terabyte A unit of data storage equal to 1.024 × 1012 bytes, abbreviated « T » or « TB » or « Tbyte. » 1000 gigabytes = 1 terabyte. 1000 terabytes = 1 petabyte.
terminal A stem or stroke with a free end.
tetrachromacy A genertic alteration in the eyes of some people which defect produces cones which are sensitive to four distinct color ranges (4 color channels). It can be present only in women because of a women's chromasomal structure. Besides the ordinary native red, green, and blue cone sensitivities, a tetrachromatic has cones which are sensitive to a 4th color range. This produces a heightened sensitivity to certain colors and the ability to easily distinguish some different colors which are very close. Production First Software is developing a version of WebSafeTM which can be used to test tetrachromacy over the Internet for users with computer systems with monitors having « True Color » capability, or better.
In a sense, tetrachromacy is opposite to color-blindness. It can pose almost as much of a problem for designers as color-blindness; because a designer who is a tetrachromic might select colors which appear to be different, but those colors might seem to be the same for the rest of the population.
TEX A set of typesetting applications developed by Prof. Donald Knuth of Stanford University in conjunction with the American Mathematical Society. Special capabilities for typesetting mathematical expressions and equations are included.
.TEX file A TEX format layout file.
text The content of human-readable language, as displayed on a page or on-screen. Because the appearance and consistency of text can vary with the writing system and language (for example, glyphs consisting of alphabetic letterforms, hieroglyphics, ideographs, petroglyphs), the size of the text for optimum comprehension varies. Factors such as the reproduction medium (digital display, CRT or LCD screen, paper, parchment, transparency), typeface style, physical colors of the background and text, any text motion, lexical architecture of the particular language, and other factors are influential.
For text comprised of alphabetic letters, using a typical serif typeface designed for text reproduction, in a human language using alphabetic letter glyphs and having word « gestalts, » approximately 11.5 points is the optimal size. This is based on the geometry of the human eye and how the brain works. Languages using more complex glyphs (hieroglyphs, ideographs) may require larger text sizes.>
(another definition follows)
Text Another name for gothic script.text block A block of text formed in a page layout application, which is manipulated as a whole, or can be cut up, joined, copied, or pasted in a different position.
text element A data element which makes text characters part of a document.
text file A data file consisting only of ASCII text characters.
page layout and text file formats The following are page layout and text formats described as follows:
platform, widely used for, format administrator, date originated, last update)
.CDR (PC, CorelDraw layout, from Corel Corporation, 1990, 1997)
.CLP (PC, Windows Clipboard, from Microsoft Corporation, 1990, -)
.DOC (all, Microsoft Word, from Microsoft Corporation, 1982, 1997)
.DRW (PC, Micrographix Designer, from Micrographix Corporation, 1990, -)
.DWX (PC, AutoCad, from AutoDesk Inc., -, -)
.EPS (all, Encapsulated PostScript, from Adobe Systems Inc., 1985, 1994)
.EPI, .EPSI (all, Encapsulated PostScript with embedded low res. TIFF bitmap, from Adobe Systems Inc., 1985, 1994)
.PUB (all, PageMaker 1,2, from Adobe Systems Inc., 1985, 1986)
.PM3 (all, PageMaker 3.x, from Adobe Systems Inc., 1988, -)
.PM4 (all, PageMaker 4.x, from Adobe Systems Inc., 1989, -)
.PM5 (all, PageMaker 5.x, from Adobe Systems Inc., 1991, -)
.PM6 (all, PageMaker 6.x, from Adobe Systems Inc., 1994, 1997)
.RTF (all, Rich Text Format, from Microsoft Corp., 1992, -)
.TXT (all, ASCII text format, from IBM Corporation, 1977, -)
text flow See threaded text.
text folding The substitution of a line of text with a line ending character or some other token. The purpose of text folding is to reduce the number of lines in text, usually in a predictable and acceptable manner, resulting in excerpts.
Textura or Textur A term describing a typeface or calligraphy where individual letterforms are designed to fit attractively together using flourishes, swashes, or contouring of more commonly found letterform shapes and usually upright with no curved strokes.
texture The property of a text block having an overall appearance of an uneven surface.
text wrap A feature of page layout programs which enables text to automatically wrap around a graphic element.
.TFM file A TeX metrics file.
TFT An abbreviation for Thin-Film Transistor. A technology used for flat-panel scrren displays in notebook computers and monitors.
The Lighthouse, Inc. See print legibility for the visually-impaired.
thin client A bare-bones host computer having little or no mass storage capability which runs programs written in Java or JavaScript received over a network. The thin client uses a Web browser or similar utility as its graphical user interface.
thin server A server configured to provide only a single function or a relatively narrow range of functions. Examples are database, Email, Internet access, or Web page servers.
thin space A space equal to 50% of the width of a standard space in Production First Software fonts. Theoretically, it should be the thinnest space used between words in that typeface with no track kerning applied.
thirty two sheet A paper size of 120 inches by 160 inches (3048 mm by 4064 mm).
thorn See nick.
thread A single event, activity, or action performed by a computer operating system. End-users usually do not originate threads. Tasks, utilities, or applications generally originate threads, sometimes more than one, which may be processed concurrently.
threaded text Text blocks which are linked or connected so that text can flow between them, in response to text addition or text removal, or any other action (like a change in leading or pointsize) resulting in a change in length of the original text block.
Three-dimensional A typeface structural style where shading and shadowing produces a 3-dimensional effect on letterforms. The following sub-categories have been defined:
:Sans Serif - Without serifs. Typeface examples include: Design Shaded, Fat Shadow, Gold Rush, Mindy Highlight, Nar Shadow, Uncle Bill.
:Serif - Having serifs. Typeface examples include: Arrow M-Line Shadow, Forum II, Stymie Open, Vermont.
thumbnail A shrinked display size of an image or page. Some page layout and photo-retouching software applications provide a preview mode which displays a number of thumbnails simultaneously.
TIC An acronym for Total Ink Coverage.
tie A curved or straight stroke which connects two letterforms and which does not appear when the letterforms are not adjacent. It is used in « tied letters. »
tied letter Same as a ligature, but usually reserved for attached letter combinations which are joined with a curved stroke, and usually peculiar to certain typefaces.
