Clearface Gothic Bold
NOTIFICATION OF LICENSE AGREEMENTThis typeface is the property of Monotype Imaging Inc. And its use by you is covered under the terms of a license agreement. You have obtained this typeface software either directly from Monotype Imaging or together with software distributed by one of the licencees of Monotype Imaging.This software is a valuable asset of Monotype Imaging.
Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to use on up to five (5) workstation for your own publishing use.
Contents.Terminology In professional typography, the term typeface is not interchangeable with the word (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, and 10-point Caslon Italic was another. Historically, fonts came in specific sizes determining the size of characters, and in quantities of 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 (blackness or lightness) and (most commonly regular or as distinct to, as well as condensed) have led to font families, collections of closely related typeface designs that can include hundreds of styles. A font family is typically a group of related fonts which vary only in weight, orientation, etc., but not design.
For example, is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families typically include several fonts, though some, such as, may consist of dozens of fonts.The distinction between font and typeface is that a font designates a specific member of a type family such as roman, or, 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 may include roman, bold, and italic fonts. In the era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size.The first 'extended' font families, which included a wide range of widths and weights in the same general style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 's (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed. Later examples include,. Some became superfamilies as a result of revival, such as,; while others have alternate styling designed as compatible replacements of each other, such as,. PT Serif (above) and PT Sans (below) from the, showing the similarities in letter structure.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:, 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 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 introduced the idea of expert set fonts, which had a standardized set of additional glyphs, including, and additional superior letters, and not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as, and alternate character sets, complementing the regular fonts under the same family. However, with introduction of font formats such as, 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.The size of typefaces and is traditionally measured in; point has been defined differently at different times, but now the most popular is the Desktop Publishing point of 1⁄ 72 in (0.0139 in or 0.35 mm). 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 to the lowest, is scaled to equal the specified size.
For example, when setting at 12 point, the em square defined in the Helvetica font is scaled to 12 points or ⅙ in (0.17 in or 4.3 mm). 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 qs (a quarter of a millimeter, kyu in romanized Japanese) and inches.History. Israeli typographer examines Hadassah Hebrew typeface sketches.
The sequence was shot in his study in (near Jerusalem) in 1978.Type foundries have cast fonts in alloys from the 1450s until the present, although wood served as the material for some large fonts called wood type during the 19th century, particularly in the. In the 1890s the mechanization of typesetting allowed automated casting of fonts on the fly as lines of type in the size and length needed. This was known as continuous casting, and remained profitable and widespread until its demise in the 1970s. The first machine of this type was the, invented. During a brief transitional period (c. 1950s–1990s), photographic technology, known as, utilized tiny high-resolution images of individual glyphs on a film strip (in the form of a film negative, with the letters as clear areas on an opaque black background). A high-intensity light source behind the film strip projected the image of each glyph through an optical system, which focused the desired letter onto the light-sensitive phototypesetting paper at a specific size and position.
This photographic typesetting process permitted optical, allowing designers to produce multiple sizes from a single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example, and spikes to allow for spread of encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed fine between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in the 1960s and 1970s.
By the mid-1970s, all of the major typeface technologies and all their fonts were in use: letterpress; continuous casting machines; phototypositors; computer-controlled phototypesetters; and the earliest digital typesetters – bulky machines with primitive processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling font, which has come to primarily refer to a containing scalable outline letterforms ( digital font), in one of several common formats. Some typefaces, such as, are designed primarily for use on. Digital type. Comparison between printed (top) and digital (bottom) versions of.Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a in a, or by mathematical description of lines and curves in an outline font, also called a.
Clearface Gothic Free Font
Bitmap fonts were more commonly used in the earlier stages of digital type, and are rarely used today. These bitmapped typefaces were first produced by Casady & Greene, Inc. And were also known as Fluent Fonts. Fluent Fonts became mostly obsolete with the creation of downloadable PostScript fonts, and these new fonts are called Fluent Laser Fonts (FLF).When an outline font is used, a (in the application software, operating system or printer) renders the character outlines, interpreting the vector instructions to decide which pixels should be black and which ones white.
