Even though the lines aren’t exactly parallel—the diagonal vectors converge at a vanishing point somewhere to the upper right (the way a right-handed person draws near-parallel lines)—it’s still useful for constructing the ‘a’.
Almost every serif ‘a’ has a spur, but the shape varies.
The loop that makes up the bottom-left part of the ‘a’. A big thing that a lot of serif ‘a’s have that you probably never noticed is that their diagonals are largely parallel.
Not all serif ‘a’s have this—either because the designer had something else in mind, or, as I suspect in the case of the Droid and Deja Vu serif fonts, because the designer just stuck serifs onto a sans typeface. The bounds for the bowl and the shoulder of the terminal are somewhat perpendicular to the other lines.
The letter A comes to us from the Greeks via the Romans.‘a’ is also the first letter of the alphabet, and the third most common letter in the English language, making it a logical choice to begin a typeface with. This ‘ɑ’, known as the single story ‘ɑ’, is the cursive variant of ‘a’. single anzeige Essen ‘ɑ’ is common in script typefaces and italic fonts, but as typographers and middle school girls know, the true roman (not italic) form of this letter is: This form is called the double story ‘a’.Almost every serif font ever made uses this form in their roman style.In fact it’s a very bad idea to use the first form in place of the second, since to some phoneticians, ‘ɑ’ and ‘a’ are actually different letters.
Single story lowercase a
Both forms of the lowercase are a derivation of the capital A.The double-story 'a' is a throw back to how the Greeks wrote the letter (in handwriting).When we learn to write the lowercase 'a', it is basically just a single loop and a line. Perhaps the typed 'a' will eventually follow this route?However, in the typeface world the lowercase 'a' has a fancier prototype than the written 'a'. Well, for starters, you're coming from a false premise - we do have two different styles for lowercase 'a' and 'g' but these aren't split between written and typed forms – they both appear in different typefaces.Even if it’s not exactly a perfect serif, the spur is often derived from a serif, so it’s best to wait until you design a letter like ‘i’ and come up with the serifs before tackling the spur of the ‘a’.
Until then, feel free to just put a placeholder there—As you might have noticed, I did something like the spur on the Minion ‘a’.
The ‘a’ has a good variety of curves which help you work out the general shape you want your typeface to have.
So ‘a’ can give you a good idea of how you want your ‘n’ and ‘o’ to look like, and even help you indirectly derive them, which in turn tells you how to make the rest of the lowercase alphabet.
Why we've hung onto the Greek form is up for discussion. As to whether the double-story 'a' will disappear, I suspect anything is possible but it's doubtful in any near future.
Perhaps it was used as a more 'formal' form of writing. Many typographers have attempted to redesign/reinvent letterforms, to simplify them.