.TIF file, .TIFF file, TIFF Acronym for Tag Image File Format. A bitmap format for representing images using ASCII text. The latest version (TIFF revision 6.0 in 1992) permits both lossy and lossless compression.
TIFF/FX A TIFF format, developed by ScanSoft (Peabody, Massachusetts, USA) which uses compression and segmentation to reduce files sizes. TIFF/FX allows 2 separately-segmented components: text and images. The images are compressed, and the text can be indexed for searches. TIFF/FX must be licensed, and Microsoft has licensed it for use with wireless information access.
TIFF/IT-P1 A subset of the TIFF 6.0 specification (Image Technology-Profile 1) which allows 2 components: a linework component for text and graphics which depend on a specific output resolution; and a contone (halftoned) component which depends on the specific resolution it was generated at.
TIM An acronym for Telecommunications Interchange Markup, a markup language used to describe telecommunications interchange data.
TIS 620-2529:1990 The 1990 Thai/Lao character set and encoding standard for computers.
titling typeface A typeface whose letterforms and pair kerning are designed specifically for the creation of titles. These typefaces often have a more limited character set, sometimes only upper or lower cases (since miscellaneous characters are not usually needed in titles), letterforms with smaller left and right side bearings (so that letterforms are more closely spaced), or thinner strokes (so that letterforms at larger point sizes will more closely match letterforms used at smaller point sizes for body text.
TLD Abbreviation for Top Level Domain.
.TLX file The document file format for the Trellix hypertext word processor.
tonal or tone mark A diacritical mark placed near a character in a word to indicate intonation. This is found in some African languages, some Asian languages (such as Chinese, Lao, Pinyin, Thai, and Vietnamese), and some American Indian languages.
toner A powdered or liquid marking material used by xerographic copiers and laser printers to create images on the medium. It is not an « ink » because it does not stick on the medium without being secured in some manner.
TOS An achronym for Trusted OS or Trusted Operating System.
top alignment Alignment of type along the capline. Top alignment requires different pair kerning than baseline alignment.
top level domain name The name of the Web server. The top level domain name is the 'internethost' part of the URL. Domain names must be registered with an agent of the W3CCorp. In the U.S., Internic is the sole agent. The categories (the ending part of the name) are determined by the IAHC.
top level domain name categories Domain name categories currently must be santioned by the IHAC.
The present Latin-script domain name categories consist of some which are used internationally:
.ADS - advertising (not officially adopted)
.AERO - aviation industry (11/17/2000)
.ARTS - derivative and fine arts (not officially adopted)
.BIZ - businesses (11/17/2000)
.CC - commercial entities (not officially adopted)
.COM - commercial entities
.COOL - youth sites (not officially adopted)
.COOP - business cooperatives (11/17/2000)
.EDU - educational institutions, schools and universities
.FAM - families (not officially adopted)
.FIRM - commercial entities (not officially adopted)
.GOV - U.S. local, county, state, and federal government agencies
.INC - names of corporations (not officially adopted)
.INFO - originally educational information only, but now general use (11/17/2000)
.INT - International
.KIDS - information for children (not officially adopted)
.MIL - U.S. military
.MUSEUM - museums (11/17/2000)
.NAME - individuals (11/17/2000)
.NATO - Nato field
.NET - commercial network providers, but also being used generally
.NEWS - news establishments (not officially adopted)
.NOM - commercial entities (not officially adopted)
.ONE - names containing only numbers (not officially adopted)
.ORG - non-profit organizations
.PRO - individual professionals (11/17/2000)
.REC - recreational entities (not officially adopted)
.SEX - sex education and adult-oriented content (not officially adopted)
.SHOP - commercial on-line sellers (not officially adopted)
.SPORT - sports-related information (not officially adopted)
.STORE - commercial on-line sellers (not officially adopted)
.SUCKS - complaints and critiques of businesses (not officially adopted)
.TEL - telecommunications (not officially adopted)
.TRAVEL - travel information (not officially adopted)
.UNION - sites related to organized labor (not officially adopted)
.WEB - nonspecific (not officially adopted)
.XXX - adult-oriented content (not officially adopted)
some which are country-specific:
.AD - Andorra
.AE - United Arab Emirates
.AF - Afghanistan
.AG - German commercial entities (also for Antigua and Barbuda)
.AI - Anguilla
.AL - Albania
.AM - Armenia
.AN - Netherlands Antilles
.AO - Angola
.AQ - Antarctica
.AR - Argentina
.AS - American Samoa
.AT - Austria
.AU - Australia
.AW - Aruba
.AZ - Azerbaijan
.BA - Bosnia and Herzegovina
.BB - Barbados
.BD - Bangladesh
.BE - Belgium
.BF - Burkina Faso
.BG - Bulgaria
.BH - Bahrain
.BI - Burundi
.BJ - Benin
.BM - Bermuda
.BN - Brunei Darussalam
.BO - Bolivia
.BR - Brazil
.BS - Bahamas
.BT - Bhutan
.BV - Bouvet Island
.BW - Botswana
.BY - Belarus
.BZ - Belize
.CA - Canada
.CC - Cocos (Keeling) Islands
.CF - Central African Republic
.CG - Congo
.CH - Switzerland
.CI - Cote D'Ivoire (Ivory Coast)
.CK - Cook Islands
.CL - Chile
.CM - Cameroon
.CN - China (PRC)
.CO - Colombia
.CR - Costa Rica
.CS - Czechoslovakia (former)
.CU - Cuba
.CV - Cape Verde
.CX - Christmas Island
.CY - Cyprus
.CZ - Czech Republic
.DE - Germany
.DJ - Djibouti
.DK - Denmark
.DM - Dominica
.DO - Dominican Republic
.DZ - Algeria
.EC - Ecuador
.EE - Estonia
.EG - Egypt
.EH - Western Sahara
.ER - Eritrea
.ES - Spain
.ET - Ethiopia
.FI - Finland
.FJ - Fiji
.FK - Falkland Islands
.FM - Micronesia
.FO - Faroe Islands
.FR - France
.FX - France, Metropolitan
.GA - Gabon
.GB - Great Britain (UK)
.GD - Grenada
.GE - Georgia
.GF - French Guiana
.GH - Ghana
.GI - Gibraltar
.GL - Greenland
.GM - Gambia
.GN - Guinea
.GP - Guadeloupe
.GQ - Equatorial Guinea
.GR - Greece
.GS - S. Georgia and S. Sandwich Isls.
