#OLD STYLE TYPEFACE PROFESSIONAL#

They were further developed by 19th-century type designers, and largely displaced text figures in some contexts, such as newspaper and advertising typography. They were introduced to European typography in 1788, when Richard Austin cut a new font for typefounder and publisher John Bell, which included three-quarter height lining figures. Lining figures came out of the new middle-class phenomenon of shopkeepers’ hand-lettered signage. History Īs the name medieval numerals implies, text figures have been in use since the Middle Ages, when Arabic numerals reached 12th century Europe, where they eventually supplanted Roman numerals. Palatino and its clone FPL Neu support both text and lining figures.

The few common digital fonts that default to using text figures include Candara, Constantia, Corbel, Hoefler Text, Georgia, Junicode, some variations of Garamond (such as the open-source EB Garamond), and FF Scala. Modern OpenType fonts generally include both, and being able to switch via lnum and onum feature tags.

#OLD STYLE TYPEFACE PROFESSIONAL#

Lining figures are called for in all-capitals settings (hence the alternative name titling figures), and may work better in tables and spreadsheets.Īlthough many traditional fonts included a complete set of each kind of numbers, early digital fonts (except those used by professional printers) included only one or the other. High-quality typesetting generally prefers text figures in body text: they integrate better with lowercase letters and small capitals, unlike runs of lining figures. Sometimes the stress of the 0 is made different from a letter o in some way, although many fonts do not do this. A few other typefaces used different arrangements. Other schemes exist for example, the types cut by the Didot family of punchcutters and typographers in France between the late 18th and early 19th centuries typically had an ascending 3 and 5, a form preserved in some later French typefaces. In the most common scheme, 0, 1, and 2 are of x-height, having neither ascenders nor descenders 6 and 8 have ascenders and 3, 4, 5, 7, and 9 have descenders. In text figures, the shape and positioning of the numerals vary as those of lowercase letters do. Note the ascending 3, 4 and 5 in the two latter fonts. They continue to pop up all over the world, and still look reassuring to our modern eyes.Text figures in various fonts: Adobe Garamond, Adobe Caslon, Theano Didot and Essonnes Text. The Goudy faces, especially the bolder weights, have long been popular for display and advertising design. Benton designed Goudy Handtooled, the shaded version that has just a hairline of white through its bold strokes. Goudy Modern was designed by Goudy in 1918 its small x-height, tall ascenders and shorter caps impart a spacious and elegant feeling. Goudy Heavyface was designed by Goudy for Monotype in 1925, and was intended to be a rival to the successful Cooper Black. Goudy Catalogue was drawn by Benton in 1919-1921 and was meant to be a medium weight of Goudy Old Style. Goudy Bold (1916-1919) and Goudy Extra Bold (1927) were drawn not by Goudy, but by Morris Fuller Benton, who was ATF's skillful in-house designer. The italic was completed by Goudy in 1918, and is notable for its minimal slope. Recognizable Goudy-isms include the upward pointing ear of the g, the diamond-shaped dots over the i and j, and the roundish upward swelling of the horizontal strokes at the base of the E and L.

Goudy said he was initially inspired by the cap lettering on a Renaissance painting, but most of the flavor of this design reflects Goudy's own individualistic style. Goudy Old Style, designed for American Type Founders in 1915-1916, is the best known of his designs, and forms the basis for a large family of variants. Goudy designed more than 100 typefaces he was the American master of type design in the first half of the twentieth century. Over the course of 50 years, the charismatic and enterprising Frederic W.

Old style typeface