Doc

1 Adobe Project 04/19/17
A Little Acrobat Exercise

Kayla Little
University of Colorado Colorado Springs
ENGL 3160
April 18, 2017

Table of Contents
1. Word Project
2. InDesign
3. Illustrator

I|Page
7\SHIDFH
T7able of Contents
Terminology ............................................................................. II
History ..................................................................................... VII
Digital type ............................................................................. VIII
Typeface anatomy ......................................................................IX
Serifs ................................................................................... X
Proportion .........................................................................XI
Types of typefaces .................................................................... XV
Serif typefaces .........................................................................XVI
Sans serif typefaces............................................................... XVII
Display type ......................................................................... XVIII
Texts used to demonstrate typefaces........................................ XX
From Wikipedia, the free encyclopedia
In typography, a typeface is the artistic representation

or interpretation of characters; it is the way the type
looks. Each type is designed and there are thousands of
I

II | P a g e
different typefaces in existence, with new ones being

developed constantly.
The art and craft of designing typefaces is called type

design. Designers of typefaces are called type designers,
and often typographers. In digital typography, type
designers are also known as font developers or font
designers. Refer to the list of typographers of notable
typographers around the world.
Typeface is the design of glyphs which is the looks of

characters. The same glyph may be used for characters
from different scripts, e.g. Roman uppercase A looks the
same as Cyrillic uppercase and Greek uppercase alpha,
and there are typefaces tailored for special applications,
such as map-making or astrology and mathematics.
The term typeface is frequently confused with term font

or used as a synonym. Before the advent of digital
typography and desktop publishing the two terms had a
more clearly understood meaning. See font for a
complete definition of that term.
Terminology
In professional typography, the term typeface is not
interchangeable with the word font, which was
historically defined as a given alphabet and its
III | P a g e
associated characters in a single size. For example, 8-

point Caslon Italic was one font, and 10-point Caslon
Italic was another. Historically, fonts came in specific
sizes determining the size of characters, and in
quantities of sorts or number of each letter provided.
The design of characters in a font took into account all
these factors.
As the range of typeface designs increased and

requirements of publishers broadened over the centuries,
fonts of specific weight (blackness or lightness) and
stylistic variants (most commonly regular or roman as
distinct to italic, as well as condensed) have led to font
families, collections of closely related typeface designs
that can include hundreds of styles. A font family is
typically a group of related fonts which vary only in
weight, orientation, width, etc., but not design. For
example, Times is a font family, whereas Times Roman,
Times Italic and Times Bold are individual fonts making
up the Times family. Font families typically include
several fonts, though some, such as Helvetica, may
consist of dozens of fonts.
The distinction between font and typeface is that a font

designates a specific member of a type family such as
roman, boldface, or italic type, while typeface designates
a consistent visual appearance or style which can be a

IV | P a g e
"family" or related set of fonts. For example, a given

typeface such as Arial may include roman, bold, and italic
fonts.[1] In the metal type era, a font also meant a
specific point size, but with digital scalable outline fonts
this distinction is no longer valid, as a single font may be
scaled to any size.
The first "extended" font families, which included a wide

range of widths and weights in the same general style
emerged in the early 1900s, starting with ATF's
Cheltenham (19021913), with an initial design by Bertram
Grosvenor Goodhue, and many additional faces designed
by Morris Fuller Benton.[2] Later examples include
Futura, Lucida, ITC Officina. Some became superfamilies
as a result of revival, such as Linotype Syntax, Linotype
Univers; while others have alternate styling designed as
compatible replacements of each other, such as Compatil,
Generis.
Typeface superfamilies began to emerge when foundries

began to include typefaces with significant structural
differences, but some design relationship, under the
same general family name. Arguably the first superfamily
was created when Morris Fuller Benton created Clearface
Gothic for ATF in 1910, a sans serif companion to the
existing (serifed) Clearface. The superfamily label does
not include quite different designs given the same family