.GT - Guatemala
.GU - Guam
.GW - Guinea-Bissau
.GY - Guyana
.HK - Hong Kong
.HM - Heard and McDonald Islands
.HN - Honduras
.HR - Croatia (Hrvatska)
.HT - Haiti
.HU - Hungary
.ID - Indonesia
.IE - Ireland
.IL - Israel
.IN - India
.IO - British Indian Ocean Territory
.IQ - Iraq
.IR - Iran
.IS - Iceland
.IT - Italy
.JM - Jamaica
.JO - Jordan
.JP - Japan
.KE - Kenya
.KG - Kyrgyzstan
.KH - Cambodia
.KI - Kiribati
.KM - Comoros
.KN - Saint Kitts and Nevis
.KP - Korea (North)
.KR - Korea (South)
.KW - Kuwait
.KY - Cayman Islands
.KZ - Kazakhstan
.LA - Laos
.LB - Lebanon
.LC - Saint Lucia
.LI - Liechtenstein
.LK - Sri Lanka
.LR - Liberia
.LS - Lesotho
.LT - Lithuania
.LU - Luxembourg
.LV - Latvia
.LY - Libya
.MA - Morocco
.MC - Monaco
.MD - physicians (also for Moldova)
.MG - Madagascar
.MH - Marshall Islands
.MK - Macedonia
.ML - Mali
.MM - Myanmar
.MN - Mongolia
.MO - Macau
.MP - Northern Mariana Islands
.MQ - Martinique
.MR - Mauritania
.MS - Montserrat
.MT - Malta
.MU - Mauritius
.MV - Maldives
.MW - Malawi
.MX - Mexico
.MY - Malaysia
.MZ - Mozambique
.NA - Namibia
.NC - New Caledonia
.NE - Niger
.NF - Norfolk Island
.NG - Nigeria
.NI - Nicaragua
.NL - Netherlands
.NO - Norway
.NP - Nepal
.NR - Nauru
.NT - Neutral Zone
.NU - Niue
.NZ - New Zealand (Aotearoa)
.OM - Oman
.PA - Panama
.PE - Peru
.PF - French Polynesia
.PG - Papua New Guinea
.PH - Philippines
.PK - Pakistan
.PL - Poland
.PM - St. Pierre and Miquelon
.PN - Pitcairn
.PR - Puerto Rico
.PS - Palestine
.PT - Portugal
.PW - Palau
.PY - Paraguay
.QA - Qatar
.RE - Reunion
.RO - Romania
.RU - Russian Federation
.RW - Rwanda
.SA - Saudi Arabia
.SB - Solomon Islands
.SC - general use (also for Seychelles)
.SD - Sudan
.SE - Sweden
.SG - Singapore
.SH - St. Helena
.SI - Slovenia
.SJ - Svalbard and Jan Mayen Islands
.SK - Slovak Republic
.SL - Sierra Leone
.SM - San Marino
.SN - Senegal
.SO - Somalia
.SR - Suriname
.ST - Sao Tome and Principe
.SU - USSR (former)
.SV - El Salvador
.SY - Syria
.SZ - Swaziland
.TC - Turks and Caicos Islands
.TD - Chad
.TF - French Southern Territories
.TG - Togo
.TH - Thailand
.TJ - Tajikistan
.TK - Tokelau
.TM - Turkmenistan
.TN - Tunisia
.TO - Tonga
.TP - East Timor
.TR - Turkey
.TT - Trinidad and Tobago
.TV - television (also for Tuvalu)
.TW - Taiwan (ROC)
.TZ - Tanzania
.UA - Ukraine
.UG - Uganda
.UK - United Kingdom
.UM - U.S. Minor Outlying Islands
.US - United States
.UY - Uruguay
.UZ - Uzbekistan
.VA - Vatican City
.VC - Saint Vincent and the Grenadines
.VE - Venezuela
.VG - Virgin Islands (British)
.VI - Virgin Islands (U.S.)
.VN - Vietnam
.VU - Vanuatu
.WF - Wallis and Futuna Islands
.WS - world site commercial (also for Western Samoa)
.YE - Yemen
.YT - Mayotte
.YU - Yugoslavia
.ZA - South Africa
.ZM - Zambia
.ZR - Zaire
.ZW - Zimbabwe
In the above list, names which are marked as « not officially adopted » are valid for some domain name address book servers, but are not sanctioned or approved by ICANN, who is officially responsible for uniform implementation of top level domain names.
Non-Latin script domain names and domain name categories first came into use in the year 2000. The non-Latin name space is different, not just a translation or transliteration for an equivalent name.
topologic space A Cartesian plane (or space) on which a curve, figure, or glyph outline (or solid), subject to the restrictions of topology, is mapped.
topology The science of the study of the properties of figures or shaped objects which are unaffected by any deformation without tearing or joining. An outline cannot be deformed (disrupted is a more descriptive term) unless it is subject to tearing, breaking, or joining. Therefore, outlines (which are, in reality, 1-dimensional surfaces, or shaped objects) are subject to the same properties and operations as shaped objects. However, glyph outlines are also subject to a second set of properties, having to do with mapped nodes.
Total Area Coverage In process color work, the term used to indicate how much ink is to be transferred to the printing medium by a press. For a 4-color process, 400% would represent solid areas of each color (no halftoning). Depending on the nature of the printing medium (type of paper, or other material) and the characteristics of the press, the maximum Total Area of Coverage possible without plugging or other problems is usually somewhat less, averaging about 300%. Techniques such as Gray Component Replacement and Undercolor Removal reduce the Total Area Coverage required for an image.
Total Ink Coverage See Total Area Coverage.
trademark See the Berne and Pan American Copyright Convention.
track kerning The adjustment of space between characters by adding or subtracting the same arbitrary amount of space between all characters. This is done within the application when composing the page. Some applications allow an infinite range of values to be used. Others allow only a few fixed values termed « loose, » « normal, » or « tight. » These were called, in the now obsolete digital type era, « degrees of tracking. » Some typeface designers actually specify values to be used, depending on the type size, for loose, normal, tight, etc. These track kerning specifications can be included in an .AFM file. Some auto-justification routines adjust the character spacing as part of their justification algorithm, and may be set to override or not override a track kerning specification.
