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(fontbase_pathsAll%ЊЧ іH ] (fontbase_pathsAll(fontbase_pathsAllVК'application/vnd.blink-idb-value-wrapperіЕюЖ2К 2К џџџџџџќ… ‚ (fontbase_pathsAllVЖ'application/vnd.blink-idb-value-wrapperіЕю2К џџџџџџћ… ‚ (fontbase_pathsAllVЖ'application/vnd.blink-idb-value-wrapperіЕю2К џџџџџџњ К2К џџџџџџљ  пmtL)]'Ъ‹•*]2:.fontbase_previewBaseJК џџo"fontAF"fontBF"fontSizeI " lineHeightNš™™™™™ѕ?"ratioNє?{2Л B   ($ 2Л џџџџџџџ 292Л џџџџџџў~ | .fontbase_previewBaseJІ џџo"fontAF"fontBF"fontSizeI " lineHeightNš™™™™™ѕ?"ratioNє?{+•л”/].fontbase_previewBase:2Л 2Л џџџџџџ§6 4 .fontbase_previewBase&‚k м›2]2К џџџџџџљ2К џџџџџџњ2К џџџџџџћ2К џџџџџџќ2К џџџџџџ§2К џџџџџџў2К џџџџџџџ2К ’jЯЩў:]2;6fontbase_previewContentsмЛ џџoIo"id"1"tag"h1"text"Choosing and combining type"selectedF{Io"id"2"tag"h3"text"Technical considerations"selectedF{Io"id"3"tag"h5"text"BConsider the medium for which the typeface was originally designed"selectedF{Io"id"4"tag"p"text"гTypographic purists like to see every typeface used with the technology for which it was designed. Taken literally, this means that virtually all typefaces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"џMost pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. An extended type family, such as Legacy, Lucida, Quadraat, Seria or Stone, may provide sufficient resources even for this task."selectedF{Io"id"8"tag"h5"text"FPair serifed and unserifed faces on the basis of their inner structure"selectedF{Io"id"9"tag"p"text"йWhen the basic text is set in a serifed face, a related sanserif is frequently useful for other elements, such as tables, captions, or notes. In complicated texts, such as dictionary entries, it may also be necessary to mix unserifed and serifed fonts on the same line. If you've chosen a family that includes a matched sanserif, your problems may be solved. 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(fontbase_pathsAllaќ”HЄ` (fontbase_pathsAll(fontbase_pathsAllVЦ'application/vnd.blink-idb-value-wrapperіЕюТ2і 2і џџџџџџќ… ‚ (fontbase_pathsAllVТ'application/vnd.blink-idb-value-wrapperіЕю2і џџџџџџћ… ‚ (fontbase_pathsAllVТ'application/vnd.blink-idb-value-wrapperіЕю2і џџџџџџњ Ц2і џџџџџџљ  zoп›­`2і џџџџџџљ2і џџџџџџњ2і џџџџџџћ2і џџџџџџќ2і џџџџџџ§2і џџџџџџў2і џџџџџџџ2і •› Е`aч­ •Ж`2v.fontbase_previewBaseJі џџo"fontAF"fontBF"fontSizeI " lineHeightNš™™™™™ѕ?"ratioNє?{2ї B   ($ 2ї џџџџџџџ 2u2ї џџџџџџў~ | .fontbase_previewBaseJт џџo"fontAF"fontBF"fontSizeI " lineHeightNš™™™™™ѕ?"ratioNє?{рпЛ”Л`.fontbase_previewBasev2ї 2ї џџџџџџ§6 4 .fontbase_previewBaseb‡Ћ+OО`2ї џџџџџџ§2ї џџџџџџў2ї џџџџџџџ2ї [*SЃЭ Т`2w6fontbase_previewContentsмї џџoIo"id"1"tag"h1"text"Choosing and combining type"selectedF{Io"id"2"tag"h3"text"Technical considerations"selectedF{Io"id"3"tag"h5"text"BConsider the medium for which the typeface was originally designed"selectedF{Io"id"4"tag"p"text"гTypographic purists like to see every typeface used with the technology for which it was designed. Taken literally, this means that virtually all typefaces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"џMost pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. An extended type family, such as Legacy, Lucida, Quadraat, Seria or Stone, may provide sufficient resources even for this task."selectedF{Io"id"8"tag"h5"text"FPair serifed and unserifed faces on the basis of their inner structure"selectedF{Io"id"9"tag"p"text"йWhen the basic text is set in a serifed face, a related sanserif is frequently useful for other elements, such as tables, captions, or notes. In complicated texts, such as dictionary entries, it may also be necessary to mix unserifed and serifed fonts on the same line. If you've chosen a family that includes a matched sanserif, your problems may be solved. 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Taken literally, this means that virtually all typefaces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"џMost pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. An extended type family, such as Legacy, Lucida, Quadraat, Seria or Stone, may provide sufficient resources even for this task."selectedF{Io"id"8"tag"h5"text"FPair serifed and unserifed faces on the basis of their inner structure"selectedF{Io"id"9"tag"p"text"йWhen the basic text is set in a serifed face, a related sanserif is frequently useful for other elements, such as tables, captions, or notes. In complicated texts, such as dictionary entries, it may also be necessary to mix unserifed and serifed fonts on the same line. If you've chosen a family that includes a matched sanserif, your problems may be solved. But many successfull marriages between serifed and unserifed faces from different families are waiting to be made."selectedF{Io"id"10"tag"h3"text"Mixing alphabets"selectedF{Io"id"11"tag"h5"text"BMatch the continuity of the typography to the continuity of though"selectedF{Io"id"12"tag"p"text"жA