In the metal set: white space 48 points wide, 24, 36 and 48 point font. Heads are used to form gaps in the production of letterpress printing forms.
Basic size
1) The size at which the font is stored on the font carrier.
2) The size of the font in which his drawings are designed. In the USSR, during the era of metal typesetting and phototypesetting, text font designs were developed in basic 10 and 6 point sizes at 20x magnification. Heading font designs were developed in basic font sizes of 24 or 36 points at 10x magnification. The remaining font sizes, called derivatives, were obtained by increasing or decreasing the base size designs by an appropriate factor. Digital fonts are now designed in a basic 28 point size.
Bastard
A handwritten variety of Gothic fonts. Spread in the 14th century. as a form of clerical writing. Close in style to italics. Intermediate forms of Gothic writing between texture and rotunda, called bastard in France, and Schwabacher (Swabian writing) in Germany, have been known since the 15th century. These are often more cursive than texture and rotunda. The lowercase letters are relatively wide, with a shallow point and a pronounced double break, with a large number of round shapes. Capitals are usually wide and relatively simple in shape, with many round elements.
Bastard from him. bastard – side, mixed, cross
Bicameral alphabet
An alphabet combining two variants of alphabetic characters. For example, the Cyrillic alphabet you read (as well as Latin and Greek) consists of uppercase and lowercase letters. Unicameral alphabets (such as Arabic or Hebrew) do not have uppercase or lowercase letters.
Side overhang
In a hand-made metal set, a part of a sign that extends into the interior space of another sign. It was especially often used in italics to give the typing the correct rhythm.
Bourgeois
A font whose point size is 9 points (~3.14 mm in the Pica system; ~3.38 mm in the Didot system). Typically used for typing basic text in books, magazines and newspapers.
Border
Decoration in the form of a strip (border), often patterned, composed of individual elements (rapports). Used in display.
Border - From fr. bordure – edge
Braille font
A raised-dot font for blind reading, the letters, numbers and other characters of which consist of various combinations of raised dots that are distinguishable by touch.
Breve
One of the top accents is a sign of brevity. A diacritic in the form of an inverted horizontal arc with a flow in the center. It is used in a set of phonetic signs, as well as in Turkish, Romanian, Vietnamese and other languages.
Breve Cyrillic
Short. A diacritic in the form of an arc. Unlike the Latin breve, as a rule, it has thickenings at the ends of the arch, and not in the middle. In antique fonts, these thickenings are transformed into teardrop-shaped endings. It is used over J in Belarusian, Russian and Ukrainian and over Ў in Belarusian.
Diamond
A font whose point size is 3 points (~1.05 mm in the Pica system; ~1.13 mm in the Didot system). The smallest font. Designed for typing text in small books, as well as superindices (indices to indices) in formulas.
Slab fonts
The collective name of fonts with powerful rectangular serifs without roundings or with slight roundings at the points of attachment to the main strokes, have little contrast between the main and connecting strokes or a complete absence of contrast, a large point of lowercase characters. The first such fonts appeared in England at the beginning of the 19th century. In accordance with the shape of ovals and serifs, the presence or absence of contrast and the degree of variation in width, slab fonts are divided into subgroups of Egyptian, Geometric, Humanistic slab fonts and Clarendon slab fonts. In addition, slab fonts with reverse contrast (Italian) are also sometimes included in this group.
Letter
A graphic sign, part of the alphabet, which alone or in combination with other signs is used to indicate sounds, phonemes and their typical combinations in writing.
Letter casting machine "Monotype"
A typesetting machine invented in 1893 by Tolbert Lanston that cast individual characters and spaces and assembled them into entire strips of letterpress type, following instructions on punched paper tape. In Russia it was called “monotype”. Due to the convenience of proofreading, it was used for typing complex types of text, for example, scientific ones.
Bullitt
The bold dot is approximately in the middle of the skittle area. Used to highlight individual items in enumerations and lists, in a table set, etc.
How many fonts do you need to be happy?
(Continued. For the beginning, see “Italics No. 5-00”)
Oh, so many here
all sorts of different...
Disco performance based on a fairy tale
Lewis Carroll
"Alice in Wonderland"
Vladimir Efimov,
art director of the company "ParaType"
Anna Shmeleva,
freelance journalist
In the concrete jungle, a fire made of printing dry wood was quietly burning out. Two huntsmen were sitting by the fire - the Designer and his Apprentice (Designer is not a surname). Our heroes were engaged in identifying and recording game, primarily text fonts. The student took out a field notebook and plunged into some calculations, silently moving his lips.
“It's time to hit the road! - said the Designer. - We have already examined the habitats of the antiqua. There are few Old Calendar serifs, while there are almost no Dutch and English serifs; things are a little better with the transitional serif and with the gondola serifs too. But in general it’s not dense... Let’s now see how bar, Latin and chopped ones reproduce. Yes, and decorative and handwritten ones would be worth a look today. If we don’t hesitate, we’ll make it before dark.”
The Designer's Apprentice lit the fire, and the huntsmen set off.
Slab fonts
These fonts appeared in England at the beginning of the 19th century. and were used at first as titular ones, but in the twentieth century. they gained popularity as machine (especially newspaper) typesetting text fonts. Usually in these fonts there is little contrast between the main and additional strokes (or visually none at all) and powerful rectangular serifs. Slab fonts without contrast are also called Egyptian, fonts with slight direct contrast and serifs rounded at the junction are Clarendon type fonts, fonts with reverse contrast are Italian. Italian fonts are practically not used for typing, so we will not consider them here.
Non-contrast and low-contrast slab fonts
Egyptian fonts (Fig. 1) can be divided into two main subgroups: fonts descended from the new style serif, single-width, with elliptical ovals (Glypha, Serif, Helserif), and fonts descended from geometric sans serifs, multi-width, with ovals , close to the circle (Concrete, ITC Lubalin Graf, Memphis, Rockwell, Stymi). True, recently slab fonts based on old-style serifs or humanistic sans serifs have begun to appear (ITC Oficina Serif, Cecilia, Silica, Thesis Serif). In addition, low-contrast fonts without rounded serifs can also be included here: Candida, Izhiptien and Stamp Shadow, as well as square geometric fonts such as City.
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Rice. 1. Non-contrast slabs fonts (Egyptian) can be single-width and multi-width depending on the composition tional basis |
All of the listed splendor is, of course, Latin. We also have the long-known Soviet font Baltika, which is a Cyrillic version of the Candida font. There are also good Cyrillic versions of the ITC typefaces Officina Serif and Rockwell under the pseudonym Geometric Slabserif 712 (Fig. 2), a Cyrillic version of the square block City font called Coliseum and a version of the ITC Lubalin Graf font called Luga, executed rather poorly. That's it for text fonts.
Most of all I would like to supplement this subgroup with high-quality Cyrillic versions of fonts like Serif. However, other types of slab fonts could be more fully represented in Cyrillic.
Contrasting slab fonts with rounded serifs (Clarendon type)
The first font of this type, called Clarendon, was created in England in the mid-19th century. as an display item. It was a new style serif with reinforced serifs and connecting strokes. After the invention of machine typesetting, newspaper texts began to be typed in similar fonts because they ensured good readability in small font size on poor newsprint. Later, based on Clarendon type fonts, a group of readable fonts was developed specifically for newspaper typesetting - Ionic No. 5, Crown, Century, Excelsior, etc. (Fig. 3), and for setting school textbooks - the Century Schoolbook typeface. There are other similar fonts in the Latin alphabet, for example, Volta, Iridium, Clarion, Concord, Egizio.
The Cyrillic library has several variants of Clarendon of varying quality. The Magazine and School typefaces, known since Soviet times (Fig. 4), also belong to this subgroup, being reworked versions of the Excelsior and New Century Schoolbook fonts. Excelsior and Century Skulbook from Linotype also have a Cyrillic part, but they are less successful. In addition, the Clarendon subgroup includes a digital version of the pre-revolutionary Academic typeface (a Cyrillic version of the Sorbonne font, which, in turn, was a version of the Cheltenham font) and a Cyrillic version of the ITC Bookman font.
We can say that this is the first font subgroup with which things are going more or less well, although in fairness we note that a few more decent versions of the Century and Clarendon fonts would not be superfluous here.
Latin type fonts
This term refers to serif typefaces with enlarged triangular serifs, invented in the 19th century. and common in display sets at the beginning of the twentieth century. In addition, the same subgroup includes text fonts of pseudo-classical form, created at the turn of the 19th–20th centuries. and almost gone out of use in the West. However, in Russia, until recently, one of these typefaces - Literary (Fig. 6), formerly Latin - was the most common text font. It is also worth including modern fonts with triangular serifs based on the serif of old or transitional styles, for example, Vendôme, Meridian, Swift, Trump Medieval, ITC Charter (Fig. 5).
In the subgroup of “Latin” fonts, we have a good heritage: the typefaces Literary, Kvant Antiqua (a variant of Literary) and Novaya Zhurnalnaya - the original font with triangular serifs. However, at the same time, unfortunately, we are completely behind fashion, not having a single Cyrillic version of modern fonts of this type.
Chopped fonts (grotesques)
In English-language literature, the word Grotesque refers to the so-called old grotesques, that is, sans-serif fonts developed in the 19th century. All other sans serif fonts are called Sans Serif (in England) and Gothic (in America). In our country, the term “grotesque” refers to any chopped, that is, sans-serif, fonts. This is a branched classification group, which, in addition to old grotesques, includes geometric grotesques, humanistic grotesques, and closed neo-grotesques of the 60s. 20th century, fonts with barely visible serifs, but still more reminiscent of sans serifs (the so-called Glyphic), and a heterogeneous group of sans serif fonts of modern design, which are not included in the main subgroups of sans serifs.
It would seem that developing a sans serif font is easier than a serif font, since the total length of the outline of all font characters for a sans serif is less than for a serif font due to the lack of serifs. However, precisely because of its clarity and conciseness, the grotesque requires increased attention from the designer. Any irregularities in form in grotesque are much more visible than in serifs, since due to the absence of serifs, drops and other additional elements, the signs are easier to perceive by the eye.
Old grotesques
These are single-width closed or semi-closed sans-serif fonts with elliptical ovals, which first appeared in England in 1816. Their characters are distinguished by a noticeable contrast between the main and connecting strokes. Initially, these grotesques were used only for display typesetting and rubrication, but at the turn of the 19th–20th centuries. they began to be used for typing texts. Examples of such fonts are Accident-Grotesque, Bell Gothic, Hermes, Grotesque 216, News Gothic, Franklin Gothic, and so on (Fig. 7).
Cyrillic versions have been developed for the grotesques Bell Gothic, ITC Franklin Gothic (Fig. 8), News Gothic (its Cyrillic version is called NewsPaper). There are also pre-revolutionary grotesque Hermes and fonts from the Soviet period - Kudryashevskaya encyclopedic chopped and Bukvarnaya. At the same time, the subgroup clearly lacks Cyrillic versions of such an important font as Aktsidents-Grotesk, and fonts based on text grotesques of the 19th century.
Geometric grotesques
And vanguard Gothic, Cable, Futura represent geometric grotesques in our country. Their characteristic simplified forms based on the square, circle and equilateral triangle are an achievement of German constructivism of the 30s. XX century, which later became widespread in the world. Geometric sans serifs - chopped, low-contrast fonts; their signs can be either open or closed, but as a rule, they are of different widths. As examples of fonts of this subgroup, one should also name Avenir, Metro, Neuzeit Grotesk, Spartan (Linotype), Erbar-Grotesk (Fig. 9). In addition, the subgroup of geometric grotesques can include the so-called square grotesques, in which the ovals tend to the shape of a square or rectangle, for example, Bank Gothic, Eurostyle and Microgram, as well as imitations of hand-drawn fonts of Russian constructivists of the 20-30s. XX century, for example, Rodchenko and ITC Machine. However, the latter are used mainly not for texts, but for display.
