for reading this work-in-progress! I’m a SIGCIS rookie and relatively new to the history of computing. Thus, in terms of feedback, I’d appreciate a) some sense of whether this proposed article would have any traction within the scholarly/SIGCIS community and b) some help situating the story within the relevant secondary literature and historiography. Finally, given the largely non-archival sources I had to work with, I wrote this up more like a magazine feature (vs. scholarly article) so I’d also appreciate c) any suggestions for appropriate journals and publication venues. P.S. This article is ripe for lots of colorful images. Thanks! ESH Graphic designer Susan Kare has been called the “the Betsy Ross of the personal computer,” the “Queen of Look and Feel,” the “Matisse of computer icons,” and the “mother of the Mac trash can.”1 Indeed, Kare is best known for designing most of the distinctive icons, typefaces, and other graphic elements that gave the Apple Macintosh its characteristic—and widely emulated—look and feel. Since her work on the Mac during the early 1980s, Kare has spent the last three decades designing user interface elements for many of the leading software and Internet firms, from Microsoft and Oracle to Facebook and Paypal. Kare’s work is omnipresent in the digital realm; if you have clicked on an icon to save a file, switched the fonts in a document from Geneva to Monaco, or tapped your smart phone screen to launch a mobile app, then you have benefited from her designs.
    [Show full text]
  • Interview with Kris Holmes College in Portland, Oregon
    TUGboat, Volume 39 (2018), No. 3 185 Interview with Kris Holmes College in Portland, Oregon. So that would’ve been in the spring of 1968 when I got the notice from David Walden Reed, and in the fall of 1968 my brother drove me up to Portland with my bicycle in the back of the car. And that was the beginning of my adult life. D: During your youth, did you do sports or have hobbies? K: I didn’t do sports too much. I had many hobbies. I loved to draw, I loved to do art, I loved sewing — I sewed almost everything that I wore, as did many of my girlfriends. Nobody in that area had much money so all of us were taught to sew and we all enjoyed sewing. In fact, we had little competitions to see who could sew a dress for the least amount Kris Holmes is one-half of the Bigelow & Holmes de- of money. We would recycle our mothers’ dresses sign studio. She has worked in the areas of typeface and things. We kind of made a fun life for ourselves design, calligraphy, lettering, signage and graphic without money. We had televisions but other than design, screenwriting, filmmaking, and writing about that, we didn’t have much entertainment. Everybody the preceding. The Kris Holmes Dossier, a keepsake worked on their family farm, and then we just did for the April 2012 presentation of the Frederic W. kid stuff the rest of the time. It was a nice way to Goudy Award to Kris, reviews her career to that grow up.
    [Show full text]
  • Women Typeface Designers Laura Webber
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 Women typeface designers Laura Webber Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Webber, Laura, "Women typeface designers" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Women Typeface Designers by Laura G.C. Webber A thesis project submitted in partial fulfillment of the requirements for the degree ofMaster of Science in the School of Printing Management and Sciences in the College ofImaging Arts and Sciences of the Rochester Institute ofTechnology May, 1997 Thesis Advisor: Professor Archibald D. Provan School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Laura G.C. Webber With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of May, 1997 Thesis Committee: Archibald Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator Director or Designate Women Typeface Designers I, Laura G.C. Webber, hereby grant permission to the Wallace Memorial Library ofR.I.T to produce my thesis in whole or part. Any reproduction will not be for commercial use or profit. May 21, 1997 To my family and Steve, who selflessly give their support and encouragement.
