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Images and Anatomy of Latin Typefaces

Images and Anatomy of Latin Typefaces

International Journal of Affective Engineering Vol.16 No.2 pp.121-130 (2017) doi: 10.5057/ijae.IJAE--16-00028

Special Issue on ISASE 2016 ORIGINAL

Images and Anatomy of

Qianru QIU, Shu WATANABE and Kengo OMURA

Fuji Xerox Co. Ltd., 6-1 Minatomirai, Nishi-ku, Yokohama-shi, Kanagawa 220-8668, Japan

Abstract: is ubiquitous in everyone’ daily life, and it plays an important role in document design especially. However, we still possess less knowledge about the affective expressions of various typefaces, and it is difficult for even the designers to tell which characters would make difference in feelings. This study quantifies the relationships between images and anatomy of typefaces by the process of kansei/affective engineering. A kansei evaluation experiment for Latin typefaces was conducted for 88 designers and the evaluation data was analyzed by factor analysis, cluster analysis, and quantification theory Type I. The results are helpful for typeface selection and make it closer to readers’ preferences. Moreover, the affective relationships between images and design characteristics of typefaces were developed as practical guidelines for typeface design. Keywords: Affective design, Typeface design,

There are a few studies on various characters 1. INTRODUCTION of Latin typefaces and human emotions. In research [9], 24 were selected with a range from and sans-serif Typeface is fundamental to graphic design. Nowadays, to display types without covering all styles of fonts, there are thousands of different typefaces available in a and several structural features, as x-height, were analyzed digital format for designers, printers, publishers, artists, as typeface characteristics. In research [2], 16 universal and even office workers. The recent technical develop- and 8 typeface-specific characteristics were provided. The ments with computer have been bringing new faces or universal ones were subjective descriptions of types which variations of old ones. It is proved that typefaces have made people confused with human tastes. The typeface- significant impacts on human emotions in our specific ones were general graphic descriptions without research of document design [1]. In marketing research, detail components. it is an important visual tool for impression management This work is focused on the Latin Typefaces. In this of corporate identity, such as trademarks, symbols and paper, we elaborately picked up 36 typefaces of all logotypes of corporations [2, 3]. However, the vast amount classifications based on historical development. A kansei of types sometimes confuses people to use good or poor evaluation experiment was executed and the evaluation data typefaces in their design works. Therefore, the affective were analyzed by R . The affective knowledge of knowledge of typefaces is helpful to narrow down the typefaces was generated by statistical methods, as factor selection of the correct typeface. analysis, cluster analysis, and quantification theory Type I. In recent decades, practitioners in the fields of marketing, Furthermore, as the anatomy of Latin typeface, design business and professional design, have made attempts to characteristics including the detail parts in representative explore the notion of typeface appropriateness. Most letters were analyzed. The relationships between human research on fonts is related to and readability [4, 5]. tastes and these design characteristics is analyzed to have In research [6], the researchers had an emotional testing strong correlations. Based on these affective knowledge, experiments for 1278 fonts using crowdsourcing platform. we developed a guidelines for typeface design. Besides Latin typeface, there are some studies on the affec- tive impressions of other language systems, as Japanese 2. AFFECTIVE EVALUATION FOR TYPEFACES [7, 8]. While there are thousands of fonts and it continues to increase, it costs a lot to evaluate them one by one. In the 2.1 Typeface selection design, most fonts remain the same components Since there are thousands of different typefaces available, or design characters in essentially. It is considered it is important to have an understanding of the basic styles of that these components are the root reason bringing different typefaces to help narrow down the research. The thing is, emotional responds. With these in-depth knowledge, the there is no one classification system to rule them all. taste of an unevaluated font can be estimated. In fact there is a huge number of classification systems.

Received: 2016.05.31 / Accepted: 2017.03.02 Copyright © 2017 Japan Society of Kansei Engineering. -STAGE Advance Published Date: 2017.04.14 121 All Rights Reserved. International Journal of Affective Engineering Vol.16 No.2

In general, typefaces can be classified into 5 groups, as Serif, Table 1: Overview of typeface classification Sans-serif, Script, , and Display types. Certainly, Classification Typeface Sample these groups can have subdivisions. In this study, 36 type- Garamond faces were chosen as the evaluation targets which are widely Old Roman used in DTP () or having a profound Caslon impact on the development of typeface design. All these typefaces and their classifications are shown in Table 1. Baskerville