Track kerning almost always requires readjustment of pair kerning for optimum type color. This is almost never done, particularly when an application is used to adjust track kerning.
tracking See track kerning.
transfer function In PostScript, a table which maps the true grayscale value with a corrected grayscale value. The corrected grayscale values are those which will produce the correct grayscale values on either the medium produced by the output device, without regard for further use, or the press printed medium after being subject to the printing process, and its inaccuracies due to such phenomena as dot gain. This mapping is done either for 256 values of gray (PostScript Level 1 or 2) or for 4096 values of gray (PostScript 3). The transfer function is introduced into the PostScript RIP (either through the job page description, by preload, or by selecting a transfer function already built-in). When a transfer function is designed only to deal with inaccuracies of the results from an output device, it is usually for the non-linear characteristics of photographic paper or film, the scatter of printer toner in a xerographic process, or a limitation of ink jet technology.
Transitional Denotes a typeface structural style introduced in the late 18th century by John Baskerville following most Dutch-English Old Style characteristics except one: letterform designs based on the contrast made by a broad pen vertically held. This produces vertical stressing on all letterforms, and horizontally-balanced curved strokes. Transitional can be further subdivided into the following sub-categories:
:Direct Line - significant contrast between thick and thin serifs and thin serifs. Typeface examples are: Baskerville, Bauer Classic, Bulmer, Caslon 540, Scotch Roman.
:Modified - less contrast and thicker serifs. Also termed « New Transitional. » Typeface examples include: Caslon Antique, Cheltenham, Maximus, Melior.
trap An indentation placed at the intersection of two strokes or a departure from the intended shape of a stroke near the intersection of two strokes of a glyph to provide compensation for ink bleeding or plugging during printing or overexposure from a photographic process.
(another definition follows)
trap A term sometimes used for a spread or a choke. See trapping.trapping The process of applying spreads and chokes to process color images so that the images will superimpose satisfactorily without unwanted gaps between colored shapes and areas. Trapping can be done automatically by trapping software or manually by an operator or designer during page setup, page design, or drum scanning. Sometimes, automatic trapping is unsatisfactory, and it must be done manually.
Trellix A hypertext word processor developed by Trellix Corp. It can import Microsoft Word documents and export HTML for use on a Web page.
.TRG file See bitmap formats.
triangular serif Generally, a serif whose overall shape is distinctly triangular. Sometimes, this nomenclature is applied to angled serifs specifically.
trigraph A combination of three letters which represent a single phonetic or sound, but are manipulated as a single letter or element in spelling.
TrueDoc A lossy font compression technology developed by Bitstream which creates hinted, compressed letterform outlines from a bitmap display of the letterform of a font. Because the outlines are made from bitmaps: (1) they are not as accurate as the original outlines from which the bitmaps were generated, and (2) there are no licensing issues because the generated outlines use different data than the original outlines, unless the outline designs per se are legally protected.
There are some disadvantages to this technology:
1) The glyphs rendered by TrueDoc appear fuzzy in most cases;
2) A URL Web address of the site where a font is to be used is embedded into the font, and the font will not work on any other site; and
3) A plug-in is required for browsers other than Netscape Navigator 4.x and higher.
TrueDoc is being marketed as a Web font solution, among other things. A licensing fee is charged for the TrueDoc format generating software.
TrueImage A PostScript clone being marketed by Microsoft. It has the ability to handle both PostScript fonts and TrueType fonts.
TrueType A font format which has basic differences from PostScript font formats. Some differences are: hinting algorithm instructions are built into the font, whereas in PostScript, hinting algorithm instructions are built into the interpreter; arbitrarily large character sets (such as would be available with 3-byte or higher characters without modal encoding) cannot be used (only 1-byte or 2-byte characters), whereas with PostScript, multibyte characters of any byte width are allowed; the font cannot be non-destructively reëncoded: all encoding tables and schemes must be built-in at the time of font creation, whereas with PostScript, reëncoding a font can take place; an automatic optical scaling protocall can be designed into a font, whereas in PostScript optical scaling must always be regulated by the user; variable scaling cannot be implemented, whereas in PostScript variable scaling can be regulated by the user when designed into certain PostScript formats (Type 6, 7, and MultipleMaster); metrics (including kern data) are built into the font, whereas in certain PostScript formats they are separate easily editable files; and curves are specified using quadratic polynomials whereas cubic Bézier polynomials are used in PostScript. TrueType font file sizes often are, because of these differences, considerably larger than PostScript font file sizes. Both Macintosh System 7 and later and Microsoft Windows 3.1 and later can produce character screen images directly from TrueType fonts, because a TrueType interpreter is built-in. TrueType formats are not proprietary, whereas certain PostScript formats (Types 2, 4, 5, 6, and 7) still are.
TrueType has some distinct advantages over PostScript, but also exhibits some significant disadvantages.
Among the advantages: simple installation because a font is comprised of only one file (whereas a PostScript font requires usually at least two files); direct interfacing with the operating systems supporting TrueType (whereas PostScript requires a type manager like ATM or display PostScript to be installed on those operating systems); hinting algorithm instructions are built into each font by the font designer, and, therefore, the font designer is fully responsible for hinting; and 2-byte fonts are simpler to construct and manage than with PostScript.