Rasterization is straightforward at high resolutions such as those used by and in high-end publishing systems. For, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts use to make readable bitmaps at small sizes.Digital fonts may also contain data representing the metrics used for composition, including pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everyday like fl. Common font formats include, and, while is still used by and its variants. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer, products and those of several other companies. Digital fonts are created with font editors such as, RoboFont, Glyphs, 's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio.Typeface anatomy. Main article:Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all.
Serifs, for example, are a purely decorative characteristic of typefaces used for European scripts, whereas the glyphs used in Arabic or East Asian scripts have characteristics (such as stroke width) that may be similar in some respects but cannot reasonably be called serifs and may not be purely decorative.Serifs Sans serif fontSerif fontSerif font with serifshighlighted in redTypefaces can be divided into two main categories:. Comprise the small features at the end of strokes within letters.
The printing industry refers to typeface without serifs as sans serif (from French sans, meaning without), or as grotesque (or, in, grotesk).Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serifs represents only one of many factors to consider when choosing a typeface.Typefaces with serifs are often considered easier to read in long passages than those without. Studies on the matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Web sites do not have to specify a font and can simply respect the browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen.Proportion.
See also: andMost share the notion of a: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The descent spans the distance between the baseline and the lowest descending glyph in a typeface, and the part of a glyph that descends below the baseline has the name. Conversely, the ascent spans the distance between the baseline and the top of the glyph that reaches farthest from the baseline. The ascent and descent may or may not include distance added by accents or diacritical marks.In the, and (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs as the, and the part of a glyph rising above the x-height as the. The distance from the baseline to the top of the ascent or a regular uppercase glyphs (cap line) is also known as the cap height.
The height of the ascender can have a dramatic effect on the readability and appearance of a font. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces.Typefaces that can be substituted for one another in a document without changing the document's text flow are said to be 'metrically identical' (or 'metrically compatible'). Several typefaces have been created to be metrically compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available.
For instance, the free and open-source and have been designed as metrically compatible substitutes for widely used fonts. Optical sizing. Main article:During the metal 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 typefaces are offered with a range of fonts (or a variable font axis) for different sizes, especially designs sold for professional design use. The art of designing fonts for a specific size is known as.
Others will be offered in only one style, but optimised for a specific size. Optical sizes are particularly common for serif fonts, since the fine detail of serif fonts can need to be bulked up for smaller sizes.Typefaces may also be designed differently considering the type of paper on which they will be printed. Designs to be printed on absorbent paper will be more slender as the ink will naturally spread out as it absorbs into the paper, and may feature: areas left blank into which the ink will soak as it dries. These corrections will not be needed for printing on high-gloss cardboard or display on-screen.
Fonts designed for low-resolution displays, meanwhile, may avoid pure circles, fine lines and details a screen cannot render. Typesetting numbers. Proportional (left-side) and tabular (right-side) numeric digits, drawn as lining figures.Most typefaces, especially modern designs, include a complementary set of numeric digits.Numbers can be typeset in two main independent sets of ways: lining and, and proportional and tabular styles.Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters., styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to the style of running text. They are also called lower-case numbers or text figures for the same reason.The horizontal spacing of digits can also be proportional, with a character width tightly matching the width of the figure itself, or tabular, where all digits have the same width. Proportional spacing places the digits closely together, reducing empty space in a document, and is thought to allow the numbers to blend into the text more effectively. As tabular spacing makes all numbers with the same number of digits the same width, it is used for typesetting documents such as price lists, stock listings and sums in mathematics textbooks, all of which require columns of numeric figures to line up on top of each other for easier comparison. Tabular spacing is also a common feature of simple printing devices such as and date-stamps.Characters of uniform width are a standard feature of so-called, used in programming and on typewriters.