Times New Serif type has a small attached to the end of a stroke Transitional Roman in a which is called a serif. Sans-serif type is a Georgia typeface without serifs. Serif and Sans-serif types are widely used for text body and in book, magazine, Bodoni Serif newspaper, etc. They also play an important role in Didot Modern corporate identity. For example, Didot is used in the logo Trajan of VOGUE, a famous fashion magazine, and Onyx is also a popular choice for logos like BMW, Rockwell Panasonic, McDonald’s, and so on. Therefore, Serif and Sans-serif types have a large proportion in this work. Slab-serif Super Clarendon Serif fonts can be broadly classified into 4 subgroups, as Courier old roman or called old style, transitional, modern and Copperplate Wedge-serif slab/wedge-serif. Old is characterized by Gothic Franklin Grotesque a low contrast in stroke weight and angled serifs. Gothic Transitional type is in between old roman and modern. Helvetica

Modern type is characterized by high contract thick and Neo- Univers thin lines. Slab-serif or called Egyptian type has heavy Grotesque serifs which are originally intended as attention grabbing Arial designs for posters. Wedge-serif is a special type that its heavy strokes have tiny serifs at the ends and it is Optima classified together with slab-serif types here. Sans- Humanist serif Formata Sans-serif type has become the most prevalent for text display on computer screens. It can be divided into 3 or 4 Rotis major groups. Grotesque and neo-grotesque types are Futura sometimes treated as a group. Grotesque type is the first Avenir commercially popular Sans-serif type and neo-grotesque Geometric type is an extension to the grotesque style. Humanist type includes proportions that were modeled on old roman DIN type. Geometric type, as its name implies, is based on Formal Shelley geometric forms, like near-perfect circle and square. Script Andante Script type is created by style, and 2 type- Script faces are chosen as cases of formal and casual styles. Casual Script Zapfino Blackletter, also known as Gothic script, is a highly ornamental type. It mainly includes 4 styles, as Textura, Textura Old English Black , , and . Here, 2 typefaces of letter American Rotunda Textura and Rotunda are chosen which are still used in Text Monotype OCRA some contemporary design works. Display type is a generalized concept that many type- Imprint Effect Shadow faces can be defined as display faces with associative and Umbra Display decorative values. Some of them are re-creation works Broadway based on the traditional types. Since it can’t be exhaustive, Decorative Chiller 6 typefaces are chosen in this work as an initial explora- tion for display type.

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Images and Anatomy of Latin Typefaces

2.2 Kansei evaluation and affective ranking For kansei evaluation experiment, 36 samples as the evaluation targets were made for each typeface with the size of 960 pixels × 460 pixels. They are made as an essay of cafe containing all letters of the and numeric characters. Figure 1 is the sample of Helvetica. The title is in uppercase including W, , M, , O, which have typical design characteristics. The text body is in lowercase, and including the distinctive uppercase H and . It also Figure 1: Evaluation sample of Helvetica contains the base ten numerals. 30 kansei shown in Table 2 were extracted to express the impressions on design tastes or images of typography.

Table 2: Vocabulary of kansei words and top 3 typefaces for each image Image Typeface Japanese English 1st 2nd 3rd プリティ Pretty

カジュアル Casual ダイナミック Dynamic ロマンチック Romantic

マイルド Mild

フェミニン Feminine

ナチュラル Natural エレガント Elegant

ゴージャス Gorgeous

ワイルド Wild クラシック Classic

フォーマル Formal ダンディ Dandy シック Chic フレッシュ Fresh クリア Clear モダン Modern ポップ Pop レトロ Retro ノーブル Noble フレンドリー Friendly コンテンポラリー Contemporary スタンダード Standard スタイリッシュ Stylish

エクスプレッシブ Expressive

目をひく Attractive 読みやすい Readable 信頼できる Reliable 好き Like 美しい Beautiful

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The investigation was executed by online questionnaire Table 3: Factor loadings by varimax rotation survey by 5 scales, as 1=not feel at all, 2=not feel too Kansei words Factor1 Factor2 Factor3 Factor4 much, 3=feel somewhat, 4=quite feel, 5=strongly feel, and gorgeous 1.005 -0.293 -0.035 0.143 entrusted to a marketing research company, Macromill. elegant 1.001 -0.135 0.043 -0.092 It was conducted for 88 graphic designers and editorial romantic 0.974 -0.284 0.238 -0.115 designers. All respondents are Japanese and their ages classic 0.944 0.091 -0.215 0.158 have a distribution in twenties, thirties, forties, fifties and noble 0.891 0.194 0.111 0.133 feminine 0.821 -0.218 0.365 -0.315 sixties. The evaluation results were collected in July, 2015. chic 0.82 0.398 -0.132 0.086 Affective ranking is based on the evaluation value and

