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![sitka small font sitka small font](https://lasopaquest343.weebly.com/uploads/1/2/6/6/126600938/464139945.jpg)
In this picture we show three of the optical weights of Sitka at the 2.0em size. Reading view for example uses Sitka Small, which is designed with thicker strokes, larger x-height, and looser letter spacing, for image captions, and Sitka Banner, designed with thinner strokes and tighter letter spacing, for the article titles. Thus, you can get terrific legibility in text, and style in display sizes, all with the same family. An optical family contains styles specifically optimized for each size and use case – rather than trying to be one-size-fits-all, like many of the typefaces common on the Web. Research has shown that different letter spacing, stroke sizes, and x-height can have a positive effect on the readability of different sizes of text. One of the advantages of the Sitka font comes from the optical scaling addressed by its different weights. If you want to see the results here is the Microsoft post.
SITKA SMALL FONT MAC OSX
I have Windows 8.1 on my Mac and moved the Sitka Fonts to my Mac OSX system. When participants were asked to read text with either good or poor typography in two studies, the participants who received the good typography performed better on relative subjective duration and on certain cognitive tasks. Specifically in this paper we examine the benefits of good typography and find that good typography induces a good mood. In this paper we demonstrate a new methodology that can be used to measure aesthetic differences by examining the cognitive effects produced by elevated mood. Matthew and Kevin have presented before on this topic in 2013. But I think we’ve sort of advanced the state of the art regarding this particular kind of typeface and what is useful about testing. There are still things about reading and the testing of legibility that we don’t understand. Still, a lot of the results were ambiguous or even contradictory. He would generate results and tabulate them, and find very good graphic ways of expressing why this was better than that. I would work on the design up to a certain point, then hand it over to Kevin, who would do whatever stage of testing was appropriate. Talking to Kevin and the rest of the group at Microsoft, I was very intrigued. Also, there are now better tools that study eye movement, and better understanding of how the brain reads. He has very definite ideas about how we read but at the same time he’s not overly dogmatic. But then when I met Kevin Larson and got involved in this, it became very interesting. When it came to the academic study of legibility, I did not find anything that I could use in a practical way. I would put up two different versions of the figure ‘2’ on the wall for example and then we walked back until maybe one of them was indistinct… It was very seat-of-the-pants. But we researched things in a very primitive way. When we did Bell Centennial, we were obviously very concerned about legibility - it was for phone books, six-point type on bad paper. What I wanted was to find legibility research papers that told me things that I didn’t already somehow know by common sense. I’ve always taken an interest in it, but I often found it was not useful for me as a designer. Did the process change your mind about science? Type designers are often very suspicious of legibility research. You worked in close collaboration with Microsoft’s Kevin Larson, famous for his legibility research, and with the designers at Tiro Typeworks. The most recent project where you collaborated with technicians and scientists is Sitka, a new serif family that comes with MS Windows 8.1. What is Sitka? I found the best explanation here on myfonts in an interview with the designer Matthew Carter. Long long ago I worked on typography at Apple and Microsoft. Being an old font guy, I still get a kick out of studying fonts. You won’t hear much about Microsoft’s Sitka font.