Contributors In this article The Glyph Substitution GSUB table provides data for substition of glyphs for appropriate rendering of scripts, such as cursively-connecting forms in Arabic script, or for advanced typographic effects, such as ligatures. Overview The Glyph Substitution table GSUB contains information for substituting glyphs to render the scripts and language systems supported in a font. Many language systems require glyph substitutes.
Outline and Bitmapped Digital devices—computer monitor screens, desktop printers, imagesetters—create images out of dots. The simplest way to create type for one of these devices is to draw a picture of every character as an array of dots and store these drawings in a font.
Then all a device has to do to image the type is to copy those dots into place on the screen or page. Images created from these predrawn, prearranged arrays of dots were called bitmaps, and fonts using this trick were called bitmapped fonts.
Bitmaps are a clever and simple approach, but the more dots a bitmap contains, the more computer data it requires.
As the resolution of the device increases or the size of the character images increases, the number of dots grows geometrically: Doubling the size of a character quadruples the number of dots.
You also Typography assignments a separate set of bitmaps—a separate font—for every size of type you want to create.
And the bitmaps designed for one resolution will appear much smaller when imaged on a device with a higher resolution, where the dots are much smaller see Figure 4. To image a single typeface at the same range of sizes on a computer screen, a desktop printer, and an imagesetter, then, would require hundreds of bitmapped fonts.
As the device's resolution increases, the dots of the bitmapped font become smaller and smaller, and the character follows suit. In this illustration, a character bitmapped for the screen appears at left.
If this bitmap is imaged on a desktop printer, it shrinks to the size in the center. At a typical imagesetter resolution, it shrinks to the size on the right.
The solution is to store the descriptions of the characters as a set of outline drawings. Outline fonts, which do just this, store character images as outlines described mathematically as a series of curves and straight-line segments.
These line segments are sometimes called vectors; and the fonts based on them, vector fonts. These outlines can be mathematically scaled to any size without distorting the shapes or proportions of the characters. The scaled outlines are then colored in with dots of the size created by the device that the type is being imaged on: While it was once common for operating systems to use bitmapped fonts for screen display, they now generate screen type from the same outline fonts used for high-resolution printing.
Some fonts may contain sets of hand-tuned bitmapped screen fonts for use at small sizes because they're more legible than those generated by your computer.
But these embedded screen fonts are not apparent to the user, and you don't have to concern yourself with them. What's in a Font?Related Post of Typography assignments kinetic energy sadlier research paper date speech about homework esl students meaning of term paper umbrella difference.
ALIS is a social media platform set to revolutionize the news and social media industries by connecting ALIS users with trustworthy articles, news, and people quickly. The above is a compilation of some of the best, most imaginative, graphic work produced by the students of Typography 1: Introduction to Typography taught by James Craig at The Cooper Union in New York City.
Assignments from Typography class | See more ideas about Typography, Letterpresses and A quotes. Inside / Outside: From the Basics to the Practice of Design (2nd Edition) [Malcolm Grear] on schwenkreis.com *FREE* shipping on qualifying offers.
Renowned artist and design legend Malcolm Grear has permanently shaped the design world with his work, lecturing. The classic Designing with Type has been completely redesigned, with an updated format and full color throughout. New information and new images make this perennial best-seller an even more valuable tool for anyone interested in learning about typography.