205TF – Exposure

TypefaceExposure

DesignerFederico Parra Barrios

Release 2022

Fonts In Use

Specimen

Exposure borrows the eponymous principle from photography, using it to question the possibilities offered by variable fonts in a completely original way. While studying at the Atelier national de recherche typographique (Nancy, France), Federico Parra Barrios took a very unique approach to the technique, developing a singular typeface between 2019 and 2022.

Available in Roman and Italic, Exposure is a remarkable feat—both technically and in terms of drawing—that shows how other ways of exploiting variable font technology are possible.

While variable fonts—which appeared in 2016—are considered to be a major development in typography, the use of axes of variation to modify weight, set-width, and optical size are all transformations inherited from previous techniques. Federico Parra Barrios breaks away from this conventional approach to propose a new way of thinking.

Exposure’s axis of variation ranges from –100 to +100, and gives a feeling of adjusting the intensity of the light to which the typeface is exposed, thus affecting its outline. Some might see this as a nod to another, now defunct, technique: phototypesetting.

At zero, the typeface is sharp and crisp. As the index decreases, the font becomes increasingly underexposed. The typeface seems to deform and becomes overwhelmingly black. The counterforms are filled almost to the point of illegibility.

Conversely, as the index increases, so does the light intensity. The original line is somehow overexposed until parts of it vanish as if burned by the light.

Federico Parra Barrios has carefully sculpted many intermediate designs in-between these extremes. In its static version, Exposure is also available in 21 different intensities of light. With the variable version, the user is free to select the index according to their needs and, of course, dynamically exploit the technology to create animations.

42 Styles

Roman

Italic

2 Variables

Roman

Italic

Exposure VAR

Sample

Camera In photography, exposure is the amount of light per unit area (the image plane illuminance times the exposure time) reaching a frame of photographic film or the surface of an electronic image sensor, as determined by shutter speed, lens F-number, and scene luminance. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance in a specified region. An exposure is a single shutter cycle. For example, a long exposure refers to a single, long shutter cycle to gather enough dim light, whereas a multiple exposure involves a series of shutter cycles, effectively layering a series of photographs in one image. The accumulated photometric exposure (Hv) is the same so long as the total exposure time is the same. Correct exposure may be defined as an exposure that achieves the effect the photographer intended. A more technical approach recognises that a photographic film (or sensor) has a physically limited useful exposure range, sometimes called its dynamic range. If, for any part of the photograph, the actual exposure is outside this range, the film cannot record it accurately. In a very simple model, for example, out-of-range values would be recorded as black (underexposed) or white (overexposed) rather than the precisely graduated shades of colour and tone required to describe detail. Therefore, the purpose of exposure adjustment (and/or lighting adjustment) is to control the physical amount of light from the subject that is allowed to fall on the film, so that significant areas of shadow and highlight detail do not exceed the film’s useful exposure range. This ensures that no significant information is lost during capture. The photographer may carefully overexpose or underexpose the photograph to eliminate insignificant or unwanted detail; to make, for example, a white altar cloth appear immaculately clean, or to emulate the heavy, pitiless shadows of film noir. However, it is technically much easier to discard recorded information during post processing than to try to re-create unrecorded information. In a scene with strong or harsh lighting, the ratio between highlight and shadow luminance values may well be larger than the ratio between the film’s maximum and minimum useful exposure values. In this case, adjusting the camera’s exposure settings (which only applies changes to the whole image, not selectively to parts of the image) only allows the photographer to choose between underexposed shadows or overexposed highlights; it cannot bring both into the useful exposure range at the same time. A photograph may be described as overexposed when it has a loss of highlight detail, that is, when important bright parts of an image are washed out or effectively all white, known as blown-out highlights or clipped whites. A photograph may be described as underexposed when it has a loss of shadow detail, that is, when important dark areas are muddy or indistinguishable from black, known as blocked-up shadows (or sometimes crushed shadows, crushed blacks, or clipped blacks, especially in video). These terms are technical ones rather than artistic judgments; an overexposed or underexposed image may be correct in the sense that it provides the effect that the photographer intended. Intentionally over- or underexposing (relative to a standard or the camera’s automatic exposure) is casually referred to as exposing to the right or exposing to the left respectively, as these shift the histogram of the image to the right or left. In manual mode, the photographer adjusts the lens aperture and/or shutter speed to achieve the desired exposure. Many photographers choose to control aperture and shutter independently because opening up the aperture increases exposure, but also decreases the depth of field, and a slower shutter increases exposure but also increases the opportunity for motion blur. Manual exposure calculations may be based on some method of light metering with a working knowledge of exposure values, the APEX system and/or the Zone System. A camera in automatic exposure or autoexposure (usually initialized as AE) mode automatically calculates and adjusts exposure settings to match (as closely as possible) the subject’s mid-tone to the mid-tone of the photograph. For most cameras, this means using an on-board TTL exposure meter. Aperture priority (commonly abbreviated as A, or Av for aperture value) mode gives the photographer manual control of the aperture, whilst the camera automatically adjusts the shutter speed to achieve the exposure specified by the TTL meter. Shutter priority (often abbreviated as S, or Tv for time value) mode gives manual shutter control, with automatic aperture compensation. In each case, the actual exposure level is still determined by the camera’s exposure meter. The purpose of an exposure meter is to estimate the subject’s mid-tone luminance and indicate the camera exposure settings required to record this as a mid-tone. In order to do this it has to make a number of assumptions which, under certain circumstances, will be wrong. If the exposure setting indicated by an exposure meter is taken as the reference exposure, the photographer may wish to deliberately overexpose or underexpose in order to compensate for known or anticipated metering inaccuracies. Cameras with any kind of internal exposure meter usually feature an exposure compensation setting which is intended to allow the photographer to simply offset the exposure level from the internal meter’s estimate of appropriate exposure. Frequently calibrated in stops, also known as EV units, a “+1” exposure compensation setting indicates one stop more (twice as much) exposure and “–1” means one stop less (half as much) exposure. Exposure compensation is particularly useful in combination with auto-exposure mode, as it allows the photographer to bias the exposure level without resorting to full manual exposure and losing the flexibility of auto exposure. On low-end video camcorders, exposure compensation may be the only manual exposure control available. An appropriate exposure for a photograph is determined by the sensitivity of the medium used. For photographic film, sensitivity is referred to as film speed and is measured on a scale published by the International Organization for Standardization (ISO). Faster film, that is, film with a higher ISO rating, requires less exposure to make a readable image. Digital cameras usually have variable ISO settings that provide additional flexibility. Exposure is a combination of the length of time and the illuminance at the photosensitive material. Exposure time is controlled in a camera by shutter speed, and the illuminance depends on the lens aperture and the scene luminance. Slower shutter speeds (exposing the medium for a longer period of time), greater lens apertures (admitting more light), and higher-luminance scenes produce greater exposures. An approximately correct exposure will be obtained on a sunny day using ISO 100 film, an aperture of f/16 and a shutter speed of 1/100 of a second. This is called the sunny 16 rule: at an aperture of f/16 on a sunny day, a suitable shutter speed will be one over the film speed (or closest equivalent). A scene can be exposed in many ways, depending on the desired effect a photographer wishes to convey.Camera

