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The weight of a particular font is the thickness of the character outlines relative to their height.
Helvetica Neue weights
A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non-professional use come with a normal and a bold weight which are linked together. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support a bolder font by rendering the outline a second time at an offset, or smearing it slightly at a diagonal angle.
The base weight differs among typefaces; that means one font may appear bolder than another font. For example, fonts intended to be used in posters are often bold by default while fonts for long runs of text are rather light. Weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.
Attempts to systematize a range of weights led to a numerical classification first used by Adrian Frutiger with the Univers typeface: 35 Extra Light, 45 Light, 55 Medium or Regular, 65 Bold, 75 Extra Bold, 85 Extra Bold, 95 Ultra Bold or Black. Deviants of these were the "6 series" (italics), e.g. 46 Light Italics etc., the "7 series" (condensed versions), e.g. 57 Medium Condensed etc., and the "8 series" (condensed italics), e.g. 68 Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance "Helvetica 67" (HE67) translates to "Helvetica Bold Condensed".
Regular and bold versions of three common fonts. Helvetica has a monoline design and all strokes increase in weight; less monoline fonts like Optima and Utopia increase the weight of the thicker strokes more and thinner strokes less in bold. In all three designs, the curve on 'n' thins as it joins the left-hand vertical.
The first algorithmic description of fonts was made by Donald Knuth in his Metafont description language and interpreter.
The TrueType font format introduced a scale from 100 through 900, which is also used in CSS and OpenType, where 400 is regular (roman or plain).me typefaces include fonts that vary the width of the characters (stretch), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded. Both can be further classified by prepending extra, ultra or the like. Compressing a font design to a condensed weight is a complex task, requiring the strokes to be slimmed down proportionally and often making the capitals straight-sided.[a][9] It is particularly common to see condensed fonts for sans-serif and slab-serif families, since it is relatively practical to modify their structure to a condensed weight. Serif text faces are often only issued in the regular width.
DOWNLOAD TIPS: CLICK THAT FONT NAME TO DOWNLOAD
The weight of a particular font is the thickness of the character outlines relative to their height.
Helvetica Neue weights
A typeface may come in fonts of many weights, from ultra-light to extra-bold or black; four to six weights are not unusual, and a few typefaces have as many as a dozen. Many typefaces for office, web and non-professional use come with a normal and a bold weight which are linked together. If no bold weight is provided, many renderers (browsers, word processors, graphic and DTP programs) support a bolder font by rendering the outline a second time at an offset, or smearing it slightly at a diagonal angle.
The base weight differs among typefaces; that means one font may appear bolder than another font. For example, fonts intended to be used in posters are often bold by default while fonts for long runs of text are rather light. Weight designations in font names may differ in regard to the actual absolute stroke weight or density of glyphs in the font.
Attempts to systematize a range of weights led to a numerical classification first used by Adrian Frutiger with the Univers typeface: 35 Extra Light, 45 Light, 55 Medium or Regular, 65 Bold, 75 Extra Bold, 85 Extra Bold, 95 Ultra Bold or Black. Deviants of these were the "6 series" (italics), e.g. 46 Light Italics etc., the "7 series" (condensed versions), e.g. 57 Medium Condensed etc., and the "8 series" (condensed italics), e.g. 68 Bold Condensed Italics. From this brief numerical system it is easier to determine exactly what a font's characteristics are, for instance "Helvetica 67" (HE67) translates to "Helvetica Bold Condensed".
Regular and bold versions of three common fonts. Helvetica has a monoline design and all strokes increase in weight; less monoline fonts like Optima and Utopia increase the weight of the thicker strokes more and thinner strokes less in bold. In all three designs, the curve on 'n' thins as it joins the left-hand vertical.
The first algorithmic description of fonts was made by Donald Knuth in his Metafont description language and interpreter.
The TrueType font format introduced a scale from 100 through 900, which is also used in CSS and OpenType, where 400 is regular (roman or plain).me typefaces include fonts that vary the width of the characters (stretch), although this feature is usually rarer than weight or slope. Narrower fonts are usually labeled compressed, condensed or narrow. In Frutiger's system, the second digit of condensed fonts is a 7. Wider fonts may be called wide, extended or expanded. Both can be further classified by prepending extra, ultra or the like. Compressing a font design to a condensed weight is a complex task, requiring the strokes to be slimmed down proportionally and often making the capitals straight-sided.[a][9] It is particularly common to see condensed fonts for sans-serif and slab-serif families, since it is relatively practical to modify their structure to a condensed weight. Serif text faces are often only issued in the regular width.
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