Editing Typeface (section)

==Display type==
{{main|Display typeface}}
[[File:Theydon Bois.JPG|thumb|left|[[London Underground]]'s [[Johnston (typeface)|Johnston]] typeface, printed on a large sign]]

Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces. Most effect typefaces are display types. Common features of display type include tighter default letter spacing, finer details and serifs, slightly more condensed letter shapes and larger differences between thick and thin strokes; many of these are most visible in serif designs. Many display typefaces in the past such as those intended for posters and newspaper headlines were also only cut in capitals, since it was assumed lower-case would not be needed, or at least with no italics. This was true of many early sans-serif fonts.

[[File:Perpetua Text and Titling.png|thumb|Comparison between the typeface [[Perpetua (typeface)|Perpetua]] and its display variant, Perpetua Titling (above). The display type has slimmer stroke width and taller letters.]]

In the days of metal type, when each size was cut individually, types intended for display use were often adjusted accordingly. These modifications continued to be made even after fonts started to be made by scaling using a pantograph, but began to fade away with the advent of phototypesetting and then digital fonts, which can both be printed at any size. Premium digital fonts used for magazines, books and newspapers do often include display variants, but they are often not included with typefaces bundled with operating systems and desktop publishing software.<ref>{{cite web |title=Optical size |publisher=[[Adobe Systems]] |url=https://www.adobe.com/type/topics/opticalsize.html |url-status=dead |date=2010-05-31 |archive-url=https://web.archive.org/web/20100605130012/https://www.adobe.com/type/topics/opticalsize.html |archive-date=5 June 2010}}</ref><ref>{{cite web|title=Requiem: A font for all sizes |url=http://www.typography.com/fonts/requiem/features/ |publisher=[[Hoefler & Frere-Jones]] |access-date=3 October 2014}}</ref> Display typefaces in the letterpress period were often made as [[wood type]], being lighter than metal.

Decades into the desktop publishing revolution, few typographers with metal foundry type experience are still working, and few digital typefaces are optimized specifically for different sizes, so the misuse of the term display typeface as a synonym for ornamental type has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces. At the same time, with new printing techniques, typefaces have largely replaced hand-lettering for very large signs and notices that would once have been painted or carved by hand.<ref>{{cite web|last1=Simonson|first1=Mark|author-link=Mark Simonson|title=Not a Font|url=http://www.marksimonson.com/notebook/view/not-a-font|website=Mark Simonson Studio blog|date=8 February 2009 |access-date=26 December 2014}}</ref>

===Script typefaces===
{{Main|Script typeface}}
[[Image:Coronet font.svg|thumbnail|right|Coronet, a script typeface]]

Script typefaces imitate handwriting or [[calligraphy]]. They do not lend themselves to quantities of [[body text]], as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Historically, most lettering on logos, displays, shop frontages did not use fonts but was rather custom-designed by signpainters and engravers, so many emulate the styles of hand-drawn signs from different historical periods. The genre has developed rapidly in recent years due to modern font formats allowing more complex simulations of handwriting.<ref name="Lettercentric: Type as Writing">{{cite web|last1=Shaw|first1=Paul|title=Lettercentric: Type as Writing|url=http://www.printmag.com/article/lettercentric-type-as-writing/|website=Print|date=7 April 2010|access-date=21 September 2015}}</ref> Examples include [[Coronet (typeface)|Coronet]] (a quite simple design from 1937) and [[Zapfino]] (a much more complicated digital design).

===Mimicry typefaces <span class="anchor" id="Ethnic typefaces"></span>===
{{See also|Foreign branding}}
[[Image:Faux Hebrew.png|thumbnail|right|Simulated Hebrew]]
Mimicry typefaces are decorative typefaces that have been designed to represent characters of one alphabet but at the same time evoke another [[writing system]].<ref name="Silverstein Forward">{{cite web |last1=Silverstein |first1=Andrew |title=In the rarified world of Jewish letters, a mind-boggling font of Jewish history |url=https://forward.com/culture/507668/faux-hebrew-font-jewish-antisemitic-soy-vey-origins-fake-yiddish-letters/ |website=[[The Forward]] |date=22 July 2022 |access-date=1 September 2022}}</ref> This group includes Roman typefaces designed to appear as [[Arabic]], [[Chinese character]]s ([[Wonton font]]s), [[Cyrillic script|Cyrillic]] ([[Faux Cyrillic]]), [[Indic scripts]], [[Greek alphabet|Greek]] (an example being [[Lithos]]), [[Hebrew alphabet|Hebrew]] ([[Faux Hebrew]]), [[Kana]], or [[Thai alphabet|Thai]]. These are used largely for the purpose of novelty to make something appear foreign, or to make businesses offering foreign products, such as restaurants, clearly stand out.<ref>{{cite web|last1=Shaw|first1=Paul|author-link=Paul Shaw (design historian)|title=Stereo Types|url=http://www.printmag.com/article/stereo_types/|website=Print Magazine|date=17 June 2009|archive-url=https://web.archive.org/web/20100116212853/http://www.printmag.com/article/stereo_types/|access-date=1 October 2014|archive-date=2010-01-16}}</ref><ref>{{cite web|last1=Chachra|first1=Deb|title=Faux Devangari|url=http://hilobrow.com/2014/08/10/kern-your-enthusiasm-10/|website=HiLoBrow|access-date=1 October 2014}}</ref><ref>{{cite web |last1=Giampetro |first1=Rob |title=New Black Face: Neuland and Lithos as Stereotypography |url=https://linedandunlined.com/archive/new-black-face/ |website=Lined & Unlined |access-date=12 October 2021}}</ref> This typographic mimicry is also known as a faux font (named faux x, where x is usually a language script), pseudoscript, ethnic typeface, simulation typeface or a "foreign look" font.<ref>{{Cite journal|last=Paul|first=Sutherland|date=2015|title=Writing System Mimicry in the Linguistic Landscape|url=https://www.soas.ac.uk/linguistics/research/workingpapers/volume-17/file105419.pdf|journal=SOAS Working Papers in Linguistics|volume=17|pages=147–167}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=ltYtDwAAQBAJ&pg=PA166|title=Sacred Languages of the World: An Introduction|last=Bennett|first=Brian P.|date=2017-09-25|publisher=John Wiley & Sons|isbn=9781118970782|page=166|language=en}}</ref><ref>{{Cite book |chapter-url=http://www.newbooks-services.de/MediaFiles/Texts/8/9783631617168_Intro_005.pdf|title=Linguistic landscapes, multilingualism and social change |last=Seargeant|first=Philip|year=2012|pages=187–200|chapter=Between script and language: The ambiguous ascription of 'English' in the linguistic landscape}}</ref>

