@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  See TRANSLATION for details.
@end ignore



@node typography-features 

@unnumberedsec Font design

A large factor that makes LilyPond output look traditional lies in the
blackness of the page. By using heavy stafflines, and a font design to
match that, the overall impression is much stronger. This is also very
clear from the following blowups:

@multitable @columnfractions .3 .3 .3
@item

@sourceimage{henle-flat-gray,,,.png}

@tab

@sourceimage{baer-flat-gray,,,.png}

@tab

@sourceimage{lily-flat-bw,,,.png}


@item
Henle (2000)

@tab
B@"arenreiter (1950)

@tab
LilyPond (2003)



@end multitable

Another typical aspect of hand-engraved scores is the general look of
the symbols. They almost never have sharp corners. This is because
sharp corners of the punching dies are fragile and quickly wear out
when stamping in metal.  The general rounded shape of music symbols is
also present in all glyphs of our "Feta" font.



 
@c @unnumberedsec Spacing
@heading Spacing

One of the problems that the Bach piece above inspired us to attack
is the spacing engine. One of its features is optical spacing.
It is demonstrated in the fragment below.

@divClass{float-center}
@sourceimage{spacing-with-corr,,,.png}
@divEnd

@divClass{float-center}
@sourceimage{spacing-no-corr,,,.png}
@divEnd

This fragment only uses quarter notes: notes that are played in a
constant rhythm. The spacing should reflect that. Unfortunately, the
eye deceives us a little: not only does it notice the distance between
note heads, it also takes into account the distance between
consecutive stems. As a result, the notes of an up-stem/down-stem
combination should be put farther apart, and the notes of a down-up
combination should be put closer together, all depending on the
combined vertical positions of the notes. The top fragment is printed
with this correction, the bottom one without.  In the last case, the
down-stem/up-stems combinations form clumps of notes.


@c @unnumberedsec Ledger lines
@heading Ledger lines

Ledger lines are typographically difficult. They can easily blot
together with other signs, such as ledger lines or
accidentals. Other software prevents these collisions by spacing the
lines wider (thus taking up more space), or shortening ledger lines
(which hampers readability.)  

@multitable @columnfractions .3 .3 .3
@item

@sourceimage{henle-ledger,,,.png}

@tab

@sourceimage{baer-ledger,,,.png}



@tab

@sourceimage{lily-ledger,,,.png}


@item
Henle (2000)

@tab
B@"arenreiter (1950)

@tab
LilyPond (2004)



@end multitable

Traditional engravers would adjust the size of a ledger line,
depending on what symbols were in the neighborhood. LilyPond does the
same. Ledgers are shortened so they never collide with neighboring
lines, and they are shortened when there is an accidental.

@divClass{float-right}
Next: @ref{input-format,Use the Source Luke}, or: what
goes into LilyPond.
@divEnd