V|Page
name for what would seem to be purely marketing, rather

than design, considerations: Caslon Antique, Futura Black
and Futura Display are structurally unrelated to the
Caslon and Futura families, respectively, and are
generally not considered part of those families by
typographers, despite their names.
Additional or supplemental glyphs intended to match a

main typeface have been in use for centuries. In some
formats they have been marketed as separate fonts. In
the early 1990s, the Adobe Systems type group
introduced the idea of expert set fonts, which had a
standardized set of additional glyphs, including small
caps, old style figures, and additional superior letters,
fractions and ligatures not found in the main fonts for
the typeface. Supplemental fonts have also included
alternate letters such as swashes, dingbats, and
alternate character sets, complementing the regular
fonts under the same family.[3] However, with
introduction of font formats such as OpenType, those
supplemental glyphs were merged into the main fonts,
relying on specific software capabilities to access the
alternate glyphs.
Since Apple's and Microsoft's operating systems

supported different character sets in the platform
related fonts, some foundries used expert fonts in a

VI | P a g e
different way. These fonts included the characters

which were missing on either Macintosh or Windows
computers, e.g. fractions, ligatures or some accented
glyphs. The goal was to deliver the whole character set
to the customer regardless of which operating system
was used.
The size of typefaces and fonts is traditionally measured

in points;[4] point has been defined differently at
different times, but now the most popular is the Desktop
Publishing point of 172 in (0.0139 in/0.35 mm). When
specified in typographic sizes (points, kyus), the height
of an em-square, an invisible box which is typically a bit
larger than the distance from the tallest ascender to the
lowest descender, is scaled to equal the specified size.
[5] For example, when setting Helvetica at 12 point, the
em square defined in the Helvetica font is scaled to 12
points or 16 in (0.17 in/4.3 mm). Yet no particular
element of 12-point Helvetica need measure exactly 12
points.
Frequently measurement in non-typographic units (feet,

inches, meters) will be of the cap-height, the height of
the capital letters. Font size is also commonly measured
in millimeters (mm) and qs (a quarter of a millimeter, kyu
in romanized Japanese) and inches.

VII | P a g e
History
Type foundries have cast fonts in lead alloys from the
1450s until the present, although wood served as the
material for some large fonts called wood type during the
19th century, particularly in the United States. In the
1890s the mechanization of typesetting allowed
automated casting of fonts on the fly as lines of type in
the size and length needed. This was known as continuous
casting, and remained profitable and widespread until its
demise in the 1970s. The first machine of this type was
the Linotype machine, invented by Ottmar Mergenthaler.
During a brief transitional period (c. 1950s 1990s),

photographic technology, known as phototypesetting,
utilized tiny high-resolution images of individual glyphs on
a film strip (in the form of a film negative, with the
letters as clear areas on an opaque black background). A
high-intensity light source behind the film strip
projected the image of each glyph through an optical
system, which focused the desired letter onto the light-
sensitive phototypesetting paper at a specific size and
position. This photographic typesetting process
permitted optical scaling, allowing designers to produce
multiple sizes from a single font, although physical
constraints on the reproduction system used still
required design changes at different sizes; for example,

VIII | P a g e
ink traps and spikes to allow for spread of ink

encountered in the printing stage. Manually operated
photocomposition systems using fonts on filmstrips
allowed fine kerning between letters without the physical
effort of manual typesetting, and spawned an enlarged
type design industry in the 1960s and 1970s.
The mid-1970s saw all of the major typeface

technologies and all their fonts in use: letterpress,
continuous casting machines, phototypositors, computer-
controlled phototypesetters, and the earliest digital
typesettershulking machines with tiny processors and
CRT outputs. From the mid-1980s, as digital typography
has grown, users have almost universally adopted the
American spelling font, which nowadays nearly always
means a computer file containing scalable outline
letterforms (digital font), in one of several common
formats. Some typefaces, such as Verdana, are designed
primarily for use on computer screens.
Digital type
Digital fonts store the image of each character either as
a bitmap in a bitmap font, or by mathematical description
of lines and curves in an outline font, also called a vector
font. When an outline font is used, a rasterizing routine
(in the application software, operating system or printer)
renders the character outlines, interpreting the vector
IX | P a g e
instructions to decide which pixels should be black and