In the Cyrillic library there are four styles of the ITC Avangard Gothic font, good versions of the typefaces Bank Gothic, ITC Bauhaus, ITC Cable, Futura and its variant Futuris (Fig. 10); decent variants of the Eurostyle (Europe) and Microgram (Micra) fonts, as well as another Soviet version of the Erbar-Grotesk font - Magazine chopped. There are also Cyrillic ones: Rodchenko, ITC Mashin and ITC Stenberg. The situation with geometric grotesques is generally not bad.
However, something is missing here too. There are no Cyrillic versions of the real (historical) Kabel font and other Latin geometric sans serifs, for example, Avenir, Metro, Neuzeit Grotesk, Spartan.
Humanistic grotesques
Humanistic grotesques appeared at the same time as geometric ones, as their antithesis. They are based on the structure of the humanist serif, but lack serifs and teardrop endings. The signs of humanistic grotesques are open, varied in width and, as a rule, are distinguished by a noticeable contrast between the main and connecting strokes. These fonts are very popular now. They are often used in conjunction with a specific serif, and are sometimes designed together. Among the humanistic grotesques one can name the fonts Gill Sans, ITC Gaudi Sans, Lucida, FF Meta, Optima, ITC Officina Sans, Syntax, Theses Sans, Frutiger, ITC Eras.
The Cyrillic library has high-quality versions of the ITC Officina Sans fonts, Syntax under the pseudonym Humanist 531 (Fig. 11), a good version of the Frutiger font (FreeSet) and several less successful versions of the Gill Sans, Lucida, Optima, ITC Eras typefaces. Cyrillic versions of the famous fonts Verdana from Microsoft and Myriad from Adobe are available. At the same time, I would like to have better Cyrillic versions of such important fonts as Gill Sans and Optima, as well as Cyrillic versions of new humanistic sans serifs, for example, Argo, FF Meta, Theses Sans, etc. (Fig. 12).
Neogrotesques, or new grotesques
Neo-grotesques, which arose after the Second World War on the basis of recycled old fonts of the Accident-Grotesque type and associated with the heyday of Swiss typography in the 60s. XX century, are generally available to our designers. This is the well-known Helvetica and similar closed, single-width, non-contrast sans serifs (Video, Univers, Folio). We would call the best Cyrillic versions of Helvetica Pragmatika (Fig. 13) and Helios; We also have Bastion, Letterica, Sirvetika, Hilvetica, Vanta and others. There are Cyrillic versions of the Helvetica, Neue Helvetica and Univers fonts from Linotype. The Arial font from Monotype also belongs to this subgroup; it is better readable than others on a computer screen, but is completely unbearable on paper.
Nevertheless, the Cyrillic alphabet almost does not represent an important advantage of neo-grotesques - the huge number of styles developed in the West for most of them. The number of styles of the most developed typefaces Helvetica, Neue Helvetica and Univers is far from limited to normal, bold and italic; it amounts to several dozen (Helvetica - 24 styles, Neue Helvetica - 51 styles, Univers - 21 styles, Linotype Univers - 59 styles), which gives the foreign designer unprecedented scope for creativity (Fig. 14). We don’t have full versions of these headsets yet.
Fonts with subtle serifs (Glyphic)
This is what sans-serif fonts are called, but with some hint of them, for example, Albertus, Amerigo, Ikon, Copperplate Gothic, Krili, ITC Serif Gothic (Fig. 15), ITC Newtext, Spartan (Monotype), Fritz Kvadrata. In a sense, the famous Optima font can also be placed here. In Cyrillic we have only a high-quality version of the Fritz Kvadrata font (Fig. 16), variants of Copperplate Gothic (Vacancy) and Krili (Cricket), and that’s all.
