In its original meaning, the word ‘font’ refers to an entire character set in a single style and size, for example the ten-point Gothic. Taking a step back from font, there is typeface. Typeface denotes a set of similar fonts sharing stylistic unity. For example, serif is a typeface group. Sans serif, script and ornamental are all typeface groups. When computers came along, the meaning of ‘font’ changed slightly but typeface retained its definition. Now font refers to the style of typeface, but not necessarily the size.
Many people still use font to describe both size and style of lettering, while others use it only as a descriptive for style. Word processing software further confuses the issue by categorizing the entire set of character manipulative controls under the heading of ‘font’. The font heading itself contains a set of choices for font (style of typeface), font style (bold, italic etc), and size (10 point, 12 point etc).
When the digital form of typeface became useful for the average household, a uniformed way for developers to control fonts became necessary. Apple Computer came up with a bitmap font file called TrueType that grew into the font standard. TrueType meant font developers could manipulate every last pixel of every character. Eventually Microsoft adopted TrueType, and there has even been a FreeType version developed for Linux systems.
In any typeface the standard font is called ‘roman’, so that it can be distinguished from italic, bold or thin. The thickness of the strokes that form the character is referred to as weight. Most word processing software includes options for just normal and bold weight, but highly specialised software can contain options for ultra light, thin, light and so on, all the way up to heavy and black. A numeric system of differentiation between the weights was developed in 1954 with the emergence of the Univers typeface by Adrian Frutiger. By giving each weight number, typographers were more able to accurately duplicate documents and ultimately set a standard for publications.
After weight, the next descriptive of a font is slope. Keeping in mind these character features are only really in reference to alpha-based European scripts, slope is the gradual slant of the character to the right. As slope increases, the characters come to appear more like cursive handwriting. Thus, within the italic font there are even specific degrees of adjustment.
Next is width, sometimes called stretch. An entire font set that is relatively narrow in design may be labelled as compressed or condensed. The same is true for wide fonts, where they are called extended or expanded. The width of a character set has nothing to do with letter-spacing; however it is very useful for columns and justified text alignment.
The one aspect of typeface that most people seem to refer to as font or font size is actually called optical size, at least within the typographic profession. We are all well acquainted with the typical text sizes used in word processing software, such as 8 point, 10 point and so on. Adobe Systems came up with a method of naming groups of optical size fonts for better determination of their size, unseen. For example, Poster refers to typeface characters 72 point and larger. Display is 19-72 point; Subhead is 14-18 point and Regular is 10-13 point. The two smallest are SmText (8-10 point) and Caption (6-8 point).
The serif group of typefaces are named for the little marks at the end of each stroke. They are the most used, most recognised and most simple of all the fonts. Used most frequently in printed materials such as books and newspapers, serifs are divided into three categories: old style, transitional and modern. The categories are defined by the developmental timeline of the serif fonts, for example the old style is greatly influenced by early Italian lettering. Transitional serifs represent the period of adjustment when some of the stylised elements were phased out for a sleeker look. Then of course came the modern style of serifs.
Sans serif typeface groups arrived on the face of type during the 19th century. Today they are most used for applications in which legibility is much more important that readability, such as signage and headings. The use of sans serif is very commonly used in low-tech digital displays where there is a low instance of resolution. In short, the more simple the character, the easier it is to read. The most famous sans serifs are Arial and Helvetica, each made popular by rival computer companies Microsoft and Apple respectively.
While this article has only just touched on the subject of fonts and typefaces, it is our hope that at least a little bit of light has been shed on the subject. Each time you choose a font for your document, remind yourself of what the true meaning of ‘font’, ‘typeface’ and ‘optical size’ are.
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