BBN–ANG–183 Typography

Fonts

Zoltán G. Kiss & Péter Szigetvári

Dept of English Linguistics, Eötvös Loránd University

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 aims

aims today

◮ font parameters, classification

◮ family, style, shape, weight, width
◮ size, typographic units
◮ typical uses of the font parameters
◮ character anatomy

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 fonts

font: definition

font, typeface (fount: BrE)

a collection of glyphs (letterforms) with a particular design (style, shape,
weight, width, size) which are arranged in a way that they are allocated to
certain character positions, and with which text can be typeset

◮ e.g., “Times Bold”, “Helvetica Condensed Italic”, etc.

◮ font/typeface: betűtípus, betűkészlet; type: (szedett) betű;
glyph: betűalak, betűforma, karakteralak

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 fonts

glyphs in a metal typeface

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 fonts

arranged collection of glyphs in a metal typeface

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 fonts
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 fonts

a digital font

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 fonts

a glyph in a digital font

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 fonts

alternate glyphs of the characters and ‘Q’ and ‘G’

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 fonts

parts of a font
a font typically contains:

◮ upper- and lowercase letterforms:

abcde. . . /ABCDE. . .
◮ numerals (figures): 0123456789
◮ punctuation marks, accents, reference marks:
. , ; ? ! — ´ ˝ ˆ¸* †. . .
◮ symbols, ligatures: + % & @ # fi. . .
◮ (true small caps: ABCDE abcde abcde)
◮ (phonetic symbols: A B C D E F G H I Y S Z 2 6 O. . . )
◮ (Greek, Arabic, Cyrillic. . . )

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 parameters

?
what are the basic parameters along which fonts vary
and can be characterized?

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 parameters

hierarchical font features/parameters

1. primary
◮ basic design features ⇒ font (super)family

◮ style

2. secondary (“faces”)
◮ shape

◮ weight

◮ width

◮ size

Theoretically, the primary features of the font family are shared by

all its member fonts.

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 family

what is a font family?

the collection of fonts/typefaces whose common feature is their
fundamental design style; the members of a font family bear a common
basic (sur)name

family examples

◮ Garamond vs. Bodoni vs. Futura vs. Helvetica, etc.

◮ they differ in basic design styles, they can be classified/differentiated
by historical considerations (see next lectures)
◮ their members are secondary names, representing the secondary font
features, e.g., “Times Bold Italic”

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 family

font resemblance

PRIMARY SECONDARY
Family Style Shape Weight Width Size Font name
Times serif it. bold medium 10 pt Times Bold It./10 pt
Times serif it. regular medium 10 pt Times Italic/10 pt
Helvetica sans it. bold medium 10 pt Helvet. Bold It./10 pt

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 family

difference: secondary feature

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 family

difference: primary feature

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 style

glyphs from serif style fonts

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 style

glyphs from sans serif style fonts

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 style

glyphs from typewriter style fonts

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 style

glyphs from script style fonts

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 style

glyphs from an outline style font

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 style

font styles

◮ serif/antique (talpas/antikva)
◮ sans serif/sanserif/gothic/grotesque (talpatlan/groteszk/blokkbetű)
◮ typewriter/monospaced/coding
◮ script/chancery/cursive (írott betű, reneszánsz betű)
◮ outline

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 shape

shapes/slope: angle of vertical strokes

◮ roman/normal/upright/plain/regular (álló normál, antikva)

◮ italic/cursive (kurzív, dőltbetű)
◮ oblique/slanted (döntött, ferde betű)
◮ upright italic (állított dőltbetű)

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 shape

?
what’s the difference between italic and oblique?

