Q. 2 - What is Font and Typefaces? Explain any five fonts families in DTP.

Ans. Font! - A font is traditionally defined as a quantity of sorts composing a complete character set of a single size and style of a particular typeface. For example, the complete set of all the characters for "9-point Bulmer" is called a font, and the "1 -point Bulmer" !ould "e another separate font, "ut part of the same font family, !hereas "9-point Bulmer "oldface" !ould "e another font in a different font family of the same typeface. #ne indi$idual font character might "e referred to as a "sort," "piece of font," or "piece of type". Font no!adays is frequently used synonymously !ith the term typeface, although they had clearly understood different meanings "efore the ad$ent of digital typography and des%top pu"lishing. Beginning in the 19& s, !ith the introduction of computer fonts, a "roader definition for the term "font" e$ol$ed. 'ifferent sizes of a single style separate fonts in metal type are no! generated from a single computer font, "ecause $ector shapes can "e scaled freely. "Bulmer", the typeface, may include the fonts "Bulmer roman", "Bulmer italic", "Bulmer "old" and "Bulmer extended", "ut there is no separate font for "9-point Bulmer italic" as opposed to "1 -point Bulmer italic". Font "ha#acte#istics!- (n addition to the character height, !hen using the mechanical sense of the term, there are se$eral characteristics !hich may distinguish fonts, though they !ould also depend on the script)s* that the typeface supports. (n +uropean alpha"etic scripts, i.e. ,atin, -yrillic and .ree%, the main such properties are the stro%e !idth, called !eight, the style or angle and the character !idth. /he regular or standard font is sometimes la"eled roman, "oth to distinguish it from "old or thin and from italic or o"lique. /he %ey!ord for the default, regular case is often omitted for $ariants and ne$er repeated, other!ise it !ould "e Bulmer regular italic, Bulmer "old regular and e$en Bulmer regular. 0oman can also refer to the language co$erage of a font, acting as shorthand for "1estern +uropean." 'ifferent fonts of the same typeface may "e used in the same !or% for $arious degrees of reada"ility and emphasis. Wei$ht! - /he !eight of a particular font is the thic%ness of the character outlines relati$e to their height. %elvetica &e'e Wei$hts!- A typeface may come in fonts of many !eights, from ultra-light to extra-"old or "lac%2 four to six !eights are not unusual, and a fe! typefaces ha$e as many as a dozen. 3any typefaces for office, 1e" and non-professional use come !ith 4ust a normal and a "old !eight. (f no "old !eight is pro$ided, many renderers )"ro!sers, !ord processors, graphic and '/5 programs* support fa%ing a "older font "y rendering the outline a second time at an offset, or 4ust smearing it slightly at a diagonal angle. /he "ase !eight differs among typefaces2 that means one normal font may appear "older than some other normal font. For example, fonts intended to "e used in posters are often quite "old "y default !hile fonts for long runs of text are rather light. /herefore

!eight designations in font names may differ in regard to the actual a"solute stro%e !eight or density of glyphs in the font. Attempts to systematize a range of !eights led to a numerical classification first used "y Adrian Frutiger !ith the 6ni$erse typeface7 89 +xtra ,ight, :9 ,ight, 99 3edium or 0egular, ;9 Bold, <9 +xtra Bold, &9 +xtra Bold, 99 6ltra Bold or Blac%. 'e$iants of these !ere the "; series" )italics*, e.g. :; ,ight (talics etc., the "< series" )condensed $ersions*, e.g. 9< 3edium -ondensed etc., and the "& series" )condensed italics*, e.g. ;& Bold -ondensed (talics. From this "rief numerical system it is easier to determine exactly !hat a font=s characteristics are, for instance ">el$etica ;<" )>+;<* translates to ">el$etica Bold -ondensed". /he /rue/ype font format introduced a scale from 1 through 9 , !here : is regular )roman or plain*, !hich is also used in -?? and #pen /ype. /he first algorithmic description of fonts !as perhaps made "y 'onald @nuth in his 3eta font and /eA system of programs. /here are many names used to descri"e the !eight of a font in its name, differing among type foundries and designers, "ut their relati$e order is usually fixed, something li%e this7 a. (. c. d. e. f. $. h. i. ). *. l. m. n. o. >airline /hin 6ltra-light +xtra-light ,ight Boo% Bormal C regular C roman C plain 3edium 'emi-"old C semi-"old Bold +xtra-"old C extra >ea$y Blac% +xtra-"lac% 6ltra-"lac% C ultra

