Dafont link. %Q Bindustries Heavy Metal %L DE SCOT OR2 STE %d Dec 3 2002 %Z BrianMcFeely-UnconformRound.png %Z http://www.fontmonster.net/ %N 24284 %Z http://www.fontmonster.org/fontstuff/fonts.asp %B http://www.davidluscombe.com/ %Q Dave Luscombe %T Designer at Fontmonster of Plasticrap, Wave, Felix, Vader, Cool Ovals, XRayBomb, Antkiller, English Gothic, Roscoe, GenericFU and HotMetal. Born in Newcastle upon Tyne (1971). Cofounder of fontmonster.com. Currently web designer at a media company in the U.K. Working on Mutagen (2003), labeled by Papazian as a "kid of Industria and Impact". %L DE %E dave@fontmonkey.com %d Dec 4 2002 %Z http://www.fontmonster.net/ %N 24283 %Z http://www.fontmonster.org/fontstuff/fonts.asp %B http://www.dafont.com/daniel-plant.d340 %Q Daniel Plant %T Designer in 2000 at Fontmonster of 10ptChaos, Bionique (blackletter), BrokenSounds, Euphoria, ImpactPeople, MMCutout, Quel (a tech font), and Timeface. Later he designed MIR, Jab Outline, MIR Research, Double Extra, Truck Stop Puncture, MIR Station, Venue, Time Face (great idea of a stick font!), Rammdisk, Mort, Lacer, Kasper, Lefthand, Felt Script, Frik, Genome TF, Impact Peeps (dingbats), Dieter Con, Egyptian, Etc, Deeter, Crinkle, Control, Broken, 12s6d, 10pt chaos, Crumbs, MortUnicaseBold, MortUnicaseIncised, MortUnicaseThin. %Z DanielPlant-Bionique.png %Z DanielPlant-Deeter.png %L DE PIX HW OR2 FR %E dan@fontmonkey.com %d Dec 3 2002 %N 24282 %B http://freespace.virgin.net/new.design/typescape/fontsframeset.html %Q Typescape %D Tony Blow %T From Edinburgh, Scotland, Typescape is Tony Blow's Glasgow-based outfit, where he sells his fonts: Poetic, Matter, Pinched Fat and Invasive. He also runs Pointsize Online, a design outfit in Glasgow, where you can find his logofonts and commercial work. At fontmonster, he created the free fonts Pinched Fat, Poetic, Jotter, Invasive. %Z He also created some fonts at Fontmonster. %L DE OR2 CF2 SCOT %d Oct 4 2002 %E new.design@virgin.net %Z 1/4 Ettrickdale Place Edinburgh EH3 5JN United Kingdom %Z Pointsize Online: 60 Tradeston Street Glasgow G5 8BH T: 0141.429.8222 F: 0141.429.8803 %Z http://www.pointsize.co.uk/ %D Tony Blow %Z He also created some fonts at Fontmonster, such as Invasive, Pinched Fat and Poetic. %Z info@pointsize.co.uk %N 24281 %B http://www.sumodesign.co.uk/ %Q SUMO Design (or: Hello Fonts) %D Jim Richardson %Z Floor 2, Adamson House, 65 Westgate Road, Newcastle Upon Tyne, NE1 1SG %T Jim Richardson studied graphic design in Dundee, Scotland. In 1999, he started fontmonster.org (Fontmonster [dead link!] offered fonts such as Armadillo, Torn, Ringpull (handwriting), Akei (LCD font), Bad Lobster and VELCRO). SUMO Design was founded in 2000 in Newcastle, UK. In 2003, he set up Hello Fonts as an outlet for his own fonts such as Golden Bus Co, Chello, Hello Sans and Cassidy. In 2003, he started Union Fonts, and he is working on new typefaces such as Richmond Sans (2003), the hip and cheerful Chello (2004), Cassidy (2004, an ultra thin techno font), Zonso (2004), and Golden Bus Co (2003). %L DE OR2 CF2 HW PIX SCOT HAIR UK LED %d Sep 25 2001 %E info@sumodesign.co.uk %N 24280 %Z http://www.fontmonster.org/fontstuff/fonts.asp %B nothing %Q Claire Hewitt %T Designer of Squishy (2001, Fontmonster). %L DE %d Oct 16 2003 %Z http://www.fontmonster.co.uk/ %Z http://www.fontmonster.co.uk/HTML/frames.html %Z http://www.fontmonster.net/ %Z http://www.fontmonster.co.uk/ %N 24279 %Z http://www.fontmonster.org/fontstuff/fonts.asp %B nothing %Q Fontmonster %T Obsolete link. Free fonts and custom fonts by

Dafont link. %M Go DL the Cape fonts. %L DE OR2 PIX DI-OR CF2 FR SB TEXTURE DADA %d Dec 4 2002 %E sk@2xs.net %Z Stefanie Koerner Thadenstrasse 130 22767 Hamburg GERMANY %Z StefanieKoerner-Catalog-.png %Z StefanieKoerner-Catalog.png %Z StefanieKoerner-Mink-2012.png %Z StefanieKoerner-PaperJohnny-2012.png %Z StefanieKoerner-PaperJohnny-2012b.png %N 24277 %B http://www.all-4-free.com/fonts/r1.html %Q All-4-Free Fonts %T Shareware/freeware font archive. %M Revisit. %L AR2 %d May 17 2003 %E fonts@all-4-free.com %Q Paul F. Stack %E helene3277@aol.com %T With the alias Helene3277, Paul F. Stack, attorney at law and fontcop extraordinaire. Read his posting on abf and Apostrofe's reply. %L TY-LG %d May 7 2000 %N 24276 %B stack.txt %Q Porch Swing Publishing %T Commercial fonts from Orem, Utah-based CreatingKeepsakes on their "Best of Creative Lettering" CDs include CKAnythingGoes, CKBabyBottle, CKCalligraphy, CKCandyCorn, CKChristmasMemories, CKExpedition, CKFillIn, CKFrosting, CKGrapevine, CKPrint, CKRubberPencil, CKScript, CKSnow, CKSpringtime, CKWildnCrazy, CKBella, CKBlockRose, CKBubbles, CKCelebration, CKColumn, CKGrandstand, CKMystery, CKOrnament, CKPenman, CKPopsicle, CKPumpkin, CKShadowedBlock, CKSingleSerif, CKSugarCookie, CKSweetDreams, CKTrellis, CKWavey. %N 24275 %B http://www.creatingkeepsakes.com %d May 7 2000 %L CF2 XMAS USA-UT %E comments@creatingkeepsakes.com %Q Michael's Dilemma %Z http://www.callnetuk.com/home/xrayman %Z xrayman@freeuk.com %Z xrayman@g-wizz.net %E xrayman@crosswinds.net %L FM %d Mar 31 2001 %T Great page with links to font managers, font creation and font conversion programs. Includes downloads of ATM Light, BertSoft, Ares FontMinder, CrossFont v1.3, Softy. And, of course, careful reviews of all software. Michael Blackburn %N 24274 %B http://www.crosswinds.net/~xrayman/ %Z Family Album - www.xrayman.freeserve.co.uk %Q ADing Font Manager %N 24273 %B http://ading.hypermart.net/fm.html %T Alexandru Dimitriev's shareware font managing utility. He has another font managing utility, ParkFont. %L FM %d May 13 2000 %E AD_ing@usa.net %Q Ali %T Posted the T-26 font collection on i-drive. Username fontaholic, password t-26. %N 24272 %B http://www.idrive.com %d May 13 2000 %L DD From metafont-owner@ens.fr Wed May 17 10:43:02 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Wed, 17 May 2000 10:43:02 -0400 (EDT) (envelope-from metafont-owner@ens.fr) From: Santiago Muelas Santiago Muelas E.T.S. Ingenieros de Caminos, (U.P.M) Tf.: (34) 91 336 66 59 e-mail: smuelas@mecanica.upm.es Fax: (34) 91 336 67 61 www: http://w3.mecanica.upm.es/~smuelas ---------- Forwarded message ---------- Date: Wed, 17 May 2000 16:07:11 +0200 (CEST) From: Santiago Muelas To: Taco Hoekwater Cc: laurent@math.toronto.edu, metafont@ens.fr Subject: Re: metagraph ? Well, I must confess that I didn't know about this extreme danger in Java programming. I guess that the people from SUN will not be very happy at reading your mails. I have tried METAGRAF's programs in Linux and Windows and never had a crash due to Java (or, by any other reason). My feeling is that you are referring to the very first versions of METAGRAF. I don't know if you are aware of the existence of METAGRAF-3D. There are very new and, perhaps, interesting facilities for you, as the possibility to include directly, between the figures drawn or titles or anything, "pure lines of MetaPost code", that will be placed in the MP final file. In fact, anyone can make a whole MP program trough METAGRAF-3D without seeing anything in the screen.(All that is explained in the last User's Manual.) It is true that this is not a good idea at the time, as METAGRAF is not a wonder in Text editing. But shortly it will have a decent editor. Another very interesting facility of the last release (1.0.2) of METAGRAF-3D is a very strong capability to use fonts, different from those used in standard LaTeX. In fact, now there are available ten new families of fonts, anyone (almost) with the normal four possibilities: regular, bold, italic and BoldItalic. And the simplest way to control the size of this fonts, being able to increase the "8r" size up to 30 times. You can see a shot of this in METAGRAF's page: http://w3.mecanica.upm.es/metapost/metagraf.html I hope that you will be a little bit more interested if you try the last version of METAGRAF-3D. It is true That Java 2 is needed, but I have found no one simple problem for that reason. If you have troubles, please contact me. This is extremely important for the new developments. I also want to point out that anything done with MetaPost must be possible to do (in the future) with METAGRAF. You will see, for example, that all kind of affinne transforms have been included already, and if you like to work with "relatives" coordinates, tell me what exactly do you want and surely you will find it in a couple of weeks in the next version of METAGRAF :-) Looking forward to your comments SANTIAGO MUELAS On Wed, 17 May 2000, Taco Hoekwater wrote: > Date: Wed, 17 May 2000 14:45:31 +0200 (CEST) > From: Taco Hoekwater > To: laurent@math.toronto.edu > Cc: metafont@ens.fr, smuelas@mecanica.upm.es > Subject: Re: metagraph ? > > > >>>>> "Larry" == Larry Siebenmann writes: > > > Larry> So, contrary to prejudice, debugging (\simeq porting?) Java > Larry> is hell warmed over. Did you assist Santiago > Larry> with a detailed report? > > How detailed would that be? You push two or three buttons and get a > sigsegv from the JVM (no backtrace at all). And, honestly, I only > downloaded the program to have a look at it. Since it does not support > any of the features in MP I really use (relative locations and the > lineq. solver) it did not make much sense to go deeper into the > program. I also think that in all likelyhood it is not the > programmer's fault at all. About *every* java program I get segfaults > whenever it feels like it; like if the temperature outside is more > than 42fahrenheit or if my seat is less than 42cm from the floor for > all I know :(. > > Greetings, Taco > > -- > > Santiago Muelas E.T.S. Ingenieros de Caminos, (U.P.M) Tf.: (34) 91 336 66 59 e-mail: smuelas@mecanica.upm.es Fax: (34) 91 336 67 61 www: http://w3.mecanica.upm.es/~smuelas TRUE TYPE SPECIFICATION ftp://ftp.microsoft.com/developr/drg/truetype/ttspec.zip ======================================================== Microsoft's TrueType Font File Specification in Word 6 format 388 pages TRUETYPE OPEN SPECIFICATION ftp://ftp.microsoft.com/developr/drg/truetype/ttospec.zip ========================================================= TrueType Open Specification in Word 6 Format - True Type Open is an extension to the basic TrueType spec which provides support for advanced typography and multilingual fonts etc. 170 pages. (Similar to Apple's True Type GX.) TRUE TYPE SDK ftp://ftp.microsoft.com/developr/drg/truetype/ttsdk.zip ======================================================= This file contains tools related to creating and testing TrueType fonts. These tools were designed for use at Microsoft and are unsupported externally. Microsoft makes no claims and holds no iability regarding the external use of these tools. These tools are copyrighted. Redistribution is restricted. Contact TRUETYPE@MICROSOFT.COM for more information. TRUE TYPE OPEN SDK ftp://ftp.microsoft.com/developr/drg/truetype/ttosdk.zip ======================================================== TrueType Open SDK This file contains tools related to creating and testing TrueType fonts. These tools were designed for use at Microsoft and are unsupported externally. Microsoft makes no claims and holds no liability regarding the external use of these tools. These tools are copyrighted. Redistribution is restricted. Contact TRUETYPE@MICROSOFT.COM for more information. SPLINE ftp://ftp.ctrl-c.liu.se/unix/linux/wingel/spline-950718.tar.gz ============================================================= [Some C code for rendering TrueType fonts. It contains code for everything except component glyphs - this along with the TrueType Specification should enable you to render fonts with a little work.] ftp://ftp.coast.net/SimTel/msdos/turbopas/truetype.zip ====================================================== [This is a Turbo Pascal programming package, providing full-featured access to TrueType fonts within DOS programs. With source. Additional fonts supported by thes units are Windows scalable and bitmapped fonts, BGI fonts and BIOS fonts. Logical fonts are - once created - consistently addressed by font handles. Output and metric procedures are interface-compatible with TP Graph unit's text routines.] The TrueType font spec should also be available at: http://voyager.cns.ohiou.edu/~sadkins/web_library/fonts/font_specs (May not be latest version) (If anyone knows of further sources of TrueType informaation and code please let me know: cfynn@sahaja.demon.co.uk) > Thank-you in advance for any help/pointers > Joe Kaas -- Christopher J Fynn ftp://ftp.microsoft.com/developr/drg/TrueType/ttspec.zip ftp://ftp.microsoft.com/developr/drg/TrueType/ttospec.zip ftp://ftp.coast.net/SimTel/msdos/turbopas/truetype.zip ====================================================== This is a Turbo Pascal programming package, with source providing full-featured access to TrueType fonts within DOS programs. ftp://ftp.ctrl-c.liu.se/unix/linux/wingel/spline-950718.tar.gz ============================================================= Some C code for rendering TrueType fonts. It contains some code for most things except component glyphs. > > ftp://ftp.microsoft.com/developr/drg/TrueType/ttspec.zip > ftp://ftp.microsoft.com/developr/drg/TrueType/ttospec.zip > > Note: /developr NOT /developer The Microsoft TTFDUMP works well, and will give you a painfully exhaustive listing of whatever tables it claims to be dumping. It certainly does all the tables that are used by Windows; it may not do Apple GX extensions. You're right that it doesn't go the other way. The TTF format is much more convoluted than Type 1, so going either way is difficult, and going from text to binary is especially difficult. Nevertheless, I am developing such a tool, ttf_edit, which I am giving away free during development. At present it has enough potency to report and edit encodings arbitrarily. It uses a higher model--a stack-based language and text-based objects, not unlike PostScript--to operate on TTF fonts. This model is designed to extend naturally (someday) to editing the other tables like those dealing with names, glyph shapes, and hinting. Anyway, see the Web page to get details and request a copy. Richard J. Kinch, Ph.D. kinch@holonet.net 6994 Pebble Beach Court Publisher, TrueTeX (R) brand Lake Worth FL 33467 typesetting software. Tel (561) 966-8400 See http://styx.ios.com/~kinch FAX (561) 966-0962 markwa@halcyon.com (Mark Walsen) wrote: [snip] >I'm guessing Type 1 and True Type both use 3rd degree Bezier >curves (2 control points between each point on the curve) [snip] Type 1 uses cubic Beziers as you have described, but Truetype uses quadratic Beziers: one off-curve control point between each pair of on-curve points. The actual list of points for a glyph is somewhat compressed by the convention that two consecutive off-curve points have an implicit on-curve point halfway between them. Corrections from the experts welcome. ---- Rodger Whitlock From: tiro@portal.ca (Tiro TypeWorks) You will want to look at FontLab 3.0 when it is released (sometime soon, I believe). This promises native TT editing tools (see my response to Mr Hindawi). >>Adding points may well improve the apparent quality of the >>resulting TT font, but will not do so by >>making it a better TT font, only by faking the results better. If you >>import a TT font into Fontographer, the reverse is also true: the >>outlines will contain many more points than an equivalent Type 1 font. >>and many more than the TT font originally contained in its >>quadratic-bezier form. >Is the loss of information going between the Type 1 font and the >True Type font due a fact (which I'm guessing) that Type 1 fonts >do not hold the equivalent of True Type hints? >I'm guessing Type 1 and True Type both use 3rd degree Bezier >curves (2 control points between each point on the curve) due to >the following experience: If I use the list of Bezier points >listed by Fontographer for an outline to programmatically display the >outline using the Windows PolyBezier function, the outline appears >to be equivalent when drawn at a large scale. If my conclusion is >correct that Fontographer fully supports the Bezier math model >for True Type fonts, then that leads me to guess that the >information Fontographer doesn't support well is the True Type >hinting. The Fontographer documentation seems to say that >Fontographer takes a shot a automating the True Type hints but >doesn't let the font author manually tweak the hints. Is this >what you're referring to? TT actually uses quadratic, rather than cubic, beziers (see Roger Whitlock's response for an explanation of the difference). FOG attempts to translate between the two, but doesn't do a great job in either direction. FOG has no support at all for TT hinting, but simply translates its Type 1 hints into the most rudimentary kind of TT hints. If you are interested in the latter, you should visit the Microsoft Typography website, which contains an explanation of the TT hinting model. It is extremely complicated, compared to Type 1 hints. Personally, I think FOG's Type 1 hinting leaves a lot to be desired. particularly in terms of its visual display and insistence on auto-hinting everything. FontLab is very much better in this respect. >Thanks for sharing your expertise with True Type font authoring. I wish I was an expert in TT authoring; I've only scratched the surface. John Hudson, Type Director Tiro TypeWorks Vancouver, BC tiro@portal.ca http://www.portal.ca/~tiro Lorp@truetype-typography.com (Laurence Penney) wrote: >I remember reading a very good article a while ago: it said that every >feature in programs that professionals expect to be reliable and accurate >- like Fontographer - should come with a formal mathematical&algorithmic >description before users are expected to use them on anything relying on >that supposed reliability or accuracy. >BTW, I'm only using Macromedia as an example. Scientific users of MS Excel >should demand that it supplies proofs&algorithms of its behaviour. >-- Laurence Penney OK, I agree. So, I can tell more about FontLab's (existing 2.51 version and future 3.0) method of TT <-> T1 conversion. There are 2 ways of conversion, and each is very important to quality of resulting fonts. First, conversion from T1 to TT and second - in opposite direction. Some terminology: Bezier curve - T1 curve that is defined by 4 points - 2 end points and 2 control points between; Short curve - 2-d curve that is defined by 3 points - 2 end points (on-curve points) and one control point (off-curve point) Long curve - 2-d spline that is defined by more than 3 points - 2 end points and several off-curve points between; Actially, as Rodger Whitlock said, long curves are series of short curves with implicid on-curve points on the middle of two consecutive off-curve points. I can put here equations for all curves, but I think that it isn't necessary to do here, in comp.fonts. There are 2 basic problems to make conversions: 1. There is no simple formulas to convert Bezier curve into 2-d order curve (short or long). Some Bezier curves may be represented by short curve, some - with long curve with 2 off-curve points, some need more off-curve points. 2. There is no simple formulas to convert long TT curve into Bezier curve. Hovewer, it is very easy to convert short curve to the Bezier curve (opposite conversion is not always possible!). Because all long TT curves is nothing more than series of short curves, it is possible to broke them and convert each short curve to Bezier curve. It is mathematically precise method of TT->T1 conversion. A result? Series of short Bezier curves. Most programs work that way. When Vadim Suvorov - designer of most mathematic algorithms in FontLab work on conversion modules he tell me that in most cases TT curves are generated from original outlines that use Bezier curves. And it will be very good to try to restore original information about "Bezier past" of curves. So, he create approximation algorithm that tries to make one Bezier curve from one long TT curve. In more than 90% cases it may be done. Of course, some kind of quality loss (as with any kind of approhimation) arrives, but maximum distance between original (2-d order) and converted curves is not more than 1 font unit. Opposite conversion (from Bezier curves) to TT curves is more simple. About all Bezier curves are converted into long curves that may have one, two, three or more off-curve points. In some cases Bezier curves must be broken to two long curves to be converted, but this cases are exceptions. So, as a result, in FontLab 3.0 we have "trasparent" T1 <-> TT conversion module, that usually restores Bezier after conversion to TT format and back in T1 format. Should I tell more about hinting in FontLab? Yuri Yarmola FontLab Developers Group St.Petersburg, Russia %Q Solotype %L CF2 CA GO FO-CE FR DE BO CAPS O-SIM A-SIM WOOD WEST RANSOM ARCH PHOTO ARTN ARTDECO VICT SOLO NEON UNCIAL PRISM RONDE %D Dan X. Solo %d May 26 2000 %F http://www.myfonts.com/foundry/Solotype/ %G http://www.myfonts.com/person/Dan_X._Solo/ %N 24271 %B http://victorian.fortunecity.com/churchmews/756/fonts.html %Z Solotype typographers 298 Cresmont Dr Oakland, CA=20 (510) 531-0353/9219 (510) 531-6946 FAX %T Dover Press sells Oakland's Dan X. Solo's digitizations. Dan Solo (b. 1928, d. 2012) has collected over 13,000 sets of metal fonts, starting when he was 9 years old and growing up in Oakland, CA. Finally, in 2002, he stopped doing that and began converting all of his fonts to computer type. He printed 30 books on fonts (with Dover), [including The solotype catalog of 4,147 display typefaces] and created hundreds of fonts. In 2007, he retired from the font business.

Robert Trogman writes: I know Dan X. Solo personally. He ran a typographic studio in Berkeley for over 30 years. He had a large collection of film fonts, including some of my own. He created thousands of fonts and is now retired and is an avocational prestigitator. Copyrights have run out on most of his fonts. He also protected himself by creating pseudonyms on the questionable font names. Stuart Sandler confirms that many of the fonts in Solo's Dover books are in fact from the Filmotype collection, which Stuart is digitizing right now.

Gene Gable writes: Dan Solo of Solotype in Berkeley was experimenting with photo type as early as 1945 and started doing optical special effects in the early '60s. And a number of the larger display-type shops developed their own techniques. But in terms of opening up new markets for display type (and giving designers more control over type setting), Visual Graphics and Letraset lead the way. These companies were proud of, and promoted, the fact that that their products could be used by non-typesetters with little training.

MyFonts sells these faces under the name Solotype (the company is in Alameda, CA): Acantha, Assay, Baraboo Banner, Beijing, Bindweed, Brevet (after a Victorian original by Ernst Laushke, 1887), Brussels, Cathedral, Cleopatra, Cognac, Crossroads, Dainty Lady, Dangerfield, Diablo, Dime Museum, Dutch Treat, Egyptian Oldstyle, Excelsis, Extravaganza, Grecian, Lord Mayor, Malibu, Minnesota, Moulin Rouge, Penny Arcade, Rigney, Trixie, Valerie, Zorro.

He writes about himself: Dan X. Solo The Solotype Archive was begun in 1942 when I was 14. I was a kid printer for several years before that. At 16, after a quick three months of training, I dropped out of school and went to work full time as a radio actor and announcer in San Francisco. (Easy to get jobs in those days, due to the war-induced manpower shortage.) In 1949 and 1950, I created a magic show which played West Coast theatres with some success. After that, back to broadcasting. By 1962, I was completely burned out on radio, so I decided to see if I could make a living with my collection of antique types, which numbered about a thousand fonts at that time. In 1962, I sent out 4,000 catalogs showing the type to ad agencies all over the U.S. The timing was perfect (no thanks to me) because there was developing at that time a renewed interest in the old types. Business took off immediately. The Solotype collection was one of four commercial collections at the time, but I seemed to have been more aggressive in marketing than the other chaps. (Well, Morgan Press certainly knew how to market.) Two years into the business, I began to collect alphabets on paper for conversion to photo lettering, which was just becoming mainstream in the type business. We closed the shop for a month every year and went on a type hunt, mostly in Europe where there didn't seem to be much competition among collectors. Other typographers couldn't understand how we could do this, but I believe it made people appreciate the resource we offered even more. Over the years, the collection became quite large. When I closed Solotype a couple of years ago, I got rid of about half the archive (because the fonts were dull, or already digitized, or for a variety of other reasons) leaving me with about 6,000 fonts on paper or film. In 1974, I began to supply Dover Publications with mechanicals for books of 100 alphabets on a particular theme. I did 30 of these books over the years, and 30 more of printers' ornaments, borders, and so forth. Sometime in the 1990s, Dover asked me to digitize books of 24 fonts each, to be sold with a disk in the back. I did 12 of these. The Dover relationship came to an end when Haywood Cirker, the owner and my special friend, died and the company was sold to another publisher. Dover felt that they had covered the type field thoroughly. Now in my old age, my wife and I have a mindreading act that is great fun and good for the ego. Even so, when not traveling, I digitize type for relaxation and enjoyment, but have made no effort to sell it. Until now.

The Solotype Catalog is a file with information on Dan Solo's typefaces, annotated with remarks about name equivalences and digitizations. The original file was due to Thibaudeau, but typophiles on alt.binaries.fonts have added to it in 2010. PDF version. Excel version. Text version.

Images of other selected typefaces: Agency Gothic, Alpha Midnight, Alpha Twilight, Anita Lightface (1977), Art Deco Display Alphabets, Ashley Crawford, Ashley Inline, Astur, Bamberg, Banco, Beans, Blackline, Bobo Bold, Braggadocio, Broadway Engraved, Busorama Bold, Busorama Light, Bust, Charger, Checkmate, Colonel Hoople, Corral, Dudley P Narrow, Dynamo, Earth, Eclipse, Empire, Ewie, Fat Cat, Fatso, Festival, Futura Black, Futura Inline, Gillies Gothic Bold, Greeting Monotone, Grooviest Gothic, Hess Neobold, Hotline, Huxley Vertical, Inkwell Black, Joanna Solotype, Joyce Black, Koloss, Lampoon, Mania, Mania Contour A, Mania Contour B, Margit, Mindy Highlight, Modernistic, Monograms Stencil, Mossman, Neon, Neuland (+Inline), Phosphor, Piccadilly, Pickfair, Polly, Prismania P, Quote, Rhythm Bold, Shady Deal, Sheet Steel, Sinaloa. %Z DanXSolo--CigarLabel-2002.jpg %Z PantagraphScript.png %Z PantagraphScriptNo2.png %Z PantagraphScriptNo3.png %Z SolotypeCatalog--March2010.css %Z SolotypeCatalog--March2010.html %Z SolotypeCatalogTHP.pdf %Z SolotypeCatalogTHP.txt %Z SolotypeCatalogTHP.xls %Z Working in Oakland Hills. Supplying headline typography in hard-to-find fonts for the ad and design market, working from film fonts. Dover is releasing some more collections, 24 fonts to the book, with a specimen on one side of a page, and a complete character layout on the back, with a digital version of each font on disk. Solo, 74, lives in Alameda, and for more than half his life he ran an Oakland business that was known far and wide as a rich and varied source of period typography -- one of the country's greatest founts of fonts. His archives contained some 13,000 sets of letters from a range of artistic eras -- Victorian, Art Deco, Art Nouveau -- all preserved in a format turned largely obsolete in the computer age. Long before the iMac, in the post-Depression Oakland of Solo's childhood, typesetting shops stood out like bold face on almost every block. They were fertile scouring grounds for the young Solo, whose interest in typeface was born on his ninth birthday, when his grandfather gave him a Kelsey letter press. Solo went about buying sets of old type, the alphabets engraved on small metal squares. And soon he had stored away more fonts than the average laptop. He kept collecting, through early careers as a magician and a radio broadcaster, before founding Solotype in Oakland in 1962. For nearly 40 years, if you wanted something printed with Barnumesque bombast (or subtle sophistication), Solo would find the most fitting font. He printed 30 books on fonts, and created dozens of original typefaces, with names like Rubber Stamp and Ransom Note, which has letters with a slap- dash, clipped-out look. But by 1992, the digital age had dawned, and Solo saw the future of his business. It looked something like the future of the 8-track cassette. "I was whistling in the dark for a while," he says. "But after a while, it was clear that it didn't make sense to go on." Last year, Solo folded up his tent and his 13,000 some-odd fonts, which he has printed out and stashed into envelopes. Now he has set about preserving them in the same way that most text is preserved these days -- he's downloading them onto his Macintosh. "I'm not doing it for the money, and I'm not doing it for posterity," Solo says. "I'm doing it to keep myself sane." %Z DanXSolo-Buddha.gif %Z Helvetica_Cursive.png %Z HelveticaCursive.png %P DanSolo-Chic-Small.gif %P DanSolo-DudleyPNarrow-Small.gif %P DanSolo-EagleNarrow-Small.gif %P DanSolo-Pickfair-Small.gif %P DanSolo-SheetSteel-Small.gif %P DanXSolo--Script+CursiveAlphabets-1987-Small.png %Z DanSolo-HeraldSquare.png %Z DanSolo-AdvertisersGothicLight.gif %Z DanSolo-AgencyGothic.gif %Z DanSolo-Alex.gif %Z DanSolo-AlphaMidnight.gif %Z DanSolo-AlphaTwilight.gif %Z DanSolo-ArtDecoDisplayAlphabets.gif %Z DanSolo-AshleyCrawford.gif %Z DanSolo-AshleyInline.gif %Z DanSolo-Astur.gif %Z DanSolo-Banco.gif %Z DanSolo-Beans.gif %Z DanSolo-BeverlyHills.gif %Z DanSolo-Blackline.gif %Z DanSolo-BoboBold.gif %Z DanSolo-BoulMich.gif %Z DanSolo-BradleyUltraModernInitials.gif %Z DanSolo-Braggadocio.gif %X DanSolo-BrevetNormal--after-ErnstLauschke-1887.gif %Z DanSolo-BroadwayEngraved.gif %Z DanSolo-BusoramaBold.gif %Z DanSolo-BusoramaLight.gif %Z DanSolo-Bust.gif %Z DanSolo-CaponeLight.gif %Z DanSolo-Charger.gif %Z DanSolo-Checkmate.gif %Z DanSolo-Chic.gif %Z DanSolo-Clyde.gif %Z DanSolo-ColonelHoople.gif %Z DanSolo-Corral.gif %Z DanSolo-DudleyPNarrow.gif %Z DanSolo-Dynamo.gif %Z DanSolo-EagleNarrow.gif %Z DanSolo-Earth.gif %Z DanSolo-Eclipse.gif %Z DanSolo-Empire.gif %Z DanSolo-Ewie.gif %Z DanSolo-FatCat.gif %Z DanSolo-Fatso.gif %Z DanSolo-Festival.gif %Z DanSolo-FrenchFlash.gif %Z DanSolo-FuturaBlack.gif %Z DanSolo-FuturaInline.gif %Z DanSolo-Gallia.gif %Z DanSolo-GilliesGothicBold.gif %Z DanSolo-GreetingMonotone.gif %Z DanSolo-GrooviestGothic.gif %Z DanSolo-HessNeobold.gif %Z DanSolo-Hotline.gif %Z DanSolo-HuxleyVertical.gif %Z DanSolo-InkwellBlack.gif %Z DanSolo-JoannaSolotype.gif %Z DanSolo-JoyceBlack.gif %Z DanSolo-Koloss.gif %Z DanSolo-Lampoon.gif %Z DanSolo-Mania.gif %Z DanSolo-ManiaContourA.gif %Z DanSolo-ManiaContourB.gif %Z DanSolo-Margit.gif %Z DanSolo-MindyHighlight.gif %Z DanSolo-Modernique.gif %Z DanSolo-Modernistic.gif %Z DanSolo-MonogramStencil.gif %Z DanSolo-Mossman.gif %Z DanSolo-Neon.gif %Z DanSolo-Neuland+NeulandInline.gif %Z DanSolo-Orbit.gif %Z DanSolo-Parasol.gif %Z DanSolo-Parisian.gif %Z DanSolo-PhenixAmerican.gif %Z DanSolo-Phosphor.gif %Z DanSolo-Piccadilly.gif %Z DanSolo-Pickfair.gif %Z DanSolo-PlazaSuite.gif %Z DanSolo-Polly.gif %Z DanSolo-PrismaniaP.gif %Z DanSolo-PublicityGothic.gif %Z DanSolo-Quote.gif %Z DanSolo-RhythmBold.gif %Z DanSolo-Salut.gif %Z DanSolo-ShadyDeal.gif %Z DanSolo-SheetSteel.gif %Z DanSolo-Sinaloa.gif %Z DanSolo-StymieObeliskMediumCondensed.gif %Z DanXSolo-AnitaLightface-1977b.jpg %Z DanXSolo-Bamberg.png %Z DanXSolo-Ringlet-1998---afterHermannIhlenburg-1882.jpg %Z DanXSolo-Ringlet-1998---afterHermannIhlenburg-1882b.png %E macvaya@mindspring.com %N 24270 %B ruchala.html %Q Cali Ruchala %T Cali Ruchala does not think that the attacks on shareware and freeware sites are being done in a haphazard manner. Read on. %d Jun 10 2000 %L TY-LG LUC BOTON-T1/BlackBotonBold.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Black Boton Bold designed by Albert Boton. All rights reserved.) readonly def BOTON-T1/Memo-Bold.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-BoldItalic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-Regular.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoLight-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoLight.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoMedium-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoMedium.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/BlackBotonBold.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Black Boton Bold designed by Albert Boton. All rights reserved.) readonly def BOTON-T1/Memo-Bold.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-BoldItalic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/Memo-Regular.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoLight-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoLight.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoMedium-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def BOTON-T1/MemoMedium.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. Memo is designed by Albert Boton.) readonly def AgfaWaddyEighty.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 80 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyEightyOne.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 81 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyEightyTwo.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 82 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyNinetyFive.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 95 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyNinetySix.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 96 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyNinetyThree.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 93 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyNinetyTwo.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 92 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyOneEightyTwo.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 182 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyOneFortyFour.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 144 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def AgfaWaddyOneFortyThree.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. Agfa Waddy 143 is an exclusive design for Agfa by Waddy International Studios. All rights reserved.) readonly def MahsuriSansMT-BoldItalic.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-BoldItalicOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-BoldOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-ExtBoldItaOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-ExtraBold.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-ExtraBoldItalic.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-ExtraBoldOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-Italic.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-ItalicOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-Light.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-LightItalic.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-LightItalicOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-LightOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-Regular.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def MahsuriSansMT-RegularOsF.pfa:/Notice (Copyright (c) 1998 Adobe Systems Incorporated. All Rights Reserved.Mahsuri Sans is a trademark of The Monotype Corporation.) readonly def FontOutline.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def FontSolid.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def Gabardine.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def GreyhoundScript.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def LittleLouisOne.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def LittleLouisThree.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def LittleLouisTwo.pfa: /Notice (Copyright $c$ 1996 Bayer Corporation. All rights reserved. $c$ Copyright by Panache Typography, 1995.) readonly def LudovicoSmooth.pfa: /Notice (3.0 Copyright $c$ 1998 Bayer Corporation. All rights reserved. Copyright $c$ 1994 by Philip Bouwsma.) readonly def LudovicoSmoothFlourishes.pfa: /Notice (3.0 Copyright $c$ 1998 Bayer Corporation. All rights reserved. Copyright $c$ 1994 by Philip Bouwsma.) readonly def LudovicoWoodcut-Flourishes.pfa: /Notice (CopyrightCopr.1994 by Philip Bouwsma. All rights reserved.) readonly def LudovicoWoodcut.pfa: /Notice (CopyrightCopr.1994 by Philip Bouwsma. All rights reserved.) readonly def Bliss-Bold.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-BoldItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-ExtraBold.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-ExtraBoldItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-Heavy.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-HeavyItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-Italic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-Light.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-LightItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-Medium.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-MediumItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def Bliss-Regular.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Bold.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-BoldItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-ExtraBold.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-ExtraBoldItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Heavy.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-HeavyItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Italic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Light.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-LightItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Medium.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-MediumItalic.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def BlissCaps-Regular.pfa: /Notice (Copr.1996 Designed by Jeremy Tankard for Agfa Division Bayer Corporation. All Rights Reserved.) readonly def HatmakerAlternate.pfa: /Notice (2.0 Copyright $c$ 1998 Bayer Corporation. All rights reserved. Copyright $c$ 1996 Jean Evans. All rights reserved.) readonly def HatmakerRegular.pfa: /Notice (2.0 Copyright $c$ 1998 Bayer Corporation. All rights reserved. Copyright $c$ 1996 Jean Evans. All rights reserved.) readonly def AikikoPlain.pfa: /Notice (Copyright c 1990 Adobe Systems Incorporated. All Rights Reserved. Plantin is a trademark of The Monotype Corporation Plc.) readonly def AikikoSansSans.pfa: /Notice (Copyright c 1990 Adobe Systems Incorporated. All Rights Reserved. Plantin is a trademark of The Monotype Corporation Plc.) readonly def PhilcoDecoDeco.pfa: /Notice (ìú) readonly def TwoVooDoo.pfa: /Notice (\2511998 mark harris 558 westminster st. thousand oaks CA 91360 805-495-4335 -mharris@vcnet.com) readonly def Mahlau.pfa: /Notice (Mahlau Font ª Peter von Zezschwitz, 41 Oren Boulevard, Barrie, Ontario, L4N 4T3, Canada) readonly def Odilia.pfa: /Notice (Odilia Fontª 1993 Peter von Zezschwitz, 41 Oren Boulevard, Barrie, Ontario, L4N 4T3) readonly def MICMAC-Bold.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. $c$ Copyright by Roselyne&Michel BESNARD, 1997) readonly def MICMAC-Italic.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. $c$ Copyright by Roselyne&Michel BESNARD, 1997) readonly def MICMAC.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. $c$ Copyright by Roselyne&Michel BESNARD, 1997) readonly def MICMACLight.pfa: /Notice (Copyright $c$ 1998 Bayer Corporation. All rights reserved. $c$ Copyright by Roselyne&Michel BESNARD, 1997) readonly def MIGRAPHBold.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Roselyne&Michel BESNARD, 1998.) readonly def MIGRAPHBoldFuzed.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Roselyne&Michel BESNARD, 1998.) readonly def MIGRAPHLight.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Roselyne&Michel BESNARD, 1998.) readonly def MIGRAPHLightFuzed.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Roselyne&Michel BESNARD, 1998.) readonly def MIGRAPHStyle.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Roselyne&Michel BESNARD, 1998.) readonly def ROM-Bold.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Atelier de Rouen France, 1998.) readonly def ROM-Italic.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Atelier de Rouen France, 1998.) readonly def ROM.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Atelier de Rouen France, 1998.) readonly def ROMLight.pfa: /Notice (Copyright $c$ 1999 Agfa Corporation. All rights reserved. Copyright $c$ by Atelier de Rouen France, 1998.) readonly def Bonita.pfa: /Notice (Generated by Fontographer 3.5) readonly def AspirinITC.pfa: /Notice ((c) Copyright 1996-1999 International Typeface Corporation. All rights reserved.) readonly def AspirinSCITC.pfa: /Notice ((c) Copyright 1996-1999 International Typeface Corporation. All rights reserved.) readonly def MudvilleITC.pfa: /Notice ((c) Copyright 1996-1999 International Typeface Corporation. All rights reserved.) readonly def %Q CorelDraw tutorial %N 24269 %B http://www.designer.com/focus/articles/fonts/fontsall_print.htm %d Jun 15 2000 %L DD %T Tutorial on how to make fonts using CorelDraw. %Q RemarQ %N 24268 %B http://www.remarq.com/ %d Aug 7 2000 %L DD %T RemarQ's main page: RemarQ stores and distributes some internet newsgroup posts. Subpages include alt.binaries.mac.fonts, alt.binaries.hebrew.fonts, alt.binaries.fonts, comp.fonts. From metafont-owner@ens.fr Mon Jun 19 22:27:38 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Mon, 19 Jun 2000 22:27:38 -0400 (EDT) (envelope-from metafont-owner@ens.fr) for ; Mon, 19 Jun 2000 22:24:29 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Mon, 19 Jun 2000 22:24:28 -0400 Received: from admin.cs.mcgill.ca (root@admin.CS.McGill.CA [132.206.3.4]) for ; Mon, 19 Jun 2000 22:24:28 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Mon, 19 Jun 2000 22:24:27 -0400 (EDT) Received: from nef.ens.fr (nef.ens.fr [129.199.96.32]) for ; Mon, 19 Jun 2000 22:24:26 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from (sympa@localhost) ; Tue, 20 Jun 2000 04:23:02 +0200 (CEST) X-Authentication-Warning: nef.ens.fr: sympa set sender to metafont-owner@nef.ens.fr using -f Received: from coxeter.math.toronto.edu (coxeter.math.toronto.edu e5K2Mvo59851 for ; Tue, 20 Jun 2000 04:22:57 +0200 (CEST) Received: (from laurent@localhost) by coxeter.math.toronto.edu Mon, 19 Jun 2000 22:22:55 -0400 (EDT) Date: Mon, 19 Jun 2000 22:22:55 -0400 (EDT) From: laurent@math.toronto.edu (Larry Siebenmann) Message-Id: <200006200222.WAA19527@coxeter.math.toronto.edu> To: laurent@math.toronto.edu, metafont@ens.fr X-Loop: metafont@nef.ens.fr Precedence: list Subject: [metafont] B'ezier intersections Status: R Dear Wolfgang, and Lars. Fact: Two nondegenerate cubic planar curves (parametrized on all R) with distinct images meet in at most 9 points. Wolfgang is very right to ask why, because that should give hints how to locate the intersection points. Lars gave an argument that is incomplete: > Each coordinate [x- or y-] is a cubic function of time, there are at > most three roots to each of the coordinate functions, thus in > total at most 3 * 3 = 9 possible intersections. That "thus" is not obvious. Indeed, there exist curves that meet each horizontal and each vertical in just one point and yet meet one another infinitely many isolated points. For example (t,2t+sin t) and (t,2y+cos t). Perhaps one can prove that if merely continuous planar curves c1,c2 each meet *every* line in <= 3 points, then c1 and c2 meet one another in at most 9 points. Anyone like to try? I had a proof in mind that does begin to suggest how to *locate* the intersection points of cubic curves. The image set {c1(t); t varying over all real numbers} turns out to be a set defined by a cubic polynomial equation d1(x,y)=0 in x and y, namely Sylvester's explicit resultant determinant of the two polynomials (xpart c1(t) - x) and (ypart c1(t) - y). (The resultant of two polynomials in t is the condition on their coeficients that they have a common root. Note that t a common root of the above 2 polynomials means that c1(t)=(x,y).) Concerning resultants see Van der Waerden's Modern Algebra Vol 1. The elimination method is said to be Euler's. Now we know that c2 meets c1 at (point t of c1) precisely if d1(c2(t))=0 But the left side expands to a degree <= 9 polynomial in t, which has <= 9 roots or is identically 0. Thus, except for the degenerate case when the polynomial is 0 (which you can sort out as an exercise), there are <= 9 values of t for which c2(t) lies on the curve c1, namely the roots of d1(c2(t)). How, in actual fact, does Knuth locate the intersectiontimes?? Cheers Laurent S PS. d1(t) is called the "implicitization" of c1(t). See http://www.cs.bell-labs.com/who/hobby/pubs.html for the rather complex computational aspects, notably: 86/2-20.ps [Hobby88] John D. Hobby, Smoothing Digitized Contours, in Theoretical Foundations of Computer Graphics and CAD, Springer Verlag, 1988. 88/2-11.ps [Hobby91] John D. Hobby, Numerically Stable Implicitization of Cubic Curves. ACM Transactions on Graphics, 10(3), 1991. MicroPress is proud to announce immediate availability of our new Text+Math fontset: BA-math. Baskerville was a popular solution for technical publications in the dark (non-digital) ages; BA-math aims at bringing it back to life. BA-math consists of 8 text and 5 math Type1 fonts and can be used with VTeX (v7), dvips, or any other TeX applications that can handle Type1 and virtual fonts (Win/OS2/Linux/Unix platforms). The support files (.tfm/.pfm/.afm/.fd/.sty) are included in the distribution; virtual fonts are provided for OT1, T1 and (most of) TS1 encodings. For samples/layout charts/additional details, please go to http://www.micropress-inc.com/samples/bafonts.htm For the list of other available families, please see http://www.micropress-inc.com/fonts Distribution: Diskette/Email ================= We are also proud to announce general availability of the LA font family (Type1). LA fontset is the Cyrillic counterpart of the EC fontset; it consists of 331 fonts in various shapes and design sizes. For details, see http://www.micropress-inc.com/samples/lafonts.htm [LA fonts are now the standard component of the VTeX/7 distribution.] Distribution: CD only %Q THDL: The Tibetan and Himalayan Digital Library %N 24267 %B http://iris.lib.virginia.edu/tibet/tools/fonts.html %T Site at the University of Virginia. The Trace Foundation has sponsored an important initiative to assist the use of Tibetan script in a digital environment. First, they have made Tibetan Computer Company's (TCC) Tibetan Machine typeface, freely available to the public under a general public license (GPL). Second, they have sponsored the creation of a web-amenable cross-platform version of the same font, entitled Tibetan Machine Web. Downloads at this site, which states: "The development of these public-domain fonts was only possible due to the efforts of Mr. Tony Duff of the Tibetan Computer Company over many years and his generosity in collaborating with Trace Foundation to make his font available under a general public license. The original creator of the Tibetan Machine typeface, Mr. Duff spent years consulting Tibetans and their calligraphy in order to perfect the font, which is widely considered to be one of best Tibetan fonts in the world. Tibetan Machine is also one of the most comprehensive font in its coverage of Tibetan punctuation marks and a variety of other symbols not found in most other fonts. In addition, Mr. Duff has created other even more attractive fonts, such as Tibetan Calligraphy, that use the same encoding as Tibetan Machine. These, their Tibetan word processing software and electronic literature using the fonts are available for purchase from the Tibetan Computer Company (for details contact TCC at tdolma@wlink.com.np or Snow Lion Publications at http://www.snowlionpub.com). With the sponsorship of the Trace Foundation, Mr. Duff created the web-viable version of his font, known as Tibetan Machine Web. Also freely available to the public under a general public license, this font was created by changing the encodings of the original Tibetan Machine font, but it still uses the same elegant glyphs. Furthermore, Mr. Duff has kindly provided extensive documentation for both fonts that has and will greatly aid developers in their implementation." Tony Duff created Dzongkha Calligraphic, a font that was bundled with the Dzongkha! program for WordPerfect for MS DOS. Dzongkha! was a version of TCC Tibetan! commissioned by the Dzongkha Development Commision for distribution within Bhutan. Alternate URL for his free fonts: TibetanMachine, TibetanMachineSkt1, TibetanMachineSkt2, TibetanMachineSkt3, TibetanMachineSkt4 (1999-2000). %L FO-TI DE FO-BHU %D Tony Duff %d Feb 3 2004 %Z Leigh Brasington %Q Potala Software %Z tibet@home.com %E tibet@alamedanet.net %N 24266 %B http://go.to/tibet %T TDP is a freeware stand-alone document processing program that works with Tibetan and European languages in the Win/95, Win/98 and Win/NT environments. Included is Christopher J. Fynn's Tibetan Modern A font. This has been discontinued and replaced by UDP, the Unicode Document Processor, which supports Tibetan and many other languages including Western European, Japanese, Chinese and Thai. There are some fonts you can download (such as Tibetan Modern A, 1994) and there is plenty of information on Tibetan Unicode fonts, all brought to you by Leigh Brasington at Potala Software. %L FO-TI %d Feb 3 2004 In article <3952a4ed.199949478@news.panix.com>. MicroPress, Inc. wrote: >Here is a guess, rather than an answer: >Baskerville happens to be a typeface which [1] did not have >matching math fonts, [2] does not mix all to well with CM math (it can >be mixed with TM-math reasonably well), and---to make it worse--- >[3] is not part of the Base-35 font set, so is not even covered by >PSNFSS. These three reasons make me suspect that nobody >even experimented with its use in TeX. In fact, the SMF (Société mathématique de France) recently commisionned Yannis Haralambous to build a set of math fonts to go with the Baskerville text fonts. This work is described in an article published by GUTenberg. -- Antoine Chambert-Loir o-o Institut de Mathématiques de Jussieu (Chevaleret) Tel: 01 44 27 75 20 | Université Pierre et Marie Curie Fax: 01 44 27 48 44 - Boite 247, 4 place Jussieu, F-75252 Paris Cedex 05 http://www.math.jussieu.fr/~chambert Article 105790 of comp.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!isdnet!ciril.fr!grenet.fr!news.inpg.fr!news.ujf-grenoble.fr!not-for-mail Newsgroups: comp.text.tex,comp.fonts,comp.lang.postscript Subject: Re: New fontset ANNOUNCEMENTS: BA-Math; LA Followup-To: comp.text.tex Date: 23 Jun 2000 18:03:01 +0200 Organization: Université Joseph Fourier - Grenoble 1 Lines: 23 Message-ID: References: <3942726c.65195603@news.panix.com> <394fbf41.10051702@news.panix.com> <3952a4ed.199949478@news.panix.com> X-Complaints-To: abus@ujf-grenoble.fr X-Newsreader: Gnus v5.4.37/XEmacs 19.15 support@micropress-inc.com (MicroPress, Inc.) writes: > These three reasons make me suspect that nobody > even experimented with its use in TeX. Ahumm.. A whole issue of _Cahiers GUTenberg_ last year (http://www.gutenberg.eu.org/pub/GUTenberg/publications/cahiers.html#Cahier32) was set in baskerville, the first paper dealing with a related math font set.. Few years earlier, a discussion about Monotype Baskerville happened on the fontinst mailing list. Many years earlier, i published an essay about copying one maths book's layout with tex, the main font being baskerville.. (http://www.loria.fr/services/tex/fontes/maths/cartan-english.html) and so on.. Thierry Bouche. ----- thierry.bouche@ujf-grenoble.fr http://www-fourier.ujf-grenoble.fr/~bouche/ From metafont-owner@ens.fr Fri Jun 23 06:01:14 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 23 Jun 2000 06:01:14 -0400 (EDT) (envelope-from metafont-owner@ens.fr) for ; Fri, 23 Jun 2000 05:57:27 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 23 Jun 2000 05:57:27 -0400 Received: from admin.cs.mcgill.ca (root@admin.CS.McGill.CA [132.206.3.4]) for ; Fri, 23 Jun 2000 05:57:27 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 23 Jun 2000 05:57:26 -0400 (EDT) Received: from nef.ens.fr (nef.ens.fr [129.199.96.32]) for ; Fri, 23 Jun 2000 05:57:24 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from (sympa@localhost) ; Fri, 23 Jun 2000 11:55:18 +0200 (CEST) X-Authentication-Warning: nef.ens.fr: sympa set sender to metafont-owner@nef.ens.fr using -f Received: from zmail6.easynet.fr (email.easynet.fr [195.114.64.207]) by Announcing last release of the Metapost Mode for the Alpha text editor on Macintosh. Version 1.2.2 is available at : http://perso.easynet.fr/~berdesg/metapost.html or download it directly with : http://perso.easynet.fr/~berdesg/metapostMode.sit.hqx The Metapost Mode for Alpha has undergone a certain number of changes. Among the new features offered by this upgrade (excerpts from the Help File) : - easy insertion of all the basic Metapost commands (with electric stops) : macros from the mfplain, boxes and graph packages are also included. - syntax coloring. Different colors to distinguish primitives and macro definitions. - file marking. - capacity to process a source file from within Alpha with various flags. printer modes, input mem files. - editing the log and the mpx files. - key bindings to choose the processing mode, to process files, open the log or mpx etc - advanced keywords completion : You can type the first letters of a word and hit the completion key. If it is recognized as a keyword, it will be completed. If there are different possible completions, they will be listed in the status bar : hit the completion key again and you will have a list of all the possibilities from which you can select the one you want. With 'input' instructions : type 'input xx' and the proc will look for a known mp base file whose name starts with 'xx' and will complete - numerous abbreviations : typing bt followed by the completion key (F1) will result in 'btex etex'; vt will result in 'verbatimtex etex' etc. - command clicking on a word accesses its definition - option clicking on the title bar of a window brings a list of .mp. .mpx and .log files at the same level or in a selected folder and allows to edit them. ALT.BINARIES.MAC.FONTS FREQUENTLY ASKED QUESTIONS (FAQ) version 1.0 5 January 1999 maintained by Infin80 (imac_mafia@yahoo.com) ======================================================================= THE BRIEF CRASH-COURSE IN ALT.BINARIES.MAC.FONTS: DO discuss Macintosh fonts in the newsgroup. DO post fonts to the newsgroup. DO post an image of a font if you'd like to know what font it is. DO post URL addresses for web sites with Macintosh fonts and/or useful or interesting information about Mac fonts. DO consult the FAQ before you ask a question on ABMF. It may already be answered here. DO offer suggestions for corrections and additions to the FAQ if you notice an error or oversight. (See below for the email contact) DO post requests for specific fonts, or for font-related Mac help. DO be aware that you are solely responsible for what you upload as well as anything you decide to keep after downloading DO read the entire FAQ and keep a copy of the latest version at hand. DO behave yourself and enjoy the forum DO NOT spam alt.binaries.mac.fonts with any advertisement(s). DO NOT debate whether PCs or Macs are better. DO NOT start or perpetuate discussions that have no meaningful connection to Macintosh fonts. DO NOT post Windows fonts. (Windows fonts belong on the newsgroup alt.binaries.fonts) DO NOT post non-Macintosh files of any sort. DO NOT flame, troll, spam, or otherwise harass or intentionally irritate anybody in the group. ======================================================================= A. ABOUT THE FAQ 1. What is the FAQ? The Frequently Asked Questions (FAQ) list handles, as the name implies, some of the most commonly asked questions on alt.binaries.mac.fonts (a.b.m.f or ABMF) The purpose is to provide essential information for newcomers about the newsgroup and about Macintosh fonts, and to hopefully cut down on the frequency with which some of these questions are asked. Ideally, everybody coming to ABMF would read this document before posting to the newsgroup. Of course, this will not be the case. Hopefully it will, regardless, help to reduce some of the redundant questions, even though they'll always be asked by those who miss (or skip) the FAQ. 2. What the FAQ is *NOT* The ABMF FAQ is *NOT* an general guide to fonts. It is not the place to go for technical information about how to kern a typeface you're creating, or how to configure your newsreader, what PostScript is, or the differences between GX and TT fonts. If you are looking for technical information, or if you are looking for general information about fonts, you should probably check out other resources. You might find a good start with the comp.fonts FAQ at http://nwalsh.com/comp.fonts/FAQ/ There are many books about typefaces, font management, font creation, etc. If you want a faster answer, there are many more detailed -- and more general -- resources on the web. You should try checking some of the search engines such as http://www.yahoo.com and http://www.altavista.com if you're looking for information that is not included here. Of course you're welcomed to ask font-related questions in the newsgroup if they're not convered here. 3. Where to find the FAQ The FAQ is posted in alt.binaries.mac.fonts about once every month. or as needed, by infin80. Other a.b.m.f regulars are also welcomed to post the most recent version of the FAQ any time they feel appropriate, or if infin80 hasn't posted it reasonably recently. 4. Contacts The FAQ was begun by, and is currently maintained by, infin80. You can reach infin80 at imac_mafia@yahoo.com Corrections and additions are welcomed, but please have evidence to support any information you present for the FAQ. ======================================================================= B. ABOUT THE ALT.BINARIES.MAC.FONTS NEWSGROUP 1. How can I post to the newsgroup? The FAQ is not intended as a general guide to Usenet. However, as a very general statement, there are many applications that can read and post to Usenet newsgroups such as alt.binaries.mac.fonts If you have an Internet Service Provider (ISP) that offers access to the newsgroup, I can heartily recommend "YA-NewsWatcher" as an excellent Macintosh appication for Usenet. It allows posting and downloading of binary attachments (such as fonts) and includes plenty of bells-and-whistles, without suffering from 'feature bloat.' The best part is, YA-NewsWatcher is free. Just visit http://www.versiontracker.com and search for the application there. If you don't have access to newsgroups from your ISP, you may have a harder time reading, downloading from and uploading to binaries newsgroups like alt.binaries.mac.fonts [[[ I don't have information on any free web sites that allow download and/or upload of binaries. If anybody can help with this. please provide the info! ]]] 2. I'm having trouble downloading/decoding fonts. Help! Again, the ABMF FAQ is not intended as a guide to downloading. binary decoding, or other general technical information. If you are having problems, your best bet is to check with search engines such as http://www.yahoo.com and http://www.altavista.com for further information on the topic. However, one essential utility should be installed on every Macintosh, and is vital for downloading and uploading binaries. Aladdin Systems' StuffIt is the compression and encoding standard utility for Mac. Many files you download will be compressed with StuffIt's compression scheme. (Usually identified by the suffix ".sit") There are many other compression utilities such as Compact Pro, but StuffIt -- and the freeware Drop UnStuff utility -- can decode almost all of them. To download the free, essential DropStuff and Drop UnStuff utilities, see http://www.aladdinsys.com 3. What is appropriate for the newsgroup? The name of the newsgroup alt.binaries.mac.fonts implies the essence of what this newsgroup is about. It is the appropriate forum to post fonts for Macintosh, and to discuss Macintosh fonts. Note that there is not an alt.binaries.mac.fonts.d newsgroup. therefore it is acceptable to have discussions in this binaries newsgroup. Assistance in identifying fonts is also welcomed at ABMF, in reasonable amounts. It is perfectly okay to post a sample of a typeface you are trying to identify. But don't post many font samples all at once. It is also acceptable to post URLs for sites that contain Macintosh fonts, or useful information on Macintosh fonts. 4. What is inappropriate for the newsgroup? It is generally considered inappropriate to discuss or post items which are either more appropriate for another newsgroup, or which are off-topic. Clearly it is inappropriate to post fonts for Windows or any other non-Macintosh fonts. (Windows fonts can be posted to alt.binaries.fonts or other similar forums.) It is also inappropriate to discuss Windows typefaces, Windows applications, or any other issues unrelated to Macintosh fonts. The exception is if it relates to Macintosh in a clear way, such as if you are looking for a PC font with intent to convert it to a Mac format. Spamming is definitely unwelcome at ABMF. There is a thin line between posting a URL that has nice downloadable Macintosh fonts. versus crossposting a commercial advertisement. Of course, poor behavior is inappropriate, just as it is for most other newsgroups. Don't flame, troll, spam, or otherwise harass or intentionally irritate people on the newsgroup. 5. Is it legal to post fonts to newgroups and websites The best advice is to check the licensing notes (or the READ ME file) that came with the font when you first got it. These usually contain information about the distribution of the font. Most commerical fonts cannot be legally distributed on the internet. Many, but not all, shareware and freeware typefaces may be posted freely. Legal or not, commercial fonts are posted to ABMF frequently. Altering a commercial font and then sharing that is a much more hazy legal area. There is debate and disagreement on the topic. See Section E, Question 4 for more on this. Often when somebody downloads a font from somewhere on the internet, they may not even be aware of whether the font is commercial, shareware, or freeware, or any of the restrictions that may apply to the use and distribution of the font. Much font piracy may be completely unintentional, by way of ignorance. apathy, or both. Ultimately the best advice on the topic of posting and downloading fonts is to be careful, and to always remember that you are responsible for what you upload, as well as anything you decide to keep for longer than 24 hours after downloading. 6. Should I post binaries of font applications, plugins and clip art to alt.binaries.mac.fonts? Thanks to Jet for assistance with the following. Clip art (especially vector-based) is welcome in ABMF. Also plugins, filters and such, which can help with fonts and page layouts and so forth, have a home here. But ABMF isn't the best place to post full-fledged font applications. A better place is alt.binaries.mac.applications or a similar forum that is intended for Macintosh applications. And as said above, the best advice is to check the licensing notes before posting any piece of software. Remember you alone are responsible for what you choose to upload, and what you choose to keep after downloading. ======================================================================= C. GENERAL MAC FONT INFORMATION 1. What are Bitmap, Type1, Type3, TrueType, Multiple Master and GX? Thanks to Jet for some of the following information. Some of the following is also summarized from the comp.fonts FAQ. Bitmap (or BMP) fonts are rather crude, blocky pixel-rendered fonts. On Macintosh systems they are usually seen as companions to a PostScript (Printer) Type 1 typeface. Also, bitmap fonts are the standard on most older Macs running system software older than System 7. (Mac 'old-timers' will remember Cairo, San Francisco. Athens and other old bitmap font favorites...) Type 1 (or T1) fonts are the preferred font type among most -- but not all -- Mac users. Type 1 consist of two parts: a bitmap font for screen display, and an accompanying PostScript (or printer) "outline" font. Only the bitmap font is needed if you just want to use the font for screen display only. If you intend to use the font in graphics, or want to print the font or use it in a PostScript document, you definitely need to have the affiliated PostScript outline file. In order to get the most from PostScript fonts you need to have Adobe Type Manager installed on your startup drive. (It is a control panel named ~ATM. It is most likely already present in your system. If not, you should definitely get it.) Like Type 1, Type 3 (or T3) fonts consist of both a bitmap and a PostScript font file. But unlike Type 1, Type 3 fonts can include shades of gray in the typeface itself. Despite that obvious advantage, Type 3 fonts are very rarely seen. TrueType (or TT) fonts do not need to have an extra printer font. TrueType fonts use the same PostScript outline for both printing and display. This helps ensure that what you see onscreen is printed to paper exactly as you intend, and also helps reduce some of the problems Type 1 fonts sometimes cause. (In my publishing work, I can't tell you how often a client has sent a project on disk and included only the bitmap version of a font that was needed for a Type 1 font. TrueType fonts help reduce this sort of blunder since they consist of only one part.) But as a setback. bold and italic versions of TrueType fonts are sometimes automatically generated, so may not be as 'technically correct' in the mind of serious typographers. It is worth noting that TrueType fonts use QuickDraw (Apple), rather than PostScript (Adobe), for their outlining. Multiple Master (MM) fonts are good for certain technical typography projects. These fonts allow the user to control the width and thickness of the typeface, while maintaining the integrity of the font's original design. While not common, most people have a few on their Mac. QuickDraw GX (or just GX) fonts are the newest type to become a standard on Macs. It is, however, only used in OS 8.x. If you use any version of OS 8.x, the fonts that came on your OS disk (Charcoal, Techno, Skia, etc) are GX fonts. Like TrueType, GX fonts consist of only one part which is used for both on-screen respresentation and printing. But since GX fonts are also made to be a great help for international users. For example, GX fonts make it easy for Mac users in Japan to work in a Japanese-language environment on their Mac. Same goes for many other foreign languages, especially those that don't use the standard Latin alphabet and accents. Note that accoring to Apple tech notes. QuickDraw GX is not supported in Mac OS 9 (QuickDraw GX printing was phased out in MacOS 8.0. Graphics, line layout and typography are now also phased out). For more technical information on different font types, check http://nwalsh.com/comp.fonts/FAQ/cf_38.htm or other internet resources. 2. What font type is best? There will never be full agreement on this. The main debate is between the Type 1 and TrueType formats. Many people prefer Type 1 fonts, since most commerical fonts in that format contain unique and intricately-designed bold and italic variations. Other people prefer TrueType for its ease-of-use and accuracy of screen presentation. It is a topic that can erupt into heated arguments or even flame wars. It is inappropriate to become condescending towards somebody for preferring one format over another. It's also inappropriately inflammatory to use derogatory terms to refer to any type format. (That is considered trolling.) When going into debates over which type format is best, remember that ultimately it is a matter of personal taste and a matter of what works for each of us. 2. What font management software is best? Everybody has their favorite. The general concensus is that the best commercial font management applications are Font Reserve and Suitcase. Each allow extensive control of fonts, very easy activation and deactivation, and the latest version of each is capable of automatically activating fonts needed by Quark XPress. Either one is highly recommended for professional and personal use. Carpetbagger is a shareware application with many of the same essential features as Suitcase. You may find other shareware utilities if you search the net, but none come close to the fuctionality of Font Reserve or Suitcase. 3. What programs are available to help me print out samples of all my fonts? ======================================================================= Best regards. %Q Bhagwan Nebhraj Thadani %E bthad@mb.sympatico.ca %T Winnipeg-based designer of a set of 23 Hindi, Sanskrit, Gujarati, Marathi and Sindhi-Devnagari truetype fonts (20 USD for the set). See also here. The Bhagwan has a Bachelor of Engineering degree (1952) from the University of Poona, India, and a Doctor of Philosophy degree (1965) from Bombay University. %N 24265 %B nothing %Z http://www.geocities.com/bthad.geo/ %d Jul 15 2000 %Z 19 Laval Drive, Winnipeg, Canada R3T 2X8 %L FO-IN FO-GUJ FO-MAR CAN DE %Q Martin Gerdes %E martin.gerdes@gmx.de %Z Sat Jul 15 16:11:13 2000: Corresponded about Gerhard Helzel and Delbanco Fraktur. Fraktur fanatic. Helpful. I responded. %T German blackletter expert. %L FR GER %d Feb 20 2011 From rsm@uranium.math.arizona.edu Sun Jul 16 18:40:45 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Sun, 16 Jul 2000 18:40:40 -0400 (EDT) (envelope-from rsm@uranium.math.arizona.edu) From: "Robert S. Maier" To: plotutils-announce@uranium.math.arizona.edu Subject: plotutils-2.4.1 is released Release 2.4.1 of the GNU plotutils package is now available, and can be downloaded from any GNU mirror site. The home page for the package is still http://www.gnu.org/software/plotutils . Robert S. Maier | Internet: rsm@math.arizona.edu Dept. of Math. | Univ. of Arizona | FAX: +1 520 621 8322 Tucson, AZ 85721 | Voice: +1 520 621 6892 (department) U.S.A. | +1 520 621 2617 (office) Maintainer of the GNU plotting utilities package (see http://www.gnu.org/software/plotutils/plotutils.html). %Q Will-Harris controversy %N 24264 %B willharris.html %T Will-Harris castigated pirates on his web site. Yet, the Harry Potter font (Potter Fodder) he sold for 29USD looked very much like a 5-year old T-26 font called Ablefont by Marcus Burlile. It seems he rescanned the font and redesigned it, but the messages were flying all over the bulletin boards. Will-Harris is no longer selling the font, but the Typeright logo is still on his website. He asked me to remove this in October 2001. Back and forth email, until he explained how nasty Bruton was and how he actually was thinking about resigning from Typeright. I promised to remove the link, but I will keep an eye on him. %L REMOVE %d Oct 20 2001 %Z From Daniel@will-harris.com Sat Oct 20 06:08:31 2001 Date: Sat, 20 Oct 2001 03:08:24 -0700 From: "Daniel Will-Harris" To: luc@cs.mcgill.ca Subject: discussion of potter font on your site. Luc: First--I didn't know that it was a commercial font, I thought it was hand-drawn for the book. While I do know thousands of fonts, I had never seen this one before. Second--when I did find out, I stopped selling it--and then I stopped giving it away, too. Third--David Rakowski's fonts are not stolen from students. They are based on old fonts, in the public domain. There is nothing wrong with this. And his royalties all are donated. The potter font was a mistake on my part, I agree, but certainly not worth bad karma, especially because I corrected my mistake. I would appreciate it if you would remove http://cg.scs.carleton.ca/~luc/willharris.html from your site as it serves no purpose now. DwH From thomas.derdeyn@freebel.net Thu Jul 20 17:03:07 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Thu, 20 Jul 2000 17:03:07 -0400 (EDT) (envelope-from thomas.derdeyn@freebel.net) for ; Thu, 20 Jul 2000 16:54:10 -0400 (EDT) (envelope-from thomas.derdeyn@freebel.net) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Thu, 20 Jul 2000 16:54:10 -0400 Received: from admin.cs.mcgill.ca (root@admin.CS.McGill.CA [132.206.3.4]) for ; Thu, 20 Jul 2000 16:54:10 -0400 (EDT) (envelope-from thomas.derdeyn@freebel.net) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Thu, 20 Jul 2000 16:54:09 -0400 (EDT) for ; Thu, 20 Jul 2000 16:54:08 -0400 (EDT) (envelope-from thomas.derdeyn@freebel.net) Received: from ppp45-111.freebel.net ([212.122.45.111] helo=hdfrhhd) for ; Thu, 20 Jul 2000 22:54:06 +0200 Message-ID: <000e01bff28c$dbadb1c0$6f2d7ad4@hdfrhhd> From: "holmes" To: "Luc Devroye" References: <200007200116.VAA35654@lambic.CS.McGill.CA> Subject: Re: Bazar dead link + new link Date: Thu, 20 Jul 2000 22:55:37 +0200 charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 Status: R Beste Luc. Nog een tip, maar for personal fontaholics use only, dus gelieve hem niet op je link pages te zetten. www.sosboard.com, en naar het fonts forum gaan. Groetjes. Thomas ----- Original Message ----- From: Luc Devroye To: Sent: Thursday, July 20, 2000 3:16 AM Subject: Re: Bazar dead link + new link > Thomas: > > Bedankt voor de nieuwe link. > En tussen haakjes, Belgie is niet zo > een "wasteland". Zijt gij al eens in Holland > geweest? Lees ook mijn web page > http://cg.scs.carleton.ca/~luc/dutch.html > om meer uitleg te verkrijgen.. > > > Al het beste. > > Luc > %Q OpenType fonts at Adobe %Z http://partners.adobe.com/supportservice/devrelations/japan/opentype/otover.htm %N 24263 %B http://www.adobe.com/type/browser/C/C_60.html %d Jul 12 2002 %T Adobe has converted its type 1 library to OpenType. The first fonts ever published by Adobe in OT format included Myriad Pro (30 fonts), Tekton Pro (18 fonts by David Siegel), Warnock Pro (30 fonts by Robert Slimbach), Lithos Pro (5 fonts by Carol Twombly), Chaparral Pro (40 fonts by Carol Twombly), Adobe Jenson Pro (40 fonts by Robert Slimbach, based on Nicolas Jenson's roman and Ludovico degli Arrighi's italic typeface designs), Calcite Pro (3 fonts), Adobe Garamond Pro (6 fonts by Robert Slimbach), Adobe Caslon Pro (6 fonts by Carol Twombly), Moonglow (12 fonts by Michael Harvey), Organica (1 font by Gabriel Martinez Meave), Silentium Pro (2 fonts by Jovica Veljovic) and Trajan Pro (2 fonts by Carol Twombly). %L OT TRAJAN %Z TDC2006--RobertSlimbach--GaramondPremierPro.png %Z AdobeGaramondPro.png %Z RobertSlimbach-AdobeGaramond-1989-2001.png %Z RobertSlimbach-AdobeGaramond-1989-2001b.png %Z RobertSlimbach-AdobeGaramond-1989-2001d.gif %Z RobertSlimbach-AdobeGaramondBold-1989-2001.gif %Z CarolTwombly-ChaparralProRegular-1997-2000.gif %Z CarolTwombly-ChaparralProDisplayLight-1997-2000.gif %Z RobertSlimbach+CarolTwombly+FredBrady+ChristopherSlye-Myriad-1992.png %Z RobertSlimbach+CarolTwombly+FredBrady+ChristopherSlye-MyriadProCondBlack-1992.gif %Z RobertSlimbach+CarolTwombly+FredBrady+ChristopherSlye-MyriadProSemibold-1992.gif %Z RobertSlimbach+CarolTwombly+FredBrady+ChristopherSlye-MyriadProSemiextBlack-1992.gif %Z CarolTwombly-Lithos-1990.gif %Z RobertSlimbch--AdobeJenson.gif To use OpenType on Windows 9x or NT 4.0 requires an update to Adobe Type Manager vesion 4.1. ATM 4.1 has been shipping for a few weeks. Mac users will also have to upgrade their ATM. Windows 2000 and Mac OSX have OpenType support built in. "Dennis (ff)" wrote > http://www.musicon-line.com/flotsam/flotsam_one/nutshell.html > -- %Q <...> %Z ISSN 1615-1968 %Z http://www.dot-dot-dot.org %Z http://www.dot-dot-dot.de %N 24262 %B http://www.dot-dot-dot.nl %L MA SLOVAK HOL %T " <...> is the title of a new graphic design magazine (now based in Den Haag, The Netherlands) intended to fill a gap in current arts publishing. It is not interested in re-promoting established material or creating another 'portfolio' magazine. Instead, it offers inventive critical journalism on a variety of topics related both directly and indirectly to graphic design culture. " Editors: Jurgen Albrecht, Stuart Bailey, Peter Bilak. %Z http://www.dot-dot-dot.de/list-of-mags.html">List of graphic design magazines. %E peterb@rainside.sk %Z editor@dot-dot-dot.org T +49-341-391 4234 F +49-341-391 4232 E editor@dot-dot-dot.org %Z http://www.ui42.sk/peterb %d Oct 9 2000 http://www.ams.org/index/tex/type1-fonts.html %N 24261 %B http://moses.penguinpowered.com/projects/fonts/ %Q Ben Hall %T Ben Hall's notes on adding truetype font support in Redhat Linux. Some free tools. %L X SO-TT %d Aug 5 2000 %E bhall@moses.penguinpowered.com %Q Nelson Beebe %N 24260 %B http://www.math.utah.edu/~beebe/fonts/ %T Nelson Beebe's "Notes on fonts". Useful starting page of links. Has subpages on font names, Unicode, fonts in TEX. %L ST LI MF TEX USA-UT %d Sep 14 2001 %Q Numismatica Font Project %d Aug 5 2000 %L Edward "Chris" D. Hopkins is working on a free archaic and classical Greek numismatic font set. %L FO-GR %E chopkins@erinet.com %N 24259 %B http://parthia.com/font_standard.htm %Q Scientific Word %T Scientific Word/WorkPlace are commercial products by MacKichan Software that feature Richard Kinch's math fonts as part of TrueTeX. %Z George Pearson: George@hipnt.com %N 24258 %B http://www.mackichan.com %L MATH %d Aug 5 2000 %E support@mackichan.com %Q Laurie G. Bazarian %T Assistant General Counsel at Bitstream in Cambridge, MA. In 2000, she started sending emails to site owners about Bitstream fonts on their web sites, based on information contained in my pages. Now, how again did Bitstream start its font collection? And are they not hiring technicians to modify fonts from other foundries and release them as Bitstream fonts? A typical Bazarian letter is quite polite actually. It goes as follows: "It has come to our attention that you have offered for free the font, (fill in any name), to a requester at the alt.binaries.font newsgroup. Please be advised that (fill in any name) is a font which is proprietary to Bitstream Inc. All Bitstream Inc. fonts, which have the letters "BT" at the end of the font menu name, require a valid license for use. To use a Bitstream Inc. font, a user must license the font, which may be done directly from Bitstream Inc. by contacting our sales department at 1-800-522-3668 (US only) or 1-617-497-6222 or by visiting our Website at www.bitstream.com. Kindly cease immediately posting or providing any Bitstream Inc. fonts. In the future, copyright notices for fonts should always be checked to ensure that you do not violate a valid copyright. As you can imagine, we are attempting to halt all free downloads of our fonts in order to protect our rights to these copyrighted fonts. Thank you for your prompt attention to this matter. If you have any questions regarding the foregoing, please do not hesitate to contact me at lbazarian@bitstream.com. Sincerely, Laurie G. Bazarian, Assistant General Counsel, Bitstream Inc., 215 First Street, Cambridge, MA 02142, USA." %Z Bitstream Inc. 215 First Street Cambridge, MA 02142 USA %E lbazarian@bitstream.com %N 24257 %B nothing %L TY-LG %d Aug 5 2000 %Q Halloween fonts at Rocketdownload %N 24256 %B http://www.rocketdownload.com/Details/util/hallfont.htm %d Aug 5 2000 %L GO %T One huge file with about 25 Halloween fonts. %Q Bloody font %N 24255 %B http://www.sweettechnology.com/font/ %d Aug 5 2000 %L AR3 %T Bloody font by J. Fordyce. %Q Free Christmas Fonts %N 24254 %B http://theholidayspot.com/christmas/fonts/ %d Mar 12 2001 %L XMAS %T Christmas font archive. Hi. I was just looking at your postscript web site. I am an artist working primarily in raw postscript. I would love to have my art page listed on your "PostScript web sites" links page: http://www.cca.org/dave/art.html (My latset project involves going from PS to engraved brass via a computer-controlled milling machine.) Thanks. ----- David Fischer ---- dave@cca.org ---- www.cca.org ----- Never rotate a cube. It wastes your time and annoys the cube. %Q Charles Biddle %N 24253 %B http://www.bayfonts.com %T Charles Biddle heads Bay Animation, a maker and vendor of about 8000 fonts, mostly renamed or redesigned fonts. In August 2000, Charles asked me if I had more information about a certain web site where Bay Animation fonts are being distributed. I quote him: This group does not hold a valid license to distribute any Bay Animation software and is in direct violation of International Copyright Law. Thank you for any assistence you can render. Please immediately remove any links to pirated Bay Animation, Inc. copyrighted software from your site. Sincerely, Charles Biddle, President Bay Animation, Inc. Ironic, isn't it, when Biddle himself took the Bitstream collection and replaced the copyright notices [e.g., Zapf Elliptical became Bid Roman]? %E cbiddle@sentinelsys.com %Z Can you please give us any contact information you have for your listing for ameriglobe .... ameriglobe About 100 TrueType fonts are archived here, all copyright Bay Animation Inc, 1994. Notes is a music font. %d Aug 9 2000 %L TY-LG %N 24252 %B http://www.adobe.com/products/atmlight/download.html %Q ATM Lite %T Free copy of ATM Lite. %d Aug 13 2000 %L SO %Q ATM Lite %T Free version of Adobe's ATM, at Adobe's site! %Z ftp://ftp.adobe.com/pub/adobe/magic/atm/ %N 24251 %B ftp://ftp.adobe.com/pub/adobe/atm/ %L FM %Z yeah@right.net Calls himself Frank n Beans on abf. %E eyedoctodd@hotmail.com %Z http://www.coastnet.com/~jtaylor/cult.html %N 24250 %B http://www.thebainbridges.net/fonts/ %D Todd Bainbridge %Q Frankenfonts %T Todd Bainbridge at Frankenfonts is the designer of CultLove, CultFonts, CultLove Ornate (2000), FF Nosebleed (2001) and FF Cultbats (2001). Fontspace link %Z and archiver of fonts related to "The Cult". %Z http://www.coastnet.com/~jtaylor/fonts/">Direct access. Also designed FF Nosebleed (2001) and FF Cultbats (2001). %L OR2 DE GO DI-OR %d Aug 26 2001 %N 24249 %B http://www4.law.cornell.edu/uscode/17/ %Q USA Copyright Law %T The text of that law. %L TY-LG %d Aug 14 2000 %Z http://canada.justice.gc.ca/STABLE/EN/Laws/Chap/C/C-42.html %N 24248 %B http://laws.justice.gc.ca/en/C-42/index.html %Q Canadian copyright law %T The text of that law. %L TY-LG %d Aug 26 2001 %Z http://www.xodesign.co.uk/tsnet/pages/typeface.htm %N 24247 %B http://web1.archive.org/web/20000819043951/http://www.xodesign.co.uk/tsnet/pages/typeface.htm %Q British typeface--font law %T Discussion at the FontWorks site of British typeface/font law, with some private interpretations. FontWorks UK is a type vendor. %L TY-LG UK %d Aug 14 2000 %E webmaster@xoadmin.co.uk %Q Mail and News %N 24246 %B http://www.mailandnews.com %T Free newsgroup service. Includes alt.binaries.fonts. %L NEWS %d Aug 15 2000 %Q Font Studio (Jewish Software) %d Apr 8 2003 %L FO-HE %Z To quote Jeff Milgram at Jewish Software: "59 TrueType Hebrew Designer Fonts In this package you will find both classic and original Hebrew True Type fonts for both the Hebrew and the English operating systems on Windows and Mac OS platform." 49USD. %E tesinc@jewishsoftware.com %Z Jeff Milgram TES, Online Services http://www.jewishsoftware.com %N 24245 %B http://www.jewishstore.com/Software/FontStudio.htm %T Hebrew language foundry selling 59 Hebrew truetype fonts for 50USD. Families: Acheneli, Atzor, Broadweli, Busroeli, Careli, Coopereli, Frizeli, Gilgal, Hebras, Hobeli, Ivricana, Kabelim, Lublineli, Mehandes, Nekhoshet, Optimeli, Op Two, Peigneli, Revieli, David, Frank, Galed, Hadas, Meiri, Rashi, Sofer, Vilna, Uncieli, Yavaneli. Windows and Mac. Buy the font CD here. Also called "Jewish Software", the company publishes the popular English-Hebrew word processor Dagesh. UNZIP THESE: - A few other fonts from here and there: 2 recent Chank packs. Mehallo, Berndal, Julius DeGoede, Harris, vonZezschwitz. From metafont-owner@ens.fr Fri Aug 11 07:04:02 2000 Return-Path: Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 11 Aug 2000 07:04:02 -0400 (EDT) (envelope-from metafont-owner@ens.fr) for ; Fri, 11 Aug 2000 06:59:26 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 11 Aug 2000 06:59:26 -0400 Received: from admin.cs.mcgill.ca (root@admin.CS.McGill.CA [132.206.3.4]) for ; Fri, 11 Aug 2000 06:59:26 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from ccn.CS.McGill.CA (ccn.CS.McGill.CA [132.206.3.87]) for ; Fri, 11 Aug 2000 06:59:24 -0400 (EDT) Received: from nef.ens.fr (nef.ens.fr [129.199.96.32]) for ; Fri, 11 Aug 2000 06:59:23 -0400 (EDT) (envelope-from metafont-owner@ens.fr) Received: from (sympa@localhost) ; Fri, 11 Aug 2000 12:57:46 +0200 (CEST) X-Authentication-Warning: nef.ens.fr: sympa set sender to metafont-owner@nef.ens.fr using -f Received: from filemon.mecanica.upm.es (filemon.mecanica.upm.es e7BAvgT78073 for ; Fri, 11 Aug 2000 12:57:42 +0200 (CEST) Received: from [138.100.66.37] (helo=simux.mecanica.upm.es) by filemon.mecanica.upm.es with esmtp (Exim 3.11 #1 (Debian)) id 13NCUa-00061U-00; Fri, 11 Aug 2000 12:56:48 +0200 Date: Fri, 11 Aug 2000 12:58:37 +0200 (CEST) From: Santiago Muelas Dear Jacko. This is just to tell you that I have just launched the new version of METAGRAF (1.0.4) in which I have included a macro for writing text_on_the_path. I am very grateful to you by your help so I say it in MG's page and in some pages of the Help-on-line. Really, I have found a very simple way of doing it with a reasonable quality (so, not perfect). I have put some shots dedicated to you at the end of MG's page. All in all, I consider this a first step that I have done, mostly acording with your ideas and the advices of Hans. I mean, to look for something practical althougt not yet of high quality. I have seen that quality depends a lot on the fonts used, so Helvetica works very well and TeX fonts, quite also. I guess your "grimace" when you'll look at my macro....but it works. If you want to see it, download the distribution and pick the file "txtopath.mp". Otherwise, send me an email and I will send it with some comments. Have a look at my-your shots, at the end of the page :-) Thanks for all -- Santiago Muelas E.T.S. Ingenieros de Caminos, (U.P.M) Tf.: (34) 91 336 66 59 e-mail: smuelas@mecanica.upm.es Fax: (34) 91 336 67 61 www: http://w3.mecanica.upm.es/~smuelas %Q Posting fonts %N 24244 %B nothing %T Someone, I forgot who, had this argument in favor of posting fonts on a newsgroup: Posting a font here is not stealing. It is one of the best forms of help with font issues. It is extremely helpful to be able to jump an actual font through the hoops before laying out the cash. If it makes sense to you to buy ten different fonts to demonstrate versions of the work to a client when you only need to use and buy the one that is chosen, there is no further need for discussion. If some people abuse this opportunity, that doesn't mean everyone does. Are all Republicans gun-toting, bible thumpers? Are all anti-war protesters Communists? %L DD %d Oct 7 2000 %Z richard.howard@eudoramail.com %T Richard Howard explains on how to get free OpenType fonts: " I recently found a font that I really like (daVinci) and am quite prepared to pay some money for it. Knowing absolutely nothing about the different font issues (I'm not overly into typography), I went onto Microsoft's page after hearing about the new OpenType stuff. Fair enough, useful info - then link to a page using and 'Embedded open type Font' - the same font that I wanted to buy! To cut a long story short, using IE 5.5, I saved a complete image of the website onto the hard drive, copied the 'eot' file from Microsoft's site by working out the path, and voila! - I had my very own Font generator - Microsoft Internet Explorer 5.5 itself ! Just a case of slipping into Notepad and setting out the text I needed to make my images. My question to Microsoft is - how can these people that spend MANY hours crafting fonts be let down by such LAPSE security holes??? After all, this technology WAS meant to be secure. I'd managed to generate the stuff I needed in about 5 minutes from first loading up the page. I will buy the font anyway to support the author, but this isn't the point. If I can do it, I'm sure a spotty 15 year old kid can." %Q Richard Howard on eot files %N 24243 %B http://www.tranquilGarden.com %E rich.howard@virgin.net %d Aug 27 2000 %L OT %Z Arabic specialists: , , , , , , , , , , , , , , , , , , . %Q Li'l Bits Startrek Font Pack %N 24242 %B ftp://ftp.sunsite.org.uk/Mirrors/ftp.cdrom.com/pub/planetquake/classicgaming/3dotoday %T A 1992 Bitstream truetype font pack, downloadable here: Square721BT-RomanCondensed, Venetian301BT-Roman, StarTrekBT-Regular, StarTrekFilmBT-Regular, StarTrekPiBT-Regular, StarfleetBT-BoldExtended. %L TR %d Aug 28 2000 %N 24241 %B ftp://ftp.intersys.com/pub/misc/symposiums/ %Q Arquitectura %T Arquitectura (ICG) and AbadiMT. %L DD %d Aug 28 2000 %N 24240 %B ftp://ftp.cdrom.com/.1/artpacks/unsorted/ %Q artpacks %d Feb 27 2000 %L DD %T One 26MB zipped font file with almost 800 truetype fonts, including most of the Bitstream fonts. %Z http://www.isbe.ch/~i95klass/SimTrain/ %N 24239 %B http://www.hta-be.bfh.ch/~i95klass/SimTrain/fonts/ %Q SimTrain %T Adobe's Frutiger family in TrueType format. %E cbohl@ch.oracle.com %d Sep 6 2002 %L AR3 %N 24238 %B http://adventurers-guild.com/fonts/ %Q Adventurers Guild %d Feb 27 2000 %L DD %T Three fonts including Gothic Leaf. %N 24237 %B http://www.supernet.gr/fonts/ %Q supernet.gr %d Feb 27 2000 %L FO-GR %T Free Greek truetype versions of the Arial and Times families. %N 24236 %B http://cs.uoi.gr/fonts/ %Q UOI %d May 16 2001 %L DD %T Greek Arial for Mac, PC and X. %N 24235 %B http://michaelaia.home.mindspring.com/fonts/ %Q Michael Aia %d Feb 27 2000 %L DD %T A 2.3MB font file. Contains many AutoCAD fonts (.shx), as well as Bitstream families such as Swiss721BT, Dutch801BT, Monospace821BT. %N 24234 %B http://www.revolution.f9.co.uk/fonts/ %Q revolution %d Feb 27 2000 %L AR3 %T Seven truetype fonts including Hancock. %N 24233 %B http://fontopolis.net/fonts/ %Q Fontopolis %d Feb 27 2000 %L AR DI-AR %T Handy 500-font archive. Has, among many other goodies, a 4-font Dnealian family owned by Scott, Foresman&Company (1992), Letraset's TwangLetPlain, Tim Burton's Skellingtonbats, and the Rakugaki dingbat font. %N 24232 %B http://www.mkahlert.de/ %Q Fontbook v3.2 %d Feb 27 2000 %L FM-MAC %T Mac OS font manager. Shareware by Matthias Kahlert. %E mkahlert@kagi.com %N 24231 %B http://www.abc-ware.de/ %Q Font-ABC v2.50 %d Feb 27 2000 %L FM %T Shareware font manager by ABC-Ware. Windows. Alternate download site. %E Info@abc-ware.de %N 24230 %B http://www.s-a-ve.com/dyndata/13.htm %Q Schrift 2000 v1.6 %d Aug 24 2001 %L FM %T Shareware font manager. Windows. %N 24229 %B http://www.xlmsoft.de/ %Q FontInfo 1.2.1 %d Feb 27 2000 %L FM %T Shareware font overviewer by XLM Soft. Windows. %N 24228 %B http://www.s-a-ve.com/dyndata/13.htm %Q Drucker Fonts %d Aug 24 2001 %L FM %T Links to certain font software products. In German. %N 24227 %B http://www.the45er.de/lg/issue28/ayers1.html %Q The Xfstt True-Type Font Server %d Feb 27 2000 %L X SO-TT %T Essay in the Linux Gazette by Larry Ayers on xfstt. %E layers@marktwain.net %N 24226 %B http://members.xoom.com/cyberfonts/ %Q Cyber Fonts warehouse %d Feb 27 2000 %L AR2 %T 250-font archive. Downloads not easy. %N 24225 %B http://www.jps.net/tron/main.htm %Q Insanity %d Feb 27 2000 %L AR %T Categorized font archive. Cool presentation. About 600 fonts in all. %E thefreak@jps.net %N 24224 %B http://volition.com/freefont.html %Q Volition.com %d Feb 27 2000 %L LI2 %T Twenty free font links. %N 24223 %B http://jrpm.linux.or.jp/rpms/JRPM60/usr_X11R6_lib_X11_fonts_TrueType_Tree.html %Q Kazuhisa Furasawa %d Feb 27 2000 %L FO-JP %T Wadalab-Gothic and Wadalab-Mincho kanji fonts in truetype format. Free. %E kazu@linux.or.jp %N 24222 %B http://www.info.uqam.ca/~nguyent/OLD/Bodehai/htmlarchive/bdh39/fonts/ %Q Bodehai %d Feb 27 2000 %L AR3 %T Three truetype fonts. %N 24221 %B http://www.fettsplace.com/custom/fonts/fonts.html %Q Fett's Place %d Feb 27 2000 %L ST %T Small Startrek archive. %E bobafett@fettsplace.com %Q 21Studios.com %Z http://www.21studios.com/fonts/ %N 24220 %B http://www.21studios.com/free/index.html %d Feb 27 2000 %L DD %T 20-font archive. %N 24219 %B http://195.224.248.41/pixelarts/typo.htm %Q pixelarts %d Feb 27 2000 %L LED %T Two free original LED-type fonts, Clickscape and Clickscope. %E david@pixelarts.nu %Z Free fonts with a geometric influence include: ALewis, Beamie, ColonialViper, DEOXY, Dekthusian, DigitalisMAN, EUROW, GalactoseONE, GalactoseTWO, Gleamie, Lantern, MrB, Muncheekin, Nasser, NevelType, Orbitronio, Patternalia, REOXY, SuperTiki, URLYbird, Zeno. %Q Etherbrian %T Etherbrian is a great source of original (mostly techno) fonts by Brian Brasher: Nefertina (2004), Zeno, Supertiki, Patternalia (patterns), Orbitronio (nice), Nasser, NevelType, Locutio, Lantern, Gleamie, Galactose (really eerie), Dekthusian, Colonial Viper, Muncheekin, Beamie (1999, neat trilined face), Digitalisman, URLYbird, A. Lewis, REOXY, DEOXY, Eurow, Gleeburger, Gleesteak, Megz, MrB, Bitsy, Xefus, Epimodemic, Prayer, Zhed, iPhonie, Mishelamie, Cashless, Macrodigi, Kauzmoe, Xminus, Setiperu, Blippity, High.

See also here. Dafont link. Old URL. %Z http://members.aol.com/etherbrian/index2.html %Z http://www.etherbrian.com/index2.html %N 24218 %Z http://www.etherbrian.com/ %B http://etherbrian.org %d Nov 9 2001 %L OR2 DE DI-OR %D Brian Brasher %Z etherbrian@aol.com %E brian@etherbrian.com %Z BrianBrasher-Catalog.png %Z BrianBrasher--Beamie--1999.jpg %P BrianBrasher--Beamie--1999b-Small.png %Z MrB--1998.jpg %Z BrianBrasher-MrB-2012.jpg %Z BrianBrasher-Blippity-2012.jpg %Z BrianBrasher-Cashless-2012.jpg %Z BrianBrasher-Deoxy-2012.jpg %Z BrianBrasher-High-2012.jpg %Z BrianBrasher-Kauzmoe-2012.jpg %Z BrianBrasher-Megz-2012.jpg %Z BrianBrasher-Nefer-2012.jpg %Z BrianBrasher-Prayer-2012.jpg %Z BrianBrasher--Orbitronio.png From: "Armadillo" Some time ago URW's Ikarus was widely used. It was used for digitizing i.e. transferring hand drawn character outlines into digital form. This is far better method than scanning and tracing. Today many independent designers probaly work with Fontographer. It is good tool for drafting but it cannot produce fonts of professional quality. FontLab is a bit better. Type designer Lucas de Groot told once that he still likes to use good old FontStudio by Letraset - unfortunately it is not available any more. I believe that major font foundries have their custom made applications - or at least they do not use those off-the-shelf products. Unfortunately smaller foundries like Emigre use Fontographer (?) and therefore the technical quality of their fonts are inferior compared to for example Adobe. Especially PC-fonts of many small foundries are not done properly. Usually normal, bold and italic are not linked as family. Also hinting is often poor. %Q Jukka Aalto on font editors %N 24217 %B http://groups.google.com/group/comp.fonts/browse_thread/thread/4dd2958cd46b054f/78d69b692ddd585a?hl=en#78d69b692ddd585a %T Jukka Aalto, aka "Armadillo" comments from the font design trenches. Here are bits and pieces.

Klingspor link. %g http://www.fonts.com/browse/designers/eugen-bolch %d Nov 10 2010 %L DE DI-OR %P EugenBolch--CircusRegular-Small.png %Z EugenBolch--CircusRegular.png %N 24214 %B http://www.fontshop.com/fonts/designer/howard_cuttle/ %Q Howard Cuttle %T Creative Alliance designer of the informal face Ink Spot. %d Nov 14 2010 %L DE %Z HowardCuttle--InkSpot.png %N 24213 %B http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=34996 %Q Norton Photosetting Ltd. %T Creative Alliance designer of %Z http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=34999 %N 24212 %B http://www.fontshop.com/fonts/designer/paul_lang/ %Q Paul Lang %T Creative Alliance designer of Langer (handwriting). %L DE HW %d Jul 11 2007 %Q Will Scobie %N 24211 %B http://www.willscobie.co.uk/ %G http://www.myfonts.com/person/Will_Scobie %T Über-talented and original illustrator based in Brighton, UK. Creator of Faced (2007-2008, T-26), a circle-enclosed facial expression dingbat typeface. He also made a commissioned display face for Audi Magazine in 2011.

Behance link. Enjoy Will Scobie's drawings. %d Jun 8 2008 %L DE DI-OR UK BIKE CORP CAPS %Z WillScobie-AudiMagazineAlphabet-2011.png %Z WillScobie-DrawnToLifePrint-2008.jpg %Z WillScobie-Formation-2012.png %Z WillScobie-Formation-2012b.png %Z WillScobie-Formation-2012c.png %Z WillScobie-Faced-2008.jpg %Z WillScobie-FreakshowPrint-2010.jpg %Z WillScobie-HuntedPrint-2011.png %Z WillScobie-OnYourBikePrint-2010.jpg %P WillScobie-OnYourBikePrint-2010b-Small.jpg %Z WillScobie-OnYourBikePrint-2010b.jpg %Z WillScobie-OnYourBikePrint-2010c.jpg %Z WillScobie-OnYourBikePrint-2010d.jpg %Z WillScobie-OnYourBikePrint-2010e.jpg %Z WillScobie-PristinePooch-2011.png %Z WillScobie-ZookimonoPrint-2010.png %Z WillScobie-ZookimonoPrint-2010b.png %Q Trevor Scobie %N 24210 %B http://www.fontshop.com/fonts/designer/trevor_scobie/ %T Creative Alliance designer of Quantum, and Theory, really useless creations. %d Dec 15 2000 %L DE %N 24209 %B http://www.myfonts.com/person/Steve_Matteson %G http://www.myfonts.com/person/Steve_Matteson %Q Steve Matteson %T In the mail forum at ATypI, the issue of membership arose. Here is what Steve wrote on that topic on February 9, 2001: If advancing the craft means allowing companies to join who flaunt 'original' typeface designs which are merely renamed industry standards then I think we're all in trouble. They know who they are and what they do is wrong yet they proudly advertise their membership to ATypI... If ATypI is in such dire financial straits that it won't police its membership on such a basic level then I think the organization is a farce.

To which Erik Spiekermann replied: while i agree with you, and while i have a problem with double standards at atypi towards a certain eastcoast foundry [read: Bitstream], I would like to draw your attention to your own company's versions of certain classics which appeared under different names as system fonts for a large software company in the northwest [read: Microsoft]. We still recognize Futura, Helvetica et al, even when they've been redrawn and renamed. Things aren't as black and white as you make out, and sometimes companies are forced to lower their moral standards for the sake of survival. As was the case with monotype a few years ago.

To which Steve replied: Sorry - but you might remember that the fonts were all redrawn - even the judge saw the differences in the designs. There's copying and then there's downright pillaging... If somebody redigitizes drawings or proofs that's one thing. If somebody renames a digital file and distributes it that's an entirely different, black and white issue! Now that we've got copyright protection for the digital data in the US (thanks to Adobe vs. Southern Software) we must be prepared to follow up on policing this! "Vain Sans" and "Clear Type" are blatantly renamed copies of Rotis and Lucida. I won't mention the foundry here but they've got a nice ATypI link right on their home page! In the case of Adobe vs. Southern Software, the process by which SSI made their Adobe (and others) ripoffs was easily found out and it stood up in court. [Note: Steve is referring to The Electronic Font Foundry.] Matteson worked at Agfa/Monotype and then at Ascender Corp.

Reply of Edward Detyna at the Electronic Font Foundry: Yes, I am a member of ATypI and I think we did talk together... No, EFF Vain is not a 'renamed copy' of Rotis as was suggested. But after reading other letters and thinking for while (thinking has a future I think), I decided to withdraw it - it seems an honorable think to do. When I have more time I will explain why I made this font in the first place... %Z steve.matteson@agfamonotype.com %d Dec 9 2001 %L TY-LG %P SteveMattesonBerthamProOpen-2009.png %Z http://www.monotypeuk.com/moredesignerinfof.cfm?dnum=116 %N 24208 %B http://www.ascendercorp.com/stevepage.html %Z steve.matteson@agfamonotype.com %Z Suite 110, 425 Sherman Avenue, Palo Alto, CA 94306 %Z Andy, Ayita, Binner Gothic, Chicory, Curlz, Dujour, Facade, Fineprint, Monotype Goudy Modern, Kootenay Pro, Lindsey Pro, Mayberry, Miramonte Pro, Pericles Pro, Pescadero Pro, Titanium, Truesdell, Truesdell Sorts %Q Steve Matteson %L DE HW MONO CAPS ATHL GO G-SIM STONE USA-MI DI-OR USA-CA USA-IL USA-CO COMIC ST ARTDECO SIGNAGE UNCIAL FLOR TV COURIER %G http://www.myfonts.com/person/Steve_Matteson/ %T Rochester Institute of Technology's School of Printing graduate who lived in California and in Holland, MI, and now resides in Louisville, Colorado. MyFonts page on him. In 1990, he started work at Monotype in Palo Alto to create the Windows truetype core fonts Arial, Times New Roman and Courier New. He stayed with Monotype and then Agfa/Monotype until 2003 (when he was probably fired, but that is only an unreliable guess), directing type development from the design office in Palo Alto, CA. Bio at Agfa/Monotype. He has directed branding projects such as Agilent Technology's corporate sans serif and Microsoft's corporate font family 'Segoe'. At the same time, he was involved in producing bitmaps and outline fonts for cell phones and TV set top environments. He has worked extensively designing Greek, Cyrllic, Thai, Hebrew and Arabic alphabets to satisfy the requirements of customers such as IBM, Microsoft, Nokia, Sun and Sybase. In 2004, he co-founded Ascender Corporation in Northbrook, IL, where he presently is Type Design Director.

FontShop link. %d Feb 3 2001 %L DE DI-OR FO-NA USA-AZ %Z A graduate of Northern Arizona University, Carolyn Gibbs has combined her design skills and her love of Southwest American Indian images into an exceptional series of fonts. Designed over a two-year period, Artifact One, Artifact Two, Artifact Three, and Artifact Four contain over 200 delightful and remarkably useful images. While clearly influenced by American Indian art, these little spot illustrations can add just the touch needed to spice up a variety of jobs. %P AgfaMonotype--Artifact4-Small.gif %Z AgfaMonotype--Artifact4.gif %Q Hedonia %N 24206 %B http://www.gibbs.net.au/samples.html %T Hedonia is an ozzie company run by Carolyn Gibbs who has made web sites for a fetish wear company, Hedonia, and for an SM conference. The font Hedonia (2000) has drawings of corsets, but does not seem to be available, unfortunately. %L ER DE %d Jan 3 2002 %D Carolyn Gibbs %E webmistress@gibbs.net.au %Q Small Cap Graphics %D Holly Goldsmith %Z http://www.fonthaus.com/store/fonts/index.cfm %Z http://www.linotype.com/397/hollygoldsmith.html %L DE CF2 USA-CA USA-NY PHOTO DIDONE %T Holly Goldsmith has a BA in Art from Brooklyn College. She worked first at (Mergenthaler) Linotype, then at Photo Lettering and World Typeface Center before moving to Los Angeles. In LA, she worked at Xerox's type design department for a few years before starting her own company, Small Cap Graphics, where she is engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation and Margo Chase Design.

She designed Novella (1996, DsgnHaus), ITC Bodoni Six (1994, with Jim Parkinson, Sumner Stone, Janice Fishman), ITC Bodoni Twelve (1994, with Sumner Stone, Jim Parkinson and Janice Fishman), ITC Bodoni Seventy-Two (1994, with Sumner Stone, Jim Parkinson, Janice Fishman), Bossa Nova MvB (at MvB Design), MVB Peccadillo (2002, with Alan Dague-Greene), Havergal (1994, Agfa), and ITC Vintage (1996, with Ilene Strizver).

At Bitstream, she designed Melanie, Liorah, Hank, Missy, Ryan, Raven, Raven Evermore. She now runs Small Cap Graphics in Los Angeles.

View Holly Goldsmith's typefaces. %Z http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=35059 %Z Holly Goldsmith With a BA in Art from Brooklyn College, where I specialized in line drawing and printmaking, the detailed, meticulous process of designing letterforms suited my artistic sensibilities perfectly. My first "real" art job at (Mergenthaler) Linotype provided me with a strong and solid foundation for type design. It was from the extremely talented designers who worked decades for that company, mentors such as Sal Saladino and John and Cathy Quaranta, that I learned the skills to discern and execute beautiful linear shapes. I have continued to design and develop typefaces ever since, working in New York for Photo Lettering and World Typeface Center before moving to Los Angeles. In LA, I worked at Xerox's type design department for a few years before starting my own company, Small Cap Graphics, where I am engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation and Margo Chase Design. With a BA in Art from Brooklyn College, where I specialized in line drawing and printmaking, the detailed, meticulous process of designing letterforms suited my artistic sensibilities perfectly. My first â€œrealâ€ art job at (Mergenthaler) Linotype provided me with a strong and solid foundation for type design. It was from the extremely talented designers who worked decades for that company, mentors such as Sal Saladino and John and Cathy Quaranta, that I learned the skills to discern and execute beautiful linear shapes. I have continued to design and develop typefaces ever since, working in New York for Photo-Lettering and World Typeface Center before moving to Los Angeles. In LA, I worked at Xeroxâ€™s type design department for a few years before starting my own company, Small Cap Graphics, where I am engaged in both graphic design and custom type design, with clients such as Agfa Monotype, ITC, DsgnHaus, Disney Corporation, and Margo Chase Design. %d Oct 18 1999 %N 24205 %Z http://www.monotypeuk.com/moredesignerinfof.cfm?dnum=121 %B http://www.myfonts.com/person/Holly_Goldsmith %G http://www.myfonts.com/person/Holly_Goldsmith %Z With a BA in Art from Brooklyn College, where she specialized in drawing and printmaking. Drawing lead to lettering and the detailed, painstaking process of designing letterforms suited her artistic sensibilities perfectly. When she went to work for Linotype, she developed a solid foundation for type design. Goldsmith has continued to design and develop typefaces ever since, working in New York for Photo Lettering and World Typeface Corporation, and for the last ten years in Los Angeles, first for Xerox, then at her own studio, Small Cap Graphics. Goldsmith's clients include International Typeface Corporation, Disney Corporation, Margo Chase Design and Agfa Monotype. %Z HollyGoldsmith+AlanDague-Greene--PeccadilloMVBEight-2002.gif %N 24204 %B http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=35076 %Q A. Miller %T Creative Alliance designer of %N 24203 %B http://www.urwpp.de/cgi-bin1/dalcgi/source/Dliste0.htd?sprache=english&designchar=&designer=Bruno+Tricot&lstart=0&uwpb-id=wdffc931301ee2986b9987dbeae12bccd5a861fbdec %Q Bruno Tricot %T Creative Alliance designer of Monotype HighScript, an architectural lettering font with tall ascenders. %d Jul 13 2007 %L DE ARCH %N 24202 %B http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=35082 %Q Chank Diesel--Jamie Nazaroff %T Creative Alliance designer of %N 24201 %B http://www.digitalriver.com/v20/plsql/ec_MAIN.Entry10?SP=10024&PN=25&V1=35083 %Q Cofino SA %T Foundry whose creations include the Accolade, Claridge and Congress families, available at the Creative Alliance. %d Dec 15 2000 %L CF2 %N 24200 %B http://www.columbia.edu/cu/lweb/data/indiv/rare/type-exhibit/atf.htm %F http://www.myfonts.com/person/American_Type%20Foundry/ %Q American Type Founders (or: ATF) %T In 1892, twenty-three type foundries joined together to compete with the new typesetting machine, the Linotype [and later, the Monotype], to form ATF, which consolidated its type manufacturing facilities in a new plant in Jersey City in 1903. They were the dominant foundry in America until 1933, when ATF went bankrupt. Its collection remains intact at the American Type Founders Company Library&Museum at Columbia University in New York. The Smithsonian possesses most of the original type drawings and many of the matrices, and a number of other institutions and private individuals own matrices. Interestingly, despite the bankruptcy, it continued in operation until 1993, when the Elizabeth, NJ plant was finally liquidated. It was Kingsley's bankruptcy in 1993 that forced the final closure of ATF. In the early part of the 20th century, ATF was the dominant American foundry.

His typeface Gridnik (1974), an octagonal face made for a typewriter, was never released as a font. Crouwel's love for grids had earned him the nickname Gridnik. This name is well-deserved: he once stated, I am a functionalist troubled by aesthetics.

Flickr group on Wim Crouwel. Picture. Scans of some of his work: I, II, III, IV, V. Picture. Another picture. And another one. And one more. %L DE HOL PIX OCT UNICASE ARTDECO PIANO %d Dec 12 2000 %Z WimCrouwel-HiroshimaPoster-1957.jpg %Z WimCrouwel--EdgarFernhoutPoster-1963.jpg %Z WimCrouwel--Hussem+BouthovenPoster-1961.jpg %Z WimCrouwel--Pic.jpg %Z WimCrouwel--Pic1.jpg %Z WimCrouwel-NewAlphabet1967.gif %Z WimCrouwel-NewAlphabet.gif %Z WimCrouwel--AmsterdamseSchool-1975.jpg %Z MichaelHernan--NewAlphabet-1996--afterWimCrouwel.jpg %Z Pierre_Bernard_wim_Crouwelby-MichaelLevy.jpg %Z WIM_CROUWEL_E_ROBIALby-MichaelLevy.jpg %Z WIM_CROUWEL_LECTURE_3by-MichaelLevy.jpg %Z WIM_CROUWEL_PORTRAIT-by-MichaelLevy.jpg %Z WimCrouwel--HiroshimaPoster-1957.jpg %Z WimCrouwel--PostageStamps-1976.png %Z WimCrouwel--StedelijkMuseumAmsterdamPoster-1968.jpg %Z WimCrouwel-Fodor-1969.png %Z WimCrouwel-Gridnik-1974.png %Z WimCrouwel-NewAlphabet-1967.png %Z WimCrouwel-Pic--.png %Z WimCrouwel-Pic-.png %Z WimCrouwel-Pic.png %Z WimCrouwel-RabobankPoster-1973.png %Z WimCrouwel-Stedelijk-1968.png %Z WilsonThomas-EdgarFernhout-2012.gif %Z MattMcInerney--NewAlphabet-2008.png %Z Mrman-NewAlphabetSubstanceStyle-2012.png %Z PaulDHunt-NewAzbuka-2012.png %Z DuncanRobertson-NewAlphabet13-2013.jpg %Z FabioFurlanis-CAlphabet-2013.png %Z FabioFurlanis-CAlphabet-2013b.jpg %Z FabioFurlanis-CAlphabet-2013c.jpg %Z FabioFurlanis-CAlphabet-2013d.jpg %Z TommySeddon-TheEmptySpace-2013.png %Z TommySeddon-TheEmptySpace-2013b.png %P BorisDeVries-WimCrouwelFace1-2011-Small.png %Z BorisDeVries-WimCrouwelFace1-2011.png %Z BorisDeVries-WimCrouwelFace1-2011b.png %Z BorisDeVries-WimCrouwelFace2-2011.png %P WimCrouwel-Pic-Small.png %Q mrman %N 64079 %B http://fontstruct.com/fontstructors/mrman %T FontStructor who made New Alphabet Substance Style (2008) after Wim Crouwel's New Alphabet from 1967. %L OCT FONTSTRUCT %d Jul 8 2012 %Z Mrman-NewAlphabetSubstanceStyle-2012.png %Q Nijhof&Lee %Z http://www.nijhoflee.nl/design/ %N 24195 %B http://www.nijhoflee.nl/design/typography/ %T Lots of type books for sale at Nijhof&Lee in the Netherlands. In 2008, 20 years after Nijhof&Lee opened for business, Frank Nijhof died. Warren Lee continues the business alone after that. %L BO HOL %E info@nijhoflee.nl %d Jan 5 2002 %Z Nijhof&Lee Staalstraat 13a 1011 JK Amsterdam the Netherlands tel: +31-20-6203980 fax: +31-20-6393294 %Z http://www.opkamer.nl/nijhoflee/design.htm %Z nijlee@xs4all.nl %Z Amsterdam, 22 September 2008 To our subscribers, Frank Nijhof On September 3rd my partner, Frank Nijhof, passed away. Frank had been sick for the last 11 months and although his death was imminent it still came as a shock and it has left a lasting feeling of sadness and emptiness in my life. We were partners in life and business. I shall do my best to continue to keep Nijhof&Lee at the same level of quality and perfection that you have come to expect during the last 20 years. Frank and I had been planning an exposition and catalogue to celebrate the 80th birthday of Wim Crouwel in November and to link that to the 20th anniversary of the opening of our bookstore. 80 20 100 That plan has been made all the more poignant with the passing of Frank; therefore, in his memory, the exposition and the catalogue will be realized. You are cordially invited to attend the opening on Saturday, the 11th of October at VIVID Gallery in Rotterdam. The exposition runs to the 23rd of November. The printed catalogue contains 100 designs by Wim Crouwel and an essay by his long time friend and colleague Ben Bos. It has been designed by David Quay and is available at the exposition, in our shop or through the website. A price list is available separately. My sincere best regards, Warren Lee Western Style Fonts (includes detailed list) http://www.freedrive.com/ASP/PostFolderShortcut.asp?fsc=17606609 OpenType fonts are out there but not in great numbers. Like Type 1 preceded TrueType, OpenType will take awhile to catch on and for apps and typographers/fontmakers to take advantage of the format. Also, like the TrueType font format, meeting the format requirements for OT doesn't mean it's better than other formats...just that the potential is there. If a font has the right character set, OT layout tables, and the app can access them you've really got a rich set of possibilities. Until the apps know what to do, it doesn't mean much.. Adobe and Microsoft worked on the OT spec, and are still working on it to this day...InDesign and PhotoShop 6 (I believe) are the only apps out there that have any UI to access the characters. Win2k is aware of the fonts from an OS standpoint but the apps have to call OT and expose the functionality to the users. At the same time, fonts have to have the tables and glyphs to make themselves known to the system as an OT font. All of Office 2000 were written before OT was solid enough to know what to do with it. You can access some of the extra characters via the Insert Symbol dialog but it's kludgy and not the way OT was intended. Look for future MS apps to support and use OT. It will help out not only with typographic subtleties but really enable complex scripts such as Inidic, Thai, Arabic, etc. So, yeah, right now, under Win2k OT means a font with an "O" icon.. -dave (davidgl@microsoft.com) You asked... :o) ' -- From: Yotam Medini Hello TeX/MetaFont Community: I have released a major update of tfmpk (version 0.70). Almost complete rewrite. Move form Tcl/Tk to Python/Gnome and more. See: The home page of \tfmpk\ is in the following places: \begin{itemize} \item \url{http://yotam.freehosting.net/software/tfmpk/tfmpk.html} \item \url{http://hammer.prohosting.com/~yotam/software/tfmpk/tfmpk.html} \end{itemize} You may freely download \tfmpk\ from the following places: \begin{itemize} \item \url{http://yotam.freehosting.net/download/index.html} \item \url{http://hammer.prohosting.com/~yotam/download/index.html} \end{itemize} Sometimes, some web-servers will not allow downloading, try others. regards -- yotam Yotam Medini (MS: IDC-4E) // (home:) haTamar 7 \\ Go .--. .--. -. -. ymedini@iil.intel.com // Binyamina, 30500 \\ Linux, | | | | | | POBox 1659, Haifa 31915 // ISRAEL, (972) 6 6288995 \\ Go! | | | | | ' ISRAEL (972) 4 865-6181 // yotam_medini@yahoo.com \\ |__/_| | | %---------------------------------------------------------------- %Z http://www.linotypelibrary.com/fonts/htm/00000000/DES/0&0&0/wght/Redirect.ctrl?DES=131&design=select %N 24194 %B http://www.myfonts.com/person/Walter_H%C3%B6hnisch/ %G http://www.myfonts.com/person/Walter_H%C3%B6hnisch/ %Z http://www.linotypelibrary.com/fonts/htm/00000000/DES/7&3&3&131/F-Sample.html?weight=391.1 %Q Walter Höhnisch %T Type designer born in Dresden in 1906, who lives in Lehre-Flechtorf near Braunschweig. He worked at the Ludwig&Mayer Type Foundry as type designer from 1930-1971. Klingspor link. Linotype page. His typefaces:

Klingspor link. %L DE GER %d Dec 25 2000 %Z Konrad F. Bauer - born 9. 12. 1903 in Hamburg, Germany, died 17. 3. 1970 in Schönberg, Germany - type designer, teacher. Trained as a typesetter and studied art history. 1928: starts work at the Bauersche Gießerei in Frankfurt am Main. 1932-36: works on the editorial staff for the "Zeitschrift für Bücherfreunde". 1938-40: editor for volumes 7-9 of the yearbook "Imprimatur". 1948: art director for the Bauersche Gießerei in Frankfurt am Main. 1952-64: heads the jury of the competition "Die schönsten Bücher Deutschlands", run by the Stiftung Buchkunst in Frankfurt am Main. From 1947-48 onwards: teaches book design, type and printing at the University of Mainz. Fonts: (with Walter Baum) Alpha (1954), Beta (1954), Folio (1956-63), Imprimatur (1952-55), Volta (1956), Verdi (1957), Impressum (1963), all by the Bauersche Gießerei, Frankfurt. %Z KonradFBauer+WalterBaum-Folio-1957-1965.png %Z Bauersche--Volta.gif %Z KonradFBauer+WalterBaum-Volta-1956.png %Z Bauershe--VoltaMager--1955.gif %Z ImprimaturHalbfett-Bauersche-1952-KFBauer+WBaum.jpg %Z ImprimaturMager-Bauersche-1952-KFBauer+WBaum.jpg %Z KonradFBauer+WalterBaum-Imprimatur-1952-1955.png %Z KonradFBauer+WalterBaum-Verdi-1957.png %Z KonradFriedrichBauer-Pic.png %N 24186 %B http://www.neufville.com %Q Henri Chaix %T Designer at the FT Française of Editor (1937), a display roman with short ascenders and descenders. Klingspor link. %L DE FRA %d Dec 15 2000 %Q Franz Deixler %N 24185 %B http://www.neufville.com %T German type designer at the Bauersche Giesserei who made Suggestion (1925). %L DE GER %d Dec 15 2000 %Q Julius Gipkens %N 24184 %B http://www.neufville.com %T German type designer at the Bauersche Giesserei who made Femina (1913) and Majestic (1914). %L DE GER %d Dec 15 2000 %N 24183 %B http://www.neufville.com %Q Erhard Grundeis %T German type designer at Ludwig&Mayer who made the script typeface Achtung (1932), and the oddly slab-serifed face Stadion (1929, Schriftguss). This ugly bird was revived by Nick Curtis in 2011 as Elektromoto Narrow NF. %L DE GER %d Dec 15 2000 %Z NickCurtis--ElektromotoNarrowNF-2011--after-EGrundeis-Stadion-1929.gif %Q Louis Ferrand %N 24182 %B http://www.identifont.com/show?BYH %T French type designer at FT Française who made the simple linear script font Clipper (1951). He is also credited at Identifont with a version of Civilité (1922; later digitized in 1994 at Monotype by George Thomas).

Klingspor link. %L DE FRA CIVIL %d Dec 15 2000 %P LouisFerrand+GeorgeThomas--Civilite-1922+1994-Small.png %Z LouisFerrand+GeorgeThomas--Civilite-1922+1994.png %Q Louis Höll %Z Louis Hoell %N 24180 %B http://www.myfonts.com/person/Louis_HÃ¶ll/ %G http://www.myfonts.com/person/Louis_HÃ¶ll/ %T Punchcutter, 1860-1935. He created Bremer Presse Bibeltype (1926, Bremer Presse). Also in 1926, Heinrich Jost, leader of the Bauersche Schriftgiesserei and Louis Hoell made a beautiful version of Bodoni, now known as Bauer Bodoni (published, e.g., by Adobe). He also cut all typefaces for P. Behrens, F.H. Ehmcke and E.R.Weiss with the Klingspor and Bauer/Flinsch foundries. He also cut the modernized oldstyle face Spiral at Bauer in 1930, a typeface designed by Joseph Blumenthal, a New York printer and book designer. It was called Spiral for the Spiral Press at which Blumenthal produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. %L DE GER DIDONE %d Jun 16 2005 %Z Joseph Blumenthal: New Yorker (1897-1990) who wrote frequently about typography and made Emerson in 1936 at Monotype. Jerry Kelly writes about his contributions in David Pankow's edited book, "American Proprietary Typefaces". Mac McGrew: Emerson and Emerson Italic---a completely different style, unrelated to the one above---were designed by Joseph Blumenthal, New York printer and book designer. The original version was hand-cut by Louis Hoell in Germany, and the face was cast by the Bauer Foundry in 1930. It was called Spiral for the press at which this distinguished typographer produced many notable books, and was renamed Emerson when the Monotype Corporation of London recut it in 1935. It is a modernized oldstyle letter, adapted for photogravure reproduction, but retaining a reasonably light face, fairly condensed. %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion--.gif %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion-.gif %P LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion-Small.gif %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion.gif %L DE GER DIDONE %Q Heinrich Jost %T German type designer (b. Magdeburg, 1889-d. Frankfurt, 1948). He was art director at the Bauersche type foundry in Frankfurt am Main for most of his life, and led that company from 1922-1948. Brief CV. His typefaces:

View digital versions of Beton. View Heinrich Jost's typefaces. %G http://www.myfonts.com/person/Heinrich_Jost/ %N 24179 %B http://www.myfonts.com/person/Heinrich_Jost/ %Z http://www.linotypelibrary.com/fonts/htm/00000000/DES/0&0&0/wght/Redirect.ctrl?DES=153&design=select %Z http://www.adobe.com/type/browser/D/D_JOST.html %d Dec 16 2005 %Z Heinrich Jost - born 13. 10. 1889 in Magdeburg, Germany, died 27. 9. 1948 in Frankfurt am Main, Germany - type designer, type designer, graphic designer. Trained as a bookseller and also attended courses at the Kunstgewerbe- und Handwerkerschule in Magdeburg. 1908: moves to Munich. 1911: takes evening courses at the Kunstgewerbeschule in Munich under Paul Renner and Emil Preetorius. Works as a book designer and graphic artist. 1923-48: art director of the Bauersche type foundry in Frankfurt am Main. Font: Fraktur (1925), Atrax (1926), Bauer Bodoni (1926), Aeterna (1927), Beton (1930-36). %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion--.gif %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion-.gif %P LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion-Small.gif %Z LouisHoll+HeinrichJost-BauerBodoni-1926-AdobeVersion.gif %Z HeinrichJost-BauerBodoni-1926-BitstreamVersion.gif %Z HeinrichJost-BauerBodoniBlackCondensed-1926-BitstreamVersion.gif %Z HeinrichJost-BauerBodoni-1926-Poster-by-CharlesBrooks-2013.jpg %Z HeinrichJost--BauerBodoni-1926.jpg %Z VernonAdams-Bevan.png %P HeinrichJost--BetonBQ--Berthold--wasBauersche-1931-Small.jpg %Z HeinrichJost--BetonSH-1931.jpg %Z Kemper, Walter-Ferdinand *6. 4. 1904 Neuenhaus - 30. 7. 1944 in Frankreich %N 24178 %B http://www.myfonts.com/person/W._F._Kemper/ %G http://www.myfonts.com/person/W._F._Kemper/ %Q Walter Ferdinand Kemper %T German type designer (b. 1904, Neuenhaus, d. 1944, France) who was associated with Ludwig&Mayer. His typefaces include the humanist sans serif Colonia (Ludwig&Mayer, 1938-1939), which was revived in 2006 by Ari Rafaeli.

Klingspor link. %L DE FRA GER %d Dec 15 2000 %G http://www.myfonts.com/person/F._W._Kleukens/ %N 24177 %B http://www.myfonts.com/person/F._W._Kleukens/ %Q Friedrich Wilhelm Kleukens %Z Kleukens, Friedrich Wilhelm *7. 5. 1878 Achim - #22. 8. 1956 Nürtingen %d Oct 12 2000 %L DE FR GER NIC DIDONE %T German type designer, 1878 (Achim)-1956 (Nürtingen). Studied in Berlin. Founder in 1900, with F.H. Ehmcke and Georg Belwe, of the Steglitzer Werkstatt, which he left in 1903. He taught at the Leipzig Academy of Graphic Design and Book Arts from 1903 until 1906. Thereafter he taught in Darmstadt and worked at private presses. From 1924-1931, he was advisor at D. Stempel AG, where he made, e.g., Gotische Antiqua (1914), Helga (1912, with round wide lower-case letters), Helga Antiqua (1913), Ingeborg Antiqua (1910), Omega (1926), Kleukens Scriptura (1926), Ratio Latein (1923), and Kleukens Fraktur (1910-1911) [sample scans: sample text, Zierbuchstaben, alphabet]. Still later, he made Trennert Fraktur (1931) at J.D.Trennert&Sohn. He also made Gutenberg-Fraktur.

Many of his faces were revived. Kleukens Antiqua (Bauersche Giesserei, 1910) was revived by Nick Curtis in 2007 as Kleukens Antiqua NF and by Christine Gertsch at KABK in 2012 as Kleukens Antiqua. Kleukens Scriptura was digitally revived as Kleukens Kursiv NF (2010, Nick Curtis). The Scangraphic collection has his Trieste (1910). Petra Heidorn and her group created a revival of Kleukens Fraktur. Canada Type (Kevin Allan King and Patrick Griffith) published Ratio Modern (2011), a spectacular revival of Kleukens' 1923 didone face. %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923.gif %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923b.png %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923c.png %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923d.png %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923e.png %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923f.png %Z PatrickGriffin+KevinAllanKing-RatioModern-2011--after-FWKleukens-1923h.png %Z PatrickGriffin+KevinAllanKing-RatioModernExtraBold-2011--after-FWKleukens-1923.gif %Z ChristineGertsch-KleukensAntiqua-2013.jpg %Z ChristineGertsch-KleukensRegular-2013.jpg %Z ChristineGertsch-KleukensRegular-2013b.jpg %Z ChristineGertsch-KleukensRegular-2013c.jpg %Z ChristineGertsch-KleukensTitling-2013.jpg %Z Stempel--Omega-1926.jpg %Z NickCurtis--KleukensKursivNF-2010--afterFWKleukens-KleukensScriptura-1926.gif %Z NickCurtis--KleukensKursivNF-2010--afterFWKleukens-KleukensScriptura-1926b.gif %Z NickCurtis--KleukensKursivNF-2010.gif %Z FWKleukens-KleukensFraktur-1911-Stempel.gif %Z FWKleukens--KleukensFraktur-1916-ExampleDdS.gif %Z FWKleukens--KleukensFraktur-1916-Zierbuchstaben.gif %Z FWKleukens--KleukensFraktur-1916.gif %Z FWKleukens-TrennertFraktur-1931.gif %Z RatioLateinMager-Stempel-1923-FWKleukens.jpg %Q Christian Heinrich Kleukens %N 24176 %G http://www.myfonts.com/person/Christian_Heinrich_Kleukens/ %B http://www.myfonts.com/person/Christian_Heinrich_Kleukens/ %Z http://www.klingspor-museum.de/Sammlungen/Pressendrucker/ErnstLudwigPresse.html %T German type designer (b. Achim, 1880, d. Darmstadt, 1954), brother of the more famous "Kleukens", Friedrich Wilhelm (1878-1956). In 1907, the two brothers started running the Ernst-Ludwig-Presse, the private printing shop of the duke Ernst Ludwig von Hessen. Burte-Fraktur by C.H. Kleukens was cut in 1928 for Mainzer Presse by Gustav Eichenauer, Rudolf Koch's favourite punchcutter. It was revived in 2003 by Manfred Klein. He also added a handwritten freestyle version, Burtine 2003, and another interpretation, Burtinomatic (2004).

Judith Type (1923), a hookish hellish German expressionist typeface, was at the basis of Judith Type (2007, Nick Curtis) and Holofernes NF (2007).

Klingspor link. %L DE MK GER NIC GEREXP %d Mar 9 2003 %Z NickCurtis-HolofernesNF-2007-after-CHKleukens-JudithType-1923.gif %Z NickCurtis-HolofernesNF-2007-after-CHKleukens-JudithType-1923b.gif %Z HeinrichKleukens-pic.jpg %Q Gustav Eichenauer %T Punchcutter, b. 1891 Offenbach, d. 1982, Offenbach. He cut C.H. Kleukens' face Burte-Fraktur in 1928 for the Mainzer Presse. %N 24175 %B nothing %L FR DE GER %d Jun 18 2005 %N 24174 %B http://www.neufville.com %Q Paul Eduard Lautenbach %T German type designer (b. 1875, d. 1954, Berlin [note: Schnelle mentions that he died in 1926 in Berlin]) whose heavy German script face Prägefest (Ludwig&Mayer, 1926) is soon to be republished by Neufville. He created Lautenbach-Gotisch (1912, Ludwig & Mayer) and Frankfurter Buchschrift (1906, Benjamin and Krebs). Ernst H. Wulfert made a revival called Lautenbach-Fraktur. Dan X. Solo also has a typeface called Lautenbach. J.G. Schelter&Giesecke published Walgunde mit Zieraten (1908). At Emil Gursch in Berlin, he published Eskorial (1909) and Eskorial halbfett (1908). %L DE GER FR %d Dec 16 2000 %Q Max Loewe %N 24173 %B http://www.neufville.com %T Type designer whose face Deauville (FT Française, 1927) is soon to be republished by Neufville. Deauville is a fat modern with interesting modifications in letters such as the M and O. %L DE FRA %d Dec 16 2000 %N 24172 %B http://www.neufville.com %Q Richard Ludwig %T Typographer who made Augenheil (Ludwig&Mayer, 1908) and Deutsche Kursiv (1909, Ludwig&Mayer). The latte was revived by Delbanco as DS-Deutsche-Kursiv. %L DE FR GER %d Dec 16 2000 %Q Arthur Murawski %N 24171 %B http://www.neufville.com %T Designer of Magnet (1951, Ludwig&Mayer), based on the 19th century Italienne (Western saloon) style. %L DE WEST %d Dec 16 2000 %Z http://www.adobe.com/type/browser/D/D_MATH.html %Z http://www.neufville.com %N 24170 %B http://www.linotype.com/501/helmutmatheis.html %L DE CA BRUSH GER %d Dec 17 2000 %Q Helmut Matheis %G http://www.myfonts.com/person/Helmut_Matheis/ %T German type designer (b. 1917, Speyer). MyFonts page. His typefaces, mostly, but not exclusvely, done at Ludwig&Mayer:

FontShop link. Linotype link. %G http://www.myfonts.com/person/Jos%C3%A9_Mendoza_y_Almeida/ %N 24168 %B http://www.myfonts.com/person/Jos%C3%A9_Mendoza_y_Almeida/ %d Dec 17 2000 %Z French designer of Spanish descent. Apprenticed as a photoengraver to Cliches Union in Paris, a company that adopted Monophoto filmsetting in the early days. Worked as assistant to Roger Excoffon from 1954 to 1959 at the Olive typefoundry in Marseilles, following an introduction by Maximilien Vox. Afterwards became a freelance designer and produced the type style Pascal issued by the Amsterdam foundry in 1959. His best-known typeface is Photina released by the Monotype Corporation in 1971. %Z He worked with Maximilien Vox in the early 1950s. From 1954 to 1959 he worked as assistant to Roger Excoffon at the Fonderie Olive, Marseille. After this he worked on a freelance basis. From 1985 to 1990 he taught type design at the Imprimerie Nationale, Paris, where his students included Thierry Puyfoulhoux, Frank Jalleau, and Poul Søgren. %Z Brennus 1980 (Socotep), Convention 1990 (Imprimerie Nationale), Ergo 1971 (Hollenstein Phototypo), Fidelio 1980 (Mécanorma), Full 1954 - 55 (Graphorel), mendoza 1975 (CCT - Typogabor - Letraset), mendoza Roman (ITC) 1991 (International typeface corporation), Narval 1956 (Gérard Blanchard - Courrier Graphique), Ogan 1954 - 55 (Graphorel), Pascal 1959 (Fonderie Amsterdam), Père Castor 1975 - 96 (Typogabor - Flammarion) 1996 (Numérisé par Thierry Puyfoulhoux) ps m, Photina 1972 - 85 (Monotype Corporation), Scope 1954 - 55 (Graphorel), Séquana 1975 (CCT - Typogabor), Sévres 1954 - 55 (Cenpa), Sully-Jonquières 1980 (Socotep - Mécanorma), Yerma 1970 (Hollenstein Phototypo). %Z Pic-JoseMendozaYAlmeida.jpg %Z JoseMendoza+ThierryPuyfoulhoux-PereCastor-1975.jpg %Z JoseMendoza--Fidelio.gif %Z Mendoza--Fidelio-1980.jpg %Z JoseMendoza--FidelioND.gif %Z JoseMendoza--PascalNDTitling.gif %Z JoseMendoza--PascalND.gif %Z JoseMendoza--SullyJonquieresND-1980.png %P JoseMendoza--SullyJonquieresND-1980b-Small.jpg %Z JoseMendoza--SullyJonquieresNDBold-1980.gif %Z Mendoza--Linocuts.jpg %Z Mendoza--PhotinaDrawings-II.jpg %Z JoseMendoza--Photina.gif %Z JoseMendoza--PhotinaMT.gif %Z JoseMendoza-PhotinaMT-1972.png %Z JoseMendoza--ITCMendozaRoman.gif %Q Oldrich Menhart %N 24167 %B http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigner/Menhart/OMenhart.pdf %G http://www.myfonts.com/person/Oldrich_Menhart/ %Z http://www.scribd.com/word/download/202346?extension=pdf %T Czech type designer (b. Prague 1897, d. Prague 1962) who was mainly active at Grafotechna, a state foundry in Prague. Menhart was also an author who wrote about type and its history. After the World War II, he helped the communist party to promote itself. He was the author of fonts celebrating the victory of communism in hand-written manifests. Menhart considered himself foremost as a craftsman, and derived typefaces from calligraphic origins. Veronika Burian on Menhart. FontShop link. Klingspor PDF. Poster from 1954. Oldrich Menhart's typefaces include

View the typefaces related to Oldrich Menhart. See also here. %Z [Typchik Veronika Burian enthused us with a brilliant description of the life and work of Czech type designer, calligrapher and craftsman Oldrich Menhart (1897-1962). Menhart considered himself foremost as a craftsman, and derived typefaces from calligraphic origins. His Menhart Antiqua (1931, Bauer) had blunt serifs on the left and wedge serifs ion the right, to guide the reader, for example. He wanted type to serve the word and support the content. Veronika delighted us with details of Menhart Roman and Italic (1936, Monotype), Figural Antikva and Kursiva (1948-1949), and Ceska Unciala (1944).] %d Dec 17 2000 %L DE CZ FO-CE UNCIAL %Z As a footnote, Luin is not the first one to do the West-copies-East deal, and specifically the West-appropriates-Grafotechna part of it. Michael Gills, under the art direction of Colin Brignall, did Figural and Prague (both of which originally Menhart types) for Letraset without Grafotechna's permission, and ITC is still selling those fonts now. And even recently, the new ITC Oldrichium by George Thompson which, according to ITC, "pays homage to Oldrich Menhart" is yet another unauthorized duper of a Menhart/Grafotechna set. The only set digitized with permission from that part of the world is Týfa, done for ITC with the blessing of both Josef Týfa and Grafotechna (mind you, they agreed to the digitization only if it were done by Frantisek Storm, a compatriot of theirs). %Z The first three decades of the Twentieth century were period of cultural experimentation and revolution against traditionalism in many domains, so too in fine-book making and typeface design. In the then young republic of Czechoslovakia, a small group of artists was concerned with the design of an original Czech typeface attempting to express national identity and improving the miserable situation regarding typefaces appropriate for Czech text setting. Unlike his contemporaries, Oldrich Menhart managed to draw international attention to Czech achievements in this area. He was a modern designer who was actively looking over his own borders, achieving a high level of maturity and quality and looking upon the alphabet as being an evolving organism whose graphic expression needs to be redeveloped in each era anew, allowing for a logical continuity of tradition. Also, related to this was his belief that calligraphy is the only true source of inspiration and innovation in the search for new visual expressions of classic letterforms. This presentation will show interesting visual examples, including also briefly Menharts controversial designs after the Second World War. Furthermore it will illustrate how he managed to translate truly handwritten forms into perfectly elaborated typographical forms performing assuredly and with discipline in printed text. %Z MenhartLatein.jpg %Z OldrichMenhart---MenhartRoman--Monotype-1936.png %Z OldrichMenhart--Figural--1940-1949.jpg %Z OldrichMenhart--MenhartAntiqua-1931.png %Z OldrichMenhartPoster--NaukaOPismu-1954.png %P RalphUnger--Monument-2010b--after-OldrichMenhart-Small.gif %Z RalphUnger--Monument-2010b--afterOldrichMenhart.gif %Q René Ponot %Z http://www.neufville.com %N 24166 %B nothing %T French type designer (b. 1917, d. 2003) whose faces Roncesvalles (FT Nacional, 1955) and Psitt (FT Française, 1953-1954) will soon be republished by Neufville. His fonts: Blason (1978), Continent (1959, Optype - Letterphot), Mopon (1965, Moreau - Lettrage Relief), Nil (1978), Psitt (1954, Fonderie Typographique Française), Castellane&Valensole (Fonderie typographique Française), Roncevalles (1955, Fundicíon Tipográfica Nacional), Solide (1958, Optype - Letterphot), Suresnes, Ulysse (1958, Optype - Letterphot), Uncialis (1950, Optype - Letterphot). A quote from him: "La typographie est un art précieux parce qu'elle forme le dernier revêtement de la pensée". Author of Louis Perrin et l'Énigme des Augustaux (Editions des Cendres, Paris, 1998). This book has a history of Perrin as a printer and typographer, with special attention to Perrin's Augustaux type. It contains two fold-out Augustaux type specimens and several examples of Perrin's printing in black-and-white, has a preface by Fernand Baudin, and is printed in Perrin type redesigned by L'Atelier National de Création Typographique in 1986. %d Dec 25 2000 %L DE BO FRA UNCIAL %Z http://www.adobe.com/type/browser/D/D_REIN.html %Z http://www.linotype.com/761/imrereiner.html %N 24165 %B http://www.myfonts.com/person/Imre_Reiner/ %G http://www.myfonts.com/person/Imre_Reiner/ %d Dec 17 2000 %L DE FR HUN SWI MK USA-IL USA-NY BRUSH 3D DI-OR SKYLINE %Q Imre Reiner %T Typographer, architect, designer and type designer, b. Versec, Hungary, 1900, d. Lugano, Switzerland, 1987. He emigrated from Hungary, and studied at the Staatliche Bildhauerschule Zalatua, the Kunstgewerbeschule Frankfurt, and the Kunstgewerbeschule in Stuttgart, where Prof. F. H. Ernst Schneidler was his teacher. After a brief stint (1923-1925) as a graphic designer in London, Paris, New York and Chicago, he returned to study with Schneidler, and from 1931 onwards, he worked in Ruvigliana near Lugano as painter, graphic designer and illustrator. His list of fonts includes:

In 1992, Manfred Klein made Tokay-MK after one of Reiner's ideas. In 2004, he added VariationsForImre, a playful face based on Reiner's lettering, and this was followed in 2005 by Magyarish.

View Imre Reiner's typefaces. %Z ColinKahn-LTCGlamourBold-after-Lanston-Glamour-1948--based-on-ImreReiner-Corvinus.gif %Z hostetler/hostetler-36-medium.jpg %Z GroupType-CorvinusSkyline-1991-after-ImreReiner.gif %Z ImreReiner-CorvinusSkyline-1934-GroupTypeVersion-1991.gif %Z JanePatterson-SkylineBlack-1992-after-ImreReinrer-Corvinus.gif %Z hutchings/4928-medium.jpg %Z GroupType-Stradivarius-1993-after-ImreReiner.gif %Z ImreReiner-MaturaMT.gif %Z ImreReiner-MercuriusMTBoldScript.gif %Z ImreReiner-PepitaMT.gif %Z PatrickGriffin-Boondock-2005-after-ImreReiner-Bazaar-1956.gif %Z PatrickGriffin-Hunter-2005-after-ImreReiner-Mustang-1956.gif %Z PatrickGriffin-Leather-2005-after-ImreReiner-Gotika-1933.gif %Z RebeccaAlaccari-ReinerHand-2007-after-ImreReiner-LondonScript-1957.gif %Z TobiasFrereJones-ReinerScript-1993-after-ImreReiner-1951.gif %Z AriRafaeli-Ornaments5-2010-after-ImreReiner-AmsterdamPrimulaOrnaments-1949.gif %Z imrereiner/imrereiner-cover.jpg %Z Imre_Reiner.jpg %Z ImreReiner-Logo-Huge.jpg %P ImreReiner-Logo-Small.jpg %N 24164 %Z http://webcom.net/~nfhome/renner.htm %B http://www.myfonts.com/person/Paul_Renner/ %G http://www.myfonts.com/person/Paul_Renner/ %d Oct 17 2000 %Q Paul Renner %L DE FR STE GER BAUHAUS %T German type designer, architect and Bauhaus-style designer, b. 1878, Wernigerode, d. 1956, Hödingen. Designed the famous and popular Futura between 1924 and 1936 at Bauer. Later weights include the stencil font Futura Black, a great headline font. Deberny&Peignot issued the Futura family under the name Europe. Spartan (American Typefounder and Mergenthaler Linotype) is similar but not identical. Intertype Futura Extra Bold was designed by Edwin W. Shaar (roman in 1952; italic in 1955 with Tommy Thompson). Neufville published a revival of his Futura fonts. This 50+ family, Futura ND (1999), has Small Caps, Old Style Figures, Display and Black (stencil), and was digitized by Marie-Therésè Koreman. Nick Curtis's Airport Tourist (2009) is modeled after Futura. Tens of other typefaces are also descendants of Futura.

His face "Topic" is also known as Steile Futura (1952) [check also Bauer Topic (The Font Company) and URW Topic for two digitizations]. Renner also designed the Fraktur font Ballade (1937, Berthold; revived by Dieter Steffmann in 2002), Plak (1928), Futura Schlagzeile (1932), Renner Antiqua (1939, D. Stempel).

Showcase of Paul Renner's fonts. View digital typefaces based on Futura. %Z Some say 1924-1928 is the date of Futura at Bauer %Z Berthold-PaulRenner-Futura-1928-1932.gif %Z Berthold-PaulRenner-FuturaLight-1928-1932.gif %Z PaulRenner-FuturaLight-1928.jpg %Z MarieThereseKoreman--FuturaND--afterPaulRenner-1999b.gif %Z MarieThereseKoreman--FuturaNDBlack--afterPaulRenner-1999b.gif %Z FuturaND--Scanby-Fontasm-2010.png %Z NickCurtis--TuristaGordaNF-2009--afterBaltimoreTypeFoundry--AirportTourist--afterRenner-Futura.gif %Z PaulRenner--FuturaBlack-1927+Cyr-by-Sabin-1987.gif %Z PaulRenner--FuturaBlack-1929.gif %Z PaulRenner--FuturaDisplay-1932.gif %Z FuturaLinotype.jpg %Z Futura---.png %Z Futura.png %Z PaulRenner--FuturaMedium-1927-.jpg %Z PaulRenner--FuturaMedium-1927.jpg %Z http://www.neufville.com/FontData/FONTS_AZ.htm %N 24163 %B http://www.myfonts.com/person/Alfred_Riedel %G http://www.myfonts.com/person/Alfred_Riedel %Q Alfred Riedel %T Type designer in Freiburg (1906-1969) who was a pupil of Rudolf Koch. Designer of Domino (Ludwig&Mayer, 1954). A digital revival was created by Nick Curtis in 2007, called Idle Fancy NF. Sample of blackletter calligraphy. %d Dec 17 2000 %L DE GER NIC FR %Z AlfredRiedel--calligraphy-Freiburg-1906-1969-pupilofRudolfKoch.gif %Q Karl Hermann Schaefer %N 24162 %Z http://www.neufville.com %B http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigner/Schaefer/KHSchaefer.pdf %Z Was in touch with his grandson, Stephan Schaefer. %T German type designer from Hagen (Westfalen) who created these typefaces:

Dan X. Solo has made a version of Trafton Script at Dover. That script font is called Quick in Germany and Etoile in France.

Anton Scholtz's Pacific Script (2011) is also inspired by one of Trafton's alphabets.

Klingspor link. %d Dec 24 2000 %Q Howard Allen Trafton %Z hutchings/cartoon_light-medium.jpg %Z AntonScholtz-PacificScript-2011.gif %P AntonScholtz-PacificScript-2011b-Small.gif %Z HowardAllenTrafton-TraftonScript-1933.png %Z http://www.typofonderie.com/Gazette/PTFlettresfranc.html %N 24155 %B http://fred.rit.edu:1213/dphist6.htm %L DE FRA %T French designer of Améthiste (Fonderie Deberny&Peignot, 1954) and Bolide (Fonderie Deberny&Peignot, 1954). %d Dec 24 2000 %Q Georges Vial %N 24154 %B http://www.myfonts.com/person/Joan_Trochut-Blanchard/ %G http://www.myfonts.com/person/Joan_Trochut-Blanchard/ %L DE CAT NIC ARTDECO %T Catalan designer (b. 1920, Caldes de Montbui, d. 1980, Barcelona) of Bisonte (Fonderie Typographique Française, 1950), Juventud (script face at the Fonderie Typographique Francaise, 1950; Hutchings mentions the Gans Foundry: this is, in fact, the Gans version of his Muriel), Muriel (Fonderie Typographique Française, 1950, a script face), Novadam (a logotype from the 1940s; also called Sphlex) and the modular art deco family Supertipo Veloz (Fundición José Iranzo, 1942).

Rebecca Alaccari and Patrick Griffin (Canada Type) published a revival and elaborate extension of Muriel as Blanchard. Novadam, a great geometric black modern face, was digitized by Nick Curtis as Novadam Obese (2005). Nick Curtis's Conga Line NF (2002) and Super Bob Triline are based on SuperVeloz.

Bibliography on SuperTipo Veloz: Enric Satué and Mario Esquenazi, SuperTipo Veloz. Un sistema tipográfico para el pequeño impresor, Cuadernos de Comunicación 1. Barcelona, 1989; V. Martínez Sicluna, Teoría y práctica de la Tipografía Gustavo Gili. Barcelona, 1945; Joan and Esteban Trochut, NOVADAM (vol. 1, 2, 3 y 4), Sadag. Barcelona; Joan y Esteban Trochut, ABUNDANCIA (catalog), Barcelona (1950's).

Digital descendants: Conga Line NF (1999-2002, Nick Curtis); the lower case of Astoria Titling (Nick Curtis) is based on Super Veloz. Andreu Balius's free family Trochut (2012, Google Web Fonts) is based on Bisonte. Balius and Alex Trochut codesigned Super Veloz in 2005.

The ultimate tribute to Trochut-Blanchard is Superveloz net. %U Nice examples of this were created by Phan Nguyen: 1 2 3 4 5 6 7 8 9 10. %M SuperVeloz ... %d Dec 24 2000 %Q Joan Trochut-Blanchard %P AndreuBalius+AlexTrochut-SuperVeloz-2012-Small.png %Z AndreuBalius+AlexTrochut-SuperVeloz-2012.jpg %P PatrickGriffin-Blanchard2009.png %Z AndreuBalius-Trochut-2012-after-JoanTrochut-Bisonte.png %Z JoanTrochut-EscrituraJuventud1950.jpg %Z JoanTrochutBlanchard-SupertipoVeloz-1942-Poster-by-AndreuBalius+AlexTrochut.jpg %Z JoanTrochutBlanchard-SupertipoVeloz-1942c.gif %Z JoanTrochutBlanchard-Superveloz-Modules-2012a.png %Z JoanTrochutBlanchard-Superveloz-Modules-2012b.png %Z JoanTrochutBlanchard-Superveloz-Modules-2012c.png %Z JoanTrochutBlanchard-Superveloz-Modules-2012d.png %Z JoanTrochutBlanchard-Superveloz-Modules-2012e.png %U http://academic.evergreen.edu/individuals/asdf/superveloz/amr.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/resonances.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/kursaal.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/germaine.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/alphabet.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/bonbons.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/ftf.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/deco.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/deco2.jpg %U http://academic.evergreen.edu/individuals/asdf/superveloz/modula.jpg %Z NickCurtis-CongaLineNF-2002--after-JoanTrochutBlanchard-SuperVeloz.gif %Z NickCurtis--=CongaLine-1999.png %Z JoanTrochut-EscrituraJuventud1950.jpg %Z JoanTrochut-Blanchard-1948-NovadamObeseNF.jpg %Z JoanTrochut-Blanchard-SuperVeloz-FooBarNF.jpg %N 24153 %B nothing %L DE GER %T Designer of Papageno (Bauersche Giesserei, 1958). Gumball (2005, Canada Type) is a digitization of this font. %d Dec 25 2000 %Q Richard Weber %N 24152 %B nothing %Q Eugen Weiß %T Type designer (b. 1911, Hanau, d. 1992, München) who designed Hölderlin (1927, Ludwig&Mayer: a German expressionist typeface, revived by Gerhard Helzel) or Hölderlin-Fraktur (1937-1938, Ludwig&Mayer).

Note: Gerhard Helzel, who revived Hölderlin, mentions the date 1927. %L FR DE GEREXP %d Dec 25 2000 %Z HolderlinFraktur.gif %Z GerhardHelzel-Holderlin-after-EugenWeiss-1927b.png %Z GerhardHelzel-Holderlin-after-EugenWeiss-1927.png %Q Tomás Vellvé\0y\0Mengual %Z http://www.neufville.com %G http://www.myfonts.com/person/Tom%C3%A1s_Vellv%C3%A9_Mengual/ %N 24151 %B http://www.myfonts.com/person/Tom%C3%A1s_Vellv%C3%A9_Mengual/ %T Catalan type designer (aka Tomás Vellvé), who, at FT Neufville in 1971 created Vellvé, a simple rounded sans serif family, which was published at the Creative Alliance. Born in 1927 in Barcelona, he started his graphic arts work for Rieusset, SA, in Barcelona, but moved to Madrid in 1948 to continue his studies, and returned in 1950 to Barcelona to run his own studio. He created posters and was an illustrator and graphic artist. His only typeface was Vellvé. He died in 1998. Vellvé was extended to a 3-style ffamily by Nick Curtis in 2009, as Velveteen Round NF. %d Dec 25 2000 %L DE CAT SP NIC %Z Thomas Vellvé has been creating beautiful graphics and distinctive typefaces in his native homeland of Spain for over 30 years. Vellvé's first design in digital form is an uncommon solution to the problem of creating a new sans serif design. The end result, bearing his name, is a design that stands out from the crowd of other sans serif typefaces. Vellvé provides a fresh choice between geometric sans serifs such as Futura and industrial sans serifs like Helvetica %Z Mengual began work as a draftsman for Rieusset, SA, in Barcelona, where he learned the technical aspects of the graphic arts, while continuing his studies in drawing, lithography, engraving and photography. In 1948, he moved to Madrid, to continue his studies. In 1950, he returned to Barceona and set up his own studio. His work in posters, calendars, illustrations and trademarks were featured in numerous national and foreign exhibitions in Europe and North America. In 1971, he designed his first and only commercial typeface, Vellve, for Barcelona's Neufville Type Foundry. %P NickCurtis-Velveteen2009.png %Z NickCurtis--VelveteenRoundNF-2009--afterTomasVallveMengual-Vellve-1971.png %N 24150 %B http://www.klingspor-museum.de/KlingsporKuenstler/Schriftdesigners/Wiegand/JWiegand.pdf %L DE GER %T Type designer who worked for H. Berthold AG. Designs include Wiegands Adbold (1974), Wiegands Baroque (1977, +Italic), Wiegands Renaissance (1978) and Wiegands Roundhead (1974). %d Mar 6 2005 %Q Jürgen Wiegand %Z JuergenWiegand-Catalog.png %Z http://www.neufville.com %N 24149 %B http://typophile.com/node/16833 %L DE GER FR %T Type designer (b. 1884, Bremen, d. 1961, München) who created Bibelschrift (Latin/Roman, Greek and Liturgica), apparently in 1912 according to Jaspert. These faces were cut by Louis Hoell. The Bremer Presse Bibelschrift (1926, Bremer Presse) was revived by Manfred Klein as Bibelschrift. Some samples can be found in Die Bremer Presse, Königin der deutschen Pressen (1964, Typographische Gesellschaft München). Other faces, all in the 1970s Berthold collection: Wiegands Adbold (1974), Wiegands Roundhead (1974), Wiegands Baroque Normal and Kursiv (1977), Wiegands Renaissance Kursiv (1978).

Klingspor link. %Z Geboren 1884 in Bremen, gestorben am 30. Oktober 1961 in MuÌˆnchen. Typograph, MitbegruÌˆnder und spaÌˆter einziger Leiter der Bremer Presse. Nach einem Jura-Studium und der Promotion gruÌˆndete er 1911 mit sei- nem Schulfreund Ludwig Wolde die Bremer Presse. Zur Vorbereitung der Schrift fuÌˆr die Presse, ging er 1913 nach Italien um die Typen der FruÌˆhdrucker zu studieren. Auf dieser Grundlage entwarf Wiegand die erste Antiqua fuÌˆr die Bremer Presse. In der Presse uÌˆbernahm er die tech- nische Leitung und zog weitere Mitarbeiter hinzu: Josef Lehnacker, Anna Simons und Frieda Thiersch. Nach dem Ersten Weltkrieg verlegte er die Presse nach Bad ToÌˆlz und 1921 nach MuÌˆnchen. Wiegand entwarf auch die weiteren Schriften fuÌˆr die Presse. Den Schnitt der Typen besorgte der Stempelschneider Louis Hoell. 1935 wurde die Presse eingestellt. SpaÌˆter beschaÌˆftigte Wiegand sich mit Kartographie und brachte eine Reihe von Land- und StaÌˆdtekarten heraus. %d Dec 25 2000 %Q Willy Wiegand %Z WillyWiegand-Pic.png %Z http://www.adobe.com/type/browser/D/D_WINK.html %L DE SP GER BRUSH BB 3D ARTDECO AG %T Carlos Winkow is a version of his original name, Carl Winckow. He designed the brush script typeface Reporter (1938, the Wagner foundry, a brush face with many alternates for the glyphs), Gong (1945, Johannes Wagner, a chalk script face; Jaspert mentions the date 1951), Alcazar (FT Nacional, 1944, an inline 3d titling font), Electra (FT Nacional, an almost avant-garde sans family, which includes the ultra thin Estrecha Fina weight), Iberica (FT Nacional, 1942, an open shaed inclined 3d lineale), Nacional (1941, Nacional: a calligraphic roman in old medieval Spanish style with Clasico Nacional 1 and Clasico Nacional Negro weights; see Madrid RR by Red Rooster for a digital version), Cursiva Rusinal (FT Nacional: this is identical to Reporter except in the alternates). Roller (1997, Pat Hickson, ITF) is based on Iberica. Romeo (Font Bureau) takes some cues from Electra and says that it is a spectacular art deco sanserif with an unusually fine condensed series. A standard non-chalk version of Gong was done by J. Wagner in 1967, and was published as Jowa Script, which in turn provided inspiration for Iova Nova (2007, Profonts). Lucia Walter revived Winkow's 1931 text face Elzeviriano Ibarra in 2011. Winkow's Numantina (1940) was revived by Nick Curtis as Numancia NF (2011). Linotype page. %Z http://www.linotypelibrary.com/fonts/htm/00000000/DES/0&0&0/wght/Redirect.ctrl?DES=315&design=select %Z http://www.linotype.com/635/carloswinkow.html">Carlos Winkow %Q Carlos Winkow %N 24148 %B http://www.myfonts.com/person/Carlos_Winkow/ %G http://www.myfonts.com/person/Carlos_Winkow/ %d Sep 10 2000 %Z NickCurtis--NumanciaNF-2011--after-CarlWinkow--Numantina-1940.gif %P CarlosWinkow-Nacional1941-MadridRRLight-SteveJackaman.gif %Z hutchings/4959-medium.jpg %Z CarWinkow-pic1909.jpg %Q Heinrich Wieynck %L DE FR GER %T German type designer (b. Barmen, 1874, d. Saarow, 1931) mainly associated with the Bauersche Giesserei. In 1914 he became a Professor at the Akademie für Kunstgewerbe in Dresden. Before that he lived mainly in Berlin. He designed

View Berthold Wolpe's typefaces. %d Jul 1 2002 %Z Berthold Wolpe - born 29. 10. 1905 in Offenbach, Germany, died 5. 7. 1989 in London, England - type designer, type designer, teacher. 1924-27: studies at the Kunstgewerbeschule in Offenbach under Rudolf Koch. Then trains as a goldsmith in Pforzheim. 1929-33: teaches at the Kunstgewerbeschule in Offenbach and from 1930-33 at the art school in Frankfurt am Main. Designs commemorative reports, trademarks, posters, book covers and typefaces. 1932: meets Stanley Morison. 1935: emigrates to England. 1935-40: works for Ernest Ingham's Fanfare Press. 1941-75: designs c. 1,500 book covers for the publishers Faber&Faber. 1955: takes part in the international Liber Librorum bible project. 1959: made a Royal Designer for Industry. 1968: given an honorary doctorate by the Royal College of Art in London. Wolpe taught at the Camberwell College of Art (1948-53), at the Royal College of Art in London (1956-75) and at the City&Guilds of London School of Art (from 1975 onwards). Fonts: Hyperion (1931), Albertus (1932-40), Tempest (1936), Sachsenwald (1937), Pegasus (1938), Decorata (1950), Johnston's Sans Serif Italic (1973). Publications include: "Schriftvorlagen", Kassel 1934; "Marken und Schmuckstücke", Frankfurt am Main 1937; "A Book of Fanfare Ornaments", London 1939; "Renaissance Handwriting", (with A. Fairbanks), London 1959; "Architectural Alphabet. J. D. Steingruber", London 1972. %P BertholdWolpe-Albertus-1932-1940-poster-by-AnnaMorena-2013-Small.png %Z BertholdWolpe-Albertus-1932-1940-poster-by-AnnaMorena-2013.jpg %P AndrewHenderson--Poster-Albertus-2010-Small.gif %Z AndrewHenderson--Poster-Albertus-2010.jpg %Z Flareserif821-BTRoman.gif %Z SoftMaker-AdelonSerialBold-1996.gif %Z BertholdWolpe--Albertus.jpg %Z BertholdWolpe-AlbertusMT-1932-1940.gif AIBouwsmaScript.pfa: /Notice (CopyrightCopr.1994 by Philip Bouwsma. All rights reserved.) readonly def Ambient.pfa: /Notice(Copr. 1991 Apple Computer Inc.)readonly def Bajoran.pfa: /Notice(Bajoran - the Deep Space Nine font, Copyright 1994 Kiwi Media)readonly def Carpenter.pfa: /Notice(Copr.1992 Benjamin Graphics. All rights reserved.)readonly def KidTYPE-Crayon.pfa: /Notice(Copr.1993 DS Design All Rights Reserved)readonly def KidTYPE-Marker.pfa: /Notice(Copr.1993 DS Design All Rights Reserved)readonly def KidTYPE-Paint.pfa: /Notice(Copr.1993 DS Design All Rights Reserved)readonly def RegularJoe.pfa: /Notice(Copr.1994 Art Parts. All rights reserved. Regular Joe is a trademark of Art Parts.)readonly def TemptoOpenFace.pfa: /Notice (Tempto is a trademark of Tintin TimŽn, Total Design Europe AB. Digitization by Christian Schwartz Design Copr.1993 FontHaus Incorporated.) readonly def %N 24145 %B http://www.rayan.de/ %d Dec 26 2000 %L DE FO-AR GER IRAQ BO DI-OR %T Type designer (b. 1957, Mosul, Iraq) who took part in the Linotype International Type design Contest in 2000 and lives in Germany, where he set up Markenbau in 2000. Author (with Roger Hübner) of Pictograms and Icons (2005, Herman Schmitz, Mainz) and Arabische Schriftkunst (1993, Hochschule der Künste Berlin). %Q Rayan Abdullah %N 24144 %B nothing %d Dec 26 2000 %L DE GER %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Jürgen Adolph %Z http://www.culturesfrance.com/adpf-publi/folio/lettres/caracteres.html %N 24143 %Z http://www.linotype.com/650/geraldalexandre.html %B http://www.myfonts.com/person/Gerald_Alexandre/ %G http://www.myfonts.com/person/Gerald_Alexandre/ %Q Gérald Alexandre %d Jan 22 2002 %L DE FRA %E sogral@hotmail. com %T Parisian type designer (b. 1974) who designed Manus (1997) and Altmodisch (1998) at Sogral. Brief CV. He also designed Linotype Zensur (1997, grunge). Linotype link. %Z C'est à Strasbourg – ville au climat alsacien très prononcé - qu'il a rencontré Sandra Chamaret avec laquelle ils ont créé Sogral (Société graphique d'Alsace), un fanzine typo-photographique lorsqu'ils étaient à l'École nationale supérieure des arts décoratifs de Strasbourg. Ce fanzine s'est par la suite transformé en "fonderie alsacienne de typographie superflue." %Z 28, rue du Cap. Ferber. F-75020 Paris. T-F 01 43 64 03 81 %P GeraldAlexandre-Manus1997.gif %Q John Alfonso %N 24142 %B http://www.fonthaus.com/products/fonts/list_supplier.cfm/supplier/JohnAlfonsoDesign/ %L DE TR DI-OR OCT %T Designer whose fonts can be bought at FontHaus: Inverse Recto (dingbats), Quantum, Quantumex. The latter two are extensive futuristic / octagonal families. %d Oct 18 2009 %Z JohnAlfonso-QuantumInline.png %N 24141 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Neil Barlow %N 24140 %B nothing %d Dec 26 2000 %L DE GER %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Brigitte Behrens %N 24139 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Beatrice Berthon-Perrot %G http://www.myfonts.com/person/Tad_Biernot/ %N 24138 %B http://www.myfonts.com/person/Tad_Biernot/ %d Jun 1 2002 %L CAN DE ESCHER %T Canadian designer of Linotype Rory (1997) and Linotype Dummy (1997). FontShop link. Linotype Dummy is an Escheresque optical illusion face. %Q Tad Biernot %Z http://www.linotype.com/696/tadbiernot.html">Tad Biernot %Z TadBiernot--LinotypeDummy-1997.png %N 24136 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Josué Blanche Isies %N 24135 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Michele Bold %Z http://www.urwpp.de/deutsch/schrift/fontforum/fontforum-set.htm %G http://www.myfonts.com/person/Hellmut_G._Bomm/ %N 24134 %B http://www.myfonts.com/person/Hellmut_G._Bomm/ %d Oct 4 2002 %L DE DI-OR CF2 FR GER MONO 3D ARTDECO LOMBARD DIDONE %E h.g.bomm@bkz-online.de %T HGB is Helmut G. Bomm's design studio in Backnang. Bomm was born in 1948 in Backnang, Baden-Württemberg. Stuttgart-based type designer who publishes his type designs with Linotype and URW++.

Catalog of some of his typefaces. These include Linotype Nautilus (1999, humanistic sans), Linotype Humanistika (1997), Linotype Invasion (2002), Linotype Invasion Animals (2002), Linotype Männeken Outline and Black (2002, funny guys, part of TakeType 4), Legal (2004, a 6-weight sans family that grew out of his HGB Grotesk which he made in the 1970s), Linotype Scott Venus (1999), Linotype Scott Mars (1999, the latter two are alien script-like faces). At URW++, he made HGB Lombardisch (2008, an uncial), Klassika (2004, a sans family with a nice 3d version, Klassika Bronze; probably the same as HGB Klassika), Rotata Mysticons (2004), Baldur Seventy (2004), Rotate Klassik (2004), Rotate Modern (2004), Rotate Nouveau (2004), Bommi Carbon, Jazz Ragtime, Solo Mita, Solo Data, Bommi Oxygen, HGB Grotesk (2005, geometrical sans family), Schillerplatz (2008, URW++: a condensed didone face), Joga (2008, URW++: a stylish theatre headline face, art deco), Linotype Nautilus Text and Nautilus Monoline Text (2009), Neudoerffer Fraktur (2009, Linotype). Runs a graphics studio in Backnang. Exposition of his work in 2004 (site includes a bio). %Z Baldur, Bommi, HGB Grotesk, HGB Lombardisch, Linotype Humanistika, Invasion, Jazz Ragtime, Joga, Klassika, Legal, Nautilus, Rotate Klassik, Rotate Modern, Rotate Mysticons, Rotate Nouveau, Schillerplatz, Linotype Scott, Solo Data %Q HGB %D Hellmut G. Bomm %Z Grafik-Designer AGD Stuttgarter Strae 128 71522 Backnang %Z http://www.linotypelibrary.com/lounge/designers/bomm/bomm.html %Z Geboren 1948 in Backnang. Studium 1970 - 72 an der Kunstschule Stuttgart, 1972 - 75 Staatliche Akademie der Bildenden Künste Stuttgart, Institut für Buchgestaltung beo Prof. Walter Brudi, Kurt Weidemann. Seit 1975 selbstständig (arbeitet selbst und arbeitet ständig). Alle Breiche des Grafik-Design. Spezialgebiete: Serigraphie (seit 1975 zahlreiche Ausstellungen mit freien Arbeiten), Heraldik (u.a. Bezirkswappen Mitte von Berlin), Typografie. Seit 1973 Entwürfe von Auszeichnungs- und Textschriften 1997 2. Preis beim 2. Digital Dype Design Contest der Linotype Library in der Kategorie Text. Einige Umfangreiche Schriftfamilien sind in Arbeit. %Z Hellmut G. Bomm Grafik-Designer AGD Kurzlebenslauf 1948 geboren in Backnang 1966 Mittlere Reife (Max-Eyth-Realschule Backnang) 1969 Abschluss der Lehre als Chemielaborant bei der BASF in Ludwigshafen/Rhein 1970 Studienbeginn an der Freien Kunstschule Stuttgart (bei Gerd Neisser) 1972 Staatliche Akademie der Bildenden Kü¼nste Stuttgart â€žInstitut fü¼r Buchgestaltungâ€œ bei Prof. Brudi, Weidemann, KrÃ¶plien, Jacki (hier vor allem: 2 Semester Typographie â€“ Bleisatz â€“ und 4 Semester Schriftklasse) 1975 Ab Oktober selbstÃ¤ndiger Grafik-Designer in Rietenau, seit 1979 in Backnang 1988 Mitglied in der AGD (Allianz Deutscher Designer) seit 1975 ca. 25 Ausstellungen mit freien Arbeiten (Siebdrucke) im Raum Backnang, in Heilbronn und 1987 in Berlin. (Die freien Arbeiten haben zum Teil einen stark lokalen Bezug â€“ Landschaft, Geschichte). 1975â€“1980 Arbeitsschwerpunkt war neben allgemeiner Drucksachen-Gestaltung die Gestaltung von Gemeindewappen als Folge der Kreisreform in Baden-Wü¼rttemberg (Aspach, Auenwald, Leutenbach, Spiegelberg). Dadurch entstand auch die BeschÃ¤ftigung mit Familien-Heraldik (seit 1988 Mitglied des Herold â€“ 1996 zum Heraldiker der Baden-Wü¼rttembergischen Kommende des Johanniter-Ordens bestellt.) Erscheinungsbilder fü¼r Firmen, Vereine und Gemeinden sowie verschiedene VerÃ¶ffentlichungen mit heimatgeschichtlichem Schwerpunkt. (Im Zusammenhang mit Firmen-Schriftzü¼gen entstanden immer wieder Auszeichnungsschriften.) 1995 Werkschau im Turmschulhaus Backnang anlÃ¤sslich der 20jÃ¤hrigen SelbstÃ¤ndigkeit. 1997 2. Platz beim â€žInternational Digital Design Contestâ€œ der Linotype Library mit dem Schriftentwurf â€žHumanistikaâ€œ. In der Folge intensivere Arbeit an Satzschriften, bisher wurden 5 Schriften von Linotype lizenziert, einige weitere werden im Font-Forum von URW++ (Hamburg) angeboten. %N 24133 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Dan Booth %d Jun 1 2002 %L DE UK %T British designer of Linotype Tapeside (1997). Linotype link. FontShop link. Klingspor link. %G http://www.myfonts.com/person/Stephan_B._Murphy/ %N 24132 %B http://www.myfonts.com/person/Stephan_B._Murphy/ %Q Stephan Brendon\0Murphy %N 24131 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Mark Breslin %N 24130 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Jamie O'Brien %N 24129 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Andreja Brlec %N 24128 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q David Brown %N 24127 %B nothing %d Sep 26 2002 %L DE DI-OR ARROW %T American designer at Linotype of Linotype Not Painted and Linotype Creative Arrows One, Two, Three and Four (2002, part of TakeType 4). Home page. %Q Robert Bucan %L DE HW O-SIM %Q Ed Bugg %Z http://www.linotype.com/663/edbugg.html %N 24126 %B http://www.myfonts.com/person/Ed_Bugg/ %G http://www.myfonts.com/person/Ed_Bugg/ %T Designer of Kanban (1992, Asian simulation face, caps only), Agogo (Linotype, 1996-1997, a connected script) and Sunburst (Linotype, 1996-1997, an angular geometric family). FontShop link. %d Nov 25 2000 %Z EdBugg-LinotypeAgogo-1997.png %Z EdBugg-LinotypeKanban-1992.png %P EdBugg-LinotypeKanban-1992b-Small.png %Z EdBugg-LinotypeSunburstEast-1997.png %N 24125 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Lorenzo Camiolo %G http://www.myfonts.com/person/Jos%C3%A9_Mar%C3%ADa_Cerezo/ %N 24124 %B http://www.myfonts.com/person/Jos%C3%A9_Mar%C3%ADa_Cerezo/ %d Dec 26 2000 %L DE SP OCT STE %T Spanish type designer who runs the digital type foundry Cajabaja. He designed Bravo (1990-1997, an octagonal family published in 1996 at Neufville), Fractura ND (1997, Neufville: a semi-stencil), Neutra, Neometric and Menú (1990-1997).

See also here. Klingspor link. %Q José Maria Cerezo %Z JoseMariaCerezo--BravoND-1996.png %Z JoseMariaCerezo--FracturaND-1997.png %N 24123 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Justin Champney %N 24122 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Tsang Cheung\0Pun %d May 30 2002 %N 24121 %Z http://www.linotype.com/376/lucydavies.html %B http://www.myfonts.com/person/Lucy_Davies/ %G http://www.myfonts.com/person/Lucy_Davies/ %L DE PIX UK %T British type designer of Linotype Dot (1997). Linotype link. %Q Lucy Davies %Z LucyDavies-LinotypeDot-1997.gif %N 24120 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Joris De\0Blieck %N 24119 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Ellen Decock %N 24118 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Michael Degen %N 24117 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Rodney Dive %N 24116 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Peter Dreyer %N 24115 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q David Dubec %N 24114 %B http://www.linotype.com/386/ronnyedelstein.html %N 61227 %B http://www.myfonts.com/person/Ronny_Edelstein/ %G http://www.myfonts.com/person/Ronny_Edelstein/ %d Jun 1 2002 %L DE GER %T German designer of the grunge family Linotype Mineru (1997).

Linotype link. FontShop link. Klingspor link. %Q Ronny Edelstein %N 24113 %B nothing %d Dec 26 2000 %L DE %T Type designer who took part in the Linotype International Type design Contest in 2000. %Q Manuela Faessler %N 24112 %B http://www.erikfaulhaber.de/ %d Dec 26 2000 %L DE GER LAPID %T Type designer involved with Linotype. He studied design in Karlsruhe with Kurt Weidemann and others. His mentor is Adrian Frutiger. Since 1996 he is an independent designer. He has taught typography at the universities of Halle, Weimar and Wuppertal. He helped develop Frutiger Next at Linotype. However, after that effort, Linotype did not give him credit in the way he thought he deserved (the credited designer for Frutiger Next is Adrian Frutiger / Linotype Design Studio). He also worked on the Compatil family (Linotype), Vialog (Linotype: 22 weights commissioned by Professor Werner Schneider, originally developed for the signs in the Munich subway), Heidelberg Gothic (Linotype: for Heidelberger Druckmachinen AG), and corporate faces for the city of Milan (Milano), BMW (tracking adjustments for BMW Helvetica), Microsoft (Microsoft SC), and IBM (Greek and Vietnamese characters for the IBM corporate typeface). Wiki page. In 2006, he published the Generis (Linotype) type system which consists of slab serif, serif, sans, and simple sans sub-systems, all compatible and loosely in the spirit of American gothic styles. His Aeonis font family (2009) contains 42 sans styles about which Linotype brags: Lapidary inscriptions from Ancient Greece spurred Faulhaber on to create this typeface's basic sans serif forms. This clarity is visible in the simplified form of the typeface's capital A. Further inspiration came from a domed lamp designed in 1952 by Wilhelm Wagonfeld; this went on to inspire the roundness in Aeonis. Faulhaber sees the conflict between antiquity and modernity as a struggle between angular and round forms. Author of Frutiger Die Wandlung eines Schriftklassikers (Niggli Verlag). Free lance designer since 1996. About the Frutiger Next flap:

04|alt.URL
2 The Left
AJ Palmer
António Carreira
Ayumi Takeshima
B&P Graphics
b.one
Barbara Lukasik
Ben's Fonts
BitmapMania
Blahfonts
Blaise
Bleutuna
Blue Jay Font Studio
Boba Fonts
Breadlegs
BRIDGEco
Bring me to Life
Buddha Graphix
Caffeen Fonts
alt.URL
Cheapskate Fonts
Chris Himself
Christoph Mueller
Claude Derieppe
Clops
CybaPee
D. Keith
Dan Smith
Daniel Gauthier
Daniel Midgley
Darren Rigby
Darrian Lynx
Darryl
Dave Fabik
Dazzling-Designs
dCTRL
Digital Graphic Labs
Dinc Type
dustBUST
Flop
Gaia
GemFonts
genevieve_gauckler_- George Williams
Glitch
Gosub
Government of Nunavut
GraphxEdge
Gray Graphics
GreyWolf
Grilled Cheese
Heather Daniel
House Of Eraser
House of Lime
alt.URL HPLHS Prop Fonts
Hybrid Space
Inge Jørgensen
James Shields
Jason Aleksandr Kottke
Jason Davies
Jason Pagura
alt.URL
Jean-Marie Douteau
Jeff Javier
Jeffrey Glen Jackson
Jeni Pleskow
Jens R. Ziehn
Jes
Jester Font Studio
John A. Huebner II
Jonathan Paterson
alt.URL
Kaare Andrews
Katz Fontz
Kinema Moon
Kiwi Media
KozacDesign
Kyakirun's Pasomono
LAplakett
Larabie Fonts
Laztemel
LeChefRené
Les Rats Bleus
Les Rowe
Lis Bokt
Listemageren
Livin It
LogoVend
Love Font @Vapour Trail
Magic Chicon
Magix.L
Matt Perkins
Matthew Welch
Mattt's Fonts
Michael Salow
Mike Doughty
Mike Gaines
Nan Sakurai
NoFont
Ola Björling
Phantomphonts
Phil Steinschneider
Philipp Andrade
Philippe Blondel
Pixelyn
Pocket iLAND
Pseudoroom
Rah'Dick
Randy Humphries
Renn Crump
Shrine Of Isis
Side-K
Sinister Visions
SnailFonts
Sophtecks
Squaresville
to-be
Tom Brown
UnAuthorized Type
Utopia
uZiMweB | Victory Type
Wen
West Wind
WolfBainX
Yokoyoko
ZetaFonts
ColombineLTBETA-Alt, ColombineLTBETA-Bold, ColombineLTBETA-BoldAlt, ColombineLTBETA-BoldLigs, ColombineLTBETA-Light, ColombineLTBETA-LightAlt, ColombineLTBETA-LightLigs, ColombineLTBETA-Medium, ColombineLTBETA-MediumAlt, ColombineLTBETA-MediumLigs, ColombineLTBETA-RegLigs, ColombineLTBETA-Regular, DassitztLTBETA-Pictos, DassitztLTBETA-Typos, IconeLTBETA-Bold, IconeLTBETA-BoldItalic, IconeLTBETA-BoldItalicOsF, IconeLTBETA-BoldOsF, IconeLTBETA-BoldOutline, IconeLTBETA-BoldOutlineOsF, IconeLTBETA-ExtraBlack, IconeLTBETA-ExtraBlackIta, IconeLTBETA-ExtraBlackOsF, IconeLTBETA-Light, IconeLTBETA-LightItalic, IconeLTBETA-LightItalicOsF, IconeLTBETA-LightOsF, IconeLTBETA-LightSC, IconeLTBETA-Reg, IconeLTBETA-RegItalic, IconeLTBETA-RegItalicOsF, IconeLTBETA-RegOsF, IconeLTBETA-RegSC, IndexLTBETA-Bold, IndexLTBETA-BoldSC, IndexLTBETA-Medium, IndexLTBETA-MediumSC, IndexLTBETA-Outline, IndexLTBETA-Regular, IndexLTBETA-RegularSC, IndexLTBETA-ToolsOne, IndexLTBETA-ToolsTwo, MarathonLTBETA-Book, MarathonLTBETA-Display, MonticelloLTBETA-Italic, MonticelloLTBETA-Roman, MonticelloLTBETA-SmallCaps, MonticelloLTBETA-Tabular, MontixLTBETA-Bold, MontixLTBETA-Italic, MontixLTBETA-Light, MontixLTBETA-LightItalic, MontixLTBETA-Regular, OptimaNovaLTBETA-Bd, OptimaNovaLTBETA-BdCond, OptimaNovaLTBETA-BdIt, OptimaNovaLTBETA-BdItOsF, OptimaNovaLTBETA-BdItSC, OptimaNovaLTBETA-BdOsF, OptimaNovaLTBETA-BdSC, OptimaNovaLTBETA-Blk, OptimaNovaLTBETA-BlkIta, OptimaNovaLTBETA-Cond, OptimaNovaLTBETA-DeIt, OptimaNovaLTBETA-DeItOsF, OptimaNovaLTBETA-DeItSC, OptimaNovaLTBETA-Demi, OptimaNovaLTBETA-DemiCond, OptimaNovaLTBETA-DemiOsF, OptimaNovaLTBETA-DemiSC, OptimaNovaLTBETA-Hvy, OptimaNovaLTBETA-HvyIta, OptimaNovaLTBETA-Ita, OptimaNovaLTBETA-ItaOsF, OptimaNovaLTBETA-ItaSC, OptimaNovaLTBETA-Lt, OptimaNovaLTBETA-LtCond, OptimaNovaLTBETA-LtIt, OptimaNovaLTBETA-LtItOsF, OptimaNovaLTBETA-LtItSC, OptimaNovaLTBETA-LtOsF, OptimaNovaLTBETA-LtSC, OptimaNovaLTBETA-Md, OptimaNovaLTBETA-MdCond, OptimaNovaLTBETA-MdIt, OptimaNovaLTBETA-MdItOsF, OptimaNovaLTBETA-MdItSC, OptimaNovaLTBETA-MdOsF, OptimaNovaLTBETA-MdSC, OptimaNovaLTBETA-Reg, OptimaNovaLTBETA-RegOsF, OptimaNovaLTBETA-RegSC, OptimaNovaLTBETA-Titling, OrionLTBETA-Italic, OrionLTBETA-Regular, SyntaxLapidarBETADisp-Bd, SyntaxLapidarBETADisp-Blk, SyntaxLapidarBETADisp-Hv, SyntaxLapidarBETADisp-Md, SyntaxLapidarBETADisp-Rg, SyntaxLapidarBETAText-Bd, SyntaxLapidarBETAText-Blk, SyntaxLapidarBETAText-Hv, SyntaxLapidarBETAText-Md, SyntaxLapidarBETAText-Rg, SyntaxLtrBETA-Bld, SyntaxLtrBETA-BldIt, SyntaxLtrBETA-Blk, SyntaxLtrBETA-BlkIt, SyntaxLtrBETA-Hvy, SyntaxLtrBETA-HvyIt, SyntaxLtrBETA-Ita, SyntaxLtrBETA-Lgt, SyntaxLtrBETA-LgtIt, SyntaxLtrBETA-Med, SyntaxLtrBETA-MedIt, SyntaxLtrBETA-Reg, SyntaxLtrBETAOsF-Bld, SyntaxLtrBETAOsF-BldIt, SyntaxLtrBETAOsF-Blk, SyntaxLtrBETAOsF-BlkIt, SyntaxLtrBETAOsF-Hvy, SyntaxLtrBETAOsF-HvyIt, SyntaxLtrBETAOsF-Ita, SyntaxLtrBETAOsF-Lgt, SyntaxLtrBETAOsF-LgtIt, SyntaxLtrBETAOsF-Med, SyntaxLtrBETAOsF-MedIt, SyntaxLtrBETAOsF-Reg, SyntaxSerifLTBETA-BdIt, SyntaxSerifLTBETA-Blk, SyntaxSerifLTBETA-BlkIt, SyntaxSerifLTBETA-Hv, SyntaxSerifLTBETA-HvIt, SyntaxSerifLTBETA-It, SyntaxSerifLTBETA-Lt, SyntaxSerifLTBETA-LtIt, SyntaxSerifLTBETA-Md, SyntaxSerifLTBETA-MdIt, SyntaxSerifLTBETA-Rg, SyntaxSerifLTBETAOsF-BdIt, SyntaxSerifLTBETAOsF-Blk, SyntaxSerifLTBETAOsF-BlkIt, SyntaxSerifLTBETAOsF-Hv, SyntaxSerifLTBETAOsF-HvIt, SyntaxSerifLTBETAOsF-It, SyntaxSerifLTBETAOsF-Lt, SyntaxSerifLTBETAOsF-LtIt, SyntaxSerifLTBETAOsF-Md, SyntaxSerifLTBETAOsF-MdIt, SyntaxSerifLTBETAOsF-Rg, SyntaxSerifLTBETASC-It, SyntaxSerifLTBETASC-Lt, SyntaxSerifLTBETASC-LtIt, SyntaxSerifLTBETASC-Md, SyntaxSerifLTBETASC-MdIt, SyntaxSerifLTBETASC-Rg, VariusOneLTBETA-Alternate, VariusOneLTBETA-Capitals, VariusOneLTBETA-Roman, ZapfEssentialsLTBETA-AOne, ZapfEssentialsLTBETA-ATwo, ZapfEssentialsLTBETA-Comm, ZapfEssentialsLTBETA-Markers, ZapfEssentialsLTBETA-Office, ZapfEssentialsLTBETA-Orn. ArgonauticaCloD-Reg.pfa ArgonauticaD-Reg.pfa ArgonauticaOutCloD.pfa ArgonauticaOutD.pfa ArgonauticaSerD.pfa ArgonauticaSimD.pfa BardiT-Bol.pfa BardiT-BolIta.pfa BardiT-Reg.pfa BardiT-RegIta.pfa BardiT-UltBol.pfa BardiT-UltBolIta.pfa BavaroirT-Bol.pfa BavaroirT-Reg.pfa BohemianT-Bol.pfa BohemianT-BolIta.pfa BohemianT-Ita.pfa BohemianT-Reg.pfa BohemianT-UltBol.pfa BohemianT-UltBolIta.pfa BommiCarD.pfa BommiOxyD.pfa BreitkopfFraD-Reg.pfa CrayfishBolAD.pfa DeepSpaBigBalD-Reg.pfa DeepSpaD-Bla.pfa DeepSpaD-Lig.pfa DeepSpaMeaBalD-Reg.pfa DeepSpaSmaBalD-Reg.pfa EstroD-Reg.pfa FunnyNatD.pfa HandsOnAlbD-Reg.pfa KeysD.pfa KeysMACDAlt.pfa KeysMACDReg.pfa KeysMACEAltD.pfa KeysMACEReg.pfa KeysMouse.pfa KeysPCDAlt.pfa KeysPCDReg.pfa KeysPCEAlt.pfa KeysPCEReg.pfa LegendeD-Reg.pfa LuedickitalD-Bol.pfa LuedickitalD-Reg.pfa MaximD-Reg.pfa MovingMouD.pfa OrganiconT-Bol.pfa OrganiconT-BolIta.pfa OrganiconT-Reg.pfa OrganiconT-RegIta.pfa ParametraT-Bol.pfa ParametraT-BolIta.pfa ParametraT-Ita.pfa ParametraT-Reg.pfa PhenotypeT-Bol.pfa PhenotypeT-Dem.pfa PhenotypeT-Reg.pfa PoloD-Reg.pfa ReneFonD.pfa ReneLemD.pfa RobertaD-Reg.pfa SepulturaFonD-Bol.pfa SepulturaFonD-Lig.pfa SepulturaFonD-Reg.pfa SepulturaGraINRD-Reg.pfa SepulturaGraRIPD-Reg.pfa TrickyD-Reg.pfa UngerScrD-Reg.pfa AUSTIN, RICHARD T. (fl. 1788-1830) 19th-century punch-cutter. Bell Colonial BASKERVILLE, JOHN (1706-1775) English printer&typefounder. Baskerville&Italic -Bold BELL, JOHN (1745-1831) English printer&typefounder. Bell&Italic BENGUIAT, EDWARD (1914- ) New York lettering artist. Souvenir&Italic -Demi Bold&Italic Many photolettering faces BENTON, LINN BOYD (1844-1932) Inventor of punch-cutting machine; A TF director; head, engineering dept. Century Roman&Italic -Broad-Face&Italic -Expanded&Italic Self-Spacing Faces BERNHARD, LUCIAN (1885-1972) New York designer, lettering artist. Bernhard Booklet&Italic Bernhard Fashion Bernhard Gothic Light&Italic -Medium&Italic -Medium Condensed -Heavy -Extra Heavy Bernhard Modern Roman&Italic -Bold&Italic Bernhard Tango -Swash Many faces in Germany BINNY, ARCHIBALD (1762-1838) Early American typefounder. Binny Monticello&Italic Oxford&Italic BIXLER, MIKE Private printer. Bixler Roman BLAKEFIELD, WILLIAM Airport Black BODONI, GIAMBATTISTA (1740-1813) Italian master printer&typefounder. Bodoni BORAD,AARON Ultra-Modem BRODERSEN, HAROLD (1913- ) Brody CARROLL, JOHN S. ( -1982) Typefounder. Vanity Fair Early faces recreated CARTER, MATTHEW (1937- ) Linotype type designer. Olympian&Italic Various phototype faces CARTER, WILLIAM English designer. Dartmouth CASLON, WILLIAM (1692-1766) English typefounder. Caslon&Italic Caslon Text COOPER, OSWALD BRUCE (1879-1940) Chicago lettering artist, designer. Boul Mich Cooper&Italic -Black&Italic -Black Condensed -Fullface or Modern -Hilite Dietz Text Packard Pompeian Cursive COWAN, - Engravers Old English CRAW, FREEMAN GODFREY (JERRY) (1917- ) Typographer, letterer, art director. Ad Lib Craw Clarendon -Book -Condensed Craw Modern&Italic -Bold Several photolettering faces DeBENEDICTIS, PLATO 15th-century Italian printer & typefounder. Benedictine series DeROOS, SJOERD HENDRIK (1877-1962) Card Italic DeRoos&Italic Egmont&Italic -Medium&Italic -Bold&Italic Medieval&Italic GARAMOND, CLAUDE (1480-1561) French typefounder. Garamond Garamont GILLIES, WILLIAM S. (1911- ) Letterer, illustrator. Gillies Gothic Light -Bold GOUDY, FREDERIC WILLIAM (1865-1947) Independent type designer&founder; printer; author; Monotype art director. Aries Bertham Booklet Old Style Californian&Italic Camelot Caxton Initials Collier Old Style Companion Old Style&Italic Copperplate Gothic Heavy Cushing Italic Deepdene&Italic -Medium -Bold&Italic -Open Text -Text DeVinne Roman Forum Franciscan Friar Garamont&Italic Globe Gothic Bold Goethe&Italic Goudy Antique -Cursive -Heavyface&Italic -Lanston -Light Old Style&Italic -Modern&Italic -Newstyle -Old Style&Italic -Open&Italic -Ornate -Sans Serif Light&Italic -Sans Serif Heavy -Stout Goudy Text -Thirty Goudytype adriano -Stone-Cut Hearst Italian Old Style&Italic Kaatskill Kennerley Old Style&Italic -Bold&Italic Klaxon Lombardic Capitals Marlborough Mediaeval Nabisco National Old Style Norman Capitals Pabst Old Style&Italic Powell Record Title Remington Typewriter Saks Goudy&Italic -Bold Scripps College Old Style&Italic Sherman Spencer Old Style Tory Text Trajan Title Truesdell&Italic University of California Old Style & Italic Venezia Italic Village -No.2&Italic Village Text GRANJON, ROBERT (fl. 1545-1589) French punch-cutter. Civilite Granjon&Italic Plantin&Italic GRIFFITH, CHAUNCEY HAWLEY (1879-1956) Linotype vice president in charge of typographic development. Baskerville Bold&Italic Bell Gothic&Bold Bookman&Italic Corona&Italic Excelsior&Italic Granjon Bold Ionic No.5&Italic Ionic Condensed Janson&Italic Memphis Extra Bold&Italic -Extra Bold Condensed Monticello&Italic Opticon&Italic Pabst Extra Bold&Italic -Condensed&Italic Paragon&Italic Poster Bodoni&Italic Ryerson Condensed Textype&Italic Directed cutting of many other faces GRIFFO, FRANCESCO (fl. 1499-1518) Bembo HESS, SOL (1886-1953) Monotype typographic manager&art director. Alternate Gothic Modernized -Italic Artscript Baskerville Bold Bodoni Bold Condensed -Bold Paneled Bookman Old Style Condensed Broadway&Engraved Bruce Old Style&Italic Caslon Old Style No. 437&Italic English Caslon No. 37&Italic Century Bold Condensed Italic Cheltenham Wide Italic Cochin&Italic -Bold&Italic -Open -Bold Tooled Cooper Tooled Goudy Bible Goudy Bold Swash -Handtooled Swash -Heavyface Condensed -Heavyface Open Hadriano Stone-Cut Hess Bold&Italic Hess Monoblack Hess Neobold Hess New Bookbold&Italic Hess Old Style&Italic Hess Title&Italic Italian Old Style Wide Janson&Italic Jefferson Gothic Kennerley Open Caps Laurentian Martin&Italic New Bookman Onyx Italic Pendrawn Postblack Italic Post-Stout Italic Poster Sans Serif Light Condensed -Medium -Medium Condensed Sans Serif Extrabold&Italic i -Extrabold Condensed Sans Serif Lined Scotch Roman Italic Swash -Open Shaded Italic Slimline Spire Stationers Gothic Light -Medium .-Bold Stylescript Stymie Light Condensed -Medium Condensed -Extrabold&Italic -Extrabold Condensed Tourist Gothic&Italic 20th Century Medium Condensed Italic -Bold Italic ! -Extrabold Italic j -Extrabold Condensed Italic ~ -Ultrabold&Italic I -Ultrabold Condensed Ward&Italic Adapted many faces to Monotype unit system HUNTER, DARD (1883-1966) HUNTER, DARD JR. (1917-1989) Private press printers. Mountain House Press Types JANNON, JEAN (1580-1658) French printer&typefounder. Garamond&Italic JANSON, ANTON (1620-1687) 17th-century Dutch typefounder. Janson KIS, NICHOLAS (1680-1702) Hungarian punch-cutter&printer. Janson KOCH, RUDOLF (1876-1934) German type designer&engraver. Czarin Eve&Italic Kabel&Bold Neuland&Inline Many types in Germany MANUTIUS, ALDUS (1450-1515) Venetian printer&publisher. Bembo Cloister Italic MARTIN, WILLIAM (fl. 1786-1815) English punch-cutter, typefounder. Bulmer&Italic MORRIS, WILLIAM (1834-1896) English printer, writer. Chaucer Collier Old Style Golden Type Jenson Oldstyle&Italic Morris Romanized Black Troy PLANTIN, CHRISTOPHE (1520-1589) Dutch printer. Plantin %Q Jan Hus %L SLOVAK CZ %T Jan Hus (1370-1415) introduced the principle of a diacritic (in his case, a dot above some letters) in his "Orthographia Bohemia" (1406-1412). This work became the basis for modern Czech typography. Hus was burnt at the stake in Konstanz, but not because of his typographic convictions. %N 23947 %B nothing As you know, Czech typefaces are the best typefaces in the world. [The opening line of Frantisek Storm, when he started his presentation on his Czech Type Project, in which he wants to digitize, preserve, and extend most historic Czech typefaces. This was another fantastic presentation, dripping with juicy typographical details. Storm guided us through Antikva (Vojtech Preissig. 1912-1925), Tusar (Slavoboj Tusar, 1925), Antikva (Josef Týfa, 1960), Juvenis (Josef Týfa, 1964). Academia (Josef Týfa, 1968), Solpera (1970), and Metron (Jiri Rathousky, 1973). Ottokar Karlas, Storm's right hand, showed us original drawings of Preissig--too bad those were not at the auction! Juicy tidbit: the Czech type survey had nothing about Oldrich Menhart. Veronika Burian had mentioned in her talk that Menhart was virtually the official type designer for the communist government, which showered him with many awards, yet she did not think that he was a communist. She claimed that Storm just does not like Menhart, period.] Solpera always plays with the alternates. [Frantisek Storm on his teacher, Professor Jan Solpera, whom he described as a precise and patient man, who insisted on having many alternates (in his types). Solpera's Insignia (1982) was the basis of Storm's Solpera typeface, which can be found on Czech money nowadays.] But Marek did it! He was a web designer before the internet. [Iva Knobloch, curator of the Museum of Decorative arts in Prague and tireless typchik. on Ladislav Sutnar (1897-1970s), a Czech-born information designer who spent most of his life in the United States, and was famous for his visualuations of information and carefully crafted catalogs and graphs. Sutnar designed over 1000 books.] This is a design gulag. When we get their graduates, we have to de-baselize them. [Erik Spiekermann introducing Andrea Marks, who was educated at the Basel School of Design.] It is worse than under Stalinist rule. [Andrea Marks showed us a 20-minute rough cut of "Freedom on the fence", a documentary about Polish posters, which thrived from the late 50s until the mid 60s. these posters had exquisite handlettering, many subversive messages (that had to get past the censors), and tons of visual content and symbolism. She showed us pictures of modern Warsaw, with Hollywood-style ads often occupying four stories worth of space on the main historic plazas (namestis) of the city. The quote above is from one aging poster artist interviewed by her. This was the second emotional highlight of the conference.] Comrade Maxim. [Erik Spiekermann introducing Maxim Zhukov as the translator of Vladimir Yefimov (ParaType), who illustrated his talk about the origins and evolution of the Cyrillic alphabet with wonderful black and white images. He explained among other things the historic Cyrillic type classification. starting with ustav (formal hand) and polyustav or semi-ustav.] In 1988, we had Bookman and Helvetica, the most horrible typefaces you can imagine. [Martin Majoor on the font situation for the Mac in 1988. He explained where his motivation for the development of Scala came from. Interesting to learn that his role model was Jan van Krimpen, even though he did not like his typefaces. Martin lives in Warsaw and Arnhem, hence the title "A Dutchman in Poland". Martin revealed that the first font sketches of FF Seria were made in the train between his two cities.] Like Univers and Helvetica and all the other ugly typefaces. [Martin on a roll. He explained how he develops font families from a common skeleton: first comes the serif. Then he develops the sans by removing the serifs. Finally, it is easy to fit slabs to the sans face, to end up with a "mix" or "slab" version. He also showed us FF Nexus (nexus is the Latin word for connection), in the same three versions. plus swash and typewriter versions.] I really don't care about accents. [Yep, our demi typnik Martin again, when he got involved in the design of posters in Warsaw for the Warsaw Autumn (music) Festival. I had the feeling that diacritics were his least favorite part of Poland, his wife being his most favorite. We also learned that Gorzka is his favorite vodka.] I am happy with four of them. I am not interested in the Ikea philosophy. [Uttered by Jovica just before he treated us to a sneak preview of Veljovic Script Pro. which was started in the early 90s, but is still not finished. It will be a multilingual face, close to handwriting. He always starts a typeface from scratch, and is turned off by the Ikea assembly method, which consists of fitting serifs and slabs and pieces of letters together. A knife perhaps in the back of Martin Majoor, who had the floor just before him? In any case, Jovica works slowly and carefully and releases faces only when he is totally satisfied.] I never liked bold typefaces. [Jovica again, speaking straight from the heart.] The pattern of contrast that derives from the movement of a hand with a particular tool. [Get your mind out of the gutter! This was John Hudson's definition of "ductus", which is an integral part of the identity of a letterform. Since the ductus (roughly, the angle of the pen when stroking a character) for Greek and Latin are generally different, the question is how to manage this when developing a large multilingual typeface. In this panel discussion, which was more a sequence of five monologues. Victor Gaultney raised other problems such as how to match sizes in scripts in which x-height makes no sense. The other participants were Gerry Leonidas (Reading) and Vladimir Yefimov, who showed us examples of typefaces in which the Cyrillic version came before the Latin.] Adobe will stop selling them in the near future. [Thomas Phinney (Adobe) explained that Adobe will stop selling type 1 faces soon. His talk was about the demise of the multiple master format. He also discussed the GX format, and could not resist plugging OpenType, although strictly speaking. OpenType has nothing to do with the idea of multiple masters. Personally, I think that OpenType is so flawed that its lifetime too will be limited. The UFO (universal font format) of Erik Van Blokland, speaker in an earlier session, or similar approaches are the way to go. But more about that elsewhere.] "Matevasjan, Mkrtich" "ParaType Technik, Boris Levin" "Popov, Boris" "Benditski Evgueni" "Dobrzhanskaja Rita" "Gia" "Gubina Alina" "Hein Wolfgang" "Kramek, Martyn" "Lvovskaya, Lilia" "Nijhof, Frank" "Ostrowskaja, Rita" "Ross, Fiona" "Samsonidze, Anton" "Alexander Vinyar" "Alexeev Arkady" "Aljoscha" Manfred Klein in people fonts: HistoricPeople, WYSIWYG. in kids fonts: Schooltime. i'm in the middle of putting together a list of experimental softwares that explore the creation of letterforms via code (for a school-paper that is). here's what i got so far: - Beowolf, random fonts: LettError - Twin Cities Design Celebration 2003 Typography Engine: LettError - The Alphabet Synthesis Machine: Golan Levin, Jonathan Feinberg, Cassidy Curtis - Alphabet Soup: Matt Chisholm - RibbonType: Josh Nimoy - Davenport Sans A Robotic Typeface: Josh Nimoy - AlphaBot: Nikita Pashenkov - The Alphabet Zoo: Peter Cho (see his thesis at MIT as well) >> - Alphabet Soup: Matt Chisholm http://www.theory.org/artprojects/alphabetsoup/main.html %Q RibbonType: Josh Nimoy %N 23946 %B http://www.jtnimoy.com/itp/robotictype/ %T Davenport Sans is a typeface that is formed by positioning six brushes. %D Josh Nimoy %L DE TY BRUSH %d Jan 28 2005 %Q AlphaBot: Nikita Pashenkov %N 23945 %B http://acg.media.mit.edu/people/nik/projects_n.cgi?alphabot&intro %T Alphabot "is a virtual robot that is able to take the shape of any letter in the English alphabet as you type them on a keyboard. A software application written in C++/OpenGL features 12 alphabots loosely arranged in a 3D landsape that the user can traverse using arrow keys or a mouse." Dated 2000. See also here. %D Nikita Pashenkov %L DE TY %d Jan 28 2005 http://www.scratchdisk.com/Work/Early+Work/Lego+Font+Creator/ http://www.lineto.com/The+Projects/Rubik+Maker/ http://www.norm.to/pages/generator_3.html %Q genoTyp %N 23944 %B http://www.puls-der-zeit.de/genotyp/genotyp.htm %T Michael Schmitz's on-line program (2004) to create generations of letters by applying the principles of genetics. %d Jan 28 2005 %L TY %Q Ballfont Project %N 23943 %B http://acg.media.mit.edu/people/tom/projects/ballfont/ %T Tom White's solution to a class project at MIT assigned by John Maeda. Just a few parameters, taken from sample scribbles suffice to describe the entire typeface. %L TY %d Jan 28 2005 %Q Letter Spirit %N 23942 %B http://www.cogsci.indiana.edu/farg/mcgrawg/lspirit.html %T A project in cognitive sciences at the University of Indiana, headed by Gary McGraw, John Rehling and Douglas Hofstadter, and active from about 1992 until 1994. A lot of it is captured in McGraw's PhD thesis.
They state: "The specific focus of Letter Spirit is the creative act of artistic letter-design. The aim is to model how the 26 lowercase letters of the roman alphabet can be rendered in many different but internally coherent styles. The program addresses two important aspects of letterforms: the categorical sameness possessed by letters belonging to a given category ( e.g., `a') and the stylistic sameness possessed by letters belonging to a given style ( e.g., Helvetica). Starting with one or more seed letters representing the beginnings of a style, the program will attempt to create the rest of the alphabet in such a way that all 26 letters share that same style, or spirit." Fonts created in this manner include Standard square, Double Backslash, Hint Four, Zigzag, Snout, Bowtie, Weird Arrow, Sabretooth, Sluice and Flournoy Ranch. %L SO TY USA-IN %D Gary McGraw %d Jan 28 2005 > >> - Variant Typography: Christian Marc Schmidt (not sure) %Q Dynadraw %N 23941 %B http://www.sgi.com/misc/grafica/dyna/ %Z http://www.zambetti.com/projects/drawingingl/ %T Paul Haeberli's free C code (1989) for transforming mouse positions into dynamic (and calligraphic) strokes. A free port to OpenGL and GLUT (and Mac OSX) by Nicholas Zambetti is here. Zambetti lives in Ivrea, Italy. %L SO-ED SO ITA %d Jan 28 2005 %E n.zambetti@interaction-ivrea.it Aberman, Sidney Abold, Thomas Abumi, Hidehiro Adam, Carl Adams, Christine Adkins, Michael Gene www.signweb.com/fontry Adler, Otmar F. Agniel Albert, Steven Alcock, Daisy Allard, Michael Allen, John S. Allingham, Elizabeth Allum, Bernard Alm, E. Henry #1970 ?? Amrhein, E. Andersson, Kark G. Albert *27. 4. 1842 Berlin - #1931? Berlin Araten, Harry A*rlin, Richard *1945 Arterbury, Jen Aslanis, Con Baar, Lutz *1946 Berlin Bacher, Hans Bailey, Kevin Baker, Arthur Baker, Kim Baldinger, André M. *1963 Bannikowa, Galina Andrejewna *1901 - #1972 Moskau Barat, Lionel Barbour, Robert Bardram, Matthew *1965 New York Barcelona Barnbrook, Jonathan *1968 Luton Barnhart, Arthur M. Barth, A. M. Barthelman, Todd Barz, Manfred Baskerville, John *28. 1. 1706 Wolverley - #18. 1. 1775 Birmingham Bass, Saul *8. 5. 1920 New York - #25. 4. 1996 Los Angeles Bastien, Annie Bau, Flemming Bauer, Christian Bauer, Friedrich *26. 10. 1863 Dorste - #1943 Schönberg Bauer, Johann Christian *1802 in Hanau - #1867 Frankfurt Bauer, Reinhold *1861 - #11. 10. 1936 Baum, Walter *23. 5. 1921 Gummersbach Baxter, Stanley Bayer, Herbert *5. 4. 1900 Haag - #30. 9. 1985 Santa Barbara Le Bé, Guillaume *c.1525 - #1598 Beaman, Phil Bean, Russell Beck, Robert Becker, Charles Herman Becker, Peter Bee, Marty Bee, Penny Behmer, Marcus Michael Douglas *1. 10. 1879 Weimar - 6. 9. 1958 Berlin Béjan, Pascal *1967 www.bleu-elastique.com Bell, Jill www.art.net/Studios/Visual/Jillbell Bell, John *1754 - #1831 Bell, Peter Belser, Eberhard Belwe, Georg *12. 8. 1878 Berlin - #1954 Ronneburg Benfatto, Robert R. Benguiat, Edward Ephram *27. 10. 1927 New York Benton, Linn Boyd *1844 Little Falls - #15. 7. 1932 Plainfield Benton, Morris Fuller *1872 Milwaukee - #1948 Berardinid, Valerie de *1972 Bernard, Bruno *1974 Bernhard (Kahn), Lucian (Emil) *15. 3. 1883 Stuttgart - #29. 5. 1972 New York Bernstein, Steven Mark Berranger, E'ric de *1973 Berthelmann, Klaus Berthold, Friedrich *1914 Bertieri, Raffaelo *5. 1. 1875 Florenz - #30. 5. 1941 Florenz Bertram, Axel *25. 3. 1936 Dresden Biemann, Emil Bilak, Peter *1973 Binder, Joseph Friedrich Gustav *1898 Ludwigshafen - #1972 Birch, Alan Bisca, F. Biss, John Bissex, Paul Blackman, Alan Blado, Antonio Blakefield, William Blakeslee, Fred Blass, Ernst Bloor, John *26. 3. 1971 Hampshire, UK Bodoni, Giambattista *26. 2. 1740 Saluzzo - #30. 11. 1813 Parma Boelte-Evers, G. Boge, Garrett Bogusky, Bill Bohn, Hans *23. 12. 1891 Oberlahnstein - #10. 5. 1980 Frankfurt Boisvert, Franc,ois Boldizar, Ivan *6. 11. 1917 Novi Sad - #5. 6. 1986 Novi Sad Bomm, Hellmut G. *1948 Backnang Bonagura, Toni Bonder, Ronne Borad, Aaron Borchtorp, Ludolf *c. 1470 - #c. 1510 Bordonaro, Lewell Borman, William Born, Hellmut Borowiak, Ralf Borreau, Paul Borst, Jan de Boru, S. Bosma, Jelle *1959 Rijkswijk Z. H. Boutry, Amélie Brace, Brad Brand, Chris *16. 9. 1921 Utrecht - #23. 12. 1998 Brand, Werner *1902 Bregana, Santos Brei, Todd Breil, Rene Brendel, H. Florenz W. Brenner, Lizabeth Brian, George Bright, Alan Bristow, Deborah Ann Brody, Neville *23. 4. 1957 London Brödel, Harald *17. 4. 1934 Wedlitz Broeksma, Melle *1968 Bronkhorst, Mark van www.mvbdesign.com Bronzac, L. Menard de Brooks, James Bruce, David *6. 2. 1802New York - #13. 9. 1892 Bruck, Leonard Brudi, Walter *24. 1. 1907 Stuttgart - #9. 12. 1987 Stuttgart Brünnel, H. Bruhn, Peter Bruner, Paul Brunetti, Roberto Bruno, Domenick Bernard *1914 - #1989 Bucan, Robert www.bucan.de Buddy, Lewis III *c. 1872 - #1941 Bulmer, William *1757 Newcastle upon Tyne - #1830 Bugg, Ed Bunnel, Ned Burgert, Hans-Joachim *1928 Burgess, Starling *1878 Boston - #1947 Hoboken Burke, Christopher *1967 London Burlile, Marcus Burtis, Neville Buschmann Butti, Alessandro *1893 - #20. 7. 1959 Turin Byars, Mel Caballero, Angel Cabarga, Leslie www.lesliecabarga.com Cacuccioloo, Claudette Cain, Barbara *1954 Löpten Campbell, Jerry Camus, Jacques Camut Canibel Masbernat, Eudald(o) Capitaine, Franz 1863 oder kurz danach in St. Petersburg Carlègle, Edouard Carnase, Thomas Paul *15. 9. 1939 New York Carr, Dan Carter, Douglas Carter, Harry Graham *1901 London - #10. 3. 1982 Carter, Matthew *1. 10. 1937 London Carter, Will *24. 9. 1912 Slough - #17. 3. 2001 Caruso, Victor Carvalho, Patricia Casasin, Joan Carles Casell, Henry Caslon I, William *1692 Cradley - #1766 Bethnal Green Caslon II, William *1720 - #1778 Castle, Jason Castro, Victor de Cavanagh, J. Albert Cape May Cawley, Brad Chante, André Chantry, Art Chan Wai Liam, William Charlton, Christine Chave, Mick Cheeseman, Karen Chen, J. Chester *Montreal Childers, Todd Chiplis, Martha Chippindale, John Chong Wah, Ong *1955 Malacca Christiansen, Hans *1866 Flensburg - #1945 Wiesbaden Cina, Michael *4. 7. 1971 Salt Lake City Clark, Michael Classen, Tony Cleland, Thomas Maitland *1880 Brooklyn - #1964 Danbury Clemens Clements, Collis Clifton, Mark Closs, James Cockerell, Douglas Bennett *1870 Sydenham - #1945 Coe, Brian Collette, G. Conner, James M. *1825 - #16. 7. 1887 Constable, John Cook, B. Cooke, G. Cooke, Nick Cooper, Oswald B. *13. 4. 1879 Mount Gilead - #17. 12. 1940 Chicago Coppock, William Coro, Ron Cortesi, Serge Corum, Johnathan Coryn, C. E. Côte, Christine Cotti, Edoardo *1871 in Frasinello-Monferrato Coulson, David Cowan Craft, Diana *Richardson, TX Craw, Freeman Godfrey Jerry *17. 1. 1917 East Orange Crawford, Alan Crenshaw, Henry Cretton, André Critchley, John Crome, Paul Crootof, Harold Crosby Crown, Milton Cruz, Andy Cruz, Ray Cuaz, Jean-Renaud *1959 www.typorium.com Cumming, John F. *20. 5. 1852 Harrisville, PA Curtis, Nick *22. 2. 1948 Chicago www.nicksfonts.com Cusick, Rick *Stockton, CA Cypres, Acey Cypres, Sylvester C. D`Amico, James da Rosa, V. Soutier Dabasse, Philippe *1972 Dair, Carl *1912 - #1967 Danie"ls, Gerard *1966 Rosendaal Das, Peter David, Ismar *27. 8. 1910 Breslau - #26. 2. 1996 New York Davies, Lucy Davis, Chuck *1971 www.letterhead.com Davis, Stan *1938 Davis, Whedon *1933 Davison, Dave Dean, Jeremy Deixler, Franz Dellacroce, Carl Delorme, Christian *1928 Demarchi, J.-C. Demarchi, M. Denise, E. Dent, J. M. Deskin, Jack Desmond, Matthew *28. 6. 1977 Minneapolis Desriez Detyna, Edward Deutsch (Dryden), Ernst *3. 8. 1883 Wien - 16. 3. 1938 Los Angeles Dever, Todd *1962 Devillers, Jacques Deweerdt, Derrick Diedrich, Yvonne Diehl, Edward Dietz Sr., August Dijk, Christoffel van *1606 - #1669 Amsterdam Dijk, Jan van Dileo, Peter DiSpigna, Antonio *6. 12. 1943 Forio d'Ischia Distler, Joshua Does, Bram de *19. 7. 1934 Amsterdam Dolman, M. Dom, Samuel Dom [Dombrezian], Peter *18. 10. 1899 Domek Donelan, Eric Doré, Lester Dovey, Martin Downer, John *1951 Tacoma, WA Doyonnax, Pierre Drost, Henk *1932 Droux Drynkov, Karel Duda, Stanislav *2. 7. 1921 Ostrava Dufour, J. Dupré, Xavier *1976 Durstmüller, Anton Dussenty, Franc,ois Dwiggins, William Addison *19. 6. 1880 Martinsville - #25. 12. 1956 Hingham Earet, Eddie Earls, Elliot Eckford, Richard Edridge, D. A. Edwards, Jonathan Eichner, Heinz Ellaway, Rachel Elsner, Veronika Ely, John Engel-Hardt, Rudolf *1886 - #1968 English, Michael Epstein, David Erasmus, Jan Erler, Johannes *1965 Hamburg Erler, Otto *8. 11. 1890 Leipzig - #20. 9. 1965 Leipzig Ernst, Markus Essex, Joseph Et.bauer, Theodor Paul *2. Juli 1892 Stuttgart - #1975 Evans, G. Evans, Jean Evans, Robert Everson, Michael *1963 Norristown, PA Ezer, Oded *1972 www.ezerdesign.com Fabian, Steven Faccio, Giovanni de *17. Juli 1966 San Dona` di Piave (Venezia) Fahrni, Peter Fahy, Tony Falda, François Robert Falda, Natacha Famira, Hannes *1966 Buchholz Farey, Dave *1943 Lodnon Farrar, Gilbert Powderly *1886 - #1957 Farrington, Nicholas Faulkner, Kristen Fehsenfeld, Rodney Shelden Feldstein, Ilja Fella, Edward *1938 Detroit Fergusson, Paul Feuerhake, Herbert Fiedler, Hal Fink, William E. *1905 Philadelphia Finke, Thomas Fischer, Edmund C. Fishman, Janice Flake, Günther *8. 7. 1951 Hamburg Ford, Frank Foster, Robert *1895 Fousekis, Dimitris Fox, Benjamin - #1877 Frame, John B. Frank, Rafael *1867 Ichenhausen - #1920 Leipzig Frederick, Charles Frederick, Marie Freericks, Charles Frere-Jones, Tobias *1970 New York Frey, Hace (Hubert C.) *1929 Freytag, Arne *1967 Fricke, Wolfgang Friedländer, Elisabeth *10. 10. 1903 Berlin - #1984 Summercove/Irland Friedländer, Henri *15. 3. 1904 Lyon - #15. 11. 1996 Motza-Illit Friend, George T. *1881 Bloomsbury - #1969 Barnet Fritz, Daniel Friz, Ernst *1932 Zürich Frutiger, Adrian *24. 3. 1928 in Unterseen/Interlaken Fruttiger-Nowak, Helena Fry, Joseph *1728 Birmingham - #1787 London Fürst, Doris Fugate, Stephen Fukuda, Fumio Fumarolo, L. Furrer, F. Gable, Nelly Gábor, Pál Gäbler, Joachim Gaither, Gabrielle Gallo, Gerald *1941 Lucernemines, PA Ganz, Marco *1961 Zürich Garell, Lynne Garon, Marie France Garret, Malcolm Gates, David Gauthier, Louis *1916 - #1993 Gautier, Damien *1971 Gautier, P. Gayot, Jean-Pierre Gayton, Frederic *1892 - #1961 Geddes, Tony Gehlhaar, Jens Geismar, Tom *1941 New Jersey Gelberg, Dan Gerlach, Verena *1971 Berlin Gertsberg, Inna Giasson, Patrick Giesecke-Ollert, Georg Giesen, Willi Gilardino, Fabrizio Gilbert, Andrew *1821 Edinburgh - #25. 7. 1873 Chelsea, MA Gill, Douglas Gill, Eric *1882 Brighton - #1940 Uxbridge Gill, John Gillé, Joseph #1827 Gillies, William S. *1911 San Francisco Gillot, Gary Gills, Michael www.gillseye.clara.net Gipkens, Julius E.F. *16. 2. 1883 Emmerich - #c. 1968 New York Giraldon, Adolphe Paul *1855 - #1933 Girard, Robert *1883 - #1955 Gitschier, Ken Glaser, August Glaser, Timothy Glason, M. Glass, Franz Paul *17. 5. 1886 München - #1964 Gleinig, Walter Glenn, Calvin Glogower, Jay Godfrey, Rachel Goede, Julius de Götz, Christian Gogoll, Nicolai *Hamburg Golden, John W. Goldsmith, Holly Gonzales, Francisco González de Santiago, Antonio Goren, Harriet R. www.goren.com Gorham, John Gouttenègre, Thierry *1961 Goudy, Frederic William *8. 3. 1865 Bloomington, IL - #11. 5. 1947 Marlborough-on-Hudson, NY Grady Kevin Graf, Egon *1925 Leipzig Graf, Johann Graham, John *7. 11. 1851 Grandison, William Granjon, Robert *1513 - #16. 11. 1589 Rom Grasson, Patrick Grasswill, Bruno Gray, William Green, Charles Green, Norman Greene, Alan Greenwell, Robert Greinke, Hans-Peter *1. 2. 1936 Deutsch Wette Grey, Gregory Grieshaber, M. Griffin, D. Griffin, Frank Griffith, Chauncey Hawley *1879 Irontown - #1956 Griffo, Francesco *1450 - #1518 Griggs, Frederick Landseer Maur *1876 - #1938 Grignani, Franco *4. 2. 1908 Pieve #1999 Mailand Groot, Lucas de *21. 6. 1963 Nordwijkerhout Gross, W. Grover, Sally-Ann Gruner, Erich *14. 11. 1881 - #1966 Guerra, Alfred Guma, A. A. Gunn, Liz Bruno Gurner Gürtler, André *5. 9. 1936 Basel Gutenberg, Johannes *c.1394 - #1468 Gysi, Paul Haas, Robert *16. 4. 1898 Haas der A"ltere, Wilhelm *1741 - #1800 Haberly, Lloyd Hadank, Oskar Hermann Werner *17. 8. 1889 Berlin - #17. 5. 1965 Hamburg Hägerling, Stefan Haft, Betti Hague, Gareth Hailey, D. Halim, Samy Hall, Rosemary calligraphyfonts.com Hameau, Séverine *1970 - #1995 Ham, Marianne van Hammer, Viktor *9. 12. 1882 Wien - #10. 7. 1967 Lexington Hamon, Pierre Handy, John #1792 Hansen, Björn Harary, Frank Hartley, Don Hartmann, Monika Harton, Robyn A. *1964 North Carolina Hartz, Sem Louis *28. 1. 1912 - #25. 10. 1995 Hasse, Robert Hattenbach, Stefan *1961 Stockholm Haupt, Saul Haus, Reinhard *25. 5. 1950 Dörnigheim Haust, Malte Hayes, Adam Hayes, Nick Hegemann Hein, Helge Heine, Frank *1964 Henklein, Adolf Le Hennemann Henning, Hildegard Henrion, Frederick Henri Kay *18. 4. 1914 Nürnberg - #5. 7. 1990 London Herman, Otto Herron, Stephen Hersey, John Hertwig, Max *1881 Bunzlau Herz, Jörg Hewitt, William Graily *1864 London - #1952 Heximer, Matt Heylen, Christophe Hicks, John Hickson, Pat Hickson, Paul Hidy, Lance Hill, Joseph Eliot Hills, David Hines, Roger V. Hinge, Michael Hite, Harold Hladilo jr., Rado Hodgkinson, Geoffrey Hodgson, Marley Hoefer, Kargeorg *6. 2. 1914 Schlesisch-Drehnow - #2001 Hoefler, Jonathan *22. 8. 1970 New York Herrenbreitingen - #12. 10. 1935 Frankfurt am Main Hofelich, Ursula Hildesheim - #21. 9. 1926 Berlin Hofmann, Thomas Hogue, Jason Holdenstone, James de Holland, Hollis W. Holton Lindsay Hooper, Justin Hoppe Volkmar Horman, Robert Hosoya, Seiji House, Richard L. Howard, William Howe, Peter Howell, Robert Hubbard, Richard *1971 Torrington, CT Huber, Jürgen Hudson, John Hünecke, Fedor Huggins, Cleo Hunter jun., Dard *1917 - #1989 Hunter, Richard Hunziker, Hans-Jürg *1938 Hutchinson, Hay Hutchinson, M. Iliprandi, Giancarlo Image, Selwyn Immig, Cornelis Ipsen, Ludvig S. Irvin, Rea *1881 - #1972 Israel, Marvin Ivir, Milo Dominik *1968 Zagreb Jacquemin Jäger, Gustav *1925 Jäntsch, Günter Jagodzinski, Martin Jakob, Gerd Sebastian James, David Jannon, Jean *1580 - #1658 Sedan Jardí, Enric Jarland, Michel Jensen, Dick *1926 St. Paul, Minnesota - #2000 Edina, MN Jicha, Charles Jochheim, Konrad Jörgensen, Helge John, James A. *23. 9. 1842 Harbor Grace - #1901 Johnson, Hedda S. Johnson, Hugh Johnson, Michael Johnson, William Martin Johnston, Edward *11. 2. 1872 San José/Uruguay - #26. 11. 1944 Ditchling Jones, J. Jones, Randall Jones, Richard Jordan, Matthias Jordan, Mott Joseph Jules Jost, Heinrich *13. 10. 1889 Magdeburg - #25. 9. 1948 Frankfurt am Main Jou y Senabre, Louis *1882 Garcia - #2. 1. 1968 Les Baux Jubert, Roxane *1969 Jukkema, H. Julino, Florian Jung, Andreas *1968 Schorndorf Junk, Rudolf *23. 2. 1880 Wien - #20. 12. 1943 Rekawinkel Källarsson, Claes *1979 Kaes, Markus Kage, Manfred Kahan, Teri www.terikahandesign.com Kaiser, Erhard *1957 in Quedlinburg Kaiser, Rae *1951 Marshfield, WI Kálab, Method *10. 7. 1885 - #17. 11. 1963 Kapr, Albert *20. 7. 1918 Stuttgart - #31. 5. 1995 Leipzig Karafa, John Kare, Susan *1954 Ithaca, NY Karl, Andreas Karle, J. J. Katorsky, Oleg Kausch, Rudolph Kay, Alexander *6. 6. 1827 Edinburgh Kayser, A. Keere, Hendrik van den *c. 1540 - #1580 Kegler, Denis www.p22.com Kegler, Kevin www.p22.com Kegler, Mariah www.p22.com Kegler, Richard *1965 Buffalo, NY www.p22.com Kelly, Brian Kelly, Phillip Kelton, Ed Kemp, Carol *1965 Kennedy, Tom Kent, Nicholas D. Kerr, Maximilan Kettler, Howard G. *1918? - #1999 Keul, Catinka Khattar, Nasri Kindersley, David *11. 6. 1915 Codicote - #2. 2. 1995 Cambridge Kin-Fan Lo, Peter King, Mary-Anne King, Patty Kinner, Jock *1917 Kirman, John Kirouac, Paul Kirstein, H. J. Kirwan, John Kirwin, Jennifer Kis, Nikolaus (Miklós) *1650 Alsómisztótfalu - #1702 Kolozsvár Kisman, Max *26. 1. 1953 Doetinchem Kiss, Zoltan Klassen, Tony Klauss, Karl *1888 Maichingen - #1956 Stuttgart Klein, Manfred *1932 Klimek-Falke, Andreas Kloos-Rau, Rosmarie www.die-zwei.net Kloth, Lothar *24. 3. 1951 Knipschild, Ansgar Kobayashi, Akira *1960 Koch, Andreas Koch, Erwin Koch, Paul *19. 1. 1906 Leipzig - #Januar 1945 Russland Kochan, John König, Heinz (Heinrich) *29. 2. 1856 Lüneburg -# 18. 8. 1937 Lüneburg Konrad, Ray Koren, Eliahn *1907 Nürnberg Kortemaeki, Sami Kossack, Fritz *16. 12. 1927 Radebeul Kossmann-Markus, Jeannette *10. 7. 1923 Rotterdam Kóthay, Gábor *19. 7. 1962 Koven, Mack Koziar Myron Kral, Joseph *29. 4. 1974 Faribault, MN Kramer, Dale R. Krátky, Andrej Krause, Henning *1965 Kremers, Marloes Kress, George Kropshine, Betsy Kropshine, Kelly Krstich, Luca Krüger, Carlo Kubik, Maureen Kühn, Georg Küster, Volker *1941 Wernigerode Küsters, Christian Kugler, Georg Kulbe, Carl *1865 - #21. 9. 1936 Kuzma, Paul Kwiatkowski, Inga Laan, Paul van der *27. Dezember 1972 Wormerveer Laberge-Milot, Marie Fréderique Laich, Reiner Lambert, Fred Lamby, Ulf Lamkay, Victor Lang, Faul Lange, Günter Gerhard *12. 4. 1921 Frankfurt/Oder Lange, Rolf Langer, Helmut Larabie, Ray Larcher, Jean *28. 1. 1947 Rennes Larsen, Arthur Lasgi, Franc,ois Lavson, Margaret Lawrence, Les Lawrie, Richard *1949 Laxa, Isabell Layson, Margaret LazarisS. N. Leavitt, George B. Lee, Christopher Lee, Geoffrey Lefevre, Joffre *1945 Muskegon Leif, Thomas Lemo, David Lenz, Max *28. 4. 1918 Romanshorn - #25. 1. 1998 Leonard, Everett G. Leonardi, Alessio *1965 Florenz Leonhard, Michael Leonidas, Gerry *1968 www.gerryleonidas.com Levy, Paul M. Lew, Kent *1962 www.kentlew.com Lias, Edward J. Liche, Ingrid www.liche.de Licko, Zuzana *2. 10. 1961 Bratislava Lieberman, Frank Lightfoot, Sue Lillie, Patricia Lin, Eric Lincoln, Thomas W. Lind, Barbara Lindemann, Gabriele Lindholm, Andreas Lipton, Richard * New York Lisson, Sidney Little, Andrew Llja, K. Loan, Trevor Lo Celso, Alejandro *1970 Cordoba Locerg, Kelvin Tan Teck Lochu, Jean *1939 Loewe, M. Loison, Jacques Lombardo, Joseph Long, Andy Longley, Stuart Loon, Chew Lopez, John Lotz, Benjamin de *26. 3. 1973 Lounsbury, Harrison T. *1831 Lovitch, Steve Low, Markus J. Luce, Louis-René *1695 - #1774 Lucid, Brian Ludwig, Richard *1877 Lüdicke, Frank Luin, Franco *1941 Triest Lunar, Joseph Lundeen, Steve Luteyn, Roger Lyles, Jim *1955 Lyne, A. E. Lyons, Tony Lyttleton, David Maag, Bruno Macagba, Jonathan Mader, Viktor Maehler, Heinrich *1863/1864 ? - #1931/1932 ? Offenbach Mair, Damien Majoor, Martin *14. 10. 1960 Baarn Mallet, Franc,ois-Marie *1969 Mandel, Ladislas *1918 Mangat, Conor *1968 London Manso, Eudardo Manuella, Roberto Mardersteig, Giovanni (Hans) *8. 1. 1892 Weimar - #27. 12. 1977 Verona Marino, Mary Louise Marshall, David Martin, Phil Martin, William *um 1765 Birmingham - #1815 London Martinez, G. F. Marur, Mouli Matson, Mike Matt, John *1939 - #1989 Matthews, Christopher Maunder, Martha Max, Peter May, F. F. #28. 4. 1888 May, Paul Mayet, Claude McArthur, Richard N. *1882 Lumberton - #1956 McAuley, Lee Martin McCament, Robert McDonald, Rod McDowell, A. McFadden, Irwin McGrath, Bob McGregor, Chris McMurtrie, Douglas Crawford *1888 Belmar - #1944 Meave, Gabriel Martinez Meester, Antony De Megaw, Dennis Megee, Garnett Mehallo, Steve Meidel, Gustav Meier, C. H. Meier, Hans Eduard *1922 in Horgen Meier, Hans G. Meier, Klaus Meissner, Ewald Melching, John Mengelt, Christian *1938 Mendelssohn, Georg von Menne, Inka Mercer, Allen Merlault, Alexis Meseguer, Laura *1968 Barcelona Messick, Michael A. Michas, William Michel, M. Michels, Nicole Miggas, Steve Mika, Kazimierz Miles, John *1931 Milano, Giulio da Mills, William Ross *25. 3. 1970 Vancouver Millstein, William Milton, Ingo Miracle, Ricard Giralt *1911 - #1994 Miscomini, Antonio di Bartolomeo *c.1445 - #1495 Moesman, Johannes Hendrikus *1909 Utrecht - #1988 Mogush, William Monaco, Frank Montalbano, James Montgomery, Robert Moore, Guernsey *1925 Moore, Isaac Moore, Keith Moore, Maurice J. Mouchel, Marcel Morelli, Anna Morgan, D. Morillas, Antoni Morin, Roger Morishima, Hiroshi Morris, Dean Morris, William *24. 3. 1834 Walthamstow - #3. 10. 1896 London Morison, Stanley *6. 5. 1889 Wanstead - #11. 10. 1967 London Mouzouri, Katerina Müller, F. Mueller, Rick Müller, Stefan Müller-Lancé, Joachim *1961 Munch, Gary *1953 Munthe, Gerhard *1849 - #1929 Murphy, Stephan B. Murr, Günther Murray, John R. Murray, W. Naegelen, Andre Napoleone, Silvio Narkiss, Zvi *1921 Botosani/Rumänien Nash, Anthony *1944 Bristol Nazaroff, Jamie *1974 Nebiolo, Richard www.richardnebiolo.com Nelson, David Nelson, Guy Jeffrey Nelson, Stanley R. *1948 Ness, Helmut Neubauer, Klaus Neuburg, Till Neville, Paul H. Nevins, Peter *1968 Newman, Bob Newsome, Timothy Newton, Andrew Nicholas, Robin *25. 4. 1947 Westerham Nichols, Frank Nicholson, Joe Nieman, Kenneth Niet, R. de Nineuil, Olivier *1964 Nix, Charles *1967 Ohio Nodel, Sol Nonnen, Theo Nordzij, Christoph Noordzij, Gerrit *2. 4. 1931 Rotterdam Noordzij, Peter Matthias *27. 1. 1961 Den Haag Norton, Robert *1929 London - #7. 3. 2001 Norton, S. E. Novarese, Aldo *29. 6. 1920 in Pontestura, Monferrato - #16. 9. 1995 Turin Nugyen, Hat O'Brien, Ken Ogg, Oscar Ohlman, Arthur Olena, Douglas F. *5. 5. 1953 Olyff, Clotilde *1962 Ong, Peter Oprescu, Ovidiu Oriania, Luigi Ortiz-Lopez, Dennis www.ortiz-lopez.com Oster, Robert G. *29. 9. 1959 Tanunda Otto, Franciszek Pace, Antonio Paczkowski, Lisa von Pape, Theo Papirtis, Charles Paput, Christian *1951 Parker, Robert Parker, Wadsworth A. *1864 - #1938 Petersburg, VA Parkinson, Jim *1941 Richmond, CA www.typedesign.com Parmentier, Henri Pasquini, Eric Patel, A. Patellière, Jean de la Patterson, Ian Patterson, Jane Paul, Tony Offenbach - #6. 10. 1989 Bad Soden Pavard, Marie-Aline *1964 Peach, Charles Pears, Harry Pearsall, Judy Frye Pelletant Pennanen, Erkki Pennington, Davis Peter, Friedrich *1933 Peter, John Peters, Kate *1964 Petrick, Robert Petters, Michael Petti, William Petty, Matt www.disturbed.com Phillips, Frederick Plantin, Christophe *1520 Saint-Avertin - #1. 7. 1589 Antwerpen Pless, André Pllán-Prado, José Plumet, Charles *1925 Poell, Erwin *1930 Ravensburg Poirier, Desmond Ponot, René *13. 5. 1917 La Houssaye, Seine et Marne Pool, Albert-Jan *1960 Amsterdam Popielaty, Gerd-Dieter Porson, Richard *25. 12. 1759 East Ruston - #28. 9. 1808 London Portron, Michel Posch, P. J. Posekany, Jindrich Post, Herbert *13. 1. 1903 Mannheim - 17. 7. 1978 Bayersoien Pott, Gottfried *21. 6. 1939 Lahnstein Powell, Gerry *1899 Pracht, CarI *1899 - #1965 Prado, José Pllán Prah, Herbert Preston, Roy *London www.lds.co.uk/preston Preuss, Ilka Prue, Paul Puyfoulhoux, Thierry *1961 Quackenbush, O. Quass, Sven Quay, David *3. 1. 1948 London Quentell, William P. Rädisch, Paul Helmuth *2. 6. 1891 Leipzig - 10. 11. 1976 Haarlem Rakeng, Magnus *1967 Lillehammer Rakowski, David *1958 St, Albans, Vermont Rambousek, Jan *1895 - #1976 Ramsey-Passmore, Renee Rand, Paul *15. 8. 1914 New York - #26. 11. 1996 Norwalk Ratdolt, Erhard *1447 - #1528 Rauschenbach, E. Raven, Darren Raymond, Bruce Rechel, Connie Redick, Joy Rees, Dudley Regnard, Guillaume Reid, John Reiling, Peter Reilles Jean-Louis *1947 Reiner, Imre *18. 8. 1900 Versec - #21. 8. 1987 Lugano Reiners, Norbert *1967 Reiss, Fritz Winold *1886 - #1953 Renberg, Marius Rennebeck, Ernst Reuss, Achaz Rey, Jean-Franc,ois Reyes, Mauricio Rhein, Gustav Richardson, Jon Richter, K. Richter, Marcel W. Ricketts, Charles *1866 in Genf - #1931 London Riedel, Alfred *1906 Waldkirch - #9. 3. 1969 Freiburg Rimmer, James *1934 Ritter, John Robbins, David Robert, Franc,ois Robichaud, Daniel Rochaix, T. Rodil, Claudio Rodriguez, M. Roshell, John Roske, Daryl Rossum, Just van *13. 7. 1966 Haarlem Roste, Jeff Rothschild, Noah *1983 Buffalo, NY Rottke, Fabian *Essen Rubin, Noel Jason Ruffa, Gregory RussellJohn Russo, Nicola Ryan, George Sabon, Jakob *c1535 Lyon - #1580 Frankfurt am Main Sack, Freda *1951 Sadler, Robert Saglam, T. Sagorski, David *Kansas Sagvan, John Sahre, Paul Sakwa, Jacqueline Sallwey, Friedrich Karl *16. 10. 1918 Langen Salter, Georg *1897 Bremen - #1967 Samata, Greg Sander, Meike Sarmiento, G. P. Sassoon, Rosemary *1931 Saunders, Patricia Saurí, Sires A. Sayer, Manfred Semmad, Taouffik Seymour, Ralph Fletcher *1876 Milan, IL - #1966 Shanks, Alexander Schäfer, K. H. Schäfer, Ole *1970 Schäfer, W. Schaeffer, S. Allyn Schilling, Margott Schlesinger, Stefan *1896 - #1944 Schmid, Marie Stone, Alan Reynolds *1909 - #1979 Schmitter, Freed Schnäbele, Thomas Schneidler, Peter Schneller Schnoor, Herman Schöpp, Simone *1962 Wuppertal Scholten, Dirk *1890 - #1940 Schostok, Thomas Schwäbisch-Gmünd Schuiling, Brian Schulz, Johannes *1875 Schultze, F. Sciullo, Pierre di Scott, Darren Scunilas, Thaddeus See, Bill Segall, Larry Seki, Akihiko Semmad, Taouffik Sevell, Sidney Shamal, Angus R. Shannon, H. S. Sheldrake, Douglas Shevack, Brett Shore, Frank Sicre, Patricia Sill, G. Reed Simon, H. A. Simonson, Mark *1965 Sparta, WI www.ms-studio.com Simpson, Kevin Singer, Alex *1971 Sini, Anthony Slaughter, Carl Slimbach, Robert *15. 12. 1956 Evanston Slingerland, Elmo van *1964 Slutsker, Isay Salomonovich *25. 9. 1924 Orel - #20. 1. 2002 Slye, Christopher Smeets, Alfred Smit, Leonard H. D. *1917 - #1986 Smital, Svend Smith, Andrew Smith, Charles William Smith, Clayton Smith, David *1971 Smith, E. Smith, Richard Smith, Robert E. *1910 Chicago Smith, Scott Smith, Shirley Smith, Thomas White *1835 - #1907 Smith, William Ford Sneider, R. So/gren, Poul Soendergaard, Ole Soler, Daniel Soroka, Albert Soshensky, David Spall, Ed. van Spehar, Robin Spinadel, Herman Spörer Sprong, R. Stacey, Michael Stainsby, Bruce Stan, Tony *1917 - #1988 Staniland, Julie Steel, Ray Stefanic, Robert Steffen, Felix Stein, Olaf Stern, Claude-Eric Sternberg, Rudolf Stevens, Donald Stevens, Eric Stevens, R. H. Stirling, James Stojan, Jure Stone, Alan Reynolds *1909 Eaton - #1979 Dorchester Stone, Bernard Storm, Frantisek *1966 Prag Stretton, Ann *Racine, WI ann-s-thesia.com Stromberg, Harvey Stutz, Isabelle Suman, George Sutter, Walter Swift, Ian Syed, Ejaz Szoeke, Andrew Szönyei, György Tabet, A. Talbot, Russell Tarbeev, Dmitry Taylor, Chrsitine Taylor, Joseph Tedlie, W. Teenck, Till F. Terbeck, Christian Thaker, D. Thalwieser, Antal Thevenet, J.-P. Thiesen, Matthias Thomas, Friedel *1895 Thomas, George Thomás, Jan Thompson, Bradbury *1911 Topeka, KS - #1997 Thompson, Clifford Thompson, Greg *1958 Thompson. Tommy (Samuel Winfield) *1905 Blue Point, NY Thoms, Helmith Timen, Tintin Tinnes, Andrea Tissi, Rosmarie *1937 Tomita, Jun *Kyoto Toriumi-Lawrence, Carol Torre, Christina *1977 Toscano, Anthony Toumbalis, Giorgos Toutain, G. Tovaglia, Pino Tracy, Walter *14. 2. 1914 - #1995 Trafton, Mary Treacy, Joseph *1955 Trenker, V. Trump, Georg *10. 7. 1896 Brettheim - #21. 12. 1985 München Tschichold, Jan *2. 4. 1902 Leipzig - #11. 8. 1974 Berzona Tsim, Stephen www.archetype.com Tuch, Melvin Tucker, Jason Tudor, Charles William *1903 - #1970 Tusar, Slavoboj *1885 - #1950 Uchida, Robin Ugarte, Gustavo Uhlemann, Karl Unger, Gerard *22. 1. 1942 Arnhem Unger, Ralph M. Utley, J. E. VanderLans, Rudy *10. 10. 1955 Voorburg Vanlokkeren, M. La Vardera, Gregory Veldheer, J. G. *1860 - #1954 Velikov, Christo Veljovic, Jovica *1. 3. 1954 Suvi Do Vellvé y Mengual, Tomás *1927 Veres, Paul *1944 Budapest Vermehr, Kai *1964 Frankfurt am Main Vidal, Georges Vignelli, Massimo *10. 1. 1931 Mailand Vincens, Grégori *1976 Vincent, T. Viner, John *1927 Vinne, Theodore Low de *25. 12. 1828 Stamford - #16. 2. 1914 New York Violino, Anthony Walcott, Jason Anthony *1971 Trenton, MI Walker, Emery *2. 4. 1851 London - #22. 6. 1933 London Wallenberg, Rudolf Walorny, Walt Walter, Eva *1964 Walter, Karl Hans *1911 Schwäbisch Gemünd Walton, Brenda www.brendawalton.com Want, Michael *Waltham Abbey Ward, Carla Wells/MN - #1939 New York Warkentin, Karl Heinz Warnke, William Warren, Peter G. *1972 Warshow, Harold Watson, Tony Weatherly, S. M. Weber, Richard Wegener, K. Weinz, David Weir, Martin Weise, Oswald *1880 Weise, Renate Wendler, Wenzel Werner, Ad. West, David West, James *1830 White, Kenneth Whitmore, Thomas Whyte, Hugh Wicker, Simon Wiener, Chris Wiese, John Williams, Adrian Colin *1950 Bridgwater Williamson, Robert Willson, Brian Wilson, Adrian Wilson, Guy Jeffrey Wilson, James Winter, Renée Wong, Jeanyee Wright, Michael L. Wu, John Wunderlich, Martin Wüsten, Werner Wyatt, Jane Wyborn, Raymond Yagi, Ternoki Yakovenko, Margaret Yates, Tony Yavroyan, John Zapf-von-Hesse, Gudrun *2. 1. 1918 Schwerin Zudeck, Milton Zymarkis, Gus Schneider, Fred Schneider, Hans http://www.typedu.org/read/english.html Educational material on typography. Amsterdam Amazone ===> L. H. D. Smits 1959 Flex ===> George Salter 1937 Reiner Script ===> Imre Reiner 1951 Rondo ===> Stefan Schlesinger and Dick Dooijes 1948 Rondo Bold ===> 1954 Studio ===> A. Overbeck 1946 Studio Bold ===> Dick Dooijes 1954 ATF Balloon ===> M. R. Kaufmann 1939 Balloon Bold ===> M. R. Kaufmann 1939 Balloon Extra Bold ===> M. R. Kaufmann 1939 Bank Script ===> 1911 Bernhard Tango ===> Lucian Bernhard 1933 Brody ===> Harold Broderson 1953 Brush ===> Robert E. Smith 1942 Civilite ===> Morris Benton 1922 Commercial Script ===> 1925 Dom Casual ===> Peter Dom 1950 Dom Diagonal ===> Peter Dom 1950 Dom Bold ===> Peter Dom 1953 Grayda ===> F. H. Riley 1939 Kaufmann Bold ===> M. R. Kaufmann 1936 Kaufmann Script ===> M. R. Kaufmann 1936 Keynote ===> W. T. Sniffin 1933 Liberty ===> W. T. Sniffin 1927 Lydian Cursive ===> Warren Chappell 1940 Murray Hill ===> E. J. Klumpp 1956 Park Avenue ===> R. E. Smith 1933 Repro Script ===> Jerry Mullen 1954 Romany ===> A. R. Bosco 1934 Thompson Quillscript ===> Tommy Thompson 1953 Bauer Alpha (and BETA) ===> K. F. Bauer and Walter Baum 1954 Bernhard Brush Script ===> Lucian Bernhard 1928 Bernhard Cursive ===> Lucian Bernhard 1925 Bernhard Cursive Bold ===> Lucian Bernhard 1928 Cantate ===> J. J. Sierck 1958 Cartoon Light ===> H. A. Trafton 1936 Cartoon Bold ===> H. A. Trafton 1936 Gillies Gothic Bold ===> W. S. Gillies 1935 Gillies Gothic Light ===> W. S. Gillies D 1935 Graphik ===> Ernst Schneidler 1934 Legend ===> Ernst Schneidler 1957 Lithographica ===> Ernst Schneidler 1934 Maxim ===> Peter Schneidler 1955 Papageno ===> Richard Weber 1958 Stradivarius ===> Imre Reiner 1945 Trafton Script ===> H. A. Trafton 1933 Trinon ===> H. Wieynck 1905 Wieynck Kursiv ===> H. Wieynck 1911 Berthold Ariston Light ===> Martin Wilke 1933 Ariston Medium ===> Martin Wilke 1936 Ariston Bold ===> Martin Wilke 1934 Boulevard ===> G. G. Lange 1955 Caprice ===> Martin Wilke 1939 Champion ===> G. G. Lange 1957 Derby ===> G. G. Lange 1953 Dynamik ===> Herbert Post 1952 Jacobea ===> Jacoby-Box 1928 Jiu-Jitsu ===> Hubert Dassel 1936 Knock-out ===> Hubert Dussel 1936 Palette ===> Martin Wilke 1951 Reiner Black ===> Imre Reiner 1955 Signal Light ===> W. Wege 1932 Signal Medium ===> W. Wege 1931 Signal Bold ===> W. Wege 1932 Deberny&Peignot Calligraphiques Noires ===> 1928 Ondine ===> A. Frutiger 1954 Scribe ===> Marcel Jacno 1937 Genzsch&Heyse Adagio ===> 1939 Arkona ===> Karl Klaus 1935 Arkona Bold ===> Karl Klaus 1935 Ballerina ===> Fox ===> Walter Rebhuhn 1955 Hobby ===> Werner Rebhuhn 1955 Klaus Kursiv ===> Karl Klaus 1956 Oleander ===> Verona ===> Helmut Matheis 1959 Intertype Klingspor Gavotte ===> Rudo Spemann 1940 Holla ===> Rudolf Koch 1932 Lanston Monotype Artscript ===> Sol Hess 1940 Flash ===> Flash Bold ===> Stylescript ===> Ludlow Admiral Script ===> R. Hunter Middleton 1962 Coronet ===> R. Hunter Middleton 1937 Coronet Bold ===> R. Hunter Middleton 1937 Flair ===> R. Hunter Middleton 1961 Florentine Cursive ===> R. Hunter Middleton 1956 Hauser Script ===> George Hauser 1937 Mandate ===> R. Hunter Middleton 1934 Mayfair Cursive ===> R. Hunter Middleton 1932 Wave ===> R. Hunter Middleton Monotype Ashley Script 574 ===> Ashley Havinden 1955 Dorchester Script 436 ===> Forte ===> Carl Reissberger 1962 Grosvenor Script 495 ===> Light Script 551 ===> Matura ===> Imre Reiner 1938 Mercurius ===> Imre Reiner 1957 Pepita ===> Imre Reiner 1959 Script Monoline 351 ===> Temple Script 455 ===> Choc ===> Roger Excoffon 1955 Diane ===> Roger Excoffon 1956 Mistral ===> Roger Excoffon 1953 Stempel Ariadne ===> G. Zapf von Hesse 1954 Balzac ===> Johannes Boehland 1951 Bazaar ===> Imre Reiner 1956 Diskus ===> Martin Wilke 1955 Diskus Semi-Bold ===> Martin Wilke 1955 Elan ===> Hans Mohring 1937 Gladiola ===> Martin Wilke 1936 Hoyer Schonschrift ===> Hans T. Hoyer Kunstlerschreibschrift Fette ===> Hans Bohn 1957 Mustang ===> 1956 Petra ===> Heinrich Pariser 1954 Virtuosa I and II ===> Hermann Zapf 1953 Stephenson Blake Amanda Ronde ===> Wagner and Schmidt 1939 Bologna ===> 1946 Copperplate Bold ===> 1953 Francesca Ronde ===> 1948 Imperial Script ===> Invitation Script ===> London Script ===> Imre Reiner 1957 Marina Script ===> 1936 Palace Script ===> 1923 Parisian Ronde ===> 1905 Union Pearl ===> Youthline Script ===> 1952 Sami Kortemäki Underware www.underware.nl www.typeworkshop.com Sami Kortemäki (born 1975) lives and works in Helsinki, Finland. He studied graphic design at the Institute of Design in Lahti, Finland and at the Royal Academy for Fine and Applied Arts in The Hague, Netherlands. In 1999, together with Akiem Helmling and Bas Jacobs he founded Underware, a graphic design studio which specializes in designing and producing typefaces. These are often conventional in terms of legibility yet functional, having concepts that seek for new visual, typographic and linguistic possibilities. These typefaces are published for retail sale or are custom designed. Underwares retail typefaces include Auto, Dolly and Sauna. Underware studios are based in the Netherlands and Finland. Underware also holds typographic workshops in various locations which can be followed online. The Typeworkshop website has a section called type basics, which shows practical visual examples to get started on designing ones own font. Every now and then Underware makes worldwide internet-broadcasts about type-girls&guys at their own radio channel, Typeradio (www.typeradio.org). Jorma Hinkka Graafiset Neliöt Oy www.gr2.fi Jorma Hinkka (born 12 January 12 1943 in Helsinki, Finland) entered the advertising business as a messenger boy at age seventeen. Three years later he started his studies at the Department of Graphic Arts at the School of Industrial Arts (later the University of Art and Design in Helsinki). After his studies Hinkka spent 30 years in advertising, finally as a partner in an agency specialized on business-to-business advertising. Thirteen years ago he jumped out, and started his own graphic design studio, Graafiset Neliöt. He now specializes mainly on design for art and photo books. Hinkka has written and lectured on typography, his special interest, and two years ago visited briefly as a professor at the University of Art and Design. Hinkka is a columnist for the magazine Grafia, a quarterly published by Grafia, the Finnish organization for graphic design. Grafia nominated him as Graphic Designer of the Year in 1997. Program: http://www.atypi.org/07_Helsinki/30_program/20_main_program Aaron Marcus He spoke at ATypI 2005 in Helsinki on Type issues for the twenty-first century. Alessio Leonardi He spoke at ATypI 2005 in Helsinki on From the cow to the typewriter. %Q Ebru Baranseli %N 23940 %B nothing %T Turkish graduate from Hacettepe University, FADA, Graphic Design Department, in 1996. He started an MFA in Anadolu University in Eskisehir, where he graduated in 2003. He now works as an instructor there. He spoke at ATypI 2005 in Helsinki on Alphabetical revolution and the effect of Turkish typographic design. %d Jun 14 2005 %L FO-TU http://typographi.com/000177.php Mindcandy on typographica: Jeff Gillen blows up in 2002 and gets accused again in 2005. ------------------------------------------------------------------ Achilles-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1910 Linotype, Frankfurt am Main, als Merkantil-Fraktur Altgotisch Schriftkünstler unbekannt Verschiedene Giessereien um 1900 Alt-Gotisch, Amerikanische siehe Altgotisch, Halbfette Altenburger Gotisch Hans Wagner Ludwig & Mayer, Frankfurt am Main, 1928 Ariadne-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1912 Linotype, Frankfurt am Main, als Badenia-Fraktur Arminius-Fraktur Hausschnitt ? Stempel, Frankfurt am Main, 1905 Linotype, Frankfurt am Main, als Rheinische Fraktur Britannia-Gotisch, Fette (Variation der Altgotisch, Halbfette) Bauersche Giesserei, Frankfurt am Main Büxenstein-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1912 Caslon-Gotisch William Caslon, um 1760 Offizin W. Drugulin, Leipzig, vor 1900 Stempel, Frankfurt am Main, 1924 Ceres-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1903 Linotype, frankfurt am main, als Gutenberg-Fraktur Danziger Fraktur Cohn Stempel, Frankfurt am Main, 1905 Deepdene Text F. W. Goudy Village Letter Foundry, Marlborough, 1931 Deutsche Kursiv Richard Ludwig Ludwig & Mayer, Frankfurt am Main, 1909 Duchesse Hausschnitt ? Bauersche Giesserei, Frankfurt am Main Edison siehe Houghton Egenolff Hausschnitt ? Ludwig & Mayer, Frankfurt am Main, 1905 Egmont-Fraktur Stempel, Frankfurt am Main, 1909 Linotype, Frankfurt am Main, als Jänecke-Fraktur Elite-Kanzlei Hausschnitt Stempel, Frankfurt am Main, 1905 Erfolg Hausschnitt ? Genzsch & Heyse, Hamburg, 1920 Fenella-Fraktur Linotype, Frankfurt am Main, 1911 Stempel, Frankfurt am Main, als Alemannen-Fraktur Fritz-Reuter-Schrift siehe Bauernschrift Fröbel-Fraktur Stempel, Frankfurt am Main, 1910 Linotype, Frankfurt am Main, als Silesia-Fraktur Gotika Imre Reiner Bauersche Giesserei, Frankfurt am Main, 1933 Gotisch Hausschnitt ? Bauersche Giesserei, Frankfurt am Main, um 1860 Gotisch, Englische Hausschnitt Genzsch & Heyse, Hamburg, vor 1902 Gotisch, Fette Hausschnitt Genzsch & Heyse, Hamburg, um 1902 Gutenberg-Jubiläums-Fraktur Hausschnitt ? Stempel, Frankfurt am Main, 1900 Humboldt-Fraktur Hiero Rhode Stempel, Frankfurt am Main, 1938 Luthersche Fraktur Stempel, Frankfurt am Main, 1934 Marius-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1910 Linotype, Frankfurt am Main, als Herold-Fraktur Nederduits (Fleischmann-Gotisch) Johann Michael Fleischmann Joh. Enschede, Haarlem, ca. 1750 Neue Fraktur Hausschnitt ? Wagner, Leipzig, 1927 Neue Fraktur extrafett Hausschnitt ? Wagner, Leipzig, 1927 Offenbacher Fraktur Hausschnitt Gebr. Klingspor, Offenbach, um 1900 Renata Hausschnitt Bauersche Giesserei, Frankfurt am Main, 1914 Romulus-Fraktur Hausschnitt Stempel, Frankfurt am Main, 1910 Linotype, Frankfurt am Main, als Merzbach-Fraktur Steiner-Prag-Schrift Hugo Steiner-Prag Genzsch & Heyse, Hamburg, 1914 Werk-Gotisch Hausschnitt Ludwig & Mayer, Frankfurt am Main, um 1900 Werther-Fraktur Hausschnitt Genzsch & Heyse, Hamburg, um 1900 Wieynck-Fraktur Heinrich Wieynck Bauersche Giesserei, Frankfurt am Main, 1915 Wieynck-Kanzlei Heinrich Wieynck Stempel, Frankfurt am Main, 1926 http://graphic-design.com/Type/Technique/Shakin/Rakowski/Starburst.html Thaulez, J. P. 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www.unicode.org/ www.unleash.com/ www.varian.net/ www.vdl.co.jp/ www.vectro.eserver.ru/ www.vintagetype.com/ www.visionsedge.com/ www.vladobladm.vtsnet.ru/ www.waldorfschrift.de/ www.webchantier.com/ www.webfontlist.com/ www.webfxmall.com/ www.webgate.dk/ www.ykt.ru/ www.zeiss.net.ru/ www2.odn.ne.jp/ ylab.rudtp.ru/ yomaker.narod.ru/ Alexandria Gophmann: Ruritania (2005). Zeferino Three (2005). ----------------------------------------------- Version 0.2 August 29, 2004 added polish and other characters (128+248) Version 0.1 July 17, 2004 initial release drw-rw-rw- 1 user group 0 Dec 6 20:57 TYGRA drw-rw-rw- 1 user group 0 Aug 24 11:37 Tadahiro Fukai (red design) drw-rw-rw- 1 user group 0 Aug 18 09:08 tiposGráficos drw-rw-rw- 1 user group 0 Aug 9 00:55 type.fi drw-rw-rw- 1 user group 0 Jul 25 10:10 Testuya Shiroishi drw-rw-rw- 1 user group 0 Jun 18 2005 tony demarco drw-rw-rw- 1 user group 0 Jun 7 2005 Toshie Ueda drw-rw-rw- 1 user group 0 May 14 2005 Tony Mayers (ABC Types Absolute Types) drw-rw-rw- 1 user group 0 May 3 2005 Tobias Ulrich drw-rw-rw- 1 user group 0 Apr 20 2005 Third Entertainment (see Maniackers&Third Company) drw-rw-rw- 1 user group 0 Apr 19 2005 Tom Mouat's MapSymbs drw-rw-rw- 1 user group 0 Mar 31 2005 Telegraphics drw-rw-rw- 1 user group 0 Mar 29 2005 Thomas Castro (LUST) drw-rw-rw- 1 user group 0 Mar 3 2005 tint.de drw-rw-rw- 1 user group 0 Jan 23 2005 tiypo drw-rw-rw- 1 user group 0 Dec 26 12:26 Stylus Lettering drw-rw-rw- 1 user group 0 Dec 4 00:43 slut digital type drw-rw-rw- 1 user group 0 Nov 1 11:06 Software Ignegneria drw-rw-rw- 1 user group 0 Nov 1 10:51 Slavo Ulicny (www.studio49.sk) drw-rw-rw- 1 user group 0 Oct 3 08:45 sean liew khengy huat drw-rw-rw- 1 user group 0 Sep 22 16:18 Sizzlets Alphabets Fonts drw-rw-rw- 1 user group 0 Aug 17 09:49 Steve Borthick drw-rw-rw- 1 user group 0 Aug 17 09:42 Steve Kettell drw-rw-rw- 1 user group 0 Jul 15 2005 Swifty's Funky Fonts drw-rw-rw- 1 user group 0 Jul 15 2005 S E Walker drw-rw-rw- 1 user group 0 Jul 10 2005 Saleh Al-Kharashi drw-rw-rw- 1 user group 0 Jun 25 2005 semata drw-rw-rw- 1 user group 0 May 5 2005 scanvec drw-rw-rw- 1 user group 0 May 3 2005 Stehen Payne drw-rw-rw- 1 user group 0 May 3 2005 steve wissner drw-rw-rw- 1 user group 0 Apr 26 2005 sam Lang drw-rw-rw- 1 user group 0 Apr 10 2005 ScrapSupply - Kelly Purkey drw-rw-rw- 1 user group 0 Mar 31 2005 Supersoft drw-rw-rw- 1 user group 0 Mar 13 2005 Suitcase Type Foundry drw-rw-rw- 1 user group 0 Feb 22 2005 [Shimshon -- HEBREW] drw-rw-rw- 1 user group 0 Feb 3 2005 Smiley Faces Type Foundry %N 23939 %B http://moorstation.org/typoasis/designers/klein04/index.htm %Q TypOasis 2004 %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %T Manfred Klein's typefaces from 2004: Bauernschrift (the original Bauernschrift, published in 1911 by Bauersche Gießerei, had a Jugendstil form and a classical gothic form), ArthritishSpringtime, Declared, DigitsCarpet, FraktKonstruct, GalleriaGeometricaA, GalleriaGeometricaB, Logotrainer, MKLatin-Bold, MKLatin-BoldOblique, MKLatinLight, MkLatinLight-Oblique, OldiesButGoodies, RomaMonumentalBC, SportSatyre-Medium, Uncitronica-Medium, Nasenbear, CircusEarth, FolksXXHeavy, PoliticiansWorking, AlkoInitialsFramed, AlkoInitials, CutAwayOne, FragmentBO4, FragmentF, LetterSoupMainz, MKaos-Regular, Menschenskinder, RodGauApesInitials, StoneCapsIngrid, TangramBlack, TangramWhiteBlack, TixBats, TypoApish, Ubahn-Light, Ubahn, UltraCondensedSansSerif, WalbaumTorsoThree-Regular, ArrowFaces, Associations, AssociationsBirds, DotCapsMK, FrakturaFonteria, GuernicaMemories, MultiCapsOne, MultiCapsTwo, Schwabach, SketchesOfSpain, DotsCapsTwo, KleerikaleConBlack, ManiaK, MonksWriting, MonospaceTypewriter, PablosChildren, RuebenNosesFour, SometimesSmiley, TherapeuticApplications, TraditionellSans-Bold, TraditionellSans-Normal, VForVictory, EuroGyptians, Fabeltiere04, GiambattistaDueMille-Oblique, GiambattistaDueMille, KlillLightCondensed, PhonebookFont, PreColumbus, StrokeBorn-Bold, StrokeBorn, TracesOfKandinsky, Amputation, EarthquakeTypewriter, HandwrittenSlim, MyPrivateZoo, PotatoMonsters, RoundOpArt, Sansumi-DemiBold, Sansumi-Regular, Sansumi-UltraLight, Santana-Black, Santana-BlackCondensed, Santana-Bold, Santana-RegularCondensed, Santana, SantanaXtraCondensed, WacObats, Warlord, AfterAtomWar, AnAlphaBetIsmXtreme, AnalphabetismBats, Eulenspiegel, FlyingWomen, FraktalConPablos, KleinsTypen, Napoleodoni, BackgroundBricks, Decreations, Faustant, Faustitalic, GeoGraphics, GuantanamoHumanism, LipoDVectorized, MKritzeleien, Napoleodoni-Bold, ReadingRailroad3D, ReadingRailroad, SchoenspergerCaps, StageGlyphs, StageGlyphsTwo, CarneVale, Cock-Bold, Cock-Italic, Cock (high ascender face), FranklySpokenTwo, GenManipulated, GenManipulatedRounded, KarlasAndManfreds, Lipsiantiqua-Regular, PostConstructivism, PostConstructivismInvers, SketchedCassiusBroken, SpaceGarbage, WinterCoat, Artistiques-Bricks, DoubleBrokenTextura, GoetheGothic, GoetheGothicBold, GoetheGothicOblique, PabloSansCaps, PreRomanCaps, RodgauHeads, ScribblesCalligraphique, SomeParts, SomePartsAlphabet, WomanWithDoveTwo, WritersFont, Russian, SpikyBrush, TechnoMK, Bastarda-K, LuFraktorso, OldGreekButtons, SchwabachScribbles, ToscanButtons, TrajanusBricks, Couples, LookForLeonardo, Morphes, NanaBallett, Rocky, BeastlyBats, ChildrenSketchings, CloseUp, IdenOfMarch, OrnaRosettes, StrangePeople, SurReal, TrajanSmallCaps, Aprilapril, Confuseyecons, Cucumbers, DuererUnd, Exhumations, MankBalloons, MankZieglers, OptimusPrinceps, OptimusPrincepsSemiBold (roman Trajan style), SlabRomana-Bold, SlabRomana-BoldOblique, SlabRomana-Oblique, SlabRomana, CapsRandomish, CapsRandomishBricks, CondensansPaneurope-Medium, CondensansPaneurope-MediumOblique, CondensansPaneurope-Oblique, CondensansPaneurope, HansSchoenspergerRandomish, HelloSirPeter, MankSans-Medium, MankSans-MediumOblique, MankSans-Oblique, MankSans, StencilBricksMK, StencilBricksRandom, AfriquArtes, EggsOne, EggsTwo, EggsnPills, FaceToFace, KarlasWelt, LookBrokenTypes, Schablonski-LessFat, Schablonski (stencil), BlaxxOnGrid, DancingVampyrish, EmkaSansCondensed-Bold, EmkaSansCondensed, Othermil, OwlsNOtherWitches, PrisonBricks, Renaiss-Italic, Runners, VignettSketches, AbsoluteImprovisations, Aparta, BlackLiving, Blowing, BullerBuPapercut-BoldOblique, BullerBuPapercut, CryArgentina, EnFace, EyeBeings, KidsPhantasies, Klats, Linearus, LinearusCentSix, Monofred-UltraLight, Pabloesques, Planless-Bold, Planless, ScribbleDichFrei, SilhouettesAnimalish, Spontifex, Spontifex, TokyoFrankfurtRound, XamStern, BlackSplinters, Linolphabet, Tomahawked, Typobricks, AmericanInhabitants, HypocriSymbols, LastWit, MK-Symbols, StrokesFonds, ThinkBats, UseBats, Klimes, MonoSpatial, Architypogra, CaslonDadaesque, Cuneate, CuneateCaps, MauMauKlein, FatGrafCalliKlein, CavePaint, Goblins, NudesSilhous, RainyDay, AidaSerifaShadow, BodonisBulemy, SuperSansCondLight, Adonis-Bold, Batmania, CactusBlossom, CrazyCrazySans, Eyeballs, FacesAndCaps, FigaroFigaro, FraxBricKs, LaughBajazzo, M-sKetches, MKGrotesque, MoreMonK, NextGeneration, Orcas, PragRoman, RomanGridCaps, StrangeCharacters, TypoTracesOne, Typotraces-Cinque, Typotraces-Four, Typotraces-Three, Typotraces-Zwo, UmDieEckePlus, Vampyrish, VespasianCaps, VespasiansFlorials, Wacofaces04, ZagzagHeads, Klexalfabeta, GotischeMajuskel, PompejiPetit, Birrrdds, Spontcomic, SprayersSujets, TypoElements, WacoMusish, BemBolz, BrokenRoman-Bold, MarinumBreezed, SansFat, Africaans, AllHands, AlwaysPeople, BauAHaus-Black, DeconstructaWide-ExpandedUltra, GrafFittyPunk, LeArchitect, MiszellenKOne, MiszellenTwo, OhLauri, Shamanbats, TrajanusBriX-Invers, TrajanusBricks, TrajanusBricksXtra, Wenceslas-Oblique, Wenceslas, Monofred Ultralight Update, GenotypiPrototype, VivaBodoni, WhatsHappened, Cancellereska, JuniusIrish, LombardPlattfuß, SketchesDuererInvers, TornielloInitials, Birds-Relaunch, KoeppHeads, MiszellenThree, ImperiumCond, KleinsWrittenCaps, SigismundoDiFanti, Zwiebelfisch, ChildWritten, KleinKallig, GoGo, FantasyBats, KarlasMiszellen, LosAngelesBold, MiszCinque, MiszellenQuattro, MouseTraps, LittleRock, Dinotiqua-Heavy, MountFirtree, FarmFont, Karlas704, MesoFaunaBats, PhaistosAlphabet, Quicktypes, AbstractBats, AztecBats, BienMaya, ForefathersSketches, HumanDeformations, MiszellenJuly, NativeAmericans, OldEgyptGlyphs, PeoplesParts, RainmansWeatherreport, SheAndHe, MKlimesCondensed, SansBlack, WinterthurCondensed, MonoSerifBased70, Rehacles, RustiCalligraphia, ScrapDealer, Vampyriqua, Zebraesq, FracturiaSketched, FracturiaSketchedCaps, OrnamentInitials, CavePeoplePainting, FontBetaOne, HierobatsSketches, PrehistFantasies, Roundlings, VampyrBats, WacoheadsTwo, Cybatiqua, HassianUncial, PittoresqJugendstil, BonFood, PoeticRound, ReligionSpirituality, Running Gnomes, WesternPastHeroes, WritersReaders, AdAstra, Practiqua, DistroyA, DottyShadow, QuickMary, QuickMax, StrokeyHand, EasterIslandsToday, EthnicReconstructions, MotherAfrica, Scherenschnitt, Napoleon, Newspaper, RoundSlabSerif, DisPropBold, FishHooks, VariationsForImre, GoticaBastarda, ImresFraktur (modeled after a blackletter by Reiner), ToskanaCapsRound, KidsStuff, MKDingBats, Offbeats, PeopleSketches, StrangeTypes, WeatherBats, MoldauQua, Postertypes, ThinManGiambattista, AnimalTypeFaces, DoubleFaces, ItalianEvolution, TodayRunes, BeachBats, MiszellenEight, PrettyPeople, ZeroPoints, Scherenschnitt, ScissorThree, Crosses, MayanMexican, MKarlasBats, LimesCondensed, SkiCargo, MonogramsToolbox, SerifCaps, SpaceDreams, TaxTaxation, ArrowsCompetition, Damaged, TypewriterCondensed, AfricanAngels, AfricanArtifacts, AfricanQueens, CaviarBats, CircusClowns, Hands, HelloDoc, MedicoBats, ModernPeace, SchoolStuff, LatinumTall-X, LucaPacioliCaps, LucaPacioliRough, UnclassicQuill-Condensed, ChildrenBats, Sketched, Egypt, SlimSans, WeekdaysRomanSlant, AbcariFond, Gastronom, HalfEnough-Bold, HelloweeniA, Mkristall, Stoerung, WildQuill, Artests, Burlesque, Exercises, FacesFaces, MenFiftyTwo, MSkizzen, BradbOGilvy, Centuriqua-Ultra, Ogirema, Africain, Angelinos, Assoziazione, BadCircumstances, FacesTypes, Gymnastics, HalloweenTwo, KidsStuffAdded, Proportions, Roaring29, ToyToy, WellnessBoom, WoodcutsOne, WoodcutsTwo, Bamboo, SansBlackSmall, FilledABC, FolksInCubes, SprayersTypes, JoeCaxton04, AfricEggs, BusinessPeople, DueMillePix, EarlyMidage, Musicus, NiceBoys, Sculpturs, SilhouettA, WildAnimalsOne, WoodcutAnimals, RomanSerif, RomanSerifOblique, DiskO-LightInverse, GreeKish, BatsDa, Djungle, E-Motions, EyesTests, HalloweensUfos, OldEgyptOne, OldEgyptTwo, RareClothes, SeeItInMuseum, SFAliens, Shamanish, TrafficVehicles, Users, Sansibar-CXCondensed, KidsFirstABC, KleinsKrempelTypes, QuasimodoCaps, VisitCard, ZigZagThree, QuadrataRomaMediumOblique, Climbers, EmkaBats, Homunculus, ReligiousSymbols, Schoolish, GrotesqueBoldTallX, RightSo, RomanWoodcut, Diogenes, HappyBirdsday, ProthesisBlack, StylosCapitale, Kinderkram, ReallyAnimalishOne, ReallyAnimalsTwo, VoteMe, JoaoCond-Light, JoaoImprovisations, LeiterplattenSans, ProthesisCaribiqu, ArmadaPirata, Bikers, DancingPeople, DeepSwimmers, Engel, MusicMuseal, PiratesOne, PiratesTwo, PiratesThree, PiratesSymbols, PreColumbats, RohrschachEtcetera, SciencesBats, Swimming Beautys, TrialNError, TwelveYearsAfter, WintersAbstract, WoodcutsAgain, YoungScene, UglyQua, SchneidlerSolitaires, Bibelschrift (with Petra Heidorn), CircusAir, FreeLife, Mirodish, Pixelsoup, PrositBats, Sports, Unlucky, WorkingClassHero, XmasOne, Zoobats, GeosansLightOblique, HoffmanFL, HamletOrNot (with Petra Heidorn), AstroCalligraphs, AstroDingbats, AtHome, BiblishPictures, BusyPeople, FamousBuildings, Landscapes, MoreDancing, Neighbours, RomansAntePortas, Seefahrer, Shopping, TheaterSymbols, Callimundial, OgiremaSlab, Delitsch Initialen, HartzVier, Hingehudelt, Hingeschludert-Black, MatisseThree, MrKlein, RemiDur, Burgfest, DelitschInitialen, UncialeOrnamentale, UncialeXpressLight, AbermalsAnimals, Buddhism, BuyMe!, LifeEyecons, LifeIcons, Tourists, Wintersports, FourEarsArrows, MensFriends, MKartoonsHeads, OetzisTimesWillCome, SportsTraining, XmasBatzz, ClassicBats, FramesAnd, HistoricMoments, OldFramesSymbols, PabloInTown, RomanArchitectura, Sleep, VeryBusy, BrokenHand, Burtinomatic (blackletter based on Burte Fraktur), MonumentA, Athena, DisPropSans, Zyprian, MiscellenDec04, MiszellenK, MoreBusy, OldTestament, ScienceFictions, Taucher, XmasOnMoon, Weiß Fraktur (with Petra Heidorn), DeutscherSchmuck (with Petra Heidorn, based on Schmuck für Deutsche Druckschrift by E. Ege, 1922), SchmaleGotischMK (after type by Ernst Schneidler), SchmalfetteGotisch (with Petra Heidorn, again based on Ernst Schneidler), SchneidlerSchwabachInitials, Serpentina, Schooltime, HistoricPeople, WYSIWYG, MK-Signatures, TheManyMKFaces. %P klein-brille2004.jpg %Z ManfredKlein-LeArchitect.png %Z ManfredKlein-MonogramsToolbox.png %Z ManfredKlein-MonospaceTypewriter.png %Z ManfredKlein-RomanGridCaps.png %Z ManfredKlein-Reclamare.png %Z ManfredKlein-SansBlack.png %Z ManfredKlein-Gotika+Buttons-afterGotika-ImreReiner-1933.gif %Z ManfredKlein-GoticaBastard.png %M DL Squashed Random (T) and Circus Klein (D) %L MK BRUSH ARCH CONSTRUCT DADA 3D DIDONE ARROW BAST TEXTURA TRAJAN UNCIAL TANGRAM MIRO KANDINSKY %Z BurteFraktur-CHKleukens-1928-digitalbyManfredKlein-2004-calledBurtinomatic.gif %Z ManfredKlein-OptimusPrinceps--.png %Z ManfredKlein-OptimusPrinceps.png %Z ManfredKlein-XmasOne-2004.png %Z ManfredKlein-FilledABC.png %Q African theme fonts %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23938 %B nothing %P Africaans066-runner.gif %T African theme fonts include AfricEggs, Africaans, Africain, AfricanAngelsAndSpirits, AfricanArtifacts, AfricanQueens, AfriquArtes, AfroDesigns, Afrobats, ArteAfrique, BlackLiving, BlackSplinters, MotherAfrica, Africanissima (2005), AfricanissimaInvers (2005), AfroParts, AfricQuattro, AfriqueDrawings (2005), AfricanSymbols (2005), MotherAfricaArchetypo (2005), Artefacts Two (2006), AfricArtes (2006), BlacKLinoleum (2006), TribalDesigns (2006), Africaans (2006), African Ghosts (2006), Masks03 (2006), africaArt (2006), AfricanissimaOSix (2006). %L MK FO-AF SAF %Z klein-africa %Q Aliens and space %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23937 %B nothing %P GoGo107-threeeyed.gif.gif %T Aliens and space exploration fonts include Aliens2000 (wonderful masks face), AliensInverse, AliensNew, Androidish, HumanBeingsRedesign, HumanDeformations, HumanParts, HumanPartsPoetry, HumanPartsTwo, MutanTrios, NewAliens, SFAliens, SpaceAttackTwo, SpaceAttacks, SpaceBeings, SpaceCrew, SpaceCrewRound, SpaceDreams, SpaceGarbage, SpaceLivingBTwo, StrangeBeings, StrangeCharacters, StrangeFriends, StrangeFriendsFS, StrangePeople, WebTubbies, StrangersOnEarth (2005), NewAliens (2005), StrangersInTheDays, StrangersTwo (2005), SpaceStationHokus (2005), Space-Beings Two (2006), ExtraTerrestrial (2006), MyRobots (2007), NextGeneration (2007). %L MK TR %Z klein-aliens %Q Animals %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23936 %B nothing %P AnimaliaScissored117-monster.gif %T Animals have always been an important source of inspiration for Manfred, for various reasons---to satisfy his grandchildren (I guess), to make political statements, to have fun, and to design animal-inspired alphabets. Here is a partial list of his typefaces: AIDino-Heavy, AbermalsAnimals, AnimSilhous, AnimSilhousB, AnimalShadows, AnimalShadows2 (2005), AnimalShadowsDrei (2005), AnimalTypeFaces, AnimaliSilhouetti, Animalia, AnimaliaScissored, AnimaliaTwo, AnimalishMK (2007), AnimalishSilhouettes, AnimalsAnywhere, AnimalsMeetings, AnimalsOldfashion (2006), AnimalsPrey (2006), AnimalsTwo, Apish (2005), Austranimals01 (2005), BeastlyBats, BeforeAlphabetsFour, BeforeAlphabetsThree, BigCats (2007), BirdSymbols (2007), BugsNFriends, Butterfly (2007), ButterflyAndCo (2007), CatDogHorse (2007), CatSketches (2006), Cats, CatsCats, CatsCo (2005), ChildrenAnimalsFriends (2005), ChildrensDarlings (2006), CreaturesShadows (2005), CubismCreatures, CyberDinxx, Dillefanten, Dillfanten, DinoSilhous (2006), DinosFragments, Dinotiqua-Heavy, Djungle, DogsDogs, DomesticAnimals, DueTresQuattro (2005), EthnoFont, Fabeltiere04, FarmAnimals, FischersFritze (2006), Fishermans, FlyingSwimming, FroxXMedium, Getier (2005), Getier Two (2005), GetierAnimalish, GraphicAnimals (2005), Horses, HotchPotch, HowDrawAFish, HundeDogsChiens (2005), IhrHunde (2005), Impossibile, Insects (2005), Insects07 (2007), InsectsMK (2005), InsectsTwo (2006), KaraBenNemsi, KarawaneSilhous, Krabbeltiere, LandAnimals, LetsDance, LionsClub, LittleFriendsTwo (2005), Lorbeer, M-AnimalsUno (2006), MAnimalsK (2007), MensBestFriends, MensFriends, MesoFaunaBats, MonkeyUncialica, MonkeysTheatre, MyPrivateZoo, NewCaveDrawings (2006), NewDinos (2005), OldstyleZoo, Orcas, OurLittleDarlings (2006), OurLittleFriends (2005), OwlsAndMore (2005), OwlsNFriends, OwlsNOtherWitches, PatternsAnimals (2005), RareAnimals (2005), RealllyAnimalishOne, ReallyAnimalsTwo, Shamanbats, Shamanish, SilhouettesAnimalish, SwimmingBeautys, TangramAnimals (2005), TaurusCowboys, TypoApish, VectorAnimals (2006), Viecher, Wacominals, WildAnimalsOne, ZigzagAnimals, ZooCages (2006), ZooWoodcuts (2005), Zoobats, Zoography-Normal, ZooloVectoriA, ZoologicalGarden (2006). %L MK DI-OR CUBISM UNCIAL TANGRAM %Z klein-animals %Z ManfredKlein--AnimaliaScissored.png %Z ManfredKlein-AnimaliaScissored.png %Q Geometrical type designs %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23935 %B nothing %T Manfred is always keenly aware of the geometrical nature of objects and things. Sometimes he is seduced by geometry for the sake of geometry. His Archimedean perversions have led him to a number of superb experimental type designs: AbstractConcretLogo, Abstracta-Bold, AbstractaGrid, AeroGapBricks, AeroSans, AntikWaCom, AntiquaInGrid, AntiquaInGridBalloons, ArcheTypoBricks, ArcheTypoBricksInvers, ArchitectsDreams, ArchitectsDreamsDwa, Architypo, ArchitypoOblique, Architypogra, ArchitypograPsychodeliqu, BlaxxOnGrid, BloxxSerifBold, BorisBlackBloxx (used by Brisbane for its branding), BorisBlackBloxxDirty, ConstrxiaBlackInline, GalleriaGeometricaA, GalleriaGeometricaB, GeometricWanderlust, Graphis, GridPix, GridRiding, KleinBricksNegative, KleinsFirstBricksBold, LeArchitect, Logomatique, LogomatiqueBold, LogomatiqueShadow, NautilusOne, NautilusTwo, NeoPanButtons, NeoPanRings, NeoPanSquares, Qbicle1BRKMK, Qbicle1BRKMKinv, RomanArchitectura, SketchiquaA, SketchiquaB, SketchiquaC, SketchiquaD, TechnoMK, ThreeDeeTwoBeta, ThreeDimRightwards, ThreeDimRightwardsRound, Threedimensional, ThreedimensionalRound, TypoTracesOne, Typotraces-Cinque, Typotraces-Four, Typotraces-Three, Typotraces-Zwo, WorkWithGridsStageC, ZigZagOne, ZigZagThree, Geoplays (2005), GeoEyes01 (2006), BauhausFragments (2005), ZigZagTwo, BlackBats (2007).

%L MK EXP ARCH BAUHAUS %Z klein-architecture %Z ManfredKlein-LeArchitect.png %Z ManfredKlein-BorisBlackBoxx.gif %Z ManfredKlein-BorisBlackBox+Dirty-2005.gif %Q Arrows %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23934 %B nothing %T Arrows are another favorite theme in Manfred's oeuvre. He has designed these faces, which include a number of faces with pointing hands: All Hands, ArrowFaces, ArrowbixDown, ArrowbixOneDown, ArrowbixOneUp, ArrowbixTwoDown, ArrowbixTwoUp, Arrowbytes, ArrowsCompetition, DingsUndDasRunde, DingsbumsBats, FourEarsArrows, Hands, HandsAreClaws, HandsAreHands, KarrowsB, PfeileOne-Normal, PfeileThree-Normal, PfeileTwo-Normal, YumiyaArrows-vsTwo, YumiyaArrowsTwoB, Arrowy-Three (2005), Some Arrows (2007), HandsUp (2007, pointing fingers), Arrows07 (2007). %L MK FIST ARROW %Z klein-arrows %Z ManfredKlein--AllHands-2004.jpg %Z ManfredKlein--AllHands-2004b.jpg %Q Astrological symbols %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23933 %B nothing %T Astrological signs are hidden in these typefaces: AstroBats, AstroBatsFS, AstroDingbats, AstrobatsTwo, MKBatsMedium, ScribbledAstrobat-Medium, Horoscopisch (2005), Mythologicals (2005), HorosCopies (2005), AstroSymbols3 (2006), ZodiacsSignStars (2006), Astrobats Invers (2006), AstrologyCeltic (2006), MythologicalSquares (2006), PrivateAstroBats (2006), MythologicalFantasy (2007), AstrologyBats (2007), Mythical (2007), AstrologishSymbols (2007). %L MK AS %Z klein-astro %Q Birds %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23932 %B nothing %T Manfred explains his fascination with birds by his quest for freedom and the influence of cartoonist Saul Steinberg (b. Romania, 1914- d. USA, 1999): "Na, erst war ich immer neidisch auf die Tierchen, weil sie so wunderbar fliegen. Die Tauben nervten, besonders auf dem Markusplatz. Alle Beflügelten haben den höchst möglichen Freiheitsgrad, mehr als jede Airline. Dann sah ich mal, wie Saul Steinberg Piepmätze zeichnet. ER ist der MAESTRO genialer Vögel, ich bin nur sein Nachmacher." His aviary: AssociationsBirds, Birds-Relaunch, BirdsAndOtherBeings, BirdsEleven, BirdsOThree, BirdsToolbox, BirdsWithTypes, BirdsXtreme, Birrrdds, Feathered-MK, HappyBirdsDay-Medium, HappyBirdsDay, KritzelBirds, LateBirds, LateBirdsFS, LateBirdsThree, MouseBirds-Light, OrnithoLogics, QuickBirds, Birds+Friends (2007), SaulsRandomBirds, VampyrBats, WhereIsTheBirdsDealer, WildBirds, AsABird, BirdsNFishes, FlyBirdFly (2005), BirdsInfluenced (2006), Birds Cuts (2005), BubbleToBird (2005), OldBirdsDesigns (2005), BirdsEtcetera (2005), TangramBumBirds (2005), StrokeToBirds (2005), UpUpAndAway (2005), CorneredBirds (2006), BirdSymbols (2007), BirdsBirds (2007), Birds07 (2007), Very Old Birds (2007), BirdsInHeaven (2008).

%L MK TANGRAM %Z klein-birds %Q Derivatives of Bodoni %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23931 %B nothing %P ParmaPetitNormal134-10.gif %T Even though Manfred has dabbled in the creation of most styles of text type, he is at his best when he lets his creativity loose on a great classical type design. Of the hundreds he could have chosen to play with, Manfred always returns to Bodoni, the most geometric of all text faces, and therefore the easiest to draw a moustache on. Just enjoy these designs: AirdriedParmaFont, Bamboo, BaumWell, BodoblackSquares, BodoblackSquaresInvers, Bododisks, BodoniFlying, BodoniTwinsCaps, BodoniXT, BodonisBulemy, Bodonitown, Brandomi-Medium, Centuriqua-Ultra, CheerioFatItalic, ClassizismAntiquaBook, CybaPeeTX-height, CybaPeeTX-heightOblique, Cybatiqua, GiambattistaDueMille-Oblique, GiambattistaDueMille, GiambattistaVsPetit, Handiqua, HasBodoniScribbled, Katrina-Normal, LimesCondensed, Lipsiantiqua-Regular, Mutoni-Bold, Mutoni-Normal, Napoleodoni-Bold, Napoleodoni, Napoleon-Bold, Napoleon-Light, ObliquaRomana, ParmaPetit-HeavySwinging, ParmaPetit-Italic, ParmaPetit-Normal, ParmaPetitFlyingRound, ParmaPetitNormal, ParmaPetitOutline, ParmaPetitSCItalic, Practiqua, ScrapTiqua, ScribbleDoni, Steepiqua, SteepodoniRoman, SwingingPetidoni-Heavy, SwingingPetidoni, Tangodoni, ThinManGiambattista (2004), VivaBodoni, WaldoniNewTorsi, WildBradoni, Bodidota (2005), BohrDonni (2005), HelpUsGiambattista (2005), FlyWithMe (2005), Chaplone (2006, a Bodoni stencil), Parma Initialen MK (2006). %L MK DIDONE %Z klein-bodoni %Z ManfredKlein-BodoniXT.png %Q Calligraphy %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23930 %B nothing %T Some typefaces have a calligraphic background: AstroCalligraphsOne, AstroCalligraphsTwo, CalliPsoGrafia, CalliPsoGrafiaItalic, CalliPsoGrafiaMedium, Callimundial, FatGrafCalliklein, PetitixThreeCallig-Bold, PetitixThreeCallig-Light, PetitixThreeCallig-Normal, RustiCalligraphia, ScribblesCalligraphique, ZeitGeisterbahn (2005, a nice curly face). %L MK CA %Z klein-calligraphy %Z ManfredKlein-ZeitGeisterbahn.png %Z ManfredKlein--ZeitGeisterbahn-2005.png %Z ManfredKlein--ZeitGeisterbahn-2005b.jpg %Q Caps and initials %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23929 %B nothing %T Capitals are a favoritre playground for illustrators, drawers, and artists. They go beyond just mere type. So, to no one's surprise, Manfred has created over one hundred initial caps faces: AlkoInitials, AlkoInitialsFramed, AnarchoCaps, CapitalisTypOasisMedium (Trajan), CapsMKS, CapsRandomish, CapsRandomishBricks, CassandraTwo, ChaosStripesCaps, CircleInitialsFreeshape, ClassiCapsBricksBlack, ClassiCapsShields, Clown-Normal, ClownNormal, ConstrAccident, ConstruCaps, CorrodetInitials (2006), CorrodetClassicaps, CrazyConstructor, CrazyCrazySans, CrazyCrazySans, CuneateCaps, DelitschInitialen, DotCapsMK, DotsCapsTwo, DrunkenConstructor, Ermir-Normal, ErmirNormal, FatFloralphabetXperimental, FilledABC, FloRaTialen, FloRaTialen, FloralOne, FloralTwo, FloralalphaLight, FlowerPower, FlowerPowerRound-Medium, FragmentCaps-Cross, FragmentCapsRound-Medium, GaranitialRings, GaraNitialsFramed, GaraNitialsFramed, Glitter, GlitterOblique, GoticaCaps, GotikaButtons (2005, after Imre Reiner's Gotika from 1933), GriffosSCapsFont, HansSchoensCapsInGrid, JahnsCapsRound50, JuliusCaesarBlack, KleinFeodoraCaps, KleinsWrittenCaps, LeiterplattenSans, LetterBuildings, LetterBuildingsTHREE, LinoCapsA, LinoCapsAR, LinocapsB, LinocapsBR, LombardiCaps-Round, LombardiCaps, LucaPacioliCaps, LucaPacioliRough, MKapitalisRusticaMedium, MammothishCaps, Mighty-Normal, Mighty-Normal, MightyContour-Black, MightyShadowBlack, MightySpecial-Normal, MightySpecialNormal, MightySpecialNormal, MightyWindyBlack, MultiCapsOne, MultiCapsTwo, NeoPanFrames, NoisyButtons, OldConstructedCaps, OldiesButGoodies, OrnamentalInitial, OrnamentalInitialButtons, OszillCapsSecond, OszilloCapsFirst, PetitFleurLight, PetitFleurNormal, PixCaps, PixCaps, PixCapsRound, PixCapsShadow, PixCapsWinding, PreRomanCaps, QuadratZiffernNegativ, QuadrataRoma-MediumOblique, QuasimodoCaps, ReliefCaps-Italic, ReliefCaps, RememberCassandre, RememberManhattanBolkd, RememberManhattanSeptember, RememberScribbledTypes, RodGauApesInitials, RomanGridCaps, SaltoOne-Normal, SaltoOne-Normal, SaltoTwo-Normal, SaltoTwo-Normal, SchneidlerSchwabachInitials, SchoenspergerCaps, SerifsCaps, Solitaire, Solitaires, StoneCapsIngrid, TangoMacabre, Tangoasis, TornielloInitials, Torynitialen, TorysToolsFS, ToscanButtons, ToskanaCapsRound, TrajanSmallCaps, TrajanusBriX-Invers, TrajanusBricks, TrajanusBricksXtra, TypOasisInitials, VariationsForImre, VenetianBlind, VenetianBlindInverse, VespasianCaps, VespasiansFlorials, WeimarCaps, WieynkCapsRound, WindyCityCaps, ZagzagCaps, ZebralCaps, ZebralSketchedCapsItalic, LambordicCaps, Florabetic (2005), LettersAnimales (2005), 5thCenturyCaps (2005), SnowCupsCaps (2005), VaticanianInitials (2005, gorgeous!), StackCaps (2005), DirtyHatchCaps (2005), ChristianInitials (2005), PlantsLetters (2005), CorrosClassicClimbers (2005), MKapish (2005), MKapsMixed (2005), LettersBats (2005), SchnörkelCaps (2005), XmasCaps (2005), SomeCapsStories (2006), ImresCorrodetCaps (2006), OldLettresOmbrees (2006), ArtNouveauCaps (2006), ChildrensAlphabet (2006), CatsAlphabet (2006), DigitalisHistory (2006), Duodez (2006), InitialenFramed-MK (2006), FlorAlphabet (2006), SilvestreInitials (2006), ClassicRomanCaps (2006), IllustratedAlphabet (2006), ToleCaps (2006), DelitzschCaps (2006), ImresDiscs (2006), Faces Alphabet Beta (2006), Szene In Frames (2006), Parma Initialen MK (2006), KlUngerCaps (2006), RememberScribbledInv (2006), Tequila (2006), Fraxboxes (2006, based on Rakowski's Griffin), RodgauCaps (2006), DeKonitials (2006), BigBrotherClassizismCaps (2006), K-LettresOmbrées (2006), TreeLike (2006), VictorianInitialsOne (2006), CircusBoldSquares (2006), KochsLongCapsSquares (2006), RomanaCapsClassicSquares (2006), Gotic Caps (2006), CircusBoldSquaresInvers (2006), MKanzleiCaps-One (2006), JahnsCaps (2007), Kletteralphabet (2007), StencilBricks97 (2007), ZierCaps (2007), ImresFraxCaps (2007), DeconstructionCaps (2007), SuprematismK (2007), DodgesCaps (2007), FloraliaCaps (2007), JugendstilCaps (2007), Schraffura (2007), ClassicaCaps (2007), Serena (2007), TokayOSeven (2007), DevilsAlphabets (2007), HeidEcker (2007), LombardInitials (2007), ClassicapsC (2007), GearingZahnradABC (2007), JuliusCaesarDisks (2007), Pixfabet (2007), QuasiModoButtons (2007), RoundAbout (2007), SilhouOtto (2007), CorrodetClassicapsBlack, HansSachsCaps, RococoCoquete (2007), SatanicAlphabet (2007), TwilightCaps (2007), Wacomiqua (2007), FrakturInitials07 (2007).
%Z ManfredKlein-RomanGridCaps.png %Z ManfredKlein-Stackcaps.png %Z ManfredKlein-VaticanianInitials.png %Z ManfredKlein-OrnamentalInitial.png %Z ManfredKlein-CapitalisTypOasis.png %L MK CAPS LOMBARD VICT BAST TRAJAN %Z klein-caps %Q Caves and prehistoric man %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %N 23928 %B nothing %P AfricanAngelsAndSpirits065-pair.gif %T On the theme of caves and prehistoric man: AustralBats, CaveAB, CaveBatsFour, CaveBatsTwo, CaveBatsTwoB, CaveDreams, CaveDreamsXtreme, CavePaint, CavePaintings, CavePeople-Painting, CavePeople2002FS, CavePopart, CavebatsOne, CavebatsOneA, CavebatsThree, OetzisTimesWillCome, PrehistFantasies, StoneAgeAgain-Normal, StoneAgeFeelings, CaveNTribalArt (2005), AfterLastWar (2005), Prehistorish (2005), MPictures (2005), NewCaveDrawings (2006), Petrographs (2006), MKGreco (2006), CaveBeings (2006), CaveLife (2006), BeforeAlphabetsGallery (2006), Stone Age Bats Bold (2006), StonesAgeButtons (2006), CaveMeetings (2007), Petroglyphs07 (2007), DadasStoneage02 (2007), New Cave Drawings 03 (2007), CaveStars (2007), Prehistoric (2007), ArteCave (2007), Cave07 (2007), CavePaintings (2007), CavePeopleTraces (2007). %L MK POPART %Z klein-cave %N 23927 %B http://moorstation.org/typoasis/designers/klein03/index.htm %Q TypOasis 2003 %D Manfred Klein %G http://www.myfonts.com/person/Manfred_Klein/ %P klein-brille2003.gif %T Manfred Klein's typefaces from 2003: FictionBeings, MK Silhouetta Round, FlyOnYou, Karlas Bats, Maenneken, Spiralish Two, WhoIsTheTerrorist, Avanti Dilettanti, Aggressors Bats, Aztecish, Corrodet, Lorbeer, BastardusSans, BaumWell, Bodonitown, WellrockSlab, Cassandra, PreventiveWarOval, Damagedpixfont, EuropeanTypewriter, KarlasStrokemen, PreventiveWarQuestion, Birds With Types, Cubism Creatures, MourningTrauer, BirdsXtreme, BirdsToolbox, WantedTerrorists, TheRoots, MK Latino Plain, AndBullets, Androidish, BirdsToolbox, BookHeads, CorrodetClassicaps, Damagedpixfont, LateBirds, LateBirdsFS, LateBirdsThree, MKStencilsansBlack, MatisseTraces, MexiKOrnaments, MkLatinoPlain, NonCommercial, PreventiveWarQuestion, QuickBirds, SpiralusFaces, SpiralusKrux, TheRoots, WantedTerrorists, WhereIsTheBirdsDealer, BlueMoonsByDay, BlueMoonsInverse, BruchschriftMK, HalfsAreEnoughLatin, Latine, RandomFrax, Solitaires, SuperSansMKringel, SuperSansStrange, WildBirds, AreHalfsEnough, GeometricWanderlust, HeadfeetersPartialDisturbed, LuziFer, MouseStrokes3D, MouseStrokesCont, MouseStrokesInverseShadow, OlisWebButtonsInvers, PeaceThruGuns, SaulsRandomBirds, Fragmenta, Remi Wacom, Crazy World, Democratic Peace Warriors, OrnithoLogics, People, HelloCleoPetra, VertigoComic, Romi Petito (Miro drawings imitated), LogoFacesToolbox, WirewalkersVertigo, AidaSerifObliqueMedium, BuddhasBigArmy, GridExerciseSerif, Guernica38Remember, LogoFacesArtists, LogoModaRoma, LogoModels, LogoModelsBowToBoss, Silhouettes03, SteepTypewriterMedium, SuddenFall, WoodTypesMK, BrokenSans, FutstencilSerif, MKTypobricks, SegmentaSans, WhyMar, Xperimentypo FS, HouseGhosts, MKEyeMinals, StrangeBeings, AlwaysBig, Old Constructed Caps, Fat Floralphabet, MannohK Serif, TheyWasNiceMurdersAlways (an anti-war font basic on Guernica), DadaDa, FrancoforteSerifus, Arrowbytes, DingsbumsBats, HeadsTorsi, VollkegelSerif, NiceMurders, Burklein, Comicontemporary, ConstrxiaBlackInline, DadasDreams, EgyptAxt, KleinBricksNegative, AntiquaInGrid, GiveMeFive, Bitsbats, SilhouettesInGrids, BigSlabHammer, BurkleinOblique, JustOldFashion, KleinsanBold, Oliver, Gipfelkoepfe, HolySimplicity, Standing Buttons, 52 Letters, FriendlyFire, Lettersoup, Manga Axt, SplinterMKaps, GiambattistaVsPetit, TypoGhosts, ZagZag, MotionTools, MouseDroodles, Topnotches, TypoAnarchycalEyes, LaCittaShadow, Venezia, ReadingHelpersInvers, RoughRockys, SchulVokalDots, Analphabetism, Circularia, HalfCircleAlphabetXP, Multistrokes, Unzialish, ChildrenDingbats, EveryPictureTellsAStory, OgiRema, CrazyCrazySans, Sketched Alphabet, HerrCoolesWriting, Julius Caesar Black, AliensNew, PadBats, WaPicts, ImperiumLatineSerif, KleinsForgottenRoman, Helixal, MKDrawings, MKDrawingsPeople, FriendlyFireBullets, BirdsAndOtherBeings, Pinocchionish, PointGallery, Spiralicus, AfroDesigns, Frontal, MangaMaterial, NiceNeighbours, HerdeckeSans, ParmaCrazy, QuadrigAlphabetTwo, HellasDust, WildBradoni, Sketchiqua, FragmentuM, LogoHalfnHalf, MKSzene, Neudoerffer, StrokesNBullets, CircusStars, Facialish, Kleerikale, Kleinkeys, OnKleesTraces, NearAldus, NearJanTschich, Climbers, Krakelfabet, Amoebats+Climbats, ClimbersPhantasies, Karlas, Anarchists, Masks, SpaceCrew, Latins, Characters, FrontalButtons, GernKleinThree, MouseScribbles, Scannings, KidsFirstPrintFont, CuneyChars, VenetianBlind, MKartoonKoepfe, MouseAsBrush, SilhouFaces, TaurusCowboys, ShakeySlabserif, BodoniXT, EyelecBats, HowDrawAFish, Klill-LightTallX, MissingLinks, SansBroadway, Serifsketchia, SprayersFriends, LetterBuildings, SpaceAttacks, MouseAsPainter, MouseLearnMiro, CybaPee, ConstrxiaBlack, LetterBuildingsRoundContrast, RunningLetters, ZenFrax, ZenFraxCondensed, Gestures, HotJuly, JulySketches, KleinsBirds10, RoundHeads, SketchedBats, CybaPeeBlack, MKSansTallX, MKSerifTallX, BlaxxerifaBeta, CyclopsBlax4Dirk, Cyclop, EclectHeads, Graphis, TheManyMKFaces2, PetitLatin, Bowing, BowingInverse, ElectronicFaces, MKSansTallXMedium, MKSerifTallXMedium, ConstruCaps, PhantasticBeings, SpaceBeings, Traffic, HopeRound, Artefakte, AstroBats, AstroBatsFS, AstrobatsTwo, BabelSans-Bold, BabelSans-BoldOblique, BabelSans-Oblique, BabelSans, CalendarDigits, Drivers, DynamicBeings, FloralOne, FloralTwo, GreekArt, JamboRound, LinoCapsA, LinoCapsAR, LinocapsB, LinocapsBR, LombardiCaps-Round, LombardiCaps, LosAngeles, OsterinselPlus, PixCaps, PixCapsRound, PixCapsShadow, SecretWriting, SlabTallX-Medium, SlabTallX, SportsCartoons, ToolsMK, TypoSlabserif-Light, WeLoveAmericasWisdom, Pixelsplitter, Gonzales Sans, Spiralanautics Two, Circulum, Handiqua, typOasis-Initials, Griddies, InCrossFires, MKreatures, Weapons, Imprimerie, FarmersWrite, MKPixelProject, VeryOblique, AgroFont, SketchedMen, Imprimerie Bold, FoolOnTheHill, FoolsThree, TeleCom, AllesNurGeklaut, MKImprovisations, ZigZagOne, ZigZagTwo, ZigzagAnimals, RunishQuill, DomesticAnimals, HappyBirthday, KLEINigkeiten, TypoLatinSerif, DoodlesWritten, PointerSisters, QuadratZiffern, TypoShadows, MonAmourFraktur, SchaftstiefelKaputt, Birds11, Impossibile, PersonaRondo, Brandomi, GeoSansLight (based on Futura), LatinCondensed, AidaOopsXtra, BodoBlackSquares, BodoDisks, ThreeDeeTwoBeta, TypoBoxesRdTwo, Let'sDance, SilhouettesSocled, StoneAgeFeelings, BorisBlackBloxx (used by Brisbane for its branding), BorisBlackBloxxDirty, Latinia, JonasFragments, WildThingShadow, BallettAbsurdo, CarneVale, CatsDogs, HalloWien, Völkerfreundschaft, OldSansBlack, SteinAntikLight, AntiquaInGrid, SteinAntik, AnimalsMeetings, ArteAfrique, BraveOldWorld, Minidom, MonsTheSecondA, MonsTheSecondB, NipponsMonsBats, SpontanoCondenso, Stadtmusikanten, WacoGraphireSketches, KlitschKOtiqua, IronFraktur, Mons03Beta, Mons04, Pointillism Toolbox, BlackGapSans, DingsUndDas, DingsUndDasRunde, Faces, ForAlchemistsOnly, HalloWienTheTramps, MediaevalBats, MonsTheFifth, Peacetiqua, PickABack, TheTrampsTrash, Abstracta-Bold, AbstractaGrid, EdgedFaces, EdgedFacesKantig, HelloViennaMacabre, Menschen, SchulVokalDotless, Tremolo-DemiBold, Tremolo, Typomolecule, WacoFaces, DirtyThinkwitz, GetierAnimalish, Katrina-Normal, KleinsTypesoup, Koepp, Movieboards, NeudoerfferScribbleQuality, NewEarthCitizens, NewsRoar, OldTypographicSymphony-Regular, OldTypographicSymphony-Round, RupturedSans, SketchesByDuerer, SketchesInTypoasis, SlimSansSerif-Bold, SlimSansSerif, Snoutlike, Squaredances, Wacollection, Wacominals, AntikWaCom, FraxBrix, MKBritishWriting, MKRunes-Light, MKRunes, PointsNDotsImprovisations, DadaGrid, ReadItOrDada, VisualImpressions, AugenEyes, DuerersMinuskeln, GothicMajuscles, KyrillaSansSerif-Black, KyrillaSansSerif-Bold (Cyrillic simulation), LombarDuerer, Mdoodled, WittewittMajuscles-Flourish, WittewittMajuscles-FlourishBricks, ScribbleABit, DadaMeetsStoneage, HarpersBizarre, KarawaneSilhous, KritzelBirds, LightUnciale, Look, Nonserif-Regular, PalatinosTypeSoup, SansXHigh, StoneAgeAgain-Normal, TypoasisBoldGothic, UnderlineMonospace, Wacomedians, AbstractConcretLogo, Animalia, AnimaliaTwo, ClassizismAntiquaBook, HansFraktur, IrishUnciAlphabet, MBats, MKBats, Olivia-Normal, SlabserifXhigh, SuprematismFour, SuprematismOne, SuprematismThree, SuprematismTwo, TypesAntiques, WasWoodcuts, AnimalShadows, ArtGoesPixeled, BellaMusica, BirdsOThree, BlaxxConPersona, CaricaturesHeads, CartoonHeads, Children, FraxInCage, FraxInCageLeftOblique, FraxInCageRightOblique, HansSchoensCapsInGrid, HollaMediaeval-Bold, HollaMediaeval-BoldOblique, HollaMediaeval-Oblique, HollaMediaeval, KleinFeodoraCaps, Leibniz-Regular, NewEarthResidents, OtherPeople, PickUpBats, VierfachRund, WacomicCondensed-Medium, WysiwygBats, XmasBalls. %L MK BRUSH 3D LOMBARD CUBISM DIDONE ARROW ALCHEMY UNCIAL MIRO %Z ManfredKlein-LightUnciale.png %Z ManfredKlein-RemiWacom-2003.png %Z ManfredKlein-RomiPetito-2003.png %Z ManfredKlein-RomiPetito-2003b.png %Z ManfredKlein-RomiPetito-2003c.png %Z ManfredKlein-BodoniXT.png %Z ManfredKlein--TypoSlabserif.png %Z ManfredKlein-BorisBlackBoxx.gif %Z ManfredKlein-GeoSans.png %Z ManfredKlein-GeoSansLight-2003.png %Q M. Barnes %L AR3 %N 23926 %B http://www.ncweb.com/~mbarnes26/Prior2use/fonts/?M=A %T GillSansMT-BoldItalic, GillSansMT-Bold, GillSansMT-Condensed, GillSansMT-Italic, GillSansMT, GillSansMT-ExtraCondensedBold. %d Oct 1 2005 %Q Ellen Lupton %Z http://www.designwritingresearch.org/thinkingwithtype.com/index.htm %Z http://www.thinkingwithtype.com/ %N 23925 %B http://www.papress.com/thinkingwithtype/index.htm %T Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City.
Author of Thinking with Type (Princeton Architectural Press, 2004). Visit also the interesting Thinking with type web page, which features a fun section on "crimes against typography", notes on type classification, a course outline, and tons of other educational material. See also here and here. Ellen Lupton was the keynote speaker at AypI2006 in Lisbon. In that talk, summarized here, Ellen Lupton discusses the benefits of truly free fonts (Perhaps the free font movement will continue to grow slowly, along the lines in which it is already taking shape: in the service of creating typefaces that sustain and encourage both the diversity and connectedness of humankind.) and provides key examples: Gaultney's Gentium, Poll's Linux Libertine, Peterlin's Freefont, Bitstream's Titus Cyberbit, and Jim Lyles' Vera family. She is the editor of D.I.Y.: Design It Yourself (2006).
In 2007, she received the AIGA Gold Medal. Her introduction to the major typefaces. Speaker at ATypI 2010 in Dublin. %d Sep 21 2004 %L BO TY CLASS PERS USA-NY USA-MD %Z Lupton is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore, the editor of D.I.Y.: Design It Yourself (2006) and curator of contemporary design at Cooper-Hewitt National Design Museum in New York City, where she has organized numerous exhibitions, each accompanied by a major publication, including the National Design Triennial series (2000 and 2003), Skin: Surface, Substance + Design (2002), Graphic Design in the Mechanical Age (1999), Mixing Messages (1996), and Mechanical Brides: Women and Machines from Home to Office. Ellen Lupton is a writer, graphic designer, and curator of contemporary design at Cooper-Hewitt, National Design Museum. Her book â€œThinking with Typeâ€ is a basic guide to typography directed at everyone who works with words. %Q Betatype %Z http://128.187.80.61/cr/ %N 23924 %B http://betatype.com/ %F http://www.myfonts.com/foundry/betatype/ %G http://www.myfonts.com/person/Christian_Robertson/ %T Betatype was established in 2003 by Christian Robertson, and is located in Concord, CA. It offers custom type design services as well as commercial fonts. Christian completed the BFA program in Graphic Design at Brigham Young University in Provo, UT, and was a partner at Mansfield Design Company in American Fork, UT. He joined Google where he presently works.
While at at Brigham Young University, he designed Alexandre (2004, a roman influenced by blackletter), Blackletter No.36, Uncial New (2004, an uncial with a unicase feel), Aloe (2003), Betatype No. 28 (2003, a semiserif), Ulysses (2003), Pill Aberration, Raisin Nut, Pill Gothic (2001, a sans family published in 2004 at Umbrella Type/Veer), Beezer Sans, Uncial Slab, Sketch No. 26, Sketch No. 25, Dear Sarah (2004, a contextual handwriting face done with great care, available from Umbrella Type), and Factory. i
Betatype published these fonts:

Dear Sarah [Veer, 2004]. Dear Sarah is a contextual font that uses the contextual alternates feature of OpenType in an exemplary way. At the same time, people are complaining why OpenType's RAND feature is not implemented anywhere yet.
Pill Gothic [Veer, 2004].
Doublewide [Veer] (2006).
Apertura [Veer]: a large sans family.
Grant Avenue [Veer]: a large sans family.
Zebramond.
Serif Beta (2009): very promising free serif family!
Ubuntu Title Font: a free rounded minimalist titling font.
Uncial Slab (2003): a free unicase face.
Emporium (2009): a display type inspired by Main Street.
Roboto (2011). A free face developed at Google for its Android 4.0, and declared dead upon arrival by the typophile community since it does not know whether it is a humanist sans or a grotesk face. Roboto Slab followed in 2013. Image of Roboto. Google Web Fonts download link. Google Web Fonts link for Roboto Slab and Roboto Condensed.
Ubuntu Titling.

Google Plus link. %E christian@byu.edu %d Sep 20 2004 %L OR2 UNICASE DE USA-CA CF2 FR HW OT USA-UT UNCIAL %D Christian Robertson %E info@betatype.com %Z ChristianRobertson--DearSarah-2010-.gif %Z ChristianRobertson-Zebramond-b.png %Z ChristianRobertson-Zebramond.png %Z ChristianRobertson-Roboto-2011d.png %Z ChristianRobertson-RobotoSlab-2013.png %Z ChristianRobertson-Pic.png %P Betatype-Apertura2009.png %Z Betatype-Emporium_1.png %Q Type Design Piracy %N 23922 %B http://www.letimes.com/ %L TY-LG %T Pages by Bill Troop with examples of type design piracy. See also here. Articles include a comparison between Frutiger and Adobe's version of it, Myriad. Elsewhere, Troop states about this case: When Adobe pirated Frutiger in 1993, the designer complained, and Adobe sent Frutiger a letter explaining in seven dense pages, all the true differences there were between Myriad and Frutiger. %d Aug 19 2003 %D Bill Troop %Z Bill Troop: Regarding Porchez, check out www.letimes.com (the cite that _celebrates_ type piracy) in a few weeks and the story on Porchez will be there in full -- along with some rather surprising new stuff. There's nothing on the site right now. I don't think I stated that Porchez "copied" Times for his Le Times font. What I think the screen shots I published a while back showed pretty conclusively, though, was that Porchez used the outlines in a unique cut of Times that Adobe distributed, for example, with Illustrator 6. In any case, there's no point talking about it til the screen shots are up again. "Justly deserved"? Believe me, in the mid-90s, Porchez was telling everyone who would listen that he ripped off the Adobe outlines. This was even included in an interview in the ATypI daily from 1995, I think. The Dutch were all deeply shocked but I doubt if anyone else was. %Q Font Folio 11 %N 23921 %B http://www.adobe.com/aboutadobe/pressroom/pressreleases/200709/090507FontFolio.html %T Adobe's Font Folio 11 released in 2007 is an OpenType-based update of Font Folio 10. For five computers, it can be had for 2600 US dollars. Adobe's announcement speaks of Adobe Font Folio 11 software, in its continuing lobbying and brainwashing effort to make people believe that fonts are software. %d Sep 6 2007 %L TY-LG SO %Q Frutiger, Myriad, Slimbach %N 23920 %B http://typophile.com/node/50470 %T Bill Troop explains the Myriad/Frutiger controversy.
The present design patent system is practically useless as the examiner seems to take the case as presented, regardless of merit. But had we a system such as the German one that found Segoe was virtually identical to Frutiger, then Myriad would probably also be considered identical to Frutiger. No less an authority than Frutiger himself considered it so.
Adobe had what seemed like a good idea: Myriad was supposed to be a completely characterless sans serif - that's why two designers, Robert Slimbach and Carol Twombly, were assigned to it. The reasoning was that the two designers would cancel out each others' egos.
Very good reasoning, but it didn't take sufficient account either of Robert's ego or his vampyrism. As the project moved on, Carol had less and less input on the design and, as she has remarked, the design grew more and more to look like Frutiger. (Amusingly enough Frutiger and even Segoe are cited in the most recent patent applications for Myriad.)
It's an astonishing thing but for years very few people, other than Frutiger, noticed that Myriad was so close to Frutiger that it had to have been traced over it. You couldn't come that close without tracing. Frutiger complained vehemently, and was rewarded by the famous seven-page letter from Fred Brady of Adobe, explaining all the various ways in which Myriad was not a copy of Frutiger.
Who to believe? Brady or Frutiger? Well, of all the non-entities in 20th century type history, Fred Brady is one of the non-est. And of all the masters of 20th century type, Adrian Frutiger is one of the greatest. That's a clue.
In justice to Twombly, it is clear that she was not a willing participant. Carol is not a bad person, unless you think it is bad to choose to remain silent when something bad is unfolding.
The same thing happened, a few years later with Cronos, a knockoff of Volker Kuester's Today Sans Serif. I know that Fred knew about this in advance, but precisely when? I'll never forget the phone call when I suggested to Fred that Adobe should take on Today Sans Serif. Hmmmm, he said. 'Scangraphic? Let me have a look at their specimen book. (Rustle of pages.) Today Sans Serif? Very nice. Well Bill, if you like Today Sans Serif, you're gonna love Robert's new Cronos.'
I have subsequently wondered: was that the moment when he, who I think was technically Robert's manager, discovered that Today and Cronos were one and the same? Or was it a put-on for my benefit.
One thing I'm surer of. When, some time later, I was talking to Carol and pointed out the near identity of Today and Cronos, the way she said, 'Not again!' seemed spontaneous. Carol did not know, until that moment, what had happened.
So there we are. No company has been more active in seeking copyright protection than Adobe. But Adobe's record is so tarnished that I find myself unable to take much interest in font copyright.
Was there another way for Adobe? There was, and they could have taken it, had the font group been possessed of sufficient mettle.
There is the Font Bureau model. Font Bureau has produced numberless superb knock-offs. Each one is impeccably researched and executed, and each one is impeccably sourced.
Font Bureau never stoops to assert that its knockoffs are original, much less worthy of patent. But it makes a superb case, which happens to be largely true, that its knockoffs are substantial improvements, technically, aesthetically, and functionally.
I have been thinking about Font Bureau's model for years, and the more I think about it, the better I think it is. Type cannot and should not be over-protected. The key, as in all else, is honesty. %L TY-LG GER %d Oct 18 2008 %Q Font Folio 10 %N 23919 %B http://typographi.com/000660.php %L TY-LG GARAMOND %T Under the title "Font Folio 10: Pay More For Less", Bill Troop laments Adobe's 2499 USD Font Folio 10 release in 2003. Bill starts this way: "According to the press release for Adobe's Font Folio "Open Type Edition", the new edition can be obtained as an upgrade for existing owners of Font Folio 8 or 9, for merely $2,499. What does this upgrade offer? Multi-platform and multi-lingual functionality, as well as wonderful tricks such as expanded glyph sets and optical weights. So far, so good." He then lists the four problems with this release.

Problem No. 1 is the non-standardized feature set of OT fonts. Only a very small number of the included fonts offer expanded glyph sets and optical weights. The user expecting to find Bauer Bodoni or Garamond No. 3 with additional ligature support will be disappointed. Non standard charactersets constitute a recipe for customer confusion.
Problem No. 2 is that the entire Berthold library has been removed since FF 9.
Problem No. 3 is no multiple masters, which Adobe just stopped selling.
Problem No. 4 is that at the core of this "upgrade" transaction between Adobe and its existing Font Folio licensees lies another devaluing of the product already owned by customers. As an owner of Font Folio 8, Adobe offers to charge me $2,499 for a font license that is more restrictive than what I already have. Now only the Adobe "originals" ship with an editable embedding license, while all the Agfa, ITC, Linotype and Monotype fonts have new licensing which permits just read-only embedding. And this is now technologically enforceable. I can't help but wonder about the reaction of major advertising agencies and service bureaus when they find out that they have the privilege of paying for their font licensing to be more restrictive. I think they will keep on using Type 1.
Bill goes on to say: "Years ago I wrote on the OT list at length about the evils of digital signatures in fonts. It is simply a new copy protection ploy, and as everyone has known since the mid-1980s, copy protection = no sales. Supporters argue that the primary purpose of dig sigs is to help customers by allowing them to validate the "integrity" of fonts. Indeed? Vive l'Open Type!" %d Aug 19 2003 %N 23918 %B FontStripping.pdf %Q PDF font extraction %N 23917 %B nothing %L PDFEXTRACT %T PDF font extraction used to be a simple thing until 2001. Most PDF files created after 2001 have only partial character sets, but most older PDF files have full type 1 or other font files. Mirko Scholz recommends the use of pdftosrc, part of the PDFTeX package. Alternately, one can use Acrobat3 (*not* higher versions) and output a PostScript file from a PDF file. Inspect the PostScript file to find the fonts, usually located between BeginResource and EndResource lines (or the line with "cleartomark"). You may have to add a header line (example: %!PS-AdobeFont-1.0: AmasisMT (001.003)). The PFA file (in case of type 1) needs to be converted to PFB using t1utils, a free package. Remember that no metrics (AFM, PFM) file can be extracted from a PDF file! Several utilities exist (e.g., Crossfont) that automatically generate a basic PFM file. See also the discussion here. %d Aug 19 2003 %Q Identifying and getting a hold of fonts %N 23916 %B http://www.searchlores.org/son_font.htm %L ENG %T Interesting discussion on how to find and get fonts for free, with tons of practical tips. %d Aug 19 2003 %Q Axe Creatives %N 23915 %B nothing %L OR2 ATHL %T Creators of the sports lettering font DMC.TTF (1994). %d Aug 19 2003 %Q Charlie Salvidge %N 23914 %B nothing %L DE %T Creator of Pepsi-Perfect, a futuristic font based upon lettering by Pepsico, NY. %d Aug 19 2003 %Z Does not want his name on NY page. %E mcchuckster@yahoo.co.uk %N 23913 %B http://www.hartreen.freeserve.co.uk/bttf/fonts.html %Q BTTF fonts %T Archive with Pepsi-themed truetype fonts: AFPEPSI (Abstract Fonts, 1992), Back-TTF (Richard Walledge, 2001), DMC.TTF (sports lettering font by Axe Creatives, 1994), FluxCapacitor (Dobi, 1997), HotPizza (Dennis Ludlow, 2001), LcdD (URW, 1994), Pepsi-Perfect (futuristic font by Charlie Salvidge), Pepsi (script font by Atech, 1991), RustproofBody (Ray Larabie, 1999), ZZZTop (Richard Gast, 1997). This site used to have Slimfast by Anna Gross (Fontgrube), but that was removed. %L AR3 %d Aug 18 2003 %N 23912 %B http://members.aol.com/alembooks/borders.htm %Q Borders %T A specimen book containing all borders ever made at Monotype. %L DD %d Aug 18 2003 %N 23911 %B http://www.myfonts.com/fonts/bitstream/square-slabserif-711/ %Q Square Slabserif 711 %T A sports lettering font by Bitstream based on Berthold's "City". %L ATHL %d Aug 18 2003 %F http://www.myfonts.com/foundry/radardesign/ %N 23910 %B http://www.myfonts.com/foundry/radardesign/ %G http://www.myfonts.com/person/David_Phillips %Q Radar Design %G http://www.myfonts.com/person/phillips/david/ %T Radar Design of Seattle, WA, was founded in the fall of 1995 by David Phillips. It is mainly a graphic and web design company (with a web site that does not show on my Netscape browser!). David Phillips's fonts include B52 (2001, US military and athletic lettering font), Konstruct (2000, a type family inspired by the hand-drawn typography used in posters by Russian, German and Dutch graphic designers of the 1920's and 1930's), and the quirky Kut Out (2002). More recent typefaces by Radar Design, mostly created by Jens Gehlhaar: Amoebia (organic family), Cornwall (sans), Gagamond (mini-serifed), Blindfish (almost grunge). In 2004, David Phillips and Traci Daberko went on the found StockBucket, still in Seattle. %L CF2 DE ATHL USA-WA GER MIL %D David Phillips %Z 3680 33rd Ave. SW Seattle WA 98126 USA Phone: (206) 285-6420 %d Aug 18 2003 %Q StockBucket %N 23909 %B http://www.stockbucket.com/ %Z http://www.myfonts.com/person/daberko/traci/ %F http://www.myfonts.com/foundry/StockBucket/ %G http://www.myfonts.com/person/David_Phillips/ %T StockBucket was founded in May of 2004 by graphic designers David Phillips and Traci Daberko in Seattle, WA. David Phillip had earler run Radar Design (est. 1995), also in Seattle. One can purchase these creations at MyFonts: B-52 (Italic, Regular, Shadow), Bamboo, Konstruct (2002, Bold, Alternate, Outline, Regular, Shadow, square, Thin), KutOut, Massi, Princess, Sunset, RV Park (Western), Stock Stuff (dingbats). These are mostly display faces.
David Phillips made B-52 (2001, octagonal face inspired by the lettering used on the vehicles of the U.S. military; also, athletic lettering), Bamboo, Konstruct, KutOut (a cut out face, dadaist satyle), Massi, Stock Stuff, Tony's Trees (2003, after a dadaist poster style pioneered by Saul Bass).
Traci Daberko made Sunset, RV Park and Princess.
Klingspor link.

View StockBucket's typefaces. %d Sep 12 2004 %L OR2 CF2 WEST DE WOOD USA-WA CONSTRUCT DADA OCT ATHL MIL %D David Phillips %Z 3680 33rd Avenue SW Seattle, WA 98126 USA %Z DavePhillips-Konstruct-2002.png %Z DavidPhillips-B52-ULC-2001.gif %Z DavidPhillips-TonysTrees-2003.gif %Z DavidPhillips-TonysTrees-2003d.gif %N 23908 %B nothing %Q Katie Brandt %T Designer at T-26 of the dingbat font Alien Robots (2003). %L DI-OR DE %d Aug 18 2003 %Q Manuela Rattin and Matteo Ricci %L BO ITA %T Authors of a thesis entitled Questioni di Carattere: La tipografia in Italia dal 1861 agli anni Settanta (1997, Stampa Alternativa&Graffiti). It surveys the history of Italian typography and type design. %d Sep 15 2008 %N 23907 %B nothing %N 23906 %B nothing %Q Italian foundries of the 19th century %L ITA HIS %T Italian foundries from the 1860s through 1890 include Zatta (Venice), Alessandri (Florence), Ameretti (Parma), Paganino (Parma), Negroni (Bologna) and Wilmant (Milan). In their thesis "Questioni di carattere", Manuela Rattin and Matteo Ricci write that these foundries were frought with alignment problems in the production, and had few original typefaces. It was a mediocre era in Italian typography. %d Nov 11 2002 %N 23905 %B http://www.papress.com/books/1878271148.html %Q Adalberto Libera %L ITA DE %T One of the preeminent Italian Rationalist architects of the 1930s and 1940s. See also here. In 1938 he edited the book "Manuale pratico per il disegno dei Caratteri", in which he proposed a rationalist view towards type design. The Landi stretto face he proposed comes with all measurements explicitly spelled out. Alternate URL. %d Nov 11 2002 %N 23904 %B nothing %Q Fonderia Reggiani %L ITA EXT20 AG %T Italian foundry in Milan, which published a bulletin in the 1930s entitled Tipografia (in which we find contributions of Edoardo Persico and the typographer Guido Modiano). They published the avant-garde font Triennale in 1933, a face that set the tone for the institutionalized graphics imposed by the Italian fascists. Some of the posters of that eraare here. %d Nov 11 2002 %N 23903 %B nothing %Z http://www.geocities.com/shabrucha1/celtic.html %Q ShaBruCha Graphics %L FO-CE %T Old Celtic capitals posted here in jpg format. %d Nov 11 2002 %N 23902 %B http://www.uni-leipzig.de/~mad/krischan/stuff/ %Q Pyros' Vault of Dreams %L AR3 O-SIM %T Christian Heinrich at the University of Leipzig stored Hirosh (oriental simulation font, with dingbats), [.atari-kids.] (oriental simulation), and Sevenet7 (pixel font). %d Nov 11 2002 %N 23901 %B http://www.cs.unr.edu/~fredh/papers/vr/tmp2/ %Q Frederick C. Harris %d Nov 11 2002 %Z http://pinon.cs.unr.edu/~fredh/vr/tmp2/ %T At Harris's site at the University of Nevada, the 10MB zip file contains some major font families, in truetype: among others, we find mainly Bitstream fonts such as AllegroBT, AmerTypewriterITCbyBT, AvantGardeITCbyBT, BenguiatITCbyBT, BernhardFashionBT, BernhardModernBT, BankGothicBT, BremenBT, CharlesworthBold, CommonBullets, CopperplateGothicBT, DauphinPlain, Eurostile, FelixTitlingMT, FuturaBT, GoudyHandtooledBT, GoudyOldStyleBT, Humanist521BT, KabelITCbyBT, LithographLight, OzHandicraftBT, PosterBodoniBT, SerifaBT, ShelleyAllegroBT, SouvenirITCbyBT, Staccato222BT, Swiss911BT, TypoUprightBT, ZapfElliptical711BT, ZurichBT. Many Monotype and ITC families too. %L AR %Q enm.com %N 23900 %B http://www.computingbydsn.demon.co.uk/ %Q Computing by DSN %L AR2 FO-IN MU %T The Microsoft truetype font collection. Also, the musical font PowerTab (2000), PalatinoLinotype, Sylfaen, Raavi, Shruti, Latha, Mangal and Gautami. %d Nov 11 2002 %N 23899 %B http://kryptik.home.mindspring.com/loa/gnimoy/ %Q G. Nimoy %L DD %T Ultima Runes and Matisse ITC. %d Nov 11 2002 %N 23898 %B http://dutoce.io.tudelft.nl/~ernest/Public/ %Q Techische Universiteit Delft %L AR3 %T By URW Unternehmensberatunge and The Compa, 1990: the Frutiger family, type 1. %d Nov 11 2002 %N 23897 %B http://athene.riv.csu.edu.au/~khanson/iaslnews/Oct01/ %Q K. Hanson %L AR3 %T GillSansMT. %d Nov 11 2002 %N 23896 %B http://www.easyrecitearabic.org/Site/Solution.htm#single %Q Easy Recite Arabic %Z khairulbashar_sm@hotmail.com %E scaf@easy-recite-arabic.org %L FO-AR %T Syed Khairulbashar proposes a "Single Case Arabic Font" (30 symbols), and other things to improve reading Arabic. %d Nov 11 2002 %N 23895 %B http://fonts.ontheweb.com/ %Q OnTheWeb %L ENG %T Find a commercial font through this site. %d Nov 10 2002 %N 23894 %B http://whiteaker.eugenepeaceacademy.org/shared/Fonts/Archive/ %Q Eugene Children's Peace Academy %L AR %T 600+ font archive. The fonts are from Monotype, WSI and Hewlett-Packard. %d Nov 10 2002 %G http://www.myfonts.com/person/riggs/tamye/ %T Type persona, who used to work at Garage Fonts/Phil's Fonts, and then at Fontshop (until 2005). Coeditor with Richard Kegler and James Grieshaber of Indie Fonts (2002) and Indie Fonts 3 (2007). Coauthor with James Grieshaber of Font: Classic Typefaces for Contemporary Graphic Design. Involved in Typelife. MyFonts page. Presently Executive Director, SOTA (Society of Type Afficionados) and TypeCon. %d Nov 10 2002 %N 23893 %B http://www.design-bookshelf.com/Type/indie/ %Z tamye@typelife.com %E tamye@typesociety.org %Q Tamye Riggs %L PERS BO %Z Fired in August 2005 by Fontshop according to Freddy. %Z Tamye Riggs Tel/Fax 1-541-922-9421 Email mailto:tamye@typesociety.org %T Author of Nicholas Jenson and the rise of Venetian publishing in Renaissance Europe [Oxford, UK; Cambridge, Mass., USA : B. Blackwell, 1991].

From Book News Inc: Chronicles the story of how printing came to Venice in the 15th century and transformed the Italian city into the most commercially advanced power in Europe, publishing a fifth of the continent's books only 40 years after Gutenberg developed moveable type. Examines the values and careers of printing's financial backers, and the printers themselves. Focuses on the immigrant French printer, Jenson, his design concerns and business activities, the transition from manuscript to printed page, William Morris' championing of his typefaces in the 19th century, and the significance of those typefaces today. Annotation copyright Book News, Inc. Portland, OR. %d Nov 9 2002 %N 23892 %B http://www.amazon.com/exec/obidos/tg/detail/-/0631173943/qid=1036895481/sr=8-12/ref=sr_8_12/102-7057416-4256159?v=glance&s=books&n=507846 %Q Martin Lowry %L BO USA-OR VENICE %T Dead link. This was a huge truetype and type 1 archive. The biggest font here is the 22MB Arial Unicode MS monster. There are many Monotype and Font Bureau families as well. Plus the Microsoft collection, MS Mincho (full font, by Ricoh), Palatino Linotype, SimSun (10MB multipurpose font by Zhongyi Electronic, 1995), and about 600 other basic fonts. One of the most useful archives anywhere, with every font seemingly included only for its usefulness. The fonts are now in one zip file. %d Nov 4 2004 %N 23891 %B http://autumnmist.homeip.net:81/fonts/ %Q Autumn Mist %L DD %T This Latvian site has a collection of Latvian-adapted fonts by Karlo and Tilde. From Karlo: MSBaltAmerigoRoman, MSBaltAmerigoBold, MSBaltAmerigoBoldItalic, MSBaltAmerigoItalic, MSBaltAvantGardeNormal, MSBaltAvantGardeBold, MSBaltAvantGardeBoldItalic, MSBaltAvantGardeItalic, MSBaltBookmanNormal, MSBaltBookmanBold, MSBaltBookmanBoldItalic, MSBaltBookmanItalic, MSBaltBrushStrItalic, MSBaltCorsivaItalic, MSBaltCourier, MSBaltCourierBold, MSBaltGeoSlabMedium, MSBaltGeoSlabBold, MSBaltHelveticaCndBoxNormal, MSBaltHelveticaCondensedNormal, MSBaltHelveticaCondensedBold, MSBaltHelveticaRounded, MSBaltHelveticaRoundedBold, MSBaltHelveticaSlimBold, MSBaltHelveticaSlimLight, MSBaltHelvetica, MSBaltHelveticaBold, MSBaltHelveticaBoldItalic, MSBaltHelveticaItalic, MSBaltHelveticaWide, MSBaltHelveticaWideBold, MSBaltLucida, MSBaltLucida, MSBaltNevison, MSBaltNuptialItalic, MSBaltOnyxCondensed. From Tilde: LettericaBalt-Bold, LettericaBalt-BoldOblique, LettericaBalt-Oblique, LettericaBalt-Roman, RimAntiqueOliveN-Oblique, RimAntiqueOliveN-Roman, RimAvantGarde-Bold, RimAvantGarde-BoldOblique, RimAvantGarde-Oblique, RimAvantGarde-Roman, RimCourier, RimCourier-Bold, RimCourier-BoldOblique, RimCourier-Oblique, RimFrutiger-Bold, RimFrutiger-BoldOblique, RimFrutiger-Oblique, RimFrutiger-Roman, RimFutura-Bold, RimFutura-BoldOblique, RimFutura-Oblique, RimFutura-Roman, RimGaramond-Bold, RimGaramond-BoldItalic, RimGaramond-Italic, RimGaramond-Roman, RimHelveticaCondensed-Bold, RimHelveticaCondensed-BoldOblique, RimHelveticaCondensed-Oblique, RimHelveticaCondensed-Roman, RimNewCenturySchoolbook-Bold, RimNewCenturySchoolbook-BoldItalic, RimNewCenturySchoolbook-Italic, RimNewCenturySchoolbook-Roman, RimRevue-Oblique, RimRevue-Roman, RimStempelSchn-Bold, RimStempelSchn-BoldItalic, RimStempelSchn-Italic, RimStempelSchn-Regular, RimStempSchnL-Bold, RimStempSchnL-BoldItalic, RimTiffany-Bold, RimTiffany-BoldItalic, RimTiffany-Italic, RimTiffany-Roman, MSBaltSouvenirNormal, MSBaltSouvenirBold, MSBaltSouvenirBoldItalic, MSBaltSouvenirItalic, TeutonicaBalt-Bold, TeutonicaBalt-BoldItalic, TeutonicaBalt-Italic, TeutonicaBalt-Roman, MSBaltTimes, MSBaltTimesBold, MSBaltTimesBoldItalic, MSBaltTimesItalic, RimHelvetica-Bold, RimHelvetica-BoldOblique, RimHelvetica-Oblique, RimHelvetica-Roman, RimTimes-Bold, RimTimes-BoldOblique, RimTimes-Oblique, RimTimes-Roman. %d Nov 9 2002 %N 23890 %B http://www.dabasmuzejs.gov.lv/ftp/win/Fonti/ %Q Government of Latvia %L FO-EA LAT GARAMOND %Q Adobe Minion patent %d Dec 16 2002 %N 23889 %B http://ssifonts.com/Patents3.HTM %T Paul King argues why the patent of Adobe Minion (Slimbach, Adobe, 1993) is invalid. %L TY-LG %T Minion and Myriad in type 1 format. %d Nov 9 2002 %N 23888 %B http://www.finearts.uvic.ca/~maltwood/slidetour/Adobe/Cura%20Catlogue%20Template_2%20Folder/Fonts/ %Q University of Victoria %L AR3 %T Vignette (borders) type designer in 1994 at Paratype. The font is simply called "Vignette" %d Nov 9 2002 %N 23887 %B http://www.paratype.ru/default.asp?page=/library/newstyles.asp?fontcode=PR_VNT1 %Q STC Practik %L FO-CY DI-OR %Q Arcada.com %T The zip file contains map dingbat fonts: BP (by Victor Kisel, 1999), ESRICartography, ESRIEnvironmentalIcons, ESRIGeometricSymbols, ESRIOilGasWater, ESRIWeather, ESRITransportationMunicipal, ESRIGeology, ESRICrimeAnalysis, MapInfoArrows, MapInfoCartographic, MapInfoMiscellaneous, MapInfoOil&Gas, MapInfoSymbols, MapInfoRealEstate, MapInfoTransportation, MapInfoWeather. %N 23886 %B http://www.arcada.com.ua/infot/free/ %d Feb 14 2004 %L TRAV DE ARROW %D Victor Kisel %Q Froedi %T German designer of the sans serif face Banja. %N 23885 %B http://www.typophile.com/forums/messages/29/925.html %d Mar 10 2002 %L DE GER %Q Punchcut %E info@punchcut.com %T In 2002, Jared Benson and Joseph Pemberton formed PUNCHCUT in Emeryville, CA, where they "design, operate and produce Typophile, a collaborative, online typographic community."

In 2012, they published the free sans typeface Amble at Fontsquirrel. Pemberton writes: In 2010 Sun licensed it for inclusion in the JavaFX SDK for mobile handsets. Any similarity to Droid stems from a similar creative brief over at Ascender Corp. %N 23884 %B http://www.punchcut.com/ %d Mar 10 2002 %L TY MA OR2 USA-CA %Z t: 510.387.5402 1091 45th Street Emeryville, CA 94608 USA %Z Punchcut-Amble-2012.png %Q Tidningstypografi 1992-99 %T Pelle Anderson writes about the use of faces in Swedish newspapers (in Swedish). This article has interesting statistics, showing the demise of Times in the 1992-1999 period in favor of Nimrod (by Robin Nicholas, Monotype) and Century (Morris Fuller Benton). %N 23883 %B http://www.a4.se/svensk/texter/undersok/dagspress_1999.htm %d Mar 10 2002 %L TY SWE %Q Takrogh %T About 50 truetype fonts in the zip file. %N 23882 %B http://home.online.no/~takrogh/fonts/ %d Mar 9 2002 %L AR2 %Q Attitude Inc %T Run by Larry Magana, this company from La Mirada, CA, published a shareware font CD called Masterpiece Professional Fonts. Some of the fonts are floating around in cyberspace. %N 23881 %B nothing %d Mar 9 2002 %L OR2 %Z 14742 Beach Blvd #440 La Mirada, CA 90638 %Q Simon Manchipp %E simonm@hhcl.com %T Designer of Iceland Sans (1998). %N 23880 %B nothing %d Mar 9 2002 %L DE %Q Softlandmark %E info@softlandmark.com %T Type tools archive. You can fond here Advanced Font Catalog 1.20, X-Fonter 3.5, Font Glancer v0.9.8, abSee v1.02, akFontViewer 3.2.0, FontFinder 32 v5.96, Font-O-Matic v1.04, Win32 Font Lister v3.6, MyFonts Windows Font Manager v4. %N 23879 %B http://www.softlandmark.com/Fonts.htm %d Mar 9 2002 %L FM %Q Midget Bigot %E nitagale@hotmail.com %T Free handwriting and dingbat fonts: BIRTHDAY33, FatBlackSnake, frayed, frayedthin, GreenSharpie, mauser1, mylivingroom, nita1, nitaface, nitaface2. All fonts made by the Data Becker program. %Z http://midgetbigot.com/free_fonts.htm %N 23878 %B http://midgetbigot.tripod.com/free_fonts.htm %d Feb 28 2004 %L OR2 DI-OR HW %Q Pudhari %T The Marathi font SHREE-PUDHARI by Modular Infotech (1992). %N 23877 %B http://www.pudhari.com/html/fonthelp.htm %d Mar 9 2002 %L FO-MAR %Q Logic %T The font Logic by Microsoft (1996). %N 23876 %B http://www.oakland.edu/phil/cafe/downLogicFont.htm#font %d Mar 9 2002 %L MATH %Q McD Fonts %T Small gothic font archive. %N 23875 %B http://www.wtfman.com/mcd/fonts.htm#Anchorpppp %d Mar 30 2002 %L GO %Q Hans-Rudolf Lutz %T Swiss typographer (b. Zürich, 1939, d. 1998). He had his own studio, Lutz Verlag, in Zürich. He published books such as "Typoundso" and "Ausbildung in typografischer Gestaltung". He taught at the schools of design in Zürich and Luzern for over thirty years, and founded the typography department in Luzern in 1968. %N 23874 %B http://www.lutz.to/biography.html %d Mar 8 2002 %L DE SWI PHOTO USA-RI AG %Z Hans-Rudolf Lutz was born in Zürich in 1939. After completing a four-year typesetting apprenticeship with the Orell Füssli printing company in Zürich, and continuing a career in the industry with the typographer Arthur Kümin and later the printer Anton Schöb, he left Switzerland in 1961 to travel through Europe and North Africa. In 1963, he resumed his education in typography and design at the Schule für Gestaltung in Basel where his teachers included Emil Ruder and Robert Büchler. From 1964 to 1966, Lutz was the leader of the Expression Typographique group in Paris, at Studio Hollenstein, producing a range of graphic design. Hollenstein had developed the first photosetting machine, and the group responded by trying to produce an aesthetic that, in its modernity, matched the new technology. On his return to Zürich, Lutz set up his own studio and publishing company, Lutz Verlag. He wrote, illustrated, typeset and produced nine books about visual communication. The last ones that he pubished, 'Typoundso' and 'Ausbildung in typografischer Gestaltung' archive his own design work from the last thirty years. He also published sixteen titles by other designers and writers. From 1983 to 1994, he was visual director of the avant-garde electronic music and multimedia performance group UnknownmiX. After the group disbanded, he continued to provide slide shows and visual contributions for live events. But Lutz was first and foremost an educator. He taught at the schools of design in Zürich and in Lucerne for over thirty years, and founded the typography department in Lucerne in 1968. He also carried out assignments at colleges from the Hochschule für Künste in Bremen to Rhode Island School of Design. Hans-Rudolf Lutz died on the 17th of January 1998. %Q Richard Paul Lohse %T Swiss graphic arts icon, b. Zürich (1902), d. 1988. %N 23873 %B nothing %d Mar 8 2002 %L DE SWI %Q Robert Büchler %T Swiss typographer who taught in Basel. %N 23872 %B nothing %d Mar 8 2002 %L DE SWI %Q Max Bill %T Influential Swiss graphic designer, painter and architect, b. 1908, Winterthur. Designer of Bill (1949-1950, geometric) and ArchiType Bill. %N 23871 %B http://www.swisstypedesign.ch/designer/141/ %d Mar 8 2002 %L DE SWI %Z MaxBill-Bill-1950.jpg %Z MaxBill.jpg %Q Nerfect Type Laboratories %E mail@nerfect.com %T Nerfect Type Labs in Berwyn, IL, is the foundry of Britton Walters (b. Atlanta, GA, 1973). Free fonts: Desmond (2003), Ausfahrt (dingbats), Bad Weekend (comic book font), Clint (2003), CursedMustache (2003), Clunky, Coffin Nails, Conspiracy (old typewriter font), Crap Magnet family (free at Chank's), Cursed Mustache, Demand (ransom font), Emma 65, G.I. Jerk, Goblin, Heavyweight, Hybrid, Joey, Kirok, Mental Junk Drawer (dingbats), Minibike, Mister Filthy, Mutant, Pixie (pixel font), Roadtrip, Sanford, Sex Shop, Skyland, Space Junk, Speed Demon, Stag Wart, Thug, Tricky Treat (2003). Pay fonts: Crunk, Go-Rilla, Kurtzberg, Monsterkit, Nerfect Cola, Outlaw, Muggler.

MyFonts.com sells some of their fonts: Stinky School Book, Creeps (2002, funny faces!), Ailene, Smuggler (2001), Crunk, Kurtzberg, Nerfect&Cola, Go-rilla, Outlaw, Class of 1964 (dingbats), Dingbatio, Mr. Walters-Casual (comic book face), Tricky-Treat (scratchy handwriting), Fiend (2004) and MonsterKit.

View Britton Walters's typefaces. %Z http://www.nerfect.com/type.html %N 23870 %B http://www.nerfect.com/typefree.html %G http://www.myfonts.com/person/Britton_Walters/ %F http://www.myfonts.com/foundry/Nerfect/ %d Jun 5 2003 %L CF2 OR2 DI-OR DE PIX COMIC TW GO RANSOM USA-IL USA-GA %D Britton Walters %Z 1430 S. Cuyler Ave., Berwyn IL 60402 USA TEL 708-788-5426 %P BrittonWalters-Creeps-2002-Small.gif %Z BrittonWalters-Creeps-2002.gif %Z BrittonWalters-Smuggler-2001.gif %Q Bartlomiej Wozniak %T Son of Piotr Wozniak, b. Konskie, Poland, 1994. He created the children's handwriting font Bart Script No. 1 (2006, 066.FONT). %G http://www.myfonts.com/person/wozniak/bartlomiej/ %N 23869 %B http://www.myfonts.com/person/Bartlomiej_Wozniak %G http://www.myfonts.com/person/Bartlomiej_Wozniak %d Jun 7 2006 %L DE POL CHI %Z ul. Armii Krajowej 8/25, Konskie 26-200 Poland TEL +48 604 108 269 %Q 066.FONT %E 066font@wopi.art.pl %F http://www.myfonts.com/foundry/066font/ %G http://www.myfonts.com/person/Piotr_Wozniak/ %T 066.FONT is a Polish foundry based in Konskie with some commercial fonts (Linotype Kropki (1997), Dr066, Kfontz) and some free fonts (DNA, Zawijasy, Mieszkanie9 (a halftone curly hand), Plaq, Plaq 108). Kfontz and Dr066 are old typewriter fonts, and Kropki is a dot matrix font. The free fonts are for handwriting. Some fonts at MyFonts.com, such as Pokrak (2009, grunge family), Longinus Pro (2008, a 9-style family of medieval roughly outlined alphabets), Old Stefan (2008, five styles of grungy typewriter), Kra Kra (2008, grunge), Poldi (2007, 3d handprinted), Poldi No 2 (2008), Bloor (2008), Crazy David No 1 and 2 (2006, grunge), Karacan Pro (2005, eroded look), Polish Dirty News (2005, grunge), Nieanana (2005), Jackcake (2005), Mada693, Nonpress (2006, grunge), Plaq (2005, halftone simulation face), Dr066, KfontZ, Zawijasy (1997, a curly hand, now commercial), Punx (2006, grunge), 066 Army (2006, grunge), Kulfonus No. 1 and 2 (2007, grunge), Duck Duck (2006), Finito (2008, grunge script), Wopi Script (2005), Pimpus (2009, grungy script) and Wopi Script No. 2 (2005) and No. 3 (2007). The designer is Piotr Wozniak from Konskie (b. Poland, 1980).

Polish link. Dafont link.. Linotype page. %Z http://www.066font.com/ %N 23868 %B http://www.066.pl/ %d Jul 10 2005 %L CF2 OR2 POL HW PIX TW DE CHI 3D %D Piotr Wozniak %Z ul. Armii Krajowej 8/25, Konskie 26-200 Poland TEL +48 604 108 269 %Z 066 Army, Bloor, Chigliak, Crazy David No 1, Crazy David No 2, Dr066, Duck Duck, Finito, Jackcake, Karacan Pro, KfontZ, Kra Kra, Linotype Kropki, Kulfonus No 1, Kulfonus No 2, Longinus Pro, Mada693, Nieanana, Nonpress, Old Stefan, Plaq, Pokrak, Poldi, Poldi No 2, Polish Dirty News, Punx, Wopi Script, Wopi Script No 2, Wopi Script No 3, Zawijasy %Q El diseno del euro %T Ives Zimmerman (Basel) on the design of the Euro. In Spanish. %N 23867 %B http://www.tipografica.com/50/?id=3 %d Mar 8 2002 %L EURO SWI %Q Boleto tipo cartón %T Report of a seminar by Patricio Larrambebere and Daniel Roldán on the typography on train tickets in Argentina. %N 23866 %B http://www.tipografica.com/50/?id=4 %d Mar 8 2002 %L ARG %Q Diego Giaccone %E dgiaccone@avalosbourse.com.ar %T Argentinian graphic designer and recent docent in graphic design at the University of Buenos Aires. He graduated in 1991 from the University of Buenos Aires with a degree in graphic design. He worked at Arcor, and after a brief sabbatical in London at Interbrand Newell and Sorrell during 1999, he returned to Argentina, where from 2000 on, he is the Director of Design at Interbrand Avalos&Bourse. His fonts:

Plumero. A typeface completely made with a calligraphic pen. PlumeroScript (2002) is now sold through Typeworx in Toronto and through Sudtipos and MyFonts.
MisterGiacco (2003). A sans serif font, available from Sudtipos, which he cofounded.
Herencia (2004). A handwriting face done with Alejandro Paul at Sudtipos.
Sudestada (2005) is a handwriting script developed with Alejandro Paul.
La Portenia (de la Recoleta, de la Boca) (2005, Sudtipos) is a script developed with Angel Koziupa and Alejandro Paul.

%Z MisterGiacco.jpg %Z plumero.gif %Z Plumero.jpg %Z Veer--Plumero.gif %Z laportenia.gif %G http://www.myfonts.com/person/Diego_Giaccone %N 23865 %B http://www.myfonts.com/person/Diego_Giaccone %Z http://tpgbuenosaires.tipografica.com/conferencias/Giaccone.html %L DE ARG CA HW %Z Buenos Aires, Argentina 54-11-4788-9665 %Z http://www.typeworx.com/ %d Aug 27 2002 %Z TYPEWORX 1450 O'Connor Drive Building 2, 3rd Floor Toronto, Ontario Canada M4B 2T8 Telephone: (416) 298-1737 Fax: (416) 352-5180 %Z Recipient of the Konex Award 2002. He was pointed out as one of the best designers among five in the Argentine Graphic Design area. He graduated as Graphical Designer in the Architecture Design and Urbanism University of Buenos Aires (FADU-UBA). He was teacher at this institution as well. He has shown his work in collective and individual expositions on various occasions, and many of his works were published in different publications. He gave conferences in different chairs from Design, Typography and Packaging. During 199398 he became a member of the department of Design of Packaging of Arcor Group. Arcor is a world leader in confectionery and exports to 45 countries across the globe. There he designed consumer packaging for different markets. During 19982003, he worked at Interbrand Avalos&Bourse, being Design Director from 2000 to 2003. During October/November of 1999 he worked in Interbrand Newell and Sorrell of London, in the departments of Packaging and Communications. Now he is a Consumer Branding Director of FutureBrand Argentina. For the last 10 years he has developed projects for Molinos Group, Arcor, Quilmes, Bodegas Chandon, Concha y Toro, Viña San Pedro (Chile), Adams, Nabisco/Terrabusi, SAVA Gancia, Bodegas Nieto Senetiner, Unilever, CCU, Córpora Tresmontes Chile, Peñaflor Group, Fargo, Freddo, Cadbury/Stani, and Pepsi. He is one of the founders of the Sudtipos project, the first Argentinian type foundry collective. %Z Diseñador Gráfico de la Universidad de Buenos Aires (FADU-UBA). Fue docente de dicha institución. Ha sido nominado a los premios Konex 2002 por su obra. Sus trabajos fueron publicados en diversos medios internacionales y ha dictado numerosas conferencias. En 2001 fue disertante en el primer encuentro internacional de diseño "Tipografía para la vida real". Durante 1991/93, desarrolló actividades en el Estudio de Diseño y Comunicación González Ruiz, durante 1993/98 integró el departamento de Diseño de Packaging del Grupo Arcor S.A.I.C., durante 1998/2003 trabajó en Interbrand Avalos&Bourse, ocupando el cargo de Director de Diseño y actualmente es Director de Consumer Branding de FutureBrand Argentina. En el año 1999 también se desempeñó en Interbrand Newell and Sorrell de Londres. Ha desarrollado identidad de marca y packaging para Molinos, Arcor, Cadbury/Stany, Nabisco/Terrabusi, Adams, Quilmes, Bodegas Chandon, CCU, Bodegas Nieto Senetiner, SAVA Gancia, Unilever, Fargo, Freddo, Química Estrella y Pepsi. Ha diseñado las fuentePlumero. %Q Jean Méron %T Author of "Orthotypographie : recherches bibliographiques", Convention typographique, 2002. A 416 page opus on the history of the book, printing, writing, and typography. A great handwritten preface by Fernand Baudin. See also here. %N 23864 %B http://www.typophage.com/fr/livres/index.html %d Mar 8 2002 %L BO %Q Band Fonts %E bandfonts@gmx.net %T The ultimate band font site. %N 23863 %B http://fonts.paranoir.net/ %d Mar 8 2002 %L AR %Q www.idrsolutions.com %E mark@idrsolutions.com %T StoryPad is a commercial product for PC and Linux for extracting text and images from PDF files. The company, IDRsolutions, wants to see itself listed as "http://www.idrsolutions.com". %N 23862 %B http://www.idrsolutions.com/ %d Mar 15 2002 %L PS-PDF %Q Fabricoh.org %E d@synthetickiss.com %T Neil Coons at CalArts is the designer of Franklin Gothic Rough. %N 23861 %B http://www.fabricoh.org/archives/00000008.html %d Mar 8 2002 %L DE OR2 %D Neil Coons %Q Devi Dee %E d@synthetickiss.com %T Designer of the handwriting font 4 Cross Goth (2001). %N 23860 %B http://synthetickiss.com/archive.php?postID=167 %d Mar 8 2002 %L DE HW %Q col.gueb %T Four fonts, including Corel's Expo (1992). %N 23859 %B http://col.gueb.free.fr/documents_telecharger.htm %d Mar 8 2002 %L AR3 %N 23858 %B http://www.myfonts.com/person/John_Miles/ %G http://www.myfonts.com/person/John_Miles/ %Q John Miles %T British type designer, b. 1931. He co-founded the London design agency Banks&Miles in 1958 with British designer Colin Banks. %d Nov 20 2000 %L DE UK %Z http://www.lischke-online.de/Unicode.html %N 23857 %B http://www.lischke-online.de/Unicode/ %Q Delphi Unicode Center %T Site run by Mike Lischke. Unicode20 is his free Delphi-based Windows program with a Unicode Regular Expression search engine and a Unicode Tuned Boyer-Moore search engine. UnicodeView is another free program that shows all true type fonts on a Windows system and allows to browse through all codepoints (characters). %E webmaster@delphi-gems.com %d Nov 18 2000 %L FM ST %N 23856 %B http://www.chmaas.handshake.de/delphi/freeware/freeware.htm %Q TTFMan v1.0 %T Free Windows font utility by Christian Maas. For viewing and installing truetype fonts. Alternate URL. %E chmaas@hit.sb.sub.de %d Nov 18 2000 %L FM %N 23855 %B http://homepages.borland.com/torry/util_fonts.htm %Q Fonty v1.1 %T Free Windows font utility by Alexander Rodigin. For viewing and installing truetype fonts. %E alexro_2000@mail.ru %d Nov 18 2000 %L FM %N 23854 %B http://www.bytecity.ru/~ed/html/prg_e.html %Q FontView v.2.0 %T Free Windows utility by Edward Koshel. Shows the list of fonts installed in Windows 95, installs, uninstalls, and views. Alternate URL. %E ed@wbt.ru %d Nov 18 2000 %L FM %N 23853 %B http://homepages.borland.com/torry/util_fonts.htm %Q FontBank32 v1.0.32 %T Free Windows font utility by Alex Wernhardt written in Delphi 2.0. %E alex.wernhardt@pfaffenwinkel.de %d Nov 18 2000 %L FM %N 23852 %B http://www2.erdas.com/SupportSite/Downloads/symbols/symbols.html %Q Military Symbols and Fonts %T Free NATO military truetype fonts. Included are Map-Symbols-NATO-Blank, Map-Symbol-NATO-Pl, Map-Symbols-NATO-Coy, Map-Symbols-NATO-Bn, Map-Symbols-NATO-Regt, Map-Symbols-NATO-Bde, Map-Symbols-NATO-Div&Co, Map-Symbols-NATO-Eqpt, MilSymMod01Normal, MilSymMod02Normal, MilSymbols01Normal, MilSymbols02Normal, MilSymbols03Normal, MilSymbols04Normal, MilSymbols05Normal. %d Nov 18 2000 %L TRAV MIL %N 23851 %B http://www.mapsymbols.com/row_z.html %Q Carl Rosenquist %T Commercial US highway marker and symbol fonts for all states. %E rowz1@ecol.net %d Nov 18 2000 %L TRAV DE %D Carl Rosenquist %N 23850 %B http://www.esri.com/ %Q ESRI %T GIS software outfit. Has many geological fonts. The ESRI fonts can be downloaded here: esri_1.ttf - ESRI Cartography (TrueType), esri_2.ttf - ESRI Environmental&Icons (TrueType), esri_3.ttf - ESRI Geometric&Symbols (TrueType), esri_4.ttf - ESRI Oil, Gas,&Water (TrueType), esri_5.ttf - ESRI Transportation&Municipal (TrueType), esri_6.ttf - ESRI Weather (TrueType), esri_7.ttf - ESRI Geology (TrueType), esri_8.ttf - ESRI Crime Analysis (TrueType). Alternate site. %d Apr 8 2001 %L TRAV %Q Abandoned Mine Land Program %L TRAV DE %d Dec 13 2000 %Z http://www-a.blm.gov/gis/narsc/faq-1.html %N 23849 %B http://www.blm.gov/gis/narsc/faq-1.html %T Geographic symbol fonts in truetype: BLMSymbols, BLM Mine Symbols, BLMMine2, BLMSYM1, Blmsym2 (all with symbols for abandoned mines), International2, Paleo (paleontology symbol set by Neffra Matthews of NARSC), USDAFS (another nice international symbol set, by the Forest Service). %D Neffra Matthews %N 23848 %B http://www.mapsymbols.com/symbols2.html %Q Mapsymbols.com %T Fonts here include DNRRecreationSymbols, DNRRoadSymbols, ParkSymbol (by the US National Park Service), ESRI Miltary dingbat fonts, recreational dingbat fonts by Paul A. Zellmer of the Tongass National Forest, and a goldmine of links to travel and government dingbat fonts. Animal dingbat archive. %E pixelkind@gmx.de %d Apr 5 2003 %L TRAV DI-OR DI-AR %N 23847 %B http://208.56.102.179/erforsche!.htm# %Q Pixelkind Digitale Schoepfung %T Maybe a font site, maybe not. %E pixelkind@gmx.de %d Nov 18 2000 %L %M Check out. %N 23846 %B http://www.houyhnhnms.com/ %Q houyhnhnms %T Flash site by Joan Jiménez. %d Nov 18 2000 %L %M Check out. %Z http://www.fountaintype.com/designers/ninadavid.asp %N 23845 %B http://www.font-o-rama.com/ %Q Font-O-Rama %D Nina David %T Born in 1974, Nina David lives in Kaarst, Germany. She designed Uni F (a unicase face, 1997, which received the "Certificate of Excellence" from the Type Directors Club in (TDC) in 1998) at Fountain. She lives in Duesseldorf, Germany. In 2002, she set up Font-O-Rama, where we can find her free and commercial creations: Casi (2000), DSC (2000, pixel face), Eiei (2001, eggs font for Easter), KomodoreDestroy (2000), KomodoreNormal (2000, horizontally-striped typeface), Pagra (2001), UniFIce (2001), UniFRama (2002), UniFXmas (2000). Commercial fonts include Liebling (2005, a serif to go with Mein Schatz), Mein Schatz (2003, sans), Geomee (2003, a squarish geometric face), Longing (liquid face with ornaments added), Uni F, Herzchen (2006), Longing (2005), and Sweet Home (2005, stitching face). There is also a general introduction to typography.

Home page. Alternate URL. Dafont link. FontShop link. %Z http://www.tdc.org/typeface.htm %Z oberkasseler str. 106^Md - 40545 duesseldorf %Z Good-looking. %Z ich@ninadavid.de %E nina@ninadavid.de %Z nina@ideschi.com %E nina@hons.de %d Sep 14 2005 %L DE OR2 PIX TY EASTER UNICASE GER STITCH CF2 %Z http://www.ideschi.com/ %Z NinaDavid-Komodore-2000.png %N 23844 %B http://www.closefonts.com/01.html %Q Christina Glahr %T Designer of some of the images at closefonts. %Z Not fonts themselves, according to Simon Schmidt. %d Nov 5 2001 %L DE %N 23843 %B http://www.closefonts.com/start.html %G http://www.myfonts.com/person/Simon_Schmidt/ %Q Closefonts %T Closefonts is a foundry that was set up in 1997 by Simon Schmidt (b. 1968, Hamburg). He studied graphic design and typography at Parsons School of Design, New York and at Kunstschule Alsterdamm in Hamburg, Germany. After three years as an art director in advertising, he became aa self-employed graphic and type designer specializing in corporate design. His typefaces can be found at Fontomas and Closefonts.

They include Monolith, Delay (2001, has kitchen tile weights), Beta, Hybrid, Ogra, Ograbic (Couscous, Falafel, Kebab: Arabic simulation faces), Hybrid, Schlager (50s diner font), Ness, Lorem Ipsum, Maxpo, Call (free), Gridder (1999, free), Dotter (free), CloseRaceDrive (2000), CloseRacePark (2000), CloseCall, CloseGridder.

Some of Simon Schmidt's fonts can be bought at Fountain: Delay, Hybrid, Monolith, Ness, Schlager. He designed the pair Park and Drive in his Race series at fontomas.com in 2000. He created Hookline in 2001 at Fontomas. His 2007 fashionably elegant Vogue-style sans face Mondän is stunning.

FontShop link. Abstract Fonts link. Klingspor link. %E simon@closefonts.com %d Jan 26 2002 %L CF2 PIX OR2 DE KITCHEN GER FASHION A-SIM %D Simon Schmidt %Z SimonSchmidt--Ogra+Ograbic.png %Z SimonSchmidt--Schlager.png %N 23842 %B http://www.serve.com/shea/germusa/fonts.htm %Q German Fonts and Old Handwritten Styles %T Links to old German handwriting fonts and literature. %d Nov 18 2000 %L LI2 FR GER %N 23841 %B http://www.genealogienetz.de/misc/scripts.html %Q genealogy.net %T Links to old German handwriting fonts and literature. %d Nov 18 2000 %L LI2 FR GER %N 23840 %B http://members.bianca.com/shacklet/Lady_Vixen/fonts.html %Q Vixen's Venue Fonts %T List of links. %d Jun 21 2001 %L LI2 %N 23839 %B http://www.hh.schule.de/blindenschule/blind0.htm %Q Hamburg's School for the Blind %T Free Braille truetype fonts copyright König: Braille 6 Kurz, Braille 6 Voll. And RNIB Braille. %d Nov 18 2000 %L BR %N 23838 %Z http://www.planet-interkom.de/athomsen/downloads.html %Q A. Thomsen %T Hieroglyhic truetype font archive. Has Antoniuous, AntoniousOverline, and AntoniousJJencom (Greek/Coptic by Michael Wisam), GlyphBasic 1 through 4 (1995 Centre for Computer-Aided Egyptological Research, Utrecht), KingTut (WSI), Nahkt (Michel Bujardet 1994). %d Nov 18 2000 %L DD %N 23837 %B http://www.remmert-fontes.de/Services/Fonts/fonts.html %Q Remmert %T Diablo, Benguiat Gothic Book BT, Papyrus and GlaserSteD. %d Nov 18 2000 %L DD %N 23836 %B http://www2.genealogy.net/CGB/hilfen/ %Q Filearea Hilfen %T Free genealogical symbol truetype font. %d Nov 18 2000 %L DI-OR %Z http://www.members.aon.at/albert-frisch/spiele/riven/downloads/ %N 23835 %B nothing %Q Michael Bower %T Designer of Riven (1998). This font was singled out by the typophiles as a problematic pirate font---even the name of its parent, Perpetua, was left inside the font file. %Z and Colin Arenz's strange D'ni Script (done for Cyan Productions). %E Riven2000@aol.com %L RU DE %Z http://a.die.supsi.ch/~wille/downloads.html %Z Three free truetype fonts: Michael Bower's Riven (1998), Colin Arenz's strange D'ni Script (done for Cyan Productions), and Leon Lanthier's D'ni Formal Regular (1998). %d Jan 2 2002 %N 23834 %B http://www.heise.de/ct/ftp/listings.shtml %Q TrueType-Schriften f¨r Linux %T Jürgen Schmidt's quick hacks for using truetype in Linux environments. Included: ttf-gs (based on ttf2pt1, this hack tells ghostscript's Fontmap file about truetype fonts); afmmaker (by Yeong Yu, 1992: extract an AFM file from a truetype font); ttmk-so (makes all your truetype fonts known to StarOffice; based on Joerg Pomnitz's ttmkdir; needs libttf.so from the freetype library). %d Nov 18 2000 %L SO-TT PS-FROM PS-GS %N 23833 %B http://www.kostnixx.de/index2.html?/pages/Freeware/Fonts/more2.html %Q kostnixx %T Links (in German). %d Nov 18 2000 %L LI2 GER %N 23832 %B http://www.lpl.ch/System/hilfe.htm %Q LPL %T Four members of the FuturaBT family in truetype format. %d Nov 18 2000 %L AR3 %N 23831 %B http://www.acdca.ac.at/projekt3/projgrup/pg1/pg1fonts.htm %Q Austrian Center for Didactics of Computer Algebra %T German language site that explains about the embedding of truetype fonts in PDF files, especially those that are restricted against embedding. Also, free for download, the following Texas Instruments fonts in truetype format: TI-89-symbols, TI-92-symbols, TI83symbols, Ti83pc, Ti92Pluspc, Ti92Pluspcbd, Ti92ProgCodeN. %d Nov 18 2000 %Z SO-TT PS-PDF AUSTRIA GER %L DD %N 23830 %B http://dadacasa.supereva.it/pixel/font.html?p %Q Gottlieb Stalder %T Gorgeous web page in which Gottlieb Stalder offers his calligraphic script "Gottlieb Stalder Schrift " in font format (truetype and type 1, Mac and PC): capitals and numbers only. %E _bug_@ticino.com %d Nov 18 2000 %L CA DE OR2 ITA %N 23829 %B http://www.spiegelschrift-generator.de/ %Q Spiegelschriftgenerator %T Free mirror font Dabbington. %d Feb 20 2002 %L AR3 %N 23828 %B http://www.linkshaenderseite.de/tips.html %Q Tipps und Tricks für Linkshänder %T Free mirror fonts: Dabbington, PRMirror (Ososoft), StraitKcab (Andy Krahling). %d Nov 11 2001 %L AR3 %N 23827 %B http://www.ihlisoft.de/computer/download.htm %Q IHLISOFT %T Three free truetype fonts by IHLISOFT: Rondo (1994), Deutsch (1994, handwriting), Unisize (2000). %d Jan 2 2002 %L OR2 HW %N 23826 %B http://www.tolkienworld.de/download.html %Q Tolkienworld %T German sitewith two Tolkien truetype fonts. %d Nov 18 2000 %L RU GER %N 23825 %B http://seeger.uni-hd.de/fonts.htm %Q Transkription semitischer Texte %T Ulrich Seeger from Karlsruhe explains about the transcription from/to Hebrew. His nice page (in German) includes free Mac type 1 fonts such as HaifaTimes, GalilTimes, Beyrut, Hatra (a rare script). Plus the Galil family by Ulrich Seeger (1998) for Windows. Also, assur (for Akkadian), Bock and Nebe (for Aramaic), Sima (for South-Arabian), Abbas (for Persian). All these are adaptiations of Times for easy transcriptions. %Z seeger@uni-hd.de %E Ulrich.Seeger@tonline.de %d Jan 22 2002 %L FO-HE DE FO-ASS GER %D Ulrich Seeger %Z Karlsruhe/Germany (Tel. 0049 721 / 35 90 53) %N 23824 %B http://www.steffen-design.de/Pages/Free/FreeFonts.htm %Q Steffen Design %T The free old typewriter truetype font BulkyRefuse was designed by Philip Steffen from Braunschweig, Germany.

See also here. Dafont link. %Z Apothekenweg 10 38173 Sickte Fon 0 53 05 93 07 93 Fax 0 53 05 93 07 94 %E info@steffen-design.de %Z steffen@braunschweig.netsurf.de %d Nov 18 2000 %L OR2 TW DE GER %D Philip Steffen %Z PhilipSteffen-BulkyRefuse.png %N 23823 %B http://www.invers.de/index.html %Q Invers %T German design and typography magazine. Edited by Freiburg's Jürgen Funcke, Günter Honkomp and Karsten Risseeuw. %L MA GER %E redaktion@invers.de %d Dec 16 2001 %Z http://www.invers.de/invers/index.html %N 23822 %B http://www.welker-kl.de/meine_unterschrift/mu_2.htm %Q Meine Unterschrift %D Karl Welker %T German signature font service by Karl Welker. There is a free sample truetype font, Unterschr_Muster. %Z Galappmühler Str.51, 67659 Kaiserslautern Tel.: (0631) 3 70 30 00, FAX (0631) 3 70 30 02. %E karl@welker-kl.de %d Sep 29 2003 %L SI GER %N 23821 %B http://www.educeth.ethz.ch/altphilo/griech/utils.html %Q EducETH %T Free Greek truetype fonts: Xanthippe (Mac), Greek (PC), SpecialFont. %d Nov 18 2000 %L FO-GR %N 23820 %B http://software.webset.de/AHuber/ %Q Schrift 2000 %D Andreas Huber %T Free utility by Andreas Huber to get a survey of all installed fonts. %d Nov 18 2000 %L FM %N 23819 %B http://www.fh-eberswalde.de/sharecorner/adress/hauptteil_druck.html %Q ShareCorner %T Links to some font utilities. In German. %d Nov 18 2000 %L FM GER %N 23818 %B http://home.t-online.de/home/ti.onlin/truetype.htm %Q TrueType Schrifarten %T 30-font archive. Has Critter (1993, Adobe), Brushstroke Plain (1992, Kevin Willis), and Nirvana (1994 Donnie Lee, Black Dog Studios). %d Nov 18 2000 %L AR2 %N 23817 %B http://www.aurnh.de/suetterlin.htm %Q Suetterlin %T Freeware program for teaching the Suetterlin handwriting style. Includes a free Suetterlin truetype font (by Roman Georg Arens, Saarbrücken). Informative page by Marcus Hahn from the Historisches Institut der Universität des Saarlandes in Saarbrücken. %d Nov 18 2000 %L CA DIDAC %E gg14rhmh@rz.uni-sb.de %Z Historisches Institut der Universität des Saarlandes Postfach 15 11 50 D-66041 Saarbrücken %N 23816 %B http://ntfreeware.zdv.uni-tuebingen.de/NTSOFT/UG010005.htm %Q FontList Printer %T Freeware Windows font list printer software. %d Nov 18 2000 %L FM %N 23815 %B http://www.myfonts.com/person/Andy_Stockley/ %G http://www.myfonts.com/person/Andy_Stockley/ %Q Andy Stockley %T Designer from the UK who created Spira (1999, Font Bureau), a beautiful Venetian revival font family, and AT Pastor (FontHaus), an elegant high-legged serif face.

FontShop link. %d Nov 17 2000 %L DE UK VENICE %P AndyStockley-Spira-1999-Small.png %Z AndyStockley-Spira-1999.png %Z AndyStockley-SpiraBold-1999.gif %P AndyStockley-SpiraBold-1999copy.gif %Z AndyStockley-PastorSemiBold-.gif %Z AndyStockley-PastorSemiBold.gif %Z AndyStockley--ATPastor.gif %N 23814 %B http://www.myfonts.com/person/Reynolds_Stone/ %G http://www.myfonts.com/person/Reynolds_Stone/ %Q Reynolds Stone %T British engraver, stone carver and type designer, 1909-1979. He designed the garalde face Minerva (1954, Linotype) as a display face to accompany Gill's Pilgrim (or Bunyan) [he was Gill's student briefly]. He also designed the face Janet for private use, which was named after his wife, Janet Woods. Bio by Eason&Rookledge. He was famous for his wood-engraved lettering, which he put to good use on bookplates, title pages, and other inscriptions. See also here. A 1946 postage stamp designed by him. %d Apr 17 2001 %L DE UK %Z ReynoldsStone-WoodEngravedAlphabet-1950.png %Z ReynoldsStone--WoodEngraving-1950.png %Z ReynoldsStone--UKPostageStamp--1946.jpg %Q The X in X-Files %T Interview by Larry Smith: Erik Van Blokland on Trixie. %N 23813 %B http://www.metroactive.com/papers/metro/08.08.96/cover/fonts4-9632.html %d Nov 17 2000 %L TY %Q The Characters of our Content %T Dan Pulcrano's essay on type. %N 23812 %B http://www.metroactive.com/papers/metro/08.08.96/cover/fonts3-9632.html %d Nov 17 2000 %L TY %Q No Free Type %T Richard Sine on pirated type. Especially type for the web is discussed here. %N 23811 %B http://www.metroactive.com/papers/metro/08.08.96/cover/fonts2-9632.html %d Nov 17 2000 %L TY-LG %Q Type Minds %T Richard Sine on type: a discussion on the design of type, featuring Sumner Stone, David Siegel and Carole Twombly. %N 23810 %B http://www.metroactive.com/papers/metro/08.08.96/cover/fonts1-9632.html %d Nov 17 2000 %L TY %Q SelfBuild Type Foundry %T SelfBuild Type Foundry has commercial fonts by Craig Stainton (York, UK, b. 1974). The fonts may be bought through DsgnHaus. These include SB Expo (bitmap face), SB Grip (bitmap face), SB Degenerate, SB Modem, SB Tokyo, SB Vibe, SB Message (pixel fonts, 2001), SB Liquid, SB Byte, SB Websnap (pixel font). Downloadable demos without punctuation or numerals. Free font: SB Censor (2001). Experimental dot matrix font: go here. At FontHaus, he made Censor-Cameo. Experimental graffiti font: Graff (2005; see also here). Creator of Mighty Robot Lettering (2011).

Behance link. Klingspor link. %Z sbt %Z http://www.selfbuildtype.co.uk/ %N 23809 %B http://www.selfbuildtype.co.uk/html/menu.htm %d Aug 3 2001 %L CF2 DE OR2 PIX EXP GRAF UK %D Craig Stainton %Z craigstainton@zoom.co.uk %E info@selfbuildtype.co.uk %Z http://www.fonthaus.com/store/fonts/index.cfm %Z CraigStainton-MightyRobot-2011.png %Q .filip home page %T Filip Bozic's 1300+ font archive. %Z http://gimb.org/~xmas/fonts.html %d May 22 2004 %L AR %E filip@zadet.net %N 23808 %B http://www.zadet.net/fonts.html %Q open %T The file peter-fonts.zip contains (an archive of) about 15 old typewriter fonts in truetype format. %N 23807 %B http://triggerpoint.com/open/ %d Nov 15 2000 %L TW %Q Tom's Font Page %Z Some Brendel Informatik truetype fonts, including StylisticSF, CasperOpenSF, StamfordHeavySF-BoldItalic, VerdictSF. %N 23806 %B http://www.bcpl.net/~tsieling/fonts.html %d Nov 15 2000 %Z http://www.bcpl.lib.md.us/~tsieling/fonts.html %T Tom Sieling's 6-font archive with Corrugated SF, Karman (WSI), Rivets SF, Stylistic SF, Verdict SF, CasperOpenSF, X-Files, StamfordHeavySF_BoldItalic. The SF fonts are from the Brendel Informatik collection. %L AR3 %Q Pascal Guillas %T Pascal Guillas' page on Egyptian fonts has a few hieroglyphic fonts in its archive. %N 23805 %B http://services.worldnet.net/~pguillas/pages/polices.shtml %d Nov 14 2000 %L HIERO %T About 40 fonts in Chris Bell's archive, including Exotica, EditorCanadian, GrantsHand, PhyllisATT, Salsa, Scogin. Zip file not found. %Q The Bell's Home Pages %E chris.bell@softhome.net %N 23804 %B http://www3.sympatico.ca/s.bell/fonts.htm %M Go back: fonts.zip is a multiple file zip. %L DD %d Nov 27 1999 %T Dutch description by Rein Bakhuizen van den Brink of the font formats on Atari: Calamus, type 1 and Speedo are the vector fonts. Bitmap formats include GDOS/GEM, Signum2 and Signum3. %Q Soorten Fonts %E dziewon@xs4all.nl %N 23803 %B http://www.xs4all.ch/~dziewon/fontein/fonttype.htm %L SO HOL %d Nov 27 1999 %T Type 1 to CFN font converter (CFN is the Calamus font format for Atari) by Matthew Carey from FaST Club in Nottingham. %Q PFB2CFN %E dziewon@xs4all.nl %N 23802 %B http://www.xs4all.ch/~dziewon/fontein/pfb2cfn.htm %L SO SO-T1 %d Nov 27 1999 %T Rein Bakhuizen van den Brink has about 50 sub-pages about all aspects of font technology, covering Unicode, foreign languages, Atari's formats, Signum, GDOS, Speedo, type 1 and truetype. %Q Dziewonska %E dziewon@xs4all.nl %N 23801 %B http://www.xs4all.ch/~dziewon/fontein/ %L TY FO ST %d Oct 10 2000 %T ABC stands for Altek Bar Code. "ABC fonts are a range of TrueType, machine readable barcode fonts specially designed by Altek Instruments." For now, code 39 fonts only. Six fonts at 40USD a shot (single user). %Q ABC TrueType Fonts %E info@abcfont.com %N 23800 %B http://www.abcfont.com/index.html %L BA %d Mar 14 2000 %T Holiday dingbat archive. Part of the Fontessa site. %Q Fontessa (Holiday fonts) %Z http://www.geocities.com/~critterss/holiday/bgs_fonts.htm %N 23799 %B http://members.designheaven.com/~papagei/fonts/dingbats.htm %L DI-AR XMAS %d Dec 27 2001 %T Designer of the high contrast sans serif freeware truetype font Ureka in 1999. %Q Kairee %N 23798 %B http://www.themeworld.com/cgi-bin/preview.pl/fonts/ureka.0.zip %L OR2 %d Nov 27 1999 %T Designer of Havix HMK at Hallmark. %Q Doug Havach %N 23797 %B http://www.hallmark.com %L DE %d Jul 31 2000 %Z HavixHMK.png %Z HavixHMK---.png %T Designer of FultoonHmk at Hallmark. %Q Nancy Fulton %N 23796 %B http://www.hallmark.com %L DE %d Jul 31 2000 %Z NancyFulton--Hallmark--FultoonHMK.png %T Designer of PegsannaHMK at Hallmark. %Q Peg CarlsonHoffman %N 23795 %B http://www.hallmark.com %L DE %d Jul 31 2000 %T Designer of StarbabeHmk at Hallmark. %Q Lisa Rogers %N 23794 %B http://www.hallmark.com %L DE %d Jul 31 2000 %T Designer of McBooHmk at Hallmark. %Q Megan Walsh %N 23793 %B http://www.hallmark.com %L DE %d Jul 31 2000 %Z McBooHMK---.png %T Designer (with Bud Braman) of TwizotHmk (1999) at Hallmark. %Q John Dawbarn %N 23792 %B http://www.hallmark.com %L DE %d Jul 31 2000 %Z Hallmark-TwizotHMK-1999.gif %Z BudBraman+JohnDawbarn--TwizotHMK.png %T Fonts with the letters HMK in their names are produced by Hallmark, the well-known postcard company in Kansas City, MO. These include early fonts such as Hog-Bold---HMK, Hog-Book---HMK, Jot-Medium---HMK, Marita-Medium---HMK, Marita-Script---HMK, Trots-Light---HMK, Trots-Medium---HMK and later (1997-1999) fonts such as BaaBookHmk, BernhardFashionHmk, BethsCuteHmk, BixAntiqueScriptHmk, BoogieWoogieHmk, ChrisHmk, CluffHmk, DesertDogHmk, FrancineHmk, FultoonHmk (by Nancy Fulton), GeeohHmk, HavixHmk (by Doug Havach), JanieHmk, Jewels, LamboHmk, McBooHmk (by Megan Walsh), NotnorvalHmk, OkrienHmk, OttumHmk (1997, downloadable here, PegsannaHMK (by Peg CarlsonHoffman), SandyTextHmk, SlashHmk, SplintHmk, StarbabeHmk (by Lisa Rogers), SuccotashHmk, SuccotashHmkBlack, TwizotHmk (by Bud Braman and John Dawbarn), WallowHmk.

In 2008, careful hackers found these fonts in the flash files of Hallmark and posted them on alt.binaries.fonts: AngelinaHMK, AnnouncementRomanHMK, CoronaSansHMK, CrownRomanHMK, DuneHMK (2008), InkberryCondensedBoldHMK, KarasHMK, KingsHatBoldHMK, MizquitoHMK, PatriciaHMK, PoobyrdHMK, ZincHMK-Regular. One hacker points out that AnnouncementRomanHMK is a rework of Castcraft's AnnouncementRoman, adding the Euro, so Hallmark seems to have its hands in the cookie jar, unless there is an intestinal link to Castcraft (but I am not aware of any).

In 2010, some people extracted fonts from Hallmark e-cards with these names: BetaCrownRomanBFA, BetaMars, BluesOnePKA, DoverA1, EdPS-Script, EvereadyOnePKA, GriegoOnePKA, InkberryCondensedBoldA1, KingsHatSansTextBoldPKA-Regular, KingsHatSansTextBoldPKA, KreamyPKA, Minion-HMK, PSOneBoldPKA, PahtooieOneSolidPKA, PahtooieTwoSolidPKA, PeanutsA1-Regular, QubitTwoBoldPKA, SlashKA.

In 2010, Ascender started selling the Hallmark fonts. The first set includes Bix Antique Script HMK, Cluff HMK, Forget Me Not HMK, Fultoon HMK, Geeoh HMK, Hasty HMK, Havix HMK, Jewels HMK, Kat Tail HMK, McBoo HMK, Okrien HMK, Ottum HMK, Starbabe HMK, Succotash HMK and Wallow HMK. The second set, published in 2011, has BoogieWoogie HMK, Calcium HMK (2010, skeletal font), Gweet HMK, Karrot HMK, Pan HMK, Slash HMK, Splint HMK, Tuf Medium HMK (2011), Twizot HMK (1999). But then Ascender was gobbled up by Monotype, so who knows what will happen?

In 2012, we find a file with 107 free fonts on the Hallmark site as a support file for Hallmark Card Studio 2012. That collection: AliceFrancesHmk, BaaBookHmk, BaaBookHmkBold, BernhardFasD, BernhardFashionHmk, BernhardMordern, BethsCuteHmk, BethsCuteHmkBold, BixAntiqueScriptHmk (2009, a copperplate script), BixAntiqueScriptHmkBold, BoogieWoogieHmk, BoogieWoogieHmkBold, CallieHmk, CandyBuzzBTN, CandyBuzzBTNBold, CapriHMK, CarmineTango, CaslonAntT, CaslonNo540SwaD-Ital, ChrisHmk, ChrisHmkBold, CluffHmk, CluffHmkBold, CopperplateT-Bold, CopperplateT-Ligh, CopperplateT-Medi, DesertDogHmk (2008), DomCasualBT-Regular, DomCasualD-Regu, ForgetMeNotHMK, FrancineHmk, FrancineHmkBold, FultoonHmk (2010, a great painter's script), FuturaBT-Medium, Garamond, GaramondBold, GaramondBoldItalic, GaramondItalic, GeeohHmk (2009), GeeohHmkBold, GilliesGotD-Ligh, GrilledCheeseBTNCn, GweetHmk, GweetHmkBold, HankBT-Roman, HastyHMK (2006), HavixHmk (1998, calligraphic), HavixHmkBold, Humanist531BT-RomanA, JanieHmk (2008), JanieHmkBold, JewelsHmk (2008), KatTailBoldHMK, KatTailHMK (2009), LamboHmk, LamboHmkBold, LiorahBT-Regular, MaritaTextBookHMK, MaritaTextMediumHMK, McBooHmk (2009), MelanieBT-Roman, MissyBT-Roman, NimbusRomD-Regu, NimbusRomdBold, NimbusRomdItalic, NimbusSanT-Regu, NimbusSanT-ReguCond, NimbusSanTConBold, NokieBrushBoldHMK, NokieBrushHMK (2009), NotnorvalHmk, NotnorvalHmkBold, OkrienHmk (1999, camp site script), OkrienHmkBold, OttumHmk (2010, formal connected script), OttumHmkBold, PamHMK (2009), ParkAveD, PegsannaHMK, RegisterSansBTN, RegisterSansBTNBold, RyanBT-Heavy, SandyTextHmk (1997, formal script), SandyTextHmkBold, Shannon-Book, ShannonExtraBold, SlashHmk, SlashHmkBold, SplintHmk (2008), SplintHmkBold, StarbabeHmk (2009), StarbabeHmkBold, SuccotashHmk (1999, technical memo script), SuccotashHmkBlack, SuccotashHmkBold, Symphony, SymphonyBlack, TwizotHmk (1999), URWAlcuinT-Regu, URWImperialT-Regu, WackyActionBTN, WackyActionBTNBold, WallowHmk (1999), WallowHmkBold, WritetyperHmk, YearbookSolid.

Hallmark's SMC animations font download site has the free fonts Hmk Handjive, Handshake, Handlebar, Handstand, Handspring, Handsome, all made in 2010.

Additional fonts not mentioned above include Butch HMK (2008). %Q Hallmark %N 23791 %B http://www.hallmark.com %F http://www.myfonts.com/foundry/Hallmark/ %L OR2 CF2 CA HW GARAMOND USA-MO BRUSH COPPER %d Jul 31 2000 %Z Hallmark-BixAntiqueScriptHMKBold-2009.gif %Z Hallmark-BixAntiqueScriptHMKBold-2009b.gif %Z BixAntiqueScript-HMK.png %Z Bix_Antique_ScriptHMK---.png %Z Hallmark-ButchHMK-2008.gif %Z Hallmark-CalciumOutlineHMK-2010.gif %Z Hallmark-CluffHMK-2009.gif %Z CluffHMK.png %Z Hallmark-FultoonHMK-2010.gif %Z Hallmark-FultoonHMK-2010b.gif %Z Hallmark-GeeohHMK-2009.gif %Z GeeohHMK.png %Z HastyHMK.png %Z Hallmark-HastyHMK-2006.gif %Z Hallmark-HavixHMK-1998.png %Z HavixHMK.png %Z Hallmark-JanieHMK-2008.png %Z Hallmark-KatTailHMK-2009.gif %Z KatTailHMK.png %Z Hallmark-McBooHMK-2009.gif %Z Hallmark-NokieBrushHMK-2009.png %Z Hallmark-OkrienHMK-1999.gif %Z Hallmark-OttumHMK-2010.png %Z OttumHMK.png %Z OttumHMK---.png %Z Hallmark-PamHMK-2009.gif %Z Hallmark-SandyTextHMK-1997.png %Z Hallmark--SandyTextHMK.png %Z Hallmark-SplintHMK-2008.gif %Z Hallmark-StarbabeHMK-2009.gif %Z Hallmark-SuccotashHMK-1999.png %Z Hallmark-TwizotHMK-1999.gif %Z BudBraman+JohnDawbarn--TwizotHMK.png %Z Hallmark--QubitTwoBoldPKA-2006.png %Z KarrotHMK.png %Z Hallmark-HmkHandstand-2010.png %P Hallmark-Logo-Small.png %Z Hallmark-Logo.png %Q AFS Ltd %N 23790 %B nothing %L FO-HE DE USA-TX %D Aaron D. Schmiedel %d Jan 25 2003 %T Alex, Chaya, Rashi, Ruth Fancy and Tzipporah (1992) are free Hebrew fonts made in 1992 by Aaron D. Schmiedel at AFS Limited: 7815 La Cabeza, Dallas, TX 75248. Download here. %Q VN Microsystems %N 23789 %B nothing %L FO-VI %d Nov 27 1999 %T Free Vietnamese truetype fonts by Chicago-based outfit: TN-7-Up, TN-Alphabet, TN-NuiDoi, TN-PhaoBinh, TN-So-Thu-Tu, TN-TicTacToe. %T Free AFM file generator from a type 1 font: part of Rainer Menzner's t1lib package. %Q type1afm %E rmz@neuroinformatik.ruhr-uni-bochum.de %Z ftp://sunsite.unc.edu/pub/Linux/libs/graphics/t1lib-0.9.2.tar.gz %N 23788 %B http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/rmz/t1lib/t1lib.html %L SO-T1 %d Nov 17 2000 %T Free X-Windows type 1 font previewer as part of Rainer Menzner's t1lib package. %Q xglyph %E rmz@neuroinformatik.ruhr-uni-bochum.de %Z ftp://sunsite.unc.edu/pub/Linux/libs/graphics/t1lib-0.9.2.tar.gz %N 23787 %B http://www.neuroinformatik.ruhr-uni-bochum.de/ini/PEOPLE/rmz/t1lib/t1lib.html %L FM X SO-T1 %d Nov 17 2000 %T Designers of the Kalendar clone, Sadlisa (truetype). %Q PDF: Public Domain Fonts %N 23786 %B nothing %L OR2 KITCHEN %d Nov 27 1999 %T "Visual Telemetry is a collaborative partnership between Gab Gaither and Robyn A. Harton". Based in Richmond, VA. They specialize in high-quality graphics based in part on Gabrielle's fonts. %Q Visual Telemetry %E visualt@typewrong.com %N 23785 %B http://www.typewrong.com/vt/about.htm %L TY USA-VA %d Nov 26 1999 %T FontLoader is a freeware font viewer for PC. By Moon Software. %Q FontLoader %E info@moonsoftware.com %N 23784 %B http://www.moonsoftware.com %L FM %d Nov 26 1999 %Q Russian Net - Ru Desk Top Publishing Fonts %N 23783 %B news:fido7.ru.dtp.fonts %L NEWS %d Nov 26 1999 %Q SibProject %T Basic Cyrillic truetype font set. %N 23782 %B ftp://ftp.sibproject.ru/pub/FONTS/koi8r/ %d Nov 26 1999 %L FO-CY %d Mar 22 2000 %Q mustdie %N 23781 %B ftp://ftp.druzhba.pptus.ru/pub/mustdie/fonts/ %T 306kB font file with Design Studio fonts: DSComedyCyrBold, DSDownCyr, DSEraserCyr, DSJapanCyr--Normal, DSShowBill, DSStandartCyr, Stylo-Bold. %L FO-CY %Q Font Fusion %T Bitstream's latyest rasterizing technology launched in October 1999. Alternate URL. %N 23780 %B http://www.creativepro.com/story/news/0,1819,2528,00.html %d Nov 24 1999 %L SO %Q Arial Unicode MS %T 51,000-glyph Unicode font by Agfa Monotype that will ship with Windows 2000. %N 23779 %B http://www.creativepro.com/story/news/0,1819,2412,00.html %d Nov 24 1999 %L ST %Q Laurie Rosenwald %T Designer at Font Bureau of Loupot, an angular bold connected script done in 1997 with Cyrus Highsmith. Born in 1955 in New York City.

FontShop link. %N 23778 %B http://www.fontbureau.com/designers/rosenwald.html %d Dec 31 2000 %L DE USA-NY %Z LaurieRosenwald+CyrusHighsmith--LoupotBold-1997.png %Q Cyrus Highsmith %G http://www.myfonts.com/person/Cyrus_Highsmith/ %T Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line.

Author of Inside Paragraphs, written for a foundational typography course.

Interview at MyFonts.

Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Loupot's St. Raphael poster), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.

His Amira (Font Bureau) and (Spanish-feeling) Zocalo (Font Bureau) won awards at TDC2 2004.

At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.

His calligraphic copperplate script Novia (2007, Font Bureau) was commissioned to grace the pages of Martha Stewart Weddings.

Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco.

In 2008, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli.

In 2010, at Font Bureau, he published the extensive families Ibis Text and Ibis Display, which he says were influenced by Walbaum (1919) and Melior (1952). The Webtype version IbisRE is poorly kerned / displayed in my browser though. From 2007-2010, he developed Salvo Sans (slabby) and Salvo Serif (Font Bureau), which were originally called Boomer Sans and Serif.

In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic face that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.

View Cyrus Highsmith's typefaces.

Klingspor link. FontShop link. %Z http://www.fontbureau.com/designers/highsmith.html %N 23777 %B http://www.fontbureau.com/people/CyrusHighsmith/ %d Dec 31 2000 %L DE COMIC CA USA-RI USA-WI ARTDECO DIDONE COPPER DIN BO %E cyrus@fontbureau.com %Z CyrusHighsmith-Pic.jpg %Z CyrusHighsmith-HeronSansSemiBold-2012.gif %P CyrusHighsmith-HeronSerif-2012-Small.png %Z CyrusHighsmith-HeronSerifCondMedium-2012.gif %Z CyrusHighsmith-SalvoSans+SalvoSerif-2011.png %Z CyrusHighsmith--SalvoSans-2007-2010.png %Z CyrusHighsmith--SalvoSerif-2007-2010.gif %Z CyrusHighsmith-Serge-2012.gif %Z CyrusHighsmith-Serge-2012.png %Z CyrusHighsmith--BentonSans-1995-2003.gif %Z FontBureau-Benton--.gif %Z CyrusHighsmith-InsideParagraphs.jpg %Z CyrusHighsmith--Stainless-2001.png %Z CyrusHighsmith-Escrow-.png %Z CyrusHighsmith-Escrow.png %P Highsmith-Scout.gif %Z zocalo1-140x222.gif %Z LaurieRosenwald+CyrusHighsmith--LoupotBold-1997.png %Z CyrusHighsmith-Quiosco-2006.png %U CyrusHighsmith-QuioscoBold-2006EF.gif %Z CyrusHighsmith-QuioscoSemibold-2006.gif %Z CyrusHighsmith--Novia-2007.gif %Z CyrusHighsmith-Amira.gif %Z CyrusHighsmith-Halo-2003.gif %Z CyrusHighsmith-Prensa-2003.gif %Z CyrusHighsmith-PrensaDisplay-2012.gif %Z CyrusHighsmith-PrensaDisplayCondBlack-2012.gif %P CyrusHighsmith-ZocaloDisplay-2002-Small.gif %Z CyrusHighsmith-ZocaloDisplay-2002.gif %Z CyrusHighsmith-DispatchBlack-1999-2000.gif %Z CyrusHighsmith-DispatchCondensed-1999-2000.png %Z CyrusHighsmith--IbisDisplay-2010a.jpg %Z CyrusHighsmith--IbisDisplay-2010b.jpg %Z CyrusHighsmith--IbisDisplay-2010c.jpg %Z CyrusHighsmith--IbisText-2010.jpg %Z CyrusHighsmith--IbisDisplayBlack-2010a.gif %Z CyrusHighsmith--IbisDisplayCondensedBlack-2010a.gif %Z Fontbureau--IbisDisplay-2010.gif %Z Fontbureau--IbisText-2010.gif %Z CyrusHighsmith-Pic--.jpg %Q creativepro.com %T Font news and headlines. %N 23776 %B http://www.creativepro.com/category/home/0,1276,60,00.html %d Feb 3 2001 %L DD %Q fooslinks %T Font links. %N 23775 %B http://www.angelfire.com/ks/fooslinks/fonts.html %d Nov 24 1999 %L LI2 %Q Simone Guerra %T Fantastic web page about kanji and Japanese language software. Includes the following fonts: SimonRad, BlabyNewRoman, Japanese&Sanskrit. %N 23774 %B http://helios.unive.it/~sguerra/softools.htm#Radicals %d Dec 23 1999 %L OR2 FO-JP ITA %E sguerra@unive.it %Q Eyewire Studios %T Formerly Image Club Graphics. Was Adobe Studios until late 1998. Calgary-based foundry and font vendor. Free fonts Pacifica Condensed and Mini Pics Digidings. In February 2003, Eyewire was acquired by Agfa/Monotype: big fish eats small fish. %Z 833 4th Ave SW, #800 Calgary, Alberta CANADA T2P 3T5 (800) 661-9410 (403) 262-8008 (403) 261-7013 FAX %Z http://www.eyewire.com/world/products/type/ %Z http://www.eyewire.com/world/index-int.html %Z http://www.eyewire.com/ %Z http://www.imageclub.com %d Nov 4 2000 %L VE CF2 CAN OR2 %N 23773 %B nothing %Z Was Adobe Studios until late 1998. Sells Adobe, ITC and Image Club typefaces on-line. %E eyewire@eyewire.com %Q Rennys Niche %N 23772 %B http://www.rennysniche.com/ %d Nov 23 1999 %L CA %T Great archive of decorative initials. Not fonts, but one could make fonts out of them. %Q Origins of Telugu Script %N 23771 %B http://www.engr.mun.ca/~adluri/telugu/language/script/script1a.html %d Nov 23 1999 %L FO-TEL CAN %T This page contains a nice historical tree explaining how most Indic languages came from from the brahmee script. %Q Abtelgu %N 23770 %B ftp://sigma.bgsu.edu/pub/India/ %d Nov 23 1999 %L FO-TEL USA-UT %T Shareware truetype Telugu font called Abtelgu by Utah-based R. Neelameggham. %Z 9859 Dream Cir., S. Jordan, UT %Q Stotraas, Mantraas and Images %N 23769 %B nothing %Z http://www.geocities.com/Athens/Delphi/2627/index.html %d Nov 23 1999 %L DD %E trchari@hotmail.com %T Fonts available here include Xdvng (devanaagari), Sanskrit New, Mylai (Tamil) and the Telugu type 1 Potana fonts of Winnipeg-based Sri T. Desikachary. %Q David Myriad's FontORama %N 23768 %B http://davidmyriad.tripod.com/myriads.font.page.html %L RU FO DE USA-CA UGAR %d Sep 3 2003 %E davidmyriad@bigfoot.com %T David Myriad Rosenbaum (El Sobrante, CA) created high quality free fonts for Ugaritic (Ugaritic 3.1) and old Phoenician (Phoenician Moabite).

Fontspace link. %D David Myriad Rosenbaum %Z P. O. Box 21701 El Sobrante CA 94820-1701 %Z DavidMyriadRosenbaum-Ugaritic31.gif %Q Densitron %N 23767 %B http://www.densitron.co.jp/product/lcd/stndrd/fonts.htm %L CF2 %d Nov 22 1999 %E japan.sales@densitron.com %T Dot fonts. %Q Typetalk %N 23766 %B nothing %L MAIL %d Dec 23 1999 %E listmanager@hookup.net %T To subscribe, send "subscribe typetalk firstname lastname" (no subject). To publish an article, mail to typetalk@hookup.net. %Q TYPOS %N 23765 %B http://www.onelist.com/community/Typos %L DD %d Nov 22 1999 %E Typos@onelist.com %T Restricted mailing list run by "Priestes" for people interested in the design and exchange of fonts. %Q WordStar %N 23764 %B nothing %L MATH %d Nov 22 1999 %T Designers of the truetype fonts in the series AHDSymbol. %Q Châteaux Celtes et Chimères %N 23763 %B http://pages.infinit.net/celte/calligraphie.html %L FO-CE CA QUE UNCIAL %d Oct 24 2000 %E bowen@videotron.ca %T Marie-Louise Pépin's page on medieval resources and "enluminures". Has a Heraldic (uncial) truetype font for download. Medieval resources in Québec. Addresses and links. %Q Koelooptiemanna Productions (was: KosteX) %L DIDAC DE HOL AG %d Jun 21 2001 %E kostex@handy-man.com %T Dutchman Roel Koster made the royalty-free KosteXSchool (or: SchoolKX) font for kids' letter tracing. It is in fact an Avant-Garde style font. Direct access. See also here and here. %Z and placed it on alt.binaries.fonts on November 21, 1999. %N 23762 %B http://home.hetnet.nl/~e1104373/graphics.html %D Roel Koster %Z kostex@hetnet.nl %Z roel.koster@kvaerner.com %Z RoelKoster-SchoolKX.png %Q Fast text in OpenGL %N 23761 %B http://web2.airmail.net/sjbaker1/opengl_text.html %L X %d Nov 21 1999 %T Steve Baker writes about font rendering using OpenGL. %Q Usenet Replayer %N 23760 %B http://www.usenet-replayer.com/cgi/content/archive?scan=alt.binaries.fonts %L NEWS %d Nov 21 1999 %T Search archives of newsgroups such as alt.binaries.fonts or comp.fonts. Very useful for finding tons of fonts that were recently posted. %Q Klingon Language Institute %N 23759 %B http://www.kli.org/kli/Merchant.phtml %L TR %d Nov 21 1999 %T THE KLI sells a 13 dollar diskette with a few Klingon language fonts, including, e.g., Klingonesque. %Q J-brain %Z http://www.interq.or.jp/osaka/j-brain/index2.htm %N 23758 %B nothing %E j-brain@osaka.interq.or.jp %T Original free Mac fonts: Frippa, Hayarn, Fifth-rotten, Fifth, Tisyo, Cream, Snoop, Hawaian, Mikan, Orange, Esnical, Milmil, Bazaar. Type 1 and truetype. Half the fonts are katakana, and half are Latin. Dead link. %Z http://www.interq.or.jp/osaka/j-brain/ %d Feb 27 2000 %L OR2 FO-JP FO-HA %Z Japanese site with free Latin and katakana fonts: Hawaian, Snoop, Cream, Tisyo, Fifth-regular, Fifth-rotten, Hayarn, Frippa, Mikan, Orange, Esnical, Milmil, Bazaar, Hyosik. Mac only, truetype and type 1. %Q Electropithecus %Z http://www3.tky.3web.ne.jp/~tonohka/ %Z http://www3.tky.3web.ne.jp/~tonohka/t/et100.html %N 23757 %B http://www.dafont.com/.d1183 %L OR2 DE PIX FO-JP %d Nov 21 1999 %E tonohka@tky3.3web.ne.jp %T Free fonts by Wataru Tonohka (Electropithecus) made in 1999-2000: ET Aluminium, ET Electrotype, ET Technokid, ET Rocketype, Zipangu, Metal, BoogieBlocks (1999), BT6001, BT7001, BT8001, ET BT Ultra9, ET QtFunny, ET BT11B, ET BT 11A. Mostly computer simulation fonts. See also here. Fontspace link. %D Wataru Tonohka %Z micmac artworks %Z http://www.netlaputa.ne.jp/%7Emicmac/ %Z Wataru Tonohka's free font Spaceball (Mac TTF). Dead link. %Z WataruTonohka--ETBoogieBlocks-1999.png %Z WataruTonohka--ETElectrotype-1999.png %Z WataruTonohka--ETRocketype-1999.png %Q Felix Epper %Z http://www.typesource.com/Presents/4/04.html %N 23756 %B nothing %L OR2 DE %d Aug 14 2000 %E felu@gmx.ch %T Designed Felu Schrift (trademark Mogli GmbH), posted on alt.binaries.fonts on November 19, 1999. %Q Dingbat Alley (was: Susie's Place) %N 23755 %B http://www.virtualreflectionz.com/dingbats/index.html %L DD %d Apr 6 2000 %E webmaster@virtualreflectionz.com %T Big dingbat archive by Virtual Reflectionz. This was called Susie's Place, and before that, Font Frenzy. Dead link. %Q PANOSE Classification Metrics Guide %N 23754 %B http://www.fonts.com/hp/panose/greybook/ %L DD CLASS %d May 13 2001 %T Hewlett-Packard's Panose grey book, with all the technical details of this font classification/matching system. Dead link. %Q PANOSE 2.0 White Paper %N 23753 %B http://www.w3.org/Fonts/Panose/pan2.html %L CLASS %d May 13 2001 %E ben@sea.hp.com %T An article by Michael S. De Laurentis, Benjamin P. Bauermeister and others at Hewlett-Packard on the Panose type matching/classification system. %Q PANOSE %N 23752 %B http://www.w3.org/Printing/stevahn.html %L CLASS %d Nov 18 1999 %E rstevahn@boi.hp.com %T An article by Robert Stevahn (Hewlett-Packard), explaining the PANOSE type classification and matching system used by many pieces of software. Title: "PANOSE: An Ideal Typeface Matching System for the Web." There are 10 PANOSE numbers: 1 family kind, 2 serif style, 3 weight, 4 proportion, 5 contrast, 6 stroke variation, 7 arm style, 8 letterform, 9 midline, 10 x-height. The possible values for these numbers are given here. %Q TTFX %N 23751 %B http://rs1.szif.hu/~tomcat/konf/sc5/ttf.htm %L SO-TT %d Nov 18 1999 %T TTF4VB is a free program by GyikSoft/ESP-Team. Find also TTFX, a free C program for extracting contours from truetype files. %Q Gary Magliocca %N 23750 %B http://www.borg.com/~garymag/wwwe/fonts1.html %L DD %d Mar 14 2000 %E garymag@borg.com %T Gary Magliocca's pages of free font links. Good size! Dead link. %N 23749 %B http://www.nbn.com/~espresso/text/fonts.html %Q espresso graphics %T Truetype font links. %L LI2 %d Nov 18 1999 %N 23748 %B http://www.cadinfo.net/icad/ttfwork.htm %Q TrueType Font WorkAround in IntelliCAD %T "IntelliCAD does not support TrueType font display like AutoCAD." This page discusses a bypass. %L CAD %d Nov 18 1999 %N 23747 %B http://www.glasnet.ru/~kazarn/eng/fonts.HTM %Q Panose %T Panose is a font classification system developed by ElseWare (now absorbed by Hewlett-Packard). %L NOTYET %d Nov 18 1999 %E kazarn@glas.apc.org %Z http://www.glasnet.ru/~kazarn/eng/fonts.HTM %Z http://shlimazl.nm.ru/eng/fonts.HTM %N 23746 %B http://www.webcenter.ru/~kazarn/fontsmain.htm %Q Languages, fonts and encodings %T Great page by Konstantin Kazarnovsky on encodings and code pages for many languages, especially Cyrillic. Lots of details on Truetype. %L SO-TT ST FO-CY %d Aug 31 2001 %Z kazarn@glas.apc.org %E shlimazl@mtu-net.ru %M Revisit. %Z http://www.glasnet.ru/~kazarn/fonts.htm %Z From: "Aleksey Kuznetsov" %N 23745 %B http://www.choosempd.com/fv/index.html %Q Font Valley %T Keith Winter's 200-font archive. Mostly shareware, but some commercial fonts can be found here too, such as FontBank's Dayton. %L AR2 %d Nov 18 1999 %E kw234@yahoo.com %N 23744 %B http://free.fonts.freeservers.com/ %Q free.fonts.freeservers.com %T Font links and an archive. %L LI2 AR2 %d Jun 9 2000 %E info@freefonts.com %Z http://www.littleredcircles.co.uk/tealeaf %T Designer of Yuleo at the Manchester, UK-based foundry Tealeaf. That font can be downloaded for free at Little Red Circles. %L DE UK %d Nov 5 2001 %Q Tony Howell %N 23743 %B http://www.littleredcircles.co.uk/type %E tealeaf@littleredcircles.co.uk %Z TonyHowell-Yuleo-1995.png %T Nephew of Carl Seal (Little Red Circles). His handwriting as a 5-year old served as a model for two of Carl Seal's free fonts, Kyleaged5 and Kyleaged5half. %L UK CHI %d Nov 5 2001 %Q Kyle Seal %N 23742 %B http://www.littleredcircles.co.uk/type %Z CarlSeal-Kyleaged5-1999.png %T Designer at Tealeaf Digital Type Foundry in the UK, who set up the free font foundry Little Red Circles. The typefaces are preponderantly of the grunge style, which was in fashion at the time of their creation, ca. 1998-1999:

By Carl Seal: BaskerSans4, Bitmapbreakfast, Bull, Butter, Calliglession, CarlSeal, ChewyBold, ChewyExtraBold, ChewyMedium, ChewyNormal, ChewySemiBold, ChewyUltraBold, ChewyVariations, Crushedtalc, DuoGypsy, EasyLino, FormaBold, FormaMedium, FormaNormal, GeekNormalish, Geekfat, Grivant, Growbag, Growbaged, Gypsy, Inbreed, IndexCapsLoose, IndexCapsStraight, IndexCapsTooLoose, IndexCapsTooStraight, Instamatik, Kyleaged5, Kyleaged5half, LadyBoy, Leavingglassvegas, Litrecs, MatrixBlow, MatrixNorm, MatrixSuck, Mend, MetisRota, Mrfish, MunchBold, MunchExtraBold, MunchLight, MunchMedium, MunchNormal, MunchSemiBold, MunchUltraBold, MunchUltraBoldBlack, MunchUltraLight, MunchVariations, Next, NuChina, NuEngland, NuJapan, Nudgedashak, Passion, PrintisDead, RaygunA, RaygunB, Reposans, Rupture, Scritch, Shakasonikphormal, Shati, SheMale, Skript, Something, StampBold, StampHeavy, StampLight, StampMedium, StampRegular, StampThin, StampUltraThin, Synsis, Timig, Tweak, UnderWorldBlock, UnderWorldLine, Unrulycucumber, UnstukLino, Untitled, Userunknown, Whanted, Yatta.
By Mark Bradley and Carl Seal: Phobia.
By Tony Howell: Yuleo.
By Jon Ratcliffe: Calligruffy.

%L DE UK OR2 %d Nov 5 2001 %Q Carl Seal %N 23741 %B http://littleredcircles.co.uk/type %Z CarlSeal-Kyleaged5-1999.png %Z MarkBradley+CarlSeal-Phobia-1998.png %Z CarlSeal-MunchBold-1998.png %Z CarlSeal-NuJapan-1998.png %Z CarlSeal-Shakasonikphormal-1999.png %Z CarlSeal-Shati-1998.png %Z CarlSeal-SheMale-1998.png %Z CarlSeal-Whanted-1999.png %T Designer at Tealeaf Digital Type Foundry in the UK, where he made Calligruffy, ca. 2004. That font will son be downloadable from Little Red Circles. Home page. %L DE UK %d Nov 5 2001 %Q Jon Ratcliffe %N 23740 %B http://www.littleredcircles.co.uk/type %E mail@jonratcliffe.com %T Codesigner with Carl Seal of Phobia at the Manchester, UK-based foundry Tealeaf. That font can be downloaded from Seal's new foundry, Little Red Circles. %L DE UK %d Nov 5 2001 %Q Mark Bradley %N 23739 %B http://www.littleredcircles.co.uk/type %E tealeaf@littleredcircles.co.uk %Z MarkBradley+CarlSeal-Phobia-1998.png %N 23738 %B http://www.user-groups.com/resources/fontfree.html %Q UGNN Font Resources %T Good list of font links. %L LI2 %d Nov 18 1999 %N 23737 %B http://www.math.uio.no/~jacklam/links/fonts.html %Q Peter J. Acklam %T Links by Peter J. Acklam. %L DD %d Mar 5 2003 %Z jacklam@math.uio.no %E pjacklam@online.no %N 23736 %B http://www2.hawaii.edu/~jerelw/ %Q jerelw %T Graphite Light truetype font family by Font Bureau/ Miles Inc. %L AR3 %d Nov 18 1999 %Q Modular Infotech Pvt. Ltd. %N 23735 %B http://www.modular-infotech.com/ %T Company in Pune, which made these freely available Tamil Opentype fonts in 2003: SUNDARAM_0806, SHREE_TAM_OTF_0807, SUNDARAM_0808, SUNDARAM_0810, SUNDARAM_0812, SUNDARAM_0819, SUNDARAM_0820, SUNDARAM_0821, SUNDARAM_0823, SUNDARAM_0824, SUNDARAM_0827, SUNDARAM_0830, SUNDARAM_0831, SUNDARAM_1341, SUNDARAM_1342, SUNDARAM_1351, SUNDARAM_1352, SUNDARAM_2852, SUNDARAM_2865, SUNDARAM_3811. Type catalog with over 2,700 fonts for Devanagari, Gujarati, Punjabi, Bengali, Assamese, Oriya, Tamil, Kannada, Telugu and Malayalam. %L FO-TAM FO-TEL FO-MAL FO-IN FO-GUJ FO-PUN FO-BEN FO-ASS FO-ORI FO-KAN %d Jan 23 2006 %Q Modular Systems %Z http://modular-systems.com/fonts/ %N 23734 %B http://www.modular-systems.com/html/downloads.html %T Modular Systems from Pune, India, offers about 20 free truetype fonts for most Indic languages. The fonts are all called Shree something and appear incomplete. Covered are Assamese, Bengali, Hindi (Devanagri), Gujarati, Kannada, Malayalam, Oriya, Punjabi, Tamil and Telugu. In 1992, they made the Malayalam fonts Shree-Mal-0501W, Shree-Mal-0502. %L FO-IN FO-PUN FO-BEN FO-KAN FO-ORI FO-TAM FO-GUJ FO-TEL FO-MAL %d Dec 28 2002 %Q Dani's Delusions %N 23733 %B http://www.danisdelusions.com/Fonts/fontindex.htm %T Free fonts designed by Dani Foster Herring: Snowy Caps, the bird nest dingbat font ForTheBirds, VictorianAngels (elaborate caps), Sleigh Ride (1999), WeGiveThanks (Thanksgiving bats), Christmas Cheer, Fisher's Women, Pika Pika, Winter Wonderland, Tea Time, Harbour Lights. Dafont link. %L DI-OR DE XMAS SNOW VICT %d Nov 17 1999 %E DaniDH@aol.com %D Dani Foster\0Herring %Q inkdesign productions %Z http://www.inkdesign.com/index2.html %N 23732 %B http://www.inkdesign.com/fonts.htm %T Original freeware creations by Mike Mason: Skribe (1998), Influx (1998), InksOlBitch. %L OR2 DE %d Sep 25 2000 %E inkdesign@erols.com %D Mike Mason %Q Twisted Type (or: Unlinear, Subdue.com) %Z http://archive.subdue.com/ %N 23731 %B http://archive.unlinear.com/ %Z http://www.subdue.com/ %Z http://archive.subdue.com/tt/03/index2.html %T Twisted Type (or: Unlinear) is Rob Irrgang's Dutch foundry. He used to run Subdue.com. Original freeware creations by Rob Irrgang include BurnYourPhone, Cynic, Fucker50, New, Novocaine, Splintered, Tainted, ApocataStasis, Signal, Bergmark, Denial, Typo (old typewriter), Typo Negative, Horrorshow, Plakat, TypoNegative. Unfortunately, I can't find these fonts any longer. Recent unpublished work includes the bitmap font with 1 pixel ascenders, Theoria (2002). He published the futuristic sans family Orbit (2003, done with chester) at Thirstype.

Alternate URL. 1997 archive.

Dafont link. %L OR2 DE TW HOL %D Rob Irrgang %Z twisted@swankarmy.net %Z rob@thirstype.com %E rob@unlinear.com %Z http://tt.swankarmy.net/00/index2.html %Z http://www.chank.com/posse/ %Z http://tt.swankarmy.net/ %Z http://tt.swankarmy.net/flawed/fonts/index2.html %d Jun 9 2002 %Z RobIrrgang-TypoNegative.png %N 23730 %B nothing %Q John Machielsen %d Feb 27 2000 %L DE %T Designer at Twisted Type of Splintered (1997, with Rob Irrgang). %N 23729 %B http://subdue.com/ %Q subdue.com %d Feb 27 2000 %L OR2 %T Continuation of Rob Irrgang's old Twistedtype foundry. Under construction. %E twisted@swankarmy.net %Q FontLover %N 23728 %B http://members.aol.com/jr9er/index2.html %T FontLover is a free font screen saver. At JR's place. %L DD %d Nov 17 1999 %Q Krome Zone %N 23727 %B http://www.kromezone.net/ %T Medium-sized archive of freeware/shareware fonts. %L AR2 %d Nov 16 1999 %Q Superescape.com %N 23726 %B http://www.superesc.com/ %T Large bandwidth web page. One free grunge font, BBQcowmoo (1998), by Calvin Sun. Dafont link. %L OR2 DE %d Nov 16 1999 %E calvin@superesc.com %D Calvin Sun %Q forkboy.cx %N 23725 %B http://forkboy.cx/typo.html %T Free fonts by Chris Dame: Crush Gothic, Fairway Degenerative, Time Lapse, Time Expansion. All grunge fonts. Not clear how to download them. %L OR2 DE %d Mar 20 2000 %Z fork@forkboy.cx %E forkboy@forkboy.cx %D Chris Dame %Q Harsh Patel %Z FinalType %Z http://final.nu/billykorgan/main.html %Z http://www.final.nu/ %Z http://final.nu/type/ %Z http://final.nu/agent/type %N 23724 %B http://www.harshpatel.com/togo/index.htm %T FinalType (1996-2001) was a free and commercial typeface outfit founded by by Harsh Patel and Jay David. Final Dingbats v1 was free (Mac and PC). Harsh designed fonts such as Tosca. Since December 2000, FinalType is dead, but Harsh helps out Destro at hell.type. This page sells the entire FinalType collection for 200 dollars. Free fonts include Why We Fight, Mathscratch and Black Letter Day. The commercial fonts: 540, 701, 850 double, acid8000, airbag, argh, ariel vs lotus, angsty girly music, aurora, bathysphere, bedroom, brown paper, burton, copsucker, cold jesus beer, choco script, deth imperial, dynamite, dang, deep arch, driveway, finalfin, final dingbats, flea circus, firewater, fatcat, godless, girlfriend, gamera, gravity car, heart of darkness, hs rebels, house anthem, influenza, karen, king, lainie, madonna pinball, marian carey, millionaire, mint, mello medium, monch gothic, murdo, nina, pigeons, pod, queen of italy, reactor, saturday, scripteriatoid remixes, satellite, satellite feed, solar unit, steak, schlixx, shortwave, skyskraper, tinfoil, state of USA, tosca, 2 swords, transmissions, trigger, tremor control, vegas, wokka, western ways, yummo. %L EXT20 OR2 DE DI-OR %d Apr 25 2001 %Z dingbat@final.nu %N 23723 %B http://www2.arnes.si/~ljzmgroup1s/ftp/ %Q Index of --~ljzmgroup1s--ftp %T Mini-archive with the Belwe family (Bitstream, tuned for East European by MAJUR Ltd., Zagreb, Croatia, 1995), as well as Bernhard Modern. %L AR3 CROAT %d Feb 6 2002 %N 23722 %B http://www.mtl.com/projects/esri/arcview3/fonts/ %Q ESRI %T Wonderful TrueType dingbats by ESRI: ESRICartography, ESRIEnvironmentalIcons, ESRIGeometricSymbols, ESRIOilGasWater, ESRITransportationMunicipal, ESRIWeather. Medium-sized archive with six fonts of the ESRI family, and a few families such as Univers, Courier, Trium, Times, Omega, and Palacio (sic). Dead link. %L DD %d Jan 31 1999 %N 23721 %B http://www.mat.sbg.ac.at/institute/studium/analysis/schriften/ %Q Math fonts--University of Salzburg %T Small archive with several Math symbol TrueType fonts. At the Math Department of the University of Salzburg. Includes Corel's Memorandum, and Bigelow's LucidaBrightMath, for example. %L DD %d Sep 10 2001 %N 23720 %B http://users.success.net/trektimes/downloads/ %Q Trektimes Downloads %T Small Trek font archive. %L TR %d Jan 31 1999 %N 23719 %B http://services.worldnet.net/~larroche/polices/ %Q Cyber Kobold Mirror %T About ten TrueType fonts are here. %L DD %d May 20 1999 %N 23718 %B http://dna.kps.ku.ac.th/~monthop/thai-page/ %Q Monthop Thai page %T Eight Thai TrueType fonts (free downloads), of the mixed Latin/Thai families DBThai, and PSL Text. %L FO-TH %d Jan 31 1999 %N 23717 %B http://ttinform.lv/files/ %Q Teleserviss un Telebusiness %T Latvian page with about ten mixed Latin/Cyrillic TrueType fonts: the Atunt family, and CNtunt, a Courier New family. %L FO-CY LAT COURIER %E office@ttinform.lv %d Sep 19 1999 %N 23716 %B http://www.arcticnet.no/~twk/fonts/ %Q TWK sin Home Page %T Ten fonts here at Trond Willy Keven's site. %L DD %d Mar 3 1999 %N 23715 %B http://www.amherst.edu/~jjreese/fonts/ %Q Jimmy's Web Page %T Jimmy Reese has about 10 fonts archived here, including BarbedorTMedium (URW) and several fonts from the American Greetings Corporation. %L AR3 %E jjreese@amherst.edu %d Jul 15 1999 %N 23714 %B http://www.ee.umd.edu/afs/glue.umd.edu/department/arch/software/acad13/fonts/ %Q University of Maryland %T Archive with about 40 TrueType and type 1 fonts, including some goodies such as StylusBT and BankGothicBT. %L AR2 %d Jan 31 1999 %N 23713 %B http://pcrc.hongik.ac.kr/~thee/font/han/ %Q Index of --thee--font--han %T About 12 Hangul TrueType fonts: DABB, GAEUL, HEAD, HMKMYEOP, JEON, PILGI1, POST, SAMMUL, SEUTUM, SGRP, SHEADG, SUMJ. %L FO-KR %d Mar 11 1999 %N 23712 %B http://www.bdp.it/~udmm0001/8D_Zipoli/fonti/ %Q Scuola Media Statale Domenico Zipoli - Prato %T About 10 fonts, including Mistral and VinerITC. %L DD %d Jan 31 1999 %Z http://www.h2o.or.jp/~orihikao/thanx/font/font.htm %Z http://www.h2o.or.jp/~orihikao/thanx/font/fontfile/ %Z http://www.h2o.or.jp/%7Eorihikao/thanx/font/font.htm %N 23711 %B http://www.h2o.or.jp/~orihikao/thanx/font/font2.htm %Q Family Font Mart %T Free fonts by Akihiro Oya in truetype format for Mac and PC: Nishichiba, NerimaNumber, BERLIN-REDRAIN-Italic, BERLIN-REDRAIN-Regular, Canarendon-Broken, Chubu-08-Normal, G.B.BOOT, GENERAL, GUNJU (very original stencil font), Horror-Impact-B, KANEIWA-alp-regular (simulated Japanese), Logic-twenty-five-A, Logic-twenty-five-Normal, Logic-twenty-five-Q, MEN'S-COSME, MINIMALHARD, MINIMALHARD2, NAKAMURA, Overheads, R.P.G.-KATAKANA, R.P.G., TAPEMAN, Telavision, VIET-MAP-LOVE, cubic-millimeter, enikusu-HG, square-millimeter, super-detective-kids, tamio-qn6, trattorian-2, videobeast-80's, namco_regular. Two of these are katakana fonts. All of them may be classified as experimental. Many can be used at small sizes on screens ("pixel fonts").