    [Show full text]
  • Oral History of Charles Bigelow
    Oral History of Charles Bigelow Interviewed by: Matthew Kirschenbaum Recorded May 24, 2017 Mountain View, CA CHM Reference number: X8212.2017 © 2017 Computer History Museum Table of Contents Reflection on Desktop Publishing Pioneer Meeting .................................................................... 3 Childhood and Adolescence....................................................................................................... 5 Reed College Years ................................................................................................................... 8 Early Printing Career in San Francisco and Portland, Oregon ...................................................11 Gerald Murch ............................................................................................................................14 RISD, First Work with Digital Type, MacArthur Award ...............................................................15 Bigelow and Holmes Studio ......................................................................................................18 Lucida .......................................................................................................................................21 "Scientific American” Article (1983) ...........................................................................................25 Imagen ......................................................................................................................................27 Kris Holmes and Lucida ............................................................................................................28
    [Show full text]
  • Notes on Apple 4 Fonts CHARLES A
    h ELECTRONIC PUBLISHING, VOL . 4(3), 171±181 (SEPTEMBER 1991) EP-odds and ends Notes on Apple 4 Fonts CHARLES A. BIGELOW AND KRIS HOLMES PO Box 1299 Menlo Park CA 94026, USA 1. The idea The standard bitmap fonts on the Apple Macintosh series of computers have become so much a part of the System interface that it is hard to conceive of a Macintosh without them. Following the adoption of TrueType technology for Macintosh System 7 the idea was put forward of developing TrueType outline versions of the four fonts involved: Chi- cago, Geneva, New York, and Monaco1. This ªApple 4 Fonts projectº was taken on by Bigelow & Holmes in 1988. The notes which follow have not been worked up into any kind of formal paper but we thought that readers of EP-odd might be interested in knowing of the alternatives that were considered and how we eventually tackled the project. These notes were originally circulated as electronic mail, a medium in which informality and grandiloquence frequently co-occur. The original style has been preserved as an example of contemporary Silicon Valley `font-speak'. Given that the Macintosh System 7 would have built-in TrueType outline font tech- nology, the standard Macintosh screen bitmap fonts would become obsolescent. Apple was faced with several alternatives: (a) Keep the Apple fonts in bitmap format for display on screens only, but substitute different, outline fonts for printing. (This would have been like the solution for the original LaserWriters, which for New York substituted Times Roman glyphs coerced to New York metrics; for Geneva, Helvetica glyphs coerced to Geneva metrics; and for Monaco, Courier glyphs coerced to Monaco metrics.
    [Show full text]
  • Macintosh Human Interface Guidelines
    K Macintosh Human Interface Guidelines Addison-Wesley Publishing Company Reading, Massachusetts Menlo Park, California New York Don Mills, Ontario Wokingham, England Amsterdam Bonn Sydney Singapore Tokyo Madrid San Juan Paris Seoul Milan Mexico City Taipei Thi d t t d ith F M k 4 0 4 K Apple Computer, Inc. LIMITED WARRANTY ON MEDIA AND 1995, Apple Computer, Inc. REPLACEMENT All rights reserved. ALL IMPLIED WARRANTIES ON THIS No part of this publication may be MANUAL, INCLUDING IMPLIED reproduced, stored in a retrieval WARRANTIES OF MERCHANTABILITY system, or transmitted, in any form or AND FITNESS FOR A PARTICULAR by any means, mechanical, electronic, PURPOSE, ARE LIMITED IN DURATION photocopying, recording, or otherwise, TO NINETY (90) DAYS FROM THE DATE without prior written permission of OF THE ORIGINAL RETAIL PURCHASE Apple Computer, Inc. Printed in the OF THIS PRODUCT. United States of America. Even though Apple has reviewed this No licenses, express or implied, are manual, APPLE MAKES NO WARRANTY granted with respect to any of the OR REPRESENTATION, EITHER EXPRESS technology described in this book. OR IMPLIED, WITH RESPECT TO THIS Apple retains all intellectual property MANUAL, ITS QUALITY, ACCURACY, rights associated with the technology MERCHANTABILITY, OR FITNESS FOR A described in this book. This book is PARTICULAR PURPOSE. AS A RESULT, intended to assist application THIS MANUAL IS SOLD “AS IS,” AND developers to develop applications only YOU, THE PURCHASER, ARE ASSUMING for Apple Macintosh computers. THE ENTIRE RISK AS TO ITS QUALITY Apple Computer, Inc. AND ACCURACY. 20525 Mariani Avenue IN NO EVENT WILL APPLE BE LIABLE Cupertino, CA 95014 FOR DIRECT, INDIRECT, SPECIAL, 408-996-1010 INCIDENTAL, OR CONSEQUENTIAL Apple, the Apple logo, APDA, DAMAGES RESULTING FROM ANY AppleLink, AppleShare, AppleTalk, DEFECT OR INACCURACY IN THIS EtherTalk, HyperTalk, ImageWriter, MANUAL, even if advised of the possibility LaserWriter, Macintosh, MultiFinder, of such damages.
