Information on where to get Adobe Type fonts and other frequently asked questions.

Adrian Frutiger designed Avenir in 1988, after years of having an interest in sans serif typefaces. In an interview with Linotype, he said he felt an obligation to design a linear sans in the tradition of and, but to also make use of the experience and stylistic developments of the twentieth century.

The word Avenir means “future” in French and hints that the typeface owes some of its interpretation to Futura. But unlike Futura, Avenir is not purely geometric; it has vertical strokes that are thicker than the horizontals, an “o” that is not a perfect circle, and shortened ascenders.

These nuances aid in legibility and give Avenir a harmonious and sensible appearance for both texts and headlines.

This article is about the traditional meaning of 'font'. For the electronic data file, see. For other uses, see. In modern usage, with the advent of, 'font' is frequently synonymous with 'typeface', although the two terms do not necessarily mean the same thing. In particular, the use of means that different sizes of a typeface can be dynamically generated from one design. Each style may still be in a separate 'font file'—for instance, the typeface ' may include the fonts 'Bulmer ', 'Bulmer ', 'Bulmer ' and 'Bulmer extended'—but the term 'font' might be applied either to one of these alone or to the whole typeface. Contents • • • • • • • • • • • • • • • • Etymology [ ] The word font (traditionally spelled fount in, but in any case pronounced ) derives from fonte '[something that has been] melted; a '.

The term refers to the process of casting metal type at a. Metal type [ ] In a manual printing () house the word 'font' would refer to a complete set of that would be used to an entire page.

Resident Evil Revelations 2 Repack. Upper- and lowercase letters get their names because of which case the metal type was located in for manual typesetting: the more distant upper case or the closer lower case. The same distinction is also referred to with the terms majuscule and minuscule.

Unlike a digital typeface, a metal font would not include a single definition of each character, but commonly used characters (such as vowels and periods) would have more physical type-pieces included. A font when bought new would often be sold as (for example in a Roman alphabet) 12pt 14A 34a, meaning that it would be a size 12- font containing 14 uppercase 'A's, and 34 lowercase 'A's. The rest of the characters would be provided in quantities appropriate for the of letters in that language. Some metal type characters required in typesetting, such as, spaces and line-height spacers, were not part of a specific font, but were generic pieces which could be used with any font. Line spacing is still often called ', because the strips used for line spacing were made of (rather than the harder alloy used for other pieces).

The reason for this spacing strip being made from 'lead' was because lead was a softer metal than the traditional forged metal type pieces (which was part lead, antimony and tin) and would compress more easily when 'locked-up' in the printing 'chase' (i.e. A carrier for holding all the type together).

In the 1880s–90s, 'hot lead' typesetting was invented, in which type was cast as it was set, either piece by piece (as in the technology) or in entire lines of type at one time (as in the technology). Font characteristics [ ] In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the (s) that the typeface supports. In European, i.e., and, the main such properties are the, the and the. The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique.

The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for 'Western European'.

Different fonts of the same typeface may be used in the same work for various degrees of readability and, or in a specific design to make it be of more visual interest. Weight [ ] The weight of a particular font is the thickness of the character outlines relative to their height.

Weights A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non-professional use come with just a normal and a bold weight which are linked together. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support faking a bolder font by rendering the outline a second time at an offset, or just smearing it slightly at a diagonal angle. The base weight differs among typefaces; that means one normal font may appear bolder than some other normal font. For example, fonts intended to be used in posters are often quite bold by default while fonts for long runs of text are rather light. Therefore, weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.

Attempts to systematize a range of weights led to a numerical classification first used by with the typeface: 35 Extra Light, 45 Light, 55 Medium or Regular, 65 Bold, 75 Extra Bold, 85 Extra Bold, 95 Ultra Bold or Black. Deviants of these were the '6 series' (italics), e.g. 46 Light Italics etc., the '7 series' (condensed versions), e.g. 57 Medium Condensed etc., and the '8 series' (condensed italics), e.g. 68 Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance 'Helvetica 67' (HE67) translates to 'Helvetica Bold Condensed'.

The first algorithmic description of fonts was perhaps made by in his and system of programs. The font format introduced a scale from 100 through 900, which is also used in and, where 400 is regular (roman or plain).

