Font (computing)

“ Those which are rather down at heel may then be removed, and when the conditions are restored to normal there should be a good margin of safety. We cannot of course rely on this 100%. We need a second string. This will be provided by a variety of checks of the types normally employed in computing, i.e. wherever we can find a simple identity which should be satisfied by the results of our calculations we shall verify it. ”

“ It's important to work in a non-proportional font, because you may have to line words up underneath each other and it is not possible to do this consistently in non-proportional fonts like Times or Arial. ”

“ Additionally, a bioinformatician should be able to incorporate components from open source software repositories into a software system. The ability to effectively utilize distributed and high-performance computing to analyze large data sets is essential, as is knowledge of networking technology and internet protocols. A bioinformatician should be able to utilize web authoring tools, web-based user interface implementation technologies, and version control and build tools (e.g., subversion, Ant, and Netbeans) . ”

“ For many recent styles of heavy faces the founders furnish fractions, accented letters, and other special characters to match in boldness of face, but these are not included in ordinary letter-fonts.
[Pg 11] The quantity of each character apportioned to a regular font is the estimated average required for ordinary composition in the English language. It is rare that more than a fraction of a small font can be used in any piece of composition. No general scheme can meet the needs of every kind of work ”

“ You should always look at PG texts in a non-proportional font, even if you prefer to work mostly using a proportional font, because readers and automatic converter programs will assume that you meant to your text to be viewed using a non-proportional font. ”

“ In type-making, when a font of type is designed, not only is each letter considered separately, but in combination with every other letter of the alphabet, that when the letters are assembled into words space may be evenly distributed. ”

“ In old or much-used fonts to which additions have been made after the first supply, the new letters, being cast later in a different mold, may often show a difference in the position or the number of nicks. In cases of this kind the apprentice should observe carefully and inquire before deciding that a type with a different nick does not belong to the font. ”

“ Instruction tables will have to be made up by mathematicians with computing experience and perhaps a certain puzzle-solving ability. ”

“ But one might go on long enough talking about fonts, and I would only urge readers to go themselves and study them, and if they would pick out a few of the finest they should visit the fonts and font covers we have mentioned, and especially such typical fonts as are to be found at Winchester and Durham, at Walsoken in Norfolk, at Fishlake in Yorkshire, and Bridekirk in Cumberland, whenever they happen to be in those neighbourhoods.
The worst of fonts is that they are so easily removable. ”

“ Every blackletter font is different, and there is no point worrying about the individual glyphs. A and k should be sufficient in the vast majority of cases regardless of what the original scan's A and k look like. The only time it would matter, is when the text is deliberately choosing one form over the other. For example, say a book on calligraphy that wants to demonstrate the difference between blackletter forms of A, or in which the author states that they deliberately chose one form of glyph over another for some reason or other. ”

“ Twenty per cent of a weight font is made up of spaces and quads unless otherwise specified. Job fonts are small assortments of type, where only small quantities or unusual faces are needed. Such fonts do not include small capitals, spaces or quads. ”

“ For very short measures, as in tabular column heads, 6-point quads should be used. A gage that will be more uniformly accurate is a line of 12-point letters (for short measures) or 24-point letters (for longer measures) from a font of foundry-cast [Page 23] type. These should be set in the stick with the nicks sideways, not in front as for composition. The body-size of cast type is the most accurate of any point-size material, and as 12-point and 24-point fonts are at hand in every composing room they furnish a convenient and reliable standard at all times. ”

“ U+0399 GREEK CAPITAL LETTER IOTA character With a space between them they look like " Ἇ Ι ", which is correct. Placed together they look like " ἏÏ " (<--simulated) Somehow the font is magically inventing an umlaut/diaresis on the second character. Happens also for UPSILON. Here is that pair in the various fonts: sans-serif font ἏΙ Ἇ Ι Gentium font ἏΙ Ἇ Ι monospace ἏΙ Ἇ Ι Hopefully they all work wonderfully on your system. None of these is a major problem. But each of these is a cautionary tale. Network caching can betray you. 30 year old fonts can betray you. 15 year old fonts can betray you. ”

“ A page of display typography composed of a mixture of irregular gray and black tones is inexcusable in the sight of the art-loving reader. As combinations of inharmonious type-faces are wrong, equally so are combinations of incongruous tones. For the sake of contrast and variety in typography, art principles are too often ignored, the printer confessing to ignorance or lack of ingenuity. Contrast is necessary, but it may be had without sacrificing uniformity. ”

“ The length of the register being known in advance and nothing but spaces being used in setting the line, the compositor was spared much that makes composition at once a hard labor and a fine art. The result was an irregular margin at the right such as we now see in typewritten letters.
With improvements in types and typography the squaring out of the page soon came into fashion. In many cases this can be done by the careful use of spaces so as to bring a certain number of words squarely out to the end of the line. There have been printers who have insisted that this should always be done. ”

“ It is extremely likely you already have unicode support. This website tells your browser "display my body text in Helvetica Neue font if you have it installed, otherwise Helvetica if you have it installed, otherwise Arial if you have it installed, otherwise whatever your default sans-serif font is." Your browser follows those instructions and selects a font, and you can only hope that the selected font contains a glyph for every unicode character on the webpage. If your font doesn't contain a glyph for a unicode character, it displays that 'little squares' glyph instead. ”

“ An important feature of a type is the nick on the side of the body. In many cases there may be two, three, or even four nicks on a type. Usually all the types of a font have nicks that are identical in number and position, and when the types are composed in lines these nicks match each other and form continuous grooves on the lower part of the line of type.
The nicks serve as guides to the compositor when taking the type from the case to his composing stick, and they assist in distinguishing the types of one font or face from those of another on the same size of body. ”

“ Here and there a book is printed in France or Germany with some pretension to good taste, but the general revival of the old forms has made no way in those countries. Italy is contentedly stagnant. America has produced a good many showy books, the typography, paper, and illustrations of which are, however, all wrong, oddity rather than rational beauty and meaning being apparently the thing sought for both in the letters and the illustrations.
To say a few words on the principles of design in typography: it is obvious that legibility is the first thing to be aimed at in the forms of the letters ”

“ A facsimile is trying to reproduce every feature of a work, including margins, spacing, alignment, fonts, and all the things we don't preserve on Wikisource. There are some features over which we simply have no control. There are some features we can try to preserve, but at some point we have to admit that we can't control font and typography to such a degree in an electronic medium. ”

“ We do not try to force fonts and similarly, not dramatic formatting. We allow users to set their own fonts, if they so choose. You will find that the vast bulk of our works will have relative sizes, little in the way of imposed fonts to the point that most formatting of transcluded pages would fit within this framework

where you have altered those recent works, it would be appreciated if you could review those changes against the indicated formatting. ”

“ American founders have adopted the practice of casting type-faces on uniform lining systems, variously known as American line, standard line, uniform line, etc. The earlier practice was to cast the type of a font so that the letters would align at the bottom only with their mates of the same font, without reference to any other face of type. ”

“ Line-finishings are used to preserve the evenness of the text when lines of writing fall short. When the space left is small, or occurs in the middle of a sentence, a quick stroke of the pen—often a continuation of the last letter, or springing from it—is sufficient (fig. 125) ; but where there are many and long gaps (as, for example, in a psalter at the ends of the verses) , they may be filled in with dots (see Plate VIII.) or flourishes (a, b, c, fig. 126) either made in black with the script pen, or with another pen, in colour or gold. ”

“ If the style require a comma before leaders, see that none have been left out; if the style reject a comma, see that none have been left in; in short, see to everything,—and then, on the corner of the sheet, write the word “Press” as boldly as you can, but with the moral certainty that some skulking blunder of author, compositor, or corrector has eluded all your watchfulness.
5 In the Government Printing Office the style omits the “$” in this case,—the sign at top of table or page being considered sufficient.
The errors made by ourselves are those which occasion us the most pain. ”

“ I was familiar with the history of the best special faces, and had learned how difficult each ambitious designer had found the task of translating drawings into so rigid a medium as metal; so I reverted soberly and with deep respect to the subject of type design from the beginning.
In studying the early fonts of type, I found them exact counterfeits of the best existing forms of hand lettering at that time employed by the scribes. The first Italic font cut by Aldus, for instance, is said to be based upon the thin, inclined handwriting of Petrarch. ”

“ But as typography gradually made models for itself, the best artists, particularly those who aimed at producing regular Roman and Italic letters, discovered the utility and expediency of arriving at uniformity in design and contour, by the use of these counter-punches, which stamped on to the steel the impress of the hollow portions of the letters they were about to cut, leaving it to the hand of the engraver to cut round these hollows the form of the required character. ”

“ It is by no means essential to draw the same letter always exactly alike even in the same line; in fact, variation is generally demanded by the different surroundings and neighboring letters. So long as the general character of the letter remains unchanged in its distinctive features, such as weight, [206] treatment of serifs, angles, height of waist and cross lines, etc., its width and outlines may be varied and arranged to help out the spacing without interfering, to any noticeable extent, with the uniform appearance of the line. ”

“ We may suppose that as soon as a font of types was worn out, it was replaced by another font, which may have been cast from new matrices and a new adjustment of mould. A new font made in imitation of the old one, but made without scientific method, and without regard to exact accuracy, would show the difference in face and body which seems so strange to the modern printer.
These eight fonts of type seem all the more unnecessary when we consider the trivial nature of the unknown printer's works. [6] The Speculum is the only book of respectable size ”

“ As above said, legibility depends also much on the design of the letter: and again I take up the cudgels against compressed type, and that especially in roman letter: the full-sized lower-case letters “a,” “b,” “d,” and “c,” should be designed on something like a square to get good results: otherwise one may fairly say that there is no room for the design; furthermore, each letter should have its due characteristic drawing, the thickening out for a “b,” “e,” “g,” should not be of the same kind as that for a “d”; a “u” should not merely be an “n” turned upside down ”

“ Example 316.—The stationery of a book dealer should have a bookish character—that is, the typography should be inspired by the same skill and taste evinced in the treatment of a good book. A well-designed type-face should be selected, and there should not be a great contrast in the sizes used. When it is possible to have two printings, the extra impression could take the form of a simple rule border in color, as on this specimen. The first type line runs almost from border to border at the head, and another portion of the copy is arranged directly under it in three even lines. ”

“ Capitals can only be used in connection with the lower case letters. Some of the other alphabets, more specifically the “Egyptian,” work out very effectively in “solid caps.” However, this effect can never obtain in the case of the “Old English.”
The alphabet as shown on the plate is self-explanatory as to combination of strokes. The letters may be made with the brush held at an angle square with the stroke, emphasizing the fine lines, or they may be made with the broad point pen, depending on the size desired. ”