Elegance retro 0.816 -0.394 -0.166 0.159 the top 3 typefaces for each image is shown in Table 2. formal 0.783 0.463 -0.096 0.056 beautiful 0.599 0.368 0.355 -0.002 3. ANALYSIS AND RESULTS mild 0.435 0.353 0.392 -0.295 pop -0.677 -0.331 0.662 0.116 To obtain the kansei structures, factor analysis is used casual -0.756 0.136 0.694 0.098 in this study. We doubt that the fonts in the same sub- standard -0.037 0.96 0.071 0.059 classification may have different images. To validate our readable -0.185 0.912 0.202 -0.001 conjecture, we use cluster analysis to divide samples into reliable 0.237 0.832 0.149 0.056 - - new groups with similar images and compare the new clear 0.082 0.791 0.256 0.067 natural 0.213 0.643 0.254 -0.223 groups with the traditional classifications. To obtain the like 0.258 0.573 0.395 0.016 relationships between kansei words and design details, Practicality contemporary -0.19 0.515 0.368 0.044 Quantification Theory Type I (QT1) is used. Moreover, attractive 0.161 -0.94 0.329 0.36 R language is used in this work, since it is one of the most expressive 0.132 -1.03 0.239 -0.05 popular platforms for data analysis and make our analysis pretty 0.26 -0.231 0.835 -0.19 work be faster. This work used a QT1 program written in friendly -0.434 0.262 0.756 -0.07 R by Professor Shigenobu Aoki [10]. modern -0.024 0.343 0.653 0.197 fresh -0.089 0.497 0.651 0.143 Tenderness 3.1 Factor analysis results stylish 0.518 0.106 0.545 0.065 Principal Components Analysis (PCA) and Exploratory dynamic -0.012 -0.372 0.186 0.811 Factor Analysis (EFA) are used to decide how many dandy 0.358 0.401 -0.251 0.757 common factors to extract. Since we use R for factor wild -0.079 -0.389 -0.073 0.675 Powerfulness analysis, the functions provided in the psych package are most relevant. The PCA results suggested 4 components, We can find some particular cases were separated from and the EFA results suggested 4 factors. Therefore, it was their original classifications. According to the results of decided to extract 4 factors. cluster analysis, 8 clusters were proposed with similar The factor loadings obtained by varimax rotation are affective propensity. The affective results of these 8 shown in Table 3. Varimax rotation had the effect of clusters in Figure 3 is collected from analysis results of differentiating the original variables by extracted factors. QT1. The columns are the category scores of 30 images. All factor loadings are more than 0.4 which represents From these results we can see that: that the division of these 4 factors are reliable. These • Cluster 1 mainly includes Blackletter types. Onyx, as a factors are interpreted as elegance, practicality, tender- modern Serif type, is found to be close to Blackletter ness, and powerfulness. types, so it is included as a particular case. The main images are dynamic and wild. 3.2 Cluster analysis and affective results • Cluster 2 includes slab-serif and wedge-serif types. In this study, a cluster is defined as a group of typefaces DIN, as a geometric Sans-serif type, being closed with that have similar images to each other, which will help wedge-serif type, is included as a particular case. This us get different results with the general classifications. cluster has stronger impression of dynamic and wild For hierarchical cluster analysis, Ward method is used, than cluster 1, and it has a strong image of dandy. since it tends to join with small numbers of observations • Cluster 3 mainly includes Display types. Courier, as a and produces clusters with roughly equal numbers of Slab-serif, is a particular case of this cluster. The main observations. The results are plotted as shown in Figure 2. images are pop, expressive and attractive.

