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| Category | Serif |
|---|---|
| Classification | Didone |
| Designer(s) | Donald Knuth |
| License | SIL Open Font License |
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| Sample | |
Computer Modern is the original family of typefaces used by the typesetting program TeX. It was created by Donald Knuth with his Metafont program, and was most recently updated in 1992. [1] Computer Modern, or variants of it, remains very widely used in scientific publishing, especially in disciplines that make frequent use of mathematical notation.
Computer Modern is a "Didone", or modern serif font, a genre that emerged in the late 18th century as a contrast to the more organic designs that preceded them. Didone fonts have high contrast between thick and thin elements, and their axis of "stress" or thickening is perfectly vertical. Computer Modern was specifically based on the 10 point size of the American Lanston Monotype Company's Modern Extended 8A, part of a family Monotype originally released in 1896. [2] [3] This was one of many modern faces issued by typefounders and Monotype around this period, and the standard style for body text printing in the late nineteenth century. [4] [5]
In creating the TeX publishing system, Knuth was influenced by the history of mathematics and a desire to achieve the "classic style" of books printed in metal type. [6] [7] Modern faces were used extensively for printing mathematics, especially before Times New Roman became popular for mathematics printing from the 1950s. [8] [9] [10]
The most unusual characteristic of Computer Modern, however, is the fact that it is a complete type family designed with Knuth's Metafont system, one of the few typefaces developed in this way. The Computer Modern source files are governed by 62 distinct parameters, controlling the widths and heights of various elements, the presence of serifs or old-style numerals, whether dots such as the dot on the "i" are square or rounded, and the degree of "superness" in the bowls of lowercase letters such as "g" and "o". This allows Metafont designs to be processed in unusual ways; Knuth has shown effects such as morphing in demonstrations, where one font slowly transitions into another over the course of a text. [11] While it attracted attention for the concept, Metafont has been used by few other font designers; by 1996 Knuth commented "asking an artist to become enough of a mathematician to understand how to write a font with 60 parameters is too much" [12] while digital-period font designer Jonathan Hoefler commented in 2015 that "Knuth's idea that letters start with skeletal forms is flawed". [13]
Knuth produced his original Computer Modern fonts using Metafont, a program that reads stroke-based definitions of glyphs and outputs ready-to-use fonts as bitmap image files. He mostly left the font, as with other components of TeX (with the exception of the TeX and Metafont names themselves, a stipulation Knuth made to maintain quality control), in the public domain. [14] [15]
The advance of publishing technology (PostScript, PDF, laser printers) has reduced the need for bitmap fonts. The preferred formats are now outline fonts such as Type 1, TrueType, or OpenType, which can be rendered efficiently at arbitrary resolution and using sophisticated anti-aliasing techniques by printer firmware or on-screen document viewers. Therefore, several other projects have ported the Computer Modern fonts into such formats. Some of these projects have also complemented Computer Modern with
Several such derivatives are now also widely used and included in TeX Live, a modern TeX distribution.
A current extended release of the Computer Modern family in the general-purpose OpenType format is the CMU distribution (for Computer Modern Unicode):
CMU is released under the SIL Open Font License.
Computer Modern was first transformed to a PostScript Type 3 font format by BlueSky, Inc. in 1988, and then to Type 1 in 1992 to include font hinting. [16] The Type 1 version has since then been donated to the American Mathematical Society (AMS) which distributes them freely under the Open Font License. [17] It is found in most standard TeX distributions.
