Design
With both italics and boldface, the emphasis is correctly achieved by temporarily replacing the current typeface. Professional typographic systems, including most modern computers, would therefore not simply tilt letters to the right to achieve italics (that is instead referred to as slanting or oblique), print them twice or darker for boldface, or scale majuscules to the height of middle-chamber minuscules (like x and o) for small-caps, but instead use entirely different typefaces that achieve the effect. The letter ‘w’, for example, looks quite different in italic compared to upright.
As a result, typefaces therefore have to be supplied at least fourfold (with computer systems, usually as four font files): as regular, bold, italic, and bold italic to provide for all combinations. Professional typefaces sometimes offer even more variations for popular fonts, with varying degrees of blackness. Only if such fonts are not available should the effect of italic or boldface be imitated by algorithmically altering the original font.
Read more about this topic: Emphasis (typography)
Famous quotes containing the word design:
“Nowadays the host does not admit you to his hearth, but has got the mason to build one for yourself somewhere in his alley, and hospitality is the art of keeping you at the greatest distance. There is as much secrecy about the cooking as if he had a design to poison you.”
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“I begin with a design for a hearse.
For Christ’s sake not black—
nor white either—and not polished!
Let it be weathered—like a farm wagon—”
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