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Images and Anatomy of Latin Typefaces

Figure 3: Category scores of each typeface cluster to a specified image

4. TYPEFACE ANATOMY

4.1 Design characteristics of typefaces Figure 2: Ward clustering of typefaces Typeface anatomy describes the graphic elements that make up letters in a typeface. The general typographic element is called a , which is any individual • Cluster 4 includes grotesque and neo-grotesque Sans- letter, numeral, or mark. All typefaces share serif types. Formata, as a humanist Sans-serif type, is a basic anatomy comprised of a few features, as , found close to Helvetica, a famous neo-grotesque type. x-height, cap-height, , and [11]. The So it is included as a particular case. This cluster is the structural properties, x-height, ascender, descender and most standard and readable one. It also has the image of font weight have been analyzed in research [6] in detail. clear, reliable and natural in factor 2. They obtained the range and mean values of these 4 • Cluster 5 includes humanist and geometric Sans-serif characteristics for kansei factors. Therefore, this work types. It is clear, readable, and standard. turned to the basic component parts of regular letterform. • Cluster 6 mainly includes old roman and transitional These components act as a key in typeface design to Serif types. Optima, as a humanist Sans-serif type, is a differentiate characteristics from one typeface to another. particular case. This cluster has positive images of Hence, the components’ properties of characters are factor 1 and 2, as elegant, formal, feminine, romantic, described as design characteristics of typefaces. and readable. In addition, the designers like the types in Some of design characteristics are shared in different this cluster most. types, and bring the similar images. By the analysis of • Cluster 7 is Script types. It has the strongest images of QT1, the relationships between design characteristics and feminine, elegant, and romantic in factor 1. images are quantified. In this study, a number of design • Cluster 8 includes modern Serif types. Imprint-Shadow, characteristics were analyzed. Among them, 25 design as a Caslon-like Display type, is a particular case. The characteristics were extracted in Table 4 which have main images are romantic and elegant. significant influence for images.

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Table 4: Design characteristics of typefaces No. Characteristic Sample Remark Serif is the small line attached to the end of a stroke. Sans-serif is without 1 Serif serifs. The style in Script and Blackletter is defined as “other”.

Letter case is the distinction between the letters that are in upper case and lower 2 Upper case only case in the written representation. Ascender line is Ascender line is the top part of lowercase, while cap-height line is the top part 3 above of uppercase. It focuses on the upper cases like M, N, H. line Tighter spacing or called condensed fonts are narrower versions of the Tighter lettering 4 standard typefaces in type family. Some fonts are also described as condensed if spacing their height is much larger than their width.

A occurs where two or more letters are joined together. It usually 5 Ligature replaces consecutive characters sharing common components.

High contrast is the degree of difference between the thickness of curved stroke 6 High contrast and bar. Axis is the imaginary line drawn from top to bottom of a glyph bisecting the 7 Axis tilt upper and lower stroke.

Bar of is above its 8 The middle line of F is the line equally dividing the stem, in general. middle line 9 j with round kern The letter j has a round kern.

In letter Q, long tail is defined as that the area of tail is overlap with the area of 10 Q with long tail other letter.

11 Geometric G Geometric G means its shape of lower part is similar to geometrical symmetry.

12 g with loop In letter g, a loop may exist in the lower part.

13 W with sharp apex The sharp apex of W means the crotch of the letter is sharp.

The sharp apex of M means the shoulder of the letter is sharp. The left shoulder 14 M with sharp apex of N also is designed same with M. M with halfway In letter M, the diagonals of middle apex meeting far above the baseline is 15 middle apex defined as halfway middle apex. a with single-story In letter a, standard one has double-story form with oval bowl, while alternative 16 form one has single-story form. In letter C of uppercase, there are several cases of terminal style. As 1 or 2 serif 17 Symmetrical C terminals in serif style, and no serif terminal in sans-serif style. This two terminals in almost the same shape is called symmetrical. In letter c of lowercase, the design is not same with uppercase at all. The two 18 Symmetrical c terminals in almost the same shape is called symmetrical. k with unilateral 19 In letter k, unilateral serif means the leg has only one serif in single direction. serif of leg 20 f with ball terminal In letter f, ball terminal means the upper terminal is like a teardrop.

In letter y, the lower terminal has no kern on the diagonal, that is to say, the 21 y without kern stroke is a straight line.

22 with tail In letter l, tail is different with serif and serif type is treated as without tail.

23 t with sharp apex In letter t, the apex is sharp.

Vertical un-straight Vertical un-straight line means the stroke in letters as l, h, and etc., is not 24 line completely straight. Since hand is italic, it is not concerned here. 25 Non-lining figures Non-lining figures means the numerals typeset be with varying heights.

