in font sizes one point is equal to
Pitch (typewriter)


Pitch is the number of characters and spaces in of , that is, "characters per inch" (abbreviated cpi). The pitch is most often used as a measurement of font size of typewriters as well as printers. The relation between pitch font size and typographic font size (points) is usually inverse: a 12-pitch typewriter font is equal in height to 10-point typographic font, while a 10 pitch-typewriter font is equal in height to 12-point typographic font. However, this relation is not obligatory, e.g., a
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Whitespace character


. In computer character encodings, there is a normal general-purpose space (Unicode character U+0020) whose width will vary according to the design of the typeface. Typical values range from 1/5 em to 1/3 em (in digital typography an em is equal to the nominal size of the font, so for a 10-point font the space will probably be between 2 and 3.3 points). Sophisticated fonts may have differently sized spaces for bold, italic, and small-caps faces, and often compositors will manually adjust the width of
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Computer font


tends to be poor when scaled or otherwise transformed, compared to outline and stroke fonts, and providing many optimized and purpose-made sizes of the same font dramatically increases memory usage. The earliest bitmap fonts were only available in certain optimized sizes such as 8, 9, 10, 12, 14, 18, 24, 36, 48, 72, and 96 points (assuming a resolution of 96 DPI), with custom fonts often available in only one specific size, such as a headline font at only 72 points
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Font


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 Adobe Systems, refers to the variant fonts by the applications they are typically used for, with the exact point sizes intended varying slightly by typeface: "Font metrics" refers to metadata consisting of numeric values relating to size and space in the font overall, or in its individual glyphs. Font-wide metrics include cap height
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Cartographic labeling


fonts stresses the importance and emphasis of the intended map. Size is expressed in points through the American point system with 1 point equaling 1/72" of vertical height. Furthermore, points also show the spacing between letters, words and lines. A larger size implies more importance or a greater relative quantity; smaller denotes less importance or less quantity. For design purposes, text using a size of less than 6 point is difficult to read. On the contraire, text that is larger than 26 point is too cumbersome for a standard
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Point (typography)


is defined as of an international inch (about 0.353 mm) and, as with earlier American point sizes, is considered to be of a pica. In metal type, the point size of the font describes the height of the metal body on which the typeface's characters were cast. In digital type, letters of a font are designed around an imaginary space called an "em square". When a point size of a font is specified, the font is scaled so that its em square has a side length of
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UTF-32


with a "fixed width" font there may be more than one code point per character position (combining characters) or more than one character position per code point ("grapheme clusters" for CJK ideographs). Editors that limit themselves to left-to-right languages and precomposed characters can take advantage of fixed-sized code units, but such editors are unlikely to support non-BMP characters and thus can work equally well with 16-bit UTF-16 encoding. The main use of UTF-32 is in internal APIs where the data is
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Font


. As an example of this, experienced Linotype designer Chauncey H. Griffith 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 pantograph 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
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IBM Selectric typewriter


redesigned to have an all-plastic lever. The font size was measured not in points but in "pitches"; that is, the number of letters per one inch of the typed line. As a result, 12-pitch fonts (12 letters per inch) were actually smaller than 10-pitch fonts (10 letters per inch), and roughly corresponded to the 10pt and 12pt traditional typographic font sizes. Some of the interchangeable typing elements available for the Selectric models included: Starred fonts were 96-character elements made for the Selectric III.
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Dash


em wide, a length that varies depending on the font size. One em is the same length as the font's height (which is typically measured in points). So in 9-point type, an em dash is 9 points wide, while in 24-point type the em dash is 24 points wide. By comparison, the en dash, with its 1-en width, is in most fonts either a half-em wide or the width of an uppercase "N". The em dash is used in several ways. Primarily
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Adobe Type Manager


printing to non-PostScript printers. Mac Type 1 fonts come with screen fonts set to display at certain point sizes only. In Macintosh operating systems prior to Mac OS X, Type 1 fonts set at other sizes would appear jagged on the monitor. ATM allowed Type 1 fonts to appear smooth at any point size, and to print well to non-PostScript devices. Around 1996, Adobe expanded ATM into a font-management program called ATM Deluxe; the original ATM was renamed ATM Light. ATM Deluxe performed the same
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Phototypesetting


European high-end typesetting market for decades. Compugraphic produced phototypesetting machines in the 1970s that made it economically feasible for small publications to set their own type with professional quality. One model, the Compugraphic Compuwriter, uses a filmstrip wrapped around a drum that rotates at several hundred revolutions per minute. The filmstrip contains two fonts (a Roman and a bold or a Roman and an Italic) in one point size. To get different-sized fonts, the typesetter loads a different font strip or uses a 2x magnifying lens built
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Typeface


-square", an invisible box which is typically a bit larger than the distance from the tallest ascender to the lowest descender, is scaled to equal the specified size. For example, when setting Helvetica at 12 point, the em square defined in the Helvetica font is scaled to 12 points or ⅙ in (). Yet no particular element of 12-point Helvetica need measure exactly 12 points. Frequently measurement in non-typographic units (feet, inches, meters) will be of the "cap-height", the
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Multiple master fonts


master designs. Another example is Adobe Jenson, which supports "weight" and "optical size" axes. This font uses three masters to represent the optical-size axis, designed for 6, 12, and 72 point type, respectively. This allows the common size of 12 points to be optimized, but requires 6 master designs for roman, and another 6 for italic. Current application support for these fonts is sparse, if not entirely absent. However, font design tools such as FontLab and FontForge can edit MM
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Em (typography)