which ones white. Rasterization is straightforward at
high resolutions such as those used by laser printers and
in high-end publishing systems. For computer screens,
where each individual pixel can mean the difference
between legible and illegible characters, some digital
fonts use hinting algorithms to make readable bitmaps at
small sizes.
Digital fonts may also contain data representing the

metrics used for composition, including kerning pairs,
component creation data for accented characters, glyph
substitution rules for Arabic typography and for
connecting script faces, and for simple everyday
ligatures like . Common font formats include TrueType,
OpenType and PostScript Type 1, while METAFONT is
still used by TeX and its variants. Applications using
these font formats, including the rasterizers, appear in
Microsoft and Apple Computer operating systems, Adobe
Systems products and those of several other companies.
Digital fonts are created with font editors such as
FontForge, RoboFont, Glyphs, Fontlab's TypeTool,
FontLab Studio, Fontographer, or AsiaFont Studio.
Typeface anatomy
Typographers have developed a comprehensive vocabulary
for describing the many aspects of typefaces and
X|Page
typography. Some vocabulary applies only to a subset of

all scripts. Serifs, for example, are a purely decorative
characteristic of typefaces used for European scripts,
whereas the glyphs used in Arabic or East Asian scripts
have characteristics (such as stroke width) that may be
similar in some respects but cannot reasonably be called
serifs and may not be purely decorative.
Serifs
Typefaces can
be divided into
two main
categories:
serif and sans
serif. Serifs
comprise the
small features
at the end of
strokes within
letters. The
printing
industry refers http://behance.vo.llnwd.net/profiles10/280504/projects/
to typeface without 870282/fb38788b5fb21579ddeca97b433547fa.jpg
serifs as sans serif

(from French sans, meaning without), or as grotesque (or,
in German, grotesk).

XI | P a g e
Great variety exists among both serif and sans serif

typefaces. Both groups contain faces designed for
setting large amounts of body text, and others intended
primarily as decorative. The presence or absence of
serifs forms is only one of many factors to consider when
choosing a typeface.
Typefaces with serifs are often considered easier to

read in long passages than those without. Studies on the
matter are ambiguous, suggesting that most of this
effect is due to the greater familiarity of serif
typefaces. As a general rule, printed works such as
newspapers and books almost always use serif typefaces,
at least for the text body. Web sites do not have to
specify a font and can simply respect the browser
settings of the user. But of those web sites that do
specify a font, most use modern sans serif fonts, because
it is commonly believed that, in contrast to the case for
printed material, sans serif fonts are easier than serif
fonts to read on the low-resolution computer screen.
Proportion
A proportional typeface contains glyphs of varying
widths, while a monospaced (non-proportional or fixed-
width) typeface uses a single standard width for all
glyphs in the font.

XII | P a g e
Most people generally find proportional typefaces nicer-

looking and easier to read, and thus they appear more
commonly in professionally published printed material.
For the same reason, GUI computer applications (such as
word processors and web browsers) typically use
proportional fonts. However, many proportional fonts
contain fixed-width (tabular) figures so that columns of
numbers stay aligned.
Monospaced typefaces function better for some

purposes because their glyphs line up in neat, regular
columns. No glyph is given any more weight than another.
Most manually-operated typewriters and text-only
computer displays use monospaced fonts. Most computer
programs which have a text-based interface (terminal
emulators, for example) use only monospaced fonts (or
add additional spacing to proportional fonts to fit them in
monospaced cells) in their configuration. Monospaced
fonts are commonly used by computer programmers for
displaying and editing source code so that certain
characters (for example parentheses used to group
arithmetic expressions) are easy to see.[6] Monospaced
fonts may also come as a benefit to machines doing
automatic recognition of text (cf. Optical Character
Recognition).