Dafont link. Fontspace link. Abstract Fonts link. %L OR2 DE FO-JP GO PIX STE O-SIM EXP %D Akihiro Oya %d Mar 29 2002 %E orihikao@h2o.or.jp %Z AkihiroOya-Catalog.png %Z AkihiroOya-Gunju.png %P AkihiroOya-KaneiwaAlp--Small.png %Z AkihiroOya-KaneiwaAlp.png %Q Humboldt State University %N 23710 %B http://sorrel.humboldt.edu/~alc10/Fonts/ %T 10 fonts in this directory. %L AR3 %d Jan 31 1999 %Q BS State %N 23709 %B http://www.skateboard.net/bsskate/fonts/ %T 30 fonts here. %L AR2 %d Mar 24 1999 %E BRIAN@SKATEBOARD.NET %Q suedostasien fonts %N 23708 %B http://www.phil.uni-passau.de/suedostasien/ %T South East Asian TrueType font archive, with Thai, Burmese, Buginese, and Vietnamese fonts, for example. At the site of Dr. Vincent Houben, University of Passau in Germany. Can't locate the archive any more! %L FO-VI FO-BU FO-TH IND GER %d Feb 10 2002 %E seastudies@uni-passau.de %Q vf3lion %N 23707 %B http://simply.simplenet.com/vf3lion/fonts/ %T About 20 fonts. %L AR2 %d Jan 31 1999 %Q LeaveBehind %N 23706 %B http://www.allegany.com/dpec/blb/LeaveBehind/ %T Franklin Gothic family in TrueType version. %L AR3 %d Mar 3 1999 %Q Typsnitt %N 23705 %B http://www.v.kth.se/V93_MIL/Typsnitt/ %T About 80 fonts, mostly shareware. All fonts with "11" in the name are Vietnamese fonts from the VISCII series, or made by Tuan-Loc Nguyen. %L AR2 FO-VI %d Jan 31 1999 %Q Computer Modern TT fonts %N 23704 %B http://www.biz.uiowa.edu/class/6F113_stutzer/TTFONTS/ %T TrueType versions of the Computer Modern fonts. Check also here. Contains the monospaced typewriter type cmtt. %L MF AR2 TEX MONO DIDONE %d Sep 14 2001 %Q bytenet.com %N 23703 %B http://www.bytenet.com.br/arquivos/fonts/ %T Brazilian archive of about 100 fonts. %L AR2 BRA %d Jan 31 1999 %Q ameriglobe %N 23702 %B http://users.citnet.com/ameriglobe/FONTS/FONTFILE/ %T About 100 TrueType fonts are archived here, all copyright Bay Animation Inc, 1994. Notes is a music font. %L REMOVE %d Jan 31 1999 %Q Henning Wagenbreth %N 23701 %B http://www.fontfont.de/designers/thaven1210/thaven1210.html %T Contemporary poster artist and illustrator trained in the East German lettering and signpainting tradition, b. 1962. He studied at the Kunsthochschule Weißensee in Berlin from 1982-87 and has since worked as a freelance graphic designer. Designer of postage stamps. Professor of visual communication at the Berliner Hochschule der Künste. He painted the letters on which FF Prater (2000, Steffen Sauerteig) is based. Discussion of FF Prater, FF Prater Schrift, FF Prater Block. FontShop link. %L DE GER %d Jan 24 2001 %P HenningWagenbreth--GermanPostageStamp--2007-Small.gif %Z HenningWagenbreth--GermanPostageStamp--2007.jpg %Z Sauerteig, Steffen *1967 www.eboy.com %Q Steffen Sauerteig %N 23700 %Z http://www.fontfont.de/designers/sauert1010/sauert1010.html %B http://www.myfonts.com/person/Steffen_Sauerteig/ %G http://www.myfonts.com/person/Steffen_Sauerteig/ %T German Fontfont designer (born 1967, lives in Berlin) of PEECOL (robot dingbats, together with Kai Vermehr, 1998), Readout, Typestar, Jigger (2000), Prater (2000, based on the painted letters of Henning Wagenbreth). A test version of FF PEECOL can be downloaded here. With Kai Vermehr, forms the E-Boy team. Made the free FF font FF Xcreen. With the "eBoys" Kai Vermehr and Svend Smital, he created more bitmap fonts, FF Typestar, FF Screenstar, and FF Scriptstar (2003). Discussion of FF Prater, FF Prater Schrift, FF Prater Block. %L DE DI-OR PIX GER %d Oct 30 1999 %Z SteffenSauerteig-FFJigger-2000.gif %N 23699 %Q Kai Vermehr %B http://www.myfonts.com/person/Kai_Vermehr/ %G http://www.myfonts.com/person/Kai_Vermehr/ %Z http://www.fontfont.de/designers/vermeh1020/vermeh1020.html %T Born in 1964 in Frankfurt-am-Main. German Berlin-based Fontfont designer of E-boy, PEECOL (robot dingbats, together with Steffen Sauerteig, 1998), SubVario-SubMono (1998), an in my opinion less successful sans serif family. A test version of FF PEECOL can be downloaded here. He also made the free FF font FF Xcreen. With the "eBoys" Steffen Sauerteig and Svend Smital, he created more bitmap fonts, FF Typestar, FF Screenstar, and FF Scriptstar (2003).

FontFont link. FontShop link. Klingspor link. %L DE DI-OR PIX GER %d Sep 11 2000 %Q Vivien Palloks %N 23698 %Z http://www.fontfont.de/designers/pallok1000/pallok1000.html %B http://www.myfonts.com/person/Vivien_Palloks/ %G http://www.myfonts.com/person/Vivien_Palloks/ %T German designer born in Berlin in 1970. She studied graphic design at the College of Advertising and Design in Germany, graduating in 1993. She did an internship in type design with Lucas de Groot. Since 1997 she has worked at gra(fisch) in Berlin. Vivien created the grunge family FF Kurt (1998, FontShop).

FontShop link. Klingspor link. %L DE GER %d Jan 30 1999 %Q Absolute Cross %N 23697 %B http://www.absolutecross.com/ %T Great presentation of a shareware/freeware archive. %L AR %d Jan 13 2000 %E webmaster@absolutecross.com %Q Font of the week--TrueType fonts only %N 23696 %B http://www.soapy.com/fonts/ %T One font per week. %L AR3 %d Jan 30 1999 %Q Calligraphy mailing list %N 23695 %B nothing %T Send an email with the Subject: subscribe. Leave any Cc, Bcc, and Attachments information blank. Managed by Jim Martin, this list discusses calligraphy. %L CA MAIL %d Jan 30 1999 %E callig-request@calligraph.com %Q Handwriting-analysts'--graphologists' listserv %N 23694 %B nothing %E handwriting-L@listserv.aol.com %T Discussion topics cover many aspects including, e.g., pen-computer interfaces such as the CrossPad. Contact Gary Brown. %L CA %d Jan 30 1999 %Q Matty's calligraphy %N 23693 %B http://milawa.gh.cs.usyd.edu.au/~matty/Calligraphy/ %T James Matthew "Matty" Farrow (Australia) wrote in 1999: I am interested in calligraphy, palaeography, and (digital) typography, and am currently writing an outline font editor for Adobe Type 1 fonts called spif. %D James Matthew "Matty" Farrow %L SO-ED CA AUS %d Jan 30 1999 %E matty@fn.com.au %Q X fonts for MIX X server %N 23692 %B ftp://ftp.princeton.edu/pub/martin %T Has many files for the HDS X-terminal, and 4MB of X fonts for the MIX X server. %L AR2 %d Jun 25 2005 %Q freefonts0.10 %N 23690 %B http://129.13.200.57/hppd/hpux/PostScript/freefonts-0.10/readme.html %d Jan 29 1999 %L AR2 %T Christoph Lameter's collection of 79 free ATM fonts in type 1, with installation instructions for X11 and ghostscript. %E clameter@waterf.org %Q afm2pfm %Z http://ftp.sco.com/skunkprev/osr5/Updates/ %N 23689 %B http://www.ibiblio.org/pub/Linux/utils/text/ %L SO-T1 %T Russell Lang's source code from 1994 for generating PFM files from AFM files. In 1995, updated by Christoph Lameter. I find that this updated version works best, as Lang's code had some bugs. %d Dec 27 2000 %Z clameter@waterf.org %Q pfbtops %N 23686 %B http://www.delorie.com/gnu/docs/groff/pfbtops.man.html %d Jan 29 1999 %L SO-T1 %T Converts a pfb format font to its ASCII equivalent. Free, in C. %E Mark.Esdale@cadresource.com %Q saf %N 23685 %B http://www.saf.co.il/sal/list.php?k=%D7%A4%D7%95%D7%A0%D7%98&t=13 %d May 20 2011 %L FO-HE CAD %T AutoCAD faces for Hebrew. %Q Font and Hatch Files %N 23684 %B http://204.101.252.14/library/fonts.html %d Jan 29 1999 %L OR2 CAD %T About 15 AutoCAD PostScript fonts (free). Plus AutoCAD SHX fonts, and an AutoCAD font editor, Visfont (trace characters with AutoCAD to create a font). Page by Mark Esdale. Among the AutoCAD PostScript fonts, we find SuperFrench (by P.B. Payne), for example. %E Mark.Esdale@cadresource.com %Q MW Soft %N 23683 %B http://www.winsite.com/info/pc/win3/fonts/mwfon103.zip/index.html %d Jan 29 1999 %L DI-OR %T "WinSite Package: mwfon103.zip: Chemical&Warning Fonts for science/Greek/Hebrew." Contains about 20 fonts, type 1 and TTF, and has chemical symbol fonts, and warning symbol dingbats: WarnSymbols, SymbolMW, MendelSiddurMW, ChemCycles. %Q pfm2afm %N 23682 %B http://www.leo.org/pub/comp/os/os2/leo/atmfonts/ %d Jan 29 1999 %L SO-T1 %T Free utility for generating afm files from pfm files. %E ftp-admin@leo.org %Q LEO--Link everything on-line %N 23681 %B http://www.leo.org/pub/comp/os/os2/leo/atmfonts/ %d Jul 31 2001 %L DD %T Daniel Lang's huge archive with all ATM fonts (Adobe fonts) in type 1 format. List of fonts. And here is another huge list of TrueType fonts, which includes the Lucida family. %E ftp-admin@leo.org %Q Ghostscript fonts %Z http://sourceforge.net/projects/gs-fonts/ %d Oct 26 2008 %L OR2 PS-GH GER %T One of many archives carrying the type 1 ghostscript font collection. The fonts were made by URW++ and include CenturySchL-Bold, CenturySchL-BoldItal, CenturySchL-Ital, CenturySchL-Roma, Dingbats (I'll be darned if this isn't Zapf Dingbats), NimbusMonL-Bold, NimbusMonL-BoldObli, NimbusMonL-Regu, NimbusMonL-ReguObli, NimbusRomNo9L-Medi, NimbusRomNo9L-MediItal, NimbusRomNo9L-Regu, NimbusRomNo9L-ReguItal, NimbusSanL-Bold, NimbusSanL-BoldCond, NimbusSanL-BoldCondItal, NimbusSanL-BoldItal, NimbusSanL-Regu, NimbusSanL-ReguCond, NimbusSanL-ReguCondItal, NimbusSanL-ReguItal, StandardSymL, URWBookmanL-DemiBold, URWBookmanL-DemiBoldItal, URWBookmanL-Ligh, URWBookmanL-LighItal, URWChanceryL-MediItal, URWGothicL-Book, URWGothicL-BookObli, URWGothicL-Demi, URWGothicL-DemiObli, URWPalladioL-Bold, URWPalladioL-BoldItal, URWPalladioL-Ital, URWPalladioL-Roma. %Z See also here (Germany) or here or here. %Q ATM 3.02 fonts %N 23680 %B http://www1.rhbnc.ac.uk/software/Adobe/Acrobat/ATM302/PSFONTS/ %d Apr 25 2001 %L DD %T Type 1 fonts coming with ATM 3.02: Helvetica, Courier, Symbol, Times, Zapf Dingbats. %Q Sonet %N 23679 %B http://www.sonet.hu/tbloch/UTILITY/PS/ %d Jan 29 1999 %L DD %T All the standard fonts in type 1: Century-Schoolbook, Courier, Dutch801, ITC-Avant-Garde, ITC-Bookman, ITC-Zapf-Chancery, ITC-Zapf-Dingbats, Swiss721, Zapf-Calligraphic801, Symbol, AvantGarde, Bookman, Courier, Helvetica, Palatino, Times, NewCenturySchlbk. Dead link. %Q Uncle Bear Online (also: Geekmedia Fonts) %Z http://www.geocities.com/Heartland/Village/9649/ %Z http://www.unclebear.com/fonts/zip/ %d Apr 12 2001 %L DD %T Freeware genre, movie, TV, comics and media fonts. About 600 TrueType fonts in all. Site maintained by Berin&Nancy Kinsman. Many Science Fiction/StarTrek fonts, as well as a good dingbat collection. Also some typewriter fonts. Assorted game fonts including Magic: The Gathering, and Magic Regular. Also roleplaying fonts, movie fonts, swashbuckler fonts, and horror fonts. %Z admin@unclebear.com %E himself@unclebear.com %Z http://www.unclebear.com/fonts/index.html %N 23678 %B https://www.quickbase.com/db/6sq6c48d %Q Rad Graphics %N 23677 %B http://www.rad-gfx.com/fonts.html %d Jun 2 1999 %L AR %T Brandon Blum's growing archive with about 250 fonts. %E brandon@rad-gfx.com %Q Picasaurus %N 23676 %B http://members.xoom.com/picasaurus/ %d Apr 21 2000 %L DD %T Nicely presented archive with about 250 picture fonts. %E picasaurus@yahoo.com %Q britishinseratfont %N 23675 %B http://www.vigilante.co.uk/ep/misc/britishinseratfont/ %d May 18 2000 %L DD %T Archive with Mecanorma's BritishInseratMN fonts (TrueType)! %Q Incised901BT %N 23674 %B http://207.193.62.22/tx-outdoors/admin/fonts/ %d Feb 27 1999 %L AR3 %T Archive with the Incised901BT Bitstream family in TrueType format. %Q sva20um %N 23673 %B http://www.fpf.slu.cz/~sva20um/fonts/ %d May 12 2001 %L AR3 %T Archive with a few Letraset fonts such as Bertram and Arriba. %Q jb %Z http://www.control.isy.liu.se/~/jb/Fonts/?917588834 %N 23672 %B http://control.isy.liu.se/~jb/Fonts/ %d May 12 2000 %L DD %T Swedish mini-archive with 3 connected calligraphic fonts, Esperanza, Hancock, and Excellence. %Z Académie de Nice %Z http://mtn-cremli.ac-nice.fr/~retic/logiciels/polices%20cursives%20tt%20PC/ %N 23671 %B http://www.ac-nice.fr/plan/index.htm %d Oct 24 2000 %L DE CA DI-OR DIDAC FRA %Q Christian Verchery %T Christian Verchery has been making school fonts, with and without lines for elementary school education in France. His fonts include the Plum (PlumBAE, PlumBAL, PlumBDE, PlumBDL, PlumNAE, PlumNAL, plumNDE, plumNDL), Seyes (SeyesBDE, SeyesBDL, SeyesNDE, SeyesNDL) and Crayon (CrayonE, CrayonL) series, some with lines as for first graders. Fonts disappeared? Alternate URL. Yet another URL. %Z French site with four interesting TrueType fonts: first, the well-known KuenstlerScript_TwoBold (connected calligraphic letters); then a connected handwriting font with many dingbat glyphs by Philippe Tassel (1994, called PcTassel), and finally connected glyph fonts by C. Verchery such as %Z ChristianVerchery--Crayon+Plume.jpg %Z CVerchery---SeyesBDE.jpg %Z CVerchery--PlumBAL.png %Z CVerchery--PlumNDL.png %Q danielle %N 23670 %B http://www.isu.edu/departments/bapsi/danielle/ %d Jan 29 1999 %L AR2 %T A copy of Monotype's ImprintMT font (truetype). %Q BCIM %N 23669 %B http://www.brunel.ac.uk/~emmncim/cim97/seniors/resources/fonts/ %d Jan 29 1999 %L AR2 DI-AR %T Only four fonts here, but one of them is Monotype's Milestones dingbats font! %Q Fonts for Starwriter (Linux) %Z http://www.qualcode.de/other/starwriterfonts.html %N 23668 %B http://www.alien8.de/Fonts.html %d Nov 6 2003 %L X SO-T1 %T Discussion of the creation of AFM files for use with Starwriter. Includes a copy of a PERL program by Thomas Bartschies (afm.pl) for automatically fixing AFM files so that Starwriter will accept them. %E other@qualcode.de %Q Fonts for Starwriter %Z http://www.cs.tu-bs.de/~krinke/starwriterfonts.html %N 23667 %B http://www.alien8.de/Fonts.html %d Nov 6 2003 %L SO-T1 SO-TT %T Instructions for the use of type 1 fonts for use with Linux's Starwriter. By Jens Krinke. Contains some fonts as well. %Q sickboy %N 23666 %B http://www.multimania.com/sickboy/log/ %d Aug 29 1999 %L DD %T Small archive. %Q candra %N 23665 %B http://www.op.net/~candra/fonts/ %d Mar 23 1999 %L DD %T Small archive. %Q leslie %N 23664 %B http://www.nas.net/~leslie/fonts/ %d Jan 29 1999 %L AR3 %T Small archive. %Q Circle Graphics and Design %Z http://circle.bc.ca/fonts.html %N 23663 %B http://circle.bc.ca %d Jan 4 2002 %E info@circle.bc.ca %L OR2 %T One original font created by Circle Graphics: Trunkle. Can't find it any longer. %Q Mystic Dragons %N 23662 %B http://perso.infonie.fr/fbouan/Downloads/Theme/ %d Jan 29 1999 %E fbouan@infonie.fr %L AR3 %T Small archive with theme fonts such as X-files, Xenotron and Alien. %Q ESONET Area FTP Fonts %N 23661 %B http://www.esonet.org/ftp_fonts.htm %d Sep 11 2003 %E Redazione@esonet.org %L DI-AR RU AS CARD ALCHEMY %T Italian archive with old language fonts, alchemy symbol fonts, rune fonts, and dingbats. Contains MarseilleTarotA (1997). %Q Dave Edwards %N 23660 %B http://www.pworld.net.ph/users/r/regie/ %d May 22 2001 %L OR2 DE %T Philippino site with 20 "degenerated" TrueType fonts by Dave Edwards: GrungeAchingBold, GrungeAmtypeBold, GrungeArriasBlack, GrungeBegnatBold, GrungeCaltekBold, GrungeDomainNormal, GrungeFruitaBold, GrungeGravelBold, GrungeGropusHeavy, GrungeKompakBlack, GrungeKooperBlack, GrungeMultplBold, GrungeOlivoyHeavy, GrungeOpustnHeavy, GrungePetinaBold, GrungeSiskelNormal, GrungeSnakesBold, and GrungeStanglHeavy. In all cases, Dave took a well-known font, and perturbed the outlines a bit to create a degenerated look. All outlines consist of short linear pieces. For example, University Roman became GrungeCaltekBold. %Q Svein Death Moller %N 23659 %B http://home.c2i.net/svmoelle/fonts/ %d Jul 12 2002 %L GO SWE %T Swedish archive with Gothic-looking fonts. %Q The Web Connection %N 23658 %B http://www.the-web-connection.com/ %d Jan 29 1999 %L AR2 %T Small French archive with an exemplary presentation. %Q Unhjems Paradise %N 23657 %B http://members.xoom.com/the_font_paradise/htm/frame_fonts.html %d Jan 29 1999 %E Unhjem@for-president.com %L AR2 %T About 160 fonts in this archive that eats your time away by all kinds of ads. Not a paradise by any means. %Q Uromania %N 23656 %B http://www9.big.or.jp/~urobon/index.html %d Jan 29 1999 %E urobon@mcn.ne.jp %L FO-JP DI-OR %T Broken Japanese page that seems to offer a dingbat font. %Q FontMiru 1.0 %N 23654 %B http://member.nifty.ne.jp/cable/index.html %d Jan 29 1999 %E GFF00463@nifty.ne.jp %L FO-JP FM %T Kei Matsumoto's Windows font viewer (for Japanese and Latin fonts). Free. %Q Kei Homepage %N 23653 %B http://member.nifty.ne.jp/cable/index.html %d Jan 29 1999 %E GFF00463@nifty.ne.jp %D Kei Matsumoto %L OR2 DE FO-JP %T Two free original font sets by Kei Matsumoto: KeiBoots (free grungy truetype Latin character font), KakuKaku1 (1998, 3 Kanji font sets, unclear whether free or not). The latter font is angular and almost of comic book style, at least is Latin part. Download site. See also here and here. %Z KeiMatsumoto-Kakukaku1-1994.png %Q GO!GO! POP FONT (or: M--M Font Design) %Z http://member.nifty.ne.jp/GO-GO-/font.html %N 23652 %B http://homepage1.nifty.com/GO-GO-/font.html %d Apr 7 2001 %E moto-p@gb3.so-net.ne.jp %L OR2 CF2 DI-OR FO-JP %T Japanese site with free original fonts (Pop (1998), Restaurant (1998)--note, the T is missing; it can be hacked to reappear, by the way), Soda (kana font), and some commercial fonts (3 Cinderella dingbats, and 11 animal shape dingbats called Cookies). Mac and PC, T1 and TTF. %Q Juan Chona %N 23651 %B http://typo5.com %Z http://members.tripod.com/typo5/fonts.htm %d Jul 31 2001 %L DE %T Designed Radar (1999) at [typo5]. %Q [typo5] %Z http://members.tripod.com/typo5/fonts.htm %Z http://members.tripod.com/typo5/typo5freefonts.htm %Z http://typo5.com %N 23650 %B http://www.typo5.com/t5_2/typo5freefonts.htm %d Jul 25 2002 %E carolaya@openway.com.com %L OR2 DE CF2 TW HW COL DI-OR %F http://www.myfonts.com/foundry/typo5/ %G http://www.myfonts.com/person/Germ%C3%A1n_Olaya/ %T Web page by Colombian designer Germán Olaya (b. Bogotá), started in 1998. Most fonts are in the "psychological damage" category, and great graphic design examples accompany each typeface.

Free fonts: RODRIGO (2009), Iconos Skate (2009, dingbats), Oil, Esso, Radar (designed by Juan Chona), Fango (grunge), Maldita, Diomedez (great!), Tokio Hotel (1998, grunge), Tablhoide, Ultra, Undo 35, Kab, Gim (very useful irregular handwriting), Yexivela (designed by Ximena Velandia), and Uncle Typewriter (old typewriter font).

Money fonts: Santa (2009), Kab, Chato Band (2004), Luke (really crooked), Mosketa (pure grunge), BND, Soda, Fructosa (2007, grunge), Fashyon (calligraphic grunge), Foodshow, Kab.

MyFonts sells King15, Uncle Typewriter, Santa, Kab, Esso, Fashyon, Soda, Mosketa, Yexivela, Fango, Fructosa, Californya.

Dafont link. Fontspace link. YWFT link. %D Germán Olaya %P GermanOlaya-UncleTypewriter-2007.gif %Z GermanOlaya--TokioHotel-1998.png %Z Typo5--Californya.jpg %Z GermanOlaya-CalifornyaB.png %P GermanOlaya-UncleTypewriter-Small.png %Z GermanOlaya-UncleTypewriter.png %Q Ximena Velandia %N 23649 %B nothing %d Jan 29 2006 %L DE HW %T Designer at typo5 of the handwriting font Yexivela. See also here. %Q Amtliche Regelung zur deutschen Rechtschreibung %N 23648 %B http://www.ids-mannheim.de/grammis/reform/download.html %d Jan 29 1999 %E schneider@ids-mannheim.de %L PH %T Roman Schneider's page with a downloadable SIL-IPA font. %Q Design--Etch %N 23647 %B http://user.fundy.net/fpweb/1/tankard/fonts.htm %d Jan 29 1999 %E dsgnetch@fundy.net %L TY %T By Richard Smith: "A list of fonts to help you choose a type style for your custom etched glassware." %Q Lucida Calligraphic %N 23646 %B http://web2.airmail.net/marie/lwc/ %d Jan 29 1999 %L AR3 %T TrueType version of Lucida Calligraphic, designed by Charles Bigelow and Kris Holmes. %Q Jake's page %N 23645 %B http://ns.cooke.net/~sendres/other/ %d Jan 29 1999 %E jake@cooke.net %L AR3 %T TrueType version of Bitstream's Mortal Kombat. %Q Xelloss %N 23644 %B http://www.maison-otaku.net/pub/anime/art/xelloss/ %d Jan 29 1999 %L FO-JP %T Several huge TrueType collection (TTC) fonts by André Germain. Without having inspected them, I guess that the fonts are kanji fonts with various kanas and romajis attached to them. %D André Germain %Q The Andrewscript Page %N 23643 %B http://www.public.iastate.edu/~mred/andrewscript/fontpage.html %d Aug 11 1999 %L HW DE %T Free and forceful handwriting font AndrewScript by Josh Prins. %D Josh Prins %Q Lindsay Enterprises %N 23642 %B http://ivyweb.com/magnatech/fonts/ %d Jan 29 1999 %L AR3 %T One font: URW's BlockT_Heav in TrueType format. %Q diseese %N 23641 %B http://members.forfree.at/~diseese/ %d Jan 29 1999 %L AR3 %T One font: Southern Software's AquiEstaSSK. %Q Peggy's Custom Charted Fonts %Z http://www.spiritone.com/~pr/fonts/nf_fonts01.html %Z http://www.spirit1.com/~pr/fonts/ %N 23640 %B http://www.spiritone.com/~pr/fonts/ %d Sep 29 2000 %L OR2 DE %D Peggy J. Rose %T Peggy Rose designed the 3-weight font family PeggyFont (TTF, PC and Mac). Free downloads.

Fontspace link. %Q eccentrica %N 23639 %B http://www.eccentrica.com/journal/vixen/ %d Jan 29 1999 %L DD %T Two TrueType fonts, Angelica and DoggyStyle (Peter Bruhn at Fountain). %Q Semper Reformanda %N 23638 %B http://lonestar.texas.net/~rhanks/site/Files/fonts.htm %d Jan 29 1999 %L AR3 %T Pick up Calisto MT and BlackChancery at this Christian site. %Z Groovy Fonts TTF %N 23637 %B http://students.esis.ch/theytazf/fonts.html %d Dec 13 2000 %L DE PSYCH %Q Patrick Burnens %T Patrick Burnens designed the psychedelic face Groovy (1990) with CorelDraw. There used to be some description in French of the design process to help others.

Dafont link. Fontspace link. %Z PatrickBurnens-Groovy-1990.png %Q Schriftarten %N 23636 %B http://unterhaltung.freepage.de/bigfrankie/Schriftarten.htm %d Jan 29 1999 %E bigfrankie@bluewin.ch %L TR SWI %T About 25 TrueType fonts, mostly of the science fiction/Startrek mold. Swiss Startrek site. %Q Robert's Occult--Religious--Magick %N 23635 %B http://www.muc.de/~raistlin/rk/binaries.html %d Feb 28 1999 %L DD %T Robert Karnecki's page has about eight occult TrueType fonts. %Q rov-ket %N 23634 %B http://nimrud.eet.bme.hu/rovas/ %d Aug 29 2001 %E hosszu@nimrud.eet.bme.hu %L RU DE HUN %D Hosszú Gábor %T rov_ket.ttf is a runes script truetype font created by Dr. Hosszú Gábor. Page in Hungarian. See also here. %Q Torpeweb %N 23633 %B http://www.webon.es/usuarios/torpeweb/ %d Jan 29 1999 %L AR3 %T About ten TrueType fonts, including CurlzMT. %Q Lucida %N 23632 %B http://www.uni-ulm.de/admin/doku/jdk1.2/jre/lib/fonts/ %d Sep 29 2000 %L AR3 TW %T Archive with TrueType versions of all Lucida Bright, Lucida Typewriter and Lucida Sans fonts, designed by Charles Bigelow and Kris Holmes. Alternate URL. %Q Mitch %N 23631 %B http://www.powerup.com.au/~mitch/Downloads/Fonts/ %d Jan 29 1999 %L AR3 %T Archive with about ten TrueType fonts. %Q P.O.P. %N 23630 %B http://users.dx.com.au/wormhole/popfontl.html %d Jan 27 1999 %L DD %T "Links to TTF font sites that have unusual and/or dingbat fonts" %Q Ed's Font Collection %N 23629 %B http://www.inficad.com/~ecollins/fonts.htm %d Feb 17 1999 %L AR2 %T Ed Collins' archive. %T Wilhelm Welsch's Cologne-based outfit that sells all the standard fonts, many under new names. Typically about 1DM per font (in packs of 500). Goes also under the name Quick Brown Fox (QBF), and is related to (identical to?) Softmaker. In the seventies, they made some original fonts at Brendel Type Studio such as Diamante and Dragon, but what is the relationship between Brendel Type Studio and Brendel Informatik? Their collection grew and included many semi-clones from major foundries (example: Equipe is like Emigre's Mason, and so forth). In 2000, FontShop sued them for placing 17 of their fonts on their CD, and Brendel lost and had to cough up a lot of money. Mark Johannson explains: "The B+P fonts seem to be the earliest and now float freely between Brendel Informatik and Softmaker 's, sometimes renamed, sometimes not. Brendel also did fonts for Serif software (Page Plus, Draw Plus etc.) using the SF suffix. It is not unusual, if you open the SF/Softmaker/Brendel/BP fonts up with a font editor, that you'll find one of the other company's names for it still buried in there in either the TT or T1 ID field!! I'm guessing Softmaker (in Nuremberg) was a software publisher who acquired some type of rights along the lines. They still make software (Softmaker Office is their biggie) and still sell fonts. Brendel still operates out of Cologne and still sells fonts under the "Quick Brown Fox" foundry name. The catalogs between them are pretty identical even down to most font names."

Images of selected typefaces: Archibald, Legend. %Q Brendel Informatik GmbH %N 23628 %B http://www.qbf.de/english.htm %Z http://www.softmaker.de/press.htm %L VE CF2 TY-LG %d May 11 2001 %Z Brendel-Archibald-2012.png %Z Brendel-Legend-1990.png %N 23627 %B http://www.typeguy.com/ %Q Bruce Hale %T Seattle-based typographer and calligrapher at Typeguy Font Studio. %d Nov 16 2000 %L DE USA-WA %Z http://www.nwlink.com/~typeguy/ %N 23626 %B http://www.typeguy.com/ %Q The TypeGuy Font Studio %Z typeguy@nwlink.com %E robert@typeguy.com %D Robert Keding %T Type studio in Seattle run by Robert Keding. Bruce Hale is the resident typographer/calligrapher. Custom font design (fonts include Kenton, Bartons Creek, Pacific First Center, Alphabet, The Bon Marché, Pyramid Ales, Hale Gothic). Font alterations (Chateau Ste Michelle is fantastic! See also Opti-Caesar, Brooks). Logos. Font kerning. %d Nov 16 2000 %L CF2 DE USA-WA %Z http://www.seven.net/fount/ %N 23625 %B http://www.fount.co.uk/scan/index.html %Q The Universal Fount Co Ltd %T 13,000 fonts in stock, for sale. %E fount@seven.net %L VE %Z http://www.3st.com/thirstype/ %Z http://www.thirstype.com %N 23624 %B http://thirstype.com/index.php %Q Thirstype %E thirstype@aol.com %F http://www.myfonts.com/foundry/thirstype/ %T Founded in 1993 in Barrington, IL, by Rick Valicenti. Modern type. A collection of artists peddling their nice wares, including Thirst, Rick Valicenti, Patrick King, Chester, Barry Deck, Kevin Dresser, Frank Ford, Rob Irrgang, Paul Sych, Magnus Rakeng, Claudio Piccinini, Hugo d'Alte and Patrick Giasson. Catalog. Emodigi site. in 2005, Thirstype joined the type coop Village. Thirstype is also involved in custom font work for places such as Fireorb, Gary Fisher Mountain Bikes, Gilbert Paper, Holly Hunt, Lucien Lagrange Architects, Lyric Opera, US Robotics, Village Voice. Their collection can be bought from MyFonts since 2004: Apex Sans (2003, a 40-weight sans family by Valicenti and chester), Infinity, Eclogues, Ultra Bronzo, Pixella, Punch (1999, pixel family done by Valicenti and Gregg Brokaw), Alexey, Nillennium, Orbit, Panderella, Rheostat. %L CF2 STE PIX USA-IL %d Feb 5 2004 %Z 117 Barrington St, PMB 333, Barrington, IL 60010. %Z After working in Chicago as a graphic designer for The Design Partnership, R. Valicenti Design was founded in 1981. In 1987, Rick Valicenti set out to reinvent himself and the pursuits of his consultancy by creating Thirst, a firm devoted to art with function. His passion for design and the advent of new technology made for a dynamic marriage of imagery and inspiration. Thirst's creative versatility continues the pursuit of elusive ideals of intelligence and beauty within today's world of commerce. In 1993 Rick founded Thirstype, a type boutique foundry devoted to individual expression. Over the years, Valicenti has served as President of the Society of Typographic Art (American Center for Design); board member on the AIGA Chicago chapter, jurored the President's Design Awards (Bush and Clinton), National Endowment for the Arts; been nominated twice for the prestigious Chrysler Design Awards; and selected to the first ID Magazine 40 top designers. The GGG and DDD Galleries in Osaka and Tokyo, respectively have held one-person exhibitions of Rick's design and imagery. In 1997, the Canon Gallery in Tokyo exhibited Thirst's digital imagery. Selected Thirst works have also been included in the permanent collection of the Cooper-Hewitt National Design Museum. Most recently, Rick has formed 3st2, a firm devoted to the strategic identity design excellence in all digital media with a focus on the internet. %Q Gregg Brokaw %T Thirstype designer who designed the geometric experimental font family Punch (1998) with Rick Valicenti. %Z http://www.3st.com/ %Z http://www.3st.com/thirstype/ %N 23623 %B http://www.thirstype.com %E thirstype@aol.com %d Oct 23 1999 %L DE PIX EXP %Q Brian McMullen %T With Rick Valicenti at Thirstype, he made the brilliant set of capitals called Handjob (2002) (wire-meshed hands). That font is now called Handsome. %N 23622 %B http://www.thirstype.com/ %Z thirstype@aol.com %E brianmcmullen@hotmail.com %d Aug 7 2002 %L DE CAPS %Q Rick Valicenti %T Thirstype founder and type designer. Has fonts at other places, like Commerce (1992, with Greg Thompson) at Font Bureau. Based in Barrington, IL. Designed Punch (1999, pixel family done by Valicenti and Gregg Brokaw), Ooga Booga (1993, with Greg Thompson), Bronzo, ApexSans (2003, a 40-weight family developed with chester), Commerce, UltraBronzo, and Love. In FUSE 4, he published Uck 'n Pretty. In 2002, Rick and Chester designed the sans serif family Infinity (20 weight architectural drawing family) and Alexey (2002, free stencil font family, with chester). Handjob (2002) is a gorgeous set of capitals made out of wire-meshed hands. Twiggies is a free set of EPS-format caps made from twigs. With Brian McMullen. Other creations: Apex Serif (2003, with chester), EZ (2003), a monospaced family, and Veejay (2003, a funny dingbat family done with Chad Johnston). %Z http://www.3st.com/ %Z http://www.3st.com/thirstype/ %N 23621 %B http://www.thirstype.com/bydesigner_valicenti.html %E thirstype@aol.com %d Aug 7 2002 %L DE CAPS STE USA-IL ARCH %N 23620 %B http://www.cinenet.net/users/wtrash/index5.html %Q Thumbprint Type Foundry %E wtrash@hollywood.cinenet.net %L DD %T Dead link. %Z http://www.portal.ca/~tiro/ %N 23619 %B http://www.tiro.com/ %Q Tiro TypeWorks %D John Hudson %T John Hudson and Wm. Ross Mills, the co-founders of Tiro Typeworks, design wonderful top-of-the-line fonts in Vancouver. From the TIRO web page: "TIRO TYPEWORKS is an independent digital type foundry developing&marketing high quality typeface families for PC and Mac platforms. Our commitment is to continuing the independent tradition of typography, as it has existed for more than five hundred years, free from the influence of fashion and novelty." Agfa write-up. Tiro is increasingly involved in font technologies, and are avid advertisers for OpenType and work often with Microsoft and Linotype on projects. Interview in 2008 byy Hiba Studio. Tiro's typefaces:

Academia (1997, by Mills).
The titling and display face Aeneas based on classical Roman capitals. This incomplete typeface was created by John Hudson based on glyphs drawn by an Austrian designer.
1530 Garamond (one of the most beautiful and faithful revivals of Claude's creations), by Mills.
Manticore (John Hudson's own absolutely magnificent brainchild).
Plantagenet (by Mills).
Sylfaen was designed for Microsoft in 1998 by John Hudson and Wm. Ross Mills of Tiro Typeworks, and Geraldine Wade of Monotype Typography. Sylfaen is a Welsh word meaning "foundation"; an apt name since the font stemmed from research into the typographic requirements of many different scripts and languages. Sylfaen supports the WGL4.0 character set, for Pan-European language coverage. In addition to Latin, Greek and Cyrillic letterforms, the font contains the characters necessary for support of the Armenian and Georgian languages. [Download site, see also here].
Hudson also does corporate identity work, such as HeidelbergGothicOsF (done for Heidelberger based on NewsGothic). Other clients included Microsoft, IBM and Apple.
In 2001, Mills developed Pigiarniq (Download site), a multiscript face for native American languages. This project was commissioned by the government of Nunavut, a new Canadian territory. Note: please visit the page on James Evans' type cutting methods: it was this missionary who developed the Cree writing system which was later adapted for use with Inuktitut.
Winner with Mamoun Sakkal and Paul Nelson at the TDC2 2003 competition for Arabictype.
In 2003, he is publishing unicode-compliant fonts called SBL Greek, SBL Hebrew and SBL Latin, at the Society for Biblical Literature.
In 2004, winner of an award at TDC2 2004 with Nyala, an Ethiopic text face, which has a nice Latin component as well.
Hudson and Mills have, to date, designed and built fonts for the Arabic, Cherokee, Cyrillic, Ethiopic, Greek, Hebrew, Inuktitut (Canadian Aboriginal Syllabics), extended Latin, and Ogham scripts. These include, for example, Adobe Hebrew (2000-2008).
Constantia (2004, a beautiful OpenType family made for Microsoft's ClearType project).
Helvetica Linotype (2004), for which he received a TypeArt '05 award for the Cyrillic component.
Vodafone Hindi (2007, with Tim Holloway and Fiona Ross) won an award at TDC2 2008.
Gabriola (2008) is a script font by Hudson done for Microsoft---it is included in some Windows packages---see, e.g., here. It has many swashes and special ligatures, but it is not connected.
Athena Ruby (2012), a winner at the TDC 2013 competition. Client: Dumbarton Oaks Research Library & Collection, Washington DC.
Brill (2012, with Alice Savoie). Also a winner at the TDC 2013 competition. Client: Koninklijke Brill NV, Leiden, The Netherlands.

%Z Did he design Wilson Greek? %E tiro@tiro.com %L CF2 DE CAN FO-NA FO-GR FO-AF FO-IN FO-HE GARAMOND %Z Freddy in Dec 1999: John Hudson is a currently a protestant who is going through the paperwork process of converting to Catholicism. I'm thinking of calling the font I attached here "Sanctity". If it goes anywhere, I want to be able to someday say that "I named it for John Hudson". %Z Tiro Typeworks is a two-man digital font foundry specialising in custom font solutions for multilingual typography. Founded by John Hudson and Ross Mills in 1994, Tiro has built a reputation for mixing solid design skills with technical proficiency. They have developed fonts for major software vendors including Microsoft, IBM and Apple (working both directly with the clients and with Linotype Library), for the territorial government of Nunavut, and most recently for the Society of Biblical Literature. Hudson and Mills have, to date, designed and built fonts for the Arabic, Cherokee, Cyrillic, Ethiopic, Greek, Hebrew, Inuktitut (Canadian Aboriginal Syllabics), extended Latin, and Ogham scripts. In addition to their type design activities, they occasionally write on font and text encoding issues for magazines and websites. %Z Heidelberger is working on a new corporate identification, art-directed by Spiekermann and type-designed by John Hudson. Guess what Hudson's knocking off for this new ID? News Gothic, of all fonts. NEWS GOTHIC!! Boy o boy. At $5k a weight, snap-on serifs anyone? Troop says that Hudson cannot say no to anything that has money in it, so much so that there were a few instances where he refused to do get involved in some very interesting projects because there was no money in them. %Z Nunavut font was done for free! %Z Plantagenet has the same UniqueID as Plantin. But I could not verify that. %d Jun 22 2001 %Q Wm. Ross Mills %E tirotech@tiro.com %N 23618 %B http://www.tiro.com %G http://www.myfonts.com/person/Ross_Mills/ %T Designer (b. Vancouver, 1970) of high-quality faces at Tiro Typeworks in Vancouver, which he co-founded with John Hudson. He created Plantagenet (1995, a great transitional type family: the OpenType extension of 2004 is called Plantagenet Novus), 1530 Garamond (1994), and Academia (1995), three full font families. Academia2 (Mills, 2006-2007) is a complete redesign of the 1996 sans family.

In 2000, Tiro was commissioned by the government of the new Canadian Arctic territory of Nunavut to design a set of Inuktitut and Latin script fonts. That font family is called Pigiarniq (Mills; see also here). He is working on Maxwell (also since 2005), a text face designed for the typesetting of mathematical and scientific texts.

With Marian Bantjes, he created the ornamental font Restraint (2007), which won an award at TDC2 2008.

The book family Huronia was designed from 2005-2010. The Pro version, which is currently in development, expands upon the standard character/glyph set, with targeted language and script support for languages of the Americas, including Canadian Syllabics, Cherokee, Latin and Latin derivatives for Americanist orthographies, IPA and support for arbitrary accent positioning. Polytonic Greek will also be included in the Pro version. It was published by Rosetta Type in 2013. There are small differences in language covergae between the original font from 2010 and the Rosetta version of 2013, but they promise that these will be evened out. PDF file of the 2010 original.

Klingspor link. %L DE CAN FO-NA MATH FO-GR GARAMOND %d Nov 20 2000 %Z RossMills-1530GaramondRoman-1994.gif %Z RossMills-AcademiaTRoman-1995.gif %Z RossMills-PlantagenetTRoman-1995.gif %Z Huronia_Beta_16_OL.pdf %Z Huronia_prospectus_OL.pdf %Z RossMills--Huronia-2010.gif %Z RossMills--Huronia-2010b.png %Z RossMills--Huronia-2010d.png %Z RossMills--Huronia-2010e.png %Z RossMills--HuroniaCree-2010.png %Z RossMills--HuroniaInuktitut-2010.png %Z RossMills--Huronia-2010c.png %Z http://members.aol.com/tclai/index.html %Q TLai Enterprises %Z c/o Kagi, 1442-A Walnut Street #392-TB Berkeley, CA 94709-1405 (310) 475-2902 %N 23617 %B http://www.tlai.com %E tclai@TLAI.COM %Z tlai.enterprises@usa.net %T Tom C. Lai from Berkeley, CA, makes and markets stencil and military sign fonts, such as MD Military Stencil A (2001, commercial), Amarillo USAF (shareware, octagonal typeface), AmarilloUSAF Pro (2001, commercial), LongBeachUSN (commercial US Navy and Marine Aircraft fonts), and sci-fi fonts such as Gravicon (shareware) and SteelWolf (commercial).

Foxtrot Medium. More direct access. Other fonts by him: Chesslaer (1991), Schneller (1991).

Dafont link. %d Oct 8 2001 %L TR OR2 CF2 DE STE USA-CA OCT MIL %D Tom C. Lai %Z TomCLai-GraviconDisplay.png %Z TomCLai-AmarilloUSAF.png %Z http://www.fontzone.com/typonaut/ %Z http://www.fontzone.com/zine/ %N 23616 %B http://web.archive.org/web/20020126235626/http://www.fontzone.com/zine/ %Q Clive Bruton %E typonaut@indx.co.uk %T Clive Bruton's site. Clive was electronically harassing me. He has bombarded me with email during a February week-end in 1999, and has gone down my list of links sending unwanted emails to other people as well. In other words, he seems to be using my list of links to police other sites. In an email to a third party, he admitted using my list to find that person's site. And in the same email to that person: "If you have any doubts as to the authenticity of my claim you are welcome to leave the picture on your site and wait for me to contact your ISP about its removal. And the consequential escalation thereof." %Z In case of bounced-back connections, try opening this page manually: http://www.fontzone.com/typonaut/. %d Nov 16 1999 %L TY-LG %Z http://www.fontzone.com/typonaut/ %N 23615 %B http://www.fontzone.com/zine/ %Q TM--N Digital %E typonaut@indx.co.uk %T Clive Bruton's site. %Z In case of bounced-back connections, try opening this page manually: http://www.fontzone.com/typonaut/. %d Nov 16 1999 %L TY %Z http://www.ragnarokpress.com/scriptorium/index.html %Z http://www.fontcraft.com/scriptorium %N 23614 %B http://www.fontcraft.com/csa/fontcraft.php %Q Scriptorium (Ragnarok Press, Fontcraft) %d Aug 15 2000 %E graball@ccsi.com %Z graball@infinity.ccsi.com %Z "Esperanza" (Scriptorium) and "Montague" (WSI) are said to be very very similar. %D David Fleming Nalle %M DL Alecto (2002, futiristic font), Yoshitoshi, Asian font %F http://www.myfonts.com/foundry/scriptorium/ %G http://www.myfonts.com/person/David_Nalle/ %T Dave Nalle was born in Beirut in 1959, but lives and works in Texas. He is currently in Manor, TX. From his wiki page: Dave Nalle is a political writer, game author and font designer who was active in the early history of the development of the internet. He is Chairman of the Republican Liberty Caucus, a group that promotes libertarianism within the Republican Party and is Senior Politics Editor at Blogcritics online magazine and is the CEO of Scriptorium Fonts. A creative and prolific designer, he has made hundreds of beautiful (often historic) fonts. His outfit, Scriptorium (based near Austin, TX, est. 1989), also does custom font and logo design. At some points, Scriptorium was also known as Ragnarok Press and Fontcraft. It specializes in artsy and ancient faces. Some subset of the fonts is made by Michael Scarpitti. Free font demos.

Images of his best selling fonts. Special subpages:

Three free fonts: Onuava (a mini-serifed hybrid fixed-width font), Divona (sans), Sirona (based on Lombardic calligraphy).
Decorative initials such as the 20th century sign lettering initials set Pencraft Initials (2009), Holly Initials (2010, based on Real PenWork (1880s, Knowles and Maxim), Vyones (2010), Vergennes (2001), Cascade (2009), Bergling (2010; based on initials by John M. Bergling).
Wild West fonts: Academy, Atkinson Boomtown (2009, after the lettering of Frank Atkinson), Atkinson Eccentric (2009), BigIron, Cibola, Lachesis, Perdido, Plowright, Primer, Riudoso, Niederwald, San Lorenzo (2011, with a Mexican and Tuscan look), Stonehouse, Manquo, Rochambeau, Purcell, Vaquero.
Arabic simulation fonts: Samaritan is based on the poster lettering of Alphons Mucha from his poster for the play La Samaritan. Serendib and Waziri are based on the hand lettering of René Bull from his edition of the Arabian Nights. Caliph (1993) is derived from Ernst Schneidler's classic Legende font, with variant characters based on his original lettering. And there is also Samarkand.
Celtic fonts: the fonts include the Durrow font (1993, traditional rendering of Insular Minuscule calligraphy), Malvern, Glendower (based on the most common lettering in the Book of Kells), Knotwork (caps based on Celtic knots), Alba Text (modernized text font based on Celtic uncial lettering), Lindisfarne (based on a square uncial style), Stonecross (1997, derived from Celtic cross and gravestone inscriptions), Celtic Spirals (dingbats), Celtic Borders font (lets you combine key strokes to form decorative borders; many frames and borders are original Celtic designs by Arts&Crafts period artists like Evelyn Paul and Louis Rhead), Spiral Initials, Brigida (based on Rudolph Koch's interpretation of a squared uncial), Coverack (heavy non-traditional uncial), Dahaut (modernized uncial), Morgow (1999, spiral uncial), Teyrnon (elaborate spurred uncial), Padstow (heavy uncial), Vafthrudnir (2011, uncial), Sualtim and Columba (decorative initials based on characters found in the Book of Kells), Albemarle (2001).
Oriental simulation fonts: Yoshitoshi (2003, based on the 1900-style writing by Yoshi Toshi.
Gothic fonts, including Alt Gothic, Koch Gothic, Barnabas (2011), Montgisard (2010, roman capitals with blackletter lower case), Montressor (2010, ornamental blackletter capitals), T4C Beaulieux (1998, a free copy here), Bastarda (2011), Burgundian, Cadeaulx, Collins OE, Cortrai, Ereshkigal, Franconian (1993, a Schwabacher), Froissart (2000), Ghost Gothic, Magdeburg, Melusine, Monressor (2010, blackletter caps), Pyle Gothic, Rheingold, Sanctum, Stuttgart Gothic (2010), Textura, Theodoric, Yngling (2002).
Renaissance fonts: Monumental Gothic, Caswallon, humanistic cursive (Palmieri, Castiglione and Hanes Italic), quirky Italian cursives (Fiorenza and Alleghieri), a Roman style hand-lettered font (Rudolfo and Rudolfo Swash), a Trajan-style Roman lettering (Hadrianus), a classic flourished cursive (Trinculo) and a set of floral intials from the Quattrocento (Fraticelli).
Modern poster fonts: Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg, Fortinbras, Hamilton, Jambon, Oblivion, Posada (2008, based on the poster lettering of Mexican artist José Guadalupe Posada), Squiffy, Suspicion, Magnin (2003).
Mapmaker fonts: building elements are available in Basilica; Ortelius is a map dingbat font; Queensland (based on lettering by artist and calligrapher Eric Sloane), is bold, hand-drawn and reminiscent of medieval writing on maps. There are also Brandywine, Windlass (1996), and Cityscape. Orford (2008) is based on samples of hand lettering from a 1693 manuscript collected by Lewis Day in his classic book on historical paleography, Alphabets Old and New.
Calligraphic fonts: Albemarle (2001), Azariel, Moncrief (2011, based on the calligraphy of J.M. Bergling), Pavane, Rasael (2009), Abdiel (2005), Roncesvalles, Gazardiel (2003, connected script), Spoonbill (2003, arts and crafts), Maacteris (Roman uncial font), Antioch Uncial (Roman uncial font), Burgundian (Classic black letter font), Franconian (993, a classic black letter font), Castiglione (Attractive Renaissance lettering), Cicero (Roman Rustica font), Formidable (1993, very bold late medieval / Lombardic style), Collins Old English (Classic Old English style gothic), Corbei Uncial (Roman uncial font), Cymbeline (late medieval lettering), Durrow (Standard insular minuscule uncial font), Theodoric (Classic black letter font), Ghost Gothic (Unusual gothic font), Glendower (Uncial font based on Book of Kells), Gloriana (Interesting hand lettering style), Folkard (from the hand-lettering of Charles Folkard), Offenbach Chancery, Ranegund Merovingian Courthand, Benevento (8th century Lombardic), Hesperides.
Art deco faces: Borealis (2009), Criterion (2011), Illuminata, Madding (2009, a bold poster font that grew out of Aventine), Alexandrine (2009), art Deco Stencil (2009, based on samples of Art Deco stencil lettering by Pedro Lemos), Falmouth.
Art nouveau faces: Acadian, Agravain (2009), Amphitryon (2009), Ariosto, Asphodel, Beaumains (2011, based on J.M. Bergling's lettering), Beauvoir, Belgravia (based on J.M. Bergling), Bernhardt (based upon the lettering of the Czech art-nouveau artist Alphonse Mucha), Bentham, Berenicia, Boetia (2003, based on J.M. Bergling's lettering), Bruges, Bucephalus (1993), Burd Ellen (2009), Butterfield, Curetana, Elsene (2011, based on lettering by early 20th century illustrator Clara Elsene Peck), Elysian, Flaubert, Gaheris, Ganelon, Goodfellow, Harbinger, Jugendstil Kunsthand (2003), Lysander, Maginot, Munich (after the Munchner Jugend magazine), Norumbega, Odeon, Ormandine (2010), Pantagruel, Phaeton, Reggio, Rochmbeau, Rockne (2009), Rudolfo, Setebos, Sprite, Summerisle, Sylphide (2005), Undine, Valentin (2008), Vambrace (2010), Walhal.
Arabian-look fonts: Caliph, Satampra, Serendib, Jerash, Samaritan, Samarkand, Waziri.
Interview and bio.
Latest designs.
Myfonts link.
Mass download of most Scriptorium demo fonts at Fontflood.
Modern poster fonts: Field Day (2003), Ascelon, Bilitis, Cosmic Dude, Dromon, Ducatus Rough, Eglantine, Ekberg, Fortinbras, Hamilton, Jambon, Oblivion, Squiffy.
Constructivist fonts: Krasny Mir (2009), Vrubel, Structura (1997).
Futuristic fonts: Alecto, Angelus, Circuit, Culdrose, Gearhead, Ironclaw, Parika, Sanhedrin, Semiramis (1997), Slither, Structuro, Yazata, Adastra (dings).
Borders and ornaments. These include New Arets and Crafts Borders (20912, based on The Calendar of Golden Thoughts (Barse and Hopkins Publ, 1911).
Boneyard fonts: Antrobus (2010), Sepultura (2002), Halloweenies, Dementia, Boneyard, Skull and Bones, Malagua (1999-2013), Paleos (2002, from titling of B movies in the cave girl genre), Carmilla, Abaddon, Black Cow (1998), Valdemar, Cuede, Ligeia, Mayhem, Mephisto, Golgotha, Sanguinary, Ironworks, Moravia, Gehenna, Nosegrind (2005, graffiti), Corpus, Ghostly.
School fonts: Schoolhand (2010).
Arts and Crafts movement (late Victorian period, 19th century), based on work and lettering by Walter Crane, William Morris, Charles Rennie Mackintosh and Elbert Hubbard. The Arts&Crafts movement was enormously influential on the works of designers, artists and architects of the 20th century, and inspired the Art Nouveau and Art Deco movements. Fonts include William Morris' Kelmscott (based on Morris' Troy type), and True Golden, fonts from the Glasgow branch of the movement like Chelsea Studio (1997), which is based on Charles Rennie Mackintosh's lettering, fonts from the Roycrofters of New York like Semiramis and Ganelon, fonts based on Walter Crane's work such as Crane Gothic, Pencraft Initials (2009) and Walter Crane, and even fonts from the California Arts&Crafts period of the early 1900s like Coloma. Other typefaces: Aylward, Palmyra (based on work by the Roycrofters, a design community founded by Elbert Hubbard), Aylward (2010, Victorian), Hyacinth Initials, Spoonbill, Adresack (1996), Brandywine, Changeling (2009, based on lettering by fairy artist Fanny Railton), Ganelon, Goddard, and Advertising Gothic (2003), Valentin, Gaheris, Agravain (2009). Delaguerra (2001-2009) is based on a lettering style originating in the California Arts&Crafts period commonly associated with Mission Style. It is still in common usage in signage at historical sites in California.
Medieval fonts of Scriptorium, critiqued by Marc Smith, page 65: Batwynge is based on lettre gffe by Geofroy Tory (1529), and not on an illuminated manuscript of the tenth century as claimed by Scriptorium.

Some selected fonts: Captain Kidd (2012, an original font design based on the title lettering from the classic pirate movie starring Charles Laughton), Aerobrush (2011), Fondry Ornament (2009), Artkinson Egyptian (2008, after the lettering of Frank Atkinson), Verne (2008), Goldwork (almost blackletter), BigBlok (2010), LetterpressGothic (2010), Plymouth (2010, in the style of Cooper Bold), Broadley (2008, an architecturally inspired script based on lettering by British architect and designer C.F.A. Voysey), Locksley (2004, medieval lettering), Tuscarora (curly lettering), Fiorenza (Renaissance calligraphy), Hesperides (old colonial calligraphic script), Angelus (beautifully printed monospaced script), Esperanza (1996, connected medieval handwriting), Ithuriel (2002), Alleghieri (2002), Hamilton (2002), Spiral Initials, Zothique (great font, based on hand lettering from a map of Clark Ashton Smith's fantasy world of Zothique), Reynard (semi-Celtic), Daresiel (elegant script), Caliph (1992, Arabic simulation), Bassackwards, Rosalinde (1999, handwriting), Arakne (2000, connected handwriting), Falconis (by Michael Scarpitti), Asrafel (semi-Celtic), Swithin (2004), Tyrfing (Art Nouveau/Fraktur, 1999), Waldeck (2008, blackletter), Woburn Initials, Stampwork, Draughtwork, Roughwork (all rubber stamp fonts), Melusine (gothic calligraphy), Corbei (uncial), Niederwald (hand lettering), Gjallarhorn (great uncial), Gaiseric (early medieval uncial), Taranis (1987, an uncial first drawn as a font for the cover of the old Ysgarth roleplaying system), De Bellis (roman era, by Michael Scarpitti), Engravers Gothic, Monimental Initials, Sanhedrin (Enemy of the State font), Vespasiano (roman capitals, by Michael Scarpitti), Bilitis, Hendrix (2002), Collins OE (old English), Samedi, Praitor, Evadare (1993, based on a character set which was hand calligraphed by Rudolf Koch), Koch Fantasie (1993), Black Cow (1998). Zothique, Ruritania, Mariner (2004, based on hand lettering originally done by Willy Pogany), Trinculo (a swinging cursive font), Texas Star (2002), Octavian (antique demi-serif font), Ruffian (antique type font), Ascelon (thin sans serif font), Munich (title lettering from Munchner Jugend magazine), Necromantic (bizarre bold titling font), Titania (romantic decorative lettering font), Oberon (bold romantic font), Knotwork, Guede (1993), Pullman, Purcell (Victorian circus poster style font), Allegheny, Carmilla, Malagua (1999-2013), Ardenwood, Platthand, Buccaneer, Cochin Archaic (2010), Boswell (1994), Guilford (based on lettering by artist and calligrapher Eric Sloane), Ekberg (2002, based on a sample of poster lettering by Samuel Welo), Death Ray (2012, constructivist), Alecto (futuristic), Candlemas (2003), Bridgeport (2003, based on lettering by artist and calligrapher Eric Sloane), Medieval Tiles (2003), Linthicum (2003), Draughtwork (2003), Yngling (Fraktur, 2003), Rheingold (elaborate Fraktur: Music Hall Text elsewhere; see also Teuton Text, Cincinnati Type Foundry, 1877), Kidd (2003), Belgravia (2004), Peck Shields (2004), Albrecht Durer Gothic (2004), Orpheus (2004), InduXtrial (2004, a grunge face), Yoshitoshi (2003), Veronique (2004), Veneto (2006), Vidilex (1993, monospaced), Abelarde (2006), John Speed (1993), Furbelow (2006), Estoril (2006), Tangle, Aventine (sans), Texas Star (2002), Groningen (Bauhaus design), Nevins Hand, Scrapple (2011, Victorian, ornamental), Leodegar (2011, based on samples of 7th century Frankish hand lettering), Candlemass (2012).

Fonts from 2013: Original Django (after the titling font in Quentin Tarantino's movie Django Unchained).

Klingspor link. Abstract Fonts link. Dafont link.

View David Nalle's typefaces. %E graball@infinity.ccsi.com %Z http://www.ragnarokpress.com/artype/celtic/ %Z http://members.aol.com/ragnarok/smag22/smag22.htm#HDT1 %Z http://members.aol.com/ragnarok/scriptorium %Z http://www.ragnarokpress.com %L MONO CF2 DE OR CA FO-CE SI A-SIM HW TRAV DI-OR GO FO-CE MA CAPS REG O-SIM USA-TX GRAF USA-MA ARCH WEST STE FR ARTN DI-OR AC OR2 CONSTRUCT ARTDECO BAUHAUS LOMBARD SIGNAGE VICT DIDAC BRUSH CHANCERY TEXTURA TRAJAN LEB UNCIAL BAST MOVIE %Z Ragnarok Press: http://www.ragnarokpress.com %Z Freddy's list of missing fonts: Adastra, Allegheny, Antioch, Arabian Nights, Big Iron, Butterfield, Circlegram, Circuit, Coloma, Dementia, Dopelganger, Ereshkigal, Exotique, Houses (or Floorplans Houses), Fortinbras, Gallia, Garland, Gotegrim, Guede, Guilford, Illuminata, Irzuli, Macteris, Manquo, Manticore, Muertos, Nevins Avant, Ortelius, Padstow, Plowright family, Pontifica Swash, Quicksilver, Riudoso, Rossetti, Rudolfo, Rudolfo Swash, Sanhedrin, Schoolhand, Scrawlies, Skull&Bones, Texas Brands, Victrix, Vivat. %Z David Nalle is the founder of The Scriptorium and is its lead designer of original fonts and adapter of historical source material. Dave got his start in calligraphy when he was a child, studying old manuscripts and duplicating the lettering he liked. In college he paid expenses by lettering bizarre things, including signs for fraternity parties and even pledge paddles. His typographic education began with an apprenticeship at Applewood Books, a specialty reprint press in Boston. There he learned to set metal and wood type and took courses in Compugraphic typesetting. After graduating from Franklin&Marshall College, Dave pursued a career in publishing, including editing small magazines like Whatâ€™s Next, Liberty and Abyss, and working in game and book design. He moved to Austin in 1982 and attended graduate school at the University of Texas, studying Medieval History, including extensive work in Paleography, Codicology and Medieval literature. In 1991 Dave started designing fonts based on his own hand lettering from old magazine titles, hand lettered signs and maps. In 1992 he released the first of these crude but unusual designs as shareware fonts through America Online. The enormous success of his first shareware font based on a historical typeface (Kelmscott, from Morrisâ€™ Troy font) convinced him there was a market for his typographic work, and led to the creation of the Scriptorium as a commercial outlet for his type designs. Since that time he has produced scores of completely original fonts, plus a huge selection of fonts based on historic type and unique hand lettering, creating the backbone of the Scriptorium collection. Dave now lives in Manor, Texas, with his wife Patricia, his daughter Caroline, two dogs, a cat, a goose, and four ducks. He enjoys swimming, disc golf, and tennis and teaches the occasional college history course as well. %Z David Nalle is the founder of The Scriptorium and is its lead designer of original fonts and adapter of historical source material. Dave got his start in calligraphy when he was a child, studying old manuscripts and duplicating the lettering he liked. In college he paid expenses by lettering bizarre things, including signs for fraternity parties and even pledge paddles. His typographic education began with an apprenticeship at Applewood Books (www.awb.com), a specialty reprint press in Boston. There he learned to set metal and wood type and took courses in Compugraphic typesetting. After graduating from Franklin&Marshall College, Dave pursued a career in publishing, including editing small magazines like What's Next, Liberty and Abyss, and working in game and book design. He moved to Austin in 1982 and attended graduate school at the University of Texas, studying Medieval History, including extensive work in Paleography, Codicology and Medieval literature. In 1991 Dave started designing fonts based on his own hand lettering from old magazine titles, hand lettered signs and maps. In 1992 he released the first of these crude but unusual designs as shareware fonts through America Online. The enormous success of his first shareware font based on a historical typeface (Kelmscott, from Morris' Troy font) convinced him there was a market for his typographic work, and led to the creation of the Scriptorium as a commercial outlet for his type designs. Since that time he has produced scores of completely original fonts, plus a huge selection of fonts based on historic type and unique hand lettering, creating the backbone of the Scriptorium collection. Dave now lives in Manor Texas with his wife Patricia, his daughter Caroline, two dogs, a cat, a goose and four ducks. He enjoys swimming, disc golf and tennis and teaches the occasional college history course as well. %Z DavidNalle--2010Catalog.png %Z DavidNalle--Circuit-2011.jpg %Z DavidNalle-CollinsOldEnglish-1993.gif %Z DavidNalle--CochinArchaic-2010.jpg %Z DavidNalle-Bucephalus-1993.gif %Z DavidNalle-Bucephalus-1993b.gif %Z DavidNalle-Gehenna-2013.jpg %Z DavidNalle-OriginalDjango-2013.png %P DavidNalle-OriginalDjango-2013b-Small.png %Z DavidNalle-Caliph-1993.gif %Z DaveNalle-Candlemass-2012.jpg %Z DavidNalle-Franconian-1993.gif %Z DavidNalle-Malagua-1999-2013.png %Z Scriptorium-Alecto-2012.jpg %Z Scriptorium-Alecto-2012.png %Z Scriptorium-DeathRay-2012.jpg %Z DavidNalle--Criterion-2011.jpg %Z DavidNalle--Formidable-1993.gif %Z DavidNalle--SanLorenzo-2011.jpg %Z DavidNalle--Sanhedrin.jpg %Z DavidNalle-Coverack.gif %Z Scriptorium--AtkinsonBoomtown.jpg %Z Scriptorium--AtkinsonEccentric.jpg %Z Scriptorium--Plymouth-2010.jpg %Z Scriptorium-Bastarda-2011--.gif %Z DavidNalle-NevinsHand-2001--after-PeterNevins.gif %Z DavidNalle--Scrapple-2011.jpg %Z DavidNalle--Scrapple-2011b.jpg %Z DavidNalle-Evadare-2012.gif %Z DavidNalle-KochFantasie-1993.gif %Z DavidNalle--Guede-1993.jpg %Z Scriptorium--Beaumains-2011.png %Z Scriptorium--Vergennes-2001.jpg %Z Scriptorium-KrasnyMir2009c.jpg %Z DavidNalle--BlackCow-1998.jpg %Z DavidNalle--Aylward-2010.jpg %Z DavidNalle--BigBlok-2010.jpg %Z DavidNalle-Kelmscott-1993.gif %Z DavidNalle-Vyones-2010.jpg %Z DavidNalle--Vambrace-2010.jpg %Z DavidNaslle-LetterpressGothic-2010.jpg %Z Scriptorium--Bergling-2010.jpg %Z Scriptorium-KrasnyMir2009.jpg %P Scriptorium-Cascade2009.jpg %P Scriptorium-Delaguerra2001-Small.jpg %Z Scriptorium-Delaguerra2001.jpg %Z Scriptorium-PencraftInitials-2009--afterWalterCrane.jpg %Z Scriptorium-Antrobus-2010.jpg %Z Scriptorium-OffenbachChancery.jpg %Z Scriptorium-Satampra.jpg %Z Scriptorium--StuttgartGothic-2010.jpg %Z Scriptorium--Ormandine-2010.jpg %Z DavidNalle--Adresack-1996.jpg %Z DavidNalle--ChelseaStudio--1997.jpg %Z DavidNalle--Semiramis-1997.jpg %Z DavidNalle-Linthicum-2003.jpg %Z DavidNalle--Albemarle-2010.jpg %Z DavidNalle--Albemarle-2010b.jpg %Z DaveNalle--DraughtworkDemo--2003.jpg %Z DaveNalle--DraughtworkDemo--2003b.jpg %Z DavidNalle-Montgisard-2010.jpg %Z DavidNalle--Montressor-2010.jpg %Q Cerebral Art Lab %D Cale Burr %L DE CF2 HW USA-WA COMIC %T Cale Burr (b. 1970, Longview, WA) is a graphic artist from Bellingham, WA, who runs Cerebral Art Lab there since 1994. Ten dollars a shot for mostly handwriting fonts. Stevesto is a free Mac font. Other fonts: Beloved Anne, Blackie Stan, Devin Strap, Fresh Retread, Initial Expression, Prosser Dot Com, Rough Night, Steve's World, Foam Protection, Stress Related, Zoink (comic book face). %Z cale@cerebral-artlab.com %Z http://cerebral-artlab.com/index.html %d Nov 2 2000 %E cale@caleburr.com %N 23613 %B http://www.caleburr.com/fonts/ %Z CaleBurr---Catalog.png %N 23612 %B http://www.treacyfaces.com/ %Q Gary Eckstein %d Aug 23 2003 %L DE HW %T TF Gary is Gary Eckstein's handwriting, which he turned into a font that can be bought at Treacyfaces. %N 23611 %B http://www.treacyfaces.com/ %G http://www.myfonts.com/person/Joe_Treacy/ %F http://www.myfonts.com/foundry/Treacyfaces %Q Treacyfaces %d Feb 23 2002 %E treacyfa@ix.netcom.com %L CF2 DE MONO USA-CT ARROW %D Joe Treacy %T Joseph Treacy's West Haven, CT-based foundry selling hundreds of fonts. Names start with TF. In total, 320 faces by Joe Treacy himself and a few independent designers. The entire collection costs about 5000 dollars. Individual fonts at about 29 USD a shot. Joe's typefaces include DuffyScript, Armada, EmpireState, Grange, Montauk, TFNeueNeuland, TF Nouveau Riche, Polaris, Poynder, TF Renoir, Romantiq, Saginaw, Siena, TFAdefabc, TFAdepta, TFAkimbo, TFArdent, TFArrow, TFAvian, TFBaccarat, TFBrynMawr, TFCaslon, TFCaslonDisplay, TFCaslonTen, TFCavalier, TFCoffeebean, TFDashes, TFDierama, TFFatType, TFFinny, TFForever, TFFoxfire, TFGary (handwriting of Gary Eckstein, done by Gary), TFGuestSten, TFGuestcheck, TFHabitat, TFHoneyspot, TFHotelmodCalligr, TFHotelmodTwo, TFHotelmoderne, TFMaltbyAntique, TFMasterstroke, TFOverfield, TFPosneg, TFPuzzle, TFRaincheck, TFRoux, TFRouxBorders, TFShotelmoderne, TFSimper, TFSolution, TFSquiggleCncery, TF Hotel Moderne, ThreeTen, TodaySB, TF Trantino, Vignette, TFMatterhorn, TFForever Monospace, TFCrossword Script and Serif, TF Cavalier Upright, TF Burko OSF, TF Barchowsky Fluent Hand, TF Bistro, TF Avian OSF, TF Arrow Italic, TF Ardent Monospace, TF Accidentals, TF Adepta OSF.

Klingspor link. %Z JoeTreacy-Catalog.png %Z JoeTreacy-TFBistro-.png %Z JoeTreacy-TFBistro.png %Z JoeTreacy-TFCaslon.png %Z JoeTreacy-TFCaslon1080.png %Z JoeTreacy-TFCaslonDisplayMedium.png %Z JoeTreacy-TFHotelModerne.png %Z JoeTreacy-TFNeueNeuland-.png %Z JoeTreacy-TFNeueNeuland.png %Z JoeTreacy-TFNouveauRiche-.png %Z JoeTreacy-TFNouveauRiche.png %Z JoeTreacy-TFRenoir-.png %Z JoeTreacy-TFRenoir.png %P JoeTreacy-TFTrantino-Small.png %Z JoeTreacy-TFTrantino.png %Z JoeTreacy-TFTrantinoMedium.png %Z JoeTreacy-TFGuestCheck-.png %Z JoeTreacy-TFGuestCheckHeavyShaded.png %Z JoeTreacy-TFGuestCheckStencilHeavy.png %Z http://www.frontiernet.net/~treehous %Z http://www.frontiernet.net/~treehous/Typefaces.html %N 23610 %B http://davidocchino.com/portfolio/typography/index.html %Q David Occhino Design (was: Treehouse Graphic Design) %T Treehouse Graphic Design was David Occhino's font outlet. It is now called David Occhino Design. The Treehouse collection specialized in Startrek, futuristic, Disney and Indiana Jones style fonts, but has widened lately. Most fonts are commercial, but there are a few free ones:

Exclusive Designs: Tangaroa (2009, tiki font), TradeWind, Nautilus, Graviton, Voyager, Cinema, Firefly, Forest, Emblem.
Signage faces: Craftsmen (2010), Craftsmen Ornaments (2010).
Movie Fonts: Safari (1996, based on the famous Indiana Jones movie logo created by Mike Salisbury and David Willardson; version 2 in 2011), Venture, Astro, Galax-E, Time Travel, Iron Hero, Knight, Blade, Aeronaut (1997, avant-garde).
Art Deco Fonts: Aeronaut (1997; Aeronaut 2.0 in 2011), Cinema, Pan-Pacific (2010: based on the classic 1940s lettering style that was used for the signage for the famous Pan-Pacific Auditorium).
Theme Park Fonts: Kingdom (1996, blackletter), Mansion, Encounter, World.
Sci-Fi Fonts: Astro SE, Basestar, Blade, Encounter, Galax-E, Graviton, Nautilus, Time Travel, Voyager.
Halloween Fonts: Hocus Pocus, Nautilus, Mansion 3.0 (1996-2009), MansionCryptBats (2009, free).
Education Fonts: School.
Free Fonts: Aurebesh, Forbidden Eye, Tangaroa Glyphs (Hawaiian petroglyphs, 2009), World Symbols, Big Thunder Dingbats (2009: Western dingbats).
Western fonts: Big Thunder (2009).
Fonts I can no longer find: Aurebesh, DNealianArrows, DNealianGuides, DNealianRegular, Starspeeder, StarspeederUpright, Pyramid's Venture, Victorian Mansion.

Abstract Fonts link. %Z Treehouse collection, specializing in Startrek, futuristic, Disney and Indiana Jones style fonts: Aeronaut, AstroAlternateSolid, AstroSolid, Aurebesh, BladeCutThru, Blade, Cinema, DNealianArrows, DNealianGuides, DNealianRegular, EncounterRegular, ForbiddenEye, Kingdom (1996, Fraktur font), KnightAlternate, KnightPlain, Mansion, SafariRegular, SafariShadow, Starspeeder, StarspeederUpright, VentureRegular, VentureShadow, World, Pyramid's Venture, School (ruled letters), and Victorian Mansion. %Z mailto:fontfreak@toxicwastehome.com">Dennis complained on abf on June 22 2000 as follows: "I have sent them 2 checks for the Kingdom font (looks like Disneyland's Fantasyland logo writing). One on 5-16, and another on 6-7. Having received nothing, and thinking I'd forgotten to send the check, I sent a 2nd one. I just found this out going through my checkbook). I am going to the bank this morning to see if those checks have cleared. I have also e-mailed them 2 times, and received no reply.". %Z treehous@frontiernet.net %E davidocchinodesign@mac.com %L CF2 DE AS TR DIDAC FR OR2 MOVIE GO PETRO FO-HA DI-OR WEST ARTDECO SIGNAGE VICT AG ARROW %D David A. Occhino %d Jun 24 2007 %Z DavidOcchino---Craftsmen-2010.gif %Z DavidOcchino---CraftsmenOrnaments-2010.jpg %Z DavidOcchino--Aeronaut-2011.jpg %Z DavidOcchino--Aeronaut-2011b.png %Z DavidOcchino--MansionCryptbats.jpg %Z DavidOcchino--Safari-1996-2010.png %N 23609 %B http://www.turntable.com/fattip-download.shtml %E kids@turntable.com %Q Turntable Media %T The free font Fattip. %d Jun 24 2002 %L OR2 %Z http://www.isca.uiowa.edu/users/paul-ferguson/html/facefont.html %N 23608 %B nothing %Q Typefaced! Fonts %D Paul Ferguson %T Paul Ferguson is/was a designer in San Francisco who used to work for Organic Online, Inc. He ran "Typefaced! Fonts", but that site has disappeared. %L CF2 DE USA-CA %d Jun 24 2002 %E pgreen@organic.com %Z Organic Online, Inc. pgreen@organic.com

510 3rd St. Suite 540

415-278-5627 San Francisco, CA 94109 %Z http://www.artvaak.com.au/vaak/ttc/ %N 23607 %B nothing %d Jun 24 2002 %Q Type Testing Center %T Home site for two different foundries, JoeFont and DamnFine. Seems to have disappeared. %E artvaak@mpx.com.au %L EXT20 %N 23606 %B http://www.typocircle.co.uk/ %Q Typographic Circle (official site) %d Feb 4 2001 %T The Typographic Circle is dedicated to promoting type and typography in all fields. London-based. %E tom.davidson@r-t-s.co.uk %L TY UK %Q MenuFonts %Z http://www.empnet.com/dublclick/MenuFonts.html %N 23605 %B http://www.dublclick.com/MenuFonts.html %d Jun 24 2002 %T 70USD product for font management on the Mac. From Dubl-Click Software. Some people really like this utility. %L FM-MAC %E info@dublclick.com %Z http://members.aol.com/uniontype/index.html %Z uniontype@aol.com %E UNIONtype@typeindex.com %T Union Type Supply used to be run by Chris MacGregor in Houston, TX, who was (is?) a web communications specialist at Halliburton. He also used to run Penultimate Type in Seabrook, TX. He founded About with Don Synstelien.

His typefaces: Zehrgut (grunge face), Orti (by Jean-Jacques Tachdjian---a filled-in display face), Utile (high-contrast serif font designed by Matthew Chiavelli, Jeff Gillen, Chris MacGregor and Jean-Jacques Tachdjian), Afrobats, Bridgework, Citore, Emulate, Emulate Bold, Epaulet (1994), Tagged, Boxonoxo, Burner, Datapad, Empanel, Emulate, Esboki, Esdeki, Estuki, GleeClub, HiroItalic, HiroOutline, HiroSharp, Hiro, IttoBlock, IttoRound, JaySetch (named after Jay Setchell, who was Chris MacGregor's boss at Imagination Plus, The Woodlands, TX), LeslieSmith, Manitu, Metolurgy, MittenHollowHollow, MittenLeftLeft, MittenRightRight (1996), PepClub, Planet100, PlanetFiveHundred, PlanetSevenHundred, PlanetThreeHundred, ReverberateBold, Reverberate, Tagged, Tshtars, Unite, UtileCaustic. Some typefaces in this list were published by [T-26] (such as Epaulet, Emulate, Mitten, Tagged).

On-line gallery. %E chris@macgregor.net %N 23604 %B http://www.myfonts.com/person/Chris_MacGregor/ %G http://www.myfonts.com/person/Chris_MacGregor/ %d Oct 6 2001 %Z http://www.typeindex.com/UNION/ %L CF2 DE FO-AF USA-TX %Q Chris MacGregor %Z PenUltimate Type Foundry 4101 NASA One #153=20 Seabrook, TX 77586 (281) no listing PenUltimte@aol.com http://members.aol.com/Penultimte/sale.html %Z UNION Type Supply P.O.Box 890024 Houston, Texas 77289 (281) no listing http://www.typeindex.com/UNION/ chris@macgregor.net UNIONType@typeindex.com reseller for Penultimate, Synstelien, MindCandy, Capsule Design, TeA Calcium and Tachdjian %N 23603 %B http://www.seven.net/universal/index.html %Q Universal Fount Company %T Type Distributor in England. %L VE %Z http://wworks.com/~e/unlead.html %N 23602 %B http://web.archive.org/web/20011007164659/http://wworks.com/~e/unlead.html %d Oct 2 2000 %Q Unlead: A Digital Type Foundry %T The Rutnu Heavy (grunge) font is commercially available. Type 1 only, PC and Mac. Also available through Plazm. Web site seems to have disappeared. %L CF2 %E biscuit@well.com %Q Font Jones %T Font Jones (Hot Metal Type) made FruitbasketFlip, FruitbasketTantrum, FruitbasketUpset and Manhattan at Vintage Type. %d Dec 11 2000 %L DE %N 23601 %B http://www.vintagetype.com/ %Q Rachel Godfrey %Z http://www.linotypelibrary.com/fonts/htm/35E43264/clascon.htm %G http://www.myfonts.com/person/Rachel_Godfrey/ %N 23600 %B http://www.myfonts.com/person/Rachel_Godfrey/ %d Jun 1 2002 %T British artist. Linotype designer of the modernist outline font Linotype Clascon (1997, with Rachel Botha), a highly original face. Linotype link. FontShop link. %L DE UK %Z RachelGodfrey+RachelBotha--Clascon-1997b.png %Z RachelGodfrey+RachelBotha--ClasconPro-1997..png %Z RachelGodfrey+RachelBotha--Clascon-1997d.gif %Z RachelGodfrey+RachelBotha--ClasconProBold-1997..png %Q Scott Yoshinaga %Z http://www.graphic-design.com/type/Grunge/Crud.html %N 23599 %B http://www.plazm.com/fonts/catalog/default.asp %T Hawaiian designer of the grungy Crud font, 10 dollars shareware. At Plazm, he published Grunge (1994). %d Jun 12 2001 %E syoshinaga@mail.summer.hawaii.edu %L DE FO-HA USA-HI %Q Urban Insect Evening (was: Nekton Design) %D Don Barnett %Z http://www.donbarnett.com/ %N 23598 %B http://www.donbarnett.com/type/index.php %d Jan 30 2004 %T Grade Script, Plankton-B, Plankton Larvae, BugLight, Gracie Script, Larvae Symbold and Nekton Numbers are gorgeous grunge creations by Don Barnett. Truetype fonts at about 30 dollars per face. Beautiful web page as well.

Klingspor link. %E don@donbarnett.com %L CF2 TY DE DI-OR %Z Martin Manis %Q Jan Hýsek %N 23597 %B http://lege.cz./ %T Jan Hýsek is the owner of Lege.cz. He wrote several texts on typography now published at Lege.cz, which is an internet bookshop with a special focus on typography. Hýsek is a writer, photographer, poet, bookseller, musician and computer specialist. The name Martin Manis is an alias. %L CZ %D Christopher Houston %Q retype %Z micmar@web-o.net %d Jul 31 2001 %Z http://users.iafrica.com/c/ch/chouston/ %N 23596 %B http://type.ru.ac.za/typefaces.html %T Free fonts designed by Christopher Houston from South Africa: four free typefaces, narinx, red shirt, proletarian, and mdma. Dead link. %Z chouston@iafrica.com %E chris@type.ru.ac.za %L DE OR2 SAF %Q Dennis Palumbo %N 23595 %B http://www.staffassoc.com/dpfonts/ %T Original fonts as well as font links (about 1800). All fonts made by Dennis Palumbo, a writer from New York. Some fonts are free, others are not.

Commercial fonts: Vector 3d (1996), Flash Cards Addition (1998), Clock-Digital, Film Strip, BabyBlock, DecorativeBorders (4 fonts), OldWest, Ceramic Tile (2005), I Beam (2005), Porthole (2000), SanSerifUltra Condensed, SanSerifOutline, OldWest 3D, Brick, ZebraLumber, SerifOutline, Dalmation, Vector (4 fonts), Brick3D, OldEnglishEmbellished (1999, Fraktur), ChainLink, Fractions, SanSerif 3DShadow, Serif3D Shadow, Marquee, First Grade (lined school font), Pennant, USA States, USA Map, Piano Keyboard, Gallya Ornamented (1995), Diamond Plate (2000), Clock Digital (1997), Picket Fence (2000).

Shareware: Bobcat (2 fonts), Panther (4 fonts), Caracal Backslant (2 fonts), Lynx (4 fonts), Ocelot (4 monowidth fonts), Cheetah (2 fonts), Serval (2002), Puma (2000, 4 weights), Ceramic Tile (2005), Film Font (2006), One Stroke (2007, octagonal, hairline). %d Mar 1 2012 %E dpfonts@concentric.net %L DE LI OR2 CF2 CHI DI-OR FR MATH PIX OCT USA-NY 3D DIDAC MONO %Z Dennis Palumbo, 104 Barrymore Blvd. Franklin Square, New York 11010. (516) 352-5605 %Z DennisPalumbo-Catalog---.png %Z DennisPalumbo-Catalog--.png %Z DennisPalumbo-Catalog-.png %Z DennisPalumbo-Catalog.png %P DennisPalumbo-FilmStrip-Small.png %Z DennisPalumbo-OcelotMonowidth.png %D Erica Mercer %Q ErksNerks -- Fontmania %N 23594 %B http://www.erksnerks.com/ %T Erica Mercer shows about ten of her typefaces, which can be bought by contacting her. My favorite font is Niashani. The others are Frieda Fritz, Handsigned, Atkinson, Marioki, Bevostrut, Marge, Holiday, Stickman and DottedHand. %E erk@erksnerks.com %L DE CF2 XMAS %Q Square One Communications %N 23593 %B nothing %T Square One Communications will take anyone's signature and convert it into a Windows TrueType Font. A demo font is available by FTP. From Muskegon, Wisconsin. %E square1@grfn.org %L SI USA-WI %Z ge@elfring.com %Q Elfring Soft Fonts %d Dec 29 1998 %N 23592 %B http://www.elfring.com %T Gary Elfring's company in Wasco, IL. Art Deco fonts (shareware): Baha (1992), Broad Avenue, Hafnium, Haman Bold, Narcosis Oblique, Neaten, Orange Oblique, Ramose Oblique, Totem, Zyme Oblique, all adaptations of well-known fonts. Bar Codes, MICR, Signatures, plus online ordering of popular TrueType fonts and clip art. A demo version of 10 script fonts (Aristocrat, Blush, ESF Elite Light, Grandam, Hotpress, Jessica, Old English, Saffron, Tech Bold, Zap Charles) can be found here. A 200-TrueType collection sold for 50USD. Check printing fonts, including Mic-EarthNormal (1992). About 25 fonts are here: AdrianneNormal, ApexCondensed-Oblique, BlackChanceryNormal, CoronetNormal, Dalith, ESFEliteNormal, Emir, Expiry-Oblique, Expiry, GrangeCaps-Oblique, GrangeCaps, Hafnium-Oblique, Hafnium, Harbor-Oblique, Hartebeest, Hasp, Hesitate, Jayhawk, JayhawkExpand-Oblique, JayhawkExpand, Jetty-Oblique, Jetty, Jevons-Oblique, Jevons, Jocund-Oblique, Jocund, Josephine-Oblique, Josephine, Josiah-Oblique, Josiah, Kansas-Oblique, Kansas, Kaufman, Kermis-Oblique, Kilung-Oblique, Lackey-Oblique, Lackey, Lactam-Oblique, Lactam, Langur, Lazar-Oblique, Lazar, Ligand, Liquid-Crystal, Liquid-CrystalOblique, Lunatic-Oblique, Narcosis, Nonage, OldEnglishNormal, Orange-Oblique, Orange, Pavis-Oblique, Pavis, Quintly, Rankle-Oblique, Rankle, Saccule-Oblique, Saccule, Tarunda, Totem, ZapChanceNormal, Zwieback-Oblique, Zwieback, Zyme-Oblique, Zyme. An oriental simulation face, EchoCaps (1995), is here. Dafont carries some of their free fonts, including the futuristic face Earth (1992). Barcode subpage with commercial barcodes for 2/5, 2/5 interleaved, 3/9, 93, 128, PostNet, EAN and UPC-A. %E info@elfring.com %L OR2 BA SI CF2 MICR DE O-SIM ARTDECO USA-IL TR CHANCERY %D Gary Elfring %Z Gary Elfring Elfring Soft Fonts Box 61 Wasco, IL 60183 (630) 377-3520 (630) 377-6402 FAX elfring@inil.com http://www.elfring.com/ %Q Angie Mason %Z http://www.angiemason.com %N 23591 %B http://www.angiemason.com/art_font.htm %T Angie lives in Garfield, NJ, and sells her handwriting fonts Nooks and Coppy for 50 USD each. %d Jan 18 2002 %L DE HW USA-NJ %Z 36 Manner Avenue Garfield, NJ 07026 (973) 253-1244 %E angie@ANGIEMASON.COM %Q Ordway Sign Supply %N 23590 %B http://www.ordwaysignsupply.com/fonts.htm %T Sells over 4000 fonts from various foundries. %E pete@ordwaysignsupply.com %L VE %Q Terrapin Font Services %Z http://www.terrapin.co.uk/terfonts.html %N 23589 %B http://www.terrapin.co.uk/services/index.html %T British font service house: can sell you most of the commercial fonts. Sells also fonts for Albanian, Arabic, Bengali, Bulgarian, Croatian, Czech, Estonian, Farsi, Greek, Gujurati, Hindi, Hungarian, Japanese (Katakana, Hiragana, Kanji), Latvian, Lithuanian, Polish, Punjabi, Russian, Serbian, Slovak, Slovene, Thai, Turkish, Ukrainian, Vietnamese, Welsh. Has barcode fonts, and is a special distributor of the Royal Mail Barcode font. %E sales@terrapin.co.uk %L VE BA FO FO-EA FO-CY POL FO-BEN FO-PUN FO-GUJ UKR EST LIT LAT UK IRAN %d Sep 18 1999 %Z Hi Luc, Can we ask that you change our URL that you have listed to be http://www.terrapin.co.uk/services/index.html Thank you very much. Kind regards Neil ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ Neil Schaffer - neil@terrapin.co.uk Terrapin Solutions Ltd. 93 Victoria Road, London N22 7XG Telephone: +44 (0)845 299 4446, www.terrapin.co.uk ¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬¬ %Q Star Retrieval Systems %Z http://www.starebc.com/html/freefonts.html %N 23588 %B http://www.fontfreak.com/authors/star.htm %T One free TrueType font, Ancient Plate. Sells sets of about 20 standard text fonts, grouped as the "Freiman Display Fonts" or "Bassin Floating Fonts". No designer names, no info on how the fonts were made and by who. Other fonts: Paghetti (1994, according to them, based on SWFTE's Stimpson), Z-DabbleDown (1998), STAR:JWBrass (1998), Chris, Diped Thick (shadowed outline font), Kakuk, STAR-Bold, STAR-Light, STAR-Openface, STAR-OpenfaceBold, STAR-Typewriter, STAR-TypewriterBold, STAR, STAR:GizmoFloat, STAR:RazorMaidFloat, STAR:Schlimeyer-Book, STAR:SharonAClassic, STAR:Z-DabbleDown, Sling, State-Shadow, Willshire-Classic, Willshire-ClassicBold, Willshire-ClassicGravure, Willshire-Squire, Willshire-SquireExtended, Willshire-SquireExtendedBold, Willshire-SquireUltra, Willshire-SquireUltraBold. The fonts used to be here, as part of the Netstar company in Phoenix. Inside the fonts, we find the address "14252 Culver Drive, Suite A828, Irvine, CA 92714".

Dafont link. %E STAR@STARebc.com %L CF2 USA-CA %Z StarRetrievalSystems-DipedThick.png %Z StarRetrievalSystems-ZDabbleDown.png %Q Anna-Elina Aartola %N 23587 %B http://www.hut.fi/~vkautto/ %T Finnish designer of Electra-Normal. %E vka@hut.fi %L DE FIN %d Jun 13 2001 %Q abstra.type.design %N 23586 %B http://www.hut.fi/~vkautto/ %T Finnish design consortium. About 3 dollars per font. Among the mostly display faces, I like penetrati (by Vesa Kautto), Electra-Normal (by Anna-Elina Aartola), and abstra (by Vesa Kautto). %E vka@hut.fi %L CF2 DE FIN %d Jun 13 2001 %D Vesa Kautto %Q Dialekt Design (was: Robert Beck Design) %Z http://www.login.net/sumadia/test/tmrspec.html %N 23585 %B http://www.dialektdesign.com %G http://www.myfonts.com/person/Robert_Beck/ %T Canadian graphic designer and creative director Bob Beck has been living in the Montreal area since 1995. In 1999, he set up Dialekt Design. His typographic oeuvre is extensive:

Learned Behaviour (1996-1997), Manipulator, LaPlaya, 1996, all experimental/exploratory typefaces available from 2Rebels.
Table Manners, 1997, PsyOps, 2Rebels, Prototype Experimental Foundry (defunct). Beck: Table Manners was born out of the desire for a highly readable text typeface with a subtle graphic edge that would amplify with size. This otherwise simple and geometric type shows its mischief through devilishly spiked-serifs and unexpected curves.
Loop. 1998. The loop typeface is a pure research project designed by Dialekt in order to investigate the development of simple letterforms through rigid, bold geometric structures and rigorous grid systems.
RagingBoner, 1999. Custom typeface designed for Burton Snowboards for product packaging and communications materials.
Hermetique (2001), designed initially for Cascades Paper's exclusive use on paper sample swatchbooks, soon to be released in modified form as a full family.
Private Press, 2001. This typeface was letterpress printed from an original 1858 10-Line woodtype specimen from the Wells, NY type foundry, and then digitzed in ultra high resolution to retain all the character and wear of this aged alphabet. It is available for purchase as a bitmap TIFF image collection only.
Asylum, 2005. Asylum is a hand-lettered typeface designed specifically for a snowboard project application for Performance Boardshop in Quebec. It contains 1,313 unique individual glyphs and comes in OpenType format.
Blaikie, 2006. Blaikie is a custom commission for Canadian Law Office Heenan Blaikie, a national copyright and patent law office. It was developed for proprietary use in all communications materials, as well as signage and wayfinding needs internally for all offices Canada-wide.

%Z bob-beck@login.net %E bob@dialektdesign.com %L CF2 DE QUE EXP SIGNAGE %d May 6 2007 %D Robert Beck %Z Bob Beck Creative Director Dialekt Design Design Consulting&Collaboration Consultant en Design&Collaboration 418 Montee Papineau Nord St-Sauveur, Quebec, J0R 1R7 450-226-1442 // 514-969-1933 c %Z RobertBeck--LearnedBehavior-1996-1997.gif %Z http://www.virus.net/main.html %Z http://www.virusfonts.com %Z http://www.virusfonts.com/virus.html %Z http://www.barnbrook.net/ %N 23584 %B http://www.virusfonts.com/fonts/ %D Jonathan Barnbrook %d Oct 22 2002 %F http://www.myfonts.com/foundry/Virus/ %G http://www.myfonts.com/person/Jonathan_Barnbrook/ %g http://www.fonts.com/browse/designers/jonathan-barnbrook %T Jonathan Barnbrook was born in 1966 in Luton, England. He is a type and graphic designer and filmmaker. Since 1990 he has worked with cultural institutions, activist groups and charities and produced a steady stream of posters. He is also known for his collaborations with Adbusters and Damien Hirst, his work for David Bowie, and his typefaces released by Emigre and Virus (his own foundry). He started Virus in 1997, and works out of the Barnbook Studio (now Studio 12) in London's Soho. He specializes in cult-type faces.

MyFonts interview. Creative Pro interview. Bio at Emigre.

In 2007, Mathieu Réguer wrote a thesis at Estienne on Barnbrook.

Barnbrook designed these typefaces:

Apocalypso Pictograms (1997).
Bastard (1990, blackletter) and Bastard Even Fatter (1995).
Bourgeois (2005). In 32 weights, this was originally done for the Mori Art Museum in Japan.
Coma (2001).
Delux (1997).
Julian Moncada, Jonathan Abbott and Jonathan Barnbrook jointly designed Doctrine Sans and Doctrine Stencil in 2013 at Virus.
Draylon (1997).
Drone 666 (2010). and Drone (1997).
Echelon (2001, connected upright script).
Exocet (1991, Emigre). This is possibly his most recognizable face.
Expletive Script (2001, upright connected and modular script).
False Idol Script (1997).
Infidel (2003). A crusaders type family praised by Claudio Piccinini.
Mason (1992, +Serif, +Sans). Done at Emigre.
Melancholia (2001).
Moron (2001).
Newspeak (1997).
Nixon Script (1997, fifties style connected upright script).
Nylon (1996).
Patriot (1994). Exocet, Patriot---these were the good old days of the missile attacks on Israel and the war in the Falklands. Strange that Barnbrook never designed a font called Wolf Blitzer.
Olympukes (2004, with Marcus McCallion) was a free dingbat font at Fontshop. It can now be found at Undt Typefaces. Followed by Olympukes 2012 (2012), which acknowledges the complex contradictions of the modern Olympics.
Priori (2003, Emigre) and Priori Acute (2010, Emigre) are Escher-like trompe l'oeuil fonts.
Prototype (1990).
Prozac (1997). This font was created based on just four basic shapes.
Regime (2009). A slab serif.
Sarcastic (2007). A modular connected script.
Shock&Awe (2004).
State Machine (Virus, 2004). Based on lettering on US and Russian military vehicles.
Tourette (2005).

Klingspor link. Fontworks link. MyFonts link. FontShop link.

Showcase of Jonathan Barnbrook's typefaces. %L DE CF2 HW DI-OR UK ESCHER FR EXP MIL STE %Q VirusFonts (was: Virus Foundry, Studio 12) %E virus@easynet.co.uk %Z Virus--Catalog1.jpg %Z Virus--Catalog2.jpg %P JonathanBarnbrook-Mason--Small.gif %Z JonathanBarnbrook-Pic.jpg %U JonathanBarnbrook-Pic-.jpg %U Pic-jonathan_barnbrook.gif %U Pic-jonathanbarnbrook.jpg %Z JonathanBarnbrook+MarcusLeisAllion--StateMachine-2004.png %P Virus-Olympukes2012Light-2012-Small.gif %Z Virus-Olympukes2012Light-2012.gif %Z VirusFonts-Olympukes2012-2012.gif %P JonathanBarnbrook-Patriot--Small.gif %Z JonathanBarnbrook-Patriot.gif %P JonathanBarnbrook-PrioriAcute-2010-Small.gif %Z JonathanBarnbrook-Priori-2003.gif %Z JonathanBarnbrook-EscherTypeface-2011.png %Z JonathanBarnbrook-EscherTypeface-2011b.png %Z JonathanBarnbrook-EscherTypeface-2011c.png %Z JonathanBarnbrook-EscherTypeface-2011d.png %Z Studio 12 10-11 Archer Street London W1D 7AZ United Kingdom Tel: +44 (0)20 7287 3848 %Z JonathanBarnbrook--Drone666-2011.png %Z JonathanBarnbrook-Drone-1997.png %Z JonathanBarnbrook--Drone-1997.jpg %Z JonathanBarnbrook+MarcusLeisAllion-Tourette-2005.gif %Z JonathanBarnbrook+MarcusLeisAllion-TouretteExtreme-2005.gif.gif %Z JonathanBarnbrook--Bourgeois-2005.jpg %P JonathanBarnbrook--BastardEvenFatter-1995.b-Small.png %Z JonathanBarnbrook--BastardEvenFatter-1995.png %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineSans-2013.gif %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineSans-2013b.png %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineSans-2013c.png %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineSans-2013d.png %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineStencil-2013.png %Z JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineStencil-2013b.gif %P JonathanAbbott+JonathanBarnbrook+JulianMoncada-DoctrineStencilBlack-2013-Small.gif %Z JonathanBarnbrook--Exocet.GIF %Z JonathanBarnbrook-Exocet-1991--.gif %Z JonathanBarnbrook-Exocet-1991b.gif %P JonathanBarnbrook-Exocet-1991d-Small.gif %Z JonathanBarnbrook-Exocet-1991d.gif %Z JonathanBarnbrook-ExocetMedium-1991.gif %P JonathanBarnbrook-Exocet-1991-Small.jpg %Z JonathanBarnbrook-MasonSerif-2010.png %Z JonathanBarnbrook--MasonSerif.GIF %Z JonathanBarnbrook-NixonScript-II.gif %Z JonathanBarnbrook-NixonScript.gif %Z JonathanBarnbrook-Regime-2009.gif %Q alt.type %N 23583 %B http://www.alttype.biz/eshop/MAIN_Fonts3e.jsp %T Singapore-based design studio. Vendor for the major foundries. %E info@alttype.com.sg %L VE SING %d Feb 4 2002 %Q Gerhard Helzel %Z http://www.fraktur.com/ %Z http://people.freenet.de/romana.hamburg/fraktur1.htm %N 23582 %B http://www.romana-hamburg.de/fraktur1.htm %Z Address found at the Bund für Deutsche Schrift und Sprache. Petra and he correspond. %Z A strange story: Helzel told me he ordered a small advertisement in Hamburger Abendblatt to promote his broken type newsletter. Of course this ad was made in Fraktur. Imagine - it was rejected by Abendblatt with the common argument, "we don't publish broken type because of bad connotation". It's a joke - they use broken type for their own product as headline! %d Nov 5 2001 %Z Dear Sir, I want to tell you that I have the greatest collection of = Fraktur fonts of the world (all hand digitized by myself). Now over = 150 types. My home page: http://people.freenet.de/romana.hamburg sub "Fraktur". Please add a link to my page. Thank you, G. Helzel %Z Dipl.-Ing. Gerhard Helzel, Timm-Kröger-Weg 15, D-22335 Hamburg, Tel. 040-505374 %Z ac1404003@freenet.de %E gerhard.helzel@freenet.de %L DE FR SO GER VICT BAST ROT TEXTURA UNCIAL GARAMOND DIDAC %T Diplom Engineer and painter from Hamburg who designed or digitized over 210 Fraktur fonts [see my compilation of his list]. He is heavily involved in the Bund für Deutsche Schrift und Sprache. Helzel is the designer at Delbanco-Frakturschriften of DS-DtWerkschrift (1997), DS-Fruehling (1996), DS-MaximilianGotisch (1994), DS-MaximilianTitel (1994), DS-Post-Fraktur (1997). He has hand-digitized over 200 Fraktur fonts, including

BreitkopfInitialen (2000). Breitkopf Fraktur was made in the 18th century.
ElementSchmalfett (1998). Element is a modern Textura by Max Bittrof (1933, Bauersche Giesserei).
Fichte Fraktur, after M. Tiemann, 1934.
GotenburgA and GotenburgB (1998-2000). Gotenburg was originally designed by Friedrich Heinrichsen (1935-37, Stempel AG).
HamburgerDruckschriftFett (1996). Hamburger Druckschrift is due to Friedrich Bauer (1904, Genzsch&Heyse). According to "Blackletter: Type and National Identity", Hamburger Druckschrift "is an accomplished entry in this category of hybrid typefaces made before the 1st World War. They work within the black-letter tradition while borrowing lighter weight, softer curves and more open proportions from roman. Bauer maintained the structure of broken script, but subdued any flourishes. The width of his letters are generally wider than in traditional frakturs and, as in Jugendstil hybrids, some lowercase letterforms are modernized." It has been used as headliner for "Hamburger Nachrichten" which was stopped by the Nazis in 1939. Today's "Hamburger Abendblatt", the daily Hamburg Times, is still using it as headliner.
Humboldt Fraktur (2000, gross and klein). Humboldt Fraktur was made originally by Hiero Rhode (1938, Stempel AG).
KochFrakturSchmaleHalbfette (2000). This font is due to Rudolf Koch (1910-1921, Gebr. Klingspor), and was originally named Deutsche Schrift. Digitized in 1998.
Mainzer Fraktur. After an original in 1901 by Carl Albert Fahrenwaldt.
Mars Fraktur (1995, free family).
RatdoltRotunda (1998). Named after Erhard Ratdolt (1443-1528), typesetter. Designed by Wolfgang Hendlmeier in 1989. Available at Delbanco. Tannenber (after E. Meyer, 1934).
Weber Fraktur.
WieynckGotischLicht (2001). A font by by Heinrich Wieynck (1926, Schriftguss Dresden), inspired by William Morris' work.

Helzel also offers a free "Frakturconverter" program for Windows which transforms Antiqua fonts into Fraktur fonts.

List of his fonts as of 2009: (Anker-)Schul-Fraktur, Accidenz-Gotisch, Akzidenz-Gotisch, Aldine, Albion-Gotisch, Alt-Fraktur, Alt-Gotisch (Bradley), Alt-Deutsch (after Ferdinand Theinhardt, 1851), Alte Münchner Fraktur (after a 1850 typeface by Gustav Lorenz), Alte deutsche Schreibschrift, Alte Schwabacher, Amts-Fraktur (after Heinrich Wilhelm Hoffmeister), Andreae Fraktur, Andreas-Schrift, Angelsächsisch, Angelsächsisch, Verzierte, Antike Gotisch, Aramäische Quadratschrift, Astra, Bastard, Bernhard-Fraktur, Bismarck-Gotisch, Breite deutsche Anzeigenschrift, Breite Kanzlei, Breitkopf-Fraktur, Britannia (Alt-Gotisch), Büxenstein-Antiqua, Büxenstein-Fraktur (after a house style at D. Stempel, 1912), Canzlei, Caxton, Caxton-Type, Claudius, Courante Gotisch, Danziger Fraktur (after A. W. Kafemann), Derby, Deutsche Reichsschrift (after a 1910 typeface by Wilhelm Woellmer), Deutsche Schrägschrift, Deutsche Schreibschrift (Bismarck-Zeit and Goethe-Zeit: school fonts), Deutsche Schrift, Deutsche Werkschrift, Deutsche Zierschrift, Deutsch-Gotisch, Deutschland, Dresdner Amts-Fraktur, Eckmann-Schrift, Einfache Kanzlei, Elegant, Element, Enge Gotisch (2008, after an 1880 font by Bauersche Giesserei), Enge moderne Kanzlei, Enge König-Type, Enge Kanzlei, Englische Antiqua, Faust-Fraktur, Fette Gotisch, Fette Schwabacher, Fichte-Fraktur, Fractur, Französische Antiqua, Frühling-Fraktur (1997, after Koch's original from 1917), Garamond-Antiqua, Genzsch-Antiqua, Germanen-Fraktur (this is the same as Stempel's Normannia from 1905), Germanisch, Goethe-Fraktur (after Wilheml Woelmmer), Gotenburg, Graeca, Gronau-Gotisch (after Heinrich Ehlert, 1850), Gursch-Fraktur, Gutenberg-Fraktur, Gutenberg-Bibelschrift, Gutenberg-Gotisch, Haenel-Antiqua, Halbfette Aldine, Halbfette Kanzlei, Halbfette Normalfraktur, Halbfette Schwabacher-Flinsch, Halbfette Wallau, Hamburger Druckschrift, Hamburger Fraktur, Hamburger Schwabacher, Hammonia-Gotisch, Hansa-Fraktur, Hansa-Gotisch (after a Genzsch & Heyse original), Hebräisch, Hellenistische Antiqua "Graeca", Hölderlin (after Eugen Weiss, 1927), Holländische Gotisch, Hoyer-Fraktur, Humboldt-Fraktur, Hupp-Fraktur, Ideal-Fraktur, Jean-Paul-Fraktur, Jubiläumsfraktur, Kaiser-Gotisch, Kanzlei, Karl-May-Fehsenfeld-Fraktur, (after a 1870 font used in the Karl-May books) Karl-May-Radebeul (after a 1890 font used in the Karl-May books), Kirchengotisch, Moderne, Kleist-Fraktur, Kleukens-Fraktur, Koch-Antiqua, Koch-Fraktur, König-Fraktur G14, König-Type, Kühne-Gotisch, Kühne-Schrift, Kurante Gotisch, Kurmark, Lichte National, Liebing-Type, Liturgisch (after Otto Hupp, 1906), Logos, Ludlow-Wartburg-Fraktur (after Ludlow, ca. 1920), Magere Wallau, Mainzer Fraktur, Manuskript-Gotisch, Mars-Fraktur, Maximilian-Gotisch, Mediaeval-Gotisch, Leipziger Altfraktur (after a 1912 typeface by Carl Kloberg), Midoline (after Jean Midolle's typeface from 1840 at Julius Klinkhardt), Moderne Kanzlei, Moderne Kirchen-Gotisch (based on an original from ca. 1880), Mönchs-Gotisch, Morris-Gotisch (Uncial-Gotisch, Unzial-Gotisch, after Emil Gursch), Münster-Gotisch, Neu-Gotisch klein, Neudeutsch(-Hupp), Neue (moderne) Fraktur, Neue Schwabacher, Nordisch-Antiqua, Normal-Fraktur (1999, after the font by Gustav Schelter, 1835), Normannia-Fraktur, Nürnberg, Offenbach, Post-Fraktur, Psalter-Gotisch, Ratdolt-Rotunda, Reklame-Fraktur halbfett, Renaissance-Fraktur, Renaissance-Kanzlei, Renata (after a Schwabacher of the Bauersche Giesserei, 1914), Richard-Wagner-Fraktur, Romeo Fraktur (2009, after a Stempel font from 1910), Rundgotisch, Russisch-Römisch, Salzmann-Fraktur, Schmale Accidenz-Gotisch, Schmale Haas-Gotisch, Schmale halbfette Fraktur, Schmale halbfette Gotisch, Schneidler-Schwabacher, Schraffierte Gotisch "Stella", Schreibschrift, Schul-Fraktur, Schwabacher, Schwabacher Mager Gross (after Albert Anklam, 1876), Sonderdruck-Antiqua (2008, after a 1913 face by Deberny and Peignot), Stahl (2007, after a 1937 typeface by Hans Kühne), Stahl Kursiv (2009, after Hans Kühne), Stella, Stempel-Fraktur, Straßburg (a blackletter based on fter H type by H. Berthold, 1926), Tannenberg, Thannhaeuser-Fraktur, Tiemann-Fraktur, Tiemann-Gotisch, Tiemann-Mediaeval, Unger-Fraktur, Verzierte Angelsächsisch, Verzierte Musirte Gotisch, Victoria-Gotisch (Viktoria-Gotisch), Wallau, Wartburg-Fraktur, Weber-Fraktur, Weiß-Fraktur, Werkschrift Germanisch, Wieynck-Gotisch, Wilhelm-Klingspor-Gotisch, Wohe-Kursive (after Wolgang Hendlmeier, 1988), Wohe Textura (2009, after Wolfgang Hendlmeier), Zeitungs-Fraktur, Zeitungs-Schwabacher (halbfette Neue Zeitungs-Schwabacher, to be more precise---based on a 1900 typeface by Pustet), Zentenar-Buchschrift.

Catalog from 1996. Article in 1995 by him on Normal Fraktur. Another catalog, in pieces: I, II, III, IV, V, VI, VII, VIII. 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At Delbanco-Frakturschriften, he created DS-Eisenacher Fraktur (1994), DS Wartburg Fraktur (1998, based on Barock Fraktur), DS-KlingsporBorgis, DS-Kochfraktur, DS-Jessen-Schrift (1998), DS-Schmuck (1998) and DS-Tannenberg. Lives in Siegen, Germany. %N 23581 %B http://www.fraktur.com/ %d Mar 9 2001 %L DE FR GER %Z ChristianSpremberg-EissenacherFraktur-1934=baroquestyle.gif %Z Delbanco--DSwartburg-Fraktur-2002catalog.gif %Z Delbanco--DSEisenacher-Fraktur-2002catalog.gif %Q Delbanco-Frakturschriften %Z 26189 Ahlhorn/Oldb. %N 23580 %B http://www.fraktur.com/ %d Nov 6 2000 %T Gerda Delbanco's German foundry in Ahlhorn, specializing in blackletter fonts. Great web presentation, and gorgeous glyphs. The company is owned by Gerda Delbanco, but it is not clear if she designed some or all of the faces. Some fonts were designed by Gerhard Helzel, and others by Christian Spremberg. This is one of the best sources of blackletter fonts in the world. Names of the fonts, which are nearly all historical revivals of the great blackletter fonts: Alte Schwabacher, Andreas Schrift, Breitkopf Fraktur, Caslon Gotisch, Claudius (1998, after Rudolf Koch, 1934-1937), Deutsche Kursive, Deutsche Werkschrift (+halbfett), Deutsche Zierschrift, Eckmann Schrift, Eisenacher Fraktur (1994, by Christian Spremberg), Ehmcke Schwabacher, Fette Gotisch, Fichte Fraktur, Frühling (after Rudolf Koch's original from 1917) [sample 1, sample 2, sample 3], DS-Garalang, DS-Garamond, DS Gotenbrg, Hermersdorf, Humboldt Fraktur (after a face by H. Rhode), Kleist Fraktur (1996, after the Walter Tiemann original from 1927-1928), Wilhelm Klingspor Schrift, Koch Fraktur, Rudolf Koch Kurrent (after the original school alphabet by Koch, done in 1935), Kurrent (a connected writing font based on examples from J.B. Henning, ca. 1817), Lincoln Gotisch, DS Maximilian Gotisch, DS Maximilian Zierbuchstaben, Normal Fraktur (this is a nameless face in the group of Biedermeier-Fraktur faces which also includes Schelter's Schulfraktur; also known elsewhere as Armin-Fraktur, Bürenstein-Fraktur, Mars-Fraktur and Pressa-Fraktur), Offenbacher Schwabacher (1996, after the 1899 font by Gustav Ruprecht at Rudhardsche), Old English, Peter Jessen Schrift (1997, after the original from 1924-1929 by Rudolf Koch), Post Fraktur, DS Ratdolt Rotunda, DS Salzmann Fraktur, DS Schmuck, Strassburg, DS Suetterlin, Tannenberg (after a 1933 Stempel face by Emil Meyer), DS Thannhaeuser Fraktur, DS Unger Frak tur (1999), DS Walbaum Fraktur, DS Wallau (1996, after Rudolf Koch, 1924-1936), Wartburg Fraktur, DS Weiss Gotisch, DS Wilhelm Klingspor Schrift, Wohe Kursive and Zen tenar Frak tur (1997 (after F.H.E. Schneidler's original from 1937).

Some of the copyright notices refer to the Bund für deutsche Sprache und Schrift, and others to PrimaFont, and this may explain some of the foundry's history. 1994 catalog. Part of the 1999 catalog. Part of the 2002 catalog. %E delbanco.frakturschriften@t-online.de %D Gerda Delbanco %L CF2 FR GER DIDAC BAST ROT GARAMOND %Z Gerda Delbanco is wife of Helmut Delbanco, who is the chairman of the "Bund für deutsche Sprache und Schrift" (www.bfds.de) - give it a try - looks great (is in German). Evidently, both sites are made by the same hand. %P Delbanco--DSDeutscheZierschrift-2002-Small.gif %P Delbanco--DSWalbaum-Fraktur-2002-Small.gif %Z RudolfKoch--Fruehing-1917--byDelbanco-DSFruehling.gif %Z GerdaDelbanco--Address.gif % unused %Z Delbanco--DSWeiss-Gotisch-2002catalog.gif %Z Delbanco--DSWilhelm-Klingspor-Schrift-2002catalog.gif %Z Delbanco--DSZentenar-Fraktur-2002catalog.gif %Z Delbanco--DSZentenar-Fraktur-2002example.gif %Z Delbanco--Catalog-1994.gif %Z Delbanco--DSCaslon-Gotisch-2002catalog.gif %Z Delbanco--DSClaudius-2002catalog.gif %Z Delbanco--DSDeutscheKursiv-2002catalog.gif %Z Delbanco--DSDeutscheWerkschrift-2002catalog.gif %Z Delbanco--DSDeutscheWerkschriftHalbfett-2002catalog.gif %Z Delbanco--DSDeutscheZierschrift-2002catalog.gif %Z Delbanco--DSDeutscheZierschrift-2002example.gif %Z Delbanco--DSEckmann-Schrift-2002catalog.gif %Z Delbanco--DSEhmckeSchwabacher-2002catalog.gif %Z Delbanco--DSFette-Gotisch-2002catalog.gif %Z Delbanco--DSFichte-Fraktur-2002catalog.gif %Z Delbanco--DSFruehling-2002catalog.gif %Z Delbanco--DSFruehling-2002example.gif %Z Delbanco--DSGotenburg-2002catalog.gif %Z Delbanco--DSKleist-Fraktur-2002catalog.gif %Z Delbanco--DSKoch-Fraktur-2002catalog.gif %Z Delbanco--DSKoch-Fraktur-2002example.gif %Z Delbanco--DSKoch-Kurrent-2002catalog.gif %Z Delbanco--DSKurrent-2002catalog.gif %Z Delbanco--DSWoheKursive-2002catalog.gif %Z Delbanco--DSStrassburg-2002catalog.gif %Z Delbanco--DSAlteSchwabacher-2002catalog.gif %Z Delbanco--DSNormal-Fraktur-2002catalog.gif %Z Delbanco--DSLincoln-Gotisch--example.gif %Z Delbanco--DSTannenberg-2002catalog.gif %Z Delbanco--DSLincoln-Gotisch-2002catalog.gif %P Delbanco--DSSchulfraktur-2002-Small.gif %Z Delbanco--DSSchulfraktur-2002catalog.gif %Z Delbanco--DSHumboldt-Fraktur-2002catalog.gif %P Delbanco--DSHumboldt-Fraktur-2002example-Small.gif %Z Delbanco--DSHumboldt-Fraktur-2002example.gif %Z Delbanco--DSHermersdorf-2002catalog.gif %Z Delbanco--DSEisenacher-Fraktur-2002catalog.gif %Z Delbanco--DSMaximilian-Gotisch-2002catalog.gif %Z Delbanco--DSMaximilianZierbuchstaben-2002catalog.gif %Z Delbanco--DSOffenbacherSchwabacher-2002catalog.gif %Z Delbanco--DSPeter-Jessen-Schrift-2002catalog.gif %Z Delbanco--DSPost-Fraktur-2002catalog.gif %Z Delbanco--DSRatdolt-Rotunda-2002catalog.gif %Z Delbanco--DSSalzmann-Fraktur-2002catalog.gif %Z Delbanco--DSSchmuck-2002catalog.gif %Z Delbanco--DSSuetterlin-2002catalog.gif %Z Delbanco--DSThannhaeuser-Fraktur-2002catalog.gif %Z Delbanco--DSThannhaeuser-Fraktur-2002example.gif %Z Delbanco--DSUngerFraktur-2002catalog.gif %Z Delbanco--DSUngerFraktur-2002example.gif %Z Delbanco--DSWalbaum-Fraktur-2002catalog.gif %Z Delbanco--DSWalbaum-Fraktur-2002example.gif %Z Delbanco--DSWallau--example.gif %Z Delbanco--DSWallau-2002catalog.gif %Z Fruehling-RudolfKoch-1917-Delbanco.gif %Z Delbanco-Catalog1999.gif %Z Delbanco-Claudius-1998--afterRudolfKoch-1934-1937.gif %Z Delbanco-Frakturschriften2002.gif %Z Delbanco-KleistFraktur-1996--afterWalterTiemann-1927-1928.gif %Z Delbanco-KleistFraktur-1996--afterWalterTiemann-1927-1928b.gif %Z Delbanco-OffenbacherSchwabacher-1996--afterGustavRuprecht--Rudhardsche-1899.gif %Z Delbanco-OffenbacherSchwabacher-1996--afterGustavRuprecht--Rudhardsche-1899b.gif %Z Delbanco-PeterJessenASchrift-1997---afterRudolfKoch-1924-1929.gif %Z Delbanco-UngerFraktur-1999.gif %Z Delbanco-UngerFraktur-1999b.gif %Z Delbanco-Wallau-1996--afterRudolfKoch-1924-1936.gif %Z Delbanco-Wallau-1996--afterRudolfKoch-1924-1936b.gif %Z Delbanco-ZentenarFraktur1947--afterFHESchneidler-Bauersche-1937.gif %Z Delbanco-ZentenarFraktur1947--afterFHESchneidler-Bauersche-1937b.gif %Z Delbanco-ZentenarFraktur1947--afterFHESchneidler-Bauersche-1937c.gif %Z Delbanco--DSwartburg-Fraktur-2002catalog.gif %P DelbancoLogo.gif %Q Aerotype %N 23579 %B http://www.aerotype.com/ %D Stephen Miggas %d Jun 28 2005 %F http://www.myfonts.com/foundry/aerotype/ %G http://www.myfonts.com/person/Stephen_Miggas/ %T Aerotype is a foundry in Glendale, CA. It sells the creations of Stephen Miggas. Many typefaces were developed around 1998, and most were rejuvenated and updated in 2005. A list of Aerotype's faces typefaces:

Pixel fonts: Airlock, AirlockWebDings, Fronteer One, Fronteer Two, Microtooth, Microtooth Web Dings, No Biggie One (+Bold), No Biggie Two (+Bold).
Old typewriter fonts: Obsolete (+Bold, XBold, Light, XLight).
Handwriting or informal scripts: Bountiful, BountifulBold, Khaki (2007, fun script), Khaki Alternate, Mission, Sanscripta (+Heavy), Siesta, Southbee, Stay True (2011, tattoo-inspired) Boundless, Chillin, Angeleno, Game Street, Jumpshot.
Stencil faces: Expedition Stencil (+Heavy, +Thin).
Blackletter: Kingshead (+Alternate, Alternate Gothic, Alternate Light, Gothic, Light), Ladybat (+Alternate, Alternate Light, Light), Ravenwood One (+Bold, Condensed), Ravenwood Two (+Bold, Condensed), Wilhelmschrift, Ravenwood, Octoberfest (blackletter), Gothicus (2006, after Rudolf Koch's Maximilian), Dractura, Dracena.
Destructionist: Dogjaw (2009), Thunderhouse (2009), Sluicebox (2008), Americanus, Conquistador Medium, Derailer (2006), Fiesta, Indigo Medium, Rebound (+Bold, Light, Super, XLight), Coldsmith, Blackstock, Boilerplate, Geoduck, Ghost train.
Techno: Durandal (+Black, Flat, FlatBlack, FlatLight, Light, Recycle.
Octagonal faces: Expedition (+Heavy, Thin, Super, StencilSuper), Protocol (+Alternate, Alternate Light, Alternate Bold, Bold, Light).
Dymo label simulation faces: Recycle Alternate, Recycle Alternate Reverse, Recycle Reverse, Recycle Standard), Public Works.
Display faces: Pacifico (2009), Rebound, Roughneck, Fiesta (Mexican style), Mediterano, Pitchfork, Serendipity.
Western style: Buckboard (2009), Bootstrap (2010), Planchette, Protocol, Leadville (Egyptian), Saloon After, Saloon Before, Boxwood, Caboose, Copperjack (2006, Egyptian), Silverton (Egyptian).
Pre 1999 faces that have been discontined or renamed: Clique Serif, Bevel-Broken, CliqueWedge, Vector, Corrode, Looneywood.
Dingbats: Antique Macabre Ornaments (2007).
Wood type: Applewood (+Alternate, 2009).
Stencil faces: Hogwild (2010).
Calligraphic faces: Keepsake (2012, also advertised as a tattoo script typeface family), Spindrift (2012).

View Stephen Miggas's typefaces. %L CF2 DE TW STE HW PIX FR WEST DI-OR GO OCT USA-CA WOOD CA %Z Nice guy--sent me entire collection. http://www.miggas.com/friends/ %Z Aerotype 501 W. Glenoaks #523 Glendale, CA 91202 (818) 841-7120 lft=20 (818) 843-7153 smiggas@aerotype.com %Z StephenMiggas--StayTrue-2011.gif %Z StephenMiggas-Buckboard-2012.gif %Z StephenMiggas-Copperjack-2006.gif %Z StephenMiggas-Gothicus-2006-after-RudolfKoch-Maximilian.gif %Z StephenMiggas-Wilhelmschrift-2006--after-RudolfKoch-WilhelmKlingsporSchrift-1927.gif %Z StephenMiggas-Khaki-2007.png %Z StephenMiggas--Keepsake-2012.png %Z StephenMiggas-SpindriftThree-2012.gif %Z StephenMiggas-Pacifico-2009.gif %P SteveMiggas-Applewood2009.gif %P SteveMiggas--Bootstrap-2010-Small.gif %P SteveMiggas-Buckboard2009.gif %Z StephenMiggas--Octoberfest-2006.gif %Q dBest Barcode TrueType Font Library %N 23578 %B http://www.hallogram.com/barcodes/bcfonts/index2.html %d Apr 14 1999 %T Commercial barcode fonts for 495USD! Code 39, Interleaved 2/5, Code 128, UPC A, UPC E, JAN, EAN 13, EAN 8, POSTNET and Codabar styles are supported. Personal note: there are many free versions around, as well as cheaper deals. From HALLoGRAM Publishing in Aurora, Colorado. %L BA USA-CO %Q Ken Johnson %T Ken Johnson of Music Environment, Inc, in Aurora, CO, made the Interlude music font. No home page or email address. %L MU USA-CO DE %N 23577 %B nothing %Q Druckwerk Typehaus %E admin@webclique.net %d Feb 21 2001 %D Erin Lynch %N 23576 %B http://www.graphic-design.com/Type/Grunge/HATCHET/HATCHET.html %T Erin Lynch from Davis, CA, makes a few fonts, such as the grungy Hatchet (free), Manic, and Bleed. Direct URL. %Z DRUCKWERK@aol.com %L DE OR2 %Z bit182@hotmail.com Thu Feb 22 14:27:19 2001 %Z Ricardo Rousselot %Z http://www.neufville.com/ %E info@neufville.com %d Dec 17 2000 %Z Puigmarti 22 Barcelona 12, Spain 011 34 3 219 0500 011 34 3 284 2607 FAX %D Ricardo Victor Rousselot\0Schmitt %Q Edy Type %Z http://www.neufville.com/Designer/RICROUS_.htm %N 23575 %B http://www.grupoerre-rousselot.com/grupoerre.html# %F http://www.myfonts.com/foundry/Edy-type/ %G http://www.myfonts.com/person/Ricardo_Rousselot/ %T Ricardo Victor Rousselot is a calligrapher and type designer born in Argentina in 1936. He was trained in the sixties in Chicago in the studio Ficho&Corley Inc., which was led by a disciple of Frederic Goudy and Oswald Cooper, Carl Corley. After that, he returned to Buenos Aires, and in 1975, he settled permanently in Barcelona, where he teaches at the University of Barcelona.

His typefaces include Carlomagno (1997-2000) and Uncial Romana (1996), released by Neufville.

He sells his fonts nowadays through his foundry, Edy Type. For example, in 2010, Edy Type launched the lively connected handwriting font Despeinada, which, Ricardo says, tries to find the middle between Mistral and Zapfino. Chevronne (2010, not my favorite) is based on mediaeval / gothic forms but tries to be contemporary. Drumbeat (2011) is a calligraphic script face, and Bambola (2011) is a curly signage script.

Klingspor link Behance link. MyFonts link. %L DE ARG CAT USA-IL CA SIGNAGE UNCIAL %d Dec 15 2000 %Z EdyType Av. de Chile 34 Barcelona, 08028 Spain phone: +34 93 440 03 15 %Z RicardoRousselot.jpg %Z Edytype--Drumbeat-2011.jpg %Z RicardoRousselot--Bambola-2011.gif %Z Edytype--Drumbeat-2011b.jpg %Z RicardoRousselot--Drumbeat-2011.gif %P RicardoRousselot--Drumbeat-2011b-Small.gif %Z RicardoRousselot--Drumbeat-2011b.gif %Z RicardoRousselot--Despeinada-2010.png %Z RicardoRousselot--Chevronne-2010.gif %Z RicardoRousselot--CarlomagnoND-1997.jpg %Z RicardoRousselot--CarlomagnoND-1997b.gif %Z RicardoRousselot--UncialRomanaND-2000.gif %P RicardoRousselot--UncialRomanaND-2000b-Small.jpg %Z RicardoRousselot--UncialRomanaND-2000c.gif %Z RicardoRousselot--Despeinada-2010c.png %Z RicardoRousselot--CarlomagnoND-1997.gif %Z RicardoRousselot--Despeinada-2010.gif %P RicardoRousselot--Despeinada-2010b-Small.gif %Z RicardoRousselot--Despeinada-2010c.jpg %Z RicardoRousselot--UncialRomanaND-1996.gif %Q Enric Crous-Vidal %Z http://www.neufville.com/ %N 23574 %Z http://www.neufville.com/Designer/CROUSVID.htm %B http://www.myfonts.com/person/Enric_Crous-Vidal/ %G http://www.myfonts.com/person/Enric_Crous-Vidal/ %E info@neufville.com %L DE CAT WEST WOOD FRA GER NIC ARTDECO DALI %T Type designer born in Lerida, Spain (1908), who lived and worked mostly in Paris, where he had emigrated to during the Spanish Civil War (1936-1939). He died in 1987 in Noyon. All his fonts are available from Neufville. He was the founder of the movement that is known as Grafía Latina, which promoted the need to create a new system of typically Latin (as opposed to cold geometric nordic) typographic structures, graphics, alphabets and decorative ornaments.

FontShop link.

As art director of the Fonderie Typographique Française, he designed these fonts:

Champs Elysées (1956).
Flash (1953). Digital forms include Neufville's Flash ND and the URW copy called Flashes by Ralph M. Unger (2007).
Aragón: an art deco face. This was digitized by Nick Curtis as La Reyna Catalina NF, 2006).
Ilerda (1945, Neufville). This typeface is also known as Champs Élysées in France, where it was published by FTF.
Les Catalanes (1952). A Western saloon font that was never produced. It was digitized by Nick Curtis as Daliwood NF (2006), and by Harold Lohner as Cattle Annie (2006).
Paris Light (1953), Paris Medium (1953), Paris Bold (1953): all published at Neufville
Fuga de Arabescos (1954, Neufville): flowing ornaments.

View Enric Crous-Vidal's typefaces. %d Dec 15 2000 %Z Puigmarti 22 Barcelona 12, Spain 011 34 3 219 0500 011 34 3 284 2607 FAX %Z In his birthplace Lleida he promoted the edition of the art magazine ART. During the Spanish civil war (1936-1939) he emigrated to France. He started working in Paris for DRAEGER FRÈRES. Later he becomes the Art Director of FONDERIE TYPOGRAPHIQUE FRANÇAISE. For this Foundry he designed Ilerda (1945), Les Catalanes (1952), Flash (1953), Paris (1953) and Arabescos (1954). He was the founder of the movement "Grafía Latina", defending the need to create a new system of typographic structures and new graphics, alphabets and decorative ornaments, which reflect the Latin genius, in contrast to the rigidity of German typography, inspired in geometric lines. Of special note are his lectures and articles of 1950, 1952 and 1954, the exhibition of his creations in the Galerie d'Orsay in 1952. His principles have been strongly supported by École Estienne and by Maximilien Vox, founder of École de Lure. %Z EnricCrousVidal--ArabescosND.png %Z EnricCrousVidal--FlashND-1953.gif %Z EnricCrousVidal--IlerdaND.png %Z EnricCrousVidal--ParisNDBold.gif %Z EnricCrous-Vidal-1952-Catalanes-DaliwoodNF.jpg %Z EnricCrous-Vidal-Aragon-ReynaCatalinaNF.jpg %Z EnricCrous-Vidal-1952-Catalanes-DaliwoodNF.jpg %Z EnricCrous-Vidal-Aragon-ReynaCatalinaNF.jpg %Q Neufville Digital %N 23573 %B http://www.neufville.com/ %E info@neufville.com %L CF2 CAT OCR VICT DIDONE BAST UNCIAL %F http://www.myfonts.com/foundry/Neufville_Digital/ %T Fundicion Tipografica Neufville SA is a foundry based in Barcelona, headed by Wolfgang Hartmann, which writes about itself: Neufville Digital produces and markets the fonts from Fundicion Tipografica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundicion Tipografica Nacional.

List of typefaces. MyFonts link.

Fonts include a newly digitized Futura family (Paul Renner, 1928), in the Bauer Classics collection.

In the collection Grafia Latina, we find Diagonal ND (Antoni Morillas, 1970), Uncial Romana (Ricardo Rousselot, 1996), Pascal ND (José Mendoza y Almeida, 1959), Sully-Jonquieres (José Mendoza y Almeida, 1980), Fidelio ND (José Mendoza y Almeida), Llerda ND, Paris ND, Flash ND and Arabescos ND, all by Enric Crous Vidal (1945 to 1953). They write: Within the GRAPHIE LATINE collection Neufville Digital releases the works of famous typographers like José Mendoza y Almeida, René Ponot, Tomas Vellvé, Antonio Morillas, Ricard Giralt Miracle, Ricardo Rousselot, Juan Trochut and others. The BAUER CLASSICS collection includes the many typefaces from the Bauersche Giesserei. The first fontfamily available is FUTURA that has been completely digitized anew to meet today's professional demands. Many other fonts are to follow. Neufville Digital produces and markets the fonts from Fundición Tipográfica Neufville, Bauersche Giesserei, Ludwig&Mayer, Fonderie Typographique Française and Fundición Tipográfica Nacional. You will certainly be familiar with famous typefaces like Futura, Bauer Bodoni, Weiss, Folio, Imprimatur and many others from the rich type founding era. Neufville Digital digitizes them from their original artwork using state of the art technology and makes them available in compliance with the latest standards.

Among the fonts to be reissued, we cite a few.

From Ludwig&Mayer: Allemannia Fraktur (1908), Allright (1936), Altenburger Gotisch (1928), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Diplomat (1964), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Krimhilde (1934), Kupferplatte (1950), Largo (1939), Magnet (1951), Wolfram (1930). From FT Neufville: Antiqua (1850).

From FT Nacional: Astur (1940), Belinda (like 15th century Spanish calligraphic writing, with fine curved serifs on the tips of the ascenders), Cervantes, Elzeviriano, Hispalis (1940), Imperio (1949), Inglés (1940), Interpol (1950), Numantina (1940; for a digital version, see Nick Curtis's Numancia NF (2011)), Radar (1940), Romana, Victoriana (1940).

From the Bauersche Giesserei: Astoria (1911), Azurée (1908), Baron (1911), Baroness (1911), Baskerville-Antiqua (1923), Batarde (1915), Bauer Bodoni (1926), Fette Antiqua (1850), Lithographia (1895), Manuskript Gotisch (1899), Noblesse (1908), Steile Futura, Stephanie (1890), Times-Antiqua, Venus (1907).

From FT Française: Bizerte, Italienne, Romantiques (1937), Stylo (1937). Their Catalogo de tipos (1978) shows many other typefaces too, so, with some repetition, we find the handwriting/script faces Vigor, Sinfonia, Privat, Sirena, Maxim, Litografia, Leyenda (Legend), Bernhard Cursive and Adagio, the federal money typeface Azuree (1908), the typewriter family Ibematic, OCR A-1, the blackletter face Gotico (or Manuskript-Gotisch), the outline fonts Royal and Columna, the checkbook face Litho, the display faces Nobleza and Carnaby, the Egyptian family Epoca (=Beton), as well as Homera (=Hyperion), Corvinus, Volta and Impressum. Galaxy ND (2006) is a mysterious, organic and quite useless typeface.

Go here for a description of the old printing machines.

Check also the Fundicion Tipografica Bauer in Barcelona and Visualogik Technology and Design in the Netherlands.

Showcase of Neufville's fonts. %d Dec 25 2000 %Z Puigmarti 22 Barcelona 12, Spain 011 34 3 219 0500 011 34 3 284 2607 FAX %Z NickCurtis--NumanciaNF-2011--after-CarlWinkow--Numantina-1940.gif %Z Neufville-Fist.jpg %Z NeufvilleDigital-AndralisND-2011-11-05.gif %Z NeufvilleDigital-ArabescosND-2011-11-05.gif %Z Neufville--AzureeND-1908.gif %Z NeufvilleDigital-AzureeND-2011-11-05.gif %P Neufville--AzureeND-1908b-Small.gif %Z Neufville--Barrio--.gif %Z NeufvilleDigital-BravoND-2011-11-05.gif %Z NeufvilleDigital-CarlomagnoND-2011-11-05.gif %Z NeufvilleDigital-DiagonalND-2011-11-05.gif %Z NeufvilleDigital-ElizabethND-2011-11-05.gif %Z NeufvilleDigital-FidelioND-2011-11-05.gif %Z NeufvilleDigital-FlashND-2011-11-05.gif %Z NeufvilleDigital-FontanaND-2011-11-05.gif %Z NeufvilleDigital-FracturaND-2011-11-05.gif %Z Neufville-FuturaND.gif %Z NeufvilleDigital-FuturaND-2011-11-05.gif %Z NeufvilleDigital-FuturaNDBlack-2011-11-05.gif %Z NeufvilleDigital-FuturaNDDisplay-2011-11-05.gif %Z Neufville-FuturaNDDisplay.gif %Z Neufville-FuturaNDForNike365CnXBd-2012.gif %U Neufville-FuturaNDForNike365CnXBd-2012ORPHAN.gif %Z NeufvilleDigital-GalaxyND-2011-11-05.gif %Z Neufville--GaudiND.gif %Z NeufvilleDigital-GaudiND-2011-11-05.gif %Z NeufvilleDigital-IlerdaND-2011-11-05.gif %Z NeufvilleDigital-OleND-2011-11-05.gif %Z NeufvilleDigital-ParisND-2011-11-05.gif %Z NeufvilleDigital-PascalND-2011-11-05.gif %Z NeufvilleDigital-PragmaND-2011-11-05.gif %Z NeufvilleDigital-SullyJonquieresND-2011-11-05.gif %Z NeufvilleDigital-UncialRomanaND-2011-11-05.gif %Q LetterPerfect %Z http://www.letterspace.com/ %N 23572 %B http://www.letterspace.com/LETTERPERFECT_FONTS/ %F http://www.myfonts.com/foundry/LetterPerfect/ %G http://www.myfonts.com/person/Garrett_Boge/ %D Garrett Boge %T Established in Seattle in 1986 by Garrett Boge: Since 1986, LetterPerfect has supplied carefully-crafted, original display fonts to designers and desktop publishers. We now offer over 50 unique designs in 2 distinctive lines: Viva la Fonts&Legacy of Letters. Many fonts were inspired by Trajan roman lettering and by the great Italian renaissance artists.

Letter Perfect's typefaces include Catacomb, Philocalus, Sabina, Beata, Donatello, Ghiberti, Cresci, Pietra, Pontif, Stockholm, Göteborg, Uppsala, Didot LP, Kolo, Visage, Bermuda, Old Claude, Wendy, Tomboy, Spumoni, Spring, Silhouette, Roslyn, Longhand, Manito, Kryptic, Koch, Hardwood, Hadrian Bold, Florens, DeStijl, Chevalier Light, Binney.

View Garrett Boge's typefaces. %d May 5 2001 %E info@letterspace.com %L CF2 CA USA-WA STIJL DIDONE TRAJAN %Z Garrett Boge LetterPerfect 526 First Av S Seattle, WA 98104 (206) 467-1353 (800) 929-1951 gboge@letterspace.com %Z Letterperfect--catalog.png %Z LetterPerfect-BeataLP-2012-08-29.gif %Z LetterPerfect-BermudaLP-2012-08-29.gif %Z LetterPerfect-ChevalierLP-2012-08-29.gif %Z LetterPerfect-CresciLP-2012-08-29.gif %Z LetterPerfect-DestijlLP-2012-08-29.gif %Z LetterPerfect-DidotLP-2012-08-29.gif %Z LetterPerfect-DonatelloLP-2012-08-29.gif %Z LetterPerfect-FlorensLP-2012-08-29.gif %Z LetterPerfect-GhibertiLP-2012-08-29.gif %Z LetterPerfect-GoteborgLP-2012-08-29.gif %Z LetterPerfect-HadrianLP-2012-08-29.gif %Z LetterPerfect-HardwoodLP-2012-08-29.gif %Z LetterPerfect-JackalopeLP-2012-08-29.gif %Z LetterPerfect-KochOriginalLP-2012-08-29.gif %Z LetterPerfect--KoloLP.gif %Z LetterPerfect-KoloLP-2012-08-29.gif %Z LetterPerfect-KrypticLP-2012-08-29.gif %Z LetterPerfect-LonghandLP-2012-08-29.gif %Z LetterPerfect-ManitoLP-2012-08-29.gif %Z LetterPerfect-OldClaudeLP-2012-08-29.gif %Z LetterPerfect-PietraLP-2012-08-29.gif %Z LetterPerfect-PontifLP-2012-08-29.gif %Z LetterPerfect-RoslynGothicLP-2012-08-29.gif %Z LetterPerfect-SilhouetteLP-2012-08-29.gif %Z LetterPerfect-SpringLP-2012-08-29.gif %Z LetterPerfect-SpumoniLP-2012-08-29.gif %Z LetterPerfect-StockholmLP-2012-08-29.gif %Z LetterPerfect-TomboyLP-2012-08-29.gif %Z LetterPerfect-UppsalaLP-2012-08-29.gif %Z LetterPerfect-VisageLP-2012-08-29.gif %Z LetterPerfect-WendyLP-2012-08-29.gif %Q Debra Reznik %N 23571 %B http://www.gate.net/~haleco/fonts.html %Z 180 NE 39th Street Suite 221 Miami FL 33137. %d Oct 4 2000 %T With James Hale in Miami, Debra Reznik sells her designs at 29USD per face. Their company is called hale&co. %L DE USA-FL %E haleco@thenet.net %Q hale+co %N 23570 %B http://www.gate.net/~haleco/fonts.html %Z 180 NE 39th Street Suite 221 Miami FL 33137. %d Feb 6 1999 %T James Hale and Debra Reznik from Miami, FL, sell their designs at 29USD per face. Slow page. Some designs are very nice, such as the coffeeshop lettering of Rustiko. All formats offered. Other faces by James Hale: Tosca, Ganymede, Deth Imperial, Grand Torino, Beyond Machines, Kineto. %L CF2 DE USA-FL %D James Hale %E haleco@thenet.net %Q Keystrokes %T Douglas Olena's company, Keystrokes, is located in Birmingham, AL. Great faces by Doug Olena (b. 1953) include Adastra (Herbert Thannhaeuser, 1928, revival 1995), Ampersands (1995), Arwen (1995), Blocks (1995, a very black geometric face), Elegant (1995, art deco), DecoBats, Hindenburg (1995), Informal Black (1995), Marquis (1995, like Broadway), Maximilian (Rudolf Koch, 1917, revival 1995), Metropolis Shaded (1928, Willy Schwerdtner), Minimal (1995, a very thin avant garde font), FFD Neuland (Rudolf Koch, 1922, revival 1995), Newton Inline (Rudolf Koch, 1928, revival 1995), Poetry (1995), Questions (1995), Searsucker (1995, another Broadway style font; see Agfa), FFD Sphinx (Deberny&Peignot, 1925, revival 1995), Stalk (1995), Tube (1995), and the classy MontBlanc Regular and MontBlanc Engraved. Fox and Arwen are freeware. Fontshop page. His fonts at Agfa/Monotype: Adastra, Ampersands, Arwen, Blocks, Elegant Inline, Elegant Open Face, FFD Neuland, FFD Neuland Inline, FFD Sphinx, FFD Sphinx Inline, Hindenburg, Informal Black Condensed, Informal Black, Marquis, Maximilian, Metropolis ShadedCS, Minimal, Newton Inline, Poetry, Poetry Inline, Questions, Searsucker, Searsucker Bold, Searsucker Outline, Stalk, Tube. His CV reveals that he has a Masters in Philosophy! %d Oct 7 2001 %E dougolena@aol.com %D Douglas F. Olena %L DE CF2 HAIR USA-AL ARTDECO AG %N 23569 %B http://www.graphic-design.com/Type/Fonts-Fonts/Keystrokes/default.html %G http://www.myfonts.com/person/Doug_F._Olena/ %Z http://users.quicklink.net/~olenadf/home.html %Z http://www.fontnews.com/html/typo/FontSearch.cgi?inc=15&text=&Editeur=Keystrokes %Z Keystrokes 222 Peerless Ave Birmingham, AL 35209 (205) 871-8803 voice/FAX %Z DougOlena@aol.com %Z olenadf@quicklink.net %P DougOlena-Arwen--Small.png %Z DougOlena-Arwen.png %Q Typiko %N 23568 %B http://www.typiko.com/global-era/geantic1.htm %T New commercial foundry with a few fonts by François H. Villebrod, such as the sans serif Global Era, Titan and Odyssea Oval. Villbrod also designed the Greek and Cyrillic versions of Matthew Carter's small screen font family Nina. %E fhv@typiko.com %D François H. Villebrod %d Dec 13 1998 %L CF2 DE FO-GR FO-CY FRA %Z http://www.users.dircon.co.uk/~ireland/trynow.htm %Z Bar Code Pro v3.0 %Q CIA (BAR CODES) UK %d May 19 1999 %E help@CIAX.com %Z Chris Ireland %E ireland@dircon.co.uk %Z cia_uk@compuserve.com %Z http://ourworld.compuserve.com/homepages/cia_uk %E help@ciax.com %T Chris Ireland's commercial product by CIA (BAR CODES) UK, based in Manchester. Demo. Includes Bookland, Codabar, Code 39 (Normal), Code 39 (Extended), Code 39 (Mod 43), Code 93, Code 128 A, Code 128 B, Code 128 C, Code 128 (Automatic ABC), EAN 8, EAN 8 Plus 2, EAN 8 Plus 5, EAN 13, EAN 13 Plus 2, EAN 13 Plus 5, EAN 128, Interleaved 2-of-5, Interleaved 2-of-5 (Mod 10), ISBN, ISSN, POSTNET, UPC A, UPC A Plus 2, UPC A Plus 5, UPC E, UPC E Plus 2, UPC E Plus 5, UCC 128, UCC / EAN 128, UPC Shipping Container Code, SCC-14 Shipping Container Code, SSCC-18 Serial Shipping Container Code, HIBC LIC (Code 128, Code 39), NHRIC (UPC A, ITF, UCC / EAN 128), UPN.

om the spokesman: "Our 'BAR CODE PRO v3.0' for Windows product is unique in that it contains ALL TrueType barcode fonts for all of the popular barcode types; Bookland, Codabar, Code 39, Code 93, Code 128, EAN, Interleaved 2-of-5, ISBN, ISSN, POSTNET, UPC A, UPC E, UPC Shipping Container Codes". %N 25398 %B http://www.CIAX.com %L BA UK %Q DTPobchod %N 23566 %B http://www.dtpobchod.cz %d Sep 12 2000 %T Vendor of Central European encoded fonts. %L VE CZ FO-EA %Q Czech Design and Typography (studio experimentalniho design) %Q Quentin.cz %N 23565 %B http://www.quentin.cz %d Sep 12 2000 %T Vendor of Central European versions of Adobe fonts in Czechia. %L VE CZ FO-EA EXP %Q Czech Design and Typography (studio experimentalniho design) %Q Amsoft.cz %N 23564 %B http://www.amsoft.cz %d Sep 12 2000 %T Vendor of Central European versions of Adobe fonts in Czechia. %L VE CZ FO-EA EXP %Q Czech Design and Typography (studio experimentalniho design) %Q Macron %N 23563 %B http://www.macron.cz/ %d Sep 12 2000 %T Sells Central European versions of Adobe fonts in Czechia. %L VE CZ FO-EA EXP %Q Czech Design and Typography (studio experimentalniho design) %Z http://www.fmi.cz/private/typo/English/ %Z http://www.typo.cz/index_ie.html %N 23562 %B http://www.typo.cz %d Jun 19 2001 %T Filip Blazek writes about typography. His own fonts include Pozorius, Studnicka Antikva and Duboryt. Alois Studnicka (Prague) seems to have designed PozoriusCESample. %Z Samples are here. %Z filip@terminal.cz %E filipdesign@typo.cz %L CF2 TY FO-EA DE CZ EXP %D Alois Studnicka %M Revisit. %Q Designiq %D Filip Blazek %Z http://www.filipdesign.cz %Z http://www.typo.cz %N 23561 %B http://www.designiq.cz/index.php?lang=en %Z Simackova 18, 170 00 Praha 7, Czech Republic Tel. +420 283871781 %d Jun 19 2005 %T Filip Blazek (alias Filip de Sign, b. 1974) writes about typography and ran Filip de Sign--Czech Graphic&Design Studio, founded in 1997 in Prague. In 2003, its name was changed to Designiq. It focuses on the design of logotypes and corporate identity. His own fonts include Pozorius, Studnicka Antikva and Duboryt. Alternate URL. Very useful pages for Central European typography, with plenty of links and practical information. Interview. Blazek's old site, still jam-packed with font information. Coauthor of Typography in practice (Praktická typografie), published by ComputerPress, 2000, 2004. Founder of Typo Magazine, which focuses on typography, graphic design and visual communication. Speaker at ATypI 2006 on diacritics (PDF of Filip's presentation). At ATypI 2009 in Mexico City, he spoke on posters from the 1989 Velvet Revolution. Speaker at ATypI 2011 in Reykjavik. %Z co-author of Typography in practice (Praktická typografie), published by ComputerPress, 2000, 2004. He is a founder and a member of the editorial office of Typo Magazine, which focuses on typography, graphic design and visual communication. He is an owner of the Typo.cz server, dedicated to Central and Eastern European graphic design and typography. Since 1999, he gives lectures dealing with type and graphic design. He is the Czech deputy of the international organisation ATypI. %Z filip@terminal.cz %Z filip@ti.cz %E studio@designiq.cz %L CF2 TY FO-EA DE CZ http://www.ef-fonts.de is still under construction. From frednader@home.com Wed Dec 1 22:15:22 1999 Return-Path: frednader@home.com Received: from mail.rdc3.on.home.com (ha1.rdc3.on.home.com [24.2.9.68]) for ; Wed, 1 Dec 1999 22:16:09 -0500 (EST) Received: from cr186242-a ([24.112.166.232]) by mail.rdc3.on.home.com for ; Wed, 1 Dec 1999 19:13:19 -0800 Message-Id: <4.2.2.19991201215733.00a38470@mail> X-Sender: frednader@mail Date: Wed, 01 Dec 1999 22:07:51 -0500 To: Luc Devroye From: Freddy Subject: Re: DTP In-Reply-To: <199912020244.VAA18342@kriek.cs.mcgill.ca> Status: R Well, the new toy is here: http://www.instantpc.com/whois.htm It's a beautiful thing, though I have a feeling it will be shut down soon because some people are bound to complain about their privacy being invaded. At first I just wanted to find out who was behind typewrong.com, then I started entering random foundry domain names, and I ended up getting some interesting info. This place is like Starback's Internic lookup for tracing, except it's much faster and has a lot more info on domain registrants. Typeright.org shows that McGregor and Willson were the ones who started the TypeRight server. Typeindex.com shows that Willson is one of the registrants, though the place is made up to be McGregor's site. And so on... just enter domain names (without the www at the beginning) and hit enter. You'll get all sorts of contact info on any domain owner in North America. It doesn't do any European domains (I suspect privacy laws may have something to do with that -- though I'm still trying to find one that works on European domains -- but the InstantPC site does only .com, .org and .net domains as far as I can tell from playing with it today). Also, note that that search box is quite open to random searches. For instance, if you type "font" and hit enter, you'll end up with a long list of domain names and domain owners. A closer look at that list will show you that the people behind Font Bank own a domain called gayvidz.com (I think this is so hilarious -- the "knock off other people's fonts and sell them on CD" gig didn't work out, so they moved on to selling gay videos, but never bothered changing their company name -- too #$%^ing much!). Freddy http://www.networksolutions.com/cgi-bin/whois/whois/ Same idea for random searches, domain name lookups, etc.. %Z Apparently everyone at the TDC has been trying to get hold of Matthew Carter for a week now but he seems to have disappeared. Troop says that of course he may have gone for a few days' vacation, but he's surprised that he hasn't told anyone about it, and that he's not responding to email and voicemail. %Z Since I've held a grudge for so long against Book Antiqua, I asked Troop if he knows anything about that. Here's the story: In 1991, Windows 3.11 for workgroups was supposed to ship. Monotype was almost third-owned by Microsoft then, and were taking care of about 80% of the OEM fonts on Microsoft's CDs. Microsoft wanted a Palatino on the new Windows CD. Monotype went to Linotype and asked for a quote on a mass license. Linotype didn't even give them a quote. They simply said no (apparently Steinert himself did this, in hopes of Microsoft bringing work to Linotype directly). Monotype had two months to finish the fonts and a wall in front of them from Lino's end. So they knocked off Palatino in the cheapest and fastest way possible. I find that very interesting. For all the rage that we've been going through about the ethics of such an act, it's very eye-opening to find out that Linotype was involved in this "inevitable business decision" as Troop puts it. I wonder if Zapf even knows that Lino said no to Monotype, hence depriving him from the possibility of capitalizing on much much much royalties. %Z Troop seems to think that if the freeware/shareware type contest that was announced on usenet gets more submissions than the TDC2 one, the latter won't happen! Subject: Softkey 3003 fonts -- J - O www.idrive.com/amulet Article 172357 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!news-peer.gip.net!news.gsl.net!gip.net!howland.erols.net!news-feed1.tiac.net!posterchild1.tiac.net!news@tiac.net From: "nancy g." Newsgroups: alt.binaries.fonts Subject: Re: Does anyone have an "architect" font??? Date: Sun, 05 Dec 1999 20:24:15 -0500 Organization: dis Lines: 12 Message-ID: <384B103F.DD20A9ED@tiac.net> References: <384a8483.45792781@news.redshift.com> Content-Transfer-Encoding: 7bit X-Accept-Language: en Randy wrote: > Looking for an architect/mechanical drawing type font... Check out True Type archive at this URL: http://voyager.cns.ohiou.edu/~sadkins/web_library/fonts/font_archive/ Try ARCHITECT (architec.ttf) or DRAFTSMAN (draftsmn.ttf) or DRAFTSMAN LIGHT (draftsml.ttf) From cybapee@joice.net Sun Dec 5 22:27:18 1999 Return-Path: cybapee@joice.net Received: from mail1.misc.net (nobody@mail1.misc.net [212.20.134.3]) for ; Sun, 5 Dec 1999 22:28:01 -0500 (EST) Received: from [212.20.139.83] (helo=stern01) by mail1.misc.net with smtp (Exim 2.05 #1) id 11uoo2-00024G-00; Mon, 6 Dec 1999 04:27:19 +0100 From: "Pee" To: "frednader@home.com" . "Luc Devroye" Date: Mon, 06 Dec 1999 04:26:06 +0100 Reply-To: "Pee" Priority: Normal Hi. the following emigre sites are available now: %Z From: tstarback [mailto:tstarback@emigre.com] > Sent: Friday, December 03, 1999 3:37 PM > To: Support Idrive > Cc: Legal Dept; Peter Beruk; William Portanova; Adam Ayer > Subject: Copyrighted software on your site > > As per Title 17 USC 512(c)(3)(A) as amended 10/28/98 [Public Law > 105-304(HR 2281] this will serve as formal notification of copyright > violation on your Web server. > > Dear Support, > > I am an employee of Emigre Inc. and am duly authorized to act on its > behalf in the protection of its copyrighted software programs. In the > performance of my duties, I have discovered certain unauthorized uses of > copyrighted material belonging to Emigre Inc. on your web server. The > following font was discovered: > > Emigre Library of fonts > > You can contact me at: > > Emigre Inc. > 4475 D St > Sacramento CA 95819 > 916-451-4344 > 916-451-4351 fax > tstarback@emigre.com > Sincerely, > Tim Starback > > URL: > https://www.idrive.com/teatree/Fonts/ > > Emigre Inc > http://www.emigre.com > 800-944-9021 > 916-451-4344 > 916-451-4351 Fax %Q Emigre at idrive %T The Emigre fonts were downloadable at idrive for a while (one week, I think). They are at many other sites as well if one looks hard enough. This idrive account was terminated after a threatening letter by Tim "Timmy Poo" Starback that was cc'ed to Peter Beruk, vice-president of anti-piracy, and Adam Ayer, litigation assistant, both at the SPA Anti-Piracy Group in Washington, DC, a subgroup of the Software Information Industry Association. And a further cc to William Portanova (picture), the assistant U.S. attorney in Sacramento (near Starback's home town), who recently helped put a 21-year old hacker-kid in jail for computer break-in (Portanova later told me that this involved theft of private credit card information). Finally, a glimmer of hope for the rest of the world to catch up economically with the United States, now that their own pathetic lawyers are draining the blood from its veins. %Z 1730 M St. NW, Suite 700 Washington, DC 20036-4510 %N 23560 %B http://www.idrive.com/teatree/Fonts %d Dec 6 1999 %L TY-LG %N 23559 %B nothing %E Johnny_be_goode@usa.net %Q Johnny Be Goode %T Robin Hood on alt.binaries.fonts. %L TY %d Dec 14 1999 http://www.aladdinsys.com/expander/expander_win_login.html From: "Jimmi Schou Hansen" Subject: Re: Identifying fonts Organization: Design Seminariet The best way of getting familiar with typefaces, and learning how to tell them from each other is to learn about typeclassification and -history. Sans serifs are the easiest to start with, they have prettymuch only 3 groups: Grotesque: helvetica, univers, akzidenz grotesk Geometric: futura, avantgarde, bauhaus Humanist: gill sans, frutiger, stone, thesis Take helvetica and frutiger, you can tell them apart by the more friendly overall look of frutiger that derives from some difference in details: 1. Helvetiva letterforms are closed (the "e" is almost a circle with a crossbar). Frutigers letterforms are very open. 2. Helvetica is designed to look as if all lines have similar strokeweight. Frutiger has slight differences in strokeweight, similar to classical humanist serif faces (the differences show better in frutiger-bold). 3. The design of the letters has more of a hand-drawn feel in Frutiger, not as angular and constructed as in Helvetica. So make some prints, compare the typefaces, and try to classify them, and find some books about type and typography. I don't know any good ones in english, mayby Erik Spiekermann's "Stop stealing sheep - and figure out how type works". -jimmi. %N 23558 %B http://www.adbusters.org/campaigns/first/manifesto2000.html %Q FTF Billboard %L TY %d Dec 14 1999 %T Graphic designers get-together and manifesto for 2000. From: kobay@anywhereusa.com (Kobay) .r00 to .r07 are here: https://www.idrive.com/firefox8 .rar, .r08, .r09, and .r10 and r.11 (along with 25, 58 and 59), are here: https://www.idrive.com/firefox7 Look in the shared folder...thanks to firefox! .r12 is here: https://www.idrive.com/firefox5 in the shared folder .r13 - .r19 are here: https://www.idrive.com/slonomo in the shared folder .r12 and r20 is here: https://www.idrive.com/kobay in the shared folder .r21-.r37: http://www.filesanywhere.com/ ..Username=yellowbike:Pass=whitebike....thanks to Cici and sui68 .r38,r39, and r41 are here: https://www.idrive.com/slonomo2 in the shared folder .r42-.r56 and r58 and r59: http://filesanywhere.com Username=Cici:Pass=ringbell..thank you Cici! r42, r47, r49, and r56, r57 : http://filesanywhere.com username=sui68:Pass=yellowbike..thanks to nofret and firefox! r60's: https://www.idrive.com/yojimbo2 and https://www.idrive.com/yojimbo3 ....thanks yojimbo! r70's: https://www.idrive.com/antha in the shared folder...thanks to Antha %Q Antha %L DD %d Dec 11 2000 %T Part of the infamous "slonomo" post on abf. %N 23557 %B https://www.idrive.com/antha http://www.idrive.com/teatree folder=fonts pw=emigre This one has been published on abf - without password. Still no mail from TimmyPoo. Is he on christmas holiday? On http://www.filesanywhere.com/taska we have both PC and Mac collection (thanks to JBG), but we have to wait til the group share feature will be implemented by filesanywhere. I wouldn't like to announce login-data because this includes full write access. http://www.filesanywhere.com The login is Taska, the password is rebumble. This account is And we have http://www.driveway.com/bin/share.jsp?sid=94e7b3bd.af84 This site is very cute, a folder can't be shared by option but by giving an email address of the person who is allowed to share the folder. I stated EdyRem@hotmail.com and he received the link from driveway. %Q deva.net %N 23556 %B ftp://ftp.deva.net/pub/fonts/X11/CJK/ %T Chinese truetype fonts: in TTF format, Wei, Wov, WS2, WL3, NTU-MM, NTU-Kai. In TTC format, MingLi. In BDF and PCF formats, many other fonts. Unfortunately, I am getting "permission denied" now. %L FO-CH %d Feb 13 2000 %Q sympad.net %N 23555 %B ftp://ftp.sympad.net/pub/windows/truetype/russian/ %T Russian truetype archive stacked with over 600 fonts. %L FO-CY %d Dec 22 1999 %Q GulimChe %N 23554 %B ftp://ftp.bentley.com/pub/tools/ttf/ %T GulimChe by HanYang System is a complete Korean truetype font. See also here and here. %L FO-KR %d Oct 13 2002 %Q Georgia.net %N 23553 %B ftp://ftp.georgia.net.ge/pub/msdos/ttf/ %T Mammoth 3000-font truetype archive with a few Cyrillic fonts, and the almost complete collections of Bitstream and URW fonts. The presence of some Corel fonts seems to indicate that this collection may have come with some Corel software. %L DD %d Dec 22 1999 %Q California State University %N 23552 %B http://www.cisdept.csupomona.edu/psellers/msoffp97/os/fonts/ %T 40-font archive with mostly the standard Microsoft truetype fonts. %L DD %d Dec 22 1999 %Q Peter Dako %N 23551 %B nothing %T Designer of Speedball and BoneBlack, 1991. Associated with Casual Casual. %L DE %d Dec 22 1999 %Q Brian Prince %N 23550 %B nothing %T Designer of Enhanced Showboat (1996), a modification of the famous Western show time font Show Boat (1991, David Rakowski). %E vpilot@cris.com %L DE WEST %d Dec 22 1999 %Q John Hazlett\0Anderson %N 23549 %B nothing %T Designer of Pipeline, 1991. %L DE %d Dec 22 1999 %Q Paolo Agostini %N 23548 %B nothing %T Designer of Phoinike, 1998. Downloadable here. %L DE %d Dec 22 1999 %Q Hermann Günthel %N 23547 %B nothing %T South African designer of the Pangolin family. %E gunthel@mweb.co.za %L DE %d Dec 22 1999 %Q Joe Devine %N 23546 %B nothing %T Designer of Melmo-Regular (1994, handwriting) and Epic Gothic (1994). %L DE HW %d Dec 22 1999 %Q DF667 (or: DiagnostiK foundation; was: Oblong Design) %Z http://www.chilp.net/download/?M=D %N 23545 %B http://www.fontspace.com/df667 %T D. Busson (DiagnostiK foundation, or Oblong Design, UK) DF Temple Heavy (1997, a futuristic typeface), Plastic Jesus, New Kinder (1998), and Chlorine (1998, organic).

Old URL. Dafont link. %L OR2 DE UK %D D. Busson %d Sep 30 2002 %Z http://www.diagnostik.force9.co.uk/ %Z Some original fonts, downloadable if you send a postcard. Fonts are TTF: Plastic Jesus, New Kinder, Chlorine and Temple Heavy. %E us@diagnostik.force9.co.uk %Z DF667--DFTemple-1997.png %Z DF667--Chlorine-1998.png %Z DF667--NewKinder-1998.png %Q Hook Publishing %N 23544 %B nothing %T Bordz is a great border font by Kiwi designer "Sandy". %E sandic@ihug.co.nz %L DI-OR NZ %d Dec 22 1999 %Q Black Dog Studios %N 23543 %B http://home.t-online.de/home/ti.onlin/truetype.htm %T Donnie Lee (Dalton, GA) made Nirvana Roman in 1994, a font in the style of Exocet. See also here and here. %D Donnie Lee %E ElectrcBoy@AOL.COM %L DE OR2 GO USA-GA %d Dec 22 1999 %Z Donnie Lee Black Dog Studios 1590 Waring Rd. #5 Dalton, GA 30721 (706) 259-4576 %Q Wondermat %N 23542 %B http://www.thewondermat.com/ %T Click on Times Square and then download to find the Cupcake font by Dinc Type. %L DD %d Dec 22 1999 %Q Henry Hartley %N 23541 %B http://www.dotrose.com/links/fonts.html %T About 30 font links. Maintained by Henry Hartley of Spruce Mountain, Inc. %E henry@spartan.sprucemt.com %L LI2 %d Dec 21 1999 %Q Wavefront Fonts %N 23540 %B http://www.arc.umn.edu/gvl-software/wavefront-fonts.html %T Free code at AHPCRC Graphics Software to convert Type 1 font outlines into Wavefront .obj files which in turn can be used with Wavefront's Advanced Visualizer. %L SO-T1 USA-MN %d Dec 21 1999 %Q Alan Drake %d Jan 3 2003 %N 23539 %B http://www.netaxs.com/~trance/font.html %T Gorgeous dingbats from Easter Island harvested and fontisized by Georgia Lee and Alan Drake in 1998, and sold for 25 USD in the Easter Island Foundation's Rapanui Dingbat font. %E rapanui@compuserve.com %L DI-OR DE %Q Rapanui Dingbats %d Jan 3 2003 %N 23538 %B http://www.netaxs.com/~trance/font.html %T Gorgeous dingbats from Easter Island harvested and fontisized by Georgia Lee and Alan Drake in 1998, and sold for 25 USD in the Easter Island Foundation's Rapanui Dingbat font. %E rapanui@compuserve.com %L DI-OR DE %D Georgia Lee %Q Naf %N 23537 %B http://www.ozemail.com.au/~naibor/naiborly.html %T Naiborly Software's easy-to-use and free utility to view all the fonts installed on your PC. For Windows 95/98/NT only - v1.0.0. By Ian Anderson. Alternate URL. %L FM %E naibor@ozemail.com.au %d Feb 21 1999 %Q JobSpecific version 2.0.1 %N 23536 %B http://www.polyvision.net/job.html %L FM %T Utility that makes all your PostScript fonts available for the screen via ATM 3.0x or ATM 4.0x. 30USD from Polyvision Software. %N 23535 %B http://www.hitech.ch/products/abc95/abc95.htm %Q ABC 95 Font Manager (Windows) %L FM %T A control panel applet for Windows 95. %N 23534 %B http://www.adobe.com/prodindex/atm/main.html %Q ATM DeLuxe %L FM %T Adobe's font manager: create custom font sets, smooth fonts (anti-aliasing), preview onscreen, create multiple masters, and install fonts. Yummy writes: "Typograf (and just about everything else) requires ATM in order to handle Type 1 fonts. Get rid of the ATM deluxe, download trial copy of Pagemaker from Adobe - it comes with ATM4 Lite. ATMLite+Typograf beats ATM deluxe hands down in every respect of font management. (Plus, you also get database!). If you use Typograf extensively, please support quality software and buy it." %Z AWW400P0101591-292 %N 23533 %B http://www.fingertipsoft.com/ %Q Fingertip Software (Windows--Mac) %T Fonts and utilities for Cyrillic, Central European, Latin, and Middle Eastern language support. %L FO FO-CY FO-EA %N 23532 %B http://www.abc-ware.com/fontabce.htm %Q Font-ABC 2.24 (Windows) %T Shareware Windows font viewer and printer by Jutta Behling. Font-ABC 2.24 at Joz's Smallwares. Font-ABC 2.40. Font-ABC 2.50. %d Jul 17 1999 %L FM %N 23530 %B http://www.dhalstead.com/Type_101.pdf %Q Halstead Design Typography 101 Tutorial %E dhalstead@my-dejanews.com %L DD %T PDF-format tutorial on typography. Alternate URL. %d Oct 30 2000 %N 23529 %B http://www.alphalink.com.au/~sigson/emigre.html %Q sigson %L DD %T Very temporary (September 11, 1998) archive with 11 fonts: Caribbean, Aftershock, Balthazor, Belter, Belter Mega Outline, Binary Bold, Binary Light, Blaze, Braganza, Braganza Light. TTF files that have in most cases ITC copyrights. Sigson claims they are from Emigre, but that seems incorrect. %Q Gimp's font site %L DD %N 23528 %B http://hjem.get2net.dk/gimp/fonts.html %d Nov 19 1998 %T Danish mini-archive. %E Gimp@get2net.dk %Q PizzaDude %Z http://www.pizzadude.dk/membersonly/doktorterror.zip %T The Great Dane from Copenhagen, the king of grunge, Jakob Fischer, is a kindergarten teacher who designed over 500 fonts. Mini-catalog, part I, part II. Aka PizzaDude, he started out making free fonts, but switched to commercial fonts later. His typefaces:

In 2013, he published these commercial fonts: Imperious, Find A Way, City by the Lake, Breathtaking Beauty, Almost Lovely, Maybe I Was Joking, You Could Be Right, Keep Writing Letters, Words You Lost, Urgency Of Now, Believe In Me, Talk To Me, Summer Fades Away, Piece Of Youth, Not A Chance, Never Fade.
In 2012: Mixed Up.
In 2011: Bumbastika (poster face), Blowout (rounded signage face), Hangout (grunge), Regreat (comic book face with square counters).
In 2010: Shuffle Steps (a sketched face), Shakeout (comic book face), Atrofobia, Splurx, Klumpft (grunge), No Consequence, Poilet Paper, Universal Fruitcake, Vitamin, Year Supply of Fairy Cakes, Yesterdays Meal (brush face), Undercover (bilined), Streetwise, Jilly Bean (art deco, handprinted), Zanoix, Amfost (comic book face), Funky Mother (a curly face), Chicken Salad (comic book face), Retroxoid, Quirky, Mono Exolia, Mono Neox, Mono Litrox, Mono Hexular, Mono Orxith, Mono Iltra, Mono Chix, Gumbutcha (cartoon face), Ghenilo, Firewerk, Family Bird, Bodywerk (a grungy constructivist face), Wagerton (grunge), Strawn (signage face), Drunken Tower (ransom note face; + Drunken Shower), Elogy, Olazy, Hoakey, Nipey, Laxory, Iquory, Chorxy.
In 2009: Funkboy, Nusqie, Junkwerk, Geekabeat, Flicka (a bouncy comic book face), Sir Render, Imperial Quortex, Jourba, Kurph (round children's script), Ginky, Stereoxoid, Earthwerk, Gibarish, Insiano, Unsprit, Whacker, Natuxal, Battlexoid, Change, Chusp, Aspektogram, Axteroid, Floink.
In 2008: Everything (comic book), Superxoid (white on black grunge), Eyeful (comic book style), Punctured Bicycle (grunge), Spleach, Sir Spicious, Mirla, Skramp, Jilkyway, Fristy, Sqweash, Aprilfuel, Intense Eve, Drunken Shower, Dandygal, Alien Segment, Endorfinia, Runaway, Scentogram, Typewrither, Ultraxoid (grunge), Legoix (a nice scrapbook pencil font), Heruina (connected hand).
In 2007: Indoxine (an informal horizontally-striped outline font, one of his best creations), Infilto (sketchbook face), Murbia (printed hand), Orange Gush, Epsiolet (blackboard script), Grut Stuph (comic book), Orange Gush (curly hand), Drunken Hour (ransom note face), Flixuble, Butterfool, Whexjable (paper bag cutouts), Flabioga (grunge), Flambster, Axionhero, Skratzy, Ulsteros, Craptoy, Megaxoid, Nine Thousand, Retrozoid.
In 2006: Ultinoid, Sabtine (nice curly hand), Sadnez, Happyjamas, Fudshake, Diskojuice, Damaged Guts, Zugarbody, Popfork, Hyperspit, Junktoy, Melonheads, Mister Dorky.
In 2005: Party Noid, Doktor Terror, Fligerish (romantic retro lettering face), Tomoli2, Teaster (Easter egg dings), Ankertill Brewer, Omibez, Tomoli, Family Dog (comic book face), Vegacute (retro lettering).
In 2004: Jerky Tash, Hopeless Heart, Sure Shot, Chawsy, Hefty Galloon, Phatburner, Imazeng (Asian imitation), Zir Gera, Glammer Girl (T-26), Japperneese (oriental imitation font), Marmelade Guys, Tagboy, Malonia Voigo, Raskal, Kickshaw.
In 2003: Abdominal Krunch, Mucho Macho, Just A Dream, Tagboyhardcore (graffiti font), Omegalomania, Cheeky Git, Chenilo (a grunge poster face), Bigbrain, Pizzabot, Schoolbully, Rapjack, Slammertag, Hlytus, Hold Your Breath, Bigmouth, Stumbeleina, Slowmotion Girl, Omegalomania, Bigbrain, Zitkid, Mr Fahrenheit Go, Atomic Clock Radio (dot matrix font), Kitchen Police, Arcade Classic, Digital Dream, Arsenique, Lie Detector, Spamsucker, Ghostboy, Funkheads, Slime Tag, TagStar Hardcore, Diet Riot, Elevator Boy (Chank), Flim (22-style family), Lemon Lies.
In 2002: Fearless, Good Foot, Idolwild, Ruinik, AngerIsAGift, Insane Hours, MuchTooLoud, Abduction2002, You are what you eat, Yggdrasil, Easily Amused, Toxic Waist, Words of Love, Yesterdays Meal, Dope Jam, Famous Fromage, Geek A Byte, Vinyl Repair Kit, Bring Tha Noize 2, Fancy Footwork 2, Fandango (a comic book font), Quit Smoking, Japan Knees (2002, an oriental LED simulation font at Chank's), Secret Handshake, Eternal Life, Insektogram, Krooked Teeth, Super Glue, Love Bug (a Valentine's font).
Other earlier or undated fonts: Grand Stylus, jiggery pokery, Monafont (a font with hearts), Fancy Footwork, Grouser, Not Just A Toy, Orangutan, VeryBadPosture, Treasure, Tantrum Tongue, HangTheDJ, MonsterFreak, MouthfulOfBeer, WarmMilk, WideAwake (techno), Wisecrack, DT104, Quickometer, Cirkledingz, HarshLanguage, Vanish, GluttonMan, Radiohead, Radioland (LED face), Eat Your Heart Out (kitchen tile font), Exit Font, In The Arms Of Sleep, Popcorn Not Included, Flashboy, Kill Your Darlings, Nonfiction, Gringo Nights (eroded Western font; almost Mexican), Push, Grunt Reaper, Ultrasonik, As Seen On TV, More Than Human, Raveheart, 10Minutes, 20000dollarbail, 4mylover (Valentine's day lettering font), Abduction, Acquaintance, AgentOrange, Anodetonoone, Anticlimax, Arcade, ArcadeClassic, Autobahn, Backto1982, Ballsontherampage, Bedbug, BeyondControl, BeyondControlvolume2, BionicKidSimple, BionicKidSimpleSlanted, BionicKidSlanted3d, Biteme, Blackboysonmopeds, Blaster, Blatant, BlindMelon, Blindfold, Blobs, Bluelines, BrokenToys, Brushed, Brutality, BrutalityExtra, BubbleBath, Bubbleboy, Bubblegums, Bumbastika, Burlesque, Chinese Takeaway (oriental simulation), ComputerAmok, Creamandsugar, Crosspatchersdelight, Crosspatchersdelightnormal, Curmudgeonly, Delirium, Desperation, Digitek, Diskoteque, Dreammachine, Dreamofme, Earthquake, Embroidery, Exoneration, Extravirgin, EyeOnlyHaveEyesForYou, Fadetogrey, FakePlastic, FatBoySmiles, Fazingsone, Firestarter, FlakJacket, Flaphead, Flashback, Flashbackversion3, Flashit, Foot Fight (2003), FreaksofNature, FunkyStoneage, Funnyfarmhard, Funnyfarmsoft, Futurism, Guineapigs, Gasoline, Ghostwriter, Glamour Girl, Greaseballs, GreatVengeance, Greenhousegas, Guineapigs, Hangover, Highspeed, Holiday, Homeboysarebackintown, Humanoid, Humanoidstraight, Innocentbystander, Imperfectfont, InnerSanctum, InternationalPlayboy, Invasion2000, IronMan, JointbyPizzaDude, JamesBond, JellyBelly, JointbyPizzaDude, JoyCards, JuneBug (fat comic book face), JustAnotherFont, Kometenmelodie2, Kitchenpolice (techno/futuristic), Klytus, Kleptomaniac, Knucklesandwich, KometenMelodie1, Kookaburra, Lazerbeamsurprise, Liquidism (dripping blood), Liquidismpart2, Logiclodger, LotsOfDotz, LoveLetters, MassiveHeadache, MunsterBash, Mutant, Mute Fruit (stencil font), Madscientist, Madscientist, Malapropism, MammaGamma, MassiveHeadache3, MassiveHeadacheII, MaximumSecurity (horizontally striped), Miserable, Mixedup, MotorcycleEmptiness, MunsterBash, Naghead (2004), NeverSayDie, Nonstop, Nonstopitalic, Nugacity, Nyctalopia, Nyctalopiatilt, Obliviousfont, Onceinawhile, Operatinginstructions (glyphs with writing direction arrows), Opium, Oxygene1, PartyBalloons, Piracy, PizzaDudeFatOutline, PizzaDudesHandwriting, PlanetDust, Plastique, PrivateInvestigations, Protection, Pusher, Questionoftime, Questionoftimesimple, Quicksilver, QuotedPositivity, RepeatUntilFalse, Retaliator, Radioaktivitet, RainyDays, RepeatUntilFalse, Retaliator, Robotica, RoboticaAllCaps, Rocketman, Rubberneck, Sk8ordye, Slammertag (2003), Scratch myback, Shakethatbooty, Shopliftersunite, SkaterDudes, SoftSugarfade, SoftSugarplain, SomewhereInSpace, Spaceboy, SpeedCrazy, SqueezeMeBaby, StickAroundForJoy, StrangePhenomenaNormal, StrangePhenomenaOutlined, Sweetascandy, SyntheticSyncronism, TagsXtreme, TagsXtreme2, TastelessCandy, Teenageangst, Timebomb, Toforgive, Transistor215, Typewriterfromhell, Ultimatum, Underattack, Underattackskew, Undercover, UnfinishedSympathy, UnfinishedSympathy2, Us, Venusflytrapthebug, VeryChristmess (2003), Videophreak, Vitamin, Vitaminoutlined, VulgarDisplayOfPower, WakingtheWitch, WishfulWaves, Wreckage, Xtraordinary, Youngatheart, Youthquake, Zitcream, Zenith2000, ElectricBoots, Jealousy, Noodlesoup, PizzaDudePointers, PizzaDudeStars, Waybeyondblue, XrayTed, XrayTedskew, ZingDing, DigitalDream (2003, LED simulation), PizzaDuide Bullets, Bubbleboy 2, Endeavour Forever, Konspiracy Theory, Krazy Nights (handprinted).

Direct downloads. In 2004, he started selling some typefaces through Union Fonts. MyFonts link. Home page. Fontsquirrel link. Fontspring link. Dafont link.