. In Cascading Style Sheets, the "em" unit is the height of the font in nominal points or inches. The actual, physical height of any given portion of the font depends on the user-defined DPI setting, current element font-size, and the particular font being used. To make style rules that depend only on the default font size, another unit was developed: the rem. The rem, or root em, is the font size of the root element of the document. Unlike the em
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Typeface


mathematics. The term "typeface" is frequently confused with the term "font". Before the advent of digital typography and desktop publishing, the two terms had more clearly understood meanings. In professional typography, the term "typeface" is not interchangeable with the word "font" (originally "fount" in British English, and pronounced "font"), because the term font has historically been defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font
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Fixedsys


Notepad. Fixedsys fonts family contains fonts encoded in several Windows code pages, with multiple resolutions of the font for each code page. Fixedsys fonts of different code pages have different point sizes. The glyphs for the upper areas of each one appear to be drawn separately, not taken from a single master set, as there are visible differences in the appearance of various visually similar characters that are shared between the code pages. Though Fixedsys is a sans-serif font, it is vaguely similar in appearance to the hardware text mode
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TrueType


memory reserved by the font), and encapsulation of code into functions. Special instructions called delta hints are the lowest level control, moving a control point at just one pixel size. The hallmark of effective TrueType glyph programming techniques is that it does as much as possible using variables defined just once in the whole font (e.g., stem widths, cap height, x-height). This means avoiding delta instructions as much as possible. This helps the font developer to make major changes (e.g., the point at which
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Point (typography)


that particular length in points. Although the letters of a font usually fit within the font's em square, there is not necessarily any size relationship between the two, so the point size does not necessarily correspond to any measurement of the size of the letters on the printed page. The point was first established by the Milanese typographer, Francesco Torniella da Novara ( – 1589) in his 1517 alphabet, "L'Alfabeto". The construction of the alphabet is the first based on logical measurement called "Punto," which corresponds
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Serif


"we should accept that most reasonably designed typefaces in mainstream use will be equally legible". A study suggested that serif fonts are more legible on a screen but are not generally preferred to sans serif fonts. Another study indicated that comprehension times for individual words are slightly faster when written in a sans serif font versus a serif font. When size of an individual glyph is 9-20 pixels, proportional serifs and some lines of most glyphs of common vector fonts are smaller than individual pixels. Hinting, spatial anti-aliasing
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Gentium


) as one of the best designs of the previous five years. In November 2007, the Gentium Basic and Gentium Book Basic fonts were released, containing Gentium fonts in four faces: regular, italic, bold, and bold italic. Gentium Basic has the same weight as the previous Gentium fonts, while Gentium Book Basic is set at a slightly heavier weight for use in publishing books at small point sizes, or under certain printing conditions. While these fonts contain bold and bold italic variants, they do not contain the full
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Meiryo


version of Verdana, regarded as a highly readable font. The font's baseline was raised slightly to improve readability when mixing Latin and CJK texts. Meiryo glyphs for kanji and kana also have a height-to-width ratio of 95:100. In previous Japanese fonts distributed with Windows, embedded bitmap glyphs are used whenever font size is set to around 9 points. Unlike previous fonts designed for CJK environments, Meiryo contains no embedded bitmaps. To improve readability under small font sizes without using embedded bitmaps, TrueType hinting language was used
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Graphic character


to occupy some area in a graphic representation. For a teletype or a typewriter this implies moving of the carriage after typing of a character. In the context of text mode display, each spacing character occupies one rectangular character box of equal sizes. Or maybe two adjacent ones, for non-alphabetic characters of East Asian languages. If a text is rendered using proportional fonts, widths of character boxes are not equal, but are positive. There exists also "non-spacing" graphic characters. Most of non-spacing
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Em (typography)


design space of a digital font. Imaging systems, whether for screen or for print, work by scaling the em to a specified point size. In digital type, the relationship of the height of particular letters to the em is arbitrarily set by the typeface designer. However, as a very rough guideline, an "average" font might have a cap height of 70% of the em, and an x-height of 48% of the em. Although the size of the em ultimately depends on the point size
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Microsoft Sans Serif


MS Sans Serif font, historically called the "8514" variant, which adds sizes 23 and 30 points (high DPI versions of sizes 18 and 24 respectively). Microsoft Sans Serif is a TrueType font that is designed as a vectorized, metric-compatible variant of MS Sans Serif, distributed with Windows 2000 and later. This font also contains most glyphs shipped with any version of Windows until Windows Vista, excluding fonts supporting East Asian ideographs. The PostScript font name is codice_1. Despite being a vectorized replacement, there are
7265446
Typeface


These fonts included the characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used. The size of typefaces and fonts is traditionally measured in points; "point" has been defined differently at different times, but now the most popular is the Desktop Publishing point of ¹⁄₇₂ in (). When specified in typographic sizes (points, kyus), the height of an "em
16953316
Metafont


meta-font). Thus, by changing the value of one of these parameters at one location in the Metafont file, one can produce a consistent change throughout the entire font. Computer Modern Roman illustrates many uses of this feature; a typical TeX installation includes a number of versions of the font in sizes from 5pt to 17pt, with the stroke widths the same in all sizes (rather than increasing as the font is scaled up) and aspect ratios widening in the smaller sizes for increased legibility. In addition, the
355659
Garamond


make letters, especially the lower-case, as high as in an equivalent setting of Times New Roman, the text size must be increased, counterbalancing any cost savings. Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: "any of those changes, swapping to a font that sets smaller at the same nominal point size, or actually reducing the point size, or picking a thinner typeface, will reduce the legibility of the text. That seems like
18807845
Em (typography)