XIII | P a g e
ASCII art usually requires a monospaced font for proper

viewing, with the exception of Shift JIS art which takes
advantage of the proportional characters in the MS
PGothic font.. In a web page, the <tt> </tt>, <code>
</code> or <pre> </pre> HTML tags most commonly specify
monospaced fonts. In LaTeX, the verbatim environment
or the Teletype font family (e.g., \texttt{...} or
{\ttfamily ...}) uses monospaced fonts (in TeX, use {\tt
...}).
Any two lines of text with the same number of

characters in each line in a monospaced typeface should
display as equal in width, while the same two lines in a
proportional typeface may have radically different
widths. This occurs because in a proportional font, glyph
widths vary, such that wider glyphs (typically those for
characters such as W, Q, Z, M, D, O, H, and U) use more
space, and narrower glyphs (such as those for the
characters i, t, l, and 1) use less space than the average.
In the publishing industry, it was once the case that

editors read manuscripts in monospaced fonts (typically
Courier) for ease of editing and word count estimates,
and it was considered discourteous to submit a
manuscript in a proportional font. This has become less
universal in recent years, such that authors need to

XIV | P a g e
check with editors as to their preference, though

monospaced fonts are still the norm.
Font metrics
See also: Typographic unit and Metric typographic units
Most scripts share the notion of a baseline: an imaginary

horizontal line on which characters rest. In some scripts,
parts of glyphs lie below the baseline. The descent spans
the distance between the baseline and the lowest
descending glyph in a typeface, and the part of a glyph
that descends below the baseline has the name
descender. Conversely, the ascent spans the distance
between the baseline and the top of the glyph that
reaches farthest from the baseline. The ascent and
descent may or may not include distance added by
accents or diacritical marks.
In the Latin, Greek and Cyrillic (sometimes collectively

referred to as LGC) scripts, one can refer to the
distance from the baseline to the top of regular
lowercase glyphs (mean line) as the x-height, and the part
of a glyph rising above the x-height as the ascender. The
distance from the baseline to the top of the ascent or a
regular uppercase glyphs (cap line) is also known as the
cap height.[7] The height of the ascender can have a
dramatic effect on the readability and appearance of a
XV | P a g e
font. The ratio between the x-height and the ascent or

cap height often serves to characterize typefaces.
Typefaces with the same metrics (i.e., with the same

glyph dimensions) are said to be "metric-compatible",
that is, they can be substituted for one another in a
document without changing the document's text flow.
Several typefaces have been created to be metric-
compatible with widely used proprietary typefaces to
allow the editing of documents set in such typefaces in
digital typesetting environments where these typefaces
are not available.[8] For instance, the open-source
Liberation fonts have been designed as metric-
compatible substitutes for widely used Microsoft fonts.
Types of typefaces
Because an abundance of typefaces have been created
over the centuries, they are commonly categorized
according to their appearance. At the highest level (in
the context of Latin-script fonts), one can differentiate
Roman, Blackletter, and Gaelic types. Roman types are in
the most widespread use today, and are sub-classified as
serif, sans serif, ornamental, and script types.
Historically, the first European fonts were blackletter,
followed by Roman serif, then sans serif and then the
other types. The use of Gaelic faces was restricted to
the Irish language, though these form a unique if

XVI | P a g e
minority class. Typefaces may be monospaced regardless

of whether they are Roman, Blackletter, or Gaelic.
Symbol typefaces are non-alphabetic. The Cyrillic script
comes in two varieties, Roman type (called
gradanskij rift) and traditional Slavonic type
(called slavjanskij rift).
Serif typefaces
Serif, or Roman, typefaces are named for the features
at the ends of their strokes. Times Roman and Garamond
are common examples of serif typefaces. Serif fonts are
probably the most used class in printed materials,
including most books, newspapers and magazines. Serif
fonts are often classified into three subcategories: Old
Style, Transitional, and Modern. Old Style typefaces are
influenced by early Italian lettering design.[9] Though
some argument exists as to whether Transitional fonts
exist as a discrete category among serif fonts,
Transitional fonts lie somewhere between Old Style and
Modern style typefaces. Transitional fonts exhibit a
marked increase in the variation of stroke weight and a
more horizontal serif compared to Old Style, but not as
extreme as Modern. Lastly, Modern fonts often exhibit a
bracketed serif and a substantial difference in weight
within the strokes.