However, many fonts that are not monospaced use tabular figures. More complex font designs may include two or more combinations with one as the default and others as alternate characters. Of the four possibilities, non-lining tabular figures are particularly rare since there is no common use for them.Fonts intended for professional use in documents such as business reports may also make the bold-style tabular figures take up the same width as the regular (non-bold) numbers, so a bold-style total would appear just as wide as the same sum in regular style. Style of typefaces. The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by, and.Serif, or Roman, typefaces are named for the features at the ends of their strokes. And 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 (or Modern), representative examples of which are, and respectively.Old Style typefaces are influenced by early Italian lettering design.
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 slab serif font, Antique, later renamed Egyptian, was first shown in 1815 by the English typefounder Vincent Figgins.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.) Sans-serif typefaces.
The sans-serif typefaceSans 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. Sans serif fonts are commonly but not exclusively used for display typography such as signage, headings, and other situations demanding legibility above high readability. The text on electronic media offers an exception to print: most web pages and digitized media are laid out in sans serif typefaces because serifs often detract from readability at the low resolution of.
Many have minimal variation in stroke width, creating the impression of a minimal, simplified design.A well-known and popular sans serif font is 's, popularized for desktop publishing by inclusion with 's LaserWriter laserprinter and having been one of the first readily available digital typefaces., popularized by Microsoft, is a common Helvetica substitute. Other fonts such as, and have also remained popular over many decades.Blackletter typefaces. Main article:Gaelic fonts were first used for the 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 letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition. Early fonts used for the, also using insular letterforms, can be classified as Gaelic typefaces, distinct from or typefaces. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.
Monospaced typefaces. 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, terminal emulation, and for laying out tabulated data in documents; they may also be particularly legible at small sizes due to all characters being quite wide.
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 article: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.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. 's typeface, printed on a large signDisplay 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. Comparison between the typeface 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, display types were often cut that were adjusted for display use. 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.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. Script typefaces. Coronet, a script typefaceScript typefaces imitate handwriting. They do not lend themselves to quantities of, 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. Examples include (a quite simple design from 1937) and (a much more complicated digital design).Ethnic typefaces. Simulated HebrewEthnic typefaces are decorative typefaces that have been designed that represent the characters of the Roman alphabet but evoke another. This group includes typefaces designed to appear as, , , (an example being ),.
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. This typographic mimicry is also known as a faux font (named faux x, where x is usually a language script), pseudoscript, mimicry typeface, simulation typeface or a 'foreign look' font. Reverse-contrast typefaces. Reverse-contrast 'Italian' type compared to the bold design Elephant. Both are very bold, but Elephant's thick lines are the verticals and the Italian'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.
Reverse-contrast types are rarely used for body text, and are particularly common in applications such as headings and posters, in which their unusual structure may be particularly eye-catching. 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 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 designs. Effect typefaces.
Three typefaces designed for headings, offering a clear contrast to body textSome 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.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.
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, where the shadowed version is more widely distributed than the regular design. Small print typefaces Some typefaces are specifically designed to be printed at small sizes, for example in telephone directories or on newsprint paper. And, commissioned for telephone directories, are notable examples of this. Small-print designs often feature a large, 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 family contains some designs intended for small print use, as do many families with optical sizes such as.In the metal type era, typefaces intended to be printed small contained, 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 and telephone directories.Texts used to demonstrate typefaces. A Latin text used in a sample ofA sentence that uses all of the alphabet (a ), such as ', is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting (because it displays all the letters of the alphabet).
For extended settings of typefaces graphic designers often use nonsense text (commonly referred to as ), such as or text such as the beginning of 's. Greeking is used in typography to determine a typeface's, or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting.Non-character typefaces. Specimens of printed floral borders from an 1897 type foundry specimen book.The process of printing typefaces has historically been far simpler than commissioning and engraving custom illustrations, especially as many non-text features of printed works like symbols and borders were likely to be reused by a printer in future. Non-character typefaces have therefore been created for elements of documents that are not letters but are likely to be reused regularly. These include:Ornamental typefaces Ornamental (also known as novelty or sometimes display) typefaces are used to decorate a page.
Historically complex interlocking patterns known as were common in fine printing, as were floral borders known as evoking hand-drawn manuscripts.In the metal type era, type-founding companies often would offer pre-formed illustrations as fonts showing objects and designs likely to be useful for printing and advertisements, the equivalent of modern and stock photographs. As examples, the specimen of 1897 offered designs including baseball players, animals, Christmas wreaths, designs for, and emblems such as for government printing. The practice has declined as printing custom illustrations and colour printing using processes such as has become cheaper, although illustration typefaces are still sold by some companies. For the historical definition of display typeface.Symbol typefaces. Examples of dingbats, which could be used in documents such as tourist guides or TV listings.Symbol, or dingbat, typefaces consist of symbols (such as decorative bullets, clock faces, railroad timetable symbols, CD-index, or TV-channel enclosed numbers) rather than normal text characters. Common, widely used symbol typeface releases include and, though many may be created internally by a publication for its own use and some typefaces may have a symbol range included.
Is an example of a font used by to draw elements of windows and icons.Emoji. Main article:Emoji are pictograms that can be used and displayed inline with text. They are similar to previous symbol typefaces, but with a much larger range of characters, such as symbols for common objects, animals, food types, weather and emotions. Originally developed in Japan, they are now commonly installed on many computer and smartphone operating systems.
Following standardisation and inclusion in the standard, allowing them to be used internationally, the number of Emoji characters has rapidly increased to meet the demands of an expanded range of cultures using them; unlike many previous symbol typefaces, they are interchangeable with the ability to display the pictures of the same meaning in a range of fonts on different operating systems. The popularity of emoji has meant that characters have sometimes gained culture-specific meanings not inherent to the design. Both colour and monochrome emoji typefaces exist, as well as at least one animated design. Music typefaces. Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on.
For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same.&In, the held that typeface designs are not subject to. However, in the USA novel and non-obvious typeface designs are subject to protection. Digital fonts that embody a particular design are often subject to copyright as. The names of the typefaces can be.
As a result of these various means of legal protection, sometimes the same typeface exists in multiple names and implementations.Some elements of the software engines used to display fonts on computers have or had associated with them. In particular, patented some of the for TrueType, requiring alternatives such as to use different algorithms until Apple's TrueType hinting patents expired in May 2010.Although typeface design is not subject to copyright in the United States under the 1976 Copyright Act, the in (No. C95-20710 RMW, N.D. January 30, 1998) found that there was original authorship in the placement of points on a computer font's outline; i.e., because a given outline can be expressed in myriad ways, a particular selection and placement of points has sufficient originality to qualify for copyright.Some western countries, including the United Kingdom, extend copyright protection to typeface designs. However, this has no impact on protection in the United States, because all of the to which the U.S. Is a party (such as the, the, and ) operate under the principle of, under which a country is obligated to provide no greater or lesser protection to works from other countries than it provides to domestically produced works. Cambridge Dictionary.
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1978). Terrence J. Carroll, 10 Santa Clara Computer & High Tech.
Clearface Gothic Lh 75 Bold
139, 172 (1994). Carroll at 168, n.180. Registrability of Computer Programs That Generate Typefaces, 57 Fed. 6201 (1992).
Clearface Gothic Bold
May 22, 2010, at the, BNA.com. Carroll at 169.Further reading. Bringhurst, Robert (2012), The Elements of Typographic Style, Hartley & Marks. Butterick, Matthew (2014),. Garfield, Simon (2010), Just My Type: A Book About Fonts, Profile.
Jaspert, W. P.; Berry, W. Turner; (1953, 1958, 1962, 1970, 1983, 1986, 1990, 1991, 1993, 2001, 2008). The Encyclopedia of Typefaces. London: Blandford Press.
Pohlen, Joep (2011), TaschenExternal links Wikimedia Commons has media related to.Look up in Wiktionary, the free dictionary. Named parts of a letter:. Gaskell, Philip (Winter 1976).
10 (1): 41–51. (PDF) from the original on 22 December 2019. The English language source for the above, with more detail., comp.fonts FAQ.