The disadvantages include the following: on-screen imaging is not as good as from PostScript fonts, unless embedded bitmaps are included in the font; more than one set of metrics data cannot be used with a font, because all metrics data must be included inside the font file; in 2-byte formats, character glyph data cannot be shared between separately installed fonts; the TrueType instruction set and interpreter is designed for the construction of fonts only, so there is no integration with a formalism which can be used to generate graphic images which are not fonts, unlike with PostScript; the glyphs from a font cannot be handled and manipulated directly like a graphic for certain operations like halftone screening for use with color separations or envelope shaping, as they can be with PostScript; fonts cannot be non-destructively reëncoded to use with new encodings, as with PostScript; fonts cannot be non-destructively edited, such as to be able to add additional characters, alter the character metrics, or alter composite characters, as with PostScript; hinting instructions, more complex than with PostScript, must be built into each font, even if the coding is identical to that used in another font, thereby replicating similar or identical data; improvements in hinting algorithms can only be made by updating each and every individual font; the necessity of transmitting extremely large amounts of bitmap data most of the time, when a variety of fonts or fonts at large point sizes are used for printing documents, since most printers do not have TrueType interpreters built in; more of a limitation with current implementations in the complexity of a glyph than with PostScript; and the use of quadratic splines instead of cubic Bézier polynomials (used in PostScript) in specifying outlines makes it impossible to have a floating inflection point or guarantee piecewise jerk contuinuity. TrueType is a 16-bit architecture. While character numbers can be represented in 32 bits, glyph indices and cmap (encoding) tables are limited to 16 bits, and only a maximum of 65,535 glyphs can be stored in one font. On the otherhand, a PostScript composite Type 0 font can be constructed with a 32-bit encoding (a « UCS-4 » font).
An interesting difference occurs between PostScript and TrueType fonts with regard to hinting. PostScript fonts have « true » hints: parameters built into the font which assist the PostScript interpreter hinting algorithms to adjust the glyph shape to optimally fit the pixel grid of the display device. However, since the PostScript interpreter is functionally connected to the rendering engine, and knows its characteristics (resolution, marking engine physical capabilities, etc.), it can make optimal hinting decisions. A TrueType font, however, envokes a TrueType interpreter usually resident in a workstation or host, which renders hinting prior to using, and without full regard for, the nature of an output device or display medium. Rendering characteristics of a display medium are only available in the case of a viewing screen. When a TrueType font is used in a document and a print file is generated, a bitmap of the character glyphs are produced. If a page description or document using those bitmaps is transmitted to an output device for printing, there are no provisions to adjust the font hinting already used in generating the bitmaps according to the characteristics of the output device actually used. The exception to this might be an output device (however rare) which has a TrueType interpreter built-in, and where individual TrueType fonts are downloaded (installed) before printing, instead of using bitmaps generated from TrueType fonts and transmitted to the output device by means of a print file. The situation gets even worse if the output device uses PostScript or a PostScript print file is generated. In those two cases, TrueType fonts used in the document may be first converted to PostScript Type 1 fonts, which are embedded in the document. When this happens, the Type 1 fonts generated are sometimes either not hinted, or not hinted properly. This renders them poorly on medium to low resolution output devices (PostScript Level 1 devices less than 600 dpi) or other display media (such as ATM or display PostScript for typical resolution on-screen viewing). On some operating systems with certain applications and PostScript print drivers, Type 3 fonts using bitmap glyph images are generated instead. These usually work better, because the bitmaps are generated already hinted by the TrueType interpreter at output device resolution. However, the print file generated is no longer device-independent, which it would be if it contained properly hinted Type 1 fonts.
Most Production First Software font product packages contain both PostScript and TrueType formats.
TrueType Collections A TrueType font having Microsoft extensions to implement the sharing of characters. Several TrueType fonts may be bundled together and characters shared between them. Each is accessible as a separate font resource. This avoids duplication of characters, which may be extensive for large character sets such as JIS or Unicode.
A disadvantage of this architecture is that all the fonts bundled into a TrueType Collection structure must be copied, installed, or managed as a single unit, as opposed to being treated as individual fonts.
TrueType GX An extended implementation by Apple of the original TrueType, which allows enhanced features such as: automatic ligature substitution, conjoins, alternate characters, enhanced document formatting, and other features. Applications must be designed specifically to use some of these features, and some applications, operating system versions, and utilities become unstable when when the Macintosh Quickdraw GX system extension (required for GX capabilities) is installed. Currently, the only current commercial application supporting TrueTypeGX is ReadySetGo! by Manhattan Software.
TrueType Open An extended implementation by Microsoft of the original TrueType, which allows enhanced features such as: automatic ligature substitution, conjoins, alternate characters, and other features. Applications must be designed specifically to use some of these features.
TrueType Open version 2 Another name for the OpenType font format. OpenType is a version of TrueType Open which adds support for PostScript glyph data which can be processed by a PostScript interpreter (for glyph data described by standard PostScript procedures) or other Type 1 rasterizers, such as ATM (for glyphs described by Type 1 or Type 2 CharString instructions).
trusted OS or trusted operating system Software which isolates or compartmentalizes certain components of an operating system in order to implement heightened security and prevent undesirable changes made by system administrators.
TSCII An acronym for Tamil Standard Code for Information Interchange. An 8-bit encoding standard for Tamil scripts.
TTS An abbreviation for Text-To-Speech. A technology which converts text into synthetic speech. This can provide access to Web page information by phone, assist the visually-impaired to use the Internet, and includes other uses. A Web page can be written incorporating VoiceXML, which can be used to tag certain portions of text for conversion by TTS.
Turing Test A test originally conceived by the British mathematician and computer science founding father Alan Turing to determine the existence of (artificial) intelligence in a computer. The test consists of a series of questions randomly directed either to a computer or a person by a human inteviewer. If the inteviewer cannot distinguish the answers between those presented by the computer or the person, then the computer is considered to have (artificial) intelligence.
turn The cycle of a query (from an end-user or Web page markup language) being sent out through an intranet or Internet, processed by software, and the result sent back to the end-user browser. Activities requiring turns include, but are not limited to, a Web page link, domain name lookup, or password submission. Turn has also been used as a quasi-unit of Internet Web page processing. For example, a simple page might only require 10 turns for complete display, whereas a more complex page with graphics, Java applets, and JavaScript might require 50 or more turns.
Tuscan A typeface structrual style having curled serifs. The following sub-category has been defined:
:Serif - Having serifs. Typeface examples include: Fargo, Houdini, Lexington, Tuscana, Trocadero.
twip A measuring unit equal to 1/20 point. 1440 twips = 1 inch and approximately 567 twips = 1 centimeter.
two-component or two-component letter A letterform shape which is based upon or built up from more than one basic simple envelope shape, such as more than one line, two stacked circles, two stacked squares, or two stacked triangles. Letterforms resulting from those simple figures would be, for example: II, S, E, and X.
