Editing Typeface (section)

==Style of typefaces ==
{{See also|List of typefaces|Vox-ATypI classification}}
[[Image:Font types.svg|thumb|right|Illustration of different font types and the names of specific specimens]]

Because an abundance of typefaces has been created over the centuries, they are commonly categorized according to their appearance. At the highest level (in the context of Latin-script fonts), one can differentiate Roman, Blackletter, and Gaelic types. [[Roman type]]s are in the most widespread use today, and are sub-classified as serif, sans serif, ornamental, and script types. Historically, the first European fonts were blackletter, followed by Roman serif, then sans serif and then the other types. The use of Gaelic faces was restricted to the Irish language, though these form a unique if minority class. Typefaces may be monospaced regardless of whether they are Roman, Blackletter, or Gaelic. Symbol typefaces are non-alphabetic. The Cyrillic script comes in two varieties, Roman-appearance type (called [[гражданский шрифт]] ''graždanskij šrift'') and traditional Slavonic type (called славянский шрифт ''slavjanskij šrift'').{{citation needed|date=December 2015}}

===Roman typefaces===

====Serif typefaces====
{{Main|Serif}}
[[File:Three ages.png|thumb|The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by [[Garamond]], [[Baskerville]] and [[Didot (typeface)|Didot]].]]Serif, or ''Roman'', typefaces are named for the features at the ends of their strokes. [[Times New Roman]] and [[Garamond]] are common examples of serif typefaces. Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines. Serif fonts are often classified into three subcategories: '''Old Style''', '''Transitional''', and '''[[Didone (typography)|Didone]]''' (or Modern), representative examples of which are [[Garamond]], [[Baskerville]], and [[Bodoni]] respectively.

Old Style typefaces are influenced by early Italian lettering design.<ref>Carter, Day, and Meggs. ''Typographic Design: Form and Communication''. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 34.</ref> Modern fonts often exhibit a bracketed serif and a substantial difference in weight within the strokes. Though some argument exists as to whether Transitional fonts exist as a discrete category among serif fonts, Transitional fonts lie somewhere between Old Style and Modern style typefaces. Transitional fonts exhibit a marked increase in the variation of stroke weight and a more horizontal serif compared to Old Style. Slab serif designs have particularly large serifs, and date to the early nineteenth century. The earliest known slab serif font was first shown around 1817 by the English typefounder [[Vincent Figgins]].<ref>Carter, Day, and Meggs. ''Typographic Design: Form and Communication''. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 35.</ref>

''Roman'', ''italic'', and ''oblique'' are also terms used to differentiate between upright and two possible slanted forms of a typeface. Italic and oblique fonts are similar (indeed, oblique fonts are often simply called italics) but there is strictly a difference: ''italic'' applies to fonts where the letter forms are redesigned, not just slanted. Almost all serif faces have italic forms; some sans-serif faces have oblique designs. (Most faces do not offer both as this is an artistic choice by the font designer about how the slanted form should look.)<ref>Williams, Robin. ''The Non-Designer's Type Book''. Berkeley, CA: Peachpit Press, 1998: 16.</ref>

====Sans-serif typefaces====
{{Main|Sans-serif}}
[[File:Helvetica.svg|thumb|The sans-serif [[Helvetica]] ({{lang|de|Neue Haas Grotesk}}) typeface]]
Sans serif (lit. without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs, was shown in 1816 by William Caslon IV. Many have minimal variation in stroke width, creating the impression of a minimal, simplified design. When first introduced, the faces were disparaged as "grotesque" (or {{notatypo|"grotesk"}}) and "gothic":<ref name="Phinney">{{cite magazine |magazine=Design, Technology and Grapics | title=Sans Serif: Gothic and Grotesque |date=October 17, 2020  |first=Thomas |last=Phinney |url=https://graphic-design.com/2020/10/17/sansserif_gothic_grotesque/ |publisher=Showker, Inc.}}</ref> but by the late nineteenth century were commonly used for san-serif without negative implication.<ref name="acumin">{{cite web |last1=Berry |first1=John |title=A Neo-Grotesque Heritage |url=http://acumin.typekit.com/history/ |publisher=Adobe Systems |access-date=15 October 2015}}</ref>

The major [[Sans-serif#Classification|sub-classes of Sans-serif]] are "[[Sans-serif#Grotesque|Grotesque]]", "[[Sans-serif#Neo-grotesque|Neo-grotesque]]", "[[Sans-serif#Geometric|Geometric]]" and "[[Sans-serif#Humanist|Humanist]]".