XVII | P a g e
Roman, italic, and oblique are also terms used to

differentiate between upright and italicized variations of
a typeface. The difference between italic and oblique is
that the term italic usually applies to serif faces, where
the letter forms are redesigned.[10]
Sans serif
typefaces
Sans serif (lit.
without serif)
designs
appeared
relatively
recently in
the history of
type design.
The evolution of http://top-10-list.org/wp-content/uploads/2009/
07/Printing-Press.jpg
the sans serif
font very likely stemmed from the slab serif font. The
earliest slab serif font, Antique, later renamed Egyptian,
designed in 1815 by the English typefounder Vincent
Figgins[11] was succeeded one year later by the first
sans serif font, created by William Caslon IV. The
evidence of this is clearly shown in the uniform strokes in
the letter forms. Sans serif fonts are commonly but not
exclusively used for display typography such as signage,

XVIII | P a g e
headings, and other situations demanding legibility above

high readability. The text on electronic media offers an
exception to print: most web pages and digitized media
are laid out in sans serif typefaces because serifs often
detract from readability at the low resolution of
displays.[citation needed]
A well-known and popular sans serif font is Max

Miedinger's Helvetica, popularized for desktop publishing
by inclusion with Apple Computer's LaserWriter
laserprinter and having been one of the first readily
available digital typefaces. Arial, popularized by
Microsoft, is a widely used sans serif font that is often
compared to and substituted for Helvetica. Other fonts
such as Futura, Gill Sans, Univers and Frutiger have also
remained popular over many decades.
Display type
Display type refers to the use of type at large sizes,
perhaps 30 points or larger. Some typefaces are
considered useful solely at display sizes, and hence are
known as display faces. For typefaces used across a wide
range of sizes, in the days of metal type, each size was
cut individually, or even if pantographically scaled would
often have adjustments made to the design for larger or
smaller sizes, making a "display" face have distinct
differences.

XIX | P a g e
In metal type, if present in smaller sizes, ink traps (small

indentations at the junctions of letter strokes) would be
eliminated at display sizes. In smaller point sizes, these
ink traps were intended to fill up when the letterpress
was over-inked, providing some latitude in press operation
while maintaining the intended appearance of the type
design. At larger sizes, these ink traps were not
necessary, so display faces did not have them. Today's
digital typefaces are most often used for offset
lithography, electrophotographic printing or other
processes that are not subject to the ink supply
variations of letterpress, so ink traps have largely
disappeared from use.
When digital fonts feature a display variation, it is to

accommodate other stylistic differences that may
benefit type used at larger point sizes. Such differences,
which were standard in metal type, are rare in digital
type, outside of the very high end of type design. They
can include: a lower x-height, higher contrast between
thick and thin strokes, less space between letters, and
slightly more condensed letter shapes.[15]
Decades into the desktop publishing revolution, few

typographers with metal foundry type experience are
still working, and few digital typefaces are optimized
specifically for different sizes, so the misuse of the

XX | P a g e
term display typeface as a synonym for ornamental type

has become widespread; properly speaking, ornamental
typefaces are a subcategory of display typefaces.
Texts used to demonstrate typefaces

A sentence that uses all of the alphabet (a pangram),
such as "The quick brown fox jumps over the lazy dog", is
often used as a design aesthetic tool to demonstrate the
personality of a typeface's characters in a setting
(because it displays all the letters of the alphabet). For
extended settings of typefaces graphic designers often
use nonsense text (commonly referred to as greeking),
such as lorem ipsum or Latin text such as the beginning
of Cicero's In Catilinam. Greeking is used in typography
to determine a typeface's colour, or weight and style,
and to demonstrate an overall typographic aesthetic prior
to actual type setting.
^ Young, Margaret Levine; Kay, David C.; Wagner, Richard

(2004). WordPerfect 12 for dummies. For Dummies. p.
102. ISBN 9780764578083.1
1Young, Margaret Levine; Kay, David C.; Wagner, Richard (2004).