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Table 5: Multiple R-squared for 30 images

Multiple Multiple Kansei words Kansei words R-squared R-squared pretty 0.8644 clear 0.8181 casual 0.9337 modern 0.7691 dynamic 0.8310 pop 0.8618 romantic 0.9329 retro 0.8761 mild 0.8589 noble 0.9142 feminine 0.9193 friendly 0.9040 natural 0.8870 contemporary 0.8559 elegant 0.9403 standard 0.8477 gorgeous 0.9433 stylish 0.7559 wild 0.8800 expressive 0.9187 classic 0.9120 attractive 0.9074 formal 0.8730 readable 0.8634 dandy 0.7724 reliable 0.8240 chic 0.9026 like 0.8359 fresh 0.7954 beautiful 0.8441

4.2 Estimation precision In QT1, the multiple correlation coefficient R determines how well the estimation model fits the observed data, and generally the multiple R-squared is used to indicate the precision of the estimation model. In the case of typeface, Figure 4: Average of range for each characteristic by QT1 the results of multiple R-squared are shown in Table 5. It is quite clear that the results of multiple R-squared for score represents the quantified relationship between all images are larger than 0.75, which indicates that the categories and kansei words. Thus, we can get guidelines results are quite reliable. for affective typeface design for each image. It is suggested to integrate the positive characteristics and avoid the 4.3 Relationships between images and characteristics negative characteristics in the design for specified taste. From the overall perspective, the impacts of design For example, if a typeface is requested to have an image characteristics on images are indicated by the partial of pretty, as the results shown in Figure 5, ligature should correlation coefficient and range in QT1. The range is the be concerned. The uppercase letter M is better to be difference value between the maximum category score designed with sharp apex and its middle apex is better and the minimum category score. The Figure 4 shows the to be far above the baseline. For uppercase F, the bar is average value of range for each characteristic. We can see better to be above middle line. On the contrary, it is that “ligature” has relatively significant impact on images, better to have the lowercase l without tail, the lowercase following with “l with tail”, “serif”, “symmetrical C”, and t without sharp apex and the lowercase f without ball “f with ball terminal”. They also have a strong correlation terminal. Also the vertical un-straight line should be with images. While “g with loop” is relatively weak to avoided. If you want to have a look at the results of other impact human tastes. images, please check Table 6 in APPENDIX which contains the degree of relevance of each design charac- 4.4 Guidelines for typeface design teristic to each image. As a general conclusion that this analysis supports, the characteristics in typeface design convey various 5. CONCLUSIONS images. The strength of the relationship between design characteristics and images can have significance for Since there is lack of the practical affective knowledge typographic designers to reduce the load of design works of typeface and it is difficult to tell which characters make and improve the satisfaction of consumers. In QT1, the difference of feelings, this research aimed to provide an the partial correlation coefficient R of item determines in-depth exploration. We executed a kansei evaluation how close the item is related to image, and the category experiment for Latin typefaces conducted for 88 designers.

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ACKNOWLEDGEMENTS This work was supported by Research & Technology Group, Fuji Xerox Co., Ltd.

REFERENCES 1. Q.R. Qiu and K. Omura; Developing a Document Creating System for Affective Design: A Case Study in Card Design, International Journal of Affective Engineering, 15(2), pp.91-99, 2016. 2. P.W. Henderson, J.L. Giese and J.A. Cote; Impression Management Using Typeface Design, Journal of Marketing, 68(4), pp.60-72, 2004. 3. Y. Suzuki and H. Yamamoto; Quantitative Analysis in Impression for Trademarks, Symbols and Logo- types of Corporations in Terms of Familiarity and Design Category, International Journal of Affective Engineering, 13(2), pp.133-141, 2014. 4. J.. Gump; The Readability of Typefaces and the Subsequent Mood or Emotion Created in the Reader, Journal of Education for Business, 76(5), 2011. 5. A. Arditi and J. Cho; Serifs and Font Legibility, Vision Research, 45(23), 2005. 6. P. O’Donovan, J. Lībeks, A. Agarwala and A. Hertzmann; Exploratory Font Selection Using Crowdsourced Attributes, ACM Transactions on Graphics, 33(4), No.92, 2014. 7. M. Miyoshi, Y. Shimoshio, H. Koga and K. Uchimura; Kansei Aided Font Selection and Character Arrange- Figure 5: Results of QT1 for typeface regarding “pretty” ment Technique, Transactions of the Institute of Systems, Control and Information Engineers, 14(12), Besides the emotional mapping to different clusters of pp.593-600, 2001. typefaces, it also quantified the relationships between 8. S. Mukai; Consideration and Classification of the images and anatomy of typefaces. The relationships Factor Structure of Impression of Japanese Fonts, between human tastes and these design characteristics is The 60th Annual Conference of JSSD, 2013. analyzed to have strong correlations. These affective 9. Y. Li and C.Y. Suen; Typeface Personality Traits and knowledge has been developed as practical guidelines for Their Design Characteristics, DAS '10 Proceedings of typeface design. Certainly, these knowledge is useful for the 9th IAPR International Workshop on Document design areas where words exist and express human Analysis Systems, pp.231-238, 2010. emotions. 10. A Quantification Theory Type I Program in R by Considering the improvement of internationalization S. Aoki, http://aoki2.si.gunma-u.ac.jp/R/qt1.html/. and multilingual needs, the next work will turn to the 11. K.A. Schriver; Dynamics in Document Design, combination of Latin and Japanese types with similar Wiley Computer Publishing, pp.249-286, 1997. affective impressions. In the future, more system of type- faces, such as Chinese and Korean characters, will be taken into consideration. The multi-language combination engine will be added into the document creating system.