    [Show full text]
  • The ABC's of Font: Effects of Changing Default Fonts Amanda P
    Eastern Washington University EWU Digital Commons EWU Masters Thesis Collection Student Research and Creative Works 2013 The ABC's of font: effects of changing default fonts Amanda P. Erickson Eastern Washington University Follow this and additional works at: http://dc.ewu.edu/theses Part of the English Language and Literature Commons Recommended Citation Erickson, Amanda P., "The ABC's of font: effects of changing default fonts" (2013). EWU Masters Thesis Collection. 108. http://dc.ewu.edu/theses/108 This Thesis is brought to you for free and open access by the Student Research and Creative Works at EWU Digital Commons. It has been accepted for inclusion in EWU Masters Thesis Collection by an authorized administrator of EWU Digital Commons. For more information, please contact [email protected]. THE ABC’S OF FONT EFFECTS OF CHANGING DEFAULT FONTS A Thesis Presented To Eastern Washington University Cheney, Washington In Partial Fulfillment of the Requirements for the Degree of Master of Arts in English Rhetoric and Technical Communication By Amanda P. Erickson Spring 2013 THESIS OF AMANDA ERICKSON APPROVED BY DATE DR. TEENA CARNEGIE, CHAIR, GRADUATE STUDY COMMITTEE DATE DR. LOGAN GREENE, GRADUATE STUDY COMMITTEE DATE DR. KEVIN DECKER, GRADUATE STUDY COMMITTEE ii MASTER’S THESIS In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Eastern Washington University, I agree that the JFK Library shall make copies freely available for inspection. I further agree that copying of this project in whole or in part is allowable only for scholarly purposes. It is understood, however, that any copying or publication of this thesis for commercial purposes, or for financial gain, shall not be allowed without my written permission.
    [Show full text]
  • Typography and the Screen: a Technical Chronology of Digital Typography, 1984–1997 Loretta Staples
    04 Staples QXP 2/18/01 5:47 PM Page 19 Typography and the Screen: A Technical Chronology of Digital Typography, 1984–1997 Loretta Staples Digital technology radically influenced typographic design begin- ning in the early 1980s.1 The computer enabled designers to create and manipulate letters in new ways, offering new options for craft- ing letterforms and “outputting” them—whether in the medium of toner particles on paper, or pixels on a screen. Digital tools, at first, necessitated (due to technical constraints), and later explicitly en- couraged (due to technical advances) specific kinds of representa- tions that would challenge their historical antecedents. Now, in the late 1990s, the mutation of letters continues. The spatial and tempo- ral opportunities of cyberspace are resulting in even more radical depictions of letterforms that offer expanded formal and stylistic possibilities, while further challenging the norms of reading and writing. This paper chronicles the technical developments responsi- ble for the digital revolution in typography during the 1980s and 90s. It is an informal history based largely on my own observations as an early practitioner of “graphical user interface design”—one formally trained in graphic design and privileged to work at Apple 1 In 1983, Charles Bigelow and Donald Day Computer during the early 1990s. Because Apple was so instru- defined digital type as that “made up of mental in popularizing the technologies that stimulated typographic discrete elements. These elements can experimentation within the graphic design community during this be line strokes, pixels, colors, shades of period, my paper focuses on the Macintosh platform. gray, or any other graphic unit from which a letterform can be constructed.