WordPerfect 12 for dummies. For Dummies. p. 102. ISBN 9780764578083.

XXI | P a g e
^ McGrew, Mac. American Metal Typefaces of the

Twentieth Century (second edition). New Castle, DE: Oak
Knoll Books, 1993: 8587. ISBN 0-938768-39-5.
^ Typophile.com
^ Graham, Lisa. Basics of Design: Layout & Typography

for Beginners. New York: Delmar, 2002: 184. ISBN
0788813622.2
^ Apple's TrueType Reference Manual Retrieved on

2009-06-213
^ "Why use monospace fonts in your IDE?". Retrieved

2009-02-22.4
^ Cullen, Kristin. Layout Workbook: A Real-World Guide

to Building Pages in Graphic Design, Jul 2005: 925
^ "Glossary of Type & Font Terminology". Ascender

Corporation. Retrieved 20 May 2010.
2Graham, Lisa. Basics of Design: Layout & Typography for Beginners. New
York: Delmar, 2002: 184. ISBN 0788813622.
3 Apple's TrueType Reference Manual Retrieved on 2009-06-21

4 "Why use monospace fonts in your IDE?". Retrieved 2009-02-22.
5 Cullen, Kristin. Layout Workbook: A Real-World Guide to Building Pages in
Graphic Design, Jul 2005: 92
XXII | P a g e
^ Carter, Day, and Meggs. Typographic Design: Form and

Communication. Third Edition. Hoboken, NJ: John Wiley
and Sons, 2002: 34.
^ Williams, Robin. The Non-Designer's Type Book.

Berkeley, CA: Peachpit Press, 1998: 16.
^ Carter, Day, and Meggs. Typographic Design: Form and

Communication. Third Edition. Hoboken, NJ: John Wiley
and Sons, 2002: 35.
^ Lynam, E. W. 1969. The Irish character in print: 1571

1923. New York: Barnes & Noble. First printed as Oxford
University Press offprint 1924 in Transactions of the
Bibliographical Society, 4th Series, Vol. IV, No. 4, March
1924.)
^ McGuinne, Dermot. Irish type design: A history of

printing types in the Irish character. Blackrock: Irish
Academic Press. ISBN 0-7165-2463-5
^ Everson, Michael History and classification of Gaelic

typefaces, 2000-06-19.
^ Adobe Systems [1], 2010-05-31.
^ Eltra Corp. v. Ringer, 579 F.2d 294 (4th Cir. 1978)

XXIII | P a g e
^ Terrence J. Carroll, Protection For Typeface Designs:

A Copyright Proposal, 10 Santa Clara Computer & High
Tech. L.J. 139, 172 (1994)
^ Carroll at 168, n.180.
^ Registrability of Computer Programs That Generate

Typefaces, 57 Fed. Reg. 6201 (1992).
^ "Freetype and Patents".
^ Adobe Systems, Inc. and Emigre, Inc. v. Southern

Software, Inc. and King (No. C95-20710 RMW, N.D. Cal.
January 30, 1998), BNA.com
^ Carroll at 169.

Contents Kayla Little

Biography 1
A Story Untold 1 Skills and abilities
Little Qualities 1
Biography 2
Little Qualities 2
A Story Untold 2
Biography 3 A Story Untold
Little Qualities 3
I have always been self con-
A Story Untold 3 cious of myself. Over the
Biography 4 years I have grown more com-
A Story Untold 4 fortable with myself and I
Little Qualities 4 want to be able to show my
confidentce in the work place.
Middle schoolers can pick up
on weakness, so I want to be a
strong individual.
Biography
Little Qualities
My name is Kayla Little. I am

going to become a Special I am a caring person. I grew
Education teacher in middle up in Penrose, Colorado and
school out in Las Vegas, Ne- I learned the importance of
vada. I am 24-years-old and work. I was raised in a fami-
my birthday is on Easter this ly where I learned how to be
year. I have a mother, father, kind, gentle, giving, and hard-
and a younger brother who working. I am very sincere and
is 22-years-old. I have a huge I always make sure the work is
crazy famiy that I love. done. I want people to do well
in life. This is why I chose to
be a teacher.