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 shape italic

italic vs. oblique

true italic
◮ glyphs are more cursive (handwriting-like) than roman but less
cursive than script
◮ distinct forms from their roman counterparts but are still related to
them
◮ usually sloped (5°–15°) but not the mere slanted versions of roman
shape

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 shape oblique

italic vs. oblique

oblique

◮ usually the slanted version of its roman pair, but slanting is

carefully designed

◮ roman: aefgikpz123 aefgikpz123

oblique: aefgikpz123 aefgikpz123

italic: aefgikpz123 aefgikpz123

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 shape oblique

sloping alone does not make an italic italic

aefgikpz123
aefgikpz123

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

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 shape oblique

common italic features

◮ a one-story a
◮ an f with a tail
◮ an e whose bowl is curved rather than pointed
◮ swashed v/w, and curved bottoms
◮ g is often monocular
◮ serifs often disappear or become teardrop-shaped
◮ italic glyphs are often narrower than their roman counterparts

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 shape oblique

and now, a brief history

of the italic shape

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 shape italic history

a brief history of italic style

◮ roman style: legacy of the Roman Empire (uppercase letters) and the
Holy Roman Empire (lowercase letters)
◮ italic letterforms: Italian Renaissance
◮ originally, italic fonts had only lowercase letters (uppercase was
roman/upright)
◮ italic was never used together with roman lowercase, it was a totally
independent style

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 shape italic history

a brief history of italic style

Aldus Manutius (1449–1515)

◮ (Teobaldo Mannucci/Aldo Manuzio),
scholar, publisher of Latin and Greek lite-
rature and grammars, founder of Aldine
Press (Venice)
◮ Francesco Griffo (1450–1518), engraver,
punchcutter, commissioned by Manutius to
cut a roman type for De Aetna by Cardinal
Pietro Bembo (1495/1499) and a con-
densed, economical face for pocket-sized
editions of his other books: Virgil’s Opera
(1501)
◮ this was the birth of italic type
(“Aldine italic”)

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 shape italic history

one of Manutius’s/Griffo’s pocket books in Aldine italic

Aldine italic
◮ the italic is based on the calli-
graphic “Chancery” script fa-
voured by the scribes of the
Vatican chancery
◮ width of glyphs is narrow
◮ upper case letters are roman

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 weight

weight refers to the thickness of the strokes making up a glyph

font weights

◮ ultra light/extra light < thin < light <

◮ book <
◮ regular/normal/medium <
◮ demibold < semibold <
◮ bold <
◮ extra bold < heavy < black (poster) < extra black < ultra black <
fat

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 weight

the various weights of Linotype Helvetica Neue Roman

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 width

width refers to the width of the bounding box around a glyph;

weight + width are sometimes referred to as a series
font widths
◮ ultra condensed < extra condensed < condensed < semi condensed
◮ medium/normal <
◮ expanded/extended < extra expanded/ext. < ultra expanded/ext.

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 width

the various widths of Monotype Univers

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 width

Univers by Adrian Frutiger (Monotype specimen, 1964)

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 width

font weight and width—a brief history

◮ bold/extended: 20th century creation

◮ industrial revolution, advertising
◮ books: emphasis
◮ first: Clarendon (London, 1845)
◮ first fonts with many weights: Futura (Paul Renner, 1927), Univers

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 width

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 width

Clarendon for advertising

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 width

Clarendon for advertising

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 width

Clarendon on an information board

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 width

original Clarendon

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 size

font sizes > typographical units

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 size absolute units

absolute typographical units: beginnings

◮ for 300 years after Gutenberg: no standard system of measurement

◮ type foundries: individual systems
◮ type sizes/typographical units: named after the publication they were
used in
◮ naming/actual sizes varied

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 size absolute units

“brevier” /br@vÍj@/ for breviers ∼ 8 pt

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 size absolute units

“canon” for hymn books ∼ 48 pt

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 size absolute units

“pica” /pÁjk@/ for church decrees ∼ 11–12 pt

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 size absolute units

list of common type sizes in the past

Pearl 5 pt

Agate 5.5 pt
Nonpareil 6 pt
Minion 7 pt
Brevier 8 pt
Borgeois 9 pt
Long Primer 10 pt
Small Pica 11 pt
Pica 12 pt
English 14 pt
Great Primer 18 pt
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 size absolute units

traditional sizes and their names

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 size absolute units

absolute typographical units: the French point

Pierre Simon Fournier

Le Jeune (1712–1768), (France)

◮ first for systematic

typographical units (1737)
◮ divides 2 ‘royal inches’ into 12
equal sections (cicéro)
◮ each cicéro divided into 6
sections (point)
◮ 1 cc =12 pt (1 pt ≈ 0.345 mm)

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 size absolute units

absolute typographical units: the French point

François-Ambroise Didot
(1730–1804)
◮ revised Fournier’s point system by
making it directly relative to the
1
French Royal inch, 1 dd = 72 inch
(≈ 0.376 mm)
◮ this system was used in continental
Europe
◮ does not correspond well to the
metric system

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 size absolute units

absolute typographical units: the American (pica-)point

Marder, Luse & Co.

