zebra barcode printer in vb.net 9: FontShuffle in Objective-C

Creator QR Code in Objective-C 9: FontShuffle

CHAPTER 9: FontShuffle
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The StyleFinder from 1995 (see Figure 9-8) shows on its cover exactly the same basic type style categories of today s StyleFinder. In the following years, that rough classification has continued unchanged through the recent fourth edition of FontBook, published in August 2006.
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Figure 9-8. This clipping of the StyleFinder cover from 1995 shows the first appearance of the FontShuffle categories.
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FontShop s Typeface Categorization
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During its 20 years of existence, FontShop never thought about a second level of classification for its customers, (i.e., subdividing the sans serif section into Humanist, Static, Geometric, Gothic, and so on). In print, such a detailed offer might cause problems. For example, not every type friend knows that the serif-family Jenson is Venetian styled and not French or baroque, so readers might require three or more searches before finding this typeface specimen. Browsing through categories on a digital platform is far faster. Plus, if you don t have any clue what a typeface named Ergo looks like, you can start a text search. When FontShop Germany developed the concept for its new web site, one of its programmers, Rainer Pleyer, had the idea to offer a visual search for fonts in addition to the font name search. He scribbled a basic structure and named it FontShuffle, because it was constructed like a game. Then, it was my turn to realize that feature. Naturally, my starting point was FontBook s structure, or rather the original StyleFinder structure just slightly modified: sans serif, serif, slab serif, script, black letter, and display.
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CHAPTER 9: FontShuffle
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At that point, I thought about the correct naming for the categories and the subcategories since using just category is too general: category is the generic term for words like species, order, class, or kingdom. Because the term family is well established in the world of typefaces, I just took a closer look into biology and borrowed its nomenclature. For example, Helvetica Italic s classification follows: Class: Sans Serif Order: Static Family: Helvetica Genus: Italics After the nomenclature was settled, I concentrated on the orders, since the classes are well defined. I ll cover orders in the next section. Although I am not interested in doing so, the biological model is expandable upward and downward. The species might be the weight of some Helvetica Italic (e.g., Helvetica Italic Bold), and the phylum of a Helvetica might be the Roman letter space, belonging to the kingdom of phonographic scripts, and so on. Maybe it is because I m a physicist that I decided to give each of the six FontShuffle classes exactly six orders: I love simple and symmetrical models. I did tried using nine orders, but that was far too fine.
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Classes and Orders of Typefaces
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The FontShuffle orders are a mixture between the historical model and Willberg s formstyle matrix, in which form equals class and style equals order. For the huge class of Serif typefaces, I decided to stay primarily with the historical classification, partly because of the roots of these typefaces designs and partly because of their stable design principles that outlast decades or centuries. For the younger classes, like sans or slab serif, I ve chosen mainly the style order. The script class carries attributes, like handwritten or simple, that only work in that class. Black letter is a special case with less elbow room not only in usage but also in classification: I left it with the traditional naming. The display section is a very special thing: it s a catalog of its own, with some order names that are actually used for classes (sans, serif, slab, and script) as well as two style orders (decorative and experimental). What is a display typeface It is more or less a lettering design, made for advertisements, posters, headlines, initials, catch lines, and so on. One half of the display typefaces are single weights, and the other half is organized as families, like text typefaces usually are. The treatment of the display typefaces is the result of 15 years of FontBook experience, seeing the display section increasing from edition to edition. That area is growing disproportionally, because a lot of young type designers are producing typefaces entirely using the display approach. The FontShuffle classes and orders since version 1.1 are shown in Figure 9-9.
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