===Reverse-contrast typefaces===
{{Main|Reverse-contrast typefaces}}
[[File:Reverse contrast.png|thumb|Reverse-contrast type compared to a [[fat face]] design. Both are very bold, but the fat face's thick lines are the verticals and the reverse-contrast's are the horizontals.]]

A reverse-contrast type is a typeface in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet printing, the horizontal lines are the thickest.<ref name="Type Tuesday Eye">{{cite magazine |first1=Christian |last1=Schwartz |first2=Paul |last2=Barnes |title=Deep in the archives: Caslon's Italian, ca. 1821. Specimen & punches. |date=12 July 2011 |url=https://www.eyemagazine.com/blog/post/type-tuesday13 |magazine=Eye |access-date=10 August 2015}}</ref> Reverse-contrast types are rarely used for body text, and are particularly common in [[Typeface#Display type|display]] applications such as headings and posters, in which their unusual structure may be particularly eye-catching.<ref name="Anatomy of a typeface">{{cite book|last1=Lawson|first1=Alexander|title=Anatomy of a typeface|date=1990|publisher=Godine|location=Boston|isbn=9780879233334|pages=321–323|edition=1st}}</ref> First seen in London in 1821, they were particularly common in the mid- to late nineteenth century in American and British printing and have been revived occasionally since then. They effectively become [[slab serif]] designs because of the serifs becoming thick, and are often characterised as part of that genre. In recent times, the reverse-contrast effect has been extended to other kinds of typeface, such as [[sans-serif]] designs.<ref name="Fontlists: reverse contrast">{{cite web|last1=Peters|first1=Yves|title=Fontlists: reverse contrast|url=https://www.fontshop.com/people/yves-peters/fontlists/reverse-contrast|website=Fontshop|access-date=15 August 2015}}</ref>

===Effect typefaces===
[[File:Display typefaces.png|thumb|left|Three typefaces designed for headings, offering a clear contrast to body text]]

Some typefaces have a structure that suggests a three-dimensional letter, such as letters carved into stone. An example of this is the genre known as 'inline', 'block' 'outline' or 'shadowed' typefaces. This renders the interior of glyphs in the background color, with a thin line around the edges of the glyphs. In some cases, the outline shows the glyph filled in with the foreground color, surrounded a thin outline mirroring the edges separated by a small gap. (This latter style is often used with "college" typefaces.) Colorized block lettering is often seen in carefully rendered [[graffiti]].

A "shadow" effect can also be either designed into a typeface or added to an existing typeface. Designed-in shadows can be stylized or connected to the foreground. An after-market shadow effect can be created by making two copies of each glyph, slightly offset in a diagonal direction and possibly in different colors. [[Drop shadow]]s can also be dynamically created by rendering software. The shadow effect is often combined with the outline effect, where the top layer is shown in white with black outline and the bottom layer in black, for greater contrast. An example typeface with an 'inline' effect is [[Imprint (typeface)|Imprint Shadowed]], where the shadowed version is more widely distributed than the regular design.<ref name="Microsoft Typography Imprint">{{cite web|title=Imprint MT|url=https://www.microsoft.com/typography/fonts/family.aspx?FID=107|website=Microsoft Typography|publisher=Microsoft|access-date=12 July 2015}}</ref>

===Small print typefaces===
Some typefaces are specifically designed to be printed at small sizes, for example in telephone directories or on newsprint paper. [[Bell Gothic]] and [[Bell Centennial]], commissioned for telephone directories, are notable examples of this. Small-print designs often feature a large [[x-height]], and a chunky design. Some fonts used at such sizes may be members of a larger typeface family joining members for normal sizes. For example, the [[Times New Roman]] family contains some designs intended for small print use, as do many families with optical sizes such as [[Minion (typeface)|Minion]].

In the metal type era, typefaces intended to be printed small contained [[ink trap]]s, small indentations at the junctions of strokes that would be filled up with ink spreading out, maintaining the intended appearance of the type design. Without ink traps, the excess ink would blob and ruin the crisp edge. At larger sizes, these ink traps were not necessary, so display faces did not have them. They have also been removed from most digital fonts, as these will normally be viewed on screen or printed through inkjet printing, laser printing, offset lithography, electrophotographic printing or other processes that do not show the ink spread of letterpress. Ink traps have remained common on designs intended to be printed on low-quality, absorbent paper, especially [[newsprint]] and telephone directories.