Editing Typeface (section)

==Terminology==
[[Image:Metal type.svg|thumb|right|200px|'''Diagram of a cast metal sort'''. '''a''' face, '''b''' body or shank, '''c''' point size, '''1''' shoulder, '''2''' nick, '''3''' groove, '''4''' foot.]]
In professional [[typography]],{{efn|The art and craft of designing pages (and books) ''using'' typefaces and other devices.}} the term ''typeface'' is not interchangeable with the word ''[[font]],''{{efn|[[Archaism|archaically]] "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, and 10-point Caslon Italic was another. Historically, a font came from a [[type foundry]] as a set of "[[sort (typesetting)|sort]]s", with number of copies of each character included.

As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific [[font weight|weight]] (blackness or lightness) and [[font style|stylistic variants]] (most commonly ''regular'' or ''[[Roman type|roman]]'' as distinct from ''[[Italic type|italic]]'', as well as ''condensed'') have led to ''font families'', collections of closely related typeface designs that can include hundreds of styles. A '''typeface family''' is typically a group of related typefaces which vary only in weight, orientation, [[font width|width]], etc., but not design. For example, [[Times New Roman|Times]] is a typeface family, whereas Times Roman, Times Italic and Times Bold are individual typefaces making up the Times family. Typeface families typically include several typefaces, though some, such as [[Helvetica]], may consist of dozens of fonts. In traditional typography, a '''font family''' is a set of fonts within the same typeface: for example Times Roman 8, Times Roman 10, Times Roman 12 etc. In [[web typography]], the term 'font family' (as specified using the [[HTML]] code  {{code|1=span style="font-family:}} ) may equate to a 'typeface family' or even to a very broad category such as [[sans-serif]] that encompass many typeface families.

Another way to look at the distinction between font and typeface is that a font is the vessel (e.g. the software) that allows you to use a set of characters with a given appearance, whereas a typeface is the actual design of such characters.<ref>{{Cite web|title=Lettering is not type|url=http://type-tones.typenetwork.com/news/article/clear-definitions|access-date=2020-11-24|language=en-US|archive-date=2022-02-02|archive-url=https://web.archive.org/web/20220202143248/http://type-tones.typenetwork.com/news/article/clear-definitions|url-status=dead}}</ref> Therefore, a given typeface, such as Times, may be rendered by different fonts, such as [[computer font]] files created by this or that vendor, a set of metal type characters etc. In the [[Type metal|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 any size.

The first "extended" font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting with [[American Type Founders|ATF]]'s [[Cheltenham (typeface)|Cheltenham]] (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed by [[Morris Fuller Benton]].<ref>McGrew, Mac. ''American Metal Typefaces of the Twentieth Century (second edition)''. New Castle, DE: Oak Knoll Books, 1993: 85–87. {{ISBN|0-938768-39-5}}.</ref> Later examples include [[Futura (typeface)|Futura]], [[Lucida]], [[ITC Officina]]. Some became superfamilies as a result of revival, such as [[Syntax (typeface)|Linotype Syntax]], [[Univers|Linotype Univers]]; while others have alternate styling designed as compatible replacements of each other, such as [[Compatil]], [[Generis (typeface)|Generis]].

[[File:PT superfamily.png|thumb|PT Serif (above) and PT Sans (below) from the [[PT Fonts|PT font superfamily]], showing the similarities in letter structure.]]

[[Font superfamily|Font ''superfamilies'']] began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing (serifed) Clearface. The superfamily label does not include quite different designs given the same family name for what would seem to be purely marketing, rather than design, considerations: [[Caslon Antique]], [[Futura (typeface)|Futura]] Black and Futura Display are structurally unrelated to the Caslon and Futura families, respectively, and are generally not considered part of those families by typographers, despite their names.

Additional or supplemental [[glyph]]s intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the [[Adobe Type|Adobe Systems type group]] introduced the idea of ''expert set'' fonts, which had a standardized set of additional glyphs, including [[small caps]], [[old style figures]], and additional superior letters, [[Fraction (mathematics)|fractions]] and [[Typographical ligature|ligatures]] not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as [[Swash (typography)|swashes]], [[dingbat]]s, and alternate character sets, complementing the regular fonts under the same family.<ref>{{cite web |title= Expert Font |url=http://typophile.com/node/40309 |website=Typophile.com |url-status=dead |archive-url=https://web.archive.org/web/20180103183444/http://www.typophile.com/node/40309 |archive-date=3 January 2018 |quote=Expert set fonts are becoming less common with advent of OpenType which allows for these extras to be included in the same font that contains the default glyphs, accessed more easily, and inserted into a layout without damaging the underlying text.}}</ref> However, with introduction of font formats such as [[OpenType]], those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs.

Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way. 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.

===Sizing===
The size of typefaces and [[font]]s is traditionally measured in [[Point (typography)|points]];<ref>Graham, Lisa. ''Basics of Design: Layout & Typography for Beginners''. New York: Delmar, 2002: 184. {{ISBN|0-7668-1362-2}}.</ref> ''point'' has been defined differently at different times, but now the most popular is the Desktop Publishing point of {{frac|1|72}}&nbsp;in ({{convert|0.0139|in|mm|abbr=on|disp=or}}). When specified in typographic sizes (points, kyus), the height of an ''em-square'', an invisible box which is typically a bit larger than the distance from the tallest [[Ascender (typography)|ascender]] to the lowest [[descender]], is scaled to equal the specified size.<ref>Apple's [https://developer.apple.com/textfonts/TTRefMan/RM01/Chap1.html#master TrueType Reference Manual] Retrieved on 2009-06-21</ref> For example, when setting [[Helvetica]] at 12 point, the em square defined in the Helvetica font is scaled to 12 points or {{convert|1/6|in|mm|abbr=on|disp=or}}. 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 height of the capital letters. Font size is also commonly measured in millimeters (mm) and ''q''s (a quarter of a millimeter, ''kyu'' in romanized Japanese) and inches.