View Jakob Fischer's typefaces. %Z http://www.pizzadude.dk/fonts/_vti_cnf/?S=A %L OR2 DE XMAS DI-OR O-SIM COMIC DEN WEST HW STE KITCHEN CF2 VAL EASTER GO RANSOM GRAF TW BRUSH BB VAL 3D SKETCH RADIO M-SIM SIGNAGE PIX ARTDECO LED BUBBLEGUM %Z http://hjem.get2net.dk/jfischer/ %Z http://www.pizzadude.dk/fonts.html %Z http://www.pizzadude.dk/ %N 23527 %B http://pizzadude.dk/ %F http://www.myfonts.com/foundry/PizzaDude.dk/ %G http://www.myfonts.com/person/Jakob_Fischer/ %Z http://pizzadude.dk/fonts.html %d Dec 1 2002 %M Need all Jan02, Dec01, Nov01 fonts still. Check. %Z pizzadude@hotmail.dk %E pizzadude@pizzadude.dk %D Jakob Fischer %Z Pizzadude-Catalog.png %Z Pizzadude-Catalog-.png %Z Pizzadude-ChineseTakeaway.png %Z JakobFischer-Imperious-2013.gif %Z JakobFischer-Imperious-2013b.jpg %Z JakobFischer-Imperious-2013c.jpg %Z JakobFischer-Whexjable-2007.gif %Z JakobFischer-Whexjable-2007b.gif %Z JakobFischer--ChineseTakeaway.png %Z JakobFischer--BreathtakingBeauty-2013.gif %Z JakobFischer--FindAWay-2013.gif %Z JakobFischer--SummerFadesAway-2013.gif %Z JakobFischer--SummerFadesAway-2013b.gif %Z JakobFischer--UrgencyOfNow-2013.gif %Z JakobFischer--WordsYouLost-2013.png %Z JakobFischer--YouCouldBeRight-2013.gif %Z JakobFisher--Mutaint.gif %Z JakobFisher-Zitcream.png %Z Pizzadude-GlamourGirl.png %P JakobFischer--Bumbastika-2011-Small.png %Z JakobFischer--Bumbastika-2011.png %Z JakobFischer--Regreat-2011.gif %Z Pizzadude--FunkyMother-2010.png %Z JakobFisher--FunkyMother-2010.png %Z Pizzadude--Atrofobia-2010.gif %Z Pizzadude--ShuffleSteps-2010.gif %P Pizzadude--ShuffleSteps-2010b-Small.gif %Z Pizzadude--ShuffleSteps-2010b.gif %Z Pizzadude--ShuffleSteps-2010c.jpg %Z Pizzadude--ShuffleSteps-2010c.png %Z Pizzadude--ShuffleSteps-2010d.png %Z JakobFisher--Pic.jpg %Z Pizzadude--Bodywerk.jpg %Z Pizzadude--CatalogAO-2010.png %Z Pizzadude--CatalogIZ-2010.png %Z Pizzadude--Chenilo.jpg %Z Pizzadude--DigitalDream-2003.png %Z Pizzadude--Elogy.jpg %Z Pizzadude--FamilyDog.jpg %Z Pizzadude--Fligerish.jpg %Z Pizzadude--Gumbutcha.jpg %Z Pizzadude--Infilto-2010.jpg %Z Pizzadude--Junebug.png %Z Pizzadude--Kurph.jpg %Z Pizzadude--Legoix.jpg %Z Pizzadude--OperatingInstructions.png %Z Pizzadude--Sabtine.jpg %Z Pizzadude--ScratchMyBack.png %Z Pizzadude--Superxoid.gif %Z Pizzadude--Undercover.png %Z Pizzadude--UniversalFruitcake.png %Z Pizzadude--Vegacute.jpg %Z Pizzadude--YesterdaysMeal.png %P Pizzadude-Flicka2009.gif %Z 4MyLover.jpg %Z Pizzadude-Ruinik.jpg %Z Pizzadude-Yggdrasil.jpg %P JakobFisher--Nipey-2010.gif %Z JakobFischer--Bodywerk-2010.gif %Z JakobFischer--Bodywerk-2010b.gif %Z JakobFischer--ScratchMyBack--.jpg %Z Pizzadude--TantrumTongue.gif %Z Pizzadude--JillyBean-2010.jpg %P Pizzadude--JillyBean-2010b-Small.jpg %P Pizzadude--Indoxine--Small.jpg %Z Pizzadude--Indoxine.jpg %Q Computer Sanskrit %T Bitstream Charter fonts with added Computer Sanskrit encoding. PostScript and TrueType. %N 23526 %B ftp://ftp.dante.de/tex-archive/fonts/csx/fonts/charter/ %L FO-IN MF %d Jan 6 1999 %Q dco fonts %N 23525 %B ftp://ftp.dante.de/tex-archive/fonts/dco/ %L MF %T Sebastian Marius Kirsch made a set of font metric files and virtual fonts for using the dc fonts with oldstyle numerals. This font family is called dco fonts. It can only be used together with the standard dc fonts v1.3. %E sebastian_kirsch@kl.maus.de %d Jan 6 1999 %Q Morse %L MF MORSE %N 23524 %B ftp://ftp.dante.de/tex-archive/fonts/morse/ %T Udo Heyl's metafont package for Morse (1998). %Z Stregdaer Allee, 99817 Eisenach GERMANY %d Jan 6 1999 %Q Srisakdi Charmonman %N 23523 %B http://www.charm.au.edu %L FO-TH DE %T Thai fonts produced by Prof. Dr. Srisakdi Charmonman in 2006: THCharmofAU, THCharmonman-Bold, THCharmonman, THSrisakdi-Bold, THSrisakdi. %d May 18 2008 %Q SIPA: Department of Intellectual Property (DIP), Ministry of Commerce and Software Industry Promotion Agency %N 23521 %B nothing %L FO-TH DE %T Thai fonts produced by this public institution in Thailand in 2006: THBaijam-Bold, THBaijam-BoldItalic, THBaijam-Italic, THBaijam, THChakraPetch-Bold, THChakraPetch-BoldItalic, THChakraPetch-Italic, THChakraPetch, THFahkwang-Bold, THFahkwang-BoldItalic, THFahkwang-Italic, THFahkwang, THK2DJuly8-Bold, THK2DJuly8-BoldItalic, THK2DJuly8-Italic, THK2DJuly8, THKoHo-Bold, THKoHo-BoldItalic, THKoHo-Italic, THKoHo, THKodchasal-Bold, THKodchasal-BoldItalic, THKodchasal-Italic, THKodchasal, THKrub-Bold, THKrub-BoldItalic, THKrub-Italic, THKrub, THMaliGrade6-Bold, THMaliGrade6-BoldItalic, THMaliGrade6-Italic, THMaliGrade6, THNiramitAS-Bold, THNiramitAS-BoldItalic, THNiramitAS-Italic, THNiramitAS, THSarabunPSK-Bold, THSarabunPSK-BoldItalic, THSarabunPSK-Italic, THSarabunPSK. These fonts were created in 2006 by Suppakit Chalermlarp. %D Suppakit Chalermlarp %d May 18 2008 %Q TSIPA %N 23520 %B ftp://ftp.dante.de/tex-archive/fonts/tsipa/ %d Jan 6 1999 %T Based on Knuth's Computer Modern, TSIPA is a phonetic metafont made by Hajime Kobayashi, Rei Fukui, and Shun Shirakawai in 1992, improving the older WSUIPA phonetic font. However, it too has now been superseded by TIPA, a 256-position font. %L MF PH DIDONE %Q Chess metafonts %T Chess package for TEX with metafonts by Piet Tutelaers. See also here. Developed by Piet Tutelaers at Technische Universiteit Eindhoven, The Netherlands. %Z Lambertushof 52, 5667 SG Geldrop, The Netherlands. %d Jan 25 1999 %D Piet Tutelaers %L CHESS MF TEX DE %N 23519 %B ftp://ftp.dante.de/tex-archive/fonts/chess/ %E rcpt@urc.tue.nl %Q Phonetic metafonts %N 23518 %B ftp://ftp.dante.de/tex-archive/fonts/phonetic/ %d Jan 6 1999 %T Phonetic metafont collection by Emma Pease, based on Computer Modern. %D Emma Pease %E emma@csli.stanford.edu %L MF PH 788a47059,47312 afm2pfm [-w] [-?] infile [outfile] -? displays a short help message. -w suppresses warnings. The extension .afm is added to the infile if it has none. If unspecified, the outfile is defaulted from the input file name. Limitations: afm2pfm was written to produce a PFM file for a simple Type 1 font that I had created. More complex AFM files may expose limitations in this program. Warning messages are produced for AFM lines or sections that are ignored. Ligatures are silently ignored. Track kerning and Composites are ignored. Unencoded characters are ignored. Background: I wrote this to create a PFM file for a small Type 1 font that I had created by hand and converted to PFB format with ftp.cdrom.com:pub/os2/2_x/printer/fontutls. I created the AFM file by hand which allowed the font to be used with the OS/2 PM Adobe Type Manager. afm2pfm allows me to use the font with MS-Windows ATM. AFM documentation is available from ftp.adobe.com. PFM docuemntation is available in the Windows 3.1 DDK. Since writing afm2pfm, I found that a similar program AFM.EXE exists in the Windows 3.1 DDK. AFM.EXE is likely to have less problems thatn afm2pfm, but afm2pfm is free. Russell Lang Russian language software http://www.nagual.pp.ru/~ache/koi8/xwin.html http://www.siber.com/sib/russify/x-windows/ http://metalab.unc.edu/sergei/Software/Software.html %E ligure@email.com %N 23517 %B http://ligure.future.easyspace.com %Q Ligure %T Interesting site, offering surprises with every visit. They used to have the free fonts Caslon Initials, Sex Font, CG Omega, Shatter, Priory. On other visits, other fonts popped up such as AntonioMountbattenSH (Soft Horizons) and 15 fonts by Vytautas Abraitis. Bookmark this one! %L DD %d Aug 6 2002 %Q Ligure: DTP-ITALIA %N 23516 %B http://www.idrive.com/dtp_italia %T In the folder SHARED: Akzidenz-Grotesk, Bauhaus, Bembo, Comenius, Din, Meta Plus, Minion, Optima, Plantin, Sabon, Stone, Univers. Recently (Dec 2000): the full collections of Vintage Type, Emigre, Galapagos, FontFont, and tidbits from Scriptorium and Adobe. %E ligure@email.com %d Dec 10 2000 %L DD %E support@onlinebusiness.com %N 23515 %B http://www.OnlineBusiness.com/shops/_computers/BEST_more_free_fonts.shtml %Q More Free Fonts %L LI2 %d Feb 10 1999 %T %N 23514 %B http://www.cag.lcs.mit.edu/webify/ %L PS-TO PS-UT %d Feb 16 1999 %Q Webify %T " Webify is a program which makes web-browsable trees of hypertext files and JPEG/GIF images from Postscript source files. It was motivated by the need to convert Powerpoint presentations to humane web form. Resolution and other parameters are adjustable, allowing most any postscript file (papers, manuals, books) to be automatically converted to page-browsable form. Webify is freely distributed in C source form, and runs on UNIX systems having Ghostscript installed with PPMRAW conversion along with the cjpeg or ppmtogif utilities (all available free). It can be used (on UNIX systems) to convert postscript files generated on Macs, PCs, and elsewhere. CLICK HERE to DOWNLOAD a large compressed tar file containing webify source. The size of the file stems from the postscript containing the above presentation; webify is a simple, single C program which invokes GhostScript to do most of the real work. By Steve Ward." %E Ward@mit.edu %N 23513 %B http://www.i-france.com/ekwa123 %Q ekwa123 %L DD %T 12-font mini-archive. %d Feb 16 1999 %Q Burma Group Tuebingen %T Heiko&War War Min Schaefer run a wonderful site in support of Aung San Suu Kyi and a free Burma. They made 70 downloadable Burmese fonts: Burma, Burmese1_1, CECLASSIC, CEClassicTrueType, CEExcelTrueTypeMedium, CENORMAL, CENewClassicTrueType, CE_EXCEL, Karen3_0, Lik_Tai, Mya_NormalA, MyanTTF. Also at this site: AungSanBurma and SuuKyiBurma (by Soe Pyne), Innwa_, WwinBurmese and Wwin_Hlaing_Medium (by Win Tun), Type, Code1 and Code2 (by Shwe Naing-Ngan Myanmar True Type Fonts), Geocomp_S19A (by GEOCOMP MYANMAR), Theiree (by Len Aye), Win___Innwa (by Zaw Htut). %N 23512 %B http://homepage.uni-tuebingen.de/student/heiko.schaefer %L FO-BU GER %d Feb 21 1999 %E thaymin@gmx.net Meanwhile however I found a perfect way to convert Mac fonts to PC and - although maybe you know all this - I want to share the information with you and all who want to read this. For stuffed files (sit, sea, etc) use Aladdin Expander (completely free. somewhere on the web). Make sure "Save Macintosh files in MacBinary format" is set to "When a file contains a resource fork" (View, Options. More, CrossPlatform). For disk-based files (floppy, zip, etc) use TransMac (shareware, find it on the web). Make sure "Display settings before copy" (Options menu) is on. In the "Mac to PC Copy Settings" dialog (appears when starting copy) set File Translation to "Resource File" or MacBinary, whatever applies. Use CrossFont (same supplier as TransMac) to convert the font files to PC format. Have fun! Evert %Q FontUse Integrity %N 23511 %B nothing %E fontpolice@hotmail.com %d Feb 28 1999 %T Group of three people who sent email messages around the beginning of 1999 to many people, and who signed their messages as follows: Font Police, The Self-Appointed Champions (we are three) of Integrity and Fairness in the Use of Fonts. They were visiting many web sites that offered free fonts, and sent incorrect and unpleasant messages asking people to remove fonts. In a recent case that was mentioned on alt.binaries.fonts, they asked CybaPee to remove a font called Cupertino, which (according to them) "is a copyrighted font requiring purchase from the foundry". It turned out that there was no copyright notice in the font, and that it was shareware by A.W. Beck. They asked to remove the fonts "in honor of the artist(s) which work so hard to create fonts". Has it occurred to them that some designers would be proud to have their fonts displayed and passed on? Read about the details. %Z One phrase used by one of them was "ten lashings with a wet noodle". That phrase (but now "Fifty lashings with a wet noodle") was used on February 8 2001 by Gahlord Dewald on a TypeDesign list. As Gahlord is on record for similar activities, I will bet a lot of money that one of the three anonymous font policemen is our good old Gahlord. %Z Pointed out by Freddy. >From: "Gahlord Dewald" >To: >Sent: Thursday, February 08, 2001 12:26 ' >Subject: Re: [T-D] What are they teaching? >: >: My mistake. Fifty lashings with a wet noodle to me. Strike comments from >the >: record. %L TY-LG %Z In any case, you, the reader, can help stop this inquisition, by identifying the Font Police. Two of their IP addresses are 199.174.208.77 (Florida?) and 209.154.84.187 (London?). http://www.jazzfont.com/ http://www.dfw.net/~jazzman/snailfonts/ http://www.webfxmall.com/fonts/k1.html http://members.aol.com/bluevinyl/fonts.html http://www.swankarmy.net/dobi/toxic/main.html http://www.fontaddict.com/ http://users.skynet.be/micheyva/ http://www.fontaddict.com/ http://localsonly.wilmington.net/klink/ http://members.tripod.com/grimbo2/gemfont.htm http://www.ealoha.com/eafonts.htm http://216.40.240.10/fonts-l3.htm http://www.fontosaurus.com/ http://swiggle.simplenet.com/fontguy/html/p.html http://voyager.cns.ohiou.edu/~sadkins/web_library/fonts/font_archive/ http://www.diekmeyer.com/madfonts/ http://www.microsoft.com/typography/fontpack/default.htm http://members.aol.com/Fontageous/Fontageous.html http://hem.passagen.se/hmm/fonts/ http://web23.interspeed.net/dingbats/ancient/ancient.htm http://www.hartland.edu/www/personal/mprewitt/design/fonts_f_home.htm http://www.latech.edu/~bmcgehee/untype/crosses.htm http://freespace.virgin.net/james.devlin/frame.htm http://www.loseyourmind.com/down01.htm %N 23510 %B http://www.boybeaver.com/biblio/index.html %d Mar 1 1999 %Q Biblio@BoyBeaver %L HIS BO %T List of well-known typographers, with biographies of people such as Nicolas Jenson, Aldus Manutius, William Caslon, John Day, Johann Froben, William Caxton, and Christophe Plantin. Plus a list of typography books. %Q Why the Children? %N 23509 %B http://www.fortunecity.com/millenium/scooby/23/ythekids.html %T Pick up the Angelina font. %L AR3 %d Mar 2 1999 %E hansonpage@rocketmail.com %N 23508 %B nothing %Z http://www.geocities.com/EnchantedForest/Cottage/2616/free_fonts.html %Q Michelle and Caty %T Twenty font archive. %L DD %d Mar 2 1999 %Q Dave Fawthrop's Celtic Page %N 23507 %B http://www.win-uk.net/~hyphen/celtic.html %T PC version of a beta test set of fonts called Celtic Spiral, by Dave Fawthrop. %Z hyphen@c-h.win-uk.net %L OR2 FO-CE DE %D Dave Fawthrop %d Feb 12 2000 %E hyphen@hyphenologist.co.uk From: neilco@yesic.com (nutty pro) Tried the pfb fix from Scott and that fixed the problem in 4.1. When you copy the .pfm, .inf and .afm files from the CD, remove the "hidden" attribute and apply the pfb fix. Thanks Scott, now how about Tao? is there a fix for this ? > >> >>I had to scrape deep into my barrell to find the prog you wanted, and >>right at the bottom I found it.....so here it is... :-) >> >>fonty >> >Unfortunately I must agree with the Nutty Prof when on 3/1/99 he >noted: > >>There is also TOA.exe Type at Once >>I have both of them but unable to get it working with Type on Call >>version 4.1 >>Somehow I am getting an error message when I try to access it with ATM >>TITM.exe also get it but opens ups with a blank font page >>Anyone knows how to get these 2 cracks working with 4.1? > >The crack doesn't work fully with 4.1 > >Oh My. Reply | Reply to Author | Forward | Print | Individual Message | Show original | Report Abuse | Find messages by this author Aus den Werken von Anax WRC: > hello > I've this font http://www.pab.net.pl/anax/font.jpg it's 5461*1875 pixels! What a computer monitor you must have. > staccato222BT. I'm looking for similar one but not so jagged, I want > the outline (edges) to be smooth. > does anyone knows such font? The font is called Mistral. The Mistral that came with an old MGX graphics suite (from Digital Typeface Corp.) is smoother. Likewise the URW 1992 version that shipped with MS Word 97. There is a clone called "Mystical" that was distributed with Corel Draw 3 (eBay is your friend). The Mistral AV (Monotype) bundled with MGI Photosuite is quite smooth, too. The smoothest clone I found is "Mysell" from Mauerkirchner and Grunert (check your cheap font collections). %Q Free fonts %N 23506 %B http://www.math.uiuc.edu/~hartke/computer/latex/freefonts.php %T List of free Unicode compliant fonts under various licenses. This list covers Latin, Greek, Cyrillic and IPA. %L DD %d Mar 29 2006 ####### LIST FROM SCHNELLE: FRAKTUR FONTS #######################
Accidenz-Gothisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Achilles-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1910
Linotype, Frankfurt am Main, als Merkantil-Fraktur Akzidenz-Gotisch, Schmale
Bauer, Frankfurt am Main Albion-Gotisch
Hausschnitt
Krebs, Frankfurt am Main, um 1880 Alemannen-Fraktur
siehe Fenella-Fraktur Alt-Englisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Alt-Fraktur, Moderne
E. Brox
AG für Schriftgießerei, Offenbach, 1907 Altgotisch, Halbfette / Bradley *
(Altfettgotisch, Bradley, Amerikanische Alt-Gotisch)

J.W. Phinney, H.W. Bradley, USA, 1895/97-98
Verschiedene Gießereien
u. a. Schelter&Giesecke, Leipzig, 1903
Bauersche Gießerei, Frankfurt am Main, ca. 1908 Altgotisch
Schriftkünstler unbekannt Verschiedene Gießereien, um 1900 Alt-Gothisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Alt-Gotisch, Amerikanische *
siehe Altgotisch, Halbfette Altdeutsch
Hausschnitt ?
Ferdinand Theinhardt, Berlin, um 1900 Altenburger Gotisch
Hans Wagner
Ludwig&Mayer, Frankfurt am Main, 1928 Alt-Fraktur
Hausschnitt
Haas, Münchenstein (CH) Altschwabacher Werkschrift
Franz Riedinger
Krebs, Frankfurt am Main, 1918 American Text
Morris Fuller Benton
American Type Founders, Jersey City, 1932 Amerikanische Altgotisch
siehe Altgotisch, Halbfette Amerikanische Gotisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Amts-Fraktur
Heinrich Hoffmeister
Stempel, Frankfurt am Main, 1906 Andreas-Schrift
Hans Kühne
Gebr. Klingspor, Offenbach, 1954 Angelsächsisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Angelsächsisch
Hausschnitt ?
AG für Schriftgießerei, Offenbach Anglo-Saxon
USA, ca. 1854 Apart
Albert Auspurg
AG für Schriftgießerei, Offenbach, 1911 Archiv-Gotisch, magere
Hausschnitt ?
AG für Schriftgießerei, Offenbach, 1909 Ariadne-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1912
Linotype, Frankfurt am Main, als Badenia-Fraktur Aristokrat *
Albert Auspurg
Ludwig&Mayer, Frankfurt am Main, 1912 Armin-Fraktur
Hausschnitt
Monotype, 1904 Armin-Gotisch
Fritz Müller
Schriftguß AG, Dresden, 1933 Arminius-Fraktur
Hausschnitt ?
Stempel, Frankfurt am Main, 1905
Linotype, Frankfurt am Main, als Rheinische Fraktur Asta
Hausschnitt nach amerik. Original
AG für Schriftgießerei, Offenbach, 1902 Augustan Text
USA, ca. 1860 B
Badenia-Fraktur
siehe Ariadne-Fraktur Badenweiler
Herbert Stahr
Schriftgießerei Gutenberg, 1933 Baldur
Hausschnitt ?
Schelter&Giesecke, Leipzig, 1895 Ballade
Paul Renner, um 1927
Berthold, Berlin, 1938 Baltisch (Ergänzung zur Hupp-Neudeutsch)
Otto Hupp
Genzsch&Heyse, Hamburg, 1903 Bastard
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Bauersche Fraktur
Friedrich Wilhelm Bauer
Bauersche Gießerei, Frankfurt am Main, 1905 Bayreuth
Ernst Schneidler
C. E. Weber, Stuttgart, 1932 Becker Series
Nicholas Joseph Werner
Inland Type Foundry, St. Louis (USA), 1899 Belwe-Gotisch
Georg Belwe
Schelter&Giesecke, Leipzig, 1912 Berliner Gotisch
Hausschnitt
Wilhelm Woellmers Schriftgießerei, Berlin, 1909 Bernhard-Fraktur
Lucian Bernhard, 1912
Flinsch, Frankfurt am Main, 1913
Bauersche Gießerei, Frankfurt am Main, 1922 Bernhard-Fraktur, Extrafette
Lucian Bernhard, 1912
Flinsch, Frankfurt am Main, 1913
Bauersche Gießerei, Frankfurt am Main, 1922 Berthold-Fraktur
Hausschnitt
Berthold, Berlin, ab 1909 Bibelschrift
siehe Bremer Presse Bibeltype Bismarck-Fraktur
Hausschnitt Berthold, Berlin, 1860 Bismarck-Schrift
Hausschnitt
Monotype, ca. 1936 Block-Fraktur
A. Froescher
Berthold, Berlin, 1914 Bold Borussian
USA, ca. 1865 Bradley
siehe Altgotisch, Halbfette Brahms-Gotisch
Heinz Beck
Genzsch&Heyse, Hamburg, 1937 Breitkopf-Fraktur
JGI Breitkopf, um 1760
Julius Klinkhardt, Leipzig, vor 1900
C. F. Rühl, Leipzig, 1912
Stempel, Frankfurt am Main, 1912
Berthold, Berlin, 1919 und weitere Bremen (Plakatschrift)
Schriftguß AG, Dresden Brentano-Fraktur
Albert Auspurg
Krebs, Frankfurt a. Main, 1915 Brigitte
Hausschnitt ?
Ludwig&Mayer, Frankfurt am Main, ca. 1935 Britania-Gotisch
Hausschnitt ?
Julius Klinkhardt, Leipzig Britannia-Gotisch, Fette
(Variation der Altgotisch, Halbfette)
Bauersche Gießerei, Frankfurt am Main Buchdeutsch
Ernst Schneidler
Schelter&Giesecke, Leipzig, 1923 Buchdeutsch halbfett
Ernst Schneidler
Schelter&Giesecke, Leipzig, 1926 Buch-Fraktur
Stempel, Frankfurt am Main, ca. 1935 Buchgotisch
Karl Rupprecht
Hoffmeister, Leipzig, 1908 Buchgotisch, Runde
Hausschnitt
Wilhelm Woellmers Schriftgießerei, Berlin, um 1900 Buchschrift
Hausschnitt ?
Krebs, Frankfurt am Main Bürgerschafts-Fraktur
Friedrich Bauer
Genzsch&Heyse, Hamburg, 1913 Büxenstein-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1912 Buhe-Fraktur
Walter Buhe
Stempel, Frankfurt am Main, 1915 Burte-Fraktur
Christian Heinrich Kleukens, Gustav Eichenauer
Mainzer Presse, Mainz, 1928 C
Canzlei, Breite
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Canzlei, Moderne
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Canzlei, Musirte
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Canzlei, Neueste fette
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Canzlei Nr. 15
Wilhelm Pfnor
Polytypenfabrik&Schriftgießerei Pfnor, Darmstadt, ca. 1830 Canzlei, Schmale
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Canzlei, Umzogene
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Caslon-Gotisch
William Caslon, um 1760
Offizin W. Drugulin, Leipzig, vor 1900
Stempel, Frankfurt am Main, 1924 Card Text
USA, 1867 Centralschrift
Hausschnitt
C. G. Schoppe, Berlin, 1853 Ceres-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1903
Linotype, Frankfurt am Main, als Gutenberg-Fraktur Chester Text
Sidney Gaunt
Barnhart Brothers&Spindler, Chicago, 1914 Chronika
Walter Jakobs
C. E. Weber, Stuttgart, 1936
Trennert&Sohn, Hamburg-Altona Chronika, Verzierte
Walter Jakobs
Trennert&Sohn, Hamburg-Altona, 1937
C. E. Weber, Stuttgart Claudius *
Rudolf Koch
Stempel, Frankfurt am Main, 1937 Cloister Black
Morris Fuller Benton
American Type Founders Company, Jersey City, 1903 Coelnische Current
Hausschnitt
Luthersche Gießerei, Frankfurt am Main, 16. Jahrhundert Comtesse
siehe Wedding Text Continental
nach amerik. Original
Heinrich Hoffmeister, Leipzig, 1901 Courante Gotisch
Hausschnitt ?
Gebr. Arndt&Co, Berlin, vor 1926 D
Danziger Fraktur
Cohn
Stempel, Frankfurt am Main, 1905 Deepdene Text
F. W. Goudy
Village Letter Foundry, Marlborough, 1931 Deutsch-Gotisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Deutsche Anzeigenschrift
Rudolf Koch
Stempel, Frankfurt am Main, ab 1923 Deutsche Kraft
Albert Auspurg
Ludwig&Mayer, Frankfurt am Main, 1915 Deutsche Kursiv
Richard Ludwig
Ludwig&Mayer, Frankfurt am Main, 1909 Deutsche Laufschrift
Rudolf Engelhardt
Hoffmeitser, Leipzig, 1911 Deutsche Reichsfraktur (Deutsche Reichs-Schrift)
Hausschnitt ?
Wilhelm Woellmers Schriftgießerei, Berlin, vor 1925 Deutsche Schrägschrift
Rudolf Koch
Gebr. Klingspor, Offenbach, 1912 Deutsche Schrift (sog. Koch-Fraktur) *
Rudolf Koch
Gebr. Klingspor, Offenbach, ab 1908 Deutsche Werkschrift
Rudolf Koch
Stempel, Frankfurt am Main, 1934 Deutsche Zierschrift
Rudolf Koch
Gebr. Klingspor, Offenbach, 1921 Deutschland
Hausschnitt ?
Berthold, Berlin, um 1934 Diplomen-Gotisch
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Dresdner Amtsfraktur
Hausschnitt ?
Brüder Butter, Dresden, ca. 1913 Duchesse
Hausschnitt ?
Bauersche Gießerei, Frankfurt am Main Dürer-Gotisch
Hausschnitt ?
Flinsch, Frankfurt am Main, um 1900 E Edison
siehe Houghton Egenolff
Hausschnitt ?
Ludwig&Mayer, Frankfurt am Main, 1905 Egmont-Fraktur
Stempel, Frankfurt am Main, 1909
Linotype, Frankfurt am Main, als Jänecke-Fraktur Ehmcke-Fraktur
Fritz Helmuth Ehmcke, 1909, und
Louis Hoell, Flinsch, Frankfurt am Main, 1910
Offizin W. Drugulin, Leipzig, 1912 (Hausschrift)
Stempel, Frankfurt am Main, 1919 Ehmcke-Fraktur, Halbfette
Stempel, Frankfurt am Main, 1924 Ehmcke-Schwabacher
Fritz Helmuth Ehmcke, 1914
Stempel, Frankfurt am Main, 1920 Einheits-Fraktur
Heinrich Hoffmeister ?
Hoffmeister, Leipzig, ca. 1914 Elfen-Fraktur
(ursprünglich Sieges-Fraktur genannt)
M. Beck
Hoffmeister, Leipzig, 1919 Elite-Kanzlei *
Hausschnitt (nach der Wedding Text)
Stempel, Frankfurt am Main, 1905
siehe auch Wedding Text Engravers Old English
Morris Fuller Benton
American Type Founders, New Jersey, 1901 Engravers Text
Morris Fuller Benton
American Type Founders, New Jersey, 1930 Erbar-Fraktur
Jakob Erbar
Ludwig&Mayer, Frankfurt am Main, 1936 Erbar-Kanzlei Jakob Erbar
Ludwig&Mayer, Frankfurt am Main, 1913 Erfolg
Hausschnitt ?
Genzsch&Heyse, Hamburg, 1920 F
Fancy Text
USA, 1870 Faust-Fraktur
E. Brox
Stempel, Frankfurt am main, 1910 Favorit
Hausschnitt
Wilhelm Woellmers Schriftgießerei, Berlin, vor 1900 Fenella-Fraktur
Linotype, Frankfurt am Main, 1911
Stempel, Frankfurt am Main, als Alemannen-Fraktur Fichte-Fraktur
(ursprünglich Hindenburg-Fraktur)
Walter Tiemann
Gebr. Klingspor, Offenbach, 1934 Flinsch-Fraktur (Frankfurter Fraktur)
Ansgar Schoppmeyer, 1905
Flinsch, Frankfurt am Main, ca. 1906 / 1911 Flinsch-Germanisch
Karl Klimsch
Flinsch, Frankfurt am Main, 1876 Flinsch-Privat *
Lucian Bernhard Flinsch, Frankfurt am Main
Bauersche Gießerei, Frankfurt am Main, 1919 Fraktur 14g
Hausschnitt
Emil Gursch, Berlin, 1910 Fraktur, Alte
Hausschnitt ?
Genzsch&Heyse, Hamburg, ca. 1906 Fraktur, Fette *
Christian Bauer
Bauersche Gießerei, Frankfurt am Main Fraktur, Moderne enge halbfette *
Hausschnitt
Schelter&Giesecke, Leipzig, 1886 Fraktur-Kursiv
Albert Auspurg
AG für Schriftgießerei, Offenbach, 1923 Fraktur, Runde
Hausschnitt ?
Ludwig&Mayer, Frankfurt am Main, ca. 1906 Frankfurter Fraktur
siehe Flinsch-Fraktur Frankfurter Schwabacher
Hausschnitt
Stempel, Frankfurt am Main, vor 1925 Freigotisch
Hausscnitt
AG für Schriftgießerei, Offenbach, 1922 Fritz-Reuter-Schrift
siehe Bauernschrift Fröbel-Fraktur
Stempel, Frankfurt am Main, 1910
Linotype, Frankfurt am Main, als Silesia-Fraktur Frühling (auch Kartenschrift genannt) *
Rudolf Koch
Gebr. Klingspor, Offenbach, 1917 G
Genzsch-Fraktur
Friedrich Bauer
Genzsch&Heyse, Hamburg, 1931 Gerda, Kartenschrift
Hausschnitt
Wilhelm Woellmers Schriftgießerei, Berlin, 1915 Germroth-Deutsch
G. Germroth
Ludwig&Mayer, Frankfurt am Main, 1935 Gilgenart
Hermann Zapf
Stempel, Frankfurt am Main, 1952 Globus, Fette
Hausschnitt ?
Wilhelm Woellmers Schriftgießerei, Berlin, 1898
Richard Gans, Madrid, Barcelona, Sevilla (als Gótico Globo) Görres-Fraktur
Rudolf Wolf
Stempel, Frankfurt am Main, 1939 Goethe-Fraktur
Hausschnitt ?
Wilhelm Woellmers Schriftgießerei, Berlin, 1905 Gothisch, Moderne
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1891 Gotika
Imre Reiner
Bauersche Gießerei, Frankfurt am Main, 1933 Gotisch
Hausschnitt ?
Bauersche Gießerei, Frankfurt am Main, um 1860 Gotisch, Brabanter
siehe Brabanter Gotisch Gotisch, Englische
Hausschnitt
Genzsch&Heyse, Hamburg, vor 1902
Bauer, Frankfurt am Main, ca. 1906 Gotisch, Fette
Hausschnitt
Bauer, Frankfurt am Main, 1893
AG für Schriftgießerei, Offenbach
Schelter&Giesecke, Leipzig, 1893
Genzsch&Heyse, Hamburg, um 1902
John, Hamburg
Weber, Stuttgart Ludwig&Mayer, Frankfurt am Main
und andere Gotisch, Moderne
Haas, Münchenstein
Schelter&Giesecke, Leipzig
Weber, Stuttgart Gotisch, Neue fette
Hausschnitt
Stempel, Frankfurt am Main, 1899 Gotisch, Schmale halbfette *
Hausschnitt
Bauer, Frankfurt am Main, 1909 Gotisch, Schraffierte
Hausschnitt
Berthold, Berlin, vor 1900 Graphic Text
USA, 1883 Grobe Gotisch, Ganz
Ernst Schneidler
Otto Weisert, Stuttgart, 1930 Gronau-Gotisch
Heinrich Ehlert
Wilhelm Gronaus Schriftgießerei, Berlin, 1850 Großdeutsch
Herbert Thannhaeuser
Schelter&Giesecke, Leipzig, 1935 Gutenberg-Fraktur
Friedrich Wilhelm Kleukens
Brüder Butter, Dresden, 1900 Gutenberg-Fraktur (Stempel)
siehe Ceres-Fraktur
Gutenberg-Gotisch
Schelter&Giesecke, Leipzig, vor 1912 Gutenberg-Jubiläums-Fraktur
Hausschnitt ?
Stempel, Frankfurt am Main, 1900 Gutenberg-Textura
Rekonstruiert von Gustav Mori
Stempel, Frankfurt am Main, 1928 H
Hamburger Druckschrift *
Friedrich Bauer
Genzsch&Heyse, Hamburg, 1904 Hamburger Fraktur
E. Brox
J. John Söhne, Hamburg, 1907 Hamburger Schwabacher
Klingspor, Offenbach Hammonia-Gotisch
Hausschnitt
Genzsch&Heyse, Hamburg, vor 1925 Hansa-Fraktur
Hausschnitt ?
Genzsch&Heyse, Hamburg, ca. 1915
Trennert&Sohn, Altona
Schriftguß AG, Dresden Hansa-Gotisch
Hausschnitt ?
Genzsch&Heyse, Hamburg ? Hartwig-Schrift
Hartwig Poppelbaum
Krebs, Frankfurt am Main, 1927/28 Heimat
Wilhelm Weimar
Genzsch&Heyse, Hamburg, 1917 Heinrichsen-Kanzlei *
Friedrich Heinrichsen
Trennert, Hamburg, 1933 Heinz-König-Setzmaschinen-Fraktur
Heinz König
Stempel, Frankfurt am Main, 1913 Helen-Fraktur
Robert Haas
Monotype Hermann-Gotisch
Herbert Thannhaeuser
Schelter&Giesecke, Leipzig, 1934 Herold-Fraktur
siehe Marius-Fraktur Hindenburg-Fraktur
siehe Fichte-Fraktur Hölderlin-Fraktur
Eugen Weiß
Ludwig&Mayer, Frankfurt am Main, 1937
Schriftguß AG, Dresden (als Walhalla) Hohlwein-Schrift

Ludwig Hohlwein
Krebs, Frankfurt am Main, 1907 Hoyer-Fraktur
H. Th. Hoyer
Bauersche Gießerei, Frankfurt am Main, um 1935 Hubertus-Fraktur
Hausschnitt ?
Stempel, Frankfuert am Main Humboldt-Fraktur *
Hiero Rhode
Stempel, Frankfurt am Main, 1938 Hupp-Fraktur
Otto Hupp
Gebr. Klingspor, Offenbach, 1910 Hupp-Neudeutsch
Otto Hupp
Genzsch&Heyse, Hamburg, 1900 I
Ideal-Fraktur *
Eduard Brox
Trennert&Sohn, Hamburg, 1909 Jaecker-Schrift, Enge
Wilhelm Jaecker
Stempel, Frankfurt am Main, um 1915 Jänecke-Fraktur
siehe Egmont-Fraktur Jasmin
Hausschnitt
Schriftguß AG, Dresden, 1929 Jean-Paul-Schrift
Hausschnitt
Schriftguß AG, Dresden, 1922 (1798) Jessen-Schrift (Bibelschrift)
Rudolf Koch
Gebr. Klingspor, Offenbach, 1926 Jochheim-Deutsch
Konrad Jochheim
Wilhelm Woellmers Schriftgießerei, Berlin, 1934 Johannes-Type
Johannes Schulz
Genzsch&Heyse, Hamburg, 1933 Journal-Kursiv *
Rudolf Engelhardt
Ludwig Wagner, Leipzig, 1913 Jugend-Fraktur
Hausschnitt
Schelter&Giesecke, Leipzig, 1906 Junk-Fraktur
R. Junk
österreichische Staatsdruckerei, Wien K
Kaiser-Gotisch
Hausschnitt Otto Weisert, Stuttgart, vor 1900 Kanzlei
Hausschnitt
Flinsch, Frankfurt am Main, um 1830 Kanzlei, Fette
Hausschnitt
Flinsch, Frankfurt am Main, um 1830 Kanzlei, Breite
Hausschnitt
Schelter&Giesecke, Leipzig, 1835 Karten-Gotisch
Hausschnitt ?
Krebs, Frankfurt am Main, vor 1925 Kasseler Fraktur halbfett
Hausschnitt
Monotype, Frankfurt am Main Kleist-Fraktur
Walter Tiemann
Gebr. Klingspor, Offenbach, 1928 Kleukens-Fraktur
Friedrich Wilhelm Kleukens
Stempel, Frankfurt am Main, 1910 Kloster-Gotisch, Magere
Hausschnitt ?
Flinsch, Frankfurt am Main, um 1900 Koch-Kurrent
Rudolf Koch
Gebr. Klingspor, Offenbach, 1935 König-Fraktur
Heinz König
Emil Gursch, Berlin König-Schwabacher
Heinz König
Emil Gursch, Berlin, ca. 1915 König-Type
Heinz König
Emil Gursch, Berlin, 1907 Krimhilde
Albert Auspurg
Ludwig&Mayer, Frankfurt am Main, 1933 Kühne-Schrift
Hans Kühne
Gebr. Klingspor, Offenbach, 1954 Künstler-Gotisch
W. Groß
Krebs, Frankfurt am Main, 1900 Kurante Gotisch
Hausschnitt ?
Bauer, Frankfurt am Main
Berthold, Berlin, ca. 1875 Kursachsen
Peterpaul Weiß
Schriftguß AG, Dresden, 1937 Laudahn-Kanzlei *
Heinrich Laudahn
Bauersche Gießerei, Frankfurt am Main, 1912 Leipziger Neugotisch
Rudolf Engelhardt
Wagner, Leipzig, 1913 Lincoln-Gotisch
siehe Wedding Text Lipsia
siehe Wedding Text Luthersche Fraktur
Drugulin, Leipzig
Stemnpel, Frankfurt am Main, vor 1925 (1934) M Marggraff-Deutsch
Gerhard Marggraff
Schriftguß AG, Dresden, ab 1939 Marius-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1910
Linotype, Frankfurt am Main, als Herold-Fraktur Mars-Fraktur
siehe Romeo-Fraktur Matthies-Kursiv
Carl Matthies
Stempel, Frankfurt am Main, 1912 Maximilian-Gotisch
Rudolf Koch Gebr. Klingspor, Offenbach, 1917 Merkantil-Fraktur
siehe Achilles-Fraktur Merzbach-Fraktur
siehe Romulus-Fraktur Meta
siehe Wedding Text Midoline
Jean Midolle
Julius Klinkhardt, Leipzig, um 1840 Möricke-Fraktur
Ernst Engel und Rudolf Schiffner (Graveuer)
Gegossen bei Klingspor, Offenbach, 1922
für die Ernst-Engel-Privatpresse Morris-Gotisch
Bauer, Stuttgart und Berthold, Berlin, vor 1905
Richard Gans, Madrid, Barcelona, Sevilla (als Gótico Uncial) Münster-Gotisch, Halbfette
Hausschnitt
Schelter&Giesecke, Leipzig, 1896 N
National *
Walter Höhnisch
Ludwig&Mayer, Frankfurt am Main, ab 1933
Schriftguß AG, Dresden Nederduits (Fleischmann-Gotisch)
Johann Michael Fleischmann
Joh. Enschede, Haarlem, ca. 1750 Neudeutsche Fraktur
Hausschnitt ?
Otto Weisert, Stuttgart, vor 1903 Neu-Fraktur
Nach Zeichnungen von Rudolf Koch
Gebr. Klingspor, Frankfurt am Main, 1934 Neue Fraktur
Hausschnitt ?
Wagner, Ingolstadt, 1927 Neue Fraktur extrafett
Hausschnitt ?
Wagner, Ingolstadt, 1927 Niedersachsen-Fraktur
Intertype, vor 1930 Nordland
Heinz Beck
Trennert&Sohn, Hamburg-Altona, 1935 Nürnberg
Hausschnitt
Ludwig Wagner, Leipzig, 1934 Nürnberger Kanzlei
Albert Auspurg
Krebs, Frankfurt am Main, 1906 Nürnberger Schwabacher
Nach alten Originalen
Haas, Münchenstein (CH), 1930 O
Offenbach, Magere
Rudolf Koch
Gebr. Klingspor, Offenbach, 1934 Offenbach halbfett
Hans Kühne
Gebr. Klingspor, Offenbach, 1937 Offenbach fett
Hans Kühne
Gebr. Klingspor, Offenbach, 1938 Offenbacher Fraktur
Hausschnitt
Gebr. Klingspor, Offenbach, um 1900 Offenbacher Reform
Hausschnitt
Roos&Junge, Offenbach, um 1900 Old English Text
Morris Fuller Benton 1901 Original-Gotisch
Hausschnitt
Bauer, Frankfurt am Main, vor 1867 P
Parlaments-Fraktur
Hausschnitt
C. E. Weber, Stuttgart, 1910 Pencraft Text
Sidney Gaunt
Barnhart Brothers&Spindler, Chicago, 1916 Pergament-Gotisch
Hausschnitt
Schelter&Giesecke, Leipzig, vor 1925 Peter Schlemihl
Walter Tiemann
Gebr. Klingspor, Offenbach, 1914 Post-Fraktur *
Herbert Post/Paul Koch
Berthold, Berlin, 1935 Potsdam
Robert Golpon
Trennert&Sohn, Hamburg-Altona, 1934 Prinzeß Kupferstichschrift
Hausschnitt
Berthold, Berlin, 1905 Psalterium
Hausschnitt
Genzsch&Heyse, Hamburg R
Ratdolt-Rotunda
Erhard Ratdolt, um 1486 Rediviva *
Franz Riedinger
Krebs, Frankfurt am Main, 1905 Reform-Fraktur
Hausschnitt
Hoffmeister, Leipzig, 1903 Reichert-Gotisch
J. Reichert
Ludwig&Mayer, Frankfurt am Main, 30er Jahre Reichskanzlei
Hausschnitt
Schelter&Giesecke, Leipzig, vor 1925 Renaissance-Fraktur
Heinz König
Genzsch&Heyse, Hamburg, 1885 Reklame-Fraktur
Albert Auspurg
Ludwig&Mayer, Frankfurt am Main, 1914 Rembrandt-Fraktur
Hausschnitt ?
Brüder Butter, Dresden, 1914 Renata
Hausschnitt Flinsch, Frankfurt am Main
Bauersche Gießerei, Frankfurt am Main, 1914 Reuß-Schrift
Hausschnitt ?
Wilhelm Woellmers Schriftgießerei, Berlin Rhapsodie *
Ilse Schüle
Ludwig&Mayer, Frankfurt am Main, 1951 Rheinische Fraktur
siehe Arminius-Fraktur Richard-Wagner-Fraktur *
Hausschnitt ?
Genzsch&Heyse, Hamburg, ca. 1911 Rimmed Black
USA, ca. 1865 Ripple Text
USA, 1878 Rohrfeder-Fraktur *
Franz Riedinger
Krebs, Frankfurt am Main, 1909 Romeo-Fraktur
Hausschnitt
Stempel, Frankfurt am Main, 1910
Linotype, Frankfurt am Main, als Mars-Fraktur Romulus-Fraktur
Hausschnitt Stempel, Frankfurt am Main, 1910
Linotype, Frankfurt am Main, als Merzbach-Fraktur Rundgotisch
Hausschnitt
Schelter&Giesecke, Leipzig, 1903 S
Sachsenwald-Gotisch
Berthold Wolpe
Monotype, 1936 Satanick
USA, ca. 1894 Schiller-Fraktur *
Hausschnitt ?
Weisert, Berlin, ca. 1905 ? Schiller-Jubiläumsschrift
Friedrich Wernicke
Stempel, Frankfurt am Main, 1904 Schmid-Fraktur
M. Schmid
österreichische Staatsdruckerei, Wien Schneidler-Deutsch (Schneidler-Buchdeutsch)
Ernst Schneidler
Schelter&Giesecke, Leipzig, vor 1925 Schneidler-Fraktur
Ernst Schneidler
Schelter&Giesecke, Leipzig, 1916 Schneidler-Schwabacher
Ernst Schneidler
Schelter&Giesecke, Leipzig, 1913 Schöffer-Gotisch
Hausschnitt
AG für Schriftgießerei, Offenbach, um 1900 Schöndeutsch
Albert Auspurg
Ludwig&Mayer, Frankfurt am Main, 1934 Schreibdeutsch
Schriftguß AG, Dresden Schwabacher, Alte
Krebs, Frankfurt am Main, 1914
Genzsch&Heyse, Hamburg
J. Ch. Zanker, Nürnberg
C. F. Rühl, Leipzig Schwabacher, Die
Schriftguß AG, Dresden Senats-Fraktur
Friedrich Bauer
Genzsch&Heyse, Hamburg, 1907 Serpentis
E. W. Tieffenbach
Officina Serpentis, Berlin, 1913 Siderographic Ornate
USA, 1872 Sieges-Fraktur
siehe Elfen-Fraktur Silesia-Fraktur
siehe Fröbel-Fraktur Sloping Black
USA, 1896 Souverän
Albert Auspurg
Genzsch&Heyse, Hamburg, 1913 Standarte
Werner Brand
Schelter&Giesecke, Leipzig, 1934 Start
Albert Auspurg
C. E. Weber, Stuttgart, 1934 Staufia
Hausschnitt ?
C. E. Weber, Stuttgart, 1935 Steel Plate Text
USA, 1881 Steiner-Prag-Schrift
Hugo Steiner-Prag
Genzsch&Heyse, Hamburg, 1914 Stempel-Fraktur
Heinrich Hoffmeister
Stempel, Frankfurt am Main, 1916 Straßburg
Hausschnitt
Berthold, Berlin, 1926 Stuttgarter Fraktur
Froescher
Berthold, Berlin, 1915 Suevia-Fraktur
(wahrscheinlich Ernst Schneidler)
C. E. Weber, Stuttgart
Schriftguß AG, Dresden Superbia
Heinz König
Genzsch&Heyse, Hamburg, 1913 T
Tannenberg *
Erich Meyer
Stempel, Frankfurt am Main, 1933 Teutonia **
Hausschnitt
Hoffmeister, Leipzig, um 1900
** = eine von mehreren Schriften,
die diesen Namen trugen!!! Teutonia **
Hausschnitt
Wilhelm Gronaus Schriftgießerei, Berlin, um 1900
** = eine von mehreren Schriften,
die diesen Namen trugen!!! Text Ornate
USA, 1872 Thannhaeuser-Fraktur
Herbert Thannhaeuser
Schelter&Giesecke, Leipzig, 1938 Tiemann-Fraktur
Walter Tiemann
Gebr. Klingspor, Offenbach, 1914 Tiemann-Gotisch
Walter Tiemann
Gebr. Klingspor, Offenbach, 1924 Title Text
USA, 1870 Trennert-Fraktur
F. W. Kleukens
Trennert&Sohn, Hamburg-Altona, 1931 Trump-Deutsch *
Georg Trump
Berthold, Berlin, 1936 U
Uhlen-Rundgotisch
Hausschnitt
Monotype, ca. 1938 Uncial-Gotisch
Hausschnitt
Wilhelm Woellmers Schriftgießerei, Berlin, um 1900 Universal-Gotisch
Hausschnitt
Flinsch, Frankfurt am Main, um 1900
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1912 Urdeutsch
Adolf Heimberg
Genzsch&Heyse, Hamburg, 1925 W
Walbaum-Fraktur
Justus Erich Walbaum, um 1800
Berthold, Berlin Waldorf Text
Hausschnitt
Barnhart Brothers&Spindler, Chicago, 1914 Walhalla
siehe Hölderlin-Fraktur Wallau *
Rudolf Koch
Gebr. Klingspor, Offenbach, 1931 Washington Text
Hausschnitt
Keystone Type Foundry, Philadelphia, 1902 Weimar-Schrift
Wilhelm Weimar
Genzsch&Heyse, Hamburg, 1924 Weiß-Fraktur
Emil Rudolf Weiß
Bauersche Gießerei, Frankfurt am Main, 1913 Weiß-Fraktur, Kursive
Emil Rudolf Weiß
Bauersche Gießerei, Frankfurt am Main, 1923 Weiß-Gotisch
Emil Rudolf Weiß
Bauersche Gießerei, Frankfurt am Main, 1936 Weiß-Rundgotisch
Emil Rudolf Weiß
Bauersche Gießerei, Frankfurt am Main, 1937 Werbedeutsch *
Herbert Thannhaeuser
Schelter&Giesecke, Leipzig, 1933 Werbekraft
Arthur Schulze
Ludwig&Mayer, Frankfurt am Main, 1926 Werk-Gotisch
Hausschnitt
Ludwig&Mayer, Frankfurt am Main, um 1900 Werther-Fraktur
Hausschnitt
Genzsch&Heyse, Hamburg, um 1900 Wieynck-Fraktur
Heinrich Wieynck
Bauersche Gießerei, Frankfurt am Main, 1915 Wieynck-Gotisch
Heinrich Wieynck
Brüder Butter, Dresden, 1926
Schriftguß AG, Dresden Wieynck-Kanzlei
Heinrich Wieynck
Stempel, Frankfurt am Main, 1926 Wieynck-Werkschrift
Heinrich Wieynck
Schriftguß AG, Dresden, 1930 Wilhelm-Klingspor-Schrift
Rudolf Koch
Gebr. Klingspor, Offenbach, 1926 Wittenberger Fraktur (Mars-Fraktur)
Monotype, 1904 Woellmer-Fraktur
Erich Mayer
Wilhelm Woellmers Schriftgießerei, Berlin, 1937 Würzburger Fraktur
Hausschnitt
Monotype, Frankfurt am Main Z
Zeitungs-Fraktur No. 8
Hausschnitt
Böttger, Leipzig Zeitungs-Gotisch, Schmale
Wilhelm Gronaus Schriftgießerei, Berlin, vor 1912 Zeitungs-Schwabacher, Neue
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http://www.linkclub.or.jp/%7Eryo-ko/water/ http://www.plusism.u-net.com/ http://homepage1.nifty.com/GO-GO-/ http://homepage1.nifty.com/hb/ http://www.age.ne.jp/x/kf/gf/ http://maccomac.pos.to/ http://kaori.pos.to/ http://www.din.or.jp/%7Enan/ http://www.tiu.ac.jp/%7Enishidai/penta/ http://www.aurora.dti.ne.jp/%7Ehirop/index.html http://Crunch.hello.to/ http://www.tcp-ip.or.jp/%7Emasatake/ http://psy.pos.to/ http://www.iamas.ac.jp/%7Em-goto98/braille/ http://www.mda.or.jp/%7Etrump/ http://www.daf.to/ http://choco.oc.to/ http://lovely.millto.net/%7Eheart/ http://member.nifty.ne.jp/digitaldreamdesign/ http://yokohama.cool.ne.jp/behindthesun/ http://www.interq.or.jp/pluto/akiko/ http://cobweb.tamacc.chuo-u.ac.jp/chitta/works/ http://www.ne.jp/asahi/cihpar/graphic/ http://home3.highway.ne.jp/econo/ http://www.g2systems.jp.org/ http://ha7.seikyou.ne.jp/home/wa-mi/ http://www.netpro.ne.jp/%7Ecoo http://www1.linkclub.or.jp/%7Ekm-g/ http://www.d1.dion.ne.jp/%7Emadpanda/ http://www.keepyoureyesopen.com/ http://www.yo.rim.or.jp/%7Epeace-g/ http://www.takasakiyama.com/ http://jiyu.net.np/emperorsoft/ http://www.nifune.com/ http://www.freepage.total.co.jp/demonhill/index.html http://www.246.ne.jp/%7Erodeo/kokusan.htm http://www5a.biglobe.ne.jp/%7Ekensu/untitled.html http://home9.highway.ne.jp/BRIDGEco/index/ http://www.angel.ne.jp/%7Etamon/ http://www2.osk.3web.ne.jp/%7Eyasn/ http://hello.to/uppergood/ http://www04.u-page.so-net.ne.jp/bf6/jmb/ http://www.asahi-net.or.jp/%7Eaf8h-isym/ http://www.pornomen.jp.org/ http://www02.u-page.so-net.ne.jp/df6/kazuaki/ http://www2s.biglobe.ne.jp/%7EJUNK/ http://www.2apes.com/ http://www.asahi-net.or.jp/%7Exd6y-myuc/ http://popup.nu/top/index.html http://www.block-net.org/ http://www.with-m.com/ http://www.ne.jp/asahi/kyakirun/kya/ http://free.prohosting.com/%7Etakker/ http://drop_graphics.tripod.co.jp/ http://www2.osk.3web.ne.jp/%7Ekinewest/ http://www09.u-page.so-net.ne.jp/xc4/m-shimo/ http://www.ad.il24.net/%7Ekuzumi/ http://www.interq.or.jp/japan/tobefont/ -------------------------------------------------------------------- New Nick Curtis fonts in 2007: Blitzkrieg,"Lettering on a travel brochure, Deutsche Lufthansa, 1930s, designer unknown" Burger Doodle,"Sign and menu lettering for Bob's Big Boy Restaurants, USA, 1960s" Calamity Jane,"Foundry type, Banquet, Cleveland Type Foundry, 1890s" Catalunya Choo Choo,"Lettering from a poster about STDs, Barcelona, 1930s, designer unkown" Daddy Longlegs,"Poster art, Verlag des Deuthschen Buchewerbeverins ze Leipzig, 1929, designer unknown" Night at the Opera,"Poster lettering for the Hotel Savoia, Italy, ca. 1930, designer unknown" Orion Radio,"Advertising lettering for Orion Radio, ca 1930, designer unknown" Radio Days,"Logotype lettering for Crossley Radios, 1930s" Shall We Gdansk,"Poster lettering for MLL Airshow, Zilina, Czechoslovakia, 1936, designer unknown" Skittles 'n' Beer,"Handlettering on a travel brochure, P&O British-India Lines, 1929, designer unknown" Vacation Postcard,"Patterned after various souvenir postcards available at gift shops along US highways, 1950s to present" Monkey Business,"Based loosely on Talking Drums, designed by Tim Donaldson, 1990s" Halcyon Days,"Two-color lettering by Otto Heim, Germany, ca. 1930" Owah Tagu Siam,"An example of ""Siamese-style"" lettering in ""Letters and Lettering"" by Frank C. Brown, 1912" Joost a Millionaire, Lettering by Joost Swarte for Millionaire Raconteur,"Poster lettering by G. Villa, 1923, for Piera Nova" Funky Rundkopf,"Poster lettering by Jermaine Rogers for Radiohead, 1990s" Fortune Cookie,"Handlettering by Walter Heberling, ca 1925" Darmstadt Arts,"Poster lettering by Cizzarz for the Darmstadt Artists? Colony, 1904" Fargo Faro,"Foundry type, Faro, Schriftguß A.-G., Dresden, 1938, Entwurf H.-R. Möller, designer" Pyriform Tones,"Handlettering by Samuel Welo, 1925" Daffadowndilly,"Handlettering by Alf Becker, ca 1940" ----------------------------------------------------------------- Tamil fonts: http://thamizha.com/modules/news/ %Q Mark Kusek %N 23504 %B http://www.withoutwalls.com//index.htm %T Mark Kusek sells 300dpi resolution images of faded and used wood types. %d Feb 20 2007 %L WOOD http://www.anselm.edu/internet/physics/cbphysics/downloadsI/golosymbols.ttf http://www.anselm.edu/internet/physics/cbphysics/downloadsI/physicssymbols.ttf http://lle.llti.lt/images/LLE_SymI.ttf http://cooltext.com/Download/Font/yoinks.ttf http://cooltext.com/Download/Font/fabulous.ttf http://www.webpagepublicity.com/free-fonts/z/Zreaks%20NFI.ttf http://www.webpagepublicity.com/free-fonts/z/Zee%20Lance.ttf http://ourworld.compuserve.com/homepages/pagrosse/Waterrkt.ttf http://ourworld.compuserve.com/homepages/pagrosse/Jotter__.ttf http://www.leemon.com/crypto/vreceipt.ttf http://www.armoredbaby.com/xtras/kickface.ttf http://www.armoredbaby.com/xtras/scrapps.ttf http://www.bcp.psych.ualberta.ca/%7Emike/Book3/Fonts/DAWSJN__.TTF http://www.ica.gov.sg/VETS/eservice_package/site/FRE3OF9X.TTF http://www.findapix.com/extra/fonts/download.asp?L=I&FN=If.ttf http://members.aol.com/JMB1984/MacVision/chicago.ttf http://members.aol.com/vroomfonde/ttf/antiblue.ttf http://www.subnova.com/images/Subanji.ttf http://www.paperlesshymnal.com/shapnote/shapnote.ttf http://www.aquila.net/sworkers/conlang/Fmexrdiei.TTF http://www.tiflosystem.it/Progetti/Corso_Braille/brailleita.ttf http://www.mysheetmusic.com/Opustext.ttf http://www.mysheetmusic.com/Opus____.ttf http://www.scoutbase.org.uk/library/clipart/fonts/scoutslo.ttf http://www.tarunz.org/%7Evassilii/Hobbit/zxspec.ttf http://faculty.bbc.edu/aingalls/BenEzra02.ttf http://faculty.bbc.edu/RDecker/font/GalileeItalic1_0.ttf http://www.zti.hu/tanc/mus_char.ttf http://bibliofile.mc.duke.edu/gww/fonts/Picadilly/picab___.ttf http://bibliofile.mc.duke.edu/gww/fonts/Picadilly/picadill.ttf http://nce.fltrp.com/Application/community/reference/plug-ins/Ksphonet.ttf http://www1.fee.uva.nl/creed/wakker/miscella/maths.with.msword/fontsmap/fonts/MTEXTRA.TTF https://subversion.imagemagick.org/subversion/ImageMagick/trunk/PerlMagick/demo/Generic.ttf https://subversion.imagemagick.org/subversion/ImageMagick/trunk/PerlMagick/demo/Generic.ttf+filetype:ttf+Z&hl=en&ct=clnk&cd=49 https://subversion.imagemagick.org/subversion/ImageMagick/trunk/PerlMagick/demo/Generic.ttf http://www-db.in.tum.de/research/publications/books/DBMSeinf/EIS/Join.ttf http://www.iftcommand.com/chapters/html/includes/finalnew.ttf http://www.rotc.usaac.army.mil/imo/v100001_.TTF http://www.gepetosoftware.com/images/activity2/Primer.ttf http://www.gepetosoftware.com/images/activity2/Primerb.ttf http://www.vector.org.uk/resource/jsans.ttf http://www.mgmt.purdue.edu/news/images//pufont__.ttf http://www.pegaweb.com/tutorials/aurora/Plaza%20Swash%20D.ttf http://odc.syr.edu/acadref/GRAPHLTN.TTF http://www.ncpsl.org/images/almehran.ttf http://decentius.hit.uib.no/lexin/fonts/Kalaiva.ttf http://www.seasite.niu.edu/hartmann/hartmann/ipa_one.ttf http://www.hixie.ch/resources/fonts/AHEM____.TTF http://www.sil.org/africa/cameroun/resources/fonts/Fonts/sasscam.ttf http://www.sil.org/africa/cameroun/resources/fonts/Fonts/CSOPH.TTF http://www.5abi.com/dosh/PUNAdhunikN1.ttf http://www.cis-legal-reform.org/database-lexinfosys/font/ACADNUSX.TTF http://www.cunliffethompson.com/font/mike_hebrew_regular_v202.ttf http://www.pacificdialogue.com/rocc.ttf http://helpdesk.bgu.ac.il/new/instruction/bgulogo.ttf http://www.emu.edu.tr/medi3ology/Hallf___.ttf http://www.gitasupersite.iitk.ac.in/PNAM0ntt.ttf http://www.macscouter.com/Fonts/fontfiles/RabbitEarsPC.TTF http://enrin.grida.no/htmls/macedon/soe/c_renf_0.ttf http://lists.w3.org/Archives/Public/www-amaya-dev/2000Jan/att-0038/STIXPN__.TTF http://www.cipoo.net/public/NWORN3.ttf http://www.russellcottrell.com/greek/license/Aristarcoj.ttf http://gradschool.ustc.edu.cn/ylb/lesson/souse/Ksphonet.ttf http://www.satorisoftware.com/US/downloads/SatbarNa.TTF http://interglacial.com/%7Esburke/pub/Unishem/Unishem_Eshmoon_for_Hebrew.ttf http://chinleusd.k12.az.us/NavajoTR_.TTF http://www1.speak2me.net/lgept/images/ladderkk.ttf http://www.neuratron.com/support/PHOTS___.TTF %N 23503 %B http://www.gregvanalstyne.com/projects/type.html %Q Greg Van\0Alstyne %T Toronto-based designer of Mercer (1994, developed for Mercer Union Gallery, Toronto), A Font Called Frank (1994, with Bruce Mau; developed for Frank Gehry's Walt Disney Concert Hall), Franky Greg (1993, developed for Pleasure Dome Film Collective), Jusslur (1993, with Bruce Mau; developed for Rem Koolhaas/OMAs Jussieu Library), Blackdome (1992, developed for Pleasure Dome Film Collective). %L DE CAN %E gva@gregvanalstyne.com %d Nov 10 2007 %Q The Mac OS X font managers review %N 23502 %B http://arstechnica.com/reviews/apps/fontmanagers.ars %T Dave Girard publishes a comparative review of Mac OS X font managers in Ars Technica. He discusses Insider FontAgent Pro 3.3.0, Linotype FontExplorer 1.1, and Extensis Suitcase Fusion 12.1.3, and dismisses Apple's Font Book right away (doesn't let you deal with fonts outside of the system's established font folders; preview only one font at a time; slow for finding new fonts; no auto-activation). For big library organization, Suitcase Fusion is the only one that does it right (FontExplorer X's centralized library is just all your fonts dropped into an alphabetical folder scheme of dubious value). For dealing with corrupt or incomplete fonts, FontExplorer X wins (the others would not handle or repair corrupt font files). For auto-activation of fonts in applications such as InDesign, or system-wide auto-activation, FontExplorer X was simply horrible. As for interface and font previewing, and searching and filtering, or extra features on the other hand, FontExplorer X wins hands down. His conclusions:

FontAgent Pro 3.3: It is very reliable, and it's the most stable font manager in my experience. Still, the lack of accuracy for auto-activation of PostScript and OpenType fonts and the fact that it can't activate fonts off of removable media (forcing you to copy them) means it's not perfect. Still, it is a very good app and the best option for service bureaus. If its interface were improved and its searching/filtering options were more powerful, I'd say it was an easy nine or ten but these are relatively minor criticisms for this font management workhorse.

FontExplorer X 1.1 (free): The interface of FontExplorer X is really great and, for what I think is the first time, it gives fonts an environment where they shine like the little works of art that they are. FontExplorer isn't stable or reliable enough with its auto-activation to unflinchingly recommend it for professional designers--yet. Since it lacks any server option, it's strictly aimed at single users and with the current crop of bugs in FontExplorer 1.1, it's not for everyone who deals with font management.

Suitcase Fusion 12.1.3: I had left Suitcase X for dead a couple versions ago since it was slow, plagued with stability issues and the slow-to-come updates rarely resolved any of the major issues that the program suffered from. To stay competitive, Suitcase Fusion needs to improve speed across the board. It is inexcusable for a program at version 12 to misdiagnose fonts as corrupt.

%L FM-MAC %D Dave Girard %d Dec 30 2006 Epigrafica is forked from MgOpen font Cosmetica, which is a similar design to Optima and includes greek. Supported by the Laboratory of Digital Typography and Mathematical Software, of the Department of Mathematics of the University of the Aegean, Greece. FontShop link Steven Albert FontShop link Lev Alborov FontShop link Gérald Alexandre FontShop link Alpha Omega Design Team FontShop link American Type Founders FontShop link Lettergieterij Amsterdam FontShop link Bob Anderton FontShop link Mark Andresen FontShop link Ania Cremer&Pixelzoo FontShop link Akemi Aoki FontShop link Carlos Aponte FontShop link Györi Attila FontShop link Mike Bain FontShop link Johanna Balusikova FontShop link Galina Bannikova FontShop link Adela de Bara FontShop link Lionel Barat FontShop link Christian Bauer FontShop link Konrad F. Bauer FontShop link Georg Belwe FontShop link L. B. Benton FontShop link Sine Bergmann FontShop link Bo Berndal FontShop link Lucian Bernhard FontShop link Éric de Berranger FontShop link Charles Bigelow FontShop link Peter Bil'ak FontShop link Paul Bissex FontShop link Alan A. Blackman FontShop link Stephenson Blake FontShop link Hellmut G. Bomm FontShop link Marc Borgers FontShop link Ralf Borowiak FontShop link Anne Boskamp FontShop link Philip Bouwsma FontShop link Brad Brace FontShop link Bramhart Bros.&Spindler Founders FontShop link Alexander Branczyk FontShop link Santos Bregana FontShop link Brendel Typestudio FontShop link George Brian FontShop link Gunnlaugur SE Briem FontShop link Alan Bright FontShop link Jürgen Brinckmann FontShop link Harald Brödel FontShop link Bruce's Typefoundry FontShop link Roberto Brunetti FontShop link Robert Bucan FontShop link Marcus Burlile FontShop link Alessandro Butti FontShop link BVG FontShop link Max Caflisch FontShop link Ralph Oliver du Carrois FontShop linkMargaret Chase FontShop linkAlexei Chekoulaev FontShop linkchester FontShop linkMatthew Chiavelli FontShop linkTodd Childers FontShop linkLotus Child FontShop linkFrancis D. K. Ching FontShop linkJohn Chippendale FontShop linkHyun Cho FontShop linkThomas Maitland Cleland FontShop linkMarc Clifton FontShop linkJames Closs FontShop linkVincent Connare FontShop linkJohn Critchley FontShop linkCritzler FontShop linkDavid Crow FontShop linkJean-Renaud Cuaz FontShop linkJay David FontShop linkLucy Davies FontShop linkL. DaVinci FontShop linkTom Davis FontShop linkWhedon Davis FontShop linkBarry Deck FontShop linkDeutsche Industrie Norm FontShop linkYvonne Diedrich FontShop linkJan van Dijk FontShop linkFont Diner FontShop linkAntonio DiSpigna FontShop linkPeter Dombrezian FontShop linkPeter Dom FontShop linkEric Donelan FontShop linkTypoart Dresden FontShop linkD. Stempel AG FontShop linkFerdinay Duman FontShop linkAnton Dumbadze FontShop linkElliot Peter Earls FontShop linkeBoy FontShop linkWolfgang D. Ehrhardt FontShop linkRachel Ellaway FontShop linkHans-Jürgen Ellenberger FontShop linkElsner&Flake Design Studios FontShop linkVeronika Elsner FontShop linkEsselte Letraset Ltd. FontShop linkFacsimile Fonts FontShop linkPeter Fahrni FontShop linkTony Fahy FontShop linkFactor Design FontShop linkDave Farey FontShop linkErich Fehrle FontShop linkEdward Fella FontShop linkThomas Finke FontShop linkDiana Fischer FontShop linkBrigitte Foissac FontShop linkFontpartners FontShop linkFontry FontShop linkJonn B. Frame FontShop linkMax Franosch FontShop linkTobias Frere-Jones FontShop linkArne Freytag FontShop linkWolfgang Fricke FontShop linkKerstin Fritsche FontShop linkVal Fullard FontShop linkVictor Gad FontShop linkGalápagos Design Group FontShop linkMiguel Gallardo FontShop linkMarco Ganz FontShop linkLynne Garell FontShop linkMarie-France Garon FontShop linkTom R. Garrett FontShop linkGentsch&Heise FontShop linkBauersche Giesserei FontShop linkFabrizio Gilardino FontShop linkGary Gillot FontShop linkCalvin Glenn FontShop linkJulius de Goede FontShop linkChristian Götz FontShop linkHolly Goldsmith FontShop linkBruno Grasswill FontShop linkLutz Günther FontShop linkStefan Hägerling FontShop linkVictor Hammer FontShop linkHandcrafted Fonts Co FontShop linkEric Hanson FontShop linkP. M. Hashim FontShop linkRobert Hasse FontShop linkReinhard Haus FontShop linkHell Design Studio FontShop linkAkiem Helmling FontShop linkGudrun Zapf von Hesse FontShop linkMatt Heximer FontShop linkJonathan Hoefler FontShop linkAlbert Hollenstein FontShop linkLindsay Holton FontShop linkTeresa Hopkins FontShop linkJessica Hoppe FontShop linkJustin Howes FontShop linkFedor Hüneke FontShop linkIdentikal FontShop linkYanek Iontef FontShop linkITC Design Staff FontShop linkGünter Jäntsch FontShop linkMartin Jagodzinski FontShop linkFranck Jalleau FontShop linkSylvia Janssen FontShop linkMichael Johnson FontShop linkJohn Jones FontShop linkMatthias Jordan FontShop linkHeinrich Jost FontShop linkAndreas Jung FontShop linkHelga Jörgensen FontShop linkPer Jørgensen FontShop linkTeri Kahan FontShop linkM. Kausche FontShop linkHajime Kawakami FontShop linkAlan Kegler FontShop linkCarol Kemp FontShop linkMary-Anne King FontShop linkPatty King FontShop linkNicholas Kis FontShop linkManfred Klein FontShop linkFriedrich Wilhelm Kleukens FontShop linkRosemarie Kloos-Rau FontShop linkEmil Klump FontShop linkKOMA AMOK Design FontShop linkSami Kortemäki FontShop linkAndrej Krátky FontShop linkMarloes Kremers FontShop linkAndrey Kryukov FontShop linkNikolai Kudryashev FontShop linkVolker Küster FontShop linkInga Kwiatkowski FontShop linkPaul van der Laan FontShop linkMartin L'Allier

FontShop link

Suite/System

Leitura [PDF] [MyFonts] [TypeTrust] [Veer].
Publico.
Miniscule [MyFonts] [TDC2 Winner].
FF Beowolf and FF BeoSans (OT revision).
Beorcana [TDC2 Winner].
Arno [MyFonts] [TDC2 Winner].
Anselm
Voice.
Verse.
Alida.

Serif

Sans

Display

Austin.
Blaktur.
Restraint.
EsquireHeadline.
Softmachine [PDF] [MyFonts] [FontShop] [Veer].
Soho.
Sibyl.
Sans Papier.
Giorgio.
Empire State Building.
MVB Solano.
ARS District.
ARS Trio.
Corpulent.
PTL Attack [FontShop] [MyFonts].
Brassierie.
Shàngó Gothic.
Amity.
Flexion [TDC2 Winner].
Fab [MyFonts].
FP Head
Hellenic Wide.
Parcel [MyFonts].
Snicker [MyFonts] [FontShop] [Veer].
Glenlake.
Kartell [MyFonts].
Pilo.
Stripes.
Los Niches.
Katie.
ARS Deviata.
Area.
Tex.

Script

Pictures&Ornaments

Briefcase.

death_by_colour_logotype_1

death_by_colour_standard

extracondensed_ttssattsr

first_amateur_fragments

high_score_vernacular

just_another_pixelfont

squaresans_more_latin

It is one vomited by the individual. Designer at FontStruct in 2008 of fatbitboy. Their other creations from 2008, both Latin and Hirgana/Katakana, are often techno or experimental: FDF_Adapter, FDF_Architectsis, FDF_Beehive, FDF_HiragaNize, FDF_IrishIrish (stitching font), FDF_MiCRO-MINI (pixel face), FDF_Modanium, FDF_NANAMETTA-PIENETTA-TAKANA, FDF_Taspotron, FDF_WeatherPictgram. %Q fbrccn %N 23345 %B http://fontstruct.com/fontstructors/fbrccn %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of dotsquared_1, dotsquared_arena, dotsquared_mercury, sumeriana_1. %Q fcraft %N 23344 %B http://fontstruct.com/fontstructors/fcraft %L FONTSTRUCT BRA PIX %d Apr 21 2008 %T Designer at FontStruct in 2008 of fcraft_pixel. In 2010, they added minimal-pixel-pixel, and Basica (a pixel face). In 2011, Quadrata (a dark counterless face) followed. Home page. %Z fercardenas %Q Fermin Cardenas %N 23343 %B http://fontstruct.com/fontstructors/fercardenas %L FONTSTRUCT MEX DE %d Apr 21 2008 %T Based in Tamaulipas, Mexico, Fermin Cardenas is the designer at FontStruct in 2008 of basic_5x7, basic_5x7_v2, rawiswar2, sq2_10x10_3. %Z fernandofg %Q Fernando Gusmao %N 23342 %B http://fontstruct.com/fontstructors/fernandofg %L FONTSTRUCT BRA %d Apr 21 2008 %T Brazilian designer at FontStruct in 2008 of asdasd. %Q Fernando Lins %N 23341 %B http://fontstruct.com/fontstructors/fernandolins %L FONTSTRUCT BR DE %d Apr 21 2008 %T Sao Paulo-based designer at FontStruct in 2008 of miller. %Q flick %N 23340 %B http://fontstruct.com/fontstructors/flick %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of flick_1. %Q flo %N 23339 %B http://fontstruct.com/fontstructors/flo %L FONTSTRUCT CUBISM %d Apr 21 2008 %T Designer at FontStruct in 2008 of kubism, simplicity_sans, test3_6. %Q flow %N 23338 %B http://fontstruct.com/fontstructors/flow %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of checker. %Q fontelicious %N 23337 %B http://fontstruct.com/fontstructors/fontelicious %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of chemotype. %Q fotomeister %N 23336 %B http://fontstruct.com/fontstructors/fotomeister %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of eurotram. %Q frq %N 23335 %B http://fontstruct.com/fontstructors/frq %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of phrq_minimal. %Q fsi_admin %N 23334 %B http://fontstruct.com/fontstructors/fsi_admin %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of blunt. %Q funkyfire %N 23333 %B http://fontstruct.com/fontstructors/funkyfire %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of onefunk. %Q gabemc %N 23332 %B http://fontstruct.com/fontstructors/gabemc %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of gabriel_serif. %Q ghubacek %N 23331 %B http://fontstruct.com/fontstructors/ghubacek %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of slabby_slab. %Q giackop %N 23330 %B http://fontstruct.com/fontstructors/giackop %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of squared_giackop. %Q Goglus %N 23329 %B http://fontstruct.com/fontstructors/go999 %N 23328 %B http://goglus.com/ %L FONTSTRUCT FO-CY %d Apr 21 2008 %T Designer at FontStruct in 2008 of goglus_urodz. In 2009, he made Urodz, and in 2010 Goglus Menu. Seems to be Russian. %Q goodpants %N 49447 %B http://fontstruct.com/fontstructors/goodpants %T Designer at FontStruct in 2008 of Bricky Min (dot matrix), Bricky Min 9, Metall, Bricky, Bricky Super Min. %L FONTSTRUCT PIX %d Jul 8 2008 %Q grant %N 23326 %B http://fontstruct.com/fontstructors/grant %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hairy_bugger_1. %Q grenzwert %N 23325 %B http://fontstruct.com/fontstructors/grenzwert %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of house, real_2. %Q grph_mlk %N 23324 %B http://fontstruct.com/fontstructors/grph_mlk %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of moloko_1. %Q guilhermecruz %N 23323 %B http://fontstruct.com/fontstructors/guilhermecruz %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of microscope. %Q gypsaaaa %N 23322 %B http://fontstruct.com/fontstructors/gypsaaaa %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of brookes_1. %Q hammmster %N 23321 %B http://fontstruct.com/fontstructors/hammmster %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of dontknow, negartive. %Q hannesjung %N 23320 %B http://fontstruct.com/fontstructors/hannesjung %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of fabfont_2. %Q hdotta %N 23319 %B http://fontstruct.com/fontstructors/hdotta %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of henry. %Q heather_r %N 23318 %B http://fontstruct.com/fontstructors/heather_r %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of empirical. %Q henrywestcott %N 23317 %B http://fontstruct.com/fontstructors/henrywestcott %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of one1_12. %Q hideyor %N 23316 %B http://fontstruct.com/fontstructors/hideyor %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hideyor_pix. %Q hofnik %N 23315 %B http://fontstruct.com/fontstructors/hofnik %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hofz_zero, hofzduo_1. %Q hokusya %N 23314 %B http://fontstruct.com/fontstructors/hokusya %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hokusya1. %Q hollywoodheartts %N 23313 %B http://fontstruct.com/fontstructors/hollywoodheartts %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of prep. %Q howesy %N 23312 %B http://fontstruct.com/fontstructors/howesy %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of youcan. %Q hwllq %N 23311 %B http://fontstruct.com/fontstructors/hwllq %L FONTSTRUCT ARCH STIJL %d Apr 21 2008 %T Designer at FontStruct in 2008 of fwnt_1. In 2009, he added Arkitect (Regular, Heavy), De Stijl-like creations. Home page. %Q hypoxic %N 23310 %B http://fontstruct.com/fontstructors/hypoxic %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of pixel_minimel_2. %Q hysysk %N 23309 %B http://fontstruct.com/fontstructors/hysysk %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of dotter, leaf_2, liner, slim_1, supermini_1, supermini_better, unbalanced. %Q iacute %N 23308 %B http://fontstruct.com/fontstructors/iacute %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of modular_fraktur_1, schema_basic_bold. %Q iceager %N 23307 %B http://fontstruct.com/fontstructors/iceager %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of modulern. %Q ihatealex %N 23306 %B http://fontstruct.com/fontstructors/ihatealex %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of roller_2. %Q ilona %N 23305 %B http://fontstruct.com/fontstructors/ilona %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ilona_s_font_p. %Q imick %N 23304 %B http://fontstruct.com/fontstructors/imick %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of pixel_cube_1. %Q ink %N 23303 %B http://fontstruct.com/fontstructors/ink %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of bada_bing. %Q iwakami %N 23302 %B http://fontstruct.com/fontstructors/iwakami %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of browser_date. %Q janbatist %N 23301 %B http://fontstruct.com/fontstructors/janbatist %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of tilt_1. %Q jbot %N 23300 %B http://fontstruct.com/fontstructors/jbot %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of upsidedownblots. %Q jellybeansoup %N 23299 %B http://fontstruct.com/fontstructors/jellybeansoup %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of blockade, blockade_venetian, blockade_vertical. %Q joee %N 23298 %B http://fontstruct.com/fontstructors/joee %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of transistor. %Q jointinc. %N 23297 %B http://fontstruct.com/fontstructors/jointinc. %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of early_bird. %Q jsb %N 23296 %B http://fontstruct.com/fontstructors/jsb %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of skrull. %Q juarez %N 23295 %B http://fontstruct.com/fontstructors/juarez %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of moderna_lite. %Q juliefly82 %N 23294 %B http://fontstruct.com/fontstructors/juliefly82 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of juliefly. %Q jvcleave %N 23293 %B http://fontstruct.com/fontstructors/jvcleave %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of helloworld_1. %Q jwhitney %N 23292 %B http://fontstruct.com/fontstructors/jwhitney %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of baby_2, fonstruct_solid, fontstruct_filled, leaf4, leaflike, new_organic. %Q kelevra777 %N 23291 %B http://fontstruct.com/fontstructors/kelevra777 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of kelevra_regular, propapaganda. %Q kena %N 23290 %B http://fontstruct.com/fontstructors/kena %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of prim_paro. %Q kielzog %N 23289 %B http://fontstruct.com/fontstructors/kielzog %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of pauper. %Q kosmar %N 23288 %B http://fontstruct.com/fontstructors/kosmar %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of k000. %Q krushing %N 23287 %B http://fontstruct.com/fontstructors/krushing %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of bittihiisi1_0, lord_krushord. %Q kufta %N 23286 %B http://fontstruct.com/fontstructors/kufta %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of basca_1. %Q kurtisray %N 23285 %B http://fontstruct.com/fontstructors/kurtisray %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of stretch, tallround. %Q kyjast %N 23284 %B http://fontstruct.com/fontstructors/kyjast %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of exponential. %Q kzyz %N 23283 %B http://fontstruct.com/fontstructors/kzyz %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of devildot. %Q lanceisapenguin %N 23282 %B http://fontstruct.com/fontstructors/lanceisapenguin %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of marleyo_1, sarpon, uber_light. %Q Alexander Sperl %Z http://fontstruct.com/fontstructors/laynecom %N 23281 %B http://www.alexandersperl.de/ %L FONTSTRUCT OCT PIX ATHL DE FR 3D GER STE PIANO BAUHAUS VICT PIANO HAIR %d Apr 21 2008 %T German designer (aka laynecom) at FontStruct in 2008 of band, blokk_2, maiden, substance, Fette Serif (fat, octagonal), Runde Pixelig, Velvet, Thin Sans, Constr, Clear Serif, Blokk.
Added in 2009: Russisch Brot, Block Out (3d face, +Filled1, + Filled2), Bold Stencil Sans, Script Pixelig, Dorky Corners Sans, Haus der Kunst (inspired by the building in München by that name), Fraktur Test, Fette Sans (nice), Emilia, Runde Pixelig (pixel script).
Creations in 2010: Fraktur Test, The Plot (octagonal, architectural), 80s Metal Band, Fieldwork Font (pixel), Black Metal, I slabbed the Seriff, Play (curly face).
Creations in 2011: Obvious Stencil (Bauhaus, or piano key), Supercali (a psychedelic font inspired by the cover for A.R. Kane's "I"), Manuale (with straight slabs; +Manuale Giocoso, 2012), Graphite (fat and rounded), Graphite 2, Hinterland Italic (quaint Victorian face).
From 2012: Linea Fraktur (extended in 2013 to Linea Runde), Black Organic (spiky blackletter), Green Organic (a spurred blackletter), Standard Sans, Modular Blackout Bold Condensed, Viva Las Vegas, Helios, Faux Pas Serif (Egyptian typeface), Nova Thin Extended (this hairline sans is a tour de force---it is the first successful hairline sans face ever made by anyone using FontStruct), Bencraft.
Fonts from 2013: A La Carte, Hampton Italic, Baby Elephant (fat grotesque).
Klingspor link. %Z AlexanderSperl-Nova-2012.png %Z AlexanderSperl-Nova-2012b.png %Z AlexanderSperl-NovaThinExtended-2012.png %Z AlexanderSperl-HamptonItalic-2013.png %Z AlexanderSperl-BabyElephant-2013.png %P AlexanderSperl-Graphite-2011-Small.jpg %Z AlexanderSperl-Graphite-2011.jpg %Z AlexanderSperl-graphite2-2011.png %Z AlexanderSperl-StandardSans-2012.png %Z AlexanderSperl--Supercali-2011.png %Z AlexanderSperl--Manuale-2011.png %Z AlexanderSperl-ManualeGiocoso-2012.png %Z AlexanderSperl-HinterlandItalic-2011.png %Z AlexanderSperl-ModularBlackoutBoldCondensed-2012.png %Z AlexanderSperl-VivaLasVegas-2012.png %Z AlexanderSperl-BlockOutFilled1-2009.gif %Z AlexanderSperl-BlockOutFilled1-2009.tiff %Z AlexanderSperl-BlockOutFilled1-2009b.gif %Z AlexanderSperl-FetteSerif2008.gif %Z AlexanderSperl-FetteSerif2008.tiff %P AlexanderSperl-FetteSerif2008b.gif %P AlexanderSperl-FetteSerif-2008.jpg %Z AlexanderSperl-ThePlot-2010.png %Z AlexanderSperl-ObviousStencil-2011.png %Z AlexanderSperl-FauxPasSans-2012.png %P AlexanderSperl-FauxPasSerif-2012-Small.png %Z AlexanderSperl-FauxPasSerif-2012.png %Z AlexanderSperl-FauxPasSerif-2012b.png %Z AlexanderSperl-BlackOrganic-2012.png %Z AlexanderSperl-BlackOrganic-2012b.png %Z AlexanderSperl-GreenOrganic-2012.png %Z AlexanderSperl-LineaFraktur-2012.png %Q leadox01 %N 23280 %B http://fontstruct.com/fontstructors/leadox01 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of blockhead_3. %Q leksandra %N 23279 %B http://fontstruct.com/fontstructors/leksandra %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of thepix. %Q lexandr %N 23278 %B http://fontstruct.com/fontstructors/lexandr %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of gowest. %Q lfe %N 23277 %B http://fontstruct.com/fontstructors/lfe %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of fresh_start, pool. %Q libretrazo %N 23276 %B http://fontstruct.com/fontstructors/libretrazo %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of liber_tr. %Q lukas834 %N 23275 %B http://fontstruct.com/fontstructors/lukas834 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ld_jo_alpha_1, ld_jo_alpha_alternate, ld_jo_alpha_alternate2, ld_kikopiko_alpha_1, ld_testouno_medium, ld_testouno_regularis, pixie_3, somnambulo_lowercase. %Q lxstm %N 23274 %B http://fontstruct.com/fontstructors/lxstm %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of greek_morse_code. %Q lysiasgomes %N 23273 %B http://fontstruct.com/fontstructors/lysiasgomes %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of timbu. %Q mads %N 23272 %B http://fontstruct.com/fontstructors/mads %L FONTSTRUCT STITCH %d Apr 21 2008 %T Designer at FontStruct in 2008 of anton_pxl, stitches. %Q marcomastri %N 23271 %B http://fontstruct.com/fontstructors/marcomastri %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of mutype. %Q marit_ane %N 23270 %B http://fontstruct.com/fontstructors/marit_ane %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of norwegian_lettering, norweigan_low_lettering. %Q martab %N 23269 %B http://fontstruct.com/fontstructors/martab %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of marta1. %Q mascht %N 23268 %B http://fontstruct.com/fontstructors/mascht %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of not_the_first_type_on_earth. %Q mattdaniels %N 23267 %B http://fontstruct.com/fontstructors/mattdaniels %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of stabby. %Q mattgloss %N 23266 %B http://fontstruct.com/fontstructors/mattgloss %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of dotmatricks, slite. %Q maverick %N 23264 %B http://fontstruct.com/fontstructors/maverick %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of mavatar_wip. %Q mcavanah %N 23263 %B http://fontstruct.com/fontstructors/mcavanah %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of grid_1. %Q mcberio %N 23262 %B http://fontstruct.com/fontstructors/mcberio %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of uncalibrated. %Q melchior_b %N 23261 %B http://fontstruct.com/fontstructors/melchior_b %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of fensterfont. %Q menttys %N 23260 %B http://fontstruct.com/fontstructors/menttys %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ko_retamenttys. %Q mhv %N 23259 %B http://fontstruct.com/fontstructors/mhv %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of mhvfont00. %Q mikeyfrecks %N 23258 %B http://fontstruct.com/fontstructors/mikeyfrecks %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of tryit_2. %Q ministryoftruth %N 23257 %B http://fontstruct.com/fontstructors/ministryoftruth %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of rainboz. %Q missmarple3891 %N 23256 %B http://fontstruct.com/fontstructors/missmarple3891 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of eckeks. %Q misspixyee %N 23255 %B http://fontstruct.com/fontstructors/misspixyee %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of andy_1. %Q mollymonster %N 23254 %B http://fontstruct.com/fontstructors/mollymonster %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of chickens_plain. %Q moma86 %N 23253 %B http://fontstruct.com/fontstructors/moma86 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of amarante, rounded_2, vila_nova_de_gaia. %Q mooseroochy %N 23252 %B http://fontstruct.com/fontstructors/mooseroochy %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of sampix. %Q mr-sweden %N 23251 %B http://fontstruct.com/fontstructors/mr-sweden %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of concreteconcubine. %Q nardgo %N 23250 %B http://fontstruct.com/fontstructors/nardgo %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hazem_sans_grid. %Q nesta1981 %N 23249 %B http://fontstruct.com/fontstructors/nesta1981 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of versioss. %Q nf_ban %N 23248 %B http://fontstruct.com/fontstructors/nf_ban %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of msx_width40. %Q nthn %N 23247 %B http://fontstruct.com/fontstructors/nthn %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of combover. %Q oberst_karl %N 23246 %B http://fontstruct.com/fontstructors/oberst_karl %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of firsttry_7. %Q offense %N 23245 %B http://fontstruct.com/fontstructors/offense %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ff_offense. %Q ohno %N 23244 %B http://fontstruct.com/fontstructors/ohno %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ohno. %Q pattyarashi %N 23243 %B http://fontstruct.com/fontstructors/pattyarashi %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of triangle. %Q paul@walkeragency.co.uk %N 23242 %B http://fontstruct.com/fontstructors/paul@walkeragency.co.uk %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of mrpaulbox. %Q pbrigham %N 23241 %B http://fontstruct.com/fontstructors/pbrigham %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of kikakee, savings_gothic. %Q peachworc %N 23240 %B http://fontstruct.com/fontstructors/peachworc %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of gridfonto. %Q penneloppy %N 23239 %B http://fontstruct.com/fontstructors/penneloppy %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of abstractpeafont. %Q permantente %N 23238 %B http://fontstruct.com/fontstructors/permantente %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of feisima. %Q Peter Zeenoviev %Z petrzee %Z http://fontstruct.com/fontstructors/petrzee %N 23237 %B http://petrzee.ru/ %L FONTSTRUCT PIX FO-CY DE %E petrzee@inbox.ru %d Apr 21 2008 %T Russian designer at FontStruct in 2008 of BF Eksika and BF Mnemonika Regular (pixel face). In 2009, he made PZ Grotepix Book. Aka petrzee. Dafont link. %Z PeterZeenoviev-BF-Eksika-2008.gif %Q pgtremb %N 23236 %B http://fontstruct.com/fontstructors/pgtremb %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of pico. %Q pohls %N 23235 %B http://fontstruct.com/fontstructors/pohls %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of zoop. %Q polar23 %N 23234 %B http://fontstruct.com/fontstructors/polar23 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hailograf, matthias_dot, matthias_eight, matthias_smooth. %Q qaz19911109 %N 23233 %B http://fontstruct.com/fontstructors/qaz19911109 %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of blah_20. %Q qik %N 23232 %B http://fontstruct.com/fontstructors/qik %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of covercus_v_1, covercus_v_2. %Q quentin.t %N 23231 %B http://fontstruct.com/fontstructors/quentin.t %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of crash. %Q raffiX %N 23230 %B http://fontstruct.com/fontstructors/raffiX %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of raffix_bit_capitals. %Q raphael %N 23229 %B http://fontstruct.com/fontstructors/raphael %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of lypc. %Q rastorguev %N 23228 %B http://fontstruct.com/fontstructors/rastorguev %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ris_piksel. %Q reburn %N 23227 %B http://fontstruct.com/fontstructors/reburn %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of plops. %Q redhedinsanity %N 23226 %B http://fontstruct.com/fontstructors/redhedinsanity %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of blasphemy. %Q rodrigo %N 23225 %B http://fontstruct.com/fontstructors/rodrigo %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of reta_1. %Q rollandglass %N 23224 %B http://fontstruct.com/fontstructors/rollandglass %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hubert_1. %Q rubola %N 23223 %B http://fontstruct.com/fontstructors/rubola %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of rubola_basic. %Q rudy %N 23222 %B http://fontstruct.com/fontstructors/rudy %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of first_fun, test_17. %Q sacaix %N 23221 %B http://fontstruct.com/fontstructors/sacaix %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of segon. %Q samuraispy %N 23220 %B http://fontstruct.com/fontstructors/samuraispy %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of astro_ship_2073. %Q sarahono %N 23219 %B http://fontstruct.com/fontstructors/sarahono %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of yosfont01. %Q schawel %N 23218 %B http://fontstruct.com/fontstructors/schawel %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of there_will_be_blood. %Q sebomoto %N 23217 %B http://fontstruct.com/fontstructors/sebomoto %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of fontomoto_one, motostruct. %Q sha %N 23216 %B http://fontstruct.com/fontstructors/sha %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of ljg465. %Q shaunxcore %N 23215 %B http://fontstruct.com/fontstructors/shaunxcore %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of notaste. %Q simazake %N 23214 %B http://fontstruct.com/fontstructors/simazake %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of hira. %Q slokai %N 23213 %B http://fontstruct.com/fontstructors/slokai %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of sasa. %Q sonaliagrawal %N 23212 %B http://fontstruct.com/fontstructors/sonaliagrawal %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of first_impression. %Q spittingcat %N 23211 %B http://fontstruct.com/fontstructors/spittingcat %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of testcard. %Q spyd %N 23210 %B http://fontstruct.com/fontstructors/spyd %L 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FontStruct in 2008 of doomnet. %Q typecub %N 23189 %B http://fontstruct.com/fontstructors/typecub %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of clone. %Q typefamily %N 23188 %B http://fontstruct.com/fontstructors/typefamily %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of minim, notnastya, textur. %Q ummocrono %N 23187 %B http://fontstruct.com/fontstructors/ummocrono %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of bo_constructor, salabim. %Q unchill %N 23186 %B http://fontstruct.com/fontstructors/unchill %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of unchillshadowpixel. %Q uncleberns %N 23185 %B http://fontstruct.com/fontstructors/uncleberns %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of doblestem. %Q vcstr %N 23184 %B http://fontstruct.com/fontstructors/vcstr %L FONTSTRUCT %d Apr 21 2008 %T Designer at FontStruct in 2008 of fresh_1. %Q verbosus %N 23183 %B 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ABBEY TEXT-see Bradley. ABBOTT OLD STYLE is an eccentric novelty typeface designed in 1901 by Joseph W. Phinney for ATF. Upright stems taper inward slightly near the ends, while most other strokes are curved. Like many other typefaces of the day, each font contains several alternate characters, logotypes, and ornaments as shown. Some early specimens call it Abbot Oldstyle, without the doubled t. It bears ATF's serial number 1 because it headed the alphabetical list when the numbering system was introduced about 1930, rather than being their oldest face. Walter Long, who supplied the specimen, writes: "All the fonts (sizes) are the same as to content and every item is shown on the specimen proof." So this may be the first complete font proof published, as the face was obsolete before founders and printers began showing all characters, and advertising typographers were still far in the future. However, a few characters in the specimen are worn or broken. Compare Bizarre Bold. ACME-see Menu Shaded. ADMIRAL SCRIPT is a spirited, unconnected script designed by Robert H. Middleton for Ludlow in 1953. Lowercase is small and the effect is precise. with the appearance of careful pen lettering. Compare Raleigh Cursive. ADONIS is a novel creation by Willard T. Sniffin for ATF in 1930, popular for stationery and announcements but with little use otherwise. Lines are mono- tone throughout, and lowercase letters are linked, although it is not really a script. There are alternate versions of several of the capitals. The 30-point size was cut, but seldom if ever shown. ADSCRIPT was designed by Morris F. Benton in 1914. It has only a slight inclination, and the finishing stroke of each lowercase letter and some capi- tals in most instances meets a heavy stroke of the next letter. This gives the connected effect of continuous script, with only a slight, almost unnoticeable break in some combinations, but avoids the joining of two delicate hairlines which causes problems in most traditional script designs. ATF says of it: "Here is a series that appears to be a script, yet it is not exactly a script, for the letters are cast in regular straight body and there are no kerns or overhang- ing characters; the letters do not join as in script type, and there are no hair- lines. Capitals and lowercase of various sizes can be used together, something not practicable when using the regular script faces." Compare Typo Upright. Adstyle was a popular BB&S series designed by Sidney C. Gaunt. It is a square-serif design but shows strong traits of its Clarendon ancestry; although most serifs on major strokes are squared, elsewhere they are bracketed or rounded, and there is moderate contrast between thick and thin strokes. The first member, identified in specimens as Adstyle Series, was designed about 1906; its proportions would ordinarily be called condensed, and it is rather heavy. Several variations appeared in the period 1907 to about 1911, including: Adstyle Condensed, just a little narrower than the original; Adstyle Extra Condensed, still narrower and also lighter in weight; Adstyle Headletter, a title version of the Extra Condensed; Adstyle Wide, a greatly extended version; Adstyle Italic, about the same weight as Adstyle but a normal width; Adstyle Lightface,. Adstyle Black, only a little heavier than the original but not as narrow; and Adstyle Black Outline, cut to register with Adstyle Black for two-color work. Another version, Adstyle Shaded, was also designed by Gaunt and introduced in 1914. Compare John Hancock, Bold Antique, Contact Bold Condensed. ADTYPE is a square-serif face patented in 1903 by W. F. Capitaine and introduced by ATF. An early example of this sort of square-serif letter, it is distinguished by its high-waisted R and unusual g. Compare Adstyle, John Hancock, Bold Antique, Contact Bold Condensed. Figures and some other characters are narrower in the Monotype cutting shown, which was produced about 1912. The italic is inclined an extreme 24 degrees. ADVER CONDENSED was introduced by ATF in 1902, and is essentially a condensed version of Schoeffer Oldstyle (q. v.), an 1897 product of the same foundry, featuring the same sort of small, blunt serifs. Although undistin- guished by later fashions, it avoids the eccentricities of many of the types of the period. ADVERTISERS GOTHIC was a popular novel gothic, designed by Robert Wiebking in 1917 for Western Type Foundry and taken over by BB&S in 1919. It features nondescending lowercase letters; therefore it can be cast on title line, with caps occupying almost the entire body size. It has many distinctive characters, some of which have breaks giving a stencil-like effect. The outline faces are cut to register with the solid faces for two-color work. Compare Publicity Gothic. ADVERTISERS UPRIGHT SCRIPT is one of many old faces shown in the 1925 BB&S specimen book under new names. This one was originally Oli- phant, introduced in 1895, and retains a nineteenth-century character. AIGRETrE-see Bernhard Tango. AMERICAN BACKSLANT was designed by Morris F. Benton for ATF in 1933, but not introduced until 1935 except for an "in preparation" line in the 1934 specimen book. It is a gothic with the appearance of being drawn with a round pen, with distinction gained mostly by its reverse slant. The working title was Backhand Gothic. AMERICAN BASKERVILLE-see Baskerville. AMERICAN CASLON -see under Caslon. AMERICAN EXTRA CONDENSED is a medium weight gothic, popular for newspaper headlines, and was designed about 1905 but adapted from a late nineteenth-century style. It features 45-degree angles where curves would normally appear. Without the lowercase, similar designs were better known as Chamfer Condensed (q.v.) or Herald Extra Condensed, the latter introduced by Inland in 1909. AMERICAN GARAMOND-see under Garamond. AMERICAN SCRIPT was introduced by ATF in 1898, and shown in 1906 as American Script No. 2. It is similar to Typo Script, except for an extra flourish on many of the capitals. AMERICAN TEXT was designed by Morris F. Benton for ATF in 1932, as a modernized adaptation of the sort of face commonly called Old English. It seems to be constructed entirely of straight lines, with a very angular appear- ance. It has had some popularity in advertising, as well as for stationery. AMERICANA was introduced by ATF in 1966, the foundry calling it later "the most successful face ATF has introduced in many years; it is the result of an assignment to 'return to elegance,' being designer Richard Isbell's inter- pretation of that trend." It features short, slightly concave serifs, short as- cenders, and capitals not quite as tall as ascenders, while being quite wide. Fonts include several characters not usually available, such as center dot. hyphen, and short dash positioned to center on cap height as well as versions in the usual lowercase position. The interrobang, the first new punctuation mark to have been introduced in three hundred years and the only one invented by an American, is also featured in Americana. The interrobang, combining exclamation and ques- tion marks, was originated in 1962 by Martin K. Speckter, New York adver- tising executive and printing hobbyist. It was incorporated into all versions of Americana (ATF calling it "interabang"), but although it got considerable response at the time, it was not included in other type families. Emil Klumpp directed the basic version while Whedon Davis directed the others, which were added in the following two or three years. Americana Extra Bold was the last new typeface created by ATF . ANACREON was a whimsical pseudo-Greek typeface made or assembled for the Golden Eagle Press of Mt. Vernon, New York, for a translation from Greek of" Anacreon." (Actually, the author has assigned this name, no men- tion of a name for the typeface having been found otherwise.) Many of the lowercase characters are Linotype Greek Elzevir, selected for their visual resemblance to Latin characters rather than for their value in Greek. Thus, p is represented by rho (p) which is the Greek r. A few characters are inverted for better visual effect. Where there are no satisfactory characters in Greek. Estienne letters are used. Capitals are Garamond No. 3 small caps. Presum- ably Linotype matrices were specially cut to respond to normal keyboard operation. The specimen is from a poor photocopy. ANCIENT GOTHIC-see Gothic Novelty Title. ANDROMAQUE is a cursive form of uncial letter, mixing Greek forms of aeklmnstz with Roman forms of the other letters, yet retaining legibility and harmony. The original size was cut by Victor Hammer and cast in France. The 14-point size was begun by Hammer, but left unfinished at his death. The font was completed by his long-time friend, R. Hunter Middleton, in the early 1980s, and cast by Paul H. Duensing. ANGLO-see Antiques in Appendix. ANNOUNCEMENT ROMAN and Announcement Italic were designed by Morris F. Benton in 1916, adapted from steel or copperplate engravings, but not completed and released until 1918. These delicate faces have had some popularity for announcements, social stationery, and a limited amount of advertising work, but are a little too fancy for extensive use. Oddly, some of the plain caps shown in the specimens, both roman and italic, do not seem to appear in any ATF specimens. Foundry records show that a 48-point size of the roman was cut in 1927, but no other listing or showing of it has been found. In fact, sizes over 24-point were discontinued after a few years, and all sizes were discontinued in 1954. %Q Antique (McGrew's definition) %N 63743 %B nothing %T Mac McGrew writes: Antique in general is a generic nineteenth-century term applied to a variety of old type styles. A few that were given a new lease on life by Monotype and the slug machines are listed here; others were similar to the older Clarendons, Dorics, Ionics, etc. Also see Bold Antique and Bold Condensed Antique, Modern Antique and Modern Antique Condensed, and Old Style Antique, also Cushing Antique, Latin Antique, etc. Antique No.1 is similar to Bookman. Antique No.2 (Lino) is equivalent to Antique No.6 (Mono) and comes from BB&S, where it was later known as Antique Bold. Antique No.3 is equivalent to Modern Antique. Antique No. 525 (ATF) is very similar to Antique [No. 53] (BB&S) and Antique No.1 (Inland); also to Consort Light, the 1950s English revival (see Clarendon). Hansen's Antique No.1 was slightly lighter than the others. Antique Condensed comes from BB&S. Antique Extra Condensed was shown as Skeleton Antique by Marder, Luse in 1886 or earlier and by BB&S somewhat later, with many sources producing the same or very similar designs. Antique Shaded was designed by Morris F. Benton in 1910 but not introduced until 1913, when it was described as "the first of a series of shaded typefaces." It was later promoted as part of "the new gray typography." This face was the first one cut on a new shading machine invented by the designer's father, Linn B. Benton. When Monotype copied it, the face was named Rockwell Antique Shaded, to tie it in with that company's Rockwell series (q. v.), but since Rockwell is often confused with Stymie, it is perhaps natural that Antique Shaded is sometimes though incorrectly called Stymie Shaded. %d Jun 7 2012 %L TY HIS ANTIQUE OPEN -see Beton Open under Imports in Appendix. ANZEIGEN GROTESQUE-see Aurora under Imports in Appendix. ARBORET -see Antiques in Appendix. ARCHER-see Gothic Novelty Condensed. ARGENT, ARGENTINE-see Antiques in Appendix. ARIES was designed by Frederic W. Goudy in 1925 as a private type for the Aries Press of Spencer Kellogg, at Eden, New York, and became Goudy's first experience in cutting his own matrices. Only one lot, some 500 pounds, was cast for private use. In 1932 it was recut and renamed Franciscan (q. v.). ARISTON -see Imports in Appendix. ARMSTRONG-see Della Robbia. ARRIGHI is the italic companion to Centaur. It is calligraphic in style, and .I was derived from a 1524 typeface of Ludovico degli Arrighi. Although de- signed by Frederic Warde, New York calligrapher and typographer, it was cut first by Plumet in Paris in 1925, and then by English Monotype in 1929. ARTLINE was introduced by Keystone in 1912. It is a mannered font of capitals and figures, with very small serifs and slight thick-and-thin con- trast, for use on stationery and announcements and general advertising of the time. Apparently it did not survive when Keystone was absorbed by ATF in 1919. Compare Della Robbia, Camelot. ARTSCRIPT is a delicate calligraphic letter designed by Sol Hess for Mono- type, which calls it "an attempt to convert into rigid metal the graceful penmanship of the ancient scribe. ..based on the writing of Servidori of Madrid (1798)." It was designed in 1939 but not released until 1948, because of wartime restrictions. It is a pleasing design for limited use, but its delicacy requires special care in handling. Compare Heritage, Lydian Cursive, and Thompson Quillscript. ASTORIA-see Comstock. ASTREE was announced by Linotype in 1926 as a copy of the face cast by Peignot in France, but no further evidence of it has been found. ATHENA is a very narrow, light roman typeface with unusually tapered vertical strokes, designed and cut by George Battee of Baltimore Type about 1955. It is a distinctive novelty, useful for a limited amount of delicate display. ATLANTIC (or Atlantic Monthly) was cut by Monotype in 1909 for Atlantic. Monthly magazine, which used it as a body type for many years. The design is an adaptation of Scotch Roman, more regularized and with less emphasis on the capital letters than the original Scotch Roman, but hardly distinguish- able from Monotype's keyboard sizes of that face, which were necessarily modified to fit mechanical limitations of the time. It can be classified as a modern face because of the sharp serifs and the contrast between thick and thin strokes. The face was recut and new sizes added in 1936. It is simply called Modern in some Monotype lists. AUGUSTEA-see Imports in Appendix. AURIOL was issued by ATF early in the century, by arrangement with the j Peignot foundry in France. It is an unusual but dainty and artistic face-for the period-based on the distinctive lettering of Georges Auriol, French designer. Compare Peignot. AURORA is a newspaper face designed by Jackson Burke for Linotype in ) 1960, and is made only in 81/2-point, combined with its own italic or a choice of standard bold faces, as far as we can determine. AURORA (other)-see Imports in Appendix. BACKSLOPE RAY SHADED-see Delraye under Antiques in Appendix. BAILEY SHADED-see Antiques in Appendix. BALTO GOTHIC-see News Gothic. BAMBOO was originally known as Freak, patented 1889, at Great Western Type Foundry. It was shown by BB&S as late as 1925, in five sizes, of which the 18-point size was later copied by Typefounders of Phoenix as an antique revival. BAM-STENCIL was designed by F. L. Amberger and reportedly cut by Ruttle, Shaw&Wetherill, a Philadelphia typographic firm, about 1937. It follows the general style of Corvin us (Glamour) Bold, but is heavier and has stencil-like breaks in the strokes. No lowercase was made. BANK GOTHIC, in three weights and two widths, was designed in 1930-33 by Morris F. Benton for ATF, which introduced the normal widths in 1930. It is a more squarish, contemporary adaptation of letters on the order of Copper- plate Gothic, useful primarily for the same sort of forms and stationery work. Linotype has the same face in regular widths; it is called Commerce Gothic on Ludlow and DeLuxe Gothic on Intertype, while Monotype Stationers Gothic is similar. From these sources it follows the usual custom of small lining types. with several sizes being made for each of several body sizes so that they can readily be used in a variety of cap-and-small-cap combinations. But Linotype cut condensed versions in 1936 as Card Gothic, in only one size each of6- and 12-point. Poster Gothic (q.v.) is the same design as Bank Gothic Condensed Medium. but made in larger sizes and fitted more tightly. BANNER-see Gill Sans Cameo Ruled under Imports in Appendix. P. T. BARNUM is the re-release, in 1933 and again in 1949, of French Clarendon, inherited by ATF from one of its predecessors, Marder, Luse & Company. It is a nineteenth-century design which several foundries offered in the same or similar cuttings, under the same name or various other names. including Italian Condensed. It is an unusual display letter, featuring greatly emphasized horizontal strokes at the top and bottom of the characters, and is named for Phineas Taylor Barnum, the flamboyant showman, probably be- cause similar styles were commonly used for circus posters. Some intermedi- ate sizes are more condensed than other sizes, and appear to be the same as Bruce's Italian Condensed No. 341. BAUER BODONI, BAUER CLASSIC-see Imports in Appendix. BEACON was cast by Hansen in the mid-1910s. Many characters seem to duplicate Forum, but a number of others are distinctly different. BELAIR-see Park Avenue. '-- BEN FRANKLIN types were originated by Keystone Type Foundry in 1899 (regular and Open), with Condensed added in 1904, as display faces in the popular irregular style of the time. The Condensed is very narrow, little more than half the width of the regular. The Auxiliaries (Dr. To The the and orand ornaments) were sold separately, as were the hanging figures, but were typical of many faces of the day. Compare Blanchard, Buffalo, Post Oldstyle. Roycroft. BENEDICTINE was designed for Mergenthaler Linotype in 1915. It was adapted by Joseph E. Hill, under the direction of Edward E. Bartlett, from the types of Plato de Benedictis, an Italian master printer of the fifteenth centu- ry, who produced some thirty-three books between 1487 and 1495. Thus it represents the period of the Italian Renaissance, when artists and master craftsmen were creating beautiful things under the inspiration of classic architecture, fine manuscripts and paintings. Compare Medieval. BENTON was designed by Morris F. Benton in 1930, under the name Cam- bridge, but was not released until 1934, when the name became Benton. It is similar to Baskerville and other faces; but has a number of distinctive little details of its own, such as the almost calligraphic foot on the d and u. The font has no f-ligatures-only the minimum number of characters shown in the speCImen. This face was the only one of more than two hundred designs by Morris Benton to bear his name. It was discontinued some years after its introduc- tion, then reintroduced in 1953 under the name Whitehall; the new name was taken from a New York telephone exchange, before the days of all-numerical dialing. According to a foundry spokesman, it was renamed because too many type names start with A, B, and C, and too many tons of type would have to be moved on stockroom shelves to put it in proper alphabetical order. The ban on ABC names was later forgotten, before Americana, Brush, Craw Clarendon. and others came along. An italic was designed for Benton, and carried as far as pattern plates and trial castings, but was never completed. BERLIN ANTIQUE was cut by Linotype in 1910 or earlier. The name suggests that it was derived from a German source, and it is similar to a face known there as Romana but also common elsewhere under other names. It is a bold face compatible with mid-nineteenth-century romans known generally as French Old Style or Elzevir, which were also the inspiration for DeVinne (q.v.). Intertype has Remson Bold, a similar face. BERNHARD BOOKLET and Italic were designed by Lucian Bernhard in 1932; he had previously drawn the Bernhard Gothic series for ATF after coming to this country from Germany where he had designed a number of successful typefaces. These new faces are somewhat similar to his Bernhard Roman and Lucian series done there (see Imports in Appendix), featuring small lowercase and tall ascenders. In 1937 several characters were rede- signed, and it was reissued as Bernhard Modern Roman and Italic (q.v.). BERNHARD CURSIVE-see Imports in Appendix. BERNHARD FASHION was designed by Lucian Bernhard for ATF in 1929. It is a very delicate sans-serif, useful for fashion advertising and social printing. It has the unusual feature of different alignments for caps and lowercase, with the latter positioned normally on the type body, but with the oversize caps positioned lower and occupying almost the entire body. A bold weight was tried but never completed. The Intertype copy was made in 1938. BERNHARD MODERN ROMAN. In 1937 several characters of Bernhard Booklet and Italic (q.v.) were redrawn by Lucian Bernhard, the original designer, at the request of ATF, and it was reissued as Bernhard Modern Roman and Italic. In 1938 Bernhard Modern Bold and Bold Italic were added. also drawn by Bernhard. They are lively and sparkling faces, precise but not mechanical. Since Hand m, the characters with the series number stamped on the shoulder, were not redesigned, some fonts of Bernhard Modern Roman appear to have been produced with the series number (559) of the earlier Bernhard Booklet. Compare Cochin; also Drew. BERNHARD TANGO, designed by Lucian Bernhard about 1931 but not cut until 1934, is a formalized italic with a number of unusual cursive features. such as the way upstrokes of BPR start from the bottom serif and are separate from the main stroke. A companion series of swash letters is made considera- bly oversize for each size of Tango, which is known in Europe as Aigrette. BERT BLACK was designed by Gilbert P. Farrar of Intertype in 1928, and privately cast for use as display heads in Collier's Weekly magazine. No specimen is available. See Collier Heading. BERTHAM was Frederic W. Goudy's one-hundredth type design, done in 1936. He relates that the design was completed, matrices cut, and type cast within sixteen working days of receipt of a request to write an article for The American Printer on his hundredth type. It is based on a fifteenth-century type used to print Ptolemy's Geographica, and is named for and dedicated to Goudy's wife, Bertha M. Goudy-combining her first name and middle initial. BETON is a square-serif face designed by Heinrich Jost for Bauer Typefoundry in Germany, copied by Intertype in 1934-36. Beton Wide was added by Intertype in 1937 to fit two-letter matrices with the Extra Bold. Like the other members, it features several unusual design details, but several alternate characters and a set of redesigned figures are furnished to more nearly approximate American square-serif designs. Unlike other such faces, serifs are bracketed on strokes which would be thin in contrasting romans. Bauer also made Beton Light, Medium Condensed, Bold Condensed, and Open versions, some of which have been copied here by secondary suppliers. Beton Open has sometimes though incorrectly been called Stymie Open. BINNY OLD STYLE has been a popular Monotype face since it was cut for that machine in 1908. McMurtrie calls it "one of the best faces available for everyday 'bread and butter' use in sizes 14-point and below; in larger sizes it is most unsatisfactory." Monotype adapted it from a face of the same name (originally known as Old Style No. 77) produced by MS&J about 1886. This in turn was based on a face cut in Scotland about 1863 as a modernization of Caslon. It was named for Archibald Binny, who with James Ronaldson estab- lished the first permanent typefoundry in America-a firm which eventually became MS&J and then ATF .In 1900 ATF advertised the face as "an original and beautiful series of old style letter adapted to the printing of fine books and magazines." Monotype also cut a modified version for Curtis Publishing Company; and another version, slightly larger and wider and derived from another foundry source, as Overgrown No. 80, which was used for text in Ladies' Home Journal beginning in 1935. BIZARRE BOLD was originally known as Edwards, designed in 1895 by Nicholas J. Werner for Inland Type Foundry. It was renamed, most appropriately, by BB&S in 1925 after that foundry took over Inland. A companion face called Inland, by the same designer, was produced at the same time using some of the same characters but with even more unusual twists to others. Compare Francis. BLANCHARD is one of the many display letters with irregular edges pro- duced around the turn of the century for use where strength, boldness, and an effect of solidity were wanted. The roman and italic were issued by Inland C Type Foundry in 1900, with other versions added the following year. Curious- L ly, only the italic and condensed forms seem to have survived long enough to be included in ATF's inventory of matrices when numbers were assigned. Compare Ben Franklin, Buffalo, Roycroft. BODONI. All versions of this popular type family are based on the work of Giambattista Bodoni, eighteenth-century Italian master printer generally credited with originating the style of letter known as "modern," featuring mechanical perfection of form and more severe contrast between thick and thin strokes than traditional faces. There have been numerous interpretations of Bodoni's typefaces, but the most popular in America are those drawn by Morris F. Benton for ATF or adapted from his work by other manufacturers. His Bodoni, Bodoni Italic. Bodoni Book and Italic, and Bodoni Bold and Italic, introduced by ATF in 1910-11, have been duplicated by several sources, as detailed below. The ATF Bodoni series, with its long descenders, was the first new creation to success- fully counter the popularity of standard alignment, introduced around the turn of the century. However, it was inspired by the successful revival of the original version of Caslon Oldstyle. Henry L. Bullen encouraged the resurrec- tion of the Bodoni design, first of a series of such recreations, while his Typographic Library at ATF provided the resources for research into the works of the historic master designers. Monotype brought out its own interpretation of Bodoni and Italic in 1911. This is its No. 175 series, also based on historic Bodoni types but differing in many details from Benton's design. Notice especially the alternate French oldstyle figures, which depart from the usual style of oldstyle figures; ATF Bodoni also has similar alternate figures in small sizes, although they are rarely seen. In 1930 Monotype adapted Benton's Bodoni design as its No. 375 series. Neither 175 nor 375 suffers from the mechanical restrictions of Mono- type's standard arrangement, but because Bodoni Bold and Italic required considerable reproportioning as first cut for that machine, Monotype later brought out Recut Bodoni Bold and Italic, which by means of a special arrangement are very close to ATF's original design. Bodoni Book and Italic were adapted to Monotype after special arrangements became more common. Notice the alternate v and w shown in the specimen of Bodoni Italic; these letters were made by ATF in all three weights of italic but not copied by any other source except Monotype Bodoni Book Italic. Perhaps because of the lighter Bodoni Book, some users apply the name "Bodoni Medium" to the regular weight. ATF's Newspaper Bodoni Bold is the same as Bodoni Bold, but with descenders (gjpqy,;Q as shown after the Bodoni Bold specimen) substantially shortened to permit casting each size on a smaller body, from 36/30 (36-point face on 30-point body) to 144/120. Ludlow Bodoni Bold offers similarly short- ened descenders in large sizes. ATF Bodoni Bold Italic was cast for a while in the 1960s with greatly shortened descenders though not on smaller bodies. Apparently the intention was to reduce the size of kerns and the chance of breakage. (Bodoni continues) Ludlow's first offering in this family was Bodoni Light and Italic, designed by Robert Wiebking and introduced in 1923; it was similar to Monotype Bodoni No. 175 but lighter. Five years later Ludlow brought out True-Cut Bodoni and Italic, designed by Wiebking from original Bodoni works in Chicago's Newberry Library. The serifs and hairlines of this face turned out: to be too delicate for practical use, so in 1936 Robert H. Middleton modified the design and it was reissued as Bodoni Modern and Italic. The basic design is the same except for a few redrawn letters, but it is recut a little narrower ~ and with slightly more strength to the hairlines. This is probably the most faithful recreation of Giambattista Bodoni's original types. The third lines of specimens of the latter face, both roman and italic, show some of the original True-Cut Bodoni characters before they were redesigned. ~ Ludlow Bodoni Bold and Italic, cut by Wiebking before 1930, were re- ( placed by Bodoni Trueface Bold and Italic, close copies of the Benton face. Bodoni Trueface and Italic in the regular weight were also added. Bodoni Bold Condensed was drawn by Sol Hess for Monotype in 1934, and other versions were designed independently by some other sources; such a face was drawn by the ATF staff in 1933 but not produced. The basic Bodoni designs were narrowed by Linotype and Intertype in the larger sizes to fit early mechanical restrictions; when later machines permitted full width faces in these sizes, the narrow versions were renamed Bodoni Condensed and Bodoni Book Extra Condensed. Intertype also cut Bodoni Bold Extra Condensed and Slim Bodoni. ATF's Card Bodoni and Card Bodoni Bold, drawn by Benton in 1912-16. are adaptations of the regular faces to all-cap fonts, with several sizes cast on 6- and 12-point and larger bodies for use on stationery and forms; notice the redrawn J, Q, comma, and semicolon. Engravers Bodoni is a wide version of Bodoni Bold made the same way; it was drawn by Benton in 1926 but apparently not introduced until 1933. Bodoni Bold Shaded was designed by Benton in 1912 for ATF. Bodoni Open, also by Benton in 1918, was discontinued after a time and reintroduced in 1930. Bodoni Bold Panelled was designed by Sol Hess for Monotype in 1928; it has no lowercase, points or figures, only the basic characters shown. All three faces are adaptations of Bodoni Bold. Ultra Bodoni and its variations are now well established under the Bodoni name, but historically they hardly belong here, being more closely related to the nineteenth-century English "fat" faces. One reviewer called Ultra Bodoni "an old Bruce face with a few redrawn characters." Actually it was entirely redrawn, but the resemblance is there. The Ultra Bodonis do not have the long ascenders and descenders of other Bodonis, and the transition from thick to thin is more abrupt. Ultra Bodoni and Italic, designed by Morris Benton in 1928 for ATF, were also made by Monotype; Intertype made them as Bodoni Modern and Italic. Linotype has Poster Bodoni and Italic, similar to Ultra Bodoni but with somewhat heavier hairlines, designed by C. H. Griffith. Ludlow's Bodoni Black and Italic, designed by Robert H. Middleton in 1930, are distinctly different but generally comparable; a later Condensed version was also de- signed by Middleton. ATF's Ultra Bodoni Condensed, drawn by Benton in 1930, is rarely seen but his Ultra Bodoni Extra Condensed of 1933 has enjoyed some limited use. Onyx (q.v.), called Poster Bodoni Compressed by Linotype, is comparable. Ludlow's Bodoni Campanile (called Palisade on Intertype) and Italic are somewhat similar to Onyx, but less formal; they were designed by Middleton in 1936 and 1942 respectively. Bartlett was Damon Type Foundry's name for its copy of the Bodoni series. Compare Louvaine, French Round Face, Suburban French. Also see Bauer Bodoni under Imports in Appendix. BOLD ANTIQUE was designed by Morris F. Benton in 1904 and issued by ATF in 1905. Bold Antique Condensed was drawn by Benton in 1906 and issued in 1908 or 1909. As plain, thick-and-thin, square-serif faces of consid- erable weight, they enjoyed many years of popularity. The unusual lowercase fwith the crossbar bracketed at upper left was later replaced by one more like the condensed version, but the original style remained in f-ligature combina- tions and in most sizes of the Monotype copy. About 1963 these faces were reissued as Whitin Black and Whitin Black Condensed, but were discontinued in 1968. The name came from Whitin Machine Works, of which ATF had become a subsidiary in 1960, as a play on words which it was hoped would more firmly establish the proper pronuncia- tion of the company name. Compare John Hancock, Contact Bold Condensed. BOLD FACE is a generally descriptive name for many nineteenth-century and earlier typefaces, before type families were developed and more distinc- tive names became common. Most foundries had several such faces, further identified by numbers, but comparable faces from different sources often had different numbers. After the turn of the century, many were copied by Lino- type and Monotype, sometimes under other names. Many of these faces were made only in one or a few sizes, within the size range of 5- to 18-point; some had matching italics. It is not practical to list more than a few of the more important survivors here. BoLdFace No.1, Linotype (cut 1904) and Intertype, is the same as Bold Face No. 2, Mono 328J, and similar to Modern Roman Medium, BB&S (q.v.). BoLdface No. 2, Lino and Inter, is a general-purpose face, adjusted in propor- tions to match the widths of various newspaper faces and a few older romans; as paired with Textype it is almost indistinguishable from Textype Bold (q. v.) which is furnished with Textype Bold Italic. Bold Face No.6, Lino, is essen- tially the same as John Hancock, ATF. Bold Face No.9, Lino and Inter, is very similar to Brandon. [Lining] Boldface No. 520, ATF, was originally Bold Face No. 120, but it was renumbered to indicate adjustment to American standard alignment. Compare Modern Romans. BON AIRE-see Flamme under Imports in Appendix. BOND SCRIPT is a typical Spencerian style of connected script from the early part of the century. It was introduced by ATF in 1905, and advertised as "equal to copperplate printing." It is similar to the older and more popular Bank Script, but with fewer flourishes on the caps; it was discontinued by the early 1930s. BOOKFACE-see Bookman. BOOKLET OLD STYLE was designed by Frederic W. Goudy for ATF in 1916, as one of the types called for by an arrangement to design exclusively for that company. Goudy speaks of it as a letter simple in construction, plain and unobtrusive, and not terribly distinctive. It is named for the first press established by Goudy in Chicago in 1895. It does not seem to appear in any ATF specimens or literature, nor in the list ofATF matrices inventoried in 1930. BOOKMAN OLD STYLE has become a lastingly popular "workhorse" design for plain. easy-to-read text, and to some extent for display as well. It is derived from an oldstyle antique face designed by A. C. Phemister about 1860 for the Scottish foundry of Miller&Richard, by thickening the strokes of an oldstyle series. This face was copied by Bruce Type Foundry in this country as Antique No. 310, by MacKellar, Keystone and others as Oldstyle Antique (q.v.), and by Hansen as Stratford Old Style (q.v.). In 1901 Bruce brought out Bartlett Oldstyle, based on the small sizes of their older face, refitted and otherwise improved. In that year Bruce was taken over by ATF, which thought well of Bartlett but changed the name to Bookman Oldstyle; it was cast at the Bruce foundry under both names until the plants were actually combined in 1906. Few roman faces have swash letters. In our specimen, the first group of swash letters for both roman and italic was drawn by Wadsworth A. Parker for ATF, the second group, somewhat different, is by Ludlow. For printers who preferred type without the swash characters, Oldstyle Antique No. 560 was introduced; it is identical to Bookman and Bartlett except for those characters. In fact, some of the original matrices for Bruce Antique No. 310 were used for many years for casting Bookman after the other names had vanished. Bookman was adapted to the Monotype in 1909. CompositiOR~i~es are only slightly modified to fit mechanical requirements, but display sizes are virtually exact copies of the ATF face, including roman swash letters other than M and The, which are too wide for Monotype molds in the larger sizes. Intertype issued its Bookface, a close copy of Bookman including all swash letters and with alternate oldstyle figures, about 1920. Ludlow Bookman and Italic are close copies of the ATF faces, but with redesigned swash characters. as shown. C. H. Griffith redesigned Bookman in 1936 for Linotype, staying close to the feeling of Bookman but omitting swash and alternates. A further modifi- cation isNew Bookman, designed by Sol Hess for Monotype in 1927; it'.departs more than the others in such details as serifs, but maintains the general feeling of the original face. Bookman Old Style Condensed was designed for Monotype by Sol Hess in 1916-figures are the same as Bookman and there is no lowercase. Antique No.1 (q. v.) is quite similar to Bookman, and in fact is often but erroneously called Bookman by Linotype and Intertype users. BB&S Bookman Oldstyle appears to be an exact copy of the ATF face but lacks swash letters other than The and of; matrices undoubtedly came from Western Type Foundry when BB&S acquired it in 1918. Other BB&S Book- mans were renamed in 1925 from Western faces originally issued under other names. Bookman Lightface was Western's Custer, in turn a copy of ATF's Cushing No. 2; Bookman Bold was Western's Custer Bold, similar to Cushing Oldstyle. Bookman Bold Condensed was formerly BB&S's Monitor No.5, first shown in 1895. Inland's Faust is the equivalent of Bookman. BOSTON GOTHIC is an inline version of Medium Gothic No.7, which was produced by Hansen in 1903 or earlier as a copy of Mid-Gothic (q. v.). The solid form is reasonably good in a commonplace sort of way but the inline is awkward in places. BOSTON ITALIC is an inline version, produced by Hansen in 1909, of Gothic Italic, which Hansen copied earlier from Doric Italic (q. v.). BOSTON OLDSTYLE-see Cheltenham. BOULEVARD-see Imports in Appendix. BRACELET -see Tuscan Ornate under Antiques in Appendix. BRADFORD-see MacFarland. BRAGGADOCIO-see Imports in Appendix. BRANDON is a thick-and-thin title face, similar to Engravers Roman, designed by Nicholas J. Werner and introduced by Inland Type Foundry in 1898. It was named for a printer in Nashville, Tennessee. Like a number of other such faces, it has no lowercase but was cast in several sizes on each of several bodies so numerous cap-and-small-cap combinations could easily be made. This style was popular for stationery and business forms. Hansen called the face Plate Roman. On Linotype and Intertype Bold Face No.9 is essentially the same face but a little narrower; typesetters not infrequently call it Engravers Roman. There was also a Brandon Gothic, cut only in two small 6-point sizes, which was similar to Combination Gothic, but with a letterspaced effect. BRIMMER-see Bell. BRITANNIC is the casting by Baltimore and others of English Monotype Monoline Script. See Imports in Appendix. BROAD-STROKE CURSIVE is Lanston Monotype's name for Script Bold of English Monotype, one of the few connecting scripts on those machines. The thick-and-thin lines seldom have a thin-to-thin connection, which would be more difficult to produce properly. Characters are designed so that none of them appear to be kerned, which adds to the durability of the type. Having the same series number (322) from both sources raises doubt as to whether Lanston made matrices or only sold English mats, but their name appeared on specimen sheets, and there appears to be no other Lanston use of that number. BROADWAY was designed by Morris F. Benton in 1927 for ATF, and introduced in 1928. It is a serifless face of extreme thicks and thins, designed with no lowercase and therefore very large on the body. The following year it was duplicated by Monotype, where Sol Hess added a lowercase alphabet with virtually no descenders. There is also Broadway Condensed, designed by Benton for ATF in 1929, with lowercase and more normally proportioned descenders. Broadway Engraved, drawn by Sol Hess for Monotype in 1928, is like the original Broadway caps but with a narrow white line engraved on the left side of the heavy strokes. ATF discontinued its versions in 1954. Compare Boul Mich. BRUCE ANTIQUE-see Bookman. BRUCE MIKITA-see Antiques in Appendix. BRUCE OLD STYLE and Bruce Old Style Italic were the first of scores of faces adapted by Sol Hess to fit the mechanical requirements of Monotype casting, shortly after he joined Monotype in 1902. In 1909 Hess redesigned Bruce to fit a new development in the machine, and Bruce Italic became the first kerned italic for Monotype casting. It is derived from a face produced by George Bruce's Son&Company in 1869 or earlier, and is a plain, very legible. but quietly attractive face, which has been popular for magazines and other extensive reading requirements. BRUCE TITLE-see Menu Title. BUDDY -see Roycroft. BUFFALO was the Hansen Type Foundry's answer to such popular boldface: types with irregular edges as Blanchard, Post, and Roycroft, introduced in 1902 or earlier, including an Outline version. Buffalo Italic was shown in 1903; it is quite similar to Blanchard Italic, especially in the lowercase. The specimen shows an apparent duplicate cast by Kelsey when that supplier had its own typefoundry. BULLETIN or Bulletin Script was introduced in 1899 by the Keystone Type Foundry. It is a heavy, informal script, with most letter combinationsjoining. but not all. Compare Charcoal. BULLETIN TYPEWRITER. Although this book doesn't generally include typewriter faces, Bulletin Typewriter is shown because it is one of the few made in display sizes, and the only one made as large as 36-point. Otherwise it is representative of the scores of such faces made in small sizes. It was cut in 1925, with the largest size added in 1933. Monotype makes a very similar but lighter Remington Typewriter, in 24-point as well as 10- and 12-point sizes. BULMER ROMAN and Bulmer Italic were adapted by Morris Benton from a face cut about 1790 by William Martin for William Bulmer and the Shak- speare Press in London. This Press was established for the purpose ofproduc- ing a magnificent national edition of the works of William Shakespeare, "in which splendour of production was to go hand in hand with correctness of text." George Nicol, one of the publishers of the work, writes that "with regard to the Typographical part of the work, the state of printing in Eng- land, when it was first undertaken [1786], was such that it was found neces- sary to establish a printing-house on purpose to print the work; a foundry to cast the types; and even a manufactory to make the ink." William Bulmer was credited with greatly advancing the art of book printing in England, and these types were hailed as illustrious designs. derived from Baskerville but modified by their designer's admiration of Bodoni. Various sources disagree on dates for the present recutting, with Benton's work said to be as early as 1923. But foundry records show that trial cuttings of the roman were made in 1925 and of the italic in 1926, with all sizes of each cut a year later. However, ATF's "advance proof" of the faces is dated May 1928. As first issued by ATF, Bulmer and Bulmer Italic had intermediate size figures, as shown in the specimens; these were replaced by a choice of lining or oldstyle figures in 1940, as also shown. The Monotype cutting of Bulmer, about 1954, is unusually faithful to the ATF original for a machine-set face; the Intertype cutting, first shown in 1958, is less satisfactory, due to shortened descenders and mechanical restric- tions applied to the italic. CABLE-see Sans Serif CADMUS-see Elzevir. CALEDONIAN-see Clarendon. CALEDONIAN ITALIC-see Law Italic. CALIFORNIAN and Californian Italic were cut by Monotype in 1958 as a reissue of University of California Old Style and Italic, which had been de- signed by Frederic W. Goudy in 1938 as a private type for the Press of that school. Goudy notes that "I elected to make a type for general use the desider- atum, rather than a type for more sumptuous work." He further states that he "endeavored to give it the utmost distinction compatible with its purpose and especially strived for the greatest legibility possible. ...For my italic wanted to draw a refined letter that could not be called prudish. Some of the characters may be a bit exuberant, but not more so than due regard for its purpose permits." It is a distinguished face. An unusual detail is the inclusion of small capitals in large sizes; they are designed separately rather than being reductions of the regular capitals. Compare Deepdene. CAMBRIDGE was Hansen Type Foundry's copy of Windsor Condensed. drawn early in the century by Elisha Pechey for the Stephenson, Blake foundry in England. New Cambridge, cut in 1909, was an inline version of the same face, apparently originated by Hansen. Some other versions of Windsor are shown under Popular Imports in the Appendix. CAMBRIDGE (other)-see Benton. CAMELOT or Camelot Oldstyle was the first typeface designed by Frederic W. Goudy. He offered it to Dickinson Type Foundry (part of ATF) in Boston, which accepted it and sent him $10, twice what he had modestly asked for it. This was in 1896; it was apparently cut and released the following year as drawn, without lowercase. In February 1900 a design patent was issued in the names of Goudy and Joseph W. Phinney, and assigned to ATF. Phinney was a well-known designer for Dickinson-ATF, and apparently it was he who added the lowercase alphabet. Its success encouraged Goudy to make a distinguished career of type designing, and this face was included in ATF specimen books as late as 1941. Compare Canterbury. CAMEO (other)-see Gill Sans Cameo under Imports in Appendix. CAMERA is a novel cursive letter with light, monotone strokes suitable for use on personal stationery and announcements. The design originated with Stempel in Germany in 1913, after a design by F. Schweimanns, the Inter- type face appearing in 1936. Compare Card Italic. CAMPANILE-see Bodoni Campanile. CANTERBURY [CAPIT ALS]-see Floriated Capitals under Imports in Appendix. CAPRICE-see Imports in Appendix. CAPTION-see Compact. CARD BODONI-see under Bodoni. CARD GOTHIC-see Bank Gothic, Blair, Wedding Gothic. CARD ITALIC is a Linotype copy of Ella Italic, designed by S. H. DeRoos in 1915 for Amsterdam Type Foundry. It is a novelty cursive letter, with a more frivolous appearance than the somewhat similar Intertype face, Camera (q.v.). Like the latter, it is most suitable for stationery, announcements, and greeting cards. CARD LIGHT LITHO, CARD LITHO-see Litho Roman. CARD MERCANTILE was produced by Dickinson Type Foundry in the 1890s or earlier. Except for a few letters, it appears to be a duplicate of Extended No. 3 of Stevens, Shanks in England. In 1901 Morris Benton rede- signed the two smallest sizes for ATF, successor to Dickinson, for better compatibility with the other sizes. It is a very delicate, wide, thick-and-thin style without lowercase (but the English face has lowercase), somewhat similar to Engravers Roman, which supplanted it in popular use. An 1899 ad said, "For imitating the work of steel engravers there can be nothing more beautiful picked from a case, and it is difficult if not impossible to imagine how anything finer ever can." Compare Engravers Roman, Brandon, Litho sertes. CARD ROMAN was designed by Morris Benton for ATF in 1921, when a trial size was cut, although it was not completed for marketing until 1925. But it was gone before publication of the next ATF specimen book in 1934, so specimens are very rare; the ones shown here come from ATF files. It is a very light roman, with mostly oldstyle characteristics, but with unusual twists to several characters, including J, Q, and g. Cap U has the lowercase form. CARD ROMAN (other)-see Engravers Roman. CARD TEXT -see Typo Text. CARDINAL was Keystone Type Foundry's version of Cushing Monotone (q.v.). The italic is very similar to Cushing No.2 Italic. CARLTON -see Adcraft Lightface. CARNET DE BAL-see Tuscan Outline under Antiques in Appendix. CARNIV AL-see Tuscan Ombree under Antiques in Appendix. CASCADE-see News with Clarendon. ULTRA BODONI-see Bodoni, Ultra. ULTRA-MODERN was designed by Douglas C. McMurtrie in 1928, with the assistance of Aaron Borad and Leslie Sprunger. Ultra-Modern Bold was designed by McMurtrie about the same time, and Ultra-Modern Italic a year or two later. They are all severe thick-and-thin serifless letters; the Bold weight is similar to Broadway though not quite as mechanical, but has normal descenders and thus the face is not oversize for the body. Also com- pare Modernique, Radiant. UMBRA was designed by Robert H. Middleton for Ludlow in 1932. It is essentially a shadow version of Tempo Light, in which the basic letter is "invisible" but there is a strong shadow to the lower right of each stroke. Compare Shadow. UNCIALA was cut and cast by Paul H. Duensing, from a Czechoslovakian typeface by Oldrich Menhart. UNCLE SAM-see Tuscan Outline under Antiques in Appendix. UNILINE-see Cushing Monotone. UNION PEARL, UNIVERS-see Imports in Appendix. UNIVERSAL GOTHIC-see Gothic Condensed No. 523. UNIVERSITY OF CALIFORNIA OLD STYLE-see Californian. UNIVERSITY OLD STYLE was issued by Hansen in the early to mid- 1910s. It is very similar to ATF's Century Oldstyle, differing most apparently in the serif treatments of CEFG and details of ags in the roman and CGg in the italic. UNIVERSITY SCRIPT is a Spencerian script design introduced by ATF in 1902. It is similar to Typo Script Extended in the lowercase, although not quite as well cut, but the caps have extra flourishes, and there are several logotypes or tied characters. UTILITY GOTHIC-see Agency Gothic. VANnEN HOUTEN is an unusual display face created by Keystone Type Foundry and patented in 1904 by Gibbs Mason, probably the designer. It is a medium weight roman with bizarre serifs on a number of char'acters, and other eccentricities. Compare Rogers, Bewick. VAUDEVILLE-see Antiques in Appendix. VENETIAN and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional faces, almost modern, instead of classic designs ofVene- tian origin as the name implies. The result is c)oser to Bodoni than to Clois- ter. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later face by the same designer, which has similar characteristics but more grace and charm. VENEZIA was produced by Keystone Type Foundry and first shown in 1899. It appears to have been inspired by the same models as Jenson Oldstyle, but features more generously bracketed serifs and a generally more pleasing appearance. Except for the unusual link between the bowls oftheg, it is very agreeable. For a later modification of this design, see Laureate. VENEZIA ITALIC (quite unlike the preceding face) was designed by Fre- deric W. Goudy in 1925 to accompany a typeface which George W. Jones. well-known English printer and designer, had drawn for the English Lino- type Company. It is somewhat similar to Cloister, but with stronger serifs. VENEZIAN-see Munder Veneziano VENUS-see Imports in Appendix. VERNEN is essentially a copy of Huxley Vertical (q.v.), but omitting the round characters AKMNWY and using the alternate pointed characters in- stead. In addition, the slight extensions of cross strokes to the left of stems have been omitted, and a few other characters have been redrawn. It was offered by Baltimore in 1953. VERTICAL GOTHIC is a special-purpose Linotype face, with characters punched at right-angles to the normal position so they will compose into a vertical line, useful for food-store advertising of the time. It was first shown in 1932. The design is equivalent to ATF's Gothic Condensed No. 521, but is made in capitals only. Figures and certain other characters of a few other faces are also made for vertical slug work. VERTICAL SCRIPT is a simple-almost childish-monotone upright script design, produced by Hansen in 1897. Although letters connect, they are widely spaced. The Boston foundry of ATF introduced a similar Vertical Writing, shown in 1897 and patented in 1898 by Joseph W. Phinney. Both are oversize for the body, with kerned descenders. VICTORIA-see Ecclesiastic under Antiques in Appendix. VICTORIA ITALIC is a nineteenth-century design that retained its POPU- Vi larity for many years, and has been made under several names by a number sources. ATF's Central Type Foundry branch showed it as early as 1893, in K. in usual form without lowercase, but with several sizes on each of several bodies in the manner of Copperplate Gothic. In 1898 the Pacific States Type Foundry in San Francisco showed the face with lowercase as Pacific Victoria Italic, and about the same time ATF showed Regal Italic with essentially the same lowercase. Victoria Italic without lowercase has also been shown by Keystone and Hansen, as well as Monotype and Ludlow. It is a wide, mono- tone design with thin, pointed serifs, and was popular for a time for business forms and stationery as well as general printing. Compare Paragon Plate talic. Keystone also had Keystone Victoria, a similar upright design, without lowercase. VIKING was cut by John F. Cumming for Hansen in 1899. It is a medium- V weight roman in a popular style of the day, with filleted curves within the letters where strokes meet. Compare Mission. V VILLAGE TEXT or New Village Text. This typeface by Frederic W. Goudy is really a hybrid, combining the capitals of Tory Text with the lowercase of Deepdene Text. When the Grabhom Press in San Francisco ordered a large amount of Deepdene Text for a proposed book about Caxton, England's first printer, Goudy was not satisfied that this was the best choice for the subject. Afterr quite a bit of study, he hit upon the idea of substituting the Tory Text capitals. Grabhom approved a proof of this combination. Earlier, Goudy had applied the name Village Text to his redesign and cutting of Aries, but Grabhorn renamed it Franciscan when they used that face for an award-winning book. This left the name available for the later face. VIRTUOSA-see Imports in Appendix. CASTELLAR-see Imports in Appendix. Catalog Old Style is a BB&S face, formerly known as Old Style Antique, which probably dates from the 1890s. It is similar to Bookman but heavier and less refined; in fact it is much like the face from which Bookman was derived. A condensed version, known as Monitor No.5, was later renamed Bookman Bold Condensed (q.v.). CATHEDRAL TEXT is an extremely heavy form of Blackletter or Old ( English, introduced by ATF around the turn of the century, but duplicating Bruce Type Foundry's Black No. 400. The extraordinary contrast between thick and thin elements results in awkward design and proportions for many characters. CAXTON INITIALS were designed by Frederic W. Goudy in 1905. He says of them, "These are a rather clumsy form of Lombardic capitals. At this time had not given text letters much study and while the forms of these capitals are correct enough, they lack the delicate hairlines which I learned later are an important feature of letters of this kind." The font includes only the 26 letters shown and a small leaf ornament. Compare Lombardic Capitals. CELTIC-see Latin Expanded. CELTIC ORNATE-see Antiques in Appendix. CENTAUR was designed by Bruce Rogers in 1914, based on the beautiful roman type first used by Nicolas Jenson in 1470, and a refinement of Mon- taigne (q.v.), designed a decade earlier by Rogers. Centaur was first cut by Robert Wiebking of BB&S as a private type for the Museum Press of the Metropolitan Museum of New York. In 1929 it was recut under the joint sponsorship of Lanston Monotype and Monotype Corporation, England, but issued only by the latter. Some critics have called it the best recutting of the Jenson letter. Arrighi (q.v.) was cut as an italic companion to Centaur. Compare Cloister, Eusebius, Italian Old Style,' also Jenson. CHAMFER GOTHIC is a nineteenth-century style which was popular for newspaper headlines. Predecessors of ATF had Chamfer Condensed in 1871 or earlier, and Herald Extra Condensed, a very similar face, a little later. A plain, extra-condensed design, it features straight diagonal lines in place of the usual curves, being named for a term meaning to bevel or cut off a corner decoratively. Similar designs were made by most founders, under several names; some included lowercase although the all-cap versions were longer lasting. Gothic No. 14 on Linotype and Intertype is essentially the same face but includes lowercase in 18-point only. Compare American Extra Condensed, with lowercase; also Octic Gothic; Slim Outline under Oldtyme Outline. CHAMPLEVE-see Sylvan under Imports in Appendix. CHANCERY ITALIC was modeled on an italic font of the sixteenth century or thereabouts, perhaps by Castiglione. It was designed by Paul Duensing and matrices were cut by him in 1966 at The Private Press and Typefoundry of Paul Hayden Duensing, one of very few such operations in this country. The original font included the oversize C. There is only one size. CHARCOAL is a heavy novelty script introduced by Keystone Type Foun- dery in 1899. It is the same as Bulletin (q.v.), except for a spotty texture as though written with a stick of charcoal. It was later recut by Charles Broad of Typefounders of Phoenix, the mats eventually going to Los Angeles Type Founders. CHARTER OAK is a heavy, inclined gothic introduced by Keystone in 1899. There is a fair amount of contrast, and round letters are flat sided or nearly so. London Gothic (q.v.) was a comparable upright face, and Royal Gothic of the 1880s from another foundry is quite similar. Compare Doric Italic. CHAUCER TEXT (or Chaucer Old English) is a heavy, condensed form of Blackletter or Old English, cut by ATF in 1904. Capitals and a few lowercase letters have unusual, rather crude forms that make the whole face hard to read, and unattractive to more modern tastes. Compare Cloister Black, En- gravers Old English, Goudy Text, etc. CHESTER TITLE-see Engravers Roman Shaded. CHIC is a novelty face designed by Morris Benton in 1927 and released by ATF the following year. It has no lowercase; its thin lines are very delicate and its normally thick lines are opened with two parallel white lines. The result is airy but very mechanical. The 48-point size was cut but no showing has been found; in fact the series was not shown at all in specimens appearing as early as 1931. Compare Boul Mich, Broadway, Gallia. CHINESE-see Mandarin under Antiques in Appendix. CHISEL-see Imports in Appendix. CHURCH TEXT is a plain, narrow Blackletter or Old English style, introduced by ATF early in the century. It is somewhat similar to Chaucer Text. but being a little plainer and lighter it is more pleasing and not as hard to read. Compare Cloister Text, Goudy Text. CICERO, CIRCULAR SCRIPT, CIRCUS-see Antiques in Appendix. CITY [COMPACT]-see Imports in Appendix. CLARION is an interesting but elusive text face, made by Intertype only in the 8-point size, as far as we can discover. Roman, italic, and bold are shown in the 1955 book; italic is listed but not shown in the 1958 book. All are listed as obsolete and not shown in later books we have checked. Clarion is similar to Waverley (q.v.), but is a little heavier, having shorter ascenders and greater x-height, resulting in a larger face for the body size. CLASSIC-see Dickens, MacFarland. CLASSIFIED is a hybrid Linotype face intended for use in newspaper classified ads as an alternative to sans serif or the older romans. Its lowercase appears to be a duplicate of Times Roman, while the rest of the font appears to be Paragon, one of the Legibility Group faces. It is made with its own bold- face. Classified Display, offered in 1955, is essentially Futura Light, being narrower and more compact than Linotype Spartan Light. It is made in multiples of the usual 51/2-point classified ad line, and is obviously intended for headlines in such ads. CLA YTONIAN -see Antiques in Appendix. CLEARCUT OLD STYLE is a conventional nineteenth-century oldstyle letter of the sort that started out as an attempt to "refine" Caslon. The result is legible but not particularly attractive or distinguished. Although more regular than Caslon, there is some variation from one size to another, espe- cially in the italic, where the 24-point size in particular has less slope than the rather extreme inclination of other sizes. The faces were formerly known as Oldstyle No.5 or No. 59, with italic. There was also a Clearcut Oldstyle Condensed. Compare Binny, Franklin Oldstyle. CLEARCUT SHADED CAPS [Capitals] were designed by Will Ransom in 1924 for BB&S, to work with the regular Clearcut series or similar faces. They are an interesting set of flourished, decorative letters. They are rather reminiscent of French copperplate lettering, although it is said the designer had no particular model at hand. They are sometimes called Ransom Shaded Initials. There is no X or Z, but fonts include decorative dashes and brackets. CLOISTER BLACK (or Cloister Text) was introduced by ATF in 1904. Its design is generally credited to Joseph W. Phinney, of ATF's Boston foundry, but some authorities give some or all of the credit to Morris Benton. It is an adaptation of Priory Text, an 1870s version ofCaslon Text (q.v.), modernizing and eliminating the irregularities of that historic face, and making it one of the most popular versions of Old English. Flemish Black (q.v.), introduced at the same time, has the same lowercase and figures but a different set of capitals. Note the alternate V and W, and tied ct. ATF also makes a double lowercase l, while Monotype makes f-ligatures and diphthongs. Compare Goudy Text, Engravers Old English. CLOISTER OLDSTYLE was designed by Morris Benton in 1913 and re- leased by ATF early the next year. It follows quite closely the noted roman face used by Nicolas Jenson in 1470, but is slightly heavier to compensate for the improved printing conditions and smoother papers of the present time. ' Cloister Italic, released later in 1914, is based on an italic cast by Aldus Manutius in 1501, but does not follow this as closely as the roman does its source. Cloister Bold was designed in 1913; it and Cloister Bold Italic were cut in 1915. Cloister Title and Bold Title were cut in 1914-15; they are essentially the same as the regular Cloisters, but without lowercase, and cast full on the body. Cap J and Q were redesigned and the comma and semicolon shortened. In the specimens shown here, the complete font of Cloister Oldstyle is shown, including two styles of figures, alternate Rand T, and the array of quotation marks. Cloister Title shows the essential J and Q revisions; Cloister Bold Title is comparable. Cloister Lightface was designed in 1919 but not cut until 1924, with Italic the following year. It is considered the most faithful reproduction of Jenson's original type; substantially the same as Cloister Oldstyle but cut lighter to allow for the heavying which results from printing on rough or dampened papers with a strong impression, as was done in the fifteenth century. Cloister Cursive was cut in 1922. It has the same lowercase and figures as Cloister Italic, but a more freely designed set of capitals. Cloister Bold Con- densed was designed in 1915 and cut in 1917. All these versions of Cloister were designed by Morris F. Benton, who considered this the ideal typeface. For this assignment he thoroughly studied the life and times of Nicolas Jenson of Venice, the first great designer of a roman typeface. Jenson's type was the inspiration for numerous faces in this century, including the comparatively crude Jenson Oldstyle. Benton's design was probably the first to accurately recapture the spirit of the fifteenth- century type. In 1992, ten characters of Cloister Oldstyle were redesigned with dia- mond-shaped dots for greater authenticity, and a long s added, in the 16-point (Cloister continues) size for private use. These new characters were contrived from existing patterns by Theo Rehak, New Jersey typefounder, and the result designated Cloister Oldstyle No.2. Cloister Cursive Handtooled was designed by Benton and Charles H. Becker in 1923, but not completed until 1926; it is derived from Cloister Bold Italic. Curiously, what might be called a companion face was not made by ATF but by Intertype, as Cloister Bold Tooled, which had been issued by that company in 1920. Cloister Wide was introduced by Linotype in 1926; it was designed to match the width of Cloister Bold for duplexing on the same matrices. Compare Centaur, Eusebius, Italian Old Style; also Cromwell. COCHIN or Cochin Old Style originated with the Peignot Foundry in Paris. about 1915. It was based on the lettering of eighteenth-century French cop- perplate engravers. Sol Hess adapted it to the Monotype in 1917, while ATF copied the French face in 1925. Both Monotype and ATF replaced the French figures with the more usual lining figures. The roman is rather distinctive but the italic is much more so, being closer to formal handwriting or engrav- ing than most italics. There are several unusual lowercase swash or terminal letters in the italic, where principal strokes have no serifs at the top. Cochin Bold and Italic were designed exclusively for Monotype by Sol Hess in 1921. They follow the style of the lighter faces, but bold italic lacks the swash letters of the light italic. Hess also designed Cochin Open, an outline version of the regular face, in 1927. Quite possibly he was also responsible for Cochin Bold Tooled, similarly developed from Cochin Bold but lacking lowercase. Compare Caslon Openface, Bernhard Modern, Drew. Also see Nicolas Cochin. COLLEGE OLDSTYLE-see Caslon Openface. COLONIAL appears to be a recutting by ATF in 1933 of Fry's Ornamented (see Imports in Appendix), a revival by the Stephenson Blake foundry in England of a type cut by Richard Austin in 1796 for an eighteenth-century ancestor of that company. It has much the character of Baskerville Roman. which descends from the same source, but shaded and with an outline ellipse set into the middle of each main stroke. A similar face was shown by the Caslon foundry about the same time. The second Colonial specimen shows a font of mats acquired by Bob Halbert in Texas from a Detroit typographer. It appears to be a duplicate of the English face, with a few characters redrawn. It is not identified otherwise. Compare Old Dutch, Dresden. COLUMBIA series was drawn by Walter H. McKay, a New York designer. but cast by Typefoundry Amsterdam. There are two weights, with italics; a bold condensed was added by a staff designer. Work was started on it in 1947 : but it was not released until 1956, following much testing and refining. It is a contemporary roman, evenly and expertly drawn, and neutral in feeling. There are small capitals and italic swash letters for the light weight. COLUMBINE-see Antiques in Appendix. COLUMBUS-see American Italic. COLUMNA-see Imports in Appendix. COMBINATION GOTHIC (Nos. 501 to 510)-see Gothic No. 545. COMMERCE GOTHIC-see Bank Gothic. COMMERCIAL SCRIPT is a typical Spencerian script, designed by Morris c Benton in 1906 and cut by ATF in 1908. It is a connecting face, similar to Bank Script but heavier and with fewer flourishes. It has continued in popu- larity, and is still shown in recent ATF specimens. Compare Bank Script. Typo Script. COMPACT is a medium weight, extra condensed roman type with some distinctive features, intended primarily for newspaper headlines and adver- tising. It was issued by ATF early in the century. Its large lowercase and short ascenders and descenders make it well suited for its purpose. Caption is the same face on Linotype and Intertype, but only the 36-point size has lowercase. ATF's Heading Condensed is an all-cap version of the same design. Compare Headletter No.2, Lafayette Extra Condensed, Miehle Extra Condensed. COMPANION OLD STYLE and Italic were designed by Frederic W. Goudy in 1927 as a private face for headings in Woman's Home Companion maga- zine. After Aries, cut only in one size, this was Goudy's first experience in cutting an extensive series of sizes, as well as roman and italic. As he says, he learned the business of typefounding while working on this face. And of the face itself, Goudy says, "I believe that Companion Old Style and its italics show greater consistent original features than any other face I have ever made." From types cast in his matrices, Monotype made electro matrices for the typesetters of the magazine. And when that plant was liquidated several years ago, the matrices were acquired by Lester Feller, a private typecaster in Illinois, and a few fonts were cast for other private printers. There are no italic figures, and no plain versions of v or w, which would be necessary for good appearance within words. COMPRESSED NO. 30 is a Monotype copy of an unidentified nineteenth- century foundry face, closely related to Modern Roman Condensed (q.v.). CONDENSED CASLON, CONDENSED FOSTER, CONDENSED GOTHIC, etc.-see under primary name of Caslon, Foster, Gothic, etc. CONDENSED GOTHIC (other), CONDENSED GOTHIC OUTLINE- see Alternate Gothic. CONDENSED GOTHIC NO.3-see Headline Gothic. CONDENSED NO. 54-see Modern Roman Condensed. CONDENSED OUTLINE-see Howland Open. CONDENSED SANS SERIFS-see Imports in Appendix. CONDENSED TITLE-see Modern Roman. CONGRESS is a fancy face shown by Hansen in 1909 or earlier. It was sold as fonts of initials, caps only, for which it seems more suited, or as complete fonts with lowercase, figures and points. CONGRESSIONAL is an adaptation of No. 36 (see "Numbered Faces") for the U.S. Government Printing Office. It is a conventional modern roman, but rather compact and with long ascenders. The special feature is a canceled version in the auxiliary position on each matrix, the cancellation being a continuous horizontal line through each word when assembled. It has been used primarily for legal work. CONSORT -see Antique, Clarendon; also see Imports in Appendix. CONTOUR is a group of outline faces issued by Marder, Luse&Co., Chicago type foundry, in 1888-89. Several were copied by Monotype, and some of these are still being produced by the secondary typefounders who cast from those mats, although not always under the original names. Contour No.1 is an outline of the obsolete Royal Gothic,. No.4 of Latin Bold Condensed,. No.5 of Interchangeable Gothic,. No. 6 of Condensed Gothic. The others up to No. 7 are obsolete. Marder, Luse joined the merger in 1892 that formed American Type Founders Company, where these faces continued to be cast for some time, but apparently the matrices did not survive until ATF assigned serial numbers. Also see Modern Gothic Condensed Outline, Gothic Outline Title, Whedons Gothic Outline, and other Outlines throughout this book. %Q MacMcGrew on Cooper Black %N 61867 %B nothing %T Quoting Mac McGrew on Cooper Black: Cooper Black is the best known of a number of typefaces designed by Oswald Bruce Cooper, Chicago lettering artist, but it is not the first or most unusual. They resulted from a policy of Barnhart Brothers&Spindler, the large Chicago type foundry, of seeking original designs and encouraging modern artists to add their talented contributions to typographic resources. Cooper, an oldstyle letter with innovative rounded serifs, long ascenders and a close fit, was designed in 1918. Originally called Cooper Oldstyle, the shorter name was adopted before it was released. Cooper Italic was designed in 1924; it harmonizes well with the roman, but retains more of the quaintness and irregularity of hand-lettering through the unusual swing of such letters as h, k, m, and n. Roman and italic fonts include f-ligatures up to 18- point only. Note the unusual extras in roman-brackets, paragraph mark. "classic point," four-leaf clover, etc. Small caps were also made up to 18-point. but these were the same as the next smaller size of caps, including 16-point. with very little difference between them and regular caps in some sizes. Cooper Black was issued in 1922, a super-black design which fully represented Cooper's unique style and started a new trend in advertising typogra- phy. Cooper called it, "for far-sighted printers with near-sighted customers." This became the foundry's best selling type before its merger with ATF seven years later, and ATF's all-time second-best-selling type (after Copperplate Gothic). Cooper Black Italic was completed in 1926, and quickly joined the ranks of best selling types. The dozen swash capitals were unusual for such a heavy face. Both italics are non-kerning, that is, none of the letters overhang the body, eliminating the major cause of breakage, for Cooper was as practi cal as he was talented. Cooper Hilite was created in 1925 by cutting a white line in Cooper Black. Cooper Black Condensed appeared in 1926; Cooper described it as "condensed but not squeezed." Cooper Fullface, probably the most innovative of Cooper's creations, was issued by BB&S shortly before the foundry was closed in 1929; production was taken over by ATF, where it was renamed Cooper Modern. Of this face. Cooper said that it "differs from Bodoni in that its serifs are rounded, and its main stems drawn freely, with a suggestion of curve in almost every line." He added, "It is unusual in that it combines the sharp contrast of main and minor lines (as in Bodoni) with the free rendering (as in Caslon) of pen drawn characters." An italic was undertaken but never completed. We have the word of Richard N. McArthur, former BB&S advertising manager, that Fullface and Modern are the same face, but there is no explanation of the ATF listing of both names with different serial numbers for matrices in its vaults. Cooper Tooled Italic was copied by BB&S in 1928 from an adaptation by a German foundry of Cooper Italic, the result of an agreement to exchange designs between the two foundries; BB&S later admitted it was the loser in this deal. This letter is basically heavier than the original, and very displeasing to Cooper. But Cooper Tooled is Monotype's adaptation by Sol Hess of Cooper Black, with a white line on the opposite side from Cooper Hilite; it was done in 1928. Monotype also copied Cooper (both roman and italic) and Cooper Black. under the same names. Intertype's Rugged Black and Italic, issued 1929, are essentially like Cooper Black and Italic through 14-point; in larger sizes the roman is closer to Cooper Black Condensed. Compare L~dlow Black, Pabst Extra Bold, Goudy Heavyface. %d Feb 3 2012 %L COOPER COPPERPLATE-see Inland Copperplate. CORBITT is a heavy, thick-and-thin face with tiny serifs, designed by Nicholas J. Werner and issued by Inland in 1900. Although still showing many of the quaint design details of nineteenth-century types, it is somewhat more mature. Condensed Corbitt was advertised by Inland in 1902 as their "latest addition." Both versions were cast by ATF after Inland merged with that foundry in 1911, but only the Condensed seems to have survived until matrices were inventoried in 1930. CORDON, CORINTHIAN -see Antiques in Appendix. CORONET and Coronet Bold are popular script types designed by R. Hunter Middleton for Ludlow in 1937, taking full advantage of the 17-degree mats of that system. Not quite connecting, the letters have a charming grace and swing, and are one of the comparatively few script families with two weights. The bold in particular has been popular with newspapers and most other installations of Ludlow equipment around the world, and fonts of separate type have been cast by secondary suppliers. Compare Trafton Script. Stylescript. CORVINUS-see Glamour; also see Imports in Appendix. COSMOPOLITAN was cut by Monotype in 1902 for Mitchell Kennerley. publisher of Cosmopolitan magazine, who also used it in other publications. It is a rather narrow, compact face, with lowercase taller than most such faces; a matter-of-fact face, more unassuming than Bodoni and a little lighter than Century Expanded. Kennerley considered it one of the most legible roman faces ever cut. In 1936 it was modified and more sizes added. Compare Century Expanded, Post Text. COURTS-see DeVinne Recut Italic. CRAFTSMAN -see Artcraft, also Cheltenham. CRAWFORD-see MacFarland. CRAYONETfE-see Antiques in Appendix. CROMWELL is a rather playful typeface, designed by Morris Benton in 1913 but not released by ATF until three ye~rs later. It uses the same capitals as Cloister (q.v.) and has the same small x-height with long ascenders and descenders, but otherwise is quite different, with much less formality. Notice the alternate characters and the double letters including overhanging f's. CURTIS POST was produced by ATF in 1902 for the Saturday Evening Post magazine of Curtis Publishing Company, but soon released to printers in general. It is based on Post Oldstyle Roman No.2, a style which previously had been handlettered for headings in the magazine. Like many fonts of the day, it contained several alternate characters and logotypes. Some specimens hyphenate the name as Curtis-Post. Curtis Shaded Italic was cut in 1910; it is uncertain whether this is the same as Post Shaded Italic. Compare the various Post faces. CUSTER-see Bookman, Cushing. DAILY NEWS GOTHIC was designed by Gerry Powell and cut by ATF in 1938 for that newspaper. No specimen has been found. DANDY -see Romantiques under Antiques in Appendix. DEEPDENE. The roman of this series was designed and cut by Frederic W. Goudy in 1927 for his own Village Letter Foundery, and named for his estate at Marlboro-on-Hudson, which in turn was named for the street in Forest Hills, New York, where Goudy worked before moving to Marlboro in 1923. The accompanying italic was designed the following year, with matrices for the first trial size being cut by the designer's wife, Bertha M. Goudy. Of this italic, Goudy says, "I chose more or less to disregard tradition in an attempt to follow a line of my own, and drew each character without reference to any other craftsman's work. I think this italic shows a disciplined freedom which retains the essential quality of legibility." It has been described as having "an acid, typey quality," with interest, color, movement, and quaintness. Like many of Goudy's italics, the inclination is slight. When Monotype obtained rights to reproduce Deepdene, slight adjust- ments were necessary to adapt it to mechanical requirements in keyboard sizes. Goudy resented not being asked to make these adjustments, as some of them displeased him although they are not apparent to others. Deepdene Medium was designed by Goudy in 1931, and he cut one size. Monotype assigned a number to this face, but no evidence has been found that it was ever cut for that machine. Deepdene Bold and Italic were designed by Goudy in 1932-33 for Monotype, and released in 1934. Goudy says, "The Deepdene Bold Italic drawings gave me more trouble than any italic I had hitherto attempted. I finally scrapped all of my preliminary sketches and began a design that would not be merely a heavier facsimile of the italic Deepdene, since I had come to believe that a bold letter can do little more than approximate in form the roman it is to complement." Compare Californian. Deepdene was recut with the addition of swash letters and redesign of several other characters by Richard Ellis, with Goudy's approval, for a Knopf edition of Arthur Waley's Translations From the Chinese. DEEPDENE OPEN TEXT was designed by Frederic W. Goudy in 1931 as a heading type for Edmund G. Gress's book, Fashions in American Typography. for which Goudy had been asked to write an introduction. His Deepdene type was being used for text. Finding that nearly all letters were required for the many headings, Goudy completed the font. All letters are highlighted with a white line in the heavy strokes. The capitals are somewhat similar to Lom- bardic Caps, while the lowercase is somewhat like Goudy Text Shaded (q. v.). but much less rigid. Later Goudy cut the same face with the white line of the lowercase letters filled in, and called it Deepdene Text. Also see Tory Text. DEGREE GOTHIC-see Gothic Italic. DELLA ROBBIA was designed by Thomas M. Cleland from his rubbings of a few stonecut caps, made during a visit to Rome. It was cut by ATF and first shown about 1902. The capitals have a good inscriptional quality, with al- most no variation in thickness of line. The lowercase, with long ascenders and short descenders, has slight thick-and-thin contrast. The series is named for Luca Della Robbia, fifteenth-century Italian sculptor. The Monotype copy. issued in 1917, is virtually exact in display sizes and not seriously modified in composition sizes, but lacks the alternate characters of the foundry version. which also includes a long-tailed Q in QU and Qu combinations, a tied ct, and a distinctive paragraph mark. Della Robbia Light was designed by Morris Benton and cast by ATF about 1913-some sources say 1918. Damon&Peat's Armstrong is equivalent. Della Robbia Initials, which have no apparent relationship to the family except in name, were issued by Intertype. DELPHIAN OPEN TITLE was designed by R. Hunter Middleton and re- leased by Ludlow in 1928. The delicate, classic capitals have heavy strokes divided by a white line into two lines which are the same weight as the thin strokes; serifs are very small. It is a chaste, dignified design based on inscriptional lettering, and is popular for titles and initials. DELPHIN -see Imports in Appendix. DELRA YE-see Antiques in Appendix. DELUXE GOTHIC-see Bank Gothic. DEMETER is a decorative, shaded letter produced by BB&S in 1925, by arrangement with Schriftguss A.-G. of Dresden, where it was designed by Peter A. Demeter. Serifs are leaf-like in form. This is one of a few German faces BB&S received in exchange for rights to the Cooper types. DENNISON SCRIPT was produced by BB&S; it is a thick-and-thin connect- ed script, probably originating in the nineteenth century; at least it has that character. Strokes vary from hairline to heavy in lowercase letters, and to very heavy in the capitals. DeROOS is a handsome contemporary roman type designed by S. H. DeRoos in Amsterdam, Holland. Originally imported from a Dutch typefoundry, with additional weights and inline initials, this roman and italic were also cut by ATF about 1952, and by Intertype in 1954. A 1953 piece of ATF literature notes, "Cast at Elizabeth on Amsterdam line." De VINNE types were designed and named for Theodore L. De Vinne, one of the most prominent American printers of the late nineteenth and early twentieth centuries. His De Vinne Press pioneered in various methods of producing high-quality books and magazines, and De Vinne himself had considerable influence on typeface design as well as printing methods and other aspects of the business, and was the author of several books on the subject; however, he was not the actual designer of these faces. DeVinne, as produced by Linotype in 1902, is a legible but plain version of modern roman, with long, thin serifs and considerable contrast. It does not appear in the 1907 book, Types of the DeVinnePress, although there are other very similar types. Other faces bearing the De Vinne name, described below, are more distinctive and much better known. They might be considered the first large type family, although they developed helter-skelter from several sources rather than being created as a unified family. DeVinne, the display face, is credited with bringing an end to the period of overly ornate and fanciful display faces of the nineteenth century, and with restoring the dignity of plain roman types. It is derived from faces generally known as Elzevir or French Oldstyle (q.v.). DeVinne says of it, "This face is the outcome of correspondence (1888-90) between the senior of the De Vinne Press (meaning himself) and Mr. J. A. St. John of the Central Type Foundry of St. Louis, concerning the need of plainer types of display, to replace the profusely ornamented types in fashion, of which the printers of that time had a surfeit. The DeVinne Press suggested a return to the simplicity of the true old-style character, but with the added features of thicker lines and adjusted proportion in shapes of letters. Mr. St. John approved, but insisted on grotesques to some capital letters in the belief that they would meet a general desire for more quaintness. Mr. Werner of the Central Type Foundry was instructed to draw and cut the proposed face in all sizes from 6- to 72-point, which task he executed with great ability. "The name given to this face by Mr. St. John is purely complimentary, for no member of the DeVinne Press has any claim on the style as inventor or designer. Its merits are largely due to Mr. Werner; its few faults of uncouth capitals. ..show a desire to please eccentric tastes and to conform to old usage. The new face found welcome here and abroad; no advertising face of recent production had a greater sale." Thus De Vinne himself credits the face to Central Type Foundry and its design to Nicholas J. Werner, but Werner says, "To correct the general impression that Theodore L. De Vinne was the designer of the face named after him, I would state that it was the creation of my partner, Mr. (Gustav) Schroeder ." The design was patented under Schroeder's name in 1893. Central was part of the merger that formed American Type Founders Company in 1892, but continued to operate somewhat independently for a few more years. Meanwhile, DeVinne was copied by Dickinson, BB&S, Hansen, and Keystone foundries, and perhaps others-in fact, Keystone advertised that it patented the design in 1893, Connecticut Type Foundry copied it as Saunders, and Linotype as Title No.2. Dickinson called it "a companion series to Howland" (q.v.). When Monotype developed an attachment in 1903 to cast display sizes, DeVinne was the first type shown in their first announcement. Later ATF specimens showed this face and several derivatives as DeVinne No.2, probably because of adjustments to conform with standard alignment. DeVinne Italic and DeVinne Condensed were drawn by Werner and produced by Central in 1892 and copied by some other sources. Howland, shown by Dickinson in 1892, is essentially the same as DeVinne Condensed No.3, later shown by Keystone. ATF introduced DeVinne Extended in 1896, while BB&S showed DeVinne Compressed, Extra Compressed, and Rold in 1898-99. Keystone's DeVinne Title is another version of bold, not as wide as that of BB&S. In 1898 Frederic W. Goudy was asked to take the famous display type and make a book face of it. The resulting DeVinne Roman, Goudy's second type design, was cut the following year by the Central branch of ATF. DeVinne Slope, essentially the same design but sloped rather than a true italic, was cut by the foundry about the same time, perhaps from the same patterns as the roman. DeVinne Open or Outline and Italic also originated with Central. In the roman and smaller sizes of italic only the heavy strokes are outlined; in larger sizes of italic, certain thin strokes are also outlined. Monotype cut the open faces in 1913. DeVinne Shaded is another form of the outline, created by Dickinson in 1893; parts of the outline are much thicker than others. DeVinne Recut and Recut Outline, shown by BB&S, are not true members of this family, but are a revival of Woodward and Woodward Outline, designed by William A. Schraubstadter for Inland Type Foundry in 1894; there were also condensed, extra condensed, and extended versions, all "original" by Inland. DeVinneRecutItalic was a rename of Courts, by Werner about 1900, also from Inland. Compare McNally. DIAMOND INLAID-see Antiques in Appendix. DICKENS was cut by Keystone in 1906 or earlier, and named for Charles: Dickens. It is known as Classic on Linotype. Also see MacFarland. DIETZ TEXT was designed by August Dietz, Sr., of Richmond, Virginia. about 1927, for BB&S. It is an unusual adaptation of Old English, as though lettered with a broad pen divided into three parts, thus producing three parallel lines in all heavy strokes. The drawings were not suitable for making patterns, so Oswald Cooper was asked to redraw it. He did this grudgingly, as it was an arduous task on which he spent two months. Although it was an interesting novelty, used occasionally to good effect, not enough of it was ever sold to repay a fraction of the cost of production. Matrices apparently were destroyed when the foundry was taken over by ATF. Compare Waldorf Text. DIMENSION -see Antiques in Appendix. DODGE was cut by Monotype about 1920 or earlier, for the private use of Dodge Brothers, to harmonize with the distinctive lettering in the advertis- ing of that auto manufacturer. The specimen shown here is from a very poor photocopy. DOM CASUAL is a very informal, contemporary design with a brush- lettered effect, produced by Pete Dom (Peter Dombrezian) for photolettering, i and cut by ATF about 1952 at the instigation of Steve Watts. Its popularity prompted the design of Dom Diagonal, an italicized version, soon after, and Dom Bold in 1953. There are several unusual ligatures, but no f-ligatures except as shown. Compare Flash, Trend, Balloon. DORCHESTER SCRIPT -see Imports in Appendix. DORIC ITALIC was cast by ATF in the 1890s or earlier, and copied by Hansen as Gothic Italic and by others. In comparatively recent years it again became popular under the name Old Gothic Bold Italic, cast by Amsterdam Typefoundry in Holland, the source of the specimen shown here. Hansen also cut an inline version, which they called Boston Italic (q.v.), in 1909. Compare Charter Oak. A traditional but entirely different Doric is mentioned under Clarendon. DORMER-see Pekin. DORSEY was designed by Inland Type Foundry in 1904, and named for a printer in Dallas, Texas. It is an oldstyle antique series, much like Bookman but with slightly more contrast. Light Dorsey, introduced in 1910, is some- what similar to Cushing Monotone, but with smaller x-height and longer ascenders. There were also condensed and extra condensed versions; note that the Dorsey Condensed shown here is badly battered and worn. DRESDEN is a very decorative face designed by Peter A. Demeter for Schriftguss A.G. in Dresden and cut by BB&S in 1925 by arrangement with that firm, part of the deal by which the German company got rights to copy Cooper. In this face, the main strokes as well as the serifs are leaf-like. Compare Columbine in Antiques. DREW is a delicate, compact roman type with a pen-lettered effect. It has long ascenders and comparatively small x-height. The long serifs are mostly unbracketed, but the general feeling is informal and closer to oldstyle in details. It originated with Inland Type Foundry and was shown in 1910. Compare Adcraft, Avil; also Bernhard Modern, Cochin. DYNAMIC MEDIUM was designed by Morris Benton for ATF in 1928 but introduced in 1930. It is a high contrast face without serifs, but with large triangles at the end of thin strokes. Compare Broadway, Cubist Bold. DYNAMIC (other)-see Imports in Appendix. E-13-B magnetic ink bank figures were cut in 1959 by ATF, Linotype, and Intertype in cooperation with the American Banking Association and elec- tronics manufacturers, for electronic processing of checks and other financial documents. '" EASTMAN OLDSTYLE-see Latin Oldstyle Bold. EASYREAD-see Post Text. EATONIAN GOTHIC-see Gothic No. 545. ECCLESIASTIC-see Antiques in Appendix. EDEN is a modern thick-and-thin letter, severely squared and compact. designed by Robert H. Middleton for Ludlow in 1934. It is a smart, distinctive display face, but a little too hard to read for extensive text. Compare Glamour (Corvinus) . EDWARDS-see Bizarre Bold. EGIZIO-see Imports in Appendix. EGYPTIAN -see Imports in Appendix. EGYPTIAN SHADED-see Antiques in Appendix. ELIZABETH-see Imports in Appendix. ELLA ITALIC-see Card Italic. ELONGATED ROMAN SHADED-see Imports in Appendix. ELZEVIR types are named for the most prominent family of seventeenth- century Dutch printers, who developed slender types for use in a series of small books which they popularized. The present-day Elzevir types are based on revivals of types brought out in the 1870s by Gustave Mayeur of Paris, and are commonly known also as French Oldstyle (q. v.) or French Cadmus. They were popular in the late nineteenth century and have had some popularity in this century, especially for text use when Elzevir No.3 was revised under the direction ofE. E. Bartlett in 1919 for Linotype. The style is weak for display. though. Linotype Elzevir No.2 is entirely different, being a copy of Schaeffer Oldstyle (q.v.), an 1898 ATF design. EMERSON, a wide, medium weight roman, somewhat similar to Ronaldson. was cut by Keystone and shown in 1909. Apparently matrices did not survive when Keystone merged with ATF a decade later. EMPIRE was designed by Morris F. Benton and issued by ATF in 1937. It is a thick-and-thin, serifless face, extra condensed, with unusual emphasis on vertical strokes, although it is not a bold face. There is no lowercase. For a time it was used as a headletter in Vogue magazine for a smart, sophisticated look. EMPIRE GOTHIC was offered by Keystone Type Foundry in 1912. Al- though the name does not identify it as an italic, it is somewhat similar to Medium Gothic Italic. ENCORE is a quaint series of roman types issued by Keystone in 1901-02. but the novel features are less pronounced than in a number of other types of the period. The lowercase is narrow and quite tall; Encore Condensed is more the proportion of most extra condensed faces, while the Encore Extended is only a little wider than usual. ENGRAVERS BODONI-see under Bodoni. ENGRAVERS BOLD-see Engravers Roman. ENGRAVERS GOTHIC-see Typo Gothic; also Copperplate Gothic. ENGRAVERS LINING GOTHIC-see Copperplate Gothic. ENGRAVERS LITHO-see Engravers Roman. ENGRAVERS OLD ENGLISH is a plain, sturdy rendition of the Blackletter style, commonly known as Old English. It was designed in 1901 by Morris Benton and another person identified by ATF only as Cowan, but has also been ascribed to Joseph W. Phinney. It is a modernization of Caslon Text, and has been widely used. Engravers Old English Open was produced by ATF in 1902. Sidney Gaunt designed Engravers Old Black, very similar to Engravers Old English, for BB&S in 1910, but BB&S later produced Engravers English, a copy of Engravers Old English. It has also been copied by Intertype, and by Ludlow as Old English. Hansen's Lafayette Text (q.v.) was very similar. Engravers Old English Bold was designed by Morris Benton for ATF in 1910. The unfamiliar characters of Old English types are often misused, and the alternate forms of some letters add to the confusion. I and J are particularly subject to mix-up, because they were originally the same letter, and never developed as definite a distinction in these styles as in roman letters. In Ludlow Old English, cap I is comparable to the one in the Bold weight, but this style has not been found elsewhere in the regular weight. Curiously, in the Engravers Old English Bold specimen shown, the letters appear as the Monotype copy presents them; however, Monotype's I and J are respectively the second and first forms of I as originally designed, while the specimen here shows separately the original foundry J, which Monotype does not make, along with the alternate H. Compare Wedding Text, a similar design in lighter weight; also Cloister Black; Shaw Text; Lafayette Text. ENGRAVERS ROMAN was designed by Robert Wiebking and advertised by BB&S in 1899 as the "latest design"-"the only genuine." Other founders had introduced some similar faces a short time before, all imitating favorite designs of copperplate and steelplate engravers for fine stationery and announcements; Hansen called its version Card Roman. Engravers Roman was shortly supplemented by Engravers Roman Condensed and Engravers Title. The latter was a companion bold face which was displaced by Engravers Bold, designed by Morris Benton for ATF in 1902, and later cast also by BB&S. Western Type Foundry and later BB&S also had Engravers Bold Condensed, and a companion cap-and-lowercase face known as Engravers Litho Bold Condensed, designed by Robert Wiebking in 1914. However, Engravers Litho Bold, designed by Wiebking in 1915 for Western as Rogers Roman, was a substantially different face. Compare Card Mercantile, Brandon, Litho series. ATF issued Engravers Shaded, designed by Morris Benton about 1906. while BB&S had Engravers Roman Shaded, formerly Chester Title, designed by Sidney Gaunt in 1914. Compare Lithograph Shaded. Offset Engravers Roman and Offset Engravers Title were cut in reverse for a process of transferring proofs of type to lithographic stones. ENGRAVERS TEXT is a greatly modified form of Old English, designed by Morris Benton for ATF in 1930. Heavy strokes are opened with a white line and most of the letters are straight across at the base. Compare American Text. ENGRAVERS UPRIGHT SCRIPT was formerly Pen Text No.5, originat- ing about 1879 with Cincinnati Type Foundry, and renamed by BB&S in 1925, when the fancy capitals were dropped. ERA-see Pastel. ERBAR originated in Germany in the 1920s as part of the new wave of sans- serifs; it was designed by Jakob Erbar for Ludwig&Mayer. Three weights of Erbar Condensed have been copied by Linotype-Bold in 1933, Light in 1934, and Medium in 1937 -and have been used especially for newspaper headlines. Unique Caps were added for all three weights in 1938, designed by Linotype. The regular width of Erbar Bold has been substantially modified by Linotype to match the letter widths of various roman newspaper faces, in order to be duplexed on the same matrices. Except for this width modification. the face looks more like Futura Demibold than the original Erbar Bold. Compare Futura, Spartan, Tempo, etc. ERIC GILL SHADOW -see Gill Sans Shadow under Imports in Appendix. ESTIENNE is a distinguished book face designed by George W. Jones, the eminent English printer, and released by Linotype in 1930. It is related to Garamond but more delicate, with longer ascenders and descenders. The roman makes a distinctive and very attractive appearance in text, but the italic is rather loosely fitted, necessitated by fitting the long ascenders and descenders to straight matrices. It is named for a distinguished sixteenth- century French printing family. Compare Granjon, Garamond. EUROSTILE-see Imports in Appendix. EVE-see Rivoli,. also Imports in Appendix. EXCELSIOR (other)-see Imports in Appendix. EXCELSIOR GOTHIC-see Alternate Gothic. EXTENDED LINING GOTHIC-see Philadelphia Gothic. EXTRA CONDENSED-see Modern Roman Extra Condensed,. also Gothic. etc. FARGO-see Antiques in Appendix. FARLEY -see Steel plate Gothic. FARMERS OLD STYLE was one of the very first book types made avail- able for machine typesetting. The first sizes were cut in 1899, adapted from Old Style Series No.5 of the A. D. Farmer&Son Foundry in New York City. It is light and rather wide, and has some modern characteristics in spite of the name. FAUST-see Bookman. FAUST TEXT was a quaint design introduced by BB&S in 1898, and based on uncial lettering. For the 1925 specimen book it was renamed Missal Text. FELLOWSHIP was designed and cut by Jim Rimmer in Vancouver in 1986, and cast by him for private use. He says, "The design is the result of the feeling of joviality and 'fellowship' I experienced at the meeting (American Typecasting Fellowship in Washington, D.C.). The design was not so much drawn as it was written. The letters were written quickly in a calligraphic manner with an edged pencil and then enlarged and inked to make a dry transfer sheet. As in my two previous designs (see Juliana Oldstyle and Nephi Mediaeval), Fellowship was cut not in steel, but in type metal, and then electroplated to make castable matrices." FIFTEENTH CENTURY -see Caslon Antique. FIGARO-see Imports in Appendix. FILLIGREE-see Antiques in Appendix. FLAIR is a unique and very informal script, designed by R. Hunter Middle- ton and issued by Ludlow in 1961. Lowercase is practically monotone, with very small x-height and long, looped ascenders, while caps, figures, and several alternate lowercase letters are emphasized by heavy strokes. Matri- ces angled at 40 degrees, much more than usual Ludlow italics, permit lowercase letters to join without hampering an unusually free flow. FLAMME is called Bon Aire or Torch by some sources; see Imports in Appendix. FLEMISH BLACK was designed by Joseph W. Phinney about 1902. It has the same lowercase as Cloister Black, which was introduced at the same time, but a distinctly different set of capitals. Cloister Black attained much greater popularity and longer life. FLEX is a ribbon-like face designed by George Salter in 1937, while he was living in New York, but was cast only by Amsterdam Typefoundry. FLORENTINE or Florentine Oldstyle was advertised by ATF in 1896 as a cap-and-small-cap design, but quickly replaced by Florentine Oldstyle No.2. with lowercase instead of small caps. Florentine Heavyface followed in 1898. The latter was renamed Florentine Bold, and condensed and extra condensed widths were added in 1903, and became popular advertising faces. Some of these were patented in the name of Ludvig S. Ipsen, and presumably he was the designer. ATF said of the Oldstyle: "Many of the characters are tran- scripts of the lettering of a famous Italian monument of the sixth century," although it is a rather bizarre novelty series. FLORENTINE CURSIVE is a delicate, formal cursive design drawn by R. Hunter Middleton for Ludlow in 1956, in which letters don't quite join. It is lighter and much more sedate than the same designer's Coronet series, but has also been popular for announcements, title pages, and the like. FLORIATED CAPITALS, FOLIO, FONTANESI-see Imports in Appendix. FORMAL SCRIPT is derived from Typo Script, one of the most used Spence- rian styles of script letter. The adaptation to Ludlow matrices was done by Robert H. Middleton in 1956. It has the appearance of joining, but doesn't quite do so. Matrices were cut at a much greater angle than usual for Ludlow italics. FORTUNE or FORTUNA-see Imports in Appendix. FORUM or Forum Title was designed by Frederic W. Goudy in 1911, origi- nally intended for headings in a book to be set in Kennerley. The letters are based on rubbings Goudy had made during a visit to Rome the previous year; some of these were on the Arch of Titus in the Roman Forum, hence the name. This is a font of capitals only, as lowercase letters were not in existence for several hundred years after Roman times, but they reflect inscriptional let- tering at its classic best. Also see Kennerley, Beacon. FORUM I&II-see Imports in Appendix. FOURNIER is an aristocratic roman face which had its inception in letters engraved and cast by Pierre Simon Fournier, a famous mid-eighteenth-cen- tury French typefounder. It is transitional, almost modern, in character, with a distinct French flavor, but with more grace and style than traditional French oldstyle designs. This modern character influenced the later work of Bodoni. This adaptation was made by English Monotype in 1925, and copied by Lanston Mono in 1940. The specimen of the roman shown here is from English Monotype, in the absence of a good American specimen, but the italic is from Lanston. FOURNIER or Fournier Ie Jeune, with the exception of the figures, is a reproduction of Le Fournier Ie Jeune originally cut in France in 1768 by the Peignot foundry, and revived in 1913. ATF secured the American rights in 1926. It is a decorative face, also based on the work of Pierre Simon Fournier. The figures were added by ATF to meet the needs of the American printer. ATF has always used only the single name, while Monotype used both the short and long names in various references. FOURTEENTH CENTURY is a novelty face with a rough, antique feeling. produced by Hansen in one size only, and shown about 1909. FRANCIS is a novelty face introduced by Inland in 1904. Compare Bizarre Bold. FRANCISCAN is the redesigned and recut Aries face of Frederic W. Goudy. renamed in 1932 by Edwin Grabhorn, an eminent San Francisco printer, who used it for several distinctive and award-winning books. Monotype made mats from the types cast by Goudy for private use of the California printer. calling the design Goudy Franciscan. FRANKLIN OLD STYLE was intended to be a modernization of Caslon, cut in 1863 by Alexander Phemister, once of Edinburgh, later of Boston, for Phelps, Dalton&Company. Being more regularized, it has lost the individuality and most of the charm of Caslon, but is a clear, legible face that has had considerable popularity. It was one of the early faces cut by Linotype for book work; the italic has an extreme slant for a slug-machine face, but composes remarkably well. Compare Binny, Clearcut Oldstyle. FRENCH CADMUS-see ElzevirNo. 3. FRENCH CLARENDON-see P. T. Barnum. FRENCH CLARENDON SHADED-see Antiques in Appendix. FRENCH ELZEVIR or French Oldstyle was derived from types popularized in France in the eighteenth to early nineteenth centuries, and again became popular in the late nineteenth and early twentieth centuries, with several variations identified only by a supplemental number. They are modernized oldstyle faces, rather narrow but not tightly set, with moderate contrast and very small serifs. Foundry italics have a number of swash capitals. They have been made by a number offoundrles; those listed here are the last survivors. but are typical of the general style. The BB&S romans listed are similar but not identical to the ATF face, but the italics appear to be the same. French Oldstyle faces were the inspiration for MacFarland and DeVinne (q.v.). Also see Elzevir. FRIAR. Frederic W. Goudy says, "Friar type was designed for my own amusement. ...For the lowercase, I drew on the half-uncial forms of the fourth, fifth, and sixth centuries, on eighth-century uncials. ...For my capitals, I combined letters based on the square capitals of the fourth century, the Rustic hands of the mediaeval scribes-and to all of these suggestions added my own conceits." Designed in 1937, only a few fonts were ever cast. FRY'S ORNAMENTED-see Colonial,. also see Imports in Appendix. FURLONG-see Bell Gothic. FUTURA is a geometric, serifless type designed by Paul Renner for Bauer Typefoundry in Germany in 1927, and features reproportioning which at first seemed radical in relation to the traditional gothics. It first gained popularity in America as imported foundry type. The first copies in this country were made by Baltimore Type under the name Airport (q.v.). One source says it was cut from original Futura drawings, but most likely it was electrotyped from imported fonts. Three extrabold versions were added by Baltimore Type. apparently being introduced before their counterparts from other sources. Airport Black and Airport Black Condensed Title were cut about 1943. Air- port Broad is essentially a modification by pantagraph of A irport Black, being cut 50 percent wider. These faces are heavier than most of their counterparts. none of which copy them exactly, although Spartan Extra Black is about the same weight. Intertype copied a number of Futura faces under the original names in 1939, with additional weights designed by Edwin W. Shaar and Tommy Thompson up to 1956. Monotype copied the series under the name Twentieth Century, with additional versions by Sol Hess. Spartan is claimed to have been redrawn from various European sources. but is almost indistinguishable from Futura,. it was cut cooperatively by American Type and Linotype, with smaller sizes matching from both sources. Linotype introduced its Sanserif 52, later renamed Spartan Black, in 1939. while other weights appeared as late as 1955. Some of the additional weights were drawn for ATF by Bud Renshaw and Gerry Powell. On Ludlow, Tempo Alternate is a near copy of Futura, but not quite as close as the other faces listed; in addition, this face has several alternate letters and figures which change the character of the design when substituted. Distinguishing between Futura and its various counterparts is difficult. and can't be explained in complete detail here. The careful researcher. though, should observe the quotation and question marks, which vary in form between certain sources. Imported fonts and some Baltimore fonts have If', Ii. fl, and ft ligatures; Monotype has the first three of these. Other sources generally have the usual five ligatures including ffi and {fl. Linotype and Intertype offer an alternate roman form of a in some fonts. Bauer Futura. Airport, and Twentieth Century have cap-height ascenders up to 12-point. taller ascenders in larger sizes. Other faces in this category have ascenders taller than caps in all sizes. In Futura and its counterparts, the names of weights vary greatly from one series to another. In the following data, the Futura names are the origi- nal or "generic" titles, with asterisks indicating the versions which originat- ed in Germany. All faces in each group are substantially the same, but vary more in Extrabold than in the other weights. Airport Tourist was Bauer's Futura Display. Bauer's Futura lnline and Futura Black are shown under Imports in Appendix. See Airport, Spartan, Tempo Alternate, Twentieth Century,' also Bernhard Gothic, Metro, Tempo, Vogue, etc.; also Classified Display. Futura Light, Inter* (6-14pt); Spartan Futura Medium, Inter* (6-36pt), Spartan Light, Lino (6-24pt); Twentieth Century Medium, ATF 680 (6-120pt), Lino (6- c Light, Mono 606 (6-72pt) 36pt); Twentieth Century Medium, Mono Futura Light Oblique, Inter* (6-14pt); 605 (6-72pt); Tempo Alternate Medium. Twentieth Century Light Italic, Mono Ludlow 28-AM (6-72pt); Airport Gothic. 6061 (6-72pt) Balto 102 (6-48pt) . Futura Book, Inter* (6-24pt); Spartan Futura Medium Oblique, Inter* (6-30pt); Book, ATF 707 (6-36pt), Lino (51/2-24pt); Spartan Medium Italic, ATF 681 (6- Twentieth Century Semi-Medium, Mono 72pt), Lino (6-36pt); Twentieth Century 613 (6-12pt) Medium Italic, Mono 6051 (6-72pt); Futura Book Oblique, Inter* (6-14pt); Airport Gothic Italic, Balto 202 (6-48pt) Spartan Book Italic, Lino (6-24pt); Futura Medium Condensed, Inter* (8- Twentieth Century Semi-Medium Italic 30pt); Spartan Medium Condensed, ATF 613K (6-12pt) 706 (6-48pt), Lino (51/2-24pt); Twentieth Futura Book Condensed, Inter (8-24pt); Century Medium Condensed, Mono 608 Spartan Book Condensed, Lino (51/2- (10-72pt); Airport Medium Condensed. 36pt) Balto 608 (10-72pt) GALLIA is a unique decorative letter designed by Wadsworth A. Parker for ATF in 1927, and copied by Monotype the following year. It is a severe thick- and-thin style, with main strokes divided by two white lines into a thick and two thin lines. There are flourished alternate forms of several letters, for use as initials or terminals. Compare Modernistic. GARAMOND. Claude Garamond was a distinguished sixteenth-century type designer and founder, the first person to establish typefounding as a business separate from printing. Fonts known as caracteres de l'Universite and ascribed to Garamond are preserved in the Imprimerie N ationale in Paris. These were the inspiration for the Garamond face designed by Morris Benton for ATF and Garamont designed by Frederic W. Goudy for Monotype. Several years after they were released, Beatrice Warde, writing under the pseudonym of Paul Beaujon, established that the source types were actually the work of Jean Jannon, a master printer in Paris in the early seventeenth century. But this disclosure did nothing to diminish the popularity of the elegant types named for Garamond. Benton started work on his design in 1917, and it was released two years later, with Italic. Garamond Bold was added in 1920 and Bold Italic in 1923; they have achieved great popularity and wide use, and for many years were a basic choice for advertising display. In 1922 Thomas M. Cleland designed a set of swash letters and other auxiliary characters for the Garamond series. He also redesigned several characters in the fonts. In the specimen here, redesigned characters are shown in the alphabets, while EF JLU&and italic J &, shown separately, are Benton's original designs. Garamond Bold had similar characters. About 1930 Garamond Italic and Bold Italic were modified slightly for casting on angle body, and for a time were offered both ways. The separate J and fin the Italic specimen show the most obvious modifications for angle body, which had no ligatures, swash, or other extra characters. Garamond Open was designed by Benton for ATF in 1931. Aside from a short J and non-kerning f, it follows the revised style of Garamond. Intertype introduced a copy of Garamond in 1926, shown first under the name Garatonian,' a short time later the Garamond name was applied and has remained. Edward E. Bartlett of Linotype went back to original Gara- mond specimens for a different and more authentic version of the face, intro- duced in 1929 with bold and italics; although these were handsome faces they never achieved the popularity of the ATF design. Later Linotype adapted the Benton design as its Garamond No.3 series. ("Garamond No.2" is said to have been applied to a few fonts of German Linotype Garamond brought to the United States.) Monotype issued Goudy's Garamont in 1921, although Monotype had an agreement that permitted reproduction of ATF faces. No boldface was de- signed for Garamont, so Mono copied ATF's Garamond Bold and Italic, which were mechanically incompatible with Goudy's design for keyboard typeset- ting. But popularity of the Benton design was such that Monotype copied it in (Garamond continues) 1938 under the name American Garamond, in composition sizes. This left Garamond and Garamond Italic almost the only important later ATF faces not copied by Monotype in display sizes. One of the most delicate and distinctive versions of Garamond, with bold and italics, was designed by R. Hunter Middleton for Ludlow in 1929, based on authentic original sources. It also has a number of swash and terminal characters. In the specimens here, both light and bold italic swash letters are out of sequence-in each case, the letter preceding G is J, notF. Also see Garamont; Granjon. GARAMONT. When Frederic W. Goudy joined Monotype as art advisor.-in 1920, he persuaded the company to cut its own version of the types attributed to Claude Garamond, rather than copying the foundry face. The result was named Garamont, also at Goudy's suggestion, to preserve the distinction between the different renderings. Both spellings of the name had been used in Garamond's lifetime. A comparison ofATF Garamond and Monotype Garamont, especially in the small sizes, demonstrates opposing views of two outstanding type design- ers, although the two faces are very similar in many ways. In most faces, the proportionate width increases as the size decreases, to overcome optical illu- sions and maintain legibility. (See "Visual Reproportioning" on page 80.) Benton carried this idea beyond usual practice; his 6-point Garamond is a little more than one third the width of 24-point. But Goudy believed in strict proportions; his 6-point Garamont is only very slightly more than one fourth (26 percent) the width of 24-point; thus in 6- and 8-point sizes Garamont seems smaller than Garamond. This, incidentally, is what makes it impossi- ble to combine Garamont with Garamond Bold for typesetting in one operation. Note also the characters EF JL in Garamont, which are closer to Benton's original Garamond designs than to Cleland's revision. Garamont has the short J in display sizes, but a long one in keyboard sizes. In the Garamont specimens, the last group of characters, both roman and italic, was obtained from a different source and is proofed much more heavily; actually the weight is uniform with the rest of the font. GIANT TYPEWRITER is one of the very few such faces made in display ( sizes. Compare Jumbo Typewriter. Also see Typewriter Faces. GILL FLORIATED-see Floriated Capitals under Imports in Appendix. GILL SANS-see Imports in Appendix. GILL SANS CAMEO RULED-see Imports in Appendix, also see Airport Relief GILLIES GOTHIC is an unusual monotone cursive style, rather than a gothic in either meaning of that term. It was designed by William S. Gillies of New York City in 1935, in two weights, but cast only by Bauer in Germany. Aside from the fact that it is not a connected script, it is somewhat similar to Kaufmann (q.v.), although many letters have unusual forms. Medium and hairline weights are said to have been designed, but not cut. GIRARD was a rather clumsy face introduced by Keystone about 1910. It was of medium weight, with square serifs and moderate contrast between thick and thin strokes, with some similarity to John Hancock. GIRDER-see Imports in Appendix. GLAMOUR is the Monotype copy, released in 1948, of Corvin us, designed by Imre Reiner for Bauer Type Foundry in Germany about 1930. Its dazzling thick-and-thin contrast and stylized features were quite popular for a time. A . note in Monotype literature hints at its delicacy: "When casting this series use extreme care." Italic and condensed versions of foundry Corvinus (see Imports in Appendix) have been grouped under the Glamour name by some typographers, but were not made by Monotype. Compare Eden. GLOBE GOTHIC is a refinement of Taylor Gothic, designed about 1897 by ATF at the suggestion of Charles H. Taylor of the Boston Globe, and used extensively by that paper. But Taylor Gothic has mostly the same lowercase as Quentell, though with hairlines heavied a bit. ATF's Central Type Foundry branch in St. Louis claims to have originated Quentell (q.v.) in 1895 or earlier. The conversion to Taylor Gothic was designed by Joseph W. Phinney, while the redesign as Globe Gothic in about 1900 is credited to Morris Benton. It is a serifless, thick-and-thin face, distinguished by the high crossbar on E, F, and H. The angular end on the stems of V, W, and most lowercase letters. Globe Gothic Condensed, Extra Condensed, and Extended were designed by Benton about 1900. Globe Gothic Bold and its italic are also credited to Benton, in 1907 and 1908 respectively. But Frederic W. Goudy, in the book on his typefaces, says, "This type (Globe Gothic Bold), drawn at the suggestion of Joseph Phinney, followed in the main certain points which he wished brought out. It never had much vogue and is the least satisfactory (to me) of all my types." This is puzzling, as the bold departs somewhat from the style of the lighter weights, but is not at all characteristic of Goudy's work-nor of Benton's, for that matter. Studley of Inland Type Foundry was similar. Compare Ryerson Condensed, Radiant, Matthews, Pontiac, World Gothic. GLORIA-see Imports in Appendix. GOETHE is essentially a lighter version of Goudy Modern, with slight changes and refinements. Frederic W. Goudy, the designer, says, "It was drawn and cut specially to print a specimen I contributed to the Goethe Centenary Exhibition held in Leipzic in 1932." The italic was cut the follow- ing year "for use in the Limited Editions Club edition of Frankenstein, for which I had cut the 12- and 14-point sizes of the roman especially." Goethe has been called "a blending of modern and old style characteristics which pro- duces a distinctively new result." GOLDEN TYPE-see Jenson Oldstyle. GOTHAM-see Gothic Novelty Title. %Q Gothic: Mac McGrew %d Jun 14 2011 %L TY COPPER %N 23170 %B nothing %T Mac McGrew's discussion on Gothic starts with an important remark: Gothic, the purists say, is Blackletter or what we more often call Old English. But the name is so firmly established in American usage as meaning a plain block letter without serifs or hairlines, that we must accept that meaning. Also, it is part of many type names. But we prefer to go further, and reserve the term gothic for the traditional forms, and sans serif for the modified forms originating in Germany with the Bauhaus movement of the 1920s. Our preferred general term is serifless. In this book, gothics having distinctive family names are listed alphabetically throughout---see Alternate Gothic, Franklin Gothic, Modern Gothic, News Gothic, etc. Those with merely descriptive names are included in this section under the following headings: Numbered Gothics, Condensed Goth- ics, Inclined or Italic Gothics, and Miscellaneous Gothics. The term "Lining," added to many names when they were realigned to new standards around the turn of the century, has generally been ignored in this book, as it was later dropped in nearly all cases. Nineteenth-century gothics are not included except for a few representative ones or those that have been substantially used subsequently. "Title" gothics---all-cap versions usually occupying almost the entire body---are shown as secondary listings to the cap-and-lowercase versions where both exist. Offset Gothics were cut in reverse for a process of transferring proofs of type to lithographic stones, or more recently to electronic parts. Also see Record Gothic Offset. He the discusses gothic faces in detail.

Numbered Gothics. Most such faces, except as cross-referenced below, are nineteenth-century designs; a few are shown because they were copied by Monotype or Linotype or otherwise survived for extensive use in this century. For ATF faces numbered in the 500s, the initial 5 generally indicates that the face has been adjusted to standard alignment from an older face with the same number otherwise; that is, Gothic No. 544 was formerly Gothic No. 44 to old standards.
Gothic No.6, an 1895 Inland face, is important only because Monotype adapted it as a practical and widely used utility face before the advent of sans serifs.
Gothic No. 13 is included under Condensed Gothics.
Gothic No.1 and 3: see Franklin Gothic (also see below).
Gothic No. 14. See Chamfer Gothic.
Gothic No. 16. See Franklin Gothic.
Gothic Nos. 17 to 20. See Trade Gothic.
Gothic No. 25, 38, and 520 to 526. See Gothic No. 545.
Gothic Nos. 29 to 35. See Copperplate Gothic.
Gothic, Mono 481, 496, 508. See Helvetica.
Gothic Nos. 39 to 45. See Metrolite.
Gothic Nos. 544 and 545 are typical plain nineteenth-century gothics, both shown by MacKellar in 1889 or earlier, but both have been copied extensively by other sources, and shown by ATF as late as 1979. Hansen's New York Gothic was equivalent to Gothic No. 545. There was also a comparable but lighter Gothic No. 543, which was not as long lasting. Combination Gothic and Interchangeable Gothic were similar to Gothic No. 545, but as title versions, with several sizes of caps on each of several bodies. Also see Octic Gothic.
Gothic No. 578 was shown as Gothic No.8 by Inland in 1898 as "the latest candidate for the printer's favor; a popular old face entirely recut." It was shown until 1941. It is a bold weight, and is quite similar to Standard Bold which as an import from Germany was very popular in this country in the 1950s. It is also similar to Comstock, but without the added outline. Keystone called it Standard Gothic, although it is not identical to the German face. As a nineteenth-century gothic, the cap G had no crossbar. Paragon Gothic is the same design, without lowercase, cast as a title face.
The small Laclede Type Foundry in St. Louis originated a pair of attractive gothics which apparently were scrapped when the foundry was taken over by BB&S. Gothic No.1 was similar to Franklin Gothic, and Gothic No.3 was similar to Square Gothic, but both had many small differences, the most noticeable being round dots on i, j, and punctuation marks. Another Gothic No.3 is made by Monotype, Linotype, and Intertype, probably from a nineteenth-century foundry source. It is similar to Gothic No. 544.
Some other numbered gothics appear under Numbered Faces.

Condensed Gothics.
Inland Type Foundry introduced its Gothic Condensed No. 10 in 1904 as "an entirely new face, from which has been eliminated all of the inconsistencies and objectionable features so noticeable in similar series." Its companion Gothic Condensed Title No. 11, introduced in 1905, was shown by ATF as late as 1969; Monotype's New Gothic Condensed and Gothic Condensed Title are very similar; all are still handsome faces.
Another Inland face of about the same age, Extra Condensed Gothic No.1, survived almost as long in its all-cap version of Extra Condensed Title Gothic No. 12. BB&S had a very similar face, Gothic Extra Condensed No.6 and Title No.6.
Gothic No. 13 is a traditional heavy condensed gothic in small sizes; from 24-point up it is basically the same as Modern Gothic Condensed,. Unique Caps were added in 1937.
Gothic Condensed No. 523 was Keystone's Universal Gothic, introduced about 1906. Gothic No. 47 of BB&S is somewhat similar. Gothic Condensed No. 529 is a nineteenth-century design, and is similar to the later and more refined Alternate Gothic, but it remained in the ATF specimen books at least to 1979; most sources had comparable faces. Also see Vertical Gothic.
Monotype has several utility gothics, including Gothic Caps Condensed. No. 48, designed to occupy roman small cap positions in the standard arrangement; and Gothic Condensed, No. 49, a medium weight conventional sort of gothic. A Monotype specimen sheet, issued in 1917, says of Condensed Gothic, No. 515, "This was formerly our 18-point No. 51. We found that it did not match the balance of the series, so we have given it a new number." See Gothic Condensed No. 529.
Gothic No.1 Condensed. See Franklin Gothic Extra Condensed.
Gothic Condensed No. 2. See Gothic Condensed No. 529, also Alternate Gothic No. 3.
Gothic Condensed No.3. See Headline Gothic, Ludlow.
Gothic Condensed No. 521. Also see Vertical Gothic.
Gothic Condensed Outline. See Contour No.6.
Condensed Gothic Outline. See under Alternate Gothic.
Gothic Bold Condensed Title. See Railroad Gothic. Medium Gothic No.7. See Mid-Gothic, also Boston Gothic.
Medium Condensed Gothic, Ludlow, is a refinement of typical nineteenth-century, straight-sided gothics. It has been popular in newspaper work. Deluxe Variants are an additional feature of about 1939, when similar characters were designed for a number of gothics. Compare Mid-Gothic; Modern Gothic Condensed.
Ludlow also has two faces named Gothic Extra Condensed, 6-EC. The newer one, in 24- to 84-point sizes, is very similar to Aurora Condensed from Germany, also known as Inserat Grotesk or Enge Wotan, with extremely short ascenders and descenders and lengthened white areas in the angular letters. The older Ludlow face, made only in 144-point, is similar to Extra Condensed Title Gothic No. 12, and has no lowercase. In this size, letters are cast individually on Ludlow, the long way of the slug, and used primarily for newspaper headlines.

Inclined or Italic Gothics.
Gothic Italic No. 512, ATF, was advertised by Marder, Luse in 1893 or earlier as Gothic Italic No.3,. BB&S had matching GothicItalic, formerly Degree Gothic No. 1.
The BB&S Gothic Italic Light was formerly Degree Gothic No.2. Several foundries had comparable faces; Inland called its comparable Gothic Italic "original."
Gothic Inclined, BB&S, was shown at least as early as 1889 as Inclined Lining Gothic, later known as Inclined Gothic No. 120. Inland advertised the same face as Title Slope Gothic, "improved." ATF and Monotype had a similar Inclined Gothic, and other founders had comparable faces.
Gothic Inclined Light of BB&S was formerly Slope Gothic No. 50 from 1879.
Bold Inclined Gothic. See Modern Gothic Italic.
Also see Doric Italic, Draftsman Gothic, Boston Gothic.

Miscellaneous Gothics.
Monotype has several faces designated simply "Lining Gothic." Those not cross-referenced were undoubtedly copied or adapted from undetermined foundry faces. Lining Gothic No. 106 is very light, similar to Lightline Gothic but less refined; it has caps and lowercase. No. 112 is a little heavier, with caps and small caps only in each size. No. 176---see Mid-Gothic. No. 66 and 349---see Gothic No. 545. No. 350 is similar to No. 112 but has four sizes of caps in each of 6- and 12-point, in the manner of Copperplate Gothic.
Gothic Modern. See Modern Gothic series.
BB&S's Gothic Novelty Title was formerly Tasso, 1890 or earlier. Other founders had the same design as Gothic, ATF; Gotham, Farmer Little; Gothic No. 205, Bruce; Ancient Gothic. Dickinson.
Gothic Novelty, the same face with lowercase, was formerly Tasso No.2.
Gothic Novelty Condensed was formerly Archer, about the same age but unlike the other faces in this group.
Hansen's Extended Lining Gothic was a copy of Philadelphia Lining Gothic.
Gothic Shade became Jim Crow.
Gothic Double Shade became Marble Heart (q.v.).
Gothic Outline Title No. 61, formerly Outline Gothic No. 61, dates to 1890 or earlier, but was still shown by ATF in 1979. Compare Contour Nos. 1 and 6, Franklin Gothic Condensed Outline, Whedons Gothic Outline.

