A test suite and implementation report are available. Table of contents 1. Introduction 2. Typography Background 3. Basic Font Properties 3.1. Font family: the font-family property 3.1.1. Generic font families 3.2. Font weight: the font-weight property 3.3. Font width: the font-stretch property 3.4. Font style: the font-style property 3.5. Font size: the font-size property 3.6. Relative sizing: the font-size-adjust property 3.7. Shorthand font property: the font property 3.8. Controlling synthetic faces: the font-synthesis property 4. Font Resources 4.1. The @font-face rule 4.2. Font family: the font-family descriptor 4.3. Font reference: the src descriptor 4.4. Font property descriptors: the font-style, font-weight, font-stretch descriptors 4.5. Character range: the unicode-range descriptor 4.6. Using character ranges to define composite fonts 4.7. Font features: the font-feature-settings descriptor 4.8. Font loading guidelines 4.9. Font fetching requirements 5. Font Matching Algorithm 5.1. Case sensitivity of font family names 5.2. Matching font styles 5.3. Cluster matching 5.4. Character handling issues 5.5. Font matching changes since CSS 2.1 5.6. Font matching examples 6. Font Feature Properties 6.1. Glyph selection and positioning 6.2. Language-specific display 6.3. Kerning: the font-kerning property 6.4. Ligatures: the font-variant-ligatures property 6.5. Subscript and superscript forms: the font-variant-position property 6.6. Capitalization: the font-variant-caps property 6.7. Numerical formatting: the font-variant-numeric property 6.8. East Asian text rendering: the font-variant-east-asian property 6.9. Overall shorthand for font rendering: the font-variant property 6.10. Low-level font feature settings control: the font-feature-settings property 7. Font Feature Resolution 7.1. Default features 7.2. Feature precedence 7.3. Feature precedence examples 8. Object Model 8.1. The CSSFontFaceRule interface Appendix A: Mapping platform font properties to CSS properties Changes Changes from the 14 August 2018 CSS Fonts 3 Proposed Recommendation Changes from the March 15 2018 CSS Fonts 3 Candidate Recommendation Changes from the October 2013 CSS3 Fonts Candidate Recommendation Acknowledgments Conformance Document Conventions Conformance Classes Partial Implementations Experimental Implementations Non-Experimental Implementations References Normative References Other References Index Property index 1. Introduction A font provides a resource containing the visual representation of characters [CHARMOD][UNICODE]. At the simplest level it contains information that maps character codes to shapes (called glyphs) that represent these characters. Fonts sharing a common design style are commonly grouped into font families classified by a set of standard font properties. Within a family, the shape displayed for a given character can vary by stroke weight, slant or relative width, among others. An individual font face is described by a unique combination of these properties. For a given range of text, CSS font properties are used to select a font family and a specific font face within that family to be used when rendering that text. As a simple example, to use the bold form of Helvetica one could use: body font-family: Helvetica; font-weight: bold; Font resources may be installed locally on the system on which a user agent is running or downloadable. For local font resources descriptive information can be obtained directly from the font resource. For downloadable font resources (sometimes referred to as web fonts), the descriptive information is included with the reference to the font resource. Families of fonts typically don't contain a single face for each possible variation of font properties. The CSS font selection mechanism describes how to match a given set of CSS font properties to a single font face. 2. Typography Background This section is non-normative. Typographic traditions vary across the globe, so there is no unique way to classify all fonts across languages and cultures. For even common Latin letters, wide variations are possible: One character, many glyph variations Differences in the anatomy of letterforms is one way to distinguish fonts. For Latin fonts, flourishes at the ends of a character's main strokes, or serifs, can distinguish a font from those without. Similar comparisons exist in non-Latin fonts between fonts with tapered strokes and those using primarily uniform strokes: Letterforms with and without serifs Similar groupings for Japanese typefaces Fonts contain letterforms and the data needed to map characters to these letterforms. Often this may be a simple one-to-one mapping, but more complex mappings are also possible. The use of combining diacritic marks creates many variations for an underlying letterform: Variations with diacritic marks A sequence of characters can be represented by a single glyph known as a ligature: Ligature example Visual transformations based on textual context are