In modern typefaces, the character M is usually somewhat less than one em wide. Moreover, as type includes a wider variety of languages and character sets than just those based on Latin, and needs a consistent way to refer to size, its meaning evolved long ago; this allowed it to include fonts, typefaces, and character sets which do not include a capital "M", such as Chinese and Arabic. Because of how digital type works, the em now always means the point size of the font in question
3150972
Large-print


Large-print (also large-type or large-font) refers to the formatting of a book or other text document in which the typeface (or font), and sometimes the medium, are considerably larger than usual, to accommodate people who have poor vision. Often public special-needs libraries will stock large-print versions of books, along with versions written in Braille. The standard font size for large print is at least 18 points in size, but different sizes are made to suit different visual needs.
22047020
Computer font


A computer font (or font) is implemented as a digital data file containing a set of graphically related glyphs, characters, or symbols such as dingbats. Although the term "font" first referred to a set of movable metal type pieces in one style and size, since the 1990s it is generally used to refer to a set of digital shapes in a single style, scalable to different sizes. A font family or typeface refers to the collection of related fonts across styles and sizes. There are three basic kinds of
5358388
Body height (typography)


In digital typography, the body height refers to the distance between the top of the tallest letterform to the bottom of the lowest one. In manual typesetting, the body height or the font (or point) size is defined by the height of the lead cuboid (metal sort) on which the actual font face is moulded. The body height of a metal sort is a few points bigger than the actual distance between the ascender and descender lines to allow additional space between the lines of text. More space might be achieved
13542294
Brahmic scripts


-size: 75%;" | Tirhuta ! style="font-size: 75%;" | Sylheti ! style="font-size: 75%;" | Brahmi ! style="font-size: 75%;" | Telugu ! style="font-size: 75%;" | Kannada ! style="font-size: 75%;" | Sinhala ! style="font-size: 75%;" | Malayalam ! style="font-size: 75%;" | Tamil ! style="font-size: 75%;" | Burmese ! style="font-
7082592
Typeface


, and 10-point Caslon Italic was another. Historically, fonts came in specific sizes determining the size of characters, and in quantities of sorts or number of each letter provided. The design of characters in a font took into account all these factors. As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific weight (blackness or lightness) and stylistic variants (most commonly "regular" or "roman" as distinct to "italic", as well as "condensed") have
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Fonts on Macintosh


be used for 12-point printing.) This feature was sometimes called "two-times" font printing. Some later Apple QuickDraw-based laser printers supported "four-times" font printing for letter quality output. With the introduction of the LaserWriter and support for PostScript-compatible printers, the Mac system software initially supported outline fonts for printing only. These outline fonts could be printed in letter quality at any size. PostScript fonts came with two files; a bitmap font was installed into the System file, and an outline
9013449
Typeface


typeface is that a font designates a specific member of a type family such as roman, boldface, or italic type, while typeface designates a consistent visual appearance or style which can be a "family" or related set of fonts. For example, a given typeface such as Arial may include roman, bold, and italic fonts. In the metal type era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to
16953311
Cartographic labeling


on a map also slightly decreases the size of the font as it shapely squeezes it around features. When introduced, the idea was to condense the text by italicizing it, thus creating more text on the pages. The slope in the font was created to mimic the flow of cursive handwriting and thus, the angles of italic letters range anywhere from 11 to 30 degree and consequently, serifs are absent. As a general rule on maps, the smaller the point size of a font, the more condensed and difficult it becomes
6709668
System (typeface)


System is a family of proportional raster fonts distributed with Microsoft Windows. Sharing the same letterforms as MS Sans Serif, the font family contains fonts encoded in several Windows code pages, with multiple resolutions of the font for each code page. Fonts of different code pages have different point sizes. Under DBCS Windows environment, specifying this font may also cause applications to use non-System fonts when displaying texts. In Windows 2000 or later, changing script setting in some application's font dialogue (e.g.: Notepad, WordPad) causes
13080320
Sans-serif


engraving. Around 1816, William Caslon IV produced the first sans-serif printing type in England for the Latin alphabet, a capitals-only face under the title 'Two Lines English Egyptian', where 'Two Lines English' referred to the font's body size, which equals to about 28 points. Although it is known from its appearances in the firm's specimen books, no uses of it from the period have been found; Mosley speculates that it may have been commissioned by a specific client. A second hiatus
16953260
EB Garamond


known as the “Berner specimen” which was printed in 1592 by Conrad Berner, son-in-law of Christian Egenolff and his successor at the Egenolff print office. It shows Garamont's roman and Granjon's italic fonts at different sizes. The Greek characters are based on Robert Granjon's work as well. In addition the font includes OpenType features such as swash italic capitals and schoolbook alternates. Duffner's intention was to include multiple optical sizes. As of 2014 his implementation included fonts based on the 8 and 12 point
9381071
Terminal (typeface)


Terminal is a family of monospaced raster typefaces. It is relatively small compared with Courier. It uses crossed zeros, and is designed to approximate the font normally used in MS-DOS or other text-based consoles such as on Linux. In Microsoft Windows, it is used as the default font in the Command Prompt in Windows 7 and earlier. Terminal font family contains fonts encoded in various DOS code pages, with multiple resolutions of the font for each code page. Fixedsys fonts of different code pages have different point sizes
3643416
Koen Heldens


colspan="10" | Peak chart positions ! scope="col" rowspan="2" style="width:12em;" | Certifications ! scope="col" rowspan="2" | Album ! scope="col" style="width:3em;font-size:90%;"| US ! scope="col" style="width:3em;font-size:90%;"| USR&B ! scope="col" style="width:3em;font-size:90%;"| USRap ! scope="col" style="width:3em;font-size:90%;"| AUS ! scope="col" style="width:3em;font-size:90%;"| CAN ! scope="col" style="width:3em;font-size:90%;"| FRA ! scope="col" style="width:3em;font-size:90%;"| UK ! scope="col" style="width:3em;font-size:90%;"| NZ ! scope="col" style="width:3em;font-size:90%;"| SWE ! scope="col" style="width:3em;font-size:90%;"| ITL ! scope="row"| "Blast Off (Gwap
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Point (typography)


at a fixed 4:3 ratio to the pixel due to a general (but wrong) assumption of 96 pixel-per-inch screens. In lead typecasting, most font sizes commonly used in printing have conventional names that differ by country, language and the type of points used. Desktop publishing software and word processors intended for office and personal use often have a list of suggested font sizes in their user interface, but they are not named and usually an arbitrary value can be entered manually. Microsoft Word, for instance, suggests
12511358
Traditional point-size names


points; metal type known as "agate" later ranged from 5 to 5.8 points. The sizes were gradually standardized as described above. Modern Chinese typography uses the following names in general preference to stating the number of points. In ambiguous contexts, the word "hào" ( ,  ,  "number") is added to the end of the size name to clarify the meaning. Note that the Chinese font sizes use American points; the Continental systems traditionally used the Fournier or Didot points. The Fournier points, being smaller
18905377
Delta Goodrem discography


Life", Goodrem earned her fourth number-one album. Goodrem's career global album sales exceed eight million. She has sold approximately 2 million singles, with 1,238,919 copies sold in Australia. ! scope="col" rowspan="2" style="width:14em;"| Title ! scope="col" rowspan="2" style="width:17em;"| Details ! scope="col" colspan="10"| Peak chart positions ! scope="col" rowspan="2" style="width:13em;"| Certifications ! scope="col" style="width:3em;font-size:90%;"| AUS ! scope="col" style="width:3em;font-size:90%;"| AUT ! scope="col" style="width:3em;font-size:90%;"| GER ! scope="col" style="width:3em;font-size:90%;"| IRL ! scope="col" style="width:3em;font-size:90%;"| JPNbr
13041715
Dots per inch


this standard is that with 96 PPI displays, there is no longer a 1-to-1 relationship between the font size in pixels and the printout size in points. This difference is accentuated on more recent displays that feature higher pixel densities. This has been less of a problem with the advent of vector graphics and fonts being used in place of bitmap graphics and fonts. Moreover, many Windows software programs have been written since the 1980s which assume that the screen provides 96 PPI. Accordingly, these programs do not display properly at common alternative
12189871
Camila Cabello discography


" |AUS ! scope="col" style="width:2.5em;font-size:90%;" |CAN ! scope="col" style="width:2.5em;font-size:90%;" |CZE ! scope="col" style="width:2.5em;font-size:90%;" |FRA ! scope="col" style="width:2.5em;font-size:90%;" |IRE ! scope="col" style="width:2.5em;font-size:90%;" |NLD ! scope="col" style="width:2.5em;font-size:90%;" |NZHeat. ! scope="col" style="width:2.5em;font-size:90%;" |POR ! scope="col" style="width:2.5em;font-size:90%;" |UK ! scope="row" |"I Have Questions" ! scope="row" |"OMG"(featuring Quavo) |- ! scope="row"
16207903
Meiryo


It was decided that a new Japanese font was needed, as the current ones (mainly MS Gothic and MS Mincho) are incompatible with Microsoft's ClearType subpixel rendering technology: Meiryo is intended to increase legibility of characters on LCD screens. ClearType has been available in Windows for Latin fonts since the release of Windows XP in October 2001. However, unlike Latin fonts which use the ClearType hinting system for all sizes, the Japanese fonts distributed with Windows included embedded bitmap versions of the fonts in small sizes. Although fonts using only
12199005
Quirks mode


using relative units, a standards-compliant browser would inherit the base font size, then apply the relative font size within the table: for example, a page which declared a base font size of 80% and a table font size of 80% (to ensure a size of 80% in browsers which do not properly inherit font sizes) would, in a standards-compliant browser, display tables with a font size of 64% (80% of 80%). As a result, browsers typically do not
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Brahmic scripts


" |l̥ !! colspan="2" |l̥̄ !! colspan="2" | ṁ !! colspan="2" | ḥ !a!!ka!!ā!!kā!!æ!!kæ!!ɒ!!kɒ!!i!!ki!!ī!!kī!!u!!ku!!ū!!kū!!e!!ke!!ē!!kē!!ai!!kai!!o!!ko!!ō!!kō!!au!!kau!!r̥!!kr̥!!r̥̄!!kr̥̄!!l̥!!kl̥!!l̥̄!!kl̥̄!!ṁ!!kṁ!!ḥ!!kḥ!!k ! style="font-size: 75%;" | Assamese ! style="font-size: 75%;" | Bengali ! style="font-size: 75%;" | Devanagari ! style="font-size: 75%;" | Gujarati ! style="font-size: 75%;" | Odia ! style="font-size: 75%;" | Gurmukhi ! style="font-size: 75%;" | Tibetan ! style="font
7082591
Font rasterization


point positioning ; it does not force glyphs into exact pixel locations, instead using various antialiasing techniques, including subpixel rendering, to position characters and lines to appear closer to the type designer's intent. The result is that the on-screen display looks extremely similar to printed output, but can occasionally be difficult to read at smaller point sizes. Contrary to other rasterizers, Quartz ignores any Postscript or TrueType hints in the font and solely relies on its own algorithm. A simpler type of font antialiasing was introduced in Mac OS
15488727
Point (typography)


In typography, the point is the smallest unit of measure. It is used for measuring font size, leading, and other items on a printed page. The size of the point has varied throughout the history of printing. Since the 18th century, the point's size has varied from 0.18 to 0.4 millimeters. Following the advent of desktop publishing in the 1980s and 1990s, digital printing has largely supplanted the letterpress printing and has established the DTP point (desktop publishing point) as the de facto standard. The DTP point
12511341
STIX Fonts project


is an original design loosely inspired by a smaller 10 point size of Times New Roman, with a higher x-height. In April 2018, the Type 1 version of the STIX Two fonts for use in LaTeX was released. At the same time, the STIX project hosting platform has been migrated to GitHub (https://github.com/stipub/stixfonts/). The STIX Fonts are included in OS X in versions from Lion (10.7) onwards. The javascript framework MathJax uses the STIX fonts for including mathematics in web pages. Installing the fonts on the
9511470
Peter Karow


were cut bolder and wider with decreasing point size. With analogue calculations Peter Karow made it possible to automatically adjust the fonts to certain point sizes. Nowadays, however, this technique is not often used. The Japanese company Fujitsu hired Peter Karow and Jürgen Willrodt from Hamburg to develop a method that would automatically break down Kanji characters into single elements. This method made it possible to store the Kanji font using only 20% of the previously needed storage space without any loss of quality after reassembling the elements. In 1992, Peter
6134810
Aitana discography


The discography of Spanish recording artist Aitana consists of one studio album, one compilation album, one extended play, seven singles, and one promotional single. ! scope="col" rowspan="2" style="width:16em;"| Title ! scope="col" rowspan="2" | Year ! scope="col" colspan="5" | Peak chart positions ! scope="col" rowspan="2" style="width:14em;"| Certifications ! scope="col" rowspan="2" | Album ! scope="col" style="width:3em;font-size:90%;" | SPA ! scope="col" style="width:3em;font-size:90%;" | COLbr ! scope="col" style="width:3em;font-size:90%;" | ECUbr !
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Bodoni


". Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This is very common when optical sizes of font intended for use at display sizes are printed at text size, at which point the hairline strokes can recede to being hard to see. Versions of Bodoni that are intended to be used at text size are "Bodoni Old Face", optimized for 9 points;
4163401
Monaco (typeface)


is the standard font used for all other sizes. There was briefly a third known as MPW, since it was designed to be used with the Macintosh Programmer's Workshop IDE; it was essentially a straight conversion of the bitmap font into an outline font with the addition of some of the same disambiguation features as were added to the TrueType Monaco. The original Monaco 9 point bitmap font was designed so that when a Compact Macintosh window was displayed full screen, such as for a terminal emulator program, it would result in a
22220130
Computer font


anti-aliasing on bitmap fonts whose size does not match the size that the application requests. This technique works well for making the font smaller but not as well for increasing the size, as it tends to blur the edges. Some graphics systems that use bitmap fonts, especially those of emulators, apply curve-sensitive nonlinear resampling algorithms such as 2xSaI or hq3x on fonts and other bitmaps, which avoids blurring the font while introducing little objectionable distortion at moderate increases in size. The difference between bitmap fonts and outline fonts is
5358396
Font


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-point font containing 14 uppercase "A"s, and 34 lowercase "A"s. The rest of
15225478
Glyph Bitmap Distribution Format


glyph is taken from the GNU Unifont. In the above example, the global declarations begin with the "STARTFONT" line and end with the "CHARS" line. "STARTFONT 2.1" defines the version of this BDF file as version 2.1. "FONT -gnu-unifont-medium-r-normal--16-160-75-75-c-80-iso10646-1" defines the font family and face names as an X logical font description. "SIZE 16 75 75" defines this to be a 16 point font, with an X-
18384540
Apple Advanced Typography


drag sliders in the user interface to make glyphs taller or shorter, to make them fatter or thinner, to increase or decrease the size of the serifs, and the like, all independently of one another. Glyphs may even have their fundamental shapes radically altered. Before OpenType introduced Font Variation in September 2016, there is nothing like this in OpenType. Other AAT tables can also have point-size dependent effects; for example, at 12 points, the horizontal and vertical strokes can be of similar width, but at 300
1010662
Didot (typeface)


are the ones drawn by Adrian Frutiger for the Linotype foundry, and by Jonathan Hoefler for H&FJ. Hoefler's design anticipates the degradation of hairline in smaller point sizes by employing heavier weighted strokes in the smaller point sizes. Frutiger's Didot revival, which is bundled with OS X, was specifically intended for display use and not for body text, and adds in addition an even more delicate headline font. A libre open source implementation of Didot including the Cyrillic and Greek alphabet was released under the name Theano Didot by the Russian
4790914
Trinité (typeface)


from metal movable type to phototype, specifically because Romanée was not a single font but several versions, one for each point size, which would not be possible to preserve in phototype. He considered commissioning a new typeface, specifically designed for the new technology, a much better idea. Although it was not his intention, Enschedé invited him to design this new typeface. The name "Trinité" refers to the fact that the font family contains three variants, each with different lengths of ascenders and descenders. To design the typeface
6109950
Johnston (typeface)


and type size (size of x-height in particular) and weight are reciprocal factors for legibility, but enlarging x-height can affect style and appearance. Since the original Johnston weights, Regular and Bold, were maintained as closely as possible, inevitably New Johnston Medium appears very close to Light and Bold. This is the whole point of this particular solution because New Johnston Medium works as the one-fits-all standard font for virtually every application from large type sizes for posters and signs to minute type sizes for
16320574
Linotype machine


supplied over a telegraph line (TeleTypeSetter). It also allowed for several tape perforator operators to prepare paper tape to be processed by a single linotype machine, essentially decoupling the typing speed of the operators from the operating speed of the linotype machine. Each matrix contains the letter form for a single character of a font of type; i.e., a particular type design in a particular size. The letter form is engraved into one side of the matrix. For sizes up to 14 points, and in some matrices of size 16
20236592
Estelle discography


scope="col" style="width:3em;font-size:90%;"|IREbr ! scope="col" style="width:3em;font-size:90%;"|NLDbr ! scope="col" style="width:3em;font-size:90%;"|SWIbr ! scope="col" style="width:3em;font-size:90%;"|USbr ! scope="col" style="width:3em;font-size:85%;"|US R&Bbr ! scope="col" style="width:3em;font-size:85%;"|US Reggae ! scope="row" | "The 18th Day" | 35 || — || — || — || — || — || — || — || — || — ! scope="row" | "Shine" | 6 || 61 || 18 || 29 || 46 || 53 || 29 || 38 || 6 || — ! scope="row" | "All of
606269
QuickDraw


-aligned, diagonal lines will end up thicker than horizontal or vertical ones. Shapes may be drawn filled or framed, using any pattern or color. A filled Arc forms a wedge. Text may be drawn in any installed font, in a variety of stylistic variations, and at any size and color. Depending on how the selected font is stored, text can be scaled in a variety of ways - TrueType fonts will scale smoothly to any size, whereas bitmap fonts do not usually scale well. An important feature of
16233542
Vehicle registration plates of Armenia


Armenian plates had the same style as Russia. Same fonts, and same differing font size for letters and digits were used. On the lower left hand side, the code AM was printed. In 2014, the style changed to the one used in Germany. The country's flag was added above AM on the top left hand side. The fonts were changed to FE-Schrift, and the letters and digits now have the same font size. In addition, a silver identifier band has been added on the right side
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Font


In metal typesetting, a font was a particular size, weight and style of a typeface. Each font was a matched set of type, one piece (called a "sort") for each glyph, and a typeface consisting of a range of fonts that shared an overall design. In modern usage, with the advent of digital typography, "font" is frequently synonymous with "typeface". Each style is in a separate "font file"—for instance, the typeface "Bulmer" may include the fonts "Bulmer roman
15225475
Languages of Singapore


Within the hospital itself, signs for individual blocks, wards, Accident and Emergency department, Specialist Outpatient Clinics, National Heart Centre and National Cancer Centre have signs written in the four official languages. The English titles are still expressed with the largest font first, followed by Malay, Chinese and Tamil in smaller but equally-sized fonts, which is in accordance with order given by Singapore's constitution. Surprisingly, the Health Promotion Board, National Eye and Dental Centres, which are also in the same region, have English signs
4469900
Typeface


type era, all type was cut in metal and could only be printed at a specific size. It was a natural process to vary a design at different sizes, making it chunkier and clearer to read at smaller sizes. Many digital fonts are offered in a range of styles for different sizes, especially designs sold for professional printing use by companies such as Adobe. The art of designing fonts for a specific size is known as optical sizing. Others will be offered in only one style, but optimised for a specific size
16953338
Eagle (typeface)


designer of Novel Gothic, for use on NRA materials. Naturally, it was named for the NRA eagle. It was an all-capitals display font, cast in sizes from 18 to 96 point, and was available at least into the 1940s. The Font Bureau copied this font in 1989 and published lower-case letters for it. In 1990, "Eagle Book" was added to the family for starting text. "Eagle Light" and "Eagle Black" were added to the family in 1994, thus completing
20411723
Linotype machine


, one channel for each character in the font. Most main magazines have 90 channels, but those for larger fonts carried only 72 or even 55 channels. The auxiliary magazines used on some machines typically contained 34 channels or, for a magazine carrying larger fonts, 28 channels. The magazine holds a particular font of type; i.e., a particular type design in a particular size. If a different size or style was needed, the operator would switch to a different magazine. Many models of the Linotype machine could keep several
20236596
Altarpiece of Pellegrino II


letters which are not properly aligned to their baseline provide additional evidence that the artisan worked with separate punches. A total of about forty types, which come in equal parts in a smaller and larger font size, were employed for creating the inscriptions. The smaller ones were used for the names of the saints and the donor's inscription of the patriarch, while the names of the archangels, of the Mother of God, the abbreviations of sanctus/sancta ("holy") and the two-line inscription were printed with
19456559
Variable fonts


paradigm, the font designer creates a variable design, but then chooses specific instances to generate as static, non-variable fonts that get distributed to customers. With variable fonts, however, the font produced and distributed by the font designer can have built-in variability, and the interpolation mechanisms can now be built into operating systems and Web browsers or other applications, with specific design instances selected at time of use. One of the key benefits of the technology is that it can significantly reduce the combined size of font data
16612680
Electra (typeface)


