Optical weights are designed to be set at different sizes so in our example above of the footnotes, we might set the footnotes in the small

This is the fifth of a 10-part series of the Ten Keys to Seamless Typesetting. In our last installment we talked about the importance of using true small caps rather than faux small caps in order to keep the colour of the page consistent. The same is true when using superscripts or subscripts. A well-equipped text family may offer four combinations of figure style and spacing: proportional old-style, tabular old-style, proportional lining and tabular lining. It may also inc

If I were to ask you what laser or radar stands for, you might be surprised to find out that they are both acronyms. You can click on the wo

The most classic ligature is the fi ligature. If you look at the image at the top of this page, you will see in the Arno font, if the f and

There are essentially four sets of numbers (ignoring superscripts etc.) that we need to deal with. Just like the letters of the alphabet, we

This is the third of a 10-part series of the Ten Keys to Seamless Typesetting. Kerning is a necessary part of the typesetting process. Whereas in the past this could have meant filing the edge of a sort to fit two characters closer together, today the process is much faster. To a large extent, kerning is pre-programmed into a professional font, but not every letter combination is necessarily taken care of and even if it is, not necessarily to the liking of the typesetter.