Graphics Reference
In-Depth Information
7-21
A morphology of multiple master fonts,
originating with six master fonts interpolated along
the axes of weight, width, and optical size. Weight and
optical size occur along the vertical axis; width occurs
along the horizontal axis. Though the variations seem
subtle, each represents an individual font.
Scanning and laser systems
There are two classes of digital typesetters: digital-scanning systems,
first introduced in 1972, and digital-laser systems. In digital-scanning
systems (Fig.
7-19
), photographic characters were digitally scanned and
recorded electronically on a magnetic disk or tape. The characters were
translated into a grid of extremely high resolution and then transmitted
as a set of instructions to a CRT. Next, the characters were generated
onto the CRT by a series of scan lines. The letterform images were
then projected from the CRT onto paper, film, or an electrostatic drum.
Because the output type is digital, it could be modified automatically
to reflect a number of typographic variations. For example, it could
be made heavier, lighter, slanted, condensed, or expanded at the
command of the operator.
Rather than employing a CRT to generate characters, digital-laser
systems (Fig.
7-20
) used a laser beam that scanned photographic paper
as it read digital information stored in the typesetter. As the paper was
scanned, a series of dots forming the characters were exposed to the
paper. The information controlling the laser included the font, as well
as spacing, paragraph configuration, hyphenation, and kerning.
The nature of typographic communication has changed drastically
as the responsibility for typesetting has shifted from a compositor to
the designer. The ability of a designer to dynamically edit and alter
individual letterforms and entire fonts with the aid of software has
in many ways redefined the way type is used. For example, multiple
master typefaces, developed by Adobe in 1991, readily enabled
designers to interpolate and therefore change fonts along several design
axes (Fig.
7-21
). These axes include weight, width, optical size, stroke
shape, and serif configuration.
Other developments depart entirely from traditional typesetting
methods. The typeface Walker, for example, designed in 1995 by
Matthew Carter for the Walker Art Center, provides “snap-ons,” that
is, variant serifs treated as separate characters that can be added to or
removed from letters as desired (Fig.
7-22
).
7-20
Components of a
digital-laser typesetter.
7-22
Walker, a typeface
designed by Matthew
Carter, enables designers
to “snap on” five
variations of serifs at will.