text composed in a single dialect may be full of leaps and holes, while a text that hops and skips through several languages and alphabets may in fact be tracing a path that is perfectly smooth. The continuity, or lack of continuity, that underlines the text should as a rule be revealed, not concealed, in the cloth the typographer weaves."selectedF{Io"id"13"tag"p"text"ТTwo other factors of importance when types sit side by side are torso (x-height) and extension. When a long-limbed Greek is paired with a short-limbed Latin, the difference will stand out. Large disparities in x-height are far more obvious still. In metal, this is a harsh typographic constraint. In the digital medium, it is easy to match the torso of any Greek face to that of any Latin face exactly, through microscopic adjustments in size. But an optical, not mathematical, match is the goal. Classical Greek, beneath its cloud of diacritics, needs more room to breathe then roman type. And when setting Greek in footnotes, the minimum practical size is the size at which the accents are still legible."selectedF{Io"id"14"tag"h1"text"$Cultural and personal considerations"selectedF{Io"id"15"tag"h2"text",Choose your library of faces slowly and well"selectedF{I o"id"16"tag"h3"text"3Balance the type optically more then mathematically"selectedF{I"o"id"17"tag"h4"text"BMatch the continuity of the typography to the continuity of though"selectedF{I$o"id"18"tag"h5"text"NChoose faces whose individual spirit and character is in keeping with the text"selectedF{I&o"id"19"tag"h6"text"2Letterforms have character, spirit and personality"selectedF{{2Œ B   ($ 2Œ џџџџџџџ 2Š2Œ џџџџџџўš — 6fontbase_previewContentsмї џџoIo"id"1"tag"h1"text"Choosing and combining type"selectedF{Io"id"2"tag"h3"text"Technical considerations"selectedF{Io"id"3"tag"h5"text"BConsider the medium for which the typeface was originally designed"selectedF{Io"id"4"tag"p"text"гTypographic purists like to see every typeface used with the technology for which it was designed. Taken literally, this means that virtually all typefaces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"џMost pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. An extended type family, such as Legacy, Lucida, Quadraat, Seria or Stone, may provide sufficient resources even for this task."selectedF{Io"id"8"tag"h5"text"FPair serifed and unserifed faces on the basis of their inner structure"selectedF{Io"id"9"tag"p"text"йWhen the basic text is set in a serifed face, a related sanserif is frequently useful for other elements, such as tables, captions, or notes. In complicated texts, such as dictionary entries, it may also be necessary to mix unserifed and serifed fonts on the same line. If you've chosen a family that includes a matched sanserif, your problems may be solved. 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In the digital medium, it is easy to match the torso of any Greek face to that of any Latin face exactly, through microscopic adjustments in size. But an optical, not mathematical, match is the goal. Classical Greek, beneath its cloud of diacritics, needs more room to breathe then roman type. 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Taken literally, this means that virtually all typefaces designed before 1950 must be set in metal and printed letterpress, and the majority must be set by hand. Most typographers apply this principle in a more relaxed and complex way, and settle for preserving something rather then everything of a type's original character. On the technical side, several things can be done to increase the chance that a letterpress typeface will survive translation to digital composition and offset printing."selectedF{I o"id"5"tag"h3"text"The multicultural page"selectedF{I o"id"6"tag"h5"text"&Start with a single typographic family"selectedF{Io"id"7"tag"p"text"џMost pages, and most entire documents, can be set perfectly well with only one family of type. But perhaps the page confronting you requires a chapter title, two or three levels of subheaders, an epigraph, a text in two languages, block quotations within the text, a couple of mathematical equations, a bar graph, several explanatory sidenotes and captions for photographs and a map. An extended type family, such as Legacy, Lucida, Quadraat, Seria or Stone, may provide sufficient resources even for this task."selectedF{Io"id"8"tag"h5"text"FPair serifed and unserifed faces on the basis of their inner structure"selectedF{Io"id"9"tag"p"text"йWhen the basic text is set in a serifed face, a related sanserif is frequently useful for other elements, such as tables, captions, or notes. In complicated texts, such as dictionary entries, it may also be necessary to mix unserifed and serifed fonts on the same line. If you've chosen a family that includes a matched sanserif, your problems may be solved. 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