often stylistic option in European languages. They are required to correctly render languages like [ARABIC-TYPO], the lam and alef characters below must be combined when they exist in sequence: Required Arabic ligature The relative complexity of these shaping transformations requires additional data within the font. Sets of font faces with various stylistic variations are often grouped together into font families. In the simplest case a regular face is supplemented with bold and italic faces, but much more extensive groupings are possible. Variations in the thickness of letterform strokes, the weight, and the overall proportions of the letterform, the width, are most common. In the example below, each letter uses a different font face within the Univers font family. The width used increases from top to bottom and the weight increases from left to right: Weight and width variations within a single font family Creating fonts that support multiple scripts is a difficult task; designers need to understand the cultural traditions surrounding the use of type in different scripts and come up with letterforms that somehow share a common theme. Many languages often share a common script and each of these languages may have noticeable stylistic differences. For example, the Arabic script, when used for Persian and Urdu, exhibits significant and systematic differences in letterforms, as does Cyrillic when used with languages such as Serbian and Russian. The character map of a font defines the mapping of characters to glyphs for that font. If a document contains characters not supported by the character maps of the fonts contained in a font family list, a user agent may use a system font fallback procedure to locate an appropriate font that does. If no appropriate font can be found, some form of "missing glyph" character will be rendered by the user agent. System fallback can occur when the specified list of font families does not include a font that supports a given character. Although the character map of a font maps a given character to a glyph for that character, modern font technologies such as OpenType [OPENTYPE] and AAT (Apple Advanced Typography) [AAT-FEATURES] provide ways of mapping a character to different glyphs based upon feature settings. Fonts in these formats allow these features to be embedded in the font itself and controlled by applications. Common typographic features which can be specified this way include ligatures, swashes, contextual alternates, proportional and tabular figures, and automatic fractions, to list just a few. For a visual overview of OpenType features, see the [OPENTYPE-FONT-GUIDE]. 3. Basic Font Properties The particular font face used to render a character is determined by the font family and other font properties that apply to a given element. This structure allows settings to be varied independent of each other.
Designed particularly for screens, Tahoma looks readable on a variety of screen sizes and multiple devices. In fact, this significant aspect is what makes Tahoma stand out from other fonts in the Sans Serif family.
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However, there are certain basic principles rooted in Typography that can help you narrow down the evergrowing list of available PowerPoint presentation fonts, and choose PowerPoint fonts that will resonate with and have a powerful impact on your target audience. As discussed in this article, these include font factors such as compatibility with most systems, clarity from a distance, letter spacing, and so on. Luckily for you, our carefully researched and compiled list of best fonts for presentations above was created with these core fundamentals already in mind, saving you time and hassle.
A type style is a variant version of an individualfont in a font family. Typically, the Roman or Plain (theactual name varies from family to family) member of a font familyis the base font, which may include type styles such as regular,bold, semibold, italic, and bold italic.
You can view samples of a font in the font family and font style menus in the Character panel and other areas in the application from where you can choose fonts. The following icons are used to indicate different kinds of fonts:
Whenyou specify a font, you can select the font family and its typestyle independently. When you change from one font family to another, InDesign attempts to match the currentstyle with the style available in the new font family. For example,Arial Bold would change to Times Bold when you change from Arialto Times.
Designed in 1962 by Aldo Novarese for the popular Nebiolo type foundry in Italy, Eurostile was based on Novarese's earlier work Microgamma. While Microgamma featured only capital letters, Eurostile included upper and lower case letters, bold condensed variants, and the ultra-narrow Eurostile Compact variant. In all, the original Eurostile family contained seven fonts.
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