Font

Font (pronounced font)

(1) In Christianity, a receptacle, usually of stone, as in a baptistery or church, containing the holy water used in baptism (now usually as "fount").

(2) A receptacle for holy water; a stoup (now usually as "fount") .

(3) A productive source (often in the form “a fount of wisdom”).

(4) The reservoir for the oil in a lamp, ink for a pen etc (now usually as "fount").

(5) Figuratively, a spring or fountain; a wellspring (archaic but still appears in poetic & literary use as both "font" & "fount").

(6) In the slang of television production, to overlay text onto the picture.

(7) In typography, a set of glyphs of unified design, belonging to one typeface, style & weight and usually representing the letters of an alphabet, supplementary characters, punctuation marks and the ten standard numerals.

(8) In phototypesetting, a set of patterns forming glyphs of any size, or the film they are stored on.

(9) In digital typesetting, a set of glyphs in a single style, representing one or more alphabets or writing systems, or the computer code representing it.

(10) In computing, a file containing the code used to draw and compose the glyphs of one or more typographic fonts on a display or printer.

Pre 1000: From the Middle English font, from the Old English font & fant, from the Latin font-, the stem of the Church Latin fons baptismalis (baptismal font, spring, fountain) from the Classical Latin fōns (genitive fontis) (fountain).  The use in printing to describe typefaces dates from the 1570s and was from the Old & Middle French fonte (a founding, casting), the feminine past participle of the verb fondre (to melt), from the unattested Vulgar Latin funditus (a pouring, molding, casting), a verbal noun from the Latin fundere (past participle fusus) (to pour a melted substance) from a nasalized form of the primitive Indo-European root gheu- (to pour).  The meaning was acquired because all the characters in a set were cast at the same time.  Most people use the words font and typeface as synonyms but industry professionals maintain a distinction: the typeface is the set of characters of the same design; the font is the physical means of producing them; that difference was maintained even as printing moved from physical wood & metal to electronics.  The modern practice is for the spelling “font” to apply to use in printing while “fount” is use for receptacles containing liquids.  That must seem strange to those learning the language but it’s how things evolved.  Font is a noun & verb, fonted is a verb & adjective, fonting is a verb and fontal is an adjective; the noun plural is fonts.

The politics of fonts

Great moments in fonts: Always select your font with care.

Dr Stephen Banham (b 1968) is a senior lecturer in typography at RMIT University in Melbourne, Australia who has published widely on the subject.  He recently discussed the politics of fonts and offered a number of examples of how fonts have played some significant role in recent history.  He noted the way in which some developments in typefaces have been technologically deterministic, something related not only to the changes in the mechanical devices used in printing (such as the shift from wooden to metal type) but also the speed at which people travelled while reading.  When the development of railways meant people began regularly to travel at speeds beyond that which teams of horses could attain, it meant there was signage which had to be legible to those passing on the train and this was not always simply a matter of scaling-up the existing styles; sometimes new designs were needed with different aspect ratios.

Fonts in transition: Nazi Party poster advertising a “Freedoms Rally” (the irony not apparent at the time), Schneidemuhl, Germany, (now Pila, Poland) in 1931 (left), Edict issued by Martin Bormann (1900–1945) banning the future use of Judenlettern (Jewish fonts) like Fraktur (the irony of the letterhead being in the now banned typeface presumably didn’t disturb the author) (centre) and (in modern Roman script), an announcement in occupied that 100 Polish hostages had been executed as a reprisal for death of two Germans in Warsaw, 1944 (right).

Sometimes too, the message was the typeface itself; it imparted values that were separate from the specific meaning in the text.  The Nazi regime (1933-1945) in Germany was always conscious of spectacle and although in matters of such as architecture customs there was a surprising tolerance of regional difference, in some things it demanded uniformity and one of those was the appearance of official documents.  Early in his rule their rule, Adolf Hitler (1889-1945; Führer (leader), German head of government 1933-1945 & head of state 1934-1945) decreed that “German Black Letter” should be used for all official purposes (and it was used in the cover art of most early editions of Mein Kampf); Hitler, who to the end thought himself an “artist”, liked the heavy, angular form for its encapsulation of the Germanic.  Fraktur is probably the best known of these although it’s but one of a number of variations of the typeface and such was the extend of the state support for the font that the party was critical of newspapers, publishers & magazines which used more modern (and easier to read) forms (and they were used by the German military and civil service when legibility was important), a frequent criticism being the “Roman characters” somehow represented a “Jewish influence”.  In one of the ironies of history however, when it became apparent that when used in letters and notices distributed to enforce rule in the occupied territories the use of the font was counter-productive because it was so hard to read, the Nazis suddenly declared that Fraktur had become contaminated wand was thus proscribed as Judenlettern (Jewish letters), official documents thereafter rendered in modern Roman type.  Martin Bormann's edict was issued thus:

I announce the following, by order of the Führer:

It is false to regard the so-called Gothic typeface as a German typeface. In reality, the so-called Gothic typeface consists of Schwabacher-Jewish letters. Just as they later came to own the newspapers, the Jews living in Germany also owned the printing presses… and thus came about the common use in Germany of Schwabacher-Jewish letters.