GOUDY is a famous and prolific type designer, a family of types, and a group of typefaces with little or no relationship. Frederic W. Goudy, the renowned designer, was responsible for most but not all of the types bearing his name. as well as a great many others. The next entry will consider the family of types, which is perhaps best known; other faces with the Goudy name follow alphabetically. See list of designers in Appendix for other faces designed by him. GOUDY OLDSTYLE was Goudy's 25th design, but his first for ATF, drawn in 1915. He based it on a few letters of classic form which he had copied from a portrait painting, although later he was never able to identify the exact source. He says, "The face, as finally produced, was, I felt, almost as great an innovation in type as my Kennerley. ...I am almost satisfied that the design is a good one, marred only by the short descenders which I allowed the American Type Founders to inveigle me into givingp, q,g,j, andy-though only under protest." Monotype offers alternate long descenders for small sizes of its 1930 adaptation of this face, but these were probably not designed by Goudy himself. The face is distinguished by its slightly concave serifs, longer on one side than the other, and its diamond-shaped dots on i,j, and punctua- tion marks. ATF also provides a set of Greek caps, perhaps not designed by Goudy. (Those in the specimen here are from another source than the regular font, and are proofed more heavily.) Goudy Oldstyle Italic, issued in 1918, was a problem for the designer, who had previously attempted only two italic designs. In studying classic faces, he found that some of the best italics had little or no slope, but were distin- guished in other qualities. A slight inclination became standard in most of Goudy's italics. He says, "Taking the Aldine italic [developed by Aldus Manu- tius in 1500 from Italian cursive handwriting] as a starting point for my new font I began my work, and succeeded in producing an original letter which. believe, constituted the first distinctive italic in modern times." Goudy Cursive was designed by Goudy in 1916, on the suggestion that his Goudy Italic might have more utility if he added some characters to give it a still greater appearance of freedom and informality and something of the quality of hand lettering. Goudy Title was made by ATF by enlarging Goudy's small capitals to a height almost that of the type body, thereby increasing the weight of the letters. Goudy says, "To permit a larger face without kern, the 'Q' was redesigned at the foundry to a form which irritates me mightily." ATF credits this adaptation to Morris Benton, in 1918. Goudy Bold and its italic were designed by Benton in 1916 and 1919 respectively, as heavier companions to Goudy Oldstyle. They are probably the most popular and widely used members of the family. When these bold faces were put on Monotype in 1928, Sol Hess added a series of cursive capitals and terminals to the italic, comparable to Goudy Cursive. About 1940, Goudy [t:!...,.ri.. A~"";""~~ \ Bold was modified by ATF to eliminate its few kerns; Q, f, and If-as shown at the right of the specimen-were redesigned, while j was repositioned on the body. These are similar to the characters required by the matrices of Intertype and Ludlow. Goudy Catalogue and its italic were added by Benton in 1919 and 1921 as a medium weight of the same design. They are 15 percent heavier than the Oldstyle,just about the same as Goudy Title. In 1922, Goudy Handtooled and its italic were designed. This pair of faces, like Goudy Bold and Italic except for a white line in the heavy strokes, has been credited to Charles H. Becker by some authorities, and to Morris Benton and Wadsworth A. Parker by others. Again, Sol Hess added a set of cursive capitals and terminals to the Monotype version. In 1927 Benton further expanded the family with the addition of Goudy Extrabold and Italic. Ludlow simply calls its copies of Goudy Oldstyle and Goudy Bold its Number 11 series, cut in 1924. GOUDY ANTIQUE was designed by Goudy in 1919, but except for a few characters it was not cut until 1930, when three sizes were completed. Goudy says, "My intention was to design a letter which would displace the monoto- nous Bookman,. of the same color or weight, the individual letters of my Antique show a greater variety in their forms." Also see Goudy Lanston. GOUDY BIBLE is a modification of Goudy Newstyle (q.v.), adapted by Bruce Rogers with the assistance of Sol Hess for use in the Lectern Bible Rogers designed for World Publishing Company in 1948. GOUDY FRANCISCAN -see Franciscan. GOUDY FRIAR-see Friar. GOUDY GIMBEL-see Goudy Light Old Style. GOUDY REA VYF ACE and Italic were designed by Goudy in 1925 in re- sponse to a strong request by Monotype for a distinctive face on the order of the very popular foundry Cooper Black. Such faces had little appeal for Goudy, and he always felt that Monotype was disappointed in his efforts, but the result is more informal than other similar types, and has had consider- able popularity. Note the extra set of figures and the unusual number of tied characters and ornaments in the font. Goudy Heavyface Open is a variation produced by Monotype in 1926. probably designed by Sol Hess, who designed Goudy Heavyface Condensed in 1927. Compare Cooper Black, Ludlow Black, Pabst Extra Bold. GOUDY LANSTON is the ultimate and best-known name for a typeface with a confusing set of earlier names. When Frederic Goudy designed it in 1912 for a private book project, he called it Goudy Old Style, and cut it in 16- point only. When the book project fell through, he offered the type for sale through his own Village Letter Foundery. Three years later, when he drew a new face for ATF, that company requested permission to use the name for this new face, so Goudy renamed his older face Goudy Antique. A dozen years later, Lanston Monotype arranged to put this face on their machine, but asked permission to call it Goudy Lanston, in honor of Tolbert Lanston. inventor of the machine. In announcing this typeface in 1912, Goudy said, "It is a sturdy letter free from affectation or caprice. ...Mr. Goudy believes that in this new letter he has rediscovered a principle in spacing individual letters used by letter founders before the 16th century, but not since, a principle to which the harmonious quality of a page of Jenson is largely due. Each letter stands on solid serifs of unusual shape which are so planned as to make each letter form conterminous with the type body, while permitting sufficient white space to set each letter off from its neighbor without destroying the unity of the word formed by its separate characters, thus permitting close spacing and avoiding looseness of composition." Caslon and Company of London acquired English rights to the face, but, in Goudy's words, "ruined the face (in my estimation) by putting it on standard line, and shortening the descenders to fit; also adding insult to injury by calling it 'Ratdolt.' It does not resemble Ratdolt's famous letter in any partic- ular. The Caslons cut matrices and sent them to this country-an act con- trary to customary ethics, since they owned English rights only-giving Hart, Schaffner&Marx the 'exclusive' right to the face. To this I protested. but took no other action. ..." In the widespread search for specimens for this book, a face which is surely this "exclusive" casting turned up in the cases of an Iowa private press operator, Rick von Holdt. He had acquired the type from a San Francisco typographer who knew nothing of its background. The typographer had shown it in his specimen book as Foster, although the cases were labeled Moore. It has the pin-mark of BB&S, but appears to match specimens of Ratdolt as shown by Stephenson Blake, successors to Caslon and Company. It has the shortened descenders which Goudy disliked, and a number of other little departures from his design. But surprisingly there is also a matching italic, likewise pinmarked BB&S. A line in a 1948 magazine refers to such a face- undoubtedly this one-as having been designed by Richard N. McAr- thur, advertising manager of that foundry at the time of that design. GOUDY LIGHT OLD STYLE was designed by Goudy in 1908 for the 4 original Life magazine, which was set by Monotype. At the time Goudy knew 4 riot,hing of the mechanical restrictions of the Monotype, so many adjustments had to be made to his design to adapt it to that system. This seems to have delayed production of the face until long after the magazine wanted it. But just as it was released a big department store was opened in New York by Gimbel Brothers, and for a long time the face was used more or less exclusive- ly for their advertising. In fact, it was often called Goudy Gimbel. Now it is sometimes called Goudy Old Style, which is incorrect, or Thirty-Eight-E, for the Monotype series number. Actually, "E" is the Monotype designation for oldstyle romans in keyboard sizes, while "G" designates oldstyle italics. So Thirty-Eight-E is a misnomer for display sizes, while Thirty-Eight-E Italic is more so. Although it is a delicate face with a certain amount of attractive- ness, larger sizes are loosely fitted, and it has little of the distinction of later Goudy designs. Monotype includes Goudy Cursive swash characters with display sizes of this italic, although they are not a good match, having less slant and a different character. See Hess Bold,. also Process. GOUDY MEDIAEVAL-see Mediaeval. GOUDY MODERN and GOUDY OPEN. The first of these types was Goudy Open, which Goudy says was suggested by the caption of a French engraving. The letter forms have a modem feeling, something the designer had not attempted before, but without the formal rigidity of modem types such as Bodoni. Serifs are slightly bracketed and curves are more generous, sugges- tive of more traditional forms. After the Open roman was produced, Goudy experimented with filling in the white line; the effect pleased him, so he ordered the cutting of a solid face from the same patterns. The result is Goudy Modern. Both of these faces were designed in 1918, matrices were cut by Robert Wiebking, and type was cast by Goudy's Village Letter Foundery. Both faces were copied by Monotype in 1924. Goudy Modern Italic was designed the following year to accompany the roman face; in this case the solid face was made first. Goudy Open Italic was also made in 1919; it is identical to the Modern Italic except for the white line. In these italics, cap C and S have the lowercase form, with ball shapes instead of serifs. In the specimens, only the Modern Italic is not quite complete. Note the redesigned J and Q of 60-point Goudy Open; the 60- and 72-point sizes have caps only, practically full body size-no lowercase or figures. Also see Goethe. GOUDY NEWSTYLE was designed by Frederic Goudy in 1921, and cut in 18-point only for his Village Letter Foundery. At the time Goudy was inter- ested in using different forms of letters to represent different pronunciations. and added twenty-some alternate characters to this font. However, he never made any general use of the added characters. The basic font, though, was used for several books, notably by the Grabhorn Press in San Francisco. In 1935 Goudy recut the face without the special characters, and added other sizes. In 1942 he sold the design to Monotype, which later issued it with revisions as Goudy Bible (q.v.). GOUDY OLDSTYLE-see first Goudy entry. GOUDY ORNATE or Ornate Title is a simple, decorative face designed by 4 Goudy in 1931, in capitals only. He says it has been used by some good presses for title pages where size of type was more important than blackness of line. GOUDY REMINGTON ITALIC TYPEWRITER. This is one of the more ( unusual typefaces designed by Frederic W. Goudy, which he undertook at the request of the president of the Remington company, about 1929. As standard typewriters allot the same horizontal space for each character, letters which are normally wide or narrow must be squeezed or stretched to minimize the appearance of uneven spacing. Goudy did this by giving the letters a slight italic effect, which allowed him to lengthen the serifs of narrow letters and shorten those of wide characters. In his thorough way, Goudy made patterns. cut matrices, and cast enough type to set a trial paragraph. Monotype later copied the design as produced by Remington. GOUDY SANS SERIF. In 1922, Frederic W. Goudy experimented with a letter he called Goudy Gothic, a less formal rendering of the traditional gothic that was intended to be more pleasing. In 1929 Lanston Monotype induced him to complete the design, which was issued the following year as Goudy Sans Serif Bold or Sans Serif Heavy. In 1930 a lighter weight was introduced. and the following year a light italic was added. Of the latter, Goudy says, "I have always felt that a sans-serif needed no italic and that to provide one could only be an incongruous addition." Compare Metro. GOUDY STOUT was designed and cut by Goudy in 1930. He says, "In a moment of typographic weakness I attempted to produce a 'black' letter that would interest those advertisers who like the bizarre in their print. It was not the sort of letter I cared for, but requests from some advertisers who saw the first drawings induced me to cut one size and try out the effect. I never cut any but the one size, although I threatened to cut other sizes if any were demand- ed. None were!" Compare Cooper Modern. GOUDY TEXT or Goudy Black was designed and cut by Goudy in 1928. Its design began with the style of letter in Gutenberg's 42-line Bible, the first printed book, but evolved into a freely rendered Gothic letter (in the old sense), composite in form from various sources. Monotype sought permission to copy the face, and to change the name to Goudy Text, as it is now generally known. Goudy's Lombardic Capitals (q. v.) are designed and cast for use as alter- nates with this face. The shaded version was added by Monotype. Compare Cloister Black, Engravers Old English. GOUDY VILLAGE-see Village. GOUDYTYPE was drawn for ATF in 1916 by Frederic W. Goudy, but not released by ATF until 1928. It is an original, lively design, slightly sugges- tive of his Hadriano, designed a little later. The swash capitals are unusual in a roman face. Although cut and marketed in a full range of sizes, it never achieved great use. GRAPHIC-see Lucian under Imports in Appendix. GRAPHIC ARTS-see Artcraft. GRAPHIQUE-see Imports in Appendix. GRAVURE was designed by Morris F. Benton in 1927 for ATF. It is a freely c drawn roman with a fine white line in the heavy strokes. The long descenders include a calligraphic style of g and y, while several other characters have a similar quality. Compare Cameo, Narciss. GRAYBAR BOOK is a delicate and unique typeface designed by Wads- c worth A. Parker for ATF in 1930, intended for stationery and announcement purposes, as well as sophisticated fashion advertising of the day. Lining figures were originally furnished with the fonts, but were replaced about 1934 by the oldstyle figures shown. It did not survive long enough to appear in the next general specimen book of the foundry four years later. GREENWICH is a modernized, extra condensed roman with a stylized lowercase, designed by William E. Fink in 1940 for Ludlow. Compare Spire. Eden. GREETING GOTHIC-see Bernhard Gothic Title. GREETING MONOTONE is a novelty face designed by Morris F. Benton in 1927 for ATF, and later copied by Intertype. Lowercase is very small, and many characters have a peculiar triangular shape. The name tells the intend- ed use. In the specimen here, the alternate characters are from a different printer than the regular font, and are proofed more heavily. GRIMALDI-see Antiques in Appendix. GROTESQUE-see Imports in Appendix. GUARD-see Latin Expanded. HADRIANO. While visiting the Louvre in Paris, Frederic W. Goudy was impressed by an inscription in marble from the first or second century A.D.. and made a rubbing of the lettersP,E, andR. Several years later, in 1918, he drew a set of capitals to harmonize with those three letters. The name "Ha- driano" was part of the original inscription, and this became the name of Goudy's type, for which matrices were cut by Robert Wiebking. In 1930 Monotype asked him to add a lowercase. Goudy says, "I did not want to attempt a lowercase for a purely inscriptional letter, but the found- ries say printers ask for lowercase regardless of the esthetics, and I allowed myself to be persuaded. I made what I thought was a good companion for the capitals, but. ..the type looked entirely too much like Kennerley Bold. I cut one size only and turned the type over to the Monotype. I do not think anything was ever done with it-praise be!" Apparently nothing was done with that lowercase, but in 1932 Monotype issued Hadriano with the actual Kennerley Bold lowercase, which is not quite the same; this is the one in the specimen shown here. The capitals alone are quite distinctive; with lowercase the face is much less impressive. About 1932 Sol Hess at Monotype tried the experiment of cutting a white line through each of the caps of the design, making Hadriano Stone Cut. Goudy says, "A proof of the changed letters pleased me so much that immediately gave permission to issue matrices of the characters." Only the characters shown in the specimen here were made. HAIGHT was introduced by Inland Type Foundry in 1902 as "one of our two most recent novelties." It was designed by A. V. Haight of Poughkeepsie, New York, and has a number of bizarre features similar to some other faces of the day. HAMPTON was introduced by Hansen about 1908. The general effect is similar to John Hancock, but the serifs are pointed instead of square. HANDCRAFT is a nineteenth-century series, renamed by BB&S for its 1925 specimen book. Handcraft Title was designed by Ernst Lauschke in 1887 as Spenser; this was followed by Wide Spenser which became Handcraft Wide Title. With lowercase added a few years later, Spenser became Southey, and later Handcraft. HANSEN OLD STYLE NO. 30 was basically the same as Jenson, but had pointed serifs instead of square ones. The roman appeared early in the centu- ry, the italic about 1909. Hansen Old Style No. 40 is a duplicate of Jenson. HARLEQUIN -see Antiques in Appendix. HARMONY -see Romantiques under Antiques in Appendix. HARRIS ROMAN was announced by Keystone Type Foundry in 1909. It : was "named in honor of the late Joel Chandler Harris, author of Uncle: Remus." It is a plain modernized roman, somewhat similar to Century Ex- panded. In 1910 Harris Italic was added; it was designed to be cast without kerns. Advertising claimed, "Non-kerning italics will save endless annoy- ances and losses resulting from broken letters, and the purchase price is the same as any other type of our make." HAVENS was introduced by Inland Type Foundry in 1902 with the ques- tionable claim, ''as elegant an italic face as you may ever hope to see." Like many faces of the day it has a number of alternate characters, and a particu- larly odd lowercase g. Apparently matrices did not survive when Inland was absorbed into ATF in 1912. HEADING and Heading Outline were shown by Hansen in 1908 or earlier. They are a medium weight, narrow gothic design with some unusual charac- ) ters suggestive of the later Othello (q.v.). HEADING CONDENSED-see Compact. HEADLETTER CONDENSED ia a very narrow font of thick-and-thin capitals with rudimentary serifs, produced by BB&S around the turn of the century. Keystone had Head Letter No.2, similar to the Barnhart face. Compare Lafayette Extra Condensed. HEADLINE-see Imports in Appendix. HEADLINE GOTHIC on Ludlow is an all-cap face intended primarily for newspaper headlines. It is nearly the same as Gothic Extra Condensed [Title] No.6, BB&S from Western Type Foundry, and some sizes of Gothic Con- densed No.3 on Linotype and Intertype, and very similar to News Gothic Extra Condensed. But Gothic Condensed No.3 (which has lowercase only in 36-point, Linotype) is a hybrid face; most sizes are like Headline Gothic, but the odd sizes of 28- and 34-point are more like cruder nineteenth-century gothics such as BB&S's Gothic Compressed No.8 or Light Condensed Gothic, Monotype, or Gothic Condensed No.3 (title), Monotype. A substantially different Headline Gothic was designed by Morris Benton for ATF in 1936, and was popular for major newspaper headlines, up to very large sizes. A sturdy, plain face, it was similar to nineteenth-century gothics but more refined, especially when compared with the wood types often used in large sizes. The cap M with its short vertex is particularly recognizable. Compare Railroad Gothic, Tourist Gothic. HEARST was produced by Inland in 1902, named for William R. Hearst, the newspaper publisher, and introduced as "the latest face, original and attrac- tive character." Goudy claimed it was copied from lettering he had done for a booklet of verses for children; it has somewhat the character of Pabst and Powell, designed by him about that time, but has larger lowercase, with short ascenders and descenders. Generally it is a wide face, although some letters are disproportionate, ranging from cramped to very wide. Hearst Italic was produced in 1903. Compare Avil, Pabst, Plymouth, Post Oldstyle, Powell. HELLENIC WIDE-see Imports in Appendix. HELVETICA originated as Neue Haas Grotesk at the Haas Typefoundry in Switzerland, where Max Miedinger, in cooperation with Edward Hoffman. drew the first version in 1957; this was acquired by Stempel in Germany and developed into an extensive series, which has become what is probably the most widely used typeface of the 1980s and 1990s. The name is derived from an ancient name for Switzerland. Along with the foundry type, many fonts of German Linotype matrices were imported into the United States. In 1965 Mergenthaler Linotype copied several versions and later added more of its own. Since alignment standards are different, American typographers who had bought imported matrices had to replace them with domestic mats so the older versions would align with the added ones. Linotype's Helvetica Bold is the same weight as what is common- ly known as Helvetica Medium in foundry type; this has caused much confu- sion. A spokesman says, "At Mergenthaler we use Medium to designate a weight that is in the text category. We have no Mediums that are designed for bold face emphasis. ...We intend to stick with this system for all the future faces we produce." Lanston Monotype, after it was taken over by ATF in the late 1960s. produced several weights of Helvetica, but listed them only as Gothic with their identifying numbers. Reportedly they were copied directly from Lino- type cuttings, without the delicate adjustments normally made to fit the Monotype unit system; thus these faces have a somewhat spotty appearance when assembled. Compare Record Gothic Medium-Extended. HERALD EXTRA CONDENSED-see American Extra Condensed. HERITAGE is a carefully crafted contemporary script, designed for ATF by Walter H. McKay about 1952. It is very close fitting but not connected, with a slight slope, and resembles fine hand-lettering with a broad pen. Compare Thompson Quillscript, Verona, Freehand. HESS BOLD was designed by Sol Hess for Monotype about 1910, as a companion face for Goudy Light, drawn earlier by Frederic W. Goudy. Of medium weight, it accurately reflects the characteristics of the lighter face with a high degree of legibility, but neither face is distinguished. There is also an italic by Hess. HESS MONOBLACK is a Monotype face that no doubt was drawn by Sol Hess, but it has not been found in any accounts of his work nor in the regular specimen books. The showing here is reproduced from Monotype's "specimen on request" sheet; no other information has been found except that there are only two sizes with seventy-seven characters each, a practical minimum for cap-and-lowercase fonts. Compare Greco Bold. HESS NEOBOLD was designed by Sol Hess for Monotype in 1934. It is a narrow, bold, and very squarish gothic with small serifs, designed for attention-getting display in a style of the day, but never made in more than one size. Compare Airport Tourist (Futura Display), Othello. HESS NEW BOOKBOLD was designed for Monotype in 1946 by Sol Hess. with italic the following year; both were released in 1948. An adaptation of Garamond Bold, the face was reproportioned to fit a new standard arrange- ment which was intended to make it readily available for use with several standard oldstyle faces still in common use at the time, but little use seems to have been made of it. Ascenders and descenders are shorter than in Gara- mond, anticipating later phototype trends, weight is slightly greater, and letters are more tightly fitted. HESS OLD STYLE was designed about 1920 (one source says 1912) by Sol Hess for Monotype, which says it was modeled after a face shown by Nicolas Jenson about 1479. It is neat, but does not have much in common with Centaur, Cloister, and other faces based on Jenson's work. However, it is a little heavier than most of them and so works to good advantage on smooth papers. The italic followed in 1922. HESS POSTER- see Poster. HESS TITLE and Italic were the first type designs drawn by Sol Hess. Produced in 1910 as advertising types, they were designed for and first used by a prominent New York department store. Only the roman was made in display sizes. HIDALGO-see Imports in Appendix; also see Barnum Heavy under An- tiques in Appendix. HOLLYWOOD is a novelty gothic face designed by Willard T. Sniffin in 1932 for ATF. It was intended for smart, contemporary advertising, an- nouncements, and stationery, but some of the characters have quaint shapes. suggestive of nineteenth-century styles. Compare Gothic Novelty. HORIZON -see Imports in Appendix. HUNNEWELL was produced by Hansen Type Foundry in 1907 or earlier. It is very similar to Cushing No.2 (q.v.), but the roman lowercase is a little narrower. HUNT ROMAN was designed in 1961 by Hermann Zapf, cut and cast pri- vately by Stempel for the Hunt Institute Botanical Library at Carnegie Institute of Technology (later Hunt Institute for Botanical Documentation. Carnegie-Mellon University), Pittsburgh, Pennsylvania, which also features fine books and bindings. It was determined that this new type should accom- pany the library's use of Spectrum, an English Monotype face, to make its publications more elegant and graceful. It is intended for display use, but on occasion has been used for limited settings of text, and is a crisp blend of transitional and contemporary letter forms. Later Zapf designs for digital typesetting are rather similar. HUXLEY VERTICAL is a font of delicate capitals designed by Walter Huxley in 1935 for ATF, expressing the smart modernism of the day. Strokes are uniformly light throughout, center strokes are low and extended to the left, and there are alternate round versions of several letters. Compare Agen- cy Gothic, Vernen. IHLENBURG-see Bradley. IMPERIAL (other)-see Emperor; also Wide Latin under Imports in the Appendix. INCLINED GOTHIC-see Gothic Inclined. INCLINED GOTHIC BOLD-see Modern Gothic Italic. INFORMATION-see Imports in Appendix. INLAND-see Bizarre Bold. INLAND COPPERPLATE is a shaded Old English typeface, first shown by Inland Type Foundry in November 1901. It is similar to Typo Text (q.v.). although the specimen here, reproduced from an over-inked showing, doesn't reveal the shading. INLAND FRENCH SCRIPT, etc.-see French Script, etc. INLAND GOTHIC, INLAND CONDENSED GOTHIC-see Gothic No.6. Gothic Condensed. INSERAT -see Aurora under Imports in Appendix. INTERSCRIPT-see Typo Upright. INVITATION SCRIPT was cut by Inland in 1896. It is a connected style similar to Typo Script Extended. INVITATION SHADED is a unique shaded roman letter with unusual triangular serifs on some of the letters, designed in 1916 by Morris F. Benton for ATF. Invitation, a solid version, was made by the same designer in 1917. The shaded version was one of a long series of shaded faces produced by ATF from 1913 on; these faces, as the name implies, were intended for use in fine invitations and announcements, following the style of engraved work. INVITATION TEXT was designed by Robert Wiebking for BB&S in 1914. It is a comparatively light Old English style, similar to Wedding Text (q.v.). Also see Typo Text. IONIC SHADED-see Antiques in Appendix. ITALIA CONDENSED is a very narrow thick-and-thin face advertised by Keystone in 1900, although it is probably of earlier origin. A number of the caps and a few lowercase letters have flourishes. Compare Onyx, Compact. ITALIAN CONDENSED-see P. T. Barnum. ITALIAN OLD STYLE was designed by Frederic W. Goudy for Lanston Monotype in 1924. It is based on early Venetian types of the latter part of the fifteenth century. Bruce Rogers, in a handsome booklet introducing the face. says it "reminds me most strongly and admirably of Ratdolt's fine Roman." However, Goudy says this was not the source. Goudy also says he persuaded Monotype to cut this original rendition rather than copy ATF's Cloister Oldstyle, which was quite popular then, and which was based on similar sources. This face is a little more delicate and individual than Cloister, and is larger in relation to the body size, but makes a very distinctive and impres- sive page. Compare Centaur. Italian Old Style Wide was drawn by Sol Hess, also in 1924. It is slightly heavier and substantially wider than Goudy's design. ITALIAN ORNATE-see Latin Ornate under Antiques in Appendix. IVANHOE was introduced by Keystone Type Foundry about 1915, a copy of the face designed by Edward Shanks for the P. M. Shanks Foundry in England in 1912. It is a rather neat but undistinguished face, similar to classic fifteenth-century Italian designs. JEFFERSON GOTHIC was originally Monotype's copy of News Gothic J Extra Condensed, using the same foundry name. In 1916 Sol Hess designed several alternate round capitals; matrix fonts include both styles of these letters, but no lowercase. Baltimore Type called it Tourist Extra Condensed. Compare Phenix. JIM CROW is ATF's 1933 and 1949 recasting of Gothic Shade, originally by Dickinson Type Foundry, a predecessor, about 1850. It has also been called Tombstone. Additional sizes were cut by Los Angeles Type Foundry. JOHN ALDEN is a novelty face with a supposed Colonial flavor, introduced. by Keystone in 1901. It has some of the quaint details, but not the irregular edges, featured by a number of faces of the period. The matching italic is named Priscilla (q.v.). They are apparently the first faces to introduce reverse apostrophes (") as modern quotation marks. JOHN HANCOCK series was originated by Keystone Type Foundry and, introduced in 1903; however, it was patented in 1907, with the patent assigned to Charles William Smith, probably the designer. It was named for the, president of the Continental Congress and first signer of the Declaration of Independence. It is a plain, no-frills, hard-working typeface, modern in character but without the hairlines of Bodoni. Serifs are short and square, but, those on the lighter strokes have diagonal brackets. The lowercase is large, with short ascenders and descenders. Letters are normal roman shapes, except for the open-tailedg, and the e with its slanted crossbar. There are two cap R's in the regular width, and two m's in regular and Extended-the round-top version is unusual. The Monotype copies of 1912 follow the general character of the faces, but has a horizontal crossbar, alternate characters are omitted, and proportions are changed somewhat; Condensed has slightly rounded fillets on some serifs. The Outline goes unusually small, but in small sizes the thin strokes are not opened. Compare Bold Antique. Contact Bold Condensed, Hampton, Lowell. JOURNAL HEADLETTER was designed and privately cast in 1929 for use as heads by the Ladies' Home Journal. There are several sizes, with several logotypes and a number of alternate characters. JULIANA OLDSTYLE was designed and cut by Jim Rimmer in Vancouver in 1984, as a private type. He says, "It represents my first attempt at cutting a metal type. I drew my letters completely freehand, hoping to capture a punchcut look. My artwork was then reduced and made into a dry transfer sheet, which I rubbed onto type-high typemetal blanks. I then cut the letters and electroformed copper matrices." JUMBO TYPEWRITER is included here because it is one of the very few typewriter faces made in display sizes. It is an ATF face, issued about 1934. following the typewriter characteristic of a single width for all letters, and is made only in the size shown. The specimen here shows the complete font. Compare Bulletin Typewriter. KAATSKILL is a private typeface designed and cut by Frederic W. Goudy for use in an edition of Rip Van Winkle which he made for The Limited Editions Club, in 1929. Goudy says that what he had in mind was merely to design a type ''as simple, legible, vigorous, clear, and effective in detail as could, and which would at the same time show no note of strangeness in the mass. ...I feel that Kaatskill owes nothing in its design to any existing face. and the type therefore is as truly an American type as anything so hidebound by tradition as type can be." It is named for the Catskill mountains, which were the locale of Goudy's home and workshop as well as of the story. See Trajan Title. KABEL-see Sans Serif,. also Tempo, Vogue. KELMSCOTT -see Jenson Oldstyle. KENILWORTH was introduced by Inland Type Foundry in 1904. It is simi- lar to Cheltenham Oldstyle. Mats for the italic, at least, were later acquired by BB&S but apparently not used there; only the italic mats ended up in the vaults of ATF. Compare Lowell. KENNERLEY OLD STYLE. Like many types designed by Frederic W. Goudy, Kennerley was executed in response to a particular need. In 1911. Mitchell Kennerley, a New York publisher, asked Goudy to design a book. The Door in the Wall, by H. G. Wells. Goudy had some trial pages set in Caston Oldstyle-Goudy refers to it as Caston Old Face, but a reproduced example is the looser Caston Oldstyle. If Goudy or Kennerley had used the tighter English version of Caslon, perhaps this face would not have been designed. But as the effect did not satisfy Goudy, he obtained the publisher's permission to design and cut a new typeface which he would later cast and attempt to sell to "discriminating printers" to recoup at least part of the expense of producing it. Kennerley, named for the publisher, has much less contrast and angular- ity than Caslon, and sets very compactly, giving a solid appearance to a page. It far exceeded Goudy's expectations for popularity, and he gradually added other sizes for his own sales. In 1920 he sold reproduction rights in this country to Lanston Monotype. Meanwhile, in 1915 Goudy had drawn a com- panion italic (it was shown in that year, although Goudy later gave the date as 1918). In the specimen here, the NQTYZ shown separately are offered as alternates by Intertype only. Sol Hess provided Kennerley Open Capitals for Lanston in 1925 by opening each letter with a white line. In 1924 Goudy designed bold and bold italic for Kennerley, at the request of Mono type. Goudy was never enthusiastic about bold typefaces, but says, "I think I kept the Kennerley character in my bold rendition as well as could have been done." The lowercase of this face was later used with Hadriano capitals. Intertype adapted Kennerley to its machine in 1923, first announcing it under the same name. A little later this name was changed to Kenntonian. KEYNOTE is an informal brush script, designed by Willard T. Sniffin for ATF in 1933. Its name was suggested by the political campaigns of the previous year. There is variation in weight of strokes, and letters are uncon- nected, but there are a number of logotypes of connecting pairs of letters. Inclination is slight, permitting it to be cast on straight bodies with little everhang. Compare Raleigh Cursive by the same designer. KEYSTONE EXPANDED-see Latin Expanded. KEYSTONE OLD STYLE-see Ronaldson. KEYSTONE VICTORIA-see Victoria Italic. KLAXON was designed by Frederic W. Goudy in 1914 as a private type for} the manufacturers of the Klaxon Auto Warning Signal, an accessory auto horn in the days when this item was not standard equipment. The type is suggestive of Kennerley, but slightly heavier, with some little quirks of design that make it more successful for its intended use as a publicity type rather than for book work. Matrices, which were cut by Robert Wiebking. were lost in Goudy's fire of 1939. KLONDIKE-see Gold Rush. KORINNA and Korinna Bold were cut by Intertype in 1934 from a German} foundry face. They remained in a novelty class and saw comparatively little} use in metal, but have become much more popular in electronic typesetting. LACLEDE OLDSTYLE-see Munder Veneziano LAFAYETTE EXTRA CONDENSED is a Ludlow face designed by Robert H. Middleton in 1932. It is almost monotone in weight, but has very small serifs and is more roman than gothic in appearance. It was intended for newspaper heads, but was not shown after the 1940s. Compare Compact. LAFAYETTE TEXT was shown by Hansen in 1908. It is very similar to Engravers Old English, differing most noticeably in the fine vertical line that drops below the base line in some of the capitals. LANSTON 125 and Lanston Bold are Monotype copies of Melior, the popular German foundry face designed by Hermann Zapf, although modified some- what. The specimens shown here are slurred and heavied. LARGO-see Imports in Appendix. Latin is a general name for a number of typefaces which originated in the 1880s or earlier. Most of them were made by various foundries, sometimes under other names. Some had little or no apparent design relationship to each other. ATF's Latin Antique No. 520 was Marder, Luse's Latin Antique No. 12O. Other founders had it simply as Latin Antique, though BB&S originally called it Latin No.5. It is a wide, medium-weight face with very small, rounded serifs, and lacks the curlicues of Latin Modern or Modern Antique. Latin Bold Condensed is now the most common name of the most prominent survivor of this group, but most recent fonts were imported from England, although ATF had at least two sets of matrices in its vaults for many years. ATF formerly made the face as Modern Antique No.2, originating at Cincinnati Type Foundry. BB&S in its later years called the same face Latin Modern, but earlier had also called it Latin Antique. Inland simply called it Latin series. From whatever source, it is a bold, compact display face, characterized by heavy, triangular serifs. The strokes of several lowercase letters terminate in pointed curlicues. In the 1950s or 1960s, fonts imported from Stephenson Blake achieved some popularity; this is the source of the specimen shown here. Latin Condensed, Extra Condensed, Elongated, and Compressed are much narrower versions of this design, though a little lighter and with fewer curlicues. The New York Times has used a version of Latin Condensed for news heads for many years. In its 1898 book, ATF applied the name "Baskerville" to Latin Condensed! Light Modern has curlicues and long triangular serifs but is much lighter, while Latin Expanded (formerly called Guard) is the same but wider. ATF called the latter design Lightface Celtic No. 40, shown in 1886 by Marder, Luse, while Keystone had a similar Keystone Expanded, and Linotype had Celtic No.1. The BB&S Latin Lightface is a much lighter version of Latin Antique; it was formerly called Light Latin. Latin Oldstyle Bold has the least relationship to other Latin faces. It was formerly known as Modern Title, and before that Monarch, shown in 1893 or earlier; ATF called the same face Eastman Oldstyle. Also see Emperor. LATIN ORNATE-see Antiques in Appendix. LAUREATE is a novel roman design issued by Keystone Type Foundry in 1901, and latter issued by Ludlow. It is a medium weight roman, with brack- eted serifs tapering to sharp points; except for the shape of the serifs it is much like Venezia (q.v.), produced by Keystone a year earlier. Also compare Grasset. LAURENTIAN -see Humanistic. Law Italic is said to have originated as an imitation of formal styles of penmanship used for legal documents. The most common of several substantially different varieties is ATF's Law Italic No. 520, which originated with Marder, Luse about 1870. Several of the capitals are swash-like, while lowercase f and g have distinctive shapes. It has long thin serifs and sharp contrast between thick and thin strokes. Inland called the same design Caledonian Italic. Hansen had Barrister Italic. Monotype's Law Italic No. 23 is a sloped roman, somewhat similar to Ronaldson. Other Law Italics are obsolete. LE MERCURE-see Nicolas Cochin,. also Imports in Appendix. LEGEND-see Imports in Appendix. LIBERTY was designed for ATF by Willard T. Sniffin in 1927, presumably to counter the importation of Bernhard Cursive, which it greatly resembles. It differs in the crossbars of A and H, which have loops in them, the hooked ascenders of bdhl, and some lesser details, but it is a delicately handsome. unconnected script, with very small lowercase and very tall ascenders. On Intertype it is known as Lotus. Also compare Pompeian Cursive. LIBRA-see Imports in Appendix. LIGHTFACE-see Modern Roman Lightface. LIGHT MODERN -see Latin. LIGHT OLDSTYLE is a very light roman with mixed oldstyle and modern L characteristics. It has very thin hairlines and very small bracketed serifs. ATF says it originated with Inland Type Foundry, but Steve Watts says it was designed by Morris Benton for ATF in 1916, four years after Inland merged with ATF. It seems to be displayed only in the 1923 ATF specimen book. LIGHTLINE GOTHIC (originally called simply Lightline) was designed by L Morris F. Benton in 1908 for ATF. It is essentially a lighter version of News Gothic, as there are no important differences in shape except M with a shorter vertex and Q with a different tail. It represents a modernization of light nineteenth-century gothics, with much greater refinement of draftsmanship and precision of cutting and casting. From the beginning, Lightline was made in four sizes on 6-point body. with only the two larger sizes having lowercase. In 1921 Benton devised Lightline Title Gothic, taking the four 6~point sizes, without lowercase, and casting the 8-, 10-, 12-, and 14-point sizes, also without lowercase, to title alignment on 12-point body, in the manner of Copperplate Gothics. Compare Trade Gothic Light,. also News Gothic, Blair Condensed, Record Gothic Thinline Condensed. Also see Boxhead Gothics, Typotabular Gothics. LILITH-see Imports in Appendix. LINING CAIRO, LINING GOTHIC, LINING MEMPHIS, etc.-see un- der Cairo, Gothic, Memphis, etc. LINO SCRIPT -see Typo Upright. LINO TEXT-see Wedding Text. LITHO ANTIQUE-see Rockwell. LITHO GOTHIC and Light Litho Gothic were issued by Inland Type Found- ry in 1911 and 1910 respectively. Litho Gothic is light, but Light Litho Gothic has an extremely thin line, possibly the lightest typeface made. Both are very plain, wide, and loosely set. Blair is the same as Litho Gothic, but cast as a title face without lowercase. There is also an Offset Light Litho Gothic, the same design but cut in reverse of normal, used for transferring small type to lithographic stones before photolithography was developed. LITHO ROMAN was designed by Inland Type Foundry in 1907, and a . number of variations followed during the next four years. When Inland merged with ATF in 1912, all these faces went along and were shown in the ATF book of that year. They are intended to imitate a style of lettering ~ popular with lithographers in the days when lettering and designs were carefully drawn on lithographic stones. This process was especially in de- mand for high-quality stationery and announcements. The original Litho Roman is rather heavy, with fine hairlines. Serifs on heavy strokes are slightly filleted, while those on hairlines are heavy triangles. The ear of the g starts straight up from within the bowl, and in some series the tail of the cap R is not quite connected to the bowl. Title Shaded Litho, introduced by Inland in 1911, features horizontal. shading, rather than the diagonal shading of almost all other such faces. Several versions have a title series, lacking lowercase and otherwise larger on the body, except in 6-point where caps are identical in the larger sizes but with additional smaller sizes. In 1917 two of these title series were modified by Morris F. Benton and reissued as Card Litho and Card Light Litho. The latter became the last survivor of the family, being shown by ATF as late as 1979 specimens. However, the Monotype copy of Light Litho may still be available elsewhere. Litho Light and Litho Bold were issued by Ludlow in 1941; they are essentially the same as Title Light Litho and Title Litho Roman (no lower- case), but the tail of the R connects and the lower end of the C does not turn inward, although an alternate C matches the foundry letter. Rimmed Litho is basically the same design, including lowercase, but with a fine line surrounding each character. Compare Engravers Roman series; Masterman. LITHOGRAPH SHADED was designed by Morris F. Benton and W. F. Capitain in 1914. It is the same design as Engravers Shaded (q. v.), except for the unusual shading which is heavier at the top. As Capitain was primarily a punch-cutter, this was probably an experiment on his part, using the shading machine invented by Linn Boyd Benton a few years earlier. This feature has not been found on any other face, nor has any showing of this face after 1923. LOG CABIN-see Rustic under Antiques in Appendix. LOMBARDIC CAPITALS were cut by Frederic W. Goudy in 1929, based on drawings he had made eight years earlier. They were derived from early Italian decorative letter forms, and designed to serve especially as alternate capitals with the lowercase of Goudy Text. For this purpose, or as initials at the beginning of text, they provide a touch of elegance, more so than when used by themselves to form words. LONDON GOTHIC was issued by Keystone Type Foundry in 1910 or earli- er, but is virtually a duplicate of Royal Gothic, shown by Marder, Luse&Co. in 1887. It is similar to the same founder's Charter Oak series, but upright. Although the italic face survived Keystone's acquisition by ATF in 1919. London Gothic does not appear to have done so. See Charter Oak. LORIMER was adapted by Intertype from Romaansch, as cast by a German typefoundry, and is similar to Elzevir or French Oldstyle. Keystone's Paul Revere is practically the same face. Intertype's Remson Bold comes from Romaansch Bold. Compare Dickens,' also see Berlin Antique. LORRAINE-see Venus under Imports in Appendix. LOTUS-see Liberty. LOWELL was introduced by Keystone Type Foundry in 1905. The patent was issued to Charles W. Smith, probably the designer. It is somewhat similar to Cheltenham Oldstyle, but much more mechanical, with small square serifs which are unbracketed except on the arms of EFLTZ. It has many of the characteristics of the same founder's much heavier John Hancock. Compare Kenilworth. LUCIAN -see Imports in Appendix. LYRIC-see Greeting Card. MacFARLAND was cut in 1899 by Inland Type Foundry, adapted from ~ Romische Antiqua of Genzsch&Heyse in Germany. It is named in honor of Mr. J. Horace MacFarland, prominent printer of Harrisburg, Pennsylvania. At about the same time, the foundry of A. D. Farmer&Son cut essentially the same face from the same source, naming it Bradford after the first noted printer of New York; and Hansen issued Crawford, another look-alike. The Inland faces, along with Condensed MacFarland designed and cut in 1903. went to ATF when that foundry acquired Inland in 1912. The faces have some ( relationship to Elzevir or French Old Style, but are heavier, though not as heavy as the related De Vinne series. Lacking the eccentricities of some characters of DeVinne, these faces became popular for book titles and other work for which DeVinne was considered unsuitable. Keystone's Dickens is very similar but a little lighter; it is known as Classic on Linotype, but 18- point Classic Italic is the equivalent of MacFarland Italic. Compare Lorimer. MAJESTIC is a newspaper face produced by Linotype staff designers in 1955. It is similar to Corona, but was made in very few sizes. MANDARIN -see Antiques in Appendix. MANDATE is a connecting script designed by Robert H. Middleton for Ludlow in 1934. It has a rough-and-ready sort of handwritten appearance. more informal and unstudied than the somewhat similar Kaufmann Bold and Brush (q.v.). Some of the capitals have extra height, extending below the base line. In the specimen shown here, a number of capitals, as well as z and the logotypes, have been lengthened with the additional terminal stroke. MANHATTAN was introduced by ATF in 1904 or earlier. An ad at that time' said it was "for any form of display requiring strength, legibility, and beau- ty." It was shown in the 1906 specimen book but was gone by 1912. It is a heavy, vertical, semi-calligraphic face, with horizontal ends on the majority of the main stems but not all. MANILA is an adaptation of nineteenth-century antiques known generally as Clarendon, Doric, or Ionic. Inland Type Foundry introduced a series under this name in 1899, and Monotype in 1909 produced a Manila, probably adapted from another foundry source, but differing somewhat from the In- land face. Both have the same general character, but the Monotype face is a little narrower. The Inland face apparently was not continued after ATF took over the foundry in 1912, perhaps because of its similarity to ATF'sDoric No. 520. A completely different face with the same name was brought out by A. D. Farmer&Son, also in 1899; both series were named for the victory of Admiral Dewey over the Spanish at Manila in the Philippine Islands the previous year. MARKET GOTHIC-see Bell Gothic. MARLBOROUGH was designed in 1925 by Frederic W. Goudy for a printer M who lost interest before it was completed. As matrices for the 16-point size had been cut by Robert Wiebking, Goudy cast a few fonts, but was not pleased with the results. Revisions were drawn, but were not completed before his I. workshop was destroyed by fire in 1939. In 1942 the design was sold to Monotype, but there is no evidence that they did anything with it. The name is from the town in New York where Goudy lived and worked. MARTIN and Italic are listed as a Monotype production of 1945, adapted by Sol Hess from old sources, but no specimen or further information has been found. MASTERMAN was put on Monotype in 1909, but it originated with Hansen some time before that. It is a modification of earlier faces known generally as Title before type names as we know them became common, and is similar to some of the faces in the Engravers and Litho families (q. v.). The characters have high contrast, and lowercase has fairly long ascenders. The basic char- acter is a plain, severe roman shape. It was popular as an early advertising display face. MASTODON is a heavy roman issued by Hansen early in the century. The ~ founder called it "a strong, distinctive face that compels attention." MATSON-see Modern Roman Extra Condensed. MATTHEWS is a very heavy, thick-and-thin, serifless type introduced by ~ Inland Type Foundry in 1901. It is somewhat similar to the later Globe Gothic ( Bold-in fact it is more carefully designed and seems to agree better with the lighter Globe Gothics than the latter face does. ATF cast both faces for a while after acquiring Inland in 1912, as well as Condensed Matthews, which Inland had introduced in 1903 as "a new gothic letter." The specimen of Matthews shown here is from a font showing considerable wear, with rounded corners. Compare Radiant Heavy. MATURA, MAXIME-see Imports in Appendix. MAYFAIR CURSIVE is a precise script designed by R. Hunter Middleton for Ludlow in 1932. Letters are not connected, although some of them have starting or finishing strokes that almost meet. It is more severe than Coronet. designed a few years later by the same artist, and never achieved the wide- spread popularity of the latter face. Also compare Liberty, Bernhard Tango. McCLURE was introduced by Inland Type Foundry in 1902 as "a sturdy. unique, and characterful design. ..named for S. S. McClure, publisher of McClure's magazine." It is a medium-weight roman with the triangular serifs of some of the faces in the Latin family; contrast between thicks and thins is only moderate. It was cast for a time by ATF after that foundry absorbed Inland. McFARLAND-see MacFarland. McNALLY is an Inland face that was first shown in 1905. It is very similar to DeVinne, but with heavier hairlines. It does not appear in ATF specimen books after that foundry acquired Inland in 1912. MEDIAEV AL is an unusual typeface designed by Frederic W. Goudy in 1930. He says that it is based on a twelfth-century South German manuscript hand, with the lowercase borrowing the freedom of the scribe's pen of the Renaissance, but with capitals being more or less composites of monastic manuscript and Lombardic painted forms. The result is a unique but very readable version of the traditional "Old English" letter, somewhat romanized. MEDIAL SCRIPT is a simple, connecting design issued by ATF in 1909, and shown only in one size. It may be a revival of an earlier face. MEDIEVAL was introduced by Intertype in 1929 as a copy of "Holland's most popular type," designed by S. H. DeRoos. It is based on the same Venetian type of 1470 as Centaur, Cloister, and others, but with several distinctive characters including cap A with a prominent single serif at the apex, M with double serifs at the apex, P and R with large bowls, cap U with lowercase form, single-bowl g with open tail, and in the italic an unusual lowercase f There is also Medieval Bold and Italic, and a wide version in 6- point only. Notice the difference in spelling between this face and Goudy's entirely different Mediaeval. Compare Benedictine. MEDIUM CONDENSED GOTHIC-see Gothic, Medium Condensed. MEDIUM GOTHIC NO.7-see Boston Gothic, Mid-Gothic. MELIOR-see Lanston,. also see Imports in Appendix. MENU ROMAN is the BB&S rename, for the 1925 specimen book, of Skinner, which was shown by Inland Type Foundry about 1885, and ascribed to John K. Rogers as well as to Nicholas J. Werner. Menu Title, formerly Lining Menu, was Inland's Bruce Title, by Werner. Menu Shaded was Acme, designed in 1886 or earlier. The latter has only a very general relationship to the other faces which are nearly monotone, with long serifs tapering to sharp points. Compare Paragon. METROPOLIS, MICHELANGELO-see Imports in Appendix. MICROGRAMMA-see Eurostile under Imports in Appendix. MID. GOTHIC was designed by Nicholas J. Werner for Central Type Foundry, probably just before that St. Louis foundry joined the merger that formed American Type Founders in 1892. It is an undistinguished gothic of nineteenth-century style, but is an interesting example of the way many of the earlier types were modified for Monotype. The original copy of this face for machine typesetting (6- to 12-point) was necessarily reproportioned to meet mechanical requirements; the same patterns were then used for display sizes and the result is series 176. Later the foundry design was copied much more exactly, with little or no modification, as series 276. Both versions have been shown in Monotype literature as Lining Gothic, Mid-Gothic, or Mid-Gothic No.2 at various times. The No.2 designation was applied to many foundry faces around the tur}:t of the century when they were adapted to standard alignment or when other slight changes were made. Hansen copied this face as Medium Gothic No. 7, and made an inline version as Boston Gothic (q.v.). MIEHLE EXTRA CONDENSED was designed by Morris F. Benton for ~ ATF in 1906. It is a very narrow face with large x-height, and has very short. blunt serifs and little contrast between thick and thin strokes. It was intend- ed for use in newspapers for headlines. Normal and Condensed widths were drawn but apparently not completed. Compare Compact, a more thick-and- thin face of similar proportions. MINUET -see Piranesi Italic. MISSAL TEXT -see Faust Text. MISTRAL-see Imports in Appendix. MITCHELL is a plain, wide gothic, introduced by Inland Type Foundry in 1906. It is very similar to Blair (q.v.), but heavier. MODERN ANTIQUE and Modern Antique Condensed were adapted to Monotype in 1909 from traditional faces dating from about 1820, commonly known simply as Antiques or Egyptians. They were forerunners of the square serifs, but closer to romans in general appearance, and were usually used for boldface emphasis with roman types, particularly modem romans. In most sizes these two Monotype faces are the same set width as each other, and have the same figures and points. Otherwise they differ only in the proportions of the C2 and C 1 arrangements, being good examples of adaptations to the basic Monotype unit system. (See "Practical Design Limitations" in Introduction.) Also see Bold Antique; and Latin Modern under Latin Bold Condensed. MODERN BODONI-see Louvaine. MODERN CASLON -see Caslon Medium. MODERN NO. 20-see Imports in Appendix. MODERN ROMAN or Modern is a general term for faces drawn with greater precision and greater contrast between thick and thin strokes than the earlier Old Style faces. The trend began with the work of Bodoni and Didot in the latter part of the eighteenth century; modern faces derived from Bodoni's designs in particular now typify the modern romans. The first extra condensed face of the sort with lowercase appears to be Figgins' Narrow Gauge of about 1850; it was duplicated by ATF's Extra Condensed No. 40. which didn't last into the twentieth century, but which was nearly duplicated by the Modern Roman Extra Condensed of others. In the nineteenth century the name Aldine was applied to some bold condensed versions of modern roman; Aldine Condensed was produced by Heinrich Flinsch in 1871. In this century modern roman faces as well as virtually all other faces have distinctive family names; earlier types to a great extent had only generic names and identifying numbers. In the early 1900s Monotype adapted a number of modern roman text faces to its system, mostly in a few small sizes only; some of them differ from each other only in slight changes of proportions. BB&S still showed a number of Modern Romans as late as their last specimen book in 1925; by that time ATF had replaced most of its corresponding faces with more contemporary designs. Modern Roman Bold Extra Condensed is obviously the forerunner of Onyx, differing mainly in the circular shapes. The faces listed here are representative of some of those offered, including some that have been identified as being essentially the same from two or more sources. Former names are in parentheses. Compare Bodoni, Century Expanded, Scotch Roman, Mademoiselle, Onyx, etc. Also see Atlantic, Bold Face, Compressed No. 30, Latin Old Style Bold, Numbered Faces. MODERN TEXT is a conventional Old English design, somewhat more ornate than Engravers Old English which is about the same weight, more like a heavier weight of Wedding Text. It was first shown by Robert Wieb- king's Advance Type Foundry in Chicago, in 1913, so was probably designed by Wiebking. Advance was soon absorbed by Western and later by BB&S, and this face and others were continued by that foundry; matrices eventually went to ATF but there is no record of this face having been cast by that foundry . MODERNIQUE is a novelty face designed by Morris F. Benton for ATF in 1928. It features extreme contrast of very heavy main strokes and thin hairlines, with strong vertical emphasis. Ascenders and descenders are short. and it is very close fitting. Dots on the i and} are semi-circles. It was gone before ATF issued its next complete specimen book in 1934. The specimen shows the complete font. Compare Stygian Black, Matthews, Radiant Heavy. MODERNISTIC was designed by Wadsworth A. Parker for ATF in 1928. and copIed by Monotype the same year. It is a novelty face of high contrast. with delicate hairlines and decorated heavy strokes. It has small convention- al horizontal serifs, but no vertical serifs. MODERNIZED GOTHIC-see Alternate Gothic No.1. MOLE FOLIATE-see Imports in Appendix. MONARCH-see Latin Oldstyle Bold. MONITOR-see Bookman. MONOLINE SCRIPT-see Imports in Appendix. MONOTONE GOTHIC was designed by Morris F. Benton for ATF in 1907. It is virtually the same as News Gothic, but wider and a little lighter; only the M and Q are noticeably different otherwise. Compare News Gothic Extended. Trade Gothic Extended; also Lightline Gothic, Franklin Gothic, Record Gothic Extended. MONOTYPE 38E-see Goudy Light Old Style. MONTAIGNE was designed by Bruce Rogers in 1901, and privately cast for the Riverside Press in Cambridge, Massachusetts. It was derived from one page printed in the noted type of Nicolas Jenson, and made in one size only. approximately 16-point, with punches cut by John Cumming of Worcester. Massachusetts. Compare Jenson, Cloister, Centaur, Eusebius. MONT ALLEGRO was designed by Herbert Horne and privately cast for the Merrymount Press, Boston, in 1904. D. B. Updike in his Printing Types says. "Herbert P. Horne designed three types of importance. ..Montallegro came first. This type was modelled on an early Florentine font, and was intended to be a good 'reading type,' which should have rather more flexibility and grace than the fonts based on older Italian forms. It was first used in Condivi's Life of Michelagnolo Buonarroti by the Merrymount Press. This type was cut under Mr. Horne's direction by E. P. Prince of London, an English craftsman of great ability. ..." Punches and matrices are preserved in the Updike Room of the Providence Public Library. MONTGOMERY WARD-see Ward. MOTTO is a calligraphic typeface designed by Morris F. Benton for ATF in 1915. It is similar to the same designer's Freehand, drawn a couple of years later, but has plainer capitals, heavier thin strokes, and shorter descenders. But letters combine into legible words with a pleasant, hand-lettered appear- ance. Also compare Humanistic, Verona. MOTTO (other)-see Antiques in Appendix. MOUNTJOYE-see Bell. MUNDER VENEZIAN was designed by Robert Wiebking and first shown as Laclede Oldstyle by the Laclede Type Foundry in St. Louis, in 1922. That foundry was acquired by BB&S shortly thereafter, and this face was recut under the Munder name, in honor of Norman T. A. Munder, Baltimore "dean of printers." It is a classic roman face, similar in some ways to Forum, Goudy Oldstyle, Kennerley, and other faces by Goudy. Wiebking had been the en- graver of Goudy's designs since 1911 and of Bruce Rogers' Centaur in 1914. Laclede or Munder was probably the most elegant face of his own design. In 1925-27 Wiebking added Munder Italic, Munder Bold, and Munder Bold Italic, all for BB&S. Together they form a handsome family, not copied by any other American manufacturer. However, Stephenson Blake in Eng- land copied Munder Venezian under the name Verona, but drew different italic and bold versions (see Imports in Appendix). MURRAY HILL and Murray Hill Bold were designed by Emil Klumpp for ATF about 1956. They are smart, free flowing, modern scripts, nearly verti- cal, and letters are not connected. Their refreshing informality has made them popular for advertising as well as for stationery and announcements. while their nearly complete lack of kerns has made them durable, practical. and easy to set. The name, incidentally, is said to have come from a New York telephone exchange, before the days of all-numeric dialing, serving an area of the same name in which many large advertising agencies were located. NARCISS is an adaptation by Linotype in 1925 of Narcissus, designed by Walter Tiemann in 1921 for the Klingspor foundry in Germany, based on a face which Fournier had cut about 1745. It is a fairly heavy shaded roman. very similar to Cameo and Gravure, and somewhat similar to Caslon Shaded. Caslon Openface, Goudy Open, etc. (q.v.). This face is rather wide, and the white line that gives the shaded effect is narrow. Each size is undersize, about as big as the next smaller size should be. NARROW SANS ITALIC-see Imports in Appendix. NATIONAL ROMAN -see Scotch Roman. -. NEPHI MEDIAEVAL was designed and cut by Jim Rimmer in Vancouver in 1986, for private use. He says it "was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes." NEULAND and Neuland lnline were originally handcut by Rudolf Koch for Klingspor foundry in Germany, about 1923. Being handcut, each size differed somewhat from others, and the lnline differed from the regular. The copies cast by Baltimore Type were recut by pantagraph from one size of the regular. and thus are uniform from one size to another. The white inline was added to this same recutting, and is slightly wider than in the German version. NEW BOOKMAN, NEW CASLON, etc.-see Bookman, Caston, etc. NEW CAMBRIDGE-see Cambridge. NEW GOTHIC CONDENSED-see under Gothics, Condensed. NEW VILLAGE TEXT-see Village Text. NEW YORK GOTHIC-see Gothic No. 545. NEWPORT is an extra condensed novelty gothic, designed by Willard T. Sniffin for ATF in 1932. Caps occupy almost the entire body, and lowercase letters are tall, with short ascenders and very short descenders. In 48-, 60-. and 72-point sizes, descenders are cast on bodies 6 points larger. The round capitals CDGPR include arcs that are less than half a circle, joining stems at an acute angle. AEFH feature very low crossbars. The normal M is splayed. with the vertex ending short of the baseline, and is the W inverted. There are also an alternate M and W, consisting of three parallel lines with rounded top or bottom. In addition to characters shown in the specimen here, there are a cent mark and a small superior dollar mark, made only in 24-point and larger. Compare Jefferson Gothic, Phenix. NEWS WITH CLARENDON is a typical newspaper text, but duplexed with 1 an attractive version of Clarendon instead of the usual bold face. It was cut by Linotype, apparently only in 9-point, and was nicknamed Cascade. NEWS GOTHIC was designed by Morris F. Benton for ATF in 1908, in regular, condensed, and extra condensed widths, as part of his assignment to modernize the nineteenth-century gothics inherited from the foundry's pred- ecessors. News Gothic, with its much finer rendering, is part of what might be called a family of basic American gothics, for it is essentially a light version of Franklin Gothic. Lightline Gothic is still lighter and Monotone Gothic is wider, but all of them, with the variations of News and Franklin Gothics, are as closely related as are members of most other type families. However, the flat-sided extra condensed is more similar to the style of the Alternate Gothics. These American gothics were pushed into obsolescence by the popularity of the German sans serifs, such as Futura and Kabel, in the 1930s. But they were rediscovered in the late 1940s, and made a strong come-back. Linotype introduced its comparable Trade Gothic family (q.v.) early in the 1950s; Intertype cut News Gothic and News Gothic Bold in 1955; Ludlow began to expand its Record Gothic family (q. v.); and ATF and Monotype added to their families of News Gothic. Bud Renshaw drew ATF's version of News Gothic Bold in 1958, while a third version of the same face was offered by Monotype. Intertype offered News Gothic Extended with bold extended in 1961. ATF had drawings for News Gothic Italic as early as 1912, and reconsidered the face in 1965, but we have no record of its production; Monotype and Intertype brought out their own versions of italic, similar to each other except that the former has slightly greater slant. ATF introduced News Gothic Condensed Bold, by Frank Bartuska, in 1965, while Monotype and Intertype used the name News Gothic Bold Condensed for their earlier versions. Baltimore Type's "News Gothic" is actually Inland Gothic No.6, Mono 149, while "Balto Gothic," with Italic and Bold, is News Gothic. Compare Franklin Gothic, Lightline Gothic, Monotone Gothic,' also Trade Gothic, Record Gothic. Also see Phenix, Jefferson Gothic. NEWSF ACE-see Hingham. NEWTON SCRIPT -see Royal Script. NICOLAS COCHIN was cut by ATF about 1926, and by Monotype in 1929. from the face originated about 1912 by the Peignot foundry in France, de- signed by Georges Peignot. It is based on the distinctive lettering employed by a group of French copperplate engravers of the seventeenth and eigh- teenth centuries. It is named for Charles Nicolas Cochin, one of the more eminent artists and engravers of the period, although it is not a copy of his specific work, but rather an interpretation of the best work of the time. This typeface features a very small x-height, with long ascenders and short de- scenders, and long, sharply defined serifs. Lining figures were added to meet the requirements of the American printer, but ATF also duplicated the origi- nal French figures. Fonts also contained French quotation marks in both roman and italic, and several lowercase swash terminal characters in italic. Also see Cochin. Because of the difference in the European and American point systems. European faces are slightly larger for the same nominal size. When they are copied by American founders they are usually cast on larger, oversize bodies; sometimes descenders are shortened to fit. Nicolas Cochin is an exception; it is made to the full European size, with descenders overhanging the body slightly in some of the larger sizes. Nicholas Cochin Bold (with the surplus h),vas made by Baltimore Type. presumably copied from the same French source. Le Mercure, an open ver- sion, is shown under Imports in the Appendix. NICOLAS JENSON -see Eusebius. NITETIME, NOONTIME-see Venus under Imports in Appendix. NORMAN CAPITALS were designed by Frederic W. Goudy in 1910 and named for Norman T. A. Munder, prominent Baltimore printer. Goudy had designed a printing-ink catalog for Munder, for the George H. Morrill Compa- ny of Boston, with lettered headings. As the company name recurred fre- quently, Goudy designed and cast the letters necessary for that name, later adding the remainder of the alphabet. Mats were engraved by Robert Wieb- king, but fonts were privately cast by ATF. The face has no relation to various nineteenth-century Norman types. NORMANDE, NORMANDIA OUTLINE-see Imports in Appendix. NORWOOD ROMAN was designed for ATF in 1906 by Morris F. Benton, at the suggestion of J. S. Cushing. It was originally called Cushing Roman, but was renamed for Cushing's Norwood Press Co. in Norwood, Massachusetts. It is a rather narrow, moderately heavy modern roman, with the modern char- acteristics softened a bit toward the oldstyle. It was made only in text sizes. and there was no italic. Compare Century Oldstyle. NOVEL GOTHIC was an attempt at modernism, originated by Charles H. r Becker, a hand engraver in the matrix cutting department ofATF, whose regular job was putting the finishing refinements on matrix patterns. It was completed by Morris F. Benton and introduced in 1928. Compare Eagle Bold. NOVELTY GOTHIC-see Gothics, Miscellaneous,' also Bernhard Gothic. NUBIAN was designed for ATF in 1928 by Willard T. Sniffin. It is a wide. very heavy design with extreme contrast of thick and thin strokes, and has very short serifs. The lowercase g has an uncompleted tail, and the i and j have semicircular dots. Compare Ultra Bodoni, Cooper Modern. NUMBERED FACES generally are holdovers from the nineteenth century. before distinctive names became common. A number of Linotype and Inter- type faces never had names, though, and were always designated simply by number; they are probably adapted from older foundry faces. There is little difference between them, except for weight and width; some are made only in one or two small sizes, only No. 16 and No. 36 are made as large as 14-point. Only a few of the more commonly used faces of this sort are shown here. Comparable faces on Monotype are generally called "Modern Roman" (q.v.). with distinguishing numbers. No.1 was introduced by Linotype in 1903 as their latest face. No. 11 and No. 12 were used extensively for telephone directories before the inception of Bell Gothic; No. 11 is very compact while No. 12 is nearer to normal width. No. 16 is a copy of "Serie 16," a popular French face early in the century, and introduced by Linotype in 1910; it is similar to French Round Face but heavier. No. 36 was also made as Congressional (q.v.). As an exception, Number 11 series is the Ludlow copy of the Goudy Oldstyle family (q. v.). OCTIC GOTHIC was a nineteenth-century style. In the Monotype copy. many characters were identical to Gothic No. 545 (Mono 66); in others curves were replaced by diagonal lines. The name probably comes from the octagon shape. Compare Chamfer Gothic. OFFSET FACES. Around the turn of the century, a number of faces were cut in reverse-that is, reading from right to left-for a process of transfer- ring small types to lithographic stones before the development of photo lit hog- raphy and rotary offset printing. Engravers Roman and various gothics were among those cut this way in addition to their normal forms. Some were available until 1950. The only such face in more recent times-for marking negatives and other uses-was Record Gothic Offset (q.v.). OLD BAILEY -see Ionic Shaded under Antiques in Appendix. OLD BOWERY is an ATF revival, in 1933 and again in 1949, of Round Shade No.2, originated by Bruce, one of its predecessor companies, about 1854, as Ornamented No. 1007. OLD DUTCH was designed in 1925 for BB&S by Richard N. McArthur, who was then advertising manager of the foundry. It is a font of shaded capitals, decorated with a circle set into each main stroke, and is probably derived from eighteenth-century sources. It was recast by ATF in 1954. Colonial is similar, but with conventional serifs. Also compare Dresden. OLD ENGLISH-see Engravers Old English,. also Cloister Black, Goudy Text, Wedding Text, etc. OLD GOTHIC BOLD ITALIC-see Doric Italic. OLD STYLE numbered faces are mostly of nineteenth-century origin, when most typefaces had generic names of this sort rather than more individual names. A few such foundry faces survived into the twentieth century, but most endured as copies or adaptations by the composing machine companies. Incidentally, ATF commonly uses Oldstyle as one word; others generally prefer two words. This book tries to follow the style of the principal source of each face. There were many such faces, including condensed and title ver- sions, but only a few of the most notable and lasting have survived to be listed here. Linotype's Old Style No.1 is of English origin, and has long been popular for periodical and book work. Although it was adapted from a face offered by the MS&J foundry, predecessors of ATF, it was duplicated by ATF as Oldstyle No. 583, using strikes furnished by the Mergenthaler company, so printers could handset corrections to material set on the slug machines. This face is similar to Binny,' with the substitution of a number of conversion characters it is known on Linotype as Ronaldson (q.v.). Old Style No.3, Linotype, is copied from Old Style No. 20 of the Bruce Typefoundry, and is also cut by Monotype as Bruce Old Style No. 20 (q.v.). Old Style No. 7, Linotype, is also based on a Bruce face-one from the early 1870s that in turn was derived from a face designed and cut some years earlier by Miller and Richard, the noted Edinburgh typefounders. It also has a set of Ronaldson conversion characters, although it differs somewhat from the face mentioned above. In 24-point only, Linotype's Old Style No.7 is a faithful copy of ATF's Century Oldstyle, and was originally offered under that name. Intertype, meanwhile, copied Monotype's version of Century Old Style as Old Style No.9. Also see Clearcut Oldstyle. Compare Binny, Franklin Old Style. OLD TOWN-see Figaro under Imports in Appendix~ OLDTYME OUTLINE was cut by Triangle Type Foundry in Chicago for makers of rubber stamps. There were variations, No.2 being slightly narrow- er; the specimens shown here are typical. In small sizes, the comparable face is known simply as Outline. Triangle also had Slim Outline, in the general style of Chamfer Gothic. All these faces were rather crudely drawn. OLIPHANT -see Advertisers Upright Script. OLYMPIA-see Typo Gothic. OLYMPIAN is a newspaper text face, designed by Matthew Carter for c Linotype in 1970, and is one of the last faces cut for metal typecasting on that machine. In fact it was also made for phototypesetting at the same time. It differs from the usual newspaper faces, having a little more hint of oldstyle characteristics. ONDINE-see Imports in Appendix. ONYX was designed by Gerry Powell for ATF in 1937. It is essentially a ( modernization of Modern Roman Bold Extra Condensed, and could well be called an extra condensed version of Ultra Bodoni. Linotype classifies the face ( with Poster Bodoni, their equivalent to Ultra Bodoni. Onyx Italic was de- signed by Sol Hess for Monotype in 1939, and is made as mats only by that company. Onyx is also cast by the Amsterdam foundry as Arsis. OPTIMA is one of the most popular creations of the noted German type designer, Hermann Zapf. This face is most often represented in this country by imported foundry type or imported Linotype matrices, made to European alignment standards. But Mergenthaler Linotype cut two weights-not those most often used-on American alignment, in 1968. It is a thick-and- thin serifless face, combining the best of roman and gothic forms, represent- ing contemporary style without the severity of gothic. Compare Stellar, Lyd- ian, Radiant, etc. ORIGINAL OLD STYLE ITALIC was cut in 1858 in four sizes by Elihu White's Type Foundry in New York, which became Farmer, Little&Compa- ny and later A. D. Farmer&Son Type Foundry, which in turn was sold to ATF in 1909. In 1911 ATF resurrected the 18-point size of this face, the only size that had sold well, and recut the letters a, e, and 0, which were oversize in the original cutting. At other times it was again made available, but only in weight fonts and on special order. The three swash caps, the oversize vowels. and the long s and its ligatures were sold separately. Original Old Style and Italic were cut by Linotype about 1920, based on the Farmer face, which was derived from a late eighteenth-century English modernization of Caslon. It has much of the character of Caslon, but the roman capitals are a little heavier. Serifs are generally less bracketed, espe- cially at the foot of lowercase letters, and contrast between thick and thin lines is increased a bit. The italic is lighter than the roman. For those who dislike the spottiness resulting from the heavier capitals, Linotype suggested the substitution of Cas Ion Old Face capitals. Compare Scotch Roman, Oxford,' also see Caslon. ORNAMENTED-see various faces under Antiques in Appendix. ORNATA-see Imports in Appendix. ORNATE-see Romantiques and Tuscans under Antiques in Appendix. ORNATE TITLE-see Goudy Ornate. ORPLID-see Imports in Appendix. OTHELLO is a very heavy, squarish, narrow gothic letter, designed in 1934 c by Morris F. Benton for ATF, as a revision of an 1884 face of the same name issued by Central Type Foundry in St. Louis, and inherited by ATF in 1892. It it' distinguished by the diagonal ends on a number of strokes, the lowercase forms of the capitals M, N, and Y, and several other unusual characters. An alternate N appeared only in early showings. Compare Heading. A different Othello is shown under Imports in Appendix. OUTLINE-see Oldtyme Outline,. Contour,' other faces under family names. OUTLINE GOTHIC MEDIUM CONDENSED-see Tourist Gothic. OVERGROWN-see Binny. OXFORD and Italic were designed and cut by Archibald Binny of the firm of Binny&Ronaldson, Philadelphia, the first lasting American type foundry. These were the first body types made by this firm when it began to cast types in 1796, and were called simply Roman No.1 and Italic. The matrices were preserved through a succession of founders, leading to the formation of Amer- icanType Founders in 1892. Joseph W. Phinney, vice president of the compa- ny, had trial fonts cast from these matrices and prepared a specimen sheet. giving the types the name of Oxford. The type has seen limited use by several printers specializing in fine printing, notably by D. B. Updike of The Merry- mount Press in Boston, who selected it for his monumental 2-volume work. Printing Types: Their History, Forms, and Use, volumes which were com- pletely handset in this face. There are no italic figures for this face. Oxford was never included in ATF's general specimen books, but was available on special order. The 9- to 12-point sizes were available in full; in 8- point only the roman lowercase and figures survived; Baskerville caps and complete italic were substituted. In the 1950s Steve Watts, retired sales promotion manager of the foundry, sponsored a group-order program which made the type available at less than usual special-order prices; a number of hobbyists and private press proprietors took advantage of this-in fact one of them supplied the specimen herewith. Meanwhile, Linotype adapted and reissued the face under the name Mon- ticello (q. v.) in 1943. Also compare Baskerville, Original Old Style. %T McGrew writes: Pabst Old Style or Pabst Roman is an early design by Frederic W. Goudy. Lettering he had done for advertisements of Pabst Brewing Company attracted the attention of the advertising manager of a Chicago department store, who asked Goudy to design a typeface based on that lettering. Drawings were delivered and paid for, but owing to the cost of engraving matrices and producing type, the project was abandoned at that point. Later an arrangement was made with ATF, whereby several sizes were cut, with the department store having exclusive use of it for a limited time, after which it became the property of the foundry and was offered for general sale. It was named, however, for Col. Fred Pabst of the brewing company. In a popular style of the day, Pabst retains a hand-lettered feeling through slight irregularities in the edges of lines, carefully preserved in the metal. [...] Pabst was designed in 1902, and the following year ATF commissioned Goudy to draw an italic to accompany it. Matrices for both designs were cut by Robert Wiebking for the foundry, Goudy's first business contact with the man who was to cut many of his types over the next two decades. Caps of the Monotype copy of Pabst Oldstyle, released in 1912, are a little narrower than the foundry original. Pabst Old Style Condensed is a modification by Linotype; it is very similar to the proportions of the Monotype copy of the regular face. Compare Avil, Powell. He continues: Pabst Extra Bold is not related to Pabst Oldstyle. This family was designed for Linotype in 1928, and the condensed version in 1931, by C. H. Griffith, as an interpretation of the extra bold letter typified by Cooper Black. There is considerable resemblance, but in this face the tops and bottoms of serifs are flat instead of rounded. Also compare Ludlow Black. %Q Pabst %L HIS COOPER %N 23169 %B ATF-PabstItalic.jpg %Z ATF-PabstItalic.jpg %Z ATF-PabstOldstyle.jpg PACIFIC-see Antiques in Appendix. PAGODA-see Matura under Imports in Appendix. PALATINO, PALETrE-see Imports in Appendix. PALISADE-see Bodoni Campanile. PALMER-see Stationers Semiscript. PANTAGRAPH SCRIPT is an upright connecting script introduced by BB&S in 1893 but shown as late as 1925. It is distinguished by very long starting strokes on the capitals. Paragon or Paragon Plate is a light, monotone face with long, pointed serifs, introduced by BB&S in 1901, and is completely unrelated to the face above. Originally it had the single name, the other being added later. It was useful primarily for stationery and announcements. Paragon [Plate] Italic, introduced in 1902, is essentially a sloped version of the roman, and was also offered in a title version as Program Italic. Compare Victoria Italic, Menu. PARAGON GOTHIC-see Gothic No. 578. PARISIAN was designed for ATF in 1928 by Morris F. Benton. It is a frivolous thick-and-thin serifless design, with small lowercase and long as- cenders. It has some general resemblance to Broadway, in the severe contrast of its thick and thin lines, but is much lighter and more informal. It is obviously a face for limited use, but has been popular for stationery and announcements. It was copied quite exactly by Intertype, which is surprising because on that machine it was duplexed with Rivoli, which means that the brass or body width of each corresponding character for each face is identical. The Intertype face was popular with companies specializing in mass produc- tion of personal stationery. Lowercase was not made for the 6- and 8-point sizes of foundry type. PARKWAY SCRIPT was designed by Emil Hirt for Ludlow in 1964. It has much the same character as Park Avenue, but is a little softer and more reserved, with a little less appearance of joining. It has virtually the same uses. PARMA, with Italic and Bold, was cut by Linotype in 1930, as an adaptation of Ratio-Late in, designed in Germany by Friedrich Wilhelm Kleukens for the Stempel typefoundry. It is cut to German standards of alignment, raising doubt as to whether it was also actually cut in America, but it was shown on a standard American advance proof sheet. PARSONS was designed for BB&S in 1917 by Will Ransom, Chicago artist. based on the distinctive style of lettering he had been doing for advertisers in that city, and was named for I. R. Parsons, advertising manager of a Chicago department store. It is nearly monotone, but with a hand-lettered quality. It has unusual half-serifs and unique forms to a number of letters. The caps MNUY have a lowercase design, but at the insistence of users a more conven- tional form of M and N was added by the foundry, to the distress of the designer. Parsons Italic and Parsons Bold were added in 1918 by the same artist. Oversize ascenders and descenders are one of the most notable features of this type, but Ransom was reluctant to let the foundry cut them. At his insistence the foundry included with specimens a warning that generally \! only one such letter should be used in a line, and suggesting other restric- tiUJ.s. The type was a great success but the suggestions were commonly ignored, and advertising bristled with groves of tall letters. It is said that this display of bad taste in the use of his design dismayed Ransom so much that he abandoned the idea of designing other typefaces. Only Clearcut Shaded Capi- tals, in 1924, are later credited to him, aside from decorative material. Par- sons is believed to be the first face to feature long characters of this sort. although several artists had used them in distinctive hand-lettering. At least one typeface-Pencraft (q.v.)-had earlier supplied flourishes which could be added to special ascenders and descenders. Stymie Bold (q.v.) resurrected the idea later but less successfully. The Parsons long characters were includ- ed in all fonts; f-ligatures were made for all sizes of italic, but only up to 18- point in the roman and not at all for the bold. Monotype lists "Parson's Bold" in some of its literature; this is presumed [ to be the same face but no confirmation or specimen has been found. Parsons Swash Initials were designed by Sidney Gaunt; some of them were not approved by Ransom but were cast anyway. Pastel began as Era, designed for BB&S about 1892 by Nicholas J. Werner and Gustav Schroeder. Lightface Era and Era Open were added about 1895, and Era Condensed about 1898. Around the turn of the century the name was changed to Pastel, perhaps when Pastel Bold was added in 1903. Era and Pastel are identical, except that Era had only the characters with extended strokes, shown as Auxiliaries with Pastel, where they were replaced with more conventional characters in regular fonts. Pastel is virtually a monotone design, with tiny, pointed serifs. There are several unusual characters, including the splayed M and the N with the curved diagonal. Pastel was quite popular for subtitles in motion pictures, before the advent of sound. It was recast by ATF in 1954. Intertype's cutting of Pastel is essentially the same as the foundry's Pastel Lightface. Intertype also cut a sloped version as Pastel Italic. PAUL REVERE-see Lorimer. PEIGNOT. ATF advertised this face in 1913. It was similar to Auriol (q.v.). but no complete specimen of it has been found. Undoubtedly it was obtained from the Peignot foundry in France, but has no similarity to the later face of the same name, which is shown under Imports in Appendix. PEKIN is one of many faces renamed by BB&S for their 1925 specimen book. Its original name was Dormer, patented by the Great Western foundry in 1888 and credited to Ernst Lauschke. It is a very novel face, basically a fine-line letter with most characters having a heavier accented portion in an unconventional place. Vertical strokes on some of the capitals extend downward like descenders. It was made only in two sizes, one of which was later plated by Type Founders of Phoenix, after ATF had recast it in 1954. PEN PRINT and Pen Print Bold were introduced by Inland Type Foundry in 1911, with the latter thought to have been the last face cut by that foundry before its sale toATF. Pen Print Open was designed for ATF in 1921 by Morris Benton, and includes open versions of all the characters shown for the bold. The series has more the appearance of rather crude brush lettering than pen "printing," but the inclusion of an open version is contrary to the conception; perhaps it was intended for two-color printing. The letters have a slight backslant. The bold was also cut by Intertype, in 1927. Compare Dom Casual. PEN TEXT -see Engravers Upright Script. PENDRA WN was designed for Monotype about 1933 by Sol Hess. It retains much of the quality of sixteenth-century hand-lettering, and is generally modem in character without the severity typical of most modem types. Serifs are long and thin, slightly concave, but those at the top of lowercase stems are slanted as in oldstyle types. Stems taper slightly toward the ends, and figures are hanging. Round letters tend toward an egg shape, with the small end down. It has been made only in two sizes: regular 36-point as a complete font. and 36H4 as oversize capitals only. PENN GOTHIC is a wide, serifless capital font with thick-and-thin con- trast, shown by Keystone Type Foundry in 1905. PERICLES is a distinctive font of sans-serif capitals designed in 1934 for ATF by Robert Foster, based on hand-lettering he had been doing for several years for magazine and advertising headlines. It is much more informal than other sans serifs of the time, such as Futura or Bernhard Gothic, with more of an inscriptional feeling. Some characters are derived from classical Greek forms. A 72-point size is said to have been cut but never issued. PERPETUA-see Imports in Appendix. PERRY -see Steelplate Gothic. PHENIX (ATF's spelling) was designed by Morris F. Benton for ATF in 1935. It is the same founder's and designer's News Gothic Extra Condensed, with several characters redesigned in the "round" fashion of the time. It is similar to Jefferson Gothic, derived earlier from the same source by Monotype. Balti- more Type called it Tourist Extra Condensed. PHIDIAN-see Antiques in Appendix. PHILADELPHIA LINING GOTHIC is a late-nineteenth-century face originating with MS&J, which cut it in several widths and weights. In 1912 Monotype copied one of these, which would have been known as Bold Con- densed except that the foundry designated variations only by numbers; this was No.8. As a foundry type it was notable for the number of versions available; as a single Monotype face it is undistinguished. ATF continued to cast the family for a decade or so after the merger in 1892, then replaced these faces with the N~ws, Alt~rnat~, and Franklin Gothic families. The Monotype copy lasted much longer. Hansen's Extended Lining Gothic was a copy of Philadelphia Lining Gothic No. 14. Compare Mid-Gothic, Wide Line Gothic. PLANTIN is a popular roman face cut by the English Monotype company in 1913, derived from prints of an old-face design cut during the sixteenth century by Robert Granjon for the famous Dutch printer, Christophe Plantin. It was copied in 1937 by Ludlow in three versions, and also by Intertype in roman and italic. It has somewhat the letter forms of the French oldstyle faces that inspired Times Roman, but wider and with sturdier hairlines. PLATE ROMAN -see Brandon. PLATE SCRIPT was a BB&S series from 1897, very similar to Typo Script. There were three sets of lowercase, No.2 and No.3 being very slightly heavier than the regular; all were identical otherwise. Plate Text is an Old English design made in several varieties by BB&S about 1902. Plate Text itself is a shaded face, similar to Typo Text (q.v.); Plate Text No.4 is a fairly light design, just a little heavier than Wedding Text (q.v.), but not as well drawn. Compare Shaw Text. PLAYBILL-see Imports in Appendix. Plymouth and Plymouth Italic were cut by BB&S in 1900 with Plymouth Condensed and Plymouth Bold following in 1901. They are prime examples of the "rugged" style popular at that time, and are said to have been based on lettering being used for headings by the Curtis Publishing Company (see Post). The italic is freely drawn, with a number of swash-like characters, and is even more rugged than the roman. The condensed is simply a narrow version of Plymouth, but the bold is also more rugged or irregular. Plymouth was later known as Rugged Black, while Plymouth Bold became Rugged Extra Black and later AdcraftBlack (q.v.).Plymouth and Plymouth Italic were adapted by Monotype in 1913, with the keyboard sizes (6- to 12-point) being modified as usual to fit mechanical requirements. Monotype display sizes of Plymouth appear to match the foundry original, but the so-called Plymouth Italic on Monotype (14- to 36-point) is a copy of ATF's Post Oldstyle Italic, probably due to a misidentification when punches were prepared. POMPEIAN CURSIVE was drawn for BB&S in 1927 by Oswald Cooper, to provide an American alternative to Bernhard Cursive, the popular German face which had been most instrumental in opening the doors to the importa- tion of foreign typefaces. Cooper at first had drawn a substantially different cursive, but reluctantly and at the insistence of the foundry redrew it more like the German face but with just enough differences to make it distinctive. But Cooper insisted on avoiding the obvious name "Barnhart Cursive." The name with an Italian connotation was chosen because the style was said to have been based on eighteenth-century Italian copperplate lettering. Soon thereafter BB&S merged into ATF, and this face was not shown in subse- quent ATF specimen books. Compare Liberty. PONTIAC is a thick-and-thin, serifless face, almost a condensed version of Quentell, and was advertised by ATF in 1902. It must be older, though. because it is similar but inferior to Globe Gothic Condensed, designed for the same foundry in 1900. POOR RICHARD is a rather novel roman, issued by Keystone Type Found- ry in 1919. It has slight contrast and long ascenders, with unusual forms to several characters. It does not seem to have survived when Keystone merged with ATF that year. . POSTER is a heavy, narrow, very compact gothic designed by Sol Hess for Monotype. Its general appearance suggests a contemporary serifless design. but in fact there is a slight hint of serifs. The slightly splayed M and the single-bowl g are suggestive of British grotesques. Ascenders and descenders are short, giving a large x-height, and the face is closely fitted. Some litera- ture calls it Hess Poster. POSTER BODONI-see Ultra Bodoni under Bodoni. POSTER BODONI COMPRESSED-see Onyx. POSTER GOTHIC was designed by Morris Benton for ATF in 1934. It is essentially a continuation into larger sizes of Bank Gothic Condensed Medi- um (q.v.), but is more closely fitted, as a large face should be. POWELL. Shortly after the successful introduction of Pabst Oldstyle, the department store advertising manager who had commissioned that type-a Mr. Powell-left that store and became ad manager of another large store. Again he approached Frederic W. Goudy to design a type for him, similar to Pabst but necessarily somewhat different. The result this time was named Powell. Caps are much like those of Pabst, but the lowercase, instead of being very small with long ascenders as in that face, is larger with more normal ascenders. Powell was cut by Keystone Type Foundry and released in 1903. Compare Pabst, Hearst. The foundry later designed a companion italic, ignoring Goudy's sugges- tionthat he do so. Powell Italic was advertised in June 1908 as the first "non- kerning" italic, in which no characters overhang the rectangular type body. Favorable reception to this idea encouraged the foundry to cut several other non-kerning series. PRISCILLA was introduced by Keystone Type Foundry in 1901, and first shown with Ben Franklin. Later the same year, though, it was advertised with John Alden, which it more nearly resembles. Both are quaint designs. supposedly typical of Colonial types; both have swash-like serifs on some of the caps, equal weighting on both sides of the cap U, and weighting on the wrong side of the cap ¥. Both faces were shown by Keystone as late as 1919. just before its merger with ATF . PRISMA-see Imports in Appendix. PROCESS was designed by Monotype for the Crowell Publishing Company. and produced about 1939. It was intended for clarity in reproduction by gravure, and was based on Goudy Light. Thin lines and serifs were thickened. and a monotone weight was preserved throughout. The pointed parts of letters were rounded, the counters of certain characters were opened up, and the general fitting was increased. Only one size was cut. PROFIL-see Imports in Appendix. PROGRAM ITALIC-see Paragon Plate Italic. PUNCH-see Signal Black under Imports in Appendix. PURITAN-see Adcraft. QUADRAT A is a recreation of an uncial form, designed in 1970 by Paul Duensing. The first experimental version was smoothly modeled; later it was modified, especially with the irregular edges, and completed as Quadrata II anJ cast by the designer at his Private Press and Typefoundry. - QUICK-SET ROMAN was designed in 1918 for ATF, and ascribed to Capi- tan and Becker. ATF does not identify these persons further, but they may have been W. F. Capitaine, who had designed a few nineteenth-century faces for predecessors of ATF, and Charles W. Becker, a hand engraver in the matrix cutting department who had also participated in the design of some other faces. These types were designed so that there are only four different widths of characters in each size, and all widths are multiples of points or half points. All three series are the same width, size for size. This makesjustifica- tion faster and easier, and is especially useful for timetables and other work requiring justification in narrow columns. This is the principle of a series of Self-Spacing faces designed by Linn Boyd Benton in 1883, also of most propor- tionally-spacing typewriters. Linotype has several faces, known collectively as Self Spacing Faces, adapted to the same principle. Also see Typotabular Gothic. QUILL was issued by Keystone Type Foundry in 1899 or earlier. It is a heavy, cursive display font. Many strokes, especially in the lowercase, end in blobs that would suggest brush work, but elsewhere strokes are squared off too much for that. The lowercase is generally regular, but many capitals have heavier portions that tend to make a spotty appearance. There was also Quill Outline, about 1900. QUILLSCRIPT -see Thompson Quillscript. RACINE-see Sketch Title. RAILROAD GOTHIC is a plain, traditional form of heavy, condensed goth- ic, first shown by ATF early in the century, although it has the appearance of a nineteenth-century face, as some characters seem disproportionate to the others. There is no lowercase. It has long been popular for newspaper head- lines, especially in the very large sizes, some of which continue to be shown in recent ATF lists. Ludlow makes the same design in some large sizes as Gothic Bold Condensed Title. Compare Headline Gothic (ATF). RANSOM SHADED INITIALS-see Clearcut Shaded Caps. RATDOLT-see Goudy Lanston. RATIO-LATEIN-seeParma. RECORD GOTHIC was made on Ludlow before 1930, but originally only in ~ small sizes and in regular weight and width. As such it was a copy of News Gothic, useful for small headings on ruled record sheets, hence probably the} name. But faces such as News Gothic were by then being pushed aside by the Ii new wave of sans serifs, inspired by Futura, and nothing was added to this (Record Gothic continues) r series until the early 1950s, when typographers rediscovered the traditional American gothics. Then Ludlow added larger sizes of Record Gothic, and cut Record Gothic Condensed, followed by Record Gothic Extra Condensed; these were likewise copied from their News Gothic prototypes. In 1956, Robert H. Middleton, director of Ludlow's department of typeface design, began a series of original additions to this family, which eventually included twenty members. First came Record Gothic Condensed Italic and Record Gothic Bold; then Bold Extended and other variations as shown. Record Gothic Medium-Extended was an innovation; the name indicates semi-wide. It was that, and it retained general family characteristics, but it also had much of the appearance of the new grotesques such as Helvetica which were beginning to come over from Europe. Eventually there were four weights of Medium-Extended plus an italic, forming a family within a family. and making Record Gothic probably the only family available in five widths. Record Gothic Thinline Condensed was another innovation, on the order of a condensed version of Lightline Gothic. Record Gothic Bold Condensed and' Heavy Condensed, done in 1969, show the influence of European grotesques. Most unusual is Record Gothic Bold Extended Reverse, which features white letters on a black band, complete with several optional endings for the band. And Record Gothic Offset, a reverse-reading face for titling photographs and marking electronic parts. (See Offset Faces.) All Record Gothic italics are cut for Ludlow's 17-degree italic matrices; l most serifl~ss italics slope about 8 to 12 de.grees. While not the greatest angle. 17 degrees IS rather extreme, and results In some awkward character shapes. Nearly all versions of Record Gothic have as alternate characters a single- bowl lowercase g and a figure 1 without bottom serifs. Most also have frac- tions and percent mark available; a few have other alternate characters. Compare News Gothic and Trade Gothic families, Alternate Gothic, Helvetica. RECORD TITLE was designed in 1927 by Frederic W. Goudy as a private ype for The Architectural Record magazine, commissioned by Charles De- rinne, art director of the magazine and grandson of Theodore L. De Vinne. Goudy based his work on a treatise on classic letter design printed at )arma by Damianus Moyllus in 1480, but soon found that the geometrical )roportions advocated by that work had to be modified considerably for good lppearance as type. But Goudy considered this one of the most satisfactory commissions of his career. The magazine used the type for several years, until the popularity of sans serifs displaced such classic roman letters. RECUT CASLON, RECUT DeVINNE, etc.-see under Caslon, DeVinne. etc. REED TEXT -see Priory Text. REGAL ITALIC (other)-see Victoria Italic. REGINA, REINER SCRIPT -see Imports in Appendix. RELIEVO-see Antiques in Appendix. REMSON BOLD-see Lorimer, Berlin Antique. RENNER. Theodore L. De Vinne says of this face: "Renner is a fair copy, but not a servile imitation, of the style of type devised by Franz Renner of Venice. and first used by him in his edition of the 'Quadragesimale' of 1472. It was made in 1899 (by the Bruce Typefoundry division of AT F) for the service of the De Vinne Press, to exemplify the belief of the writer that the legibility of print does not depend so much upon an increase of blackness or thickness of its stems as on the entire and instant visibility of every line in every charac- ter." In spite of DeVinne's enthusiasm for it, Renner is a quaint, now dated face. But it is notable for having an Underscore version for emphasis, al- though an italic was made by Bruce. The underscore consists of a series of short strokes, one to four under each character, cutting through descenders. Because of the varying width of characters, strokes vary somewhat in length. It was copied by Monotype, which extended its life, but has long been obsolete now. REVERSE FACES. Service Engravers in New York City made matrices for several faces for casting on the Ludlow machine, with the unusual feature of : white letters on a solid background. These include Reverse Extended, which was similar to Gothic No. 545, and Reverse Condensed, which differed in ! various sizes but was similar to nineteenth-century gothics. The 36- and 48- point sizes were considerably heavier than smaller sizes. Fonts include the usual capitals, figures and punctuation marks; a number of decorative end pieces were available separately. Also see Record Gothic Bold Extended Reverse; Adstyle Borders. REX is a newspaper face, cut by Intertype about 1938. It has smaller x-height and longer ascenders than most such faces, but otherwise is typical. Compare Textype. RHAPSODIE-see Imports in Appendix. RHUMBA-see Gill Sans Shadow under Imports in Appendix. RICCARDO-see Imports in Appendix. RICHE LIEU -see Cushing Oldstyle. RIMMED LITHO-see Litho Roman series. RIVOLI and Rivoli Italic were designed for ATF by Willard T. Sniffin about 1928. They are delicate faces with a nervous, pen-drawn quality, and are very similar to Eve and Eve Italic, designed by Rudolf Koch in Germany a few years earlier. However, Rivoli has the extra hairline on all sizes of caps in both roman and italic, whereas Eve has this line only on italic caps in sizes from 14-point up. Compare Paramount, which is essentially a bold version of Rivoli. ROBIN was designed and privately cast by R. Stanley Nelson, private press operator in Maryland. The designer says, "Like blackletter fonts this is really a minuscule with a set of uppercase forms attached. I plan to cut Lombardic caps as well, and other lowercase letters in the future. ...The rustic caps are not complete but there are a lot of problems with them. ...The face is experimental and not in its final form." ROGERS was advertised by Inland Typefoundry in 1902 as "one of our most Ii recent novelties." It was designed by A. V. Haight. Compare Bewick, Vanden Houten. ROGERS ROMAN -see Engravers Litho Bold. ROMAN COMPRESSED-see Imports in Appendix. ROMANA-see Berlin Antique. ROMANTIC-see Tokio. ROMANTIQUES-see Antiques in Appendix; also Tuscans in the same section. ROMANY is a simple monotone script, designed by Alfred R. Bosco for ATF about 1934. It is vertical, rather wide, and characters don't quite connect. There is an alternate e as shown, also an alternate A which is similar to the lowercase form. The F has no crossbar and could be taken for a T except by context. Compare Keynote, Brody, Repro Script. RONALDSON OLD STYLE was designed and cut by MS&J in 1884, and B subsequently copied by various other foundries. It was notable for the exag- gerated serifs on a number of letters, and the name is now associated with these peculiarities, which were also applied to various other faces in the nineteenth century. Monotype cut a reasonably good copy of the foundry face. although modified to fit mechanical requirements, while Linotype cut a set of conversion characters which could be substituted for the regular characters of Old Style No.7. A similar set of conversion characters was cut for Linotype and Intertype Old Style No.1 (q.v.), which is a somewhat lighter face. Key- stone called its version Keystone Old Style. Other versions of Ronaldson did not last long into the twentieth century. RONDO-see Imports in Appendix. ROSETTI is a thick-and-thin, serifless face, drawn by Willard T. Sniffin for Rc ATF in 1931. Many of the capitals are informal, and some have an extra swash version. In lowercase letters such as hand m, the ascending stroke leaves the stem at a low point. Compare Parisian, Optima, Radiant, Czarin. Lydian. ROUND SHADE-see Old Bowery. ROYAL-see Corona. ROYAL GOTHIC-see London Gothic, Contour No. 1. ROYAL SCRIPT originated with the Central Type Foundry branch of ATF Ro; in St. Louis in 1893. It is much like the later Typo Script, but wider. In spite of ~ that similarity, it appeared in ATF specimen books as late as 1968. In the 24- and 30-point sizes there are normal and small versions of lowercase, caps being the same. Early specimens designated these large and small sizes as No.1 and No.2 respectively, later specimens as No. 551 and No. 552. Han- sen's Newton Script is the same design. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged faces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first face for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many faces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the face is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this face was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle. ROYS GOTHIC-see Layout Gothic. RUGGED BLACK-see Cooper Black. RUGGED BOLD was issued by ATF in 1902, and later advertised as a "new and strong letter for attractive job work and advertising display." But it is an extreme example of the generally rugged faces which were popular then. having not only irregular edges on the letters, but characters of uneven size and slope, as well as bizarre design. Caps were the usual size for faces on standard alignment, but lowercase g had a very short descender and y had no descender at all below the base line. RUGGED BOLD (not the one mentioned above) was part of a series offered' by BB&S about 1911, but the series was actually an assembly of faces origi-. nally known by a variety of other names, and some of them were later j renamed again. Rugged Lightface was originally Carlton and later became Adcraft Lightface (q.v.). Rugged Medium had been Alfred Medium and be- came Adcraft Medium; while Rugged Bold and Italic were formerly Talisman and Italic, patented by Sidney Gaunt in 1903 and 1904 respectively. Rugged Black andBlack Condensed and Black Italic were formerly Plym- outh and Condensed and Italic and continued to be better known by those names, partly because some were copied by Monotype. Rugged Extra Black was formerly Plymouth Bold and later became Adcraft Black. See Adcraft. Plymouth. RUGGED ROMAN was designed for ATFbyMorrisF. Benton in 1909-11. It was patented in 1915, but the earliest showing seems to have appeared in 1917. It is a rugged face, as the name says, of the sort that was popular early in the century, but appears to have no relation to other faces having the name "Rugged." It somewhat resembles Roycroft, but is lighter. But to add to the uncertainty, fonts contained a number of ligatures of the kind which were more common in the early 1900s, in addition to the usual f-ligatures. RUSTIC-see Antiques in Appendix. RUSTIC ORNAMENTED SHADED-see Bruce Mikita under Antiques in Appendix. RUSTICA was designed, cut in 1965, and privately cast by Paul Hayden Duensing, operator of his own private press and typefoundry. It is patterned on the work of scribes of the third and fourth centuries. The crossbar of the cap A is intentionally omitted for authenticity. SAINT JOHN -see Bradley. SAKS GOUDY and Italic were designed and cut by Frederic W. Goudy in 1934 as private types for the Saks Fifth Avenue department store in New York. Although having the classic proportions of most of this designer's romans and italics, these faces achieve distinction through many small de- tails, such as the tapered strokes of K, R, V, W, etc. As the small caps were quite small in relation to the regular caps, Goudy used their patterns to cut caps of full height, thus producing a bold face. No record has been found of the sizes produced. SALEM was introduced by Keystone Type Foundry in 1901, the initial ad calling it "a witchey typeface." Later specimens called it "one of our most useful and prominent typefaces. ..may be used to great advantage in any and all the finest productions of art display work." To later tastes it is quaint a:1n bizarre. The Monotype copy shown in the specimen here appears to be quIte faithful to the original, more so than many early copies of foundry faces. SALTO, SALTINO-see Imports in Appendix. SAMSON UNCIAL-see Hammer Samson Uncial. SANS SERIF is a general term for serifless types, particularly the newly proportioned faces of that sort which originated in Germany in the 1920s, as opposed to the older, traditional gothics. It is also the unimaginative name for Mollotype's extensive series which began as a copy of one of the most popular of the German faces, Rudolf Koch's Kabel, sometimes called Cable, named in celebration of the opening of the trans-Atlantic telephone cable connecting America and Europe. Koch's face appeared about 1927, with Monotype copy- ing the Light and Bold in 1930. These two weights and their italics are virtually exact copies of the originals. Over the next three years Sol Hess designed a number of variations for Monotype, which differ more or less from their German counterparts, especially in the heavy weights. Light Con- densed, Medium, Medium Condensed, Extrabold and Italic and Condensed. and Lined filled out the family. From this point Monotype went on to explore a new dimension in type design with the introduction of a novel idea in alternate characters. By the f substitution of a dozen characters, more or less, for those in the standard font. the Monotype user could have "three type faces from one," as the advertising said. With one set of alternates, available for most members of the family and designated H91 (suffixed to the series number), Sans Serif could be trans- formed into an approximation of Futura,. another set (H92) contained the round capitals then popular. A set for Sans Serif Bold suggested Bernhard Gothic Medium (H9), while a somewhat similar but maverick set was made for Light (H93). The various condensed faces include aegjtu alternates, com- parable to H91, in the regular matrix fonts, but they are missing from the specimens here. It was an unusual and useful idea, but some users of Mono- type matrices have been careless about mixing parts of sets with regular characters, or of inconsistent use of alternates in various sizes of a series. In general, the basic Kabel is less mechanical than Futura, and has longer ascenders with smaller x-height. Introduced into the United States at about the same time as Futura, Kabel probably had greater initial impact, but in the long run Futura (q.v.) and its counterparts became more popular and lasting. Also see Bernhard Gothic, Goudy Sans Serif, Metro, Tempo, Vogue,. also Prisma under Imports in Appendix. SANS SERIF SHADOW -see Gill Sans Shadow Titling under Imports in Appendix. SANS SERIFS SHADED-see Imports in Appendix. SANSERIF 52-see Spartan Black. SAPPHIRE-see Imports in Appendix. SATANICK, issued by ATF in 1896, was called "the invention of John F. Cumming of Worcester, Massachusetts." It has also been credited to Joseph W. Phinney of ATF; probably Cumming cut it from Phinney's drawings. However, it was a close copy, though perhaps a little heavier, of the Troy and Chaucer types of William Morris. De Vinne called it "a crude amalgamation of Roman with Blackletter, which is said to have been modeled by Morris upon the style made by Mentel of Strasburg in or near the year 1470." See Morris Romanized Black. SAUNDERS-see De V inne. SCHADOW-see Imports in Appendix. SCHOOLBOOK OLDSTYLE was designed for ATF about 1924 by Morris 8 F. Benton. It has much of the same character as Century Catalogue, but is a little heavier. There is no italic and it has not been made for machine typesetting. SCRIPPS COLLEGE OLD STYLE was designed and cut in 1941 by Fre- deric W. Goudy, as a private typeface for the school of that name in Clare- mont, California. Goudy calls it a straightforward, simple design that dis- plays no freakish qualities. It was used by students at the school for experimental design projects which were printed on an old handpress. The italic was cut three years later. SCRIPT, SCRIPT BOLD-see Broad-Stroke Cursive; also Imports in Appendix. SCROLL SHADED-see Antiques in Appendix. SELF SPACING FACES-see Quick-Set Roman. SEYMOUR is a private press type, designed by Ralph Fletcher Seymour for his Alderbrink Press in Chicago. In a 1945 book, the designer says, "With Goudy's help and Wiebking's matrice cutting and fitting machines I got my first face of type designed, cut, and finally cast. ..and my first book printed from the type." The book he referred to was dated 1902. The type seems never to have been named-it could have been Seymour for the designer or Alderbrink for the press. SHADOW was designed in 1934 by Morris F. Benton and released by ATF the following year. It might be called an "invisible" face- the letters are not there, just their shadows. It is typical of the round, condensed gothic style popular at the time, when letters such as A, M, and N lost their angularity. There is no discernible difference in width or design between look-alikes cap 0 and zero, nor between cap I and figure 1, although a tiny letter cast on the shoulder of these characters indicates what they are. Shadow was copied by Intertype in 1936, and some secondary suppliers cast fonts from its matrices. This is distinguished by the lack of the upper upright on M, as shown. SHADOW (other)-see Gill Sans under Imports in Appendix. SHAW TEXT was introduced by Inland Type Foundry in 1907 as its "latest novelty," although it is a rather conventional Old English face, a little heavi- er than Wedding Text, and a little lighter and fancier than Engravers Old English. After Inland merged with ATF, Shaw Text continued to be shown until 1954. Compare Plate Text. SHERMAN was designed in 1912 by Frederic W. Goudy as a p~ate type for Frederick Sherman, a publisher and fine printer. Since Sherman already had an earlier type drawn by Goudy, the designer felt that a new type for him should be decidedly different. While the drawings were pleasing, the type as cut in 14-point was a disappointment to Goudy. Due to his inexperience, he says, he had believed that close fitting was essential to a typeface, and in this design he went to extremes. However, a quantity of the type was cast and shipped to Sherman. This was dumped after Sherman's death. Later a special casting was made by ATF for Syracuse University, where this specimen was obtained. SHOWBOAT-see Figaro under Imports in Appendix. SIGNAL, SISTINA-see Imports in Appendix. . SIXTEENTH CENTURY ROMAN is a 1967 recreation by Paul H. Duens- ing, at his Private Press and Typefoundry, of a face represented by a set of antique punches acquired in Europe. As they were incomplete and unusable as punches, he had to design the missing characters and cut matrices for the entire font, intentionally preserving the ancient appearance. The first half of the last line of the specimen here shows the variety of outmoded characters included in the font; the last half shows the redesigned missing characters. and four characters from Garamond Bold. SKELETON ANTIQUE-see Antique Extra Condensed. SKETCH CIRCULAR is a novel, outdated style, offered by BB&S for use on announcements and similar work. The companion all-cap face, Sketch Title. was formerly known as Racine, cut in 1890. Both series lasted into the late 1920s. SKINNER-see Menu Roman. SLIM BODONI-see Bodoni. SLIM OPEN-see Agency Gothic Open. SLIM OUTLINE-see Oldtyme Outline. SLIMLINE was designed by Sol Hess in 1939 for Monotype. It is a light- weight, very narrow, monotone face with tiny serifs and a number of alter- nate round characters. It has had some use for stationery. Compare Huxley Vertical. SLOGAN -see Imports in Appendix. SLOPE GOTHIC-see Gothic Inclined. SOCIETY SCRIPT-see Typo Upright. SOCIETY TEXT-see Wedding Text. SOLEMNIS-see Imports in Appendix. SOUTHERN CROSS-see Antiques in Appendix. SOUTHEY -see Handcraft. SPARTAN as produced by Linotype and ATF is equivalent to Futura (q.v.). Although it is claimed to have been derived from several similar European faces, the differences between it and Futura are so slight that for most practical purposes they are almost interchangeable. Linotype announced Sanserif 52 and Italic early in 1939; later in the same year these faces were offered as Spartan Black, along with light, medium, and heavy weights, all with italics. In 1941 ATF cut some of these faces; by arrangement with Mergenthaler the small sizes were cut to match. Over the following dozen years or more, additional weights and widths were drawn by Bud Renshaw and Gerry Powell for ATF, and by Linotype staff designers. Renshaw's Spartan Medium Condensed, drawn in 1953, is wider than the corresponding faces in other families. In 1955 Linotype announced Spartan Bold, "the latest member of the Spartan family; slightly larger on the body than Spartan Heavy and more compactly fitted." Spartan Extra Black is heavier than the comparable faces from other sources. ATF made supplementary Advertising Figures, Decimal Figures, and Fractions for sev- eral weights of Spartan. Spartan Circuit and Spartan Circuit Heavy are 1964 adaptations of the design by Linotype for Teletypesetter use, requiring modification of charac- ter widths. Compare Erbar Bold. Also see Classified Display, Tempo Alter- nate, Twentieth Century. SPEEDBALL-see Balloon. SPEIDOTYPE is described by Monotype as a set of faces designed for pro- ducing railroad tariff and other tabular composition involving the use of characters, spaces, and quads of only four different standard widths. No. 617E has lowercase and punctuation only, made to combine with the caps of No. 417E. The general principle is similar to Quick-Set Roman (q. v.), but the only specimen located is like a typewriter face. SPENCER OLD STYLE. The design of this face by Frederic W. Goudy was begun in 1934 on a commission for a large book-printing plant, which wanted an exclusive type for some of its work. When this deal fell through, after many drawings were completed, Goudy recalled a promise to make a type for Syracuse University, the first educational institution to recognize his work in type design. Some characters were changed, but the project was not complet- ed, according to a spokesman for the school. SPENSER-see Handcraft. SPIRAL-see Emerson. SPIRE is a modernization of the old modern roman extra-condensed style. drawn by Sol Hess for Monotype in 1937. There is no lowercase, but there are several alternate round characters. Compare Greenwich, Modern Roman Extra Condensed, also Empire, Slimline. Spire is also the name of a dissimilar BB&S face, cut in 1898 or earlier and shown as late as 1927. SQUARE GOTHIC is a medium-weight Ludlow face, similar to Gothic No. 545 but with a more contemporary feeling and much better draftsmanship. It is also similar to Gothic No.3, advertised by Laclede Type Foundry in St. Louis as original. Since Robert Wiebking worked at times for both Laclede and Ludlow, it is likely that he is the designer of this face, probably around 1920. Square Gothic Heavy was the original Ludlow version of Franklin Gothic (q.v.). SQUAREFACE was designed by Sol Hess in 1940 as a variation of Stymie Extrabold. A number of characters are the same for both faces, but normally round letters have been squared considerably, with only slightly rounded corners. It makes a vigorous display face, and harmonizes well with other square-serif designs. STACCATO-see Antiques in Appendix. STAGG-see Braggadocio under Imports in Appendix. STANDARD-see Imports in Appendix. STANDARD GOTHIC-see Gothic No. 578. STANDARD LINING ANTIQUE-see Typo Gothic. STATIONERS GOTHIC LIGHT and Bold were designed by Sol Hess for Monotype in 1942, and Medium in 1944, but wartime and post-war conditions delayed their release until 1948. They are similar to the Bank Gothics. following a style of squared letter popular for copperplate engraved stationery and announcements, and in effect constitute a more contemporary form of the style typified by Copperplate Gothics. Like the others, there are several sizes on each of several different bodies, making various cap-and-small-cap combinations easily practical. STATIONERS PLATE is a rather wide, light-weight face with long square serifs, cast by BB&S in several sizes of caps on each of three bodies, making various cap-and-small-cap combinations practical in the manner of Copper- plate Gothic. Though dating from early in the century, it has somewhat the effect of Stymie. STEELPLATE SCRIPT was advertised by ATF in 1907 as "equal to copper- : plate printing." It originated with Central Type Foundry in 1888. It is a very delicate traditional connected script, suggestive of nineteenth-century styles. The lowercase is quite small, but in 24-point there is an alternate lowercase font which is smaller yet. STELLAR (other)-see Tuscan Graille under Antiques in Appendix. STENCIL is a heavy roman letter with white breaks in the thinner strokes. as though done with the traditional cut-out stencil. There are two versions of the type, both issued in 1937. The one drawn by R. Hunter Middleton for Ludlow appears to have reached the market first, having been advertised in June of that year. Its basic letter is much like a Clarendon (compare Craw Clarendon). The ATF version by Gerry Powell was ready the following month; it is narrower but has a bolder effect. Neither font has lowercase, but the ATF face is cut in a range of sizes, while Ludlow offers only one size. STERLING and Sterling Cursive were designed by Morris F. Benton for ATF in 1917 and 1919 respectively. They are a delicate and attractive pair of faces. with long descenders, but have a number of unusual little quirks that make them more suited to such printing as announcements and programs than for extended reading. Italic capitals are quite flourished, but there is an addi- tional set of Plain Capitals, fonted separately, which is essentially a slanted version of the roman. STILLSON was introduced by BB&S about 1899, and patented by R. L. Stillson in 1900. It is a set of rather crude caps, thick-and-thin with generally very small serifs. Particularly noticeable are the high crossbars of E and F. the tall upright stroke on G, and the very short vertex on M. There are three sizes each of 6- and 12-point. STIPPLED GOTHIC was cut by Hansen in 1907 or earlier. It is a heavy. rather clumsy gothic in outline with a stippled field within that line. STRADIVARIUS-see Imports in Appendix. STRATFORD OLD STYLE was Hansen's version of the Old Style Antique face which was the predecessor of Bookman, but has different swash charac- ters from other versions. STRATHMORE OLD STYLE was introduced by ATF in 1906, stating: "Strathmore was designed by a well-known Eastern artist who has had much to do with the work on editions de luxe brought out in recent years by some of lour greatest publishing houses. He ...partly adopted a style considerably used by Spanish sculptors and artists hundreds of years ago, then considered paramount in all things pertaining to art." In spite of this build-up, it is a rather clumsy face, with awkwardly short descenders. The Monotype face has modified character proportions. STREAMLINE BLOCK is Franklin Gothic with two groups of fine white lines cut into it. There are no punctuation marks or figures, only the 26 capitals. It is made only in one size. STUDIO-see Imports in Appendix. STUDLEY was introduced by Inland as "original" in 1897, with extended, C condensed, and extra condensed versions following within four years. The s series is similar to Globe Gothic, and was named for a printer in St. Louis. - STYGIAN BLACK and Italic were introduced by Ludlow in 1929 as "new and dominating." The roman has much the same style as Modernique. brought out the previous year, but the lowercase is much smaller, with long ascenders and descenders, and the effect is less rigid. The italic retains the blackness of the roman but is more of a cursive, with flourished caps and small serifs on the lowercase. STYLE SCRIPT was designed by Sol Hess for Monotype in 1940. It is a popular bold thick-and-thin cursive style, which has had considerable use in advertising. It is somewhat like the earlier Coronet Bold of Ludlow, but heavier and with a greater x-height; some characters seem to make a con- scious effort to differ. STYLUS SCRIPT-see Monoline Script under Imports in Appendix. STYMIE BOLD is a redesign of Rockwell Antique (q. v.), which in turn was a 1 reissue of Litho Antique, introduced by Inland Type Foundry in 1910. Rock-. well appeared in 1931, but Morris Benton redesigned it as Stymie Bold in the' same year, refining some characters and generally tightening the fit. Stymie: Light and Medium and their Italics were also drawn by Benton in 1931, and: the series quickly became very popular. Stymie Bold Italic followed a bit later. ' Elongated Ascenders and Descenders for Stymie Light, Medium, and Bold are a whimsical idea borrowed from the Parsons series (q.v.). Eleven charac- ters as shown are offered for each weight from IS-point up, but there are actually only nine different characters, with an extra band d in each set to invert for p and q. The ascenders are cast to proper alignment for reasonably easy use, but the descenders must be carefully justified vertically. They were short-lived. Monotype exercised its option to copy ATF faces soon after the introduc- tion of these faces-too soon, in fact, because they copied Rockwell and in some literature called it Stymie Bold, and there has been confusion between the two faces ever since, with some Monotype users applying the latter name to the older face. The actual Stymie Bold was duplicated by Monotype about 1936. But Monotype also did its part in expanding the family; Sol Hess designed Stymie Extrabold in 1934, a year before Morris Benton drew Stymie Black. These heavy versions differ slightly from each other and from the lighter faces; it's a matter of opinion as to which is more compatible with other Stymies. Sol Hess and Monotype also produced Stymie Light Condensed, Medium Condensed, and Extrabold Condensed, in 1935 and 1936. Gerry Powell drew the last major member of the family in 1937, with Stymie Bold Condensed. which departs a little more than the others from family characteristics. Trials of a medium condensed version at ATF were abandoned in favor of Tower (q.v.). Along the way Powell had also engineered the production in 1936 of Stymie Light Title and Stymie Medium Title, all-cap versions of their respec- tive weights with several sizes cast on 6- and 12-point bodies in the manner of Copperplate Gothic. But there is more to the Stymie story. Shortly after the introduction of the family, perhaps as early as 1932, ATF undertook a program of producing type (Stymie continues) in extra-large sizes. Some of the Stymies were cast up to 144-point, along with a number of other designs, but even that was not enough. Stymie Compressed was cast in 288-point from drawings by Wadsworth A. Parker, head of the ATF specimen department. This is believed to be the largest complete font ever cast in regular type molds. However, apparently there never was a 288- point mold. Instead, all characters are designed to cast the long way in smaller molds, from 30-point for the I to 144-point for the W, each 288 points "wide." Round letters were virtually flush to the edges of the body-4 inches high! Fonts included capitals, figures, and ampersand, with an undersize dollar mark on 120-point body; for punctuation marks the foundry recom- mended using available sizes of Stymie Bold or Medium. One type each of all 38 characters weighed about 47 pounds, and sold originally for $28.05. The cap W alone weighed about 2 pounds! Stymie Stylus, the second largest type font, followed. It is an experimental font, with each character including lowercase cast on the minimum body with no unnecessary metal. There are five different body sizes in the one font. ranging from 96-point for lowercase letters without ascenders or descenders to 180-point for caps and 204-point for lowercase j. Like the previous face. these characters were cast sideways in smaller molds. Specimens said, "The letters justify quickly with point spacing material." This specimen has type bodies indicated for several letters. !?) were the only punctuation marks. And apparently this was the last of the giant faces produced. Stymie Inline Title was designed by Parker about 1931; it follows the basic Stymie Bold pattern but is cast full face, without lowercase. ATF literature lists a Stymie Open, but no specimen or other evidence of it has been found. Stymie Intaglio Figures are the Stymie Bold design reversed on black squares. Stymie Bold Open as offered by Baltimore is a copy of Beton Open from Germany, while Baltimore's Stymie Bold Open Condensed is a modifica- tion by pantagraph of the same face, offered in 1948. Stymie Shaded or Rockwell Shaded as offered by some secondary sources is Antique Shaded (q.v.). ATF offered alternate, condensed figures for Stymie Bold, but these were actually Foster Condensed (q.v.), with only a general similarity. Sixty-point Litho Antique as cast by Inland was oversize by about 5 points. This peculiarity is carried over into members of the Stymie family-even on Monotype. But in some versions of ATF Stymie, 60-point after a time was replaced by 66/60-point, wherein descenders are cast on the larger body. Compare Beton, Cairo, Karnak, Memphis. SUBURBAN FRENCH is one of Monotype's first independent recreations of faces from classic sources abroad. It was cut about 1911 at the suggestion of J. Horace MacFarland, prominent Pennsylvania printer, and was adapted to Monotype under the supervision of MacFarland and William Dana Orcutt, a well known typographer and book designer in New England. Its source is said to have been a Didot oldstyle first cut about 1804, but the Monotype face was first introduced under the name of Bodoni Roman. The double serifs at the top of lowercase vertical strokes are a distinguishing feature. Compare French Round Face. SYLPH INITIALS as produced by Hansen include figures and ampersand. but they seem to have little practical use except as initials. SYLVAN-see Imports in Appendix. l TABARD is an irregular face, designed by Lewis Buddy and shown by ATF in 1904 or earlier. It is generally similar to a number of other such faces popular at the time, but narrower, with long ascenders which are less than cap height. There is also less contrast between thick-and-thin strokes than most such faces. Compare Roycroft, Schoeffer Oldstyle. TALISMAN -"'"see Rugged Bold. TANGIER-see Antiques in Appendix. TANGO-see Bernhard Tango. TASSO-see Gothic Novelty Title. TAYLOR GOTHIC-see Globe Gothic. TEA-CHEST -see Imports in Appendix. TELL TEXT -see Morris Romanized Black. TEMPLE SCRIPT -see Imports in Appendix. TEMPO (other)-see Agency Gothic. THERMO TYPES were designed by Morris F. Benton in 1931 for ATF. They' may be said to carry the idea of the Alternate Gothics a step further, with: three widths of the same basic design that may be selected to fit the require- ments of various layouts. But while the Alternates are intended to be selected only as complete faces, the Thermo Types (or Thermotypes) are designed so that individual characters can be substituted, without the differences being obvious. The narrow, normal, and wide versions are known as the 100, 200. and 300 series respectively. By 1938 they had been discontinued. THIRTY -EIGHT-E-see Goudy Light Old Style. THORNE SHADED, THOROWGOOD-see Imports in Appendix. THUNDERBIRD-see Antiques in Appendix. TIFFANY GOTHIC, TIFFANY SCRIPT, TIFFANY TEXT, etc.-see Typo Series. TIME SCRIPT -see Imports in Appendix. TIMES GOTHIC and Italic were shown by ATF early in the century. They' are wide and moderately heavy, with the italic, especially in lowercase,. appearing to be not quite as heavy as the upright face. They have some nineteenth-century characteristics, but generally are more carefully cut. On the other hand, curved strokes are cut off horizontally, a characteristic of much more recent faces, and in fact some letters could almost be mistaken for members of the Helvetica family. They are likewise almost monotone, but are loosely fitted. TIMES ROMAN or Times New Roman was designed under the direction of Stanley Morison for the Times of London in 1932, breaking away from tradi- tional newspaper types and establishing a new style, derived from French oldstyle faces but with more contrast and a sharper appearance. It is more compact than most previous newspaper faces, with small, pointed serifs, and was developed through much preliminary optical research. By 1942 it had come to America, where it was adopted as a text face for several magazines, and from there went on to become popular for advertising work, both as a text face and a display face. Within a few years it was cut for all the composing machines, along with bold and italics. Ludlow added Times New Roman Heavy. It continues to rank as one of the most popular text faces. On English Monotype, incidentally, it is made from 41/4- to 72-point. Also see Classified. . "TITLE" has several connotations in the terminology of type. Through the' nineteenth century, "Title" was commonly applied to bold heading faces. usually romans, even down to very small sizes for subheads with small text sizes. Hansen's Title Condensed No. 75 is virtually a duplicate of the BB&S Modern Roman Bold Condensed (q. v.). Except for a surviving Monotype face. other such faces are not included here, but some machine-set faces are shown under other names, as follows: Title No. I-see Cushing Oldstyle. Title No. 2-see DeVinne. Title No.4-see DeVinne Recut. Title No.5-see Laureate,' also Modern Roman Medium. Title Italic-see DeVinne Italic. Title Italic No. lO-see Modern Roman Italic. Also see other Modern Romans. Title Litho Shaded-see under Litho Roman. More recently the name has been applied to faces without lowercase. having capitals and figures cast nearly full size on the body; these are now almost exclusively gothics, although romans were often cast this way until early in the century. Such faces that have lasted until more recent years are included in this book as secondary to their cap-and-lowercase counterparts, if any, but are cross-referenced if the name is substantially different. TOKIO was a rather bizarre novelty face issued by Hansen early in the' century. It was copied as Romantic by the Universal Typefoundry in Hong Kong, the source of the specimen shown here. TOMBSTONE-see Jim Crow. TOPIC-see World Gothic; also Imports in Appendix. TORCH-see Flamme under Imports in Appendix. TORINO-see Imports in Appendix. TORY TEXT was a frankly archaic type designed and produced by Frederic' W. Goudy in 1935. For a small edition of a twelfth-century story which he intended to print, Goudy chose a sixteenth-century type design to express the qualities he had in mind. This was redrawn in an attempt to make it more legible for modern readers while retaining the ancient spirit. Goudy de- scribes Tory Text as one of his favorite types, and says that he enjoyed every minute of its making. See Village Text. TOURIST GOTHIC is a Monotype copy of Modern Condensed Gothic (q. v.),. with a set of several round alternate caps designed by Sol Hess in 1928. (Sizes. under 14-point continued under the Modern Condensed Gothic name, without. the alternates.) In 1938 Hess drew a matching Tourist Gothic Italic, which added to the popularity of the face, although it lacks the round characters. The Outline Gothic Medium Condensed (or Franklin Gothic Condensed Outline) from some sources is actually an open version of Tourist Gothic. Tourist Extra Condensed of Baltimore Type is a copy of Phenix (q.v.) in 24- to 48-point sizes, and is Jefferson Gothic (q.v.) in larger sizes. TOWER was designed by Morris F. Benton for ATF in 1934. It is similar to ' Stymie Medium Condensed (q. v.), but with straight sides to the round letters. emphasizing the vertical appearance. The name suggests its tallness and slimness, and it is at home with the Stymie series. Tower Bold was undertak- en by the same designer in 1936, but abandoned in favor of Stymie Bold Condensed. Tower Italic was designed but not cast. TRAJAN TITLE was designed by Frederic W. Goudy in 1930 to fulfill a ' commission to print a list of subscribers to the building of the community house in his old home town of Forest Hills Gardens, Long Island. The previ- ous year, Goudy had lettered the principal line on the title page of a limited edition of Rip Van Winkle, for which he had designed the typeface Kaatskill (q. v.). Now he completed that alphabet, feeling that it would be ideal for this purpose. Goudy calls this one of his favorite designs, and it is indeed an impressive inscriptional style of letter. It is based on letters inscribed at the base of the Trajan Column at Rome, erected about 114 A.D., but not copied slavishly. He cut several sizes, and states that it has been widely used. English and Conti- nental rights were sold to the English Monotype Company. TROCADERO-see Antiques in Appendix. TRUE-CUT BODONI, CASLON, etc.-see under Bodoni, Caslon, etc. TRUESDELL and Italic were designed and cut by Frederic W. Goudy in ' 1930-31, for setting a prefatory note he had written to an article to appear in ' "The Colophon." The article itself was set in Goudy's Mediaeval. Truesdell was his mother's maiden name. TRUMP-see Imports in Appendix. TUDOR BLACK is a nineteenth-century face that was cut by many founders. D. B. Updike, in his monumental Printing Types, says it was cut for Miller&Richard, the former Scottish foundry, recalling round italic gothic types. It appeared in this country in 1889 or earlier, with no distinction between the caps I and J until about 1900. The modernized capitals HIMN were first shown in 1906. TUDOR MEDIUM was designed by Charles Tudor for Life magazine, and privately cut by Monotype, in the mid-1950s. It is derived from News Gothic. but slightly heavier and showing some influence of German grotesques. The upright was cut in a wide range of sizes, but the italic was made only in a few display sizes. TUDORESQUE-see Ecclesiastic under Antiques in Appendix. TUSCAN -see Antiques in Appendix. TWENTIETH CENTURY is Monotype's copy of Futura (q.v.), and in dis- play sizes is essentially an exact copy, while composition sizes are only slightly modified. Several additional versions were drawn for Monotype by Sol Hess, including Twentieth Century Bold Italic and Extrabold Italic in 1937, Extrabold Condensed Italic in 1938, Ultrabold in 1941, Ultra bold Con- densed in 1944, and Medium Condensed Italic and Ultra bold Italic in 1947. Some of these weights have different names than their counterparts in the original Futura series or other copies; see the list under Futura for compari- son of these names as well as technical data. TYPEWRITER FACES. The faces of many typewriter manufacturers were cut in type by most founders and composing-machine companies, to enable the printer to produce form letters which simulated typewriting before the days of photo-offset printing and photocopying machines- in fact before typewriters and ribbons yielded results that would reproduce well even under present conditions. Typical fonts are shown here, but it is not practical to show all the reproductions. The list below includes typical faces from major sources, but does not attempt to be comprehensive. Also see Bulletin Type- writer, Giant Typewriter, Goudy Remington Typewriter, Jumbo Typewriter. TYPO is a group of ATF faces, most of which have little or no relation to each other except that all are intended for use on stationery, invitations, and other social printing, and are imitative of the work of copperplate and steelplate engravers. Several members of the group were originally named Tiffany; the name apparently was changed late in 1906, although a few faces were still shown with the earlier name as late as 1909. Typo Gothic is the oldest of the group, and has been made by many founders. It is a plain, square, monotone gothic with very small serifs, cast in several sizes of caps and figures on each of several point sizes. The earliest showing seems to have been offered as Lining Antique by Illinois Type Foundry in 1889; Keystone Type Foundry later used the same name. Subsequently it was shown as Cleveland by Standard Type Foundry, as Standard Lining Antique by Marder, Luse, and as Olympia by Inland, all before 1900. ATF showed it as Tiffany Gothic from 1901 to 1909 and later as Typo Gothic. BB&S took over Olympia and renamed it Engravers Gothic. Damon&Peets called it Franklin Card Gothic, which is the cap alphabet shown in the specimen here. Hansen called it Steel plate Gothic. From all sources it is essentially the same design, although there are some slight differences. Some versions have a horizontal crossbar on the G " some lack this on certain sizes. Typo Roman was designed by Morris F. Benton for ATF in 1926; it is a narrow modern roman with small lowercase and very long ascenders. The M is splayed with a short vertex. Figures are much the same as Bodoni. Typo Roman Light was cut by Intertype in 1939. Typo Roman Shaded was the first of this group; it is said to have been designed by Morris F. Benton in 1921. adapted from engravings, but was not released by ATF until 1924. Typo Script and Typo Script Extended were designed by Benton and cut by ATF in 1902, originally as Tiffany Script and Extended, when they were called ''as close a copy as possible to reproduce in type the work of the artist who did much of the copperplate engraving for the Pan-American exposition." But Middleton says Tiffany Script was the "first face engraved by Wiebking (and Hardinge) on their engraving machine brought from Germany." They are a refinement of popular nineteenth-century scripts; like some of them, these two faces share the same capitals, figures, and punctuation marks-only the lowercase differs. They are similar to Bank Script and Commercial Script, but lighter and more delicate. Inland's Invitation Script was very similar to Typo Script Extended. Also see American Script, Formal Script, Plate Script. Typo Text is a shaded Old English design, first shown by ATF as Tiffany Text in 1901, although this may be the same face shown by Bruce Type Foundry as Invitation Text a short time earlier, just before that foundry merged with ATF. Hansen copied it as Card Text. Also see Plate Text, Inland Copperplate. %Q Typo Upright %N 65449 %B http://www.myfonts.com/fonts/bitstream/typo-upright/ %T Typo Upright is a ronde style upright script that originated from the Inland Type Foundry as French Script.
MacMcGrew: Typo Upright is Morris Benton's interpretation in 1905 of a popular style of vertical French Script, introduced by ATF as Tiffany Upright. It is the only such design suitable for adaptation to keyboard slug casting, and is called Lino Script and Interscript by the two leaders in that field. There is also Typo Upright Bold and Typo Shaded, both recorded as being designed by Benton in 1906, but only the latter is noted as having the Tiffany name originally. These two faces are adaptations of the Typo Upright design. Finally there is Typo Slope, a sharply inclined version of the same design; it is credited to Benton in 1905, originally as Tiffany Slope. The lowercase of this face is more nearly a conventional script, while the caps show the French influence. Typo Upright was copied by Western as Society Script. Also see French Plate Script.
Stephenson Blake's version of this design is Parisian Ronde.
Typo Upright is also known as French Script, Interscript, Kaylin Script and Linoscript. Digital versions include French Script (Monotype), Typo Upright (Bitstream), Linoscript (Adobe), and Ronde Script (2012, Group Type). %L RONDE %d Sep 29 2012 %Z Monotype-FrenchScript.gif %Z Monotype-FrenchScriptProRegular-2003.gif %Z MorrisFullerBenton-Linoscript-1905.gif %Z MorrisFullerBenton-Linoscript-1905-LinotypeVersion.gif %Z GroupType-RondeScript-2012.gif %Z MorrisFullerBenton-TypoUpright-1905-BitstreamVersion.gif %Q Linoscript %N 65450 %B http://www.myfonts.com/fonts/linotype/linoscript/ %T Linoscript was made by Morris Fuller Benton at ATF in 1905. It is in the ronde style, and was earlier called Typo Upright and before that, Tiffany Script, at ATF. Equivalent names and designs include Basque, Agfa Codex, Linotype Computer, Agfa Dominante, Berthold Joanna, MT Kaylin, MT French Script. The Softmaker version is called L730 Script. %L RONDE %d Sep 29 2012 %Z Monotype-FrenchScript.gif %Z Monotype-FrenchScriptProRegular-2003.gif %Z MorrisFullerBenton-Linoscript-1905.gif %Z MorrisFullerBenton-TypoUpright-1905-BitstreamVersion.gif %Z MorrisFullerBenton-Linoscript-1905-LinotypeVersion.gif TYPOTABULAR GOTHICS are a group of faces on 6-point body specially cast to a minimum number of set widths, from two to four widths per font. introduced by ATF in 1915. Designs include two sizes of Lightline Gothic with lowercase for one of them, one size of Monotone Gothic, and several other plain gothics, as follows: No. 1-6-pt. Gothic No. 44 No. 2-6-pt. Lining Gothic No. 528 No.3-unidentified No. 4-6-4 Lightline Gothic No. 5-6-2 Lightline Title Gothic No. 6-6-4 Monotone Title Gothic No.7 -6- 72 Copperplate Gothic Extended No. 8-6-pt. Alternate Gothic No.1 The foundry explains: "These Gothic letters have been selected as repre- senting the faces used on card index and blank form work, and are cast on em body, en body, and 2/3-em body, with a few exceptions. As will be appreciated by every printer, it is not possible to obtain first-class typographical results with letters cast on a uniform set, but the saving in time is so great that in many cases-and especially on low-priced blanks-it is price and not typographical excellence that secures the order." The result in most cases was a spotty appearance, as though the word or line had been irregularly letterspaced, but it served a purpose. (The specimen is simulated by careful spacing of Lightline Gothic.) Compare Quick-Set Roman. ULTRA BODONI-see Bodoni, Ultra. ULTRA-MODERN was designed by Douglas C. McMurtrie in 1928, with the assistance of Aaron Borad and Leslie Sprunger. Ultra-Modern Bold was designed by McMurtrie about the same time, and Ultra-Modern Italic a year or two later. They are all severe thick-and-thin serifless letters; the Bold weight is similar to Broadway though not quite as mechanical, but has normal descenders and thus the face is not oversize for the body. Also com- pare Modernique, Radiant. UNCIALA was cut and cast by Paul H. Duensing, from a Czechoslovakian typeface by Oldrich Menhart. UNCLE SAM-see Tuscan Outline under Antiques in Appendix. UNILINE-see Cushing Monotone. UNION PEARL, UNIVERS-see Imports in Appendix. UNIVERSAL GOTHIC-see Gothic Condensed No. 523. UNIVERSITY OF CALIFORNIA OLD STYLE-see Californian. UNIVERSITY OLD STYLE was issued by Hansen in the early to mid- 1910s. It is very similar to ATF's Century Oldstyle, differing most apparently in the serif treatments of CEFG and details of ags in the roman and CGg in the italic. UNIVERSITY SCRIPT is a Spencerian script design introduced by ATF in 1902. It is similar to Typo Script Extended in the lowercase, although not quite as well cut, but the caps have extra flourishes, and there are several logotypes or tied characters. UTILITY GOTHIC-see Agency Gothic. VALIANT is a vigorous thick-and-thin letter with the appearance of having been lettered quickly but well with a broad pen. It was designed by Edwin W. Shaar for Monotype in 1940, and is similar to Lydian Bold Condensed, though a little heavier. It is suggestive of Samson, but condensed. VANnEN HOUTEN is an unusual display face created by Keystone Type Foundry and patented in 1904 by Gibbs Mason, probably the designer. It is a medium weight roman with bizarre serifs on a number of char'acters, and other eccentricities. Compare Rogers, Bewick. VAUDEVILLE-see Antiques in Appendix. VENETIAN and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional faces, almost modern, instead of classic designs ofVene- tian origin as the name implies. The result is c)oser to Bodoni than to Clois- ter. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later face by the same designer, which has similar characteristics but more grace and charm. VENEZIA was produced by Keystone Type Foundry and first shown in 1899. It appears to have been inspired by the same models as Jenson Oldstyle, but features more generously bracketed serifs and a generally more pleasing appearance. Except for the unusual link between the bowls of the g, it is very agreeable. For a later modification of this design, see Laureate. VENEZIA ITALIC (quite unlike the preceding face) was designed by Fre- deric W. Goudy in 1925 to accompany a typeface which George W. Jones. well-known English printer and designer, had drawn for the English Lino- type Company. It is somewhat similar to Cloister, but with stronger serifs. VENEZIAN-see Munder Veneziano VENUS-see Imports in Appendix. VERTICAL GOTHIC is a special-purpose Linotype face, with characters punched at right-angles to the normal position so they will compose into a vertical line, useful for food-store advertising of the time. It was first shown in 1932. The design is equivalent to ATF's Gothic Condensed No. 521, but is made in capitals only. Figures and certain other characters of a few other faces are also made for vertical slug work. VERTICAL SCRIPT is a simple-almost childish-monotone upright script design, produced by Hansen in 1897. Although letters connect, they are widely spaced. The Boston foundry of ATF introduced a similar Vertical Writing, shown in 1897 and patented in 1898 by Joseph W. Phinney. Both are oversize for the body, with kerned descenders. VICTORIA-see Ecclesiastic under Antiques in Appendix. VICTORIA ITALIC is a nineteenth-century design that retained its POPU- Vi larity for many years, and has been made under several names by a number sources. ATF's Central Type Foundry branch showed it as early as 1893, in K. i~ usual form without lowercase, but with several sizes on each of several bodies in the manner of Copperplate Gothic. In 1898 the Pacific States Type Foundry in San Francisco showed the face with lowercase as Pacific Victoria Italic, and about the same time ATF showed Regal Italic with essentially the same lowercase. Victoria Italic without lowercase has also been shown by Keystone and Hansen, as well as Monotype and Ludlow. It is a wide, mono- tone design with thin, pointed serifs, and was popular for a time for business forms and stationery as well as general printing. Compare Paragon Plate talic. Keystone also had Keystone Victoria, a similar upright design, without lowercase. VIKING was cut by John F. Cumming for Hansen in 1899. It is a medium- V weight roman in a popular style of the day, with filleted curves within the letters where strokes meet. Compare Mission. V VILLAGE was designed by Frederic W. Goudy in 1903 on commission from V Kuppenheimer&Company, a clothing store, as a private typeface for their V advertising. Drawings were approved and paid for, but no type was produced V for this account. Later in that year, Goudy and Will Ransom established a printing business which they called the Village Press. This type design was vised and cast to become the private design of this press, and used as such or several years, while the business was in Park Ridge, Illinois. Though sed on the classic Jenson type, this face has a number of novel details. The matrices were later purchased by Frederick Sherman, a publisher and fine printer, who used the face for printing the monumental Catalog of Dutch Paintings of the Metropolitan Museum. Miraculously, the mats survived and were recently used by Theo Rehak of The Dale Guild to cast new fonts, the source of the specimen shown here. For years Goudy wanted something to replace his Village type-not to duplicate it, but to have something for similar uses. In 1932 he designed and cut another type which he called Village No.2, and a year or two later cut an accompanying italic. These are more mature designs, without the unique details of the original design, and have been used for a number of fine booklets. Monotype obtained reproduction rights to these later faces, and produced them for machine composition in two sizes. VILLAGE TEXT or New Village Text. This typeface by Frederic W. Goudy is really a hybrid, combining the capitals of Tory Text with the lowercase of Deepdene Text. When the Grabhom Press in San Francisco ordered a large amount of Deepdene Text for a proposed book about Caxton, England's first printer, Goudy was not satisfied that this was the best choice for the subject. Afterr quite a bit of study, he hit upon the idea of substituting the Tory Text capitals. Grabhom approved a proof of this combination. Earlier, Goudy had applied the name Village Text to his redesign and cutting of Aries, but Grabhorn renamed it Franciscan when they used that face for an award-winning book. This left the name available for the later face. VIRTUOSA-see Imports in Appendix. VULCAN BOLD is the Linotype copy in 1929 of a Spanish face more com- monly known as Greco Bold (q.v.). The roman is virtually the same, but the italic has less slant on Linotype to better fit straight matrices. WALBAUM-see Imports in Appendix. WALDORF TEXT is an unusual design produced by BB&S in 1914. It gives the general effect of a shaded Old English face, but is not quite Old English in style. The shading consists of parallel lines in the main strokes, as though it was lettered with a broad pen having a nib divided into several sections. It is derived from a copperplate engraving style. Compare Dietz Text. WARD or Montgomery Ward is an adaptation by Sol Hess in 1942 of Memphis Light, specially redesigned for use in the large catalogs of that mail-order company. Strokes are lightened a bit, and the x-height is increased slightly. It was cut by Monotype for private use. One reference says there were light and medium weights; another says there were roman and italic in normal width and also an extended version. The latter account seems more authentic. WASHINGTON TEXT was patented in 1904 by S. M. Weatherly, probably the designer, and introduced by Keystone Type Foundry in 1905. It is distinguished by the long starting strokes on many of the capitals, described by Theodore L. De Vinne as "graceful as an ox of one horn." The Monotype adaptation in keyboard sizes, up to 12-point, shortens the opening strokes considerably to fit predetermined character widths and changes other proportions. The lowercase is a round modification of Old English, and is said to have been influenced by Bradley (q.v). The face is named for George Washington, at a time of heightened interest in historic persons. In Washington Text Shaded, shown about 1908, the lowercase is essentially the same, but some caps are substantially different and none except A have the exaggerated opening strokes of the solid version. The California private press operator who furnished this shaded specimen, Gordon L. Sullivan, says that about half the caseful of type has the Keystone foundry pinmark, but the other half has no pinmark; while the two lots have different nicks, although the face appears to be identical. This is not unusual, as Keystone was taken over by ATF in 1919. Some Keystone faces were continued in production. using the same matrices but quite likely with different molds on different casting machines. Gordon also comments that the proof was difficult because the type is used-some very much. This is typical of how specimens of a number of the rarer faces in this book were obtained, and this is a particularly delicate face, so the difficulty is not surprising. WEDDING GOTHIC was shown by ATF in 1901, and called "equal to copperplate printing." It is a wide, very plain gothic without lowercase. Hansen copied it as Card Gothic. Compare Blair. WEDDING TEXT is a light Old English face, designed by Morris F. Benton' and cut by ATF in 1901. It is recorded that the 12-point size was cut in type metal in that year, instead of cutting punches or engraving matrices directly. Electrotype matrices were then made from these cuttings. It is uncertain' whether this new method of cutting delicate faces resulted in unusual prob- lems and delays, but the face was hailed as "new" in 1907 and again in 1909. It has been copied by Monotype under the same name, by Linotype as Lino Text, and by Hansen and Ludlow as Society Text, all virtually the same. Wedding Text Shaded was also designed by Benton, and cut by ATF about 1913. Compare Engravers Old English, Invitation Text, Plate Text. WEDGE GOTHIC-see Japanet. WEISS was cut by Intertype in 1935, as a copy of the same face as designed by . E. R. Weiss and cast by the Bauer Type Foundry in Germany. Weiss is a contemporary roman with an antique feeling, with fairly long ascenders and short descenders. The M is splayed; it and N have no serifs at the apex; U is lowercase in form. Most of the italic capitals are cursive in style, and italic figures are quite small but ranging. The face is undersize, so that each point size appears to be a size or two smaller. See Imports in Appendix for Weiss [ Bold and Weiss Extrabold. WESEL-see World Gothic. WESTERN UNION GOTHIC is listed by Monotype, but no specimen has' been found. Presumably it resembles the monowidth style used on telegraph- ic printers. WESTINGHOUSE GOTHIC is a contemporary condensed gothic of uni- form line weight, developed in 1960 by graphics design consultant Paul Rand for Westinghouse Electric Corporation. It was derived from lettering Rand had done earlier for the company logotype and originally used on signs; that was condensed to save space with the long name. It is distinguished by the unusual st ligature, for use in the company name. In 1964 that company had matrices made by Monotype, with exclusive rights to the face for two years. A lighter version was cut a few years later. WHEDONS GOTHIC OUTLINE was designed by Whedon Davis in 1965 while he was ATF staff designer, as a contemporary interpretation of the gothic letterform. It is a condensed face, with flat-sided round letters which emphasize the vertical appearance, and is nearly the only modern American gothic available in outline form. It also features a number of characters not often included in type fonts, as shown-cent, pound sterling, and percent marks; asterisk and parentheses; and hyphen, short dash and center dot in two sizes to work with either caps or lowercase. A solid version was planned but never completed. Compare Condensed Gothic Outline (shown with Alter- nate Gothic), Outline Gothic Medium Condensed (shown under Modern Gothic). WHITEHALL-see Benton. WHITIN BLACK-see Bold Antique. WIDE LATIN-see Emperor. WILSON is a conventional modern roman design shown by Monotype only in two sizes. WINCHENDON -see Clarendon. WINDSOR-see Ionic No.5,. also Cambridge,. also see Imports in Appendix. WOMAN'S HOME COMPANION FACE-see Companion. WORLD GOTHIC series is similar to Globe Gothic, and is probably so named to compete with the latter face. It has been credited to Robert Wieb- king, but as a family it is an assemblage of three faces shown separately in their earlier years. World Gothic itself was formerly known as Wesel, but its origin has not been found. World Gothic Italic was originally Dewey [No. 5J. named for Admiral George Dewey, popular hero of the Spanish-American War, and introduced by BB&S in 1898. World Gothic Condensed was origi- nally Topic [No. 5J, shown by BB&S in 1897. As a group the three faces have only a general relationship to each other, not the harmony of characteristics found in most type families. WORRELL UNCIAL was cut by Linotype from designs originally made by Dr. W. H. Worrell, who had based them on the calligraphy of a fifth-century codex or manuscript book. The font was named in honor of Dr. Worrell and first used for Coptic Texts in the University of Michigan Collection, a volume which he edited. There are also Greek and Coptic versions of the face. The alphabet itself is interesting, but the Caslon No.3 (New Caslon) figures and punctuation marks Linotype has included with the font are incongruous. ZEPHYR was designed by Michael Harvey in 1964 for Ludlow. It is a freely drawn outline-with-shadow font, slightly inclined, with a serif only at the top left of some strokes. The result is decorative and distinctive, with no other similar American typeface coming to mind. Bitstream Name Common Name Aldine 401 Bembo Aldine 721 Plantin Blackletter 686 London Text Brush 445 Palette Brush 738 Bison Calligraphic 421 Codex Calligraphic 810 Diotima Century 725 Madison Century 731 Textype Century 751 Primer Decorated 035 Profil Dutch 766 Imprint Dutch 801 Times Roman Dutch 809 Concorde Dutch 811 Olympian Dutch 823 Aster Egyptian 505 VGC Egyptian 505 English 157 Englische Screibschrift Exotic 350 Peignot Flareserif 821 Albertus Formal 436 Oscar Formal Script 421 Mermaid Formal Script 421 Ondine Freeform 710 Eckmann Freeform 721 Auriol Freehand 471 Cascade Freehand 521 Mandate Freehand 575 Jefferson Freehand 591 Bingham Script Garamond American Garamond No. 3 Garamond Classic Sabon Garamond Elegant Granjon Garamond Italian Simoncini Garamond Garamond Original Stempel Garamond Geometric 212 Spartan Geometric 231 Cable Geometric 415 Metro Geometric 706 Neuzeit Grotesk Geometric 885 Bloc Geometric Slabserif 703 Memphis Geometric Slabserif 712 Rockwell Geometric Slabserif 712 Slate Gothic 720 Grotesque 126,215,216 Gothic 725 Akzidenz Grotesk Gothic 821 Block Humanist 521 Gill Sans Humanist 521 Hammersmith Humanist 531 Syntax Humanist 777 Frutiger Humanist 970 Adsans Humanist Slabserif 712 Egyptienne Incised 901 Antique Olive Incised 901 Provence Industrial 736 Torino Informal 011 Neuland Kis Janson Kuenstler 480 Activa Kuenstler 480 Trump Medieval Lapidary 333 Perpetua Latin 725 Meridien Modern 735 Bodoni Campanile Modern 880 Linotype Modern Monospace 821 Helvetica Monospaced News 701 Ionic No. 5 News 702 Excelsior News 705 Corona News 706 Aurora Raleigh Cartier Revival 565 Berling Ribbon 131 Coronet Square 721 Eurostile Square Slabserif 711 City Staccato 222 Mistral Staccato 555 Choc Swiss 721 Helvetica Swiss 911 Helvetica Compressed Swiss 921 Helvetica Inserat Swiss 924 Hanseatic Transitional 511 Caledonia Transitional 521 Electra Transitional 551 Fairfield Typo Upright Linoscript Venetian 301 Centaur Wedding Text Linotext Zapf Calligraphic Palatino Zapf Elliptical 711 Melior Zapf Humanist 601 Optima Zurich Univers ============================================================================= Common Name Bitstream Name Activa Kuenstler 480 Adsans Humanist 970 Akzidenz Grotesk Gothic 725 Albertus Flareserif 821 Antique Olive Incised 901 Aster Dutch 823 Auriol Freeform 721 Aurora News 706 Bembo Aldine 401 Berling Revival 565 Bingham Script Freehand 591 Bison Brush 738 Bloc Geometric 885 Block Gothic 821 Bodoni Campanile Modern 735 Cable Geometric 231 Caledonia Transitional 511 Cartier Raleigh Cascade Freehand 471 Centaur Venetian 301 Choc Staccato 555 City Square Slabserif 711 Codex Calligraphic 421 Concorde Dutch 809 Corona News 705 Coronet Ribbon 131 Diotima Calligraphic 810 Eckmann Freeform 710 Egyptienne Humanist Slabserif 712 Electra Transitional 521 Englische Screibschrift English 157 Eurostile Square 721 Excelsior News 702 Fairfield Transitional 551 Frutiger Humanist 777 Garamond No. 3 Garamond American Gill Sans Humanist 521 Granjon Garamond Elegant Grotesque 126,215,216 Gothic 720 Hammersmith Humanist 521 Hanseatic Swiss 924 Helvetica Swiss 721 Helvetica Compressed Swiss 911 Helvetica Inserat Swiss 921 Helvetica Monospaced Monospace 821 Imprint Dutch 766 Ionic No. 5 News 701 Janson Kis Jefferson Freehand 575 Linoscript Typo Upright Linotext Wedding Text Linotype Modern Modern 880 London Text Blackletter 686 Madison Century 725 Mandate Freehand 521 Melior Zapf Elliptical 711 Memphis Geometric Slabserif 703 Meridien Latin 725 Mermaid Formal Script 421 Metro Geometric 415 Mistral Staccato 222 Neuland Informal 011 Neuzeit Grotesk Geometric 706 Olympian Dutch 811 Ondine Formal Script 421 Optima Zapf Humanist 601 Oscar Formal 436 Palatino Zapf Calligraphic Palette Brush 445 Peignot Exotic 350 Perpetua Lapidary 333 Plantin Aldine 721 Primer Century 751 Profil Decorated 035 Provence Incised 901 Rockwell Geometric Slabserif 712 Sabon Garamond Classic Simoncini Garamond Garamond Italian Slate Geometric Slabserif 712 Spartan Geometric 212 Stempel Garamond Garamond Original Syntax Humanist 531 Textype Century 731 Times Roman Dutch 801 Torino Industrial 736 Trump Medieval Kuenstler 480 Univers Zurich VGC Egyptian 505 Egyptian 505 ============================================================================ From: pastor@vfl.paramax.com (Jon Pastor) Subject: Bitstream AKA list; the story continues... I have reverted the entries for the various Garamonds to the "Garamond. Variant" form, because I do this list mostly for my own convenience and that's the way I like it; if you prefer the other way, re-sort it. Nyah, nyah.;-) Anyway, here it is in CSV and tab-sep form; I have been persuaded that UUENCODED Excel spreadsheets are a colossally dumb thing to distribute, and that formatted output looks nice but is pretty useless for loading into your own spreadsheet program. P.S. I've sent these to Norm Walsh, who will hopefully put them somewhere on his server (or in his web). It would be nice to think that they don't have to be posted every fifteen or twenty minutes, and that people with net/web access could be pointed toward the IFA... ******************************** CSV ******************************** Bitstream Name, Common Name, Designer(s), Date(s), Orig.Vend., Remarks/Attributions,,,,,,. ,(all),(M.Macrone/J.Pastor),(M.Macrone),(J.Pastor),,,,,,,. Aldine 401, Bembo, F. Griffo/A. Tagliente,1929,4,,,,,,,. Aldine 721, Plantin,,,4,,,,,,,. Blackletter 686, London Text ,,,2,"from P.Doherty, not on 500 CD",,,,,,. Brush 738, Bison,,,?,,,,,,,. Calligraphic 421, Codex, G. Trump,1954,2,,,,,,,. Calligraphic 810, Diotima, G. Zapf von Hesse,1952-53,2,,,,,,,. Century 725, Madison ,,,?,"from P.Doherty, not on 500 CD",,,,,,. Century 731, Textype ,,,2,"from P.Doherty, not on 500 CD",,,,,,. Century 751, Primer ,,,2,"from P.Doherty, not on 500 CD",,,,,,. Decorated 035, Profil, E.&M. Lenz,1946,12,,,,,,,. Dutch 766, Imprint ,,,4,"from P.Doherty, not on 500 CD",,,,,,. Dutch 801, Times Roman, S. Morrison/V. Lardent,1931-35,"2,4",,,,,,,. Dutch 809, Concorde ,,,5,"from P.Doherty, not on 500 CD",,,,,,. Dutch 811, Olympian, M. Carter, after 1969,2,"from P.Doherty, not on 500 CD",,,,,,. Dutch 823, Aster,,,7,"from P.Doherty, not on 500 CD",,,,,,. Egyptian 505, VGC Egyptian 505, A. Grtler,1966,18,"from M. Macrone, not identified in BT catalog ",,,,,,. English 157, Englische Screibschrift,,,5,,,,,,,. Exotic 350, Peignot, A. M. Cassandre,1937,2,,,,,,,. Flareserif 821, Albertus, B. Wolpe,1938,4,,,,,,,. Formal 436, Oscar ,,,16,"from P.Doherty, not on 500 CD",,,,,,. Formal Script 421, Mermaid, A. Frutiger,1954,1,(Debergny et Peignot),,,,,,. Formal Script 421, Ondine, A. Frutiger,1954,2,(Debergny et Peignot),,,,,,. Freeform 710, Eckmann, O. Eckmann,1900,2,,,,,,,. Freeform 721, Auriol, G. Auriol,1901-04,2,,,,,,,. Freehand 471, Cascade, M. Carter,1966,2,,,,,,,. Freehand 521, Mandate,,,10,,,,,,,. Freehand 575, Jefferson,,,?,,,,,,,. Freehand 591, Bingham Script,,,?,,,,,,,. "Garamond, American", Garamond No. 3,,1925-30,2,,,,,,,. "Garamond, Classic", Sabon, J. Tschichold,1960-5,2. "Garamond, Elegant", Granjon, G. H. Jones (dir.),ca.1925,2. "Garamond, Italian", Simoncini Garamond,,,7. "Garamond, Original", Stempel Garamond,,,2. Geometric 212, Spartan,,early 1930s,2,"[Futura copy] from P.Doherty, not on 500 CD" Geometric 231, Cable, R. Koch,1927,2. Geometric 415, Metro, W. A. Dwiggins,1930-32,2. Geometric 706, Neuzeit Grotesk, W. Pischner,1928,2. Geometric 885, Bloc ,,,18,"from P.Doherty, not on 500 CD" Geometric Slabserif 712 Rockwell F. H. Pierpont 1934 4 Geometric Slabserif 712, Rockwell, F. H. Pierpont,1934,4. Geometric Slabserif 712, Slate,,,1. Gothic 720,"Grotesque 126,215,216",,,4,"from P.Doherty, not on 500 CD" Gothic 725, Akzidenz Grotesk,,,5. Gothic 821, Block,,,5. Humanist 521, Gill Sans, E. Gill,1928-32,4. Humanist 521, Hammersmith,,,1. Humanist 531, Syntax ,,,2,"from P.Doherty, not on 500 CD" Humanist 777, Frutiger, A. Frutiger,,2. Humanist 970, Adsans, W. Tracy,1959,2. Humanist Slabserif 712, Egyptienne ,,,2,"from P.Doherty, not on 500 CD" Incised 901, Antique Olive, R. Excoffon,1962-68,15. Incised 901, Provence,,,1. Industrial 736, Torino, A. Butti,1908,16. Informal 011, Neuland, R. Koch,1923,2. Kis, Janson ,,1937,"2,4","from P.Doherty, not on 500 CD" Kuenstler 480, Activa, G. Trump,1958,1. Kuenstler 480, Trump Medieval,,,2. Lapidary 333, Perpetua, E. Gill,1928-35,4. Latin 725, Meridien ,,,2,"from P.Doherty, not on 500 CD" Modern 735, Bodoni Campanile,,1936,10. Modern 880, Linotype Modern ,,,2,"from P.Doherty, not on 500 CD" Monospace 821, Helvetica Monospaced,,,?. News 701, Ionic No. 5, C. H. GRiffith,1924,2. News 702, Excelsior ,,1931,2,"from P.Doherty, not on 500 CD" News 705, Corona ,,1941,2,"from P.Doherty, not on 500 CD" News 706, Aurora ,,,2,"from P.Doherty, not on 500 CD" Raleigh, Cartier,,,14, attributed to M.Macrone by R.Jaffe Revival 565, Berling, K. E. Forsberg,1951-58,?. Ribbon 131, Coronet, R. H. Middleton,1937,10. Square 721, Eurostile, A. Novarese,1962,2. Square Slabserif 711, City, G. Trump,1930,5. Staccato 222, Mistral, R. Excoffon,1953,15. Staccato 555, Choc, R. Excoffon,1954,15. Swiss 721, Helvetica, M. Miedinger,ca.1957,2. Swiss 911, Helvetica Compressed, H. J. Hunziker/M. Carter,1974,?. Swiss 921, Helvetica Inserat,,,?. Swiss 924, Hanseatic,,,2. Transitional 511, Caledonia , W. A. Dwiggins,1941,2,"from P.Doherty, not on 500 CD" Transitional 521, Electra, W. A. Dwiggins,1935-44,2. Transitional 551, Fairfield, A. Kaczun,1991,2. Typo Upright, Linoscript,,,6,"from J.Haugeland, not identified in BT catalog" Venetian 301, Centaur, B. Rogers/F. Warde,1928-30,4. Wedding Text, Linotext,,,6,"from J.Haugeland, not identified in BT catalog" Zapf Calligraphic, Palatino, H. Zapf,1948,2. Zapf Elliptical 711, Melior, H. Zapf,1952,2. Zapf Humanist 601, Optima, H. Zapf,1958-68,2. Zurich, Univers, A. Frutiger,1957,2. Vendor, Key,,,. 1,"Bitstream, Inc.",,,. 2, Linotype AG and/or its subsidiaries,,,. 3, International Typeface Corporation,,,. 4, Monotype Corporation plc,,,. 5, H. Berthold AG. 6, Kingsley-ATF Type Corporation. 7, Officine Simoncini s.p.a.. 8, Fundicion Tipografica Neufville SA. 9, FotoStar International. 10, Ludlow Industries (UK) Ltd.. 11, Johannes Wagner. 12, Tetterode Nederland (Lettergieterij Amsterdam). 13, Stephenson Blake&Co. Ltd.. 14, Ingrama S.A.. 15, Fonderie Olive. 16, Societea Nebiolo. 17, Esselte Pendaflex Corporation [Letraset?]. 18, Visual Graphics Corporation. ******************************** TAB ******************************** Bitstream Name Common Name Designer(s) Date(s) Orig.Vend. Remarks/Attributions (all) (M.Macrone/J.Pastor) (M.Macrone) (J.Pastor) Aldine 401 Bembo F. Griffo/A. Tagliente 1929 4 Aldine 721 Plantin 4 Blackletter 686 London Text 2 "from P.Doherty, not on 500 CD" Brush 738 Bison ? Calligraphic 421 Codex G. Trump 1954 2 Calligraphic 810 Diotima G. Zapf von Hesse 1952-53 2 Century 725 Madison ? "from P.Doherty, not on 500 CD" Century 731 Textype 2 "from P.Doherty, not on 500 CD" Century 751 Primer 2 "from P.Doherty, not on 500 CD" Decorated 035 Profil E.&M. Lenz 1946 12 Dutch 766 Imprint 4 "from P.Doherty, not on 500 CD" Dutch 801 Times Roman S. Morrison/V. Lardent 1931-35 "2,4" Dutch 809 Concorde 5 "from P.Doherty, not on 500 CD" Dutch 811 Olympian M. Carter after 1969 2 "from P.Doherty, not on 500 CD" Dutch 823 Aster 7 "from P.Doherty, not on 500 CD" Egyptian 505 VGC Egyptian 505 A. Grtler 1966 18 "from M. Macrone, not identified in BT catalog " English 157 Englische Screibschrift 5 Exotic 350 Peignot A. M. Cassandre 1937 2 Flareserif 821 Albertus B. Wolpe 1938 4 Formal 436 Oscar 16 "from P.Doherty, not on 500 CD" Formal Script 421 Mermaid A. Frutiger 1954 1 (Debergny et Peignot) Formal Script 421 Ondine A. Frutiger 1954 2 (Debergny et Peignot) Freeform 710 Eckmann O. Eckmann 1900 2 Freeform 721 Auriol G. Auriol 1901-04 2 Freehand 471 Cascade M. Carter 1966 2 Freehand 521 Mandate 10 Freehand 575 Jefferson ? Freehand 591 Bingham Script ? "Garamond, American" Garamond No. 3 1925-30 2 "Garamond, Classic" Sabon J. Tschichold 1960-5 2 "Garamond, Elegant" Granjon G. H. Jones (dir.) ca.1925 2 "Garamond, Italian" Simoncini Garamond 7 "Garamond, Original" Stempel Garamond 2 Geometric 212 Spartan early 1930s 2 "[Futura copy] from P.Doherty, not on 500 CD" Geometric 231 Cable R. Koch 1927 2 Geometric 415 Metro W. A. Dwiggins 1930-32 2 Geometric 706 Neuzeit Grotesk W. Pischner 1928 2 Geometric 885 Bloc 18 "from P.Doherty, not on 500 CD" Geometric Slabserif 712 Slate 1 Gothic 720 "Grotesque 126,215,216" 4 "from P.Doherty, not on 500 CD" Gothic 725 Akzidenz Grotesk 5 Gothic 821 Block 5 Humanist 521 Gill Sans E. Gill 1928-32 4 Humanist 521 Hammersmith 1 Humanist 531 Syntax 2 "from P.Doherty, not on 500 CD" Humanist 777 Frutiger A. Frutiger 2 Humanist 970 Adsans W. Tracy 1959 2 Humanist Slabserif 712 Egyptienne 2 "from P.Doherty, not on 500 CD" Incised 901 Antique Olive R. Excoffon 1962-68 15 Incised 901 Provence 1 Industrial 736 Torino A. Butti 1908 16 Informal 011 Neuland R. Koch 1923 2 Kis Janson 1937 "2,4" "from P.Doherty, not on 500 CD" Kuenstler 480 Activa G. Trump 1958 1 Kuenstler 480 Trump Medieval 2 Lapidary 333 Perpetua E. Gill 1928-35 4 Latin 725 Meridien 2 "from P.Doherty, not on 500 CD" Modern 735 Bodoni Campanile 1936 10 Modern 880 Linotype Modern 2 "from P.Doherty, not on 500 CD" Monospace 821 Helvetica Monospaced ? News 701 Ionic No. 5 C. H. GRiffith 1924 2 News 702 Excelsior 1931 2 "from P.Doherty, not on 500 CD" News 705 Corona 1941 2 "from P.Doherty, not on 500 CD" News 706 Aurora 2 "from P.Doherty, not on 500 CD" Raleigh Cartier 14 attributed to M.Macrone by R.Jaffe Revival 565 Berling K. E. Forsberg 1951-58 ? Ribbon 131 Coronet R. H. Middleton 1937 10 Square 721 Eurostile A. Novarese 1962 2 Square Slabserif 711 City G. Trump 1930 5 Staccato 222 Mistral R. Excoffon 1953 15 Staccato 555 Choc R. Excoffon 1954 15 Swiss 721 Helvetica M. Miedinger ca.1957 2 Swiss 911 Helvetica Compressed H. J. Hunziker/M. Carter 1974 ? Swiss 921 Helvetica Inserat ? Swiss 924 Hanseatic 2 Transitional 511 Caledonia W. A. Dwiggins 1941 2 "from P.Doherty, not on 500 CD" Transitional 521 Electra W. A. Dwiggins 1935-44 2 Transitional 551 Fairfield A. Kaczun 1991 2 Typo Upright Linoscript 6 "from J.Haugeland, not identified in BT catalog" Venetian 301 Centaur B. Rogers/F. Warde 1928-30 4 Wedding Text Linotext 6 "from J.Haugeland, not identified in BT catalog" Zapf Calligraphic Palatino H. Zapf 1948 2 Zapf Elliptical 711 Melior H. Zapf 1952 2 Zapf Humanist 601 Optima H. Zapf 1958-68 2 Zurich Univers A. Frutiger 1957 2 Vendor Key 1 "Bitstream, Inc." 2 Linotype AG and/or its subsidiaries 3 International Typeface Corporation 4 Monotype Corporation plc 5 H. Berthold AG 6 Kingsley-ATF Type Corporation 7 Officine Simoncini s.p.a. 8 Fundicion Tipografica Neufville SA 9 FotoStar International 10 Ludlow Industries (UK) Ltd. 11 Johannes Wagner 12 Tetterode Nederland (Lettergieterij Amsterdam) 13 Stephenson Blake&Co. Ltd. 14 Ingrama S.A. 15 Fonderie Olive 16 Societea Nebiolo 17 Esselte Pendaflex Corporation [Letraset?] 18 Visual Graphics Corporation ----------------------------------------------------------------------- Jon A. Pastor pastor@vfl.paramax.com Type history, Italy--James Mosley Antonucci, Laura, 'La scrittura giudicata: perizie grafiche in processi romani del primo seicento'. Scrittura e civiltà, vol. 13 (1989), pp. 489534. Antonucci, Laura, 'Techniche dello scrivere e cultura grafica di un perito romano nel '600', Scrittura e civiltà, vol. 16 (1992), pp. 265303. Antonucci, Laura, 'Teoria e pratica di scrittura fra cinque e seicento: un esemplare interfogliato de Il primo libro di scrivere di Giacomo Romano (1589)', Scrittura e civiltà, vol. 20 (1996), pp. 281 347. Ascoli, Francesco, 'I manuali del seicento', La Operina, 19 (2001), pp. 323. Becker, David P. The practice of letters: the Hofer Collection of writing manuals 15141800 (Cambridge, Massachusetts: Houghton Library, 1997). Bidelli, G. B., dedication to G. F. Cresci, Caratteri ed esempi (Milano, 1638). Bonacini, Claudio, Bibliografia delle arti scrittorie e della calligrafia (Firenze, 1953). Cresci, G. F., Il perfetto cancellaresco corsivo (Rome. 1579). 'Scrittori eccellenti de i nostri tempi', ff. 28 9. Cresci, G. F., L'idea con le circonstanze naturali, che a quella si ricercano, per voler legittimamente posseder l'arte maggiore, e minore dello scrivere (Milan, 1622). List of his pupils, cap. XII, pp. 912. Johnson, A. F., 'A catalogue of Italian writing- books of the sixteenth century', Signature, n.s., 10 (1950), pp. 2248. Marzoli, Carla, Calligraphy 15351885: a collection of seventy-two writing books, introduction by Stanley Morison (Milan: La Bibliofila, 1962). Morison, Stanley, Early Italian writing-books, Renais- sance to Baroque, edited by Nicolas Barker (Verona: Edizioni Valdonega, 1990). Osley, A. S., Luminario: an introduction to the Italian writing books of the 16th and 17th centuries (Nieu- wkoop, 1972). 'A check-list of sixteenth and seven- teenth century Italian writing-books', pp. 15962. Paillasson, Charles, 'Notice historique sur les hom- mes célèbres de toutes les nations de l'Europe, qui. depuis la renaissance des sciences et des arts, se sont distingués dans la configuration des caractères qui composent les diverses Ecritures', in J. H. P. Pouget, Dictionnaire des chiffres et de lettres ornées à l'usage de tous les artistes (Paris, 1767), pp. xlixcxiv. Servidori, D. M., Reflexiones sobre la verdadera arte de escribir (Madrid, 1789). Wardrop, James, 'Pierantonio Sallando and Gi- rolamo Pagliarolo', Signature, n.s. 2 (1946), pp. 4 30. Wardrop, James, 'The Vatican scriptors: documents for Ruano and Cresci', Signature, n.s. 5 (1948), pp. 328. ----------------------------------------------------------------------- I got this info from: http://dspace.dial.pipex.com/quite/eps1.htm You can go peek at it for more details than there is space here. The main thing to remember is that when you open an EPS file in a graphics program is that you are only looking at the preview of the actual graphic! Hope this isn't too confusing (or too much info) Doc From cybapee@joice.net Wed Dec 19 22:19:09 2001 Return-Path: for ; Wed, 19 Dec 2001 22:19:08 -0500 (EST) (envelope-from cybapee@joice.net) for ; Wed, 19 Dec 2001 22:19:28 -0500 (EST) (envelope-from cybapee@joice.net) for ; Wed, 19 Dec 2001 22:19:08 -0500 Received: from mail1.isys.net (heavymetal.isc.de [195.64.96.45]) for ; Wed, 19 Dec 2001 22:19:27 -0500 (EST) (envelope-from cybapee@joice.net) Received: from dip-01-037-1.on-line.de ([195.64.97.37] helo=joice.net) by mail1.isys.net with smtp (Exim 3.16 #1) id 16Gtja-0008CH-00; Thu, 20 Dec 2001 04:19:02 +0100 Date: Thu, 20 Dec 2001 04:15:45 +0100 From: CybaPee To: luc@cs.mcgill.ca Cc: frednader@rogers.com Subject: Re: Classic Fonts Content-Transfer-Encoding: 7bit Message-Id: Status: R > Petra: About those Classic Fonts, well, except for the spacing. > every character looked good to me. Which one has problems on > your system? I had to reencode the fonts, the conversion from Mac (or whatever) to PC wasn't clean. If I do not reencode them I have no German Umlaute. Next: have a look at the El Cid Swashed Braceleft/Braceright. or Bar for example, the ornaments are placed somewhere in the wild. The line height is enormous because of those characters and if you edit text in PSP you have to type single lines and the whole thing crashes when there's too much text! Carsten checked El Cid on his Mac and his opinion is "garbage". Maybe I expect too much but if I pay for a font I don't want to do any additional work on it. Some good news: Daniel Gauthier decided to share his fonts and asked me if I would host them on typOasis. Yes :) He sent a pdf with previews, it's on the sub, see GautFonts.pdf Petra ==================================================================== FOUR MORE FOUNDRIES DEBUT 2. JOE VANDERBOS ...hails from Guerneville in northern California. His "Retrofit" is a well- judged and humorous take on a retro theme. - http://www.myfonts.com/FontFoundry228.html 3. 510 INK ...is the foundry of Miami designer Andrew Galarza. He's offering one font for now, "Vespers", expanded from lettering found on Bjork's Post album. - http://www.myfonts.com/FontFoundry259.html SITE IMPROVEMENTS 1. Country pages added USA ..... http://www.myfonts.com/Country5.html UK ...... http://www.myfonts.com/Country1.html France .. http://www.myfonts.com/Country2.html (lots more) Index ... http://www.myfonts.com/Country We've added lots of Country pages, with links to which designers and foundries come from each country, and even (very subjectively, we should From: "frogii" Newsgroups: alt.binaries.fonts Subject: Re: Other pixel fonts? Lines: 79 charset="Windows-1252" Content-Transfer-Encoding: 7bit X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Date: Fri, 21 Dec 2001 07:16:25 GMT X-Complaints-To: abuse@earthlink.net Organization: EarthLink Inc. -- http://www.EarthLink.net Yes, there are these types of people and they are constantly scanning this Newsgroup. Bitstream, Emigre, ComicCraft - and others.... sharing their fonts is a no-no - but what they do not realize is, there are many of us who will actually purchase the typefaces we get to "evaluate". I will not buy from some foundries now because of their "It's MINE and you WILL NOT test it before you buy it!" attitude. I will not buy from Emigre, ComicCraft nor T26 now. They have all lost my business, period. I'll never buy another T-26 font after being treated like crap and not being allowed my download after entering my credit card info all because I used a VALID Hotmail address. I had to call those idiots in Chicago just to get my fonts emailed to me and it took me several hours to get it, not to mention Mr. Carlos Segura himself acted like I was going to steal the shirt off his back just because I gave a VALID Hotmail address rather than my real ISP email address. Screw him and the boat he sailed in on! Giving out your real ISP address to any company is just asking for unwanted spam and advertising - so I do not ever do so. I'd rather get snail mail advertisements anyway - I dearly love getting the Eyewire and the P22 sale catalogs each month. :) And I buy from them when they have something new that catches my eye and my allowace allows for it. frogii "Sueet" wrote in message news:YWzU7.18087$g96.332927@typhoon.mw.mediaone.net.. Emmm..... when you say "font cops" ... do you mean that there are people literally surfing just to find people posting fonts that arent freeware? Sueet > Hi. > > please check www.1001fonts.com for Kat Fun Fonts. Probably > her site is down and she transfers all her fonts to that site. > > Re. Font Party: Sara considered to change her host because > the one she used for Font Party is very expensive. As soon as > there are news I will post them on TbP. > > Happy Holidays - Petra > From typoman@pop.xs4all.nl Mon Dec 31 08:23:06 2001 Return-Path: for ; Mon, 31 Dec 2001 08:23:06 -0500 (EST) (envelope-from typoman@pop.xs4all.nl) for ; Mon, 31 Dec 2001 08:23:28 -0500 (EST) (envelope-from typoman@pop.xs4all.nl) for ; Mon, 31 Dec 2001 08:23:05 -0500 Received: from smtpzilla2.xs4all.nl (smtpzilla2.xs4all.nl [194.109.127.138]) for ; Mon, 31 Dec 2001 08:23:27 -0500 (EST) (envelope-from typoman@pop.xs4all.nl) Received: from 10.0.0.1 (typoman.xs4all.nl [213.84.174.87]) for ; Mon, 31 Dec 2001 14:23:03 +0100 (CET) Date: Mon, 31 Dec 2001 14:22:39 +0100 From: Erik van Blokland Subject: letterror To: luc@cs.mcgill.ca Message-ID: <20011231142241-r01010800-f0050263-0910-0108@10.0.0.1> Content-Transfer-Encoding: 7bit Status: R > LettError > > Dutch designers of FFTrixie (X-files original). > Critter (2001), FFAdvert, Schulschrift, FFHands. > FFBrokenscript, Federal, and the random font > Beowulf. Most fonts at FontShop or FontFont > library. The interesting people at the helm are > Just Van Rossum (b. 1966) and Erik van Blokland > (b. Gouda, 1967). Wired interview. At FUSE 11. > Erik designed FF Beowolf, FF Erikrighthand, FF > Kosmik (1993), FF Trixie and FF Zapata. He also > designed ThePrintedWord (2001), TheWrittenWord > (2001), Salmiak (2001), Blue Critter, Bodoni > Bleifrei, LTR BitPull, Federal, What You See/What > You Get (with Just Van Rossum), and at FUSE 2, he > published Niwida. MyFonts write-up for Erik van > Blokland. Shop. LettError is located in Den Haag. I guess you talk to Cybapee a lot, she's the only one who's got the Word series so far. Caught ya. > Email to evb@knoware.nl has been erik@letterror.com for some years now. Eh, I think I even mentioned this once before? Anyway, happy 2002. Erik LettError.com/shop Type&Typography Article 361559 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!feed.news.qwest.net!news.uswest.net.POSTED!not-for-mail User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Subject: Script Guide at 1,100 Fonts From: Mike Yanega Newsgroups: alt.binaries.fonts Message-ID: Mime-version: 1.0 Content-type: multipart/mixed; boundary="MS_Mac_OE_3092546569_3664534_MIME_Part" Lines: 80 Date: Sun, 30 Dec 2001 08:42:46 -0800 > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --MS_Mac_OE_3092546569_3664534_MIME_Part Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit For those tracking the Script Font ID Guide progress (http://bowfinprintworks.com/ScriptIDGuide.html), I have been working as time permits during the holidays as my sample contributors are on "break". Because the size of some Style Groups has grown I have improved the navigation so that you can select any page within a Style Group from the first page of that Group, so you don't have to step through the pages one by one. There are still 194 fonts in the Script Font Reference List that will need donors (see entries with no sample supplier listed starting at http://bowfinprintworks.com/ListPages/ScriptListAB.html), but I suggest waiting until after New Year's, when I will be better able to log, reformat and incorporate contributions of samples. (The sample template is attached.) I prefer to get .gif samples rather than fonts, as I need to convert PC fonts to Mac format and then generate the samples. (Fonts are deleted once the samples are made.) "rememberbooks" has completed a listing of Script font Aliases, which I need to finish incorporating into the Script Font Reference List, but I wanted to thank him especially for all the work done to compile the list. (Also for introducing me to the fonts of Robert Schenk (Ingrimayne Type at http://ingrimayne.saintjoe.edu/fonts/). I will eventually be adding some of these fonts to the Script Font ID Guide. Apparently his 500 - 600 fonts are all new digitizations and almost all are original designs. He sells them on CD for $24.95 (about 5 cents per font) and auctions the CD's for even less on e-Bay. I didn't mean for this to become an ad for his work, but if you haven't seen his work before, it's worth a look. I don't know whether the fonts are kerned, but he seems to have done a lot of work on them. I thought at first look that it seemed impressive for an amateur designer.) Happy New Year! - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Article 361626 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeeds.belnet.be!news.belnet.be!newsfeed.gamma.ru!Gamma.RU!newsfeed00.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: "Aenor" Newsgroups: alt.binaries.fonts Subject: Re: Attn: Cornfed (Re: Commercial.FONT-TYPO...) Date: Sun, 30 Dec 2001 20:40:21 +0100 Organization: T-Online Lines: 73 Message-ID: References: charset="iso-8859-1" Content-Transfer-Encoding: 8bit X-Complaints-To: abuse@t-online.com X-Sender: 340063939249-0001@t-dialin.net X-Newsreader: Microsoft Outlook Express 4.72.3110.1 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 And I already thought I was the only one not overly fond of Team Typo fonts. These fonts are Mac conversions, pdf extracts, most without any kerning. often incomplete character sets, incomplete families, often misnamed, some even freeware. Some of their fonts are ok though, but these were just picked up when other people (who did the kerning etc) posted them. Aenor nobody schrieb in Nachricht .. >In article . Cornfed@no.email (Cornfed) wrote: >> >First let me thank you for making these files available. This is >to let you and anyone else interested know that Team TYPO >appears to be a team of clueless newbies. The fonts they release >are not originals as they were converted from Mac. This in itself >is not a problem when done correctly but it is definitely not the >case with the fonts released so far. They are simply not 100% >intact (missing kerning in most fonts - a common mistake). > >Happy New Year! > > > > Article 361745 of alt.binaries.fonts: From: "Angie" References: <3C302AC1.A9646DF7@wurst.com> Subject: Re: throwing muses font? Lines: 27 X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Message-ID: <4YXX7.3889$0b.1254679@typhoon.socal.rr.com> Date: Mon, 31 Dec 2001 11:26:56 GMT X-Complaints-To: abuse@rr.com Organization: RoadRunner - California Thanks, Mystery Date. : ) "Mystery Date" wrote in message news:3C302AC1.A9646DF7@wurst.com.. > It's most likely not a font, as all of the artwork/texts on 4AD Records > (UK indie music label: Cocteau Twins, Dead Can Dance, Pixies, etc.) is > done by Vaughan Oliver and and his group of artists and calligraphers at > 23 Envelope/v23. > > http://www.artbooks.de/v23/ > http://user.tninet.se/~uwq862p/heatwave/oliver.html > > > SpaceDog26 wrote: > > > > hello. > > new to the group, and wondering if anyone knows what font was used for the > > cover of Red Heaven, an album by throwing muses? any insight on where to > > find/download would be so much appreciated. this is the cover: > > > > [Image] %Q Louise Fili %N 23167 %B http://www.louisefili.com/flash.html %T Louise Fili Ltd is a New York-based graphic design firm specializing in food packaging, restaurant identities, logos, and book design. The web page is just out of this world, and the calligraphy and type exquisite. With Steve Heller, she published "Typology Type Design from the Victorian Era to the Digital Age" (Chronicle Books, San Francisco, 1999), "Italian Art Deco", "Dutch Moderne, "Streamlne, "British Modern", "French Modern", "German Modern", "Deco Type", "Deco Espana", "Typology", "Belles Lettres" and "Cover Story". Her book cover (done with Jessica Hische) won a design award at TDC 55. %E louise@louisefili.com %d Aug 6 2002 %L PERS CA BO USA-CA USA-NY ARTDECO VICT %Z LouiseFili--TDC55-Award.png %Q Talbot Baines Reed %T Talbot Baines Reed (1852-1893) was an English writer of boys' fiction who established a genre of school stories that endured into the second half of the 20th century. Among his best-known work is The Fifth Form at St. Dominic's. He was a regular and prolific contributor to The Boy's Own Paper (B.O.P.), in which most of his fiction first appeared. Through his family's business [his father was Sir Charles Reed], Reed became a prominent typefounder, and wrote the celebrated text A History of the Old English Letter Foundries (Faber and Faber Limited, London, 1887).
From Wikipedia: Reed's father, Charles Reed, was a successful London printer who later became a Member of Parliament (MP). Talbot attended the City of London School before leaving at 17 to join the family business at the Fann Street type foundry. His literary career began in 1879, when the B.O.P. was launched. The family were staunchly Christian, pillars of the Congregational Church, and were heavily involved in charitable works. However, Reed did not use his writing as a vehicle for moralising, and was dismissive of those early school story writers, such as Dean Farrar, who did. Reed's affinity with boys, his instinctive understanding of their standpoint in life and his gift for creating believable characters, ensured that his popularity survived through several generations. He was widely imitated by other writers in the school story genre. In 1881, following the death of his father, Reed became head of the Fann Street foundry. By then he had begun his monumental Letter Foundries history which, published in 1887, was hailed as the standard work on the subject. Along with his B.O.P. obligations Reed wrote regular articles and book reviews for his cousin Edward Baines's newspaper, the Leeds Mercury. He was busy elsewhere, as a co-founder and first honorary secretary of the Bibliographical Society, as a deacon in his local church, and as a trustee for his family's charities. All this activity may have undermined his health; after struggling with illness for most of 1893, Reed died in November that year, at the age of 41.
Early in his career he met the leading printer and bibliographer of the day, William Blades, from whom he acquired a lasting fascination with the printing and typefounding crafts. While still relatively inexperienced, Reed was asked by Blades to help organise a major exhibition to mark the 400th anniversary of William Caxton's printing of The Game and Playe of the Chesse. This was thought to be the first book printed in England, and the exhibition was originally planned for 1874. However, Blades's research proved that Caxton's first printing in England had in fact been in 1477, of a different book, so the quatercentenary celebrations were rescheduled accordingly. The exhibition was held during the summer of 1877, at South Kensington, and was opened by William Gladstone, the former and future prime minister. It included displays of Caxton's printed works, together with many examples of printing through the intervening years. Reed's main contribution was to the exhibition's catalogue, for which he wrote an essay entitled "The Rise and Progress of Typography and Type-Founding in England". The exhibition was supported by leading London printers, publishers, booksellers, antiquarians and scholars, and attracted wide public interest. Sir Charles Reed, who had been knighted on Gladstone's recommendation in 1874, died in 1881. A few months later, Talbot's elder brother Andrew retired from the business because of ill health. As a result, at the age of 29, Talbot became the sole managing director of the Fann Street business, a position he held until his death. This was, however, by no means Reed's sole activity in connection with the trade. In 1878, in response to a suggestion from Blades, he had begun work on a general history of typefounding in England, a task which occupied him intermittently for ten years. Published by Elliot Stock in 1887 under the title of History of the Old English Letter Foundries, the book became the standard text on the subject. Its 21 chapters are illustrated throughout with examples of typefaces and symbols used for four centuries. The text is presented in modern style, but with the initial letter of each chapter ornately drawn from a 1544 pattern. Also in 1887 Reed produced a revised and enlarged specimen book for the Fann Street foundry, with many new typeface designs and artistic ornamentations. %L HIS BO UK %N 23166 %B http://en.wikipedia.org/wiki/Talbot_Baines_Reed %Z TalbotBainesReed-Portrait.jpg %Q Nicolete Gray %T British author (b. 1911, Stevenage, d. 1997) of "Nineteenth Century Ornamented Typefaces" (University of California Press, Berkeley, CA, 1938, revised in 1976), "Lettering on Buildings" (1960) and "A History of lettering" (Phaidon, 1986). For examples from the first mentioned book, see here. She taught at the Central School of Art and Design (London) from 1964 to 1981. %L BO DI-OR UK %N 23165 %B http://www.myfonts.com/person/Nicolete_Gray/ %G http://www.myfonts.com/person/Nicolete_Gray/ %Z Nicolete Gray, 1911-1997. Spéciliste britannique du lettrage, auteur(e) d'un nombre considérable de travaux internationalement reconnus sur l'histoire et les qualités expressives des lettres Nineteenth Century Ornamented Typefaces, 1938, revu en 1976; Lettering on Buildings, 1960; A History of lettering, 1986. %d Jul 17 2003 %--------------------------------- %N 23164 %B http://www.myfonts.com/person/Bartholomeus_Voskens/ %G http://www.myfonts.com/person/Bartholomeus_Voskens/ %Q Bartholomeus Voskens %T Dutch type designer who died ca. 1669. %L HOL DE %N 23160 %B http://www.myfonts.com/person/Percy_Tiffin/ %G http://www.myfonts.com/person/Percy_Tiffin/ %T British type designer. %Q Percy Tiffin %L DE UK %N 23159 %B http://www.myfonts.com/person/Joseph_Thorp/ %Q Joseph Thorp %T British author who died in 1962. %L BO UK %G http://www.myfonts.com/person/Joseph_Thorp/ %N 23158 %B http://www.myfonts.com/person/John_Fell/ %G http://www.myfonts.com/person/John_Fell/ %Q John Fell %T British typefounder, 1625-1686. The Dutch Type Library created the typeface DTL Fell. Stanley Morison wrote a book about Fell in 1951: The Roman, Italic&Black Letter bequethed to the University of Oxford by Dr. John Fell (Oxford). DTL Fell is based on proofs from 1695 in a text entitled A specimen of the several sorts of letter given to the university by Dr. John Fell sometime Lord Bishop of Oxford (1693---this is the first English Type Specimen Book). Morison claims that the English Roman may possibly have been cut by Christoffel van Dijck.
Other digitizations include the Fell Types by Igino Marini.
The Fell type collection was a gift made to Oxford University by a bishop of Oxford, Dr. John Fell, in the late seventeenth century. He bought punches and matrices in Holland and Germany in 1670 and 1672 and entrusted his personal punchcutter, Peter de Walpergen, with the cut of the larger bodies. Bibliography compiled by Igino Marini, who revived some Fell types in 2004:

Stanley Morison: "The roman italic&black letter bequeathed to University of Oxford by Dr. John Fell", Oxford University Press, 1951.
Stanley Morison: "John Fell The University Press and the 'Fell' Types", Oxford University Press, 1967.
Horace Hart: "Notes on a Century of Typography at the University Press Oxford, 1693-1794", Oxford, The Clarendon Press, 1970 (facsimile edited by Harry Carter from the original of 1900).
Harry Carter: "The Fell Types - What has been done in and about them", Oxford University Press, New York, 1968.
%L DE UK %Z DTLFell.png %Z JohnFell-Portrait.jpg http://www.myfonts.com/Person206.html J. C.C. "Dai" Davies http://www.myfonts.com/Person222.html Walter Richard http://www.myfonts.com/Person147.html C. H. O. Daniel 23154 http://www.myfonts.com/Person842.html Johann Schoeffer http://www.myfonts.com/Person157.html Jean Joseph Barbou http://www.myfonts.com/Person178.html Peter Schoeffer 23144 http://www.myfonts.com/Person284.html Charles Plumet http://www.myfonts.com/Person184.html Molé-le-Jeune http://www.myfonts.com/Person911.html Richard Arlin, punchcutter http://www.myfonts.com/Person912.html Nelly Gable, punchcutter http://www.myfonts.com/Person913.html Camut, punchcutter http://www.myfonts.com/Person914.html Portron, punchcutter http://www.myfonts.com/Person915.html Gautier, punchcutter http://www.myfonts.com/Person916.html Henk Drost, punchcutter http://www.myfonts.com/Person153.html Guillaume le Bé http://www.myfonts.com/Person300.html Bernard Newdigate http://www.myfonts.com/Person307.html Peter Bellenson http://www.myfonts.com/Person500.html Georg Belwe http://www.myfonts.com/Person232.html Alexandre de Berny http://www.myfonts.com/Person97.html Hermann Berthold http://www.myfonts.com/Person838.html Pierre Bézier http://www.myfonts.com/Person397.html Peter Bilak http://www.myfonts.com/Person833.html Günther Blaschek http://www.myfonts.com/Person843.html David Carson 23121 http://www.myfonts.com/Person675.html Margo Chase http://www.myfonts.com/Person701.html John Chippindale http://www.myfonts.com/Person310.html Pleasant Jefferson Conkwright http://www.myfonts.com/Person209.html Vincent Connare http://www.myfonts.com/Person788.html Diana Craft http://www.myfonts.com/Person154.html Jean Pierre Fournier l'ainé http://www.myfonts.com/Person152.html Pierre Simon Fournier le jeune http://www.myfonts.com/Person589.html Frank http://www.myfonts.com/Person525.html Johann Froben http://www.myfonts.com/Person162.html Johann Fust http://www.myfonts.com/Person534.html Víctor García http://www.myfonts.com/Person411.html Malcolm Garrett http://www.myfonts.com/Person826.html E. M. Ginger http://www.myfonts.com/Person593.html William Hugh Gordon http://www.myfonts.com/Person223.html William Grandison http://www.myfonts.com/Person167.html René Hague http://www.myfonts.com/Person86.html John Handy http://www.myfonts.com/Person776.html George Hartmann http://www.myfonts.com/Person846.html Greg Hitchcock http://www.myfonts.com/Person419.html Fedor Hüneke http://www.myfonts.com/Person601.html Mitchell Kennerley http://www.myfonts.com/Person667.html Sue Lightfoot http://www.myfonts.com/Person237.html King Louis XIV http://www.myfonts.com/Person241.html Boris Mahovac http://www.myfonts.com/Person474.html Laurie Haycock Makela http://www.myfonts.com/Person614.html Ruehl http://www.myfonts.com/Person514.html Don Synstelien http://www.myfonts.com/Person288.html Alexander Wilson From alain@les-hurtig.org Sun Jan 6 14:42:45 2002 At 14:10 -0500 6/01/02, Luc Devroye wrote: > the great analysis of Baskerville, both of his >typography and his sex life. > :-))))) The life of John and Sarah was... beautiful, it seems (a life of love). I like the new true Mrs eaves, and her poor husband - the new M. Eaves - with his question about the quotes in the Mrs Eaves font ! (but the problem is interesting, and I feel S. Licko is right with her drawings). ----- In my opinion, my work with the book of my friend Jean-Claude Picard, _Le Continent apocryphe_, is the best I produced in my life. All the glory is for John Baskerville (and the Monotype's designers), obviously. ----- >Just a question: where in France would I go to find the >largest collection of typographic specimen books. >covering the period 1650-1945? > Ouf ! This country (France) is poor, very poor, in typography collections. Perhaps in the Musée de l'imprimerie de Lyon ? (Ugly Web site : http://www.bm-lyon.fr/musee/imprimerie.htm) I resent your mail to our mailing-list about the typography. -------- I apologize for my poor english. Best regards and happy new year 2002. Bibliotheque Mazarin http://www.bibliotheque-mazarine.fr/mazinfos.htm From jtombeur@noos.fr Sun Jan 6 20:52:47 2002 Look, my friend Jean Méron (of infamous typographical reknown : he critized so many people... Look for his name or see http://listetypo.free.fr/meron/) knows the librarian of the cole Estienne (place d'Italie). You'll find as well specimen there.. He's working on some extensive and raisonnnée typo-bibliography. Problem is : he's got no e-mail. Let's try to meet while you're in France. Ask as well the rencontresdelure.org webmaster (tell him I told you so). Or maybe Yves Perrousseaux. Alain Hurtig spread the word on the Fr. typo mailing list, but I've not yet seen any answer to your query. By the way, I recently suggested Fay Jemni, of Monotype Ltd (U.-K.) if they could consider financing a bit Ann Young... She's the librarian at.. Birgmingham ? Don't remember... A friend of mine, Rev. Billy Lloyd Hults. who publishes the Upper Left Edge mag, recently told me they've got the most important Aldine collections there.. I'm sure Peignot (of Rencontres de Lure fame) knows a lot about specimen. Something else : I reformated my hard-disk, and lost the e-mail address of But I have no email. Thanks for the info. I will be in France a few times this year, so I'll see. All of May I will in Belgium at the Univ. Cath. de Louvain, so from there it's only 1h by train to Paris. A university or school library is always better, because they will often make special deals on late late hours. The example is Holand: at the Univ. of Amsterdam's library, they have every specimen of every type ever made by a Dutch type designer, from hundreds of years ago until today. The book by Lommen + Lane is just unbelievable (it describes the library's typographical resources), so I have to go there. But my heart is really with the French didone style, and that is my interest. So I want to find everything from the period before Didot (well, les Didot). during Didot and a bit afterwards. Also, on a different scale, I want to see for myself what the truth is about the legendary fight between Fonderie Olive (Excoffon) and Peignot during the war. Are there proofs. written documents, photographs of samples. from that era that prove that Fonderie Olive stole ideas for Chambord from Peignot and ideas for Vendome from the older Mendoza. Too bad Fonderie Olive (and probably all of its contents) was sold to the Germans (Haas and then Linotype), so there may be little left in the French libraries. And Excoffon is dead, so we can't ask him. It's a fascinating story. and certainly one that warrants some further investigation. Thanks again. From Jacques.Andre@irisa.fr Mon Jan 7 02:06:33 2002 Return-Path: for ; Mon, 7 Jan 2002 02:06:32 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) for ; Mon, 7 Jan 2002 02:06:56 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) for ; Mon, 7 Jan 2002 02:06:32 -0500 Received: from eau.irisa.fr (eau.irisa.fr [131.254.60.97]) for ; Mon, 7 Jan 2002 02:06:55 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) Received: from irisa.fr (truchet.irisa.fr [131.254.41.58]) Mon, 7 Jan 2002 08:06:29 +0100 (MET) Sender: Jacques.Andre@irisa.fr Message-ID: <3C3948F4.34578768@irisa.fr> Date: Mon, 07 Jan 2002 08:06:28 +0100 From: Jacques André Organization: IRISA, Campus de Beaulieu, 35042 Rennes Cedex, FRANCE X-Accept-Language: en To: typographie@irisa.fr CC: Luc Devroye Subject: Re: Luc Devroye et la typo française (ancienne) References: <3C388D84.5A71CA6D@ujf-grenoble.fr> Content-Transfer-Encoding: 8bit Status: R Alain Hurtig wrote: > Just a question: where in France would I go to find the > largest collection of typographic specimen books. > covering the period 1650-1945? Outre le musée de l'Imprimerie de Lyon La bibliothèque de l'École Estienne croule sous ces spécimens, mais 1650 me paraît quand même un peu tôt.. -- Jacques André Irisa/Inria-Rennes, Campus de Beaulieu, F-35042 Rennes Cedex, France Tél. : +33 2 99 84 73 50, fax : +33 2 99 84 71 71, email : jandre@irisa.fr From alain@les-hurtig.org Mon Jan 7 02:08:06 2002 Return-Path: for ; Mon, 7 Jan 2002 02:08:05 -0500 (EST) (envelope-from alain@les-hurtig.org) for ; Mon, 7 Jan 2002 02:08:29 -0500 (EST) (envelope-from alain@les-hurtig.org) for ; Mon, 7 Jan 2002 02:08:05 -0500 Received: from smtp.noos.fr (claudel.noos.net [212.198.2.83]) for ; Mon, 7 Jan 2002 02:08:29 -0500 (EST) (envelope-from alain@les-hurtig.org) Received: (qmail 5453106 invoked by uid 0); 7 Jan 2002 07:07:58 -0000 Received: from unknown (HELO ?212.198.17.131?) ([212.198.17.131]) (envelope-sender ) by 212.198.2.83 (qmail-ldap-1.03) with SMTP for ; 7 Jan 2002 07:07:58 -0000 Message-Id: In-Reply-To: <200201062215.g06MFTh47572@lambic.CS.McGill.CA> References: <200201062215.g06MFTh47572@lambic.CS.McGill.CA> Date: Mon, 7 Jan 2002 08:07:58 +0100 To: Luc Devroye From: Alain Hurtig Subject: Re: Merci Content-Transfer-Encoding: 8bit Status: R Cher Luc. Mon ami Thierry Bouche me dit que vous lisez parfaitement le français. alors je me risque, parce que ce sera quand même plus simple pour moi (je lis l'anglais sans problèmes majeurs, cependant). At 17:15 -0500 6/01/02, Luc Devroye wrote : >It's strange that a country so rich >in typographic contributions would >have so little in typographic collections. > Étrange et triste, mais vrai probablement depuis les années 1920, et en tout cas depuis 1950. Du point de vue de la création, les États-Unis ont évidemment pris le relais. Du point de vue de la pratique, il n'existe par exemple pas en France de poste de _Type director_ dans les agences de publicités - c'est un concept absolument inconnu. Et nous n'avons aucun musée de l'imprimerie digne de ce nom. Celui de Lyon a de très belles collections, mais mal mises en valeur, et puis il ne dispose que de peu de subventions. Et on est en train de démanteler l'Imprimerie Nationale : rien ne semble prévu pour sauver la mémoire des merveilleux ateliers de typographie, et le Cabinet de Poinçons va sans doute se perdre totalement dans l'aventure.. Quand aux gens de l'École de Lure, ils ont cette étrange particularité d'être des typographes qui ne composent pas grand-chose, et qui sont totalement ignorés de la masse des typographes et des directeurs artistiques.. >Or Plantin, who was French, even though >he worked in present-day Belgium. > Avez-vous visité le magnifique musée Plantin, à Anvers ? >I get very nostalgic and sometimes >think that it is better to return back >to Europe.. > ;-)))). Pas de réponse pour l'instant sur la mailing-liste Typographie. Je relancerai la question ce soir ou demain.. Best regards. Alain -- There are some lovely ones that I think may be suitable at Fair's Fonts: http://members.tripod.com/~GreatBacks/index.html From Jacques.Andre@irisa.fr Mon Jan 7 09:11:56 2002 Return-Path: for ; Mon, 7 Jan 2002 09:11:56 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) for ; Mon, 7 Jan 2002 09:12:20 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) for ; Mon, 7 Jan 2002 09:11:56 -0500 Received: from eau.irisa.fr (eau.irisa.fr [131.254.60.97]) for ; Mon, 7 Jan 2002 09:12:20 -0500 (EST) (envelope-from Jacques.Andre@irisa.fr) Received: from irisa.fr (truchet.irisa.fr [131.254.41.58]) Mon, 7 Jan 2002 15:11:54 +0100 (MET) Sender: Jacques.Andre@irisa.fr Message-ID: <3C39ACAA.3F7C335B@irisa.fr> Date: Mon, 07 Jan 2002 15:11:54 +0100 From: Jacques André Organization: IRISA, Campus de Beaulieu, 35042 Rennes Cedex, FRANCE X-Accept-Language: en To: Luc Devroye Subject: Re: Luc Devroye et la typo française (ancienne) References: <200201071354.g07DsIm56693@lambic.CS.McGill.CA> Content-Transfer-Encoding: 8bit Status: R Luc Devroye wrote: > > Jacques: Merci! I am wishing to use some Japanese Kanji characters in some graphics I am doing. ( I am after a couple of particular characters and a particular font style) I D/L some fonts from http://m.home.cern.ch/m/mwang/www/ttf/ that are about 4.5MB in size. Character Map, or any of the other Font viewers I have, will not load/view them. Fontographer begins to load the font then stops with an "Not enough Memory" error. How can I view/use these fonts? I have also D/L the Micro$oft Kanji character sets as suggested by "Keith" in a previous post but am also unable to view/use these. I do not have MS Office 2000 which "Keith" indicated could use thes fonts. Any help on how I may get around these problems? Thanks. John Slater jslater@NOSPAMiprimus.com.au (Remove the NOSPAM from my EMail address when replying.) Article 365391 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!feed.news.qwest.net!news.uswest.net.POSTED!news.newzgroups.com User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Subject: The Channel 1 File Library Fonts collection Newsgroups: alt.binaries.fonts Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit X-Original-Trace: 9 Jan 2002 20:41:42 -0800, 205.240.132.64 Lines: 8 Date: Wed, 09 Jan 2002 22:40:01 -0600 Maybe this link will be helpful. The Channel 1 File Library Fonts collection http://www.filelibrary.com/Contents/Multi-Platform/100/1.html Tammy Subject: Re: Mackintosh Type There is a good brief summary here: http://www.artworksuk.com/mac_font/mac_font.html Article 366152 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!news.compuserve.com!news-master.compuserve.com!not-for-mail From: Platz Press Newsgroups: alt.binaries.fonts Subject: Re: Geofroy Tory Initial Caps .eps (1/4)...More Stuff regarding X&Z Date: Sat, 12 Jan 2002 03:25:11 -0800 Organization: CompuServe Interactive Services Lines: 64 Message-ID: <3C401D17.3C9BBBD5@compuserve.com> Content-Transfer-Encoding: 7bit X-Complaints-To: newsmaster@compuserve.com X-Accept-Language: en Hi Frogii, Sandra, Yves, Giambattista (don't get me started on Bodoni). HypoTypo, Dennis, RSD. Hubchy, and all others that give a s__t. The Geofroy Tory Initials (c. 1529) existed as a 72 point solid, copper-plated. lead typeface for a very long time. I have, in front of me, a 1923 Edition of the ATF (American Type Foundry) Specimen Book which shows samples of these initials. On page 790, they are numbered 7201-7224 (inclusive) and do not show the "X" nor the "Z". I suspect that there were no renderings of these two letters available. otherwise ATF would have cast them. They had a reputation as the prime source of "real" letterpress typefaces in the world. What were they worth? In 1923, you could have bought the entire 24-character set for $8.00! The individual characters cost 65 cents each!! Further on, in the same 1148-page volume, there are some beautiful flourishes.. head and tail pieces, some mortised to enable an individual initial to be dropped inside...also attributed to Tory. These are on my "to do" list to accompany other borders, ornaments. flourishes, festoons, and other typographic embellishments that I have been digitizing for my own use (and posterity, I guess). We have drawers full of ATF fonts in our shop...(literally...tons of lead!) Our shop has been in existence since 1939 in California. The original proprietor, Mr. Stanley Platz, was the owner and publisher of a newspaper in Wichita, Kansas before coming to California and brought a lot of the drawers with him. Over the years, our collection has been augmented by shops which have gone out of business due to (1)lack of interest in handset type. (2)offset printing, (3)digital copy machines, (4)computers (yuck!)...:o))) (5)no one wants to learn the "lay of the case" (explanation upon request) I guess anyone could lay claim to the "eps" files now that ol' Geofroy is in heaven (I hope he is!)...but if I scanned 'em and put my name on them, I'd feel really bad about doing it...without giving credit where it was due...i.e., the source material, publisher, author, or whatever. My nickel's worth...(where's my three cents change???) Hope this starts something other than diatribe. Doc aka Dick Olson - Compositor, Printer, Wizard, Curmudgeon, etc. Platz Press...(in Sunny Southern California) (PS: It looks like a symmetrical blob of ink to me! [or maybe a butterfly] ) -------------------------------------------------------------------------- frogii wrote: > > "Rorschach" wrote in message > news:rorschach.invalid-ya02408000R1101022120110001@news-central.giganews.com > .. > > Fantastic. Did you do it yourself today? If so, you're a very fast worker. > > :-) > > As the creator of these, I hope you included my Read Me file :) > > Rorschach > Digital Type Foundry > > Ok, if you are the creator, where's the X and Z ?? > > frogii Article 366181 of alt.binaries.fonts: From: b182@usenetserver.com Subject: FREE TTF FONT site http://www.eztatic.com/ttf 1500 FREE FONTS 3529 Message-ID: <3c4042fa$7@news.estpak.ee> Date: 12 Jan 2002 16:06:50 +0200 Lines: 9 Hello thnx for opening this msg plz visit http://www.eztatic.com/ttf for free TTF fonts we have more then 1500 FONTS online ishusrdmcqm Like these ones: http://www.atomicmedia.net/am/fontcart-win.htmlx (Genetica) http://www.wpdfd.com/mini7.htm (Mini7) http://www.wpdfd.com/tenacity.htm (Tenacity) and Thanks brothers. Pete. Fonts Sites: http://www.girlswhowearglasses.com/newfree.html 50's fonts http://clofont.free.fr/Police/creation_misc3.htm ....... <--- A VOIR http://www.delirium.com/larabiefonts http://www.swankarmy.net/larabiefonts http://www.goldenapplecomics.com/larabiefonts http://fontframe.com/dustbust/ http://zap.to/dustbust/ http://www.pressuretype.com. (YOL) ShyFonts: - http://www.hitbox.com/cgi-bin/page.cgi?fonts/freewarefonts01 - http://moorstation.org/typoasis/designers/shyfonts/shy01.htm www.hellostranger.com/solarsister/ http://www.borg.com/~hube <--------------Hube's Place <--To See http://www.fontsnthings.com/a/a04.html Article 121716 of comp.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!headwall.stanford.edu!newsfeed.stanford.edu!logbridge.uoregon.edu!paloalto-snh1.gtei.net!news.gtei.net!paloalto-snr1.gtei.net.POSTED!not-for-mail From: "RSD99" Newsgroups: comp.fonts Subject: Re: Romain du Roi font Lines: 43 X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 X-Complaints-To: abuse@gte.net X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly Distribution: world Date: Mon, 14 Jan 2002 16:50:17 GMT Regarding in the "Romain du Roi" font I don't know if it has been digitized, but there are apparently several references on the page at http://www.paratype.com/E-ZINE/issue04/peter1/peter1c.htm Sorry, I don't read Cyrillic, so I don't know if this is applicable. Also, see http://www.irisa.fr/faqtypo/truchet/truchet2E.html which makes the statement: - - - - - Begin Quote - - - - - - - - - - End Quote - - - - - - - - - - Try http://www.linguistsoftware.com/lsax.htm http://www.flaxart.com/f/shopping/prod_directory/main.asp?uid=9F686463-0933-11D6-9A8F-00B0D0E1C407&maincatID=1944&catID=13 They have a font collection for sale that looks exactly like a copy of P22! Petra From p22@p22.com Tue Jan 15 13:25:21 2002 Article 368435 of alt.binaries.fonts: Newsgroups: alt.binaries.fonts Subject: Re: Lost post, FP with ancient font in it. Message-ID: <3c4823f6.719952218@news-server.tampabay.rr.com> References: <3C47D8EA.5DE@xtra.co.nz> X-Newsreader: Forte Free Agent 1.21/32.243 Lines: 19 Date: Fri, 18 Jan 2002 13:37:28 GMT X-Complaints-To: abuse@rr.com Organization: RoadRunner - TampaBay "HypoTypo" wrote: > Mary. > > I believe your looking for 'JSL Ancient by Jeffry S. Lee'. Attached. > > http://desktoppub.about.com/library/fonts/dd/uc_jslancient.htm If you'd like an easy way (for Windows users) to convert plaintext so it will use the font's archaic characters and ligatures, or a similar Blackletter font, visit: http://www.shipbrook.com/jeff/typograf.html -- "The only thing that helps me maintain my slender grip on reality is the friendship I share with my collection of singing potatoes." Article 121860 of comp.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.direct.ca!look.ca!newshub2.rdc1.sfba.home.com!news.home.com!news2.rdc1.mi.home.com.POSTED!not-for-mail From: "Laura" Newsgroups: comp.fonts References: <44f05710.0201151311.551171bc@posting.google.com> <7eaab3cb.0201160353.2580f6be@posting.google.com> Subject: Re: font viewer wanted Lines: 24 X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: <7C128.106364$va.50249097@news2.rdc1.mi.home.com> Date: Fri, 18 Jan 2002 22:47:31 GMT X-Complaints-To: abuse@home.net Organization: Excite@Home - The Leader in Broadband http://home.com/faster www.boxfonts.com "Klar" wrote in message news:7eaab3cb.0201160353.2580f6be@posting.google.com.. > Ron. > > Buy a copy of Pagemaker, to get the fontmanager program. > True Types are clickable to open in view mode. > > Klaranth > > ronjonesusa@yahoo.com (Ron) wrote in message news:<44f05710.0201151311.551171bc@posting.google.com>.. > > I do a small amount graphics work with photoshop. I need a font > > viewer so I can look at my folders of (ttf) fonts. Can someone > > suggest a font viewer utility that shows many fonts on one screen. I > > only know of the windows utility that is very slow. > > > > Many Thanks, Ron > > > > ronjonesusa@yahoo.com Article 368784 of alt.binaries.fonts: From: "yld001" Newsgroups: alt.binaries.fonts Subject: William Morris font collecting Date: Sat, 19 Jan 2002 05:27:04 -0000 Lines: 56 Message-ID: X-Complaints-To: abuse@theplanet.net X-Newsreader: Microsoft Outlook Express 5.00.2615.200 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 I got a book on William Morris for Christmas. so I've been going round my HD collecting the Morris stuff up together. Here's what I've got: I'm interested to know if there's any more. URW Golden Type [original,bold.black] Golden Type ITC [original,bold.black] E&F Golden Type Original [orig,origSC,bold,boldSC,black] Golden Type ITC [reg,regSC,bold,boldSC,black] SCRIPTORIVM True Golden [T1&TT][ttf-nokern] Kelmscott [T1&TT][ttf-nokern] Morris Blackletter [T1] Chaucerian Initials [T1&TT] Morris Initials [T1&TT] STEFFMANN Morris Initialen [T1&TT] Morris Roman Bold [T1] Morris Roman Alts [T1] [Nice set Dieter!] DAN X SOLO Morris Black [T1&TT] NICK CURTIS Kelmscott [T1&TT] Torbjörn Olsson Troycer [ttf-nokern][PDF] Marty Snyder Satanick [T1&TT][ttf-nokern] [ http://www.fontisland.com/font.asp?letter=S lists this as: 'Creator: William Morris' ] UNKNOWN Morris Initials [ttf- like scriptoriums Chaucer Inits] TIA yld001 P.S. -is there a scource for Morris borders? Article 369136 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newshub.northeast.verio.net!verio!feeder.qis.net!pln-e!spln!dex!extra.newsguy.com!newsp.newsguy.com!enews2 From: "Quint Nator" Newsgroups: alt.binaries.fonts Subject: Re: Florinda Date: Sat, 19 Jan 2002 17:12:46 -0400 Organization: Neonatality Inc. Lines: 48 Message-ID: X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 It's the only one there is. From http://www.itcfonts.com More Information About this Typeface: "Yves" wrote in message news:i2H18.6777$k86.190872@weber.videotron.net.. : "Black" is the only one I have (attached) : : -- : : Yves : ==== : Visit the alt.binaries.fonts FAQ at : http://abf.jamesgoffin.co.uk : : Article 369171 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeeds.belnet.be!news.belnet.be!trev!skynet.be!skynet.be!proxad.net!proxad.net!wanadoo.fr!not-for-mail Newsgroups: alt.binaries.fonts Subject: Re: Bar-Code Fonts available? Date: Sun, 20 Jan 2002 00:31:13 +0100 Organization: Wanadoo, l'internet avec France Telecom Lines: 21 Message-ID: References: X-Complaints-To: abuse@wanadoo.fr X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 If you only need to generate barcodes, you could check these links : http://www.cgpp.com/bookland/ http://opensource.lineo.com/cuecat/barcode-o-matic.html J. "Hans J. Zinken" a écrit dans le message de news: a2bstp$i3o$05$1@news.t-online.com.. > Hello all. > > does anybody have Bar-Code fonts or can you direct me to sources where I > can find them? > > Thank you for any help > > Hans > > Article 121906 of comp.fonts: From: "michel" Newsgroups: comp.fonts Subject: here it is Lines: 10 charset="Windows-1252" Content-Transfer-Encoding: quoted-printable X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Date: Sun, 20 Jan 2002 10:40:51 GMT Organization: TIN oh, I found it by chance, "Distress" (shareware): :-) Article 369754 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!nntp.abs.net!feeder.qis.net!btnet-peer!btnet!diablo.theplanet.net!news.theplanet.net!not-for-mail From: "yld001" Newsgroups: alt.binaries.fonts Subject: Wm.Morris-collected [posting list] Date: Sun, 20 Jan 2002 17:47:49 -0000 Lines: 64 Message-ID: X-Complaints-To: abuse@theplanet.net X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.00.2615.200 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 From freesoft@freesoft.be Tue Jan 22 04:47:18 2002 Hi Luc. The file was saved in Illustrator format. You could open it in Corel too. Tell me what format you need and I will convert it. Difference between C and c is that the next point is tangent to the previous one. You can use fontographer (by Macromedia) in order to create a font from such file. Renaud - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Free Soft S.A. is a leading supplier of graphics arts software tools on Macintosh. Silhouette: The unique professional vectorization solution Free Sign: The most popular SignMaking software Free Print: The best and fastest postscript RIP on Macintosh FREE SOFT S.A. rue Leon Deladriere, 9 1300 Limal - Belgium Tel:+ 32 10 41 10 89 Fax:+ 32 10 41 91 33 info@freesoft.be http://www.freesoft.be http://www.silhouetteonline.com - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - From apostrophe@rogers.com Tue Jan 22 13:29:28 2002 Return-Path: for ; Tue, 22 Jan 2002 13:29:27 -0500 (EST) (envelope-from apostrophe@rogers.com) for ; Tue, 22 Jan 2002 13:29:55 -0500 (EST) (envelope-from apostrophe@rogers.com) for ; Tue, 22 Jan 2002 13:29:27 -0500 Received: from fep02-mail.bloor.is.net.cable.rogers.com (fep02-mail.bloor.is.net.cable.rogers.com [66.185.86.72]) for ; Tue, 22 Jan 2002 13:29:54 -0500 (EST) (envelope-from apostrophe@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.174]) by fep02-mail.bloor.is.net.cable.rogers.com id <20020122182920.JUZV287813.fep02-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com>; Tue, 22 Jan 2002 13:29:20 -0500 Message-Id: <5.1.0.14.2.20020122132127.02003c90@pop> X-Sender: apostrophe@rogers.com@pop Date: Tue, 22 Jan 2002 13:31:59 -0500 To: CybaPee , luc@cs.mcgill.ca From: Apostrophe Subject: Re: reboot? In-Reply-To: X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep02-mail.bloor.is.net.cable.rogers.com from [24.157.67.174] using ID at Tue, 22 Jan 2002 13:29:20 -0500 Status: R Looks like they built 5 Turkish characters from the letters of Komikazba and replaced some of its original characters with them, then changed the copyright notice. I guess Trsh means Turkish. This is pretty dumb. They could have asked and I would have done those characters for them in less than a minute. They even left the lab mark in the logicalnot cell, and the lab's URL in the extra true type tables within the font. Freddy From jtombeur@noos.fr Tue Jan 22 14:09:58 2002 Return-Path: for ; Tue, 22 Jan 2002 14:09:57 -0500 (EST) (envelope-from jtombeur@noos.fr) for ; Tue, 22 Jan 2002 14:10:25 -0500 (EST) (envelope-from jtombeur@noos.fr) for ; Tue, 22 Jan 2002 14:09:57 -0500 Received: from smtp.noos.fr (aragon.noos.net [212.198.2.75]) for ; Tue, 22 Jan 2002 14:10:25 -0500 (EST) (envelope-from jtombeur@noos.fr) Received: (qmail 22526506 invoked by uid 0); 22 Jan 2002 19:09:44 -0000 Received: from unknown (HELO leon) ([212.198.169.181]) (envelope-sender ) by 212.198.2.75 (qmail-ldap-1.03) with SMTP for ; 22 Jan 2002 19:09:44 -0000 Message-ID: <06a101c1a378$5ab970b0$b5a9c6d4@leon> From: "Jef Tombeur" To: Cc: "Luc Devroye" References: Subject: Re: Re : Livres Anciens sur l'Imprimerie Date: Tue, 22 Jan 2002 20:09:45 +0100 charset="iso-8859-1" Content-Transfer-Encoding: 8bit X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R Transmis à tout hasard à Luc Devroye... Que cela peut intéresser.. Maintenant, comme c'était le fondateur du Village du Livre de Montelieu, il me semble qu'il y aura trop d'acheteurs professionnels. À ce propos, même s'il y a plein de renseignements sur les divers villages de bouquinistes ça et là, voire bien groupés, mais plus sommaires, en ligne. je signale que j'ai collecté ces infos en un fichier texte (avec des contacts, etc.). Si cela peut être utile à qqun, me le demander.. ----- Original Message ----- From: "Patrick Cazaux" To: "Typographie" Sent: Tuesday, January 22, 2002 5:56 PM Subject: FW: Re : Livres Anciens sur l'Imprimerie Voici un mail reçu cet après-midi, pour ceux que ça intéresse.. -- Patrick Cazaux Cadratin patrick.cazaux@cadratin.fr ------ Message transféré > De : "CABINET D'EXPERTISES MARTY" > Date : Tue, 22 Jan 2002 17:13:27 +0100 > Objet : Re : Livres Anciens sur l'Imprimerie > > Pour Information : > > Ventes aux Enchères Publiques de Livres&Documents Anciens sur l'Imprimerie >&l'Édition > > Pour en savoir plus : > > http://www.marty-expertlivres.com/GENETHEMA/IMPRIMERIE.htm > > Merci pour votre attention > > > From frednader@rogers.com Wed Jan 23 07:18:41 2002 Hmmm funky. The IP points to Seattle... one Sarah Clayton. Whoever it is though, they should have mentioned that what they were posting was PDF extracts with no kerning whatsoever (Shinn always admitted he's no spacing genius, so he usually takes extra care with the kerning to make up for bad spacing). I'll try to dig up some more about that Clayton woman. I've heard the name before. Maybe this is the same woman who's been trying to pollute people's collections for the past 3 years. If that's the same person, her story is long and twisted.. From: "MeG" Subject: A good example of copyright abuse by idiots Download these fonts and see that they have just renamed the font, slightly. (keeping original name and tacking Tr in front of it), and changed the copyright. Silly buggers even left the LAB logo in the font they ripped of Apostrophe. I don't think there is one original here. From Gaertner-Trier@t-online.de Tue Jan 29 02:41:32 2002 Return-Path: for ; Tue, 29 Jan 2002 02:41:32 -0500 (EST) (envelope-from Gaertner-Trier@t-online.de) for ; Tue, 29 Jan 2002 02:42:01 -0500 (EST) (envelope-from Gaertner-Trier@t-online.de) for ; Tue, 29 Jan 2002 02:41:31 -0500 Received: from mailout06.sul.t-online.com (mailout06.sul.t-online.com [194.25.134.19]) for ; Tue, 29 Jan 2002 02:41:57 -0500 (EST) (envelope-from Gaertner-Trier@t-online.de) Received: from fwd11.sul.t-online.de by mailout06.sul.t-online.com with smtp id 16VSso-00084N-04; Tue, 29 Jan 2002 08:40:46 +0100 Received: from r0y0y0 (310073027431-0001@[217.84.168.215]) by fwd11.sul.t-online.com From: Gaertner-Trier@t-online.de (Achim) To: Subject: New Fonts Date: Tue, 29 Jan 2002 08:40:30 +0100 Message-ID: X-Priority: 3 (Normal) X-MSMail-Priority: Normal boundary="----=_NextPart_000_0010_01C1A8A0.9B605520"; protocol="application/x-pkcs7-signature"; micalg=SHA1 Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Disposition-Notification-To: "Achim" X-Sender: 310073027431-0001@t-dialin.net Status: R This is a multi-part message in MIME format. ------=_NextPart_000_0010_01C1A8A0.9B605520 boundary="----=_NextPart_001_0011_01C1A8A0.9B605520" ------=_NextPart_001_0011_01C1A8A0.9B605520 boundary="----=_NextPart_002_0012_01C1A8A0.9B605520" ------=_NextPart_002_0012_01C1A8A0.9B605520 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Blätter Achim Trier has new Fonts 15,4 MB Reply-To: "Andrew H. Carter" Also: http://www.ireland-information.com/freecelticfonts.htm From: "yld001" Three steps to Fontlab Heaven 1.) Download the FontLab 4 for Windows demo version (~4MB, export and save limitations) by clicking any one of these links (same file, different servers): http://www.pyrus.com/downloads/FL4WinDemo.exe http://www.font.to/downloads/FL4WinDemo.exe http://www.font.ca/downloads/FL4WinDemo.exe http://www.font.com.sg/downloads/FL4WinDemo.exe or visiting http://www.fontlab.com/html/fontlab.html 2.) Use the keygen [FL4keygen.zip] to get a serial no. to enter into the Fontlab4 Demo-to-FullVersion Converter [FL4Full.rar, FL4Full.r00, FL4Full.r01] 3.) Download the FontLab 4 for Windows user manual (PDF format, ~5MB): http://www.font.to/downloads/FL4prnt.pdf Unfortunately the Fontlab 4.0.4 Upgrade won't work with this. [FontLab 4.0.4/Windows free update for FL4/Win users. http://www.123-fonts.com/downloads/Updates/FL404WinUpdate.exe ] Blue Steel / Acero azul: Try: http://kentos.hypermart.net/index.html (FancyForFonts) this site have + 10,000 TTF's + Dingbat archive + Dingfont archive + Old archive Chance! Saludos. Eduardo Article 375154 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!news-peer-east1.sprintlink.net!news.sprintlink.net!nntp1.roc.gblx.net!nntp.gblx.net!nntp.gblx.net!feeder.qis.net!dispose.news.demon.net!demon!diablo.theplanet.net!news.theplanet.net!not-for-mail From: "yld001" Newsgroups: alt.binaries.fonts Subject: Re: looking for fontlab 4.0 for windows [ReadFirst] Date: Sun, 3 Feb 2002 07:54:48 -0000 Lines: 13 Message-ID: References: X-Complaints-To: abuse@theplanet.net X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.00.2615.200 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 I was just checking all the links I've posted to download the Fontlab4 Demo, and the first one: http://www.pyrus.com/downloads/FL4WinDemo.exe contains a broken file, only 2Mb [at the moment]. so use one of the other three: http://www.font.to/downloads/FL4WinDemo.exe http://www.font.ca/downloads/FL4WinDemo.exe http://www.font.com.sg/downloads/FL4WinDemo.exe Hope I caught you all before you d/l'd it. yld001 Article 375160 of alt.binaries.fonts: From: "Eduardo" Newsgroups: alt.binaries.fonts Subject: Decorative Initials, Zodiacs, Corners, Borders....and more (EPS) Date: Sun, 3 Feb 2002 12:14:40 +0100 Organization: Telefonica Transmision de Datos Lines: 18 Message-ID: X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!wesley.videotron.net!news-out.visi.com!hermes.visi.com!out.nntp.be!propagator-SanJose!news-in-sanjose!in.nntp.be!caladan.arrakis.es!newsfeed.mad.ttd.net!newsfeed.bcn.ttd.net!news.bcn.ttd.net!not-for-mail Amigos/as de a.b.f: For fonts: http://vedi.d-s.ru/fonts.htm Saludos. Eduardo. Article 376151 of alt.binaries.fonts: Reply-To: "Andrew H. Carter" From: "Andrew H. Carter" Newsgroups: alt.binaries.fonts Subject: Found another font site Lines: 12 Organization: Phlegm X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Date: Wed, 06 Feb 2002 05:47:20 GMT X-Complaints-To: abuse@earthlink.net There are other fonts on the site, the navigation is on the left (on the site) -- Sincerely. Andrew H. Carter Article 122493 of comp.fonts: Reply-To: "David Glenn [MS]" From: "David Glenn [MS]" Newsgroups: comp.fonts References: <5epe5us5n10ike3q1cltgorqo0fbssck98@4ax.com> Subject: Re: OpenType Date: Thu, 31 Jan 2002 16:27:11 -0800 Lines: 80 Organization: Microsoft Corporation X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: <3c59e0e0$1@news.microsoft.com> Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!news.maxwell.syr.edu!newsfeed.icl.net!news-zero.demos.su!newsfeed.gamma.ru!Gamma.RU!newsfeed.media.kyoto-u.ac.jp!newsfeed.mesh.ad.jp!newsfeed2.kddnet.ad.jp!out.nntp.be!propagator-SanJose!in.nntp.be!pd2nf1so.cg.shawcable.net!residential.shaw.ca!sea-feed.news.verio.net!news.verio.net!news.microsoft.com I think "monopoly" might be a strong word to use... There are a few main reasons why you don't see a lot more Latin fonts with richer typography using OT. Popular applications (besides InDesign&a few others) don't use OT for Latin text. A lot of apps use it for complex scripts since it the only way to fully support some of these languages. It takes a lot of work to make an application use OT. You have to figure out a good UI to present the OT functionality to users. Also, what do you do about backwards compatibility? Ligatures and other nice features will change line layout. Shipping "pro" versions of all your fonts takes time, money, disk space, etc. Secondly, font makers have invested a lot of money in tools and knowledge to make fonts. OT is a new skillset and format. If users aren't banging down their door, they're not going to put a lot of time and money into it as fast as if apps and users we're screaming for it. Most users -- regardless of OS -- don't really require richer typography to write letters, read email. etc. That's not to say richer typography isn't better or it's the right thing to do, but right now things work for "most" people. These two reasons -- coding apps to expose OT to users and font makers learning the art -- are the two main reasons why OT isn't prevalent. If the operating systems and applications supported (used) OT starting a few years ago I'm sure you would see a lot more OT fonts out there by now. MS shipped Palatino Linotype with Windows 2000 and Windows XP. Palatino Linotype is fully OpenType, with ~1200 glyphs. This is in addition to our many complex script faces we've shipped to enable and support many languages. Microsoft is working on delivering more OpenType via fonts, apps and technologies with each release we do. I'm sure Apple and Adobe are working on these issues as well. -dave -- David Glenn, Microsoft Typography http://www.microsoft.com/typography This posting is provided "AS IS" with no warranties, and confers no rights. "Marek Williams" wrote in message news:sovi5u88nm2qsukfbjad8tt47b4koqmlpt@4ax.com.. > On Thu, 31 Jan 2002 12:03:11 +0200, "Armadillo" > dijo: > > >> releasing in OpenType format. Check out > >> http://www.timrolands.com/type/default.asp > > > >Thanks for the information, looks like a good classic typeface for body > >text. > > > >> not be the only one in here looking for OpenType text fonts besides > >> the Adobe monopoly. > > > >Monopoly? OpenType technology can be used by anybody I believe. There are no > >OT editors besides FontLab, though. > > Yes, I am aware of the fact that the OpenType specification is free > for anyone to use. But in spite of the fact that it has been available > for over two years, not one single text font has been released by any > foundry other than Adobe. It's a de facto monopoly. > > FontLab is the first with a price tag within the reach of ordinary > folks, but there have been OpenType tools for some time and the major > foundries could easily have been using them to create OpenType fonts. > > There are some non-Adobe OpenType fonts that have been released, but > almost all of them are Arabic or Japanese. I understand that OpenType > is a major advance for Arabic, where characters change according to > the surrounding characters -- sort of like what English would be if we > had several dozen ligature combinations and they were mandatory. This > makes it not surprising that Arabic fonts would be made available > quickly in OpenType format. > > -- > Bogus e-mail address, but I read this newsgroup regularly, so reply here. From oskar.alm@home.se Wed Feb 6 08:34:25 2002 Return-Path: for ; Wed, 6 Feb 2002 08:34:25 -0500 (EST) (envelope-from oskar.alm@home.se) for ; Wed, 6 Feb 2002 08:34:57 -0500 (EST) (envelope-from oskar.alm@home.se) for ; Wed, 6 Feb 2002 08:34:25 -0500 Received: from smtp1.home.se (smtp1.home.se [195.66.35.200]) for ; Wed, 6 Feb 2002 08:34:55 -0500 (EST) (envelope-from oskar.alm@home.se) Received: from oskar.alm@home.se [217.215.98.98] by home.se with Novell Internet Messaging System Web Client; Wed, 06 Feb 2002 14:29:10 Subject: My site have moved... To: luc@cs.mcgill.ca Date: Wed, 06 Feb 2002 13:29:10 GMT X-Sender: Novell Internet Messaging System Web Client Message-ID: <1013002150.290oskar.alm@home.se> Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: 8bit Status: R Hi Luc. From kellyh@train-of-thought.com Wed Feb 6 16:00:14 2002 Return-Path: for ; Wed, 6 Feb 2002 16:00:14 -0500 (EST) (envelope-from kellyh@train-of-thought.com) for ; Wed, 6 Feb 2002 16:00:45 -0500 (EST) (envelope-from kellyh@train-of-thought.com) for ; Wed, 6 Feb 2002 16:00:13 -0500 Received: from drizzle.com (IDENT:root@cascadia.drizzle.com [216.162.192.17]) for ; Wed, 6 Feb 2002 16:00:43 -0500 (EST) (envelope-from kellyh@train-of-thought.com) Received: from 216.162.199.176 (soggy176.drizzle.com [216.162.199.176]) for ; Wed, 6 Feb 2002 13:00:08 -0800 Date: 06 Feb 2002 13:00:07 -0800 Message-ID: <948361557kellyh@train-of-thought.com> From: Kelly Hobkirk Subject: the Adobe/MS machine To: X-Priority: 3 Reply-To: Kelly Hobkirk Content-Transfer-Encoding: 8bit Status: R Just to add to your argument a little: >So, the answer is no, they were not interested in it in the >first place, did not help at all in the development of >converters (all converters have been written by volunteers and >third parties), and wanted to protect their own turf. Adobe actually bought and killed one of the first cross-platform converters made, called FontHopper. When they bought Ares Software, makers of FontHopper, Adobe used the interface from FontMinder, an Ares font management utility, to beef up ATM Deluxe, a product which they have just recently killed as well. If Adobe was truly interested in creating a cross platform format – and not in again dominating font sales – they would have incoporated a font conversion utility into ATM Deluxe, made the utility more stable, and loosened their font licenses to include multiple platforms for one license. Thanks for the good editorial and for producing your great site, not to mention your outstanding original fonts. -- Kelly Hobkirk Train of Thought 6522 29th Avenue NE Seattle, WA 98115 Tel: 206.517.5679 Fax: 206.517.5689 http://www.train-of-thought.com Article 376277 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!wn2feed!wn3feed!worldnet.att.net!198.6.0.7!uunet!ash.uu.net!dfw.uu.net!sea.uu.net!news.chatlink.com!not-for-mail From: "Tom Shea" Newsgroups: alt.binaries.fonts Subject: Re: KERNING Date: Wed, 6 Feb 2002 11:57:25 -0500 Organization: OWDS Inc. Lines: 20 Message-ID: References: X-Complaints-To: abuse@chatlink.com X-Newsreader: Microsoft Outlook Express 4.72.3110.1 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 Kerning is the adjustment of space between two letters, that when placed next to each other, gives the illusion of extra space, so space is taken out to give the appearance of normal spacing. An example is "AV." You can read more on the subject here: http://desktoppub.about.com/library/weekly/aa080101a.htm BTW, no such thing as a "lame" question :) Tom From drl@bigpond.net.au Wed Feb 6 20:22:07 2002 Return-Path: for ; Wed, 6 Feb 2002 20:22:07 -0500 (EST) (envelope-from drl@bigpond.net.au) (envelope-from drl@bigpond.net.au) for ; Wed, 6 Feb 2002 20:22:06 -0500 Received: from mta04bw.bigpond.com (mta04bw.bigpond.com [139.134.6.87]) for ; Wed, 6 Feb 2002 20:22:36 -0500 (EST) (envelope-from drl@bigpond.net.au) Received: from xp1600 ([144.135.24.87]) by mta04bw.bigpond.com ; Thu, 7 Feb 2002 11:21:58 +1000 Received: from CPE-203-45-78-101.nsw.bigpond.net.au ([203.45.78.101]) by bwmam07.mailsvc.email.bigpond.com(MailRouter V3.0i 62/669006); 07 Feb 2002 11:21:57 From: "Dennis Leonard" To: Subject: Re: Rant Date: Thu, 7 Feb 2002 12:22:00 +1100 Message-ID: charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Priority: 3 (Normal) X-MSMail-Priority: Normal Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R I found your "rant" on Typereview.com and thoroughly enjoyed it. I am an ancient font junkie. I considered Open type design at one stage but simply gave up since they have made it so complex as you note. I have looked at some of the fonts from your site. I particularly like the mathematically generated ones. I am not a great fan of "handwritten" fonts so I won't comment on those. Just as you do I find the price of Adobe and other commercial fonts obscene - especially since virtually no software at present makes it easy to use the extended font sets easily. Not even Microsoft seems to be able to automatically use such things as ligature characters automatically in Word or Publisher so what hope has other software producers. As you suggest the ideal is the "Linux" paradigm for the world of fonts. Keep up the good work Regards Dennis R. Leonard for music fonts you might wanna take a look here: http://www.rockrage.com/cool_stuff/music_fonts.html http://fontfixer.8k.com/front.htm cheers PhontPhreak "IcePrincess" wrote in message news:m1786uo70hc2vgmiu2nqu5iugilaedv1l5@4ax.com.. > Does anyone have any of the following fonts they can upload please > I would really appreciate it > > Dodie > -------------------- > > Bjork Font > > Lingwalla Black Bold > > Monotype Corsiv > > Virginia > > antique olive > > > Vladamir > > Music Fonts > > Mira Article 376971 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!newsfeed.frii.com!out.nntp.be!propagator-SanJose!news-in-sanjose!in.nntp.be!pd2nf1so.cg.shawcable.net!residential.shaw.ca!news3.calgary.shaw.ca.POSTED!not-for-mail From: anon Newsgroups: alt.binaries.fonts Subject: REQ: Buro Destruct Library User-Agent: MT-NewsWatcher/3.1 (PPC) Message-ID: Lines: 55 Date: Sat, 09 Feb 2002 00:39:26 GMT X-Complaints-To: abuse@shaw.ca Organization: Shaw Residential Internet all büro destruct fonts in alphabetical order: bd acidboyz bd alm bd alustar bd asciimax bd balduin bd bankwell bd bdr mono bd billiet bd billding bd brick bd brockelmann bd cash bd cashbox bd cluster bd colonius bd console bd console remix bd cravt bd delafrance bd dippex bd doomed bd eject bd eject katakana bd electrobazar bd electronicplastic bd elside bd faxer bd fazer bd flossy bd galaquadra bd globus bd hexades bd kristallo bd lodel fizler bd lofi bd medled bd meter bd mustang bd paccer bd plakatbau bd rainbow bd ratterbit bd relaunch bd relaunch katakana bd rocket 70 bd solaris bd spicy fruits bd stereotype bd tatami bd ticket bd wurst -- To get random signatures put text files into a folder called ³Random Signatures² into your Preferences folder. Article 122597 of comp.fonts: Reply-To: "David Glenn [MS]" From: "David Glenn [MS]" Newsgroups: comp.fonts References: Subject: Re: abadi mt Date: Fri, 8 Feb 2002 15:00:21 -0800 Lines: 72 Organization: Microsoft Corporation X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: <3c645887$1@news.microsoft.com> Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.online.be!news.algonet.se!algonet!newsfeed1.bredband.com!bredband!newscon02.news.prodigy.com!prodigy.com!news-out.spamkiller.net!propagator-la!news-in-la.newsfeeds.com!sea-feed.news.verio.net!news.verio.net!news.microsoft.com You can get this font from AgfaMonotype. We shipped a condensed weight of it with Greetings 99 and Home Publishing 99 in case you have any of them and didn't know the font came with them or it wasn't installed by default. Here is some info on the face from our web site: http://www.microsoft.com/typography/fonts/fonttest.asp?FID=71&FNAME=Abadi%20 MT%20Condensed&FVER=1.50 Abadi MT Condensed family variant - Abadi MT Condensed version 1.50 for Windows created by - Ong Chong Wah font vendor - Agfa Monotype Corporation other versions - 1.50 products - Greetings 99, Home Publishing 99 About the font -- David Glenn, Microsoft Typography http://www.microsoft.com/typography BodegaSans-Light.pfa: /Notice(Copr. 1992, Greg Thompson. Bodega is a Trademark of Greg Thompson.)readonly def CasablancaBold.pfa:/Notice ((C)1992 The Font Company Inc., ALL Rights Reserved) readonly def CasablancaLight-Bold.pfa:/Notice ((C)1992 The Font Company Inc., ALL Rights Reserved) readonly def CasablancaLight.pfa:/Notice ((C)1992 The Font Company Inc., ALL Rights Reserved) readonly def CasablancaLightCondensed-Bold.pfa:/Notice ((C)1992 The Font Company Inc., ALL Rights Reserved) readonly def CasablancaLightCondensed.pfa:/Notice ((C)1992 The Font Company Inc., ALL Rights Reserved) readonly def Cezanne.pfa: /Notice (P22 type foundry. Copyright $c$1996 Philadelphia Museum of Art. All rights reserved. 0596) readonly def CezanneSketches.pfa: /Notice (P22 type foundry. copyright $c$1996 Philadelphia Museum of Art. All rights reserved.) readonly def CircusDog.pfa: /Notice (\2512000 Fonthead Design - Ethan Dunham - http://www.fonthead.com) readonly def Classic.pfa: /Notice (Copr. Copyright by Panache Typography, 1995) readonly def CodeBold.pfa: /Notice(Copr.1992 Neville Brody for FUSE 6, FontShop International)readonly def DrNO.pfa: /Notice(Copr. The Designers Republic for FUSE 6, FontShop Ilternational)readonly def Paleface-Black.pfa: /Notice(Copr. Copyright by Panache Graphics, 1992)readonly def Paleface-Lift.pfa: /Notice(Copr. Copyright by Panache Graphics, 1992)readonly def Paleface-Open.pfa: /Notice(Copr. Copyright by Panache Graphics, 1992)readonly def Paleface-Solid.pfa: /Notice(Copr. Copyright by Panache Graphics, 1992)readonly def PritchardLineOutPlain.pfa:/Notice (COPYRIGHT ESSELTE LETRASET LTD., 1990 ) readonly def PritchardPlain.pfa:/Notice (COPYRIGHT ESSELTE LETRASET LTD., 1990 ) readonly def RoadSign.pfa: /Notice ((C) 1995 Benn Coifman zephyr@cory.eecs.berkley.edu) readonly def RoadWarningSign.pfa: /Notice ((C) 1995 Benn Coifman zephyr@cory.eecs.berkley.edu) readonly def RothenburgDecorative.pfa:/Notice (Copyright (c) Typographer Mediengestaltung, 2000. All rights reserved. Full character set added by D. Steffmann) readonly def TengwarSindarin.pfa:/Notice ((c)copyright - 1998 - Daniel Steven Smith) readonly def Article 377242 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!nntp.abs.net!feeder.qis.net!btnet-peer!btnet-peer0!btnet-peer1!btnet!newsfeeds-atl2!e3500-atl1.usenetserver.com.POSTED!53ab2750!not-for-mail From: Dick Hertz Newsgroups: alt.binaries.fonts Subject: Re: Found another font site Message-ID: <19v76u4a9gb006lm7grbdr3d2vqqil4i1f@4ax.com> X-Newsreader: Forte Agent 1.8/32.553 X-No-Archive: yes Content-Transfer-Encoding: 7bit Lines: 19 X-Complaints-To: abuse@usenetserver.com X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly. Organization: BELLSOUTH.net Date: Sun, 10 Feb 2002 02:06:35 -0500 Three pages on this web site had no apparent links to the following: and On Wed, 06 Feb 2002 05:47:20 GMT, "Andrew H. Carter" wrote: >http://www.eingang.ch/fontarchiv/runic.asp > >There are other fonts on the site, the navigation is on the left (on the site) Article 377248 of alt.binaries.fonts: From: "RuSt (The Lazy Dog)" Newsgroups: alt.binaries.fonts Subject: REQ: URW++ Kernus Kerning Editor (From the Typeworks CD collections) Date: Sun, 10 Feb 2002 10:23:04 +0100 Message-ID: X-Newsreader: Forte Agent 1.8/32.553 Content-Transfer-Encoding: 8bit Lines: 13 X-Authenticated-User: rust Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!headwall.stanford.edu!hub1.nntpserver.com!feed.cgocable.net!newsfeed.newzpig.com!news-out.spamkiller.net!propagator-maxim!pull.newsgroups.com!news.newzgroups.com Article 377376 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newspeer.monmouth.com!feeder.qis.net!sn-xit-02!sn-post-01!supernews.com!corp.supernews.com!not-for-mail From: nospam@nowhere.com (Keith) Newsgroups: alt.binaries.fonts Subject: Re: please post font andy Date: Sun, 10 Feb 2002 13:02:55 GMT Organization: Posted via Supernews, http://www.supernews.com On Sun, 10 Feb 2002 10:08:17 +0100, "Rafa" wrote: >"Andy (Pieper)" was the name of the font (created by Steve Matteson) in Agfa >catalog and Creative Alliance, with Regular, Bold, Italic and Bold Italic >weights. >"Andy MT" in Monotype catalog . >As "Mead" I've only seen the Bold weight. > >In the "Font Book" appears only "Andy" name. >My 2 (euro)cent. Aha! This is getting interesting. The "Andy" catalog is at this address: http://www.digitalriver.com/dr/v2/Ec_Main.entry24?SP=10023&PN=1&V1=206607&xid=23597 So it looks like Microsoft released the font as "Mead Bold". Someone recognized it as "Andy Bold" and renamed the Microsoft version back to the original name! Article 377422 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeeds.belnet.be!news.belnet.be!newsfeed.online.be!sn-xit-01!sn-xit-02!sn-post-02!sn-post-01!supernews.com!corp.supernews.com!not-for-mail From: nospam@nowhere.com (Keith) Newsgroups: alt.binaries.fonts Subject: revised FAQ for free Chinese, Japanese, Korean, and Unicode fonts Date: Sun, 10 Feb 2002 20:19:24 GMT Organization: Posted via Supernews, http://www.supernews.com Message-ID: <3c66d57f.4285912@news.interbaun.com> X-Newsreader: Forte Free Agent 1.21/32.243 X-Complaints-To: newsabuse@supernews.com X-DMCA-Complaints-To: dmca@supernews.com Lines: 47 To obtain a free Japanese TrueType font from Microsoft: (1) run Microsoft Internet Explorer (MSIE); (2) go to any web page; (3) change the View menu / Encoding item to Japanese; and (4) wait for several megabytes to download. Same procedure for Chinese or Korean. Microsoft does have a web page for these downloads. Search for the keywords "Chinese", "Japanese". or "Korean" (without the quotes) on the http://office.microsoft.com/ web site. You want the "language pack" downloads. These pages often move, but recently were: Japanese (2557 KB with the "MS Gothic" font): http://office.microsoft.com/downloads/2002/ie_ja.aspx Korean (1985 KB with the "GulimChe" font): http://office.microsoft.com/downloads/2002/ie_ko.aspx Simplified Chinese (2561 KB with the "MS Hei" and "MS Song" fonts): http://office.microsoft.com/downloads/2002/ie_zhc.aspx Traditional Chinese (3541 KB with the "MingLiU" font): http://office.microsoft.com/downloads/2002/ie_zht.aspx ---------- Microsoft has a free TrueType font with a complete Unicode character set: "Arial Unicode MS". Most editions of MS Office, Publisher. Windows, and Word include this somewhere on the CD-ROM starting with version 2000. You can also download a 13,688 KB setup file from: http://office.microsoft.com/downloads/2000/aruniupd.aspx ---------- To obtain the "Bitstream Cyberbit" Unicode TrueType font, go to: ftp://ftp.netscape.com/pub/communicator/extras/fonts/windows/ The CYBERBIT.ZIP file is 6276 KB. ---------- These fonts are big (with thousand of characters) and are not very useful on English (European) versions of Windows 95/98 except in MSIE and Microsoft Word. As far as books go, I'm hoping to get my hands on Doyald Young's Fonts&Logos one day soon. For great examples of blackletter, you have to learn German and buy Koch's Die Schrift als Kunstfertigkeit and Julius de Goede's Kalligraphie mit gotischen und Frakturschriften "Lehrbuch." I'm trying to improve my Dutch as well, as so many great books on type and lettering are written in Dutch. It's pretty easy if you learn German first. For blackletter type, nothing beats Peter Bain and Paul Shaw's Blackletter: Type and National Identity. Also indispensible is Albert Kapr's Fraktur. Kapr is in German. Article 377590 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!nf3.bellglobal.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin8.nnrp.aus1.giganews.com.POSTED!not-for-mail Newsgroups: alt.binaries.fonts References: <3c679ca9.60006845@news.clara.net> Subject: Re: Software to Convert Handwriting To Font Lines: 24 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Organization: Giganews.Com - Premium News Outsourcing X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly Date: Mon, 11 Feb 2002 11:50:59 GMT Helen. There is a program sold by Data Becker called 'Your Handwriting 2.0' for doing that... Here's the link.. http://www.databecker.com/product.asp?catalog%5Fname=Databecker&category%5Fn ame=Productivity+Tools&product%5Fid=40101 If the link, above, gets broken apart during the post, just copy and paste it. Hypo. "Helen Wheels" wrote in message news:3c679ca9.60006845@news.clara.net.. > Hi > > Can anyone recommend some software (or better still post it here) that > will convert handwriting to a font? > > TIA Article 122644 of comp.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!news-hog.berkeley.edu!ucberkeley!newsfeed.stanford.edu!postnews1.google.com!not-for-mail From: aramedia@gis.net (G. N. Hallak) Newsgroups: comp.fonts Subject: The Arabic Fonts that we have are for MS Arabic Windows Date: 10 Feb 2002 21:32:03 -0800 Organization: http://groups.google.com/ Lines: 77 Message-ID: <2bcc1d54.0202102132.56ab0131@posting.google.com> Content-Transfer-Encoding: 8bit X-Complaints-To: groups-abuse@google.com The Arabic Fonts that we have are for MS Arabic Windows and work with the MS Office suite: http://aramedia.com/gfont95.htm Please, note that Sakhr is the largest Arabic software publisher in the world after Microsoft, and Glyph Systems are the type designer/provider for Microsoft Arabic Windows and Office. For QuarkXPress ArabicXT Desktop Publishing fonts and solutions, check: http://www.arabicsoftware.net -- Layout: Al Rassam Al Arabi is the same as Kalimat but for Windows. Al Rassam Al Arabi lets you add Arabic text into non Arabic photo retouching and illustration programs such as Adobe Photoshop. Illustrator, Freehand, Corel. Al Rassam Al Arabi comes bundled with 15 beautiful Arabic fonts. While working with Al Rassam Al Arabi. you do not need the Arabic Operating System, simply the English System will work. Al Rassam Al Arabi costs US $199.00 + $25.00. shipping charges. If you need any additional Arabic fonts, we have a library of 80 Arabic fonts as Collection 1 available on a CD-ROM for Mac and Windows. Fonts include the entire Arabic Fonts library from Agfa, Boutros and many well known Arabic calligraphers. Also, a new CD-ROM Collection 2 is available containing more than 25 Arabic fonts, first time in the market for Mac and Windows. Collection 3 will be available on a new CD soon containing about 10 new Arabic fonts for Mac and Windows. Prices are as follows: Arabic fonts Collection 1 (80 fonts) for Mac or Windows: Price, $295 + $25 shipping charges Arabic fonts Collection 2 (26 fonts) for Mac or Windows: Price, $295 + $25 shipping charges Arabic fonts Collection 3 (10 fonts) for Mac or Windows: Price, $145 + $25 shipping charges You can use these additional fonts with ArabicXT, Kalimat, SafahatXT. and Al Rassam Al Arabi. Arabic/English PS-2 Keyboard is available for $49.00. Arabic/English Keyboard Stickers for either Laptop or Desktop are available for $15.00 each: http://www.aramedia.com/keyboard-ar.htm http://aramedia.com/stickers.htm --- All Layout fonts do not require an Arabic Operating System. Layout is specialized in desktop publishing. Their fonts work only for their products: QuarkXPress ArabicXT(PC&Mac). Al Rassam Al Arabi (PC), Kalimat (Mac), and SafahatXT (Mac): http://www.arabicsoftware.net All other font packages that you see on the following URL, require MS Arabic Windows: http://aramedia.com/gfont95.htm --- Best Regards. George N. Hallak Microsoft Sakhr QuarkXT Arabic Software AramediA Group T 617 825-3044 F 617 265-9648 761 Adams Street mailto:sales@aramedia.com Boston, MA 02122, USA http://www.aramedia.com Fabrizio Schiavi wrote: > Who knows the name of the designer/s of the German plates font? Article 377958 of alt.binaries.fonts: From: "frogii" Newsgroups: alt.binaries.fonts Subject: Re: What software is good for converting font formats? Lines: 97 charset="Windows-1252" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-Mimeole: Produced By Microsoft MimeOLE V5.50.4807.1700 Date: Tue, 12 Feb 2002 22:15:38 GMT X-Complaints-To: abuse@earthlink.net Organization: EarthLink Inc. -- http://www.EarthLink.net OK, excuse me - make that METRICS - then it's all covered. The fonts had no METRICS, meaning, of course, no kerning, no hinting, no nothing. frogii "RSD99" wrote in message news:BPea8.2961$Pi6.558806@paloalto-snr2.gtei.net.. You are focusing solely on KERNING. What about the OUTLINES ... where the math differs substantially between PostScript and TrueType ? So much difference between the two that Apple, in their TrueType Reference Manual (they developed the format ... remember?) devote an entire section to the accuracy of converting outlines ... and admit that it is **NOT** possible to make an exact conversion ... only "how much error in the conversion is OK!" What about the HINTING ... which is TOTALLY different between PostScript and TrueType ? - - - - - PS - Re: ".. When I called them and told them about it, what did they do? They REGENERATED the font - they did not re-kern it as RSD seemed to believe they do. ..." Notice in your example that they specifically said REGENERATED ... not CONVERTED. That means (to me, at least) that they went back to the ORIGINAL outline file(s) [probably also NOT in PostScript or TrueType format ... maybe in FontLab, or Ikarus, or Fontographer, or another proprietary format] and made NEW FILES. How does this apply to a CONVERSION? - - - - - "frogii" wrote in message > Squeak, they use the same software we use in here. The major foundries are > just as guilty of screwing up a conversion sometimes as we are. Humans > *are* the foundries and humans make mistakes! I just bought a $129.95 > package of fonts where the ITALIC version had no kerning in one of the > fonts. When I called them and told them about it, what did they do? They > REGENERATED the font - they did not re-kern it as RSD seemed to believe they > do. No siree. They REGENERATED it. > > This collection I am talking about is a collection where the designer > created every one of those fonts on a Mac. Therefore, you can bet your > sweet ass that what I bought for the PC were most definitely conversions! > How else were they going to be put into PC format from the Mac, huh? RSD??? > HOW? > > I am not the only one who has had this happen - ceejay just had it happen to > him - he had to write the foundry and get them to redo an un-kerned font. > too. > > Now granted, both of these foundries were happy to fix the problem - but my > whole reasoning behind telling you this is, it's not just people here in > a.b.f. or over in a.b.m.f. doing conversions that get screwed up - the major > foundries do it too. Humans are only human. I personally check each and > every font I buy -- do you? > > You will now, though, right? :) > > frogii > > "squeakachu" wrote in message > news:a4bepl$vrg$1@newsg4.svr.pol.co.uk.. > > They do it in a totally different way! > > > > IMHO: regenerating, rehinting, and rekerning a font from original outlines > > (Fontographer/FontLab/Ikarus/etcetera) can't really be called a > "conversion." > > So, how do the font foundries make their fonts in different formats? What > are the techniques, and what software do they use? > > S > > TYPOGRAFIE, ANDERHALVE EEUW BOEKTYPOGRAFIE 1815-1965 in Amerika. Engeland, Frankrijk, Duitsland, Zwitserland, Italie, Belgie en Nederland, Amsterdam, Meulenhoff, 1965, druk: 1, 424 blz linnen met licht besch. stofomslag, Met register en illustraties van boekbanden en illustratoren. Ietsje los in band, [boeknr. 16148] EUR 61,00 http://217.115.192.60/burg/kunst.html Antiquariaat Henk van der Burg Kunst || Art Bestellen/Order: Email info@henkvanderburg.com ************************* Fonts Sites: http://www.girlswhowearglasses.com/newfree.html 50's fonts http://moorstation.org/typoasis/designers/gemnew/home.htm http://moorstation.org/typoasis/designers/lloyd/paul01.htm (Calligraphics?) http://www.eliteentertainment.net/famousfonts http://clofont.free.fr/Police/creation_misc3.htm ....... <--- A VOIR http://www.pressuretype.com. (YOL) From theschutzers@netscape.net Sat Feb 23 00:50:54 2002 The name is Fred Pree. NOT Fred free Please change From earlixd@ohsu.edu Tue Feb 26 14:18:50 2002 Luc. Thank you very much for a great font web site! This is a minor matter, but if you have a chance to edit links, you might want to remove They've taken to the window-spawning trick that makes the site pretty much useless. Thanks again for your time and trouble to create the resource... It is very appreciated. --Dean Earlix, Ph.D. Oregon Health&Science University Beaverton, Oregon, USA From p22@p22.com Wed Feb 27 16:36:34 2002 Return-Path: for ; Wed, 27 Feb 2002 16:36:34 -0500 (EST) (envelope-from p22@p22.com) for ; Wed, 27 Feb 2002 16:38:01 -0500 (EST) (envelope-from p22@p22.com) for ; Wed, 27 Feb 2002 16:36:34 -0500 Received: from p22.com (host-216-153-206-235.choiceone.net [216.153.206.235]) for ; Wed, 27 Feb 2002 16:37:58 -0500 (EST) (envelope-from p22@p22.com) Date: Wed, 27 Feb 2002 16:36:08 -0500 From: "P22 type foundry" Message-ID: To: luc@cs.mcgill.ca Subject: New fonts- limited sale price Content-Transfer-Encoding: 7bit Status: R Hello. We are sending you this e-mail because you typed in your e-mail address when you visited our site and downloaded a file or two. Thanks! Now the real reason we are sending this e-mail is to introduce the first new P22 font set in over a year...Art Nouveau. Until March 5, 2002, this set is specially priced at $14.95 (regularly $23.95) for download only. If you prefer a CD with packaging, that will be delayed a little bit, but stay tuned for that along with other new titles. For the special price and a preview of the fonts, you must follow this link: http://www.p22.com/products/nouveausale.html Best Wishes P22 type foundry From frednader@rogers.com Wed Feb 27 23:45:29 2002 Return-Path: for ; Wed, 27 Feb 2002 23:45:28 -0500 (EST) (envelope-from frednader@rogers.com) for ; Wed, 27 Feb 2002 23:46:56 -0500 (EST) (envelope-from frednader@rogers.com) for ; Wed, 27 Feb 2002 23:45:27 -0500 Received: from fep01-mail.bloor.is.net.cable.rogers.com (fep01-mail.bloor.is.net.cable.rogers.com [66.185.86.71]) for ; Wed, 27 Feb 2002 23:46:47 -0500 (EST) (envelope-from frednader@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.157]) by fep01-mail.bloor.is.net.cable.rogers.com id <20020228044500.XZGV5488.fep01-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Wed, 27 Feb 2002 23:45:00 -0500 Message-Id: <5.1.0.14.2.20020227233859.01e232b0@pop> X-Sender: frednader@rogers.com@pop Date: Wed, 27 Feb 2002 23:45:46 -0500 To: luc@cs.mcgill.ca From: Freddy Subject: Trafik boundary="=====================_296064398==_" X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep01-mail.bloor.is.net.cable.rogers.com from [24.157.67.157] using ID at Wed, 27 Feb 2002 23:45:00 -0500 Status: R --=====================_296064398==_ Luc: Attached is another hack job of a shockwave file (same hack I did to Hrant's site a few months ago to get his fonts). This time it's these rowdy folks here: www.lavitrinedetrafik.com These guys (headed by Damien Gauthier) just signed up with myfonts.com to sell their fonts. I have no idea what their prices are, but I have a feeling they're expensive. It feels so good to hack the French. It's no beret, but I take what I can get. [3] FABRIZIO SCHIAVI DESIGN Italian designer Fabrizio Schiavi, who's previously designed for FontShop and [T-26], offers us two designs that we're sure will stand the test of time. "CP Company", originally designed for an Italian fashion house, is a sans-serif whose shrunken capitals and no-nonsense curves make any text - body text or display - highly distinctive. "Pragma" is a monospace design. highly economical on width. These two designs are hand-hinted, so they're very legible at small sizes on the computer screen. FSD also offers a selection of techno-influenced fonts, great for a logo in 5 minutes! [5] PAMPATYPE Just one family from Alejandro Lo Celso, who hails from Córdoba. Argentina. But what a treat "Rayuela" is! Its fine text styles are superbly followed up by the delicate "Rayuela Luz" for titles and an ornament font that quite simply cries out to be used in every document. Alejandro trained at the University of Reading and l'Atelier National de Recherche Typographique (Nancy, France) under masters including Gerard Unger, Michael Harvey, and James Mosley. Rayuela has just won an award in a prestigious competition (see below). As if that wasn't enough, it's on special offer, 40% off the whole set until April 1. From: Mike Yanega The "Bauhaus-style Font ID Guide" at http://bowfinprintworks.com/BauhausFaces.html shows complete fonts for nearly 200 geometric fonts, divided into 7 style groups. Fonts are still being added as I find new ones that fit these styles. The "Sans Serif Font ID Aid" at http://bowfinprintworks.com/SansIDPage.html provides a 2-key method for narrowing down Font ID choices for about 400 Sans Serif font families using just seven letters: a, e, g, G, M, R and y. Eventually font samples will be linked to their names, in the final version of this reference. The current project that started less than a month ago is the "Script Font ID Guide" (http://bowfinprintworks.com/ScriptIDGuide.html) & "Script Font Reference List" (in six alphabetic parts starting at http://bowfinprintworks.com/ListPages/ScriptListAB.html). These two linked resources provide showings of samples of (eventually) at least 600-900 script (hand-lettered) fonts, divided into 14 stylistic categories, with a Reference List that gives the font supplier code, designer, year of design. alias/clone names, and names of the sample providers. There are already over 200 font samples in the Guide. The number of samples and entries in the Reference List are being expanded almost daily, with help from 7 people so far (more help needed, please). My goal was to make these as useful online references for the Font Afflicted/Obsessed, like I think many of us are. Time will tell whether they succeed in meeting this goal. Thanks for your consideration. - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Pfma, pf_oh-outlined, pf_oh, pf_thyme. I have now finished about 1/2 of the Script Font Reference List that goes with the Script Font ID Guide. The third section (F-I) has been updated to show what I have, and more importantly, what I will need help filling in with .gifs for the Guide. All the other five List sections were also updated, as well as the Suppliers Abbreviation List. Script Font Reference List (F-I) http://bowfinprintworks.com/ListPages/ScriptListFI.html Suppliers Abbreviation List http://bowfinprintworks.com/ListPages/SupplierCodes.html Script Font ID Guide http://bowfinprintworks.com/ScriptIDGuide.html Thanks to all who have been helping provide images. - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Here is a font archive link. http://wuarchive.wustl.edu/pub/aminet/text/pfont/index.html Mainly Amiga fonts but this page has a dingbat collection called Bats_From_Hell compressed in lha format. I did find a freeware mac decompression program. Don't know about Windows. Here are the dingbats in the archive: Content listing of "Bats_From_Hell.lha" Original Date Name -------- --------- ------------- 67421 04-Jan-97 AIMS.TTF 106348 24-Apr-97 ALIENATO.TTF 98428 24-Feb-93 amindian.ttf 42152 24-May-94 animals.ttf 102184 09-May-95 animt___.ttf 189008 04-Apr-97 apicture.ttf 170046 09-Oct-96 ARBOF___.TTF 27172 04-Jan-80 ARTS_&_C.TTF 18028 23-Apr-94 astro.ttf 20976 04-May-92 barcod39.ttf 22344 23-Mar-97 BITS.TTF 22016 21-Jun-95 blf.ttf 21556 21-Jun-95 bln.ttf 50120 20-May-96 Bloodrac.ttf 45264 20-Nov-95 Bloody.ttf 18368 10-Mar-96 cablding.ttf 62720 23-Apr-96 cairo_tt.ttf 28692 13-May-93 calendar.ttf 15664 16-Dec-95 car.ttf 42064 01-Jul-94 cards.ttf 39156 08-Dec-91 carta-no.ttf 53104 05-Jun-96 Channels.ttf 26180 08-Feb-96 cheq.ttf 13772 04-Jan-80 CHEVRON_.TTF 53876 12-Jul-96 Chung's Dingbats.ttf 53876 12-Jul-96 CHUNG_S_.TTF 34788 11-May-93 CLD_____.TTF 15908 17-Dec-95 cocacola.ttf 25128 16-Dec-95 crosswrd.ttf 14920 16-Dec-95 croswdhi.ttf 13388 16-Dec-95 croswdlo.ttf 47132 20-Dec-94 CW_CARDD.TTF 35752 20-Dec-94 CW_CARIA.TTF 66740 22-Mar-95 CW_CRITR.TTF 60528 21-Dec-94 CW_FANTY.TTF 68244 22-Mar-95 CW_FLEUR.TTF 51616 21-Dec-94 CW_PHARG.TTF 48716 18-Jan-95 CW_STARC.TTF 20072 18-Jan-95 CW_WATFT.TTF 194064 07-Mar-92 dad.ttf 99036 15-Oct-93 dad2____.ttf 103640 15-Oct-93 dad3____.ttf 21472 08-Feb-96 Daggers.ttf 194064 07-Mar-92 DavysDingbats.ttf 99036 15-Oct-93 DavysDingbats2.ttf 103640 15-Oct-93 DavysDingbats3.ttf 54964 29-Jan-97 DING_CAT.TTF 83380 11-Apr-97 DINGCATS.TTF 67312 04-Jan-80 Dingies.ttf 45140 17-Feb-94 dingmaps.ttf 80088 15-Mar-97 dingob~1.ttf 95180 05-Nov-94 dinosfnt.ttf 84944 08-Feb-96 Dungeon.ttf 100380 25-Feb-94 Elriott2.ttf 30788 22-Feb-94 ezborder.ttf 54820 20-May-94 faerie.ttf 59868 18-Oct-93 fleu____.ttf 28684 10-Feb-92 fleurons.ttf 105708 19-Nov-96 flora.ttf 91148 18-May-96 fontforf.ttf 76112 16-Sep-92 food!.ttf 76112 23-Nov-94 food_.ttf 118760 15-Dec-92 fra.ttf 128576 15-Dec-92 frb.ttf 33284 15-Dec-92 frc.ttf 54608 04-Mar-96 gallaude.ttf 42380 01-Jul-92 geograph.ttf 21520 31-May-96 healtsym.ttf 23532 16-Jul-93 herald__.ttf 67804 15-Jun-96 hippy.ttf 45288 02-Apr-97 IMFORNAT.TTF 45276 29-Mar-96 INKFD___.TTF 258576 11-Apr-97 insects1.ttf 302028 18-Apr-97 insects2.ttf 318560 25-Apr-97 insects3.ttf 84204 11-Apr-94 inter.ttf 84204 18-Aug-91 inter___.ttf 65480 03-Apr-97 keroppi.ttf 34508 04-Sep-95 linear-b.ttf 23556 25-Dec-96 Little Sister Dingbats.ttf 47756 18-May-96 littlegi.ttf 33144 18-May-96 logos.ttf 41616 21-Apr-96 ludlow_d.ttf 52192 20-Oct-96 lunch.TTF 31940 04-Jan-80 MAC_DING.TTF 115944 05-Apr-97 MAYAN.TTF 20436 25-Aug-96 medicine.ttf 62156 19-Aug-91 medusa__.ttf 37460 09-Jan-97 MICHAELS.TTF 214168 16-Mar-97 midages1.ttf 235388 22-Mar-97 midages2.ttf 228528 27-Mar-97 midages3.ttf 52624 09-Dec-91 minipics.ttf 78876 12-May-95 mo.ttf 245848 27-Feb-97 mollusk1.ttf 304812 27-Feb-97 mollusk2.ttf 334352 27-Feb-97 mollusk3.ttf 60020 05-May-94 mortbats.ttf 358060 09-May-97 myth1.ttf 361112 16-May-97 myth2.ttf 422200 23-May-97 myth3.ttf 48552 04-Jul-94 nahkt___.ttf 46896 27-Mar-95 O-SYMB.TTF 79596 11-Mar-97 Oedipa.ttf 72248 25-Mar-97 Omahadin.ttf 21504 04-Jan-80 OREGONPO.TTF 52332 09-Apr-92 ornament.ttf 19016 29-Jul-93 PIE4MAP.TTF 24144 09-Apr-96 pointers.ttf 14080 29-Sep-96 populati.ttf 14196 29-Sep-96 populatm.ttf 106372 09-Aug-93 Postcryp.ttf 5440 02-Nov-94 prince.ttf 82476 19-Jul-94 prinoorg.ttf 69560 14-Oct-94 pumpkin.ttf 228316 01-May-97 punish.ttf 10036 26-Mar-96 Puzzle.ttf 30164 16-Dec-95 rd_sgn_w.ttf 32072 07-Apr-97 recycle.TTF 47832 19-Mar-96 roadsign.ttf 36532 19-Mar-96 ROADWARN.TTF 72428 05-Dec-93 rockart5.ttf 69944 19-Jan-92 rsbillsd.ttf 93072 10-Aug-96 SANGRAEL.TTF 33240 01-Sep-96 SEMA.TTF 49116 21-May-97 signmaker.ttf 35164 07-Jun-94 silhouet.ttf 127184 22-May-96 Skullz.ttf 50584 12-Jun-96 smilf___.ttf 55980 28-Apr-96 smilly.ttf 27560 24-Nov-94 Spirals_.ttf 45488 11-Apr-94 sporthob.ttf 11260 01-Apr-94 SpudDude-EVAL.ttf 73248 27-Aug-94 stick.ttf 48800 12-Jun-94 technoba.ttf 266504 25-Aug-96 toonsone.ttf 50632 18-May-96 toontown.ttf 39188 03-Mar-95 Tr.TTF 39188 03-Mar-95 Trekbats.TTF 53920 18-Jun-92 tt-anim.ttf 13884 21-Jun-92 tt-arow1.ttf 26072 21-Jun-92 tt-arow2.ttf 22380 15-Jun-92 tt-astro.ttf 29320 22-Jun-92 tt-bloon.ttf 47616 24-Jun-92 tt-elec.ttf 29792 22-Jun-92 tt-govmt.ttf 25472 21-Jun-92 tt-space.ttf 37240 16-Dec-92 us-bats.ttf 10636 05-May-92 usps_bar.ttf 55392 13-Mar-96 vtmeo___.ttf 61272 13-Mar-96 vtmeoobl.ttf 49068 14-Aug-96 vtmeooc_.ttf 29016 06-Oct-94 WARLOCK_.TTF 37812 16-Jun-94 wef_____.ttf 82440 21-Jun-95 woolbats.ttf 32208 13-Mar-97 za______.ttf 239132 07-Mar-97 zodiac.ttf 50020 01-Apr-96 zoeknots.ttf Article 383885 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!cpk-news-hub1.bbnplanet.com!news.gtei.net!newsfeed.cwix.com!wn2feed!worldnet.att.net!209.155.233.17!pln-w!spln!dex!extra.newsguy.com!newsp.newsguy.com!cat From: FlatCat Newsgroups: alt.binaries.fonts Subject: Re: What's the difference between TrueType and PostScript? Date: Sun, 03 Mar 2002 21:56:10 -0500 Organization: http://extra.newsguy.com Lines: 57 Message-ID: <030320022156109005%cat@whydontwedoitintheroad.com> References: <3c82d0a5.524896120@news-server> Content-Transfer-Encoding: 8bit User-Agent: Thoth/1.5.0 (Carbon/OS X) In article <3c82d0a5.524896120@news-server>, wrote: > What's the difference between TrueType and PostScript? PostScript fonts were developed in the 80's by Adobe as an offshoot of the PostScript image rendering language. PostScript is a programming language that uses mathematical calculations to render an image onscreen and in print (as opposed to most other types of graphic formats which use a finite number of dots to render an image, such as the TIFF, JPEG and BMP formats). Because PostScript is a bunch of calculations, it results in a smaller file size which can be scaled to virtually any size without degrading the image, unlike those other aforementioned graphics formats where if you enlarge a file beyond its actual dimensions, you'll get mush. There are two different flavors of PostScript fonts: Type 1 and Type 3. Type 1 fonts are the newer technology... you very rarely see Type 3 fonts anymore. PostScript fonts have two pieces (.pfm and .pfb on the Windows platform and an "Outline Font" and a "Bitmap Suitcase" on the Macintosh side) which create a single typeface. You need both pieces to create a single PostScript typeface. You need special software, such as Adobe Type Manager, to display PostScript fonts directly on your computer, unless you're using Windows XP or Mac OSX, which have the PostScript rendering capability built into the OS. Certain high-end laser printers have the PostScript language and PostScript fonts embedded in their firmware. Many professional Graphic Artists and Service Bureaus utilize only PostScript fonts for this reason... because the high-end imagesetting equipment is optimized for PostScript, not TrueType. TrueType fonts were developed as a joint project between Apple and Microsoft in the early 90's as an alternative to PostScript fonts. TrueType fonts have only one piece, the .ttf file. TrueType fonts work pretty much like PostScript fonts in that they are scalable to any size with a minimum of file size. The main difference is that Postscript fonts can only contain about 256 characters or "glyphs", while TrueType fonts can contain many more. The increased number of available characters makes TrueType attractive to Typographers, who like to utilize special typographic features and to foreign languages containg more that the typical set of Roman 26-letter alphabets. There is a third variant of font that is very new called OpenType. This format developed by Adobe and Microsoft is a monolithic file (that's a single file to you...) containing both TrueType and PostScript characteristics. OpenType fonts are completely cross-platform -- you can use the exact same font file on a Macintosh that you use in Windows XP. No conversion is necessary. Programmers love that sort of thing.. more bang for the buck. Windows XP comes with the major System fonts as OpenType. OpenType also has lots of room for many, many glyphs. Hope that covers the basics of Fontology. http://www.1001fonts.com/font_categories.html Hypo. Rock band fonts try these http://www.rockrage.com/cool_stuff/music_fonts.html http://www.musiceffect.com/FONTS/fonts.html http://www.1001fonts.com/fonts_overview.html?view=full&filter=All&category_id=31&sort=font_date http://fontfixer.8k.com/front.htm http://katgyrl.com/music/thefonts.htm http://www.eliteentertainment.net/famousfonts/music/ John&Nick Alfonso Atelier&Friends GmbH Raphael Bachmann Bonnie R. Barett Willy Beeckman Patrick Bittner Pieter Boddert Pascal Bouche Mark Breslin Robert Brunetti Beat Cadruvi Daniel P. Carr Gus Coral Anke Delingat Dusan Fischer Laurent Girard Laurent Guillaume Séverine Hameau Gottfried Hinker Hubert Joacham Roland John Christian Jung Christoph Herman Krabbendam Harald Kuczmierczyk Ebel Kuipers Stéphane Lasfargue Roland Limacher Kit Mei Sin Mondrey Jana Morackova Fabian Nicolay Eitetsu Nozawa Kenji Osanai Holger Ruhnke Andrea V. Palmaz Günter Pawlak Sebastian Peetz Stefan Pocha Jean-Marc Pories Johann Schoor Silvia Sever Anja Tödtmann Rob Veelenturf Maurizio Veglio Sabine Weinert-Spiess Simon Wicker & Henrik Wodschow Ting Kit Wong Raymond From apostrophe@rogers.com Sun Mar 10 21:22:42 2002 Return-Path: for ; Sun, 10 Mar 2002 21:22:42 -0500 (EST) (envelope-from apostrophe@rogers.com) (envelope-from apostrophe@rogers.com) for ; Sun, 10 Mar 2002 21:22:41 -0500 Received: from fep01-mail.bloor.is.net.cable.rogers.com (fep01-mail.bloor.is.net.cable.rogers.com [66.185.86.71]) for ; Sun, 10 Mar 2002 21:24:10 -0500 (EST) (envelope-from apostrophe@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.157]) by fep01-mail.bloor.is.net.cable.rogers.com id <20020311022235.NCPZ5488.fep01-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com>; Sun, 10 Mar 2002 21:22:35 -0500 Message-Id: <5.1.0.14.2.20020310210657.020ba180@pop> X-Sender: apostrophe@rogers.com@pop Date: Sun, 10 Mar 2002 21:22:52 -0500 To: gem@c031.aone.net.au, cybapee@joice.net From: Apostrophe Subject: X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep01-mail.bloor.is.net.cable.rogers.com from [24.157.67.157] using ID at Sun, 10 Mar 2002 21:22:35 -0500 Status: R Hello folks: A bunch of bad news: - My cable provider seems to have dropped all three font newsgroups from their list for some reason, so I haven't been able to read a.b.f, c.f, or a.b.m.f. for the past 2 weeks. I've been sending message to the cable providers, but I have no idea when the newsgroups will be back. - A couple months ago I found another "2000 fonts" CD at a computer store here in Toronto, bought it and found that it had the majority of the lab fonts on it. I clamped up on it and didn't tell anyone, since I figured it wouldn't do much good to spread bad news that nothing can be done about. But during the past 3 weeks I found 4 more CDs with the same story. What really pisses me off is the fact that I stumbled upon them by mistake. going to computer stores to buy equipment for the new office, and I see them stacked among other CDs that have nothing but shareware programs on them, being sold for $10. Same old song and dance... people don't even bother to change copyright notices or anything; they just download the fonts and go straight to press with the CDs. All the contact addresses on those CDs are post box office addresses in Buffalo, San Francisco, Phoenix. and New York. So there's no way to get hold of those people without spending a fortune to track them down. This is sickening. I really have no idea how to deal with this sort of situation. I get emails from lab fans asking me about the future of it, and I have no idea what to tell them. I don't want to be uptight with a hard line about how we're being ripped off and all, but at the same time it really hurts to see the work of the lab's designers, especially Graham's stuff, go to benefit some asshole with a download-and-burn fetish. I'm really thinking about shutting down the lab now. It's really painful to say this, but I really am thinking about shutting it down. Freddy Article 386618 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!wesley.videotron.net!news-out.visi.com!hermes.visi.com!news1.optus.net.au!optus!snewsf0.syd.ops.aspac.uu.net!ozemail.com.au!not-for-mail From: "MeG" Newsgroups: alt.binaries.fonts References: Subject: The story Lines: 74 Organization: news.ozemail.com.au X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Distribution: world Date: Mon, 11 Mar 2002 20:49:44 +1100 Hello folks: (this is from Apostrophe) A bunch of bad news: - My cable provider seems to have dropped all three font newsgroups from their list for some reason, so I haven't been able to read a.b.f, c.f, or a.b.m.f. for the past 2 weeks. I've been sending message to the cable providers, but I have no idea when the newsgroups will be back. - A couple months ago I found another "2000 fonts" CD at a computer store here in Toronto, bought it and found that it had the majority of the lab fonts on it. I clamped up on it and didn't tell anyone, since I figured it wouldn't do much good to spread bad news that nothing can be done about. But during the past 3 weeks I found 4 more CDs with the same story. What really pisses me off is the fact that I stumbled upon them by mistake. going to computer stores to buy equipment for the new office, and I see them stacked among other CDs that have nothing but shareware programs on them, being sold for $10. Same old song and dance... people don't even bother to change copyright notices or anything; they just download the fonts and go straight to press with the CDs. All the contact addresses on those CDs are post box office addresses in Buffalo, San Francisco, Phoenix. and New York. So there's no way to get hold of those people without spending a fortune to track them down. This is sickening. I really have no idea how to deal with this sort of situation. I get emails from lab fans asking me about the future of it, and I have no idea what to tell them. I don't want to be uptight with a hard line about how we're being ripped off and all, but at the same time it really hurts to see the work of the lab's designers, especially Graham's stuff, go to benefit some asshole with a download-and-burn fetish. I'm really thinking about shutting down the lab now. It's really painful to say this, but I really am thinking about shutting it down. *************************************************************************** G.Meade message I personally have spent a lot of money supporting my hobby :- 3 computers (2 totally burnt out) @ $1500 ea. Misc. replacement parts $800 (not including generous donation from Dennis Hill, Cybapee and others) Software Adobe Photoshop 3,4&5 Adobe Illustrator 8&9 Windows 95&98 (not bundled with computer here) Misc other programs Total Software Cost = $ 3000 - 4000 Legal Fees for defending my fonts - $500 All up about $8000 - 10,000 My fonts are freeware so minimal income from fonts about $500 in six years. So I am not really happy when I pay thousands to make fonts, and scumbags earn thousands from my work, without paying me for the right to resell or even getting permission. I will quit fontmaking before or at same time as the Lab. I have mentioned before that people like these will destroy the freeware scene. Well, this is the start of it. From cybapee@joice.net Sat Mar 16 10:57:39 2002 Return-Path: for ; Sat, 16 Mar 2002 10:57:39 -0500 (EST) (envelope-from cybapee@joice.net) for ; Sat, 16 Mar 2002 10:59:10 -0500 (EST) (envelope-from cybapee@joice.net) for ; Sat, 16 Mar 2002 10:57:39 -0500 Received: from mail1.isys.net (heavymetal.isc.de [195.64.96.45]) for ; Sat, 16 Mar 2002 10:59:08 -0500 (EST) (envelope-from cybapee@joice.net) Received: from dip-01-032-1.on-line.de ([195.64.97.32] helo=joice.net) by mail1.isys.net with smtp (Exim 3.16 #1) id 16mGYp-0006oX-00 for luc@cs.mcgill.ca; Sat, 16 Mar 2002 16:57:35 +0100 Date: Sat, 16 Mar 2002 16:47:24 +0100 From: CybaPee To: luc@cs.mcgill.ca Subject: Re: Manfred's personal horror story Content-Transfer-Encoding: 7bit Message-Id: Status: R > Petra, an unbelievable story! Yes, it is. But I think Manfred is a very strong person and will never give up. Respect! The latest Chank font Cookie Dough should be here: But there seems to be a problem with Sharemation. I get timeouts. Would you kindly try it? And Lineto's Biff is on the server (public section. fonts / Lineto). Petra Article 388786 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!headwall.stanford.edu!hub1.nntpserver.com!newsfeed1.uni2.dk!news.cybercity.dk!not-for-mail From: "Aagaard" Newsgroups: alt.binaries.fonts Subject: Re: Three Fonts needed Date: Fri, 15 Mar 2002 16:26:59 +0100 Organization: Cybercity Lines: 24 Message-ID: References: X-Complaints-To: abuse@cybercity.dk X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 I can't upload, but you're welcome til download from: http://the-onslow.dyndns.org/FranklinGothic.zip http://the-onslow.dyndns.org/Sabon.zip http://the-onslow.dyndns.org/Trade.zip All fonts are virus checked, but check it yourself! Me :-) "Gene" skrev i en meddelelse news:v4t29u07tvehbudh6hii6gihh8q17b8cmo@4ax.com... > I need the following three fonts, can anyone help out? > > Sabon > Franklin Gothic > Trade Gothic > > I would appreciate any help. > > Gene Article 388842 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!cpk-news-hub1.bbnplanet.com!news.gtei.net!news.algonet.se!algonet!newsfeed1.uni2.dk!news.cybercity.dk!not-for-mail From: "Aagaard" Newsgroups: alt.binaries.fonts Subject: Re: Looking for OpenType format fonts Date: Fri, 15 Mar 2002 19:50:46 +0100 Organization: Cybercity Lines: 25 Message-ID: References: X-Complaints-To: abuse@cybercity.dk X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 I can't upload, but you're welcome til download from: http://the-onslow.dyndns.org/CaslonGaramond.zip 3.3Mb http://the-onslow.dyndns.org/Jenson.zip 9.9Mb http://the-onslow.dyndns.org/Lithos.zip 1.2Mb http://the-onslow.dyndns.org/Minion+pro.zip 21Mb http://the-onslow.dyndns.org/Moonglow.zip 1.4Mb http://the-onslow.dyndns.org/Myriad.zip 7.9Mb http://the-onslow.dyndns.org/SilentiumTektonWarnock.zip 18.8Mb http://the-onslow.dyndns.org/OpenTypeGuide.zip 399Kb All fonts are virus checked, but check it yourself! Rule no. 5: One faulty URL is allowed. Here's Kivart: http.//www.iai-jp.net/index_type04.html lerertomnor Posted through Newz.Groups - http://newzgroups.com . Article 390129 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!headwall.stanford.edu!hub1.nntpserver.com!peer1-sjc1.usenetserver.com!usenetserver.com!easynews!nntp2.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin8.nnrp.aus1.giganews.com.POSTED!not-for-mail From: "HypoTypo" Newsgroups: alt.binaries.fonts References: Subject: Re: Ukraine fonts required Lines: 20 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Organization: Giganews.Com - Premium News Outsourcing X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly Date: Tue, 19 Mar 2002 12:57:15 GMT Try here. http://www.brama.com/compute/win95nt.html There's 41 Ukrainian Fonts on this page for free. http://www.cym.org/help/cymPF_download.asp Hypo. "Mr Pete" wrote in message news:a77bh3$67h$1@news7.svr.pol.co.uk... > Have tried to find Ukrainian Fonts with no luck, any help appreciated. > > TIA > Mr Pete > > Article 390130 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newspeer.monmouth.com!news-xfer2.newshosting.com!nntp2.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin2.nnrp.aus1.giganews.com.POSTED!not-for-mail From: "HypoTypo" Newsgroups: alt.binaries.fonts References: Subject: Re: Ukraine fonts required Lines: 16 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Organization: Giganews.Com - Premium News Outsourcing X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly Date: Tue, 19 Mar 2002 12:58:15 GMT Looks like a few more here... http://www.lemko.org/lih/howtocyr.html Hypo. "Mr Pete" wrote in message news:a77bh3$67h$1@news7.svr.pol.co.uk... > Have tried to find Ukrainian Fonts with no luck, any help appreciated. > > TIA > Mr Pete > > Article 390131 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!cyclone2.usenetserver.com!usenetserver.com!news-xfer2.newshosting.com!nntp2.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin4.nnrp.aus1.giganews.com.POSTED!not-for-mail From: "HypoTypo" Newsgroups: alt.binaries.fonts References: Subject: Re: Ukraine fonts required Lines: 16 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Organization: Giganews.Com - Premium News Outsourcing X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly Date: Tue, 19 Mar 2002 13:01:35 GMT Looks like maybe here also... http://www.cyrillic.com/ref/cyrillic/fontlist.html Hypo. "Mr Pete" wrote in message news:a77bh3$67h$1@news7.svr.pol.co.uk... > Have tried to find Ukrainian Fonts with no luck, any help appreciated. > > TIA > Mr Pete > > Article 123800 of comp.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!cyclone.bc.net!newsfeed.media.kyoto-u.ac.jp!newsfeed01.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: Martin Kotulla Newsgroups: comp.fonts Subject: Re: looking fior CLARENDON ttf font... Date: Tue, 19 Mar 2002 19:37:28 +0100 Organization: T-Online Lines: 16 Message-ID: References: Content-Transfer-Encoding: 7bit X-Complaints-To: abuse@t-online.com X-Sender: 510006582736-0001@t-dialin.net X-Accept-Language: en,pdf kicker schrieb: > Anyone seen a ttf for this older font style? Available from many places. If you like one that includes expert sets and a matching Euro sign as well, go to http://www.freefont.de and download the free MegaFont Starter Edition. It has a PDF file that shows you the Clarendon styles available in the MegaFont Euro Edition. The MegaFont Euro Edition package with 5000 fonts including Clarendon retails for EUR 49.95 (around US$50). Martin Kotulla SoftMaker Software GmbH Article 390271 of alt.binaries.fonts: From: "RSD99" Newsgroups: alt.binaries.fonts References: <3c97b26c$0$17760$626a54ce@news.free.fr> Subject: Re: The Quick Brown Fox Lines: 30 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Tue, 19 Mar 2002 22:54:07 GMT X-Complaints-To: business-support@verizon.com And > > Photo is of a 1930's dust-storm (probably in Kansas or > Oklahoma) from the Gimp-Savvy Photo Archive > > Tammy From tphinney@adobe.com Wed Mar 20 16:27:28 2002 Return-Path: for ; Wed, 20 Mar 2002 16:27:28 -0500 (EST) (envelope-from tphinney@adobe.com) for ; Wed, 20 Mar 2002 16:29:00 -0500 (EST) (envelope-from tphinney@adobe.com) for ; Wed, 20 Mar 2002 16:27:28 -0500 for ; Wed, 20 Mar 2002 16:29:00 -0500 (EST) (envelope-from tphinney@adobe.com) Received: from inner-relay-2.corp.adobe.com ([153.32.1.52]) for ; Wed, 20 Mar 2002 12:15:38 -0800 (PST) Received: from mailsj-v1.corp.adobe.com (mailsj-dev.corp.adobe.com [153.32.1.192]) for ; Wed, 20 Mar 2002 12:12:27 -0800 (PST) Received: from [153.32.58.193] ([153.32.58.193]) by mailsj-v1.corp.adobe.com (Netscape Messaging Server 4.15 v1 Jul ; Wed, 20 Mar 2002 12:13:52 -0800 X-Sender: tphinney@mailsj-v1.corp.adobe.com Message-Id: Date: Wed, 20 Mar 2002 12:14:43 -0800 To: luc@cs.mcgill.ca From: Thomas Phinney Subject: OpenType stuff Status: RO Hi, Luc. I was just browsing your nifty OpenType page, and I had a few comments: - the OpenType mailing list is listed as being the old sirius.com list. It switched over to topica.com quite some time ago. To subscribe, just send an email: - My response on the "relative sparseness" of OpenType fonts and support. Adobe is shipping almost three hundred OpenType fonts today. InDesign 2.0 supports dozens of OpenType layout features. By the end of the year, Adobe will be shipping its entire type library in OpenType format. - If you're interested, you'd be welcome to be a beta tester for Adobe's OpenType font development. By the way, will you be at TypeCon this year? Regards. T %Q TrueType, PostScript Type 1,&OpenType %N 23070 %B http://www.scribd.com/doc/202365/TrueType-PostScript-Type-1-and-OpenType-Whats-the-Difference %T TrueType, PostScript Type 1,&OpenType: What's the Difference? is the title of a comparative article by Thomas W. Phinney, written in 2002. %L TTT1 OT TY %d Jul 22 2007 %Q Thomas Phinney %N 23069 %B http://www.thomasphinney.com/ %G http://www.myfonts.com/person/Thomas_Phinney/ %T Font technology expert who runs his own type tech blog. Thomas Phinney was in Adobe's type group from 1997 until December 2008, mostly as Product Manager for Fonts&Global Typography, based in Seattle. At Adobe, he was involved in the technical, design, historical and business aspects of type, and worked closely with other font developers and customers. He has a Master's degree in typography and design from RIT, and an MBA from UC Berkeley. In 2008, he joined Extensis, where he is senior product manager for font solutions.
He created Geode (2004, Adobe) and Hypatia Sans (2005-2007, Adobe, an elegant geometric sans family, complete with coverage of East European languages, Greek and Cyrillic). Hypatia Sans Pro (2009) is a more complete family that was finished with the help of Paul Hunt.
In 2012, he started work on Cristoforo, a revival of Hermann Ihlenburg's Victorian typeface Columbus (1890, ATF) and its accompanying American Italic, also by Ihlenburg. Kickstarter project. Phinney notes that it is known as the typeface of Call of Cthulhu, the H.P. Lovecraft roleplaying game, and as the original logo for Cracker Jack.
At ATypI 2004 in Prague, he spoke about the demise of multiple masters, and the future of OpenType and type 1. At ATypI 2005 in Helsinki, he announced the phasing out of type 1 at Adobe. He has spoken at nearly all of the TypeTech parts of the annual ATypI meetings. At ATypI 2008 in St. Petersburg, he spoke about web fonts and on OpenType. Speaker at ATypI 2010 in Dublin. His talk at ATypI 2011 in Reykjavik is entitled TSI: Type Scene Investigations.
Klingspor link. %Z 408.536.4596 %E tphinney@adobe.com %d Aug 22 2004 %L PERS DE FO-GR FO-CY USA-WA BLOG CAN VICT %Z ThomasPhinney--HypatiaSansProBold-2011.gif %Z HermannIhlenburg-Columbus-1890-used-by-Crackerjack.jpg %Z ThomasPhinney-Cristoforo-2012.gif %Q Truetype, type 1 or OpenType %N 23068 %B http://typophile.com/node/16695 %T Discussion at Typophile in December 2005 regarding which font format will survive. Some say PostScript (type 1) will be around for a long time as many print shops are still using it. Truetype is preferred for applications on screen, it seems. There is agreement that Truetype outlines are harder to get right. But no one mentioned the fact that we should have a different font model altogether--one based on many inking paradigms including drawing and image-based formats, in which all data can be altered in ordinary text editors. %L TTT1 OT %d Dec 10 2005 >ALQUITO CCCP -- Jim Marcus. Never released as a pkg. >APAPA -- Don't know designer. Never released by T26 >BAYER EXPERIMENT -- Don't know designer. Never released by T26 >BOOGIEMAN?.roe [attrib] Never released by T26. Doesn't really look like Adam Roes' work nor did he release through Lunchbox. >BORDERS [BordeAndOrnVolOne] --Don't know designer. Never released by T26. >BRAIN DEAD --Don't know designer. Never released by T26 >CONCHO 94 -- Don't know designer. Never released by T26 >CREATION -- Don't know designer. Never released by T26 >CUBREDO -- Don't know designer. Never released by T26 >CUBUTU -- Don't know designer. Never released by T26 >HYSTRIX?.chank [attrib] -- Never released by T26 >INSIDEOUT+OUTSIDEIN -- Don't know designer. Never released by T26 >KURSIV -- Don't know designer. Never released by T26 >MAELANCOLIA -- Don't know designer. Never released by T26 >PORTASTAT -- Don't know designer. Never released by T26 >RED HERRING -- Don't know designer. Never released by T26 >RUBEN DARIO -- Don't know designer. Never released by T26 >SHASHASHA -- Don't know designer. Never released by T26 >SLANTED -- Don't know designer. Never released by T26 >SLIDE -- Don't know designer. Never released by T26 >WAR ORGANS -- Don't know designer (has that Marcus look though). Never released by T26 >AMBU BETA -- Designed by E-Lan Ronen and released as #T0142 as an inline font. >MITTEN BETA -- Designed by Chris MacGregor and released as #T0198 >REVIVAL BETA -- Designed by Peter Bruhn and released as #T0217 >THEODOR BETA -- Designed by Peter Bruhn and released as #T0218 HamburgerMenu.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def HamburgerMenuMarquee.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def HolidayRanch.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def InternationalPalms.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def LamplighterMarquee.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def LamplighterScript.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def LasVegastoRome.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def LeisureScript.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def LeisureScriptMarquee.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def MirageBazaar.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def MirageZanzibar.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def MisterTelevision.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def StarburstLanes.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def StarburstLanesTwinkle.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def VegasCaravan.pfa: /Notice (Copyright \251 2002 Brian Bonislawsky/Stuart Sandler - Font Diner - http://www.fontdiner.com) readonly def Article 392755 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.cwix.com!news1.optus.net.au!optus!snewsf0.syd.ops.aspac.uu.net!ozemail.com.au!not-for-mail I have been thinking about the remarks Mike made. This is a discussion group and it is nice to have an opposite view to cause more discussion. There are a few points that I agree with what he said, but some I disagree with as well. **** It's fine and admirable if someone wants to design and distribute free fonts, as long as they are original designs. However, I don't think there is anything inherently dishonorable about designing a font or type family and wanting to be paid for the often considerable work involved. Many of the type designers I admire have tried to make a living by designing fonts, not an easy thing to do when people think it is cool to steal the result of many hours of design work and then give it away to others.***** I agree, but what has this to do with free fonts verse commercial ? This is piracy you are talking about and I did not bring up, nor mention, this topic. It was not a part of my original post. You brought up piracy. Lets talk about piracy and commercial vendors/foundries, shall we. MyFont.com. well, a nice collection of fonts, but a number are of extremely dubious originality, yet they are for sale. Yes, there are original works for sale there, but how can a vendor like that even contemplate critique when they have soiled their own nest. Emigre, well, nice work and some real nice originals. But can you state this about all of their fonts ? I don't think so. T. Starbuck must be quite thick skinned if he attacks pirates for ripping off fonts that they themselves are suspected of ripping/pirating off other more deserving designers, and probably free font creators at that. Shame.Name any of the current crop of relatively new commercial foundries and you can bet your bottom dollar that a number of the so called originals for sale are total ripoffs and pirated. You may disagree, but it is true. I am getting quite annoyed at the amount of crap thrown unfairly at free type designers by commercial sites and their defenders by labelling them all (ALL not some) as pirates and rip off artists. Yes, there is quite a high percentage of free fonts that are clone/pirate/rip off but exactly the same percentage applies to commercial vendors and foundries. THEY seem to think its, to quote, 'cool to steal the result of many hours of design work and then give it away to others', end quote. No, it is not dishonourable to design a font, I agree with you, but it is dishonourable when all of the big commercial foundries seem to end up with the exact same font, point for point, and claim it as their design, not piracy. I know of two of the fonts I have made, freely, being sold under another name by quite reputable companies, without my permission. Its only piracy if you don't have enough money to pay for good lawyers, then it becomes good business practice. Stuff it, let the commercial sites earn their dirty living through piracy. Just do not ever again accuse free font foundries of piracy without also tarring the commercial foundries at the same time with the same accusation. GM From: "fontnazi.r00" Newsgroups: alt.binaries.fonts Date: Fri, 29 Mar 2002 10:35:51 -0600 > fontnazi.r00 wrote on 3/28/02 9:22 AM: > > > The main problem began in earnest in the Fifteenth Century, when > > "notes" changed from being something promised and offered freely by the > > purchaser, into something imposed and extorted by the seller. > > Today, a contract requires the full, explicit agreement by all parties. > > With fonts, they have taken the exact same "contract" and changed the > > name to "license", asserting that it is now lawful to simply impose it > > from the seller's side. The better analogy would be rape. > > I am sorry, but I am having trouble following the logic of your statements. > In one case you are talking about the development of currency as the medium > to pay debts in lieu of bartering goods -- something that hardly seems > 'extorted' by the seller. It is a form of civil contract, as you said. And > on the other hand you are talking about font licensing, which is an effort > to protect the investment and 'intellectual property' of the developers and > marketers of typefaces. Perhaps if you had to buy the physical type as metal > slugs (assuming you had no way to reproduce them endlessly and distribute > them or sell them yourself), such a license would not be needed. It is an > agreement that makes it harder to say "you did not know" that it was > improper to freely distribute something that you didn't create, and didn't > have permission to give away. What is the alternative to protect the font > developer, the 'honor system'? > > How is any of that rape? Graham has clarified what he meant by the > 'fontpimp' comment, and he was talking (at least in part) about unethical > foundries and vendors who charge for fonts that are not even their own. > > Somehow, I get the feeling your position is supposed to justify ripping off > fonts. Did I miss your real point (again)? > > > - Mike Yanega > Bowfin Printworks > http://www.bowfinprintworks.com I see sarcasm (again?) And where do you see any attempt to "justify" anything? Font licensing is an unlawful sham. There is an assumption that it is needed. There is an assumption that it does something about the copying issue. There is an assumption that it can be binding from one side. These are at least some areas where our logic divides, so difficulty in following is not unexpected. Here's a site with fonts by theme... http://www.onescrappysite.com/fonts/themes.htm http://www.billybear4kids.com/fonts/fonts.htm Bunches of font links here. http://scrapbooking.about.com/gi/dynamic/offsite.htm?site=http%3A%2F%2Fwww.g eocities.com%2FHeartland%2FAcres%2F4488%2Fresources.html From ray.taylor@acorda.ca Mon Apr 1 15:01:22 2002 Prerelease versions of the AiPaiNunavik Unicode fonts and keyboard layouts are now available for download, for both Windows 2000/XP and for Mac OS X. The Windows installer can be downloaded here: http://www.aipainunavik.com/common_dl/aipaiunicodesetup.zip The Mac OS X installer can be downloaded here: http://www.aipainunavik.com/common_dl/aipaiunicodesetup.sit The fonts are in 4 weights - Regular, Italic, Bold, and Bold Italic, and have a full Roman character set. Both the Windows and Mac OS X versions of the installer will install the fonts and keyboard layouts designed specifically for AiPaiNunavikU. While I am still a long way from finalizing the fonts (the Roman characters have not been completed yet, and are not in this version of the font), I felt it might be useful to release a version where at least the character set is locked down. When the fonts are finalized (some time this summer) they can be simply replaced without affecting documents or databases created with them. To download and install the fonts and keyboard layouts, you will have to e-mail me for an installation password and agree to the prerelease license. Some things to keep in mind: - The fonts are interchangeable with NunacomU, Code2000, Pigiarniq and Ballymun - all of which are Unicode fonts that have Inuttitut code ranges. You can use the AiPaiNunavik Unicode keyboard layout with any of these fonts. By the same token, you can use the NunacomU/Pigiarniq keyboard layout (developed by the government of Nunavut) with AiPaiNunavikU. - Unicode fonts are not compatible with any of the older syllabic fonts. I am starting work on a transcoding converter that will convert documents from AiPaiNunavik (normal) to AiPaiNunavikU and back again. - Very few programs use Unicode on the Mac, including Microsoft Office X. This means that if you create a document on Word XP for Windows using AiPaiNunavikU, it will not display any syllabic characters when you move it to Word X on the Mac (you can all say BOOO). I have a (short) list of software that is Unicode aware on OS X, and I am always on the lookout for more - so please feel free to e-mail me if you have a specific need. For the time being, you can always save files as RTF in order to move them. - The keyboard layout on Windows now functions somewhat like the Mac - you use CAPS LOCK to get syllabic characters. (When CAPS LOCK is off. you get Roman characters, and when CAPS LOCK is on, you get Inuttitut syllabics). However, due to OS limitations, I cannot create layouts that mimic the CSA/ISO multilingual layout that is CAPS LOCK aware. Please feel free to email me for details. - The keyboard layouts for Mac OS X function exactly as before, except you have the full Roman character set when CAPS LOCK is off. -------------------------------------------------------- %N 23067 %B http://www.cynscribe.com %D Cynthia Garinther %Q Cynscribe Calligraphy %T Calligraphy link site maintained by Cynthia Garinther in Montreal. %L CA LI CAN %E cynthia@dsuper.net %Z http://www.dsuper.net/~cynthia/Cynscribe.html %d Sep 21 1999 %Z From one of the founding members of La Société des Calligraphes de Montréal, Cynthia Garinther's ultimate calligraphy link page. To be bookmarked! Bakoma TEX http://ctan.loria.fr/ctan-ann/msg00094.html BaKoMa TeX is a complete TeX system for Microsoft Windows XP/2000/NT/98/95 HIGHLIGHTS * PostScript enabled TeX system. Generates *PDF* from documents with *PSTricks*, *PSfrag*, etc. * Supports using PostScript Type 1 fonts (including MM) *WITHOUT ATM*. However, using ATM for font rendering is optionally available. * Complete distribution includes about *1500* TeX Fonts (including EC/TC, LH) in ATM Compatible PostScript Type 1 font format. * Consistent graphics and font support for all DVI back-ends. * Supports hyperlink text broken across lines and pages. * Easy to install and use. * Much less expensive than other analogues. GRAPHICAL CAPABILITIES BaKoMa TeX includes an interpreter for *PostScript Level 2*. which is tested for compatibility with output from popular software such as: MetaPost, Adobe Illustrator 9.0, Adobe Streamline 4.0. MatLab, CorelDraw, CorelXARA, HIGZ, PageDraw, FrameMaker, ImageMagick, etc. All DVI back-ends support the same special interface compatible with well known Rokicki's DVIPS, including processing PostScript embedded into DVI files (PSTricks, PSfrag, XyPic, etc.). The system includes Graphics Import Filters for the following formats: PostScript, HPGL, DXY, JPEG, PNG, GIF, TIFF, PCX, MSP, BMP. Now v4.20 From mbauhahn@brio.com Thu Apr 11 04:23:11 2002 Return-Path: for ; Thu, 11 Apr 2002 04:23:11 -0400 (EDT) (envelope-from mbauhahn@brio.com) for ; Thu, 11 Apr 2002 04:24:48 -0400 (EDT) (envelope-from mbauhahn@brio.com) for ; Thu, 11 Apr 2002 04:23:11 -0400 Received: from smtp01.brio.com (smtp01.brio.com [64.160.43.107]) for ; Thu, 11 Apr 2002 04:24:47 -0400 (EDT) (envelope-from mbauhahn@brio.com) Received: from briohq-bh.brio.com (firewall.brio.com [64.160.43.20]) for ; Thu, 11 Apr 2002 01:19:39 -0700 (PDT) Received: by briohq-bh.brio.com with Internet Mail Service (5.5.2653.19) id <2PXCB0CF>; Thu, 11 Apr 2002 01:16:18 -0700 From: Maurice Bauhahn To: "'luc@cs.mcgill.ca'" Subject: FW: Tool to create an AFM file from a TTF file? Date: Thu, 11 Apr 2002 01:34:52 -0700 charset="iso-8859-1" Status: R Hello Luc Devroye. Thank you for your very informative page dealing with Type 1 font software. FYI: I inquired about one of the URLs on your pssoftware.html page as recorded below. Please note the response. Gratefully. Maurice Bauhahn -----Original Message----- From: Brion L. VIBBER [mailto:brion@pobox.com] Sent: 10 April 2002 18:50 To: Maurice Bauhahn Subject: Re: Tool to create an AFM file from a TTF file? On mer, 2002-04-10 at 07:09, Maurice Bauhahn wrote: From mbauhahn@brio.com Thu Apr 11 04:23:11 2002 Return-Path: for ; Thu, 11 Apr 2002 04:23:11 -0400 (EDT) (envelope-from mbauhahn@brio.com) for ; Thu, 11 Apr 2002 04:24:48 -0400 (EDT) (envelope-from mbauhahn@brio.com) for ; Thu, 11 Apr 2002 04:23:11 -0400 Received: from smtp01.brio.com (smtp01.brio.com [64.160.43.107]) for ; Thu, 11 Apr 2002 04:24:47 -0400 (EDT) (envelope-from mbauhahn@brio.com) Received: from briohq-bh.brio.com (firewall.brio.com [64.160.43.20]) for ; Thu, 11 Apr 2002 01:19:39 -0700 (PDT) Received: by briohq-bh.brio.com with Internet Mail Service (5.5.2653.19) id <2PXCB0CF>; Thu, 11 Apr 2002 01:16:18 -0700 From: Maurice Bauhahn To: "'luc@cs.mcgill.ca'" Subject: FW: Tool to create an AFM file from a TTF file? Date: Thu, 11 Apr 2002 01:34:52 -0700 charset="iso-8859-1" Status: R Hello Luc Devroye. Thank you for your very informative page dealing with Type 1 font software. FYI: I inquired about one of the URLs on your pssoftware.html page as recorded below. Please note the response. Gratefully. Maurice Bauhahn -----Original Message----- From: Brion L. VIBBER [mailto:brion@pobox.com] Sent: 10 April 2002 18:50 To: Maurice Bauhahn Subject: Re: Tool to create an AFM file from a TTF file? On mer, 2002-04-10 at 07:09, Maurice Bauhahn wrote: charset="iso-8859-1" Status: R Hello Luc Devroye. Thank you for your very informative page dealing with Type 1 font software. FYI: I inquired about one of the URLs on your pssoftware.html page as recorded below. Please note the response. Gratefully. Maurice Bauhahn From PeterHajdin@komplot.sk Thu Apr 11 16:40:40 2002 Return-Path: for ; Thu, 11 Apr 2002 16:40:39 -0400 (EDT) (envelope-from PeterHajdin@komplot.sk) for ; Thu, 11 Apr 2002 16:42:16 -0400 (EDT) (envelope-from PeterHajdin@komplot.sk) for ; Thu, 11 Apr 2002 16:40:39 -0400 From: PeterHajdin@komplot.sk Received: from proxy.rns.sk (rns.sk [212.89.226.234]) for ; Thu, 11 Apr 2002 16:42:15 -0400 (EDT) (envelope-from PeterHajdin@komplot.sk) Subject: TODAY? To: "luc@cs.mcgill.ca" Message-ID: Date: Thu, 11 Apr 2002 22:42:35 +0200 22:40:36 Content-type: text/plain; charset=us-ascii Status: R dear luc. although not a regular visitor to your "font pages", i keep an eye on your editor/collector/underground(?)-saboteur work for a long time and i must admit i admire it a lot (and this is not just another meaningless compliment :) today, i have found the texts on the (un)famous TodaySans vs. Cronos case on your website (http://cg.scs.carleton.ca/~luc/apostrophe2.html). which is, by accident, very strange indeed, as just a few days ago, i have faced a problem not easy to solve. maybe you can help me out somehow? the thing is, i have a copy (a illegal copy) of the TodaySans font on my computer for quite a long time (no idea where it came from). as it is an illegal copy - although i LOVE the font - i decided better not to use it in any commercial work. nevertheless, recently i am working on a corporate identity project for a specific client. it would help me out a lot if i could buy TodaySans, so the copany could use it for a corporate font. unfortunately (as you know for sure), there is absolutely NO way i would know about to obtain a legal copy of it. so please, if you have any information on this issue, let me know, i would appreciate it a lot. ...perhaps, there is even a way to contact mr. kuester himself?... hope to hear of you my best regards peter hajdin Article 396369 of alt.binaries.fonts: Path: carnaval.risq.qc.ca!sunqbc.risq.qc.ca!cpk-news-hub1.bbnplanet.com!news.gtei.net!diablo.netcom.net.uk!netcom.net.uk!deine.net!newsfeed00.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: Lars Trebing Newsgroups: alt.binaries.fonts,comp.fonts Subject: Re: DaimlerChrysler Corporate Font Date: Fri, 12 Apr 2002 15:57:44 +0200 Organization: T-Online Lines: 16 Message-ID: <3CB6E7D8.533F7FD3@ltrebing.de> References: <3cb69347$0$340$9b622d9e@news.freenet.de> Content-Transfer-Encoding: 7bit X-Complaints-To: abuse@t-online.com X-Sender: 310050251019-0001@t-dialin.net X-Accept-Language: de-DE,de,en,fr-FR,fr Stefan Ziegler wrote: > Were can I find the DaimlerChrysler corporate font family for > downloading (TrueType preferred)? Not for free though ...;) Lars -- The first time you'll get a Microsoft product that doesn't suck will be the day they start producing vacuum cleaners. Lars Trebing | http://www.ltrebing.de/ | mailto:ltrebing@ltrebing.de %Z On Thursday, April 11, 2002, Cliff Jones wrote: I just saw this URL: http://cg.scs.carleton.ca/~luc/lawsuit.html I don't know what Hoefler and his friends are so happy about. If I filed a 20 million dollar lawsuit and had to go home with nothing after spending so much money I would be very pissed and I would keep my mouth shut. Apostrophe seems quite open about the whole story so I don't think he's lying. The John Berry article on here is just Hoefler's email spinned off. John Berry and his editors should have had enough sense to research their information before publishing it because now they look stupid, biased, and insincere about their reporting. If what Apostrophe says is true, and I have no reason to believe it is not, those seven foundries have put their whole industry in deep ka ka. Seven of them combined against one guy had to accept nothing for their cost and efforts, and the usenet orgy still goes on. Hoefler's fonts were uploaded on the mac fonts newsgroup just yesterday. Emigre's fonts are uploaded there everyday. There's a million Apostrophes but how many seven foundry coalitions are about to sue them and get nothing for it? Wake the hell up Hoefler. You don't like piracy? What did you do about it and what did you get for your efforts to stop it? A press release that someone else wrote for you? So sad. From frednader@rogers.com Fri Apr 12 22:11:07 2002 Return-Path: for ; Fri, 12 Apr 2002 22:11:07 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Fri, 12 Apr 2002 22:12:44 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Fri, 12 Apr 2002 22:11:07 -0400 Received: from fep04-mail.bloor.is.net.cable.rogers.com (fep04-mail.bloor.is.net.cable.rogers.com [66.185.86.74]) for ; Fri, 12 Apr 2002 22:12:44 -0400 (EDT) (envelope-from frednader@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.208]) by fep04-mail.bloor.is.net.cable.rogers.com id <20020413021100.GRDY133846.fep04-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Fri, 12 Apr 2002 22:11:00 -0400 Message-Id: <5.1.0.14.2.20020412221025.02237c58@pop> X-Sender: frednader@rogers.com@pop Date: Fri, 12 Apr 2002 22:11:22 -0400 To: luc@cs.mcgill.ca From: Freddy Subject: Hehehe X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep04-mail.bloor.is.net.cable.rogers.com from [24.157.67.208] using ID at Fri, 12 Apr 2002 22:11:00 -0400 Status: R Luc. I just fired off this email to Jonathan Hoefler: -- Dear Mr. Hoefler. Re: The statement that you made on a creativepro.com, "My studio is the sole distributor of my fonts, and we therefore have complete records of our licensees. Anyone who has the fonts and isn't in our records, therefore. has pirated them." I had no idea that this was the case. Now I want to be the first to turn in the biggest pirate of them all: Apple Computer. Steve Jobs and his company have been pirating your fonts and are distributing them with every computer they sell. I know because I thought I licensed them legally when I opened my new computer last week. Now I know better. If you have every record of every sale, then either Apple Computer is infringing on my privacy by giving you information without my knowledge, or you are not aware that Apple Computer is licensing your fonts. Thanks for informing me. You should be aware that there must be over a million others like myself who are in violation of your licensing agreement, so I am taking this opportunity to write a letter to the Attorney General's Office of all fifty states, where I will quote your statement and the URL, and where I will inform them of the horrendous wrongdoing that Apple Computer has been doing all these years. I will also return my new iMac to Apple Computer, with a note quoting your statement and the URL. Best regards. F. M. Nader -- Freddy From jeffrey@actionnet.net Thu Apr 18 09:42:55 2002 Return-Path: for ; Thu, 18 Apr 2002 09:42:54 -0400 (EDT) (envelope-from jeffrey@actionnet.net) for ; Thu, 18 Apr 2002 09:44:33 -0400 (EDT) (envelope-from jeffrey@actionnet.net) for ; Thu, 18 Apr 2002 09:42:54 -0400 Received: from mail.actionnet.net (mail.actionnet.net [12.108.2.13]) for ; Thu, 18 Apr 2002 09:44:32 -0400 (EDT) (envelope-from jeffrey@actionnet.net) Received: from jeffrey (sb-mp199.actionnet.net [12.108.3.199]) by actionnet.net Thu, 18 Apr 2002 06:40:49 -0700 Message-ID: <002701c1e6de$f1d9de40$f2b1fea9@jeffrey> From: "Jeff" To: "Luc Devroye" Subject: You might want to add this to your list of Software Date: Thu, 18 Apr 2002 06:42:54 -0700 boundary="----=_NextPart_000_0024_01C1E6A4.44900A00" X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4522.1200 Status: RO This is a multi-part message in MIME format. ------=_NextPart_000_0024_01C1E6A4.44900A00 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hey; I've always been too quick to ask a question and too slow to read&= search just a little bit more................. sorry. I saw that = other page with the biography stuff and the one with the mass links for = software&stuff, somehow I just scanned passed that software part. I = didn't realize this site of yours was this big. All this time I was = treating you like a guy with a fascination with fonts and a neat 'lil = index page .......... good god I'm thick at times. I looked over that software page and found nearly everything there = that I dug up in my 2 days or so of searching .............. There is a comment there someplace about a MAC program " Font = Reserve ". Just so happens I went to the Bitstreame site when you = suggested the Navigator program. They are not using the Navigator = anymore and it's no longer available ( I didn't look at "old = versions.com" yet .... but that's free stuff anyway". They are now = selling a program called Font Reserve for a price of $70. I guess it's = not just for MAC anymore...... Well, to get to the point. I ran across a nice renamer program but = it didn't read tags, so couldn't use it for Restoring name. I sent a = note to the site operator/owner and asked if he knew of a good one to = let me know. About 3 hours later he sent this link for "The Rename" = http://membres.lycos.fr/hervet/therenamea.htm . From what I've read on = the page it will tax my brain a bit to get a grip on it, seems quite = complex. Very Free too. This thing does more to a file than I've ever = wanted to do. It's a multipurpose editor - several file types. It will = do MP3, VQF and OGG ............. hell, there's a screen full of = features. And the one we want is this one, a little over half way down = the feature list.... "Search internal name of truetype files to rename = files. For example "times.ttf" becomes "Times New Roman - Regular.ttf" An award by "Locker Nome" at the bottom, .......... is that good?? = I didn't see any Cows or Rubber Duckies..... Anyway, this was just an effort to turn you on to something that = would be helpful on your site ...... as a thank you. It's a Windows Program, but if you examine it anytime soon, I'd = like to know what you think. By the way, your link to "FontNamer" died. ZD Net says it moved and = only offers a link to "similar" stuff. I turned it up in a search, got = it, tried it, dumped it. They went to Shareware and didn't allow you do = to hardly anything with it until you paid for it. I'm gonna stop bothering you before I end up on your blocked = senders list........ I've just been using that program I sent you a link for. It's a BITCHIN' program. This thing will alter attributes as well as search and replace a string in the prefix or extension. The damn thing also has a "Recursive" function so that it will list (filtered by .tff, .mp3, .gif .......) files in the folder your in PLUS all the SubDirectories. If I'd have seen that in the first place, "the recursive thing", I could have cut my 30 minute job to 10min. It took about 30 min. to get into all the folders I sorted, including unzipping a bunch of stray files I picked up (in various folders) and rename them all. 158MB worth of files. This thing will move to folders and create directories too, just haven't played with it enough yet. I'm gonna make a test directory to see if that string search&replace will work for me. I should - in theory - be able to make it find " BT '," MT " OR " MS " and replace with the same letters AS IT RENAMES and only show the files that were renamed. Like a fast little scooper. *** Those are the only initials that I've found to reference so far. *** The rest of the foundries don't seem to leave any initials in their names, but this at least will cut way down on the searching. Once their separated into the major folders, the Font manager can sort according to Style to break them down the rest of the way. I can add initials to the stray Bitstream file and others that don't have them in the original name and so on, then I can keep all the Scripts in one folder and Gothic in another and so on. With just a little effort, I got it goin' on over here!!! Perhaps I'm easily impressed, but I think that Mexican guy "Hervay" or something who wrote that "THE Rename" program has got a nice thing going. If we could just get him to dig more string info out of those files and just do a simple search/find function without the replace part - that would be a killer program for doing what I'm doing. You could sort&rename 250MB in less that an hour - and done NEATLY too. Damn thing even lets you create .bat files to help "undo" things later on. I must say his English is pretty crappy though. This is the 2.0 version, fairly new. (Nov. 2001 I think) When I get this pile-O'-files done. I want to play with some of the fonts in the PhotoShop (PHP ...........or PSP looks right) since that was the point of all this. THEN I can stroll through some of those pages of yours ............ I don't have much of anything better to do most of the time. Maybe I'll make you a nice little graphic, a Logo or something ........ nothing too far out&bizarre. Some of these Ornamental fonts, the ones with the decorations on all the UpperCase letters, they look pretty cool after I tweak 'em. I'm having a little trouble with that particular "action" though, your supposed to be able to change things a bit as the action progresses - that's the whole point - but this one doesn't seem to like ANY changes. It will just bomb out 3/4 of the way through and leave you with a half baked project. But I'm working on it. Examples attached. The silver&black one is complete - no changes. The other is as far as I could get when I tried to alter that black fill to a nice maroonish color. See ya when I'm ready to check some links........ Jeff Article 124847 of comp.fonts: Message-ID: <3CBC5310.DB04EB4E@sover.net> From: Barbara Poeter Salls X-Accept-Language: en Newsgroups: comp.fonts Subject: Re: Font limit in Win98 References: Content-Transfer-Encoding: 8bit Lines: 32 X-Complaints-To: abuse@usenetserver.com X-Abuse-Info: Please be sure to forward a copy of ALL headers X-Abuse-Info: Otherwise we will be unable to process your complaint properly. Organization: WebUseNet Corp. - "ReInventing The UseNet" Date: Tue, 16 Apr 2002 12:36:32 -0400 Look into Font Reserve, available now through Bitstream. A little history here for you, which I think I have correct … Several years ago a company called Ares developed Font Minder, an excellent type management utility for Windows, so good that Adobe bought the technology. It doesn't seem to me they every did much of anything to incorporate it into their own font manager. Meanwhile. Bitstream hired the Ares developers, and the new group produced another excellent Windows font manager called Bitstream Font Navigator. It was similar to the old Ares Font Minder with some changes. At the same time, for the Mac OS a manager called Font Reserve emerged. I believe it possessed many of the features of Font Minder/Font Navigator, and it, too, got great reviews. Very recently, Bitstream bought that program, developed it for Windows as well, and are now marketing it as Bitstream Font Reserve. Their Font Navigator, of course, has been discontinued as a result of this change. I am still using Navigator but intend to switch over to the newer program, since I believe it contains the best aspects of all three predecessors. On Windows 98, if you are using PostScript fonts as well as TrueType, you will also need Adobe Type Manager (from Adobe). Read Bitstream's directions on how to coordinate these two utilities. ------------------------------------------------------------------------------------------------------------------------------ http://ftpsearch.lycos.com/cgi-bin/search?query=3Dfonts&doit=3DSearch&typ= e=3DCase+insensitive+substring+search&hits=3D500&matches=3D&hitsprmatch=3D= &limdom=3D&limpath=3D&f1=3DCount&f2=3DMode&f3=3DSize&f4=3DDate&f5=3DHost&= f6=3DPath&header=3Dnone&sort=3Dnone&trlen=3D20 Jeff..... You can download the free Bearshare peer to peer file sharing program from www.Bearshare.com and then do a find on it and download it. Hypo. "bella fortuni" wrote in message news:u70ccuk6qk88aj3es3gc4rcddmf05envld@4ax.com... > Anyone know where to look? System crash and I need it bad. > > wev From cybapee@joice.net Thu May 2 23:56:29 2002 Return-Path: for ; Thu, 2 May 2002 23:56:29 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Thu, 2 May 2002 23:58:10 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Thu, 2 May 2002 23:56:28 -0400 Received: from mail1.isys.net (heavymetal.isc.de [195.64.96.45]) for ; Thu, 2 May 2002 23:58:09 -0400 (EDT) (envelope-from cybapee@joice.net) Received: from dip-01-021-1.on-line.de ([195.64.97.21] helo=joice.net) by mail1.isys.net with smtp (Exim 3.16 #1) id 173UBB-0005TL-00; Fri, 03 May 2002 05:56:21 +0200 Date: Fri, 3 May 2002 05:51:03 +0200 From: CybaPee To: luc@cs.mcgill.ca Cc: frednader@rogers.com Subject: Re: Embedding stuff Content-Transfer-Encoding: 7bit Message-Id: Status: R Thanks for the infamous embedding details! I put a link on TbP. Graham is right - Agfa is going nuts. And so does Linotype. One of their lawyers sent another letter to Dieter Steffmann, including a lamento about Isadora, Flora and Eldorado which they claim to be registered Lino-trademarks (aren't those ITC and FB???) and they want Dieter to pay 5,000 Euro for that. Interesting. Dieter told me he has another letter of another Lino lawyer with the written agreement, that those fonts aren't Linotype! (I hope he can locate that document somewhere). As this is a pending thing we should remain silent, but as soon as Dieter says ok. we can publish another boring copyright-war story. > By the way, leaving on Sunday to Belgium for a month. > but there should be no interruptions in the web page > updates (Belgium is a civilized country). Fine, have a good time in ol' Europe! Belgium surely is a country of culture and good beer;-) Petra From cybapee@joice.net Fri May 3 02:51:05 2002 Return-Path: for ; Fri, 3 May 2002 02:51:05 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Fri, 3 May 2002 02:52:46 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Fri, 3 May 2002 02:51:04 -0400 Received: from mail1.isys.net (heavymetal.isc.de [195.64.96.45]) for ; Fri, 3 May 2002 02:52:45 -0400 (EDT) (envelope-from cybapee@joice.net) Received: from dip-01-014-1.on-line.de ([195.64.97.14] helo=joice.net) by mail1.isys.net with smtp (Exim 3.16 #1) id 173Wtr-00087a-00; Fri, 03 May 2002 08:50:39 +0200 Date: Fri, 3 May 2002 08:45:09 +0200 From: CybaPee To: luc@cs.mcgill.ca Cc: frednader@rogers.com Subject: Dieter vs. Lino Message-Id: Content-Transfer-Encoding: 8bit Status: R Pretty interesting! Before I quote Dieter's latest comments on this. some informations about Heidelberger Druckmaschinen: They belong to a big company RWE (power, energy etc) and as Heidelberger Druckmaschinen has a very low profit rate (has it any??), RWE intends to sell them and make a zillion Euros with this: Geplant ist der Verkauf von Heidelberger Druck und Hochtief. Damit könnten 2003 bis zu fünf Milliarden Euro erlöst werden. (Quoted from Wirtschaftswoche, a German economic magazine). Don't know if that monster link works: http://www.wiwo.de/wiwowwwangebot/fn/ww/bt/2/SFN/buildww/SH/0/CN/cn_artikel/ID/85084!145663/LAYOUT/58327/DEPOT/0/fm/0/fl/0/oa_id/0/strucitemid/PAGE_85084/docid/145663/index.html OK, so Heidelberger Druck is under pressure. Dieter told me Linotype could be in serious financial trouble and that's the reason for this strange attack against him. They simply need every single Euro they can find. With their latest mail they are referring to the Isadora affair from 2002. ****Dieter: bei mir handelt es es um die Isadora Caps. Dieser Font existierte bereits vor der LH Isadora. Der Trick von Linotype ist folgender: Sie haben sich (nur für Deutschland gültig) den Namen "Isadora" als Warennamen für jeweils immer 10 Jahre schützen lassen! Ich hatte denen bereits vor ca 1,5 Jahren den Beweis dafür geliefert, da meine Public Domain Datei älter war (Speicherdatum der Datei auf einer CD) als ihr "geklauter" Name. ***** Which means, Dieter was able to prove that his Isadora Caps were dated before the Linotype Isadora was registered. Linotype was so tricky to register Isadora as a trademark for ten years periods, valid only in Germany. And Dieter used to have a note on his fontlist-page that his Isadora is something else than Linotype Isadora. A correct disclaimer, as far as I can see. For Dieter this is a case of fraud or "unjustified enrichment" (don't know how to translate this legal term correctly): *** Ich gehe von versuchtem Betrug/ungerechtfertigter Bereicherung aus. *** Right, so do I. So let's see if the Lino lawyers insist on their "right" to print some money this way! Dieter is in the mood to fight them and he is going to have my full support. I'd like to collect some more facts re. Linotype's financial situation and I will try to get some information via Donner Bank. Our experts might have to re-consider the recommendation of Heidelberger Druck shares;-) Petra From lescab@flashfonts.com Tue May 7 20:16:32 2002 Return-Path: for ; Tue, 7 May 2002 20:16:31 -0400 (EDT) (envelope-from lescab@flashfonts.com) for ; Tue, 7 May 2002 20:18:14 -0400 (EDT) (envelope-from lescab@flashfonts.com) for ; Tue, 7 May 2002 20:16:31 -0400 Received: from rwcrmhc53.attbi.com (rwcrmhc53.attbi.com [204.127.198.39]) for ; Tue, 7 May 2002 20:18:13 -0400 (EDT) (envelope-from lescab@flashfonts.com) Received: from flashfonts.com ([24.130.58.22]) by rwcrmhc53.attbi.com id <20020508001603.LQOK7420.rwcrmhc53.attbi.com@flashfonts.com> for ; Wed, 8 May 2002 00:16:03 +0000 Message-ID: <3CD86F8B.3851665D@flashfonts.com> Date: Tue, 07 May 2002 17:21:30 -0700 From: leslie cabarga Reply-To: lescab@flashfonts.com X-Accept-Language: en To: luc@cs.mcgill.ca Subject: why? Content-Transfer-Encoding: 7bit Status: R Why must this font controversy live on in your web page? Why did you put it up? Will you please remove it. Apologies were made. It's over. Thanks Leslie Cabarga From lescab@flashfonts.com Tue May 7 20:19:30 2002 Return-Path: for ; Tue, 7 May 2002 20:19:30 -0400 (EDT) (envelope-from lescab@flashfonts.com) for ; Tue, 7 May 2002 20:21:12 -0400 (EDT) (envelope-from lescab@flashfonts.com) for ; Tue, 7 May 2002 20:19:29 -0400 Received: from rwcrmhc51.attbi.com (rwcrmhc51.attbi.com [204.127.198.38]) for ; Tue, 7 May 2002 20:21:11 -0400 (EDT) (envelope-from lescab@flashfonts.com) Received: from flashfonts.com ([24.130.58.22]) by rwcrmhc51.attbi.com for ; Wed, 8 May 2002 00:17:53 +0000 Message-ID: <3CD86FF9.97AB7A6@flashfonts.com> Date: Tue, 07 May 2002 17:23:21 -0700 From: leslie cabarga Reply-To: lescab@flashfonts.com X-Accept-Language: en To: luc@cs.mcgill.ca Subject: missed Content-Transfer-Encoding: 7bit Status: R I missed the fact that the page I removed from my site has been re-posted by you. Remove it immediately. Article 125421 of comp.fonts: Path: charlie!sunqbc.risq.qc.ca!nntp.abs.net!news.voicenet.com!yellow.newsread.com!bad-news.newsread.com!netaxs.com!newsread.com!ptdnetT!newsgateT.ptd.net!newsfeeds.nerdc.ufl.edu!nntp-server.caltech.edu!cscnews.csc.calpoly.edu!HSNX.atgi.net!headwall.stanford.edu!newsfeed.stanford.edu!cyclone.bc.net!newsfeed.telusplanet.net!news1.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: comp.fonts References: <3CD6B807.ED09F2D9@cter.s> Subject: Re: bitmapped fonts outside US Lines: 45 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4522.1200 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4910.0300 Message-ID: Date: Mon, 06 May 2002 19:14:45 GMT "Character" wrote in message news:3CD6B807.ED09F2D9@cter.s... > Is that true world-wide? I seem to recall some discussions indicating that outside of North America > the character shapes themselves were protected as art, regardless of how they were implemented. Outside the US the shapes themselves are not copyrighted, no. What's said to be copyrighted is the way the shapes are defined, or the node-and-handle positions -- but even that is not proven, since there's never been a lawsuit outside the US to confirm or deny this hearsay. In Europe there are many examples of character shapes being redrawn and resold by different type vendors; URW, Brendel, Softmaker, to mention a few. Nobody has grounds to sue over redefined outlines. Fontshop and Lino had it in for Brendel and Softmaker for the longest time, but didn't sue until Brendel used some similar font names to those of Fontshop's library. Retracing the character from a screenshot obtains by default different outline definitions than the original outlines, which makes the new outlines untoucheable. Same thing as printing and retracing from printed output. If shapes were copyrighted, Linotype would have become the richest company in the world from lawsuits about the shapes of Helvetica and Palatino alone. in Germany, the country where lawsuits are as frequent as television commercials. If shapes were copyrighted, a Book Antiqua case would have set precendents throughout the whole world. > (I've always questioned the rationale of that approach - if you morph a Mickey Mouse into a giraffe > [or the attorney of your choice], at what point in the infinite sequence of images does Disney's > copyright on the Mickey Mouse image no longer apply?) Well, at one point along that infinite sequence, Mickey would not be recognizable and we would have brand new artwork that is visually unrelated to the original, in spite of the fact that it was digitally born from it. The rationale is not enforceable at all, unless the modification is visually and digitally evident (à la King). ' -- www.apostrophiclab.com %Q OSX PostScript fonts %N 23066 %B nothing %T Places with OSX PostScript fonts at Apple: developer.apple.com/fonts/">here, here, here, here. PostScript Type 1 (Mac or Windows), OpenType, TrueType (Mac or Windows), Mac screen, and a few others are all accepted by OSX. If you want them available to all accounts on the machine, log in as an Administrator and put them in /Library/Fonts. If you only need them for your account, just put them in ~/Library/Fonts. %L FM-MAC %d May 12 2002 %Q ForkSwitcher %N 23065 %B http://fonts.apple.com/Tools/tooldir/ForkSwitcher/Documentation/ForkSwitcher.html %d May 12 2002 %T An application that changes the fork of (Mac) font files so the font can be installed in all Operating Systems (OSX and OS9 or older). For example, OS9 has the font in the "resource fork", and OSX needs it in the "data fork", and in that case, the font is called a "dfont". %L FM-MAC > Does anyone know of a way to make PC Type 1 fonts usable under OSX? All you have to do is swap forks -- you can do that with the MPW rez tool or with Resorcerer (Mathemaesthetics). Check out the website http://fonts.apple.com/ other stuff font-related for the Mac. http://groups.google.com/groups?q=mac+osx+postscript+fonts&hl=en From 313.shade@wanadoo.fr Mon May 13 09:13:00 2002 Return-Path: <313.shade@wanadoo.fr> for ; Mon, 13 May 2002 09:13:00 -0400 (EDT) (envelope-from 313.shade@wanadoo.fr) for ; Mon, 13 May 2002 09:14:44 -0400 (EDT) (envelope-from 313.shade@wanadoo.fr) for ; Mon, 13 May 2002 09:13:00 -0400 Received: from mel-rto4.wanadoo.fr (smtp-out-4.wanadoo.fr [193.252.19.23]) for ; Mon, 13 May 2002 09:14:43 -0400 (EDT) (envelope-from 313.shade@wanadoo.fr) Received: from mel-rta7.wanadoo.fr (193.252.19.61) by mel-rto4.wanadoo.fr (6.5.007) id 3CDF9CEA00017091 for luc@cs.mcgill.ca; Mon, 13 May 2002 15:12:54 +0200 Received: from [192.168.0.16] (193.251.189.253) by mel-rta7.wanadoo.fr (6.5.007) id 3CD0C97C0059884E for luc@cs.mcgill.ca; Mon, 13 May 2002 15:12:54 +0200 User-Agent: Microsoft-Entourage/9.0.2509 Date: Mon, 13 May 2002 15:11:39 +0100 Subject: A type magazine is Born !;) To: Message-ID: Mime-version: 1.0 Content-type: multipart/alternative; boundary="B_3104147499_233306" Status: R > This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. --B_3104147499_233306 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hello ! Check this out : --B_3104147499_233306 Content-type: text/html; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable A type magazine is Born !;) Hello !

Check this out :

http://www.regleszero.com

it's a new typography magazine, issue 01 is out !
There's also some Free fonts to download. (one for the moment and 3 tonight= or tomorrow, when I'll find a bit time to add them)

Best regards.

--Stephane/Publisher. --B_3104147499_233306-- %E matt@ewtoo.org %Q Matt Sephton versus tDR %L TY-LG %d May 13 2002 %T Matt Sephtom had created a font, called Blockout (a techno font that can still be found here), from scratch in Fontographer some time ago. It was, as he put it, influenced by the tDR font in the Wipeout series of games. He placed a free truetype font on his web site, but was confronted with a threatening letter from tDR and was forced to take down the free .ttf font from his site. They claimed their font 6x6 (even though Matt's is based on a 7x7 grid) was what he was trying to sell. Another instance of corporate bullying. From Daniel.Thibault@drev.dnd.ca Mon May 13 13:44:01 2002 Return-Path: for ; Mon, 13 May 2002 13:44:01 -0400 (EDT) (envelope-from Daniel.Thibault@drev.dnd.ca) for ; Mon, 13 May 2002 13:45:45 -0400 (EDT) (envelope-from Daniel.Thibault@drev.dnd.ca) for ; Mon, 13 May 2002 13:44:01 -0400 Received: from fw.drenet.dnd.ca (fw.drenet.dnd.ca [131.136.242.1]) for ; Mon, 13 May 2002 13:45:44 -0400 (EDT) (envelope-from Daniel.Thibault@drev.dnd.ca) Received: (from root@localhost) for luc@cs.mcgill.ca; Mon, 13 May 2002 13:44:00 -0400 (EDT) Received: from drev.dnd.ca (gate-viz.drev.dnd.ca [131.132.16.30]) for ; Mon, 13 May 2002 13:43:59 -0400 (EDT) Received: from DREV.DND.Ca (canopus.drev.dnd.ca [131.132.33.12]) Mon, 13 May 2002 13:43:58 -0400 (EDT) Message-ID: <3CDFFB5D.BF3FB788@DREV.DND.Ca> Date: Mon, 13 May 2002 13:43:58 -0400 From: "Daniel U. Thibault" Organization: Centre de recherches pour la =?iso-8859-1?Q?d=E9fense?=, Valcartier X-Accept-Language: fr,en,pdf To: luc@cs.mcgill.ca CC: "Thibault, Daniel U." Subject: Kzinti&Star Trek Content-Transfer-Encoding: 8bit X-Info: scanned for viruses Status: R One small correction regarding http://cg.scs.carleton.ca/~luc/trek.html : The Kzinti do not belong to the Star Trek universe, so the label "Kzinti Startrek font" is misleading. The Kzinti are Larry Niven's creation and belong in what is known as Larry Niven's Known Space (see http://www.larryniven.org). The only connection is the following one: Larry Niven wrote a Known Space short story entitled "The Soft Weapon" which first appeared in Worlds of If in February 1967. That story concerned the crew of the spaceship Court Jester who had in their possession a stasis box and who were captured by a group of Kzinti pirates. The persons aboard the Court Jester were Jason Papandreou a human male, his wife Anne-Marie and Nessus, a Pierson's Puppeteer. Years later, Niven would rewrite the short story as the script of an Animated Star Trek episode. The episode was entitled "The Slaver Weapon" and originally aired on December 15, 1973. The Court Jester became the shuttlecraft Copernicus, the crew members were replaced by Sulu, Uhura and Spock, and a few other changes were made. There were no further appearances of the Kzinti in the animated series. The link between the Star Trek and Known Space universes is perpetuated by Task Force Games' (http://www.task-force-games.com/) Star Fleet Battles game, which features Kzinti as one of the races. This requires a hefty amount of suspension of disbelief, as the two universes' time-lines are quite different. Star Fleet Battles was originally published around 1979; it is now published by the Amarillo Design Bureau (http://www.starfleetgames.com/). Daniel U. Thibault a.k.a. Urhixidur a.k.a. Seigneur Bohémond de Nicée ICQ: 4985610 AIM: Urhixidur URL: http://www.bigfoot.com/~D.U.Thibault From thomas.linard@free.fr Mon May 13 18:26:28 2002 Return-Path: for ; Mon, 13 May 2002 18:26:28 -0400 (EDT) (envelope-from thomas.linard@free.fr) for ; Mon, 13 May 2002 18:28:12 -0400 (EDT) (envelope-from thomas.linard@free.fr) for ; Mon, 13 May 2002 18:26:28 -0400 Received: from postfix2-2.free.fr (postfix2-2.free.fr [213.228.0.140]) for ; Mon, 13 May 2002 18:28:11 -0400 (EDT) (envelope-from thomas.linard@free.fr) Received: from jeeves (strasbourg-2-a7-62-147-15-57.dial.proxad.net [62.147.15.57]) for ; Tue, 14 May 2002 00:26:26 +0200 (CEST) Date: Tue, 14 May 2002 00:28:34 +0200 From: Thomas Linard To: Luc Devroye Subject: OpenType Message-Id: <20020514002653.6D93.THOMAS.LINARD@free.fr> Content-Transfer-Encoding: 7bit Status: R Hello. I established an almost complete list of the OpenType fonts available or planned. I publish it from time to time on the French mailing-list , depending on the updates, but I thought it could interest you with a view of completing the OpenType page on your site. I'll send it to you if you wish. Problem is, it's in French, and I have no time to translate it. -- Cordially. Thomas Linard From kate@global2000.net Tue May 14 02:23:02 2002 Return-Path: for ; Tue, 14 May 2002 02:23:01 -0400 (EDT) (envelope-from kate@global2000.net) for ; Tue, 14 May 2002 02:24:45 -0400 (EDT) (envelope-from kate@global2000.net) for ; Tue, 14 May 2002 02:22:31 -0400 Received: from mx1.thebiz.net (mx1.thebiz.net [216.238.0.21]) for ; Tue, 14 May 2002 02:24:14 -0400 (EDT) (envelope-from kate@global2000.net) Received: (qmail 82191 invoked from network); 14 May 2002 02:20:33 -0400 Received: from unknown (172.16.0.72) by mx1.backend.thebiz.net with QMQP; 14 May 2002 02:20:33 -0400 Received: from unknown (HELO localhost) (216.238.201.48) by mail.global2000.net with SMTP; 14 May 2002 02:20:31 -0400 Date: Sun, 12 May 2002 11:50:08 -0400 Resent-Date: Wed, 15 May 2002 02:20:52 -0400 Content-Transfer-Encoding: 7bit Resent-Message-Id: Resent-To: bidarius@saber.net, amingare@math.carleton.ca, luc@cs.mcgill.ca. quilljar@argonet.co.uk, info@startwrite.com To: marjan@glavac.com, Teachernet Net-in-Class . TeacherNet SpellHandwriting . grapho-folks . Graphodigest.english@topica.com. cyberscribes . 4TheLoveOfPaper@yahoogroups.com, pens@zoss.com. TheSchoolDaily@TheSchoolDaily.com, readbygrade3@yahoogroups.com. Jimmy Kilpatrick Subject: Italic writers and others - World Handwriting Contest - visit this web-site for rules, enter NOW for prizes! (deadline:; 30-June-2002) From: Kate Gladstone Message-Id: Resent-From: Kate Gladstone Status: R Do you care about handwriting - or do you know others who do? Take time to show it - join children and adults around the planet by entering the World Handwriting Contest! For more information (including the rules and the text that we ask you to copy). visit http://www.global2000.net/handwritingrepair and click on the contest-information link at the top of the page. The contest-info area also includes full-length scans of past winners' handwritings - see how your own writing compares! Your entry needs to arrive by 30-June-2002. So show the world how you can do it "write"! (NOTE: I sent this announcement to you because you share my love for Italic handwriting. Though users of any writing-style can and do enter&win the World Handwriting Contest which I operate and judge with a panel of handwriting-teachers from across the USA. so far, the Italic-writers have won about half the prizes ... even though only about 1 in 8 of our entrants writes Italic, and even though many of the judges on my panel DO NOT share my advocacy of this style - to say the least. In fact, some of them have found themselves voting almost against their will to award prizes Italic-style entries: though pronouncing themselves "dead set" against the style, they nevertheless recognized that most of the Italic entries outdid most of the other entries. Yours for better letters. Kate Gladstone - Handwriting Repair kate@global2000.net http://www.global2000.net/handwritingrepair 325 South Manning Boulevard Albany, New York 12208-1731 USA telephone 518/482-6763 AND REMEMBER ... you can order books through my site! (Amazon.com link - I get a 5% - 15% commission on each book sold) Article 403589 of alt.binaries.fonts: From: "RSD99" Newsgroups: alt.binaries.fonts References: <3cdefeee$0$338$e2e8da3@nntp.cts.com> Subject: Re: Gizmo Lines: 50 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Mon, 13 May 2002 00:37:12 GMT X-Complaints-To: abuse@verizon.net Re: "... Btw, when is someone going to improve the .jpg compression deal? ..." JPEG 2000 has been out for a couple of years now ... and it's marginally better. However. I like the PNG standard for most web graphics ... and even some print work (even though CMYK isn't really "supported"). One real easy way to get there from here is to use SlowView, and convert from TIFF (or whatever) to PNG. I've seen as much as a 60% difference in converting web buttons from GIF to PNG. The latest version of SlowView can be found at http://www.slowview.at/download.shtml Cheers and Enjoy Article 125519 of comp.fonts: Path: charlie!sunqbc.risq.qc.ca!cpk-news-hub1.bbnplanet.com!news.gtei.net!news.tele.dk!small.news.tele.dk!195.54.122.107!newsfeed1.bredband.com!bredband!news-fra.pop.de!news.csl-gmbh.net!news-out.nuthinbutnews.com!propagator-sterling!news-in.nuthinbutnews.com!news-spur1.maxwell.syr.edu!news.maxwell.syr.edu!elk.ncren.net!nntp.upenn.edu!msunews!not-for-mail From: Reimer Behrends Newsgroups: comp.fonts Subject: Re: bitmapped fonts outside US Date: 7 May 2002 14:11:21 GMT Organization: Michigan State University Lines: 63 Message-ID: References: <3CD6B807.ED09F2D9@cter.s> User-Agent: slrn/0.9.7.4 (Linux) Apostrophe (') (apostrophe@apostrophiclab.com) wrote: [...] > Outside the US the shapes themselves are not copyrighted, no. What's said to > be copyrighted is the way the shapes are defined, or the node-and-handle > positions -- but even that is not proven, since there's never been a lawsuit > outside the US to confirm or deny this hearsay. This is not quite accurate. While the shapes themselves are typically not copyrighted, there _is_ legal protection for them as intellectual property in some countries, such as Germany and France. The German "Schriftzeichengesetz", in conjunction with the "Geschmacksmustergesetz" allows you to protect the design of a font for up to 25 years. (The initial time frame is 10 years, and that can be renewed three times for a duration of 5 years each.) Unlike copyright, a typeface has to be registered to be protected by the SZG. > In Europe there are many > examples of character shapes being redrawn and resold by different type > vendors; URW, Brendel, Softmaker, to mention a few. Nobody has grounds to > sue over redefined outlines. Fontshop and Lino had it in for Brendel and > Softmaker for the longest time, but didn't sue until Brendel used some > similar font names to those of Fontshop's library. Actually, things are a bit more complicated. To begin with, URW actually acquired the rights by happenstance. In the late 70s/early 80s, they were at the forefront of digital type design, and offered various major foundries to digitize their fonts for them, at a cost of X if the foundries wished to retain exclusive rights, and X+Y if URW was allowed to keep the outlines. Since at that time the use of font outlines was not really portable, but tied to a manufacturer's typesetting equipment. most foundries went for the "cheaper" option. When PostScript became popular later, URW found themselves in the possession of a ton of intellectual property that had become valuable all of a sudden. I think that Softmaker mostly licensed such fonts as well as originals by Brendel/QBF. Also, as noted above, protection is limited to 25 years max. However, it is available in France and Germany at the very least, so you should be careful. Concerning the Brendel/Fontfont case, you are also mistaken. Fontfont sued Brendel for copying typefaces (verbatim, as computer programs) and their designs (in fact, they tried to claim copyright protection for the shapes, but the LG Koeln left that part open). This is apparent from the court decision. [...] > If shapes were copyrighted, Linotype would have become the richest company > in the world from lawsuits about the shapes of Helvetica and Palatino alone. > in Germany, the country where lawsuits are as frequent as television > commercials. If shapes were copyrighted, a Book Antiqua case would have set > precendents throughout the whole world. The designs of Helvetica and Palatino have _long_ fallen out of protection. Remember, Hermann Zapf designed Palatino in 1949, and Helvetica was drawn by Max Miedinger in 1956. There are also some other limitations, if I remember the case law correctly (it's been a while): the 100th Garamond variation is not going to be considered original enough to deserve protection on its own merits. [...] Reimer Behrends Article 125544 of comp.fonts: Path: charlie!sunqbc.risq.qc.ca!cpk-news-hub1.bbnplanet.com!news.gtei.net!news.tele.dk!small.news.tele.dk!195.54.122.107!newsfeed1.bredband.com!bredband!news-fra.pop.de!schlund.de!rz.uni-karlsruhe.de!news.uni-stuttgart.de!news.belwue.de!news-stu1.dfn.de!news-ham1.dfn.de!news-lei1.dfn.de!newsfeed00.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: "Andreas Höfeld" Newsgroups: comp.fonts Subject: Re: bitmapped fonts outside US Date: Wed, 8 May 2002 20:43:03 +0200 Organization: Reply to a dot hoefeld at gmx dot de Lines: 72 Message-ID: References: <3CD6B807.ED09F2D9@cter.s> charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Complaints-To: abuse@t-online.com X-Sender: 520064371085-0001@t-dialin.net X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 "Apostrophe (')" schrieb im Newsbeitrag news:wqSB8.16680$TW.626249@news1.telusplanet.net... > I'm not familiar with the process of registering a font in Germany. How does > one go about doing that? Is it expensive to register a font? I've done some Google research on this. Here is the list of fees: http://transpatent.com/gesetze/mbkosten.html Check "V. Typographische Schriftzeichen" If I understand it correctly it is Eur 150 (plus 30 for publication) for up to ten fonts if you register them together. #351 000 through 351 300. (351 500 publication) To renew protection for year 11 to 15 Eur 120 for each font! for year 16 to 20 Eur 180 each font for year 21 to 25 Eur 290 each font! I am not sure if I read this table correctly, I'm not a lawyer. THIS INFORMATION IS GIVEN FOR INFOTAINMENT PURPOSES ONLY AND CONIFERS NO RIGHTS. I AM NOT RESPONSIBLE IF YOU USE THIS INFORMATION TO LOSE MONEY, CAUSE DATA LOSS OR FRY YOUR CAT IN A MICROWAVE EITHER BE- LONGING TO YOU OR NOT (THE MW NOT THE CAT). IF YOU DO NOT AGREE WITH THESE TERMS OF USE OF THIS POSTING YOU ARE OBLIGED TO DELETE ALL COPIES IMMEDIATELY FROM ALL OF YOUR MACHINES, TAP DANCE IN YOUR BATHTUB AND SAY TEN TIMES "JACK ROBINSON"! > And to what > extent can one go derivatively in order for the registration office to > consider the font original? Surely Arial and Geneva, for example, can't be > registered, can they? > > > > > Concerning the Brendel/Fontfont case, you are also mistaken. Fontfont > > sued Brendel for copying typefaces (verbatim, as computer programs) and > > their designs (in fact, they tried to claim copyright protection for the > > shapes, but the LG Koeln left that part open). This is apparent from the > > court decision. > > Hmmm. I remember Fontshop's press release mentioning only infringement on > their trademark names, nothing about shapes. Is there a copy of the ruling > online somewhere? Here, unfortunately in German only: Schriftzeichengesetz: http://www.legalclaim.de/show.php?was=gesetze&nr=23 http://www.online-recht.de/vorges.html?SZG Font Specimen Registring Act - in German again: http://www.recht-in.de/ars-juridica/GesetzestextmitKommentaren/Bundesrecht/ musteranmv/musteranmv-text.htm (put URL in one line!) the same: http://transpatent.com/gesetze/gschanmv.html Greetings Andreas Article 403839 of alt.binaries.fonts: Newsgroups: alt.binaries.fonts References: <3ce10e0e$0$232$626a54ce@news.free.fr> Subject: Re: typography magazines (pdf) Date: Tue, 14 May 2002 15:21:48 +0200 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-Mimeole: Produced By Microsoft MimeOLE V6.00.2600.0000 Lines: 3 Message-ID: <3ce10ece$0$241$626a54ce@news.free.fr> Organization: Guest of ProXad - France X-Complaints-To: abuse@proxad.net Article 125611 of comp.fonts: Path: charlie!sunqbc.risq.qc.ca!news-hog.berkeley.edu!ucberkeley!enews.sgi.com!news-out.spamkiller.net!propagator2-la!propagator-la!news-in.superfeed.net!uni00nw.unity.ncsu.edu!news!not-for-mail From: "Robert J. O'Hara" Newsgroups: soc.culture.mongolian,comp.fonts Subject: Re: Unicode font for Mongolian traditional script Date: Wed, 15 May 2002 01:23:14 -0400 Organization: http://rjohara.net Lines: 11 Message-ID: <3CE1F0B0.72AC37C9@uncg.edu> References: <3092ac2c.0205052110.3688c859@posting.google.com> Content-Transfer-Encoding: 7bit X-Complaints-To: postmaster@uncg.edu X-Accept-Language: en The best resource I have found for information about Unicode fonts is Alan Wood's site: Bob O'Hara (http://rjohara.net.) "Jaques O. Carvalho" wrote: > > How to get the Unicode font for Mongolian traditional script? Article 404308 of alt.binaries.fonts: Message-ID: <3CE2669E.37DF6568@adelphia.net> From: iylea X-Accept-Language: en Newsgroups: alt.binaries.fonts Subject: Re: typography magazines (pdf) References: Content-Transfer-Encoding: 8bit Lines: 7 Date: Wed, 15 May 2002 13:48:20 GMT X-Complaints-To: abuse@adelphia.net Not sure if this is anything you're looking for, but perhaps… http://www.graphic-design.com/DTG/index.html You can d/l in .pdf ~iylea Article 404382 of alt.binaries.fonts: Path: charlie!sunqbc.risq.qc.ca!newsfeed.online.be!sn-xit-01!sn-post-02!sn-post-01!supernews.com!corp.supernews.com!not-for-mail From: The Ugly Twin Newsgroups: alt.binaries.fonts Subject: Adobe Converts Entire Type Library Into OpenType Date: Wed, 15 May 2002 14:51:46 -0400 Organization: Posted via Supernews, http://www.supernews.com Message-ID: X-Newsreader: Forte Agent 1.91/32.564 Content-Transfer-Encoding: 7bit X-Complaints-To: newsabuse@supernews.com X-DMCA-Complaints-To: dmca@supernews.com Lines: 4 read the whole gruesome story at http://www.creativepro.com/story/news/16432.html Article 404393 of alt.binaries.fonts: From: "RSD99" Newsgroups: alt.binaries.fonts References: Subject: Re: Adobe Converts Entire Type Library Into OpenType Lines: 33 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: <4vzE8.1017$Ou5.373@nwrddc03.gnilink.net> Date: Wed, 15 May 2002 20:25:36 GMT X-Complaints-To: abuse@verizon.net I've got very mixed reactions to this ... On one hand, OpenType has been somewhat of a "screw you ... we're going to do it MY way ... 'update' and send me money" kind of situation when the vendor is Micro$crew. On the other hand, Adobe has apparently worked quite diligently to integrate the OpenType fonts and the InDesign page layout program, and provide the capabilities to actually make quality typography ... with automatic ligature substitution (and so forth) ... a reality with their combined software and fonts. However, there is still the "screw you ... we're going to do it MY way ... 'update' and send me money" aspect. On the third hand ... This gives Micro$loth the opportunity to release yet another update to their Microsoft Orifice series of "word processing" and "publishing" programs ... and an additional opportunity to further degrade the "quality of typography" expectations of the average user ... !?! My personal feeling is that I'd MUCH rather be sending my money to *Adobe* rather than *Micro$crew*! However: In the final analysis ... This just means that there will be a LOT more fonts to be posted in abf ... and that's not really a *BAD* thing ... is it? = = = = = On the other hand "The Ugly Twin" wrote in message news:qdb5euofbv00u6es82ja5kqriubj843h9u@4ax.com... > read the whole gruesome story at > http://www.creativepro.com/story/news/16432.html > > From boah@ozemail.com.au Thu May 16 05:08:49 2002 Return-Path: for ; Thu, 16 May 2002 05:08:48 -0400 (EDT) (envelope-from boah@ozemail.com.au) for ; Thu, 16 May 2002 05:10:33 -0400 (EDT) (envelope-from boah@ozemail.com.au) for ; Thu, 16 May 2002 05:08:48 -0400 Received: from mta08.mail.mel.aone.net.au (mta08.mail.au.uu.net [203.2.192.89]) for ; Thu, 16 May 2002 05:10:32 -0400 (EDT) (envelope-from boah@ozemail.com.au) Received: from beth-w.ozemail.com.au ([210.84.112.14]) id <20020516090844.BJNH656.mta08.mail.mel.aone.net.au@beth-w.ozemail.com.au> for ; Thu, 16 May 2002 19:08:44 +1000 Message-Id: <5.1.0.14.0.20020515183106.00a05b90@mail.ozemail.com.au> X-Sender: boah@mail.ozemail.com.au (Unverified) Date: Wed, 15 May 2002 18:58:43 +1000 To: Luc Devroye From: Beth Helmers Subject: Re: problem with your fonts page In-Reply-To: <200205150816.g4F8GsZ17882@lambic.CS.McGill.CA> References: <5.1.0.14.0.20020515115323.00a01110@mail.ozemail.com.au> Status: R I'm pretty sure it was 21shopping mall because I got that page not found message as well. ONe of the suggestions was to go to (a red hyperlink) the home page basically for the 21 shopping mall. I think I hit that, then it gave the message about needing to download something to do with Korean fonts for proper running. I said no and then it started doing it's porn and virus thing. I suppose if you're well virus protected you could try that step by step to see.... Beth At 04:16 15/05/02 -0400, you wrote: >Beth: Thanks for the warning. I went to "21shoppingmall" and it says >"page not found", so it must have been another link. If you can >recall which other link it might have been, please let me know. >so that I can remove it. Occasionally, URLs change ownership. >and this is not the first time the porn or anti-porn businesses >have taken over URLs. The viruses are typically planted by >anti-porn groups I think. Anyway, I am sorry about this! > >Luc From olivier@azekone.com Thu May 16 23:08:26 2002 Return-Path: for ; Thu, 16 May 2002 23:08:26 -0400 (EDT) (envelope-from olivier@azekone.com) for ; Thu, 16 May 2002 23:10:10 -0400 (EDT) (envelope-from olivier@azekone.com) for ; Thu, 16 May 2002 23:08:25 -0400 Received: from v5.dfw.netfire.com ([65.113.113.15]) for ; Thu, 16 May 2002 23:10:09 -0400 (EDT) (envelope-from olivier@azekone.com) Received: (qmail 60317 invoked from network); 17 May 2002 03:17:34 -0000 Received: from modemcable014.57-200-24.mtl.mc.videotron.ca (HELO oldyeller) (azek@24.200.57.14) by v5.dfw.netfire.com with SMTP; 17 May 2002 03:17:34 -0000 From: "azek" To: Subject: Asian Pixel Fonts Date: Thu, 16 May 2002 23:09:01 -0400 Message-ID: <000001c1fd50$32366080$0300a8c0@oldyeller> boundary="----=_NextPart_000_0001_01C1FD2E.AB24C080" X-Priority: 3 (Normal) X-MSMail-Priority: Normal Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R This is a multi-part message in MIME format. ------=_NextPart_000_0001_01C1FD2E.AB24C080 charset="us-ascii" Content-Transfer-Encoding: 7bit Bonjour Luc. On your website, you had a link to a MorrisDesign Korean pixel font. but that link is not longer active. The same sad faith happened to some other pixel fonts link. I was wondering if you had saved any of those fonts locally and if you'd be willing to hook me up with some of those as they would be quite useful in my Flash projects. Thanks for your time! From akiem@underware.nl Fri May 17 11:42:06 2002 Return-Path: for ; Fri, 17 May 2002 11:42:06 -0400 (EDT) (envelope-from akiem@underware.nl) for ; Fri, 17 May 2002 11:43:50 -0400 (EDT) (envelope-from akiem@underware.nl) for ; Fri, 17 May 2002 11:42:05 -0400 Received: from gatekeeper.jane.org (debianalpha.xs4all.nl [213.84.9.232]) for ; Fri, 17 May 2002 11:43:48 -0400 (EDT) (envelope-from akiem@underware.nl) Received: from underware.nl (supermolly.jane.org [192.168.202.33]) for ; Fri, 17 May 2002 18:15:42 +0200 Message-ID: <3CE540DD.FB0D60CE@underware.nl> Date: Fri, 17 May 2002 17:42:06 +0000 From: "Underware, Akiem" Reply-To: akiem@underware.nl Organization: Underware X-Accept-Language: en To: luc@cs.mcgill.ca Subject: Underware published it's second type-book boundary="------------9D9DAD457F4EAC1B2763D627" Status: R --------------9D9DAD457F4EAC1B2763D627 Content-Transfer-Encoding: 7bit After Dolly, a booktypeface with flourishes, we just finished our new book: Read naked (sauna, a typeface for all sizes) Information about the books can be found on our website: Dolly: http://www.underware.nl/site/dolly/examples/index.php3 Sauna: http://www.underware.nl/site/sauna/details/index.php3 Both books can be purchased online at: http://www.nijhoflee.nl/design/typography/ regards Akiem for more info, feel free to contact me. -- Underware, Den Haag, the Netherlands. studio tel +31 (0)70 4278115 fonts tel +31 (0)70 4278117 http://www.underware.nl Article 405420 of alt.binaries.fonts: Path: charlie!sunqbc.risq.qc.ca!newshub.northeast.verio.net!verio!news-out.visi.com!hermes.visi.com!newsfeeds-atl2!newsfeeds-atl1.usenetserver.com!cox.net!news1.east.cox.net.POSTED!53ab2750!not-for-mail From: fontologist@newsguy.com Newsgroups: alt.binaries.fonts Subject: Re: laundry symbols References: X-Newsreader: Forte Agent 1.8/32.548 Content-Transfer-Encoding: 7bit Lines: 10 Date: Sun, 19 May 2002 06:40:03 GMT X-Complaints-To: abuse@cox.net Organization: Cox Communications On Fri, 17 May 2002 16:59:36 +0000 (UTC), "Jill Sheridan" wrote: >does anyone know where i can download a free font of laundry symbols of the >type you find on clothes care labels?thanks >jill > Article 405429 of alt.binaries.fonts: Path: charlie!sunqbc.risq.qc.ca!novia!novia!sequencer.newscene.com!not-for-mail From: "Amulet" Newsgroups: alt.binaries.fonts,comp.fonts Subject: Re: Proof: Clive Bruton is an internet buttwipe - Sorry Date: 19 May 2002 03:05:22 -0500 Lines: 56 Message-ID: <3ce75c30$0$84167$45beb828@newscene.com> References: <3ce72d0a$0$2921$e2e8da3@nntp.cts.com> <3ce73910$0$337$e2e8da3@nntp.cts.com> Reply-To: "Amulet" X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 "Dennis (UGH)" wrote in message news:3ce73910$0$337$e2e8da3@nntp.cts.com... > > What a weasel. > > That is a slur against weasels. I really have nothing > against them. I take back the comparison. I'm sure the weasles will understand and not take offense. However, in this case, I'd say that you were giving him too much credit. Pond scum seems more appropriate. > Unless Clive apologizes to A', the rest must be fact, Jack. After making my way through the rant (with my husband reading over my shoulder), I was struck by a couple of things: 1. The settlement agreed to the protection of anonymity. That being the case, what gives Clive the right to divulge this information (btw - my husband sayas that Clive could be prosecuted for this under UK law). 2. It may be my limited understanding, but I was under the impression that piracy involved the exchange of money, goods, etc. - an integral part of the transaction. That didn't happen. True piracy is the CD of Lab fonts that is being sold, major foundries selling freeware fonts with little or no changes and not giving credit to, or asking the permission of, the original artist. (We know that foundries frequently steal from each other ...) 3. I know of no one/ no company that uses the internet to search into the background of a potential employee/supplier. I've spent a number of years working in HR on both sides of the Atlantic and, personally, I've never had the time to undertake something like this. Besides, I've been 'round the internet long enough to know that a great percentage of the "facts" to be found are akin to the facts published in the National Enquirer. It should all be taken with a grain of salt. 4. Clive mentioned (with great delight) the theft of Lab fonts and the resuting CD. Now, maybe it's just my paranoia pushing my overactive imagination into high gear - but it strikes me as an odd coincidence how the timing of the appearance of this CD and the lawsuit dovetail together so beautifully. Makes me wonder who really was/is behind it ... -- Blessed be - Amulet -|>|[+]-/ http://www.e-panaphobia.com/amulet/ http://community.webshots.com/user/amulet_webdragon Article 405561 of alt.binaries.fonts: Path: charlie!sunqbc.risq.qc.ca!newsfeed.telusplanet.net!peer1-sjc1.usenetserver.com!usenetserver.com!news03.bloor.is.net.cable.rogers.com!news01.bloor.is.net.cable.rogers.com.POSTED!12dc6cf53ab2750!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts,comp.fonts References: <3ce72d0a$0$2921$e2e8da3@nntp.cts.com> <3ce7c030$0$41801$e2e8da3@nntp.cts.com> Subject: Re: Proof: Clive Bruton is an internet buttwipe Lines: 39 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Mon, 20 May 2002 05:04:55 GMT X-Complaints-To: abuse@rogers.com "Dennis (UGH)" wrote in message news:3ce7c030$0$41801$e2e8da3@nntp.cts.com... > "Apostrophe (')" wrote > > Clive would have passed gas better than this boring thing. > > This is true. How is he connected to the type-world? His affiliation > is a bit of a slur, I would think. Has he made a typeface? Or is it > just the bad reporting and brown-nosing thing? Pretty much it, yes. You mentioned in another post that you don't know of any fonts of his. That's not likely to change any time soon. The 3 or 4 "custom" fonts he supposedly made were all admittedly very slight changes to existing copies of Avenir, Gill Sans, VAG Rounded. That's his claim to fame in type circles. My original OEMs for Cisco Systems, American Express, World Vision and Aridi Graphics are of course nothing compared to his clones :o) Clive is not really "connected" to the type-world. He's more like imposed on it. He started Fontzone some time in the mid-nineties, as a site that supposedly reported about fonts and font vendors. He lodged himself in the right corner at the right time when the TypeRight thing hit the waves, and built on that a bit. A couple years later he closed Fontzone, then this year he opened it again as a subscription-basis font news tabloid. Still bad writing though. Same problem with David Earls' "reporting" too. Both Bruton and Earls write as if they're targeting an audience of largely 14 year old kids. An odd fellow, ol' Clive is. He was at a couple of type conferences I've been to, but he'd never actually go to the lectures. Instead he'd just hang out at the computer lab throughout the whole conference, looking at people -- I guess trying to figure out who they are. He really does too need a shave and a haircut and a job. The Judas Priest look hasn't been in for how now, more than a decade or so? ' -- www.apostrophiclab.com "Every type enthusiast in this day and age, whether they realize it or not, owes oodles of their passion about type to Luc Devroye." - Apostrophe http://members.cox.net/hall_of_fame/luc.htm Article 409940 of alt.binaries.fonts: Message-ID: <3CF97737.96FCA17E@netzero.net> From: zillah Organization: + X-Accept-Language: en Newsgroups: alt.binaries.fonts Subject: Font Lovers! Content-Transfer-Encoding: 7bit Lines: 20 Date: Sun, 02 Jun 2002 01:31:29 GMT X-Complaints-To: abuse@rr.com I know many of you have presented fontplays using Luc Devroye's Sugaku Fonts... An archive of the results are here: http://mooninaquarius.homestead.com/fpindexchallenge.html Dennis also has a wonderful page: http://members.cox.net/hall_of_fame/luc.htm And y'all should go visit Luc's website, 'cause it rocks!!!! http://cg.scs.carleton.ca/~luc/fonts.html Hey! I carried a double major in my undergrad studies... It wasn't easy!... But to get a double DOCTORATE! C'est incredible! Blessings - Zillah Article 410765 of alt.binaries.fonts: Path: charlie!snoopy!sunqbc.risq.qc.ca!newshub.northeast.verio.net!verio!news-out.visi.com!hermes.visi.com!eusc.inter.net!newsfeed01.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: "Aenor" Newsgroups: alt.binaries.fonts Subject: Re: TPF fonts Date: Wed, 5 Jun 2002 09:36:02 +0200 Organization: T-Online Lines: 13 Message-ID: charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Complaints-To: abuse@t-online.com X-Sender: 340063939249-0001@t-dialin.net X-Newsreader: Microsoft Outlook Express 4.72.3110.1 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 Free for non-commercial use at http://typophil.virtual-lands.org/ From tamye.riggs@verizon.net Fri Jun 7 05:29:52 2002 Reply-To: tamye@typesociety.org Date: Fri, 7 Jun 2002 02:29:40 -0700 To: Tamye Riggs From: Tamye Riggs The conference website, located at http://www.typecon2002.com, now features a detailed timeline of programming and social activities. The timeline also lists topics and participants scheduled for each session. Additional speakers have also been added to the lineup. TypeCon2002 includes three full days of workshops, presentations, panel discussions and other activities designed for type and graphic design professionals, students and other aficionados of the communication arts. TypeCon2002 will take place at the Courtyard by Marriott in downtown Toronto. Discounted hotel room rates are available to conference attendees. Please visit the conference website for details. TypeCon2002 is the annual event of the not-for-profit Society of Typographic Aficionados, an international organization dedicated to the promotion, study, and support of typography and related arts. Secure conference registration and further information is available at http://www.typecon2002.com, or by email at mailto:info@typecon2002.com. For more information about SOTA, please visit the website at http://www.typesociety.org, or email mailto:info@typesociety.org. - 30 - --------------------------- CONTACT INFO FOR EDITORS: --------------------------- Director's Office: Richard Kegler TypeCon2002 Chairman Tel 1-716-885-4490 Fax 1-716-885-4482 Email mailto:richard@typesociety.org Article 411717 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!sunqbc.risq.qc.ca!newsfeed.telusplanet.net!peer1-sjc1.usenetserver.com!usenetserver.com!easynews!news.easynews.com.POSTED!not-for-mail From: MJ Newsgroups: alt.binaries.fonts Subject: Re: REQ: Another identity crisis - 1 attachment Message-ID: References: X-Newsreader: Forte Agent 1.91/32.564 X-No-Archive: yes Content-Transfer-Encoding: 7bit Lines: 15 X-Complaints-To: abuse@easynews.com Organization: EasyNews, UseNet made Easy! - Test our service with our FREE trial at https://www.easynews.com/trial/trial.phtml X-Complaints-Info: Please be sure to forward a copy of ALL headers otherwise we will be unable to process your complaint properly. Date: Sun, 09 Jun 2002 16:06:07 GMT On Sun, 09 Jun 2002 15:44:34 GMT, JeffT wrote: >Can you identify the font used to create the letters "lipper" in this >image? Max Salzmann's 1922 "Dolmen"...available from many co.'s under this name. In fact I think it is the free d/l now from Letraset's site if you answer 3 questions about their products (they basically give you the answers trhough hyperlinked "clues"). >Also, what is the closest match to the numbers "314" in this same image? Plaza. Not just close, it is it. MJ From cybapee@joice.net Sun Jun 9 01:00:42 2002 Hi folks. Dieter spent a nice friday with Bruno Steinert, lawyer Yilmaz and Hoefer from Linotype. They have been talking about the company's philosophy and Dieter learned, that they don't care too much about copyright but trademark rights. In Lino's opinion there's such a right as long as a trademark is "actively protected" by them - even if the limited time of official protection is exceeded. Pretty interesting, this Lino rule. Anyway, they took their chance: as there are any many questions regarding copyright items it was the best idea they ever had to put their business on trademark laws. The deal: Dieter is going to remove some fonts from his site and will probably get a "free of charge licence" from Lino for other fonts - like they gave to Delbanco, for example. This means Dieter (or Delbanco) are allowed to distribute fonts named similar to Lino trademarks. Dieter will not have to pay anything, but currently they are working on a modified Unterlassungserklaerung. Btw, their recent attack was based on Floriated Caps being mentioned in Dieter's font catalogues. The font itself has been removed in 2000, but Dieter simply forgot to remove the entry in his pdf's, so in Lino's opinion "it was still offered for download". 5,000 Euro for a font-sample! This is sick. It's so sick, that Dieter told him no German court would agree with them. Lino knows that well: Yilmaz is a typographic newbee and Mr Hoefer has no idea about the legal rules. Together they make a real dream team when it comes to so-called copyright infringements ... Of course Dieter was asked to stop his activities against Lino and as it was most important for him to save Euro 5,000 he agreed - for now. First he has to check the new "don't do"- paper before the whole thing can be settled. On the other hand we have a serious problem: German trademark laws need a certain update / revision to stop companies like Linotype. If I had enough money I would run to my expert lawyer here in Hamburg and fight for that with him. Without a lawyer - and without a lobby - there is no chance to change anything here. If private persons turn against companies which have a certain interest in keeping the trademark law as it is. guess who will be knocked out first. Any idea how to handle this situation? Petra [2] SCRIPTORIUM Dave Nalle's fonts are well-known amongst some, but we're very pleased to bring this great value collection to a wider audience. Browsing through these incredibly varied fonts, you'd think Scriptorium fonts covered just about any historic theme - you wouldn't be far wrong... Our favorites are the amazing "PlattHand", "Ardenwood", "Knotwork", "Guede", and "Pullman". Many of the fonts are just $12! - http://www.myfonts.com/FontFoundry42.html - 142 font styles [4] TYPEBOX This is the San Francisco-based typefoundry of design partners Joachim Müller-Lancé (who's designed several fonts for Adobe) and Mike Kohnke. They tell us: TYPEBOX is mind, heart and hand. Like in life itself, the process of "thinking, feeling, doing" can also be applied to type culture. We love their cool yet fuzzy "TX Lithium". Their "TX Cortina" ("the strange idea of developing a whole typeface out of a single shape worked again") is surely destined for many starring roles in sci-fi films&games. - http://www.myfonts.com/FontFoundry227.html - 29 font styles [6] NERFECT Freaky fonts from Illinois illustrator Britton Walters, not for the squeamish. We got so scared by the weirdos in "Creeps" when they started talking about their collection of chicken bones, that we decided in revenge to make our our own freaks from "MonsterKit" (includes body parts). - http://www.myfonts.com/FontFoundry277.html - 20 font styles [7] DAMIEN GAUTIER / TRAFIK Damien Gautier from France is one of the Lyon-based team of designers known as Trafik. Classical elegance ("Le Beaune") and a highly animatable bitmap design ("Le Confiserie") seem to come equally easily from his hand. - http://www.myfonts.com/FontFoundry276.html - 19 font styles [8] LUDLOW (UK) This foundry offers fonts from the classic Ludlow library, as well as other sources. We particularly like "Founders Garamond", that facilitates emulation of the finest French 16th-century typography, and "Theda Bara" a geometric Art Deco face that surely inspired a certain 1980s video game... - http://www.myfonts.com/FontFoundry284.html - 16 font styles [9] TYPADELIC Self-confessed type junkie Ronna Penner works in Ontario creating Typadelic fonts, just about the friendliest, cutest fonts you'll ever come across! We particularly like happiness-oozing "Clarissa", and we doubt anyone could resist a party invitation set in "Frivolous"! Oh, and if you ever want to decorate your pages with some beautiful "Butterflies", you know where to come. - http://www.myfonts.com/FontFoundry287.html - 12 font styles [11] CASTLETYPE Just one type family from this small, independent foundry, run by Jason Castle. The MacBible says he has "some of the best display fonts available", and we won't argue with that. This face is based on the drawings by F.W. Goudy of his rendition of the capital letters inscribed on the Trajan column in Rome - a very nice alternative to the well-known Adobe version! - http://www.myfonts.com/FontFoundry270.html - 3 font styles [12] SMOKING DRUM Designed&illustrator John Bloor, based in the charming Hampshire village of Laverstoke, offers us two strikingly different typefaces: "Infiltrace" and "Mnooba", both unsettling new takes on well-trodden themes. - http://www.myfonts.com/FontFoundry271.html - 2 font styles ==================================================================== GREAT NEW FONTS FROM OUR EXISTING VENDORS [1] Storm's new arrivals are a treat, as we've come to expect from this prolific Czech foundry. We're told that squarish "Teuton" is ideal for graves and posters, while "Walbaum Text" is particularly suitable for German Romantic novels from rural settings (although we're sure you'll agree this underplays its versatility considerably!). "John Sans" is a remarkable sans-serif interpretation on the Baskerville theme, the original of which Storm has already explored in the traditional manner. Finally, the award-winning "Biblon" typeface manages to pull off an almost impossible task, being at once a striking&playful design, yet eminently suitable as a text face. It should thus earn a place on everybody's wish list! - http://www.myfonts.com/FontFoundry123.html From frednader@rogers.com Sun Jun 16 23:52:42 2002 From david@interface.co.uk Fri Jun 28 09:47:17 2002 Return-Path: for ; Fri, 28 Jun 2002 09:47:17 -0400 (EDT) (envelope-from david@interface.co.uk) for ; Fri, 28 Jun 2002 09:49:10 -0400 (EDT) (envelope-from david@interface.co.uk) for ; Fri, 28 Jun 2002 09:47:16 -0400 Received: from ns.humancomputerinterface.com (octagon.interface.co.uk [193.122.42.226]) for ; Fri, 28 Jun 2002 09:49:09 -0400 (EDT) (envelope-from david@interface.co.uk) User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Date: Fri, 28 Jun 2002 14:47:15 +0100 Subject: Re: Your Home page From: David Johnson-Davies To: Luc Devroye Message-ID: In-Reply-To: <200107211019.f6LAJPu27125@lambic.CS.McGill.CA> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Status: R Luc. You may remember I emailed you a year ago about my Identifont Web site, and I'm pleased that you have included a mention of it on your pages. As a great admirer of your wealth of font-related information on the Web, I would value your comments on my latest project. For some time I have been thinking about how to design a site that would help people find a typeface for a particular application - which is sort of the other side of the coin to identifying an existing typeface. I believe that the traditional classifications (Didone, Venetian, Clarendon. etc) are not too useful for a number of reasons: - They are baffling to anyone without a typography background. - They are too vague - eg what does Modern mean? - They are unhelpful in classifying recent designs, that purposely subvert traditions. I've therefore set up a system based on a range of alternative 'dimensions' of classification, and would greatly value your comments, whether criticism or suggestion. It's at: Also - might you be interested in collaborating, such as by becoming the moderator or editor for a section of the site? If the site becomes popular. and generates income from commission, as I hope, it may even be possible to remunerate editors! I look forward to hearing from you - but please don't publicise the site yet as it is still a work in progress. Regards. David Johnson-Davies +------------------------------------------------------------+ David Johnson-Davies, Human-Computer Interface Ltd 17 Signet Court, Swanns Road, Cambridge, CB5 8LA, England. Tel: +44 1223 314934, Fax: +44 1223 462562 Email: david@interface.co.uk, Web: http://www.interface.co.uk/ +------------------------------------------------------------+ From cybapee@joice.net Thu Jul 4 00:21:04 2002 Return-Path: for ; Thu, 4 Jul 2002 00:21:04 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Thu, 4 Jul 2002 00:22:58 -0400 (EDT) (envelope-from cybapee@joice.net) for ; Thu, 4 Jul 2002 00:21:03 -0400 Received: from mail.isc.de (disco.misc.net [195.64.106.194]) for ; Thu, 4 Jul 2002 00:22:57 -0400 (EDT) (envelope-from cybapee@joice.net) Received: from dip-01-111-1.on-line.de ([195.64.97.111]:3561 helo=joice.net) by mail.isc.de with smtp (Exim 4.04) id 17Py6g-0006B5-00 for luc@cs.mcgill.ca; Thu, 04 Jul 2002 06:20:38 +0200 Date: Thu, 4 Jul 2002 06:19:53 +0200 From: CybaPee To: luc@cs.mcgill.ca Subject: Egyptienne Content-Transfer-Encoding: 7bit Message-Id: Status: R Hi. my lawyer is trying to locate the trademark registering of Egyptienne and can't find it, too funny. But we came across another trademark Egyptienne by Berthold: http://www.typos.net/Index_Typos/Berthold_/Berthold_BQ_A_-_Z/TM_BQ/body_tm_bq.htm Searches will be continued today. From P.Heidorn@Donner.de Fri Jul 5 11:36:49 2002 Return-Path: for ; Fri, 5 Jul 2002 11:36:49 -0400 (EDT) (envelope-from P.Heidorn@Donner.de) for ; Fri, 5 Jul 2002 11:38:43 -0400 (EDT) (envelope-from P.Heidorn@Donner.de) for ; Fri, 5 Jul 2002 11:36:48 -0400 From: P.Heidorn@Donner.de Received: from chd-proxy-a.donner.de ([195.125.120.181]) for ; Fri, 5 Jul 2002 11:38:43 -0400 (EDT) (envelope-from P.Heidorn@Donner.de) Received: from chd16.donner.local (localhost [127.0.0.1]) id 35F14146617; Fri, 5 Jul 2002 17:28:48 +0200 (CEST) Received: by chd16.donner.local with Internet Mail Service (5.5.2655.55) id ; Fri, 5 Jul 2002 17:36:39 +0200 Message-ID: <25D382B91CCED511B8860002B388214C5A4100@chd16.donner.local> To: luc@cs.mcgill.ca Cc: frednader@rogers.com Subject: Lino - Egyptienne Date: Fri, 5 Jul 2002 17:36:38 +0200 charset="iso-8859-1" Content-Transfer-Encoding: 8bit Status: RO Hi folks. after doing any many online research re. Linotype Egyptienne without result I called Lino today and asked them for the reg.no. of that trademark. I was told by Ottmar Hoefer (!) that Egyptienne IS NOT REGISTERED, only Egyptienne F is. Nice. My lawyer is going to think about what we can do with this situation ;-) Re. Flora and Eckmann: Unfortunately we can't say anything against Lino's registering of Eckmann before it's declared as "Marke mit Verkehrsgeltung" by a German court. Too expensive. Same with Flora - nothing to say against it before a German court makes a decision about "Verwechslungsfähigkeit" with Gill Floriated. So I'd recommend we don't list those Dieter cases but wait for a hint what to tell about Egyptienne. What do you think? Freddy: a question re. Storm Jannon Text Modern: do you have the Swashes somewhere? Or are they included in one of the OT files? Petra From nebdaner@yahoo.com Mon Jul 8 20:50:56 2002 Return-Path: for ; Mon, 8 Jul 2002 20:50:56 -0400 (EDT) (envelope-from nebdaner@yahoo.com) for ; Mon, 8 Jul 2002 20:52:52 -0400 (EDT) (envelope-from nebdaner@yahoo.com) for ; Mon, 8 Jul 2002 20:50:56 -0400 Received: from web20901.mail.yahoo.com (web20901.mail.yahoo.com [216.136.226.223]) for ; Mon, 8 Jul 2002 20:52:50 -0400 (EDT) (envelope-from nebdaner@yahoo.com) Message-ID: <20020709005047.22867.qmail@web20901.mail.yahoo.com> Received: from [12.236.201.50] by web20901.mail.yahoo.com via HTTP; Mon, 08 Jul 2002 17:50:47 PDT Date: Mon, 8 Jul 2002 17:50:47 -0700 (PDT) From: Brad Nelson Subject: A new generation PDF creation DLL To: luc@cs.mcgill.ca Status: R Greetings Luc: I noticed your web site lists PDF resources. My web site demonstrates a PDF package with a twist, images with full transparency can be rendered on top of each other, several image formats are directly imported from their files, patterns can be created from all the drawing tools to create interesting fills of all shapes. A page manager makes it possible to select and insert pages to edit. Also text boxes are supported along with circular text and single line text using True Type and Open Type fonts, in addition to the built in Acrobat Type1 fonts. This package is for the Windows platform including .NET, C#, VB, C++, and C. The program is solely for the purpose of creating PDF's, not for editing existing ones. Enjoy the demos! http://nebdane.com Brad Nelson, Software Engineer. nebdaner@yahoo.com http://www.dafont.com/en/voir.php?libelle=Marseille+Tarot Article 421145 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!aotearoa.belnet.be!news.belnet.be!kibo.news.demon.net!demon!news.stealth.net!news.stealth.net!194.168.4.91.MISMATCH!newspeer1-gui.server.ntli.net!ntli.net!newsfep3-gui.server.ntli.net.POSTED!53ab2750!not-for-mail From: "Phoenix" Newsgroups: alt.binaries.fonts References: <0gjY8.11427$IW4.6834@nwrddc02.gnilink.net> Subject: Re: Logo's Lines: 91 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 X-Inktomi-Trace: pc1-ruth1-4-cust164.ren.cable.ntl.com 1026681756 12162 80.4.100.164 (14 Jul 2002 21:22:36 GMT) Message-ID: Date: Sun, 14 Jul 2002 22:22:36 +0100 X-Complaints-To: abuse@ntlworld.com Organization: ntl News Service This is a bloody useful site... Thank you to whoever done this..... JD > Logos ? > You want Logos ? > You want "a library of corporate logos" ? ? ? ? ? > > We don't got no logos 'round here ! > > = = = = = > La Logptheque (French site) > http://webchantier.free.fr/logotheque/index2.html > > Logosity - English menu page > http://www.logotypes.ru/default_e.asp > > Logosity - Main menu page > http://www.logotypes.ru/ > > Logosity ... older URL ... may be a dead URL now > http://logosty.citeweb.net/netmenu.html > > FindLogo > (FWIW: This site has recently been re-written to require downloading Flash, version 5.0). > http://www.findlogo.com/index.htm > http://www.findlogo.com/find1.htm > > Graf > http://www.graf.torun.pl/logo/ > > A massive subdirectory full of "Logos" > http://www.graf.torun.pl/logo/logotypes.ru/ > > Logosity ... older URL ... may be dead > http://logosty.citeweb.net/netmenu.html > > This one may be dead ... no response on 10/25/2001 > http://www.lineaire.qc.ca/logos/ > > GoPromos - mostly bit-mapped > http://www.gopromos.com/idea_center/Stock_art_f.asp?type=L > > Marcas, symbolos y logotipos > http://www.visual.gi/logoteca/logos.html > > Lineaire site > http://www.lineaire.com/logos/ > > Logo Nino - Russian > http://logo.nino.ru/main/?id=135&first=A > http://logo.nino.ru/ > > Lowlands - Netherlands > http://logo.nino.ru/main/?id=135&first=A > > The "Canadian Wordmark" > http://publication.ic.gc.ca/english/identity/identity_symbols/wordmark_e.htm > > A Ukranian site > http://www.qservice.com.ua/index.html > > An Italian site > http://logo.tdd.lt/main.htm > > Graham's Signlinks - A good page of links > http://www.graham.scanlan.btinternet.co.uk/index2.htm > > = = = = = From pdfindia@vsnl.com Tue Jul 23 08:00:15 2002 Return-Path: for ; Tue, 23 Jul 2002 08:00:14 -0400 (EDT) (envelope-from pdfindia@vsnl.com) for ; Tue, 23 Jul 2002 08:02:13 -0400 (EDT) (envelope-from pdfindia@vsnl.com) for ; Tue, 23 Jul 2002 08:00:14 -0400 Received: from mmb4.vsnl.net.in (mmb4.vsnl.net.in [202.54.1.88]) for ; Tue, 23 Jul 2002 08:02:12 -0400 (EDT) (envelope-from pdfindia@vsnl.com) Received: from vsnl.com (unknown [203.197.50.193]) for ; Tue, 23 Jul 2002 17:29:26 +0530 (IST) Message-ID: <3D39A380.2A485949@vsnl.com> Date: Sat, 20 Jul 2002 23:23:04 +0530 From: Jay Organization: PDF India X-Accept-Language: en,pdf To: luc@cs.mcgill.ca Subject: Compact PDF Image+Hidden Text boundary="------------C7FD6A1BB815914133C5BC1A" Status: R --------------C7FD6A1BB815914133C5BC1A Content-Transfer-Encoding: 7bit Greetings Probably this is the second time I am writing to you, but this time around, on a different subject. It is a well known fact that PDF Image+Hidden text files are very heavy making them inefficient for web publishing. PDF Normal files, on the other hand, are very efficient in this respect. PDF Normal files are size effective but are not cost effective as a lot of manual efforts go into producing good PDF files. We have developed a process by which compact PDF Image+Hidden text files are produced in comparison to those produced using conventional methods. There is about 40% reduction in size which is, you will agree, is significant saving in the era of paucity of bandwidth. Please note that the files produced by the new method go well with Acrobat Reader as well as Adobe Acrobat. Apart from the new process, as a normal practice, we put each tiff file thru elaborate file preparation stages to get smaller size as well as good looking PDF Image+Hidden Text. The file preparation goes something like this... 1. Cropping image portion of the tiff file. 2. Auto Deskewing 3. Manual Deskewing. 4. Auto Despeckle 5. Manual Despeckle. 6. Manual cleaning of unwanted punch, hole, fold and dirt marks. 7. Precise positioning of images on a new canvas of same size. 8. OCR 9. 100% proof reading 10. Spell check to make sure of textual accuracy 11. Proceeding with PDF creation. As a practice we carry out first 7 steps for all PDF files whether PDF Image or PDF Image+Hidden Text or PDF Normal. This discipline helps us in producing good quality PDF files all the time every time. Our PDF Normal files vary between 6kb to 15kb per page whereas PDF Image+Hidden Text files are much smaller than that produced using conventional methods. I will be too happy to provide you with samples as well as references of people who are availing of our PDF Conversion services. If, in case, I have not written to you about our other services, please let me know. We provide indexing services also. However, our strong point remains PDF only. Last but not the least, our clients in the USA have entered into "rate contract" with us to produce PDF Image+Hidden Text as well as PDF Normal files throughout the year. We also produce HTML files from PDF files. Please feel free to write to me, if you have any questions. Thanks&Regards Jay PDF India The Aridi drawings are grouped as follows:

Volume 1: Initial Caps I, Blister, Gothic, Nabel, Spring, Royal, Romantic, Regal, Wind
Volume 3: Historical Ornaments
Volume 5: Arabesque Borders
Volume 7: Initial Caps III
Volume 8: Calligraphia
Volume 9: Oldworld Borders
Volume 10: Ribbons, Banners
Volume 12: Initial Caps IV
Volume 15: Typography and Printers Ornaments
Volume 16: Fiesta
__________________________________________________________________ Hi there. For all of you Mac users out there who had invested in Adobe's type management tool; ATM Deluxe-- you may be surprised to know that there will not be an OSX version of the tool. While its true that the new features in OSX make type management better overall, the great utility of ATM will be lost, and so will your investment in a licence. To complain to Adobe, a site has recently launched asking users to petition to make an OSX compatible version of the application... even if that means the new version of the application might be geared more at font management and less at smoothing postscript. The site can be found here: http://www.atmforosx.org Hope some of you will sign the petition! Thanks! Astrida Valigorsky Article 425603 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!cyclone.bc.net!newsfeed.telusplanet.net!peer1-sjc1.usenetserver.com.MISMATCH!ps01-sjc1!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news01.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts Subject: Re: REQ: ManuscriptLH Lines: 52 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Sat, 27 Jul 2002 15:28:19 GMT X-Complaints-To: abuse@rogers.com "Quiet Hill" wrote in message news:aFs09.10463$DN4.2122745@news20.bellglobal.com... > > Excellent elaboration!....curiously though, the question begs-how did you > come into posession > of this information? > Grafotechna (www.grafotechna.cz) is now a press shop... well, more like THE press shop in Prague. I was recently working with someone from over there. and got him to ask them a few questions. Questions beget answers, and all that bluegrass. In Czsechia it's frowned upon making decisions for the dead, especially the famous dead, like Oldrich Menhart. A lot of other Grafotechna fonts were digitized by Westerners who simply found them in specimen books and didn't bother asking Grafotechna because it hasn't existed as a type foundry for a few decades now, and some gems are still to be. And, to not seem one sided about world-wide transactions, Grafotechna themselves did their own share of making unauthorized copies of Western type, particularly Monotype's and Linotype's. This thread makes me shake my head about a few things, you know. The Luin/Letraset/ITC/Grafotechna thing probably sums up everything curious about the traditional thievery, now running for hundreds of years, of the type trade. Luin's Manuskript holds this in its notice field: "Notice Copyright Franko Luin 1991 - Omnibus . Box 135 . S-13523 Tyres\232 Designed by Oldrich Menhart, 1944-50." If it's designed by Menhart, how can it be copyrightable to Luin? Well, I guess the same question can be asked about everyone who digitizes a historic type, so let's not just beat up on Luin here. Nalle does it, Kegler does it. Beatty does it, Stone does it... like the old adage goes: everybody's doing it. Another curiosity, though trivial and somewhat funny, is the fact that everyone who produced unauthorized Grafotechna fonts for sale seems to have intentionally avoided offering Central European sets with those fonts, while knowing pretty well (how can one NOT know this!?) that a Menhart type would have many purchasers in Central Europe if it did indeed offer CE characters. None of Manuskript, Figural, Prague, Oldrichium or the upcoming Neufville Menhart Antique contain CE characters. Why do you think that is? :o) Ciao ' -- www.apostrophiclab.com Article 426135 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!torn!newsfeed.telusplanet.net!news1.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts Subject: Re: REQ: ManuscriptLH Lines: 80 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4522.1200 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4910.0300 Message-ID: <4pg19.4113$Z5.180046@news1.telusplanet.net> Date: Mon, 29 Jul 2002 19:08:48 GMT "Tobias" wrote in message news:3d453c3a$0$15167$9b622d9e@news.freenet.de... > > Could you elaborate a bit on Linotype's reasons for stopping selling the > fonts? As far as I know typefaces are not protected as a work of art in Germany, at > least not before 1980 (when the Vienna Treaty became national law), and then only > for fonts registered at the Trademark office and for a maximum duration of ~25 > years. Should we really believe that Linotype withdrew the fonts for purely ethical > reasons, that they realised `We made a mistake by selling an ``unlicenced'' font'? > I really don't know, so all I can do is speculate here. The issue wouldn't concern German protection as much as it would the rest of the world. With the kind of web sales procedures that we've reached these days -- destroying all borders across the world, one would have to worry about other countries as well as their own. Not that I think this is the reason Linotype stopped selling Manuskript. Among the many things one can notice about the type trade and the foundries of yesterday and today (and most likely tomorrow) is of course the public display of how ethical they are, which is usually coupled with a finger pointing to a few competitors. I tend to believe that this was one of those things Linotype exhibited. Look how ethical we are! What they didn't see, of course, is that by saying something like "We stopped selling Manuskript for ethical reasons, but Franko Luin still sells it," they indirectly put Luin under a bad light in terms of ethics (I don't think he gets it though), yet they continue to be associated with him and sell his other typefaces. Why? Well, there was the dude from Grafotechna whining about it, and probably Manuskript wasn't selling well (if at all), and somebody brought it up on the ATypI forum, so Steinert took the opportunity to make Lino look good... and who cares about some typeface made by some Czech then copied by some Swede? This sort of thing is of course rampant in the type trade, though one would sometimes need to dig a bit to get to the real stories. You can see this sort of charade happening everywhere you look, on the web, in trade conferences, in foundry transaction, press releases, typeface releases. It's disgusting if you get right down to it, but that's how this trade operates. Learn to forget, seems to be the common attitude. We've reached the end in this trade, I think, when the line between ethics and "getting away with it" is this transparent. If you look back at the heralded history of type from its early days, through the boom of publishing and book collecting, all the way to the digital realms and these days of online transactions and labourless work, what do you see? This may be my eye seeing a half-empty glass, but how many of our current day type heros have stomped all over "ethics" on their way to the gold bullion? Didn't Goudy rob his student blind, and isn't he now one of the most heralded historic type figures in the world? Didn't Carter rob Linotype and Monotype, and isn't he now the main attraction at every type conference or contest? Didn't Slimbach rob Kuesters, and isn't he now on every list of contest winners? Didn't Licko and Makela release an unauthorized mechanical blend of VAG and Bell Centennial, and aren't they now considered part of the force behind modern typography? Didn't Roat do a busload of knockoffs with SWFTE, and isn't he now considered the genius behind the proverbial American boutique foundry? Didn't Porchez point-pirate Adobe, and isn't he now the most prominenet French figure in typography? Didn't Hattenbach rip off Brendal and Forsberg? Didn't Hudson rob Schneider? Didn't Munch copy Glaser? And so on and on and on.... With a history like that, is there really any room for us to believe that ANYONE in this trade has ethics, or even if some did, do these ethics count at all in the way things are done? So, I guess the answer to your question is no, we shouldn't really believe that Lino withrew Manuskript for purely ethical reasons. I'd lean more toward the belief that they withdrew Manuskript for a purely reactionary reason: they were found out. :o) Ciao. ' -- www.apostrophiclab.com "Ch.Ravindra" wrote: > > please give internet addreess for Telugu font(India, Andhra Pradesh state) > or please send acopy of above font Here's the interesting info: Linotype was never a German company until 1987, when Allied Corporation changed their name to Allied Chemical. dropped the type division, and sold the typefaces to a couple German guys who raised some capital at a state bank. Mergenthaler was an American citizen, as well as a Frankfurter. Isn't it amazing how in just 25 years Linotype managed to virtually delete every trace to its origin from the public minds? I wonder what Steinert would say if someone were to call him up and tell him that the very first Lino boss was a Yankee, and there's no sense in hiding it... MDCA http://news.com.com/2100-1023-947325.html Freddy "Didot St-Leger" Didot "Didot jeune" Didot Abraham I Elzevir Alessandrini Alexandra Alexandra Lazowsky Alexandre de Berny Alona Greenberger Amélie Boutry Amit Ginat Andreas Jung Andreas Lindholm Anton Janson Arthur Eisenmenger Benjamin de Lotz Bernard Newdigate Bonaventura Elzevir Brian Lucid Bruno Grasswill Calvin Glenn Camut Carl Klingspor Carl Purington Rollins Charles Plumet Charles Snell Chevi Dash Christian Terbeck Christine Côté Christoffel van Dijck Christophe Heylen Darren Raven Daryl Roske David Haliva David Lyttleton David Robbins David Sagorski David Shapira Desmond Poirier Dirck Voskens Dudley Rees E. M. Ginger Edgar Tal Edward Rondthaler Erez Tamir Eric Donelan Erwin W Shar Eva Walter Fabian Rottke Fortunado DePero Frank Pendrell François Didot Friedrich Neugebauer Gad Ulman Gadi Yona Galit Zadok Gary Gillot Georges Peignot Gerard Daniëls Gilat Pereg Greg Hitchcock Guillaume le Bé György Szönyei Helga Jörgenson Hideaki Wada Hovav Sraya Ian Thomson Isaac Elzevir James Closs Jean Antoine Jean Joseph Barbou Jean Pierre Fournier l'ainé Jock Kinneir Joe C. VanDerBos Johann Froben Johann Fust Johann Michael Fleischman Johann Schoeffer Johannes de Spira John Chippindale John Critchley John Gill John Handy John Speed John Stephenson John Viner John W. Golden Jonatan Harel Jonathan Munjak Jun Tomita King Louis XIV L. Zimmermann Lindsay Holton Linnea Lundquist Lipman Louis Höll Lucien Pissarro Lynne Garell Margo Chase Marie Frédérique Laberge-Milot Marie France Garon Marloes Kremers Martin Weir Matthew Antonio Chiavelli Matthias Jordan Michael Stacey Michel Bujardet Miklós Tótfalusi Kis Minoru Kamono Molé-le-Jeune Naama Sekely Nelly Gable Nely Rubin Noah Rothschild Noam Shidlovsky Omer Peleg Paul Standard Percy Tiffin Peter Bellenson Peter Dombrezian Peter Fahrni Peter Nevins Peter Reiling Pierre Didot Pierre Simon Fournier le jeune Pierre-François Didot Pleasant Jefferson Conkwright Portron Rachel Brenig Rafi Rovny Ralf Borowiak Rami Ben-Ami Raymond Gid Rosemarie Kloos-Rau Sebastian Carter Shmuel Lastigson Simone Schöpp Stan Starbuck Stefan Hägerling Stephan Müller Steve Lundeen Sue Lightfoot Taouffik Semmad Theo Nonnen Volker Küster Walter Richard Walter Tracy Whedon Davis Wilhelm Haas the elder Wilhelm Haas the younger Will Carter William Bulmer William Caslon I William Caslon II William Caslon III William Caslon IV William Caxton William Grandison William Martin Article 429105 of alt.binaries.fonts: From: "HypoTypo" Newsgroups: alt.binaries.fonts References: <3d53e8f1$0$242$ba624c82@nntp03.dk.telia.net> Subject: Re: News server? Lines: 27 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 X-GC-Trace: gv1-l6ri3zuu7ATaab8gN+82sHgK6xyW4tb4qi8XA== Message-ID: Organization: Giganews.Com - Premium News Outsourcing X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 Date: Fri, 09 Aug 2002 16:33:32 GMT I just tried this page and found a news server from Minnesota that has abf and might be an OK backup... http://www.gj.net/~bhkraft/ The Minnesota server is news://news.readfreenews.net/ It's a read only Public news server and has abf... When I downloaded the headers (almost 6600), it went all the way back to 6-20-2002 Ya may want to try the others too... Hypo. "peter" wrote in message news:3d53e8f1$0$242$ba624c82@nntp03.dk.telia.net... > I am having problems seeing the latest posts with my current news server. > Can anyone recommend a good, reliable one? It does not have to be webbased. > > http://drn.maxwell.syr.edu was really nice, but it's down :-( > > peter > > Article 429246 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!newsfeeds-atl2!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news01.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts Subject: Re: what is a "t1"-font please? Lines: 26 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Sat, 10 Aug 2002 03:45:18 GMT X-Complaints-To: abuse@rogers.com "Dennis (UGH)" wrote in message > "Apostrophe (')" wrote > > Already been done :o) > > http://www.pyrus.com/html/compocompiler.html > > Have you tried it? Can you just open a font with a basic character set. > hit a button and have it complete it? Does it do a decent job of it? > If so it just rocketed to the top of my future "art" purchases. > (Or do you need to know stuff?) > You would need to 'know stuff,' unfortunately, but only some stuff. Aside from having a text file with the glyph names of all the composites you want created, the accents must be in the font itself before you can run it through CC. If the acute or the grave are not in the font already, they'll need to to be made before running the Compo Compiler on it. CC is a simple script, really. It's actually one of the obscure parts of Fontlab that people who don't read manuals cover to cover don't know about. ' -- www.apostrophiclab.com Article 429311 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!aotearoa.belnet.be!news.belnet.be!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin4.nnrp.aus1.giganews.com.POSTED!not-for-mail From: "Monique" Newsgroups: alt.binaries.fonts References: Subject: Re: Wanted: 15th - 18th Century fonts X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Organization: Giganews.Com - Premium News Outsourcing Lines: 22 X-Complaints-To: abuse@comcast.com X-DMCA-Complaints-To: dmca@comcast.net X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 Date: Sat, 10 Aug 2002 13:57:11 GMT You can find one here. It is 15th century a la Shakespeare. I really like it. Monique P.S. Have you tried TypOasis. They have tons and I'm pretty sure some are the type you are looking for. http://moorstation.org/typoasis/typoasis1.htm "Simon Iff" wrote in message news:ZN_49.1567$T7.2695@news.get2net.dk... > Can you help me? > Have a look at the typefaces at http://www.crazydiamond.co.uk/ . > > Do you know if there are any free TT-fonts like these? > > Thank you! > > Article 429314 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!ps01-sjc1!news.webusenet.com!easynews!newspeer.cts.com!galanthis.cts.com!127.0.0.1.MISMATCH!not-for-mail From: "Dennis $UGH$" Newsgroups: alt.binaries.fonts References: <0z959.52172$nF5.13266@sccrnsc02> Subject: Re: What's the Best Way to Organize Fonts? Date: Sat, 10 Aug 2002 07:48:25 -0700 Organization: Ubiquitous Galactic Hyperbole X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Lines: 11 "Charged Sarge" wrote Dear A.B.F.ers > Is there any software that searches for duplicate fonts, and allows you to trim the fat, so to speak? Article 429863 of alt.binaries.fonts: From: "Eduardo" Newsgroups: alt.binaries.fonts Subject: Re: News server? Date: Tue, 13 Aug 2002 01:10:07 +0200 Organization: Telefonica Data Espagna Lines: 139 Message-ID: X-Complaints-To: usenet@nsnmpen2-gest.nuria.telefonica-data.net X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4522.1200 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4522.1200 Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!msc1.onvoy!onvoy.com!arclight.uoregon.edu!logbridge.uoregon.edu!newsfeed1.bredband.com!bredband!news01.chello.se!out.nntp.be!propagator-SanJose!news-in-sanjose!in.nntp.be!caladan.arrakis.es!nsnmrro1-lo.nuria.telefonica-data.net!nsnmpen2-lo.nuria.telefonica-data.net!not-for-mail Hi, Andrés I send this message using OE and the server news:\\nsnmpen2-lo.nuria.telefonica-data.net The two server (for read and post) work O.K. news:\\biggulp.readfreenews.net (many groups) news:\\dp-news.maxwell.syr.edu (for binary clip-art, without fonts) news:\\news-east.teranews.com (with free registration before at http://www.teranews.com/ ) -- 50 MB free of download daily news:\\alpha.webusenet.com Regards. Eduardo "A.Stern" escribió en el mensaje news:aj6rqd$4pu$1@news1.nivel5.cl... > Hola Eduardo. > > This is the response I'm getting in OE from your news servers: "502 You have > no permission to talk. Goodbye." > Can you connect to them? > > Chao. > > Andrés. > > > escribió en el mensaje de noticias > 6akdluc8b4cij8qtvsqq9q9dsl58oob7vg@4ax.com... > > > > Hi, Maria Clara > > > > Try the next free newservers > > > > news:\\news.mad.ttd.net > > > > or > > > > news:\\nsnmpen2-lo.nuria.telefonica-data.net > > > > Regards. > > > > Eduardo > > > > > > On Mon, 12 Aug 2002 05:24:20 +0800, "Maria Clara" > > wrote: > > > > >*** post for FREE via your newsreader at post.newsfeed.com *** > > > > > >Thanks. It is better than the server of my ISP. :) > > > > > > > > >ray wrote in message > > >news:A2e59.32113$Z5.1137699@news1.telusplanet.net... > > >> news:\\alpha.webusenet.com > > >> > > >> "Maria Clara" wrote: > > >> >*** post for FREE via your newsreader at post.newsfeed.com *** > > >> > > > >> >Is there a real free server, one without a joining fee, that you can > get > > >> >attachments? > > >> > > > >> >I couldn't seem to get multiple messages from my server. > > >> > > > >> >Maria Clara > > >> > > > >> > > > >> >HypoTypo wrote in message > > >> >news:w9S49.106716$yc3.4301438@bin4.nnrp.aus1.giganews.com... > > >> >> I just tried this page and found a news server from Minnesota that > has > > >abf > > >> >> and might be an OK backup... > > >> >> http://www.gj.net/~bhkraft/ > > >> >> > > >> >> The Minnesota server is > > >> >> news://news.readfreenews.net/ > > >> >> It's a read only Public news server and has abf... > > >> >> When I downloaded the headers (almost 6600), it went all the way > back > > >to > > >> >> 6-20-2002 > > >> >> > > >> >> Ya may want to try the others too... > > >> >> > > >> >> Hypo. > > >> >> > > >> >> "peter" wrote in message > > >> >> news:3d53e8f1$0$242$ba624c82@nntp03.dk.telia.net... > > >> >> > I am having problems seeing the latest posts with my current news > > >> >server. > > >> >> > Can anyone recommend a good, reliable one? It does not have to be > > >> >> webbased. > > >> >> > > > >> >> > http://drn.maxwell.syr.edu was really nice, but it's down :-( > > >> >> > > > >> >> > peter > > >> >> > > > >> >> > > > >> >> > > >> >> > > >> > > > >> > > > >> > > > >> > > > >> > -----= Posted via Newsfeed.Com, Uncensored Usenet News =----- > > >> >http://www.newsfeed.com - The #1 Newsgroup Service in the World! > > >> >-----== 100,000 Groups! - 19 Servers! - Unlimited Download! =----- > > >> > > > >> > > > > > > > > > > > > > > > -----= Posted via Newsfeed.Com, Uncensored Usenet News =----- > > >http://www.newsfeed.com - The #1 Newsgroup Service in the World! > > >-----== 100,000 Groups! - 19 Servers! - Unlimited Download! =----- > > > > > > > > > Article 429887 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!isdnet!fr.clara.net!heighliner.fr.clara.net!151.189.0.75.MISMATCH!newsfeed.arcor-online.net!easynews.net!newsfeed3.easynews.net!newsfeed.freenet.de!news.freenet.de!not-for-mail From: nodme Newsgroups: alt.binaries.fonts Subject: Re: What's the Best Way to Organize Fonts? Date: Tue, 13 Aug 2002 02:33:26 +0200 Message-ID: References: <0z959.52172$nF5.13266@sccrnsc02> X-Newsreader: Forte Agent 1.91/32.564 X-No-Archive: yes Content-Transfer-Encoding: 8bit Lines: 48 X-Complaints-To: abuse@freenet.de Charged Sarge wrote: >I have used FontAgent, but I'm not a big fan. Once and only once, I chose >the option of having FontAgent rename my fonts to more "intuitive names." >That was a big mistake, because some of my Adobe products stopped working >immediately after running FontAgent's font renaming feature. I had to >reinstall Adobe Acrobat and Adobe InDesign to get them to work again. I >guess Acrobat Distiller looks for certain fonts before it will run properly. >and it couldn't find them after FontAgent renamed them. Hi Sarge. here's a section from the troubleshooting notes of the FA manual: FA>>Fonts don’t seem to work after running FontAgent FA>>If you use Font Navigator or Adobe Type Manager Deluxe. FA>> then you need to reconfigure the sets to use the new fonts. Since the fonts are identified via their filenames, and they are expected to be found at specified locations (specified when the ATM/Fontnavigator sets were build or the fonts where installed), it seems logical that every single renamed font needs to be installed anew. Fred FontAgent Troubleshooting notes Problems running FontAgent If you experience any problems running FontAgent, please see the precautions listed in “Before you run FontAgent” on page 9 and run FontAgent again. Always do the following before running FontAgent: ¦ Back up your folders containing fonts ¦ Run a disk repair utility, such as ScanDisk. ¦ to check and repair the disk. For safety, FontAgent completely handles a font and then deletes the old TrueType or PostScript font. No fonts are lost or damaged. If you experience problems keeping fonts in existing folders, try creating a new FontAgent Library. Fonts don’t seem to work after running FontAgent If you use Font Navigator or Adobe Type Manager Deluxe, then you need to reconfigure the sets to use the new fonts. From knewman@sedtech.com Tue Aug 13 14:11:38 2002 Return-Path: for ; Tue, 13 Aug 2002 14:11:38 -0400 (EDT) (envelope-from knewman@sedtech.com) for ; Tue, 13 Aug 2002 14:13:40 -0400 (EDT) (envelope-from knewman@sedtech.com) for ; Tue, 13 Aug 2002 14:11:37 -0400 Received: from sedtech.co.uk (ns1.sedtech.co.uk [217.151.96.204]) for ; Tue, 13 Aug 2002 14:13:40 -0400 (EDT) (envelope-from knewman@sedtech.com) Received: from dad (bi53-01-157.gt.saix.net [155.239.93.157]) by sedtech.co.uk (8.11.6/8.11.6) with SMTP id g7DH99820119 for ; Tue, 13 Aug 2002 18:09:11 +0100 Message-ID: <004101c242f4$a1606de0$0200a8c0@dad> From: "Kevin Newman" To: Subject: iSEDQuickPDF - ActiveX and Delphi software library Date: Tue, 13 Aug 2002 20:09:36 +0200 X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.00.2615.200 Status: R This is a multi-part message in MIME format. charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Luc. Thank you for your "PDF-related web sites" list. Perhaps you would like to mention our iSEDQuickPDF library? =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D iSEDQuickPDF http://www.sedtech.com/isedquickpdf iSEDQuickPDF is an ActiveX and Delphi library for generating and = managing PDF documents. Existing documents can be loaded and modified, = or documents can be generated from scratch. Advanced features: TrueType = font embedding, encryption (40-bit and 128-bit), PDF merging technology, = compression. Drawing functions include circles, arcs and barcodes. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Many thanks. Regards. Kevin -- Kevin Newman knewman@sedtech.com +27 82 9 20 4401 +27 82 929 2455 (Fax) Managing Director SEDTech (Pty) Ltd. http://www.sedtech.com Article 430668 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!cyclone.bc.net!nntp.cifnet.net!nntp5.savvis.net!stargate.gts.cz!yellow.newsread.com!netaxs.com!newsread.com!newsprint.netaxs.com!207.8.186.118.MISMATCH!grr!newsstand.netaxs.com!news-out.visi.com!hermes.visi.com!newsfeed.news2me.com!west.cox.net!cox.net!fs01-sjc1.usenetserver.com!ps01-sjc1!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news01.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts Subject: Re: what is a "t1"-font please? Lines: 126 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Fri, 09 Aug 2002 07:10:22 GMT X-Complaints-To: abuse@rogers.com "crabshell" wrote in message news:5ut3lug37otnbuc7g1juj78if42acab06p@4ax.com... > I'm so disillusioned. I had such high regard for an art form that > even the heavy hitters don't respect. Next you'll tell me Barry Bonds > is on steroids and my apple pie contains Aspartame. Ah, the grand disillusion! Well, some balancing needs to be done in everyone's way of thinking every once in a while. Don't lose respect for the art form on my account. Fonts are cool (VERY cool, if you ask discriminate ol' me), but they are not the grand art that some people crack them up to be. Not these days anyhow. Type was an art when it involved faithfully sculpting drawing letters in metal, one by one, where sometimes each letter had to be no more than a quarter of an inch high and less than half of that in width. It was an art when people did it at the risk of their own health. hygiene and discredit. What is it now? Buttons pushed in a font editing program, automatic table-building calculations, and some cut, copy and paste options? Where's the art in that? But again, this is all pretty subjective. Some would argue that the day filmtype was introduced is when it all sank, and now everything is junk, but some would argue that the possibility of originality is still there even though the tools have changed, so let's not give up on it just yet, and some would even argue that new technologies have a merit solely because of the potential versatility and rejuvenation they bring to the old craft. Regardless of the view there, the reality of it is that any qualitative measuring we make of digital type nowadays cannot really be done on account of the letters themselves, since the design of the letterform and its potential usability are very subjective to its beholder. Our quality judgment has instead to do with the implementation of the technology itself. Spacing, kerning, family and style naming, ascent/descent proportions, width flags, PANOSE identification, header information, UPM value, codepages. alignment zones, line gap, underline position, quadratic and cubic node definitions... all this stuff and a ton more is just technology, and if we are measuring the quality of type by checking items off a list of technologically viable features, are we really critiquing an art form in its needed artistic light, or merely stating the technological pros and cons of someone's proposed widget? If the definition of an art form is someone spending a hell of a lot of time trying to make a machine understand his or her letters, then I dare to suggest that every machinist out there just might be an artist by default, simply because of their livelihood. How many automated processes and/or machines will we need to acknowledge that the majority of our supposed work is not done by us anymore? How can we claim that it's art if the technologies we use to produce the art limit the art itself!? How can we claim that it's art when Zapfino, one of the most marvelous scripts my eyes have ever seen, had to have its standards lowered because of format differences, and even had to have some of its characters redrawn in order to accommodate the technology? So we say drawing letters is art, but how art of is left in those letters if they must be drawn with so many restrictions in mind? How many push-ups can one perform in a room that is three feet wide by three feet long? By the time the abstract intangible thought of the letter shapes, the idea that may have been art in the beginning... by the time that 'art' is filtered through the gazillion tools that try to materialize it to our eyes, it's not art anymore. When the technology that is used to produce the art has to be accommodated before the art itself, the final product is really a partial afterthought, a remainder. a residue. So now, the common question begs itself. If it's not art, how come so many people say that it is? Well, the question we should ask ourselves is this: WHY do so many people say that it is? Human nature is so cruelly transparent these days, you know. Almost everyone out there who claims that fonts are a form of art must have some sort of ulterior motive for making such a claim. Of all the scars, heartbreaks and sob stories we collect during our lives. nothing should sadden us more than seeing someone desperate enough for acceptance and/or money that they actually lie to themselves and others about what it is or isn't that they do, turning the lies into beliefs. insisting on them even when confronted with the reality of yesterday's crime's and today's available tools to repeat them -- tools that they use themselves as a matter of daily routine. I know this woman in Alexandria, Virginia. She's a calligrapher, about 70 years old now. She runs a wedding arrangement shop, mostly concentrating on invitation design, cake lettering, little signage, that sort of stuff. I've been doing some work for her, on and off, for about 5 years now. Re-encoding fonts, placing alternates in accessible slots, fixing spacing or kerning. adding this or that, chopping here or there, and so on. I'd been doing work for her for more than a couple years before I actually met her in person in 1999. I was in Alexandria on other business, and just decided to drop by her shop and surprise her, so I did. This turned out to be an experience I will never forget. I actually got to see her perform her work; she swashed beautiful words on long ribbons, used a blade to cut gorgeous instantaneous script into a silk banner, knifed the initial M into a thick red cylindrical candle and the initial K into another one, and designed an incredible invitation using Fine Hand on some long-discontinued greeting card software. I tell you, I spent 4 hours in her shop and was blown away by what she did and how she did it. My view of my own work and the tools I use sank many rungs; I was humbled... Enlightened, if you will. It struck me that everything I do, as well as every other type designer out there does now, requires a machine and a program of sorts? Why? Because we need something to help us fix and patch and optimize every step of the way. It's quite sweet and sour when some of us, including myself, try to feed the fantasy by emulating the art of old. by drawing something then running it through a machine to obtain outlines. then boom, there's your script. It's great that people take the font and use it. It's fantastic and I'm ever so grateful to get praise for letterforms I made. But really, will people who appreciate my work know my real handicap? Will they ever know how many times I had to draw that S before I got it close to right, then how many times I used yet another tool, another machine, to actually get it right? Does it matter if people know this stuff. No, it doesn't. They're happy with what they have, and that's great. Does it matter if I myself know this stuff. Of course. I can't improve myself without benchmarking my work? And every other type designer I know out there goes through my same routine. I don't know if they even think about it with even half the nostalgia I give it, but their routine is the same. None of us can use the blade to cut a perfect elegant script J into silk in one shot. Is there a chance for my generation or the next to actually be able to get a letter just right on first shot? I don't know, but I don't believe so. Not like the unknown old lady in Alexandria. I belong to a generation of so-called type designers who are really just trade-heads, technologists, enthusiasts, desperados, researchers. historians, linguists, control freaks, politickers, wannabes, and all-around brats. Any one of the couple hundred of us out there can make a decent original text face for you in less than 3 days, if you pay us enough, but make no mistake about it: even though some of us claim otherwise, it's all fluff -- we are not artists. The real type artists are all dead or dying. ' -- www.apostrophiclab.com From rlarabie@sympatico.ca Thu Aug 15 09:28:47 2002 Return-Path: for ; Thu, 15 Aug 2002 09:28:46 -0400 (EDT) (envelope-from rlarabie@sympatico.ca) for ; Thu, 15 Aug 2002 09:32:15 -0400 (EDT) (envelope-from rlarabie@sympatico.ca) for ; Thu, 15 Aug 2002 09:28:46 -0400 Received: from tomts7-srv.bellnexxia.net (tomts7.bellnexxia.net [209.226.175.40]) for ; Thu, 15 Aug 2002 09:32:15 -0400 (EDT) (envelope-from rlarabie@sympatico.ca) Received: from pepsi ([64.229.12.4]) by tomts7-srv.bellnexxia.net id <20020815132758.OYBA19270.tomts7-srv.bellnexxia.net@pepsi> for ; Thu, 15 Aug 2002 09:27:58 -0400 Reply-To: From: "R Larabie" To: Subject: Art Today thingy Date: Thu, 15 Aug 2002 09:28:29 -0400 Message-ID: <000201c2445f$a9a219b0$0200a8c0@pepsi> boundary="----=_NextPart_000_0003_01C2443E.229079B0" X-Priority: 3 (Normal) X-MSMail-Priority: Normal Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R This is a multi-part message in MIME format. ------=_NextPart_000_0003_01C2443E.229079B0 boundary="----=_NextPart_001_0004_01C2443E.229079B0" ------=_NextPart_001_0004_01C2443E.229079B0 charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Luc. Your site rules. About Art Today: Four years ago my mom was looking for clip art or some god damned thing for newsletters or god knows what. I stumbled onto a brand new site called Art Today which offered extremely shite clip art for a subscription. They had a few, crap fonts so I offered them my own crappy fonts in exchange for a subscription for my mom . worth about twenty bucks. Peter insisted on paying me $3000 USD (or something like that). A few years later I had amassed another few hundred fonts and he gave me the same rate, no questions asked. Bottom line is: I make fonts and I've probably made about ten thousand USD off Art Today and that's when I was strictly freeware. not that I make any money with the new foundry. That buys a lot of old Letraset Catalogues, Photo Lettering One Line type books, antique wood type and Vodka - thereby encouraging more drunken font development. It's not like I was begging the dude for money. I was like, "Here, take 'em' and he was throwing money at me. Not evil perhaps? Hey, I just noticed my drunken post from a few years ago. Holy shitballs! http://cg.scs.carleton.ca/~luc/larabie.txt That was weird how people freaked out. I just pictured the fonts degrading over the years. I mean, people are all about having the freedom to copy whatever the hell they want but suggest that someone might change them and re-upload them and you're trampling their basic human rights. Times have changed and if you happen to be on WinMX, you might find all my commercial fonts in my shared folder.;-) I don't know if you've seen this thing: http://www.larabiefonts.com/pirated.html A lot of times other designers will alert me to the horrors of pirated fonts on a site and they want to go in with guns blazing. I'm sure most of the time it's just kids who don't know the difference. As for copyright threat from corporations, I've always been nervous about Coolvetica but they haven't bugged me about it. I pulled 20th Century Font bacuse Agfa Monotype . or Bitstream, I forget who the hell it was mentioned that 20th Century is their trademark. I'll pull a font from my site at the drop of a hat so it didn't bother me but I thought it was ironic that Twentieth Century is a 1950's ripoff of Futura like fucking exact! Renner's chewin' at his coffin. Cheerz. Ray Larabie Larabie Fonts ArtToday.Com Welcome to the sewer of the internet. For 78USD per year, you can subscribe to this service, which offers lots of font downloads (almost 6000, they claim). Not only are the fonts rather standard, but upon inspection of the fonts (Erik's Hand, Stencil, Snowcaps, HotTamale. etcetera), it is clear that these guys are asking money for access to freeware/shareware fonts made by others! Holy cow! So, I did some digging and learned that ArtToday.com is owned by Zedcor Inc, 5232 E. Pima St. Suite 200C Tucson, AZ 85712. The head parasite seems to be Peter Gariepy, tel: (520) 881-8101 520-881-1841. Gariepy has become rich (at least judging from his hobbies and other information culled from the web), so, as is often the case in this world, the bad guy won. Email to email@zedcor.com Ray Larabie From graball@ccsi.com Thu Aug 15 13:55:08 2002 Return-Path: for ; Thu, 15 Aug 2002 13:55:08 -0400 (EDT) (envelope-from graball@ccsi.com) for ; Thu, 15 Aug 2002 13:58:36 -0400 (EDT) (envelope-from graball@ccsi.com) for ; Thu, 15 Aug 2002 13:55:07 -0400 Received: from c007.snv.cp.net (h013.c007.snv.cp.net [209.228.33.241]) for ; Thu, 15 Aug 2002 13:58:35 -0400 (EDT) (envelope-from graball@ccsi.com) Received: (cpmta 13369 invoked from network); 15 Aug 2002 10:53:17 -0700 Received: from 66.220.133.200 (HELO ?66.220.133.200?) by smtp.nucentrix.net (209.228.33.241) with SMTP; 15 Aug 2002 10:53:17 -0700 X-Sent: 15 Aug 2002 17:53:17 GMT X-Sender: graball@mail.ccsi.com Message-Id: Date: Thu, 15 Aug 2002 12:44:31 -0500 To: graball@ccsi.com From: Dave Nalle Subject: Scriptorium Update - Caswallon&Font Club News Status: R SCRIPTORIUM UPDATE #132 To see the graphic version go to: http://www.fontcraft.com/scriptorium/update.html Featured Font - Caswallon http://www.fontcraft.com/scriptorium/caswallon.html FontClub News http://www.fontcraft.com/fontclub Captain Kidd Font - 7th Installment http://www.fontcraft.com/scriptorium/kidd New Main Page Feature http://www.fontcraft.com Two New Font Collections Modern Fonts: http://www.fontcraft.com/scriptorium/modern/index.html Futuristic Fonts: http://www.fontcraft.com/scriptorium/future/index.html GRAPHIC NEWSLETTER??? This time we're trying a slightly different approach to making the newsletter graphic. To see the graphic version and skip the rest of this, just go to http://www.fontcraft.com/scriptorium/update.html CASWALLON FONT Our recent polling discovered a lot of interest in more antique script fonts, so we felt obliged to provide one. Caswallon is loosely based on samples of 17th century text script. It features a decorative upper case character set with clean, basic lower case letters plus some bonus decorative ornaments to add flair to any design. Caswallon goes very well with antique text styles, particularly Caslon and Jenson derivatives, including our True Golden and Treglonou fonts. To try out a sample of the Caswallon for free, just follow the links from our main page at http://www.fontcraft.com/scriptorium/caswallon.html FONT CLUB NEWS After almost four years at a stable price and as a phenomenal deal, the price of the Font Club is more than due to go up. At the end of this month we're going to adjust the price of one and two year memberships up by about 30%. We hate to do it, but our overhead has been going up, and the Font Club has will be featuring some of our hottest fonts, so adjustments have to be made. The great news is that we're telling newsletter readers about this change up front, so if you've been thinking about joining the Font Club you can do it now before the price change. If you're not already familiar with it, the Font Club provides the full release version of a new font every two weeks, plus a bonus font with each membership year. That's 25 fonts for less than $3 each. You can get all the info on the Font Club at http://www.fontcraft.com/fontclub We're also offering a special package deal. If you order the new release of our complete fonts CD you can get a one year Font Club membership thrown in for only $30 more. That's a special deal that's hard to pass up. Just go to http://www.fontcraft.com/store/specials.html CAPTAIN KIDD FRONT PROJECT UPDATE Development of the Captain Kidd font is in the final stages. We're now converting the font over into Fontographer and making final adjustments.. In the seventh installment we start finalizing character positioning and variations. You can find all of the installments of the article at http://www.fontcraft.com/scriptorium/kidd NEW PAGE FEATURE We get an awful lot of people emailing us and asking "what font did you use for XXX on page YYY". To try to address these questions in advance, we're adding font identification captions to some of our most popular and more complex pages. We've already added this feature to the main page and a couple of others, and plan to add it to more. To check it out just go to the main page at http://www.fontcraft.com and look towards the bottom for the listing of fonts. Suggestions on where to provide this info and how to make it as clear as possible would be welcomed. TWO NEW FONT PACKAGES We've just released two new font collections featuring lots of new fonts and selected older fonts to fit these special themes. The Modern Fonts collection embodies the idea of contemporary design, with a selection of 12 fonts taken from recent p[oster and advertising design, and other fonts which have the look of 'right now'. It includes four new fonts (Ekberg, Ducatus, Cosmic Dude and Oblivion), plus some fonts which haven't been in a package before this, like Jambon and Squiffy. You can check this package out at http://www.fontcraft.com/scriptorium/modern/index.html The Futuristic Fonts collection features fonts which have a futuristic or science fiction sort of look. The package includes the brand new Alecto font, plus several obscure but deserving fonts you've almost certainly never seen before, like Circuit, Yazata. Parika, Gearhead and Ironclaw. Overall it's a very striking collection. You can check it out at http://www.fontcraft.com/scriptorium/future/index.html Each of these packages is on sale for a special price of only $39 for a limited time. And yes, in case you thought we were going to go on and on with new modernistic and futuristic fonts, we're done now that these packages are ready, and our next few new fonts will be a bit more traditional. NOTE We just did a major cleanup of our mailing list. If you get more than one of this newsletter, please let me know. Dave (Note: to leave the list, just send an email to update-unsubscribe@fontcraft.com) -- Scriptorium Fonts: http://www.fontcraft.com Ragnarok Press: http://www.ragnarokpress.com Customer Support: 1-800-797-8973 Article 434092 of alt.binaries.fonts: From: "zzsido" Newsgroups: alt.binaries.fonts References: <3d69b2b5$1@post.usenet.com> Subject: Re: Req Micrologic Fonts Date: Mon, 26 Aug 2002 14:42:05 +0200 Lines: 7 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 Message-ID: <3d6a2235$2_7@news.onlynews.com> X-Abuse-Report: Send abuse reports to abuse@onlynews.com Organization: http://www.OnlyNEWS.com Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!isdnet!news.stealth.net!news.stealth.net!central.cox.net!cox.net!newsfeed-east.nntpserver.com!nntpserver.com!reseller.nntpserver.com!not-for-mail Try download from news://biggulp.readfreenews.net/alt.binaries.fonts Zoltan From frednader@rogers.com Mon Aug 26 23:37:51 2002 Return-Path: for ; Mon, 26 Aug 2002 23:37:51 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Mon, 26 Aug 2002 23:41:21 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Mon, 26 Aug 2002 23:37:50 -0400 Received: from fep01-mail.bloor.is.net.cable.rogers.com (fep01-mail.bloor.is.net.cable.rogers.com [66.185.86.71]) for ; Mon, 26 Aug 2002 23:41:21 -0400 (EDT) (envelope-from frednader@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.71]) by fep01-mail.bloor.is.net.cable.rogers.com for ; Mon, 26 Aug 2002 23:37:44 -0400 Message-Id: <5.1.0.14.2.20020826232502.019b6d98@pop> X-Sender: frednader@rogers.com@pop Date: Mon, 26 Aug 2002 23:38:12 -0400 To: luc@cs.mcgill.ca From: Freddy Subject: Another one bites the dust X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep01-mail.bloor.is.net.cable.rogers.com from [24.157.67.71] using ID at Mon, 26 Aug 2002 23:37:44 -0400 Status: R Luc: Thanks for the Lundhem fonts. Didn't have them. A bit of news from the forefront of type scandals. Yet another one, and again this one involves yours truly. This time it's one guy I really really liked a lot. Broke my heart. So I finished the OpenType work for Storm a couple months ago, and he started retailing the JBW pack this month. Three days after he started selling the package, I heard about the floods in Prague and emailed him with concerned words. This is what I receive back from him: --- Mr. Nader. I feel sad about this: http://www.fontzone.com/zine/features/Previews/Preview%3a_Pirates_on/fz34100.prev/ and I would be happy if you satisfy immediately the people - many of my friends - who were harmed by your awful behavior. --- This, from a guy who has been calling me Freddy for the past 3 months. Someone, presumably Bruton or Hoefler, emailed him with this URL as soon as they saw my name in the JBW credits. I emailed Storm back, explaining the situation, and telling him that this is basically a matter of Bruton's word against mine. But he never replied. A couple days later I saw that he removed my name from the credits in the JBW documentation. When I saw that I was really pissed and sent him an angry email, telling him that he was not complying with the work's contract, and if my name didn't go back on the documentation I would have to ask him to remove the OpenType fonts with my code in them from the set he's selling (I agreed to charge him only $5k for all the OT work because I knew that my name in the credits would give me more exposure, and he knew that this is why he got away with a cheap deal). Still no reply. His bill for the OT work is now one month overdue. so I don't think he will pay it. But he is still selling the pack on his site. I'm not sure what I'm going to do next, but I'm not getting into the legal game that Bruton and Hoefler want me to dive into again. If his bill doesn't get paid by the end of September, I just might go crazy with his fonts, do knockoffs and stuff like that. It's like the old line from the Godfather. I keep trying to get out, but they keep pulling me back in. Oh well. Live and learn. Kathleen Tinkel once told me a line that I will never forget, and it applies now more than ever: they're all assholes in this industry, and in the end only the letters remain, and that's where our love is. Freddy Article 434434 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!newsfeeds-atl2!ps01-sjc1!news.webusenet.com!newsfeed1.easynews.com!easynews.com!easynews!post-02.news.easynews.com.POSTED!not-for-mail From: MJ Newsgroups: alt.binaries.fonts Subject: Re: Regulator OpenType Message-ID: References: X-Newsreader: Forte Agent 1.91/32.564 X-No-Archive: yes Lines: 6575 X-Complaints-To: abuse@easynews.com Organization: EasyNews, UseNet made Easy! - Test our service with our FREE trial at https://www.easynews.com/trial/trial.phtml X-Complaints-Info: Please be sure to forward a copy of ALL headers otherwise we will be unable to process your complaint properly. Date: Tue, 27 Aug 2002 01:19:14 GMT On Mon, 26 Aug 2002 16:55:51 GMT. u113616943@spawnkill.ip-mobilphone.net (Aiyaz) wrote: >Since i have Regulator in Type 1 which used to work fine on Win98 but doesnt work on Win 2K. Try the attached >can i have it in OpenType?? Doesn't exist that way. T26 is barely able to generate fonts that function (properly is an altogether different story) on a PC. They won't even be able to do OT until FL ports the capabilty to Mac and only then if their technicians can learn FL. They seem to struggle somewhat as it is w/FOG and they've had that for years. >Or some other Type 1 Regulator files that work on Win 2K??? See answer 1 and cross your fingers :-) MJ Article 128278 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!west.cox.net!cox.net!newsfeeds-atl1.usenetserver.com!newsfeeds-atl2!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news04.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: comp.fonts References: <3d65b574@itsawnews.its.rmit.edu.au> Subject: Re: Truetype vs Type 1 hinting Lines: 41 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Tue, 27 Aug 2002 02:45:44 GMT X-Complaints-To: abuse@rogers.com "Marek Williams" wrote in message news:l9gjmuksu0977huain7nnaivrb6gifi5ld@4ax.com... > > And what you say is correct, except Adobe is also producing the Pro > fonts. Presumably, all their OpenType offerings will be Pro versions > eventually. These are built from the ground up as OpenType and have no > relationship to either Type 1 or TrueType, except that they will > probably recycle some of the glyphs. There is no such thing as 'built from the ground up' OpenType font. This sounds a lot like what Adobe would say at a convention :o) An OpenType font is either Type 1 or True Type, with a wrapper around it and some code attached to it. The majority of Adobe's Pro fonts contain the outlines, point for point, from their Type 1 predecessors. Granted, new glyphs and some code were added to give them OT functionality, but there is nothing 'from the ground up' about them. A glyph's outline has to be either cubic or quadratic. OpenType is not a technology with its own outline-defining algorithm. It's just a wrapper and a code-pocket. 'Recycling some of the glyphs' is the name of the game. Also, I wouldn't presume that all of Adobe's OT offerings will be Pro versions eventually. I just can't see how the effort spent on turning, say. a Hobo or an Aachen, into Pro versions would be justified. Such stuff will never really have a market. The Pro versions consist of Adobe's best-selling and most used faces -- that's Adobe's own faces, not ITC's or Monotype's; there would just be too much risk in turning Plantin or ITC Bodoni into OT. The first slap hurts enough to last forever. Look what happened to their Berthold stuff. Two years ago, in the rush of converting their whole library to OT (what is now known as the Standard fonts) Adobe spent time and effort on doing the Bertholds as part of the endeavour, only to be faced with a lawsuit and lose the fonts anyhow. This could happen with Agfa or Linotype at any given turn of the tale. I too would love to see a Galliard Pro and an Ocean Sans Pro, but I'm not holding my breath about seeing them any time soon. ' -- www.apostrophiclab.com = = = = = FWIW: IIRC ClickArt was originally / essentially a "trademark" owned by T/Maker. T/Maker was originally a software company located in the "Bay Area," that had a (relatively) low-end office suite type of software product line, and several other software offerings. Again IIRC ... They were acquired by Broderbund, then a successful computer game software vendor, when they came under "hard times" in the late 1980s. The company was somewhat unusual (at the time) because it's President/CEO was a lady [ Heidi Rosen http://www.roizen.com/heidi/ ]. After loosing out in the office software field to the likes of Micro$loth and WordPerfect. I think the company went into things like the "PrintShop," clip-art and etcetera by acquiring the "ClickArt" trademark. T/Maker was bought by Broderbund sometime around the late-1980s or early-1990s ... and therefore so was ClickArt ... which now is shown (according to the trademark notices in one of the ClickArt packages) as a "wholly-owned subsidiary of Broderbund Software, Inc." ClickArt used the Bay Animation (AFAIK another "clone house") library of fonts, at least through 1997. They apparently did *not* use any of the WSI fonts, and whether or not they used the Signature Software fonts is "not clear" from the documentation I have at this time ... but since IMSI did, they probably did not. . I believe that WSI at one time advertised a "service" similar to what you describe for Signature Software. My "memory" (what is left of it ... anyway) was that they would digitize someone's signature (handwriting) and make it into a font for something like $15.00 ... but they kept a copy ... and the rights ... which they would later issue as one of the fonts on a "X,000 Handwriting Fonts" type of CD that were relatively common in the mid-1990s. = = = = = I guess "we are both right," and have been talking about two separate, but very similar "operations" that were active during the mid-1990s. Cheers and Enjoy = = = = = "Mike Yanega" wrote in message news:B9939F3F.3BA84%yanegan2@bowfinprintworks.com... > RSD99 wrote on 8/28/02 9:13 AM: > > > Slight correction ... > > IIRC Weatherly Systems, Inc. was essentially the "original vendor," and sold > > OEM "rights" > > to several companies. Their "scam" was a make-a-font-from-your-handwriting > > service sold to > > the general public ... but *they* retained commercial rights to the fonts. > > Therefore they > > built up a large library of handwriting fonts, almost all named something like > > 'Johnnieshand,' and sold the rights to use the "collection" to the likes of > > Broderbund > > (ClickArt). WSI was always one of the "clone" font vendors, just not as > > blatant as the > > likes of SSi, and etcetera. > > As one of the people who provided the printing used on the CD ("Bowfin"), I > know who I signed an agreement with, and it was T/Maker (who was the parent > of ClickArt). The font was originally made from my printing by Signature > Software, who was contacted by T/Maker about collecting some for a CD they > were planning to release. As my payment I got one of the Handwritten Fonts > CD's for free from T/Maker. > > Unless Signature Software was part of WSI, which I guess is conceivable. > then I think the culprit is still WSI. The WSI fonts were being sold well > after the Clickart CD was issued, with the new names, by Precision Type, who > dropped this line of fonts (when they found out WSI had illegally copied > them, is my suspicion). > > Do you know the facts to be different than this, or have you guessed at your > explanation based on Weatherly's usual mode of doing business? > > I'm not trying to be argumentative, but I would like to get the story > straight, if you really know it. > > - Mike Yanega > Bowfin Printworks > http://www.bowfinprintworks.com > Article 435221 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!nntp1.phx1.gblx.net!nntp.gblx.net!nntp.gblx.net!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!bin2.nnrp.aus1.giganews.com.POSTED!not-for-mail From: "BigEddieCalzone" Newsgroups: alt.binaries.fonts References: Subject: Re: All - Opinion Poll X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: <%vEb9.174565$Aw4.7430992@bin2.nnrp.aus1.giganews.com> Organization: Giganews.Com - Premium News Outsourcing Lines: 35 X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 Date: Fri, 30 Aug 2002 06:45:15 GMT I'm probably going to get razzed for it here, but I like Corel Draw 10. because I can not only create the font outlines in the program, but I can export them directly into the font file itself. But sadly, it's not sufficient on its own, and I find I do need Fontographer 4.1 to do the final adjustments, correct sidebearings, etc. I have heard wonderous things about Fontlab, but I have yet to come across such a creature on the net. I would like to find something with exceptional drawing tools that will also let me create the font file directly. As for just playing around, nothing beats Photoshop. The actions recording capability is wonderful and I'm surprised that more programs don't take this feature more seriously. I like being able to record an action and share it with someone else. It's especially friendly in a production environment where certain logos and font settings have to be abnormally precise. With actions, I can record something and distribute it to the rest of my co-workers and we're all on the same page. Not to mention Adobe's actions repositor From freddy@typeworx.com Sat Aug 31 13:28:01 2002 Return-Path: for ; Sat, 31 Aug 2002 13:28:01 -0400 (EDT) (envelope-from freddy@typeworx.com) for ; Sat, 31 Aug 2002 13:31:32 -0400 (EDT) (envelope-from freddy@typeworx.com) for ; Sat, 31 Aug 2002 13:28:01 -0400 Received: from typeworx.com ([63.119.175.45]) for ; Sat, 31 Aug 2002 13:31:32 -0400 (EDT) (envelope-from freddy@typeworx.com) (SMTPD32-6.06) id ABA27540106; Sat, 31 Aug 2002 12:23:46 -0500 Message-Id: <5.1.0.14.2.20020831132559.00adec50@mail.typeworx.com> X-Sender: freddy@typeworx.com@mail.typeworx.com Date: Sat, 31 Aug 2002 13:28:00 -0400 To: luc@cs.mcgill.ca From: Fredrick Nader Subject: Typographi.ca Status: R Luc: A thread about Typeworx started yesterday on typographi.com. The bashing began of course. Tamye Riggs had a long post there, to which I replied with this: "Dear Tamye. How does it feel to be Tamye Riggs, font cop by day, and 'wraith', Hotline pirate by night? Fred Nader" Coles censored both posts and tried to sound tough, but I just posted again and made it all very interesting. I don't think anyone will have the nerve to try opposing me now. Freddy Article 435934 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!west.cox.net!cox.net!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!d6fd4c5e!not-for-mail From: Fontzilla Newsgroups: alt.binaries.fonts Subject: Re: Devroye's Revolution - a blessing for font addicts Message-ID: References: <1030941561.808629@viv.canberra.net.au> <1030947434.267012@viv.canberra.net.au> X-Newsreader: Forte Agent 1.92/32.572 trialware Content-Transfer-Encoding: 7bit Lines: 36 Date: Mon, 02 Sep 2002 14:33:42 GMT X-Complaints-To: abuse@verizon.net On Mon, 2 Sep 2002 16:17:14 +1000, "Anon McCoy" wrote: >This may be a grand delusion, but I would like to see if we can embark on >this project as a community. It would solve problems with the backward >compatability and availability of font formats to the consumer and may even >result in a few better font editing apps (could introduce one as a part of >the project), as well as address problems of font quality; specifically. >pixel differences between T1 and TTF, hinting differences between Mac TTF >and Win TTF, etc, etc. > >I would like to add that I have limited programming ability, if any >(although I am a quick study), and that my contribution to this project may >be on more of an organisational level. Please express your interest in this >project by either emailing me or replying to this post. I believe that it >can free up problems for the consumer, us. Here, here! I'm married to a Linux guru and founder of a local LUG. He introduced me to the concept of Open Source and now I firmly believe in the concept. This project could be hosted at SourceForge. I did a search there and found only one other font format project: http://sourceforge.net/projects/projecteff/ This project doesn't appear to have any activity yet. I've sent the fellow and message, inviting him to ABF. If the Devroye Font Kernel project takes off, I've asked Paul (my hubby) to send the word out to his groug (SuncoastLUG.org). He's a big fan of typefaces, too. His group has some genius-level programmers but he doesn't know if they'd be interested in this type of project. But the more people we tell about it, the better. -- Nancy Foster Fontzilla's Alter Ego http://www.fontzilla.org Remove hyphen from email URL to reply directly Article 435943 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed.mountaincable.net!news1.optus.net.au!optus!news.mel.connect.com.au!news.ade.connect.com.au!news.syd.connect.com.au!not-for-mail From: "Anon McCoy" Newsgroups: alt.binaries.fonts Subject: Re: Devroye's Revolution - a blessing for font addicts Date: Tue, 3 Sep 2002 01:11:53 +1000 Organization: cyberone.com.au Lines: 14 Message-ID: <1030979505.269452@viv.canberra.net.au> References: <1030941561.808629@viv.canberra.net.au> <1030947434.267012@viv.canberra.net.au> X-Complaints-To: abuse@connect.com.au X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Cache-Post-Path: viv.canberra.net.au!unknown@dialup373.canberra.net.au X-Cache: nntpcache 2.3.3 (see http://www.nntpcache.org/) Great work, as well as eerie synchronicity, Fontzilla! I've just spent the last half hour looking at your site and reading up a little on the history of type before receiving your post. Uncanny, to say the least. I love OpenSource as well, as I am an avid supporter of Abiword, Gnome for Windows, etc, etc. I think that I would like your help in this matter, so please enlist your hubby's knowhow. As for the probability of this project getting off the ground, I think it just has. I think I may have to send Dr Devroye an email. Anon Article 435955 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!news.uunet.ca!uunet!nyc.uu.net!bos.uu.net!chi.uu.net!sea.uu.net!ash.uu.net!prodigy.com!skynet.be!skynet.be!proxad.net!proxad.net!feeder2-1.proxad.net!news1-1.free.fr!not-for-mail From: "$^o^$v" Newsgroups: alt.binaries.fonts References: <1030941561.808629@viv.canberra.net.au> <1030947434.267012@viv.canberra.net.au> Subject: Re: Devroye's Revolution - a blessing for font addicts Date: Mon, 2 Sep 2002 19:02:24 +0200 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 Lines: 64 Message-ID: <3d739866$0$10534$626a54ce@news.free.fr> Organization: Guest of ProXad - France X-Complaints-To: abuse@proxad.net It sounds like a good idea and I'm trying to understand what all this might implicate then, well... If you ever need a cook ?! Count me in !! ;-) J. "Anon McCoy" a écrit dans le message de news: 1030947434.267012@viv.canberra.net.au... > Why I posted this.... > > I think that as a community, we have a certain responsibility to each other. > and to the community as a whole, and that is why I would like to propose > that we, at ABF commence working on what I would like to call the Devroye > Font Kernel. If there are any other names that people would like to propose. > maybe we could pool them all together and have a community vote. As long as > the process is community oriented, we would need ideas from everywhere. no? > > Ok, we can say that the Devroye Font Kernel can be the working title for the > time being, and come back to that later. I think Devroye should be in the > software title though, to pay him due respect for having the idea in the > first place, and as an homage for all of the time and effort he has put into > researching and making publicly available the wealth of information on his > website. It has effected us all at one point, probably without us knowing. > If you have never been there, go now so that you can fully appreciate what > I have said here: > > http://cg.scs.carleton.ca/~luc/fonts.html > > > This may be a grand delusion, but I would like to see if we can embark on > this project as a community. It would solve problems with the backward > compatability and availability of font formats to the consumer and may even > result in a few better font editing apps (could introduce one as a part of > the project), as well as address problems of font quality; specifically. > pixel differences between T1 and TTF, hinting differences between Mac TTF > and Win TTF, etc, etc. > > I would like to add that I have limited programming ability, if any > (although I am a quick study), and that my contribution to this project may > be on more of an organisational level. Please express your interest in this > project by either emailing me or replying to this post. I believe that it > can free up problems for the consumer, us. > > > Anon > > > > > Article 435956 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!newsfeeds-atl2!news.webusenet.com!news-out.triton.net!triton.net!newsfeeder.triton.net!news.stealth.net!news.stealth.net!newsfeed.frii.net!newsfeed.frii.net!140.99.99.194.MISMATCH!newsfeed1.easynews.com!easynews.com!easynews!nntp2.aus1.giganews.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!cyclone.austin.rr.com!twister.austin.rr.com.POSTED!53ab2750!not-for-mail Newsgroups: alt.binaries.fonts Subject: Re: Devroye's Revolution - a blessing for font addicts From: Lee Oswald Ving References: <1030941561.808629@viv.canberra.net.au> Message-ID: User-Agent: Xnews/5.03.24 Lines: 28 Date: Mon, 02 Sep 2002 17:09:21 GMT X-Complaints-To: abuse@rr.com Organization: Road Runner - Texas "Anon McCoy" wrote in news:1030941561.808629@viv.canberra.net.au: > Rant (by Dr Luc Devroye) > January 30, 2002 > > Enough is enough Hold up. I've been a working publishing professional for over fourteen years now. and quite truthfully, while I will wish this program luck, there is a very large obstacle they will be laboring against: Open Type addressed all the needs of more than 90% of font users on the planet. My main complaints against past format standards were those of users rather than engineers - multiple file for one typeface is just asinine, cross- platform compatibility should have been trivial. The other problems we labor against come mostly from design issues - no file format is going to make the "10 BILLION Fonts On One CD" collections include ligatures, not be corrupt, or not crash an imagesetter. What is? I have no idea, but organizing the internal structure of type formats isn't it, and getting support will likely be quite difficult. From donald.roos@otherways.nl Mon Sep 2 18:15:34 2002 Return-Path: for ; Mon, 2 Sep 2002 18:15:34 -0400 (EDT) (envelope-from donald.roos@otherways.nl) for ; Mon, 2 Sep 2002 18:19:06 -0400 (EDT) (envelope-from donald.roos@otherways.nl) for ; Mon, 2 Sep 2002 18:15:34 -0400 Received: from oth-pdc.otherways.nl (dsl-217.195.232-082.inovara-dsl.nl [217.195.232.82]) for ; Mon, 2 Sep 2002 18:19:05 -0400 (EDT) (envelope-from donald.roos@otherways.nl) content-class: urn:content-classes:message Subject: www.letterdispuut.com charset="iso-8859-1" Date: Tue, 3 Sep 2002 00:09:44 +0200 X-MimeOLE: Produced By Microsoft Exchange V6.0.4417.0 Message-ID: X-MS-Has-Attach: X-MS-TNEF-Correlator: Thread-Topic: www.letterdispuut.com Thread-Index: AcJSzXE2+h1WHv3ET2GLsEtocRFS2A== From: "Donald Roos" To: Content-Transfer-Encoding: 8bit Status: R Dear Luc. Thank you for the link on your site to our site www.letterdispuut.com I would like to tell you that our site is now on-line for real. So maybe you like it to visit our site. 'Groeten uit Nederland' Donald Roos From tphinney@adobe.com Tue Sep 3 01:57:59 2002 Return-Path: for ; Tue, 3 Sep 2002 01:57:59 -0400 (EDT) (envelope-from tphinney@adobe.com) for ; Tue, 3 Sep 2002 02:01:30 -0400 (EDT) (envelope-from tphinney@adobe.com) for ; Tue, 3 Sep 2002 01:57:58 -0400 Received: from smtp-relay-1.adobe.com (smtp-relay-1.adobe.com [192.150.11.1]) for ; Tue, 3 Sep 2002 02:01:30 -0400 (EDT) (envelope-from tphinney@adobe.com) Received: from inner-relay-1.corp.adobe.com (inner-relay-1 [153.32.1.51]) for ; Mon, 2 Sep 2002 23:00:16 -0700 (PDT) Received: from mailsj-v1.corp.adobe.com (mailsj-dev.corp.adobe.com [153.32.1.192]) for ; Mon, 2 Sep 2002 22:58:25 -0700 (PDT) Received: from D2110D11.adobe.com ([130.248.182.8]) by mailsj-v1.corp.adobe.com (Netscape Messaging Server 4.15 v1 Jul ; Mon, 2 Sep 2002 22:57:45 -0700 Message-Id: <5.1.0.14.2.20020902225231.028f4f40@mailsj-v1.corp.adobe.com> X-Sender: tphinney@mailsj-v1.corp.adobe.com Date: Mon, 02 Sep 2002 22:59:31 -0700 To: luc@cs.mcgill.ca From: Thomas Phinney Subject: OpenType comments redux Status: R Hi, Luc. I just noted another odd inaccuracy on your OpenType site: "Childish of [Adobe] not to put their type 1 originals and their conversion programs on the market." Our "conversion programs" are available at no cost: the OpenType FDK is exactly the same code we use internally. And we license the source code to other tools developers, also at no cost! What more could we do there? As far as we're concerned, Type 1 is a legacy format. We haven't released new Type 1 fonts in many years. We will of course continue to support it for a very long time, but it's not where the future is. We don't have much motivation to release 3x as many fonts in order to cover Win and Mac Type 1 formats. Regards. T Subject: Re: OpenType comments redux Thomas: That is news to me. Your own web site says: Adobe Systems Inc.is preparing to deliver an OpenType Font Developer Kit (FDK), which will allow font vendors to create OpenType fonts from existing PostScript Type 1 fonts. Developers will also be able to use the FDK to create OpenType Pro fonts, which may contain expanded character sets to support multiple languages, non-standard ligatures. swash letters, symbols, and other alternate letterforms. The OpenType FDK will also allow font vendors to create Japanese OpenType fonts from existing CID fonts. "Is preparing" is not "is available". I have other concerns too: it won't have OT => T1. It will only be available to developers after filling out a lengthy form. It won't be open source code. Will one be able to fully control/alter the embedding bytes? Will installation and use be monitored by built-in silent web messages? I will update my web page as soon as the program promised here http://partners.adobe.com/asn/opentypefdk.html is put on the market. In the meantime, a valuable year has been lost without a program, at a tremendous cost to all customers. People all around me are contacting font professionals to make OpenType fonts from type 1 fonts. By the way, in an earlier email, you once promised me the program--I am still eager, even though I do not qualify as a font vendor or font developer (I write all my font tools myself). All the best. Luc From tphinney@adobe.com Tue Sep 3 03:46:45 2002 Return-Path: for ; Tue, 3 Sep 2002 03:46:45 -0400 (EDT) (envelope-from tphinney@adobe.com) for ; Tue, 3 Sep 2002 03:50:17 -0400 (EDT) (envelope-from tphinney@adobe.com) for ; Tue, 3 Sep 2002 03:46:45 -0400 Received: from smtp-relay-3.sea.adobe.com (smtp-relay-3.adobe.com [192.150.22.10]) for ; Tue, 3 Sep 2002 03:50:16 -0400 (EDT) (envelope-from tphinney@adobe.com) Received: from inner-relay-3.corp.adobe.com (inner-relay-3 [153.32.251.51]) for ; Tue, 3 Sep 2002 00:45:37 -0700 (PDT) Received: from mailsj-v1.corp.adobe.com (mailsj-dev.corp.adobe.com [153.32.1.192]) for ; Tue, 3 Sep 2002 00:43:10 -0700 (PDT) Received: from D2110D11.adobe.com ([130.248.182.8]) by mailsj-v1.corp.adobe.com (Netscape Messaging Server 4.15 v1 Jul ; Tue, 3 Sep 2002 00:46:34 -0700 Message-Id: <5.1.0.14.2.20020903002338.028add18@mailsj-v1.corp.adobe.com> X-Sender: tphinney@mailsj-v1.corp.adobe.com Date: Tue, 03 Sep 2002 00:44:35 -0700 To: Luc Devroye From: Thomas Phinney Subject: Re: OpenType comments redux In-Reply-To: <200209030624.g836OxD70457@lambic.CS.McGill.CA> References: <5.1.0.14.2.20020902225231.028f4f40@mailsj-v1.corp.adobe.com> Status: R Oops. There's a much newer page, but we should fix that particular blurb and redirect the URL, although presumably none of our own links still point to it. I'm putting in the request right now. Elsewhere on our site we have several links that do the right thing. We've had the FDK available for a year or two, and we simplified the licensing maybe 3-4 months ago. A "valuable year" has not been lost, since tools have long been available. FontLab has supported OpenType since about November of last year. Microsoft and Adobe make their tools available at no charge, and have done so for years. Adobe licenses its source code at no charge to tools developers. We've done seminars and such on using our tools at conferences (last at TypeCon this year). I apologize for not thinking/remembering to notify you directly about the new FDK download process. I assumed you were reading the OpenType mailing list, which was clearly incorrect. In any case, you never needed any special qualifications to get the FDK; I don't think we ever failed to license it to anybody who applied. The FDK no longer requires filling out any forms. There's a click-through license. It is not open source, it's true. One can set the embedding bits to any arbitrary value one likes (we've used it to test some rather odd embedding settings). Please correct your FDK link to point to: http://partners.adobe.com/asn/developer/type/otfdk Also see the FDK user forum at http://www.adobeforums.com, if you have problems using the FDK. "Will installation and use be monitored by built-in silent web messages?" The short answer is NO. The long answer is, good lord, man, what planet are you from? I don't mean to offend, but this question, like most of your "rant," seems to suggest that we live in different dimensions or something. Cheers. T At 11:24 PM 9/2/2002, you wrote: >Thomas: That is news to me. Your own web site says: > >Adobe Systems Inc.is preparing to deliver an OpenType Font > Developer Kit (FDK), which will allow font vendors > to create > OpenType fonts from existing PostScript Type 1 fonts. > Developers will also be able to use the FDK to create > OpenType Pro fonts, which may contain expanded character > sets to support multiple languages, non-standard > ligatures. > swash letters, symbols, and other alternate > letterforms. The > OpenType FDK will also allow font vendors to create > Japanese > OpenType fonts from existing CID fonts. > >"Is preparing" is not "is available". >I have other concerns too: it won't have OT => T1. > It will only be available to developers after filling out a > lengthy form. It won't be open source code. > Will one be able to fully control/alter the embedding > bytes? Will installation and use be monitored by > built-in silent web messages? > >I will update my web page as soon as the program promised here > http://partners.adobe.com/asn/opentypefdk.html >is put on the market. In the meantime, a valuable year has been lost >without a program, at a tremendous cost to all customers. >People all around me are contacting font professionals to >make OpenType fonts from type 1 fonts. > >By the way, in an earlier email, you once promised me the >program--I am still eager, even though I do not qualify >as a font vendor or font developer (I write all my font tools >myself). > >All the best. > >Luc From HLohner@aol.com Tue Sep 3 23:04:47 2002 Return-Path: for ; Tue, 3 Sep 2002 23:04:47 -0400 (EDT) (envelope-from HLohner@aol.com) for ; Tue, 3 Sep 2002 23:08:19 -0400 (EDT) (envelope-from HLohner@aol.com) for ; Tue, 3 Sep 2002 23:04:46 -0400 From: HLohner@aol.com Received: from imo-d06.mx.aol.com (imo-d06.mx.aol.com [205.188.157.38]) for ; Tue, 3 Sep 2002 23:08:18 -0400 (EDT) (envelope-from HLohner@aol.com) Received: from HLohner@aol.com Tue, 3 Sep 2002 21:44:27 -0400 (EDT) Message-ID: <182.dbaca24.2aa6bf7a@aol.com> Date: Tue, 3 Sep 2002 21:44:26 EDT Content-Transfer-Encoding: 7bit To: undisclosed-recipients:; Status: R September greetings, all The GOOD news is: I had a very productive summer in the new studio, far from the computer. The BAD news is: I have only one new font this month. But it's a good one so it works out. The BRIDE OF THE MONSTER fonts are among my best early releases. The time had come for some tweaking of characters and spacing. Best of all, I've created a third font in the set--an INLINE version that is very attractive. Please take a look at this new font and the hundreds of others that you can download, install, and use on your computer. Thanks for your support Harold's Fonts http://www.haroldsfonts.com Article 436361 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!news.stealth.net!news.stealth.net!newsfeed.frii.net!newsfeed.frii.net!140.99.99.194.MISMATCH!newsfeed1.easynews.com!easynews.com!easynews!post-03.news.easynews.com.POSTED!not-for-mail Message-ID: <3D759A6E.7FCFA7AB@cters.kerned> From: Character Organization: None X-Accept-Language: en Newsgroups: alt.binaries.fonts Subject: Re: Sign language font in ttf ?? Content-Transfer-Encoding: 7bit Lines: 20 X-Complaints-To: abuse@easynews.com X-Complaints-Info: Please be sure to forward a copy of ALL headers otherwise we will be unable to process your complaint properly. Date: Wed, 04 Sep 2002 05:30:52 GMT Here are links to a couple of ASL fonts: Additional discussion and links at http://cg.scs.carleton.ca/~luc/sign.html - Character Norman wrote: > > Does anybody have the alphabet in American Sign language in TTF? > -- > "Television is called a 'medium' because > it is neither rare nor well done." > Ernie Kovacs > ----- > mr(dot)bones(at)att(dot)net Article 436476 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed.media.kyoto-u.ac.jp!news1.optus.net.au!optus!news.mel.connect.com.au!news.syd.connect.com.au!not-for-mail From: "Anon McCoy" Newsgroups: alt.binaries.fonts Subject: Re: Devroye's Revolution - a blessing for font addicts Date: Wed, 4 Sep 2002 21:00:02 +1000 Organization: cyberone.com.au Lines: 130 Message-ID: <1031137194.53369@viv.canberra.net.au> References: <1030941561.808629@viv.canberra.net.au> <1031046088.867159@viv.canberra.net.au> X-Complaints-To: abuse@connect.com.au X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Cache-Post-Path: viv.canberra.net.au!unknown@dialup363.canberra.net.au X-Cache: nntpcache 2.3.3 (see http://www.nntpcache.org/) Here is Luc's Reply: (OK to post my response on a.b.f., but please do not call it the Devroye kernel.) Jason: Yes, I was silently following the discussions on alt.binaries.fonts regarding the font format proposal. First of all. it is not really my proposal, because I have heard the principle explained by various computer scientists over the years. In fact, the font people at Letterror had similar ideas some time ago. So, in any case, my name should not be attached to the initiative. I am just the messenger. You asked me to explain the idea in more detail. The purpose is to create for each font just one mother file. in a lightweight human-readable format. I like to call that format the kernel. All changes to the font must be made there and nowhere else, for the sake of consistency. I realize that all applications nowadays need either truetype, opentype or type 1 fonts, so there should be open source free tools (written in some universally available language such as perl) to convert the kernel into fonts for these popular formats. Since most users are not computer-savvy. and expect fonts to be properly installed. many would be frightened by this extra level of trouble. Thus, as long as applications demand xtype (a generic name for one of the popular formats), users will just hunt for and store xtype. I would do the same. The applications themselves should thus be responsible for the fetching and conversion, and that will just not be possible unless everyone gets behind the wagon. That is the bad news. Now the good news. It seems that a wagon has left Dodge City with on board some valuable cargo. There is a simple scripting language (XML), a bit like HTML, that has been suggested as the right human-readable format by the people at Letterror. and they even have a free tool for conversions between truetype and XML and back. See also here. There is a global effort underway. involving all the big players such as Adobe to make a standardized format in the sense I suggested, and based on XML. If that takes off. then we are in business. This is really the best thing right now, and it would be a waste of time to try to set up a competing effort until the direction of that enterprise is clear. I am not part of that effort, but needless to say, it piqued my interest. I am attending ATypI in Rome mid-September, the annual meeting of the type people, and will try to learn more about this initiative. Let us hope that the outcome will be as described in my short note: 1. One simple human-readable font format. No proprietary stuff here---the format should belong to all people. 2. A free battery of tools for conversions. off-line or on-the-fly, between that format and truetype, opentype, and type 1. 3. A visual Fontographer/Fontlab-style editor for the format. Hopefully free as well. 4. A battery of command-line tools for batch- processing fonts (to change one or more items in a thousand fonts simultaneously). There are several stumbling blocks. First of all. people are used to creating and altering fonts in formats such as type 1 or truetype. If that continues unabated, then all is lost, because these formats should only be generated, not altered. The second problem is that internally, truetype and type 1 store outlines in a different manner. Truetype uses one control point per curve segment, and type 1 needs two. One can without loss make a truetype segment into a type 1 segment. but the other way can only be done approximatively. Thus, all existing fonts will have to be converted to a type 1 style 2-point format. to avoid loss of information. This means in effect the end of truetype, because generating truetype from that 2-point format is lossy. Finally, I see an opportunity to add features to the internal formats not presently there, like the description of outlines with overlaps. the use of clipping and zooming, the use of loops for repeated patterns, flags for generating pixelized, screen-ready, or smoothed fonts. and so forth. Each additional feature creates tremendous headaches for the programmers of the conversion programs, renderers and applications, but the result may be a real technological jump. I hope that the XML project, if I can call it that. will address some or all of these issues. Luc ====================================== So I guess that puts that idea on hold for a while, but the implications where XML is concerned seems interesting, no? The death of Truetype? Saddens me a little, but if it means better quality fonts, count me in. As for Opentype, count me out. Anon Article 436493 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news1.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts References: <9gjanu0rqhrf3ept94haqmlo73k56iccn5@4ax.com> Subject: Re: now: Adobe PS Type1-OTF (a-z) on a.b.m Lines: 42 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 Message-ID: <9god9.43292$rn4.1848682@news1.telusplanet.net> Date: Wed, 04 Sep 2002 13:54:13 GMT wrote in message news:tl4bnu4vma9agvubm9n279nv2ct1mvg9ku@4ax.com... > I only examined a few of these otf files. Some do have kerning pairs (Utopia > Regular) others don't have kerning pairs. Based on the dates of the files, all > dated on 10/8/99, I doubt these are an authentic Adobe product, otherwise they > would have updated the copyright dates inside the files themselves. It looks > like someone did a quick and dirty automated otf batch conversion where some > kerning was properly picked up and others weren't. They also are not digitally > signed the way genuine Adobe otf files are, giving further evidence that these > are fakes. > These files are actually an authentic Adobe product, albeit unreleased. In 1999, there were no tools to batch-process conversions from Type 1 to Open Type, not of this magnitude anyhow. These were done in-house at Adobe, then leaked out from the inside before their eventual non-release. One oddity you will notice with these fonts is that among them are found the Adobe Berthold fonts that are now discontinued from Adobe's library. This would be a good guess as to why those files never made it out to the market. The library conversion happened before Berthold sued Adobe to reclaim the Berthold exclusives from them, and I guess after that Adobe had second thoughts about releasing the converted library. Probably they went back to their legal department to see if any other instance of blind-sidedness can happen and it all got lost in red tape until 2002, when they started batching out their converted library bit by bit, this time addind the prefix Std (for Standard) to the names of the fonts that are straight conversions to OT (pretty much the same as these files, except for a few technicalities that don't enter the equation of their use), as compared to the Pro sets which were assembled with the purpose of taking full advantage of OpenType features. ' -- www.apostrophiclab.com Article 436496 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!west.cox.net!cox.net!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc01.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts Subject: Creative Pro: 09/03.2002 - Adobe v. Agfa Monotype and ITC Lines: 9 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Wed, 04 Sep 2002 14:15:39 GMT X-Complaints-To: abuse@verizon.net Today's "article of interest" is "Adobe Takes Legal Action to Resolve Disputes with Agfa Monotype and ITC " http://www.creativepro.com/story/news/17539.html?cprose=daily Cheers and Enjoy From freddy@typeworx.com Wed Sep 4 14:59:05 2002 Return-Path: for ; Wed, 4 Sep 2002 14:59:05 -0400 (EDT) (envelope-from freddy@typeworx.com) for ; Wed, 4 Sep 2002 15:02:37 -0400 (EDT) (envelope-from freddy@typeworx.com) for ; Wed, 4 Sep 2002 14:59:05 -0400 Received: from typeworx.com ([63.119.175.45]) for ; Wed, 4 Sep 2002 15:02:37 -0400 (EDT) (envelope-from freddy@typeworx.com) Message-Id: <5.1.0.14.2.20020904145142.00a8aa48@mail.typeworx.com> X-Sender: freddy@typeworx.com@mail.typeworx.com Date: Wed, 04 Sep 2002 14:57:10 -0400 To: luc@cs.mcgill.ca From: Fredrick Nader Subject: Adobe versus Agfa, and Lino really stinks Status: R Luc: So Agfa got their cue from Berthold and are now trying to play hardball to keep all the ITC and Monotype fonts licensed to Adobe. The way this is going, I bet in about a year the Adobe's library would have nothing but the Linos and the Adobe originals. And if the judge rules that Acrobat infringes on the DMCA, Adobe is really really screwed now. http://members.whattheythink.com/news/newslink.cfm?id=7656 And did you see the latest Linotype releases in their Take Type 4 collection? Boy oh boy! The collection looks like bad shareware at best. full of rejects and old Lino stuff that never really sold. Choc and Madame are in there!! Hehehe. This time they really sacrificed their standards. just to have another compilation on board. If this is not an index about how much money trouble Lino is undergoing, I don't know what is. http://www.fontexplorer.com/FontStore?URL=http://www.fontexplorer.com/isroot/FontStore/content/00_home/content/home_06b_fcompilations_f/home_06b_fcomp_taketype_f/home_06b_fcomp_taketype4_1.html Freddy From frednader@rogers.com Wed Sep 4 18:07:41 2002 Return-Path: for ; Wed, 4 Sep 2002 18:07:41 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Wed, 4 Sep 2002 18:11:13 -0400 (EDT) (envelope-from frednader@rogers.com) for ; Wed, 4 Sep 2002 18:07:40 -0400 Received: from fep04-mail.bloor.is.net.cable.rogers.com (fep04-mail.bloor.is.net.cable.rogers.com [66.185.86.74]) for ; Wed, 4 Sep 2002 18:11:13 -0400 (EDT) (envelope-from frednader@rogers.com) Received: from cr186242-a.rogers.com ([24.157.67.71]) by fep04-mail.bloor.is.net.cable.rogers.com id <20020904220735.EGGO389684.fep04-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Wed, 4 Sep 2002 18:07:35 -0400 Message-Id: <5.1.0.14.2.20020904175556.029c3530@pop> X-Sender: frednader@rogers.com@pop Date: Wed, 04 Sep 2002 18:08:22 -0400 To: luc@cs.mcgill.ca From: Freddy Subject: Adobe versus Agfa X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep04-mail.bloor.is.net.cable.rogers.com from [24.157.67.71] using ID at Wed, 4 Sep 2002 18:07:34 -0400 Status: R Luc: I like Adobe in this lawsuit too. If Agfa wins it, every kid and his brother will put impossible restrictions on licensing. Would be interesting to see it go to trial though. If it does go to trial, and given the tendency of judges to split the baby, I think Adobe would lose the contract to license ITC and Monotype fonts, including some of the main 35 (wouldn't it be funny if Adobe had to knock those off?) and either Adobe Acrobat would be declared DMCA-compliant, or the DMCA itself would be ruled unconstitutional. Either way, I think this sort of spat between foundries that are part of bigger companies will end up causing a major drift in the industry, and eventually type designers will not view each other as "colleagues" like they somewhat do right now, but as competition, pretty much like any dog-eat-dog industry. Freddy Article 436503 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed.mountaincable.net!grr!newsprint.netaxs.com!POSTED.monger.newsread.com!not-for-mail From: Marek Williams Newsgroups: alt.binaries.fonts Subject: Re: slightly OT: Indesign review Organization: Not in he slightest Message-ID: X-Newsreader: Forte Agent 1.8/32.553 Content-Transfer-Encoding: 7bit Cache-Post-Path: gaspra.spiretech.com!unknown@pm3-229.ppp.pdx.spiretech.com X-Cache: nntpcache 3.0.1 (see http://www.nntpcache.org/) Lines: 60 Date: Wed, 04 Sep 2002 15:08:54 GMT X-Complaints-To: Abuse Role , We Care On Tue, 03 Sep 2002 17:47:36 GMT, "RSD99" dijo: >I see that you mention OpenOffice Writer. What is your experience with this program ... >has it overcome the "clunkiness" shown in Star Office v5.x? > >[I'm semi-actively looking for a replacement for any and all of the Micro$crew Orifice >products, and OpenOffice/Star Office are currently quite high on the list.] Like any other program, it has its good points and its bad points. Bad -- It uses the single-document interface that Microsoft seems to be in love with. MS wants us all to have a completely different window open for each document, just like Internet Explorer. I have Word 2000 and there is no workaround. Microsoft relented and gave Office XP users the ability to turn it off and go back to multiple-document interface. but then you are stuck with activation codes and ... well, you know what I mean. Another bad thing is that it is not quite as fully featured as Word. For example, I need to add test questions to documents in InDesign. The questions are in an Access database. My practice is to set up the query in Access, then merge to Word, then copy and paste into InDesign, and finally, trash the Word document. The reason I do it this way is because I need the stem of the question and the answers to have different styles. So in Word I just apply the styles to the fields in the template. When I perform the merge, the resulting "catalog" document has the styles all perfectly applied. Well, I can do all this in OpenOffice Writer too, except for one small problem. It sees the data in Access and merges it perfectly. And you can apply a style to the field in the data merge window. But you can apply only one style. The merge comes in and everything has the same style. Not good. Going through a document of over a hundred test questions and reapplying a style to each question is not something I want to spend my time with. That is just one example. Everywhere you look, there is some little feature like that that OpenOffice hasn't implemented. On the plus side, it has versions for lots of different operating systems and the files are interchangeable (subject to font issues, of course). It also saves in Word format and does quite a nice job. In fact, I think you can set it so that is the default format. And most important, it is free. Or if you get StarOffice, it is only $75. The only difference between the two is that Sun licensed some third-party stuff that is included in StarOffice but not OpenOffice. For basic writing, most users would find either version has everything they need. Oh, also, unlike StarOffice 5.x, there is no longer a database included. Also doesn't have a replacement for Outlook. Neither is a problem for me, but some people might object. Just download OpenOffice and give it a whirl. I think you'll find it's a serious contender for Microsoft Office. -- Bogus e-mail address, but I read this newsgroup regularly, so reply here. From ray.taylor@acorda.ca Thu Sep 5 20:18:32 2002 Return-Path: for ; Thu, 5 Sep 2002 20:18:32 -0400 (EDT) (envelope-from ray.taylor@acorda.ca) for ; Thu, 5 Sep 2002 20:22:04 -0400 (EDT) (envelope-from ray.taylor@acorda.ca) for ; Thu, 5 Sep 2002 20:18:31 -0400 Received: from VL-MS-MR005.sc1.videotron.ca (relais.videotron.ca [24.201.245.36]) for ; Thu, 5 Sep 2002 20:22:03 -0400 (EDT) (envelope-from ray.taylor@acorda.ca) Received: from [192.168.0.2] ([66.130.17.210]) by VL-MS-MR005.sc1.videotron.ca (iPlanet Messaging Server 5.2 (built Feb 21 2002)) luc@cs.mcgill.ca; Thu, 05 Sep 2002 20:02:03 -0400 (EDT) Date: Thu, 05 Sep 2002 20:01:55 -0400 From: Ray Taylor X-Sender: vltddxqo@pop.videotron.ca To: Ray Taylor Message-id: Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT Status: R My response to the Nunatsiaq News editorial on a common writing system has been published and can be viewed at Regards. Ray Taylor Article 437304 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!rip!newsfeeds-atl2!news.webusenet.com!news-out.visi.com!hermes.visi.com!news1.optus.net.au!optus!snewsf0.syd.ops.aspac.uu.net!ozemail.com.au!not-for-mail From: "Graham M" Newsgroups: alt.binaries.fonts References: Subject: for those in the dark Lines: 158 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Organization: OzEmail Ltd, Australia Distribution: world Date: Sat, 7 Sep 2002 01:50:23 +1000 To clear up things for those who may not know, or have seen what I have previously written, I used to operate under the name Gemfonts. In this period of experimentation and font learning, I utilized the arsenal of standard commercial foundry operating proceedures. I used on a few occassions fonts that were by someone else, usually as a small basis for the work I did. I also scanned in images of other fonts, which in itself is not illegal, only unethical. These fonts were changed to suit the format I was seeking. I also recreated fonts from scratch, based upon the style and format of others, which again is perfectly legal. This style of work was very early in my 'career', shall we say, and at no time did I try to fob these off for money or demand anything in return. Others who do the same thing charge outrageously for the same thing I did, and still refuse to own up, while attacking me.This is theft by them. Did I do wrong ? Most probably, but I was only emulating the standard business practice that all the commercial foundries employ. So the decision of improper use is an individual decision and choice. This use of previously released information and linework was only a small portion of the fonts I released under that name. Which other font creators around have openly before stated the obvious about their font ? Not the hypocrites currently bringing this topic up.They will deny this, but it is very obvious from just looking that they will be lying to you. All this information I have just mentioned has been stated clearly. consistantly and frequently by me before over a long period of time. So there has been no wool pulled over anyones eyes. I do not apologise for what I did, for what have I to apologise for ? I just make fonts in exactly the same way that everyone else does. I have outlined my views regarding this standard of operations before in some quite vocal and sometimes offensive rants. I stand by these statements of mine and look with derision upon those who tend to feel they are above insult, while offering insults for others doing exactly the same thing they do. For the record, NO major commercial foundry has ever threatened me regarding the fonts they feel I have made from their work, but I have had discussions with three major foundries over font use and on no occassion did they indicate or show that they would rather I did not. There was mention once that they would prefer me not to use the word Arialic, as this was too similar to the name of their font, but they have copyright on the word "Arial" not Arialic, which is not a breach of their copyright. If so, I will release a font called 'A' and every fontname from that point which included the letter A would breach my copyright. This is the end of the matter and further remarks from those currently doing so will ensure that the situation gets nasty.If they feel like venting their spleen, please own up to your pasts as well first. I have no reputation to sully, you do. If you also feel this message, and any others that may eventuate are based upon the fact that the remarks that some of my early fonts are not fully original, you could not be more wrong, for I write this only because I am sick of the one sided hypocracy that are currently being mouthed by those who claim to represent the Internet Type Designers Association. ---------------------------------------------------------------------------- ---------------------------------------------- "The Internet Type Designers Association" was formed in 1999 to promote the design and distribution of original freeware, shareware and commercialware fonts. It is the intent of member designers to offer typefaces which are created from scratch and/or interpreted* by their own efforts; never copying and renaming existing files of copyrighted material, nor will they knowingly distribute pirated intellectual properties. Membership in the association is free of charge, but subscribing members must adhere to these principals. Archive sites are not eligible to join. only sites which feature original works. December, 1999--Jeff Levine, Founder *--interpreted creations are those based on existing source material; however the actual artwork which is contained in such fonts has been drawn by the member designer, and the data files are never modified from any pre-existing media. To join the ITDA, send an e-mail to Jeff Levine: jnl1952@excite.com detailing your name, site address and type of fonts offered. By e-mailing Jeff Levine for membership, you agree to all the above terms and conditions of font design and distribution. The current list of ITDA members (in alphabetical order) Blue Vinyl Fonts (Jess) www.reflectdesign.com/bvfonts/ . bluevinyl@aol.com Caffeen Fonts (Jesse Wilson) www.jesserific.com . jesse@jesserific.com Fish Dicks Fonts (Johnny) fishdicks.com . kickdrum@worldnet.att.net Font-A-Licious Fonts (Ben Balvanz) www.fontalicious.com . fontalicious@yahoo.com uncifonts (Tobias Benjamin Koehler) mercurio.iet.unipi.it/users/tobias/uncifonts.html . unci@tigerden.com Article 439019 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed.freenet.de!eusc.inter.net!newsfeed01.sul.t-online.de!newsmm00.sul.t-online.com!t-online.de!news.t-online.com!not-for-mail From: "Aenor" Newsgroups: alt.binaries.fonts Subject: Re: Aenor: Day 03 and 04 hiccup on my side Date: Wed, 11 Sep 2002 16:26:30 +0200 Organization: T-Online Lines: 24 Message-ID: References: <3d7edcbf.29561548@news.prodigy.net> charset="iso-8859-1" Content-Transfer-Encoding: 7bit X-Complaints-To: abuse@t-online.com X-Sender: 340063939249-0001@t-dialin.net X-Newsreader: Microsoft Outlook Express 4.72.3110.1 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 Did you already try biggulp.readfreenews.net? It's free, mostly complete. and has a fairly good retention for slower groups like abf. I'll do larger reposts after I'm done with the first post so people who got everything don#t need to keep track what's new. Aenor C.W. schrieb in Nachricht <3d7edcbf.29561548@news.prodigy.net>... >Aenor. > >I missed portions of your recent postings. The sections I am >requesting a reposting of are: > >Day 03 - I didn't receive r.02 onward out of that day's sharing. >Day 04 Movie 3 r.03 r05 r06 > >I believe those are the only portions I have missed so far. Thank you >in advance. > >C.W. for ; Thu, 12 Sep 2002 00:52:49 -0400 (EDT) for ; Thu, 12 Sep 2002 00:52:49 -0400 (EDT) for ; Thu, 12 Sep 2002 00:52:48 -0400 Received: from n35.grp.scd.yahoo.com (n35.grp.scd.yahoo.com [66.218.66.103]) for ; Thu, 12 Sep 2002 00:52:47 -0400 (EDT) Received: from [66.218.67.194] by n35.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 04:52:42 -0000 X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 12 Sep 2002 04:52:41 -0000 Received: (qmail 39137 invoked from network); 12 Sep 2002 04:52:41 -0000 Received: from unknown (66.218.66.218) Received: from unknown (HELO mailhub.datafast.net.au) (203.123.67.14) by mta3.grp.scd.yahoo.com with SMTP; 12 Sep 2002 04:52:40 -0000 Received: (qmail 60177 invoked from network); 12 Sep 2002 04:52:38 -0000 Received: from dialup-1-158.geelong.dft.com.au (HELO jenny) (203.123.77.158) by mailhub.datafast.net.au with SMTP; 12 Sep 2002 04:52:38 -0000 Message-ID: <036601c25a18$2e6a7980$9e4d7bcb@jenny> To: "OPSF" X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 From: "Jenny" X-Yahoo-Profile: Patchouli_Sensual Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Thu, 12 Sep 2002 14:52:03 +1000 Subject: [OPSF] My Fonts share for the week / fortnight Reply-To: OurPostScriptFonts@yahoogroups.com boundary="----=_NextPart_000_0361_01C25A6B.F49919B0" Status: R ------=_NextPart_000_0361_01C25A6B.F49919B0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable My Fonts share for the week / fortnight..sorry I already had these uploaded= so I thought to make it easier Id just send the link in.. Maybe some of the newer members may not have these fonts who knows..:) If U have any probs downloading let me know.. and also sorry I didn't bother re doing any fancy page for this..didn't have = the time today.. http://www.jennysmirror.com/fonts.html Jenny ------=_NextPart_000_0361_01C25A6B.F49919B0 Content-Transfer-Encoding: 7bit
My Fonts share for the week / fortnight..sorry I already had these uploaded so I thought to make it easier Id just send the link in..

