What a font is, precisely, has varied in meaning over time. In letterpress printing using metal type, a “font” was a complete set of characters in a specific size and style of typeface (a set of characters that share a common design structure). So for a typesetter working with metal type, a typeface would be Times New Roman, a font family within it would be Times New Roman demi-bold, and a font within that would be 12-point Times New Roman demi-bold. Since the advent of digital media, the term “font” has largely taken over, particularly since outline fonts cannote that’s not to say “should” be scaled to any size. Many experts still insist that what most people call a \"font\" is technically a \"typeface\".
A further outgrowth of OpenType, introduced in 2016, is Variable Fonts. What this means, at its most basic level, is that the user is allowed to control certain parameters set by the type designer (weight and width being the two most common) to an exact degree, all within a single font file. This means that the user (in programs that support the technology, as it’s still relatively new) can easily achieve a custom setting (in between, say, “regular” and “bold”) to achieve just the right look to their layout. As a bonus for web typography, the single file allowing multiple styles means that it’s a lot smaller (and so a lot less of a drag on server calls/loading times) than using multiple static font files to achieve the same thing. This actually has its roots in Adobe’s Multiple Master technology from the 1990s, which stumbled because users had to first generate the actual font file at the desired setting before they could use it, and Apple’s TrueType GX Variable, which never caught on, because, well, it was Apple in The '90s. But for once, with full industry supportnote helped along by the fact that multiple masters have been integral to the font design process ever since they were introduced, even if they weren't viable as a commercial format (including in all major browsers as of 2018) and designers actively experimenting with the format’s possibilities, its future seems bright.
Of course, with the rise of both web typography and variable fonts comes one major upshot: Designers can no longer control exactly how things are going to display on the end-user’s device. The solution that’s shaking out is responsive typography, in which designers (both the web designers encoding pages and the type designers providing the necessary fonts) use tricks such as variable size, boldness, width, and even intended apparent (optical) size to make things work, whatever the size, resolution or viewing distance. Although these techniques have been used piecemeal for years now, with the technological puzzle-pieces falling into place, this seems to be the way forward for screen typography in the future.
Primary typeface Jaguar is an extended modular sans serif style, echoing the letterform proportions of the Jaguar logo, but with less contrast. It is a bespoke typeface created by us here at Fontsmith with clean lines and bold, strong curves. Logo, navigation and headings are all set in all caps and Proxima Nova is used for headings, navigation and body copy. The perfect balance between strong typography, bold letterforms and dynamic photography. Premium quality throughout. 153554b96e