/he terms normal, regular and plain, sometimes also "oo%, are "eing used for the standard !eight font of a typeface. 1here "oth appear and differ, "oo% is often lighter than regular, "ut in some typefaces it is "older. +lope! - (n contemporary +uropean typefaces, especially roman ones, the font style is usually connected to the angle. 1hen the normal, roman or upright font is slantedDusually to the right in left-to-right scriptsDthe lo!ercase character shapes change slightly as !ell, approaching a more

hand!ritten, cursi$e style. (n this italic type, character edges may e$en connect and ligatures are more common. (n many typefaces uppercase letters are merely slanted in italic fonts, "ut in some they change their appearance, too, e.g. "y gaining s!ashes. Although rarely encountered, a typographic face may "e accompanied "y a matching calligraphic face )cursi$e, script*, !hich might "e considered a further font style of one typeface. "y#illic ,talics!- (n many sans-serif and some serif typefaces, especially in those !ith stro%es of e$en thic%ness the characters of the italic fonts are only slanted, !hich is often done algorithmically, !ithout other!ise changing their appearance. ?uch o"lique fonts are not true italics, "ecause they lac% the change in letter shapes !hich is part of the definition of italic. #n the other hand, there are typefaces !ith upright characters that ta%e a more cursi$e form !ithout a change in angle. For example the -yrillic minuscule EFG may loo% li%e a smaller form of its ma4uscule EHG or more li%e a roman small EmG as in its standard italic appearance2 in this case the distinction "et!een styles is also a matter of local preference. (n FrutigerGs nomenclature the second digit for upright fonts is a 9, for italic fonts a ; and for condensed italic fonts an &. /he t!o Iapanese sylla"ifies, %ata%ana and hiragana, are sometimes seen as t!o styles or typographic $ariants of each other, "ut usually are considered separate character sets as a fe! of the characters ha$e separate %an4i origins. /he gothic style of the roman script !ith "ro%en letter forms, on the other hand, is usually considered a mere typographic $ariant. -ursi$e-only scripts such as Ara"ic also ha$e different styles, in this case for example Bas%h and @ufic, although these often depend on application, area or era. /here are other aspects that can differ among font styles, "ut more often these are considered immanent features of the typeface. /hese include the loo% of digits )text figures* and the minuscule, !hich may "e smaller $ersions of the capital letters )small caps* although the script has de$eloped characteristic shapes for them. ?ome typefaces do not include separate glyphs for the cases at all, there"y a"olishing the "icamerality. 1hile most of these use uppercase characters only, some la"eled unicase exist !hich choose either the ma4uscule or the minuscule glyph at a common height for "oth charactersJ Width! - ?ome typefaces include fonts that $ary the !idth of the characters )stretch*. Barro!er fonts are usually la"eled compressed, condensed or narro!. (n FrutigerGs system, the second digit of condensed fonts is a <. 1ider fonts may "e called !ide, extended or expanded. Both can "e further classified "y prepending extra, ultra or the li%e. /hese separate fonts ha$e to "e distinguished from techniques that alter the letter-spacing to achie$e narro!er or smaller !ords, especially for 4ustified text alignment. 3ost typefaces either ha$e proportional or mono spaced )i.e. type!riter-style* letter !idths, if the script pro$ides the possi"ility. /here are, ho!e$er, super families co$ering "oth styles.