Today the Führer… decided that Antiqua type is to be regarded as the standard typeface. Over time, all printed matter should be converted to this standard typeface. This will occur as soon as possible in regard to school textbooks, only the standard script will be taught in village and primary schools. The use of Schwabacher-Jewish letters by authorities will in future cease. Certificates of appointment for officials, street signs and the like will in future only be produced in standard lettering…

In the post war years, fonts (the word had come by them to be used generically of typefaces except by printers) reflected the mood of the times and in the unexpectedly buoyant years of the 1950s there emerged in West Germany (the FRG) “Optima”, (1958) intended to convey the optimism engendered by the Wirtschaftswunder (the economic miracle) while in France, “Univers” (1957), the product of a Swiss designer, was in a similar vein and intended to be suitable for all purposes in all languages.  Doubtlessly though, no font compares with the Swiss "Helvetica" (1957) which, by virtue of its elegance, simplicity & adaptability, quickly enjoyed a popularity which endures to this day and it remains the only font which has been the subject of a full-length feature film.  It spawned a number of imitators, especially after it was included in Adobe’s PostScript set, the best known of which is probably the ubiquitous Arial (1982).  The optimism of the 1950s is long gone although Optima remains available and names still reflect something of the concerns of their era: “Exocet” (1981), “Stealth” (1983) and “Patriot” (1986) all part of the late Cold War Zeitgeist.  Fonts can also reflect environment concerns and there are now some which no longer use solid forms, instead being made of lines, thereby reducing the consumption of ink or toner by up to 12%.  The trick isn’t detectable by the naked eye and is actually not new, “outline” typefaces long available although in those the technique was designed to be apparent and there were limitations in their application; below a certain size they tended to fragment.

More great moments in fonts.

During the Covid-19 pandemic when we were all spend much time in a form of house arrest, the font download sites all noted a spike in demand for script-like fonts, especially those which most resembled handwriting (and it is possible to have one’s own handwriting rendered as a font), the demand presumed to be induced by a longing for a way to express feelings in a more “human” way than the default serif and san serif sets which ship with email and messenger services.  That over arching binary (serif & san serif) has also attracted criticism because humanity’s most obvious binary (male & female) in now under siege as a form of oppression so binaries in general seem no longer fashionable.  With fonts, the most obvious micro-aggression is the way fonts are often categorized as “masculine” (Arial; Verdana etc) and “feminine” (Brush Script; Comic Sans (maybe in fuchsia) etc) and though the relevant characteristics can’t exactly be defined (except for the fuchsia), the differences probably can be recognized although that of course is a product of the prejudices and suppositions of the observer.  Presumably, if offered a third category (gender-neutral), a sample group would put some fonts in there but even that would seem based on the prejudices and suppositions constructed by the original binary.  The mechanics (as opposed to the content) of typology is one of the less expected theatres of the culture wars.

Verzoening, Geffen, the Netherlands.

The simultaneously derided yet still popular font Comic Sans (1984) has been more controversial than most.  The design was intended to recall the sort of writing which appeared in the speech bubbles of cartoons and it first came to wide public attention in 1995 when it was used in Microsoft Bob, the software which was an attempt to use a cartoon-like interface to make navigating Windows 95 easier for neophytes.  Even less popular than Windows Me, Windows Vista or DOS 4.0, Bob was allowed quietly to die but Comic Sans survived and found a niche, much to the disgust of some in major corporations who banned its use, demanding the staff use only “dignified” or “serious” (presumably masculine) fonts rather than something from a comic book.  Unfortunately, this news appeared not to reach whoever it was in the Netherlands who in 2012 approved the use of Comic Sans on the World War II memorial Verzoening (Reconciliation) erected in the town of Geffen.  That attracted much criticism but not as much as the decision to have the names of Jewish, Allied and German military deaths all to be etched (in Comic Sans) on the same stone.  After it was pointed out that reconciliation with the SS was not a national sentiment, the offending names were removed although for the rest, Comic Sans remained, albeit modified by the stonemasons so the text was rendered thicker, the local authorities justifying the retention on the grounds the shape of the text was in accord with the stone (it’s difficult to see the connection) and easily legible at a distance (certainly true).  It may be the only monument in the world, dedicated to the dead, which uses Comic Sans.

Crooked Hillary Clinton updating her Burn Book which, during the primary campaign for the Democrat Party nomination for the 2016 presidential election, probably would have been referred to internally as her "Bern Book" because it would have been so filled with tactics designed to sabotage the campaign of Bernie Sanders (b 1941; senior US senator (Independent, Vermont) since 2007) (digitally altered image).  In Mean Girls (2004), the Burn Book's cover used the "ransom note" technique which involved physically cutting letters from newspapers & magazines and pasting them onto a page, a trick of the pre-DNA analysis age which left no identifiable handwriting.  There are a number of "ransom" fonts which emulate the appearance in software.

Politicians do maintain burn books although few are much discussed.  Richard Nixon's (1913-1994; US president 1969-1974) "enemies list" became famous in 1973 when it emerged during congressional hearings enquiring into the Watergate break-in and that such a list existed surprised few although some did expect it to contain more names than the twenty included; it was common knowledge Nixon had many more enemies than that.  That view was vindicated when later lists were revealed (some containing hundreds of names) though had the net been cast a little wider, it could well have run to thousands.

At least one Eurocrat has also admitted to keeping a burn book although Jean-Claude Juncker (b 1954; president of the European Commission 2014-2019) calls his "little black book" Le Petit Maurice (little Maurice), the name apparently a reference to a contemporary from his school days who grew taller than the youthful Jean-Claude and seldom neglected to mention it.  Although maintained for some thirty years (including the eighteen spent as prime-minister of Luxembourg) to record the identities of those who crossed him, Mr Junker noted with some satisfaction it wasn't all that full because people “rarely betray me”, adding “I am not vengeful, but I have a good memory.”   It seems his warning “Be careful.  Little Maurice is waiting for you” was sufficient to ward of the betrayal and low skulduggery for which the corridors of EU institutions are renowned.