The Latin Modern implementation, maintained by Bogusław Jackowski and Janusz M. Nowacki of TeX User Group Poland (GUST), is now standard in the TeX community and was made through a Metafont/MetaPost derivative called METATYPE1. It was derived from the BlueSky Type 1 fonts, which were converted back into outline-based METATYPE1 programs, from which then the extended Type 1 and OpenType Latin Modern fonts were developed. ConTeXt uses Latin Modern as default font, instead of Computer Modern. [18]
The Type 1 to METATYPE1 to Type 1 round-trip conversion process involved in the production of the Latin Modern fonts tried to preserve the hinting information of the BlueSky fonts; however, it introduced rounding errors that affect the quality of the hinting at low pixel sizes. As a result, on-screen display of the Latin Modern fonts can result in a less even display of kerning and character heights than with the BlueSky fonts. [19]
The same process was later extended to some free PostScript font clones under the umbrella project TeX Gyre. [20]
The Latin Modern font has also gained an OpenType math table. [21] [22] Unlike Computer Modern Math, Latin Modern Math has no pairwise kerning information: OpenType math rendering does not make use of this type of kerning, making such information useless. [23]
The New Computer Modern font family [24] is a large extension in terms of the number of additional glyphs of the Latin Modern fonts which adds support for several more languages such as Greek, Cyrillic, Hebrew, Cherokee and Coptic. This font family comes in two weights, “Regular” and “Book”. The book weight is supposed to look slightly heavier compared to the “Regular”. Both the weights include support for typesetting mathematics; complete coverage of unicode math blocks is provided, along with some more glyphs needed for mathematics.
MLModern [25] is based on the Latin Modern font. It avoids the spindliness of most other Type 1 versions of Computer Modern and hence looks thicker in comparison to Latin Modern or Computer Modern.
A visual comparison of Computer Modern, Latin Modern, New Computer Modern Book and MLModern is shown here.
LaTeX is a software system for typesetting documents. LaTeX markup describes the content and layout of the document, as opposed to the formatted text found in WYSIWYG word processors like Microsoft Word, LibreOffice Writer and Apple Pages. The writer uses markup tagging conventions to define the general structure of a document, to stylise text throughout a document, and to add citations and cross-references. A TeX distribution such as TeX Live or MiKTeX is used to produce an output file suitable for printing or digital distribution.
TeX, stylized within the system as TeX, is a typesetting system which was designed and written by computer scientist and Stanford University professor Donald Knuth and first released in 1978. TeX is a popular means of typesetting complex mathematical formulae; it has been noted as one of the most sophisticated digital typographical systems.
Blackboard bold is a style of writing bold symbols on a blackboard by doubling certain strokes, commonly used in mathematical lectures, and the derived style of typeface used in printed mathematical texts. The style is most commonly used to represent the number sets , (integers), , , and .
Metafont is a description language used to define raster fonts. It is also the name of the interpreter that executes Metafont code, generating the bitmap fonts that can be embedded into e.g. PostScript. Metafont was devised by Donald Knuth as a companion to his TeX typesetting system.
A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.
In typography, italic type is a cursive font based on a stylised form of calligraphic handwriting. Along with blackletter and roman type, it served as one of the major typefaces in the history of Western typography.
MetaPost refers to both a programming language and the interpreter of the MetaPost programming language. Both are derived from Donald Knuth's Metafont language and interpreter. MetaPost produces vector graphic diagrams from a geometric/algebraic description. The language shares Metafont's declarative syntax for manipulating lines, curves, points and geometric transformations. However,
Computers and Typesetting is a 5-volume set of books by Donald Knuth published in 1986 describing the TeX and Metafont systems for digital typography. Knuth's computers and typesetting project was the result of his frustration with the lack of decent software for the typesetting of mathematical and technical documents. The results of this project include TeX for typesetting, Metafont for font construction and the Computer Modern typefaces that are the default fonts used by TeX. In the series of five books Knuth not only describes the TeX and Metafont languages, he also describes and documents the source code of the TeX and Metafont interpreters, and the source code for the Computer Modern fonts used by TeX. The book set stands as a tour de force demonstration of literate programming.
Courier is a monospaced slab serif typeface. Courier was created by IBM in the mid-1950s, and was designed by Howard "Bud" Kettler (1919–1999). The Courier name and typeface concept are in the public domain. Courier has been adapted for use as a computer font, and versions of it are installed on most desktop computers.