Other grotesques
Other sans-serif fonts, which cannot be classified as the main subgroups of sans serifs, are mainly intended for display typesetting. However, among them you can also find fonts suitable for typing text, for example, Cyrillic versions of the Latin typefaces Antique Olive (Oliver and OliverNew), Penyo (Penta), Newlin Sans (Janus), DIN narrow, as well as fonts such as New Skaryna and Rostislav.
Decorative fonts
Finally, it makes sense to look into the adjacent realm of decorative fonts. Without a doubt, most of them are intended only for display typesetting, but in some subgroups you can also find fonts suitable for text typesetting. There are about a hundred decorative fonts in the Cyrillic library. So, in the subgroup of Modern style fonts (or Secession, or Art Nouveau) there are Cyrillic versions of the typefaces ITC Benguet Gothic, ITC Corinna (Fig. 17), variants of the fonts ITC Benguet (Bengali) and ITC Souvenir (Surprise). In the subgroup of fonts that imitate typescript, variants of the Courier font, a couple of other monospace typescript fonts - Optimus and Yatran, as well as a variant of the ITC American Typewriter typeface - Secretary can be used for typing text. Among decorative Latin fonts, much more such “text finds” can be made.
Handwritten and calligraphic fonts
And sometimes short texts, especially if it is an address, an invitation or a column from the editor-in-chief, can be typed in such fonts. The generic feature of handwritten and calligraphic fonts is that they imitate styles made with a broad-pointed or pointed pen, brush, ballpoint pen, or felt-tip pen (Fig. 18). Strictly speaking, these are not text fonts. However, among about four dozen similar Cyrillic fonts, the ITC Zapf Chancery (Fig. 19), ITC Flora, Inform and Zhikharevskaya typefaces are best suited for use as text. It should be noted that this company clearly lacks calligraphic fonts that imitate writing with a broad-nib and pointed pen.
Let's sum it up
Evening was coming in the concrete jungle. In the deepening twilight, the voices of tame, semi-wild and completely wild fonts, illuminated by neon lights, sounded especially clearly. On a large billboard, they tried in vain to shout over each other: EdvarGothic and Academic. Proun was on the sign of a Chinese restaurant (Fig. 20), and next to it, on a sparkling gold sign, Bengal was coquettishly fingering his feathers. The mysterious grotesque mutant announced: “Don’t park the cars!” (Fig. 21). Fonts were everywhere, they were visible in shop windows, lined up in the headlines of evening newspapers, glowing in the night sky.
Teacher, I counted how many fonts are missing in our fauna. If you count not only types (typefaces), but also subtypes (typefaces), then you have listed about five hundred text varieties! But there should be even more display fonts...
Wait, Student, that's not all. First of all, the classification of fonts is not yet the Ultimate Truth. The classification is conditional, like any attempt to apply theory to life; it just helps you navigate the endless ocean of font forms. While art theorists are improving the classification, artists strive to create something that does not fit into this classification. From time to time they succeed. Figuratively speaking, fonts form a continuous space, at each point of which a different font can be constructed, including a completely new one. This means that surprises may await the client.
In addition, Latin font design does not stand still. For example, recently in the West it has become common to develop supertypefaces, that is, several typefaces developed in style, belonging to different classification groups, but coordinated with each other in style, size, color, which allows them to be used together in one publication. Among such works are the typefaces Demos (antique) and Praxis (grotesque), ITC Stone Serif (antique) and ITC Stone Sans (grotesque) (Fig. 22), ITC Oficina Serif (block) and ITC Oficina Sans (grotesque), numerous representatives of the Thesis, Scala, Rotis, Le Mond families and many others. In Cyrillic typography, this direction can only include the Kudryashevskaya encyclopedic typeface with a slashed style, created back in Soviet times, and good Cyrillic versions of the fonts ITC Ofitsina Serif and ITC Ofitsina Sans.