Adapted from
Google Images
A Story Untold
Biography Little Qualities A Story Untold
Biography When I become a

Little Qualities strong individual This is where I think These traits Im hop- Having respect in
the kids will see how this will help me ing that I will carry on the classroom will
much I care about with my career and with me so that I create allow us to have de-
Growing up with my this also allows me a stronger me, and a
them. This will al- cent classroom man-
family I have learned My father has been to connect with stu- classroom that kids will
low the students to agement. This will
a lot of valuable les- teaching for almost 30 understand that if I dents. I want to be like to come to. give the students a
sons. I have learned years now, and I have able to collaborate
respect them, then great working space,
how to love everyone learned many of his dif- they can show me the with any personality. and I will be able to
. I also like to think ferent traits that he has same. teach them.
that I have a fun per- used in the classroom.
sonality.

Biography Little Qualities
If I am able to collaborate with This is where I like to think that

any personality then students when students see I care by show-
will be able to come and talk ing a fun side, but also a stern side
with me. This will allow trust, theyll know I want them to do
and show students that I am well and move on in success in
there for them to succeed and their adulthood.
show them I care for their educa-
tion.
A Story Untold
This is why my confidence is

key. No more will I have self
doubt, and I will be there for
the kids. I will be the strong
teacher that they all look up
to. I want the kids to feel con-
fi- "I want them to dent
self-advocate." about
themselves as I do about my-

self. I want to be the inspi-
ration for them to do what I
have done. I have seen some
young girls that remind me
of myself, so I want to be able
Miss Littles Middle School Issue

One day Miss Little had an issue.
Miss Little did everything she could think

Her issue was that all of the students fell
of to wake them up!
under a spell, and they all fell asleep!

Bam! Pow! She slaps the desk, but nothing ZZZZZZ... the students snored and snored.
happens. The students still slumbered. Miss Little was just about to give up when....
BAM! Someone drops water all over the AHHH! Were awake Miss Little! They
students!! screamed in unison. Thank goodness
now we can do our PARCC test.

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From Wikipedia, the free encyclopedia

In typography, a typeface is the artistic representation

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different typefaces in existence, with new ones being

The art and craft of designing typefaces is called type

Typeface is the design of glyphs which is the looks of

The term typeface is frequently confused with term font

associated characters in a single size. For example, 8-

As the range of typeface designs increased and

The distinction between font and typeface is that a font

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"family" or related set of fonts. For example, a given

The first "extended" font families, which included a wide

Typeface superfamilies began to emerge when foundries

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name for what would seem to be purely marketing, rather

Additional or supplemental glyphs intended to match a

Since Apple's and Microsoft's operating systems

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different way. These fonts included the characters

The size of typefaces and fonts is traditionally measured

Frequently measurement in non-typographic units (feet,

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During a brief transitional period (c. 1950s 1990s),

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ink traps and spikes to allow for spread of ink

The mid-1970s saw all of the major typeface

instructions to decide which pixels should be black and

Digital fonts may also contain data representing the

typography. Some vocabulary applies only to a subset of

serifs as sans serif

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Great variety exists among both serif and sans serif

Typefaces with serifs are often considered easier to

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Most people generally find proportional typefaces nicer-

Monospaced typefaces function better for some

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ASCII art usually requires a monospaced font for proper

Any two lines of text with the same number of

In the publishing industry, it was once the case that

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check with editors as to their preference, though

Most scripts share the notion of a baseline: an imaginary

In the Latin, Greek and Cyrillic (sometimes collectively

font. The ratio between the x-height and the ascent or

Typefaces with the same metrics (i.e., with the same

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minority class. Typefaces may be monospaced regardless

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Roman, italic, and oblique are also terms used to

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headings, and other situations demanding legibility above

A well-known and popular sans serif font is Max

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In metal type, if present in smaller sizes, ink traps (small

When digital fonts feature a display variation, it is to

Decades into the desktop publishing revolution, few

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