Exposure VAR Italic

Sample

In photography, exposure is the amount of light per unit area (the image plane illuminance times the exposure time) reaching a frame of photographic film or the surface of an electronic image sensor, as determined by shutter speed, lens F-number, and scene luminance. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance in a specified region. An exposure is a single shutter cycle. For example, a long exposure refers to a single, long shutter cycle to gather enough dim light, whereas a multiple exposure involves a series of shutter cycles, effectively layering a series of photographs in one image. The accumulated photometric exposure (Hv) is the same so long as the total exposure time is the same. Correct exposure may be defined as an exposure that achieves the effect the photographer intended. A more technical approach recognises that a photographic film (or sensor) has a physically limited useful exposure range, sometimes called its dynamic range. If, for any part of the photograph, the actual exposure is outside this range, the film cannot record it accurately. In a very simple model, for example, out-of-range values would be recorded as black (underexposed) or white (overexposed) rather than the precisely graduated shades of colour and tone required to describe detail. Therefore, the purpose of exposure adjustment (and/or lighting adjustment) is to control the physical amount of light from the subject that is allowed to fall on the film, so that significant areas of shadow and highlight detail do not exceed the film’s useful exposure range. This ensures that no significant information is lost during capture. The photographer may carefully overexpose or underexpose the photograph to eliminate insignificant or unwanted detail; to make, for example, a white altar cloth appear immaculately clean, or to emulate the heavy, pitiless shadows of film noir. However, it is technically much easier to discard recorded information during post processing than to try to re-create unrecorded information. In a scene with strong or harsh lighting, the ratio between highlight and shadow luminance values may well be larger than the ratio between the film’s maximum and minimum useful exposure values. In this case, adjusting the camera’s exposure settings (which only applies changes to the whole image, not selectively to parts of the image) only allows the photographer to choose between underexposed shadows or overexposed highlights; it cannot bring both into the useful exposure range at the same time. A photograph may be described as overexposed when it has a loss of highlight detail, that is, when important bright parts of an image are washed out or effectively all white, known as blown-out highlights or clipped whites. A photograph may be described as underexposed when it has a loss of shadow detail, that is, when important dark areas are muddy or indistinguishable from black, known as blocked-up shadows (or sometimes crushed shadows, crushed blacks, or clipped blacks, especially in video). These terms are technical ones rather than artistic judgments; an overexposed or underexposed image may be correct in the sense that it provides the effect that the photographer intended. Intentionally over- or underexposing (relative to a standard or the camera’s automatic exposure) is casually referred to as exposing to the right or exposing to the left respectively, as these shift the histogram of the image to the right or left. In manual mode, the photographer adjusts the lens aperture and/or shutter speed to achieve the desired exposure. Many photographers choose to control aperture and shutter independently because opening up the aperture increases exposure, but also decreases the depth of field, and a slower shutter increases exposure but also increases the opportunity for motion blur. Manual exposure calculations may be based on some method of light metering with a working knowledge of exposure values, the APEX system and/or the Zone System. A camera in automatic exposure or autoexposure (usually initialized as AE) mode automatically calculates and adjusts exposure settings to match (as closely as possible) the subject’s mid-tone to the mid-tone of the photograph. For most cameras, this means using an on-board TTL exposure meter. Aperture priority (commonly abbreviated as A, or Av for aperture value) mode gives the photographer manual control of the aperture, whilst the camera automatically adjusts the shutter speed to achieve the exposure specified by the TTL meter. Shutter priority (often abbreviated as S, or Tv for time value) mode gives manual shutter control, with automatic aperture compensation. In each case, the actual exposure level is still determined by the camera’s exposure meter. The purpose of an exposure meter is to estimate the subject’s mid-tone luminance and indicate the camera exposure settings required to record this as a mid-tone. In order to do this it has to make a number of assumptions which, under certain circumstances, will be wrong. If the exposure setting indicated by an exposure meter is taken as the reference exposure, the photographer may wish to deliberately overexpose or underexpose in order to compensate for known or anticipated metering inaccuracies. Cameras with any kind of internal exposure meter usually feature an exposure compensation setting which is intended to allow the photographer to simply offset the exposure level from the internal meter’s estimate of appropriate exposure. Frequently calibrated in stops, also known as EV units, a “+1” exposure compensation setting indicates one stop more (twice as much) exposure and “–1” means one stop less (half as much) exposure. Exposure compensation is particularly useful in combination with auto-exposure mode, as it allows the photographer to bias the exposure level without resorting to full manual exposure and losing the flexibility of auto exposure. On low-end video camcorders, exposure compensation may be the only manual exposure control available. An appropriate exposure for a photograph is determined by the sensitivity of the medium used. For photographic film, sensitivity is referred to as film speed and is measured on a scale published by the International Organization for Standardization (ISO). Faster film, that is, film with a higher ISO rating, requires less exposure to make a readable image. Digital cameras usually have variable ISO settings that provide additional flexibility. Exposure is a combination of the length of time and the illuminance at the photosensitive material. Exposure time is controlled in a camera by shutter speed, and the illuminance depends on the lens aperture and the scene luminance. Slower shutter speeds (exposing the medium for a longer period of time), greater lens apertures (admitting more light), and higher-luminance scenes produce greater exposures. An approximately correct exposure will be obtained on a sunny day using ISO 100 film, an aperture of f/16 and a shutter speed of 1/100 of a second. This is called the sunny 16 rule: at an aperture of f/16 on a sunny day, a suitable shutter speed will be one over the film speed (or closest equivalent). A scene can be exposed in many ways, depending on the desired effect a photographer wishes to convey.In photography,