Two-component letterforms should not be confused with two-storey letterforms.
two storey or two-storey Refers to a letterform usually having two vertically-stacked non-identical features with horizontal structural components, such as a bowl and a horizontally-curving stroke. Examples in the Roman alphabet include 'a' and 'g'.
two-stroke An input method for Japanese which requires two key strokes per kanji. Usually, the keystrokes relate to phonetic sounds or pronunciation of the desired kanji.
type color or typographic color A distinctive, visual characteristic or appearance of text set on a page which is solely due to adjustments to the spacing between characters and between words. The term originally arose from the appearance to the eye of a block of black text on a white background displaying a varying shade of gray depending on the character spacing and word spacing.
TypEnginTM A Web tool developed by Production First Software which displays inputted text-string samples on-line at any pointsize using a specific, selected typeface. User-selectable options at the time of display include pointsize (any value), automatic pair kerning (on/off), track kerning (any value), automatic ligature substitution (on/off), and blocking of pair kerning and ligature substitution between user-specified pairs of characters.
typeface A specific, unified, characteristic design across all the characters in a font which is given a name. Example: Helvetica Medium, Times Roman.
typeface angle The angle that letterform designs, usually lowercase, appear to be slanted to in obliqued, inclined, or italic typeface designs. In modern typographic convention, the angle is measured counterclockwise from the vertical. For example, a typical italic typeface, slanting to the right, has an angle between about -10 and -15 degrees. On some serifed italic typefaces, the lowercase letterforms appear to slant more than some of the uppercase.
typeface analysis or typeface psychology See type savoring.
typeface classification A typeface classification system is useful for studying the evolutionary history of letterform and typeface design. It is also useful as a strategy for font and typeface substitution. Font substitution occurs if a typeface is requested but the all the font data files for that typeface cannot be accessed at the time the data are required for rendering. An example of this could occur if a document is composed on one system, and then transferred to another system for printing or viewing. If the font outline data are not present, a substitution font must be chosen. The term typeface substitution refers to a action taken to substitute an equivalent typeface instead of the original choice. An example of this might occur if a designer is trying to match a typeface sample.
There are several systems of typeface classification:
:British Standards Classification of Typefaces, BS2951
A classification system based on evolutionary and historic ancestry aspects of various typeface style category classes. Not quite as extensive as the ISO/IEC/9541 classification system.
:IBM Font Class Parameters
A classification system based on evolutionary and historic ancestry aspects of various typeface style category classes similar to ISO/IEC/9541 classification system.
:ISO/IEC/9541-1 Annex A Font Classification System
A classification system based on evolutionary and historic ancestry aspects of various typeface style category classes. This classification system is supported by Production First Software typefaces in Type 0, Type 1, Type 3, Type 4, Type 6, and Type 7 PostScript font formats with the MatchMaker Kit installed. It can also be supported by Type 5 format if support is added using the MatchMaker Kit.
:Panose Classification System
A classification system based on shape parameters derived from a particular typeface design, irregardless of the evolutionary and historic ancestry aspects of a design. The Panose system is supported in all Production First Software typefaces in TrueType formats.
A substitution based on the British Standards, IBM, or ISO classification schemes would be more successful for cases requiring the same historic ancestral style characteristics, cases requiring line-sensitive formatting to be maintained (especially under frequent hyphenation), cases where several typefaces used together may require substitution, or cases where similar type color must be maintained. The situation where several typefaces are used together (say, bold for headings, regular for body text, contrasting typeface or italic for text emphasis) requires a substitution strategy more than just attempting to match the letterform component design characteristics; because the design relationship between the various typefaces must be maintained. The most successful way to try to achieve this is by imposing that the same evolutionary or historic ancestral style be used for all the typefaces to be used together.
The Panose system tends to pay close attention to the details of the typeface design, such as stem and stroke weights, the degree of contrast, the serif design, typeface weight, proportion relative to other typeface designs, shape of stems and arms, overall letterform shape, and relative mid-line height. A typeface substituted using the Panose system is more likely to look comparatively similar (a sucessful substitution) in cases where the representation of the component design characteristics of an individual letterform is important, but the relative letterform width (and, hence, type color) is less important, and substitutions for more than one typeface used together will not occur. Such cases would include titling, logo design, and cases where maintaining the line-sensitive formatting are unimportant. In cases where maintaining the line-sensitive formatting is important (such as for body text in books, documents, and reports); or in cases where maintaining the correct historic ancestral design aspects are important, one of the other classification schemes would be better.
typeface family See family.
typeface usage categories Descriptions of what design tasks a typeface is intended for. Categories include:
body copy or text - informational text in a book, document, or motion picture;
decorative - letterforms or symbols from a typeface used in a design, document, or motion picture to be rendered by a typeface with an elaborate or unusual design;
display - letterforms or symbols from a typeface used to render large* headings, as in a sign or poster;
logo - letterforms from a typeface used in the construction of a logo design;
mathematical - letterforms or symbols from a typeface used in forming mathematical expressions and equations;
technical - symbols from a typeface used to construct technical diagrams; and
titling - letterforms or symbols from a typeface used in constructing small to medium size headings or titles in a design, document, or motion picture.
* - "Large" is construed to mean that a heading cannot be read closeby without turning the head.
type manager (utility) A utility application which displays character images on a computer monitor screen by accessing the outline printer font for character outlines above a certain type size. Below it, a screen font is used. Example: ATM.
type matching The process of attempting to match a given sample typeface design (which may be unknown or unavailable) by finding another typeface which looks as close as possible to the sample typeface.
This task is fraught with obstacles: the definition of « as close as possible; » whether the match is to be done by human eyes or by matching design data; and what aspects of typeface design are to be considered and what aspects are to be ignored.
When the task is to be carried out by the human eye, publications exist (such as Rookledge's International Typefinder, ISBN 0-86636-101-4) which are designed to expedite the task of matching typefaces or finding similar typefaces. They make use of well-known typeface classification schemes, such as the British Standards Classification of Typefaces BS-2961.
