Font in Typography, a Font (Also Fount) Is Traditionally Defined As a Quantity of Sorts Composing a Complete Character Set of A

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Font In typography, a font (also fount) is traditionally defined as a quantity of sorts composing a complete character set of a single size and style of a particular typeface. For example, the set of all characters for 9-point Bulmer italic is a font, and the 10-point size would be a separate font, as would the 9-point upright. After the introduction of computer fonts based on fully scalable outlines, a broader definition evolved. Font is no longer size-specific, but still refers to a single style. Bulmer regular, Bulmer italic, Bulmer bold and Bulmer bold italic are four fonts, but one typeface. However, the term font is also often used as a synonym for typeface. Font type It is the apperance and shape of the letters, numbers and specific characters Arial Times New Roman Bauhaus Style The stylistic attributes of a font, such as bold, italic, and underline. Size In typography, a point is the smallest unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as pt. The traditional printer's point, from the era of hot metal typesetting and presswork, varied between 0.18 and 0.4 mm depending on various definitions of the foot. Font sizes are measured and described in points, with each point equal to 1/72 of an inch. This sentence is set in 9-point type while the body type on Page 10 is set in 10- point type Standard unit of measure used to specify type sizes. One point is 1/72 inch (approx. .013837 inch). This text is set in 9-point type while the text material on Page 10 is set in 10-point type. Effect Superscript EEmmbboossss Shadow Subscript Underline Kerning In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result. In a well kerned font, the two-dimensional blank spaces between each pair of characters all have similar area. The related term kern denotes a part of a type letter that overhangs the edge of the type block. Leading Refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the formes to increase the vertical distance between lines of type. The term is still used in modern page layoutsoftware such as QuarkXPress and Adobe InDesign In consumer-oriented word processing software, this concept is usually referred to as "line spacing" or "interline spacing." .

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Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
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De Gulden Passer. Jaargang 30 bron De Gulden Passer. Jaargang 30. De Nederlandsche Boekhandel, Antwerpen 1952 Zie voor verantwoording: http://www.dbnl.org/tekst/_gul005195201_01/colofon.php © 2015 dbnl i.s.m. 1 [De Gulden Passer 1952] [Jan van Krimpen 1892-1952] IN het Nederland dat buiten zijn grenzen puilt van de mensen, waar wij het dorre brood des morgens met de zalf, bereid uit walvistraan en synthetische vitaminen, moeten besmeren om de straks drie millioen ouden van dagen die door de hoogte van het hygiënische peil niet sterven kunnen, van dezelfde ingewandsvulling te kunnen voorzien; in het Nederland waar industrieën worden opgebouwd om straks te kunnen exporteren naar landen, die industrieën opbouwen om te exporteren naar andere landen, die industrieën opbouwen; in het Nederland waar de grote dichters niet meer slotvoogden zijn, maar waar zij klerkenbaantjes krijgen opdat zij niet van honger sterven, waar de aristocratie zich alleen met sport bezighoudt en het maecenaat zich uit in het toekennen van kunstprijzen, waarvoor men, met enig overleg, een colbertjasje van onverschillige kwaliteit kan kopen; waar de slavernij is afgeschaft door de slaven te amuseren met tienderangs blikmuziek en laffe variété's, waar het grootste kunstbezit de kruising tussen een mestkever en een opgeblazen vulhaard is, die men een ‘Amerikaanse wagen’ noemt; waar die enige kunst die nog betaald wordt, de kunst van het kletsen over kunst is; waar de beeldende kunstenaars slechts de houtjes van hun penselen hebben om op te bijten; - in dit land, waar het leven ondanks alles toch misschien beter is dan in de meeste andere landen, beklijven op sommige gebieden nog een traditie en vakmanschap die binnen en buiten de grenzen een zekere invloed hebben en bewondering wekken.
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