[0]

Sample

Exposure VAR

Sample

Histogram In photography, exposure is the amount of light per unit area (the image plane illuminance times the exposure time) reaching a frame of photographic film or the surface of an electronic image sensor, as determined by shutter speed, lens F-number, and scene luminance. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance in a specified region. An exposure is a single shutter cycle. For example, a long exposure refers to a single, long shutter cycle to gather enough dim light, whereas a multiple exposure involves a series of shutter cycles, effectively layering a series of photographs in one image. The accumulated photometric exposure (Hv) is the same so long as the total exposure time is the same. Correct exposure may be defined as an exposure that achieves the effect the photographer intended. A more technical approach recognises that a photographic film (or sensor) has a physically limited useful exposure range, sometimes called its dynamic range. If, for any part of the photograph, the actual exposure is outside this range, the film cannot record it accurately. In a very simple model, for example, out-of-range values would be recorded as black (underexposed) or white (overexposed) rather than the precisely graduated shades of colour and tone required to describe detail. Therefore, the purpose of exposure adjustment (and/or lighting adjustment) is to control the physical amount of light from the subject that is allowed to fall on the film, so that significant areas of shadow and highlight detail do not exceed the film’s useful exposure range. This ensures that no significant information is lost during capture. The photographer may carefully overexpose or underexpose the photograph to eliminate insignificant or unwanted detail; to make, for example, a white altar cloth appear immaculately clean, or to emulate the heavy, pitiless shadows of film noir. However, it is technically much easier to discard recorded information during post processing than to try to re-create unrecorded information. In a scene with strong or harsh lighting, the ratio between highlight and shadow luminance values may well be larger than the ratio between the film’s maximum and minimum useful exposure values. In this case, adjusting the camera’s exposure settings (which only applies changes to the whole image, not selectively to parts of the image) only allows the photographer to choose between underexposed shadows or overexposed highlights; it cannot bring both into the useful exposure range at the same time. A photograph may be described as overexposed when it has a loss of highlight detail, that is, when important bright parts of an image are washed out or effectively all white, known as blown-out highlights or clipped whites. A photograph may be described as underexposed when it has a loss of shadow detail, that is, when important dark areas are muddy or indistinguishable from black, known as blocked-up shadows (or sometimes crushed shadows, crushed blacks, or clipped blacks, especially in video). These terms are technical ones rather than artistic judgments; an overexposed or underexposed image may be correct in the sense that it provides the effect that the photographer intended. Intentionally over- or underexposing (relative to a standard or the camera’s automatic exposure) is casually referred to as exposing to the right or exposing to the left respectively, as these shift the histogram of the image to the right or left. In manual mode, the photographer adjusts the lens aperture and/or shutter speed to achieve the desired exposure. Many photographers choose to control aperture and shutter independently because opening up the aperture increases exposure, but also decreases the depth of field, and a slower shutter increases exposure but also increases the opportunity for motion blur. Manual exposure calculations may be based on some method of light metering with a working knowledge of exposure values, the APEX system and/or the Zone System. A camera in automatic exposure or autoexposure (usually initialized as AE) mode automatically calculates and adjusts exposure settings to match (as closely as possible) the subject’s mid-tone to the mid-tone of the photograph. For most cameras, this means using an on-board TTL exposure meter. Aperture priority (commonly abbreviated as A, or Av for aperture value) mode gives the photographer manual control of the aperture, whilst the camera automatically adjusts the shutter speed to achieve the exposure specified by the TTL meter. Shutter priority (often abbreviated as S, or Tv for time value) mode gives manual shutter control, with automatic aperture compensation. In each case, the actual exposure level is still determined by the camera’s exposure meter. The purpose of an exposure meter is to estimate the subject’s mid-tone luminance and indicate the camera exposure settings required to record this as a mid-tone. In order to do this it has to make a number of assumptions which, under certain circumstances, will be wrong. If the exposure setting indicated by an exposure meter is taken as the reference exposure, the photographer may wish to deliberately overexpose or underexpose in order to compensate for known or anticipated metering inaccuracies. Cameras with any kind of internal exposure meter usually feature an exposure compensation setting which is intended to allow the photographer to simply offset the exposure level from the internal meter’s estimate of appropriate exposure. Frequently calibrated in stops, also known as EV units, a “+1” exposure compensation setting indicates one stop more (twice as much) exposure and “–1” means one stop less (half as much) exposure. Exposure compensation is particularly useful in combination with auto-exposure mode, as it allows the photographer to bias the exposure level without resorting to full manual exposure and losing the flexibility of auto exposure. On low-end video camcorders, exposure compensation may be the only manual exposure control available. An appropriate exposure for a photograph is determined by the sensitivity of the medium used. For photographic film, sensitivity is referred to as film speed and is measured on a scale published by the International Organization for Standardization (ISO). Faster film, that is, film with a higher ISO rating, requires less exposure to make a readable image. Digital cameras usually have variable ISO settings that provide additional flexibility. Exposure is a combination of the length of time and the illuminance at the photosensitive material. Exposure time is controlled in a camera by shutter speed, and the illuminance depends on the lens aperture and the scene luminance. Slower shutter speeds (exposing the medium for a longer period of time), greater lens apertures (admitting more light), and higher-luminance scenes produce greater exposures. An approximately correct exposure will be obtained on a sunny day using ISO 100 film, an aperture of f/16 and a shutter speed of 1/100 of a second. This is called the sunny 16 rule: at an aperture of f/16 on a sunny day, a suitable shutter speed will be one over the film speed (or closest equivalent). A scene can be exposed in many ways, depending on the desired effect a photographer wishes to convey.Histogram

