607:. The even visual quality of the reading material being of paramount importance, each drawn character (called a glyph) must be even in appearance with every other glyph regardless of order or sequence. Also, if the typeface is to be versatile, it must appear the same whether it is small or large. Because of optical illusions that occur when we apprehend small or large objects, this entails that in the best fonts, a version is designed for small use and another version is drawn for large, display, applications. Also, large letterforms reveal their shape, whereas small letterforms in text settings reveal only their textures: this requires that any typeface that aspires to versatility in both text and display, needs to be evaluated in both of these visual domains. A beautifully shaped typeface may not have a particularly attractive or legible texture when seen in text settings.
299:"l". Gutenberg developed an adjustable mold which could accommodate an infinite variety of widths. From then until at least 400 years later, type started with cutting punches, which would be struck into a brass "matrix". The matrix was inserted into the bottom of the adjustable meld and the negative space formed by the mold cavity plus the matrix acted as the master for each letter that was cast. The casting material was an alloy usually containing lead, which had a low melting point, cooled readily, and could be easily filed and finished. In those early days, type design had to not only imitate the familiar handwritten forms common to readers, but also account for the limitations of the printing process, such as the rough papers of uneven thicknesses, the squeezing or splashing properties of the ink, and the eventual wear on the type itself.
495:
595:. The larger case is called uppercase or capitals (also known as majuscule) and the smaller case is called lowercase (also known as minuscule). Typefaces may also include a set of small capitals, which are uppercase forms designed in the same height and weight as lowercase forms. Other writing systems are unicameral, meaning only one case exists for letterforms. Bicameral writing systems may have typefaces with unicase designs, which mix uppercase and lowercase letterforms within a single case.
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615:("overshoot"), and vertical lines need to be thicker than horizontal ones to appear the same thickness. For a character to be perceived as geometrically round, it must usually be slightly "squared" off (made slightly wider at the shoulders). As a result of all these subtleties, excellence in type design is highly respected in the design professions.
641:, blending elements of art and science. In the pre-digital era it was primarily learned through apprenticeship and professional training within the industry. Since the mid-1990s it has become the subject of dedicated degree programs at a handful of universities, including the MA Typeface Design at the
399:
involved (which in Latin are uppercase and lowercase), and individually for each character. In the former case, a grid system is used to delineate vertical proportions and gridlines (such as the baseline, mean line/x-height, cap line, descent line, and ascent line). In the latter case, letterforms of
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in the Hague). At the same time, the transition to digital type and font editors which can be inexpensive (or even open source and free) has led to a great democratization of type design; the craft is accessible to anyone with the interest to pursue it, nevertheless, it may take a very long time for
557:
Letterform structures may be structured in a way that changes the angle between upright stem structures and the typeface's baseline, changing the overall posture of the typeface. In Latin script typefaces, a typeface is categorized as a Roman when this angle is perpendicular. A forward-leaning angle
319:
With the coming of computers, type design became a form of computer graphics. Initially, this transition occurred with a program called Ikarus around 1980, but widespread transition began with programs such as Aldus
Freehand and Adobe Illustrator, and finally to dedicated type design programs called
527:
Contrast refers to the variation in weight that may exist internally within each character, between thin strokes and thick strokes. More extreme contrasts will produce texts with more uneven typographic color. At a smaller scale, strokes within a character may individually also exhibit contrasts in
373:
The shape of designed letterforms and other characters are defined by strokes arranged in specific combinations. This shaping and construction has a basis in the gestural movements of handwriting. The visual qualities of a given stroke are derived from factors surrounding its formation: the kind of
315:
was a common material in the printing trade, in which a red transparent film, very soft and pliable, was bonded to a supporting clear acetate. Placing the ruby over the master drawing of the letter, the craftsman would gently and precisely cut through the upper film and peel the non-image portions
298:
Gutenberg's most important innovation in the mid 15th century development of his press was not the printing itself, but the casting of
Latinate types. Unlike Chinese characters, which are based on a uniform square area, European Latin characters vary in width, from the very wide "M" to the slender
614:
Designing type requires many accommodations for the quirks of human perception, "optical corrections" required to make shapes look right, in ways that diverge from what might seem mathematically right. For example, round shapes need to be slightly bigger than square ones to appear "the same" size
508:
Weight refers to the thickness or thinness of a typeface's strokes in a global sense. Typefaces usually have a default medium, or regular, weight which will produce the appearance of a uniform grey value when set in text. Categories of weight include hairline, thin, extra light, light, book,
382:
The spaces created between and around strokes are called counters (also known as counterforms). These negative forms help to define the proportion, density, and rhythm of letterforms. The counter is an integral element in
Western typography, however this concept may not apply universally to
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Each character within a typeface has its own overall width relative to its height. These proportions may be changed globally so that characters are narrowed or widened. Typefaces that are narrowed are called condensed typefaces, while those that are widened are called extended typefaces.