When the task is carried out by computer, there are several classification methods or systems which can be used. These include the British Standards Classification of Typefaces BS-2961, Chameleon lossy compression scheme, IBM Font Class Parameters, ISO/IEC/9541-1 Annex A: Font Resource Management scheme, and the Panose classification system.These systems are all based on the classification of certain physical traits of a typeface design, and could be implemented in software expressly for comparing typefaces. Some of them have not been software-implemented for that particular purpose. The Panose system parameters are included in OpenType and TrueType font specifications, and some applications (notably Adobe PageMaker) make use of them for missing-font substitution (which requires that a typeface be found which matches as closely as possible to the missing typeface font). Production First Software uses the ISO/IEC/9541-1 Font Resource Management scheme in its PostScript fonts and in MatchMaker to substitute an available PostScript font for a missing PostScript font used in a document.
type psychology See type savoring.
type savoring The process whereby a typeface is viewed and its visual characteristics and impact have an effect on, and are evaluated by, a person. A more scientific name for this may be « typeface psychology. »
The end purpose of type savoring is not the classification of a typeface, but, rather, an appraisal of its aesthetic attributes (primary) and emotional impact (secondary). Type savoring may often be a lengthly and complex process. It is certainly a very poorly-understood, rarely studied, and little-discussed aspect of typography. There may be an extensive set of underlying scientific principles governing type savoring.
Type savoring may reach completion or fruition only after a period of time and a number of viewings. The process usually proceeds in a number of phases.
Initial Viewing - Phase 1
The eye and brain evaluates a design for basic stand-alone (macroscopic)
characteristics: type color, ornamentation, stroke contrast,
letterform proportion, letterform design consistency, and possibly other
characteristics. Sometimes, if any of these characteristics are notable,
emotional impact is generated.
Recognition - Phase 2
The eye and brain focus on the individual letterforms, and attempt to
relate their shape (microscopic) characteristics to similar letterforms
(of another typeface perception or mental image). Subliminal impact of
letterform design makes its mark at this stage.
Bargaining - Phase 3
The eye and brain, having evaluated the typeface design both macroscopically
and microscopically, go through an appraisal phase, intermediate between
recognition and comprehension. This could also be termed an « acceptance/
rejection » phase, where the brain, having made comparisons to other
perceived typefaces, attempts to decide (letterform by letterform, word by
word, and overall) whether the design is good or bad, pleasant or unpleasant,
acceptable or unacceptable. This is termed a « bargaining » phase, because
the brain may be performing a trade-off study between acceptable and
rejectable design points. It should be noted that subliminal and emotional
impact is not generated during this phase, but rather this phase is driven
by subliminal and emotional impact uncovered or generated in previous phases.
Comprehension - Phase 4
The eye and brain then parses the text. If the purpose of the viewing is
type savoring, then this process is merely another test. If a typeface
design presents difficulties in comprehension performance, this is
detected in this phase.
Aftereffects - Phase 5
During or after comprehension, perception and impressions form, stemming
from viewing the typeface design. These impressions may include more of
the subliminal or emotional impact uncovered in previous phases, along with
new impressions. These new impressions may take the form of subliminal
or emotional impact, or concepts, characterized by words like:
attitude, prim, elegance, mechanical, happy, joyful, sad, adamant,
permissive, peculiar, etc.
Retention - Phase 6
This phase relates to the information the brain remembers about the
typeface after the viewing concludes—its last impressions. The
information may consist of all or part of what was discovered or
uncovered in previous phases; or it may actually be innacurate or
erroneous impressions. This phase is crucial if the typeface is to
be selected again (say, for design) based on memory alone.
Subsequent Repeated Viewing
If a familiar typeface is viewed again, phase 1 does not occur. In fact,
the brain my jump to phase 2, then phase 4. It may occasionally go through
phase 5, reinforcing or modifying its experiences, but it probably never
skips phase 6.
It is interesting to observe that once a person develops an opinion on a particular typeface, the opinion very often never changes. What is also interesting is that the subliminal impact of a typeface never changes, and is very often the same for many people, whether or not their opinion on a particular typeface design is favorable or not. This is why typeface design and selection is such a compelling factor in advertising design.
type script The script of a given text block.
typescript A document which is prepared by typing.
typesetter Strictly speaking, a machine or device used for setting type.
In the era of hot type, this device (also referred to as a « mechanical typesetter ») produced mechanical type blocks which were assembled into plates used for printing. In the era of digital type, this process produced a galley containing only text. The galley was then used to compose a document page layout by means of mechanical pasteup onto paper. If color separations were to be included, the galley would be replaced by film, and the operation of combining separation images onto film was called « stripping. » The pasteup or film was then used to make a plate used in printing. However, in the (present) era of desktop and electronic publishing, graphic images, as well as text, can be electronically combined using a page layout program to produce a final page layout. After this is done, the page is rendered onto paper (corresponding to the galley) or onto film for each separation. This rendering can done by a piece of equipment called an imagesetter. The paper or film so produced was then used to make plates for printing. Ocasionally, an « imagesetter » is called a « typesetter. »
typesetting Refers to the routine act or procedure of specifying a sequence and placement of characters, which comprise text, on a page, using either photocomposition (computerized or mechanical) or hot type techniques.
type size or typesize The specified size of a character in whatever the chosen working measurement unit is being used. See pointsize for a description on how size measurements are defined.
type tasting See type savoring.
typewriter A mechanical device, operated by a manual keyboard, which prints letterforms or other glyphs on paper by a mechanism, mechanically connected to each keyboard key, which strikes the paper with a body through an inked ribbon when a key is depressed by a human finger.
The first writing machine was invented by Henry Mill in 1714, but it did not have a keyboard. The first machine with a keyboard was designed and built by James B. Hammond of New York in 1880. The first portable typewriter was developed by Frank S. Rose in 1909. The first electric typewriter was built by James Smathers in 1920. The first portable electric typewriter was developed in 1956. The first typewriter using a moving replaceable font ball element (the Selectric) was introduced in 1961 by IBM.
An early 1920's Underwood typewriter
The first composing typewriter (offering better print quality than ordinary typewriters, proportional spacing, and interchangable fonts) was the Vari-Typer machine, based on the operating principle of the 1866 Pratt machine. IBM also introduced the Selectric Composer machine, a machine offering proportional spaced fonts, automatic line justification, and adjustable letter and word spacing (but not pair kerning) in 1961.
Type 0 A PostScript composite font format which is comprised of a root font and a number of Type 1 base fonts. It can only be used with PostScript implementations with a composite font extension. Type 0 fonts are not ATM-compatible. The format is an open standard.