Maybe some of the newer members may not have these fonts who knows..:)

If U have any probs downloading let me know..

and also sorry I didn't bother re doing any fancy page for this..didn't have the time today..

http://www.jennysmirror.com/fonts.html

Jenny

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------=_NextPart_000_0361_01C25A6B.F49919B0-- From hese.bertell@sunpoint.net Thu Sep 12 01:29:16 2002 Return-Path: for ; Thu, 12 Sep 2002 01:29:16 -0400 (EDT) (envelope-from hese.bertell@sunpoint.net) for ; Thu, 12 Sep 2002 01:29:16 -0400 (EDT) (envelope-from hese.bertell@sunpoint.net) for ; Thu, 12 Sep 2002 01:29:16 -0400 Received: from hki-web-1.sunpoint.net (hki-web-1.sunpoint.net [193.65.166.41]) for ; Thu, 12 Sep 2002 01:29:15 -0400 (EDT) (envelope-from hese.bertell@sunpoint.net) Received: (from httpd@localhost) Thu, 12 Sep 2002 08:29:04 +0300 Date: Thu, 12 Sep 2002 08:29:04 +0300 Message-Id: <200209120529.g8C5T4R30884@hki-web-1.sunpoint.net> To: luc@cs.mcgill.ca Subject: fenotype From: Hese Bertell Status: R ... The Mama fonts refer to Erik Bertell , so I am confused as to the name of the designer. In private email, he calls himself Carl, and it's even possibly he is not a "he". .... Emil' s whole name is Karl (Carl) Emil Bertell and Erik is big brother. Heikki Bertell - - - Sunpoint.net tiedustelee: - - - Suliko sähköpostisi? Hae uusi painamalla tästä! http://www.sunpoint.net/SunAds/click.htm?mode=footer&id=68&jump=http%3A%2F%2Fwww.sunpoint.net%2F for ; Thu, 12 Sep 2002 09:22:44 -0400 (EDT) for ; Thu, 12 Sep 2002 09:22:44 -0400 (EDT) for ; Thu, 12 Sep 2002 09:22:44 -0400 Received: from n26.grp.scd.yahoo.com (n26.grp.scd.yahoo.com [66.218.66.82]) for ; Thu, 12 Sep 2002 09:22:43 -0400 (EDT) Received: from [66.218.67.196] by n26.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 13:22:37 -0000 X-Sender: pluto319de@yahoo.de X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 12 Sep 2002 13:22:37 -0000 Received: (qmail 60339 invoked from network); 12 Sep 2002 13:22:36 -0000 Received: from unknown (66.218.66.216) by m3.grp.scd.yahoo.com with QMQP; 12 Sep 2002 13:22:36 -0000 Received: from unknown (HELO n1.grp.scd.yahoo.com) (66.218.66.64) by mta1.grp.scd.yahoo.com with SMTP; 12 Sep 2002 13:22:36 -0000 Received: from [66.218.67.188] by n1.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 13:22:36 -0000 To: OurPostScriptFonts@yahoogroups.com Message-ID: User-Agent: eGroups-EW/0.82 From: "Opti Mal" X-Yahoo-Profile: pluto319de Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Thu, 12 Sep 2002 13:22:34 -0000 Subject: [OPSF] Aridi Vol 17&18 Reply-To: OurPostScriptFonts@yahoogroups.com Content-Transfer-Encoding: 7bit Status: R Here we go: You'll get Aridi Vol 17 at: sharemation.com/~opti sharemation.com/~opti2 sharemation.com/~opti3 sharemation.com/opti4 You'll get Aridi Vol 18 at: http://office.freenet.de/index.html ID:pluto320 PW:josephine Opti ------------------------ Yahoo! Groups Sponsor ---------------------~--> Sell a Home for Top $ http://us.click.yahoo.com/RrPZMC/jTmEAA/MVfIAA/dkFolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ From donat@dplanet.ch Thu Sep 12 12:34:15 2002 Return-Path: for ; Thu, 12 Sep 2002 12:34:15 -0400 (EDT) (envelope-from donat@dplanet.ch) for ; Thu, 12 Sep 2002 12:34:14 -0400 (EDT) (envelope-from donat@dplanet.ch) for ; Thu, 12 Sep 2002 12:34:14 -0400 Received: from FREEMAIL.agrinet.ch (freemail.agrinet.ch [212.28.134.90]) for ; Thu, 12 Sep 2002 12:34:13 -0400 (EDT) (envelope-from donat@dplanet.ch) Received: from localhost (81.6.11.197) by FREEMAIL.agrinet.ch (NPlex 5.1.056) Date: Thu, 12 Sep 2002 18:36:01 +0200 Subject: Re: your site From: donat raetzo To: Luc Devroye Content-Transfer-Encoding: 7bit In-Reply-To: <200209121407.g8CE7Ij45858@lambic.CS.McGill.CA> Message-Id: Status: R luc. there are no fonts on any website to visit, sorry! i do and did work on custom fonts and logos. i have it with bruno in this issue - no retail fonts, (so far). i send you some visual snaps of work, in case you are interested in one or the other i tell you more about it - k? greets from zurich, shouts to the typelovers of the world - dn't > Hi. Well, I found several covers by you. Could you > point me to some fonts you designed? > > Luc > for ; Thu, 12 Sep 2002 13:24:23 -0400 (EDT) for ; Thu, 12 Sep 2002 13:24:23 -0400 (EDT) for ; Thu, 12 Sep 2002 13:24:22 -0400 Received: from n11.grp.scd.yahoo.com (n11.grp.scd.yahoo.com [66.218.66.66]) for ; Thu, 12 Sep 2002 13:24:21 -0400 (EDT) Received: from [66.218.67.193] by n11.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 17:23:54 -0000 X-Sender: pluto319de@yahoo.de X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 12 Sep 2002 17:23:53 -0000 Received: (qmail 26178 invoked from network); 12 Sep 2002 17:22:00 -0000 Received: from unknown (66.218.66.217) by m11.grp.scd.yahoo.com with QMQP; 12 Sep 2002 17:22:00 -0000 Received: from unknown (HELO n25.grp.scd.yahoo.com) (66.218.66.81) by mta2.grp.scd.yahoo.com with SMTP; 12 Sep 2002 17:22:00 -0000 Received: from [66.218.67.156] by n25.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 17:21:57 -0000 To: OurPostScriptFonts@yahoogroups.com Message-ID: User-Agent: eGroups-EW/0.82 From: "Opti Mal" X-Yahoo-Profile: pluto319de Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Thu, 12 Sep 2002 17:21:56 -0000 Subject: [OPSF] Attn Kiana Reply-To: OurPostScriptFonts@yahoogroups.com Content-Transfer-Encoding: 7bit Status: R Sorry for sharemation. I suppose you will get them until next week. Otherwise we'll make a special deal. I don't believe that there are many interested here. Your hint URL is not working. In the meantime you may download the catalogue Volumes 1 - 12. I stored it at: http://office.freenet.de/index.html ID: pluto 322 PW: josephine The files are from ABF. I missed the last volumes, sorry. Opti ------------------------ Yahoo! Groups Sponsor ---------------------~--> Plan to Sell a Home? http://us.click.yahoo.com/J2SnNA/y.lEAA/MVfIAA/dkFolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ for ; Thu, 12 Sep 2002 16:00:20 -0400 (EDT) for ; Thu, 12 Sep 2002 16:00:20 -0400 (EDT) for ; Thu, 12 Sep 2002 16:00:19 -0400 Received: from n28.grp.scd.yahoo.com (n28.grp.scd.yahoo.com [66.218.66.84]) for ; Thu, 12 Sep 2002 16:00:18 -0400 (EDT) Received: from [66.218.67.197] by n28.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 20:00:04 -0000 X-Sender: pluto319de@yahoo.de X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 12 Sep 2002 20:00:03 -0000 Received: (qmail 56316 invoked from network); 12 Sep 2002 20:00:03 -0000 Received: from unknown (66.218.66.218) by m4.grp.scd.yahoo.com with QMQP; 12 Sep 2002 20:00:03 -0000 Received: from unknown (HELO n2.grp.scd.yahoo.com) (66.218.66.75) by mta3.grp.scd.yahoo.com with SMTP; 12 Sep 2002 20:00:03 -0000 Received: from [66.218.67.164] by n2.grp.scd.yahoo.com with NNFMP; 12 Sep 2002 20:00:03 -0000 To: OurPostScriptFonts@yahoogroups.com Message-ID: User-Agent: eGroups-EW/0.82 From: "Opti Mal" X-Yahoo-Profile: pluto319de Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Thu, 12 Sep 2002 20:00:01 -0000 Subject: [OPSF] Aridi Vol 6 Reply-To: OurPostScriptFonts@yahoogroups.com Content-Transfer-Encoding: 7bit Status: R Look at http://office.freenet.de/index.html ID: pluto321 PW: josephine Good luck Opti ------------------------ Yahoo! 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Try Us! http://us.click.yahoo.com/QrPZMC/iTmEAA/MVfIAA/dkFolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com for ; Fri, 13 Sep 2002 15:41:43 -0400 (EDT) for ; Fri, 13 Sep 2002 15:41:43 -0400 (EDT) for ; Fri, 13 Sep 2002 15:41:43 -0400 Received: from n8.grp.scd.yahoo.com (n8.grp.scd.yahoo.com [66.218.66.92]) for ; Fri, 13 Sep 2002 15:41:42 -0400 (EDT) Received: from [66.218.67.198] by n8.grp.scd.yahoo.com with NNFMP; 13 Sep 2002 19:41:36 -0000 X-Sender: pluto319de@yahoo.de X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 13 Sep 2002 19:41:35 -0000 Received: (qmail 84960 invoked from network); 13 Sep 2002 19:41:35 -0000 Received: from unknown (66.218.66.216) by m5.grp.scd.yahoo.com with QMQP; 13 Sep 2002 19:41:35 -0000 Received: from unknown (HELO n20.grp.scd.yahoo.com) (66.218.66.76) by mta1.grp.scd.yahoo.com with SMTP; 13 Sep 2002 19:41:34 -0000 Received: from [66.218.67.168] by n20.grp.scd.yahoo.com with NNFMP; 13 Sep 2002 19:41:34 -0000 To: OurPostScriptFonts@yahoogroups.com Message-ID: User-Agent: eGroups-EW/0.82 From: "Opti Mal" X-Yahoo-Profile: pluto319de Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Fri, 13 Sep 2002 19:41:33 -0000 Subject: [OPSF] Aridi Reply-To: OurPostScriptFonts@yahoogroups.com Content-Transfer-Encoding: 7bit Status: R I deleted all sharemations and uploaded Vol 17 (the real one). There are two parts: Part one is at: sharemation.com/~pluto320 sharemation.com/~opti3 sharemation.com/opti5 Part two is at: sharemation.com/henning sharemation.com/~opti2 sharemation.com/opti4 A word about Sharemation: If you get a free account at sharemation you can copy the files of my disks in your account. That's fast and don't need so much bandwith. There is the Aridi PDF-Catalogue Vol 1-12 at freenet Login: Pluto322 PW: josephine I hope, I will get it complete soon. There is Aridi Vol 18 at freenet: Login: pluto320 PW: josephine That's it. I hope we can finish Aridi for the 'Oldies' with the complete PDF Catalogue soon. A word for the Newbies: I will support you, when you are really interested. First: Download all Volumes which are in the Archives at OPSF. Second: Be patient and write me. I will post the missing ones on my hopefully free webdisks. Third: Be quiet about your sources Hugs Opti ------------------------ Yahoo! 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Groups is subject to http://docs.yahoo.com/info/terms/ for ; Fri, 13 Sep 2002 18:03:11 -0400 (EDT) for ; Fri, 13 Sep 2002 18:03:11 -0400 (EDT) for ; Fri, 13 Sep 2002 18:03:10 -0400 Received: from n22.grp.scd.yahoo.com (n22.grp.scd.yahoo.com [66.218.66.78]) for ; Fri, 13 Sep 2002 18:03:10 -0400 (EDT) Received: from [66.218.67.192] by n22.grp.scd.yahoo.com with NNFMP; 13 Sep 2002 22:03:04 -0000 X-Sender: julmo@runbox.com X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 13 Sep 2002 22:03:03 -0000 Received: (qmail 6776 invoked from network); 13 Sep 2002 22:03:03 -0000 Received: from unknown (66.218.66.217) by m10.grp.scd.yahoo.com with QMQP; 13 Sep 2002 22:03:03 -0000 Received: from unknown (HELO aibo.runbox.com) (193.71.199.94) by mta2.grp.scd.yahoo.com with SMTP; 13 Sep 2002 22:03:02 -0000 Received: from [10.9.9.1] (helo=pluto.runbox.com) by tramp.runbox.com with esmtp (Exim 4.05-VA-mm1) id 17pyWk-0000K0-00 for OurPostScriptFonts@yahoogroups.com; Sat, 14 Sep 2002 00:03:02 +0200 Received: from [68.3.84.125] (helo=user) (Authenticated Sender=julmo) by pluto.runbox.com with asmtp (Exim 3.35 #1) id 17pyWS-0001v5-00 for OurPostScriptFonts@yahoogroups.com; Sat, 14 Sep 2002 00:02:44 +0200 Message-ID: <064e01c25b71$80da08c0$0200a8c0@user> To: References: X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 From: "Birdmom2a2" X-Yahoo-Profile: julmo1013 Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Fri, 13 Sep 2002 15:01:14 -0700 Subject: Re: [OPSF] Aridi Reply-To: OurPostScriptFonts@yahoogroups.com Content-Transfer-Encoding: 7bit Status: R Thx, very much. Just a question, tho. Does anyone have #19 or an I just totally confused here. Julie ----- Original Message ----- From: "Opti Mal" To: Sent: Friday, 13 September, 2002 12:41 Subject: [OPSF] Aridi I deleted all sharemations and uploaded Vol 17 (the real one). There are two parts: Part one is at: sharemation.com/~pluto320 sharemation.com/~opti3 sharemation.com/opti5 Part two is at: sharemation.com/henning sharemation.com/~opti2 sharemation.com/opti4 A word about Sharemation: If you get a free account at sharemation you can copy the files of my disks in your account. That's fast and don't need so much bandwith. There is the Aridi PDF-Catalogue Vol 1-12 at freenet Login: Pluto322 PW: josephine I hope, I will get it complete soon. There is Aridi Vol 18 at freenet: Login: pluto320 PW: josephine That's it. I hope we can finish Aridi for the 'Oldies' with the complete PDF Catalogue soon. A word for the Newbies: I will support you, when you are really interested. First: Download all Volumes which are in the Archives at OPSF. Second: Be patient and write me. I will post the missing ones on my hopefully free webdisks. Third: Be quiet about your sources Hugs Opti To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ ------------------------ Yahoo! Groups Sponsor ---------------------~--> 4 DVDs Free +s&p Join Now http://us.click.yahoo.com/pt6YBB/NXiEAA/MVfIAA/dkFolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ for ; Fri, 13 Sep 2002 18:06:52 -0400 (EDT) for ; Fri, 13 Sep 2002 18:06:52 -0400 (EDT) for ; Fri, 13 Sep 2002 18:06:52 -0400 Received: from n33.grp.scd.yahoo.com (n33.grp.scd.yahoo.com [66.218.66.101]) for ; Fri, 13 Sep 2002 18:06:51 -0400 (EDT) Received: from [66.218.67.195] by n33.grp.scd.yahoo.com with NNFMP; 13 Sep 2002 22:06:39 -0000 X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 13 Sep 2002 22:06:37 -0000 Received: (qmail 20822 invoked from network); 13 Sep 2002 22:06:37 -0000 Received: from unknown (66.218.66.217) by m2.grp.scd.yahoo.com with QMQP; 13 Sep 2002 22:06:37 -0000 Received: from unknown (HELO c003.snv.cp.net) (209.228.32.229) by mta2.grp.scd.yahoo.com with SMTP; 13 Sep 2002 22:06:36 -0000 Received: (cpmta 14993 invoked from network); 13 Sep 2002 15:06:34 -0700 Received: from 64.34.50.81 (HELO uw3tl) by smtp.telocity.com (209.228.32.229) with SMTP; 13 Sep 2002 15:06:34 -0700 X-Sent: 13 Sep 2002 22:06:34 GMT Message-ID: <009e01c25b72$afc7c720$2641fea9@uw3tl> To: References: X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 I deleted all sharemations and uploaded Vol 17 (the real one). There are two parts: Part one is at: sharemation.com/~pluto320 sharemation.com/~opti3 sharemation.com/opti5 Part two is at: sharemation.com/henning sharemation.com/~opti2 sharemation.com/opti4 A word about Sharemation: If you get a free account at sharemation you can copy the files of my disks in your account. That's fast and don't need so much bandwith. There is the Aridi PDF-Catalogue Vol 1-12 at freenet Login: Pluto322 PW: josephine I hope, I will get it complete soon. There is Aridi Vol 18 at freenet: Login: pluto320 PW: josephine That's it. I hope we can finish Aridi for the 'Oldies' with the complete PDF Catalogue soon. A word for the Newbies: I will support you, when you are really interested. First: Download all Volumes which are in the Archives at OPSF. Second: Be patient and write me. I will post the missing ones on my hopefully free webdisks. Third: Be quiet about your sources=20 Hugs Opti To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com =20=20 Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/= --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.385 / Virus Database: 217 - Release Date: 09/04/2002 ------=_NextPart_000_002A_01C25B4E.B9F65320 Content-Transfer-Encoding: 7bit
I am working my way thru the archives and have a lot of my volumes filled in (compared to before). I work for a while in the evening until Yahoo tells me I have exceeded my limit :-(. I am checking what I have missing as I go.

When I finish going through the archives, I will ask here about what I am missing and I will be happy to upload some of my volumes when I know I have all that is available in the archives.

I just zipped what I have of Volume 13 -- Borders (I am missing the Textures) and it is 38,485 kb. Does Sharemation have a total limit or a limit on each file's size? (Sorry, but I don't read German.)

Where did I get these? I don't know. They just APPEARED on my computer one day! :-D

Thank you so much, Opti!

Sheila

----- Original Message -----

"From:" Opti Mal

"To:" OurPostScriptFonts@yahoogroups.com

"Sent:" Friday, September 13, 2002 3:41 PM

"Subject:" [OPSF] Aridi

I deleted all sharemations and uploaded Vol 17 (the real one).
There are two parts:

Part one is at:
sharemation.com/~pluto320
sharemation.com/~opti3
sharemation.com/opti5

Part two is at:
sharemation.com/henning
sharemation.com/~opti2
sharemation.com/opti4

A word about Sharemation:
If you get a free account at sharemation you can copy the files of
my disks in your account. That's fast and don't need so much
bandwith.

There is the Aridi PDF-Catalogue Vol 1-12 at freenet
Login: Pluto322 PW: josephine
I hope, I will get it complete soon.

There is Aridi Vol 18 at freenet:
Login: pluto320 PW: josephine

That's it.

I hope we can finish Aridi for the 'Oldies' with the complete
PDF Catalogue soon.

A word for the Newbies: I will support you, when you are really
interested.

First: Download all Volumes which are in the Archives at OPSF.
Second: Be patient and write me. I will post the missing ones on my
hopefully free webdisks.

Third: Be quiet about your sources

Hugs
Opti

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------=_NextPart_000_002A_01C25B4E.B9F65320-- for ; Fri, 13 Sep 2002 22:09:46 -0400 (EDT) for ; Fri, 13 Sep 2002 22:09:46 -0400 (EDT) for ; Fri, 13 Sep 2002 22:09:45 -0400 Received: from n2.grp.scd.yahoo.com (n2.grp.scd.yahoo.com [66.218.66.75]) for ; Fri, 13 Sep 2002 22:09:45 -0400 (EDT) Received: from [66.218.66.94] by n2.grp.scd.yahoo.com with NNFMP; 14 Sep 2002 02:09:39 -0000 X-Apparently-To: OurPostScriptFonts@yahoogroups.com Received: (EGP: mail-8_1_1_3); 14 Sep 2002 02:09:38 -0000 Received: (qmail 82170 invoked from network); 14 Sep 2002 02:09:38 -0000 Received: from unknown (66.218.66.217) by m1.grp.scd.yahoo.com with QMQP; 14 Sep 2002 02:09:38 -0000 Received: from unknown (HELO c003.snv.cp.net) (209.228.32.237) by mta2.grp.scd.yahoo.com with SMTP; 14 Sep 2002 02:09:38 -0000 Received: (cpmta 25627 invoked from network); 13 Sep 2002 19:09:37 -0700 Received: from 64.34.50.81 (HELO uw3tl) by smtp.telocity.com (209.228.32.237) with SMTP; 13 Sep 2002 19:09:37 -0700 X-Sent: 14 Sep 2002 02:09:37 GMT Message-ID: <041601c25b94$a3c0bc80$2641fea9@uw3tl> To: References: X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 From: "Sheila Dentico" X-Yahoo-Profile: sdentico Mailing-List: list OurPostScriptFonts@yahoogroups.com; contact OurPostScriptFonts-owner@yahoogroups.com Delivered-To: mailing list OurPostScriptFonts@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Fri, 13 Sep 2002 22:13:30 -0400 Subject: Re: [OPSF] Aridi Vol 17&18 Reply-To: OurPostScriptFonts@yahoogroups.com Status: R charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I think I have extracted all of the Aridi volumes in the archives. In comp= aring to a pdf listing of all the files in each volume, I am missing the fo= llowing: Volume 11 - files 041b.eps to 101b.eps and 041c.eps to 101c.eps Volume 13 - Textures - files 01brgr-b.eps to 20brgr-b.eps and 01brgr-c.eps to 20brgr-c.eps Volume 14 - files 001-b.eps to 152-b.eps (all of the B&W ones) and 101-c.eps to 125-c.eps Volume 19 - all Volume 20 - all B&W I have all the other volumes, some of them in bmp, ai, and eps, or combos o= f those formats. Sheila ----- Original Message ----- From: Opti Mal To: OurPostScriptFonts@yahoogroups.com Sent: Thursday, September 12, 2002 9:22 AM Subject: [OPSF] Aridi Vol 17&18 Here we go: You'll get Aridi Vol 17 at: sharemation.com/~opti sharemation.com/~opti2 sharemation.com/~opti3 sharemation.com/opti4 You'll get Aridi Vol 18 at: http://office.freenet.de/index.html ID:pluto320 PW:josephine Opti To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com =20=20 Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/= --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.385 / Virus Database: 217 - Release Date: 09/04/2002 Content-Transfer-Encoding: 7bit
I think I have extracted all of the Aridi volumes in the archives. In comparing to a pdf listing of all the files in each volume, I am missing the following:

Volume 11 - files 041b.eps to 101b.eps and 041c.eps to 101c.eps

Volume 13 - Textures - files 01brgr-b.eps to 20brgr-b.eps

and 01brgr-c.eps to 20brgr-c.eps

Volume 14 - files 001-b.eps to 152-b.eps (all of the B&W ones)

and 101-c.eps to 125-c.eps

Volume 19 - all

Volume 20 - all B&W

I have all the other volumes, some of them in bmp, ai, and eps, or combos of those formats.

Sheila

----- Original Message -----

"From:" Opti Mal

"To:" OurPostScriptFonts@yahoogroups.com

"Sent:" Thursday, September 12, 2002 9:22 AM

"Subject:" [OPSF] Aridi Vol 17 & 18

Here we go:

You'll get Aridi Vol 17 at:

sharemation.com/~opti
sharemation.com/~opti2
sharemation.com/~opti3
sharemation.com/opti4

You'll get Aridi Vol 18 at:

http://office.freenet.de/index.html
ID:pluto320
PW:josephine

Opti

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Article 439753 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc03.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: Subject: Re: Zapf Calligraphic Lines: 112 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Fri, 13 Sep 2002 20:14:24 GMT X-Complaints-To: abuse@verizon.net There once were two fairly nice and comprehensive web sites on Hermann Zapf ... one by SUNY and one by Linotype. Both are currently "unfound" ... shame. Since it is "no longer found on the web," I'm going to try to save one of them ... That has a rather complete listing of Zapf's typefaces ... into a format that I can post as a follow-up to this posting. Meanwhile: Linotype has a few pages about him on their Fontstore site http://www.fontexplorer.com/FontStore?URL=http://www.fontexplorer.com/isroot/FontStore/con tent/03_company/content/comp_09_linoevents_f/birthday_zapf/zapf1.html [Sorry if that one wraps ... you may have to re-assemble it They have recently re-designed this site to lock you into their frame-set(s) ... and in the process made the site damn near un-usable!] Jacci Howard Bear at About.com has a nice presentation on him at http://www.desktoppub.about.com/cs/zapf/ [This links back to the Haystack site's page on him.] http://arts.cbel.com/graphic_design/index.html?w=40&p=46&s=47&l=5 http://www.myfonts.com/Person3.html Type Talk (Haystack) http://www.haycrk.com/Zapf.html Nicholas Fabian has a nice page ... now available on the web archive at http://web.archive.org/web/20000819043513/http://webcom.net/~nfhome/zapf.htm If you read German http://www.gutenberg-gesellschaft.uni-mainz.de/ggpr74.htm Paul Neubauer's contributions can be found at http://bsuvc.bsu.edu/prn/credits.html = = = = = According to Fabian, Zapf's typefaces include Gilgengart (1941). Palatino (1948). Michelangelo (1950). Sistina (1950). Aldus (1952-53). Melior (1952). Saphir (1952). Kompact (1952). Virtuosa (1952-53). Phidias (1953). Frederica (1953). Heraklit (1954). Optima (1958), originally named "Neu-Antiqua". Hunt Roman (1962). several different typefaces for Hallmark Cards (1967-72). Venture (1969). Medici (1969). Orion (1974). Marconi (1976). Comenius (1976). Zapf Book (1976). Zapf Dingbats (1977). Zapf International (1977). Edison (1978). Zapf Chancery (1979). Vario (1982). Aurelia (1983). Euler (1983), produced for the American Mathematical Society, using Metafont. Civilite (1984-). Zapf Renaissance (1984) and Zapfino Four (1998) for Linotype. = = = = = Other URLs include www.fontexplorer.com/isroot/FontStore/content/01_news/content/news_04b_fontfeat_arch/news_ 04b_fontfeat_zapf/news_04b_fontf_z_school.html http://www.myfonts.com/Person3.html http://www.caxtonclub.org/reading/zapf.html http://www.logobank.net/Images2/Zapf.htm http://www.grolierclub.org/ExZapf.htm http://www.grolierclub.org/PubZapfPoster.htm = = = = = As you can see, Hermann Zapf and his wife Gudrun Zapf-von Hesse are "significant designers" in the world of type. You can probably find more with the judicious use of a search engine. Cheers and Enjoy There is a *lot* of Fontographer information available "on the web" ... especially from Macromedia (the publisher). A complete series of something like 60 TechNotes, a discussion forum, and so forth: http://www.macromedia.com/support/fontographer/ http://www.macromedia.com/support/fontographer/technotes.html http://www.macromedia.com/support/fontographer/downloads.html Other on-line Fontographer resources include Microsoft Typography - Visual TrueType resources page http://www.microsoft.com/typography/tools/fttff.htm These, plus "the manual," plus Moye's book and Fontographer is quite well documented. A relatively simple usage of "your local search engine" will probably dig up several more articles. "Laura" wrote in message news:13Kg9.222$KN3.186@nwrddc01.gnilink.net... > I'll post the Fontographer Manual to your Attention. > There really isn't any in-depth tutorials out there. > Most don't cover kerning, etc. > > > "mike" wrote in message > news:alvq4s$scu$1@newsg3.svr.pol.co.uk... > | I am new to the group so please excuse me if you have covered this subject > | before. > | > | I recently bought a copy of fontographer for £50!! There was no box or > | manuals but I figured I could find load of tutorials / help manuals on the > | web so thought it was worth it. I've done a massive search on the net and > | the only thing I can find are a few basic tuts. > | > | Does anyone have or know where I can get, any e-book manuals or more > | in-depth tutorials from? > | > | I am new to font design so any help would be most appreciated. > | > | mike > | > | > | > | > > From khairulbashar_sm@hotmail.com Mon Sep 16 20:44:48 2002 Return-Path: for ; Mon, 16 Sep 2002 20:44:48 -0400 (EDT) (envelope-from khairulbashar_sm@hotmail.com) for ; Mon, 16 Sep 2002 20:44:48 -0400 (EDT) (envelope-from khairulbashar_sm@hotmail.com) for ; Mon, 16 Sep 2002 20:44:47 -0400 Received: from hotmail.com (dav23.law15.hotmail.com [64.4.22.80]) for ; Mon, 16 Sep 2002 20:44:47 -0400 (EDT) (envelope-from khairulbashar_sm@hotmail.com) Received: from mail pickup service by hotmail.com with Microsoft SMTPSVC; Mon, 16 Sep 2002 17:44:41 -0700 From: "Khairulbashar" To: Subject: 'Single Case Arabic Font' and 'Easy Recite Arabic System' Date: Mon, 16 Sep 2002 20:44:21 -0400 boundary="----=_NextPart_000_000B_01C25DC1.D5E940E0" X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Status: R This is a multi-part message in MIME format. ------=_NextPart_000_000B_01C25DC1.D5E940E0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi Luc. I feel very lucy to have found you on the Internet. Your interest, = services and work in Fonts and Typography are great, wide and = diversified. I am a novice in Fonts and Typography. 'Single Case Arabic Font' is my = humble work. In stead of using 3 or 4 symbols per letter or per = character, 'SCAF' works with only one customised symbol per letter or = per character. The 'SCA Font' is not available to humanity. It is because that, I do = not know how to proceed. May be, you are the Teacher, I am looking for? = Teach me Teacher, to proceed. The 30 symbols of 'SCAF' and their usage to create Arabic text samples = are online at: www.easy-recite-arabic.org/Site/Solution.htm Kindly see my experimentation, of composing Arabic text with just one = symbol per letter, in stead of as many as 3 or 4 symbols per letter. = Very earnestly, I seek your opinion and advice, regarding 'SCAF.' In case you care to examine the strategy of 'Color Coding the letters = and diacritics' and other refinements pooled into 'Easy Recite Arabic = System' and grant me your esteemed comments, I shall be further obliged = and grateful to you. I am an immigrant, dwelling not very far from you. Thanking you so very much. Yours Sincerely. Khairulbashar, S. M. ------=_NextPart_000_000B_01C25DC1.D5E940E0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable charset=3Diso-8859-1">
Hi Luc,

I feel very lucy to have found you on = the Internet. Your interest, services and work in Fonts and Typography are great, = wide and diversified.

I am a novice in Fonts and Typography. = 'Single Case Arabic Font' is my humble work. In stead of using 3 or 4 symbols per = letter or per character, 'SCAF' works with only one customised symbol per letter = or per character.

The 'SCA Font' is not available to = humanity. It is because that, I do not know how to proceed. May be, you are the Teacher, = I am looking for? Teach me Teacher, to proceed.

The 30 symbols of 'SCAF' and their = usage to create Arabic text samples are online at:

www.easy-rec= ite-arabic.org/Site/Solution.htm

Kindly see my experimentation, of = composing Arabic text with just one symbol per letter, in stead of as many as 3 or 4 = symbols per letter. Very earnestly, I seek your opinion and advice, regarding 'SCAF.'

In case you care to examine the = strategy of 'Color Coding the letters and diacritics' and other refinements pooled into = 'Easy Recite Arabic System' and grant me your esteemed comments, I shall = be further obliged and grateful to you.

I am an immigrant, dwelling not very = far from you.

Thanking you so very much.

Yours Sincerely,

Khairulbashar, S. M.

------=_NextPart_000_000B_01C25DC1.D5E940E0-- Article 440468 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <3d85e57a$0$274$626a54ce@news.free.fr> <3d8614d7$0$252$626a54ce@news.free.fr> <_eph9.6945$Dy4.6419@nwrddc03.gnilink.net> <3D863625.C3B1409F@cters.old> Subject: Re: Metrostyle Extended Bold T1 Lines: 104 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Mon, 16 Sep 2002 20:06:07 GMT X-Complaints-To: abuse@verizon.net Article 128743 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!news.imp.ch!news.imp.ch!fu-berlin.de!uni-berlin.de!66-81-26-147-modem.o1.COM!not-for-mail From: Mike Newsgroups: comp.fonts Subject: Re: New Halftone Font Date: Mon, 16 Sep 2002 18:07:18 -0700 Organization: Mike lives close to Los Angeles, Calif. Lines: 35 Message-ID: <3D868045.2258362@artistmike.com> References: <3D82DA36.5667E2F9@artistmike.com> <3D836CFB.ACB25DD6@artistmike.com> <3D8540C4.B8E5EAB9@artistmike.com> <%nlh9.3828$pa1.413101@news0.telusplanet.net> <3D86425D.B7161C7D@artistmike.com> Reply-To: mike@artistmike.com Content-Transfer-Encoding: 8bit X-Accept-Language: en Thank you so much, Opti, for uploading these! ----- Original Message ----- From: Opti Mal To: OurPostScriptFonts@yahoogroups.com Sent: Thursday, September 19, 2002 5:26 AM Subject: [OPSF] Aridi webclips here Hi all. I loaded up 38 files ~ 1 MB file 1 - 31 at http://office.freenet.de/index.html Login: pluto320 PW: josephine file 32 - 36 at http://sharemation.com/~opti file 37 - 38 at http://sharemation.com/~opti2 HOW TO USE FREENET Go to the webpage Type Login Type Password Click Los (go) The sreen will change Look for the maindirectory at the left click pluto320s Dateien you will see all the files in the middle Highlight the file you will download Click on Download at the right. Click on Logout in the upper right corner when you are done Good luck and hugs Opti To unsubscribe from this group, send an email to: OurPostScriptFonts-unsubscribe@yahoogroups.com =20=20 Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/= Hello Luc. i've updated the regles:zero website http://www.regleszero.com the 2nd issue will come out very soon ! i'll keep you informed. thx for your great resource. --S See FF Liant at Fontshop.com or http://www.waldorfschrift.de There's a similar font for free here: http://www.antropos.org/freefont/freefont.htm jeremy "nobody" wrote in message news:amgjjp01fdl@enews1.newsguy.com... > It is supposed to be an OpenType font, isn't it? Not quite. It does include OpenType tables, and the general pitch is that it is OpenType, but in reality it's True Type enclosed in Apple's similar-to-OT wrapper. This wrapper holds AAT tables as well as OpenType tables. AAT is "Apple Advanced Typography", which is the new name for the old Apple GX. > OpenType fonts are supposed to be cross-platform, aren't they? Again, that's the general pitch. An .OTF file, one generated by Fontlab 4.05 for instance, is certainly cross-platform. The .OTF files sold by Adobe, and the ones shipping with Windoze, all run alright on both Windows and Mac OS. But no fonts that ship with an Apple OS, OpenType or otherwise, are cross-platform. > Why then isn't the posted "Zapfino.dfont" recognized by Win2K? AAT and Apple's wrapper are the reasons. The only current way to even see what's inside this font under Windows is to drop the .dfont on the very latest version of Crossfont and get a .TTF out of it. You will not get any of the wrapper's tables though (all the coding will be gone). The Zapfino.dfont that was uploaded here and on ambf is the one that shipped with OSX versions 10.0 to 10.1.5, not the current OS. It's the font acknowledged as version 1.1d3 in the www.typeworx.com/clients/ZVC.PDF As a side note, although OpenType is a cross platform format, we shouldn't expect Apple to accommodate Windows users. Apple has a history of "introducing" (read shoving down the throat of the unwilling) new and incompatible software that not only works exclusively within Apple environments, but drives Apple customers nuts until it's completely adopted and/or perfected. They're not that much different from Microsoft that way; they just look better doing it. The day a cross-platform file ships with an Apple OS will be the day Microsoft owns all of Cupertino. ' -- www.apostrophiclab.com Article 444919 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!west.cox.net!cox.net!rip!newsfeeds-atl2!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news01.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts References: Subject: Re: confused about OS X version of Zapfino... Lines: 82 Organization: Apostrophic Laboratories X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Sun, 22 Sep 2002 05:16:32 GMT X-Complaints-To: abuse@rogers.com "nobody" wrote in message news:amioq402j6j@enews1.newsguy.com... > > Ah, so much for the progress. Maybe an idea of John Hudson re-doing > Zapf's font makes no more sense that Tom Green attempting a remake > of one of Chaplin's masterpieces anyway :-))) > Until last week I had no idea that all this was Hudson's stuff. All I knew was that the person who did the finishing work on Zapfino 1.1d3 must have likely done the work on the Linotype Palatino that ships with Windows. And even now, we know from a true type table in the font that Hudson was the one who finished Zapfino 1.1d3, but we can't be sure about Zapfino 4.0d3, where the real atrocity happens to be. But still, 1.1d3 has some very notable technical errors, mainly the 1000 emsquare with the true type outlines, and the 700+ non-Unicoded glyphs. How in the world could anyone seriously hint a true type outline at 1000 ems? And why would someone like Hudson, who gives long lectures about the greatness of Unicode, build fonts that are not Unicode-compliant? Go figure. To the credit of Hudson, or whoever the technician on version 1.1d3 happened to be, the final wrapping of Zapfino must have been done at Apple, which is the only place I know of where a final .dfont can be generated. The only outside-developer-accessible Apple tool that comes remotely close to that is the AAT Font Tool (to add AAT features to a font), with its latest version dating back to April 1999, and which cannot generate .dfont files. My point here is: a number of switches could have gone ballistic when the final .dfont was being generated, and this would make a font technician look bad. But I'd like to give the Apple Fonts Group much more credit than that. At any rate, I thought Linotype employed 36 people in Frankfurt... is none of those full-timers technically capable of properly finishing a Zapf font? Why hire outsiders? How utterly embarrassing! URW would be laugh their lungs out at the notion of hiring a non-staffer to do such straight-forward technical work. So, talked to the Apple Fonts Group all of last week. Not much revelation there. Lots of red tape. They did know about the reflow issues between 1.1d3 and 4.0d3, but they ran it by the marketing department, and the marketing department cleared it good to go. Without documentation, without warning. About the missing kerning, they said that Lino provided the kerning table too late to be shipped with the OS, but Apple will iclude it in a future system software release. I'm not holding my breath on this one. About the (very very odd) 400 emsquare, their first reply was that they changed the metrics of Zapfino in order to make it "in line with the other fonts" that ship with Jaguar. Pretty absurd. I told them that I checked all the other fonts that ship with the Jag, and all of them have the proper 2048 emsquare. so what gives? I mean, a 70 point leading on a 25 point font is obscene by any designer's standards. Here's their answer: "We'll pass your comments on to the engineers." About the 800+ glyphs with no Unicode values, they echoed: "We'll pass your comments on to the engineers." Though they fought a bit with that last one before putting it up the wall. They said that the glyphs are accessible "from the Character Palette in applications that support the glyph input protocol". At first this whole thing sounded like a foreign language, then a little more research revealed something out of this world. Jaguar includes a very powerful typographical feature, but it was never documented. It's called the Character Palette. it's easily accessible, has an application-interactive "insert" button, and it's basically the Mac OS version of the Windows Character Map accessory. But try to figure this one out: none of the latest carbonized apps by Adobe and Macromedia are compatible with this Character Palette, but Microsoft Office X is! Wow! I'd like to hear the reasoning behind that one. Could it be that Microsoft is being kept up to date with Apple's new font technologies, while Adobe isn't? At a time when Apple is doing Adobe the major favour of shipping InDesign with every new Mac sold? Sometimes I give Apple too much credit. But then again, Dave Opstad retired from there last year, so I should know better. Ting-a-ling. ' -- www.apostrophiclab.com From jtombeur@noos.fr Tue Sep 24 08:30:40 2002 Return-Path: for ; Tue, 24 Sep 2002 08:30:40 -0400 (EDT) (envelope-from jtombeur@noos.fr) for ; Tue, 24 Sep 2002 08:30:39 -0400 (EDT) (envelope-from jtombeur@noos.fr) for ; Tue, 24 Sep 2002 08:30:39 -0400 Received: from smtp.noos.fr (descartes.noos.net [212.198.2.74]) for ; Tue, 24 Sep 2002 08:30:39 -0400 (EDT) (envelope-from jtombeur@noos.fr) Received: (qmail 6404712 invoked by uid 0); 24 Sep 2002 12:30:32 -0000 Received: from unknown (HELO cwinxp2) ([212.198.165.251]) (envelope-sender ) by 212.198.2.74 (qmail-ldap-1.03) with SMTP for ; 24 Sep 2002 12:30:32 -0000 Message-ID: <013001c263c6$2d0a7650$fba5c6d4@cwinxp2> From: "Jef Tombeur" Article 445792 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed2.easynews.com!easynews.com!easynews!easynews-local!news.easynews.com.POSTED!not-for-mail Message-ID: <3D8FF2B2.7D6CCF6A@cters.otf> From: Character Organization: None X-Accept-Language: en Newsgroups: alt.binaries.fonts Subject: Re: Party Fonts T1 or TT References: Content-Transfer-Encoding: 7bit Lines: 19 X-Complaints-To: abuse@easynews.com X-Complaints-Info: Please be sure to forward a copy of ALL headers otherwise we will be unable to process your complaint properly. Date: Tue, 24 Sep 2002 05:04:47 GMT What do you mean? Generic - fonts that are party-oriented? Here are 352 of them, if that's what you mean: http://www.fontmagic.com/cate/party1.html and some here and here http://www.renaesroom.com/Fonts/Available/FunFonts/party/party.htmls No need to post fonts that are easily available on the net .... - Character Henry wrote: > > Can anyone post please. > -- > Harry Article 445798 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: Subject: Re: lo-type versus bernhard - lotype.gif Lines: 147 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Tue, 24 Sep 2002 05:29:47 GMT X-Complaints-To: abuse@verizon.net AFAIK: It was apparently a little more than just a "lover's quarrel." FWIW: In April of 2000 Apostrophe had this to say about the situation: - - - - - Begin Quote - - - - - April 11, 2000 - Berthold Goes Bonkers The good news is that they brought Günter Gerhard Lange on board again, as artistic consultant. This can be read about in press releases on the Berthold web site (which has been finally updated after about a year of silence - but watch out; it's still full of errors). The bad news is that the Berthold folks continue with their legal action threats and intimidation. Their latest targets were Agfa and PrimaFonts. This has resulted in the elimination of Berthold offerings by Agfa Monotype and the Creative Alliance. The Agfa story was first reported online by Fontzone's Clive Bruton (all links to Fontzone have been removed, because Mr. Bruton has been reversing them): "Agfa Monotype is to cease distribution of the Berthold library after litigation from the trademark owner, Berthold Types." writes Fontzone's Clive Bruton in his publicly-available article. "A press release from Berthold Types indicates that a 'court enforced' judgement lead to the pull-out by Agfa-Monotype stated to be in force from 31 December, 1999. However Monotype sources have privately been telling customers, since early summer, that the company would no longer be distributing that part of the Berthold collection contained within the Adobe Library distribution - approximately 360 fonts out of the 800 strong Berthold catalogue. Shipping versions of Monotype CD collections have been devoid of the Berthold fonts for some time. It would seem that they welcome this final cutting of ties between the two companies. Berthold Types cites 'breach of contract, trademark infringement, unfair competition and deceptive trade practices', but does not divulge any instances of these claims. This apparent victory by Berthold Types is tainted by its ever decreasing distribution channel. Earlier this year the company also took action against partnership Freydank Koerbis Pillich Talke GbR. The once highly regarded Berthold name has been through several changes of hands in the last few years, and has been in decline since the elimination of its world class typesetting hardware due to the rise of desktop workstations." The press release from Berthold about PrimaFont was: Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes typefaces from other type foundries including Adobe, Agfa, Bauer Types, Bitstream, ITC. Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold Types by employing a "compatibility list" to identify the true names of the typefaces that PrimaFont sold using false names. "Berthold Types actively seeks to prevent the use of compatibility lists as such use has gone unchecked in the type industry," stated Melissa Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of compatibility lists causes as much damage in the type industry as any other form of font piracy." This most recent success in Berthold Types' continued aggressive anti-piracy efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. In addition, PrimaFont agreed never to sell or deal in any products that contain Berthold's typefaces and to pay Berthold an undisclosed sum. As far as anyone knew, PrimaFont had purchased, and were the rightful owners of, Berthold types. The above press release sounds like a coverup of legal intimidation based on long-term financial projections. And the logic of compatibility lists being a problem is quite flawed. By applying that logic, one can assume that if Berthold were to manufacture industry-standard incadescent light bulbs, they would sue anyone who dared to compare the output of their lightbulb to the BQ wattage. And if they were a dairy, they just wouldn't sit still for anyone suggesting that you could use margarine instead of butter. One would presume that they would want to educate consumers as to the superiority of their products instead of censuring and suing. The latest example of the Hunts' attitude towards their customer base and their intelligence is in the so called 'new' release of the Standard set. To call this a 'new' release and to issue it and charge prior customers money for it is insulting at best, not to mention a knockoff of their own library. Standard was the name Berthold used for Akzidenz Grotesk when it was marketed as metal type in english speaking countries. There were no other differences. In this case, they have added a Euro symbol and changed the name, so that users will hopefully be lulled into paying $249 for what amounts to an added glyph that every other major foundry offers at no charge. For some, this is an indicator of how low the new Berthold will stoop for a dollar. They also go way over the line in their legal notice section here, which proceeds to say that if you communicate to them an idea that has anything to do with Berthold fonts, they have all the rights to the idea: "Viewer Feedback and Suggestions - All information, feedback, data, questions, comments or suggestions regarding the content of this publication or other publication of H. Berthold and made by you or any viewer of this publication will not be considered confidential. You agree that H. Berthold will have all rights to reproduce, disclose, distribute and otherwise use any such response for any purpose whatsoever including, but not limited to. developing, manufacturing and marketing products based upon any such responses." In their rather bizarre licensing scheme here they have some other unusual statements and claims that are highly restrictive: 1) The license is non-exclusive&non-transferable, so you cannot re-sell it or donate it as with 99% of computer software (assuming you destroy any copies you have). 2) You cannot embed the font in ANY document - so no postscript file to the printer. 3) This one is really nuts: "YOU may use the PRODUCT only at the address stated in the payment information you will complete to process your order". Better not move, Better not have an office address different from your credit card info, and better chain your laptop to a desk at the address cited on your credit card. If that's not insulting, I don't know what is. 4) Although they are not alone, here's one that always cracks me up. Even if you buy from them, agree to all of these conditions, and receive your fonts from them, you still have to snail-mail or email them a registration if you want any upgrade offer. Haven't these companies ever heard of customer service? Apparently not. 5) And after you go through the exquisitely satisfying experience of buying from them. they proceed to really top off the sale with this statement (which is sort of like flipping you off for buying from them): "The entire risk with respect to the quality and performance of the PRODUCT rests upon YOU." Burning bridges, whether with industry or customers, can't be good. It's only a matter of time before the numbers speak for themselves. Apostrophe ze chemist of happiness - - - - - End Quote - - - - - For once, it looks like "A Lawyer" is getting her come-uppance. The down side is ... That these fine fonts are now essentially 'History.' Article 445879 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!msc1.onvoy!ply1.onvoy!upp1.onvoy!onvoy.com!news-out.visi.com!hermes.visi.com!newsfeed1.earthlink.net!newsfeed.earthlink.net!stamper.news.pas.earthlink.net!newsread2.prod.itd.earthlink.net.POSTED!not-for-mail From: "Eagle" Newsgroups: alt.binaries.fonts References: Lines: 26 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Message-ID: Date: Tue, 24 Sep 2002 12:58:04 GMT X-Complaints-To: abuse@earthlink.net Organization: EarthLink Inc. -- http://www.EarthLink.net Hi Laura. It's interesting that they would pick a font that none of the major resellers are offering or even showing. Apostrophe indicates "Walker" was created by Matthew Carter. I have a folder on Matthew Carter and a list of his font creations. The few lists that I have do not list a Walker font for him. Neither does Luc. This is very strange. I'd like to at least see what this "great font" looks like. Thanks for the present font flood. Eagle "Laura" wrote in message news:bRPj9.12667$F83.9650@nwrddc03.gnilink.net... > I saw that you got a answer to your > question about Walker. > > Some of the typefaces on the TDC list haven't been > digitized yet. > > Here's a link for Doves, another Walker font. (#45) > http://home.swipnet.se/~w-10011/Tobbe/large/doves.html > by Torbjörn Olsson > http://home.swipnet.se/~w-10011/Tobbe/start.html > > > > Article 445903 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news2.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts References: Subject: Re: lo-type versus bernhard - lotype.gif Lines: 249 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Message-ID: Date: Tue, 24 Sep 2002 13:33:34 GMT "RSD99" wrote in message news:fLSj9.16037$xv3.3156@nwrddc04.gnilink.net... > AFAIK: It was apparently a little more than just a "lover's quarrel." FWIW: In April of > 2000 Apostrophe had this to say about the situation: > Ya, but they reworked their license agreement shortly after this was posted. Yesterday I was speaking to a type designer in New York (I'll keep his name hush just in case he doesn't want it out here), and he told me that three years ago Melissa Hunt sent him a letter telling him that she (Berthold) has a trademark on the word City. The guy is himself a bit knowledgeable about trademark laws, so he kind of laughed at her a bit, but apparently she was very serious, and threatened to file a lawsuit against him if he didn't change the name of one of his fonts from 'City Antique' to something else. He told her that he won't change it, and she stopped bothering him after a while. A trademark on the word City. Only in the font world. What about the time Hoefler tried to assert that he has the word Didot trademarked? ' -- www.apostrophiclab.com > - - - - - Begin Quote - - - - - > April 11, 2000 - Berthold Goes Bonkers > > The good news is that they brought Günter Gerhard Lange on board again, as artistic > consultant. This can be read about in press releases on the Berthold web site (which has > been finally updated after about a year of silence - but watch out; it's still full of > errors). > > The bad news is that the Berthold folks continue with their legal action threats and > intimidation. Their latest targets were Agfa and PrimaFonts. This has resulted in the > elimination of Berthold offerings by Agfa Monotype and the Creative Alliance. > > The Agfa story was first reported online by Fontzone's Clive Bruton (all links to Fontzone > have been removed, because Mr. Bruton has been reversing them): > > "Agfa Monotype is to cease distribution of the Berthold library after litigation from the > trademark owner, Berthold Types." writes Fontzone's Clive Bruton in his publicly-available > article. "A press release from Berthold Types indicates that a 'court enforced' judgement > lead to the pull-out by Agfa-Monotype stated to be in force from 31 December, 1999. > > However Monotype sources have privately been telling customers, since early summer, that > the company would no longer be distributing that part of the Berthold collection contained > within the Adobe Library distribution - approximately 360 fonts out of the 800 strong > Berthold catalogue. Shipping versions of Monotype CD collections have been devoid of the > Berthold fonts for some time. It would seem that they welcome this final cutting of ties > between the two companies. > > Berthold Types cites 'breach of contract, trademark infringement, unfair competition and > deceptive trade practices', but does not divulge any instances of these claims. > > This apparent victory by Berthold Types is tainted by its ever decreasing distribution > channel. Earlier this year the company also took action against partnership Freydank > Koerbis Pillich Talke GbR. > > The once highly regarded Berthold name has been through several changes of hands in the > last few years, and has been in decline since the elimination of its world class > typesetting hardware due to the rise of desktop workstations." > > The press release from Berthold about PrimaFont was: > Chicago, Illinois (January 25, 2000) - As a result of legal action taken by Berthold Types > Limited, PrimaFont International of Germany agreed to immediately cease the unauthorized > sales of more than 300 Berthold typefaces from the PrimaFont CD-ROM, which also includes > typefaces from other type foundries including Adobe, Agfa, Bauer Types. Bitstream, ITC. > Letraset, Linotype and Monotype. PrimaFont infringed upon the trademark rights of Berthold > Types by employing a "compatibility list" to identify the true names of the typefaces that > PrimaFont sold using false names. "Berthold Types actively seeks to prevent the use of > compatibility lists as such use has gone unchecked in the type industry," stated Melissa > Hunt, Vice President&General Counsel for Berthold Types. Adding: "The use of > compatibility lists causes as much damage in the type industry as any other form of font > piracy." This most recent success in Berthold Types' continued aggressive anti-piracy > efforts means that PrimaFont must remove the Berthold typefaces from the PrimaFont CD-ROM. > In addition, PrimaFont agreed never to sell or deal in any products that contain > Berthold's typefaces and to pay Berthold an undisclosed sum. > > As far as anyone knew, PrimaFont had purchased, and were the rightful owners of, Berthold > types. The above press release sounds like a coverup of legal intimidation based on > long-term financial projections. And the logic of compatibility lists being a problem is > quite flawed. By applying that logic, one can assume that if Berthold were to manufacture > industry-standard incadescent light bulbs, they would sue anyone who dared to compare the > output of their lightbulb to the BQ wattage. And if they were a dairy. they just wouldn't > sit still for anyone suggesting that you could use margarine instead of butter. One would > presume that they would want to educate consumers as to the superiority of their products > instead of censuring and suing. > %Z Berthold-BertholdStandardBQBold.gif %Z Berthold-BertholdStandardBQExBold.gif %Z Berthold-BertholdStandardBQLight.gif > The latest example of the Hunts' attitude towards their customer base and their > intelligence is in the so called 'new' release of the Standard set. To call this a 'new' > release and to issue it and charge prior customers money for it is insulting at best, not > to mention a knockoff of their own library. Standard was the name Berthold used for > Akzidenz Grotesk when it was marketed as metal type in english speaking countries. There > were no other differences. In this case, they have added a Euro symbol and changed the > name, so that users will hopefully be lulled into paying $249 for what amounts to an added > glyph that every other major foundry offers at no charge. For some, this is an indicator > of how low the new Berthold will stoop for a dollar. > > They also go way over the line in their legal notice section here, which proceeds to say > that if you communicate to them an idea that has anything to do with Berthold fonts, they > have all the rights to the idea: > "Viewer Feedback and Suggestions - All information, feedback, data. questions, comments or > suggestions regarding the content of this publication or other publication of H. Berthold > and made by you or any viewer of this publication will not be considered confidential. You > agree that H. Berthold will have all rights to reproduce, disclose. distribute and > otherwise use any such response for any purpose whatsoever including, but not limited to. > developing, manufacturing and marketing products based upon any such responses." > > In their rather bizarre licensing scheme here they have some other unusual statements and > claims that are highly restrictive: > > 1) The license is non-exclusive&non-transferable, so you cannot re-sell it or donate it > as with 99% of computer software (assuming you destroy any copies you have). > > 2) You cannot embed the font in ANY document - so no postscript file to the printer. > > 3) This one is really nuts: "YOU may use the PRODUCT only at the address stated in the > payment information you will complete to process your order". Better not move, Better not > have an office address different from your credit card info, and better chain your laptop > to a desk at the address cited on your credit card. If that's not insulting, I don't know > what is. > > 4) Although they are not alone, here's one that always cracks me up. Even if you buy from > them, agree to all of these conditions, and receive your fonts from them. you still have > to snail-mail or email them a registration if you want any upgrade offer. Haven't these > companies ever heard of customer service? Apparently not. > > 5) And after you go through the exquisitely satisfying experience of buying from them. > they proceed to really top off the sale with this statement (which is sort of like > flipping you off for buying from them): "The entire risk with respect to the quality and > performance of the PRODUCT rests upon YOU." > > Burning bridges, whether with industry or customers, can't be good. It's only a matter of > time before the numbers speak for themselves. > > Apostrophe > ze chemist of happiness > > - - - - - End Quote - - - - - > > For once, it looks like "A Lawyer" is getting her come-uppance. The down side is ... That > these fine fonts are now essentially 'History.' > > > > "MJ" wrote in message > news:qmgvou4ccjfq5bk4oma0joku68i16h8v2n@4ax.com... > > On Mon, 23 Sep 2002 12:15:05 -0700, Figwax wrote: > > > > >What happened to the Lo-Type font in Adobe Font Folio? It was > > >included with Font Folio 8 but it's not in Font Folio 9. In Font > > >Folio 9 there's Bernhard Bold Condensed, which is a reasonable > > >replacement. I'm just wondering if anyone knows why Lo-Type was > > >dropped; I prefer it myself. I've included samples in case anyone's > > >curious as to what I'm talking about (and I have both fonts; no need > > >to post them). > > > > 'Cuz LoType is a Berthold Type font and Adobe and Berthold had a > > lovers quarrel. A ton of Bertie's in FF8, no Bertie faces at all on > > FF9. > > > > Bye-bye Bertie. > > Love. > > J. Warnock > > > > MJ > > Article 445926 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc02.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <3D905297.7070200@goood-mail.de> Subject: Re: old typeface fonts Lines: 30 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: <2w%j9.19620$7i2.8369@nwrddc02.gnilink.net> Date: Tue, 24 Sep 2002 15:27:58 GMT X-Complaints-To: abuse@verizon.net See http://www.free-typewriter-fonts.com/ http://www.czcionki.com/maszynowe.html http://www.vintagetype.com/vintagetypewriter/index.html http://www.vintagetype.com/ and one of the better sites is 'no longer answering' http://oldtype.8m.com/index.html "! andy Lux" wrote in message news:3D905297.7070200@goood-mail.de... > hello > > please post some files or some links withe fonts which are looking like > old typewriter fonts.... > thx > Article 446187 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!152c159d!not-for-mail Reply-To: "Laura" From: "Laura" Newsgroups: alt.binaries.fonts References: <3D90F268.66E71610@cters.morning> | | "Character" wrote in message | news:3D90F268.66E71610@cters.morning... | > A friend of mine saw this thread yesterday and, and in a fit of | rationality. | > just wrote a note to TDC and asked. He got an overnight reply this morning | from | > Clive Burton pointing to | > http://www.walkerart.org/jsindex.html | > as an example of Matthew Carter's Walker font. The text that says "Walker | Art | > Center" is in that font. | > | | Clive Bruton replied on the TDC's behalf? Wonders never cease. | | Since people are asking for more info on Carter's Walker: | | It was made in 1995, and it's 8 fonts. This is also known as the 'snap-on | serifs' set. The base font is a just sans serif caps, figures and | punctuation, along with glyphs containing various positions of 2 different | types of serif, one slab and one triangular. Funky stuff. This base font | alone is quite ingenious when it's placed in a capable designer's hands. The | remaining 7 fonts are: | - The base font slanted for an italic. | - The base font with a line connecting the top of the characterrs (this one | called Walker-Over). With an oblique. | - The base font with a line connecting the bottom of the characters | (Walker-Under). With an obliques | - The base font with two lines connecting both top and bottom of the | characters (Walker-Both). With an oblique. | | The base really deserves the hype, but it needs patience and imagination to | be used properly. The other 7 are just mediocre spins on the main style. | | ' | -- | www.apostrophiclab.com | | There are other examples at the Walker Art Center site. I also found this example, along with some descriptive text that echoes Apostrophe's comments. http://ndm.si.edu/EXHIBITIONS/mixingmessages/essay/typo/t_a.L3.4.html - Character Laura wrote: > > Yes, I'd like to see what it looks like > also. > > You're welcome :) > > "Eagle" wrote in message > news:wjZj9.272$Nj2.17248@newsread2.prod.itd.earthlink.net... > | Hi Laura. > | It's interesting that they would pick a font that none of the major > | resellers are offering or even showing. Apostrophe indicates "Walker" was > | created by Matthew Carter. I have a folder on Matthew Carter and a list of > | his font creations. The few lists that I have do not list a Walker font for > | him. Neither does Luc. This is very strange. I'd like to at least see what > | this "great font" looks like. Thanks for the present font flood. > | Eagle > | "Laura" wrote in message > | news:bRPj9.12667$F83.9650@nwrddc03.gnilink.net... > | > I saw that you got a answer to your > | > question about Walker. > | > > | > Some of the typefaces on the TDC list haven't been > | > digitized yet. > | > > | > Here's a link for Doves, another Walker font. (#45) > | > http://home.swipnet.se/~w-10011/Tobbe/large/doves.html > | > by Torbjörn Olsson > | > http://home.swipnet.se/~w-10011/Tobbe/start.html > | > > | > > | > > | > > | > | "Apostrophe (')" wrote in message news:4klk9.45836$No6.1435613@news1.telusplanet.net... > > "Eagle" wrote in message > news:Nrhk9.2027$Nj2.176424@newsread2.prod.itd.earthlink.net... > > Thanks for the information. At least we now know what the font looks like. > > Though, IMHO I'm not sure it's one of the top 100 fonts. Though, the "snap > > on" concept is innovative. > > Eagle > > > > That list is just the opinion of Paul Shaw, and is certainly influenced by > what little media exposure typefaces get. I think many faces on that list > don't deserve to be nowhere near the "best 100". To wit (IMO): Fette > Fraktur, Chicago, Memphis, Oakland, Avant Garde, Beowulf, OCR-A, Base. > Walker, DigiGrotesk... and ummm Dead History and Remedy?? > > Also note that this list doesn't for some reason include some of what I (and > many people) consider to be among the prettiest and most influential faces > ever made: Palatino, Futura, Galliard, Helvetica, Gill Sans. > Perpetua/Felicity, Electra, Copperplate, Cooper, etc. > > But really, if you take all the 'digi-hyped' faces out of that list, you end > up with mostly pre-WWII classic book faces, and nobody can really argue > about those being among the best 100 types. The way I see it is this: Shaw's > list is stuck between 2 different redefinitions of type; it actually > emphasizes the redefinition that digital technology brought to type design. > spotlights the invasion of industry, and magnifies the elimination of craft. > A similar redefenition of type happened in the early 20th century, shortly > after the invention of Lanston's Monotype (which in turn happened only 6 > years after the invention of Benton's engraving machine in 1887 -- so there > was a major almost-overnight shift in type technology back then, just like > there was with the introduction of digital type). After the invention of the > Monotype, there was confusion as to which faces were the best for > mass-conumption printing. The concensus was for a long time focused on > Bodoni/Didot spins (like Modern, which was the first series ever made on a > Monotype), and Caslon (Old Style, the second Monotype series, and Imprint. > based on Caslon's Great Primer). This went on for about two decades, then > Morris and Johnston, and later the Germans, came in with their own > revolutionary 'ad fontes' attacks on existing visual communication > semi-monopolies. Morris's attacks and questioning brought some craft back > into the trade and somewhat elevated it a bit (it was around that time that > Golden Type and Goodhue's Cheltenham were released), but alas, the > businessmen had already settled in and taken over. The equivalent of Morris > and Johnston in post-Fontographer history I suppose is the arrival of > Rakowski, which started a much more massive 'ad fontes' campaign that is > still happening now. What will happen next? Will a new technology come and > redefine type all over again to repeat the cycle? Will the next redefinition > mean the end of typography as we know it? One thing I can tell for sure is > this: redefinitions confuse people, especially when they see a craft > eroding. > > If Paul Shaw were as much of a 'fontaholic' as some of us here, and he were > to remake his list of best 100, would he be choosing some Font Bureau and > Fontshop fonts? If he doesn't, the best 100 types wouldn't be really the top > 100 fonts, and the list wouldn't be so contemporarily relevant now, would > it? > > What are your best 100? Are they 'fonts' or 'types'? > > What would Brian Boitano do? > > ' > -- > www.apostrophiclab.com > > On Wed, 25 Sep 2002 16:13:57 GMT, "RSD99" wrote: > >(1) The PostScript (Type 1, Type 2, Type 3, and Type 42) font format was designed by some >people that were thoroughly familiar with the graphics world, understood typesetting (all >the way from individual character shapes through the details of the mechanics of page >layout programs) and very knowledgeable about computers. This group of people were >(originally) employed by Xerox Corporation at their PARC group (Palo Alto Research >Center). Later, a separate company (Adobe Corporation) was spun off from PARC by some of >these people, and became quite successful ... simply because they provided a high quality >product (PostScript) that everybody really needed to get their work done (as in get their >graphics printed). > >(2) The TrueType font format was conceived and designed by a bunch of computer programmers >and computer business people (Apple Computer ... and later Microsoft Corporation) that >were tired of paying royalties to Adobe Systems Incorporated for the use of PostScript ... >the page-description language and the font format. They became obsessed with adopting "the >computer way" to the typeface language, and made it very "computer-like" ... instead of >"graphics-like." Therefore they added many things to the TrueType format that only a >mathematician or a computer could understand, and that made the font format less useful in >a graphics sense ... but more "computer friendly." > >Some of the advantages can be understood after reading some of the discussions that are >archived on the Internet: > >http://cg.scs.carleton.ca/~luc/ttvst1.html >http://www.hardcovermedia.com/lab/Pages/Misc/ttvst1.htm >http://www.font.to/downloads/TT_PS_OT.pdf >http://www.truetype-typography.com/articles/ttvst1.htm >http://www.truetype-typography.com/ttandt1.htm > >Since PostScript came first, and offers essentially everything needed to do high-quality >typesetting in a functional package, it enjoys a high level of acceptance by those users >that are graphically-orientated. Since TrueType is being "pushed" by the two dominant >Operating System vendors (representing something like 99% of the OSes sold), it is forced >down the throat of every desktop computer user. > >NOTICE: >The above is my personal opinion ... and does not represent anything else. The phrase >"Your mileage may vary" applies. > ><\Soapbox Mode> >= = = = = From: "Jenny" To View the fonts..etc.. http://www.lanstontype.com/LanstonPriceList.html Ive uploaded what I have to here parts 1 to 3 http://www.sharemation.com/~vervain parts 4 and 5 (last of) http://www.sharemation.com/vervain1 Attached is the txt of what is in the rars.. To View the Fonts..(LetterPerfect) http://www.letterspace.com/LETTERPERFECT_FONTS/index.htm Ive uploaded the ones I have here http://www.sharemation.com/vervain1/ Ive also uploaded to that same space the Christian Schwartz fonts that I ha= ve.. To View the Fonts http://www.devicefonts.co.uk/ To Download the ones Ive uploaded part 1 to 3 http://www.sharemation.com/vervain2 part 4 and the last of http://www.sharemation.com/vervain3 > > In the meanwhile, the B&W images, 1 to 40, from volume 11 are at: > file #1, images 1 to 14 in file 001-040B-a at http://www.sharemation.com/sdentico X-Sender: sdentico@telocity.com > file #2, images 15 to 27 in file 001-040B-b at http://www.sharemation.com/sdentico2 > file #3, images 28 to 40 in file 001-040B-c at http://www.sharemation.com/sdentico3 > Sharemation sure is handy! > From erwind@high-logic.com Sat Oct 5 17:08:40 2002 Return-Path: for ; Sat, 5 Oct 2002 17:08:39 -0400 (EDT) (envelope-from erwind@high-logic.com) for ; Sat, 5 Oct 2002 17:08:39 -0400 (EDT) (envelope-from erwind@high-logic.com) for ; Sat, 5 Oct 2002 17:08:39 -0400 Received: from kweetal.tue.nl (kweetal.tue.nl [131.155.2.7]) for ; Sat, 5 Oct 2002 17:08:39 -0400 (EDT) (envelope-from erwind@high-logic.com) Received: from hermes.tue.nl (hermes.tue.nl [131.155.2.46]) for ; Sat, 5 Oct 2002 23:08:43 +0200 (MDT) Received: from aragorn500 (n52.dial.tue.nl [131.155.209.51]) for ; Sat, 5 Oct 2002 23:08:33 +0200 (CEST) Message-ID: <048401c26cb5$39ccd200$c200a8c0@aragorn500> From: "Erwin Denissen" To: Subject: High-Logic the Font Creator Program Update - http://www.high-logic.com/ charset="iso-8859-1" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Date: Sat, 5 Oct 2002 23:08:33 +0200 (CEST) Content-Transfer-Encoding: 8bit Status: R October 3, 2002 the Font Creator Program v3.1 is officially released! You receive this message because of your previous subscription to our Font Creator Program mailing list. To unsubscribe: send a message to fcp-list@high-logic.com and put unsubscribe in the subject. DOWNLOAD The Font Creator Program is fully functional for 30 days. Download the latest version today at: http://www.high-logic.com/download.html WHAT'S NEW IN THIS RELEASE? The following features are new in this release of The Font Creator Program: - a complete help file. - background image support to help you define a glyph's outline. - some minor improvements. - several minor bug fixes. FORUM We have a brand new method available to you for support and information about the Font Creator Program. Right now the forum is still empty but we hope this forum will become a place where all users of the Font Creator Program can share their knowledge. You can check it out at: http://www.high-logic.com/forum/index.php Of course, you can still send mail to us if you like, but the forum has several advantages: - everybody can post replies to your posts with helpful information and solutions. - other people with similar problems may have already posted their question and gotten a solution. - you can search all posts from one simple form to locate solutions to issues already posted. Regards. Erwin Denissen High-Logic, The Netherlands http://www.high-logic.com/ From everson@evertype.com Sun Oct 6 11:12:24 2002 Return-Path: for ; Sun, 6 Oct 2002 11:12:24 -0400 (EDT) (envelope-from everson@evertype.com) for ; Sun, 6 Oct 2002 11:12:24 -0400 (EDT) (envelope-from everson@evertype.com) for ; Sun, 6 Oct 2002 11:12:16 -0400 Received: from ni-mail1.dna.utvinternet.net (mail.d-n-a.net [194.46.8.11]) for ; Sun, 6 Oct 2002 11:12:15 -0400 (EDT) (envelope-from everson@evertype.com) Received: from [195.218.109.218] (unverified [195.218.109.46]) by ni-mail1.dna.utvinternet.net Sun, 6 Oct 2002 16:12:13 +0100 X-Sender: evr001@mail.dna.ie Message-Id: In-Reply-To: <003601c26baa$18ddda00$7a2287d9@default> References: <003601c26baa$18ddda00$7a2287d9@default> Date: Sun, 6 Oct 2002 16:12:17 +0100 To: =?iso-8859-1?Q?=22Ciar=B7n_=22?= =?iso-8859-1?Q?_?= =?iso-8859-1?Q?Duibh=CCn=22?= From: Michael Everson Subject: Re: New web page on Gaelic fonts for MS-Windows , . "Vincent Morley" , . , , . , . , . , Content-Transfer-Encoding: 8bit Status: R Dear Ciarán. There's a lot of information on that page, and some infelicities I'd like to see cleared up. I'm going to study it for a while and get back to you. I do notice that "the keyboard wars" and the "Tironian et wars" are still going on. Perhaps it is time for a little peace and reconciliation and compromise here? That Unicode is not referred to is a rather conspicuous omission. Strictly speaking, Latin 8 is not the way to go any more. (My own Mac-focused pages are also deficient in promoting Unicode in this area.) Anyway it's a valuable contribution, and I will give it careful attention. -- Michael Everson * * Everson Typography * * http://www.evertype.com 48B Gleann na Carraige; Cill Fhionntain; Baile Átha Cliath 13; Éire Telephone +353 86 807 9169 * * Fax +353 1 832 2189 (by arrangement) Article 449765 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc02.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts Subject: CreativePro Article: ATypeI Rome Lines: 14 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: <0xho9.21724$Oa1.8884@nwrddc02.gnilink.net> Date: Mon, 07 Oct 2002 15:14:04 GMT X-Complaints-To: abuse@verizon.net Today's feature story: dot-font: Type Comes Home to Rome by John D. Berry creativepro.com contributing editor The type world met this year in the cradle of the Roman letter. as ATypI held its annual conference for the first time in Rome. http://www.creativepro.com/story/feature/17850.html?cprose=daily Article 449861 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!news.webusenet.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc01.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <3da14a2f_6@news.teranews.com> Subject: Re: TTF, T1, OTF: What's the Difference? Phinney.pdf [2/2] Phinney.pdf [1/2] Lines: 63 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Tue, 08 Oct 2002 00:28:22 GMT X-Complaints-To: abuse@verizon.net HeHeHeHeHe ... Thomas Phinney is Program Manager, Western Fonts, Adobe Systems, San Jose ... and he also appears to be one of those "College Professors." He writes a lot. This article can be found at several places "on the web," including (but not limited to) http://www.worsleypress.com.au/pubprod/hints.htm http://yandy.com/download/TT_PS_OT.pdf Other stuff can be found at http://www.truetype-typography.com/articles/ttvst1.htm See also http://www.atypi.org/rome2002/phinney.html http://potasky.com/visco/assignments/typotxt/ HeHeHeHeHe ... From gulash@gtn.pl Fri Oct 11 16:52:36 2002 Return-Path: for ; Fri, 11 Oct 2002 16:52:36 -0400 (EDT) (envelope-from gulash@gtn.pl) for ; Fri, 11 Oct 2002 16:52:36 -0400 (EDT) (envelope-from gulash@gtn.pl) for ; Fri, 11 Oct 2002 16:52:36 -0400 Received: from ares.gatenet.pl (ares.gatenet.pl [213.77.84.110]) for ; Fri, 11 Oct 2002 16:52:34 -0400 (EDT) (envelope-from gulash@gtn.pl) Received: from www.ahead-pr.com.pl ([195.205.69.146]:32261 "EHLO Pasiski" ident: "IDENT-NONSENSE" smtp-auth: "gulash") by ares.gatenet.pl Message-ID: <00d401c27168$b62c76e0$3200000a@kosnego.opole.pl> From: "gulash" To: Subject: The Polish font scene Date: Fri, 11 Oct 2002 22:56:41 +0200 charset="iso-8859-2" Content-Transfer-Encoding: 7bit X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R Hi!! It's Gulash here. I've just read at your website (polish font scene) that you suspect me and Barme is the same person. That's not true. I know Barme and we cooperated frequently animating Polish font scene but I'd like to assure you that we are 2 separate entities and we didn't even meet face to face although we live in the same town :))) By the way when mentioning my nickname please write Gulash instead PitDGulash because this is how I sign my fonts only and everybody knows me as Gulash. Thank you. Regards Gulash Article 451339 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news0.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts References: Subject: Re: Some nice TTFs from StarOffice 6 - StarOffice fonts.part01.rar (0/4) Lines: 19 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Message-ID: <5u_p9.9746$wU3.579816@news0.telusplanet.net> Date: Sat, 12 Oct 2002 19:12:01 GMT "Robot Butler" wrote in message news:u1Ip9.12$x66.18996@news.bellsouth.net... > > These MT fonts are bundled with Sun StarOffice 6. > Hmmm now this is interesting. Albany is Arial, Courier is Cumberland, and Times Roman is Thorndale. What's Agfa Monotype doing there? Presumably this is to avoid name trademark infringements, but still, they renamed the fonts after locations, which is not trademarkable. ' -- www.apostrophiclab.com Article 451458 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!ps01-chi1!news.webusenet.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts Subject: Re: PING: All Flooders and Foundry Sorters - foundry-fonts.txt (0/4) Lines: 59 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Sun, 13 Oct 2002 03:31:29 GMT X-Complaints-To: abuse@verizon.net BQ = Berthold Quality ... Berthold fonts sold only by Berthold [now sold only by Berthold. Chicago] BE = Berthold Exclusiv ... Berthold font that was originally sold by Adobe, *may* have re-adjusted metrics to US preferences [now sold only by Berthold, Chicago] AT prefix = AFGA, usually one of the old ATF typefaces, now usually part of the "Creative Alliance" group ATT suffix = AFGA, usually one of the old ATF typefaces, now usually part of the "Creative Alliance" group CG prefix = AFGA, usually one of the old Compugraphic typefaces, now usually part of the "Creative Alliance" group Sh prefix = Mannsmann Scangraphics and very useful information can be found at http://www.math.utah.edu/~beebe/fonts/fonts-to-vendors.html http://www.nwalsh.com/comp.fonts/FAQ/cf_33.htm http://desktoppub.about.com/library/type/bl_fontlista-z.htm Other useful information: Font foundry list http://directory.serifmagazine.com/Foundries/ SSi's list(s) http://www.ssifonts.com/Xref.htm = = = = = Article 451676 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!news.stealth.net!news.stealth.net!news-east.rr.com!news-west.rr.com!cyclone.kc.rr.com!news.kc.rr.com!cyclone3.kc.rr.com!news3.kc.rr.com!twister.socal.rr.com.POSTED!not-for-mail Reply-To: "moon" From: "moon" Newsgroups: alt.binaries.fonts Subject: REQ:Screen Star Lines: 6 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Mon, 14 Oct 2002 02:35:09 GMT X-Complaints-To: abuse@rr.com Please... http://www.eboy.com/pages/works/fonts/fonts_screenstar.html From sentto-8106587-412-1034768606-luc=cs.mcgill.ca@returns.groups.yahoo.com Wed Oct 16 07:43:33 2002 Return-Path: for ; Wed, 16 Oct 2002 07:43:33 -0400 (EDT) (envelope-from sentto-8106587-412-1034768606-luc=cs.mcgill.ca@returns.groups.yahoo.com) for ; Wed, 16 Oct 2002 07:43:33 -0400 (EDT) (envelope-from sentto-8106587-412-1034768606-luc=cs.mcgill.ca@returns.groups.yahoo.com) for ; Wed, 16 Oct 2002 07:43:32 -0400 Received: from n39.grp.scd.yahoo.com (n39.grp.scd.yahoo.com [66.218.66.107]) for ; Wed, 16 Oct 2002 07:43:32 -0400 (EDT) (envelope-from sentto-8106587-412-1034768606-luc=cs.mcgill.ca@returns.groups.yahoo.com) X-eGroups-Return: sentto-8106587-412-1034768606-luc=cs.mcgill.ca@returns.groups.yahoo.com Received: from [66.218.67.199] by n39.grp.scd.yahoo.com with NNFMP; 16 Oct 2002 11:43:26 -0000 X-Sender: vervain@bigpond.com X-Apparently-To: SPSF2@yahoogroups.com Received: (EGP: mail-8_2_2_1); 16 Oct 2002 11:43:25 -0000 Received: (qmail 89349 invoked from network); 16 Oct 2002 11:43:25 -0000 Received: from unknown (66.218.66.217) by m6.grp.scd.yahoo.com with QMQP; 16 Oct 2002 11:43:25 -0000 Received: from unknown (HELO mailhub.datafast.net.au) (203.123.67.14) by mta2.grp.scd.yahoo.com with SMTP; 16 Oct 2002 11:43:24 -0000 Received: (qmail 81713 invoked from network); 16 Oct 2002 11:43:22 -0000 Received: from dialup-1-185.glng.dft.com.au (HELO jenny) (203.123.77.185) by mailhub.datafast.net.au with SMTP; 16 Oct 2002 11:43:22 -0000 Message-ID: <015901c27509$35e68350$b94d7bcb@jenny> To: X-Priority: 3 X-MSMail-Priority: Normal From: "Jenny" X-Yahoo-Profile: Patchouli_Sensual Mailing-List: list SPSF2@yahoogroups.com; contact SPSF2-owner@yahoogroups.com Delivered-To: mailing list SPSF2@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Wed, 16 Oct 2002 21:43:01 +1000 Subject: Re: [OPSF2] Sheila/Scriptorium ttf Fonts/Mary Reply-To: SPSF2@yahoogroups.com boundary="----=_NextPart_000_0154_01C2755D.000103B0" Status: R ------=_NextPart_000_0154_01C2755D.000103B0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Ok I just uploaded the ttf ones i have here http://www.sharemation.com/vervain5/ Jenny ----- Original Message ----- From: Mary To: SPSF2@yahoogroups.com Sent: Wednesday, October 16, 2002 9:17 PM Subject: Re: [OPSF2] Sheila/Scriptorium ttf Fonts OOOOhhh thanks Jenny, I too would be interested and thanks so much. Mary ------=_NextPart_000_0154_01C2755D.000103B0 Content-Transfer-Encoding: 7bit
Ok I just uploaded the ttf ones i have here

http://www.sharemation.com/vervain5/

Jenny

----- Original Message -----

"From:" Mary

"To:" SPSF2@yahoogroups.com

"Sent:" Wednesday, October 16, 2002 9:17 PM

"Subject:" Re: [OPSF2] Sheila/Scriptorium ttf Fonts

OOOOhhh thanks Jenny, I too would be interested and thanks so much.

Mary

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------=_NextPart_000_0154_01C2755D.000103B0-- for ; Wed, 16 Oct 2002 14:24:34 -0400 (EDT) for ; Wed, 16 Oct 2002 14:24:34 -0400 (EDT) for ; Wed, 16 Oct 2002 14:24:34 -0400 Received: from n40.grp.scd.yahoo.com (n40.grp.scd.yahoo.com [66.218.66.108]) for ; Wed, 16 Oct 2002 14:24:34 -0400 (EDT) Received: from [66.218.67.193] by n40.grp.scd.yahoo.com with NNFMP; 16 Oct 2002 18:03:50 -0000 X-Sender: sdentico2@ukonline.co.uk X-Apparently-To: SPSF2@yahoogroups.com Received: (EGP: mail-8_2_2_1); 16 Oct 2002 18:03:50 -0000 Received: (qmail 38852 invoked from network); 16 Oct 2002 18:03:49 -0000 Received: from unknown (66.218.66.217) by m11.grp.scd.yahoo.com with QMQP; 16 Oct 2002 18:03:49 -0000 Received: from unknown (HELO c003.snv.cp.net) (209.228.32.214) by mta2.grp.scd.yahoo.com with SMTP; 16 Oct 2002 18:03:49 -0000 Received: (cpmta 15946 invoked from network); 16 Oct 2002 11:03:48 -0700 Received: from 64.34.50.81 (HELO uw3tl) by smtp.telocity.com (209.228.32.214) with SMTP; 16 Oct 2002 11:03:48 -0700 X-Sent: 16 Oct 2002 18:03:48 GMT Message-ID: <017a01c2753f$5960c9e0$6401a8c0@uw3tl> To: References: <00fc01c27262$974ad320$c54d7bcb@jenny> <00be01c27337$a4b1b3a0$6401a8c0@uw3tl> <010001c2733c$79395e30$064d7bcb@jenny> <015701c2738c$500f7080$6401a8c0@uw3tl> <01e701c2739a$6e7c6880$6401a8c0@uw3tl> X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 From: "Sheila" X-Yahoo-Profile: sdentico Mailing-List: list SPSF2@yahoogroups.com; contact SPSF2-owner@yahoogroups.com Delivered-To: mailing list SPSF2@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Wed, 16 Oct 2002 14:04:50 -0400 Subject: Re: [OPSF2] Image Club Fonts/Sheila Reply-To: SPSF2@yahoogroups.com boundary="----=_NextPart_000_0158_01C2751C.FE6410A0" Status: R ------=_NextPart_000_0158_01C2751C.FE6410A0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Yahoo! Briefcase - EmailSorry for the delay, but my computer was kind of ti= ed up yesterday and I could not get to the upload. I did just do so. So, = again ... The ICG ttfs that I re-did as 2 separate zips are up at http://www.sharemation.com/sdentico http://www.sharemation.com/sdentico2 Sheila ----- Original Message ----- From: Sheila To: SPSF2@yahoogroups.com Sent: Monday, October 14, 2002 11:49 AM Subject: Re: [OPSF2] Image Club Fonts/Sheila Well, I just redid the zips into 2 separate files and deleted what was up= at Sharemation. When I tried to upload the new zips, I get the message th= at bandwidth is exceeded. :-( I guess I'll have to try again later tonite. Sorry, guys, you have to wa= it a bit longer unless you want to go and download WinZip 8.1 :-) http://= www.winzip.com/ddchomea.htm Sheila --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.394 / Virus Database: 224 - Release Date: 10/03/2002 ------=_NextPart_000_0158_01C2751C.FE6410A0 Content-Transfer-Encoding: 7bit Yahoo! Briefcase - Email
Sorry for the delay, but my computer was kind of tied up yesterday and I could not get to the upload. I did just do so. So, again ...

The ICG ttfs that I re-did as 2 separate zips are up at

http://www.sharemation.com/sdentico

http://www.sharemation.com/sdentico2

Sheila

----- Original Message -----

"From:" Sheila

"To:" SPSF2@yahoogroups.com

"Sent:" Monday, October 14, 2002 11:49 AM

"Subject:" Re: [OPSF2] Image Club Fonts/Sheila

Well, I just redid the zips into 2 separate files and deleted what was up at Sharemation. When I tried to upload the new zips, I get the message that bandwidth is exceeded. :-(

I guess I'll have to try again later tonite. Sorry, guys, you have to wait a bit longer unless you want to go and download WinZip 8.1 :-) http://www.winzip.com/ddchomea.htm

Sheila

---
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http://groups.yahoo.com/group/SPSF2 SPSF2@yahoogroups.com This List is for Requesting and General Questions also just plain chitchat:) Please so we know whom is on the list if you need to go no mail can you please let myself know..vervain@datafast.net.au For Posting/sending in files.Please send them through All members of this list have access to the archives and are most welcome to put yourselves on no mail for that list If you are a member of this list and not on the other can you please let me know also and I will send you out an invite. To unsubscribe from this group, Go to your settings and unsubscribe. Please Do NOT send an email asking us to unsub you. You Just go to edit my membership in the top right corner and then leave groups/unsubscribe :). List Owner Jenny Your Moderators David and Kiana

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------=_NextPart_000_0158_01C2751C.FE6410A0-- Article 451914 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!chi1.webusenet.com!news.webusenet.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc01.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <5afmquogk2ttbc7vtlc3r0u60o9mo2jors@4ax.com> Subject: Re: Req T1 and TTF alternatives to the font actually attached this time (El Garret) - ELGARRET.TTF (1/1) Lines: 44 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Mon, 14 Oct 2002 23:34:35 GMT X-Complaints-To: abuse@verizon.net HeHeHeHeHe ... Pardon me for laughing, but I went through a very large *bunch* of time with this EXACT problem back in January 2001. Even EXACTLY the same font (at the outline level). You have a very *poor* quality rip-off/clone typeface ... That dates back to the late 1980s or early 1990s. The original clone face was ripped off by Gary Garrett, and is quite literally terrible! Internally, nothing lines up, the "points" are all skewed (probably by AllType and the other programs he used to pirate the outlines) and you could literally spend days cleaning up the outlines. It is also known as El Gar El Garrett Enigma and probably a couple of other names as it moved down the "successive clone-of-a-clone ladder." * * * * * Here's the important point: The original typeface was Gunther Gerhard Lange's El Greco (1968), a Berthold Exclusiv face. It (the original) is probably already in your collection, as it is (IIRC) part of the earlier "Adobe Font Folio" offerings as "El Greco, Italic." The file names to look for are eq______.pfb/pfm. * * * * * Use the original ... and be happy! HeHeHeHeHe ... "Punk Panther" wrote in message news:5afmquogk2ttbc7vtlc3r0u60o9mo2jors@4ax.com... Article 451983 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!nf3.bellglobal.com!nf1.bellglobal.com!nf2.bellglobal.com!news20.bellglobal.com.POSTED!not-for-mail From: "percolator" Newsgroups: alt.binaries.fonts Subject: REQ: Scriptstar by eBoy Lines: 9 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2720.3000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Date: Mon, 14 Oct 2002 23:26:18 -0400 X-Complaints-To: abuse@sympatico.ca Organization: Bell Sympatico look at these beauties: http://www.eboy.com/pages/works/fonts/fonts_scriptstar.html pretty pleeeeaaase Perc Article 452137 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!chi1.webusenet.com!sjc70.webusenet.com!news.webusenet.com!feed.news.qwest.net!news.uswest.net.POSTED!not-for-mail User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Subject: Re: i need META! From: Mike Yanega Newsgroups: alt.binaries.fonts,comp.fonts Message-ID: References: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lines: 46 Date: Tue, 15 Oct 2002 13:27:32 -0700 Apostrophe (') wrote on 10/15/02 12:08 AM: > "Armadillo" wrote in message > news:aogl26$40l$1@phys-news1.kolumbus.fi... >> >> Some of us do not put fonts available for download. Some of us do not >> encourage others to do it. A few of us occationally do remind that fonts >> files are copyrighted software -as any other. >> > > Some of us actually know what they're talking about: > http://www.infoworld.com/articles/op/xml/02/10/07/021007opcurve.xml > > ' > -- > www.apostrophiclab.com I'm an admirer of you and your friends who distribute free fonts through the 'Lab, but I don't understand why you think that someone who chooses to sell his/her font designs doesn't have the right to have their work protected. I also don't understand why you seem to be saying that anyone who doesn't share your view doesn't "actually know what they are talking about". I read the piece you linked and it defends "involuntary free distribution" (my phrase) of someone else's work mainly from the point of view that it's not fair to criminalize youth, presumably because they can't afford [fonts. music, books, or anything else easily copied]. OK, if I grant you that it's not fair in the case of someone who is presumably not using those things to sell them or to market other things, when does the practice cross the ethical boundary? (And would a student using fonts/music/books for his personal use ever be prosecuted?) The article also takes the view that copyrights ought to have short lifetimes, presumably because most of the value of a copyright is short-lived, but Mickey Mouse sure isn't a good example, and I don't see it in the case of fonts, especially while the designer/foundry are still alive/in business. A few groups like TypeRight and the Internet Type Designers Association would not approve of the rationale in the article, either. But I guess that means they don't actually know what they are talking about. - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Article 452166 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!chi1.webusenet.com!news.webusenet.com!cyclone1.gnilink.net!wn11feed!worldnet.att.net!204.127.198.204!attbi_feed4!attbi_feed3!attbi.com!sccrnsc02.POSTED!not-for-mail From: Laryle Newsgroups: alt.binaries.fonts Subject: Re: 1st Ed AD&D Fonts Message-ID: References: <3dac58a8.8402697@news.cfw.com> X-Newsreader: Forte Free Agent 1.92/32.572 Content-Transfer-Encoding: 7bit Lines: 19 X-Complaints-To: abuse@mchsi.com Organization: MediaCom High Speed Internet Date: Tue, 15 Oct 2002 21:51:15 GMT On Tue, 15 Oct 2002 18:07:26 GMT, derezzed@yahoo.com wrote: >Hello. > >I am looking for fonts used in the early (1st Edition) days of AD&D. >Most notably the fonts for the hardcover book titles and interior >fonts. (Sorry for being vague, I don't even know what the fonts are >called.) Is there anywhere I can download these? (Free or purchase) >Any help is appreciated and I thank all in advance. I myself was looking for AD&D fonts at one time but never exactly found what i was looking for. Anyway, you can check out this link he has example pics up and recommended fonts for each however he doesn't have any actual fonts on his site. the link: Article 452229 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp2.aus1.giganews.com!nntp.giganews.com!newsfeed1.earthlink.net!newsfeed.earthlink.net!stamper.news.pas.earthlink.net!newsread1.prod.itd.earthlink.net.POSTED!not-for-mail From: Andrew H. Carter Newsgroups: alt.binaries.fonts Subject: Re: What am I doing wrong? Message-ID: References: X-Newsreader: Forte Free Agent 1.92/32.572 Content-Transfer-Encoding: 7bit Lines: 52 Date: Wed, 16 Oct 2002 03:08:54 GMT X-Complaints-To: abuse@earthlink.net Organization: EarthLink Inc. -- http://www.EarthLink.net On Tue, 15 Oct 2002 06:50:29 GMT, "Anna McCullough" wrote: >Help? I tried to get the Elsner&Flake and RedRooster collection from >the abmf group, and I tried to follow the directions given a week or >so back on how to convert mac fonts to windows - concatenating the >files, giving the file an .nws extension, and letting Stuffit do its >thing - but Stuffit keeps giving me the following message, the first >once I've dropped the .nws file into the Expander window, and the >second one a few seconds later: >"Select the filename for the Stuffit segment number: 1" and no matter >which file I tell it, it gives me this: "The selected Stuffit segment >number is not the required number" and it won't open the file. > Not having a clue except for the error message you have posted, would you perchance have to name the file [1/25.ext] or whatever format. Also to be considered, do you have all the parts? Is there a "0" for the first part like [0/25.ext], or in a case like WinRar does the first extension start with whatever and the following numbered? What font/style were you wanting? Perchance I might have it, or know where it can be had. Have you checked out?: http://www.fontgrube.gmxhome.de/en/fonts.htm http://fonts.lordkyl.net/genfile/cat_chst.html http://www.iconian.com/main.html http://www.mimes.com/flash/fonts/fonts/ http://www.igetitfree.com/Fonts/ http://invisiblegenie.com/fonts/a-g/ http://freethemes.vol.at/fonts/zips/ (font zips with a prefix of "all" are the whole shebang for the directory) http://www.machiningconcepts.com/machcon/Public/Fonts/ Sincerely. Andrew H. Carter >The RedRooster collection was nine files, eight of which were uploaded >in eight parts each and the ninth was two files. The Elsner& Flake >collection is listed as one file uploaded in seventeen parts. Either >way, I'm getting the same message, so obviously I've screwed up a step >but I don't know how to fix it... Thanks for any help in pointing out >where I've gone stupid... > >whimper! >Anna McCullough > Newsgroups: alt.binaries.fonts,comp.fonts Message-ID: References: In-Reply-To: Posted-And-Mailed: yes Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lines: 142 Date: Wed, 16 Oct 2002 07:29:17 -0700 Apostrophe. I appreciate your compliments and your detailed response to my post, and I am not trying to offend you either, but I would like to comment about some of your statements about whether fonts should be protected (by copyrights. or any other means). Certainly I don't have the design expertise, or experience in that community, that you have, but I have never been short of opinions, and this is a good place to share them, I think. Take them for what they are worth, from someone who is just a font aficionado. Apostrophe (') wrote on 10/15/02 8:04 PM: >...Here goes: > > - I don't believe fonts are copyrightable as software, because they are not > software. At least the outlines that define the shapes of the letters are > not software, but fixed mathematical parameters. Hinting and extra > programming may constitute software, but the letters themselves are passive > data that need outside software to be viewed, printed or manipulated in any > way. With this argument software isn't software either, since it's just a bunch of ones and zeroes in a computer -- nothing unique about ones and zeroes. right? > - I don't believe fonts are copyrightable as artistic works, because they > are not. Fonts depict the world's alphabets, which are public domain. I'm > sympathetic to the argument that your drawing of an A is an original A, just > like your drawing of a horse is an original drawing of a horse, however I > don't think humanity can or should take on the responsibility of deciding > what is original and what isn't as far as alphabet shapes are concerned. > simply because with today's technology the line cannot be drawn anymore. Why is the means of font creation key to this argument? If I was carving letters in woodblocks, wouldn't the issue still be whether they were a stylistically new treatment of the alphabet? The letters are public domain. but the *typeface* should not be, because it is a creative work, filled with countless design decisions made by the designer. The fact that some of us can identify typefaces using a few letters is good evidence to me of how different those designs are (even Sans Serifs, as basic, simple and boring as they may seem, and as similar as individual letters may look, look quite different from one another when set in a headline or paragraph). >To > support this belief I would point at every revival ever made of a Garamond. > Jannon, Caslon, Bodoni, Didot and that long line of classics. From the > Rakowski scans to the Eastern European types that Treacy digitized and > renamed, a solid line cannot be drawn in distinction of what is > copyrightable and to whom it is coyrightable. I would say that no two revivals are alike, and I'll bet Claude or Lars would have no trouble identifying which foundry's Garamond, Caslon or Bodoni they were looking at. Thank goodness that typefaces from other eras, media and regions that were never digitized are now being given a new life on the computer. I think it's fair to allow the original digitizer to name and sell a revival, but perhaps not fair to give him the exclusive right to use that source. Isn't this why there are so many Garamonds, etc? You can't copyright Trajan's Column, but why not a digitization of the lettering from it? (Goudy and Twombly both did it -- OK Goudy didn't digitize his himself -- and they were not identical.) >I would also point at the > possibility -- no, make that common practice -- of an existing font's > outlines being modified to come up with another font (a 300 text font family > called FF Fago was supposedly drawn, digitized, spaced and kerned in less > than 4 months -- if I'm supposed to believe that, bring on those > extraterrestrials and let's get these bikes flying). I'm afraid that our > machines have already gone so far ahead of us that, in terms of possibility > and culpability, they do command prior consideration over what's humanly > possible -- meaning: the designer's word simply cannot, in a world run by > technology and "science", be taken for granted anymore. If the outlines being modified into a new font are from outlines your foundry has already produced, what is wrong with that? If they use someone else's outlines, that's unethical, even if it is hard to prove. > > - I don't believe fonts are copyrightable as entirely original works of > authorship. The E is defined by 12 points in all of Helvetica, Arial. > Akzidenz, Meta, Frutiger, Univers, Futura, and a whole load of other fonts. > Similarly the F, the H, the I, the L, the T, the brackets, and a lot more. > share that common definition across fonts. You picked the poorest example of typestyles that are easily differentiated in order to make your point. However, even with Sans Serifs the differences are much more apparent when taken all together as a complete typeface. The shapes of the curves and the angles and placement of adjoining strokes make all the difference. Even the strokes themselves add variety. Ask Lars how hard it is to tell Sans Serif fonts apart. If you take another example, such as Script typefaces, look at how obvious those differences usually are. Does your "Scriptina" look like any other font? (Maybe "Zapfino" is a bit similar, but a lot of calligraphy looks similar.) > > - I don't believe fonts are copyrightable as a pure moral call on font > designers' behalf because the practice of the majority of designers. > foundries and distributors over the past century leaves little in terms of > moral redemption. Garamond died broke 500 years ago. Miedinger died broke 25 > years ago. It would be nice to see that some progress has been made, but no > such luck. The rallying call of copyright has always served the businessman. > not the designer. If it were morally feasible for a designer's work to be > protected without any ulterior motives or sideline deals, the higher > percentage of trust should be in the designer's hand, not the businessman's. > Last I heard was that if a designer wanted to question the possibility of > corruption in his or her distributor's books, he/she had to spend $5000 on a > lawyer right off the bat, then give the businessman ample time to fix the > books before the auditing starts. This is not an argument against copyrighting as much as it's an indictment of dishonest, unethical business practices. If I have my own font design business why should that prevent me from copyrighting my work? > > - I don't believe fonts are copyrightable as a device to ensure initiative > and future font production. Aaron Burns claimed that no new fonts will be > designed because of all the plagiarism that photo-lettering technology > brought with it. Fifty years and more than a hundred thousand fonts later. > this argument should be put to rest. I guess Aaron was wrong, but he was wrong because he didn't anticipate future technology, or the appetite for advertising to keep looking for a 'fresh look' for their image and messages. My point has been that just because copying makes piracy so easy is no reason to say it's OK. If you were able to imagine a way of *knowing* when a work was original -- say some new technology lets a design be 'fingerprinted', or self-destructs an unauthorized copy -- would you still think it was a bad idea to protect the creative rights of the designers? It's wonderful that you and your friends design type for the fun of doing it, and are willing to share that with the rest of us. If you do that as a form of advertising to help get work for which you are paid, why would it be so wrong to get paid for your font designs too, and be protected from someone else selling them? (Which I think you have been recently, if I am not mistaken.) If the laws are ineffective, or bad, they should be fixed. but I don't think they should be abandoned. Probably that is a naive view. but I don't think 'moral high ground' is worthless just because it is hard to enforce. That's my point of view. You keep up the good work too -- I'm a fan of yours. - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Article 452579 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!News.GigaNews.Com.POSTED!not-for-mail From: "HypoTypo" Newsgroups: alt.binaries.fonts Subject: Re: Opentype and FontLab 4.5 problems Date: Thu, 17 Oct 2002 06:18:15 -0500 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: Lines: 71 X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 Here ya go Graham... Just tried it,... still works... Article 452604 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed2.easynews.com!newsfeed1.easynews.com!easynews.com!easynews!feed.news.qwest.net!news.uswest.net.POSTED!not-for-mail User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Subject: Re: i need META! From: Mike Yanega Newsgroups: alt.binaries.fonts,comp.fonts Message-ID: References: In-Reply-To: Posted-And-Mailed: yes Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lines: 52 Date: Thu, 17 Oct 2002 07:12:19 -0700 Apostrophe. Without repeating your post and commenting on specific points, I will just make these observations about what I hear you saying over our past 4 posts. There are two main issues of your discussions that seem to be the foundation of your position, as I understand it: 1) technology has allowed anyone to be a type designer and has thus degraded the art form into (at times) a computerized process that requires little or no skill, just using font programs and scanners; 2) the whole copyright idea for fonts is too hard to implement fairly, lasts too long, and is too corrupted by Merchandizing, so it should be abandoned, even if it lets "some innocent type designers get lost in the wash". I guess my biggest surprise about your comments has been their negative spin about the activity I assumed you spent most of your time at. Anger. contempt, disillusionment, resentment and a general bitterness about the field seem to be embedded in almost every line, but yet presumably you love what you are doing. How can you not feel that there is Art (capital A) in font design? Why do you do it, if it isn't a creative act for you? Because computers let you? I find that hard to believe. Why do all of us hang out at these forums and talk about and collect these things if they are so worthless? Why should we think that Garamond, Jannon. Morris, Benton, Goudy, Mucha and the rest have done all that's worth doing with the alphabet, when we can see new and interesting typefaces coming out all the time? I think the area where we disagree the strongest appears to be whether computer-assisted font design is Art at all, and this is what surprises me most, because I thought it would be the one thing we would surely agree about. If you think of other visual Art forms, like painting, sculpture. architecture, isn't it true that there is something there for everyone? We may not all be moved or impressed by the same works, but isn't each of us affected by some of them? You could say the same for music, drama and literature. What excludes fonts from consideration as Art? Their usefulness and common-ness? Just because anyone can make letters doesn't de-value that Art form any more than the fact that all of us can draw, or sing. Some just do it much better than others. Some people collect art or recordings without any discrimination, just to have a big collection. So it can be with fonts. Which ones are still being sought after fifty years from now will tell us which ones were Art. That's my last offering for this thread. I have enjoyed the exchange. You may now have the Last Word, if you want it. - Mike Yanega Bowfin Printworks http://www.bowfinprintworks.com Article 452793 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc04.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: Subject: Re: Please help find dictionary phonetic font: Dictionary TNR (TTF) attached Lines: 7 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Fri, 18 Oct 2002 03:00:09 GMT X-Complaints-To: abuse@verizon.net Another option would be http://www.fontmenu.com/site/_Phonetic_Dictionnary.html Article 452917 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!news.giganews.com.POSTED!not-for-mail From: "HypoTypo" Newsgroups: alt.binaries.fonts References: Subject: Re: 'Naughty' fonts posted a few months ago Date: Fri, 18 Oct 2002 11:00:58 -0500 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2600.0000 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Message-ID: <1vCcneS9SdLurS2gXTWcpA@giganews.com> Lines: 13 X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 I can't find the others,... but there's a few here... Hypo. wrote in message news:bd80ru0t5mul42ciaqsfnu57v2v1p0qccr@4ax.com... > Some time ago a bunch of 'naughty' fonts were posted. Can someone > repost them? > THANKS!!! > > Dennis Article 129416 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!chi1.webusenet.com!news.webusenet.com!cyclone1.gnilink.net!wn11feed!worldnet.att.net!207.115.63.142!prodigy.com!newsfeed.telusplanet.net!news2.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: comp.fonts Subject: Re: drawing software question for hand-drawn fonts Lines: 47 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Message-ID: Date: Thu, 17 Oct 2002 18:30:12 GMT "Tim" wrote in message > I want to experiment with some hand-drawn fonts, and would like to know > whether there's a drawing program/drawing tablet combination that can do > the following: > > 1. Allows me to select a pen nib of desired width > 2. I draw a letter-shape onto the tablet > 3. Depending upon how I hold the pen, the line becomes thinner or thicker > on the palette. > 4. When I say OK, the drawing program asks me how tall the letter > should be and how wide, and then automatically converts the lettershape > to a vector graphic (with inner and outer contours e.g on a letter with a > lobe, like "b"). > 5. The software then lets me manipulate the contours with bezier handles. > 6. Finally, the software can export the vector in a format that can be > imported into Fontlab and/or it lets me cut-and-paste it directly into > Fontlab. > I don't understand why you would want to go through all that then import an EPS, while you can do everything you want to do in Fontlab. Here's a comparison between your items and what you can do in Fontlab: 1. Fontlab's drawing tools give you two different brushes, one of which can be used a pen nib, and the desired width can be chosen from one of the preset defaults or typed in for precision. 2. You draw a letter shape right in a Fontlab cell. 3. Fontlab's flat brush allows you to do that with a pen as well as with a mouse. Just like regular calligraphic drawing. 4. Fontlab gives you grids and guides galore. Before you draw the letter. make sure you have your vertical guides visible, then draw within those guides. Why would you want to wait for a program to tell you high the letter should be AFTER you finish drawing it? Even if your drawing is a bit off the guides, you can easily ctrl+9 and rescale to fit within your font's parameters. 5. Bezier handles galore. Make sure you have your nodes in colour mode for easier distinction between straight nodes and curve nodes. There you have it. ' -- www.apostrophiclab.com From chkmtn@netherworld.com Sat Oct 19 18:48:58 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 19 Oct 2002 18:48:58 -0400 (EDT) (envelope-from chkmtn@netherworld.com) for ; Sat, 19 Oct 2002 18:48:58 -0400 (EDT) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 19 Oct 2002 18:48:58 -0400 Received: from indiego.ntw.net (isis.ntw.net [199.165.233.10]) for ; Sat, 19 Oct 2002 18:48:57 -0400 (EDT) Received: from [10.0.0.2] (vc4-1-0-52.dsl.ntw.net [207.174.154.76] (may be forged)) for ; Sat, 19 Oct 2002 16:48:03 -0600 User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Date: Fri, 18 Oct 2002 16:48:44 -0600 Subject: Re: Professional use of fonts From: Chuck Mountain To: Luc Devroye Message-ID: In-Reply-To: <200210181813.g9IIDxp63872@lambic.CS.McGill.CA> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Status: R Dear Mr. Devroye: Thank you for your email. I really wrestle with this because I see how much work have to put in design work in order to get the best result. I would not like someone using my work as their own, especially if I was never got paid. Chuck > From: Luc Devroye > Date: Fri, 18 Oct 2002 14:13:59 -0400 (EDT) > To: chkmtn@ntw.net > Subject: Re: Professional use of fonts > > You are right. It is not because you can download > fonts for free that you can start using them. > My own free fonts are 100% free, no worries. But > I guess your question was not about my fonts but rather > a general question. > My site is like that of a journalist. I report all links. > without discrimination. Some want free fonts, and I will > help them. Some want advise on paying for fonts, and I will > help them too. Over the years, I have converged > to an opinion on the matter of commercial fonts. > The font world is in some sort of mess. > For example, Bitstream itself started off by > creating a rip-off collection of professional fonts > (copying, renaming and selling fonts made by others). > They got market share, cleaned up their image, and are > now "accepted". But I would not lose any sleep over > borrowing one of their fonts for my own work. > Other foundries had similar starter collections. > Some of these are now bankrupt, and I guess you can > use the fonts of those companies in any way you like. > Who would you pay money to, anyway? > The SSi collection is a copy of the major font house > collections. The quqlity is not bad, at about a cent > to two cents per font, completely legal. > The list is long, "ethics" and "the law" often clash. > I like to side with ethics usually, and ask myself > how much original work was involved in a particular > font. When I hear a type designer like DeFaccio tell > us that jhe worked for 5 years on his "Rialto" family. > yes, then it would be grave to steal that font family > for a professional job. But a foundry whose own ethics > is questionable, hmmmmm. > > Luc From letterheadfonts@lsh136.siteprotect.com Sun Oct 20 08:41:47 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sun, 20 Oct 2002 08:41:46 -0400 (EDT) (envelope-from letterheadfonts@lsh136.siteprotect.com) for ; Sun, 20 Oct 2002 08:41:46 -0400 (EDT) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sun, 20 Oct 2002 08:41:46 -0400 Received: from lsh136.siteprotect.com (lsh136.siteprotect.com [66.113.130.223]) for ; Sun, 20 Oct 2002 07:50:41 -0400 (EDT) Received: (from letterheadfonts@localhost) Sun, 20 Oct 2002 06:50:41 -0500 Date: Sun, 20 Oct 2002 17:59:48 +0627 (GMT) To: From: "Letterhead Fonts" Subject: New fonts&more... Content-Transfer-Encoding: 7bit Status: R

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The participants in the course will get minimal documentation a notes, but I'll try to make that stuff available in PDF format at the lab or somewhere. I'll also tape the course and probably transcribe it later with appropriate screenshots. Shouldn't be a lot of work. By early December, we should have a decent electronic document that covers most of the course. No promises, but I'll try to make that deadline. Once it's done, it'll be available somewhere online free of charge. > (Right now I'd like to know how to take some fonts like -- oh, let's say > T26's Mercury or Index --- that have alternates and ligatures, and how to > convert them into OpenType so that programs like InDesign can take advantage > of those features.) This stuff is pretty easy to do, but there really is no "quick information" fix to get about it. You have to read the OT section of the Fontlab manual. as well as familiarize yourself with at least some of the OT specifications. namely the layout tag registry (http://www.microsoft.com/typography/otspec/ttoreg.htm). The 'calt' feature tag is what you would need to use for alternates of the kind you mentioned (the ones in Mercury and Index), and 'dlig' is the feature tag for the optional or stylistic ligatures in those fonts. Tell you what... try this as practice: 1- Open Fontlab. 2- Open Mercury Regular and Mercury Alternate. 3- Select A-Z and a-z in Mercury Alternate, and CTRL+C to copy. 4- Go to Mercury Regular, right-click on any cell and choose 'Append'. Now the glyphs you copied from Mercury Alternate are part of Mercury Regular. except named A.001, B.001, C.001 etc. 5- Close Mercury Alternate, since we won't need for this quick exercise anymore. 6- From the top menu, choose Window > Collections/Classes Panel. A window with two panes split vertically and a listbox shows up. 7- Select A to Z and a to z in the font, and drag them to the top pane of the classes panel. Things parse and organize in the classes panel now. The top pane shows you the names and some specs of the glyphs you dropped, and the bottom shows you their sequence, entitled class1. In the tool bar of the classes window, click the black checkmark to register class1 within the font. 8 - In the toolbar of the classes window, click on the Add Class button (the sheet with the right doggy ear). The classes window clears the panes and prepares them for class2. 9- Select A.001 to z.001 in the font, and drag them on the classes panel. Same thing happens as when you built class1. Click the black checkmark in the toolbar to register class2. In case you are wondering why I am making you do all this: now you have 2 classes, one substituble with the other. Eventually, at the click of a mouse in InDesign, you will be able to substitute any combination of characters from class1 by the same combination of characters from class2. Let's keep going. 10- From the top menu, choose Window > Open Type Panel. You will a window with three panes. The leftmost pane and the top rightmost pane are the ones we will be dealing with for now. Don't worry about the bottom rightmost pane. 11- At the very bottom of the left pane, there is a button with a plus sign on it. Click it. 12- Go the automatically generated tag in the right pane and replace both instances of 'xxxx' with 'calt'. calt stands for "contextual alternates". 13- Change the line that says "sub by;" to "sub @class1 by @class2;" 14- Click the 'compile' button in the toolbar of the Open Type window. 15- Click on the 'preview' button and play around with some characters in the new window. All substitutions should work fine once you have the 'calt' box checked in the left pane there. 16- There you have it. Generate an OpenType font and use it in InDesign. Whenever you want to move from the class1 characters to class2 characters choose the 'Contextual Alternates' option from InDesign OpenType menu. Ciao ' -- www.apostrophiclab.com Article 453535 of alt.binaries.fonts: From: nobody@nowhere.com (Keith) Newsgroups: alt.binaries.fonts Subject: Re: PING: All Flooders and Foundry Sorters - foundry-fonts.txt (0/4) Date: Sun, 13 Oct 2002 01:20:16 GMT Organization: Danville Corporate Font Foundry X-Newsreader: Forte Free Agent 1.21/32.243 X-Complaints-To: abuse@supernews.com X-DMCA-Complaints-To: dmca@supernews.com Lines: 3 Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!cyclone.bc.net!nntp.cifnet.net!out.nntp.be!propagator-SanJose!news-in-sanjose!newsfeed.icl.net!newsfeed.fjserv.net!news.algonet.se!algonet!newspeer.clara.net!news.clara.net!news-hub.cableinet.net!blueyonder!newspeer1-gui.server.ntli.net!ntli.net!peernews.cix.co.uk!blaise.merula.net!authen.yellow.readfreenews.net!green.readfreenews.net!news.readfreenews.net!triton.net!smallfeed.triton.net!newsfeed.media.kyoto-u.ac.jp!news-hub.kaist.ac.kr!nntp.kreonet.re.kr!feeder.kornet.net!newsfeed.hananet.net!news-xfer.nuri.net!sn-xit-03!sn-xit-01!sn-post-01!supernews.com!corp.supernews.com!not-for-mail Another list of company codes can be found at: Article 454199 of alt.binaries.fonts: Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts,comp.fonts Date: Sun, 20 Oct 2002 21:08:35 GMT "David Glenn" wrote in message news:5vCdnejtttpiZC-gXTWc3A@giganews.com... > Not true. CRTs can produce some very nice presentations of text with > ClearType. The gamma values of the hardware, the resolution it is set to. > the person's particular sensitivity and ability to notice colors, and the > design and quality of the typeface all affect ClearType. This is true for > LCD and CRT, but it is common to see improved quality on CRTs. > I wish you would back up your argument with real-life examples, or at least plausible theory. Cathode tubes render fonts using single pixel technology (meaning that the highest rounding that can be done is within one pixel proximity), while LCD screens render type using sub-pixels of a 3-to-1 relativity to the CRT pixel (a triplet of display units on LCD equals one display unit on the CRT). The ClearType specifications and white papers clearly state that the development of CT was solely worked around the combination of sub-pixel triplets, not single-pixel rounding. If you are saying that ClearType improves the display (said improvement of course meaning furthering Microsoft's definition of text recognition being "a subconscious task and the conscious mind is free to read for meaning" -- see ClearType's documentation) on CRTs as well as LCDs, there must more to the technology than Microsoft is letting people know. That is unlikely, because the ClearType development studies are basically the same straight-forward things done for years via the Lanczos anti-aliasing filter, until of course ClearType divides the pixel in three sub-pixels to accommodate the vertical rendering of LCDs. It's really no secret that in order to achieve good sub-pixel level rendering, the display engine would first have to achieve good single pixel level rendering, which is most likely what happens with ClearType (Lanczos anti-aliasing first, reaching to the pixel level, then work from there for LCD displays). This can make ClearType run on both CRT and LCD displays, of course. However on CRTs it has to leash itself at the pixel level, and this is what the "standard" smoothing option in WinXP is. I am very aware of Microsoft telling people that "many users like the way ClearType renders text on CRTs", but I think it's a technological placebo. Flat panel rounding issues aside, there just isn't any way to break things down to under a single pixel on a CRT -- this is why font hinting is still needed. ClearType will be very good when 3.0 gamma LCDs are more common (currently laptops and and desktop LCDs average between 1.0 and 1.6 gamma -- cheaper to make, and average consumer mostly ignorant about the difference). When 3.0 gamma is standard, we can say goodbye to screen hinting. Until then, anything ClearType does to a CRT is accidental, or a "happy surprise". ' -- www.apostrophiclab.com Article 454492 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed.icl.net!newsfeed.fjserv.net!newsfeed.freenet.de!news.freenet.de!not-for-mail Newsgroups: alt.binaries.fonts,comp.fonts From: "Xeno Antares" Reply-To: Date: Mon, 21 Oct 2002 18:51:51 GMT References: Content-Transfer-Encoding: quoted-printable Subject: Re: i need META! FollowUp-To: alt.binaries.fonts,comp.fonts Lines: 142 X-Complaints-To: abuse@freenet.de Hi folks! Although I very much support Apostrophe's point of view, I want to add Adobe's argumentation from their Publication "Adobe Type 1 Font =46ormat"[1]. In Section "1.4 Copyrights for Type 1 Font Programs" [note the term "Program"!] they write: ,---- [ 1.4 Copyrights for Type 1 Font Programs ] | Since Type 1 fonts are expressed as computer programs, they are | copyrightable as is any other computer software. For some time. | the copyright status of some types of typeface software was | unclear, since typeface designs are not copyrightable in the | United States. Because Type 1 fonts are computer programs rather | than mere data depicting a typeface, they are clearly copyrightable. | | A copyright on a Type 1 font program confers the same protection | against unauthorized copying that other copyrightable | works, including computer software, enjoy. The ideas expressed | by copyrighted works are not protected; only the particular | expression is. In the case of Type 1 font programs, the typeface | shapes are not protected, but the program text is. A copyright on | a Type 1 font program that generates a particular typeface does | not preclude anyone from independently creating a different | program for that same typeface. | | The activity prevented by copyright is copying. Copying includes | obvious acts such as verbatim copying and distribution. It also | covers less obvious activities such as modification and translation | into different forms. If the copyrighted work, in this case a Type | 1 font program, is the source of these activities, then the activities | are illegal if not authorized by the copyright holder. | | Adobe Systems=92 Type 1 font programs are licensed for use on one | or more devices (depending on the terms of particular licenses). | These licenses would permit the use of a licensed program in a | system that translates a Type 1 font program to some other | format in the process of rendering, as long as a copy of the program | (even in translated form) is not produced. | | The personal computer software industry has benefitted greatly | from copyright protection. Competition is keen, and users benefit | from the efforts software developers have found to be | worthwhile. Copyright protection gives the developer of a Type | 1 font program the incentive to create excellent typeface programs. | In turn, the user of Type 1 font programs can expect to | have available the finest typeface software to choose from. `---- -- XenoAntares On Thu, 17 Oct 2002 18:09:57 GMT, "Apostrophe $'$" wrote: > Well, Mike, I'm going to reply -- not to have the proverbial last word, b= ut > to answer the questions you ask me. It seems that we disagree on some > points, and maybe we should leave it at that. But I think for the most pa= rt > you and I share a sense of awe when it comes to type in general -- though > part of our disagreement is basically where human type stops and technolo= gy > type starts. Which is really no big deal. Personally, I tend to be nostal= gic > when it comes to the history of type, so every time I am faced with hype > about this font or that font, the process of how the font was made > materializes in my head and of course pales in comparison with what I > consider deserving of real hype. I guess it's an issue of standards. My > standards about what's art and what isn't are a little too high, I > suppose -- but I think that's understandable, given the nature of what I'= ve > done and learned through the years. Like the dead dude said, you stare to= o > much into the abyss, and it stares right back into you. On that note, I > apologize if I made you feel uncomfortable by making you look into my aby= ss. > I should know better by now. > >> ... yet presumably you love >> what you are doing. How can you not feel that there is Art (capital A) i= n >> font design? Why do you do it, if it isn't a creative act for you? Becau= se >> computers let you? I find that hard to believe. >> > > Well, no, not because computers let me. And yes, I do love making fonts. = I > just don't think that it makes an artist by default, pretty much like > building a little airplane out of lego block doesn't make that airplane a > work of art or the "legoer" an artist. I find that sort of work very > stimulating and reflective. Some people find playing air guitar stimulati= ng > and reflective, but most of them would agree that lego and air guitar are > not art. If your hobby is to act out the roles of your favourite actor in > front of a mirror, would you say what you're doing is art? Probably not, = but > it would still be a hobby and you would still like doing it. > >> Why do all of us hang out at these forums and talk about and collect the= se >> things if they are so worthless? Why should we think that Garamond. > Jannon. >> Morris, Benton, Goudy, Mucha and the rest have done all that's worth doi= ng >> with the alphabet, when we can see new and interesting typefaces coming > out >> all the time? >> > > Well, another distinction in definition here: when I think of the names y= ou > mention, I think of *type*. Type, like the other dead dude said, is > something you can carry in your pocket. When I think of current designers= , I > think of *fonts*. Fonts, like this dude here defines them, are something > easily slapped together using the extremely generous assistance of modern > day technology. Just like you and everyone else in this group, I see new = and > insteresting letter shapes coming out all the time. But the process of ho= w > the shapes were made is too crucial to my definition of how valuable the > letters themselves are. The difference between 21k gold and 10k gold is > this: 21k gold is 21 parts gold and 3 parts alloy, while 10k gold is 10 > parts gold and 14 parts alloy. To my twisted mind, type is 21k while font= s > are 10k, except measured in human effort versus machine effort, as oppose= d > to gold purity. > > It was a slice, Mike, and sorry if I disappointed you. > > ' X-Post =FCber alt.binaries.fonts und comp.fonts [1] Adobe Systems Incorporated, 1990, ISBN 0-201-57044-0 -- Hasta la victoria siempre -- Che Article 454876 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!chi1.webusenet.com!news.webusenet.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc02.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <4IYp9.1208$7b.1027@nwrddc03.gnilink.net> Subject: Re: Helvitica Lines: 56 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Tue, 22 Oct 2002 21:04:42 GMT X-Complaints-To: abuse@verizon.net Re: ".. No one at Apple or MS ever said that as far as I know. ..." I believe that it paraphrases a "bunch" posting made a year or so ago by one of the "Managers" at Microsoft. One of the managers that by his title *should* be "in the know" about type. Let me think ... yes ... his name was (drum roll ...) David Glenn Manager, Microsoft Typography (applause ...) Or have you completely forgotten the many, many, many times you posted essentially "use Arial ... you'll never know the difference" to many newsgroup threads from people asking where to get the Helvetica (family) typeface? Or the times that you posted that Helvetica was NOT available in TrueType ... No matter what you say ... Arial is not even METRICALLY equivalent to Helvetica ... The kerning is different. In other words, set something in Helvetica, substitute Arial, and BOOM ... TEXT REFLOW. That combined with the fact that by default, the Windows OPERATING SYSTEM is set up to automatically substitute Arial whenever Helvetica is requested (among several other combinations)... and you have a situation where it appears that Microsoft is trying to throw it's weight around ... again. Not only that, but the tone of the posting, and the signature identifying you as a "Manager, Microsoft Typography," implied that it was the company's (Microsoft's) official position. Re: "... Did someone at MS run over your puppy when you were a kid? :-) ..." No ... but they sure LIED to me a bunch! Sophomoric allegories such as this will do very little to enhance *your* image ... so you should probably refrain from making such poor analogies. Article 454999 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!newsfeed2.easynews.com!easynews.com!easynews!easynews-local!news.easynews.com.POSTED!not-for-mail Message-ID: <3DB5F7A6.C090BA7E@cters.new> From: Character Organization: None X-Accept-Language: en Newsgroups: alt.binaries.fonts Subject: Re: Help Needed - slightly OT References: Content-Transfer-Encoding: 7bit Lines: 50 X-Complaints-To: abuse@easynews.com X-Complaints-Info: Please be sure to forward a copy of ALL headers otherwise we will be unable to process your complaint properly. Date: Wed, 23 Oct 2002 01:14:59 GMT I've had mixed success with Omnipage - it's fine with VERY clean copy, but with poorer quality documents or colored backgrounds, I can't get much useful except with a great deal of doing it over and over and tweaking. I'm a good typist and can usually reproduce such a document from scratch a lot faster and cleaner than any OCR product. And never use OCR for anything with important numerals, unless you don't care if some 3's and 8's are mixed up, or stand-alone numerals become alphabetic L's and O's instead of ones and zeroes. Here are some reviews (both professional and real users) of both Omnipage and FineReader http://www.pcmag.com/article2/0,4149,20111,00.asp http://www.pcmag.com/article2/0,4149,20111,00.asp http://www.vnunet.com/Products/Software/1128823 (Omnipage. Has links to other product reviews) - Character HypoTypo wrote: > > All I know is OmniPage Pro also,... and it doesn't recognize much, even on a > real good scan... I'd like to hear from someone who knows a real good > package myself... One that actually recognizes words... > > Hypo. > > "papagresh" wrote in message > news:kS6dnWQxFqBuRyigXTWc3Q@vci.net... > > I need to find software that will allow forms to be scanned in, then > filled > > out (completed) with Word. > > I have OmniPage Pro 9 -- a bigger, more worthless POS has never existed. > so > > I've been reluctant to upgrade or even look at OmniPage/Caere stuff again > > > > I'm running Win98SE, P4 at 1.5Ghz, 512MB RAM, Canoscan D660U. > > Recommendations ... anyone? > > > > -- > > > > - papagresh > > > > To prove you ain't no terrorist spammer. > > please DEMILITARIZE to send e-mail. > > > > > > > > Article 129580 of comp.fonts: From: "David Glenn [MS]" Newsgroups: comp.fonts References: Subject: Re: Ligatures etc in Palatino Linotype Date: Tue, 22 Oct 2002 14:24:05 -0700 Lines: 73 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2800.1050 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1050 Message-ID: <3db5c1e1$2@news.microsoft.com> Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!cyclone.bc.net!news.maxwell.syr.edu!news.stealth.net!news.stealth.net!msrtrans1!news.microsoft.com!not-for-mail Most of the characters you mention are ligatures or alternates. That's why we use OpenType. The issue is not with the font but rather applications. Word will be able to display these when it is updated to handle Latin OpenType. Mr. Zapf actively participated in the redrawing, digitization, and creation of Palatino Linotype. He is very happy with the results. There is no sloppy "technician" who messed up. Also, Zapfino was done by a very competent person and not the same group that did Palatino Linotype. -- David Glenn, Microsoft Typography http://www.microsoft.com/typography This posting is provided "AS IS" with no warranties, and confers no rights. "Apostrophe (')" wrote in message news:wDUe9.200005$8aG1.177023@news01.bloor.is.net.cable.rogers.com... > > "Weeebol" wrote in message > news:algp21$pqa$1@news7.svr.pol.co.uk... > > > > Thanks for the info. By changing the names and unicode ref of the > > inaccesable glyphs to Exxx, I've been able to create a font that has those > > glyphs in the private use area and access them by conventional means. > > The question remains, however, why this wasn't done properly in the first > > place. > > > > Beats me. However, here's something you should know: the Palatino Linotype > that ships with Windows XP comes with this license (I'm posting it here for > you because I'm assuming you had no way of seeing it -- it's in a table > inside the font file): > > "This font file came with a piece of Microsoft software and is governed by > the license agreement for that piece of software. This font may not be given > away, sold, rented or loaned to others in any way, but you are allowed to > make a backup copy of this font file. > Additional Licenses > Additional licenses may be purchased from Linotype Library GmbH. See > http://www.LinotypeLibrary.com/ for details or write to Linotype Library > GmbH, DuPont Strasse 1, D-61352 Bad Homburg, Germany, Fax (49)6172-484 499. > Modification > You are not allowed to edit or modify this font, even for your own use. > Please contact Linotype Library GmbH if you require a customized version of > this font. > You may pass the font to a service-bureau if you receive proof of ownership > of a valid user license." > > Soooooooo, it says in there that you cannot modify the font, even for your > own use. You cannot fix the manufacturer's incompetence with your own > competence. Sorry, friend. Looks like you're out of luck. If I were you I'd > email Lino and give them hell for this. I'm sure Microsoft paid an arm and a > leg for these goods too, so perhaps emailing them would also help, since > they'd probably take it up with Lino themselves -- but that may be one of > the longer routes to take. > > ' > -- > www.apostrophiclab.com > > Article 129585 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news0.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: comp.fonts References: <3db5c1e1$2@news.microsoft.com> Subject: Re: Ligatures etc in Palatino Linotype Lines: 48 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 Message-ID: Date: Wed, 23 Oct 2002 00:19:49 GMT "David Glenn [MS]" wrote in message news:3db5c1e1$2@news.microsoft.com... > Most of the characters you mention are ligatures or alternates. That's why > we use OpenType. The issue is not with the font but rather applications. > Word will be able to display these when it is updated to handle Latin > OpenType. > Hehe. Did you actually look at what Weeebol was trying to do, David? He could *see* all the font's glyphs, but he couldn't *use* most of them. If those glyphs were Unicoded, applications wouldn't have an issue using them. Unless what you are telling us is actually that Microsoft issued the new Palatino 2 years ago to be used solely with Adobe InDesign? > Mr. Zapf actively participated in the redrawing, digitization, and creation > of Palatino Linotype. He is very happy with the results. There is no sloppy > "technician" who messed up. David, buddy, come on now. Everyone knows that Zapf refused to speak directly with Microsoft because of the old Book Antiqua thing, and requested Linotype to be the middle man for the new Palatino deal. Zapf redrew, Lino redigitized, Microsoft was told everything was fine, and the fonts shipped. That doesn't mean Zapf was *very happy* with the results. I'm sure if Zapf knew that half the forms he drew have been inaccessible in 99% of applications out there (for years now!), he would have a cow or two. Why? Because whoever worked on the fonts thought two more hours of final touch-up would have been too steep for the money? > Also, Zapfino was done by a very competent > person and not the same group that did Palatino Linotype. Competence is in the eye of the beholder, I guess. The PDF is still up ( http://www.typeworx.com/clients/zvc.pdf ) and shows a lot left to be said for competence when it comes to the new Zapfino. It's really a downer that Zapf is constantly the one who gets screwed with these operating system deals. ' -- www.apostrophiclab.com Article 129598 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!nntp3.aus1.giganews.com!news.giganews.com.POSTED!not-for-mail From: "David Glenn" Newsgroups: comp.fonts References: <3db5c1e1$2@news.microsoft.com> Subject: Re: Ligatures etc in Palatino Linotype Date: Wed, 23 Oct 2002 00:17:11 -0700 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 6.00.2800.1106 X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 Message-ID: Lines: 79 X-Complaints-To: abuse@GigaNews.Com X-DMCA-Notifications: http://www.giganews.com/info/dmca.html X-Abuse-and-DMCA-Info: Please be sure to forward a copy of ALL headers X-Abuse-and-DMCA-Info: Otherwise we will be unable to process your complaint properly X-Postfilter: 1.1 Dear Fred. The OpenType font Palatino Linotype was made with the intent that it would be eventually used and exercised by applications. I'm just as unhappy as anyone that no MS applications can yet natively handle Latin OT. If you wish to contact Linotype or Mr. Zapf himself I'm sure you would find that yes, he was unhappy about the existence of Book Antiqua and the fact that we shipped it. But, he's entirely happy with the Palatino Linotype we created. Mr. Zapf is far from needing to use Linotype as a middle man. He is still working at Linotype; he just wrapped up the latest reworking of Optima with Akira Kobiyashi. On the Palatino Linotype project we worked closely with him throughout all phases from the pencil drawings through the OT table work and hinting. -- David Glenn, Microsoft Typography http://www.microsoft.com/typography This posting is provided "AS IS" with no warranties, and confers no rights. "Apostrophe (')" wrote in message news:FWlt9.34451$wU3.3262538@news0.telusplanet.net... > > "David Glenn [MS]" wrote in message > news:3db5c1e1$2@news.microsoft.com... > > Most of the characters you mention are ligatures or alternates. That's why > > we use OpenType. The issue is not with the font but rather applications. > > Word will be able to display these when it is updated to handle Latin > > OpenType. > > > > Hehe. > Did you actually look at what Weeebol was trying to do, David? He could > *see* all the font's glyphs, but he couldn't *use* most of them. If those > glyphs were Unicoded, applications wouldn't have an issue using them. > Unless what you are telling us is actually that Microsoft issued the new > Palatino 2 years ago to be used solely with Adobe InDesign? > > > Mr. Zapf actively participated in the redrawing, digitization, and > creation > > of Palatino Linotype. He is very happy with the results. There is no > sloppy > > "technician" who messed up. > > David, buddy, come on now. Everyone knows that Zapf refused to speak > directly with Microsoft because of the old Book Antiqua thing, and requested > Linotype to be the middle man for the new Palatino deal. Zapf redrew, Lino > redigitized, Microsoft was told everything was fine, and the fonts shipped. > That doesn't mean Zapf was *very happy* with the results. I'm sure if Zapf > knew that half the forms he drew have been inaccessible in 99% of > applications out there (for years now!), he would have a cow or two. Why? > Because whoever worked on the fonts thought two more hours of final touch-up > would have been too steep for the money? > > > Also, Zapfino was done by a very competent > > person and not the same group that did Palatino Linotype. > > Competence is in the eye of the beholder, I guess. The PDF is still up ( > http://www.typeworx.com/clients/zvc.pdf ) and shows a lot left to be said > for competence when it comes to the new Zapfino. > > It's really a downer that Zapf is constantly the one who gets screwed with > these operating system deals. > > ' > -- > www.apostrophiclab.com > > > Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news1.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: comp.fonts References: <3db5c1e1$2@news.microsoft.com> Subject: Re: Ligatures etc in Palatino Linotype Lines: 30 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4807.1700 Message-ID: <77xt9.35982$Sk6.3315379@news1.telusplanet.net> Date: Wed, 23 Oct 2002 13:04:03 GMT "David Glenn" wrote in message news:RuicnbjJAKRz0SugXTWcpw@giganews.com... > Dear Fred. > > The OpenType font Palatino Linotype was made with the intent that it would > be eventually used and exercised by applications. I'm just as unhappy as > anyone that no MS applications can yet natively handle Latin OT. > In that case, why don't you get someone to finally Unicode all these alienated glyphs, so that all those poor souls who were drooling over all the new ligatures and fireworks of Palatino Linotype to actually be able to use them? I appreciate the work that Microsoft Typography does, David, and I'm always happy that they're usually way ahead of Microsoft's applications. but in this case we have to admit that "look-but-don't-touch" was just a bad idea that could have easily turned good with a couple hours more work. Tell you what... I volunteer to Unicode those characters myself at no charge, if you promise to release the fixed fonts in an upcoming Windows service pack. As it stands right now, the user cannot access the glyphs, but also cannot, as per the license, make them accessible, so it's a lose-lose situation for the user. How about you let me (or anyone) fix that? I would do it for free, and without credit if that's what you like. ' -- www.apostrophiclab.com Article 455934 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsswitch.lcs.mit.edu!newsfeed.ecrc.net.MISMATCH!news-FFM2.ecrc.net!prodigy.com!prodigy.com!newsfeed.cwix.com!newsfeed.rt.ru!rt.ru!newsfeed2.kddnet.ad.jp!in.100proofnews.com!in.100proofnews.com!news.teledanmark.no!proxad.net!63.210.96.66.MISMATCH!chi1.webusenet.com!news.webusenet.com!cyclone1.gnilink.net!spamfinder.gnilink.net!nwrddc03.gnilink.net.POSTED!6c344e6c!not-for-mail From: "RSD99" Newsgroups: alt.binaries.fonts References: <4IYp9.1208$7b.1027@nwrddc03.gnilink.net> <428dru4e7qq0a8g84b3af74flu4t3sb95k@4ax.com> Subject: Re: Helvetica Lines: 62 X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4133.2400 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4133.2400 Message-ID: Date: Wed, 23 Oct 2002 15:52:41 GMT X-Complaints-To: abuse@verizon.net Especially when they make postings that say things like: "We designed Palatino Linotype ..." as if there is/was no company actually named "Linotype," and as if Hermann Zapf would even talk to Microsoft after the "Book Antiqua" fiasco in the early 1990's ... And ... yes ... and after you sent one TOTAL FLAME in the name of Microsoft (signed by one David Glenn) to my personal email address (Note 1), you (David Glenn) became "persona non gratis." I do not wish to have any personal communication with you because of your "monopolistic sash-and-burn," stuff-it-down-your-throat. we-have-a-better-plan-for-your-life, big-brother-knows-best attitude. (Note 1) Don't you remember that one either ... selective memory is nice, isn't it ... you know, the one where you called me everything from a stinkin' Mac-lover, on to virtually insulting my ancestors ... just because I publicly posted that IMHO Arial is not a suitable substitute for Helvetica. That one very nearly got a scorching complaint all the way "up the ladder" at Microsoft ... ! FWIW: I've been using MicroSoft products since WELL BEFORE PC DOS ... and back in the days when the company spelled it's name the way I just did. Do you remember some of those products, such as "Microsoft Basic" ... I remember saving up my pennies for a LONG time to be able to afford to buy that one! I think that "the attitude" that you personally have expressed in some of your postings (primarily a couple of years ago) ... along with the above mentioned FLAME ... where what finally pushed me over the edge! Now, my attitude towards the De Jure Monopoly named Microsoft is pretty much the same as Nancy's ... and several million other "end users." "Fontzilla" wrote in message news:428dru4e7qq0a8g84b3af74flu4t3sb95k@4ax.com... > Hi Dave. > > Is working for Microsoft like working for the IRS? > > To be honest, despite the fact that I use Windows 98 (I refuse to go along with the "Big Brother > XP"), I hold the company in utmost contempt. I greatly disapprove of its business practices. (Can > you say, Netscape?..."embrace and extend"?...FUD?) It's security is a joke. (Outlook... 'nuff said) > I will leave Windows as soon as I can run my needed apps efficiently on a Linux box. As you're well > aware, I'm not alone in these opinions. It's easy for people to transfer their disdain for the > company to its employees. > -- > Nancy Foster > Fontzilla's Alter Ego http://www.fontzilla.org > Remove hyphen from email URL to reply directly > > On Tue, 22 Oct 2002 23:50:35 -0700, "David Glenn" wrote: > From frednader@rogers.com Sun Oct 27 23:43:39 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sun, 27 Oct 2002 23:43:38 -0500 (EST) (envelope-from frednader@rogers.com) for ; Sun, 27 Oct 2002 23:43:38 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sun, 27 Oct 2002 23:43:38 -0500 Received: from fep04-mail.bloor.is.net.cable.rogers.com (fep04-mail.bloor.is.net.cable.rogers.com [66.185.86.74]) for ; Sun, 27 Oct 2002 23:43:38 -0500 (EST) Received: from cr186242-a.rogers.com ([24.157.68.167]) by fep04-mail.bloor.is.net.cable.rogers.com id <20021028044307.DSMT4298.fep04-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Sun, 27 Oct 2002 23:43:07 -0500 Message-Id: <5.1.0.14.2.20021027225036.025efa78@pop> X-Sender: frednader@rogers.com@pop Date: Sun, 27 Oct 2002 23:44:21 -0500 To: Luc Devroye From: Freddy Subject: Janiszewski In-Reply-To: <200210261910.g9QJAt738514@lambic.CS.McGill.CA> X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep04-mail.bloor.is.net.cable.rogers.com from [24.157.68.167] using ID at Sun, 27 Oct 2002 23:43:07 -0500 Status: R Luc: I hadn't seen Janiszewski's Frothy font when you told me about Downer's exploit yesterday. But today I saw it (via the link from your legal pages). and I must say that Downer has his head up his ass way too deep. A grunge font!? Granted, the Bukvaraz judges shouldn't have given an award to this thing in the first place, because it's like a thousand ones before it. But how could Downer possibly be sure that it is based on Stone Sans? Wasn't Stone Sans itself based on a long line of Frutiger-like faces before it? And why couldn't Frothy itself be a grunging of Frutiger or Myriad? It's one thing to go after a sure rip-off, but an entirely different thing to soil the reputation of a young man who has worked so hard on establishing his name among foundries and designers. Janiszewski had a lot of promise on his side, but now undoubtedly he will just have to either say goodbye to type or try to maintain as low a profile as possible. I'm sure that now ITC and PsyOps are inundating him with email asking him if any of the fonts he submitted to them are rip-offs. He must be wanting to hide under a rock just about now. And why? Because Downer felt like picking on someone? This is sickening. Freddy From nobody@rhea.hmdns.net Tue Oct 29 00:35:32 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 00:35:31 -0500 (EST) (envelope-from nobody@rhea.hmdns.net) for ; Tue, 29 Oct 2002 00:35:31 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 00:35:31 -0500 Received: from rhea.hmdns.net (rhea.hmdns.net [64.247.62.2]) for ; Tue, 29 Oct 2002 00:35:31 -0500 (EST) Received: from nobody by rhea.hmdns.net with local (Exim 3.36 #1) id 186Oyt-0000zV-00 for luc@cs.mcgill.ca; Tue, 29 Oct 2002 00:31:59 -0500 To: luc@cs.mcgill.ca Subject: Burmese Font and Language Links From: The Daily Newsgrabber Message-Id: Date: Tue, 29 Oct 2002 00:31:59 -0500 X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Original Domain - cs.mcgill.ca X-AntiAbuse: Originator/Caller UID/GID - [99 99] / [99 99] X-AntiAbuse: Sender Address Domain - rhea.hmdns.net Status: R To: luc@cs.mcgill.ca We have added a link to your website on our Burmese page. http://www.thedailynewsgrabber.com/main.php?LevelB=2&M1=Communities&M2=Burmese Please inform us if any of the information in this listing is incorrect. Sincerely. The Daily Newsgrabber From paul@moderntypography.com Tue Oct 29 04:32:02 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 04:32:02 -0500 (EST) (envelope-from paul@moderntypography.com) for ; Tue, 29 Oct 2002 04:32:01 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 04:32:01 -0500 Received: from msgdirector2.onetel.net.uk (msgdirector2.onetel.net.uk [212.67.96.149]) for ; Tue, 29 Oct 2002 04:32:00 -0500 (EST) Received: from [213.78.70.145] (213-78-70-145.friaco.onetel.net.uk [213.78.70.145]) by msgdirector2.onetel.net.uk (Mirapoint) Tue, 29 Oct 2002 09:29:36 GMT User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Date: Tue, 29 Oct 2002 09:30:40 +0100 Subject: ATypi From: Paul Barnes To: Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Status: R Dear Luc Devroye I read your report with great interest. Its very well done indeed. However I think the comment that ŒIt is based of course on Jan Tschichold's Sabon--the only face Tschichold wanted to be remembered for--and on original Garamond models', has two inaccuracies. Firstly I don't think Tschichold regretted all of his earlier typefaces at all. I certainly haven't read anything, and even if I did I would take it with a pinch of salt. Saskia for example is a really fine typeface, perhaps worth more of a revival rather than a new Sabon. Also the italics of Sabon are more to do with Robert Granjon, than Claude Garamond. If you read the article in the Penrose Annual (1968), it shows the specimen from where it comes from. More interesting are the speculation that Sabon is in fact a copy of a typeface by Le Bé which I think is shown in Tschichold's TreasuryŠ Again thanks for writing an excellent piece. kind regards Paul Barnes _____________________________ From victor_garcia@sinectis.com.ar Tue Oct 29 11:45:02 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 11:45:02 -0500 (EST) (envelope-from victor_garcia@sinectis.com.ar) for ; Tue, 29 Oct 2002 11:45:02 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Tue, 29 Oct 2002 11:45:02 -0500 Received: from teroknor.capfed2.sinectis.com.ar (teroknor.capfed2.sinectis.com.ar [216.244.232.2]) for ; Tue, 29 Oct 2002 11:44:58 -0500 (EST) Received: from [216.244.213.83] (modem83-as1.capfed2.sinectis.com.ar [216.244.213.83]) for ; Tue, 29 Oct 2002 13:44:43 -0300 User-Agent: Microsoft-Outlook-Express-Macintosh-Edition/5.02.2022 Date: Tue, 29 Oct 2002 13:44:19 -0300 Subject: Tangomaniacs again From: Victor Garcia To: Luc Devroye Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Status: R Luc, thank you for your mail. I get also some Tangomaniacs news to shear with you. Novum magazine from Germany had published a Tangomaniacs article in its November issue. I am very happy for that. Tangomaniacs is also already published into Linotype Website as Font of the Week. If you want to see it, please click on the link below: http://www.fontexplorer.com/isroot/FontStore/content/00_home/content/home_02 a_fotw_aktuell.html Regards. Victor Article 129758 of comp.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!headwall.stanford.edu!newsfeed.stanford.edu!postnews1.google.com!not-for-mail From: HarmonyMom@yahoo.com (Harmony) Newsgroups: comp.fonts Subject: Re: Help with Care Bear Family Font Date: 29 Oct 2002 11:24:07 -0800 Organization: http://groups.google.com/ Lines: 3 I just downloaded working copies of Care Bears Family at: http://www.acidfonts.com/fonts/carebear.zip From SANDRINE.MAILLET@bnf.fr Mon Nov 4 04:21:18 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 4 Nov 2002 04:21:18 -0500 (EST) (envelope-from SANDRINE.MAILLET@bnf.fr) for ; Mon, 4 Nov 2002 04:21:18 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 4 Nov 2002 04:21:18 -0500 From: SANDRINE.MAILLET@bnf.fr Received: from berg.bnf.fr (berg.bnf.fr [194.199.4.1]) for ; Mon, 4 Nov 2002 04:21:17 -0500 (EST) Message-Id: <200211040921.KAA09002@berg.bnf.fr> X-Lotus-FromDomain: BNF Sender: SANDRINE.MAILLET@bnf.fr To: luc@cs.mcgill.ca Date: Mon, 4 Nov 2002 10:20:44 +0100 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Status: R L?exposition "Graphisme(s)" qui s?est tenue à la Bibliothèque nationale de France, de septembre à novembre 2001, a été l?occasion de présenter la diversité des ouvrages d?une profession trop méconnue en France, les graphistes. La Réserve des livres rares, qui rassemble les "monuments typographiques" imprimés depuis le XVe siècle, entend poursuivre cette démarche en développant ses collections contemporaines de livres, de brochures, plaquettes, rapports annuels présentant un intérêt très particulier du point de vue de la création graphique. Les graphistes et typographes qui jugent leurs créations susceptibles de s?intégrer à cet ensemble pour y être conservées et mises en valeur, peuvent adresser leurs travaux à Sandrine Maillet, responsable de ce fonds, à l?adresse suivante : For the attention of the graphic designers and the typographers. The exhibition "Graphisme(s)" which took place at the Bibliothèque nationale de France from September to November 2001 gave us the opportunity to present the great variety of books made by graphic designers, a trade too underestimated as yet in France. The Reserve of Rare Books which collects the "typographic monuments" printed from the 15th century intends to continue this scheme by developing its holdings of contemporary books, CD, annuel repor, flyers, Phothèque, visual book of paper. typothèque... which present a special interest as far as graphic design is concerned. The graphic designers and typographers who think their creations worth belonging to the collection so that they are kept and shown to advange may send their works to Sandrine Maillet, who is in charge of the collection, at the following address: Sandrine Maillet Bibliothèque nationale de France Réserve des livres rares Quai François Mauriac 75706 Paris Cedex 13 01 53 79 54 66 Fax 01 53 79 54 60 sandrine.maillet@bnf.fr Hi all. I just want to inform you that I stored the Garagefonts for you at: http://www.sharemation.com/%7eopti/ http://www.sharemation.com/%7eopti2/ http://www.sharemation.com/%7eopti3/ http://briefcase.yahoo.com/pluto319de http://briefcase.yahoo.com/pluto320de http://briefcase.yahoo.com/pluto321de http://briefcase.yahoo.com/pluto322de http://briefcase.yahoo.com/pluto323de http://briefcase.yahoo.com/pluto324de http://briefcase.yahoo.com/pluto325de Hugs Opti Hi KAZ. you are invited as aussiekanga69 to the following briefcases. Please make shure you are logged in at Yahoo with your ID above before you try to access. Remember there is a downloadlimit at Yahoo. http://briefcase.yahoo.com/pluto319de http://briefcase.yahoo.com/pluto320de http://briefcase.yahoo.com/pluto321de http://briefcase.yahoo.com/pluto322de http://briefcase.yahoo.com/pluto323de http://briefcase.yahoo.com/pluto324de http://briefcase.yahoo.com/pluto325de Hugs Opti I just want to inform you that I stored the Garagefonts for you at: http://www.sharemation.com/%7eopti/ http://www.sharemation.com/%7eopti2/ http://www.sharemation.com/%7eopti3/ There are *.rar files in thee parts all about 12 MB. Please be aware there is a timelimit at sharemation and I used some time = for uploading. Hugs Opti From sentto-8106587-534-1036454436-luc=cs.mcgill.ca@returns.groups.yahoo.com Mon Nov 4 19:01:09 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 4 Nov 2002 19:01:09 -0500 (EST) (envelope-from sentto-8106587-534-1036454436-luc=cs.mcgill.ca@returns.groups.yahoo.com) for ; Mon, 4 Nov 2002 19:01:09 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 4 Nov 2002 19:01:09 -0500 Received: from n9.grp.scd.yahoo.com (n9.grp.scd.yahoo.com [66.218.66.93]) for ; Mon, 4 Nov 2002 19:01:08 -0500 (EST) X-eGroups-Return: sentto-8106587-534-1036454436-luc=cs.mcgill.ca@returns.groups.yahoo.com Received: from [66.218.66.94] by n9.grp.scd.yahoo.com with NNFMP; 05 Nov 2002 00:00:41 -0000 X-Sender: sdentico2@ukonline.co.uk X-Apparently-To: SPSF2@yahoogroups.com Received: (EGP: mail-8_2_2_1); 5 Nov 2002 00:00:35 -0000 Received: (qmail 55867 invoked from network); 5 Nov 2002 00:00:35 -0000 Received: from unknown (66.218.66.218) by m1.grp.scd.yahoo.com with QMQP; 5 Nov 2002 00:00:35 -0000 Received: from unknown (HELO c003.snv.cp.net) (209.228.32.218) by mta3.grp.scd.yahoo.com with SMTP; 5 Nov 2002 00:00:35 -0000 Received: (cpmta 17360 invoked from network); 4 Nov 2002 16:00:34 -0800 Received: from 64.34.50.81 (HELO uw3tl) by smtp.telocity.com (209.228.32.218) with SMTP; 4 Nov 2002 16:00:34 -0800 X-Sent: 5 Nov 2002 00:00:34 GMT Message-ID: <01e801c2845f$66de4f00$6401a8c0@uw3tl> To: References: <0b5101c2844f$f26b8250$2201a8c0@SLAVE> X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4807.1700 From: "Sheila" X-Yahoo-Profile: sdentico Mailing-List: list SPSF2@yahoogroups.com; contact SPSF2-owner@yahoogroups.com Delivered-To: mailing list SPSF2@yahoogroups.com Precedence: bulk List-Unsubscribe: Date: Mon, 4 Nov 2002 18:57:21 -0500 Subject: Re: [OPSF2] Attn Mary and Sheila Reply-To: SPSF2@yahoogroups.com boundary="----=_NextPart_000_01AC_01C28434.014A2F40" Status: R ------=_NextPart_000_01AC_01C28434.014A2F40 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Thank you so much, Opti!!!!! I got them all. Sheila ----- Original Message ----- From: Opti To: "Ourpostscript" Sent: Monday, November 04, 2002 5:17 PM Subject: [OPSF2] Attn Mary and Sheila Hi Sheila and Mary. you are invited as "sdentico" or "angel11579" to the following briefcases= with the fontshop fonts. Please make shure you are logged in at Yahoo with= your ID above before you try to access. Remember there is a downloadlimit = at Yahoo. Those FF-Fonts are conversions from Mac and some are missing the = kernings. But I believe they are the best you can get actually. Hugs Opti --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.404 / Virus Database: 228 - Release Date: 10/15/2002 ------=_NextPart_000_01AC_01C28434.014A2F40 Content-Transfer-Encoding: 7bit
Thank you so much, Opti!!!!! I got them all.

Sheila

----- Original Message -----

"From:" Opti

"To:" "Ourpostscript"

"Sent:" Monday, November 04, 2002 5:17 PM

"Subject:" [OPSF2] Attn Mary and Sheila

Hi Sheila and Mary,

you are invited as "sdentico" or "angel11579" to the following briefcases with the fontshop fonts. Please make shure you are logged in at Yahoo with your ID above before you try to access. Remember there is a downloadlimit at Yahoo. Those FF-Fonts are conversions from Mac and some are missing the kernings. But I believe they are the best you can get actually.