+ast-Asian sonograms some fonts pro$ide "oth proportional and fixed-!idth )ta"ular* digits, !here the former usually coincide !ith lo!ercase text figures and the latter !ith uppercase lining figures. -ptimal +i.e! - ?ome professional digital typefaces include fonts that are optimized for certain sizes, e.g. "y using in% traps. /here are se$eral naming schemes for such $ariant designs. #ne such scheme, in$ented and popularized "y Ado"e ?ystems, refers to the $ariant fonts "y the applications those are typically used for, !ith the exact point sizes intended $arying slightly "y typeface7 5oster +xtremely large sizes, usually larger than <K point 'isplay ,arge sizes, typically 19L<K point ?u"head ,arge text, typically a"out 1:L1& point )0egular* 6sually left unnamed, typically a"out 1 L18 point ?mall /ext )?m /ext* /ypically a"out &L1 point -aption Mery small, typically a"out ;L& point /et#ics! - Font metrics refers to metadata consisting of numeric $alues relating to size and space in the font o$erall, or in its indi$idual glyphs. Font-!ide metrics include cap height, x-height, ascender height, descended depth, and the font "ounding "ox. .lyph-le$el metrics include the glyph "ounding "ox, the ad$ance !idth )the proper distance "et!een the glyph=s initial pen position and the next glyph=s initial pen position*, and side "earings )space that pads the glyph outline on either side*. +e#ifs! - Although most typefaces are characterized "y their use of serifs, there are super families that incorporate serif )antiqua* and sans-serif )grotesque* or e$en intermediate sla" serif )+gyptian* or semi-serif fonts !ith the same "ase outlines. A more common font $ariant, especially of serif typefaces, is that of alternate capitals. /hey can ha$e s!ashes to go !ith italic minuscules or they can "e of a flourish design for use as initials )drop caps*. Type Faces! - A typeface is a set of characters that share common design features. +ach typeface is designed, and there are thousands of different typefaces in existence, !ith ne! ones "eing de$eloped constantly. /he art and craft of designing typefaces is called type design. 'esigners of typefaces are called type designers. (n digital typography, type designers are sometimes also called font de$elopers or font designers. +$ery typeface is a collection of glyphs, each of !hich represents

an indi$idual letter, num"er, punctuation mar%, or other sym"ol. /he same glyph may "e used for characters from different scripts, e.g. 0oman uppercase A loo%s the same as -yrillic uppercase N and .ree% uppercase alpha. /here are typefaces tailored for special applications, such as mapma%ing or astrology and mathematics. /he term typeface is frequently confused !ith the term font. Before the ad$ent of digital typography and des%top pu"lishing, the t!o terms had more clearly understood meaningsJ ?ee font for a complete definition of that term. As the range of typeface designs increased and requirements of pu"lishers "roadened o$er the centuries, fonts of specific !eight )"lac%ness or lightness* and stylistic $ariants )most commonly regular or roman as distinct to italic, as !ell as condensed* ha$e led to font families, collections of closely related typeface designs that can include hundreds of styles. A font family is typically a group of related fonts !hich $ary only in !eight, orientation, !idth, etc., "ut not design. For example, /imes is a font family, !hereas /imes 0oman, /imes (talic and /imes Bold are indi$idual fonts ma%ing up the /imes family. Font families typically include se$eral fonts, though some, such as >el$etica, may consist of dozens of fonts. /he distinction "et!een font and typeface is that a font designates a specific mem"er of a type family such as roman, "oldface, or italic type, !hile typeface designates a consistent $isual appearance or style !hich can "e a "family" or related set of fonts. For example, a gi$en typeface such as Arial may include roman, "old, and italic fonts. (n the metal type era, a font also meant a specific point size, "ut !ith digital scala"le outline fonts this distinction is no longer $alid, as a single font may "e scaled to any size. /he first "extended" font families, !hich included a !ide range of !idths and !eights in the same general style emerged in the early 19 s, starting !ith A/F=s -heltenham )19 KL1918*, !ith an initial design "y Bertram .ros$enor .oodhue, and many additional faces designed "y 3orris Fuller Benton. ,ater examples include Future, ,ucida, and (/#fficinal. ?ome "ecame super families as a result of re$i$al, such as ,inotype ?yntax, ,inotype 6ni$ers2 !hile others ha$e alternate styling designed as compati"le replacements of each other, such as -ompati"le, .eneris. /ypeface super families "egan to emerge !hen foundries "egan to include typefaces !ith significant structural differences, "ut some design relationship, under the same general family name. Argua"ly the first super family !as created !hen 3orris Fuller Benton created -lear face .othic for A/F in 191 , a sans serif companion to the existing )serifed* -lear face. /he super family la"el does not include quite different designs gi$en the same family name for !hat !ould seem to "e purely mar%eting, rather than design, considerations7 -aslon Antique, Future Blac% and Future 'isplay are structurally unrelated to the -aslon and Future families, respecti$ely, and are generally not considered part of those families "y typographers, despite their names. Additional or supplemental glyphs intended to match a main typeface ha$e "een in use for centuries. (n some formats they ha$e "een mar%eted as separate fonts. (n the early 199 s, the Ado"e

