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Constantia®
por Microsoft Corporation
Estilos individuales desde $49.00 USD
Constantia Fuente La familia era
diseñada por
John Hudson y
publicado por
Microsoft Corporation. Constantia contiene
4
estilos.
Más información sobre esta familia
Basic typesetting
Letter case
Numerals and scientific typesetting
Typographic variants
Restablecer
Sobre la familia
OpenType Layout features: smallcaps, stylistic alternates, localized forms, standard ligatures, uppercase-sensitive forms and spacing, oldstyle figures, lining figures, smallcap figures, arbitrary fractions, superscript, subscript. Constantia is a modulated wedge-serif typeface designed primarily for continuous text in both electronic and paper publishing. The design responds to the recent narrowing of the gap between screen readability and traditional print media, exploiting specific aspects of the most recent advances in ClearType rendering, such as subpixel positioning. The classic proportions of relatively small x-height and long extenders make Constantia ideal for book and journal publishing, while the slight squareness and open counters ensure that it remains legible even at small sizes. This font is suitable for book typesetting, email, web design, and magazines.
Diseñadores: John Hudson
Editorial: Microsoft Corporation
Fundición: Microsoft Corporation
Propietario del diseño: Microsoft Corporation
MyFonts debut: Jun 24, 2011
Constantia®
is either a registered trademark or a trademark of Microsoft Corporation in the United States and/or other countries.
Acerca de Microsoft Corporation
The Typography Group at Microsoft is responsible for both fonts and the font rendering systems in Windows. Since version 3.1 the primary font system built into Windows has been the TrueType system, licensed from Apple in a deal (with hindsight) remarkably beneficial to Microsoft. Working with Monotype, the Microsoft Typography Group produced fine TrueType versions of Arial, Times New Roman and Courier New, tuned to be extremely legible on the screen; these were all ready for the launch of Windows 3.1. Since then these core fonts have been developed to cover more and more of the world’s languages. In the mid-1990s under Robert Norton a program of truly new type designs was begun, using TrueType technology to render faithfully the bitmaps and outlines designed by Matthew Carter (Verdana, Georgia, Tahoma) and by in-house designer Vincent Connare (Trebuchet, Comic Sans). Until August 2002 these “core fonts” were offered freely over the Web, where they made an undoubtedly positive contribution in terms of legibility and font choice. In 1996 the OpenType initiative with Adobe was announced; this is touted as the end of the font wars’, whereby advanced multilingual text layout becomes available, native rendering of PostScript fonts becomes part of Windows 2000, and unwieldy font formats are rationalized. In 1998 the group announced ClearType. This is a very ingenious method to increase legibility on color LCD screens, individually targeting the 3 subpixels (red, green and blue) that make up each pixel. Such a leap forward in readability on these screens is a crucial element to the success of nascent eBook technology. Simon Daniels at the Group’s website keeps font fans and font developers up to date with most aspects of the digital typography scene, and communicates the technicalities of how fonts work in Windows. Updating us about the current (October 2000) activity of the Group, Simon notes: 1999 saw several members of the group leave to join Microsoft’s eBooks group. These included technical lead Greg Hitchcock, developers Beat Stamm and Paul Linerud as well as former Monotype hinters Michael Duggan and Geraldine Wade. The past twelve months has beeen a rebuilding period for the group, with numerous new hires [sic.] replacing earlier departures. The Group continues to provide font related services for Microsoft, and freely licensed tools and technology to the wider type development community. On August 12, 2002 Microsoft discontinued the free availability of the “core fonts”, noting that “the downloads were being abused” in terms of their end-user license agreements. Most commentators took this to mean the company objected to the fact that the fonts were being installed with Linux distributions.
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