Regular and bold versions of three common fonts. Has a quite monoline design and all strokes increase in weight; less monoline fonts like and increase the weight of the thicker strokes more and thinner strokes less in bold. In all three designs, the curve on 'n' thins as it joins the left-hand vertical. There are many names used to describe the weight of a font in its name, differing among type foundries and designers, but their relative order is usually fixed, something like this: Names Numerical values Thin / Hairline 100 Ultra-light / Extra-light 200 Light 300 Book / Semilight Normal / regular / plain 400 Medium 500 Semi-bold / Demi-bold 600 Bold 700 Extra-bold / extra 800 Heavy / Black 900 Extra-black Ultra-black / ultra The terms normal, regular and plain, sometimes also book, are being used for the standard weight font of a typeface. Where both appear and differ, book is often lighter than regular, but in some typefaces it is bolder. Before the arrival of computers, each weight had to be drawn manually.

As a result, many older multi-weight families such as and have considerable differences in styles from light to extra-bold. Since the 1980s, it has become increasingly common to use automation to construct a range of weights as points along a trend, or other parameterized font design. This means that many modern digital fonts such as and are offered in a large range of weights which offer a smooth and continuous transition from one weight to the next, although some digital fonts are created with extensive manual corrections. As digital font design allows more variants to be created faster, an increasingly common development in professional font design is the use of “grades”: slightly different weights intended for different types of paper and ink, or printing in a different region with different ambient temperature and humidity. For example, a thin design printed on book paper and a thicker design printed on may come out looking identical, since in the former case the ink will soak and spread out more.

Grades are typically offered with characters having the same width on all grades, so that a change of printing materials does not affect copyfit. Grades are especially common on serif fonts with their finer details. Slope [ ] In European typefaces, especially Roman ones, a slope or slanted style is used to emphasise important words.

This is called. These designs normally slant to the right in left-to-right scripts. Oblique styles are often called italic, but differ from 'true italic' styles.

Italic styles are more flowing than the normal typeface, approaching a more, style, possibly using more commonly or gaining. Although rarely encountered, a typographic face may be accompanied by a matching calligraphic face ( cursive, script), giving an exaggeratedly italic style. The typeface Avenir Next in condensed and regular widths. Width [ ] Some typefaces include fonts that vary the width of the characters ( stretch), although this feature is usually rarer than weight or stroke.

Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded.

Both can be further classified by prepending extra, ultra or the like. These separate fonts have to be distinguished from techniques that alter the to achieve narrower or smaller words, especially for. Uses non-lining or text figures as default, providing upper-case or lining figures as an alternative.

Most typefaces either have or (i.e. Typewriter-style) letter widths, if the script provides the possibility. There are, however, superfamilies covering both styles. Some fonts also provide both ( tabular) digits, where the former usually coincide with lowercase and the latter with uppercase. The width of a font will depend on its intended use. Was designed with the goal of having small width, to fit more text into a newspaper. On the other hand, has large width to increase readability.

The ' on a movie poster often uses extremely condensed type in order to meet union requirements on the people who must be credited and the font height relative to the rest of the poster. Optical size [ ]. Optical sizes in the open-source family. At top, correct use: Green is in a slimmer style designed for text printed large, and authority in a thicker style for text printed small. The bottom pair are the wrong way round: Green looks too thick and authority too thin. Some professional digital typefaces include fonts that are optimised for certain sizes, for instance by using a thinner stroke weight if they are intended for, or by using if they are to be printed at small size on poor-quality paper. This was a natural feature in the metal type period for most typefaces, since each size would be cut separately and made to its own slightly different design.

As an example of this, experienced Linotype designer commented in 1947 that for a type he was working on intended for newspaper use, the 6 point size was not 50% as wide as the 12 point size, but about 71%. However, it declined in use as engraving, and especially phototypesetting and digital fonts made printing the same font at any size simpler. A mild revival has taken place in recent years.

Optical sizes are more common for serif fonts, since their typically finer detail and higher contrast benefits more from being bulked up for smaller sizes and made less overpowering at larger ones. There are several naming schemes for such variant designs. One such scheme, invented and popularized by, refers to the variant fonts by the applications they are typically used for, with the exact point sizes intended varying slightly by typeface: Poster Extremely large sizes, usually larger than 72 point Display Large sizes, typically 19–72 point Subhead Large text, typically about 14–18 point (Regular) Usually left unnamed, typically about 10–13 point Small Text ( SmText) Typically about 8–10 point Caption Very small, typically about 6–8 point. Kerning brings A and V closer with their serifs over each other Metrics [ ] refers to consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include (the height of the capitals), (the height of the lower-case letters) and height, depth, and the font.