?ystems type group introduced the idea of expert set fonts, !hich had a standardized set of additional glyphs, including small caps, old style figures, and additional superior letters, fractions and ligatures not found in the main fonts for the typeface. ?upplemental fonts ha$e also included alternate letters such as s!ashes, ding"ats, and alternate character sets, complementing the regular fonts under the same family. >o!e$er, !ith introduction of font formats such as #pen /ype, those supplemental glyphs !ere merged into the main fonts, relying on specific soft!are capa"ilities to access the alternate glyphs. ?ince Apple=s and 3icrosoft=s operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different !ay. /hese fonts included the characters !hich !ere missing on either 3acintosh or 1indo!s computers, e.g. fractions, ligatures or some accented glyphs. /he goal !as to deli$er the !hole character set to the customer regardless of !hich operating system !as used. /he size of typefaces and fonts is traditionally measured in points2 point has "een defined differently at different times, "ut no! the most popular is the 'es%top 5u"lishing point of 1O<K in ) . 189 inC .89 mm*. 1hen specified in typographic sizes )points, %yus*, the height of an em-square, an in$isi"le "ox !hich is typically a "it larger than the distance from the tallest ascender to the lo!est descender, is scaled to equal the specified size. For example, !hen setting >el$etica at 1K point, the em square defined in the >el$etica font is scaled to 1K points or 1O; in ) .1< inC:.8 mm*. Pet no particular element of 1Kpoint >el$etica need measure exactly 1K points. Frequently measurement in non-typographic units )feet, inches, and meters* !ill "e of the cap-height, the height of the capital letters. Font size is also commonly measured in millimeters )mm* and as )a quarter of a millimeter, %yu in romanized Iapanese* and inches. Di$ital Type! - 'igital fonts store the image of each character either as a "itmap in a "itmap font, or "y mathematical description of lines and cur$es in an outline font, also called a $ector font. 1hen an outline font is used, a rasterizing routine )in the application soft!are, operating system or printer* renders the character outlines, interpreting the $ector instructions to decide !hich pixels should "e "lac% and !hich ones !hite. 0asterization is straightfor!ard at high resolutions such as those used "y laser printers and in high-end pu"lishing systems. For computer screens, !here each indi$idual pixel can mean the difference "et!een legi"le and illegi"le characters, some digital fonts use hinting algorithms to ma%e reada"le "itmaps at small sizes. 'igital fonts may also contain data representing the metrics used for composition, including %erning pairs, component creation data for accented characters, glyph su"stitution rules for Ara"ic typography and for connecting script faces, and for simple e$eryday ligatures li%e Q. -ommon font formats include /rue/ype, #pen /ype and 5ost?cript /ype 1, !hile 3+/AF#B/ is still used "y /eA and its $ariants. Applications using these font formats, including the rasterizers, appear in 3icrosoft and Apple -omputer operating systems,

Ado"e ?ystems products and those of se$eral other companies. 'igital fonts are created !ith font editors such as Font Forge, 0o"oFont, .lyphs, Font la"Gs /ype /ool, Font ,a" ?tudio, Fontographer, or Asia Font ?tudio. Types of Typefaces!- (llustration of different font types and the names of specific specimens Because an a"undance of typefaces ha$e "een created o$er the centuries, they are commonly categorized according to their appearance. At the highest le$el )in the context of ,atin-script fonts*, one can differentiate 0oman, Blac% letter, and .aelic types. 0oman types are in the most !idespread use today, and are su"-classified as serif, sans serif, ornamental, and script types. >istorically, the first +uropean fonts !ere "lac% letter, follo!ed "y 0oman serif, then sans serif and then the other types. /he use of .aelic faces !as restricted to the (rish language, though these form a unique if minority class. /ypefaces may "e 3oonscape regardless of !hether they are 0oman, Blac% letter, or .aelic. ?ym"ol typefaces are non-alpha"etic. /he -yrillic script comes in t!o $arieties, 0oman type and traditional ?la$onic type. 0. 1oman typefaces +e#if typefaces!- ?erif, or 0oman, typefaces are named for the features at the ends of their stro%es. /imes 0oman and .aramond are common examples of serif typefaces. ?erif fonts are pro"a"ly the most used class in printed materials, including most "oo%s, ne!spapers and magazines. ?erif fonts are often classified into three su"categories7 #ld ?tyle, /ransitional, and 3odern. #ld ?tyle typefaces are influenced "y early (talian lettering design. /hough some argument exists as to !hether /ransitional fonts exist as a discrete category among serif fonts, /ransitional fonts lie some!here "et!een #ld ?tyle and 3odern style typefaces. /ransitional fonts exhi"it a mar%ed increase in the $ariation of stro%e !eight and a more horizontal serif compared to #ld ?tyle, "ut not as extreme as 3odern. ,astly, 3odern fonts often exhi"it a "rac%eted serif and a su"stantial difference in !eight !ithin the stro%es. ?ample text in Bas%er$ille font +xamples of these are /imes, Be! Bas%er$ille, and Bodoni, respecti$ely. 0oman, italic, and o"lique are also terms used to differentiate "et!een upright and italicized $ariations of a typeface. /he difference "et!een italic and o"lique is that the term italic usually applies to serif faces, !here the letter forms are redesigned. 2. +ans se#if typefaces +ans se#if! - ?ans serif )lit. !ithout serif* designs appeared relati$ely recently in the history of type design. /he e$olution of the sans serif font $ery li%ely stemmed from the sla" serif font. /he earliest sla" serif font, Antique, later renamed +gyptian, designed in 1&19 "y the +nglish type founder Mincent Figgins !as succeeded one year later "y the first sans serif font, created "y 1illiam -aslon (M. /he e$idence of this is clearly sho!n in the uniform stro%es in the letter forms. ?ans serif fonts