Reyes of Commercial Type for the Academy of American Poets. They chose to work from the 8-point metal type of Electra in response to the project's requirement of a font to be used on the world wide web, the accommodations in physical type for very small print sizes being similar to those in digital fonts for text sizes on screen. A slightly heavier version, Poets Electra No. 2, was also produced for use in the academy's official printed matter. Cyrus Highsmith has designed several newsfaces inspired by Dwiggins's work.
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Monotype typefaces


are designed to have as width a whole number of units of the set. So, for instance, A=14, B=13, C=14... a=8, b,d,h,k,n,p,q=10, c=8 ... The list with these widths is called the "unit-arrangement" (UA). Different fonts can have the same UA. In some font designs the unit-arrangement can be different for each point size, for example, with the Lutetia (typeface) and some other fonts of Jan
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Proggy programming fonts


The Proggy programming fonts are a set of free fixed-width typefaces designed with programming and terminal work in mind. The project started with the four Proggy typefaces authored by Tristan Grimmer: "Proggy Clean", "Square", "Small", and "Tiny", circa 2004. Other contributors had their fonts added to the collection with time, which account to about 10 additional typefaces. It is currently a member of the Gentoo Linux packaging system. The typefaces are usually provided as single-size 9 point raster
20176207
Appearance Manager


used in earlier versions of the Mac OS. A number of additional system fonts are also provided including Capitals, Gadget, Sand, Techno, and Textile. In order to be a system font, glyphs specific to the Mac operating system need to be provided, such as the Command key symbol (⌘). Normally system fonts are displayed at 12 points. Later versions of the Appearance Manager also apply anti-aliasing to type displayed on the screen above a certain size, by default . This improves the overall look of
21657568
MicroDVD


codice_11 defines font size. codice_12 "Hello!" is displayed at the defined font size, with the string "size" determining the desired size as an integer number. For example: codice_13 "Hello!" is displayed at the font size of 10. The control code codice_14 defines font color. codice_15 "Hello!" is displayed in a defined color. The color format is: $BBGGRR (8 bits blue, 8 bits green and 8 bits red). For example: codice_16 "Hello!" is
16902622
Sébastien Truchet


first typographic point, using minute fractions of the line to create a bitmap that could be used to mathematically describe and italicize metal type. Their system had unnecessarily great precision relative to the accuracy with which fonts could actually be cut. Further, it did not match the sizes of the fonts then in use. Fournier subsequently corrected these failings, using a larger point with greater compatibility with existing forms of type. The commission also designed the "" ("King's Roman"), which influenced Philippe Grandjean and through him
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Tag cloud


that are assigned to a category. For smaller frequencies one can specify font sizes directly, from one to whatever the maximum font size. For larger values, a scaling should be made. In a linear normalization, the weight formula_1 of a descriptor is mapped to a size scale of 1 through "f", where formula_2 and formula_3 are specifying the range of available weights. Since the number of indexed items per descriptor is usually distributed according to a power law, for larger ranges of values, a logarithmic representation makes sense
20001378
IBM Selectric typewriter


positioned differently within each character area. Selectric Composer elements can be identified by a colored index arrow (the color is used to set a median character width on the machine) and an abbreviated series of letters and numbers identifying the font, size, and variation, for example "UN-11-B" for Univers 11-point bold (Adrian Frutiger had adapted his Univers font specifically for the Selectric Composer). In addition to Univers, a Century, Times Roman, and later an "Aldine" font (Bembo) were available, as was
63790
Caslon


name. Caslon Old Face is a typeface with multiple optical sizes, including 8, 10, 12, 14, 18, 22, 24, 30, 36, 42, 48, 60, 72, 96 points. Each font has small capitals, long esses and swash characters. The 96 point font came in roman only and without small capitals. Caslon Old Face was released in July 2001. Caslon Ornaments is a typeface containing ornament glyphs. These typefaces are packaged in the following formats: However, following the death
10624462
Bembo


was much lighter in type colour than the original metal type which gained weight through ink spread, much reduced on modern printing equipment. In addition, the digital Bembo was based on the 9 pt metal drawings, creating a font with different proportions to the metal type in the point sizes at which Bembo was most often used in books; Sebastian Carter has pointed particularly to the 'M' being drawn too wide. This made the proportions of the digital font appear wrong, failing to match the subtlety of the metal type and
4632480
IBM Selectric typewriter


copy using proportional fonts in a variety of font styles from 8 points to 14 points. Material prepared on a properly adjusted machine by a skillful operator and printed onto baryta (barium sulfate-coated) paper "would take an expert to tell... [that it] was not the product of a Linotype or Monotype machine". Characters were proportionally spaced, being from 3 to 9 units wide, with the size of a unit being selectable as either 1/72", 1/84", or 1/96", to allow for different
63787
Courier (typeface)


a Courier New alternative for those who found that typeface too thin. Courier Standard, Courier Standard Bold, Courier Standard Bold Italic, Courier Standard Italic are fonts distributed with Adobe Reader 6, as a replacement for the PostScript Courier fonts. The stroke terminators are flat instead of round. The typeface contains code pages 1252, Windows OEM Character Set. The font is Hinted and Smoothed for all point sizes. It contains OpenType layout tables aalt, dlig, frac, ordn, sups for Default Language in Latin script; dlig for
20900780
Em (typography)


