Georgia's bold is also unusually bold, almost black. Its reduced contrast and thickened serifs make it somewhat resemble Clarendon designs from the 19th century. It features a large x-height (tall lower-case letters), and its thin strokes are thicker than would be common on a typeface designed for display use or the greater sharpness possible in print. Georgia was designed for clarity on a computer monitor even at small sizes. and then they disappeared completely." Its figure (numeral) designs are lower-case, or text figures, designed to blend into continuous text this was at the time a rare feature in computer fonts. ![]() Speaking in 2013 about the development of Georgia and Miller, Carter said: "I was familiar with Scotch Romans, puzzled by the fact that they were once so popular. ![]() As a transitional serif design, Georgia shows a number of traditional features of "rational" serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals and a vertical axis.
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