are commonly "ut not exclusi$ely used for display typography such as signage, headings, and other situations demanding legi"ility a"o$e high reada"ility. /he text on electronic media offers an exception to print7 most !e" pages and digitized media are laid out in sans serif typefaces "ecause serifs often detract from reada"ility at the lo! resolution of displays. A !ell-%no!n and popular sans serif font is 3ax 3ie dingerGs >el$etica, popularized for des%top pu"lishing "y inclusion !ith Apple -omputer=s ,aser1riter laser printer and ha$ing "een one of the first readily a$aila"le digital typefaces. Arial, popularized "y 3icrosoft, is a !idely used sans serif font that is often compared to and su"stituted for >el$etica. #ther fonts such as Future, .ill ?ans, 6ni$erse and Frutiger ha$e also remained popular o$er many decades. 2. -#namental typefaces! - #rnamental )also %no!n as no$elty or sometimes display* typefaces are used exclusi$ely for decorati$e purposes, and are not suita"le for "ody text. /hey ha$e the most distincti$e designs of all fonts, and may e$en incorporate pictures of o"4ects, animals, etc. into the character designs. /hey usually ha$e $ery specific characteristics )e.g., e$o%ing the 1ild 1est, -hristmas, horror films, etc.* and hence $ery limited uses. ?ee "elo! for the historical definition of display typeface. 3. /imic#y typefaces!- Foreign "randing ?imulated >e"re!. 0epresent the characters of the 0oman alpha"et "ut e$o%e another !riting system. /his group includes typefaces designed to appear as Ara"ic, -hinese characters, -yrillic, (ndic scripts, .ree%, >e"re!, @ana, or /hai. /hese are used largely for the purpose of no$elty to ma%e something appear foreign. 4. 5lac* lette# typefaces 5lac* lette#!- Blac% letter fonts, the earliest typefaces used !ith the in$ention of the printing press, resem"le the "lac% letter calligraphy of that time. 3any people refer to them as gothic script. Marious forms exist including textual is, rotunda, sch!a"acher, and fra%tur. 6. 7aelic typefaces 7aelic type!- .aelic fonts !ere first used for the (rish language in 19<1, and !ere used regularly for (rish until the early 19; s, though they continue to "e used in display type and type for signage. /heir use !as effecti$ely confined to (reland, though .aelic typefaces !ere designed and produced in France, Belgium, and (taly. .aelic typefaces ma%e use of insular letterforms, and early fonts made use of a $ariety of a""re$iations deri$ing from the manuscript tradition. +arly fonts used for the Anglo-?axon language, also using insular letterforms, can "e classified as .aelic typefaces, distinct from 0oman or Antiqua typefaces. Marious forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as ha$ing angular or uncial features.

