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In typography, a font superfamily or typeface superfamily is a font family containing fonts that fall into multiple classifications.[1]
The norm in a superfamily is to start from an identical character shape; class-specific features such as serifs are added to that shape. The result is a set of fonts with a similar appearance that belong to different classes such as sans, serif, slab serif, rounded.[2][3]
Superfamilies may include fonts grouped together for a common purpose that are not exactly complementary in letterform structure. They can allow organizations to expand their image and style while maintaining stylistic consistency. For example, BBC Reith font superfamily was commissioned by the BBC in 2018 to facilitate 'typographic expression' and consists of three styles (condensed, sans, serif) as well as a multitude of weights.[4]
^Seeliger, Frank (2016-04-01), "Machen Google, Wikipedia und Amazon und Co. Bibliotheken überflüssig?", Hochschulmanagement in Theorie und Praxis : Festschrift für László Ungvári, Wildau Verlag GmbH, doi:10.15771/978-3-945560-03-7_12, ISBN 978-3-945560-03-7, retrieved 2023-06-27
^"Superfamilies". Google Fonts. Retrieved 2023-06-27.
^"What are font superfamilies and why do we need them?". Monotype. 2020-05-06. Retrieved 2023-06-27.
a fontsuperfamily or typeface superfamily is a font family containing fonts that fall into multiple classifications. The norm in a superfamily is to...
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Vera is a digital typeface (computer font) superfamily with a liberal license. It was designed by Jim Lyles from the now-defunct Bitstream Inc. type foundry...
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name of four TrueType font families: Liberation Sans, Liberation Sans Narrow, Liberation Serif, and Liberation Mono. These fonts are metrically compatible...
other fonts are influenced by Gill Sans to some extent. A logical extension of the humanist sans-serif concept is the fontsuperfamily: a serif font and...
ITC Officina is a fontsuperfamily designed by Erik Spiekermann and released in 1990. It consists of ITC Officina Sans, ITC Officina Serif and ITC Officina...
In metal typesetting, a font is a particular size, weight and style of a typeface. Each font is a matched set of type, with a piece (a "sort") for each...
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character set, OpenType features. The Rotis font names are capitalized. It includes 55 Roman, 56 Italic, 65 Bold fonts. It includes 45 Light, 46 Light Italic...
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proportions of Garamond-style fonts, both as standalone designs or as part of a fontsuperfamily with matching serif and sans-serif fonts. One example is Claude...
was released in 1993, making Scala a fontsuperfamily of matching designs. This makes Scala a very popular font in book design and fine printing. FF Scala...
Darden Studio, in Brooklyn. Soon after, he published the fontsuperfamily Freight, 120 fonts in five families (Big, Display, Micro, Sans, and Text). It...
as a standard font. This guaranteed its importance in digital and desktop publishing and made it (or a variant of it) a preinstalled font on most computers...
IBM Plex is an open source typeface superfamily conceptually designed and developed by Mike Abbink at IBM in collaboration with Bold Monday to reflect...
as FF Scala, the first ‘serious’ text face in its FontFont library. Scala expanded to a superfamily providing both serif and sans-serif faces with FF...
work," partially due to the difficulty in designing them compared to serif fonts. Adrian Frutiger was born in Unterseen, Canton of Bern, the son of a weaver...
proposed including Basque in the Dené–Caucasian superfamily of languages, but this proposed superfamily includes languages from North America and Eurasia...
single superfamily Aphidoidea within which the Phylloxeridae and Adelgidae are also included while others have Aphidoidea with a sister superfamily Phylloxeroidea...
description. These letters and the description should be converted to Braille font, and printed using a Braille printer. The figure can be 3D printed by copying...
(March 1996). "Crystal structure of firefly luciferase throws light on a superfamily of adenylate-forming enzymes". Structure. 4 (3): 287–298. doi:10...