We have already said that Cyrillic typefaces are often much less developed in style than their Latin cousins. In the West, a decent typeface now has at least six styles, which usually include several variations of numbers, small caps, and alternative forms of alphabetic characters. In addition, the main typefaces are now often complemented by special title versions. The development of the OpenType font format makes it quite easy to use all this in a set. And we have only two typefaces - Lazursky and ITC New Baskerville - have options with minuscule numerals, and so far only one ITC New Baskerville has small caps (Fig. 23). What is the reason? At one time we believed that capitals were not needed in the Cyrillic typesetting, because due to the peculiarities of our writing, it was too similar to lowercase letters. Nevertheless, it turned out that with a more developed typographic culture, small caps are still needed (as well as minuscule numerals), although, of course, in Cyrillic they are less different from lowercase than in Latin.
In the West, type design has been practiced for over a hundred years by many highly qualified (and highly paid) artists from a dozen of the most developed countries. That's why they have so many fonts. In our country, the history of type design is, as mathematicians say, “piecewise continuous” in nature. It lasted 15 years before the revolution, 30 years after the war, then gradually began to fade away, almost completely froze and revived only about ten years ago, at a new computer level. Moreover, at any given moment in this history, including today, the number of artists directly involved in the development of Cyrillic fonts hardly exceeded twenty people, and more often it was much less. Not to mention interrupted traditions, ideological pressure and the madness of the economy, which are also not conducive to the type design process.
So how close are we to the goal now?
You will see this for yourself if you consider that every designer working with typefaces should have a choice. For now, it's limited to the font that shines on every corner and the font that the closest competitor uses.
It would probably be insensitive to call having to choose between one text font and one heading font a “choice.” Choosing between one serif font and one sans serif font is also rather a joke. Moreover, the choice between two samples of the same type is also frivolous, since by rejecting one candidate, we are forced to automatically accept the other, and vice versa. This means that real freedom of choice begins with four to six equivalent options, that is, fonts of approximately the same quality - and so on for each classification subgroup.
Yes, but just don’t forget that there are hundreds and thousands of font consumers such as periodicals, and each of them would like to be different from the others.
Teacher, it’s scary to even think about so many fonts! How long will it take us?
High-quality development of one typeface with a developed family of styles takes from two to three months to several years. For example, over the past year, the ParaType company has released 15 new Cyrillic typefaces (44 styles); 7 typefaces (29 styles), of which are text. At this rate of work, anyone can calculate how much time it will take to replenish our common font library. True, the situation may change if consumers begin to treat font artists more favorably, begin to buy high-quality fonts more often and less often turn to the services of pirates. Then, perhaps, the profession of a font designer will become more in demand by society, more artists will develop Cyrillic fonts, and over time our font situation will improve.
134 Part 1. Design Rules
old style
Old style fonts are based on examples of handwritten work - imagine a wedge-shaped quill in the hand of a scribe. All old-style fonts have serifs (see comments below), and the serifs of lowercase letters are always angled (to imitate the tilt of the pen when writing). Due to this imitation of handwriting, all curved lines of letterforms have a transition from a thick stroke to a thin stroke, which is terminologically called a "thick to thin transition." The contrast in stroke thickness is relatively moderate, that is, it ranges between moderately thin and moderately thick. If you draw a line through the thinnest parts of a rounded stroke, that line will be diagonal. This is called pressure - the old style font has a diagonal pressure.
Smooth transition from thick to thin strokes
Do you think all such fonts are the same? Don't worry - they are the same for everyone who has not been involved in printing. It is due to this “inconspicuousness” that old-style fonts are considered the best for typing long text. They have very few distinctive features that can interfere with the reading process: such fonts do not distract much attention. If you're typing long text that you hope will be read, opt for the old style.
135. .
Modern font
As world history unfolded, so did the fonts. Fonts have their own fashion trends and are influenced by lifestyle and cultural changes, like hairstyles, clothing, architecture or language. In the 1700s, the production of smoother paper, the advent of high printing technology, and a general increase in methodological techniques caused the style of type to become mechanistic. The new fonts no longer imitated the handwritten style. Modern fonts also have serifs, but they are made horizontally, without slanting, and very thin. Like a graceful steel bridge, the frame of the letter is rigid, with a distinct transition from thick to thin line. There is no trace of the invisible pen tilting, the pressure is absolutely vertical. The appearance of modern style fonts is elegant and somewhat cold.
A sharp transition from a thick line to a thin one
Modern fonts are very impressive, especially if they are made with large fonts. However, due to the sharp contrast transition from thick to thin lines, modern style fonts are not the best option for typing long texts. Thin lines, as a rule, almost dissolve, while thick ones, on the contrary, appear too much - as a result, a so-called “blinding” effect occurs.
136 Part 1. Design Rules
D E V Y T: C A T E G O R I I S R I F T O V
137. .
Chopped font
The word "sans" means "without" (in French), so it's easy to guess that sans serifs are fonts that don't have serifs at the end of the letter strokes. Removing serifs, one of the later steps in the evolution of typefaces, did not become popular until the early 20th century.
Slab fonts are almost uniform in thickness, that is, they have virtually no noticeable transition from a thick line to a thin one; the letters have the same thickness throughout the volume.
On the next page you will read important information about sans serif font!
No pressure (due to equal line thickness)
If your set of fonts has only two sans serif fonts - Helvetica and Avant Garde, then to improve the design of your projects it is better to replenish the group of sans serif fonts with clearer, weightier and richer black ones. Each subgroup of sans serif fonts presented above varies in thickness, from thin to extra thick. Once you find these fonts, you'll see how much more you can do to create eye-catching pages.
Part 1: Design Rules |
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As shown on the previous page, sans serif fonts tend to be |
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uniform in thickness. However, a few (only two or three out of total) |
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variety) have an easy transition from the main stroke to the connector |
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nomu. Below is an example of such a sans serif font with pressure - |
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Optima. Fonts like Optima don't fit well on the same page - |
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not with other fonts: due to the presence of a transition from a thick line to a thin line |
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how they look like serif fonts, and because there are no serifs, they look like |
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chopped fonts. Therefore, when working with this type of sans serif fonts, |
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be very careful. |
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The Optima font is exceptionally beautiful, but you have to be very careful when trying to combine it with other fonts. Pay attention to the main and connecting strokes. This font has the classic grace of old-style fonts, but without serifs.
Optima combined with Spumoni headset.
The bold spontaneity of the Spumoni contrasts well with the classic grace of the Optima.
All Braille Alphabetical forms of representation Arabic Armenian alphabet Bengali Burmese Buginese writing. Lontara Letter-like characters Buhid Small size variants Vedic characters Vertical forms Top of surrogate pairs for private use Nested letters and months KKY Nested letters and numbers I-Ching hexagrams Geometric figures Glagolitic Greek and Coptic alphabets Georgian Gujarati Gurmukhi Devanagari Dingbats Additional Latin-1 Additional extended Latin Additional punctuation marks Additional hieroglyphic keys of the KKYA Additional combinable diacritics Additional mathematical operators Additional symbols of the Arabic script Additional characters of the Georgian alphabet Additional characters of the Ethiopian script Additional arrows-A Additional arrows-B Additional phonetic extensions Punctuation marks KKY compatibility marks Control code icons Hebrew Hieroglyphic