Lost And Font

1. History of Fonts
 Gutenberg designed the first press.
 He was a goldsmith.
 The first press font was blackletter calligraphy. It limited the amount of text that could fit on
a single page, creating longer books that required more time to set up.
 In 1470, Nicolas Jenson. He created the first Roman typeface, based on Blackletter and Italian
Humanist lettering
 His Roman type is the basis for multiple modern fonts, including Centaur, created by Bruce
Rogers in 1914, and Adobe Jenson, created by Robert Slimbach in 1996.
 In 1501, Aldus Manutius and Francesco Griffo created the first italic typeface. Nowadays they
are used to emphasise text
 In 1734, William Caslon created a new typeface style that included more contrast between
strokes in each letterform. Now referred to as the “Old Style” type, these typefaces made
letterforms more distinguishable from one another at a glance, improving readability.
 In the 1780s, two type designers—Firmin Didot in France and Giambattista Bodoni in Italy—
created modern serifs with extreme contrast between strokes.
 The first commercially available slab serif, or Egyptian, typeface—called “Antique”—
appeared in 1815 and was designed by Vincent Figgins
 William Caslon IV developed “Two Lines English Egyptian”—also known as “Caslon
Egyptian”—in 1816( Sans Serif Font)
 In 1957, Max Miedinger designed Helvetica, arguably the most iconic typeface of the 20th
century
 The first digital typeface—Digi Grotesk—was designed by Rudolf Hell in 1968
 By the late 1980s, TrueType fonts were created, allowing both computer displays and output
devices like printers to use a single file. In 1997, OpenType fonts were invented, which
allowed both Mac and PC platforms to use a single font file.
 The 21st century brought considerable advances in web fonts. In 2009, the Web Open Font
Format (WOFF) was developed and added to the W3C open web standard.
 The introduction of variable fonts within the OpenType standard in 2016 strengthened the
web typography revolution. Variable fonts can change size and weight based on where
they’re used in a design, within a single font file. This flexibility means using fewer font files,
resulting in faster page load times.
 One emerging technology to watch is the development of color fonts, within the OpenType-
SVG format. These fonts allow designers to use multiple colours within a single glyph. Itha
has been around for years but has not been widely accepted

2. Microsoft
 has named the next default font for its productivity applications, such as Word and Outlook,
after testing five candidates it introduced in 2021. Since then, it’s been called Bierstadt. Now
it’s getting a new name: Aptos.
 its Office products fetch almost 24% of its revenue.
 Aptos will remain available in the font list under the old Bierstadt name for people who are
accustomed to it. Users can also choose to set any other font as the default.
  In 2019, Microsoft asked font designer Steve Matteson to develop a font in the grotesque
sans-serif style that includes the classic Helvetica. The company didn’t let on that it was
considering it as a possible successor for Calibri,
 Koyuk to Bierstadt to aptos
 Koyuk was not taken seriously by the people so its name was changed

 Still, Matteson has nothing but respect for Calibri and its creator, Lucas de Groot.“I can
understand Microsoft wanting to, you know, make a change, but I don’t think there’s ever
been anything wrong with Calibri,

3. London Underground
 The initial typeface was the Johnston typeface and was designed by Edward Johnston in
1916
 The new typeface is called Johnston 100.
 The original font, introduced in 1916 by calligrapher Edward Johnston, has been adapted to
create "Johnston100".
 Tfl (Transport for London) said the new style retains the "soul" of the original lettering.
 When Edward Johnston's original lettering was unveiled a century ago it was considered
revolutionary."Johnston Sans combined readability, beauty, and simplicity," Donna Steel,
the curator of an exhibition about Edward Johnston at the Ditchling Museum of Arts and
Crafts said.
 In 1913 London Transport's managing director Frank Pick commissioned Edward Johnston to
create a typeface to bring visual uniformity to the transport network
 In 2016 Johnston100 was introduced to make a digitally friendly font that includes new #
and @ symbols

(serif fonts have those decorative lines or tapers (also commonly

referred to as “tails” or “feet”) while sans serif fonts don't)

4. USA department
 In the State Department the first font was Courier then Times New Roman and now
Calibri
 The change comes as a means to help employees who are visually impaired and was
recommended by the secretary’s office of diversity and inclusion. However, the
announcement has received criticism and complaints that the Calibri font is not
aesthetically pleasing.
 At the time, the change was instated because Courier New 12 was considered outdated
and was swapped for Times New Roman because it “takes up almost exactly the same
area on the page as Courier New 12 while offering a crisper, cleaner, more modern look,

5. Forsenic Font Expert

 Thomas Phinney working in the company of Adobe surveyed a case of will forgery. So he
was a font detective. He detected and found the used fonts
 Psychological research has also shown that even subtle differences in typography, such
as using small caps and old-style figures, can affect a reader’s mood
 Thomas Phinney, an MBA graduate, has become a renowned forensic font expert,
uncovering forgeries and solving crimes related to typography.
 He is capable of dating and identifying fonts and the technology used to print them, and
has been an expert witness in court cases and consulted for organizations like Microsoft
and Google.
 Phinney emphasizes the importance of typography in branding and legal requirements,
pointing out that font selection and arrangement can be as important as color and
images in creating a brand.
 Legal typography requirements can vary by state, presenting challenges for
organizations to comply with different regulations.
 Phinney's background in psychology, political science, and graphic arts publishing, along
with his MBA from Haas, has contributed to his success in font forensics and type design.
 The Panama Papers release in 2016 revealed illegal tax havens for the wealthy, including
offshore holdings of Pakistan’s then-prime minister, Nawaz Sharif, and his daughter,
Maryam. Maryam used a document with the Calibri font to defend herself, but the font
wasn’t in use until nearly a year after the document’s date. This led to widespread
discussion online, and Calibri expert Phinney became a go-to source for global reporters.

6.Self checkout machines

 The user is discussing how self-scan machines in stores, like the ones at Walmart and
Costco, are perceived negatively by customers. They are described as slow, unreliable,
and lacking personal interaction. This feedback from customers has led to a reevaluation
of self-checkout strategies by these companies.
 Self-service machines were first introduced during the 1980s to lower labor expenses.
They shifted the work of paid employees to unpaid customers.
 Retailers are reconsidering self-checkout systems due to facing higher merchandise
losses caused by customer errors and intentional shoplifting compared to when human
cashiers are used for checkout. This phenomenon is known as "shrink."
 Certain products have multiple barcodes or barcodes that don’t scan properly with self-
checkout technology. Produce, such as fruit and meat, often requires manual entry using
a code and may lead to input errors. Additionally, shoppers may not hear the
confirmation "beep" when an item is scanned correctly.
 Stores have tried to limit losses by tightening self-checkout security features, such as
adding weight sensors. But additional anti-theft measures also lead to more frustrating
“unexpected item in the bagging area” errors, requiring employees to intervene.

7.The Bar Code

 Inventor Joe Woodland drew the first bar code in sand in Miami Beach, decades before
technology could bring his vision to life