Glyph-level metrics include the glyph bounding box, the advance width (the proper distance between the glyph's initial pen position and the next glyph's initial pen position), and sidebearings (space that pads the glyph outline on either side). Many digital (and some metal type) fonts are able to be so that characters can be fitted more closely; the pair 'Wa' is a common example of this. Some fonts, especially those intended for professional use, are duplexed: made with multiple weights having the same character width so that (for example) changing from regular to bold or italic does not affect word wrap. As originally designed was a notable example of this. (This was a standard feature of the Linotype hot metal typesetting system with regular and italic being duplexed, requiring awkward design choices as italics normally are narrower than the roman.) A particularly important basic set of fonts that became an early standard in digital printing was the included in the printing system developed by Apple and Adobe.

To avoid paying licensing fees for this set, many computer companies commissioned 'metrically-compatible' knock-off fonts with the same spacing, which could be used to display the same document without it seeming clearly different. Gpio I Business Banking. And are notable examples of this, being functional equivalents to the PostScript standard fonts and respectively.

Some of these sets were created in order to be freely redistributable, for example 's and Google's, which duplicate the PostScript set and other common fonts used in software such as. It is not a requirement that a metrically compatible design be identical to its origin in appearance apart from width. 's regular and schoolbook versions of a and g.

Single-storey characters are more commonly found as default in fonts such as, shown at bottom. Typefaces may be made in variants for different uses. These may be issued as separate font files, or the different characters may be included in the same font file if the font is a modern format such as and the application used can support this. Alternative characters are often called stylistic alternates. These may be switched on to allow users more flexibility to customise the font to suit their needs.

The practice is not new: in the 1930s,, a British design, was sold abroad with alternative characters to make it resemble fonts such as popular in other countries, while from the same period has two styles of 'R': one with a stretched-out leg, matching its fifteenth-century model, and one less-common shorter version. With modern digital fonts, it is possible to group related alternative characters into stylistic sets, which may be turned on and off together. For example, in, a revival of the 18th century font, the default italic forms have many swashes matching the original design.

For a more spare appearance, these can all be turned off at once by engaging stylistic set 4., intended for academic publishing, uses ss15 to enable a used in medieval Latin. A corporation commissioning a modified version of a commercial font for their own use, meanwhile, might request that their preferred alternates be set to default. It is common for fonts intended for use in books for young children to use simplified, single-storey forms of the lowercase letters a and g (sometimes also y and l); these may be called infant or schoolbook alternates. They are traditionally believed to be easier for children to read and less confusing as they resemble the forms used in handwriting. Often schoolbook characters are released as a supplement to popular families such as, and; a well-known font intended specifically for school use is.

Besides alternate characters, in the metal type era the commissioned custom condensed single sorts for common long names that might often appear in news headings, such as,. Numerals [ ]. A set of optical sizes developed. The fonts become thicker and more widely spaced as the point size for which they are designed decreases. Fonts can have different kinds of numerals, including, as described above, proportional (variable width) and tabular (fixed width) as well as lining (upper-case height) and text (lower-case height) figures.

They may also include separate styles for superscript and subscript digits. Professional fonts may include even more complex settings for typesetting numerals, such as numerals intended to match the height of. In addition, some fonts such as Adobe’s Acumin and ’s digitisation offer two heights of lining (upper-case height) figures: one slightly lower than cap height, intended to blend better into continuous text, and one at exactly the cap height to look better in combination with capitals for uses such as UK postcodes. With the OpenType format, it is possible to bundle all these into a single digital font file, but earlier font releases may have only one type per file.

Subsetting [ ] A typical font may contain hundreds or even thousands of glyphs, often representing characters from many different languages. Oftentimes, users may only need a small subset of the glyphs that are available to them. Subsetting is the process of removing unnecessary glyphs from a font file, usually with the goal of reducing file size. This is particularly important for web fonts, since reducing file size often means reducing page load time and server load. Alternatively, fonts may be issued in different files for different regions of the world, though with the spread of the OpenType format this is now increasingly uncommon. See also [ ] • • • • • References [ ].

• The typeface was the “Falcon” design by, ultimately never issued. Further reading [ ] • Blackwell, Lewis.

20th Century Type. Yale University Press: 2004.. • Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998..

• Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students, Princeton Architectural Press: 2004.. • Headley, Gwyn.

The Encyclopaedia of Fonts. Cassell Illustrated: 2005.. • Macmillan, Neil. An A–Z of Type Designers. Yale University Press: 2006.. External links [ ] Look up in Wiktionary, the free dictionary. • on Twitter.