\r
</figure>\r
\r
-Looking at the **dynamic form model,** you can see the open shapes, and a very subtle [diagonal axis](/glossary/axis_in_type_design). This all adds to the friendly, open, and approachable feeling that a dynamic typeface creates. [Kupferschmid associated the form models with certain adjectives](https://kupferschrift.de/cms/2012/03/on-classifications/). They can be helpful when picking a typeface that should follow a certain mood. Naturally, this mood might shift when there are serifs or no serifs, or other stylistic features, but it’s a good starting point.\r
+Looking at the **dynamic form model,** you can see the open shapes, and a very subtle [diagonal axis](/glossary/axis_in_type_design). This all adds to the friendly, open, and approachable feeling that a dynamic typeface creates. [Kupferschmid associated the form models with certain adjectives](http://kupferschrift.de/cms/2012/03/on-classifications/). They can be helpful when picking a typeface that should follow a certain mood. Naturally, this mood might shift when there are serifs or no serifs, or other stylistic features, but it’s a good starting point.\r
\r
<figure>\r
\r
[InDesign](https://en.wikipedia.org/wiki/Adobe_InDesign) is a desktop publishing application developed by Adobe Systems. At the core of its typesetting capabilities is the Adobe Paragraph Composer, a composition engine that, like TeX, “considers a network of breakpoints for an entire paragraph... evaluating them, and assigning a weighted penalty to them,” as quoted in Michael M. Stone’s “An Investigation into Justification and Hyphenation Methodologies in QuarkXPress and Adobe InDesign InDesign,” “and also offers a complement of micro-typographic features along the lines of hz-program (letter-spacing, glyph scaling, and optical margins)—although Adobe is “not using any code directly from either project.”
-Of these micro-typographic features, glyph scaling is perhaps the most controversial. Torbjørn Eng [takes issue](http://www.typografi.org/justering/gut_hz/gutenberghzenglish.html) with the origin story for InDesign’s glyph scaling that reaches back, through Hermann Zapf, to Gutenberg’s 42-line Bible, objecting that Gutenberg’s method for narrowing blackletter type (which involved, essentially, knocking a few corners off the letterforms) can’t be replicated today. In any case, he continues, InDesign’s glyph scaling is inferior to the hz-program’s, which preserved the weight of vertical strokes. InDesign scales not only the counters (interior spaces) of characters, but also their vertical strokes, making them bolder or lighter.
+Of these micro-typographic features, glyph scaling is perhaps the most controversial. Torbjørn Eng [takes issue](https://www.typografi.org/justering/gut_hz/gutenberg_hz_english.html) with the origin story for InDesign’s glyph scaling that reaches back, through Hermann Zapf, to Gutenberg’s 42-line Bible, objecting that Gutenberg’s method for narrowing blackletter type (which involved, essentially, knocking a few corners off the letterforms) can’t be replicated today. In any case, he continues, InDesign’s glyph scaling is inferior to the hz-program’s, which preserved the weight of vertical strokes. InDesign scales not only the counters (interior spaces) of characters, but also their vertical strokes, making them bolder or lighter.
On the other hand, in “The Elements of Typographic Style, 4th ed,” Robert Bringhurst wrote that “microscopic adjustments to all the spaces in the line, including those inside the letters...go a long way toward creating even color and texture.” In reference to typesetting the same book, he says, “the justification engine has been permitted to vary the intercharacter spacing by ±3% and to adjust the counters [emphasis added] of individual glyphs by the same amount.” (It’s curious that he would characterize the adjustments this way, given Eng’s observations on the nature of InDesign’s glyph scaling.)
- [Axis-Praxis](https://www.axis-praxis.org)
- [Variable Fonts](https://v-fonts.com)
- [Font Playground](https://play.typedetail.com)
-- [Very Able Fonts](https://www.very-able-fonts.com)
+- [Very Able Fonts](http://www.very-able-fonts.com)
</p>
<p>
DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages.
-It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe <a href="https://fonts.google.com/specimen/Source+Serif+Pro">Source Serif Pro</a>, by Frank Grießhammer.
+It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe <a href="https://fonts.google.com/specimen/Source+Serif+4">Source Serif 4</a>, by Frank Grießhammer et al.
+</p>
+<p>
+To contribute, see <a href="https://github.com/googlefonts/dm-fonts">github.com/googlefonts/dm-fonts</a>
</p>
-<p>To contribute, see <a href="https://github.com/googlefonts/dm-fonts">github.com/googlefonts/dm-fonts</a></p>
</p>
<p>
DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages.
-It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe <a href="https://fonts.google.com/specimen/Source+Serif+Pro">Source Serif Pro</a>, by Frank Grießhammer.
+It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe <a href="https://fonts.google.com/specimen/Source+Serif+4">Source Serif 4</a>, by Frank Grießhammer et al.
+</p>
+<p>
+To contribute, see <a href="https://github.com/googlefonts/dm-fonts">github.com/googlefonts/dm-fonts</a>
</p>
-<p>To contribute, see <a href="https://github.com/googlefonts/dm-fonts">github.com/googlefonts/dm-fonts</a></p>
-<p>Song Myung is a Korean and Latin font. The Latin is based on <a href="https://fonts.google.com/specimen/Source+Serif+Pro">Source Serif Pro</a>.</p>
\ No newline at end of file
+<p>
+Song Myung is a Korean and Latin font.
+The Latin is based on <a href="https://fonts.google.com/specimen/Source+Serif+4">Source Serif 4</a>.
+</p>
-<p>Source Serif 4 is a serif typeface in the transitional style, designed to complement the <a href="http://www.google.com/fonts/specimen/Source+Sans+Pro">Source Sans Pro</a> family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age.</p>
-
-<p>Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grießhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other — just like their designers do.</p>
-
-<p>Source Serif continues <a href="https://github.com/adobe-fonts/">Adobe’s line of high-quality open source typefaces</a>. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen.</p>
-
-<p>Source Serif is an active Open Source project – if you are interested in contributing, please visit <a href="https://github.com/adobe/source-serif-pro">source-serif-pro</a> on Github for more information.</p>
+<p>
+Source Serif 4 is a serif typeface in the transitional style, designed to complement the <a href="http://www.google.com/fonts/specimen/Source+Sans+3">Source Sans 3</a> family.
+The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color.
+Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif.
+Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age.
+</p>
+<p>
+Both typeface families have different personalities because they spring from the hands of different designers:
+Source Serif was designed by Frank Grießhammer, Source Sans was designed by Paul Hunt.
+Robert Slimbach consulted on both designs, which helped maintain the overall family harmony.
+Either design feels confident on its own but also works in combination with the other — just like their designers do.
+</p>
+<p>
+Source Serif continues <a href="https://github.com/adobe-fonts">Adobe’s line of high-quality open source typefaces</a>.
+Designed for a digital environment, the letter shapes are simplified and highly readable.
+Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen.
+</p>
+<p>
+Source Serif is an active Open Source project – if you are interested in contributing, for more information please visit <a href="https://github.com/adobe-fonts/source-serif-pro">github.com/adobe/source-serif-pro</a>
+</p>
projects / thirdparty / google / fonts.git / commitdiff