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Qianru QIU (Non-member) Kengo OMURA (Member) Qianru Qiu is a research assistant of Research & Kengo Omura is a cognitive psychologist and Technology Group, Fuji Xerox in Yokohama, Japan. a senior researcher at the communication design She received her Master degrees in software engi- office of Fuji Xerox in Yokohama, Japan. He neering from Shanghai Jiao Tong University, China received Master of Arts from Keio University in in 2014. She joined FX Visiting Fellowship Program 1984. His research interests include psychology when she was a student in 2012 and started the of design and Kansei/affective engineering for research of affective design. She is now engaging in Kansei evaluation of document design. document design and establishment of automatic design system.

Shu WATANABE (Non-member) Shu Watanabe is a designer and researcher at the Communication Design Office of Fuji Xerox in Yokohama, Japan. He received his Master degrees in Industrial Design from Musashino Art University in 1985. He worked to develop Xerox design strategy and designed products appearance and GUI. He has been studying visual communication using diagram.

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APPENDIX

Table 6: The degree of relevance of 25 design characteristics to 30 images

Design characters pretty casual dynamic romantic mild feminine natural elegant gorgeous wild classic formal dandy chic fresh clear modern pop retro noble friendly contemporary standard stylish expressive attractive readable reliable like beautiful sans - Serif serif - - + - - other - -- + + + + + ++ ++ + + ++ -- + - ++ - - + ++ + + Y + + ++ + + + + -- ++ ++ + - + Upper case only N Ascender line is Y + + + + above cap height line N - Tighter lettering Y + + ++ + ++ + + ++ -- + ++ + - + ++ + ++ spacing N Y ++ - ++ ++ ++ ++ ++ + -- ++ ++ + ++ - ++ + ++ + - ++ ++ ++ ++ Ligature N - Y High contrast N Y - - -- + -- - - Axis tilt N Bar of F is above its Y + + + ++ - - - ++ + + middle line N Y + + + ++ + + ++ ++ + + -- + + ++ - + ++ + + j with round kern N - - Y ++ + ++ + ++ ++ - + ++ -- - ++ ++ ++ ++ Q with long tail N Y + - + - Geometric G N Y + g with loop N Y + ------+ ------++ - -- + ++ ------W with sharp apex N Y + - + + + + + -- + + + - + M with sharp apex N M with halfway Y + + + - - - middle apex N a with single-story Y + + + - - + -- form N Y + + + ++ ++ + ++ ++ + + - + ++ - + + + + Symmetrical C N ------+ ------Y + ------+ - - Symmetrical c N + + + + + + - k with unilateral Y + + ++ ++ ++ + ++ ++ + ++ -- ++ ++ - ++ ++ ++ ++ serif of leg N Y ------+ ------f with ball terminal N + + + + + + + Y + + + + + + + - ++ + + + y without kern N Y -- ++ ------++ - + -- + - -- - + ++ - - - -- l with tail N Y - + ------+ - + - - + + -- - - - t with sharp apex N Vertical un-straight Y ------+ ------++ + ------line N Y - - + - - Non-lining figures N The category scores of each design characteristic to a specified image are signed by “++”, “+”, “-”, “--”, where “++”: >= 0.4; “+”: 0.2 ~ 0.4; “-” : -0.4 ~ -0.2; “--”: <= 0.4.

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