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.

YWFT Hannah is a type design comprised of three versions that work together as one, producing not variation and contrast between weights but between widths. The loose, hand drawn quality adds yet another layer of personality to the font. Hannah is similar to one of our popular Handset designs, YWFT Thinaire. Hannah Regular truetype font page. Coolest truetype fonts. Best free fonts download.

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 In the era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size.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.

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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.