8. /onospaced typefaces /onospaced font! - 3ono spaced fonts are typefaces in !hich e$ery glyph is the same !idth )as opposed to $aria"le-!idth fonts, !here the ! and m are !ider than most letters, and the I is narro!er*. /he first mono spaced typefaces !ere designed for type!riters, !hich could only mo$e the same distance for!ard !ith each letter typed. /heir use continued !ith early computers, !hich could only display a single font. Although modern computers can display any desired typeface, mono spaced fonts are still important for computer programming, terminal emulation, and for laying out ta"ulated data in plain text documents. +xamples of mono spaced typefaces are -ourier, 5restige +lite, Fixedsys, and 3onaco. /here exist 0oman, Blac% letter, and .aelic mono spaced typefaces. 9. +ym(ol typefaces Din$(at!- ?ym"ol, or 'ing"at, typefaces consist of sym"ols )such as decorati$e "ullets, cloc% faces, railroad timeta"le sym"ols, -'-index, or /M-channel enclosed num"ers* rather than normal text characters. +xamples include Rapf 'ing"ats, ?onata, and 1ingdings. :. ";< typefaces! - -I@, or -hinese, Iapanese and @orean typefaces consist of !ide ranging sets of glyphs. /hey include all of the A?-((, +uropean 0oman glyphs and -yrillic glyphs and often 5ersian, >e"re! and Ara"ic. 3ost uniquely, ho!e$er their nati$e character sets= glyphs are designed to fit !ithin a square. /his is some!hat similar to monospaced type faces, "ut allo!s for $ertical, horizontal, right-to-left and left-to-right orientation. /hey also include a set of +xtended ,atin characters !ith glyphs and metrics redesigned for the square in addition to the standard $ariety. /his commonly results in complex, often conflicting rules and con$entions of mixing languages in type. 10. Mincho /incho!- 1ith -I@ typefaces, 3incho style tends to "e something li%e ?erifs for the end of stems, and in fact includes ?erifed glyphs for +xtended ,atin and -yrillic sets !ithin a typeface. 11. Gothic: - 1ith -I@ typefaces, .oth style tends to "e something li%e ?ans ?erifs !ith squarish, cut off end-caps for the end of stems, and in fact includes ?ans ?erif glyphs for +xtended ,atin and -yrillic sets !ithin a typeface. 12. Maru: - 1ith -I@ typefaces, 3aru style tends to "e something li%e ?ans ?erifs !ith rounded end-caps for the end of stems, and in fact includes 0ounded ?ans ?erif glyphs for +xtended ,atin and -yrillic sets !ithin a typeface. Display type!- 'isplay type refers to the use of type at large sizes, perhaps 8 points or larger. ?ome typefaces are considered useful solely at display sizes, and hence are %no!n as display faces. For typefaces used across a !ide range of sizes, in the days of metal type, each size !as

cut indi$idually, or e$en if pant graphically scaled !ould often ha$e ad4ustments made to the design for larger or smaller sizes, ma%ing a "display" face ha$e distinct differences. (n metal type, if present in smaller sizes, in% traps )small indentations at the 4unctions of letter stro%es* !ould "e eliminated at display sizes. (n smaller point sizes, these in% traps !ere intended to fill up !hen the letterpress !as o$er-in%ed, pro$iding some latitude in press operation !hile maintaining the intended appearance of the type design. At larger sizes, these in% traps !ere not necessary, so display faces did not ha$e them. /oday=s digital typefaces are most often used for offset lithography, electro photographic printing or other processes that are not su"4ect to the in% supply $ariations of letterpress, so in% traps ha$e largely disappeared from use. 1hen digital fonts feature a display $ariation, it is to accommodate other stylistic differences that may "enefit type used at larger point sizes. ?uch differences, !hich !ere standard in metal type, are rare in digital type, outside of the $ery high end of type design. /hey can include7 a lo!er x-height, higher contrast "et!een thic% and thin stro%es, less space "et!een letters, and slightly more condensed letter shapes. 'ecades into the des%top pu"lishing re$olution, fe! typographers !ith metal foundry type experience are still !or%ing, and fe! digital typefaces are optimized specifically for different sizes, so the misuse of the term display typeface as a synonym for ornamental type has "ecome !idespread2 properly spea%ing, ornamental typefaces are a su"category of display typefaces. Texts 'sed to demonst#ate typefaces! - A sentence that uses the entire alpha"et )a pangram*, such as "/he quic% "ro!n fox 4umps o$er the lazy dog", is often used as a design aesthetic tool to demonstrate the personality of a typeface=s characters in a setting )"ecause it displays all the letters of the alpha"et*. For extended settings of typefaces graphic designers often use nonsense text )commonly referred to as greeting*, such as lorem ipsum or ,atin text such as the "eginning of -icero=s (n -atilinam. .ree%ing is used in typography to determine a typeface=s color, or !eight and style, and to demonstrate an o$erall typographic aesthetic prior to actual type setting. Five Fonts Families of DTP. 0. Times &e= 1oman!- /his family includes /imes Be! 0oman )roman, "old*, /imes Be! 0oman 3edium )roman, "old*, /imes Be! 0oman ?emi Bold )roman, "old*, /imes Be! 0oman Bold )roman, "old*, /imes Be! 0oman +xtra Bold, /imes Be! 0oman 5? )roman, "old, italics*, /imes Be! 0oman -ondensed )roman, "old, italic*, /imes Be! 0oman ?mall /ext )roman, "old, italic*, /imes Be! ?e$en )roman, "old, italics*. /imes Be! 0oman is a serif typeface commissioned "y the British ne!spaper the /imes in 1981, created "y Mictor ,ardent at the +nglish "ranch of 3onotype. (t !as commissioned after ?tanley 3orison had !ritten an article criticizing