Exposure VAR Italic

Sample

Apertures In photography, exposure is the amount of light per unit area (the image plane illuminance times the exposure time) reaching a frame of photographic film or the surface of an electronic image sensor, as determined by shutter speed, lens F-number, and scene luminance. Exposure is measured in lux seconds, and can be computed from exposure value (EV) and scene luminance in a specified region. An exposure is a single shutter cycle. For example, a long exposure refers to a single, long shutter cycle to gather enough dim light, whereas a multiple exposure involves a series of shutter cycles, effectively layering a series of photographs in one image. The accumulated photometric exposure (Hv) is the same so long as the total exposure time is the same. Correct exposure may be defined as an exposure that achieves the effect the photographer intended. A more technical approach recognises that a photographic film (or sensor) has a physically limited useful exposure range, sometimes called its dynamic range. If, for any part of the photograph, the actual exposure is outside this range, the film cannot record it accurately. In a very simple model, for example, out-of-range values would be recorded as black (underexposed) or white (overexposed) rather than the precisely graduated shades of colour and tone required to describe detail. Therefore, the purpose of exposure adjustment (and/or lighting adjustment) is to control the physical amount of light from the subject that is allowed to fall on the film, so that significant areas of shadow and highlight detail do not exceed the film’s useful exposure range. This ensures that no significant information is lost during capture. The photographer may carefully overexpose or underexpose the photograph to eliminate insignificant or unwanted detail; to make, for example, a white altar cloth appear immaculately clean, or to emulate the heavy, pitiless shadows of film noir. However, it is technically much easier to discard recorded information during post processing than to try to re-create unrecorded information. In a scene with strong or harsh lighting, the ratio between highlight and shadow luminance values may well be larger than the ratio between the film’s maximum and minimum useful exposure values. In this case, adjusting the camera’s exposure settings (which only applies changes to the whole image, not selectively to parts of the image) only allows the photographer to choose between underexposed shadows or overexposed highlights; it cannot bring both into the useful exposure range at the same time. A photograph may be described as overexposed when it has a loss of highlight detail, that is, when important bright parts of an image are washed out or effectively all white, known as blown-out highlights or clipped whites. A photograph may be described as underexposed when it has a loss of shadow detail, that is, when important dark areas are muddy or indistinguishable from black, known as blocked-up shadows (or sometimes crushed shadows, crushed blacks, or clipped blacks, especially in video). These terms are technical ones rather than artistic judgments; an overexposed or underexposed image may be correct in the sense that it provides the effect that the photographer intended. Intentionally over- or underexposing (relative to a standard or the camera’s automatic exposure) is casually referred to as exposing to the right or exposing to the left respectively, as these shift the histogram of the image to the right or left. In manual mode, the photographer adjusts the lens aperture and/or shutter speed to achieve the desired exposure. Many photographers choose to control aperture and shutter independently because opening up the aperture increases exposure, but also decreases the depth of field, and a slower shutter increases exposure but also increases the opportunity for motion blur. Manual exposure calculations may be based on some method