    [Show full text]
  • The Introduction, Demonstration and Evaluation of a New Typeface Identification System J
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1989 The introduction, demonstration and evaluation of a new typeface identification system J. Ames Parsons Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Parsons, J. Ames, "The introduction, demonstration and evaluation of a new typeface identification system" (1989). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. THE INTRODUCTION, DEMONSTRATION AND EVALUATION OF A NEW TYPEFACE IDENTIFICATION SYSTEM by Ames Parsons A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences in the College of Graphic Arts and Photography of the Rochester Institute of Technology May 1989 Thesis Advisor: Professor Archibald D. Provan ACKNOWLEDGEMENTS This thesis was a collaborative effort. Accordingly I wish to thank the following for their help: Professor Archibald Provan for acting as my primary thesis advisor, for allowing me to virtually monopolize (for months) the Xerox Star system, for providing the fundamentals upon which this thesis is based, and for providing copious good cheer, patience, and support; Professor Frank Cost for acting as my research advisor, and for designing and testing the TYPE-ID computer program; Mr. Paul Swift, Director of the Graphic Arts Division of the RIT Research Corporation, for sponsoring this project, and for acting as my thesis advisor; Mr.
    [Show full text]
  • Using Opentype Fonts in an AFP System
    Printing Systems Division Using OpenType Fonts in an AFP System G544-5876-02 Printing Systems Division Using OpenType Fonts in an AFP System G544-5876-02 Note Before using this information and the product it supports, be sure to read the information in “Notices” on page 63. Third Edition (July 2004) Requests for IBM publications should be made to your IBM representative or to the IBM branch office serving your locality. If you request publications from the address given below, your order will be delayed because publications are not stocked there. Many of the IBM Printing Systems Division publications are available from the web page listed below. Internet Visit our home page at: http://www.ibm.com/printers A Reader’s Comments form is provided at the back of this publication. If the form has been removed, you can send comments by fax to 1-800-524-1519 (USA only) or 1-303-924-6873; by E-mail to [email protected]; or by mail to: IBM Printing Systems Division Department H7FE Building 004N Information Development PO Box 1900 Boulder CO 80301-9191 USA IBM may use or distribute whatever information you supply in any way it believes appropriate without incurring any obligation to you. © Copyright International Business Machines Corporation 2003, 2004. All rights reserved. US Government Users Restricted Rights – Use, duplication or disclosure restricted by GSA ADP Schedule Contract with IBM Corp. Contents Figures . vii Tables . .ix About this publication . .xi Audience . .xi Most recent information . .xi Chapter 1. What are TrueType and OpenType fonts? . .1 Typefaces . .1 Encodings .
    [Show full text]
  • Designing New Typefaces with Metafont
    Sep tern tw 1985 Report No. STAN-CS-85-1074 Designing New Typefaces with Metafont bY Department of Computer Science Stallford Uhwsity Stanford, CA 94305 Abstract The report discusses issues associated with the symbolic design of new typefaces using programming languages such as Metafont. A consistent terminology for the subject area is presented. A schema for type pro duction systems is described that lays stress on the importance of communication between the designer of a new typeface and the producer of the fonts that embody it. The methods used for the design of printers’ type from the sixteenth century to the present day are surveyed in the context of this schema. The differences in the designer’s task in symbolic and graphic design modes are dis- cussed. A new typeface design made with Metafont is presented, and the usefulness of Metafont as a tool for making new designs considered. Designing new typefaces with Metafont Richard Southall Acknowledgments I owe a special debt to Donald Knuth for getting me involved with Metafont in the first place, and for guiding me through my battles with it. The help, friendship and support I have received from the other members of the Digital Typography Group (Chuck Bigelow, Neenie Billawala, David Fuchs, John Hobby, Cleo Huggins, Dan Mills, Lynn Ruggles, New Wave Dave Siegel and Carol Twombly) is beyond indi- vidual acknowledgment. Conversations with Matthew Carter were most valuable in clarifying the problems of both traditional and digital type design. I am grateful as well to John Warnock, Liz Bond, Sumner Stone and members of the font group at Adobe Systems Inc.
    [Show full text]