Some professional digital typefaces include fonts that are optimised for certain sizes, for instance by using a thinner stroke weight if they are intended for large-size display use, or by using ink traps if they are to be printed at small size on poor-quality paper. This was a natural feature in the metal type period for most typefaces, since each size would be cut separately and made to its own slightly different design. As an example of this, experienced Linotype designer Chauncey H. Griffith commented in 1947 that for a type he was working on intended for newspaper use, the 6 point size was not 50% as wide as the 12 point size, but about 71%. [b] However, it declined in use as pantograph engraving, and especially phototypesetting and digital fonts made printing the same font at any size simpler. A mild revival has taken place in recent years. Optical sizes are more common for serif fonts, since their typically finer detail and higher contrast benefits more from being bulked up for smaller sizes and made less overpowering at larger ones.
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