144 Graphic Communications
Fonts represented with vector graphics are called
vector fonts, also known as scalable fonts or outline
fonts. The best example of a vector font system is
PostScript. The PostScript font characters have
no specifi c size and are described as mathematical
defi nitions of the outline. PostScript output devices
render the characters as designated.
As with vector images, vector fonts retain smooth
contours when slanted, rotated, or scaled to any
size. However, converting illustration fonts into vector
graphics or object outlines can create problems for
small type sizes and large text blocks. For example,
outlining small type can create shapes that are too
complex to print. Converting text to outline also
makes editing more diffi cult, because the text is
changed to a graphic instead of a font.
PostScript Type 1 Fonts
PostScript Type 1 is a format for vector fonts
where each character in a typeface is stored as a
PostScript language program. Because they are
mathematical formulas, vector fonts take up less
space in a printer’s memory, and the quality of the
characters is not affected when scaled to different
sizes. PostScript Type 1 fonts can be rotated,
outlined, or fi lled with patterns, and they produce
smooth curves even at large sizes when used as
display fonts.
PostScript Type 1 fonts are device-independent,
which means that they can be used across a broad
range of output devices. Any device that contains a
PostScript interpreter can read PostScript Type 1 fonts.
Although resolution varies among output devices,
type generated from vector fonts is as sharp as the
particular device can produce.
PostScript Type 1 fonts have two component fi les:
a suitcase fi le for screen display and the PostScript
printer typeface fi le for PostScript device output.
These two components make a PostScript Type 1 font.
Digital fonts require two fi les because the images on
a computer screen are created differently from those
reproduced onto paper. The screen font is a low-
resolution pixel representation of the printer typeface,
which does not allow for high-resolution output.
The suitcase fi le contains a set of screen font
sizes and styles. Although the available sizes depend
on the program, sizes usually range from 8 point to
72 point. Typical style choices include the primary
font, italic, bold, and bold italic. Some font packages
also include a variety of weights and widths. The
printer typefaces are the actual PostScript fi les that
defi ne the shape of the letters through Bezier curve
outlines. Every typeface requires a separate printer
fi le to successfully output the composition.
TrueType Fonts
TrueType font technology was developed jointly
by Microsoft® and Apple® as a cross-platform vector
font. Although TrueType support is built into all
Windows® and Macintosh® operating systems, they
do not always translate well.
TrueType fonts have no specifi c sizes and
work by combining the screen fonts and the printer
typeface into one fi le (instead of the separate fi les
used in PostScript). PostScript output devices
must either convert TrueType fonts or substitute a
PostScript font, which slows processing. If TrueType
fonts can be imported successfully, they can provide
many benefi ts in a cross-platform environment. Most
prepress suppliers use PostScript Type 1 fonts as
a standard, and may have limited TrueType fonts.
To maintain a smoother workfl ow, it is best to avoid
using both PostScript and TrueType fonts in the same
document.
Multiple Master Fonts
Traditionally, standard type families had limited
style variation. Adobe Systems Inc. developed multiple
master fonts that allow variations to be created from a
base design. Each multiple master font consists of the
base font (the multiple master font itself) and one or
more instances of the font, Figure 7-28. An instance is
a rendition of the font that varies from other instances
in one or more attributes, such as weight or width.
Multiple master fonts include one or more design
axes for almost unlimited variations of typeface
weight and width. A design axis is a variable typeface
attribute (weight, width, style, optical size). The base
font determines the range of variations available.
Font Organization
A fi ling system of fonts acquired should be
developed on the computer’s hard drive. Having an
organized fi ling system makes it easier to collect and
send the fonts associated with a document, or to
reconstruct a document if problems occur. Such a
fi ling system helps prevent mistakes caused by using
the wrong font, mixing font types, or mixing typeface
publishers.
Create a separate font folder inside the system fonts
folder and fi le each job font by its name. Use separate
folders to avoid mixing fonts from different publishers. For
example, there may be a font named Adobe® Garamond
and one named Agfa Garamond, Figure 7-29.