Type Foundry (Chicago)
◮ devised after the great fire
destroyed their foundry (1871)
◮ 1 pica (pc) (/"paIk@/) = 12
points (pt) (4.2175 mm); 1 pt =
1
0.35146 mm; 1 inch = 72.27 pt
◮ widespread in the USA and Britain

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 size absolute units

absolute typographical units: PostScript point

Adobe Corporation, California

◮ the advent of computer typesetting
provided opportunity to abandon
the problematic Didot and (old)
American point systems
◮ Adobe corporation (the inventors of
digital PostScript fonts) rounded
1
off the pica-point to exactly 72 inch
(PostScript or DTP point)
◮ this is the system that (most)
computer typographic software use,
and is thus now rather widespread

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 size absolute units

equivalence table

pt pc in cm mm dd cc
1 pt =1 0.08333 0.01384 0.035146 0.35146 0.93458 0.07788
1 pc = 12 1 0.16608 0.42175 4.2175 11.215 0.93456
1 in = 72.27 6.0225 1 2.54 25.4 67.542 5.6284
1 cm = 28.4528 2.371 0.3937 1 10 23 147.7 2.216
1 mm = 2.8453 0.237 0.0394 0.1 1 2314.77 0.2216
1 dd = 1.07 0.0891 0.0148 0.0376 0.376 1 0.08333
1 cc = 12.84 1.07 0.1777 0.4513 4.513 12 1

pt point (pica-point) mm millimeter

pc pica dd didot point
in inch cc cicero
cm centimeter

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 size absolute units

typical uses of pica and point

◮ point: size of typefaces, spacing: paragraph indents, line spacing

◮ pica for larger units: line/column width, text area, page margins, etc.
◮ a book typeset with 10 pt font with a line spacing of 12 pt and a
typeblock of 26 pc: 10/12×26 or: 10/12 pt × 26pc

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 size absolute units

fontsize, linespacing and textwidth info in books

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 size copyfitting

font width affects textblock size

◮ optimal horizontal size of textblock (measure): for a single column

text: 60 to 70 (± 10) characters per line
◮ widths of characters in fonts are not uniform → optimal length varies
from font to font

◮ copyfitting: find the optimal textwidth for a given font

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 size copyfitting

copyfitting method

1. measure the length of the lowercase alphabet (without accented

characters) of the given font
2. use a copyfitting table to find out optimal measure of the line length
3. e.g., if the length of the alphabet is 145 pt, the optimal measure
should be between 26–28 pc (109–119 mm):

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 size copyfitting
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 size relative units

next: relative units

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 size relative units

relative units

◮ ex (vertical spacing)
◮ em, en (horizontal spacing)

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 size relative units

font metrics parameters

the point size is fixed, the designer can only manipulate the other
parameters

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 size relative units

definition of relative/sliding units

◮ 1 em = the size of the given font; length between highest point and
lowest point
◮ 1 en = half of 1 em
◮ 1 ex = the size of the x-height in the given font

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 size x-height

why is x-height important?

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 size x-height

subjective size depends on x-height

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 size x-height

subjective size depends on x-height

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 size the em

ems in Word

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 size the em

emdash = 1 em = point size

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 size the em

emdash = 1 em = point size

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 size the em

characters which are 1-em long

◮ the em is usually not the width of an ‘M’ or ‘m’

◮ characters that are usually 1 em long:
— (em dash), . . . (ellipsis), % (per-thousand), sometimes @

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 size the em

why is the em useful?

◮ 1 em equals the font size (height)

◮ if we change font size, the em will change with it proportionally
◮ it is a sliding unit, relative to the given point size
◮ so if we want a size change when we change the font size, we use
the em

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 size the em

vertical character shift

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 size the em

typical uses of the em in spacing

◮ horizontal spacing: letterspacing: kerning & tracking, interword

spacing, spacing after punctuations
◮ vertical spacing: character shift

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 size kerning

horizontal spacing of glyphs: kerning & tracking

kerning (egalizálás)
A targeted adjustment of space between specific glyph pairs.

tracking (range/track kerning; betűritkítás/-sűrítés)

A generalized adjustment of spacing between all the glyphs in a range
of text.

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 size kerning

kerning between ‘W’ and ‘A’

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 size kerning

kerning between ‘W’ and ‘A’

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 size kerning

kerning between ‘W’ and ‘A’: −0.2 em

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 size kerning

kerning between ‘W’ and ‘A’: −0.2 em

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 size kerning

kerning and characters

characters that always require negative kerning

◮ if the first character is: T, V, W, Y

◮ if the second character is anything other than: b, h, k, l

combinations that usually require positive kerning

◮ f’, f), f], f?, f!, fi, fl

◮ (f, [f
◮ (J, [J
◮ gg, gy, gf, gj
◮ qy, qf, qj

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 size kerning

examples of negative kerning

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 size kerning

examples of positive kerning

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 size kerning

kerning: quotation marks

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 size kerning

kerning table editor in QuarkXPress

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 size tracking

tracking

tracking tips

◮ at normal text sizes, tracking should not be used

◮ moderate tracking at display sizes
◮ point size grows > spaces grow > tighter tracking
◮ 5–10% tracking: strings of capitals, small caps
◮ avoid tracking for emphasis

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 size tracking

track editor in PageMaker

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 size tracking

negative tracking for capitals

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 size tracking

positive tracking

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 size tracking

tracking in Gothic backletter for emphasis

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 typeface roles

?
what are the most important roles of typefaces?

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 typeface roles serif

serif roman
◮ should be the main, primary face of long texts (“kenyérbetű”), and
not sans serif
◮ choice depends on many considerations (textblock, x-height,
genre/topic of text—literature vs. mathematics, romantic novel vs.
crime story, etc.)

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 typeface roles sans

sans serif
◮ usually has display roles: titles (chapter, headings), advertisement
◮ good for contrast from main serif-roman text
◮ better for shorter texts, with decent leading (e.g., beamer
presentations)

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 typeface roles italic

italic
◮ gentle emphasis in text: ◮ Jane screamed not Janette.
◮ isolated/unfamiliar foreign words: ◮ This chapter discusses the raison
d’être of his new approach. but: Kay et al. discuss syllable structure. He
had no a priori knowledge of this.
◮ titles of books, periodicals, films, tv shows, plays, works of art, names of
ships: ◮ I did not read Vanity Fair.
◮ text in running head (author, titles), but not the folio (which is roman
(bold))
◮ linguistic data in running text: ◮ /p/ is aspirated in pill. That word is
spelled with th and not t.
◮ first mention of technical/key terms: ◮ The speed of the car is its velocity.
What is meant by neurobotics?
√
◮ symbols/variables in maths and physics: ◮ a − 2b = x
◮ interviews: interviewer: italic; interviewee: roman

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 typeface roles italic

italic within italic ⇒ roman

◮ She is reading Darwin’s On the Origin of Species in the library.

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 typeface roles bold

bold
◮ chapter, section heading titles: ◮ The history of England
◮ more effective/louder emphasis; warning: ◮ Jane was very rude;
NO ENTRY
◮ dictionary headwords (often in sanserif): ◮ type2 v to print a. . .
◮ first mention of terms: ◮ the speed of the car is its velocity
◮ volume number of periodicals in bibliography/references lists:
◮ Journal of Linguistics 17: 233–256.
◮ section numbers in text: ◮ The answer can be found in section 3.1.