Type 1 A PostScript base font format which must adhere to a strict lexical format with restricted PostScript capabilities. It can use only the hinting algorithms built into a PostScript interpreter; it can efficiently include only the standard ordinary PostScript character set; characters can have only limited complexity; optical scaling and variable scaling cannot be implemented within the font structure; halftoned, bit-mapped, or stroked characters cannot be implemented; and character outlines cannot be directly manipulated in PostScript Level 1 without first being decrypted, because of ts use of encrypted binary encoded process strings. Type 1 fonts can be made ATM-compatible. The format is partially an open standard.
Type 1 GX An extended implementation of the original Macintosh fomat Type 1 font format, which allows enhanced features such as: automatic ligature substitution, conjoins, alternate characters, enhanced document formatting, and other features. Applications must be designed specifically to use some of these features, and some applications, operating system versions, and utilities become unstable when the Macintosh Quickdraw GX system extension (required for GX capabilities) is installed. Physically, the font format is architected as a single SFNT font resource, similar to TrueType GX, not as separate metric and outline resources of the standard Type 1 architecture.
Type 2 A PostScript font format not currently commercialized. The format is proprietary. This is not to be confused with a « type 2 charstring format, » which pertains only to the representation of glyph data binary encoded process string components within a font.
Type 3 A PostScript base font format which cannot use encrypted binary encoded process strings and cannot invoke the hinting algorithms built into a PostScript interpreter. Nearly all of the capabilities of PostScript can be used in a Type 3 font. Hinting, optical scaling, and variable scaling can be implemented directly. Any character set can be efficiently implemented, and characters can be extremely complex. Halftoned and bit-map characters can be defined. A form of compact notation, the analogue of binary encoded process strings, can also be implemented. Type 3 fonts are not ATM-compatible. The format is an open standard.
Type 32 A PostScript base font format for a font containing only device-dependent bitmap glyph descriptions. While an equivalent capability is achievable using the Type 3 format, the Type 32 format is faster performing and more compact. Type 32 capability was first implemented on Adobe PostScript versions 2015.x.
Type 4 A PostScript base font format to which Type 1 fonts are converted when downloaded by an Adobe downloader to a hard disk storage system directly accessible to a PostScript interpreter. Type 4 fonts are converted back to Type 1 fonts when they are downloaded into printer memory. When downloaded into memory, they take less memory than when a standard Type 1 font is directly downloaded. The format is proprietary to Adobe Systems and is not ATM-compatible.
Type 42 A PostScript base font format which serves as a wrapper around TrueType font data so that TrueType font data can be managed in PostScript. However, not all TrueType fonts can be represented in this format.Type 42 capability was first implemented on Adobe PostScript version 2013.x.
Type 5 A PostScript base font format to which Type 1 or Type 3 fonts are converted before being stored in ROM chips. The format is proprietary.
Type 6 A PostScript composite font format which is comprised of a root font and a number of Type 1 base fonts. It can be used with any full version of PostScript supporting Type 1 base fonts. Hinting algorithms can be implemented, or the Type 1 hinting algorithm can be invoked. There is no limit on character sets or character complexity. Optical scaling and variable scaling can also be implemented. A Type 6 font cannot be made ATM-compatible if variable scaling is implemented. The format is proprietary to Production First Software.
Type 7 A PostScript font format to which Type 6 fonts can be converted when downloaded to a disk storage system accessible to the PostScript interpreter. Type 7 fonts take up substantially less printer memory when downloaded into memory than a Type 6 font directly downloaded into printer memory. The format is proprietary to Production First Software and is not ATM-compatible.
Type 8 Currently unspecified.
Type 9 A PostScript CID-keyed font format which allows Type 1 glyph descriptions. Type 9 capability was first implemented on Adobe PostScript versions 2015.x.
Type 10 A PostScript CID-keyed font format which allows Type 3 glyph descriptions. Type 10 capability was first implemented on Adobe PostScript versions 2015.x.
Type 11 A PostScript CID-keyed font font format which allows TrueType glyph descriptions. Type 11 capability was first implemented on Adobe PostScript versions 2015.x.
typographer's point A unit of measurement referred to as the « point, » and abbreviated « pt. » 1 pt = 0.013837 inch or 0.35146 mm from the 1956 National Bureau of Standards circular 570, with 72.270 points per inch.
typographic dilemma See typographic problem.
typographic problem A dilemma encountered in the design of a typeface glyph.
An example can be found in the design of an 'A ring acute' letterform (ISO/IEC/10646 or Unicode <01fa>). If the design of 'A ring' is used, and an 'acute' is then positioned over it, the letterform becomes so tall that it controls the default typeface leading. It is a problem, because on most current operating systems (which do not permit overlapping sprites), that letterform image will be chopped off unless either the default typeface leading is increased to an unacceptably large value for text, or the letterform is compressed vertically to an inconsistent and unacceptable design. (It is also possible to specify a satisfactory typeface leading which would result in that letterform being chopped, but this would be sloppy design strategy.) Another similar problem can occur with 'g cedilla' (ISO/IEC/10646 or Unicode <0123>). A different type of problem can be observed with the Windows core font Microsoft/Monotype Times New Roman ' W ' in VGA screen resolution, where the 'W' leans to the left (as if it were an italic with a small positive italic angle), because there are not enough pixels to represent the bitmap of the glyph clearly and symmetrically. The letterform glyph could be redesigned so that it would not lean, but it might not be as neat.
typography The derivative art of designing the placement of characters, which comprise text, on a page, so as to attain a desired reaction of the people who view or read it. The term is also applied to the derivative art of typeface design, including all of its aspects.
typographic marker A term colloquially applied to various characters used to improve the typographical expression of text. Examples would be the em dash, left and right single and double quotes, wakiten, and kashida.
T9 text A cellular phone communication protocall and input method which uses an internal database in the instrument to automatically scan words (each made up of a combination of inputted keypad entries), to determine the correct word in the appropriate language. Words inputted could be, for example, phone commands or text sent over the Internet as when answering Email. It could also work in reverse, displaying text on the cell phone sent to the cell phone in the proper language.
ERROR
| Production First Software | INDEX | SEARCH | PREV | NEXT | HOME | HELP | Copyright & Disclaimer Notices |