===Blackletter typefaces===
{{Main|Blackletter}}
"Blackletter" is the name of the class of typefaces used with the earliest [[printing press]]es in Europe, which imitated the [[calligraphy]] style of that time and place. Various forms exist including [[textualis]], [[rotunda (script)|rotunda]], [[schwabacher]] and [[Fraktur (typeface)|fraktur]]. (Some people refer to Blackletter as "[[gothic script (disambiguation)|gothic script]]" or "gothic font", though the term "Gothic" in typography refers to [[sans serif]] typefaces.<ref name="acumin" />)

===Gaelic typefaces===
{{Main|Gaelic type}}
Gaelic fonts were first used for the [[Irish language]] in 1571, and were used regularly for Irish until the early 1960s, though they continue to be used in display type and type for signage. Their use was effectively confined to Ireland, though Gaelic typefaces were designed and produced in France, Belgium, and Italy. Gaelic typefaces make use of [[insular script|insular]] letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition.<ref>Lynam, E. W. 1969. ''The Irish character in print: 1571–1923''. New York: Barnes & Noble. First printed as [[Oxford University Press]] offprint 1924 in ''Transactions of the Bibliographical Society'', 4th Series, Vol. IV, No. 4, March 1924.</ref><ref>McGuinne, Dermot. ''Irish type design: A history of printing types in the Irish character''. Blackrock: Irish Academic Press. {{ISBN|0-7165-2463-5}}</ref> Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.<ref>{{cite web |author-link=Michael Everson |last=Everson |first=Michael |url=https://www.evertype.com/celtscript/fonthist.html |title=Gaelic Typefaces: History and Classification |date=2000-06-19}}</ref>

===Monospaced typefaces===
{{Main|Monospaced font}}
[[File:Courier simple sample.png|thumb|Courier, a monospaced slab serif typeface. All the letters occupy spaces the same width.]]

Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where the ''w'' and ''m'' are wider than most letters, and the ''i'' is narrower). The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed. Their use continued with early computers, which could only display a single font. Although modern computers can display any desired typeface, monospaced fonts are still important for [[computer programming]], terminal emulation, and for laying out tabulated data in [[plain text]] documents; they may also be particularly legible at small sizes due to all characters being quite wide.<ref>{{cite news|last1=Spolsky|first1=Joel|title=User Interface Design For Programmers |url=http://www.joelonsoftware.com/uibook/fog0000000249.html |website=Joel On Software |date=24 October 2001|access-date=15 July 2015}}</ref> [[List of typefaces#Monospaced|Examples of monospaced typefaces]] are [[Courier (typeface)|Courier]], [[Prestige Elite]], [[Fixedsys]], and [[Monaco (typeface)|Monaco]]. Most monospaced fonts are sans-serif or slab-serif as these designs are easiest to read printed small or display on low-resolution screens, though many exceptions exist.

===CJK typefaces===
{{Main|CJK characters}}
CJK, or Chinese, Japanese and Korean typefaces consist of large sets of glyphs. These typefaces originate in the glyphs found in brush calligraphy during the Tang dynasty. These later evolved into the Song style (宋体字) which used thick vertical strokes and thin horizontal strokes in wood block printing.<ref>Joseph Needham, ''Science & Civilisation in China'', Vol. 5 Part 1, Paper & Printing, pg 224–226.</ref>

The glyphs found in CJK fonts are designed to fit within a square. This allows for regular vertical, horizontal, right-to-left and left-to-right orientations. CJK fonts can also include an extended set of monospaced Latin characters. This commonly results in complex, sometimes contradictory rules and conventions for mixing languages in type.

====Mincho====
{{Main|Ming (typefaces)}}
With CJK typefaces, Mincho style tends to be something like Serifs for the end of stems, and in fact includes Serifed glyphs for Extended Latin and Cyrillic sets within a typeface.

====Gothic====
With CJK typefaces, Goth style tends to be something like Sans Serifs with squarish, cut off end-caps for the end of stems, and in fact includes Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.

====Maru====
With CJK typefaces, Maru style tends to be something like Sans Serifs with rounded end-caps for the end of stems, and in fact includes Rounded Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface.