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85-407: Before the adoption of WYSIWYG techniques, text appeared in editors using the system standard typeface and style with little indication of layout ( margins , spacing , etc.). Users were required to enter special non-printing control codes (now referred to as markup code tags ) to indicate that some text should be in boldface , italics , or a different typeface or size. In this environment there

170-430: A monospaced ( non-proportional or fixed-width ) typeface uses a single standard width for all glyphs in the font. Duospaced fonts are similar to monospaced fonts, but characters can also be two character widths instead of a single character width. Many people generally find proportional typefaces nicer-looking and easier to read, and thus they appear more commonly in professionally published printed material. For

255-403: A vector 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

340-458: A computer file containing scalable outline letterforms ( digital font ), in one of several common formats. Some typefaces, such as Verdana , are designed primarily for use on computer screens . 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 bitmap in a bitmap font , or by mathematical description of lines and curves in an outline font , also called

425-405: 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 (using span style="font-family: ), a 'font family' equates 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

510-457: 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

595-451: A complementary set of numeric digits. Numbers can be typeset in two main independent sets of ways: lining and non-lining figures , and proportional and tabular styles. Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters. Non-lining figures , styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to

680-608: A comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all scripts . 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. Typefaces can be divided into two main categories: serif and sans serif . Serifs comprise

765-724: A computer that did nothing. In order to fill this void, several members of the Mac team took it upon themselves to write simple applications to fill these roles until third-party developers published more full-fledged software. The result was MacWrite and MacPaint, which shipped free with every Macintosh from 1984 to 1986. The MacWrite development team was a company called Encore Systems, founded and led by Randy Wigginton , one of Apple's earliest employees, and included Don Breuner and Ed Ruder (co-founders of Encore Systems and also early Apple employees; Gabreal Franklin later joined Encore Systems as President.) Wigginton, who had left Apple in 1981, maintained

850-540: 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 Liberation fonts and Croscore fonts have been designed as metrically compatible substitutes for widely used Microsoft fonts. During

935-453: 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 scaling , allowing designers to produce multiple sizes from

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1020-439: A glyph rising above the x-height as the ascender . 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

1105-589: 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 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, fractions and ligatures not found in the main fonts for the typeface. Supplemental fonts have also included alternate letters such as swashes , dingbats , and alternate character sets, complementing

1190-664: A monospaced font for proper viewing, with the exception of Shift JIS art which takes advantage of the proportional characters in the MS PGothic font. In a web page , the <tt> </tt> , <code> </code> or <pre> </pre> HTML tags most commonly specify monospaced fonts. In LaTeX , the verbatim environment or the Teletype font family (e.g., \texttt{...} or {\ttfamily ...} ) uses monospaced fonts (in TeX , use {\tt ...} ). Any two lines of text with

1275-509: A relationship with many Apple employees, many of whom were on the Macintosh development team. He agreed to lead the MacWrite development team on a semi-official basis. Before it was released, MacWrite was known as "Macintosh WP" (Word Processor) and "MacAuthor". Allegedly, Steve Jobs was not convinced of his team's abilities, and secretly commissioned another project just to be sure ; its development

1360-406: A result of revival, such as Linotype Syntax , Linotype Univers ; while others have alternate styling designed as compatible replacements of each other, such as Compatil , Generis . 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

1445-433: A single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example, ink traps and spikes to allow for spread of ink encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed fine kerning between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in

1530-444: A specific size is known as optical sizing . 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 newsprint paper will be more slender as

1615-488: A standard feature of so-called monospaced fonts , 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

1700-421: A thesaurus. The result was a suite of products that all look and work the same way, and are able to read and write each other's formats. The resulting MacWrite Pro, released in early 1993, was a major upgrade from previous versions. Reviewers almost universally praised the new release as offering all the required tools while still being very easy to use. However, development had been slow; one developer claimed it

1785-422: 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. Websites do not have to specify a font and can simply respect

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1870-409: A word processing program. MacWrite established the conventions for a GUI -based word processor, with such features as a toolbar for selecting paragraph formatting options, font and style menus, and a ruler for tabs, margins, and indents. Similar word processors followed, including the first GUI version of Microsoft Word and WriteNow, which addressed many of MacWrite's limitations while adhering to much

1955-457: 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 ATF 's Cheltenham (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed by Morris Fuller Benton . Later examples include Futura , Lucida , ITC Officina . Some became superfamilies as

2040-512: Is someone who uses typefaces to design a page layout). Every typeface is a collection of glyphs , each of which represents an individual letter, number, punctuation mark, or other symbol. The same glyph may be used for characters from different writing systems , e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha (Α). There are typefaces tailored for special applications, such as cartography , astrology or mathematics . In professional typography ,

2125-466: Is still used by TeX and its variants. Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer operating systems , Adobe Systems products and those of several other companies. Digital fonts are created with font editors such as FontForge , RoboFont, Glyphs, Fontlab 's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio. Typographers have developed

2210-468: Is the name of the class of typefaces used with the earliest printing presses in Europe, which imitated the calligraphy style of that time and place. Various forms exist including textualis , rotunda , schwabacher and fraktur . (Some people refer to Blackletter as " gothic script " or "gothic font", though the term "Gothic" in typography refers to sans serif typefaces. ) Gaelic fonts were first used for

2295-463: 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. 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 metal type era, a font also meant a specific point size, but with digital scalable outline fonts this distinction

2380-453: Is typically a group of related typefaces which vary only in weight, orientation, width , etc., but not design. For example, 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,

2465-410: Is used, a rasterizing routine (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 laser printers and in high-end publishing systems. For computer screens , where each individual pixel can mean

2550-456: The Weekly Reader advertised its Stickybear educational software with the slogan "what you see is what you get", with photographs of its Apple II graphics, but home computers of the 1970s and early 1980s lacked the sophisticated graphics capabilities necessary to display WYSIWYG documents, meaning that such applications were usually confined to limited-purpose, high-end workstations (such as

2635-602: The HP 1000 minicomputer, taking advantage of HP 2640 —HP's first bitmapped computer terminal. BRUNO was then ported to the HP-3000 and re-released as "HP Draw". By 1981, MicroPro advertised that its WordStar word processor had WYSIWYG, but its display was limited to displaying styled text in WYSIWYG fashion; bold and italic text would be represented on screen, instead of being surrounded by tags or special control characters . In 1983,

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2720-589: The IBM Displaywriter System ) that were too expensive for the general public to afford. As improving technology allowed the production of cheaper bitmapped displays, WYSIWYG software started to appear in more popular computers, including LisaWrite for the Apple Lisa , released in 1983, and MacWrite for the Apple Macintosh , released in 1984. The Apple Macintosh system was originally designed so that

2805-502: 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 letterforms, and early fonts made use of a variety of abbreviations deriving from

2890-465: 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. Type foundries have cast fonts in lead 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 United States . In

2975-469: The classic Mac OS , but few other problems were addressed. Things changed in the later 1980s with the introduction of MacWrite II. The main changes for this release were an updated user interface, a number of new "style" capabilities, and the inclusion of Claris' file translator technology, XTND . MacWrite II was the first really new version of the software, and was based on a word processing engine purchased from Quark, Inc. By 1989 Word already dominated

3060-459: The screen resolution and the resolution of the ImageWriter dot-matrix printers sold by Apple were easily scaled: 72 PPI for the screen and 144 DPI for the printers. Thus, the scale and dimensions of the on-screen display in programs such as MacWrite and MacPaint were easily translated to the printed output. If the paper were held up to the screen, the printed image would be the same size as

3145-418: The typographic unit ) was designed so that one full page of text could be seen and then printed on the first laser printers . When the text was laid out on the screen, 72 PPI font metric files were used, but when printed, 300 PPI files were used. As a result, one would occasionally find characters and words that are slightly off—a problem that would continue up to this day. Bravo was released commercially, and

3230-574: 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 Linotype machine , invented by Ottmar Mergenthaler . During a brief transitional period ( c.  1950s –1990s), photographic technology, known as phototypesetting , utilized tiny high-resolution images of individual glyphs on

3315-516: 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

3400-622: The Mac and GUIs in general. MacWrite's inclusion with the Macintosh discouraged developers from creating other word processing software for the computer. Apple unbundled the software with the introduction of the Macintosh Plus, requiring customers to purchase it for the first time. Strong sales continued, and Apple eventually let MacWrite and MacPaint languish with no development resources assigned to improving them. Unfortunately this plan backfired. Users flooded Apple with complaints, demanding newer versions that would keep pace with new features in

3485-437: The Mac with about 60% market share, but the introduction of MacWrite II changed things dramatically; by 1990 Word had dropped to about 45% of the market, and MacWrite had risen to about 30%. This seemed to demonstrate that it would be worth developing further, but Claris did not respond quickly with updated versions. Microsoft, on the other hand, did, and soon introduced Word 4.0. MacWrite's share once again started to erode. In

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3570-520: The Mac, users would instead be expected to stay in the standard GUI both for launching and running programs. Having an approachable, consistent GUI was an advantage for the Mac platform, but unlike prior personal computers, the Mac was sold with no programming language built-in. This presented a problem to Apple : the Mac was planned to be launched in 1983, with a new user interface paradigm , but no third-party software would be available for it, nor could users easily write their own. Users would end up with

3655-552: The Mac, while at the same time developers flooded Apple with complaints about there being any possibility of an upgrade. Apple finally decided the only solution was to spin off the products as a separate company, Claris . Claris formed in 1987 and re-released the existing versions of the Apple products under their own name. Initially it seemed Claris was as uninterested in developing MacWrite as Apple had been. Several minor upgrades were released to allow MacWrite to run on newer versions of

3740-459: The PC world at the time. Thus, while a Macintosh 15-inch (38 cm) monitor had the same 640 × 480 resolution as a PC, a 16-inch (41 cm) screen would be fixed at 832 × 624 rather than the 800 × 600 resolution used by PCs. With the introduction of third-party dot-matrix printers as well as laser printers and multisync monitors, resolutions deviated from even multiples of

3825-464: The adoption and popularity of the GUI in general, and the Mac in particular. MacWrite was spun off to Claris , which released a major update in 1989 as MacWrite II . A further series of improvements produced 1993's MacWrite Pro , but further improvements were few and far between. By the mid-1990s, MacWrite was no longer a serious contender in the word processing market, development ended around 1995, and it

3910-451: 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 Latin , Greek and Cyrillic (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs ( mean line ) as the x-height , and the part of

3995-449: 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. 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 types are in

4080-399: 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. A proportional typeface, also called variable-width typeface, contains glyphs of varying widths, while

4165-468: The characters i, t, l, and 1) use less space than the average. In the publishing industry, it was once the case that editors read manuscripts in monospaced fonts (typically Courier ) for ease of editing and word count estimates, and it was considered discourteous to submit a manuscript in a proportional font. This has become less universal in recent years, such that authors need to check with editors as to their preference, though monospaced fonts are still

4250-602: 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 (0.0139 in or 0.35 mm). When specified in typographic sizes (points, kyus),

4335-524: The difference between legible and illegible characters, some digital fonts use hinting algorithms to make readable bitmaps at small sizes. Digital fonts may also contain data representing the metrics used for composition, including kerning pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everyday ligatures like "fl". Common font formats include TrueType , OpenType and PostScript Type 1 , while Metafont

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4420-484: The early nineteenth century. The earliest known slab serif font was first shown around 1817 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

4505-537: 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 (or Modern), representative examples of which are Garamond , Baskerville , and Bodoni respectively. Old Style typefaces are influenced by early Italian lettering design. Modern fonts often exhibit

4590-529: 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. MacWrite MacWrite is a discontinued WYSIWYG word processor released along with the first Apple Macintosh systems in 1984. Together with MacPaint , it was one of the two original " killer applications " that propelled

4675-569: The height of an em-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 1 ⁄ 6  in or 4.2 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

4760-427: The ink will naturally spread out as it absorbs into the paper, and may feature ink traps : 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. Most typefaces, especially modern designs, include

4845-454: The late 1980s, Claris started a massive upgrade series to produce the "Pro" line of products. The main change would be to integrate all of their products with a consistent GUI based on that of FileMaker . This included a common toolbar running down the left side of the screen, and a number of standardized tool palettes. In addition, the Pro series also used common international spelling dictionaries and

4930-403: 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 (lit. without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs,

5015-433: The manuscript tradition. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features. 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

5100-400: 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

5185-750: 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 ). Serif, or Roman , typefaces are named for

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5270-410: The norm. Most scripts share the notion of a baseline : 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 descender . Conversely, the ascent spans the distance between

5355-494: 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 cash registers and date-stamps. Characters of uniform width are

5440-457: The on-screen image, but at twice the resolution. As the ImageWriter was the only model of printer physically compatible with the Macintosh printer port, this created an effective closed system. Later, when Macs using external displays became available, the resolution was fixed to the size of the screen to achieve 72 DPI. These resolutions often differed from the VGA-standard resolutions common in

5525-500: The phrase: Many variations are used only to illustrate a point or make a joke, and have very limited real use. Some that have been proposed include the following: Typeface A typeface (or font family ) is a design of letters , numbers and other symbols , to be used in printing or for electronic display. Most typefaces include variations in size (e.g., 24 point), weight (e.g., light, bold), slope (e.g., italic), width (e.g., condensed), and so on. Each of these variations of

5610-401: 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 from 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

5695-427: The regular fonts under the same family. 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

5780-806: 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. Examples of monospaced typefaces are Courier , Prestige Elite , Fixedsys , and 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, or Chinese, Japanese and Korean typefaces consist of large sets of glyphs. These typefaces originate in

5865-399: The same number of characters in each line in a monospaced typeface should display as equal in width, while the same two lines in a proportional typeface may have radically different widths. This occurs because in a proportional font, glyph widths vary, such that wider glyphs (typically those for characters such as W, Q, Z, M, D, O, H, and U) use more space, and narrower glyphs (such as those for

5950-575: The same reason, GUI computer applications (such as word processors and web browsers ) typically use proportional fonts. However, many proportional fonts contain fixed-width ( tabular ) numerals so that columns of numbers stay aligned. Monospaced typefaces function better for some purposes because their glyphs line up in neat, regular columns. No glyph is given any more weight than another. Most manually operated typewriters use monospaced fonts. So do text-only computer displays and third- and fourth-generation game console graphics processors, which treat

6035-481: The same user interface. The original Mac could print to a dot matrix printer called the ImageWriter , but quality was only adequate. The later LaserWriter laser printer allowed dramatically better output, at a price. However, the possibilities of the GUI/MacWrite/LaserWriter combination were obvious and this, in turn, spurred the development of desktop publishing , which became the "killer app" for

6120-517: The screen as a uniform grid of character cells. Most computer programs which have a text-based interface ( terminal emulators , for example) use only monospaced fonts (or add additional spacing to proportional fonts to fit them in monospaced cells) in their configuration. Monospaced fonts are commonly used by computer programmers for displaying and editing source code so that certain characters (for example parentheses used to group arithmetic expressions) are easy to see. ASCII art usually requires

6205-535: The screen resolution, making true WYSIWYG harder to achieve. The phrase "what you see is what you get", from which the acronym derives, was a catchphrase popularized by Flip Wilson 's drag persona Geraldine , first appearing in September 1969, then regularly in the early 1970s on The Flip Wilson Show . The phrase was a statement demanding acceptance of Geraldine's entire personality and appearance. As it relates to computing, there are multiple claims to first use of

6290-547: 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 German , 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

6375-478: The software eventually included in the Xerox Star can be seen as a direct descendant of it. In late 1978, in parallel with but independent of the work at Xerox PARC, Hewlett-Packard developed and released the first commercial WYSIWYG software application for producing overhead slides (or what today are referred to as presentation graphics). The first release, named BRUNO (after an HP sales training puppet), ran on

6460-411: 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

6545-570: The tags are made visible in the editor, however, they occupy space in the unformatted text, and as a result can disrupt the desired layout and flow. Bravo , a document preparation program for the Alto produced at Xerox PARC by Butler Lampson , Charles Simonyi and colleagues in 1974, is generally considered to be the first program to incorporate the WYSIWYG technology, displaying text with formatting (e.g. with justification, fonts, and proportional spacing of characters). The Alto monitor (72 PPI , based on

6630-522: 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, and 10-point Caslon Italic was another. Historically, a font came from a type foundry as a set of " sorts ", with number of copies of each character included. As

6715-411: The typeface is a font . There are thousands of different typefaces in existence, with new ones being developed constantly. The art and craft of designing typefaces is called type design . Designers of typefaces are called type designers and are often employed by type foundries . In desktop publishing , type designers are sometimes also called "font developers" or "font designers" (a typographer

6800-423: Was completely discontinued in 1998 due to dwindling sales. When the Mac was first being created, it was clear that users would interact with it differently from other personal computers. Typical computers of the era booted into text-only disk operating system or BASIC environments, requiring the users to type in commands. Some of these programs may have presented a graphical user interface of their own, but on

6885-636: 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 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 glyphs intended to match

6970-411: Was eventually released as WriteNow . The first versions of MacWrite were rather limited, supporting only the most basic editing features and able to handle just a few pages of text before running into performance problems. (Early versions of MacWrite held the entire document in memory, and early versions of the Macintosh had relatively little free memory.) Nevertheless, it increased user expectations of

7055-406: Was primarily due to extremely demanding quality assurance requirements. By the time MacWrite Pro was released, Word completely dominated the word processor market. Pro did little to address MacWrite's rapidly dwindling market share, which briefly stabilized at about 5% of the market before starting to slide again. Sales were apparently dismal, and it was one of the first products Claris abandoned in

7140-460: 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 "grotesk") and "gothic": but by the late nineteenth century were commonly used for san-serif without negative implication. The major sub-classes of Sans-serif are " Grotesque ", " Neo-grotesque ", " Geometric " and " Humanist ". "Blackletter"

7225-466: Was very little distinction between text editors and word processors . These applications typically used an arbitrary markup language to define the codes/tags. Each program had its own special way to format a document, and it was a difficult and time-consuming process to change from one word processor to another. The use of markup tags and codes remains popular today in some applications due to their ability to store complex formatting information. When

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