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Spacing is also an important part of type design. Each glyph consists not only of the shape of the character, but also the white space around it. The type designer must consider the relationship of the space within a letter form (the counter) and the letter spacing between them.
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When designing letterforms, characters with analogous structures can be grouped in consideration of their shared visual qualities. In Latin, for example, archetypal groups can be made on the basis of the dominant strokes of each letter: verticals and horizontals
307:-based engraving machine with a pointer at the hand-held vertex and a cutting tool at the opposite vertex down to a size usually less than a quarter-inch (6 mm). The pantographic engraver was first used to cut punches, and later to directly create matrices.
660:
310:
In the late 1960s through the 1980s, typesetting moved from metal to photo composition. During this time, type design made a similar transition from physical matrixes to hand drawn letters on vellum or mylar and then the precise cutting of "rubyliths".
270:
A typeface differs from other modes of graphic production such as handwriting and drawing in that it is a fixed set of alphanumeric characters with specific characteristics to be used repetitively. Historically, these were physical elements, called
657:
302:
Beginning in the 1890s, each character was drawn in a very large size for the
American Type Founders Corporation and a few others using their technology—over a foot (30 cm) high. The outline was then traced by a Benton
449:
Type design takes into consideration a number of design variables which are delineated based on writing system and vary in consideration of functionality, aesthetic quality, cultural expectations, and historical context.
339:
Type design could be copyrighted typeface by typeface in many countries, though not the United States. The United States offered and continues to offer design patents as an option for typeface design protection.
323:
Each glyph design can be drawn or traced by a stylus on a digitizing board, or modified from a scanned drawing, or composed entirely within the program itself. Each glyph is then in a digital form, either in a
374:
tool used, the angle at which the tool is dragged across a surface, and the degree of pressure applied from beginning to end. The stroke is the positive form that establishes a character's archetypal shape.
562:, if the letterforms are designed with reanalyzed cursive forms, or an oblique, if the letterforms are slanted mechanically. A back-leaning angle produces a reverse oblique, or backslanted, posture.
275:, placed in a wooden frame; modern typefaces are stored and used electronically. It is the art of a type designer to develop a pleasing and functional typeface. In contrast, it is the task of the
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A proportion of writing systems are bicameral, distinguishing between two parallel sets of letters that vary in use based on prescribed grammar or convention. These sets of letters are known as
320:
font editors, such as
Fontographer and FontLab. This process occurred rapidly: by the mid-1990s, virtually all commercial type design had transitioned to digital vector drawing programs.
316:
away. The resulting letterform, now existing as the remaining red material still adhering to the clear substrate, would then be ready to be photographed using a reproduction camera.
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a typeface may be designed with variable bodies, making the typeface proportional, or they may be designed to fit within a single body measure, making the typeface fixed width or
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332:(scalable outline) format. A given digitization of a typeface can easily be modified by another type designer; such a modified font is usually considered a
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Style describes several different aspects of typeface variability historically related to character and function. This includes variations in:
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The technology of printing text using movable type was invented in China, but the vast number of
Chinese characters, and the esteem with which
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387:) within a single character may additionally require consideration of spacing not only between characters but also within characters.
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non-Western typographic traditions. More complex scripts, such as
Chinese, which make use of compounding elements (
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was held, meant that few distinctive, complete typefaces were created in China in the early centuries of printing.
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that are able to store and make use of a continuous range of weight (and size) variants of a single typeface.
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The overall proportion of characters, or their body, considers proportions of width and height for all
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283:) to lay out a page using a typeface that is appropriate to the work to be printed or displayed.
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The design of a legible text-based typeface remains one of the most challenging assignments in
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typeface sketches. The sequence was shot in his study in Motza-Illit (near
Jerusalem) in 1978.
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Takagi, Mariko (2012). "Typography between
Chinese complex characters and Latin Letters".
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Historical class (such as oldstyle, transitional, neoclassical, grotesque, humanist, etc.)
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using a consistent style. The basic concepts and design variables are described below.
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Bi Sheng... who first devised, about 1045, the art of printing with movable type
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Relative neutrality (ranging from neutral typefaces to stylized typefaces)
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regular/medium, semibold, bold, black/heavy, and extra black/ultra.
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Functional use (such as text, display, and caption typefaces)
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The
Shorter Science and Civilisation in China, Volume 4
581:(as in "p") make the height of lower-case letters vary.
629:
List of institutions offering type design education
108:. Unsourced material may be challenged and removed.
3701:
741:Letterforms: Typeface Design From Past to Future
664:Israeli typographer Henri Friedlaender examines
1819:
1749:Intellectual property protection of typefaces
812:
645:(UK) and the Type Media program at the KABK (
1291:
355:, an open source application for developing
717:. United States Patent and Trademark Office
71:Learn how and when to remove these messages
1826:
1812:
819:
805:
690:. Cambridge University Press. p. 14.
1775:Punctuation and other typographic symbols
786:. Poole, England: Blandford Press, 1985.
782:Stiebner, Erhardt D. & Dieter Urban.
233:Learn how and when to remove this message
168:Learn how and when to remove this message
3343:Good Design Award (Museum of Modern Art)
734:
732:
652:
569:
493:
347:
244:
210:of all important aspects of the article.
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679:
14:
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206:Please consider expanding the lead to
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3348:Good Design Award (Chicago Athenaeum)
3091:
2536:
1863:
1807:
800:
729:
498:A text sample set in various weights.
743:. Minneapolis: Rockport Publishers.
528:weight, which is called modulation.
407:
259:is the art and process of designing
179:
106:adding citations to reliable sources
77:
36:
27:Art of designing typefaces and fonts
444:
433:), circular strokes and verticals (
249:Specimens of typefaces designed by
24:
3389:
3292:American Institute of Graphic Arts
776:
25:
3726:
3302:Design and Industries Association
784:Initials and Decorative Alphabets
343:
52:This article has multiple issues.
1788:
1787:
184:
82:
41:
1864:
198:may be too short to adequately
93:needs additional citations for
60:or discuss these issues on the
3297:Chartered Society of Designers
2537:
826:
757:
707:
650:the serious artist to master.
633:Type design is performed by a
425:), horizontals and diagonals (
208:provide an accessible overview
30:For aircraft type design, see
13:
1:
3368:Prince Philip Designers Prize
2011:Architectural lighting design
1744:History of Western typography
672:
618:
598:
263:. This involves drawing each
3174:Electronic design automation
3157:Virtual home design software
2129:Automotive suspension design
1591:traditional point-size names
421:), verticals and diagonals (
7:
2033:Environmental impact design
844:Canons of page construction
522:
10:
3731:
3312:International Forum Design
2682:Engineering design process
1833:
622:
584:
550:
546:
535:
501:
468:Structural class (such as
457:
377:
361:
286:
29:
3647:
3395:
3384:
3325:
3284:
3227:
3117:
3113:
3087:
2543:
2532:
2434:Integrated circuit design
2369:
2356:Stage/set lighting design
2288:
2245:Hardware interface design
2204:
2161:Hardware interface design
2112:
1994:
1874:
1870:
1859:
1841:
1783:
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1120:
1072:
1024:
1001:Subscript and superscript
956:
947:
897:
834:
489:
368:
3269:Industrial design rights
3257:Fashion design copyright
3169:Design quality indicator
2618:Creative problem-solving
2409:Electrical system design
2265:Sonic interaction design
2176:Photographic lens design
2050:Healthy community design
1759:Vox-ATypI classification
889:Intentionally blank page
739:Samara, Timothy (2018).
686:Needham, Joseph (1994).
531:
453:
3465:New product development
3430:Enterprise architecture
3358:IF Product Design Award
3317:Design Research Society
2869:Reliability engineering
565:
476:, and script typefaces)
390:
2921:Top-down and bottom-up
2270:User experience design
2171:Packaging and labeling
2144:Electric guitar design
2082:Landscape architecture
1292:
669:
625:List of type designers
582:
499:
359:
253:
3450:Innovation management
3333:European Design Award
3099:Intellectual property
2916:Theory of constraints
2879:Responsibility-driven
2719:For manufacturability
2623:Creativity techniques
2461:Nuclear weapon design
2275:User interface design
2139:Corrugated box design
2060:Interior architecture
663:
643:University of Reading
573:
497:
429:), circular strokes (
351:
248:
3715:Communication design
3495:Unintelligent design
3475:Philosophy of design
3189:Design specification
3142:Comprehensive layout
2714:For behaviour change
2687:Probabilistic design
2449:Power network design
1986:Visual merchandising
1943:Instructional design
1921:Postage stamp design
1629:Typographic features
766:ATypI 2012 Hong Kong
647:Royal Academy of Art
102:improve this article
3415:Creative industries
3338:German Design Award
3247:Design infringement
3132:Architectural model
2471:Organization design
2466:Nucleic acid design
2414:Experimental design
1967:Traffic sign design
1754:Technical lettering
1653:Typography in other
1394:Hanging punctuation
558:produces either an
3480:Process simulation
3455:Intelligent design
2779:Intelligence-based
2774:Integrated topside
2704:Framework-oriented
2389:Behavioural design
2260:Information design
1938:Information design
1717:Handwriting script
1644:Desktop publishing
1614:Character encoding
1607:Digital typography
1121:Horizontal aspects
1074:Visual distinction
932:Widows and orphans
715:"Types of Patents"
670:
583:
504:Font § Weight
500:
437:), and verticals (
360:
254:
3697:
3696:
3643:
3642:
3410:Conceptual design
3380:
3379:
3376:
3375:
3363:James Dyson Award
3219:Website wireframe
3209:Technical drawing
3083:
3082:
2931:Transgenerational
2672:Ecological design
2548:Activity-centered
2528:
2527:
2524:
2523:
2506:Spacecraft design
2300:Public art design
2238:Video game design
2216:Experience design
2186:Production design
2166:Motorcycle design
2124:Automotive design
2028:Ecological design
1906:Film title design
1801:
1800:
1548:Typographic units
1466:For position only
1365:
1364:
1217:
1216:
661:
553:Font § Slope
538:Font § Width
460:Font § Style
408:Structural groups
328:(pixel-based) or
243:
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178:
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75:
18:Typeface designer
16:(Redirected from
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3386:
3385:
3263:Geschmacksmuster
3237:Community design
3115:
3114:
3089:
3088:
2849:Process-centered
2645:Design–bid–build
2613:Cradle-to-cradle
2593:Concept-oriented
2534:
2533:
2511:Strategic design
2481:Processor design
2456:Mechanism design
2424:Geometric design
2384:Algorithm design
2324:Jewellery design
2255:Immersive design
2149:Furniture design
2094:Landscape design
1872:
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1768:Related template
1700:Related articles
1501:Phototypesetting
1355:reverse-contrast
1340:Display typeface
1297:
1274:Blackletter type
1230:
1229:
1167:Vertical aspects
1148:Sentence spacing
958:Typeface anatomy
954:
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577:(as in "h") and
445:Design variables
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364:Typeface anatomy
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32:Type certificate
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3440:Futures studies
3391:
3372:
3321:
3280:
3229:
3223:
3109:
3108:
3079:
2985:Value sensitive
2975:User innovation
2854:Public interest
2819:Object-oriented
2539:
2520:
2501:Software design
2491:Research design
2444:Physical design
2399:Database design
2373:
2371:
2365:
2341:Property design
2336:Game art design
2290:
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2207:
2200:
2115:
2108:
2065:Interior design
2016:Building design
1997:
1990:
1877:
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1655:writing systems
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1082:Blackboard bold
1068:
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884:Recto and verso
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777:Further reading
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3505:Wicked problem
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3390:Related topics
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2953:Usage-centered
2950:
2949:
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2946:Design for All
2938:
2933:
2928:
2926:Transformation
2923:
2918:
2913:
2908:
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2906:
2896:
2891:
2886:
2881:
2876:
2874:Research-based
2871:
2866:
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2856:
2851:
2846:
2841:
2839:Platform-based
2836:
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2796:
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2789:KISS principle
2786:
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2699:Fault-tolerant
2696:
2694:Error-tolerant
2691:
2690:
2689:
2679:
2677:Energy neutral
2674:
2669:
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2633:Design fiction
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2476:Process design
2473:
2468:
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2043:Computer-aided
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2013:
2008:
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1092:Color printing
1089:
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1026:Capitalization
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605:graphic design
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585:Main article:
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536:Main article:
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517:computer fonts
513:Variable fonts
502:Main article:
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458:Main article:
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417:), diagonals (
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202:the key points
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3533:architectural
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3420:Cultural icon
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3285:Organizations
3283:
3275:
3272:
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3267:
3265:
3264:
3260:
3258:
3255:
3253:
3252:Design patent
3250:
3248:
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3243:
3242:Design around
3240:
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3226:
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3102:Organizations
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2963:User-centered
2961:
2959:
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2947:
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2911:Tableless web
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2834:Participatory
2832:
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2737:
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2725:
2724:For Six Sigma
2722:
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2715:
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2710:
2707:
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2700:
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2692:
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2680:
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2673:
2670:
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2667:Domain-driven
2665:
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2660:
2656:
2655:architect-led
2653:
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2651:
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2629:
2626:
2624:
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2611:
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2604:
2601:
2599:
2598:Configuration
2596:
2594:
2591:
2589:
2586:
2584:
2581:
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2576:
2574:
2571:
2569:
2566:
2564:
2563:Brainstorming
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2559:
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2554:
2551:
2549:
2546:
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2535:
2531:
2517:
2514:
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2509:
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2502:
2499:
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2496:Social design
2494:
2492:
2489:
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2474:
2472:
2469:
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2442:
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2419:Filter design
2417:
2415:
2412:
2410:
2407:
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2397:
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2394:Boiler design
2392:
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2357:
2354:
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2346:Scenic design
2344:
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2337:
2334:
2332:
2331:Floral design
2329:
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119: –
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117:"Type design"
114:
113:Find sources:
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91:This article
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19:
3490:STEAM fields
3460:Lean startup
3445:Indie design
3261:
3228:Intellectual
2980:Value-driven
2958:Use-centered
2864:Regenerative
2844:Policy-based
2804:Mind mapping
2709:For assembly
2650:Design–build
2568:By committee
2553:Adaptive web
2351:Sound design
2309:glass design
2307: /
2292:applied arts
2233:Level design
2104:Urban design
2055:Hotel design
2006:Architecture
