By Yannis Haralambous
This reference is an interesting and entire consultant to utilizing fonts and typography on the internet and throughout various working platforms and alertness software program. Fonts & Encodings indicates you ways to take complete good thing about the magnificent variety of typographic thoughts on hand, with complicated fabric that covers every thing from designing glyphs to constructing software program that creates and methods fonts.
The period of ASCII characters on eco-friendly displays is long past, and leaders corresponding to Apple, HP, IBM, Microsoft, and Oracle have followed the Unicode world wide personality ordinary. but, many software program purposes and sites nonetheless use a number of criteria, together with PostScript, TrueType, TeX/Omega, SVG, Fontlab, FontForge, Metafont, Panose, and OpenType. This ebook explores each one choice intensive, and offers historical past at the back of the tactics that include today's "digital house for writing":
Nowhere else will you discover the dear technical details on fonts and typography that software program builders, net builders, and photograph artists want to know to get typography and fonts to paintings competently.
Read Online or Download Fonts & Encodings: From Unicode to Advanced Typography and Everything in Between PDF
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Additional resources for Fonts & Encodings: From Unicode to Advanced Typography and Everything in Between
In the days of the letterpress, there was no way to magnify or reduce a shape arbitrarily. The diﬀerent body sizes of a given typographic character were engraved separately. And typesetters took advantage of this necessity to improve the legibility of each size: the small sizes had letters that were relatively wider and more spacious than those of the large ones, which were drawn with more details, more contrast between thick and thin strokes, and so on. 2 The Didot point is still used in Greece, where letterpress typesetters complain that text set with the pica point “comes out too small”.
Conclusion: an electronic document must contain characters if it is to be indexed and become a full-fledged part of the World Wide Web. But we also expect an electronic document to have the appearance of a paper document or to yield an equivalent appearance when printed out. It must therefore be typeset; that is, it must contain glyphs arranged very precisely on lines, with due regard for kerning. These lines must form paragraphs and pages according to the typographic conventions developed through the ages.
To set a sequence of glyphs, the software calls up a font through the operating system and asks for the glyphs that it needs. The way in which the glyphs are described depends on the font format: PostScript, TrueType, or any of a number of others, all of them quite diﬀerent. The earliest fonts were bitmaps: the glyphs were described by white and black pixels (see Appendix A). Although we can easily describe a bitmap font for use on a screen, in which each glyph contains at most a few dozen pixels, it would be cumbersome to do the same for high-resolution printers, for which a single glyph may require thousands of pixels.