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 typeface roles small caps

small caps
◮ acronyms, abbreviations, computer software names:
◮ he worked for unicef; he died in 37 bc; he lives in San
Francisco, ca 94119; she got her ma in English literature; we’ll
meet at 7 p.m.; he uses unix; they used praat for phonetic
analysis; but: the assassination of JFK; T. S. Eliot
◮ chapter titles, subheads, running heads
◮ first mention of terms: ◮ the speed of the car is its velocity
◮ first few words in an opening paragraph (after drop cap)
◮ name of character in plays
◮ author names in references, bibliographies (esp. France):
◮ J. M. Goulemot, Le Voyage en France, Paris, Laffont
Bouquins, 1995.
◮ abbreviation of morphemes in glosses:
◮ sólymaid ‘falcon-gen-pl-2sg’

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 typeface roles small caps

small cap as run-in from a drop cap

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 typeface roles small caps

small caps
◮ acronyms, abbreviations, computer software names:
◮ he worked for unicef; he died in 37 bc; he lives in San
Francisco, ca 94119; she got her ma in English literature; we’ll
meet at 7 p.m.; he uses unix; they used praat for phonetic
analysis; but: the assassination of JFK; T. S. Eliot
◮ chapter titles, subheads, running heads
◮ first mention of terms: ◮ the speed of the car is its velocity
◮ first few words in an opening paragraph (after drop cap)
◮ name of character in plays
◮ author names in references, bibliographies (esp. France):
◮ J. M. Goulemot, Le Voyage en France, Paris, Laffont
Bouquins, 1995.
◮ abbreviation of morphemes in glosses:
◮ sólymaid ‘falcon-gen-pl-2sg’

gkz & szp (delg) typo/fonts 115 / 133

 punctuation

punctuation marks, parentheses and font styles

◮ punctuation marks after italic, bold, etc. are also italic, bold, etc.
They liked Hamlet, but hated Romeo and Juliet; however, . . .
The answer can be found in section 3.1.
◮ parentheses inherit the style of the text they enclose
This play (Romeo and Juliet) is an early tragedy by Shakespeare.
but: This play (Romeo and Juliet by Shakespeare) is an early
tragedy.
however: These plays (Romeo and Juliet and Hamlet) are tragedies.
also: I like this play (Hamlet); however, . . .
◮ + is not italicized: rém + es + en

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 suffixation

suffixation and font styles

◮ the suffix does not normally inherit the font style in English
The word unnatural is spelt with two n’s.
For war veterans, the issue of pows is painful.
◮ Hungarian: two schools:
Arany János Toldiját vettük az órán.
A betűpárok közelítését/távolítását egalizálásnak nevezzük
A betűpárok közelítését/távolítását egalizálásnak nevezzük
Arany János Toldiját vettük az órán.
A betűpárok közelítését/távolítását egalizálásnak nevezzük
A betűpárok közelítését/távolítását egalizálásnak nevezzük
◮ advice: use one method consistently, do not mix it

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 suffixation

styles for emphasis: summary

◮ italic: gentle, best for text with a lot of emphasis

◮ bold: distinctive, best for texts with a small number of emphasis
◮ small caps: rather old-fashioned, problematic: no true small caps
◮ underlining: used with typewriters; should be avoided
◮ l e t t e r s p a c i n g : very distractive, should be avoided
◮ sans serif within serif text/colour: especially in beamers and
magazines

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 sample exam questions

sample exam questions

linguistic data in running text should be set in

1. small cap
2. italic
3. bold
4. roman

which one is the odd one out?

1. regular
2. semibold
3. thin
4. condensed

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 anatomy

appendix: font anatomy. . .

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 anatomy

type anatomy: serif–sansserif (unserifed); stroke–terminal

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 anatomy

counter

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 anatomy

crotch

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 anatomy

bowl

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 anatomy

bracket (on finishing serif or letter-internally)

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 anatomy

shoulder

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 anatomy

aperture

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 anatomy

stem – crossbar – spine

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 anatomy

arms/legs

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 anatomy

terminals: ear/hook & tail

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 anatomy

terminals: apex & vertex

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 anatomy

terminals: spur

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 anatomy

link and loop in ‘g’

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