of light metering with a working knowledge of exposure values, the APEX system and/or the Zone System. A camera in automatic exposure or autoexposure (usually initialized as AE) mode automatically calculates and adjusts exposure settings to match (as closely as possible) the subject’s mid-tone to the mid-tone of the photograph. For most cameras, this means using an on-board TTL exposure meter. Aperture priority (commonly abbreviated as A, or Av for aperture value) mode gives the photographer manual control of the aperture, whilst the camera automatically adjusts the shutter speed to achieve the exposure specified by the TTL meter. Shutter priority (often abbreviated as S, or Tv for time value) mode gives manual shutter control, with automatic aperture compensation. In each case, the actual exposure level is still determined by the camera’s exposure meter. The purpose of an exposure meter is to estimate the subject’s mid-tone luminance and indicate the camera exposure settings required to record this as a mid-tone. In order to do this it has to make a number of assumptions which, under certain circumstances, will be wrong. If the exposure setting indicated by an exposure meter is taken as the reference exposure, the photographer may wish to deliberately overexpose or underexpose in order to compensate for known or anticipated metering inaccuracies. Cameras with any kind of internal exposure meter usually feature an exposure compensation setting which is intended to allow the photographer to simply offset the exposure level from the internal meter’s estimate of appropriate exposure. Frequently calibrated in stops, also known as EV units, a “+1” exposure compensation setting indicates one stop more (twice as much) exposure and “–1” means one stop less (half as much) exposure. Exposure compensation is particularly useful in combination with auto-exposure mode, as it allows the photographer to bias the exposure level without resorting to full manual exposure and losing the flexibility of auto exposure. On low-end video camcorders, exposure compensation may be the only manual exposure control available. An appropriate exposure for a photograph is determined by the sensitivity of the medium used. For photographic film, sensitivity is referred to as film speed and is measured on a scale published by the International Organization for Standardization (ISO). Faster film, that is, film with a higher ISO rating, requires less exposure to make a readable image. Digital cameras usually have variable ISO settings that provide additional flexibility. Exposure is a combination of the length of time and the illuminance at the photosensitive material. Exposure time is controlled in a camera by shutter speed, and the illuminance depends on the lens aperture and the scene luminance. Slower shutter speeds (exposing the medium for a longer period of time), greater lens apertures (admitting more light), and higher-luminance scenes produce greater exposures. An approximately correct exposure will be obtained on a sunny day using ISO 100 film, an aperture of f/16 and a shutter speed of 1/100 of a second. This is called the sunny 16 rule: at an aperture of f/16 on a sunny day, a suitable shutter speed will be one over the film speed (or closest equivalent). A scene can be exposed in many ways, depending on the desired effect a photographer wishes to convey.Apertures

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Tagalog
Tahitian
Tetum
Tok Pisin
Tokelauan
Tongan
Tshiluba
Tsonga
Tswana
Tumbuka
Turkish
Turkmen
Tuvaluan
Tzotzil
Ukrainian
Uzbek
Venetian
Vepsian
Volapuk
Voro
Wallisian
Walloon
Waraywaray
Warlpiri
Wayuu
Welsh
Wikmungkan
Wiradjuri
Wolof
Xavante
Xhosa
Yapese
Yindjibarndi
Zapotec
Zarma
Zazaki
Zulu
Zuni

TypefaceExposure

DesignerFederico Parra Barrios

Release 2022

Fonts In Use

Specimen

42 Styles

Roman

Italic

2 Variables

Roman

Italic

OpenType Features

Character Map

Supported Languages

Exposure in Use