Lucida is an extended family of related typefaces designed by Charles Bigelow and Kris Holmes and released from 1984 onwards. The family is intended to be extremely legible when printed at small size or displayed on a low-resolution display – hence the name, from 'lucid'.
A computer font is implemented as a digital data file containing a set of graphically related glyphs. A computer font is designed and created using a font editor. A computer font specifically designed for the computer screen, and not for printing, is a screen font.
AMS Euler is an upright cursive typeface, commissioned by the American Mathematical Society (AMS) and designed and created by Hermann Zapf with the assistance of Donald Knuth and his Stanford graduate students. It tries to emulate a mathematician's style of handwriting mathematical entities on a blackboard, which is upright rather than italic. It blends very well with other typefaces made by Hermann Zapf, such as Palatino, Aldus and Melior, but very badly with the default TeX font Computer Modern. All the alphabets were implemented with the computer-assisted design system Metafont developed by Knuth. Zapf designed and drew the Euler alphabets in 1980–81 and provided critique and advice of digital proofs in 1983 and later. The typeface family is copyright by American Mathematical Society, 1983. Euler Metafont development was done by Stanford computer science and/or digital typography students; first Scott Kim, then Carol Twombly and Daniel Mills, and finally David Siegel, all assisted by John Hobby. Siegel finished the Metafont Euler digitization project as his M.S. thesis in 1985.
Concrete Roman is a slab serif typeface designed by Donald Knuth using his METAFONT program. It was intended to accompany the Euler mathematical font which it partners in Knuth's book Concrete Mathematics. It has a darker appearance than its more famous sibling, Computer Modern. Some favour it for use on the computer screen because of this, as the thinner strokes of Computer Modern can make it hard to read at low resolutions.
TeX font metric (TFM) is a font file format used by the TeX typesetting system. It is a font metric format, not an outline font format like TrueType, because it provides only the information necessary to typeset the font such as each character's width, height and depth. The actual glyphs are stored elsewhere. This is not unique to TeX; Adobe's AFM files and Windows' PFM files use the same technique.
Cambria is a transitional serif typeface commissioned by Microsoft and distributed with Windows and Office. It was designed by Dutch typeface designer Jelle Bosma in 2004, with input from Steve Matteson and Robin Nicholas. It is intended as a serif font that is suitable for body text, that is very readable printed small or displayed on a low-resolution screen and has even spacing and proportions.
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece for each glyph. A typeface consists of various fonts that share an overall design.
GNU FreeFont is a family of free OpenType, TrueType and WOFF vector fonts, implementing as much of the Universal Character Set (UCS) as possible, aside from the very large CJK Asian character set. The project was initiated in 2002 by Primož Peterlin and is now maintained by Steve White.
The XITS font project is an OpenType implementation of STIX fonts version 1.x with math support for mathematical and scientific publishing. The main mission of the Times-like XITS typeface is to provide a version of STIX fonts enriched with the OpenType MATH extension.
OML is a 7-bit TeX encoding developed by Donald E. Knuth. It encodes italic Latin and Greek letters for mathematical formulas and various symbols.
Bogusław L. Jackowski, also known as "Jacko", is a Polish computer scientist, typographer, publisher, and amateur musician. He is best known for his work on the TeX typesetting system, the Latin Modern font family, and the TeX Gyre project.
Throughout the first half of the 19th century, modern faces held the typographic field against nearly all comers. Not all typefounders and punch-cutters were very enthusiastic about this kind of type-face, but the popular demand had to be met.
In the early 1900s Monotype adapted a number of modern roman text faces to its system, mostly in a few small sizes only; some of them differ from each other only in slight changes of their proportions.
All of the methods described in these books are in the public domain; thus anybody can freely use any of the ideas. The only thing I'm retaining control of is the names, TeX and METAFONT(...) If any changes are made, I won't complain, as long as the changed systems are not called TEX or METAFONT.
and which he (Leslie Lamport), like Don, placed in the public domain.
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