keys of the Kangxi dictionary Indian Numerical Symbols Kayah Lee Canadian Syllabary Kanbun (Chinese) Kannada Katakana Square Pagba Lama Cyrillic Cyrillic. Additional characters Combinable diacritics Combinable diacritics for characters Combinable halves of characters Combinable Chamo Hangeul Coptic alphabet Khmer script Khmer characters Laotian script Lisu Malayalam Mathematical operators International phonetic alphabet Myanmar script. Extension A Set of extended characters of the Ethiopian script-A Superscript and subscript characters Non-combinable extended modifier characters Nko New alphabet tiles Area for private use Ogham script Oriya Basic Latin Script Ol-chiki Script Tay Viet Script Limbu Script Script tiles Cherokee script Cherokee script (addition) ) Half-width and full-width forms Radicals. Letter I Assorted Mathematical Symbols-A Assorted Mathematical Symbols-B Assorted Symbols Assorted Symbols and Arrows Assorted Technical Symbols Extended Cyrillic A Extended Cyrillic-B Extended Latin C Extended Latin-A Extended Latin-B Extended Latin-D Extended Latin-E Extended Burmese- B Extended Arabic Character Set-A Extended Bopomofo, Zhuyin Character Set Extended Greek Character Set Extended Canadian Syllabic Character Set Extended Ethiopic Character Set Rejang Runic Samaritan Script Script Selectors Siloti Nagri Currency Symbols Box Drawing Symbols Fill Symbols Symbols and Punctuation KKY Symbols of tone change Symbols for describing hieroglyphs Optical recognition symbols Sinhala script Syrian Hangeul syllables Syllables. Letter And Syllabic writing Vai Compatible hieroglyphs KKYA Special symbols Old Mongolian script Arrows Thai script Tamil script Tana Telugu Tibetan script Tifinagh (Ancient Libyan script) Unified hieroglyphs KKYA Unified hieroglyphs KKYA. Extension A Control characters Phonetic extensions Phonetic extensions katakana Forms of representation of Arabic letters-A Forms of representation of Arabic letters-B Compatibility forms of KKY Hangul chamo Hanunoo Hiragana Cham script KKY features Zhuyin. Bopomofo Number forms Ethiopian syllabary Javanese script
Such fonts are distinguished by a slight contrast between the thickness of the main and connecting lines or its complete absence.
“The first slab fonts appeared in England at the beginning of the 19th century. In accordance with the shape of ovals and serifs, the presence or absence of contrast and the degree of variation in width, slab fonts are divided into subgroups of “Egyptian”, “Geometric”, “Humanistic” slab fonts and slab fonts of the “Clarendon” type. In addition, slab fonts with reverse contrast (“Italian”) are also sometimes included in this group.
Fonts of this type occupy a leading position in the readability scale and are ideal for typing long texts, as they have very low contrast. However, a page typed with this font appears significantly “darker” than a page typed with a regular typeface, since the slab-type strokes are denser and more uniform in thickness. Slab font is often used in typesetting children's books.
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An excerpt characterizing the Slab font
- So, what have you decided, Madonna?I mustered all my courage not to show how my voice was trembling, and said quite calmly:
– I have already answered this question to you so many times, Holiness! What could have changed in such a short time?
There was a feeling of fainting, but, looking into Anna’s eyes shining with pride, all the bad things suddenly disappeared somewhere... How bright and beautiful my daughter was at that terrible moment!..
-Are you crazy, Madonna! Can you really just send your daughter to the basement?.. You know perfectly well what awaits her there! Come to your senses, Isidora!..
Suddenly, Anna came close to Karaffa and said in a clear, ringing voice:
– You are not a judge and not God!.. You are just a sinner! That is why the Ring of Sinners burns your dirty fingers!.. I think it is not by chance that you are wearing it... For you are the most vile of them! You won't scare me, Caraffa. And my mother will never submit to you!
Anna straightened up and... spat in Dad's face. Caraffa turned deathly pale. I've never seen anyone turn pale so quickly! His face literally turned ashen gray in a split second... and death flashed in his burning dark eyes. Still standing in a “tetanus” from Anna’s unexpected behavior, I suddenly understood everything - she was deliberately provoking Karaffa so as not to delay!.. In order to quickly decide something and not torment me. To go to her own death... My soul was wracked with pain - Anna reminded me of the girl Damiana... She decided her fate... and I couldn’t help. I couldn't intervene.