An em is a unit in the field of typography, equal to the currently specified point size. For example, one em in a 16-point typeface is 16 points. Therefore, this unit is the same for all typefaces at a given point size. The em dash (—) and em space ( ) are each one "em" wide. Typographic measurements using this unit are frequently expressed in decimal notation (e.g., 0.7 em) or as fractions of 100 or 1000 (e.g., 70/100 em or 700/1000 em)
3150968
Agate (typography)


An agate (US) or ruby (UK) is a unit of typographical measure. It is 5.5 typographical points, or about inch (1.81 mm). It can refer to either the height of a line of type or to a font that is 5.5 points. An is commonly used to display statistical data or legal notices in newspapers. It is considered to be the smallest point size that can be printed on newsprint and remain legible. Due to the small size of agate compared to typical newspaper body text that might
15048250
Phototypesetting


, and bold Italic). It also has a lens turret which has eight lenses giving different point sizes from the font, generally 8 or 12 sizes, depending on the model. Low-range models offer sizes from 6- to 36-point, while the high-range models go to 72-point. The Compugraphic EditWriter series took the Compuwriter IV configuration and added floppy disk storage on an 8-inch, 320 KB disk. This allows the typesetter to make changes and corrections without rekeying. A CRT screen lets the user view typesetting codes and
20777308
Great primer


Great primer is a large font size (18 points) that was used in the printing of English Bibles and other large-format books, leading to its other name of "Bible Text". The largest size ever (or at least up to about 1843) used in England for printing books, it was several sizes larger than English (14 pt) but smaller than paragon (20 pt). It was known in Italian as "testo". Other synonyms include "Double Bourgeois", "18-point",
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Management of dyslexia


: Although there are no treatments or quick cures for dyslexia there are many techniques that can be used to assist dyslexic students in the classroom while reading skills are being remediated. These include such things as: Accessible publishing works to make reading easier for all who struggle with the standard one-size-fits-all method of book publishing. Accessible publishing works with publishers and Print on Demand technology which allows the reader to choose how the books will be published. Available format variations include choosing the font size (from 11 point
12693651
Phototypesetting


manipulating the type, and creates the ability to offer a continuous range of point sizes by eliminating film media and lenses. The Compugraphic MCS (Modular Composition System) with the 8400 typesetter is an example of a CRT phototypesetter. This machine loads digital fonts into memory from an 8-inch floppy disk. There was a dual floppy which could also be used with a 1 or 2 hard disk option. Additionally, the 8400 is able to set type-in point sizes between 5- and 120-point in 1/2-point increments. Type width could be
20777311
Figure space


A figure space is a typographic unit equal to the size of a single typographic figure (numeral or letter), minus leading. Its size can fluctuate somewhat depending on which font is being used. This is the preferred space to use in numbers. It has the same width as a digit and keeps the number together for the purpose of line breaking. In Unicode it is assigned . Its character entity reference is &numsp; . Baudot code may include a figure space. It is character 23 on the Hughes telegraph typewheel
7200301
Typeface


In typography, a typeface (also known as font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts). For example, "ITC Garamond Bold Condensed Italic" means the bold, condensed-width, italic version of ITC Garamond. It is a different font from "ITC Garamond Condensed
16953305
Monotype System


" of the typeface. Thus, if a typeface was described as “12 set”, 18 units would correspond to one pica em. (A "pica em" is a horizontal distance equal to 12 points.) The 12-point size of a typeface could also be 12 set, the 11-point size could be 11 set, and so on. But this was not always true: some typefaces could be somewhat wider or narrower than the standard, and many typefaces were modified to be slightly wider in smaller sizes. The
18511720
Koen Heldens


" rowspan="2" style="width:18em;" | Title ! scope="col" rowspan="2" | Year ! scope="col" colspan="3" | Peak chart positions ! scope="col" rowspan="2" style="width:12em;" | Certifications ! scope="col" rowspan="2" | Album ! scope="col" style="width:3em;font-size:90%;"| US ! scope="col" style="width:3em;font-size:90%;"| USR&B ! scope="col" style="width:3em;font-size:90%;"| USRap ! scope="row"| "Whoa (Mind In Awe)"XXXTentacion ! scope="row"| "I Don't Let Go"XXXTentacion ! scope="row"| "One Minute (XXXTentacion song) (ft. Kanye West & Travis Barker"XXXTentacion ! scope="row"| "Staring At
12276351
Extendible hashing


Bucket A is full (max size 1), so it must be split; because there is more than one pointer to Bucket A, there is no need to increase the directory size. What is needed is information about: In order to distinguish the two action cases: Examining the initial case of an extendible hash structure, if each directory entry points to one bucket, then the local depth should be equal to the global depth. The number of directory entries is equal to 2, and the initial number of buckets
20212721
Computer font


, they are a set of lines and curves instead of pixels; they can be scaled without causing pixellation. Therefore, outline font characters can be scaled to any size and otherwise transformed with more attractive results than bitmap fonts, but require considerably more processing and may yield undesirable rendering, depending on the font, rendering software, and output size. Even so, outline fonts can be transformed into bitmap fonts beforehand if necessary. The converse transformation is considerably harder, since bitmap fonts requires heuristic algorithm to guess and approximate the corresponding
5358400
Angle


and is associated with "alternate interior angles", "corresponding angles", "interior angles", and "exterior angles". There are three special angle pairs which involve the summation of angles: The size of a geometric angle is usually characterized by the magnitude of the smallest rotation that maps one of the rays into the other. Angles that have the same size are said to be "equal" or "congruent" or "equal in measure". In some contexts, such as identifying a point on a
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