A glyph is any kind of purposeful mark. In typography, a glyph is "the specific shape, design, or representation of a character". It is a particular graphical representation, in a particular typeface, of an element of written language. A grapheme, or part of a grapheme, or sometimes several graphemes in combination can be represented by a glyph.
Q, or q, is the seventeenth letter of the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is pronounced, most commonly spelled cue, but also kew, kue and que.
Typography is the art and technique of arranging type to make written language legible, readable and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line spacing, letter spacing, and spaces between pairs of letters. The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information.
Type design is the art and process of designing typefaces. This involves drawing each letterform using a consistent style. The basic concepts and design variables are described below.
Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Thomas Rickner, then at Monotype. Demand for such a typeface was recognized by Virginia Howlett of Microsoft's typography group and commissioned by Steve Ballmer. The name "Verdana" is derived from "verdant" (green) and "Ana".
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.
Fraktur is a calligraphic hand of the Latin alphabet and any of several blackletter typefaces derived from this hand. It is designed such that the beginnings and ends of the individual strokes that make up each letter will be clearly visible, and often emphasized; in this way it is often contrasted with the curves of the Antiqua (common) typefaces where the letters are designed to flow and strokes connect together in a continuous fashion. The word "Fraktur" derives from Latin frāctūra, built from frāctus, passive participle of frangere, which is also the root for the English word "fracture". In non-professional contexts, the term "Fraktur" is sometimes misused to refer to all blackletter typefaces – while Fraktur typefaces do fall under that category, not all blackletter typefaces exhibit the Fraktur characteristics described above.
Antiqua is a style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries. Letters are designed to flow, and strokes connect together in a continuous fashion; in this way it is often contrasted with Fraktur-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the germanophone world, with the Antiqua–Fraktur dispute often dividing along ideological or political lines. After the mid-20th century, Fraktur fell out of favor and Antiqua-based typefaces became the official standard in Germany.
In graphemics and typography, the term allograph is used of a glyph that is a design variant of a letter or other grapheme, such as a letter, a number, an ideograph, a punctuation mark or other typographic symbol. In graphemics, an obvious example in English is the distinction between uppercase and lowercase letters. Allographs can vary greatly, without affecting the underlying identity of the grapheme. Even if the word "cat" is rendered as "cAt", it remains recognizable as the sequence of the three graphemes ⟨c⟩, ⟨a⟩, ⟨t⟩.
Zapfino is a calligraphic typeface designed for Linotype by typeface designer Hermann Zapf in 1998. It is based on an alphabet Zapf originally penned in 1944. As a font, it makes extensive use of ligatures and character variations.
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. "Akzidenz" indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time.
Modern typographers view typography as a craft with a very long history tracing its origins back to the first punches and dies used to make seals and coinage currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together into one systematic craft. While woodblock printing and movable type had precedents in East Asia, typography in the Western world developed after the invention of the printing press by Johannes Gutenberg in the mid-15th century. The initial spread of printing throughout Germany and Italy led to the enduring legacy and continued use of blackletter, roman, and italic types.
Script typefaces are based on the varied and often fluid stroke created by handwriting. They are generally used for display or trade printing, rather than for extended body text in the Latin alphabet. Some Greek alphabet typefaces, especially historically, have been a closer simulation of handwriting.
Albert Einstein has been the subject of, or inspiration for, many works of popular culture.
Handstyle or hand style is a term in graffiti culture denoting the unique handwriting or signature/tag of an artist, also known as a writer. The same way that in typography there are different typefaces or fonts, in graffiti there are different handstyles. Similarly to the way a typographer would focus on typefaces, point sizes, line lengths, line-spacing (leading), and letter-spacing (tracking), a writer would focus on line lengths, line direction, line curvature, letter size and letter balance.
Matthew Coffin Butterick is an American typographer, lawyer, writer, and computer programmer. He received the 2012 Golden Pen Award from the Legal Writing Institute for his book Typography for Lawyers, which started as a website in 2008 based on his experience as a practicing attorney. He has worked for The Font Bureau and founded his own website design company, Atomic Vision. Expanding Typography for Lawyers, Butterick published Practical Typography as a "web-based book" in July 2013.
Erik van Blokland is a Dutch typeface designer, educator and computer programmer. He is the head of the Type Media Master of Design program in Typeface Design at the Royal Academy of Art, The Hague in the Netherlands.
Karl Gerstner was a Swiss designer, typographer, author, and artist.
Nasri Khattar (1911–1998) (Arabic: نصري خطار was an architect and type designer from Lebanon. He is famous for pioneering an Arabic typeface he called "Unified Arabic," a typeface that condensed the possible forms of Arabic letters, making it more suitable for printing technologies of the time. Khattar was nominated for the Nobel Peace Prize in 1986 for his lifelong work on the Unified Arabic project.
Arabic typography is the typography of letters, graphemes, characters or text in Arabic script, for example for writing Arabic, Persian, Shahmukhi or Urdu. 16th century Arabic typography was a by-product of Latin typography with Syriac and Latin proportions and aesthetics. It lacked expertise in the three core aspects of Arabic writing: calligraphy, style and system. Calligraphy requires aesthetically skilled writing in a chosen canonical style such as naskh, nastaʿlīq or ruqʿah. System denotes the script grammar covering such rules as horizontality and stretching.