/he /imes for "eing "adly printed and typographically antiquated. /he font !as super$ised "y 3orison and dra!n "y Mictor ,ardent, an artist from the ad$ertising department of /he /imes. 3orison used an older font named 5lantin as the "asis for his design, "ut made re$isions for legi"ility and economy of space. 3orison=s re$ision "ecame %no!n as /imes Be! 0oman and made its de"ut in the 8 #cto"er 198K issue of /he /imes ne!spaper. After one year, the design !as released for commercial sale. /he /imes stayed !ith /imes Be! 0oman for : years, "ut ne! production techniques and the format change from "roadsheet to ta"loid in K : ha$e caused the ne!spaper to s!itch font fi$e times since 19<K. >o!e$er, all the ne! fonts ha$e "een $ariants of the original Be! 0oman font. ?ome experts "elie$e that the design !as "ased on an earlier original !or% of 1illiam ?tarling Burgess. /his theory remains contro$ersial. Because of its popularity, the typeface has "een influential in the su"sequent de$elopment of a num"er of serif typefaces "oth "efore and after the start of the digital-font era. #ne nota"le example is .eorgia, sho!n "elo! on the right, !hich has $ery similar stro%e shapes to /imes Be! 0oman "ut !ider serifs. Although no longer used "y /he /imes, /imes Be! 0oman is still frequent in "oo% typography, particularly in mass-mar%et paper"ac%s in the 6nited ?tates. +specially "ecause of its adoption in 3icrosoft products, it has "ecome one of the most !idely used typefaces in history.

Times &e= 1oman W7>! - (t includes fonts in 1., character sets, and only sold in /rue/ype format. (t includes /imes Be! 0oman regular, "old, italic, "old italic. Times &e= 1oman Wo#ld! - (t is a $ersion "ased on 1indo!s Mista fonts. (t includes fonts in 1., character sets, >e"re!, Ara"ic characters. ?imilar to >el$etica 1orld, Ara"ic in italic fonts is in roman positions. 2. A#ial! - Arial, sometimes mar%eted or displayed in soft!are as Arial 3/, is a sans-serif typeface and set of computer fonts. Fonts from the Arial family are pac%aged !ith all $ersions of 3icrosoft 1indo!s, some other 3icrosoft soft!are applications, Apple 3ac #? A and many 5ost?cript 8 computer printers. /he typeface !as designed in 19&K "y a 1 -person team, led "y 0o"in Bicholas and 5atricia ?aunders, for 3onotype /ypography. /he Arial typeface comprises many styles7 0egular, (talic, 3edium, 3edium (talic, Bold, Bold (talic, Blac%, Blac% (talic, +xtra Bold, +xtra Bold (talic, ,ight, ,ight (talic, Barro!, Barro! (talic, Barro! Bold, Barro! Bold (talic, -ondensed, ,ight -ondensed, Bold -ondensed, and +xtra Bold -ondensed. /he extended Arial type family includes e$en more styles7 0ounded ),ight, 0egular, Bold, +xtra Bold*2 3ono spaced )0egular, #"lique, Bold, Bold #"lique*. 3any of these ha$e "een issued in multiple font configurations !ith different degrees of language support. /he most !idely used and "undled Arial fonts are Arial 0egular, (talic, Bold, Bold (talic, along !ith the same styles of Arial Barro!, plus Arial Blac% and Blac% (talic. 3ore recently Arial 0ounded has also "een !idely "undled. Desi$n cha#acte#istics!- +m"edded in $ersion 8. of the #pen /ype $ersion of Arial is the follo!ing description of the typeface7 -ontemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune !ith the mood of the last decades of the t!entieth century. /he o$erall treatment of cur$es is softer and fuller than in most industrial style sans serif faces. /erminal stro%es are cut on the diagonal !hich helps to gi$e the face a less mechanical appearance. Arial is an extremely $ersatile family of typefaces !hich can "e used !ith equal success for text setting in reports, presentations, magazines etc, and for display use in ne!spapers, ad$ertising and promotions. (n K 9, 0o"in Bicholas said "(t !as designed as a generic sans serif2 almost a "land sans serif." /he letter shapes of Arial are "ased on 3onotype .rotesque. ?u"tle changes and $ariations !ere made to "oth the letterforms and the spacing "et!een characters in order to ma%e it more reada"le at $arious resolutions. /he changes cause the typeface to nearly match ,inotype >el$etica in "oth proportion and !eight )see figure*, and perfectly match in !idth. Be$ertheless, there are differences. #ne columnist o"ser$ed "Arial !as dra!n more rounded than S>el$eticaT, the cur$es softer and fuller and the counters more open. /he ends of the stro%es on letters such as c, e, g and s, rather than "eing cut off on the horizontal, are terminated at the more natural angle in relation

to the stro%e direction." /he styling of Ara"ic glyphs comes from /imes Be! 0oman, !hich ha$e more $aried stro%e !idths than the ,atin, .ree%, -yrillic glyphs found in the font. Arial 6nicode 3? uses monotone stro%e !idths on Ara"ic glyphs, similar to /ahoma. /he -yrillic, .ree% and -optic ?pacing 3odifier ,etters glyphs initially introduced in Arial 6nicode 3?, "ut later de"uted in Arial $ersion 9. , ha$e different appearances. 2. %elvetica! - >el$etica is a !idely used sans-serif typeface de$eloped in 199< "y ?!iss typeface designer 3ax 3iedinger !ith +duard >offmann. >el$etica !as de$eloped in 199< "y 3ax 3iedinger !ith +duard >offmann at the >aas=sche ?chriftgiesserei )>aas type foundry* of 3Unchenstein, ?!itzerland. >aas set out to design a ne! sans-serif typeface that could compete !ith the successful A%zidenz-.rotes% in the ?!iss mar%et. #riginally called Beue >aas .rotes%, its design !as "ased on ?chelter-.rotes% and >aasG Bormal .rotes%. /he aim of the ne! design !as to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could "e used on a !ide $ariety of signage. 1hen ,inotype adopted Beue >aas .rotes% )!hich !as ne$er planned to "e a full range of mechanical and hot-metal typefaces* its design !as re!or%ed. After the success of 6ni$ersal, Arthur 0itzel of ?tempel redesigned Beue >aas .rotes% into a larger family. (n 19; , the typeface=s name !as changed "y >aas= .erman parent company ?tempel to >el$etica in order to ma%e it more mar%eta"le internationally. (t !as initially suggested that the type "e called =>el$etia= !hich is the original ,atin name for ?!itzerland. /his !as ignored "y +duard >offmann as he decided it !ouldn=t "e appropriate to name a type after a country. >e then decided on =>el$etica= as this meant =?!iss= as opposed to =?!itzerland=. 3. >i(e#ation fonts! - ,i"eration is the collecti$e name of four /rue/ype font families7 ,i"eration ?ans, ,i"eration ?ans Barro!, ,i"eration ?erif and ,i"eration 3ono. /hese fonts are metriccompati"le !ith 3onotype -orporation=s Arial, Arial Barro!, /imes Be! 0oman, and -ourier Be! )respecti$ely*, the most commonly used fonts on 3icrosoft 1indo!s operating system and #ffice suite. "ha#acte#istics! - ,i"eration ?ans, ,i"eration sans Barro! and ,i"eration ?erif closely match the metrics of 3onotype -orporation fonts Arial, Arial Barro! and /imes Be! 0oman, respecti$ely. ,i"eration 3ono is styled closer to ,i"eration sans than 3onotype=s -ourier ne!, though its metrics match !ith -ourier Be!. /he ,i"eration fonts are intended as free, open-source replacements of the aforementioned closed source fonts.

4. ?e#dana! - Merdana is a humanist sans-serif typeface designed "y 3atthe! -arter for 3icrosoft -orporation, !ith hand-hinting done "y /homas 0ic%ner, then at 3onotype. 'emand for such a typeface !as recognized "y Mirginia >o!lett of 3icrosoft=s typography group. /he name "Merdana" is "ased on a portmanteau of $erdant )something green*, and Ana )the name of >o!lett=s eldest daughter.