1981:Video design
1975:
1974: /
1965: /
1933:Illustration
1926:Print design
1896:Brand design
1739:Type foundry
1733:
1576:Metric units
1525:
1506:Punchcutting
1491:Movable type
1461:Font catalog
1421:Vertical bar
1158:Word spacing
1128:Figure space
1011:Text figures
854:Even working
783:
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719:. Retrieved
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216:October 2011
213:
197:
195:lead section
164:
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138:
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124:
112:
100:Please help
95:verification
92:
68:
61:
55:
54:Please help
51:
3528:competition
3485:Slow design
3435:Form factor
3405:Concept art
3214:HTML editor
2894:Sustainable
2729:For testing
2573:By contract
2429:Work design
2404:Drug design
2376:engineering
2250:Icon design
2228:Game design
2206:Interaction
2154:Sustainable
2087:Sustainable
1976:Type design
1953:Photography
1948:News design
1891:Book design
1886:Advertising
1865:Disciplines
1734:Type design
1729:Style guide
1722:Calligraphy
1712:Handwriting
1526:Type design
1476:Lorem ipsum
1471:Letterpress
1431:Typesetting
1371:Punctuation
1335:Record type
1306:Gaelic type
1294:Schwabacher
1184:Body height
1049:Letter case
917:Line length
619:Profession
587:Letter case
435:B D G P R U
293:calligraphy
277:typographer
257:Type design
158:August 2011
3710:Typography
3704:Categories
3688:Wiktionary
3681:Wikisource
3635:technology
3605:principles
3204:Storyboard
3030:management
3025:leadership
2990:Privacy by
2829:Parametric
2799:Metadesign
2769:Integrated
2759:High-level
2744:Generative
2739:Functional
2608:Continuous
2603:Contextual
2578:C-K theory
2538:Approaches
2280:Web design
2134:CMF design
2114:Industrial
1972:Typography
1707:Penmanship
1679:East Asian
1521:Type color
1454:monospaced
1411:Interpunct
1404:minus sign
1328:Specialist
1264:Sans-serif
1257:slab serif
1234:Roman type
1189:Cap height
1153:Thin space
1112:Whitespace
1064:Title case
1059:Snake case
1054:Small caps
1039:Camel case
971:Diacritics
879:Pull quote
874:Pagination
869:Paper size
828:Typography
673:References
637:. It is a
623:See also:
599:Principles
579:descenders
474:sans serif
402:monospaced
305:pantograph
281:typesetter
265:letterform
128:newspapers
57:improve it
3674:Wikiquote
3660:Wikibooks
3610:rationale
3575:knowledge
3550:education
3470:OODA loop
3194:Prototype
3179:Flowchart
3137:Blueprint
3005:computing
2941:Universal
2889:Safe-life
2794:Low-level
2784:Iterative
2764:Inclusive
2749:Geodesign
2640:Defensive
2588:Co-design
2558:Affective
1204:Overshoot
1199:Mean line
1194:Descender
1107:Underline
949:Character
927:Runaround
907:Alignment
899:Paragraph
575:Ascenders
415:E F H L T
353:FontForge
261:typefaces
251:Eric Gill
200:summarize
63:talk page
3667:Wikinews
3600:paradigm
3580:language
3560:engineer
3555:elements
3545:director
3230:property
3075:thinking
3065:strategy
3050:research
3010:controls
2968:Empathic
2899:Systemic
2859:Rational
2814:New Wave
2628:Critical
1851:Designer
1793:Category
1672:PT Fonts
1667:Cyrillic
1531:Typeface
1449:computer
1350:fat face
1223:Typeface
1209:x-height
1179:Baseline
1174:Ascender
1034:All caps
996:Rotation
991:Ligature
986:Ink trap
523:Contrast
385:radicals
313:Rubylith
3653:Commons
3625:studies
3570:history
3538:student
3523:classic
3511:Design
3425:.design
3353:Graphex
3055:science
3045:pattern
3040:methods
3015:culture
2998:Design
2809:Modular
2662:Diffuse
2583:Closure
2305:Ceramic
1963:Signage
1846:Outline
1619:Hinting
1496:Pangram
1314:Insular
1287:Rotunda
1282:Fraktur
1247:Antiqua
1133:Kerning
1102:Oblique
1097:Italics
1044:Initial
976:Dingbat
966:Counter
912:Leading
721:6 March
547:Posture
431:C O Q S
423:K M N Y
378:Counter
287:History
142:scholar
3630:studio
3615:review
3595:museum
3518:change
3326:Awards
3199:Sketch
3184:Mockup
3164:CAutoD
3105:Awards
3070:theory
3060:sprint
3035:marker
3000:choice
2374:&
2372:design
2208:design
2116:design
1998:design
1916:Motion
1878:design
1835:Design
1662:Arabic
1561:Cicero
1399:Hyphen
1384:Bullet
1345:script
1319:Uncial
1252:Didone
1016:Tittle
859:Margin
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560:Italic
490:Weight
369:Stroke
330:vector
326:bitmap
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3513:brief
3400:Agile
3119:Tools
3096:Tools
2734:For X
2370:Other
2289:Other
1586:Point
1556:Agate
1416:Space
1242:Serif
1143:Pitch
1006:Swash
981:Glyph
922:River
768:: 11.
639:craft
593:cases
532:Width
470:serif
454:Style
419:V W X
397:cases
273:sorts
149:JSTOR
135:books
3590:load
3585:life
3565:firm
3152:CAID
3020:flow
2936:TRIZ
2824:Open
1684:Thai
1598:Twip
1581:Pica
1536:list
1516:Sort
1444:Font
1389:Dash
1375:List
1087:Bold
937:runt
836:Page
788:ISBN
745:ISBN
723:2015
692:ISBN
627:and
566:Case
515:are
391:Body
279:(or
121:news
3147:CAD
3127:AAD
2904:SOD
2884:RWD
2754:HCD
2221:EED
2070:EID
441:).
439:I J
427:A Z
104:by
3706::
1571:En
1566:Em
731:^
700:.
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