Hugs

Opti

---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.404 / Virus Database: 228 - Release Date: 10/15/2002

Apostrophe wrote: >... fonts do have kerning when they ship out of Monotype, but Microsoft strips >the kerning tables before shipping them with their products. I'm not sure what their >reasoning is for doing that ... Well, for that matter, how many *Adobe* fonts have bad or absent kerning data when they ship? Those devious bastards at MS have conspired with the street hustlers at Adobe to remove the kerning function from font files altogether! These companies want you to come to rely on InDesign's (and other forthcoming Adobe and MS products') kerning engine. By removing the kerning function from font files, they can build it into their applications instead, thereby creating a new and greater need for their products. The more fonts in circulation with no kerning data, the happier they will be. And guess what? According to my calculations, the great Open Type collaboration between MS and Adobe isn't really about cross-platform accessability ... it's about creating a new breed of font designed to eventually be marketed with no kerning data. Look at it like this: To get the *real* benefit of Open Type (liguatures, etc.), you have to use it with InDesign, and if you're using InDesign, you don't need kerning data in the font file. This gives new meaning to the idea of "bonding with the customer" (the customer is in bondage, as he or she can only use their open type fonts with one Adobe product (and probably soon one MS product). The net result will be that we have less creative prerogative and more reliance on Adobe and MS. What a great deal!!! The Ugly Twin P.S. -- The fact that InDesign's kerning technology is one of the greatest advances in typography in the last 10 years doesn't make me hate these big companies any less. XXXX 208252,208254c224900,224905 --- Article 459030 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news0.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" XXXX 208256,208272c224907,224979 --- Subject: Re: Hey, kern THIS!!! Lines: 65 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4920.2300 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4920.2300 Message-ID: Date: Thu, 07 Nov 2002 17:27:58 GMT "The Ugly Twin" wrote in message > > According to my calculations, the great Open Type collaboration > between MS and Adobe isn't really about cross-platform accessability > ... it's about creating a new breed of font designed to eventually be > marketed with no kerning data. Look at it like this: To get the *real* > benefit of Open Type (liguatures, etc.), you have to use it with > InDesign, and if you're using InDesign, you don't need kerning data in > the font file. This gives new meaning to the idea of "bonding with the > customer" (the customer is in bondage, as he or she can only use their > open type fonts with one Adobe product (and probably soon one MS > product). > The net result will be that we have less creative prerogative and more > reliance on Adobe and MS. What a great deal!!! I wouldn't go that far. Although OT does present a slight opportunity for Adobe and Microsoft to try exercising a version of customer regulation along with proprietary application seduction, they'd be stupid to think that something as trivial as a font format wrapper can influence someone's decision on whether or not to use a certain application. Merryl Lynch's latest latest stats STILL say that InDesign hasn't surpassed the 1% of the market share that QuarkXpress dominates, while Adobe's Pagemaker product. with no OT support whatsoever, still has more market share than InDesign. Font formats/wrappers/features don't really mean much when compared with other decision-influencing features like transparency, tables, indexing, or footnote features. Doing little tricks like moving kerning pairs from the kerning table to a kerning "feature" in a new format can only bring headaches to software developers and delay the propagation of the font format itself. Why do you think QuarkXpress still doesn't give a damn about OpenType? It's been more than 7 years since OpenType was introduced, and so far only 2 apps support it. What does that tell you about the importance of OpenType? If the makers and prime advocators of OpenType have not included support for it in their own applications after 7 years, what does that tell you about how much importance they themselves give it? The thing with companies like Adobe and Microsoft is this: they are way too big to have all their internal departments sing in harmony. I'm sure the type departments at Adobe and Microsoft are all full of enthusiasm about OT. Hell, they may even know a thing or two about what they're doing. But the other departments couldn't be bothered with something as trivial as that. Software publishing is so full of red tape that no mere font format will stop its cycle. Programming teams have assigned tasks and deadlines and marketing teams have specific strategies to go by. "I didn't meet the deadline because I was trying to accommodate the new format," is not something an MS Office lead developer can really say or he/she would be fired on the spot. Same with "Oh the fonts are much better now!" not being a viable selling point for any application. If you observe the chronology of OpenType's progress over the past few years, you can come to a few conclusions of your own about the real reasons why it was developed, how it failed to achieve what it was set out to do. and how its makers are now settling for a hell of a lot less than they wanted. Personally, I think OpenType is a good thing for font enthusiasts, and the rest of the world will most likely remain indifferent to it for a long time to come. XXXX 208274c224981,224983 --- ' -- www.apostrophiclab.com XXXX 208276,208279d224984 XXXX 208281d224985 XXXX 208283a224988,225024 Article 459024 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.telusplanet.net!news0.telusplanet.net.POSTED!9fb9acd1!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" Newsgroups: alt.binaries.fonts References: <5yky9.6538$MGm1.417@news02.bloor.is.net.cable.rogers.com> <3dc9feed.2841226@news.interbaun.com> Subject: Re: Obsessing about missing kerns? Lines: 25 Organization: Apostrophic Lab X-Priority: 3 X-MSMail-Priority: Normal X-Newsreader: Microsoft Outlook Express 5.50.4920.2300 X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4920.2300 Message-ID: <3_wy9.7180$1F.1131437@news0.telusplanet.net> Date: Thu, 07 Nov 2002 16:59:43 GMT "Keith" wrote in message news:3dc9feed.2841226@news.interbaun.com... > > Kerning is a relatively slow operation in the font rendering engine. > so Microsoft may have omitted kerning pairs in the original Windows > system fonts (Arial, Courier New, Times New Roman). Changing them > later would have caused too many problems in old documents. > The first few versions of Arial and TNR that shipped with Windows didn't have kerning (presumably for the reasons you mentioned above, or maybe because the majority of MS apps didn't even support kerning back then), but now they do. OS manufacturers don't really care about possible reflow problems (the latest OSX Zapfino mess is proof in point here). Courier New is a monospaced font, so no kerning needed. Article 458923 of alt.binaries.fonts: Path: charlie.risq.qc.ca!snoopy.risq.qc.ca!newsfeed.news2me.com!border1.nntp.aus1.giganews.com!nntp.giganews.com!cyclone2.usenetserver.com!newsfeeds-atl1.usenetserver.com!newsfeeds-atl2!news.webusenet.com!news03.bloor.is.net.cable.rogers.com!news02.bloor.is.net.cable.rogers.com.POSTED!not-for-mail Reply-To: "Apostrophe $'$" From: "Apostrophe $'$" XXXX 208356,208358c225084,225086 --- References: Subject: Re: Obsessing about missing kerns? Lines: 92 XXXX 211904c228632,230422 --- Received: (qmail 92390 invoked from network); 1 Jan 2003 00:36:31 -0000 Received: from unknown (66.218.66.217) by m15.grp.scd.yahoo.com with QMQP; 1 Jan 2003 00:36:31 -0000 Received: from unknown (HELO smtp018.mail.yahoo.com) (216.136.174.115) by mta2.grp.scd.yahoo.com with SMTP; 1 Jan 2003 00:36:31 -0000 Received: from dynadsl-080-228-69-022.ewetel.net (HELO SLAVE) (pluto319de@80.228.69.22 with login) by smtp.mail.vip.sc5.yahoo.com with SMTP; 1 Jan 2003 00:36:30 -0000 Message-ID: <001701c2b12d$d20542c0$2201a8c0@SLAVE> To: "\"Ourpostscript1\"" X-Priority: 3 X-MSMail-Priority: Normal X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1106 From: "Opti" X-Yahoo-Profile: pluto319de Precedence: bulk Date: Wed, 1 Jan 2003 01:36:25 +0100 Subject: [OPSF] Happy downloading 2003! boundary="----=_NextPart_000_0014_01C2B136.3282F9F0" Status: R ------=_NextPart_000_0014_01C2B136.3282F9F0 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all. we=B4ll start the new year with some goodies: I uploaded some more Arsenal Fonts to: http://www.sharemation.com/~opti http://www.sharemation.com/opti1 http://www.sharemation.com/~opti2 http://www.sharemation.com/~opti3 http://www.sharemation.com/opti4 There is StuffIt v.7.5.0.131 a program for compress and decompress mac and pc-files at: http://www.sharemation.com/opti5 There is Scanfont a program for building fonts from scans such as handwriting at: http://www.sharemation.com/opti6 There is fontlab 4.5 I use it for regenerating fonts which don=B4t work under XP It is a programm for generating fonts at: http://www.sharemation.com/pluto319 http://www.sharemation.com/~pluto320 There is transtype 2.0 a converter between the mac and win platform at: http://www.sharemation.com/~pluto320 Hugs Opti IF ANYONE WANTS TO DOWNLOAD FROM THE FIRST 3 ACCOUNTS P L E A S E S A Y I T N O W ! My prob is, that my accounts at yahoo are actually full. Maybe I have to de= lete the first accounts (pluto319-pluto321). Vol 01,02,03, 04, 05, 07 http://de.briefcase.yahoo.com/pluto319de Vol 06,08, 09 http://de.briefcase.yahoo.com/pluto320de Vol 10, 11, 1-10 http://de.briefcase.yahoo.com/pluto321de Vol 11, 11-15, Vol 12, Vol 13, 1 http://de.briefcase.yahoo.com/pluto322de Vol 13, 3-18 http://de.briefcase.yahoo.com/pluto323de Vol 13, 2, Vol 15 1-14 http://de.briefcase.yahoo.com/pluto324de Vol 15, 15-18, Vol 16, Vol 17, 1 http://de.briefcase.yahoo.com/pluto325de Vol 17, 02-04, Vol 18, 01-03 http://de.briefcase.yahoo.com/pluto326de Vol 18, 04-15, Vol 19 01-02, 04-05 http://de.briefcase.yahoo.com/pluto327de Vol 19, 03, 06-09, Vol 20, 01-11 http://de.briefcase.yahoo.com/pluto328de I wish you all a happy New Year Hugs Opti From frednader@rogers.com Sat Nov 9 17:57:40 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 9 Nov 2002 17:57:40 -0500 (EST) (envelope-from frednader@rogers.com) for ; Sat, 9 Nov 2002 17:57:40 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 9 Nov 2002 17:57:40 -0500 Received: from fep04-mail.bloor.is.net.cable.rogers.com (fep04-mail.bloor.is.net.cable.rogers.com [66.185.86.74]) for ; Sat, 9 Nov 2002 17:57:39 -0500 (EST) Received: from cr186242-a.rogers.com ([24.157.68.167]) by fep04-mail.bloor.is.net.cable.rogers.com id <20021109225739.CKOL4992.fep04-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Sat, 9 Nov 2002 17:57:39 -0500 Message-Id: <5.1.0.14.2.20021109175511.01ed3070@pop> X-Sender: frednader@rogers.com@pop Date: Sat, 09 Nov 2002 17:58:05 -0500 To: luc@cs.mcgill.ca From: Freddy Subject: Venetian X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep04-mail.bloor.is.net.cable.rogers.com from [24.157.68.167] using ID at Sat, 9 Nov 2002 17:57:39 -0500 Status: RO Luc. I just read the entry on Abrams Venetian on your Denmark page. Do you know this Poul Steed Anderson person well enough to tell him that I would at no charge digitize Abrams Venetian for the Danish printer (whoever that happens to be right now), provided that I get some decent specimens to work from? I have the original limited edition first showing specimen, so I guess I can start from that, but I don't think it would be enough to get the non-basic characters into place. Freddy From frednader@rogers.com Sat Nov 9 21:34:41 2002 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 9 Nov 2002 21:34:41 -0500 (EST) (envelope-from frednader@rogers.com) for ; Sat, 9 Nov 2002 21:34:40 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 9 Nov 2002 21:34:40 -0500 Received: from fep02-mail.bloor.is.net.cable.rogers.com (fep02-mail.bloor.is.net.cable.rogers.com [66.185.86.72]) for ; Sat, 9 Nov 2002 21:34:40 -0500 (EST) Received: from cr186242-a.rogers.com ([24.157.68.167]) by fep02-mail.bloor.is.net.cable.rogers.com id <20021110023439.QFXH4594.fep02-mail.bloor.is.net.cable.rogers.com@cr186242-a.rogers.com> for ; Sat, 9 Nov 2002 21:34:39 -0500 Message-Id: <5.1.0.14.2.20021109212703.01ed6c80@pop> X-Sender: frednader@rogers.com@pop Date: Sat, 09 Nov 2002 21:35:07 -0500 To: Luc Devroye From: Freddy Subject: Re: Venetian In-Reply-To: <200211092335.gA9NZJ527497@lambic.CS.McGill.CA> References: <5.1.0.14.2.20021109175511.01ed3070@pop> X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep02-mail.bloor.is.net.cable.rogers.com from [24.157.68.167] using ID at Sat, 9 Nov 2002 21:34:39 -0500 Status: RO Hmmm maybe you should get in touch with Larsen again. He says that he was the one who put in Abrams in touch with the royal Danish printer of the time, so maybe he knows the current printer too. That Venetian must have been of some major importance to someone in Denmark, if they actually brought in the Linotype experts to try getting some shapes out of the Linotron. I'm more interested in digitizing it simply because I think at one point in time someone else will pay it enough attention and do the same thing. The Lowry book is listed at $337, and it looks like Amazon.com are not even sure if it's still in print now: http://www.amazon.com/exec/obidos/tg/detail/-/0631173943/qid=1036895481/sr=8-12/ref=sr_8_12/102-7057416-4256159?v=glance&s=books&n=507846 I'll see if I can find it at a public library here, or maybe U of T's library. Freddy Luc. You are not bothering me at all! This is interesting stuff. (While I remember it: For future contact please mail me simultaneously at both my e-mail addresses. psl@psl.dk and psl@db.dk .) As for specimen pages of the Abrams Venetian, 4 prints were produced in the Spring of 1987 from the scanned images of George's original letterforms. That was well before the alphabet was generated as a font proper. The prints, in poster size, were made for George, Poul Kristensen. his son Jørgen Kristensen - and me. George was very anxious that his design should not be spread around (and stolen!), so we were urged not to distribute anything before the opening in October 1987 of a book exhibition at the University Research Library / Special Collections at UCLA ("Contemporary Danish Book Art" ), when a small landscape shaped booklet with the same text lines set in his Venetian was displayed in one of the book cases. This booklet does exist in approx. 100 copies, and was produced for George's personal use. I have a copy and could ask Poul Kristensen whether he still has spare copies. As for saving the Abrams Venetian I think that the Linotype experts have tried all they could to decrypt the codes in the Linotron without success. I shall return to you when I have news in the case. P.S.: In your list of type designers you might well add me homepage, where specimens of my fonts are shown (though Liber in an early version): www.db.dk/psl/ Best wishes Poul Steen larsen -----Oprindelig meddelelse----- Fra: Luc Devroye Til: psl@psl.dk Dato: 10. november 2002 06:45 Emne: Question > >Poul: > >It's Luc Devroye here. Sorry to bother you with >my question. I am heavily involved now in type history. >spending hours and hours in rare book collections and >enjoying the experience. I recall the email you wrote about >Abrams' Venetian a year ago, and how it sits in >Kristensen's Linotron. You also mentioned that Martin Lowry >used it in a book (which my university has, luckily). >My question to you is whether there exists a specimen page >of this type somewhere. If the Linotron still works, can >one be made? Where should we look? With a friend of mine. >we may just give it a go and attempt a digitization, if only >to make sure that the type does not get lost. > >With best regards. > >Luc Devroye > Pizzadude: NEW FONTS ========================================== LoveBug and Krooked Teeth has been online for some time now. I didn't make the Christmas update, so these babies are first online now. Go check them out at the font page! Hold your breath is the latest freeware font. Somewhat grungy and somewhat clumbsy. Go get it at the freefonts page! Furthermore I have added mac versions of my freeware fonts (still missing the latest one though!) Thanks a bunch for the converting Bill! Soon to come: TagBoyHardcore, Mr Fahrenheit, Omegalomania and Cheeky Git! NEW FONT SIGHTINGS ========================================== I spotted one of my freeware fonts in a spiderman magazine. How cool is that! See the new pics at the font sightings page! NEW WALLPAPERS ========================================== I was visiting my father's house in Denmark and, among many, I took these 3 shots. Go spoil your desktop with these new wallpapers! 8) Furthermore I have added some minor changes, such as new previews for the shareware fonts, and some minor change in graphics... Look out for the pizzadude sale! - Special prices for you, my friend! Well, that's it for now! As always, enjoy and have fun! See you in February. Jakob Fischer www.pizzadude.dk pizzadude@pizzadude.dk %Q Lindsay Rollo %N 23064 %B http://ourworld.compuserve.com/homepages/macdonnell/OtherAuthors.html %T Lindsay Rollo from Wellington (NZ) is completing an archive entitled 'Words into Print' of copies of typographic research papers, some correspondence, and some examples used or influencing the preparation and presentation of seminars conducted for the University Teachers Development Centre, Victoria University of Wellington, 1995-1998. He also made a one-character truetype font called Spaces with a hard-coded white space. %d Jan 11 2003 %E lrollo@paradise.net.nz %L NZ 3] A paper I published in a refereed journal deals with the influence of Leslie John Comrie (1893-1950) on the typography of tables is available for distribution now in PDF format, and will be included on a Victoria University site in due course. Comrie was regarded as the greatest table maker of his day and was particularly influential in the period 1935 to his death in 1950. http://www.astronomy.org.nz/events/monthly_meetings/Reviews/2001/leslie_john_comrie.htm From gww@silcom.com Wed Jan 15 19:13:42 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Wed, 15 Jan 2003 19:13:41 -0500 (EST) (envelope-from gww@silcom.com) for ; Wed, 15 Jan 2003 19:13:41 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Wed, 15 Jan 2003 19:13:41 -0500 Received: from vmail1.netlojix.com (vmail1.netlojix.com [199.201.128.21]) for ; Wed, 15 Jan 2003 19:13:41 -0500 (EST) Received: from beach.silcom.com (beach.silcom.com [199.201.128.19]) for ; Wed, 15 Jan 2003 16:13:04 -0800 (PST) Received: from lynch (pm0-13.sba1.netlojix.net [207.71.218.13]) for ; Wed, 15 Jan 2003 16:13:17 -0800 (PST) Date: Wed, 15 Jan 2003 16:13:21 -0800 From: George Williams To: luc@cs.mcgill.ca Subject: My server has renamed itself Content-Transfer-Encoding: 8bit Lines: 9 Status: R Hi Luc. I believe you have links to my fonts on bibliofile.mc.duke.edu I've just been informed that the name has changed to bibliofile.duhs.duke.edu . Neither address is currently working though. Anyway if you could update the server name (the rest of the URL should be unchanged) I'd appreciate it. Thanks. George Williams From sentto-8106587-723-1042681526-luc=cs.mcgill.ca@returns.groups.yahoo.com Wed Jan 15 20:45:28 2003 To: TICAMembers Yahoo List . "TICA.ORG (Gloria's) List" . SPSF list . "SOMALI (Yahoo) LIST" . "Silver Somali List (Yahoo)" . "Silver Aby List (Yahoo)" . "Fonts Realm (Yahoo)" . Fonts Galore group . Fontastic Tags Group . Fontastic Group . Fontaholics Yahoo Group . "Fanciers (Yahoo) List" . Catweb List . ABY LIST From: Sheila Dentico I just want to notify folks that my email address is changing. The old address (sdentico@telocity.com) will still be functional for a day or so, maybe longer ... depends on how quickly the company pulls the plug. The new email is sdentico@optonline.net, so for anyone that might have me in their address book, please update. Sheila Dentico NEW email address - sdentico@optonline.net Abyroad Abys&Somalis - http://www.abyroad.com Westchester Feline Club - http://www.westchester-feline.org associate of Eos Development - http://www.eosdev.com From d.prudhomme@skynet.be Fri Jan 17 09:10:28 2003 From: "Dominique Prud'homme" Dominique Prud'homme Creative Director e-KLA +32 2 334 89 53 Kasteelstraat 51 B-1650 Beersel Belgium From finebrassrules@hotmail.com Sun Jan 19 05:57:11 2003 To: Lauretta.Roberts@haynet.com, luc@cs.mcgill.ca. luke.dodd@guardian.co.uk. m.j.andrews@reading.ac.uk, mathieu.lommen@uba.uva.nl. matt@formelondon.co.uk, lithomn@mail.totalise.co.uk. m.r.stocks@reading.ac.uk, mike@stbrideinstitute.org. nantypo@grafik.fsnet.co.uk, nigel.Roche@corpoflondon.gov.uk This is just to let you know that my e-mail address has changed. I can now be reached on finebrassrules@ntlworld.com SCRIPTORIUM UPDATE #139 Featured Font - Linthicum http://www.fontcraft.com/scriptorium/index.html The Grammar of Ornament http://www.fontcraft.com/scriptorium/ornament Bonus Font - Greek Borders http://www.fontcraft.com/scriptorium/greekborders.html 2002 - The Year in Fonts http://www.fontcraft.com/scriptorium/2002.html Complete Fonts - Release 20 http://www.fontcraft.com/store/specials.html FIRST FONT OF 2003 - Linthicum Linthicum is a new, original font. It has a stylized antique look with decorative diamond cut-outs on each character. The standard version comes with customized small-caps, but there is also an alternative lower case version available. We named it Linthicum after the London subway stop solely because the name sounds cool. To download and try out the demo go to http://www.fontcraft.com/scriptorium and follow the link. BONUS FONT RELEASE - Greek Borders The Greek Borders font is the first in a series of new border and ornament fonts based on the images in Owen Jones Grammar of Ornament. It features about 20 different border designs and one full-frame design based on variations of the Greek Key motif. When the second phase of the Grammar of Ornament project is done we expect to have about a dozen fonts of this sort as a second companion package to the image collection. That package will probably be released this spring. However the Greek Borders font is available now. By the way, this will also be the bonus font for new members who join the Font Club this season. To take a look go to http://www.fontcraft.com/scriptorium/greekborders.html 2002 - THE YEAR IN FONTS This is a new idea, but one whose time has come. We've gathered together the 40 new fonts we released in 2002 and put them into a single package available on CD. Now you can get all those new fonts at a huge discount, including some really popular releases like Caswallon, Ardenwood and Hesperides. It's a really varied selection, including art fonts, initials, script fonts, gothic fonts and much more. It's an even better deal if you're already a member of the Font Club. Since Font Club members already have many of the fonts they can get an even better price on the remaining releases that weren't featured on the main page of our website or part of the Font Club subscription. To see all the fonts which are included just go to http://www.fontcraft.com/scriptorium/2002.html J'y pense parce que Anne Cuneo, dans _Le maître de Garamond_, fait état d'une conversation avec lui. Ce gros bouquin, 620 pages, disponible au Seuil mais paru chez Bernard Campiche (Suisse), qui m'a fait l'amitié de me le passer. mérite de figurer dans les biblios de typo. C'est certes un roman historique mais la postface et les annexes (index de noms avec détails sur les personnages) peuvent servir de référence. Bernard Campiche a composé son édition et celle du Seuil en Garamond 1530 Amitiés. Jef We welcome Antoon de Vylder from Belgium, Ewa Satalecka from Poland, Michiel Drost from Ireland, Gerald Cinamon, Stephen Kirk, Adi Stern, and Michael Ives from the UK, Zab Hobart from Canada, Iwan Raschle and Barbara Kranz from Switzerland and Cheryl Hills from the USA. Luca i know you teach at McGill University. but i asked what, i ment which discipline. what you comunicate/explain to the students. How the classroom looks like? Do you teach mainly Math? Do you teach in English? I'm happy you like la mia pagina 'in lavoro'! I visited Tim Girvin's site =8B http://tim.girvin.com/ i personally like it has such "colour". pure quality of white and black like i would like to develope in my own website. > You are not afraid that the thieves > will steal your signature? Do you mean my AS-monogram or my handwriting? I've not been thinking about it, you are right. have you got any suggestion? Goed werk, have a nice day. %Q Nikolai Sirotkin %E nicksirotkin@rambler.ru %Z http://vedi.d-s.ru/fonts/bfont.htm %F http://www.myfonts.com/foundry/Nikolai_Sirotkin/ %N 23063 %B http://www.myfonts.com/foundry/Nikolai_Sirotkin/ %G http://www.myfonts.com/person/Nikolai_Sirotkin/ %T Nikolai (Nick) Sirotkin is the Russian designer of fonts such as Taumfel (2011, connected script), Filada (2003), Billiard and Mini.
Old link. Klingspor link. %L FO-CY DE CF2 %d Feb 23 2003 %Z NikolaiSirotkin--Taumfel-2011.gif Well, browsing some of the japanese sites that have come through recently, and I found a website for i2f - well, one that had quite a few more fonts on it than we had previously, so I downloaded them and added them to the i2F folder :) I added a couple ttfs to the Kyakirun folder, as well as a folder for OTF versions. From swilber@comscire.com Sat Feb 15 13:29:30 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 15 Feb 2003 13:29:30 -0500 (EST) (envelope-from swilber@comscire.com) for ; Sat, 15 Feb 2003 13:29:30 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 15 Feb 2003 13:29:30 -0500 Received: from cpimssmtpu05.email.msn.com (cpimssmtpu05.email.msn.com [207.46.181.81]) for ; Sat, 15 Feb 2003 13:29:28 -0500 (EST) Received: from piv1700 ([63.227.105.37]) by cpimssmtpu05.email.msn.com with Microsoft SMTPSVC(5.0.2195.4905); Sat, 15 Feb 2003 10:29:03 -0800 From: "ComScire" To: Subject: Date: Sat, 15 Feb 2003 11:30:20 -0700 boundary="----=_NextPart_000_0001_01C2D4E5.9FE80EE0" X-Priority: 3 (Normal) X-MSMail-Priority: Normal Importance: Normal X-MimeOLE: Produced By Microsoft MimeOLE V5.50.4910.0300 Status: R This is a multi-part message in MIME format. ------=_NextPart_000_0001_01C2D4E5.9FE80EE0 charset="us-ascii" Content-Transfer-Encoding: 7bit From Ulrich.Stiehl@t-online.de Sun Feb 16 05:56:56 2003 Dear Luc. I would like to inform you that your win_rebooter.otf test font is reported by Fontlab as a "corrupt" font, although Fontlab is (in my opinion) not limited to a certain number of "move-to" etc. PS commands. When I right-click on win_rebooter.otf (with my Windows 98) it reports "Face name not found" etc.*** corroborating that your font is not a correct OpenType font. I attach the file win_rebooter.otf as downloaded from your site, so that you may do a file comparison with your original file to check whether the file was corrupted while downloading it. (*** but does NOT crash) Best wishes. Ulrich From graball@fontcraft.com Mon Feb 17 04:18:57 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 17 Feb 2003 04:18:57 -0500 (EST) (envelope-from graball@fontcraft.com) for ; Mon, 17 Feb 2003 04:18:57 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 17 Feb 2003 04:18:57 -0500 Received: from c007.snv.cp.net (h011.c007.snv.cp.net [209.228.33.239]) by relay10.cs.mcgill.ca (Postfix) with SMTP id F0E2E536F8C for ; Mon, 17 Feb 2003 04:18:55 -0500 (EST) Received: (cpmta 883 invoked from network); 17 Feb 2003 01:18:46 -0800 Received: from 66.220.133.200 (HELO graball%fontcraft.com) by smtp.nucentrix.net (209.228.33.239) with SMTP; 17 Feb 2003 01:18:46 -0800 X-Sent: 17 Feb 2003 09:18:46 GMT Message-Id: <217322.KAITUDTB@fontcraft.com> Date: Mon, 17 Feb 2003 03:22:09 -0600 To: Scriptorium Update List:; From: Dave Nalle Subject: Scriptorium - Happy President's Day! Reply-To: graball@fontcraft.com Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Status: R SCRIPTORIUM UPDATE #140 Featured Font - Medieval Tiles http://www.fontcraft.com/scriptorium/index.html The Grammar of Ornament http://www.fontcraft.com/scriptorium/ornament Our Most Patriotic Font - Old Glory http://www.fontcraft.com/Merchant2/merchant.mv?Screen=PROD&Store_Code=cdstore&Product_Code=oldglory 2002 - The Year in Fonts http://www.fontcraft.com/scriptorium/2002.html Complete Fonts - Release 20 http://www.fontcraft.com/store/specials.html As some of you already know, we suffered a minor hard drive crash in the end of January. This resulted in some of our projects being delayed, particularly the Grammar of Ornament and the new release of our Complete Fonts. The net result has been about a 3 week delay in our release schedule for new projects. The good news is that the crash only caused problems with a few very recent files, and we've been working hard to sort things out and get back on schedule. NEW FONT RELEASE - Medieval Tiles It's been quite a while since we offered an art font as one of our featured fonts. This one was hard to resist. It's based on drawings of ceramic tile patterns from the Middle Ages which were collected in Owen Jones' Grammar of Ornament. The set of tile patterns is extensive and produced 3 different fonts based on a wide variety of designs. Many of them are made to fit together in more complex multi-tile patterns To download and try out the demo go to http://www.fontcraft.com/scriptorium and follow the link. THE GRAMMAR OF ORNAMENT The Grammar of Ornament project is now complete. We'll start shipping pre-ordered copies on Tuesday of this coming week. If you haven't already heard about it, the Grammar of Ornament is a phenomenal graphic arts resource created in the mid-19th century by Owen Jones.. It is a compendium of historical design motifs with 112 pages of full-color illustrations and a total of over 1000 different designs represented. It covers designs from ancient times up to the early modern era and the breadth and quality of the samples is extraordinary. It's an excellent designer's resource because so many of the patterns are ready to tile or adapt easily to your own projects. Developing a digital version of the complete book was quite a challenge, but the result has proven to be well worth the effort. The CD includes all of the illustrations from the Grammar of Ornament as an easy to access resource for designers and as a future project we also plan to add another collection of border and ornament fonts based on designs from the collection - like our new Greek Borders and Medieval Tiles fonts. The Grammar of Ornament is now complete and ready to ship. We've been offering the package at a reduced price for advance orders. That discount offer will expire this week and the price will go up about 25%. If you want to take advantage of the discount you should order as soon as possible. You can see samples (now complete) and get ordering info at http://www.fontcraft.com/scriptorium/ornament/index.html A PATRIOTIC FONT - Old Glory In honor of Presidents day we're offering our super-patriotic font Old Glory at a special price. Not sure there's much you can actually do with it for Presidents Day, but it's never too soon to prepare for the 4th of July. To take a look at Old Glory, just go to http://www.fontcraft.com/Merchant2/merchant.mv?Screen=PROD&Store_Code=cdstore&Product_Code=oldglory 2002 - THE YEAR IN FONTS This is a new idea, but one whose time has come. We've gathered together the 40 new fonts we released in 2002 and put them into a single package available on CD. Now you can get all those new fonts at a huge discount. including some really popular releases like Caswallon, Ardenwood and Hesperides. It's a really varied selection, including art fonts, initials, script fonts. gothic fonts and much more. It's an even better deal if you're already a member of the Font Club. Since Font Club members already have many of the fonts they can get an even better price on the remaining releases that weren't featured on the main page of our website or part of the Font Club subscription. Shipping of this package was delayed because of our hard drive crash, but CDs will finally be going out this week. To see all the fonts which are included just go to http://www.fontcraft.com/scriptorium/2002.html COMPLETE FONTS - RELEASE 20 This collection is back on schedule, now that we rescued several fonts from hard drive oblivion. This new edition of our complete fonts set will feature dozens of new fonts, many more revised and updated fonts, and some new organizational and access features which should be helpful. The package features over 450 fonts at a price of about $1 per font - the best deal per font we've ever offered. Complete Fonts Release #20 can be ordered in advance and will ship by the end of February. The package is just $429 or you can get a great combo deal if you join the Font Club. Plus, if you have the older version there's an inexpensive upgrade option. We'll have more info and details in the next update. If you want to pre-order just go to http://www.fontcraft.com/store/specials.html Dave (Note: to leave the list, just send an email to update-unsubscribe@fontcraft.com) Scriptorium Fonts: http://www.fontcraft.com Ragnarok Press: http://www.ragnarokpress.com Customer Support: 1-800-797-8973 From frednader@rogers.com Sat Feb 22 17:35:06 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 22 Feb 2003 17:35:06 -0500 (EST) (envelope-from frednader@rogers.com) for ; Sat, 22 Feb 2003 17:35:06 -0500 (EST) Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 22 Feb 2003 17:35:05 -0500 Received: from fep03-mail.bloor.is.net.cable.rogers.com (fep03-mail.bloor.is.net.cable.rogers.com [66.185.86.73]) for ; Sat, 22 Feb 2003 14:27:07 -0500 (EST) Received: from cr186242-a.rogers.com ([24.157.69.13]) by fep03-mail.bloor.is.net.cable.rogers.com for ; Sat, 22 Feb 2003 14:27:02 -0500 X-Sender: frednader@rogers.com@pop Date: Sat, 22 Feb 2003 14:26:44 -0500 To: Luc Devroye From: Freddy Subject: Re: Heine's Guyot X-Authentication-Info: Submitted using SMTP AUTH LOGIN at fep03-mail.bloor.is.net.cable.rogers.com from [24.157.69.13] using ID at Sat, 22 Feb 2003 14:27:02 -0500 Status: R --=======3C456D81======= Content-Transfer-Encoding: 8bit Luc: They say it was made from a photocopy, but the majority of the characters there are not even Guyot's. Also, the A, V and W will most certainly get clogged up at anything under 12 point. Strange deal... what were they thinking? Anyhow, I was talking to Bill Troop about it last night, and he was furious when he saw Tribute. Guyot is his favourite French historical designer (and he claims that he will never forgive me for not taking more than a few days to work on Day Roman before releasing it). This morning he calls me up again and says that he posted something to the typographi.ca thread about it. I find it hilarious that he's saying Day Roman is miles ahead of Tribute. There go Apostrophe vs. Emigre again, except this time on a level design field. Sure I'm interested in the Softmaker XXL CD. I think that Softmaker will be around for a long long time without anyone being able to touch them. But you never know, if Melissa Hunt gets pissed enough, she just might decide to sell the house to go after them in court -- though I doubt she'd do anything like that. Softmaker is not the real culprit behind their trademark evasion tactics. This sort of thing is just a side effect of people's font data available for very cheap. Remember that URW was the company that did ALL the early digitizations for Lino and Bethold and ITC, long before Adobe refined them with Postscript. Back then, URW's contracts stipulated that the customer pays for digitizing the photo stuff AND URW gets to do whatever it wants with the resulting data (short of trademark infringement, of course). That's how URW built their own library, which has been the biggest font library in the world for more than 15 years now. After building their own library from other people's drawings, they still had tons of Ikarus data sitting on their drives, and huge possibilities to still make money out of them, by selling data conversions to whomever wants it. So now we have people like Softmaker, Brendel, Sean Cavanaugh, buying data out for cheap (say about $5k for 250 fonts), renaming and selling. If the data is available for purchase in a free marketplace, the customer cannot really be faulted for buying it, so a company like Softmaker would never lose in court unless that same court rules that URW selling Ikarus-to-Postscript conversions is illegal, which will probably never happen because URW most likely has all the contracts that were made between the foundries and Peter Karrow in the seventies and eighties. In Softmaker's case, one would have to be content about the fact that it at least would take a sort of initial investment to start such a venture up and running, as opposed to some asshole just downloading a bunch of fonts from the web then using his Yamaha burner to make CDs and sell them at $20 a pop. One would have to pay URW about $20k to get a decent thousand font library, but once the transaction is made and CDs start selling at $60. it's only a matter of very short time before the investment pays back for itself and starts capitalizing. About that Windows-crasher opentype font: Fontlab does open the file, but the user doesn't see anything in the font because there are no actual drawings in there... just the code in the o cell. Besides, Fontlab wasn't the standard OT production app until late last year. Up until then Adobe's OTFDK was, it can actually open that file now. Also, I don't think people should be validating a claim against only a certain program. The only claim we made was that the font reboots Windows, and it does. Anyone can double-click on it and see the results for themselves. How can such a simple claim be refuted if the font does exactly what we say it does? It's amazing how many people don't actually differentiate between file formats and the tools that are used to make those files. Fontlab is just a GUI that tries to make OT visual and easier for the average user. Fontlab still doesn't support many of the very original OpenType features, like one-to-many substitutions for example. Don't feel bad about Nick Shinn, He moved over to the dark side shortly before SOTA's conference of last year. What was he pissed about anyhow? I don't recall you saying anything bad about him or his work. If Shinn gets too loud or unruly with you, let me know and I'll put him in his place. I know a few things about him that can upset a few people. I know where his Richler font really came from. I also remember him asking to pay him $200 "under the table" for Fontesque Sans. I gave him that money over a sushi dinner downtown, and he said "I can't give you a receipt, and please let this be our little secret." If Fontshop finds out about this little transaction of ours, they would have a few things to say or do to Shinn. I remember leaving that dinner with a hell of a lot less respect for Nick Shinn than I had before. Fallen heroes, the story of my life. Freddy %Q Tom Dukich %N 23062 %B http://tomdukich.com/links.html %T Tom Dukich has links on Bezier curves. %d Jun 2 2003 %L BEZ %E duksmitz@cet.com %Q Lutz Schweizer %N 23061 %B http://home.arcor.de/lutz.schweizer/ %d Mar 4 2003 %T Lutz Schweizer (b. 1931, near the black forest) lives in Alling, near Munich. On his page, Von ASCII zu Unicode, he discusses many kinds of code pages, and laments the lack of ligatures in Unicode for Fraktur. He also has many links on Fraktur and some historical remarks. %E lutz.schweizer@arcor.de %L FR GER %Z In my pages on "ASCII to Unicode" and Fraktur I discuss Unicode for Fraktur, especially for ligatures, where codes are still lacking (except for st, with "s" being the "long" s). I think that it would only be required to supplement the Unicode table FB00 for "Alphabetic presentation forms" (www.unicode.org/charts/PDF/UFB00.pdf), where there is sufficient spare capacity. I addressed the person in DIN (the German Standards Institute) responsible for Unicode, and while at first he consented to look for the matter, later he did not respond any more. (Well, I realize there are more important things). So I ask you: Do you know any people who are occupied with this Unicode standardizing matter, and could help? %N 23060 %B http://home.arcor.de/lutz.schweizer/schrifterlass.html %Q Bormanns Schrifterlass, Lucian Bernhard und der Völkische Beobachter %L FR GER BAST %T Lutz Schweizer published the text of the decree of January 3, 1941 signed by M. Bormann on behalf of the Nazi party. He declares: "Die sogenannte gotische Schrift als eine deutsche Schrift anzusehen oder zu bezeichnen ist falsch. In Wirklichkeit besteht die sogenannte gotische Schrift aus Schwabacher Judenlettern." [It is wrong to consider the gothic script (Fraktur) as a national German script. It is in fact nothing but Jewish Schwabacher characters.] Lucian Bernhard (1883-1972), one of Germany's main designers, had created Bernhard Fraktur (1913), and this was subsequently used in Der Völkische Beobachter, the central party newspaper and publication. It is ironic, Schweizer notes, that Lucian Bernhard himself was Jewish. On the topic Bormann's decree, Heinrich Heeger wrote Verbot Deutschen Schrift Durch Adolf Hitler in volume 55 (1997) of Die deutsche Schrift. %d Mar 4 2003 %E lutz.schweizer@arcor.de %Z Bormann-Erlass.pdf %Z HeinrichHeeger-VerbotDeutschenSchriftDurchAdolfHitler-DdSNr55-1997.pdf %Q Hans-Georg Soldat %N 23059 %B http://www.hgsoldat.de %E soldat@hgsoldat.de %L DD %T %d Mar 4 2003 %L FR GER BAST %d Mar 4 2003 %N 23058 %B http://www.spd-schwabach.de/frameset.htm?/service/schrift/ %Q Fraktur: main dates %T Main dates in the history of Fraktur.

Gothic script (gotische Schrift) developed in France in the middle ages during the time of the gothic architecture.
Gutenberg's bible in Latin (1455) contains this gothic script.
1470-1530: All Lutherian books in Germany are printed in the (renaissance) Schwabacher style. The first one in this style was by the Augsburg-based printer Johannes Bämler (1472). It blossoms around 1490 in "Schedelschen Weltchronik", printed by Anton Koberger, and in Dürer's "Apokalypse" (1498).
1517: The Schwabacher script developed into the "Fraktur". Dürer uses this Fraktur script.
19th century, early 20th century: all styles of Fraktur are further enhanced, generalized, extended and refined.
Until Bormann's "Schrifterlass" decree in 1941, nearly all publications, newspapers and books in Germany are printed in Fraktur. After that date, it became a "forbidden" script in Germany.
You perhaps have got this one Berthold Fototypes. Body Types. Vol. I: Synopsis, Katalog, Layouts (577 Type Faces). Erläutert und zusammengestellt von Götz Gorissen. Berlin: H. Berthold AG u. München: Callwey, 1980. Gr.4o. LXXI, (1), 775, (1) S. OLwd mit Schutzumschlag. (Berthold Fototypes E 2, I). - * Umfassendes Schriftenkompendium der abendländischen Textschriften. Jede Schrift wird in bis zu 20 Textblöcken unterschiedlicher Größe dargestellt. [SW: Schriftmusterbuch; Schrift; Typographie] I have this final one: Berthold Types. Alle Berthold-Schriften in 2 Bänden (cplt. in 2 Bdn.). Berlin und München: Berthold/Callwey 1985. Zus. 1547 S. Ill. OLwd. mit OU. inm OSchmuckschuber (Schuber etwas berieben, sonstgute Exemplare). [Bestell-Nummer: 13544] DEM 136.91 Ein MUß für jeden Typographie -Interessierten! See the site http://www.zvab.com which has more font books like this. I have seen in your library list that you do not have a Monotype catalog either. They offered excellent fonts. much better than those from Linotype due to the matrix (kerning etc.) restrictions for slug-composing machines. Regards. Ulrich FUDGE - 16 fonts!! . view them here.. . Fudge 1 http://www.AustralianFaces.com/PDF%20Files/FUDGE%201.pdf . Fudge 2 http://www.AustralianFaces.com/PDF%20Files/FUDGE%202.pdf DEFTONE .. our own take on a great script... . http://www.AustralianFaces.com/PDF%20Files/Deftone%20AF.pdf =====|===== AUSTRALIAN FACES http://www.AustralianFaces.com Sales: Tel Toll Free 1300-7-FONTS (1300 7 36687) Fax Toll Free 1300-7-FAXES (1300 7 32937) Toll Free calls attract a local call charge only. Normal charges apply for cellular network or out-of-Australia calls. =====|===== TypeDesigner&Punchcutter from Gutenberg until today Compiled by Hans Reichardt Frankfurt am Main 2/2002 Selected bibliography American Proprietary Typefaces, 1998 ATYPI: Lettres Francaises, 1998 Philip Bertheau u.a.: Buchdruckschriften im 20. Jahrhundert, 1995 Sebastian Carter: Twentieth Century Type Designers, 1995 Ron Eason/Sarah Rookledge: Rookledgés International handbook of typedesigners: a biographical directory, 1991 Ron Eason/Sarah Rookledge: Rookledgés International Directory of Type Designers, 1994 Haagse Letters, 1996 Mac McGrew: American Metal Typefaces of the Twentieth Century, 1993 Günter Schuler: Der Typo Atlas, 2000 P. K. Thomajan: American Type Designers, 1952 Filande http://www.kyamk.fi/lehti/0602/sivu2.html From jtombeur@noos.fr Mon Mar 10 12:48:13 2003 From: "Jef Tombeur" Juste au cas ou Th. L. n'aurait pas eu l'info, et parce que, à part JiDé qui veut m'égorger pour d'autres raisons, je n'ai pas trop peur de vos représailles, voici repro de la partie essentielle d'un communiqué commercial... En gros, la fonderie E+F vient de passer toutes ses polices au format OT... Ceci étant, j'avoue ne pas avoir tout compris (bon, je n'y ai pas passé non plus longtemps). Pour la compatibilité entre Mac et PC. ils ont fait des polices individuelles ? Ce qui ferait qu'on aurait autant de polices OT que de T1 préexistantes, et que si on applique un enrichissement (gras. ital.), on n'a pas la bonne police mais une oblicisation ou... ou quoi au fait en français ? Mise en gras ? Graissage ? C'est ce que je dois comprendre ? Logiquement, c'est ça pour la plupart des programmes, hormis ID qui ne permet l'oblicisation que par paramétrage, puisque, avec un OT telle Arial+l'icône I activée, c'est la police Arial Ital qui se charge dans MSWord (puisque j'ai une Arial OT normale, une ital.. une grasse, un ital. grasse, une grasse normale dans mon dossier système des polices sous Windows). C'est la traduction de _Single font_ que je peine à trouver... Ou il y a un truc qui m'échappe... Maintenant, comme _electronic modification_ ne me semble pas très heureux pour désigner le processus, je me demande si ce _single font_ n'est pas approximatif aussi... Hello Luc. I have just discovered your treasure chest of information on typography and am especially interested in your sections on type foundries. I am in the process of going through it all as I have just launched a new section of the Briar Press site. The section is on pin marks and we are hoping it will help people identify some of the old type styles. The majority of dates on our listings are taken from Annenberg, but we are missing a lot of dates, especially non US foundries. I am wondering if you would have a moment to browse the pin marks section. Perhaps you might be able to help us fill in some of the information. Do you collect type also?? Look forward to hearing from you. Regards -- Elizabeth Nevin The Briar Press http://www.briarpress.org Author : Mairet, Joseph. Title : Les carnets de Joseph Mairet, ouvrier typographe : histoire de la Sociñ'ñtypographique parisienne et du Tarif, 1839-1851. Published : [La Plaine-Saint-Denis : AFIG], 1995. Author : Shipcott, Grant, 1956- Title : Typographical periodicals between the wars : a critique of the Fleuron, Signature, and Typography / Grant Shipcott. Published : Oxford : Oxford Polytechnic Press, 1980. Author : Anderson, Irene. Title : Rock paintings and petroglyphs of South and Central Africa, 1959 - 1970; a bibliography. Published : Johannesburg, University of Witwatersrand, Department of Bibliography, Librarianship and Typography, 1971. Author : Nordlunde, Carl Volmer, 1888- Title : Letter from a Danish typographer, by C. Volmer Nordlunde. Published : New York, The Typophiles, 1967. Author : McMurtrie, Douglas C. (Douglas Crawford), 1888-1944 Title : Modern school of typography and its present status, by Douglas C. McMurtrie. Published : [Toronto, 1934] Author : Stone, Lee Alexander, 1879- Title : The story of phallicism, by Lee Alexander Stone, M.D., with other essays on related subjects by eminent authorities; introduction by Frederick Starr. Published : Chicago, P. Covici, 1927. From highwoods@hvc.rr.com Mon May 5 13:30:08 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 5 May 2003 13:30:08 -0400 (EDT) (envelope-from highwoods@hvc.rr.com) Received: from mail.cs.mcgill.ca (mail.CS.McGill.CA [132.206.51.234]) for ; Mon, 5 May 2003 13:30:08 -0400 (EDT) Received: by mail.cs.mcgill.ca (Postfix) id 278C063; Mon, 5 May 2003 13:30:08 -0400 (EDT) Delivered-To: luc@cs.mcgill.ca Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Mon, 5 May 2003 13:30:08 -0400 (EDT) Received: from ms-smtp-03.nyroc.rr.com (ms-smtp-03.nyroc.rr.com [24.92.226.153]) for ; Mon, 5 May 2003 13:30:07 -0400 (EDT) Received: from [24.161.84.71] (hvc-24-161-84-71.hvc.rr.com [24.161.84.71]) for ; Mon, 5 May 2003 13:30:07 -0400 (EDT) User-Agent: Microsoft Outlook Express Macintosh Edition - 5.01 (1630) Date: Mon, 05 May 2003 13:26:00 -0400 Subject: Re: My Stolen Fonts! To: Luc Devroye Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Status: R Dear Luc: Please excuse the abruptness of my initial email. I did not expect your responsiveness and am overwhelmed by it. As for how Bitstream and Linotype came by my fonts, I have no direct knowledge but I can give you some idea of the formative process of Amelia and other fonts I have designed. Some time after I digitized amelia (in Fontographer) from my original drawings, I compared the letter forms with the pirated versions and, not surprisingly, found them wanting. It's strange and ironic that these bastard versions apply the same typographic tricks Amelia was designed as a departure from. Amelia was conceived in the early sixties at a time when hope was in the wind. It looks to the East for inspiration but is firmly rooted in the classical tradition it turns on end. I named it after my newly born daughter who is now an artist, in her third year of nursing school and the mother of three children. Somehow, Amelia has imparted meaning. It was simultaneously used by the Beatles and others as a rock anthom, a symbol of the sixties, science fiction, the corporate world, psychology and (among a host of others) computers, to which, I might add, in hindesite, it anticipates. In closing, I would like to compliment you on the informative quality of your website and thank you fo your response. Sincelely, Stan Davis From: Stan > From: Luc Devroye > Date: Sun, 4 May 2003 20:24:24 -0400 (EDT) > To: highwoods@hvc.rr.com > Subject: Re: My Stolen Fonts! > > Stan: I did not know that, sorry! > I will correct my pages tonight, late. > If they "stole" Amelia, do you have more > information on the process--who designed > the "copy", what exactly happened? > > Luc From graball@ccsi.com Tue May 6 01:37:38 2003 We're migrating the entire site - all 1+ gigabytes of it - to a new host. There are a number of reasons for this, but they boil down to the fact that Yahoo Website Services has become more and more inadequate in providing vital services our site needs. This came to a head when we tried to implement some changes in our online store and YWS's configuration made it unacceptably difficult to accomplish. Our resolve to move the website was reinforced by the ongoing problems with the YWS mail server which has caused repeated loss of incoming mail and a lot of distress to customers trying to reach us that way. Our new host is called Hostasaurus. Aside from the cute name, they offer much better throughput and site speed, a great reputation for reliability and customer support, plus complete support for the Miva Scripts on which our online store runs. One of the big plusses of this move is that it will allow us to fully implement online ordering with immediate download of all of our packages - something people have been demanding for a long time. We expect single font orders to go online next week with larger packages to follow. The catch with all of this is that this sort of transfer be attended by some intermittent problems, starting with some sort of period of interrupted site access and perhaps some bugs from the new configurations after the site is transferred. That's the reason for this note - to give everyone fair warning that the site may behave strangely for a few days starting this Wednesday evening. If you've got an order you want to place we recommend placing it Tuesday if you can. During the shakedown period the old site will still be online. but you won't be able to access it at http://www.fontcraft.com. which will be dedicated to the new site. However, if you run into problems with the new site, you will still be able to access the old version for several weeks at an alternative address - http://www.ragnarokpress.com By the way, there was something wrong with the address for the new PDF catalog in the last newsletter. The proper address is now http://www.fontcraft.com/catalog.pdf - it's a 10mb download, but well worth a look. If you'd like a quick look at what's likely to be our next new font release, just go to http://www.fontcraft.com/yoshitoshi.jpg Look for the next newsletter soon. Dave (Note: to leave the list, just send an email to update-unsubscribe@fontcraft.com) Scriptorium Fonts: http://www.fontcraft.com Ragnarok Press: http://www.ragnarokpress.com Customer Support: 1-800-797-8973 %Q Infinitype %N 23057 %B InfiniType--Catalog.pdf %T A list of name equivalences as published by Infinitype itself. Abbreviations: [LETR] Letraset (Agfa Monotype), [ITC] International Typeface Corporation (Agfa Monotype), [B] Bitstream, [BERT] Berthold, [MONO] Monotype (Agfa Monotype), [OLIVE] Fonderie Olive, [STEPH] Stephenson Blake, [ATF] American Typefounders, [NEUF] Neufville, [WAGN] Wagner, [URW] URW++, [VGC] VGC Corporation, [NEBIO] Nebiolo, [SIMON] Simoncini, [CHUR] Churchward.

Aargau.................... Aachen [LETR]
Adelon..................... Albertus [MONO]
Alfredo.................... Algerian [LETR]
Allstar...................... Princetown [LETR]
Almeria.................... Americana [ATF]
Ancona.................... Akzidenz Grotesk [BERT]
Antigone................. Antique Olive [OLIVE] , Incised 901 [B]
Artistic..................... Ariston [BERT]
Avignon................... ITC Avant Garde Gothic [ITC]
Baskerville Nova...... ITC New Baskerville [ITC]
Belfort..................... Berliner Grotesk [BERT]
Benjamin................. ITC Benguiat [ITC]
Benjamin Gothic..... ITC Benguiat Gothic [ITC]
Benson.................... Belwe [LETR], Kuenstler 816 [B]
Bergamo................. Bembo [MONO], Aldine 401 [B]
Bilbao...................... Blippo [FOTO]
Bodoni..................... Bauer Bodoni [NEUF], Modern 405 [B]
Bodoni Recut.......... Bodoni Antiqua [BERT]
Bodoni Standard..... URW Bodoni [URW]
Book PS................... ITC Bookman [ITC]
Boston..................... Beton [NEUF]
Bravo....................... Bramley [LETR]
Cambridge.............. Centaur [MONO], Venetian 301 [B]
Canyon.................... Candida [NEUF]
Casad....................... Caslon Adbold [ATF] [BERT]
Caslon...................... ITC Caslon 224 [ITC], Dutch 785 [B]
Caslon Elegant........ Caslon 540 [LETR], Dutch 771 [B]
Chantilly.................. Gill Sans [MONO] , Humanist 521 [B]
Cheltenham............ ITC Cheltenham [ITC]
Clearface................. ITC Clearface [ITC]
ClearGothic............. Clearface Gothic [ATF]
Concept................... Concorde [BERT]
Curacao................... Croissant [LETR]
Dessau..................... ITC Bauhaus [ITC]
Durango.................. Dynamo [LETR]
Elegant Script.......... Englische Schreibschrift [BERT]
Ennis........................ ITC Eras [ITC]
Entebbe, Elmore..... Enviro [LETR]
Falcon...................... Flash
Farnham.................. Frankfurter [LETR]
Fraktur.................... Fette Fraktur [WAGN]
Franklin Gothic........ ITC Franklin Gothic [ITC]
Fremont.................. Friz Quadrata [VGC] [ITC]
Function.................. Futura [NEUF]
Function Display...... Futura Display [NEUF]
Gainsborough......... Glastonbury [LETR]
Garamond SM......... Berthold Garamond [BERT]
Garamond Elegant Letraset Garamond [LETR]
Garamond Nova..... ITC Garamond [ITC]
Garamond Std........ URW Garamond [URW]
Giulio....................... Gillies [LETR]
Glasgow Serial......... Polo
Gotisch.................... Fette Gotisch [WAGN]
Goudita................... Goudy Italian
Grenoble................. Britannic [STEPH]
Handmade Script.... Freestyle Script [LETR]
Hobson.................... Hogarth Script [TYPO]
Honeymoon............ University Roman [LETR]
Istria........................ ITC Italia [ITC]
Italian Garamond.... Simoncini Garamond [SIMON]
Jessica Serial............ Joanna [MONO]
Josephus Brush......... Churchward Brush [CHUR]
Jugendstil................ Arnold Boecklin
Kaleidoscope........... Kaufmann [ATF]
Koblenz................... ITC Kabel [ITC]
Kremlin Script.......... Kuenstlerschreibschrift
Lyon......................... Life [SIMON] , Dutch 806 [B]
Macao.....................Mandarin [ATF]
Malaga.................... Staccato 222 [B]
Melbourne..............Milton, Musketeer
Melville....................Murray Hill [ATF]
Mercedes................. Aral
Metaphor................ Latin 725 [B]
Mexico.....................Media
Micro.......................Microgramma [NEBIO]
MicroSquare............ Square 721 [B]
Newcastle................ News Gothic [ATF]
Old Blackletter........Old English
Pedro....................... Dom Casual [ATF]
Persistent................. Perpetua [MONO], Lapidary 333 [B]
Pizzicato.................. Plaza [LETR]
Quadrat................... Friz Quadrata [ITC], Flareserif 816 [B]
Salmon.................... Stilla
Square Serif............. ITC Lubalin Graph [ITC]
Stafford................... Rockwell [MONO]
Sunset...................... ITC Souvenir [ITC]
Tampa..................... Tango [LETR] [ATF]
Tampico.................. Tarragon [LETR]
Toledo..................... Trooper [VGC]
Typewriter............... ITC American Typewriter [ITC]
VAG Rounded......... Volkswagenschrift [BERT]
Verona....................Windsor [STEPH]
Violin Script............. Vladimir Script
Winona.................... Victorian [LETR]
%L NM %d Nov 15 2010 ################################################################### Infinitype: Name correspondences as compiled by Infinitype itself. Aargau.................... Aachen [LETR] Adelon..................... Albertus [MONO] Alfredo.................... Algerian [LETR] Allstar...................... Princetown [LETR] Almeria.................... Americana [ATF] Ancona.................... Akzidenz Grotesk [BERT] Antigone................. Antique Olive [OLIVE] , Incised 901 [B] Artistic..................... Ariston [BERT] Avignon................... ITC Avant Garde Gothic [ITC] Baskerville Nova...... ITC New Baskerville [ITC] Belfort..................... Berliner Grotesk [BERT] Benjamin................. ITC Benguiat [ITC] Benjamin Gothic..... ITC Benguiat Gothic [ITC] Benson.................... Belwe [LETR], Kuenstler 816 [B] Bergamo................. Bembo [MONO], Aldine 401 [B] Bilbao...................... Blippo [FOTO] Bodoni..................... Bauer Bodoni [NEUF], Modern 405 [B] Bodoni Recut.......... Bodoni Antiqua [BERT] Bodoni Standard..... URW Bodoni [URW] Book PS................... ITC Bookman [ITC] Boston..................... Beton [NEUF] Bravo....................... Bramley [LETR] Cambridge.............. Centaur [MONO], Venetian 301 [B] Canyon.................... Candida [NEUF] Casad....................... Caslon Adbold [ATF] [BERT] Caslon...................... ITC Caslon 224 [ITC], Dutch 785 [B] Caslon Elegant........ Caslon 540 [LETR], Dutch 771 [B] Chantilly.................. Gill Sans [MONO] , Humanist 521 [B] Cheltenham............ ITC Cheltenham [ITC] Clearface................. ITC Clearface [ITC] ClearGothic............. Clearface Gothic [ATF] Concept................... Concorde [BERT] Curacao................... Croissant [LETR] Dessau..................... ITC Bauhaus [ITC] Durango.................. Dynamo [LETR] Elegant Script.......... Englische Schreibschrift [BERT] Ennis........................ ITC Eras [ITC] Entebbe, Elmore..... Enviro [LETR] Falcon...................... Flash Farnham.................. Frankfurter [LETR] Fraktur.................... Fette Fraktur [WAGN] Franklin Gothic........ ITC Franklin Gothic [ITC] Fremont.................. Friz Quadrata [VGC] [ITC] Function.................. Futura [NEUF] Function Display...... Futura Display [NEUF] Gainsborough......... Glastonbury [LETR] Garamond SM......... Berthold Garamond [BERT] Garamond Elegant Letraset Garamond [LETR] Garamond Nova..... ITC Garamond [ITC] Garamond Std........ URW Garamond [URW] Giulio....................... Gillies [LETR] Glasgow Serial......... Polo Gotisch.................... Fette Gotisch [WAGN] Goudita................... Goudy Italian Grenoble................. Britannic [STEPH] Handmade Script.... Freestyle Script [LETR] Hobson.................... Hogarth Script [TYPO] Honeymoon............ University Roman [LETR] Istria........................ ITC Italia [ITC] Italian Garamond.... Simoncini Garamond [SIMON] Jessica Serial............ Joanna [MONO] Josephus Brush......... Churchward Brush [CHUR] Jugendstil................ Arnold Boecklin Kaleidoscope........... Kaufmann [ATF] Koblenz................... ITC Kabel [ITC] Kremlin Script.......... KuÃƒÃ nstlerschreibschrift Lyon......................... Life [SIMON] , Dutch 806 [B] Macao.....................Mandarin [ATF] Malaga.................... Staccato 222 [B] Melbourne..............Milton, Musketeer Melville....................Murray Hill [ATF] Mercedes................. Aral Metaphor................ Latin 725 [B] Mexico.....................Media Micro.......................Microgramma [NEBIO] MicroSquare............ Square 721 [B] Newcastle................ News Gothic [ATF] Old Blackletter........Old English Pedro....................... Dom Casual [ATF] Persistent................. Perpetua [MONO], Lapidary 333 [B] Pizzicato.................. Plaza [LETR] Quadrat................... Friz Quadrata [ITC], Flareserif 816 [B] Salmon.................... Stilla Square Serif............. ITC Lubalin Graph [ITC] Stafford................... Rockwell [MONO] Sunset...................... ITC Souvenir [ITC] Tampa..................... Tango [LETR] [ATF] Tampico.................. Tarragon [LETR] Toledo..................... Trooper [VGC] Typewriter............... ITC American Typewriter [ITC] VAG Rounded......... Volkswagenschrift [BERT] Verona....................Windsor [STEPH] Violin Script............. Vladimir Script Winona.................... Victorian [LETR] Die bezeichneten Schriftnamen sind Marken der folgenden Hersteller oder verbundener Unternehmen: [LETR] Letraset (Agfa Monotype) â€šÃ„Â¢ [ITC] International Typeface Corporation (Agfa Monotype) â€šÃ„Â¢ [B] Bitstream â€šÃ„Â¢ [BERT] Berthold â€šÃ„Â¢ [MONO] Monotype (Agfa Monotype) â€šÃ„Â¢[OLIVE] Fonderie Olive â€šÃ„Â¢ [STEPH] Stephenson Blake â€šÃ„Â¢[ATF] American Typefounders â€šÃ„Â¢ [NEUF] Neufville â€šÃ„Â¢ [WAGN] Wagner â€šÃ„Â¢ [URW] URW++ â€šÃ„Â¢ [VGC] VGC Corporation â€šÃ„Â¢ [NEBIO] Nebiolo â€šÃ„Â¢ [SIMON] Simoncini â€šÃ„Â¢ [CHUR] Churchward ########################################################################################## ---------- From djquinn@calligraphyshop.com Sat May 10 06:32:03 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 10 May 2003 06:32:03 -0400 (EDT) (envelope-from djquinn@calligraphyshop.com) Received: from mail.cs.mcgill.ca (mail.CS.McGill.CA [132.206.51.234]) for ; Sat, 10 May 2003 06:32:03 -0400 (EDT) Received: by mail.cs.mcgill.ca (Postfix) id 031EFBB; Sat, 10 May 2003 06:32:03 -0400 (EDT) Delivered-To: luc@cs.mcgill.ca Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Sat, 10 May 2003 06:32:03 -0400 (EDT) Received: from smtp12.cp.tin.it (unknown [212.216.176.206]) for ; Sat, 10 May 2003 06:32:02 -0400 (EDT) Received: from oemcomputer (62.211.213.245) by smtp12.cp.tin.it (6.7.016) id 3E8423B100CC86A6 for luc@cs.mcgill.ca; Sat, 10 May 2003 12:32:01 +0200 Message-ID: <002401c316e1$c146c840$f5d5d33e@oemcomputer> Reply-To: "DJQuinn Calligraphy Shop" From: "DJQuinn Calligraphy Shop" To: Subject: Hello from Italy! Date: Sat, 10 May 2003 12:48:55 +0200 Organization: The Calligraphy Shop boundary="----=_NextPart_000_0021_01C316F2.846AE300" X-Priority: 3 X-MSMail-Priority: Normal Disposition-Notification-To: "DJQuinn Calligraphy Shop" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2600.0000 Status: R This is a multi-part message in MIME format. ------=_NextPart_000_0021_01C316F2.846AE300 charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi Luc. just to say that there much new for Calligraphy in Italy... that perhaps = you'd linke to mention.. Best wishes Daniel Daniel J. Quinn - The Calligraphy Shop Via Valori, 2r - 50132 - FIRENZE - Tel. (39) 055 57.36.46 - Fax (+39) = 055 5520.362 email: djquinn@calligraphyshop.com - home page: www.calligraphyshop.com From s9874058@student.uni-ak.ac.at Fri May 16 14:05:24 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Fri, 16 May 2003 14:05:24 -0400 (EDT) (envelope-from s9874058@student.uni-ak.ac.at) Received: from mail.cs.mcgill.ca (mail.CS.McGill.CA [132.206.51.234]) for ; Fri, 16 May 2003 14:05:24 -0400 (EDT) Received: by mail.cs.mcgill.ca (Postfix) id 7C29B180; Fri, 16 May 2003 14:05:24 -0400 (EDT) Delivered-To: luc@cs.mcgill.ca Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Fri, 16 May 2003 14:05:24 -0400 (EDT) Received: from merlin.uni-ak.ac.at (merlin.uni-ak.ac.at [193.171.148.200]) for ; Fri, 16 May 2003 14:05:23 -0400 (EDT) Received: from mkl_erben7.uni-ak.ac.at ([193.170.136.45]) by merlin.uni-ak.ac.at with esmtp (Exim 3.35 #1 (Debian)) id 19GjZy-0004Ai-00 for ; Fri, 16 May 2003 20:05:14 +0200 X-Sender: s9874058@pop.student.uni-ak.ac.at Message-Id: Date: Fri, 16 May 2003 20:07:18 +0200 To: From: Julia Krauth Subject: 3d fonts Status: R Dear Luc. my name is Julia Krauth and I'm a graphic design student at the Univerity of applied Arts in Vienna, Austria. Some time ago I took a look at your site which turned out to be of great interest for me. Your collection of links is really amazing and it's a great deal to use it for free - thanks a lot for that - it's a very fine lexicon. In the moment I am working on a project (my final thesis) on 3d-typography. It wasn't that hard to find historical material on this topic but I am still lacking in new stuff. After looking at your site I wanted to ask if you probably have any prefered websites or other tips where I can search for new ideas or you maybe know some right now on-going projects on dimensional typography. Actually my presentation in front of the commision will be in the (late) middle of June. So I would need some tips (if you have time for that) quite soon. Also, if you are interested, I could send you my collection of links by this time. With best greetings from a sunny Vienna (summer is coming and I spend my time in university, wohh) Julia From HLohner@aol.com Mon Jun 2 15:59:13 2003 June bring 2 new font sets and 2 new CD collections to Harold's Fonts. HARLEQUIN is a playful free font that you can download and use on your computer right now. (There are over 100 free fonts on my site now.) My popular monogram fonts are joined by the new HEXAGRAMS&OCTOGRAMS, a set of 4 fonts for creating hexagonal and octagonal monograms. If you haven't tried the free oval monogram font, that's a good place to start. VOLUME FOUR of my CD font collections debuts this month. Contains all the new and revised fonts since Volume 3, which is still available. These signed. limited-edition CDs contain over 60 fonts each, in both TrueType and Type 1 for Windows and for Mac. The first 2 Harold's Fonts CD's are sold out. I'm as surprised as anyone by the demand. For those of you who missed them, I'm releasing a new disk BEST OF VOLUMES 1&2. If you've read down this far :-) let me just close with thanks for all the kind support. Have a great summer (or winter if you're in the southern hemisphere) From graball@fontcraft.com Mon Jun 2 17:59:18 2003 SCRIPTORIUM UPDATE #146 Featured Font - Yoshitoshi http://www.fontcraft.com/scriptorium/index.html More New Fonts - Caswallon Family http://www.fontcraft.com/scriptorium/caswallon.html Vacation News - Important (See Below) Ordering Online? Try Paypal! http://www.fontcraft.com/store Instant Online Delivery http://www.fontcraft.com/store Psychedelic Fonts Updated http://www.fontcraft.com/scriptorium/psychedelic.html Complete Fonts - Release 20 http://www.fontcraft.com/store/specials.html Font Club Info http://www.fontcraft.com/fontclub Apologies if you get two copies of this. We caught a couple of errors part way through processing and had to correct it and start over. NEW FONT RELEASE - Yoshitoshi Yoshitoshi is based on a set of hand lettered characters from the turn of the century. They're done in an oriental style very reminiscent of the lettering of Japanese artist Yoshi Toshi, hence the name. They're much more striking and unusual than most other oriental-style fonts like our earlier Suchow font. Plus, Yoshitoshi features a full lower-case character set. To download and try out the demo go to http://www.fontcraft.com/scriptorium and follow the link. CASWALLON FONT FAMILY The original Caswallon font was based on samples of 17th century text script, featuring a decorative upper case character set with clean, basic lower case letters plus some bonus decorative ornaments to add flair to any design. The popularity of the original script style has lead us to develop a full family of associated fonts, including the recently released Caswallon Ornament set, plus the brand new Caswallon Archaic Text font and Caswallon Alternate script style. These new fonts are now available individually, or you can get the complete Caswallon set together at a discounted price of only $29 for all four fonts. It's a great set for the look of classic type design from around the year 1700. To check out all the Caswallon fonts just go to http://www.fontcraft.com/scriptorium/caswallon.html VACATION NEWS - READ THIS As some of you already know, we're largely a family business. The main operation of the company is handled by family members and one non-family employee. Those three, plus our two outside and off-site type designers are our whole staff. It's just enough to fill our needs and it keeps our costs low, but it doesn't give us a huge amount of schedule flexibility. Even hard working font purveyors deserve a vacation. The problem is that when we go on vacation, it's a family vacation. Dave. Patricia and the two kids all sort of have to go together, leaving us very short staffed. In prior years this hasn't been a problem because we travelled to relatively civilized lands (like Maine and Cornwall) where we could remain in constant phone and internet contact and essentially maintain a mobile office, so most customers probably didn't even realize we had gone anywhere. This year we're trying something much more audacious and heading for the wilds of the Italian Alps. We have no idea if we'll have reliable internet access or even the ability to make or receive phonecalls on a regular basis. It's quite a challenge for a small business that's known for personal service. We're taking several measures to safeguard against any possible problems during this vacation. One is that we've pushed hard to automate as much of our online ordering and delivery as possible before we go. Another is that we've been training our one non-family staffer to handle new and expanded dutiee. Normally Richard's role is limited to some specialized tasks, but during this vacation he will be fielding some phonecalls, processing orders and doing more basic support as well. We've also invested in some high-tech solutions which will make us more accessible even in the wild Dolomites - but the viability of these technological solutions is still unknown. This vacation is going to run from the 14th through the 28th of this month. During that period if you don't get through by phone right away, please be patient. If you get Richard be nice. be tolerant - he's not as familiar with the product catalog as Patricia and I are. Online ordering should still work the same. and most products will be downloadable instantly. Shipping of CDs should stay on schedule as well. If there are problems we'll get them solved as fast as we can, but complex orders and specialized requests may take longer than normal during this period, and email may not be answered as quickly as you're used to. That said, if you have a complex order I recommend placing it before the 12th so we can ship it before we take off. Oh. and if you happen to have brilliant suggestions or personal experience with getting reliable phone and internet access in the Italian Alps, feel free to email me. ORDERING ONLINE? TRY PAYPAL! One of the things we're considering in order to make it easier to handle orders while we're on the road is to increase the role of PayPal in our order processing. PayPal has made their services very attractive to merchants with some incentives to make their card processing rates competitive with traditional merchant services, plus they interface directly with our ordering system. We're considering making PayPal our exclusive means of online payment during the vacation period, because it will remove the complexity of dealing with processing credit cards from our sole remaining staffer. But at the same time we don't want to inconvenience any customers. I'd love to get any feedback from any of you who have ordered from our site using PayPal or who want to try it out in the next two weeks. PayPal takes all credit cards, plus checks and debits. It's convenient, secure, easy to use and free for the customer. The only catch is that it adds a couple of extra steps to the checkout process. If there's something you need, stop by the store, give it a try and let me know what you think. You can access the store easily from http://www.fontcraft.com/store INSTAANT ONLINE DELIVERY INFO Our recent change of hosting serviceshas made it possible to implement instant delivery of product online through our website. Now, when you order any single font and selected packages you get an immediate email with a link to download the order on the spot, no waiting. If you like Yoshitoshy, for example, you can order it and have it in a matter of a couple of minutes. The same is true for any one of the almost 400 single fonts which are now on our ordering site. plus selected packages - Colonial Fonts, Arts and Crafts, Art Nouveau, Celtic, Psychedelic, Modern, Futuristic, etc. We're in the process of adding more packages to the server as of this week all of our font/art combo packages and all our larger font packages have been added to the list. It's a great step forward in convenience and efficiency. To try it out and see some of the new organizational improvements on our ordering page just go to http://www.fontcraft.com/store PSYCHEDELIC FONTS UPDATED Our Psychedelic Fonts collection has been a popular way to recreate the look of 60s poster art lettering. Now it's even bettwr with the additon of three more fonts. These are the new Bad Acid Outline - a pre-outlined variant of our Bad Acid Font, the recently released Hendrix font and the Romantica Initials font. The new version of the package is available for order now, and if you have the older version you can upgrade for just $15. Info on ordering or upgrading is available from a link on the psychedelic page at: http://www.fontcraft.com/scriptorium/psychedelic.html COMPLETE FONTS - RELEASE 20 Our ultimate font collection is now complete and shipping out. This new edition of our complete fonts set features scores of brand new fonts, many more revised and updated fonts, and some new organizational and access features which should be helpful. The package includes over 450 fonts at a price of about $1 per font - the best deal per font we've ever offered. Complete Fonts Release #20 can be ordered in advance and will ship by the end of February. The package is just $429 or you can get a great combo deal if you join the Font Club. Plus, if you have the older version there's an inexpensive upgrade option. We'll have more info and details in the next update. If you want to pre-order just go to http://www.fontcraft.com/store/specials.html JOIN THE FONT CLUB Our Font Club is now almost a year old, and has been getting more and more popular. A lot of people seem to like the idea of getting the full versions of all our new featured fonts as they're released. You can join the Font Club too, and get new fonts every two weeks, plus a bonus font for joining. You can get all the info at http://www.fontcraft.com/fontclub We're also offering a special package deal. If you order our complete fonts CD at the regular price, you can get a one year Font Club membership thrown in for free. Just go to http://www.fontcraft.com/store/specials.html Dave (Note: to leave the list, just send an email to update-unsubscribe@fontcraft.com) Scriptorium Fonts: http://www.fontcraft.com Ragnarok Press: http://www.ragnarokpress.com Customer Support: 1-800-797-8973 From drone6@borgr1.com Wed Jun 4 15:17:21 2003 Return-Path: Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Wed, 4 Jun 2003 15:17:21 -0400 (EDT) (envelope-from drone6@borgr1.com) Received: from mail.cs.mcgill.ca (mail.CS.McGill.CA [132.206.51.234]) for ; Wed, 4 Jun 2003 15:17:21 -0400 (EDT) Received: by mail.cs.mcgill.ca (Postfix) id 669B0114; Wed, 4 Jun 2003 15:17:21 -0400 (EDT) Delivered-To: luc@cs.mcgill.ca Received: from relay10.cs.mcgill.ca (relay10.CS.McGill.CA [132.206.3.88]) for ; Wed, 4 Jun 2003 15:17:21 -0400 (EDT) Received: from omta02.mta.everyone.net (sitemail3.everyone.net [216.200.145.37]) for ; Wed, 4 Jun 2003 15:17:20 -0400 (EDT) Received: from sitemail.everyone.net (dsnat [216.200.145.62]) for ; Wed, 4 Jun 2003 12:17:13 -0700 (PDT) Received: by sitemail.everyone.net (Postfix, from userid 99) id EA6FEE4BE; Wed, 4 Jun 2003 12:17:12 -0700 (PDT) Date: Wed, 4 Jun 2003 12:17:12 -0700 (PDT) From: robert lile To: luc@cs.mcgill.ca Reply-To: drone6@borgr1.com Content-Transfer-Encoding: 8bit Status: R (Forwarded Message) From: robert lile Reply-To: support@pcizone.com To: luc@cs.mcgill.ca Subject: linotype Date: Wed, 4 Jun 2003 12:10:24 -0700 Subject: Fwd: Infringement of Intellectual Property and Patent Design Rights # 591 Hello. I read your artical on the terror of Linotype. I have just received a letter about a potential lawsuit. I am a one person website who runs a small 2 million hits a month free stuff website called pcizone.com. I don't make any real money from the website, a few dollars a month, my wife hates it. I can't beleive the arrogance of the letter. I simply display font files for download and have a disclaimer about the uses of the fonts. I retrieved all of them from several cdroms that are "shareware", thus it would mean a user can "try before you buy" from the author. I took it as such and displayed them to be freely downloaded on the premise of the shareware concept. The names of the cdroms are "Sharewae 2 the Maxx" produced by Maxx Productions in 1994 and "Shareware Overload Trio" produced by Chestnut Brand CDroms / CDRP Inc. / Runway BBS in 1993. Thank you for your time. Please feel free to contact me at any time. Thank you. Technical Support Team, PCIzone.com email: support@pcizone.com fax: 775-257-8439 Subject: Infringement of Intellectual Property and Patent Design Rights # 591 Date: Tue, 3 Jun 2003 01:18:18 -0700 Dear Sirs. On your website http://pcizone.com you offer typefonts for free download. 14 of these typefonts however, are intellectual property of and registered for Heidelberger Druckmaschinen AG. Heidelberg/Germany, of which Linotype Library GmbH is a wholly-owned subsidiary. Our company has been established to do the type font production, distribution and licensing business for the well-known Linotype Typeface Library and our parent company has authorized us to prosecute all infringements of intellectual property rights in connection with the typeface business in our own name, world-wide. It goes without saying that offering our typefonts Names Trademark Registration in/under no. Arcadia IR 402 646 registered trademark Cascade US 1,261,515 registered trademark Flora DE 1 069 011 registered trademark DE Ty-MR 40 registered design patent Frutiger US 1,189,201 registered trademark Helvetica IR I 335 348 IR II 362 054 US I 825,989 US II 1,203,430 registered trademark DE TY-MR 155 registered patent design Isadora DE 1 051 572 registered trademark Linoscript US 1,276,927 registered trademark Linotext US 1 276 926 Allbut&Daniel. Specimens of Printing Types, Used in the Offices of Allbut&Daniel, Lithographic and Letterpress Printers. Hanley, 1892. American Book-Stratford Press. Type Faces at the American Book-Stratford Press Incorporated. 2 vols. NY: 1938. American Type Founders. A Book of Modernage and Classical Type Faces. A Timely Presentation of Original and Distinctive Creations in Type Faces and Typographic Material, All of Which Will Be Quickly Recognized as most Important Factors in the Achievement of Better-Class Printing and Advertising both Here and Abroad. American Type Founders Co., 1936. American Type Founders. A Composite Showing of Goudy Types: A Pamphlet Supplementing the Specimen Book of 1923 Showing Important Additions to the Goudy Family . American Type Founders Co., 1927. American Type Founders. American Specimen Book of Type Styles. Complete Catalogue of Printing Machinery and Printing Supplies. Originator of Type Fashions. American Type Founders Co., 1912. American Type Founders. American Type Fashions, Being a Few Specimens of Modern Types Originated by American Type Founders Company. 1897. American Type Founders. Book of American Types. ATF Standard Faces. Jersey City: American Type Founders Sales Corp., 1934. American Type Founders. Desk Book of Type Specimens, Borders, Ornaments, Brass Rules and Cuts. Catalogue of Printing Machinery and Printers' Supplies . American Type Founders, 1900. American Type Founders. Pacific Coast Blue Book, Containing Specimens of Type, Printing Machinery, Printing Material. SF&Portland: 1896. (Contains MacKellar's poem, "Printer! Spare the Book.") American Type Founders. Specimen Book and Catalogue 1923. Dedicated to the Typographic Art. American Type Founders, 1923. American Type Founders. Specimen Book of American Line Type Faces. American Point Line, Point Body and Point Set. American Type Founders Co., 1903. American Type Founders. Specimens and Price List of Brass Type, Borders, Ornaments and Brass Rule for the Use of Bookbinders, Boxmakers and Advertising Manufacturers . American Type Founders Co., 1907. American Type Founders. Specimens of Type, Ornaments and Borders, Brass Rules and Dashes, Business Cuts, Society Emblems, Initial Letters, Card and Billhead Logotypes, Newspaper Headings, Check Lines, and other Materials Necessary in the Printing Office. American Type Founders Co., 1896. Angelica Press. Grastorf, Dennis J. Wood Type of The Angelica Press. Brooklyn: 1975. Aston. A Specimen of Types&Ornaments, Used in the Printing-Office of Joseph Aston. Manchester: 1808. B Baltimore Type. Convenient Specimen Book of Type, Rules, Borders, and Electrotype Cuts from the Baltimore Type Foundry. Baltimore: Chas. J. Clary&Co., 1888. Banta Book of Types&Typographical Tips. Menasha: George Banta, 1961. Barnes, A Specimen of Types Actively in Use in the Composing Room of the Barnes Press, Incorporated. NY: 1931. Barnhart Bros.&Spindler. Book of Type Specimens, Comprising a Large Variety of Superior Copper-Mixed Types, Rules, Borders, Galleys, Printing Presses, Electric-Welded Chases, Paper and Card Cutters, Wood Goods, Bookbinding Machinery, Etc., Together with Valuable Information to the Craft. Specimen Book No. 9. Chicago: Barnhart Bros.&Spindler, 1907. Barnhart Bros.&Spindler. Catalog 25-A: Type Faces, Border Designs, Typecast Ornaments, Brass Rule. Selective Specimens of Preferred Materials for Modern Typography. Superior Specialties for Printers. Chicago: Barnhart Bros.&Spindler, 1925. Barnhart Bros.&Spindler. Great Western Type Foundry. Pony Specimen Book and Price List from Barnhart Bros.&Spindler, Incorporated, Manufacturers of Superior Copper-Mixed Type. Comprising a Large Variety of Types, Rules, Borders, Printing Presses, Paper and Card Cutters, Bookbinding Machinery, Etc., Together with Valuable Information to the Craft. Chicago: Barnhart Bros.&Spindler, 1898. Barnhart Bros.&Spindler. Preferred Type Faces. Book Number 10. Barnhart Bros.&Spindler, 1912. Barth. Pacis annis MDCCCXIV et MDCCCXV foederatis armis restitutae monumentum orbis terrarum de fortuna reduce gaudia gentium linguis interpretans principibus piis felicibus augustis populisque victoribus liberatoribus liberatis dicatum. Curante Johanne Augusto Barth. Vratislaviae: Typis Grasii Barthii et Comp., 1818. Bauer. Schriftgiesserei Bauer&Cie. Stuttgart. Gesamt-Probe. Stuttgart: Hoffmannsche Buchdruckerei, ca. 1889. Bauer. Schriftgiesserei Bauer&Comp. Gesammt-Probe unserer Schriften, Initialen, Ornamenten, Einfassungen, Vignetten etc. etc. Stuttgart&Düsseldorf: 1895. Bauer. Specimen Book of Bauer Types. NY: Bauer Type Foundry, ca. 1930. Berthold. H. Berthold Schriftgiessereien und Messinglinien-Fabriken Aktien-Gesellschaft. Berlin, etc.: 1924. (Specimens of Hebrew types.) Berthold-Schriften. Stuttgart: H. Berthold, 1960. Binny&Ronaldson. The Specimen Books of Binny and Ronaldson 1809-1812 in Facsimile. Connecticut: The Columbiad Club, 1936. (Bodoni) Fregi e Majuscole incise e fuse da Giambattista Bodoni, Direttore della Stamperia Reale. A Parma, Nella Stamperia Stessa 1771. Firenze: L. Gonnelli e Figli, 1929. Bodoni. Manuale tipografico del cavaliere Giambattista Bodoni. 2 vols. Parma: Presso la Vedova, 1818. Bodoni. Pel solenne battesimo di S. A. R. Ludovico principe primogenito di Parma tenuto al sacro fonte da sua maestà cristianissima e dalla real principessa delle asturie. Iscrizioni esotiche a caratteri novellamente incisi e fusi. 1774. Bodoni. Saggio di Caratteri di Giambatista Bodoni, Sinora non Pubblicati. Firenze: Luigi Gonnelli&Figli, 1929. Boston Type. Specimen Book from the Boston Type Foundry. Containing also a Complete Price List of Printing Material. Boston: 1892. Boston Type. Specimen of Modern Printing Types, Cast at the Letter Foundry of the Boston Type and Stereotype Company. Boston: Dutton&Wentworth, 1837. Bradbury, Agnew. Specimens of Book and Display Types, Ornamental Borders, Initials, Head&Tail Pieces, Arms, Etc. London: Bradbury, Agnew&Co., and Whitefriars Press, 1900. Bresnan. Specimen Book of Type, Brass Rule and Printers' Material. NY: P. H. Bresnan, 1896. Bruce. Specimens of Printing Types Made at Bruce's New-York Type-Foundry. NY: George Bruce's Son&Co., 1882. Bruce's New York Type Foundry. Type, Borders, Rules, Circles, Ovals, Leads, Slugs, Etc., Etc. Specimens for Printers. NY: V. B. Munson, successor to Geo. Bruce's Son&Co., 1900. C Cambridge University. Oriental Founts Available for Book Composition at the University Press, Cambridge. 1933. Caslon Old Face Roman&Italic cast entirely from matrices produced from the original punches engraved in the early part of the eighteenth century in Chiswell Street, London. London: H. W. Caslon&Co., 1924. (Wilder Bentley the Elder's copy, with tipped-in ten-line poem, "Lines on the Specimen Book of Caslon Old Face . . .", written on the occasion of his donating the book to SFPL.) Caslon, Fry, Wilson. A Specimen of Printing Types, by William Caslon, Letter-Founder to his Majesty [and] A Specimen of Printing Types, by Joseph Fry and Sons, Letter-Founders, Worship-Street, Moorfields, London, 1785 [and] A Specimen of Printing Types. . . . cast in the Letter Foundery of Dr. Alex. Wilson and Sons. Glasgow. 1783. These specimen sheets, along with the article on printing which they illustrate, are from Ephraim Chambers' Cyclopaedia: or, An universal dictionary of arts and sciences . . . . London: 1786. Caslon. A Specimen of Printing Types, by W. Caslon and Son, Letter-Founders to the King. London: C. Whittingham, 1803. (In this copy, the words "and Son" have been marked through in ink, and the words "Junr.&Co." have been added in manuscript. Likewise, the period following "King" has been changed to a comma and the words "Salisbury Square" added in manuscript.) Caslon. A Specimen of Printing Types, by William Caslon, Letter-Founder to His Majesty. London: Galabin&Baker, 1785. Caslon. A Specimen of Printing Types, by William Caslon, Letter-Founder to his Majesty. Caslon, n.d. Folio sheets, disbound. Caslon. Select Specimen of Book and Newspaper Founts of the Caslon and Glasgow Letter Foundries. London: H. W. Caslon&Co., 1850. Caslon. Specimens of Types&Borders and Illustrated Catalogue of Printers' Joinery and Materials. London: H. W. Caslon&Co. Ltd., 1924. Caslon (wood type) Specimen of Wood Letter Founts Plain, Ornamental, and Double-Working, supplied by H. W. Caslon&Co. Letter Founders. London: 1878. Cauderon. Spécimens des encres d'imprimerie de Émile Cauderon et Cie. Paris: Typographie Lahure, 1876. Curwen Press Miscellany. London: Soncino Press, 1931. D Davison. New Specimen of Cast-Metal Ornaments and Wood Types, Sold by W. Davison. Alnwick: 1840. Davy. Specimen of Type &c. in use by J. Davy&Sons at the Dryden Press. London: 1898. De Vinne. The Roman and Italic Printing Types in the Printing House of Theodore L. De Vinne&Co. New-York: De Vinne Press, 1891. De Vinne. Types of the De Vinne Press. Specimens for the Use of Compositors, Proofreaders and Publishers. NY: De Vinne Press, 1907. Deberny&Peignot. Premières Épreuves du Caractère Peignot dessiné par A. M. Cassandre. Paris: 1937. No. 41 of 50 copies; printed for Edwin Grabhorn. Deberny. Fonderie Deberny&Cie, Tuleu&Girard, Srs. Le livret typographique. Spécimen de caractères. Paris: Fonderie de caractères d'imprimerie, 1920. Deberny. La série No 16 des caractères ordinaires de la fonderie Deberny&Cie. Têtes-de-page-culs-de-lampe, initiales. Paris: Fonderie de caractères d'imprimerie de Deberny&Cie., 1894. Deberny. Le livret typographique. Spécimen de caractères. Paris: Fonderie de caractères d'imprimerie, 1912. Delacolonge. Les caracteres et les vignettes de la fonderie du sieur Delacolonge. Lyon: 1773. Deschamps, graveur pour tout ce qui concerne la Typographie. Fonderie de vignettes et ornements typographiques de Deschamps et compagnie. [Paris]: 1839. Single sheet, printed one side only, frenchfold. Dreyfus, John, ed. Type Specimen Facsimiles. Reproductions of fifteen type specimen sheets issued between the sixteenth and eighteenth centuries . London: Bowes&Bowes, Putnam, 1963. Drugulin. Die Schriften der Offizin W. Drugulin. Erster Teil: Werkschriften. Leipzig: 1927. Ducloz. Imprimerie chromotypographique de F. Ducloz a Moutiers-Tarentaise. Specimen. Savoie: 1902. Durouchail. Épreuves de divers ornemens typographiques, gravés sur bois et polytypés, de la collection de P. Durouchail . . . . Paris: l'Imprimerie Royale, 1817. E Enschedé. A Selection of Types from Six Centuries in Use at the Office of Joh. Enschedé en Zonen at Haarlem, Holland. Dedicated to the Friends of the House. 1930. Enschedé. Het middeleeuwsche Gezang Dies est Laetitiae gedrukt met in zand gegoten letters. Haarlem: Joh. Enschedé en Zonen, [1927]. (Hymn printed from type cast in sand.) Enschedé. Letterproef van Oostersche Schriften uit de Lettergieterij van Joh. Enschedé&Zonen te Haarlem. ca.1907. Enschedé. Proef van letteren, Welke gegooten worden in de Nieuwe Haerlemsche Lettergietery van J. Enschedé. Harlem: 1768. (2 copies; c. 1 with mss note at frontis.: "Ex dono Dom. Enschedé. m. Febr. 1776.") Enschedé. Proef. Van Nederduitsche letters en Gothische Initialen uit de XVde Eeuw-Spécimen de caractères Flamands et d'initiales gothiques du XVme siècle-Probe Niederdeutscher Schriften und Gothischer Initialen aus dem Xvten Jahrhundert-Specimen of Dutch Black-Letters and Gothic Initials of the XVth Centur y. Haarlem: Joh. Enschedé en Zonen, 1925. Enschedé. Proeve van drukletteren. Harlem: Lettergieterij van Joh. Enschedé en Zonen, 1841. Enschedé. Proeve van letteren, welke gegoten worden in de Haarlemsche lettergietery van Joh. Enschedé en Zoonen. 1806. Enschedé. Proeven, voortspruitende uit de eerste oprigting eener Javaansche Drukkerij, naar het Ontwerp van P. van Ulissingen, en onder deszelfs toezigt ter lettergieterij van Joh. Enschedé te Haarlem vervaardigd. Épreuves d'une première Imprimerie Javanaise, dont les caractères ont été confectionnés, d'après le projet et sous la direction de P. van Ulissingen, a la fonderie de Jean Enschedé et fils a Harlem. Harlem: chez Jean Enschedé et fils, 1824. Enschedé. Spécimen des Lettres françoises dites Caractères de Civilité des XVIme et XVIIme Siècles dans la Collection Typographique de Joh. Enschedé en Zonen . Haarlem: Joh. Enschedé en Zonen, 1926. Ernesti, J. H. G. Die wol-eingerichtete Büchdrückerij, mit hundert und achtzehen Teutsch-Lateinisch-Griechisch- und Hebräischen Schrifften, vieler fremden Sprachen Alphabeten, musicalischen Noten, Calender-Zeichen, und Medicinischen Characteren . . . . Nuremberg: Johann Andreä Endters seel . Sohn und Erben, 1721. F Farmer, Little. The Reduced Price List and Latest Specimens of Printing Types Etc. (In an Abridged Form.) Cast by Farmer, Little&Co., Type Founders. NY: 1882. Farmer. Specimens from the A. D. Farmer&Son Type Founding Co. Including Book, Newspaper and Jobbing Type, Brass Borders and Rules, with Complete Price List, &c. NY: 1897. (The frontispiece states "Not in the Type Trust.") Figgins, see also Stevens. Fournier, Pierre Simon. Les caractères de l'imprimerie. Paris: Fournier le jeune, 1764. Fry&Steele. A Specimen of Printing Types, by Fry and Steele, Letter-Founders to the Prince of Wales, Type-Street. London: T. Rickaby, 1794. Fry. A Specimen of Printing Types, by Edmund Fry and Co. Letter-Founders to the Prince of Wales. London: 1788. Fry. A Specimen of Printing Types, by Joseph Fry and Sons, Letter-Founders to the Prince of Wales. London: 1786. Fry. Specimen of Modern Printing Types, by Edmund Fry, Letter Founder to the King, Type Street. London: 1824. Fry. Specimen of Printing Types, by Edmund Fry, Letter Founder to the King, and Prince Regent, Type Street. London: 1816. Fry, see also Caslon, Fry, Wilson. G Gando. Specimen des caractères de la fonderie de N. P. Gando à Paris et de son fils Th. S. Gando à Bruxelles. Haarlem: Joh. Enschedé en Zonen, 1917. Gauthier. Épreuves de quelques caractères de la fonderie de Gauthier Frère&C.ie. Besançon, Typographie de L. Gauthier, 1835. Gillé, J. Armorial du royaume de France, ou Recueil d'armes, ecussons, fleurons de la famille royale, de la noblesse de France et des armoiries de nos différentes villes. Cette collection gravée sur cuivre ou bois, est politypée en métal, et se multiplie avec célérité. Paris: chez Gillé, 1814. Price list tipped-in at rear. Gillé. Caractères de la fonderie de J. Gillé, graveur et fondeur du roi pour les Caractères de l'Imprimerie de la Loterie Royale de France,&autres. Paris: 1778. Gillé. Épreuves des vignettes et fleurons gravée sur bois en politypés, des fonderie et imprimerie de Gillé. Paris: de l'Imprimerie de Gillé fils, 1808. Folio sheets, disbound. Goudy. ############; Goudy Greek. Pennyroyal, 1976. Grand Imprimerie de Troyes. Caractères usuels. 1920s? (Balzac's Droll Stories presented as a type specimen.) Griffin Bros. Type Faces: Linotype, Monotype, Lino Display, Makeup, Lockup, Rules, Leads and Slugs. American Foundry Type Specimens Shown in Our Red Catalogue . SF: Griffin Bros. Typesetters, 1937. H Haag-Drugulin. Nachtrag zur Schriftprobe der Offizin Haag-Drugulin AG . Leipzig: 1930. Haag-Drugulin. Schriftproben der Offizin Haag-Drugulin A.-G . Leipzig: 1929. Hagar. Selections from the Specimen Book of Hagar&Co . SF: 1869. Hammer Creek. The Hammer Creek Press Type Specimen Book . NY: John Fass, 1954. Hansen. Specimen Book of Type and Printing Material Manufactured by H. C. Hansen, Type Founder . Boston: 1903. Harpel, Oscar H. Harpel's Typograph or Book of Specimens Containing Useful Information, Suggestions and a Collection of Examples of Letterpress Job Printing Arranged for the Assistance of Master Printers, Amateurs, Apprentices, and Others . Cincinnati: 1870. Hawks&Shattuck's New Specimen Book and Price List of Types, Rules, Borders and Other Printing Material. SF: 1889. Henry Linotyping. Type Book; This Same being intended as an aid to the Worker in Type who seeks proper guidance for his inspiration in the selection of suitable type faces possessing those characteristics of refinement which are most acceptable to good taste in letter-press work . Detroit: Thos. P. Henry Linotyping Co., 1922. Hoffman, Richard J. A Gathering of Types: The printing types accumulated over several score years together with some notes on their origins and use . Van Nuys: Richard J. Hoffman, 1979. I Imprenta Real. Muestras de los punzones y matrices de la letra que se funde en el obrador de la Imprenta Real . Madrid: 1799. Imprimerie Royale. Notice sur les types étrangers du spécimen de l'imprimerie royale. Paris: Imprimerie Royale, 1847. Imprimerie Royale. Spécimen typographique de l'Imprimerie Royale. Paris: 1845. No. 65 of [?] copies. Inland Type. Specimen Book and Catalog. A Price List of Printer's Supplies, Showing Types and Rules in which Are Embodied all the Latest Ideas that Enable the Printer to Produce Superior Work in a most Economical Manner Among which Betterments May Be Especially Mentioned the Casting of Types on Standard Line and Unit Sets. St. Louis: Inland Type Foundry, 1897. (Bookplate of Carl and Margaret Rollins.) Inland Type. Specimen Book and Catalog. A Price List of Printers' Supplies, Type, Rules and Accessories of the Very Latest Designs which Facilitate the Economical Production of Superior Printing. A Notable Improvement Is the Casting of All Type on Standard Line&Unit Sets. St. Louis: Inland Type Foundry, 1907. J Jahoda&Siegel. 75 Schriften gezeigt von der Offizin Jahoda&Siegel in Wien. 1937. Jannon. The 1621 Specimen of Jean Jannon, Paris&Sedan, Designer&Engraver of the Caractères de l'Université, Now Owned by the Imprimerie Nationale, Paris. Edited in facsimile with an Introduction by Paul Beaujon. London: Printed at the Chiswick Press for Stanley Morison, 1927. (Beatrice Warde's copy; one of ten copies on handmade paper.) Janson. Stauffacher, Jack. Janson: A Definitive Collection. SF: Greenwood, 1954. Johnson, Henry Lewis. Printing Type Specimens: Standard and Modern Types, with notations on their characteristics and uses; a printing guide for printers, advertisers and students of printing. Boston: Graphic Arts Co., 1924. K Keystone. Keystone Products Catalogue and Specimen Book, Consisting of Type, Material, Furniture, Complete Line of Miscellaneous Supplies for Printers and Publishers, Machinery and Wood Goods. Keystone Type Foundry, 1915. Keystone. Type; Nickel-Alloy on Universal Line. Comprising a Price List of Types, Borders, Leads and Slugs, Brass Rule, Brass Galleys, Miscellaneous Cuts and General Supplies for Printers. Abridged Specimen Book. Keystone Type Foundry, 1906. Korean. McGovern, Melvin P. Specimen Pages of Korean Movable Type. Primary Edition. LA: Dawson's, 1966. (No. 23 of 95 copies of a total edition of 300.) L Lamesle, Claude. Épreuves générales des caracteres . . . . Paris: 1742. Linotype Decorative Material: Borders, Rules, Dashes and Special Characters Produced on the Linotype. Brooklyn: Mergenthaler Linotype, 1937. Linotype. Specimen Book, Linotype Faces. Brooklyn: Mergenthaler Linotype, 1939. Linotype. The Manual of Linotype Typography, Prepared to aid Users and Producers of Printing in securing Greater Unity and Real Beauty in the Printed Page . Brooklyn: Mergenthaler Linotype Co., 1923. Little&Ives. The J. J. Little Book of Types, Specimen Pages and Book Papers, with suggestions on book making and a glossary of printing and binding terms . NY: J. J. Little&Ives Co., 1923. Luce, Louis. Épreuve du premier alphabeth droit et penche, ornée de quadres et de cartouches. L'Imprimerie Royale, 1740. M MacKellar, Smiths&Jordan. Printing Types Made by MacKellar, Smiths&Jordan, Letter-Founders. Philadelphia: 1883. MacKellar, Smiths&Jordan. Printing Types Made by the MacKellar, Smiths and Jordan Co. Letter-Founders. Philadelphia, 1886. MacKellar, Smiths&Jordan. Specimens of Printing Types, Borders, Cuts, Rules, &c. Philadelphia: 1871. Mame. Imprimerie-librairie-reliure. Alfred Mame et Fils a Tours. Notice et specimens. Tours: Imprimerie Alfred Mame, 1867. Merrymount Press Type Specimens. 1958?. Loose-leaf sheets in quarter-leather drop-spine box. [Miller&Richard's Specimen Book and Price List.] London, 1895. Monotype. A Specimen of Printing Letter Designed by John Baskerville about the Year MDCCLVII, Recut by The Lanston Monotype Corporation Limited for Use on the "Monotype." London: 1926. Monotype. Fine Ornament&Decorative Material Available to "Monotype" Users. London: Lanston Monotype Corp. Ltd., 1924. (Bookplate of Jackson Burke.) Monotype. Pastonchi, a Specimen of a new Letter for Use on the "Monotype." London: Lanston Monotype Corp., 1928. (Printed at the Officina Bodoni.) Monotype. The Monotype Specimen Book of Type-Faces. A Complete Catalog of Matrices Made for Use with The Monotype Composing Machine Type&Rule Caster. Philadelphia: Lanston Monotype Machine Co., 1916. Monsen. The Monsen Type Manual, Lithographed on the Offset Press. Chicago: Thormod Monsen&Son, Inc., 1929. (1933 price list laid in.) %Q Monsen Typographers In %N 23056 %B nothing %T Japanese publishers in 1980 of a photootype book called Display faces. Scans by Maniackers. %L BO PHOTO FO-JP %d May 1 2010 Mori, Gustav. Das Schriftgiessergewerbe in Frankfurt am Main und Offenbach. Frankfurt am Main: D. Stempel, 1926. Müller. Epreuves lithographiques de C. F. Müller, Imprimeur-Libraire de la Cour à Carlsruhe. N.p., ca.1819. A specimen book showing lithographic letterhead, maps, business forms, etc. N Nebiolo. Campionario Caratteri e fregi tipografici; segni, filetti, numeri. Torino: Societè Nebiolo, 1956. New England Type. Specimen of Printing Types from the New England Type Foundry. Boston: Dutton&Wentworth, 1834. Nistri. Campione dei caratteri, fregi e vignette della tipografia dei fratelli Nistri. Pisa: 1839. P Pacific States Type Foundry Specimen Book and Price List of Printing Types Rules Borders Ornaments Machinery Tools and Supplies. SF: 1893. Pacific States. [Handy Book of Specimens.] SF: Pacific States Type Foundry, 1899. Pacific Type. Illustrated Price List and Specimens of Printing Type, Issued by the Pacific Type Foundry. SF: Marder, Luse&Co., 1876. Page. Wood Type. Greeneville: Wm. H. Page&Co., 1872. Painter&Co's Type-Foundry and Printers' Warehouse. Borders, Ornaments, and All Things Needful for Newspaper and Job Printing Offices. Agents for MacKellar, Smiths&Jordan, Philadelphia. SF: 1878. Palmer&Rey's Fifth Revised Specimen Book and Price List of Printing Material. SF: 1892. Palmer&Rey's Fourth Revised Specimen Book and Price List of Printing Material. SF: 1889. Palmer&Rey's Third Revised Specimen Book and Price List of Printing Material. SF: 1887. Phelps&Dalton. The General Specimen Book of the Dickinson Type Foundry, Comprising Types for Letter-Press Printing of Every Variety . Boston: Phelps&Dalton, 1856. Phillips' Old-Fashioned Type Book. Showings, Alphabetical and Otherwise, of Approximately One Thousand Odd Fonts of Old-Fashioned, Exotic, Ancient and Antique Type Faces; Old-Time Printers' Ornaments, Borders, Cuts, &c; Many Old Specimens of Printing, Advertisements, Bills, Labels, &c.; Old Reprints of History&Other Interesting Data on Printing&Typography of Long Ago. NY: Frederic Nelson Phillips, 1945. R Redfield-Kendrick-Odell. A Printed Exhibit of Bodoni Type with Appropriate Ornaments. Being the second series of books showing the many beautiful types in the composing rooms of Redfield-Kendrick-Odell Co., Printers and Map Makers. NY: 1923. Redfield-Kendrick-Odell. An Exhibit of Garamond Type with Appropriate Ornaments. Being the third of a series of books showing the many beautiful types in the composing rooms of Redfield-Kendrick-Odell Co., Printers&Map Makers. NY: 1927. Rivadeneyra. Imprenta Sucesores de Rivadeneyra Muestrario. Madrid: 1907. S Schelter&Giesecke. Gesammelte Schriftproben und Satzbeispiele von J. G. Schelter&Giesecke. Leipzig: 1890. Schelter&Giesecke. Hauptprobe J. G. Schelter&Giesecke, Leipzig. Vol. I. 1912. Silbermann. Album d'impressions typographiques en couleur de l'imprimerie de G. Silbermann. Strasbourg: G. Silbermann, 1872. Chromolithographs. Silbermann. Album typographique, publié a l'occasion de la quatrième fête séculaire de l'invention de l'imprimerie. Strasbourg: G. Silbermann, 1840. Southern New England. Type Specimen Book No. 6. New Haven: Southern New England Typographic Service, ca. 1945. (1949 supplement laid in. Southworth-Anthoensen. A Specimen of Printing Types, Together with a Collection of Printer's Flowers. Portland: Southworth-Anthoensen, 1937. Stempel. Jahrbuch der Schriftgiesserei. Frankfurt: D. Stempel, 1929. Stempel. Spécimen abrégé de caractères, vignettes, ornements, et matériel en cuivre. Francfort-sur-le-Mein: Fonderie de caractères D. Stempel, 1915. Stephenson, Blake. Printing Types, Borders, Initials, Electros, Brass Rules, Spacing Material. Sheffield: Stephenson, Blake&Co., 1934. (1936 price list laid in.) Stevens. Specimen Book of Types by R. H. Stevens&Co., Successors to V.&J. Figgins, Type Founders, and Manufacturers of Printing Presses and Materials. London: 1907. (Revised 1907 price list bound in; bookplate of Lanston Monotype Co.) TypRef 1907 Stevens T Taylor&Taylor. Types, Borders and Miscellany of Taylor&Taylor, with Historical Brevities on Their Derivation and Use. SF: Taylor&Taylor, 1939. (No. 73 of 230 copies, in slipcase. Inscribed by E. D. Taylor to the Grabhorn Press.) Tetterode. Amsterdamsche lettergieterij, v/h N. Tetterode. ca. 1897/98? Tetterode. Ie Supplement op de Letterproef der Lettergieterij "Amsterdam" voorheen N. Tetterode te Amsterdam. Amsterdam: ca. 1900? Tetterode. Tweede Supplement op de Letterproef der Lettergieterij "Amsterdam" voorheen N. Tetterode. Amsterdam: ca. 1900? Todd. Some Specimens of Book Types from the Print Shop of Thomas Todd. Boston: 1902. Trattner, Johann Thomas. Abdruck von denjenigen Röslein und Zierrathen, in der K. K. Hofschriftgiesserey bey Johann Thomas Trattern dermalen befinden; Nebst einer Probe, wei solche sowohl zu Anfangsbuchstaben, als Leisten und Finalien zusammen gesetz werden können. Vienna: Herbert Reichner, printed by Jahoda&Siegel, 1927. (Facsimile; one of 20 on handmade paper.) Trow. Specimen Book of the Letterpress, Stereotype, Electrotype, and Wood-cut Printing Establishment of John F. Trow. NY: 1856. [Type Faces and Specimens.] 1930. (A collection of nine specimen booklets bound together.) [Type Faces and Specimens.] 1931. (A collection of seven specimen booklets bound together.) U United States Type Foundry. Specimens of Electrotype Cuts, Initials, Corners, Ornaments, Tints, Etc., Manufactured by James Conner's Sons, United States Type Foundry, New York City. Type, Brass Rule, Cabinets, Cases, Printers' Materials of Every Description. [NY]: James Conner's Sons, 1888. V Vatican. [15 pamphlets bound together; various titles.] Rome: Typis Sac. Congregationis de Propaganda Fide, 1629-1789. Vatican. [Specimen of exotic types printed to honor the visit of King Gustav III of Sweden to the printing house.] Rome: Typis Sac. Congregationis de Propaganda Fide, 1784. Vatican. Indice de caratteri, con l'inuentori,&nomi de essi, esistenti nella Stampa Vaticana,&Camerale. Rome, Stampa Vaticana&Camerale, 1628. Vincent Figgins Type Specimens 1801 and 1815. Reproduced in Facsimile. Berthold Wolpe, ed. London: Printing Historical Society, 1967. W Warde, Frederic. Printers Ornaments Applied to the Composition of Decorative Borders, Panels and Patterns. London: Lanston Monotype Corp., 1928. Williams. Specimens of Printing Types, Borders, Ornaments, etc. London: H. Williams&Son, 1908. Wilson. Specimen of Modern Printing Types, Cast at the Letter Foundry of Alex. Wilson&Sons, Glasgow. 1833. Wilson, see also Caslon, Fry, Wilson. Wood&Sharwoods. The Specimen Book of Types Cast at the Austin Foundry. London: 1838. Y Yale University Press. Specimens of Type in the Printing-Office of The Yale University Press. New Haven: Yale University Press, 1939. Z Zabern. Das ABC Schrift- und Leistungsproben einer alten Mainzer Offizin. Mainz: Zaberndruck, 1931. Zatta. Saggi dei caratteri, vignette e fregi della nuova fonderia di Antonio Zatta e figli. Venice: 1794. [73795] Geschäftsdrucksachen. Der Druckspiegel, Typographischer Beilage Januar 1964. 8vo. Wrs. * Die Beilage zeigt Arbeiten von Hans Korb, Werner Kratschmann, Ludwig Riedl und Heidi Schulz. 14 pp. 25 # [55020] (TYPOGRAPHY). Cantor lectures on typography delivered at the Royal Society of Arts, London. London, The Royal Society of Arts, 1938. Lecture 1: Typography and Mass production by Harold Curwen. 2: Typography and Illustration by John Farleigh. 3: Modern Typography on the continent by Bertram Evans. 36pp. Illus. in b/w. Wrs. 30 # [23641] [TYPOPHILES]. MANSBRIDGE, GEORGIA: Bruce Rogers: American Typographer. New York, 1997. xiii + 95pp. Bibliography. Cloth. (Afterword by Ronald, Jane, and Bruce Mansbridge, Typophile Chap Book, New Series, No. one of 500 copies). 30 # [17549] AMEN, LUCIEN. La Typographie à la Linotype. Brussels, 2nd ed. 1932. 410pp. 58 Illus. in b/w. Cloth. (rubbed). (Ex-library copy). 35 # [80453] AUDIN, MARIUS - LYON. L'imprimeur Du Roi. Causerie Typographique No.11. . 1925. Causerie typographiques no.11 desquelles il a été tiré 20 ex. sur B F K De Rives filigrané numéroté de I à XX, 2 ex. sur Chine marqués de A et B. The number of this copy is not written. 45 # [8004] AUDIN, MARIUS. Les livrets typographiques des fonderies françaises créées avant 1800. (1934). Reprint 1964 avec supplément par Ellis Howe# avec 65 facs. Cloth. 90 # [6260] BIGGS, JOHN R. The Use of Type. The Practice of Typography. London, 1954. 220pp. with 182 figs. in b/w. Index. Glossary. Bibliography. Cloth. Dustjacket (dam.). (some light foxing throughout).* The author sets out lucidly the basic principles that underlie the effective use of type; some of these principles as he explains, apply to Design in the broadest sense. Typography is Design applied to printing. 64 # [68437] BLANKENSTEIN A.H.G.&GROENENDAAL M.H.&JONKER J.&PRIEËLLE I. DE. De opdracht/ Letter En lettergieten/ Letterzetten/ Typografysche Ontwerpen. Mijdrecht: Stichting Graphilec, 1948. 8vo. Cloth. Ex-Library. 108pp. Illus. in various colours. Traces of use. With printing samples. Algrafische serie no. 1. 15 # [6389] COLLYN, ISAK. Svensk Typografisk Atlas. 1400-1500. Stockholm, 1952. Folio. Orhvellum. With hundreds of facs. 210 # [69497] COLUMBIA UNIVERSITY LIBRARY. Quality in Book-Production. An exhibition of fine books of all periods selected from the Columbia University Library with special emphasis on the typographic collection. March 27 - 1952. 64pp. 112 nos. Some plates in b/w. Wrs. 25 # [79364] COSSEE, PIET C. 50 Jaar Typograaf. Utrecht: CPC, 1987. 8vo. Wrs. 100pp. Illus. in b/w and colour. Incl. a.o. : "Een biografische schets", R.Cossee-Bommeljé. "Met Piet Cosse 'bij Henri Friedlaender", K.Löb. "Castrum Peregrini Amsterdam und Piet C.Cossee", M.R.Goldschmidt. "Lang leve Piet Cossee", D.Bruna .. 15 # [71932] DAL, ERIK. Lidt om Figurdigte Og Expressiv Typografi. 8vo. Wrs. pp.129-136 in "Bogvennen 1971-73, Heft 4 ". pp.129-160. Illus. in b/w. * Contains also: 'Sprogets Tredie Oje', Dan Turèll. 'Vejrtraekningen Fredericia-Nyborg', Per Hojholt. 15 # [74271] DE TYPOGRAFISCHE BIBLIOTHEEK IN DE UNIVERSITEITSBIBLIOTHEEK - AMSTERDAM. Een Punt Voor Typografie. 8vo. Wrs. Exh.cat. 15 Juni-17 Augustus 2001. 33pp. Richly illus. in colour. 15 # [69790] DE VINNE, THEODORE LOW. Der Schlüssel zur Erfindung der Typographie. Ein Abschnitt aus dem Werke The Invention of Printing (New York, 1876). Transl. by O. Jolles. Berlin, 1921. 4to. Bds. 27 pp. w. 5 illus. No. 83/400 copies. 32 # [72962] DIETVORST, JAN (a.o.). Typografisch Papier, 1e Jaargang, nr.B, April 1987. 1987. 4to. Wrs. 38pp. Illus.in b/w. Contains: "ornament broadsheet no.4 : the nineteenth century ornament 18 # [76248] DOOIJES, DICK. Over typografie en grafische kunst. Bloemlezing uit artikelen verschenen in de jaren 1953/66 hoofdzakelijk in het Drukkersweekblad. Amsterdam, 1966. 122 pp. Illus.in b/w. Orwrs.* Anthology of articles published in 1953-1966. Contains a.o. Beginselen van de typografische vormgeving, Kunstenaarspersoonlijkheden (a.o. S.H. de Roos, Piet Zwart&W. Sandberg),&Illustratie en prentkunst. 34 # [9623] DOOIJES, DICK. Traditie en Vernieuwing. Tien Jaar Nederlandse Drukkunst 1946-1955. Ned. Ver. v. Druk- en Boekkunst 1959. 4to. Cloth. 96pp. Illus. 27 # [73079] DRUKKERIJ GEBROEDERS HOITSEMA. Gedenkboek 1826-1936. Typografen zieken- En Pensioenfonds Voor Bedienden Van Boekverkoopers, Boek- En Steendrukkers, Boekbinders En Aanverwante Vakken, Gevestigd Te Groningen. 4to. Wrs. 86pp. Richly illus. with photographs in b/w (one in yellow) 45 # [78391] EKKART, R.E.O.; H. VAN KRIMPEN; K. F. TREEBUS. Karel F. Treebus - Typograaf. 1986. 's-Gravenhage 1986. 96pp. Illust. in b/w and colour. Wrs. * Monografieën van het museum van het boek/nr.2 15 # [79373] FAASSEN, EGBERT VAN. Drukwerk Voor PTT Typografie En Vormgeving Voor Een Staatsbedrijf in De Jaren Twintig En Dertig. 's Gravenhag: SDU, 1988. 8vo. Wrs. 48pp. Illus. in b/w and colour. 15 # [80447] GANDON, F. Aide-mémoire Du Typographe. Angers: Chambre Syndicale Des Maîtres Imprimeurs Du Maine et Loire et Syndicat De L'imprimerie D'angers, 1934. 2nd. 8vo. Wrs. 94pp. Index. Some illus. in b/w. 25 # [80229] GARTE, CARL (ed.). Englisch-Deutsches Deutsch-Englisches Fachwörterbuch Des Graphischen Gewerbes Und Der Papierindustrie. Mit Typographischen Tabellen Und Massen. Einbeck, Carl Garte Verlag, 1947. 80pp. Original yellow printed wrappers. (spine a bit damaged) 22 # [69658] GILMONT, J.-F. (ed.). Palaestra Typographica. Aspects de la production du livre humaniste et religieux au XVIe siècle. Aubel, 1984. 208pp. Illus. in b/w. Index. Wrs. (Livres/Idées/Sociétés 6). 57 # [19483] GRAPHIC EXPORT CENTRE - AMSTERDAM. Design and printing in the Netherlands 1960. 28pp. Introduction. richly illustrated. In original enveloppe (damaged) 28 # [79559] GSCHWEND, KURT. Typography of Poetry. 4to. Wrs. pp.93-97 in "Book design and production, volume 6, nr.2, summer 1963". pp.65-136. Richly illus. in b/w and colour. * Contains also : Type classification and nomenclature current thoughts on typeface classification, R.S.Hutchings. The pain and the pleasure, a report by S.G.Colverson.. 18 # [76247] HALSBEKE, CHARLES-LÉON VAN. L'art Typographique Dans Les Pays-Bas Depuis 1892. Bruxelles: Édition Du Palais Des Beaux Arts, 1929. 4to. Publié à l'occasion de l'exposition d'Art Typographique moderne Hollandais, Mars-Avril 1929. Copy no.144/450. Préface, xxvi pp + catalogue raisonné des plus importantes éditions à tirage limité parues en Hollande entre 1892 et 1929, 25pp + reproductions, 30pp. 57 # [73074] HERLUISON, H.(ed.). L'université et La Typographie. Exposition Organisée Par La société Archéologique et Historique De L'orléanais (Mai-Juin 1884) à L'occasion Du Concours Regional Agricole. Orléans: 1885. 8vo. Wrs. Exh.Cat. xii + 94 pp. Illus. in b/w. 100 # [73274] HOFMANN, C. Typografen ABC. Half-cloth. Tweede druk, 's Gravenhage, 1944. Illus. in b/w. by J.Ligter. 121pp. Illus. in b/w. (ex-libris R.H.Boer.) 25 # [72911] HOOG, P. DE / L.MECHIOR. Typografie Voor Belanghebbenden En Belangstellenden Op Eenvoudige Wijze Vesteld En Uitgebeeld. Amsterdam: Jacob Van Campen, 8vo. Cloth. * 17-18 de wijze Jacob. 109pp. Illus. in b/w. Index. 22 # [77943] HURLBURT, ALLEN. Publication Design, a Guide to Page Layout, Typography, Format and Style. 134 pp., New York, Van Nostrand Reinhold Company, 1976, revised edition of 1971. Illus in b/w and color. Wrs. * This revised edition of Publication design brings to the broad field of publishing an up to date review of the developement of the modern magazine and an extended discussion of the principles that guide effective art direction and visual communication. 15 # [71571] JAMMES, ANDRE. Reforme De La Typographie Royale Sous Louis XIV.Le Granjean. Etude Accompagnée De Cv Cuivres Originaux Conservés à L'imprimerie nationale. Paris Editions Promodis (1985). Reprint of the first edtiion wich was limited to 110 numbered copies and is extremely expensive and difficult to find. Louis XIV to France asked a commissionto develop a reformation in French typography and the way the letter was shown.The original plates developed by the commission to study this problem reside in the "L'imprimerie Nationale"; about half demonstrate Granjean's solution to the typographic problem.The reproduction of these plates of alphabets and the accompanying history form an important study of the letter and type faces of the 17th and 18th centuries. Binding is 4to., cloth.,cardboard slipcase. (ii), Frontspiece, 36, (4) pages followed by 34 plates. 290 # [70602] JOH. ENSCHEDE&ZONEN - HAARLEM. Spécimen des Lettres Francoises dites Caractères de Civilité des 15e et 16e siècles dans la Collection Typographique de ---. Haarlem, 1926. 4to. 40 pp. Orig marbled boards. 135 # [69928] JONES, HERBERT. Type in action, A manual of elementary typographic lay-out. Sidgwich&Jackson, second revised edn., 1950. Printed by William Clowes. vi + 58pp, 67 illustrations. Jacket on Red cloth, gilt; 252x190. Jacket worn, signature f.e.p., coated paper affected.* Period flavoured examples of typographic design. 34 # [61174] JONG, G.J. Van Oude En Moderne Drukkersgilden Te Amsterdam. Uitgegeven Bij Gelegenheid Van Het Vijftig-Jarig Bestaan Van "de Katholieke pers", Sinds 1902 Afdeling Amsterdam Van De Nederlandse Katholieke Grafische Bond. 1889- 1 september - 1939. Amsterdam: Nederlandsche Katholieke Grafische Bond, 1939. 4to. Wrs. 57 pp. Richly illus. in b/w. 42 # [72952] KEHRLI, J. OTTO. Typografie En Kunst. Vertaald En Van Een Nawoord Voorzien Door Johan H.Van Eikeren. 1949. 8vo. Bds. / Fine. 74pp. Illus. in b/w. 20 # [71456] KOHUT, LEO. Bauhaus Und Neue Typographie Nach Sechzig Jahren. Hamburg: Hauswedell&Co, 8vo. Wrs. mit 4 Abbildungen. pp.250-266 in "Philobiblon, eine vierteljahrsschrift für buch- und graphiksammler, jahrgang 23, heft 4, november 1979". pp.250-320. Illus. in b/w.Contains also : "Frühe illegale Münchhausen-Ausgaben kleine Schritte zu einer Volksausgabe", mit 10 Abbildungen, Erwin Wackermann. "Melchior Lorichs' Ehrenpforten und Weinbrunnen zum Einzug Kaiser Maximilians II in Wien insbesondere die Ehrenpforte beim Waaghaus", mit 9 Abbildungen, Werner Kayser. 15 # [78289] KRAUS, H.P. - NEW YORK. Catalogue 131/ : Monumenta Xylographica et Typographica. The Cradle of Printin Part II. . Cloth. 42 nos described. 167pp. With 14 color plates, 86 halftones and line cuts. Indexes. 80 # [73746] L'OUEST GRAPHIQUE. Organe Mensuel Des Maîtres-Imprimeurs Typographes et Lithographes De L'ouest, no.31/ Octobre 1925. Service De Renseignements, Service De placement. 8vo. Wrs. 20pp. Illus. in b/w. * Contains : 'Du copiste à la machine à composer', 'divertissement methématico Typographique', 'Tableau des cours'.. 16 # [73555] LECLERF, PIERRE. Manuel Pratique Du Typographe. . 8vo. Wrs. Encyclopédie Roret. 479pp. 45 # [73775] LEONHARDT, HINRICH HERMANN. Richtlinien Zur Cinordnung Typographischer Clemente . 4to. Wrs. pp.346-357 in 'Archiv für Buchgewerbe und Graphik, heft 11/12, 1921'. pp.315-380 + pp.41-50 + a lot of plates and typespecimens in b/w and colour. 25 # [73980] LETTERGIETERIJ "AMSTERDAM". Typografische Mededeelingen, 25ste Jaargang, No.3, September 1929. 4to. Wrs. pp.65-92. * Contains a.o.: 'Het boek 'Malachi' '. Illus. in b/w. 35 # [71425] LINDT, JOHANN. Die "Typographische Gesellschaft" in Bern . 8vo. Wrs. pp.167-203 in "Schweizerisches Gutenbergmuseum / musée Gutenberg suisse", 44. Jahrgang, nr.4, Bern, dezember 1958. pp.165-219. Illus. in b/w. Contains also: "Markus Feldmann und die shcweizerische Presse", Nationalrat W.Bretscher (pp.165-167). "Peter Schlemihls wundersame geschichte", Dr. J.O.Kehrli (pp.203-206). 15 # [79305] MARLBOROUGH RARE BOOKS LTD. LONDON. Catalogue 105. 1984: Bibliography, Calligraphy&Typography. 92pp. 562nos. illus in b/w. Wrs. * with prices. 15 # [71672] MILAN KOPRIVA. Typoornamenty. Pracovnikum Redakci, Nakladatelstvi, Polygrafie a Milovnikum Typografie Vybral a Usporadal. 1990. 4to. Cloth. 240 typespecimens in b/w + 8 pp uncut. 200 # [18332] MONOTYPE RECORDER. Summer 1934. Contains articles like: Prometheus in the Printing Office; The Typography of the Menu etc. 23pp. Illus. in b/w. Wrs. (Vol. 33, No.2). 19 # [17584] MORES, EDWARD ROWE. A Dissertation Upon English Typographical Founders and Founderies (1778). With a Catalogue and Specimen of the Typefoundry of John James (1782). Edited with an introduction by Harry Carter and Christopher Ricks. (pp.129/130 loosely inserted with a note by the publisher.) 1961. lxxx + 145pp. Index. H.cloth. (Oxford Bibl. Soc. NS Vol. IX) 114 # [72915] MORISON, STANLEY. Grondbeginselen Der Typografie . Amsterdam: De Buitenkant, 1990. 8vo. Bds. 87pp. 20 # [69562] MORRIS, WILLIAM. The Typographical Adventure of William Morris. An exhibition arranged by the William Morris Society, 1957. 56pp. 168 nos. and 4 plates. 4to. Oblong. Wrs. 29 # [79457] MULLER, ARNOLD. Nouveau Materiel De Typographie. Paris: 8vo. Cloth. 488pp. Illus. in b/w. 75 # [60706] NEDERLANDSE GASUNIE N.V. Handleiding Gebruikvignet En Typografische Voorschriften Van De N.V Nederlandse Gasunie. Groningen: 1971. 8vo. Cloth. Ex-Library Copy. Including 3 sheets of vignettes. 80 pp. Illus. in b/w and colours 20 # [18371] NIJHOFF, MARTINUS - THE HAGUE. Catalogue 870, 1 November 1976: Books and Periodicals on Reference Works, Bibliography, Typography, and allied subjects. 781 nos. 65pp. Orwrs. 12,60 # [61116] NORDLUNDE, C. VOLMER. En Typografisk Selvbiografi. Kobenhavn: FISHERS FORLAG, 1952. 4to. Wrs. pp.43-60 in Bogvennen.Aarbog for Bogkunst of Boghistorie 1952. Bind 7. uncutted. 96 pp. lllus. in b/w. Contains also: Kai Friss Moller, en bogmand ser tilbage (pp.5-20). H.P.Rohde, den rode traad (pp.20-43). Otto Norn, Guld og Farver (pp.60-77). Jorgen Andersen, et Hjorne af Paradiset (pp.77-96). 15 # [70103] NYPELS, C. Over Typografie. Amsterdamse Grafische School, 1653. 8vo. Wrs. 31 pp. 35 # [71002] OVINK, G.W.&H. FRIEDLÄNDER. Die Gesinning des Typographen. Laudatio anlässlich der Verleihung des Gutenberg-Preises 1971 der Stadt Mainz am 21. Juni 1971 an Herni Friedlaender (Ovink).&Dankwort. (Friedländer). Mainz, 1973. 24pp. Wrs. (Kleiner Druck Gutenberg-Ges. 90). 30 # [73532] OVINK, PROF. DR. G.W.(ed.). Anderhalve eeuw boektypografie 1815-1965. Amsterdam, 1965. 422pp. Numerous illus. Cloth.* Essays by Wells, Handover, Vox, Schauer, Baudin, Riva a.o. 75 # [79153] PEREIRA Y ALBIZU. Système De Composition Typographique. Paris, 1885, 8pp, Illus in b/w. Wrs * Publication du journal "le génie civil". 50 # [73057] PICORNOT, ALICE. Aspects De Lyon Au XVIIIe Siècle D'après Des Dessins Inédits. Fascicule Douxième. Serie : Documents Paléontologiques, Typographiques, Iconographiques (publiés Sous La Direction De Henry Joly, Conservateur). . 1936. 4to. No.20/21 sur Vergé Montgolfier.Exemplaire imprimé pour Monsieur Mathieu Varille. 37pp uncut + 12 sheets of illus.in b/w. 20 # [72905] REEDIJK, C. (ed.). Herman Zapf. Tentoonstelling 12.dec.1968 - 1.febr.1969. Kalligrafie, Drukletters En Typografische Verzorging, Letterontwerpen Voor Fotozetsystemen. Small 4to. Wrs. Exh. cat. Museum Meermanno-Westreenianum. 51pp. 180 nos. Illus. in b/w. 27 # [80463] REINER, IMRE. Das Buch Der Werkzeichen. St Gallen: Verlag Zollikofer&Co, 1945. 4to. Bds. 122pp. * Die edlen Jade-, Elfenbein-, Kristall- und Bronzesiegel des frühen China, die robusten Holzstempel der französischen und spanischen Kaufleute der Renaissance, die Signete persischer und italienischer Tópfer, die eigenwilligen Meisterzeichen der Formschneidekunst, der Steinmetzer, der Gold- und Silberschmiede, der Papiermacher und Buchdrucker der verschiedensten Länder und Zeiten sind ihrer vornehmen graphischen Ausdrucksform wegen hier zu einer Schau gesammelt worden und sind allen Menschen von gutem Geschmack gewidmet. 65 # [8466] RODENBERG, JULIUS. Grösse und Grenzen der Typographie. Betrachtungen über Typographische Grundfragen wie sie sich in der Buchkunst der letzten Siebenzig Jahre widerspiegeln. Stuttgart, 1959. 204pp. Illus. Bibliography. Index. Hcloth. 80 # [79404] ROMMEL, HENRI. Jean Brito, Prototypographe Brugeois. Conférence Donnée Aux Membres De La société D'archéologie De Bruges Par Le Chanoine Henri Rommel Le Mardi 5 Avril 1898. Bruges: 1898. 8vo. Wrs. 22pp. 35 # [60591] ROTTING, L.C. Een Drukker Ziet Zuid-Africa, 1948. Hilversum: Grafische Kunstinrichting Rotting, 1948. 8vo. Wrs. 40 pp. 20 # [15328] SABBE, MAURITS. De Meesters van den Gulden Passer. Christoffel Plantijn, Aartsdrukker van Philips II en zijn opvolgers, de Moretussen. (1937). Reprint Rotterdam, 1978. 155pp. Illus. Wrs. 19 # [12576] SANDBERG, W. Experimenta typografica 11: TEKTONIKH Das Konstruktive. Köln, Verlag Galerie der Spiegel, (1956). Wrs. 90 # [76065] SCHIERBEEK, BERT. Taal&Teken. Mart Kempers - Typografie, Cas Oorthuys - Foto's, . 4to. Wrs. * beautiful photogaphs in b/w. 77pp. 15 # [60703] SCHOUTEN, J.W. De Drukker En Zijn Lood. 1962. 8vo. Wrs. Ex-Library Copy. Augutijnreeks IV. 48 pp. illus. in b/w 10 # [72644] SEYL, A NTOINE. Les Pays Bas : Berceau De La Typographie . Bruxelles: Éditions Des Arts et Industries Graphiques , 1940. Wrs. Small 8vo. Le V centenaire de l'imprimerie. 16 pp. Illus. in b/w. 15 # [16857] SHEPHERD, E.G. Advanced typography for students. Macdonald&Evans, 1960. xvi + 326pp, illustrated. Red cloth. Fine. Jacket worn. Printed at Bungay by Pichard Clay; advanced composing work. 46 # [69804] SHILLAN, MARGARET. Sapphos poemata selected, typographically arranged and set by M. Shillan. 1955-6. 16pp. 9 poems in Greek. Printed at the Central School of Arts&Craft, London. Set in the Central's Greek&Caslon, printed on Basingwerk Parchment. Quarter stone cloth&blue Ingres laid paper boards, printed black. 260x163.* This is long past J.H. Mason's time but in the traditional Central School format and binding. One of 20 copies only! 100 # [80440] SOCIETE NATIONALE DES CHEMINS DE FER FRANCAIS . Standard Typographique S.N.C.F. Instruction Générale. . 1943. Wrs. Paris, le 29 Juillet 1943. 56pp. Incl. 2 business cards (Henri le Masson, Maximilien Vox), ''mémento des signes de corrections typopographiques'', '' Périodiques francais, traitant de questions d'enseignement et de pédagogie, par L.M.Georget. Extrait du bulletin du musée pédagogique no.4, Melun, 1931'', 8pp. 55 # [21429] STADTBIBLIOTHEK ULM. Die Wagnersche Druckerei Ulm. Ihr typographisches und verlegerisches Schaffen. Aus Anlaß ihrer Gründung vor 300 Jahren. Exh. cat. 1978. 112 nos. 67pp. Illus. in b/w&some colour. Indexes. Wrs. 23 # [70267] STEER, VINCENT. Printing Design and Layout. The Manual for Printers, Typographers and all Designers and Users of Printing and Advertising, including showings of nearly five hundred typefaces and a series of thirty-six type calculation charts. 2nd edition, London, n.d. xvi,412pp. Profusely illustrated with examples and diagrams. Cloth.* With a foreword by Beatrice Warde. 150 # [58141] STND. Transportbanden In een Grafisch Bedrijf. Verslag Van Een Bezoek aan Drukkerij En Binderij L. Schwann Te Düsseldorf. Ex-Library Copy. 24pp. Illus. in b/w. Wrs. (Stichting Tijdnormendienst voor de Grafische Industrie, Publikatienr. 11, September 1959). 11 # [69252] STORK, A. De invoering van een metrisch maatsysteem in de typografie. Cloth. Ex-Library Copy. Amsterdam, 1946. 112pp. 25 # [68603] SVENSSON ARTUR. Allhems Förlags Bokhistoriska Samling Ett Museum Typographicum i Svensk förlagsmiljö. 4to. Wrs. pp.137-172 in Bogvennen Haeft 4, April 1966. pp.137-176. Richly illus. in b/w.One illus. in colours. Contains also: En bogsamling i Oxford (pp.172-173). Fund og Forskning I-XII og XIII (pp.173-175).Haeder til bogkunstnere (pp.175-176). 15 # [78154] THORNTON, J. - OXFORD. Catalogue no.495/n.d.: The Art of Book, Typography, Printing History, Book Design, Binding, Bibliography, History of Bookselling, .. 8vo. Wrs. 48pp. 919 nos. 10 # [71436] TIEMANN, BARBARA. Typographie Und Zahlenkomposition Im Narrenschiff Von 1494. Hamburg: Hauswedell&Co, 8vo. Wrs. mit 4 Abbildungen. pp.95-133 in "Philobiblon, eine vierteljahrsschrift für buch- und graphiksammler, jahrgang 22, heft 2, Juni 1978". pp.167-253. Illus. in b/w.Contains also : "Andreas J.Meyer: gegen den strich.Betrachtungen über V.O.Stomps (pp.90-95). 15 # [54400] TYPE DIRECTORS CLUB OF N.Y. Typography 4. New York, 1983. 216pp. Richly illus. in b/w&colour. Index. Cloth. 65 # [71548] TYPE DIRECTORS CLUB OF N.Y. Annual Type Directors Show Nr.6/1960: Typography Everywhere. 4to. Wrs. Exhibit of Typography Excellence. 220 nos illus. in b/w. 15 # [73452] UPCOTT, WILLIAM. A Bibliographical Account of the Principal Works Relating to English Typography. . 1978. 2nd. 4to. Cloth. ISBN: 0 7158 1310 2 . * This book was originaly published in three volumes, by the author, London, 1818. It is here reprinted in one Volume, With a New Introduction (By Jack Simmons). This book is a unique key to the literature of English local history.There are other bibliographies, but this one alone provides a meticulous analysis of each work it lists, to enumerate all its component parts, in text and plates. This is the only guide that attempts to record the elements of each complete. 416pp. Index. {blm} 125 # [17335] VALKEMA BLOUW, P. Typographia Batava 1541-1600. Repertorium van boeken gedrukt in Nederland tussen 1541 en 1600 / A repertorium of books printed in the Northern Netherlands between 1541 and 1600. In ordinem digessit A.C. Schuytvlot. Nieuwkoop, 1998. 2 vols. Cloth. 4to. xxxii,661 + 635pp in double column. Vol. I: A-Z. Vol. II: Overheidspublicaties - Official publications. Indices.* Descriptions of 7.488 editions printed in the Northern Netherlands between 1541 and 1600. Also included are books in the Dutch language published outside the Northern Netherlands with the exception of those printed in present-day Belgium. One of the most important features of the book is the attribution to a given printer of the thousands of anonymously published editions which appeared during this period as a consequence of the region's political and religious situation. 500 # [69496] VERWEY, H. DE LA FONTAINE. Meester Harman Schinckel - een Delftse Boekdrukker van de 16e eeuw. Rotterdam, n.d. 78pp. Orwrs. (Oud Delft 3) 20 # [77998] VEYRIN - FORRER, JEANNE. Aperçu Sur La Fonderie Typographique Parisienne Au XVIIIe Siècle. Oxford University Press, 8vo. Wrs. pp.200-218 in "The Library, The Transactions of the Bibliographical Society, fifth series, volume 24, number 3, september 1969". xvi pp + pp.188-276. Contains also: The printing of the spanish tragedy, Arthur Freeman. The Diceys and the Chapbook trade, Victor E.Neuburg. 18 # [47262] WAGENVOORT, C.&G.J. HEKKERT (eds.). Meerkleuren offsetdrukken. Voorwaarden voor kopie en druk. Amsterdam/Houten, 1989. 124pp. Illus. in b/w&colour. Index. Bds. (Algrafische handboeken). 23 # [70673] WARDE, BEATRICE. Some notes on the British Typographical Reformation, 1919-1939. Facs. reprint from: Printing Review (1946). London, Wynkyn de Worde Soc., 1971. 13pp. Illus. in b/w. Wrs. 29 # The ABC’s of [triangle circle square], The Bauhaus and Design Theory (Ellen Lupton and Abbott Miller) ABC of Lettering and Printing Typefaces: A Complete Guide to the Letters and Typefaces Used for Typesetting and Printing (Erik Lindgren) American Wood Type, 1828–1900 (Rob Roy Kelly) Anatomy of a Typeface (Alexander S. Lawson) An Approach to Type (John R. Biggs) Arabic Typography (Huda Smitshuijzen Abifares) The Art of Graphic Design (Bradbury Thompson) Art of the Printed Book, 1455–1955 (Joseph Blumenthal) The Art of Typo(icon)graphy (Martin Solomon) Asymmetric Typography (Jan Tschichold) Better Type (Betty Binns) Book Typography: A Designer’s Manual (Michael and Susan Wightman Mitchell) Champ Rose, Wherein May Be Discovered the Roman Letters That Were Made by Geofroy Tory and Printed by Him at Paris in His Book Called "Champ Fleury" (Geoffrey Tory) Counterpunch (Fred Smeijers) Design of Books (Adrian Wilson) Design Writing Research () Ellen Lupton and Abbott Miller) Designing Books (Jost Hochuli, Robin Kinross) Designing with Type: The Essential Guide to Typography (James Craig, William Bevington, Irene Korol Scala) Dimensional Typography (J. Abbott Miller) The Education of a Typographer (Steven Heller) The Encyclopaedia of Typefaces (W. Turner Berry, A. F. Johnson. W. Pincus Jaspart) “Fine Print” on Type (Charles Bigelow) Finer Points in the Spacing & Arrangement of Type (Geoffrey Dowding) First Principles of Typography (Stanley Morison) Five Hundred Years of Printing (S. H. Steinberg, John Trevitt) The Form of the Book (Jan Tschichold) Glossary of Typesetting Terms (Richard Eckersley, et al.) Herb Lubalin (Gertrude Snyder and Alan Peckolick) Hermann Zapf and His Design Philosophy (Herman Zapf) In the Day's Work (Daniel Berkeley Updike) Jan Tschichold (Ruari McLean) John Baskerville of Birmingham (F. E Pardoe) Language Culture Type (John D. Berry) Lay In, Lay Out; En Ander Oud Zeer (Piet Schreuders) Layout in Advertising (W. A. Dwiggins) Leben und Werk des Typographen Jan Tschichold (Jan Tschichold) Letter Forms, Typographic and Scriptorial, Two Essays (Stanley Morison) Letterletter (Gerrit Noordzij) Letters of Credit (Walter Tracy) Life with Letters--As They Turned Photogenic (Edward Rondthaler) Manuale Tipografico (Giambattista Bodoni, David Pankow, David Darling) Mixing Messages (Ellen Lupton) Modern Typography, 2nd Edition (Robin Kinross) The New Typography (Jan Tschichold) Origin of the Serif (Edward M. Catich, Mary W. Gilroy) Paragraphs on Printing (Bruce Rogers) Period Styles: A History of Punctuation (The Herb Lubalin Study Center of Design and Typography) Printing Types: Their History, Form and Use (D.B. Updike) Signs and Symbols (Adrian Frutiger, Andrew Bluhm) Stop Stealing Sheep & Find Out How Type Works (Erik Spiekermann) Stylepedia (Steven Heller, Louise Fili) A Tally of Types (Stanley Morison, Brooke Crutchley) Texts on Type (Steven Heller, Philip B. Meggs) The Thames and Hudson Manual of Typography (Ruari McLean) Thinking with Type (Ellen Lupton) Treasury of Alphabets and Lettering (Jan Tschichold) 20th Century Type Designers (Sebastian Carter) Type Rules! (Ilene Strizver) Typographers on Type (Ruari McLean) The Typographic Book, 1450–1935 (Stanley Morison and Kenneth Day) Typography (Friedrich Friedl) Typography (Emil Ruder) Typologia (Frederic W. Goudy) Typophile Chapbook: Harsh words (T. M. Cleland) Typophile Chapbook: Designing a Book (Abe Lerner) Typophile Chapbook: MSS by WAD (W. A. Dwiggins) Typophile Chapbook: The Type Designs Made for Private and Commercial Use, 1896 to 1943 (Frederic W. Goudy) Typophiles Chapbook: B.L.W. to the Typophiles (Beatrice Warde) Typophiles Chapbook: Ands & ampersands, from the first century B.C. to the twentieth A.D (Frederic W Goudy) Typophiles Chapbook: Books and printing (Paul A. Bennett) Typophiles Chapbook: Postscripts on Dwiggins (Paul A. Bennet) U&lc (John D. Berry) The Visual Display of Quantitative Information (Edward R. Tufte) While You’re Reading (Gerard Unger) Wolfgang Weingart: My Way to Typography (Wolfgang Weingart, K. 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nowakm %N 22072 %B http://www.fontspace.com/nys-fav-fonts Ny's fav fonts - Ny %N 22071 %B http://www.fontspace.com/ocean-floors-andmore Ocean Floors &More %N 22070 %B http://www.fontspace.com/oklahoma-bikini Oklahoma Bikini - Mia %N 22069 %B http://www.fontspace.com/oliver-conte-design Oliver Conte Design - Oliver Conte %N 22068 %B http://www.fontspace.com/olivias-420-shirt Olivia's 420 Shirt! - Olivia %N 22067 %B http://www.fontspace.com/olog OLOG %N 22066 %B http://www.fontspace.com/omar-the-radwan Omar the Radwan - Omar the Radwan %N 22065 %B http://www.fontspace.com/omg123 omg123 %N 22064 %B http://www.fontspace.com/on-point On Point %N 22063 %B http://www.fontspace.com/opps opps - c newman %N 22062 %B http://www.fontspace.com/orions-belt ORION'S BELT - ORIONS BELT %N 22061 %B http://www.fontspace.com/orpheus-digital-arts-alliance Orpheus Digital Arts Alliance %N 22060 %B http://www.fontspace.com/owapam owapam %N 22059 %B http://www.fontspace.com/p-j-cassel P. J. Cassel - P. J. Cassel %N 22058 %B http://www.fontspace.com/ps-9 P.S 9 %N 22057 %B http://www.fontspace.com/pablo Pablo %N 22056 %B http://www.fontspace.com/paige Paige - paige %N 22055 %B http://www.fontspace.com/paleale Paleale - David Koehne %N 22054 %B http://www.fontspace.com/palm-commercial-cleaning Palm Commercial Cleaning - Brandon Johnson %N 22053 %B http://www.fontspace.com/pammy-lu-and-her-fonts PAMMY LU AND HER FONTS - Pam Padgett %N 22052 %B http://www.fontspace.com/paper-pigtails paper pigtails %N 22051 %B http://www.fontspace.com/par24-font Par24 font - Par24 %N 22050 %B http://www.fontspace.com/party-girl Party Girl %N 22049 %B http://www.fontspace.com/passion PASSION %N 22048 %B http://www.fontspace.com/pat pat %N 22047 %B http://www.fontspace.com/pattis-fonts PATTI'S FONTS %N 22046 %B http://www.fontspace.com/patty-smith Patty Smith %N 22045 %B http://www.fontspace.com/paul-ray Paul Ray %N 22044 %B http://www.fontspace.com/paula-abbott Paula Abbott - Paula Abbott %N 22043 %B http://www.fontspace.com/pcs PCS - parveen singh %N 22042 %B http://www.fontspace.com/pebbles-handwrite Pebbles handwrite - Pebbles Castillo Morente %N 22041 %B http://www.fontspace.com/pelle-piano Pelle Piano %N 22040 %B http://www.fontspace.com/penny Penny - Penny %N 22039 %B http://www.fontspace.com/pepsis-awesome-fonts Pepsi's Awesome Fonts %N 22038 %B http://www.fontspace.com/perfectprint PerfectPrint %N 22037 %B http://www.fontspace.com/personal personal %N 22036 %N 22035 %B http://www.fontspace.com/phamthithang phamthithang %N 22034 %B http://www.fontspace.com/phat-pros-fonts phat_pro's Fonts %N 22033 %B http://www.fontspace.com/phats phats %N 22032 %B http://www.fontspace.com/pheist pheist - Stefanie Koerner %N 22031 %B http://www.fontspace.com/phil-steinschneider Phil Steinschneider %N 22030 %N 22029 %B http://www.fontspace.com/photo-graphics photo graphics - ray %N 22028 %B http://www.fontspace.com/phuochanh phuochanh - vietnam %N 22027 %B http://www.fontspace.com/phuong phuong - phuong %N 22026 %B http://www.fontspace.com/phuongphuong PhuongPhuong %N 22025 %B http://www.fontspace.com/pilates-collective Pilates Collective %N 22024 %B http://www.fontspace.com/pis-room Pi's Room - Pi %N 22023 %B http://www.fontspace.com/plantsman plantsman %N 22022 %B http://www.fontspace.com/plasmawr-fonts plasmawr fonts - jordan %N 22021 %B http://www.fontspace.com/pmggroup PMGgroup %N 22020 %B http://www.fontspace.com/pod-c pod C - Akira %N 22019 %B http://www.fontspace.com/pokemonsters-monster-font pokemonsteR's monster foNt - pokemonsteR %N 22018 %B http://www.fontspace.com/portland portland %N 22017 %B http://www.fontspace.com/positively-perfect-fonts Positively Perfect Fonts %N 22016 %B http://www.fontspace.com/pranjal pranjal %N 22015 %B http://www.fontspace.com/preach- preach %N 22014 %B http://www.fontspace.com/princess-enterprises princess enterprises %N 22013 %B http://www.fontspace.com/printshop Printshop %N 22012 %B http://www.fontspace.com/prismtone prismtone - prismtone %N 22011 %B http://www.fontspace.com/private Private %N 22010 %B http://www.fontspace.com/progothics ProGothics %N 22009 %B http://www.fontspace.com/promoconcepts PromoConcepts - Jill and Cindy %N 22008 %B http://www.fontspace.com/psyops PSY/OPS %N 22007 %B http://www.fontspace.com/psychokiller psychokiller - hussein mondaca %N 22006 %B http://www.fontspace.com/purchasediva Purchasediva %N 22005 %N 22004 %B http://www.fontspace.com/quanhong quanhong %N 22003 %B http://www.fontspace.com/r r %N 22002 %B http://www.fontspace.com/raaks-fonts Raak's Fonts %N 22001 %B http://www.fontspace.com/rachael-fonts Rachael Fonts %N 22000 %B http://www.fontspace.com/rachaels-fabulous-fonts Rachael's Fabulous Fonts - Rachael %N 21999 %B http://www.fontspace.com/rafael-dinner Rafael Dinner %N 21998 %B http://www.fontspace.com/raisin Raisin - Raisin %N 21997 %B http://www.fontspace.com/rajaee rajaee %N 21996 %B http://www.fontspace.com/ralph-lanuza ralph lanuza %N 21995 %B http://www.fontspace.com/ramonas-favorite-fonts Ramona's Favorite Fonts - Ramona %N 21994 %B http://www.fontspace.com/rapscallion-font- Rapscallion Font %N 21993 %N 21992 %B http://www.fontspace.com/ray-larabie Ray Larabie - Ray Larabie %N 21991 %N 21990 %B http://www.fontspace.com/reister Reister %N 21989 %B http://www.fontspace.com/renaissance-beaver Renaissance Beaver - CarolAnn Slominski-Caflisch %N 21988 %B http://www.fontspace.com/renee Renee %N 21987 %B http://www.fontspace.com/renees-piercings Renee's Piercings %N 21986 %B http://www.fontspace.com/renegade renegade %N 21985 %B http://www.fontspace.com/replace-it-corporation Replace it Corporation - Peter %N 21984 %B http://www.fontspace.com/reslife ResLife %N 21983 %B http://www.fontspace.com/ressearcher Ressearcher %N 21982 %B http://www.fontspace.com/retype retype - Chris Houston %N 21981 %B http://www.fontspace.com/rhondas-fonts Rhonda's Fonts %N 21980 %B http://www.fontspace.com/richard-bassheart richard bassheart - richard bassheart %N 21979 %B http://www.fontspace.com/richard-douglas Richard Douglas %N 21978 %N 21977 %B http://www.fontspace.com/river-market river market %N 21976 %B http://www.fontspace.com/rnealon rnealon %N 21975 %B http://www.fontspace.com/robert-pfeffer Robert Pfeffer - Robert Pfeffer, Hessen. %N 21974 %B http://www.fontspace.com/roberto-f Roberto F %N 21973 %B http://www.fontspace.com/robin robin %N 21972 %B http://www.fontspace.com/robin-lavinder Robin Lavinder %N 21971 %B http://www.fontspace.com/rogers-rad-fonts rogers rad fonts %N 21970 %B http://www.fontspace.com/romelle-speral Romelle Speral %N 21969 %B http://www.fontspace.com/rondels-funk-fonts Rondel's Funk Fonts %N 21968 %B http://www.fontspace.com/ronin ronin - victor foster %N 21967 %B http://www.fontspace.com/rosa Rosa - rosas_rockin_fonts %N 21966 %B http://www.fontspace.com/rosanna rosanna %N 21965 %B http://www.fontspace.com/roseanna Roseanna %N 21964 %B http://www.fontspace.com/ross-cronkright ross cronkright %N 21963 %B http://www.fontspace.com/ross-enterprises Ross Enterprises - Mary %N 21962 %B http://www.fontspace.com/rouxtype RouxType - Roxy %N 21961 %B http://www.fontspace.com/royal royal %N 21960 %B http://www.fontspace.com/royal-fonts-by-aldus Royal Fonts by Aldus - Aldus %N 21959 %B http://www.fontspace.com/rudynfluffy RudynFluffy - %N 21958 %B http://www.fontspace.com/rungarun rungarun - kae %N 21957 %B http://www.fontspace.com/rustys-fabulous-fonts rusty's fabulous fonts %N 21956 %B http://www.fontspace.com/ruthjackson88 ruthjackson88 - ruthjackson88 %N 21955 %N 21954 %B http://www.fontspace.com/saddy saddy %N 21953 %B http://www.fontspace.com/saint-joseph-antoura saint joseph antoura %N 21952 %B http://www.fontspace.com/sally-work-fonts Sally work fonts - fontspace %N 21951 %B http://www.fontspace.com/salt-and-sunset-llc Salt & Sunset. L.L.C. - Bob Vitto %N 21950 %B http://www.fontspace.com/sam sam - sam %N 21949 %B http://www.fontspace.com/samantha samantha %N 21948 %B http://www.fontspace.com/samo samo %N 21947 %B http://www.fontspace.com/sams-cool-fonts sam's cool fonts - samantha %N 21946 %B http://www.fontspace.com/sams-fonts Sam's fonts %N 21945 %B http://www.fontspace.com/sandees-sanity sandee's sanity %N 21944 %B http://www.fontspace.com/sans sans %N 21943 %B http://www.fontspace.com/sara Sara %N 21942 %B http://www.fontspace.com/sarah sarah - sara %N 21941 %B http://www.fontspace.com/sarahs-fonts Sarahs Fonts %N 21940 %B http://www.fontspace.com/sarahs-fonts Sarah's Fonts %N 21939 %B http://www.fontspace.com/sasparellajem sasparellajem %N 21938 %N 21937 %B http://www.fontspace.com/sauhau-kg sauhau_kg %N 21936 %B http://www.fontspace.com/savee savee - savee %N 21935 %B http://www.fontspace.com/sberk sberk %N 21934 %B http://www.fontspace.com/scalabra scalabra %N 21933 %B http://www.fontspace.com/school school!! %N 21932 %B http://www.fontspace.com/schulshriften Schulshriften - Rainer Will %N 21931 %B http://www.fontspace.com/scoreboard SCOREBOARD %N 21930 %N 21929 %B http://www.fontspace.com/scvbtsa08 scvbtsa08 %N 21928 %B http://www.fontspace.com/se2s1de SE2S1DE %N 21927 %B http://www.fontspace.com/sean-kleefeld Sean Kleefeld %N 21926 %B http://www.fontspace.com/selenasmith74 selenasmith74 %N 21925 %B http://www.fontspace.com/selina-wayne- selina wayne - jygjmgyk %N 21924 %B http://www.fontspace.com/sewlar-design-fonts Sewlar Design Fonts - Susan %N 21923 %B http://www.fontspace.com/sexii-lexii sexii lexii - well me lexii XP %N 21922 %B http://www.fontspace.com/shaik shaik %N 21921 %B http://www.fontspace.com/shaima-andhassan SHAIMA &HASSAN %N 21920 %B http://www.fontspace.com/shameka SHAMEKA %N 21919 %B http://www.fontspace.com/shanesooz-fonts shanesooz fonts - sooz %N 21918 %B http://www.fontspace.com/shanns-stuff Shann's Stuff %N 21917 %B http://www.fontspace.com/shaolin shaolin - dragon %N 21916 %B http://www.fontspace.com/sharon-gray Sharon Gray %N 21915 %B http://www.fontspace.com/shelleys shelleys %N 21914 %B http://www.fontspace.com/shells-cool-fonts Shells Cool Fonts - Michelle %N 21913 %B http://www.fontspace.com/shelly-bee shelly_bee %N 21912 %B http://www.fontspace.com/shilpas-fonts Shilpas fonts %N 21911 %B http://www.fontspace.com/shir7ey shir7ey %N 21910 %B http://www.fontspace.com/shona Shona %N 21909 %N 21908 %B http://www.fontspace.com/shuba Shuba %N 21907 %B http://www.fontspace.com/sicc-side sicc side %N 21906 %B http://www.fontspace.com/simba simba %N 21905 %B http://www.fontspace.com/simpleimpression simpleimpression - Karlene %N 21904 %B http://www.fontspace.com/skillz-pho-thrillz Skillz Pho Thrillz %N 21903 %B http://www.fontspace.com/skincal-inks-fonts SKINCAL INKS FONTS %N 21902 %B http://www.fontspace.com/skipppyjs-fontopronto skipppyJ's Fontopronto - skip %N 21901 %B http://www.fontspace.com/sklshsjld sklshsjld - 12 %N 21900 %N 21899 %B http://www.fontspace.com/skulls Skulls - Skulls Thefetishpress %N 21898 %B http://www.fontspace.com/skyline-team-fonts Skyline Team Fonts - j.jay davis %N 21897 %B http://www.fontspace.com/slappydog slappydog %N 21896 %B http://www.fontspace.com/slave slave %N 21895 %B http://www.fontspace.com/slim slim %N 21894 %B http://www.fontspace.com/smartypants-enterprises SmartyPants Enterprises - Megan A. Costello %N 21893 %B http://www.fontspace.com/smctags smctags - samantha crain %N 21892 %B http://www.fontspace.com/snackentart snackentart %N 21891 %B http://www.fontspace.com/snailfonts SnailFonts - Jonathan Keene %N 21890 %B http://www.fontspace.com/soldan-international-high-school soldan international high school %N 21889 %B http://www.fontspace.com/sooheys-auto Soohey's Auto %N 21888 %B http://www.fontspace.com/south-basic-chemicals-company South Basic Chemicals Company %N 21887 %B http://www.fontspace.com/south-paulding-middle-school South Paulding Middle School %N 21886 %B http://www.fontspace.com/sparklingrhinestone sparklingrhinestone %N 21885 %B http://www.fontspace.com/sparkysflower Sparky'sFlower - Kelsey %N 21884 %B http://www.fontspace.com/speed speed %N 21883 %B http://www.fontspace.com/spit spit %N 21882 %B http://www.fontspace.com/spongebob spongebob %N 21881 %B http://www.fontspace.com/springofhead springofhead %N 21880 %B http://www.fontspace.com/squaresville Squaresville - Scott "Speed" Hall %N 21879 %B http://www.fontspace.com/sstruensee sstruensee %N 21878 %B http://www.fontspace.com/staceys-tattoo-fonts STACEY'S TATTOO FONTS %N 21877 %B http://www.fontspace.com/stan1949 Stan1949 %N 21876 %B http://www.fontspace.com/ste STE - rara %N 21875 %B http://www.fontspace.com/steaniegifts Steaniegifts %N 21874 %B http://www.fontspace.com/stefan Stefan - Stefan %N 21873 %B http://www.fontspace.com/stefan-motzigemba Stefan Motzigemba %N 21872 %B http://www.fontspace.com/steph-ray Steph Ray %N 21871 %B http://www.fontspace.com/steria-services-limited Steria Services Limited %N 21870 %B http://www.fontspace.com/sterling sterling - sterling %N 21869 %B http://www.fontspace.com/steven-l-wood Steven L. Wood %N 21868 %B http://www.fontspace.com/stevi-school stevi school %N 21867 %N 21866 %B http://www.fontspace.com/stkarstix st'karstix - trywell %N 21865 %B http://www.fontspace.com/stnmt stnmt %N 21864 %B http://www.fontspace.com/strawberry-bomb Strawberry Bomb - Roz %N 21863 %B http://www.fontspace.com/student student %N 21862 %N 21861 %B http://www.fontspace.com/styx-fonts styx fonts %N 21860 %B http://www.fontspace.com/su su %N 21859 %B http://www.fontspace.com/su-lucas Su Lucas %N 21858 %B http://www.fontspace.com/sue-johnson Sue Johnson %N 21857 %B http://www.fontspace.com/summerkitten- Summerkitten %N 21856 %B http://www.fontspace.com/summernytz SummerNytz %N 21855 %B http://www.fontspace.com/super-ninja-awesome-fonts super ninja awesome fonts - super ninja %N 21854 %B http://www.fontspace.com/susan Susan %N 21853 %B http://www.fontspace.com/susan-bleharts-cookbook Susan Blehart's Cookbook %N 21852 %B http://www.fontspace.com/susie-labelle Susie LaBelle %N 21851 %B http://www.fontspace.com/suzanne suzanne %N 21850 %B http://www.fontspace.com/suzyq83 suzyq83 %N 21849 %B http://www.fontspace.com/sweeney sweeney - sweeney %N 21848 %B http://www.fontspace.com/sweet-n-treats Sweet-n-Treats %N 21847 %B http://www.fontspace.com/sweetwater-elementary- Sweetwater Elementary - M.Gafcovich %N 21846 %B http://www.fontspace.com/syalems-fonts SyaLem's Fonts %N 21845 %B http://www.fontspace.com/syams-fc Syam's FC - Syam %N 21844 %B http://www.fontspace.com/sydnye-f Sydnye F. - Sydnye F. %N 21843 %B http://www.fontspace.com/sylvia-fonts sylvia fonts %N 21842 %B http://www.fontspace.com/sylvias-mommy Sylvias Mommy %N 21841 %B http://www.fontspace.com/syndicate-fonts syndicate fonts %N 21840 %B http://www.fontspace.com/syosset syosset - syosset %N 21839 %B http://www.fontspace.com/tmmod T@MMO..D %N 21838 %B http://www.fontspace.com/ta-dah Ta-Dah! %N 21837 %B http://www.fontspace.com/taiwan taiwan %N 21836 %N 21835 %B http://www.fontspace.com/tammy-fonts tammy fonts %N 21834 %B http://www.fontspace.com/tammys-awesome-fonts Tammy's Awesome Fonts %N 21833 %B http://www.fontspace.com/tandrew t'andrew %N 21832 %B http://www.fontspace.com/tangled-in-destiny Tangled in Destiny - JuliaL %N 21831 %B http://www.fontspace.com/tara Tara %N 21830 %B http://www.fontspace.com/tattoo-johnny TATTOO JOHNNY %N 21829 %B http://www.fontspace.com/tattoos tattoos %N 21828 %B http://www.fontspace.com/taylor-advertising-and-design Taylor Advertising & Design %N 21827 %B http://www.fontspace.com/taylors-awsome-fonts taylors awsome fonts - taylor %N 21826 %B http://www.fontspace.com/taylors-fonts Taylor's fonts %N 21825 %B http://www.fontspace.com/tcg tcg %N 21824 %B http://www.fontspace.com/tdarden tdarden %N 21823 %B http://www.fontspace.com/teacher Teacher %N 21822 %B http://www.fontspace.com/teachers-cute-fonts Teachers Cute Fonts - Aillette %N 21821 %B http://www.fontspace.com/team-rev TEAM REV %N 21820 %B http://www.fontspace.com/ted-alspach Ted Alspach - Ted Alspach %N 21819 %B http://www.fontspace.com/tedisfonts tedi'sfonts - tedi %N 21818 %B http://www.fontspace.com/tees-custom-fonts Tee's Custom Fonts - Tanesha %N 21817 %B http://www.fontspace.com/temporary temporary - temporary %N 21816 %B http://www.fontspace.com/teres teres %N 21815 %B http://www.fontspace.com/terrrys-terrific-fonts Terrry's Terrific Fonts %N 21814 %B http://www.fontspace.com/testing testing - testing %N 21813 %B http://www.fontspace.com/tevasinna-trading TEVASINNA TRADING %N 21812 %B http://www.fontspace.com/th-ac TH AC %N 21811 %B http://www.fontspace.com/thanh-ho%C3%A1 Thanh HoÃ¡ %N 21810 %B http://www.fontspace.com/that90sband That90sBand %N 21809 %B http://www.fontspace.com/the-black-box The Black Box - Sean %N 21808 %B http://www.fontspace.com/the-brown-consulting-group-llc The Brown Consulting Group LLC - Chauncey I. Brown, III %N 21807 %B http://www.fontspace.com/the-dermatology-center-llc the dermatology center, llc %N 21806 %B http://www.fontspace.com/the-duffy-house The Duffy House %N 21805 %B http://www.fontspace.com/the-empire-of-the-claw The Empire of the Claw - Lee Bentley Jr. %N 21804 %B http://www.fontspace.com/the-flea-pit The Flea Pit - Kevin Wilson %N 21803 %B http://www.fontspace.com/the-godfather-fontthe-bolton-bros The Godfather Font/The Bolton Bros. %N 21802 %B http://www.fontspace.com/the-liquid-plumber The Liquid Plumber %N 21801 %N 21800 %B http://www.fontspace.com/the-original-19 The Original 19 - Barry Bujol %N 21799 %B http://www.fontspace.com/the-paper-doll-stationery The Paper Doll Stationery - Lacy Brown %N 21798 %B http://www.fontspace.com/the-pet-barn The Pet Barn - Becky Reaves %N 21797 %B http://www.fontspace.com/the-spirit-and-the-bride The Spirit and The Bride %N 21796 %B http://www.fontspace.com/the-workshoppe The Workshoppe %N 21795 %B http://www.fontspace.com/thebirds thebirds - pipe %N 21794 %B http://www.fontspace.com/thelz thelz %N 21793 %B http://www.fontspace.com/thielman-family Thielman Family %N 21792 %N 21791 %N 21790 %B http://www.fontspace.com/thoplaan thoplaan %N 21789 %B http://www.fontspace.com/tifnmarina tifnmarina %N 21788 %B http://www.fontspace.com/tillysnightmare Tilly'snightmare %N 21787 %B http://www.fontspace.com/timbre-restaurant Timbre Restaurant %N 21786 %B http://www.fontspace.com/timoteo timoteo - blooguer %N 21785 %B http://www.fontspace.com/tina tina %N 21784 %B http://www.fontspace.com/tina-awesome-fongs TINA AWESOME FONGS %N 21783 %N 21782 %B http://www.fontspace.com/tinka tinka %N 21781 %B http://www.fontspace.com/tiny-babes-sxc-fonts Tiny babe's sxc Fonts - Malory Grayson %N 21780 %B http://www.fontspace.com/tish tish %N 21779 %B http://www.fontspace.com/tokyo-desert Tokyo Desert - You-ki Nemoto %N 21778 %B http://www.fontspace.com/tom tom - tom %N 21777 %B http://www.fontspace.com/tony tony %N 21776 %B http://www.fontspace.com/totallycool totallycool %N 21775 %B http://www.fontspace.com/town-and-country Town & Country %N 21774 %B http://www.fontspace.com/tracy Tracy %N 21773 %B http://www.fontspace.com/trainladys-fonts trainladys fonts %N 21772 %B http://www.fontspace.com/travis-fonts TRAVIS FONTS - travis %N 21771 %B http://www.fontspace.com/tre-bomb-nation Tre Bomb Nation - Kris Sullen %N 21770 %B http://www.fontspace.com/tremooih Tremooih %N 21769 %B http://www.fontspace.com/trendy-bodacious-design-ladies TRENDY BODACIOUS DESIGN LADIES %N 21768 %B http://www.fontspace.com/treudedesing treudedesing - ozeas %N 21767 %B http://www.fontspace.com/triad-xs triad xs %N 21766 %B http://www.fontspace.com/trillium Trillium %N 21765 %B http://www.fontspace.com/trinityink trinityink %N 21764 %B http://www.fontspace.com/trishas-fonts trisha's fonts %N 21763 %B http://www.fontspace.com/trixies-treasures trixie's treasures %N 21762 %B http://www.fontspace.com/troycon TroyCon - Bob %N 21761 %B http://www.fontspace.com/truck-fonts Truck Fonts - Truck Armstrong, Steve Wilson %N 21760 %B http://www.fontspace.com/trumpp Trumpp %N 21759 %B http://www.fontspace.com/tsavaiano tsavaiano - tsavaiano %N 21758 %B http://www.fontspace.com/tscott TSCOTT %N 21757 %B http://www.fontspace.com/ttf-dawg TTF dawg - TTF dawg %N 21756 %B http://www.fontspace.com/tuandt tuandt %N 21755 %B http://www.fontspace.com/turkey Turkey %N 21754 %B http://www.fontspace.com/tutoto tutoto %N 21753 %B http://www.fontspace.com/twinkle-toes-dance-academy twinkle toes dance academy %N 21752 %B http://www.fontspace.com/two-peas Two Peas - Melissa Baxter %N 21751 %B http://www.fontspace.com/tyma tyma - tyma %N 21750 %B http://www.fontspace.com/typografski Typografski - Heinrich Lischka %N 21749 %N 21748 %B http://www.fontspace.com/unclemark unclemark %N 21747 %B http://www.fontspace.com/unicom Unicom %N 21746 %B http://www.fontspace.com/united-american-savings-bank United American Savings Bank %N 21745 %B http://www.fontspace.com/unkmo Unkmo %N 21744 %B http://www.fontspace.com/unknown unknown %N 21743 %B http://www.fontspace.com/uptown-tileworks Uptown Tileworks %N 21742 %B http://www.fontspace.com/uraorange uraorange - Akiko Naito %N 21741 %B http://www.fontspace.com/utti-01 Utti_01 %N 21740 %B http://www.fontspace.com/valeries-fonts valerie's font's %N 21739 %B http://www.fontspace.com/vana vana %N 21738 %B http://www.fontspace.com/vanessaandgreg Vanessaandgreg %N 21737 %B http://www.fontspace.com/vaubkib vaubkib %N 21736 %B http://www.fontspace.com/verdigo Verdigo %N 21735 %B http://www.fontspace.com/vicki-sosa Vicki Sosa %N 21734 %B http://www.fontspace.com/viet-nam viet nam %N 21733 %B http://www.fontspace.com/vinicaka vinicaka - vini %N 21732 %N 21731 %B http://www.fontspace.com/vipermonch vipermonch %N 21730 %B http://www.fontspace.com/virginia-designs Virginia Designs %N 21729 %B http://www.fontspace.com/visual-dynamics visual dynamics %N 21728 %B http://www.fontspace.com/vivek-kambli Vivek Kambli - Vivek S. Kambli %N 21727 %B http://www.fontspace.com/vns vns - vns %N 21726 %B http://www.fontspace.com/voice voice %N 21725 %B http://www.fontspace.com/vtks-bandana vtks bandana %N 21724 %B http://www.fontspace.com/w3z w3z - w3z %N 21723 %B http://www.fontspace.com/wa2ise wa2ise %N 21722 %B http://www.fontspace.com/walden-font-co Walden Font Co. %N 21721 %B http://www.fontspace.com/watever watever %N 21720 %B http://www.fontspace.com/we-and-thee We and Thee - Pam Dile %N 21719 %N 21718 %N 21717 %B http://www.fontspace.com/wendys- wendy's %N 21716 %B http://www.fontspace.com/west-wind-fonts West Wind Fonts %N 21715 %B http://www.fontspace.com/wild-wild-west-fonts Wild Wild West Fonts - lisa %N 21714 %B http://www.fontspace.com/wildrivers wildriver's %N 21713 %B http://www.fontspace.com/will3k will3k - will3k %N 21712 %B http://www.fontspace.com/will3knstyle will3knstyle %N 21711 %B http://www.fontspace.com/windstar Windstar %N 21710 %N 21709 %B http://www.fontspace.com/wisaal Wisaal %N 21708 %B http://www.fontspace.com/women-of-grace women of grace - lynn %N 21707 %B http://www.fontspace.com/wong wong %N 21706 %B http://www.fontspace.com/wooster Wooster %N 21705 %B http://www.fontspace.com/wwwfontsforcellphonecom www.fontsforcellphone.com %N 21704 %B http://www.fontspace.com/wwwfontspacecom WWW.FONTSPACE.COM - WFORMAN %N 21703 %B http://www.fontspace.com/wwwfontspacecomanti www.fontspace.com/Anti %N 21702 %B http://www.fontspace.com/wwwfontspacecomcrys-fonts www.fontspace.com/crys-fonts %N 21701 %B http://www.fontspace.com/wwwfontspacecomlaura-fonts www.fontspace.com/laura-fonts %N 21700 %B http://www.fontspace.com/wwwfontspacecomleezas-awesome-fonts www.fontspace.com/leezas-awesome-fonts %N 21699 %B http://www.fontspace.com/wwwmichelle1024commichelle-1024 www.michelle1024.com/michelle-1024 - chellelove %N 21698 %B http://www.fontspace.com/wwwthecrankincrackercom WWW.THECRANKINCRACKER.COM %N 21697 %B http://www.fontspace.com/wwwwaldenfontcom wwwwaldenfont.com %N 21696 %B http://www.fontspace.com/xxjaylovefonts xxjaylovefonts - jay %N 21695 %B http://www.fontspace.com/yaya1 yaya1 %N 21694 %B http://www.fontspace.com/yeucu yeucu %N 21693 %B http://www.fontspace.com/yoshs-laboratory Yosh's Laboratory - Yoshiki Kita %N 21692 %B http://www.fontspace.com/yourrrhawttt yourrrHAWTTT - Angelica Pickle %N 21691 %B http://www.fontspace.com/yours-truly- Yours Truly - Justin Portis %N 21690 %B http://www.fontspace.com/yythszaa yythszaa %N 21689 %B http://www.fontspace.com/zachary Zachary %N 21688 %N 21687 %B http://www.fontspace.com/zeldasmile zeldasmile %N 21686 %B http://www.fontspace.com/zensored-styles Zensored Styles %N 21685 %B http://www.fontspace.com/zero Zero - Zero Friction %N 21684 %B http://www.fontspace.com/zero-budget-racing Zero Budget Racing - Joe %N 21683 %B http://www.fontspace.com/zul zul %N 21682 %B http://www.fontspace.com/zulma zulma %N 21681 %B http://www.fontspace.com/%E5%A4%A9 å¤© Fontspace link010Bus Fontspace link010Bus Fontspace link04 - Yuji Oshimoto Fontspace link04 - Yuji Oshimoto Fontspace link05cube Fontspace link11-D - Johan Waldenström Fontspace link11-D - Johan Waldenström Fontspace link11th Floor Fontspace link11th Floor Fontspace link2 the left Fontspace link23SE - Jurgen Dahlqvist Fontspace link4 Your Eyes Only - Monica Di Leandro Fontspace link4Logoz - Blaise Fontspace linkAce Fonts - Ray Dittmeier Fontspace linkAce Fonts - Ray Dittmeier Fontspace linkAdam Wunn Fontspace linkAddax Designs Fontspace linkAddax Designs Fontspace linkAdobe Fontspace linkAdreson74 - Adreson V V S Fontspace linkAdreson74 - Adreson V V S Fontspace linkAdult Ramblings - Anastacia E. 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Fontspace linkBlue Vinyl - Jess Latham Fontspace linkBolt Cutter Design Fontspace linkbread of many - haley dolan Fontspace linkbrian j davis design - brian j davis Fontspace linkBRIDGEco - Jin Hashiba Fontspace linkBruce Kvam Fontspace linkBuddha Graphix - Jesper Birk Fontspace linkButtfaces - Tobias Tylus Fontspace linkButtfaces - Tobias Tylus Fontspace linkB/W Fontworks - Dan Redding Fontspace linkB/W Fontworks - Dan Redding Fontspace linkCacat Otak ExperimentART - Dandung 'Cacat Otak' Fontspace linkCaffeen - Jesse Wilson Fontspace linkCaramel Syrup Font Shop - Charlie Fontspace linkCaramel Syrup Font Shop - Charlie Fontspace linkCarini Type Foundry Fontspace linkCarl Johanson Fontspace linkCarl Osterwald Fontspace linkCarolina Mejia Villegas Fontspace linkCathy Davies Fontspace linkCatrina Fontspace linkCharacter Fontspace linkCheapskate Fonts - Dustin Norlander Fontspace linkCheapskate Fonts - Dustin Norlander Fontspace linkCher Stewart Fontspace linkChris Rigg Fontspace linkClearlight - Brad Barham Fontspace linkcodeman38 Fontspace linkcodeman38 Fontspace linkColorful Typhoon - Futaba Fontspace linkComicBabies - Otoko Aie Fontspace linkCommissioned Fontspace linkConnie's Creations - Connie Scoble Fontspace linkCossack Fontspace linkCROLrene Fontspace linkCuttleFish - Jason Pagura Fontspace linkCuttleFish - Jason Pagura Fontspace linkCybaPee Creations - Petra Heidorn Fontspace linkCátia Ormonde (ESVN) - Cátia Ormonde Fontspace linkDan Smith's Fantasy Fonts - Daniel Steven Smith Fontspace linkDani Foster Herring Fontspace linkDani Foster Herring Fontspace linkDaniel Plant http://www.fontspace.com/david-luscombe David Luscombe Fontspace linkDavid Lozano Lucas Fontspace linkDavid Lozano Lucas Fontspace linkDavid Luscombe Fontspace linkDavid Rakowski Fontspace linkDe Nada Industries - Mike Allard Fontspace linkDe Nada Industries - Mike Allard Fontspace linkdeFaced - Stanley Roland Frantz Fontspace linkDeffeyes Design - Steve Deffeyes Fontspace linkdesignstation Fontspace linkDestiny's Designs - Destiny's Lady Fontspace linkDibujado Fontspace linkDigital Agent Factory Fontspace linkDigital Agent Factory Fontspace linkDigital Empires - Steve Tune Fontspace linkDigital Graphics Labs Fontspace linkDigital Graphics Labs Fontspace linkDigital Magic - Helen Duggan Fontspace linkDigital Magic - Helen Duggan Fontspace linkDigital Type Foundry - James Banner Fontspace linkDisturbed Type - Matthew Austin Petty Fontspace linkDonna J Morse - Strat Fontspace linkDrippy's Fonts - John Ramstine Fontspace linkDust Fonts Fontspace linkDust Fonts Fontspace linkEdelweiss Fontspace linkEightface - Dave Kellam, Brian Stuparyk Fontspace linkElaine Biss - Elaine Biss,Bab`s Type Fontspace linkElbow - Patrick Lindsay Gravette Fontspace linkElbow - Patrick Lindsay Gravette Fontspace linkEmerald City Fontwerks - Steven J. Lundeen Fontspace linkEric Perlin Fontspace linkEternal Maelstrom - Jason Harlan Fontspace linkEternal Maelstrom - Jason Harlan Fontspace linkEtherbrian - Brian Brasher Fontspace linkextermin8tor Fontspace linkextermin8tor Fontspace linkFargoboy - Paul Wilde L'Heureux Fontspace linkFenotype - Emil Bertell (also Erik Bertell) Fontspace linkFilmfonts - Jens R. Ziehn Fontspace linkFilmfonts - Jens R. Ziehn Fontspace linkfinn3466 Fontspace linkFlava Fonts - Leigh Taylor Fontspace linkFleisch - Suzanne F. Fontspace linkFOD - Demonhill Fontspace linkFOD - Demonhill Fontspace linkFont-a-licious - Ben Balvanz Fontspace linkFont Emporium - Matt Dennewitz Fontspace linkFont Funk Factory - Mikael Gardefors,Marcus Jumlin Fontspace linkFont Funk Factory - Mikael Gardefors,Marcus Jumlin Fontspace linkFont Maker Fontspace linkFont Monkey - P.D. Magnus Fontspace linkFONTASTIC! Fontspace linkFontasyLand Fontspace linkFontMart - ToddAdkins Fontspace linkFontMart - ToddAdkins Fontspace linkFontMesa - Michael Hagemann Fontspace linkFontomen - Jenny Barck Fontspace linkFontomen - Jenny Barck Fontspace linkFontor - Daniel Midgley Fontspace linkfonts-n-things Fontspace linkFonts of Afrika - Peter Slingsby Fontspace linkFoopy - Christopher Wood Fontspace linkFoopy - Christopher Wood Fontspace linkFootnote Fonts - Eddie Colton Fontspace linkFr. Richard Lonsdale Fontspace linkGene M. Grubb Fontspace linkGraphx Edge Fontspace linkGuifx Fontspace linkGulash - PitDGulash Fontspace linkGulash - PitDGulash Fontspace linkGyrl Friday - Heather Daniel Fontspace linkGyusan - Gyusan (Ushigoya) P Fontspace linkhijoju Fontspace linkHYBRIDspace - Kees Gajentaan aka "XiNO" Fontspace linkHypoTypo - Walter J. P. 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I&II, Seconde Ã‰dition, Londres, Oxford University Press, 1937 (1re Ã©d. 1922). â€¢ A.F.Johnson&Stanley Morison, Â« Th e chancery types of Italy and France Â», in : Th e Fleuron III. Londres, 1925. â€¢ Stanley Morison, Â« Towards an ideal italic Â», in : Th e Fleuron V, Londres, 1926. â€¢ Stanley Morison, CaractÃ¨res de lâ€™Ã©criture dans la typographie, Ã‰tude historique, Paris, Ã€ l'enseigne du PÃ©gase, 1927. â€¢ Stanley Morison&Kenneth Day, Th e Typographique Book 1450â€“1935, Londres, Ernest Benn. 1963. â€¢ Marius Audin, Le Livre, Son architecture, Sa Technique, Haute Provence, Forcalquier, Ã‰ditions Robert Morel, 1969. â€¢ Harry Carter, A view of early typography, up to about 1600, Londres, Hyphen Press, 2002 (1Ã¨re Ã©d. 1969). â€¢ Walter Tracy, Lett ers of Credit, A view of type design, Boston, David R. Godine Publisher, 2003 (1Ã¨re Ã©d. 1986). â€¢ Jeanne Veyrin-Forrer, La lett re et le texte, Trente annÃ©es de recherches sur lâ€™histoire du livre. Paris, coll. de lâ€™Ã‰cole Normale SupÃ©rieure de Jeunes Filles no 34, 1987. â€¢ Francesco Ascoli, Â« Lâ€™Ã©tude de la calligraphie en Italie Â», dans : Communication et langages. no 88, 1991. â€¢ Peter Burnhill, Type spaces: in-house norms in the typography of Aldus Manutius, Londres, Hyphen Press, 2003. â€¢ Fred Smeijers, Type now, Londres, Hyphen Press, 2003. â€¢ Ladislas Mandel, Ã‰critures, mÃ©moire des hommes et des sociÃ©tÃ©s, Atelier Perrousseaux, 1998. ainsi que Du pouvoir des Ã©critures, Atelier Perrousseaux, 2004. â€¢ Alexander Lawson, Anatomy of a typeface, Boston, David R. Godine Publisher, 2005. â€¢ Yves Perrousseaux, Histoire de lâ€™Ã©criture typographique : de Gutenberg au xviie siÃ¨cle, Atelier Perrousseaux, 2005. â€¢ Bruno Rives, Aldo Manuzio, Passions et secrets dâ€™un VÃ©nitien de gÃ©nie, Ã‰ditions Librii, 2008. â€¢ Hendrik D. L. Vervliet, Th e Paleotypography of the French Renaissance, Selected papers on sixteenth-century typefaces, vol. II, Leiden, Brill, 2008. â€¢ Martin Majoor&SÃ©bastien Morlighem, JosÃ© Mendoza y Almeida, coll. BibliothÃ¨que Typographique, Paris, Ypsilon Ã‰diteur, 2010. Ã‰CRITURE MANUSCRITE, CALLIGRA PHIQUE, TYPOGRA PHIE : HISTOIRE ET THÃ‰ORIE â€¢ Marshall Mc Luhan, Pour comprendre les mÃ©dias, Paris, Folio essai, 2004 (1re Ã©d. 1964). â€¢ Gerrit Noordzij, Â« Broken scripts and the classif ication of typefaces Â», in : Th e journal of typographic research, vol. IV no 3, 1970. â€¢ John Dreyfus et FranÃ§ois Richaudeau, La chose imprimÃ©e, Les encyclopÃ©dies du savoir moderne. Paris, Retz, 1977. â€¢ Fernand Baudin, Â« Lâ€™Ã©criture qui toujours recommence Â», dans : Communication et langages. no 36, 1977. â€¢ Nicolete Gray, Lâ€™Ã©criture scripte : Â« Un handicap pour les enfants Â», dans : Communication et langages, no 40, 1978. â€¢ Fernand Baudin, Â« Lâ€™avenir de lâ€™Ã©criture manuelle Â», dans : Communication et langages, no 53, 1982. â€¢ Fernand Baudin, Â« CaractÃ¨res de civilitÃ© et de civilisation Â», dans : Communication et langages. no 54, 1982. â€¢ GÃ©rard Blanchard, Â« Garamond, mythe et patrimoine Â», dans : Communication et langages. no 98, 1993. â€¢ Fernand Baudin, Lâ€™Eff et Gutenberg, Bruxelles, Ã‰ditions du cercle de la libraire, 1994. â€¢ Claude Mediavilla, Calligraphie, Paris, Imprimerie Nationale, 1996. â€¢ Gerrit Noordzij, Lett erlett er, Vancouver, Hartley&Marks Publishers, 2000. â€¢ Gerrit Noordzij, Th e Stroke, theory of writing, Londres, Hyphen Press, 2005. â€¢ Jack Goody, La raison graphique, Les Editions de Minuit, 1979 ansi que Pouvoirs et savoirs de lâ€™Ã©crit. Paris, La Dispute, 2007. â€¢ Hendrik D. L. Vervliet, Â« Th e young Garamont : roman types made in Paris from 1530 to 1540 Â». dans : Typography papers 7, pages 5 Ã 60, Londres, Hyphen Press, 2007. â€¢ Yves Perrousseaux, Histoire de lâ€™Ã©criture typographique, le xviiie siÃ¨cle, tome I et II, Atelier Perrousseaux, 2010. â€¢ Nicolete Gray, Â« Towards a new handwriting adapted to the ballpoint pen Â», in : Visible Language xiii. 44 MÃ‰CANISME DE LA LECTURE â€¢ Ã‰mile Javal, Physiologie de la lecture et de lâ€™Ã©criture, New York, Cambridge University Press, 2010 (1re Ã©d. 1905). â€¢ Frank Smith, Comment les enfants apprennent Ã lire, ActualitÃ© pÃ©dagogique Paris, Retz, 1980 (1re Ã©d. 1973). â€¢ FranÃ§ois Richaudeau, La LisibilitÃ©, ActualitÃ© des sciences humaines, Paris, Retz, 1974. â€¢ FranÃ§ois Richaudeau, Â« 6 phrases, 200 sujets, 42 lapsus, 1 rÃªve Â», dans : Communication et langages, no 23, 1974. â€¢ FranÃ§ois Richaudeau, Â« Faut-il brÃ»ler les formules de lisibilitÃ© ? Â», dans : Communication et langages, no 30, 1976. â€¢ FranÃ§ois Richaudeau, Â« Le texte le plus eff icace que je connaisse Â», Dominique Grandpierre. Â« La lecture pour les individus en retard Â», AndrÃ© Conquet, Â« Lecture et troisiÃ¨me Ã¢ge Â», dans : Communication et langages, no 37, 1978. â€¢ Lionel Bellenger, Les mÃ©thodes de lecture, Que sais-je ?, Paris, PUF, 1985 (1re Ã©d. 1978). â€¢ Alberto Manguel, Une histoire de la lecture, Babel, 2000. â€¢ Th omas Huot-Marchand, Le Minuscule, MÃ©moire de lâ€™ANRT, 2002 ainsi que Â« Minuscule Â». dans : TM RSI STM, no 2, 2004. â€¢ K. Larson, Th e science of word recognition, in : Eye, no 52, Londres, Croydon, Summer, 2004. â€¢ Robert Bringhurst, Th e solid form of language, Kentville, Nova Scotia : Gaspereau Press, 2004. â€¢ Dr Ghislaine Wett stein-Badour, Bien parler, bien lire, bien Ã©crire, Eyrolles, 2006. â€¢ Marie-Valentine Blond, Lecture et lisibilitÃ©, partie 1&2, www.objetslivres.fr, Novembre 2007. â€¢ Gerard Unger, While youâ€™re reading, New York, Mark Batt y Publisher, 2007. â€¢ Jost Hochuli, Detail in typography, Londres, Hyphen Press, 2008. Carter, H. G. Fournier on punchcutting: the text of the Manuel Typographique London: Soncino Press, 1930; New York: Burt Franklin, 1970 The optical scale in typefounding Typography, no.4, pp.2-6 (1937) - Matthew Carter: Bell Centennial (Type and technology monograph no. 1) New York: Cooper Union, 1982 de Vinne, T. L. Plain printing types New York: Century, 1900 Dreyfus, J. Italic quartet Cambridge: Cambridge University Press (privately printed), 1966 Dwiggins, W.A. WAD to RR: a letter about designing type Cambridge, Mass.: Harvard College Library, 1940 Knuth, D. E. TEX And METAFONT: new directions in typesetting Bedford, Mass.: Digital, 1979 - The Computer Modern family of typefaces Stanford Computer Science Department report STAN-CS-80-780 (1980) - A Course on METAFONT Programming TUGboat, vol. 5 no. 2, pp. 105-118 (1984) - Lessons learned from METAFONT Visible Language, vol. 19 no. 1, pp. 35-53 (1985) - The METAFONTbook Reading, Mass.: Addison-Wesley, 1986 Kohen, E. An interactive method for middle resolution font design on personal workstations in Bucci, G., and Valle, G. (eds.), Computing 85: a broad perspective of current developments. Amsterdam: North-Holland, 1985 Southall, R. Metafont and the problems of type design in André, J., and Sallio, P. (eds.), Typographie et informatique: support du cours INRIA, Rennes, 21-25 Janiver 1985. Rocquencourt: INRIA, 1985 - Designing new typefaces with Metafont Stanford Computer Science Department report STAN-CS-85-1074 (1985) van Krimpen, J. A letter to Philip Hofer on certain problems connected with the mechanical cutting of punches Cambridge, Mass.: Harvard College Library, 1972 Zapf, H. Future tendencies in type design Visible Language, vol. 19 no. 1, pp. 23-33 (1985)

Orbe (Rui Abreu)
History (Peter Bilak)
Rocky (Matthew Carter)
Marlene (Nikola Djurek)
Brioni (Nikola Djurek)
Typonine Stencil (Nikola Djurek)
Glosa (Dino dos Santos)
Givry (Tom Grace)
Zócalo (Cyrus Highsmith)
Expo Serif (Mark Jamra)
Dessau (Gábor Kóthay)
Arlt (Alejandro Lo Celso)
FP Head Pro (Morten Olsen)
Compendium (Alejandro Paul)
Calgary Script (Alejandro Paul)
Memoir (Stephen Rapp)
Bree (José Scaglione, Veronika Burian)
Stag (Christian Schwartz)
Modern Suite (Nick Shinn)
Lakeside (Mark Simonson)
Zanzibar (Mark Simonson)
Baskerville 10 (Frantisek Storm, John Baskerville, Otakar Karlas)
Comenia (Frantisek Storm, Radana Lencová, Tomás Brousil)
Benton Modern Display (Dyana Weissman, Richard Lipton)
Mokka (Ludwig Übele)
Marat (Ludwig Übele)
FF Trixie HD (Erik van Blokland)
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Corporate: Allianz - Gerard Unger/ Audi AG - Adobe/ Berlin - Adobe/ BoehringerIngelheim - MetaDesign/ Bosh - UDN/ Canon Corp - Our Type/ Carrefour - R Baret&S Cortesi/ Deutsche Bahn AG - UDN/ Deutsche Telekom - Martin Majoor/ Folha Sao Paulo - Luc deGroot/ Gak Netherland BV - Letterror/ Heidelberger Druckmaschinen AG/ Jaguar Cars Ltd/ Metro De Lisboa - The Foundry/ Mobil Oil Corporation - Adobe/ National Post - Font Bureau/ Nivea/ Nokia Corporation - UDN/ Salpausselan Kirjapaino - Underware/ Siemens AG - URW++/ Silicon Graphics - Joseph Stizlein/ Sparkasse - Dalton Maag/ Telstra - Jeremy Tankard/ The Economist - Monotype/ UBS - Adobe/ University California - Richard Beatty/ A&M Records; Adobe; AGT; Air France (ITC); Aldi Sued AG; Allianz - Gerard Unger; American Express; Apple; Asda Stores Ltd. (GRAT); AT&T (UK); Audi AG - Adobe Batman Forever; Bayer Corporation; Bell South Basic (LuFo); Berlin - Adobe; Berliner Verkehrsbetriebe; BMW; BoehringerIngelheim - MetaDesign; Boots Bembo; Bosh - UDN; Brauer; British Airways; British Council Sans (extract); British Telecom - The Foundry; Burger King Canon Corp - Our Type; Carlsberg; Carrefour - R Baret&S Cortesi; CD CANAL+; Chanel; Chase; Chevron (CSYS); Christie's Bembo; Chrysler; Citroën; Coca Cola; Courrèges; CP Company (FSD); Crown Logo (UK) Dachmarke Südtirol [pdfx]; Daimler (URW)&(BQ); Deutsche Bahn AG - UDN; Deutsche Telekom - Martin Majoor; Disney Electronic Arts; Elle Magazine (TYPG); EMAP Carweek Farscape; FedEx (A); Folha Sao Paulo - Luc deGroot; Ford (Y&R); France Telecom; France Televisions Gak Netherland BV - Letterror; General Electric; Glasgow 1999; Google Hamburg AH (UK); Heidelberger Druckmaschinen AG; Heineken; Heinz Soup (BATE); Hewlett-Packard Co; Homecorp (UK); Houston Chronicle - Christian Schwartz IBM; Ikea Jack Daniels; Jaguar Cars Ltd; Janszen Kappahl; KPMG UK; KPN Sans Lexus (THL); London Evening Standard (BRIDG) MAD Magazine; Majestic Wine Co. (TEAM); Makivik Corporation - Acorda Design; Marlboro Tobacco (WSI); Marstons (UK); Mattel Toys Barbie; MCA; Mercedes-Benz Original; Metro De Lisboa - The Foundry; Mitsubishi; Mobil Oil Corporation - Adobe; MTV National Post - Font Bureau; National Westminster Bank; NatWest Bank (D Quay+F Sack); New Yorker Magazine; Newsweek [FB]; Nike Football; Nissan AG (Berthold); Nivea; Nokia Corporation - UDN; Norway Telenor - Ma Rakeng&S Berger OTel (THOMP) Peanuts; Pepsi Co. (AF); Playstation; Portugal Telecom; Presidencia Mexico Fuentes; Pripps Rainbow; Random House; Renault; Ryosan SAAB; Safeway (A); Sainsbury; Salpausselan Kirjapaino - Underware; Scandinavian Airlines (SAS); Schiphol Airport; SE Banken; Sheraton Hotels Int'l (Trogman, Robert); Siemens AG; Silicon Graphics - Joseph Stizlein; SITA; Skandia; Skoda Automobile; Smart; Sony; Sparkasse - Dalton Maag; Springer-Verlag GmbH&Co KG; Südmilch; Sun Microsystems (LuFo); Svenskt Papper Tele 2; Telenor; Telewest (Maag); Telstra - Jeremy Tankard; Tesco (Maag); The Economist (Monotype); The Red Cross; Thorn; Time Out Mag; TIntin; Tommy Hilfiger; Twingo France UBS - Adobe; University California - Richard Beatty; UPS Vingresor; Virgin Records; Volkswagen AG; Volvo Wallace&Gromit; Warner Bros. Records (WBR); WDR Logo (META); Weleda; Wieckse Witte-Heineken; Woolworths (Adobe) Yale University - Carter&Cone %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %Q GoudyFonts.Com %N 21679 %B http://www.goudyfonts.com %D Frederic Goudy %d Aug 26 2009 %L CF2 SILENT VENICE %T A subpage of Ascender, which is reviving most of Goudy's fonts. They compiled a rather incomplete list of other revivals, conveniently leaving out all free fonts. The main source for commercial Goudy fonts is Lanston, now part of P22. I will provide a better list below.
1896: Camelot
1897: Unnamed
1897: A “Display Roman”
1898: DeVinne Roman
1902: Pabst Roman, Pabst Italic
1903: Powell
1904: Cushing Italic
1904: Boston News Letter
1905: Copperplate Gothics
1905: Caxton Initials
1905: Globe Gothic Bold
1905: Caslon Revised
1908: Monotype No. 38-e, Monotype No. 38-e Italic
1910: Norman Capitals
1911: Kennerley Old Style, Kennerley Open Caps
1911: Forum Title
1912: Sherman
1912: Goudy Lanston
1914: Goudy Roman
1914: Klaxon
1915: Goudy Old Style
1915: Goudy Catalogue
1915: Goudy Old Style Italic
1916: Goudy Cursive
1916: Booklet Old Style
1916: National Old Style
1916: Goudytype
1917: Advertiser’s Roman
1917: An Unnamed Design
1918: Kennerley Italic
1918: Cloister Initials
1918: Hadriano Title
1918: Goudy Open
1918: Goudy Modern
1919: Collier Old Style
1919: Goudy Modern Italic
1919: Goudy Open Italic
1919: Goudy Antique
1921: Nabisco
1921: Lining Gothic
1921: Garamont, Garamont Italic
1921: Goudy Newstyle
1924: Goudy Italic
1924: Italian Old Style, Italian Old Style Italic
1924: Kennerley Bold, Kennerley Bold Italic
1925: Goudy Heavy Face
1925: Goudy Heavy Face Italic
1925: Marlborough
1925: Venezia Italic
1926: Aries
1927: Goudy Dutch
1927: Companion Old Style, Companion Old Style Italic
1927: Deepdene
1927: Record Title
1927: Goudy Uncials
1928: Deepdene Italic
1928: Goudy Text
1929: Strathmore Title
1929: Lombardic Capitals
1929: Sans Serif Heavy
1929: Kaatskill
1929: Remington Typewriter
1930: Inscription Greek
1930: Trajan Title
1930: Sans Serif Light
1930: Mediaeval
1930: Hadriano Lowercase
1930: Advertiser’s Modern
1930: Goudy Stout
1930: Truesdell, Truesdell Italic
1931: Deepdene Open Text
1931: Deepdene Text
1931: Ornate Title
1931: Sans Serif Light Italic
1931: Deepdene Medium
1932: Goethe
1932: Franciscan
1932: Deepdene Bold
1932: Mostert
1932: Village No. 2
1932: Quinan Old Style
1932: Goudy Bold Face
1933: Goudy Book
1933: Goudy Hudson
1933: Goethe Italic
1933: Deepdene Bold Italic
1934: Saks Goudy, Saks Goudy Italic, Saks Goudy Bold
1934: Hadriano Stone Cut
1934: Village Italic
1934: Textbook Old Style
1934: Hasbrouck
1935: Tory Text
1935: Atlantis
1935: Millvale
1936: Bertham
1936: Pax
1936: Mercury
1936: Sketches Unnamed
1937: Friar
1938: University of California---FB Californian , University of California Italic---FB Californian Italic
1938: New Village Text
1938: Murchison
1939: Bulmer
1941: Scripps College Old Style
1942: Goudy Thirty
1943: Spencer Old Style, Spencer Old Style Italic
1944: Hebrew
1944: Scripps College Italic
1944: Marlborough Text
Goudy Borders
Goudy Fleurons
Goudy Sorts
Park Ridge
ITC Berkeley Old Style , ITC Berkeley Old Style Italic Ed. J.T. Trowbridge, Lucy Larcom, Gail Hamilton Our Young Folks; An illustrated magazine for Boys and Girls (Boston: Ticknor and Fields, 1866) Bache, Richard Meade The Young Wrecker (Philadelphia: Henry T. Coates&Co., 1865) Everybody's Cyclopedia (New York: Syndicate Publishing Company, 1912) The World's Book of Knowledge and Universal Educator (Boston: J.R. Spaulding&Co., 1901) Hazeltine, Mayo W. Chambers' Encyclopedia (New York: Collier, 1894) F. S. Meyer, Handbook of Ornament (New York: The Bruno Hessling Company, 1917) W. Gannon, Mother Goose's Nursery Rhymes, Tales and Jingles (New York: Hurst&Company, 1902) Thomas E. Hill, Hill's Manual of Social and Business Forms (Chicago: Hill Standard Book Co., 1893) Julian Hawthorne Hawethorne's United States (New York: Peter Fenelon Collier, 1898) Heer, J. C. Guide to Lucerne (Lucerne: H. Keller's Foreign Printing Office, 1907) Ira Mayhew Practical Book-Keeping (Boston: Nichols and Hall, 1871) The Quiver: An Illustrated Magazine for Sunday and General Reading (London: Cassell&Company, 1891) Crane, Walter The Decorative Illustration of Books Old and New (New York: G. Bells and Sons, Ltd, 1905) L. W. Yaggy and T. L. Haines, Museum of Antiquity (New York: Standard Publishing House, 1882) Lina Beard, Adelia B. Beard Recreations for Girls (New York: Charles Scribers Sons, 1906) Charles Scribner's Sons Scribner's Magazine (New York: Charles Scribner's Sons, 1901) The Art Journal The Industry of All Nations Illustrated Catalogue (London: Bradbury and Evans, 1851) Good Cheer for 1890: Stories for Young Folks (Boston: D. Lothrop Company, 1889) The November Century Magazine LXXIII No. 1 (London: MacMillan and Co. LTD, 1906) Wark's Modern Educator (New York: Henry Wark, 1904) James Hunter, Young People's History of the World (Philadelphia: The International Publishing Company, 1897) Charles H. Sylvester, Journeys through Bookland (Chicago: Bellows-Reeve Company, 1909) Lucy Larcom, Childhood Songs (Boston: James R. Osgood and Company, 1875) H. G. Cutter and L. W. Yaggy, Panorama of Nations (Chicago: J. V. F. Company, 1892)1 J. W. Van Dervoort The Water World (New York: Union Publishing House, 1883) John Clark Ridpath, Cyclopedia of Universal History (Cincinnati: The Jones Brothers Publishing Co., 1885) %%%%%%%%%%%% From swisstypedesign.ch

A

ABC Schrift Drei

ABC Schrift Eins

ABC Schrift Zwei

Albis

Alpha BP

Antiqua Classica

Apollo

Arrow

Arte Antica

Astra

Au cerf

Avenir

B

B_Paris

B-Dot

Baldi Writer

Barbedor

Bazaar

BD Apotheke

BD Bonbon

BD Central

BD Endless

BD Hell

BD Jura

BD Navy Seals

BD Nippori

BD Orlando

Bill

BMW

Breughel

BT Sans

C

Caflisch Script

Capitalis Monumentalis

Casey

Cassini (Cisalpin)

Centennial

Chicago

Cholla Sans

Cholla Slab

Cholla Unicase

Cholla Wide

CitÃ© Inter

Clarendon

Classica

Columna

Contact

Coop Switzerland

Corvinus (1932 â€“ 1935)

Corvinus Skyline

D

Dedica

Didot

Didot Elder

Dit

Diverda Sans

Diverda Serif

Dorfbeiz

Dorfladen

Dot Matrix

E

EgyptienneF

Eircom

Elysa

Eras

F

Fargo

Fiba

Florist

Frohheim

Frutiger

Frutiger Stones

G

Gegr 1845

Generika (Monospace)

Generika (Proportional)

Gestickte Antiqua

GG Flash

Girlguiding

Glypha

H

Hell

Hellvetica

Helvetica

Herculanum

I

Icone

Idol

Interface

Iridium

L

Lacrima Italic

Lacrima Senza

Lacrima Serif

Land Registry

Lexia

Logotic

London Eye

M

Mano

Marabu

Matura

MÃ©ridien

Mindanoa

Mini

Modes de Paris

N

Neue Bold

Neue Helvetica

Neugrotesk

Newuth Classic

Newuth Plain

Newuth Tip

Normetica

O

Oberon

OCR-B

Odile

Ondine

Optik Foto Film

Ã–

Ã–rtli & Co

P

Pan

Phoebus

PhonogrammeF

Picture Gallery

Pixot

Plume

Pompeijana

PPP Healthcare

PrÃ©sident

Pro Arte

Profil

R

Rauchwaren

Reiner Script

Roman

RÃ¶ntgen Therapie

Royalty

S

Sabon

Schmalfette Grotesk

Segel Club

Sepultura

Siemens Sans

Siemens Serif

Siemens Slab

Sinaloa

Smash Hits

Sonora

Sparkasse

Sparkasse Serif

Studio 5

Syndor

Syntax (1.Digitalisierung)

Syntax (2.Digitalisierung)

Syntax Bleisatz

Syntax Entwurf 1955

Syntax Entwurf 1959

Syntax Fotosatz

Syntax Lapidar Display

Syntax Lapidar Serif Display

Syntax Lapidar Serif Text

Syntax Lapidar Text

Syntax Letter

Syntax Reinzeichnung 1964

Syntax Serif

T

Telewest Broadband

Tesco

Theo Ballmer

Thyssen Krupp

Traffic

Trebor

Tui

Twin Cities

U

Univers

UPC Digital

V

V&A-Outline

Vectora

Velos

Veto

W

Westside

X

XV Regular

Y

Ysbrid Spirit

Z

ZHdK Black

Syntax Fotosatz

1928 Theo Ballmer

1932 Corvinus (1932 â€“ 1935)

1934 Corvinus Skyline

1938 Matura

1947 Profil

1949 Arte Antica

1949 Capitalis Monumentalis

1949 Picture Gallery

1949 Modes de Paris

1949 Au cerf

1949 Ã–rtli & Co

1949 Velos

1949 Segel Club

1949 RÃ¶ntgen Therapie

1949 Rauchwaren

1949 Optik Foto Film

1949 Florist

1949 Gegr 1845

1950 Reiner Script

1950 Bill

1952 Clarendon

1953 Ondine

1953 Phoebus

1953 Contact

1954 PrÃ©sident

1954 Pro Arte

1955 Syntax Entwurf 1955

1955 Columna

1956 Bazaar

1957 MÃ©ridien

1957 Univers

1957 Neugrotesk

1958 Eras

1959 EgyptienneF

1959 Syntax Entwurf 1959

1961 Helvetica

1962 Apollo

1964 Schmalfette Grotesk

1964 Syntax Reinzeichnung 1964

1966 Arrow

1967 Sabon

1968 Syntax Bleisatz

1969 Roman

1969 Astra

1969 Alpha BP

1969 Chicago

1970 Trebor

1970 Classica

1971 Antiqua Classica

1972 Sonora

1972 Iridium

1972 Marabu

1972 Sinaloa

1973 OCR-B

1975 Mindanoa

1976 Frutiger

1977 Glypha

1980 Icone

1982 Breughel

1984 Syntax (1.Digitalisierung)

1984 Barbedor

1986 Centennial

1986 Syndor

1988 Mano

1988 Avenir

1989 Westside

1990 Vectora

1990 Herculanum

1991 Didot

1992 Pompeijana

1992 Syntax Letter

1993 Caflisch Script

1994 Veto

1994 Oberon

1995 Syntax Lapidar Text

1995 Syntax Lapidar Display

1995 PhonogrammeF

1995 PPP Healthcare

1995 Dot Matrix

1997 Syntax (2.Digitalisierung)

1998 Frutiger Stones

1999 Royalty

1999 Eircom

1999 Casey

1999 London Eye

1999 BT Sans

1999 Thyssen Krupp

1999 Cholla Sans

1999 Newuth Tip

1999 Cholla Wide

1999 Syntax Serif

1999 Newuth Plain

1999 Newuth Classic

1999 B-Dot

1999 Cholla Slab

1999 Cholla Unicase

1999 Normetica

1999 Didot Elder

2000 Neue Helvetica

2000 UPC Digital

2000 BMW

2000 Syntax Lapidar Serif Text

2000 Syntax Lapidar Serif Display

2000 Cassini (Cisalpin)

2000 Pan

2000 Logotic

2000 Sepultura

2001 Coop Switzerland

2001 Dit

2001 Lexia

2001 Mini

2001 Tui

2001 Interface

2001 Dedica

2001 Neue Bold

2001 CitÃ© Inter

2001 ABC Schrift Eins

2002 Tesco

2002 BD Bonbon

2002 Siemens Sans

2002 ABC Schrift Zwei

2002 ABC Schrift Drei

2002 Traffic

2002 BD Apotheke

2002 BD Central

2002 BD Endless

2002 BD Hell

2002 Siemens Slab

2002 GG Flash

2002 Elysa

2002 BD Orlando

2002 BD Nippori

2002 Girlguiding

2002 Ysbrid Spirit

2002 BD Navy Seals

2002 BD Jura

2002 Smash Hits

2002 Siemens Serif

2003 B_Paris

2003 V&A-Outline

2003 Telewest Broadband

2003 Sparkasse Serif

2003 Sparkasse

2003 Fiba

2004 Lacrima Italic

2004 Diverda Sans

2004 Studio 5

2004 Diverda Serif

2004 Gestickte Antiqua

2004 Twin Cities

2004 Land Registry

2004 Plume

2004 Idol

2004 Fargo

2004 Odile

2005 Hell

2005 Albis

2005 Baldi Writer

2006 XV Regular

2006 Pixot

2007 Lacrima Serif

2007 Generika (Proportional)

2007 ZHdK Black

2007 Hellvetica

2007 Generika (Monospace)

2007 Lacrima Senza

2008 Frohheim

2009 Dorfbeiz

2009 Dorfladen

(nicht verÃ¶ffentlicht)

Gestickte Antiqua

Adobe Type Foundry

Corvinus (1932 â€“ 1935)

amb+, Paris

B_Paris

B-Dot

Baldi Writer

CitÃ© Inter

Newuth Classic

Newuth Plain

Newuth Tip

Bringolf Irion VÃ¶geli

Albis

Idol

Bü¼ro Destruct

BD Apotheke

BD Bonbon

BD Central

BD Endless

BD Hell

BD Jura

BD Navy Seals

BD Nippori

BD Orlando

D & P, Paris

Contact

D. Stempel GmbH

Bazaar

Syntax Bleisatz

Dalton Maag Ltd

BMW

BT Sans

Casey

Coop Switzerland

Dedica

Dit

Eircom

Fargo

Fiba

Girlguiding

Interface

Land Registry

Lexia

London Eye

Mini

Neue Bold

Pan

Plume

PPP Healthcare

Royalty

Smash Hits

Sparkasse

Sparkasse Serif

Telewest Broadband

Tesco

Thyssen Krupp

Tui

UPC Digital

Ysbrid Spirit

Design Studio Kontour

Odile

Twin Cities

Elsner, Flake GbR, Hamburg

ABC Schrift Drei

ABC Schrift Eins

ABC Schrift Zwei

Elysa

Oberon

Emigre, USA

Cholla Sans

Cholla Slab

Cholla Unicase

Cholla Wide

Engler Text-Bild-Integration AG

Antiqua Classica

Marabu

Mindanoa

Sinaloa

Sonora

Feinherb, Visuelle Gestaltung

PhonogrammeF

Font Font Schweiz

Dot Matrix

Gestalten

Lacrima Italic

Lacrima Senza

Lacrima Serif

Graphic Thought Facility

V&A-Outline

Guerillagrafik

GG Flash

Haas'sche Schriftgiesserei, Walter Fruttiger AG

Arrow

Clarendon

Helvetica

Neugrotesk

Pro Arte

Profil

HI

Dorfbeiz

Dorfladen

Frohheim

Hellvetica

ZHdK Black

Hü¼rlimann Medien AG

Chicago

Sabon

International Typeface Corporation

Eras

Syndor

Lafonts

Pixot

Studio 5

Letraset Ltd

Astra

Lettergieterij Amsterdam

Reiner Script

Lineto

Normetica

Linotype Library GmbH

Apollo

Avenir

Barbedor

Breughel

Caflisch Script

Cassini (Cisalpin)

Centennial

Columna

Didot

Diverda Sans

Diverda Serif

EgyptienneF

Frutiger

Frutiger Stones

Glypha

Herculanum

Icone

Iridium

Mano

Matura

MÃ©ridien

Neue Helvetica

OCR-B

Ondine

Phoebus

Pompeijana

PrÃ©sident

Syntax (2.Digitalisierung)

Syntax Lapidar Display

Syntax Lapidar Serif Display

Syntax Lapidar Serif Text

Syntax Lapidar Text

Syntax Letter

Syntax Serif

Univers

Vectora

Veto

Westside

Linotype, Eschborn

Syntax (1.Digitalisierung)

No Body

Alpha BP

Schmalfette Grotesk

Optimo

Didot Elder

Siemens AG

Siemens Sans

Siemens Serif

Siemens Slab

URW++

Sepultura

Theo Ballmer

xyz

Generika (Monospace)

Generika (Proportional)

Hell

Logotic

ZHdK Zü¼rich

Arte Antica

Au cerf

Capitalis Monumentalis

Florist

Gegr 1845

Modes de Paris

Optik Foto Film

Ã–rtli & Co

Picture Gallery

Rauchwaren

RÃ¶ntgen Therapie

Segel Club

Velos

Baldinger AndrÃ©

B_Paris

B-Dot

Baldi Writer

CitÃ© Inter

Newuth Classic

Newuth Plain

Newuth Tip

Ballmer Auguste ThÃ©ophile

Theo Ballmer

Ballmer Theo

Theo Ballmer

Ballmer-Martinez Thierry

Theo Ballmer

Balmer Thomas

GG Flash

Caflisch Max

Caflisch Script

Columna

Destruct Bü¼ro

BD Apotheke

BD Bonbon

BD Central

BD Endless

BD Hell

BD Jura

BD Navy Seals

BD Nippori

BD Orlando

Arrow

Frutiger Adrian

Alpha BP

Apollo

Avenir

Breughel

Centennial

EgyptienneF

Frutiger

Frutiger Stones

Glypha

Herculanum

Icone

Iridium

MÃ©ridien

OCR-B

Ondine

Phoebus

Pompeijana

PrÃ©sident

Univers

Vectora

Westside

Ganz Marco

Mano

Veto

Diethelm Walter 1913 Detailseite » Diethelm Antiqua » / Sculptura / Arrow » / Code / Abacus / Aktiv / Capitol / Gloriette
Hunziker Hans-Jü¼rg

Siemens Sans

Siemens Serif

Siemens Slab

Lenz Eugen

Profil

Lenz Max

Profil

Maag Bruno

BMW

BT Sans

Casey

Coop Switzerland

Dedica

Dit

Eircom

Fargo

Fiba

Girlguiding

Interface

Land Registry

Lexia

London Eye

Mini

Neue Bold

Pan

Plume

PPP Healthcare

Royalty

Smash Hits

Sparkasse

Sparkasse Serif

Telewest Broadband

Tesco

Thyssen Krupp

Tui

UPC Digital

Ysbrid Spirit

Meier Hans Eduard

ABC Schrift Drei

ABC Schrift Eins

ABC Schrift Zwei

Barbedor

Classica

Elysa

Gestickte Antiqua

Oberon

Roman

Syndor

Syntax (1.Digitalisierung)

Syntax (2.Digitalisierung)

Syntax Bleisatz

Syntax Entwurf 1955

Syntax Entwurf 1959

Syntax Fotosatz

Syntax Lapidar Display

Syntax Lapidar Serif Display

Syntax Lapidar Serif Text

Syntax Lapidar Text

Syntax Letter

Syntax Reinzeichnung 1964

Syntax Serif

Miedinger Max

Helvetica

Neue Helvetica

Neugrotesk

Pro Arte

Baldinger AndrÃ© 1963 Detailseite » B-Dot » / Newuth Classic » / Newuth Plain » / Newuth Tip » / CitÃ© Inter » / Baldi Writer » / B_Paris » Ballmer Auguste ThÃ©ophile 1902 Detailseite » Theo Ballmer » Ballmer Theo 1936 Detailseite » Theo Ballmer » Ballmer-Martinez Thierry 1965 Detailseite » Theo Ballmer » Balmer Thomas 1973 Detailseite » GG Balmer / GG Rapidograph / GG Aviatiko / GG Flash » / GG Gotik / GG Gotik Sans / GG Paris Caflisch Max 1916 Detailseite » Columna » / Columna EF solid / Caflisch Script » Destruct Bü¼ro 1992 Detailseite » BD Brockelmann / BD Dippex / BD Electrobazar / BD Elside / BD Faxer / BD Flossy / BD Medled / BD Paccer / BD Ratterbit / BD Plakatbau / BD Ticket / BD Brick / BD Billiet / BD Cluster / BD Fazer / BD Globus / BD Lodelfizler / BD Rocket 70 / BD Console / BD Kristallo / BD Lofi / BD Acidboyz / BD Console Remix / BD Cravt / BD Doomed / Bd Eject Katakana / Bd Eject / BD Solaris / BD Spicyfruits / BD Stereotype / BD Alustar / BD Asciimax / BD Galaquadrata / BD Mono / BD Delafrance / BD Electronicplastic / BD Relaunch / BD Relaunch Katkana / BD Rainbow / BD Wurst / BD Alm / BD Balduin / BD Bankwell / BD Billding / BD Cash / BD Cashbox / BD Colonius / BD Hexades / BD Meter / BD Mustang / BD Tatami / BD Apotheke » / BD Band / BD Bonbon » / BD Central » / BD Endless » / BD Hell » / BD Jura » / BD Ritmic / BD Navy Seals » / BD Nippori » / BD Orlando » / BD Sweethome / BD Aroma / BD Bardust / BD Breakbeat / BD Burner / BD Discount / BD Elmax / BD Geminis / BD Mann / BD Nebraska / BD Ramen / BD Sicra / BD Sicra RMX / BD St.Moritz / BD Stalker / BD Wotka / BD Zenith / BD Berne Beats / BD Deckard / BD Designer / BD El Autobus / BD Equipement / BD Spinner / BD Unexpected / BD Victoria / BD Wakarismasu / BD Varicolor Frutiger Adrian 1928 Detailseite » Ondine » / Phoebus » / PrÃ©sident » / MÃ©ridien » / Univers » / Alphabet Orly / EgyptienneF » / OpÃ©ra / Concorde / Apollo » / Serifa / Alpha BP » / Devanagari / MÃ©tro Alphabet / OCR-B » / Roissy / Iridium » / Frutiger » / Glypha » / Icone » / Breughel » / Versailles / Centennial » / Avenir » / Westside » / Herculanum » / Vectora » / Didot » / Shiseido / Pompeijana » / Rusticana / Frutiger Stones » / Frutiger Symbols / Frutiger Next / AstraFrutiger / OSF / Roman Initals Ganz Marco 1961 Detailseite » Veto » / Mano » Hunziker Hans-Jü¼rg 1938 Detailseite » CGP 2000 (1976/1995) / Piktogrammziffern / Siemens Sans » / Siemens Serif » / Siemens Slab » / Gando Ronde Lenz Eugen 1916 Detailseite » Fette Lenz-Antiqua / Profil » / Lenz Grotesk Licht / Lenz Grotesk Licht Schattiert / Lenz Egyptienne Lenz Max 1918 Detailseite » Fette Lenz-Antiqua / Profil » / Lenz Grotesk Licht / Lenz Grotesk Licht Schattiert / Lenz Egyptienne Maag Bruno 1962 Detailseite » Pan » / Dedica » / Interface » / Tesco » / Thyssen Krupp » / Sparkasse » / Sparkasse Serif » / Land Registry » / Plume » / Fargo » / Fiba » / Telewest Broadband » / Girlguiding » / Ysbrid Spirit » / Smash Hits » / Tui » / Coop Switzerland » / Neue Bold » / Dit » / Lexia » / Mini » / UPC Digital » / BMW » / London Eye » / Casey » / Eircom » / PPP Healthcare » / BT Sans » / Royalty » Meier Hans Eduard 1922 Detailseite » Syntax Bleisatz » / Barbedor » / Syndor » / Syntax Letter » / Oberon » / SNB-Alphabet / Syntax Lapidar Text » / Syntax Lapidar Display » / Syntax (2.Digitalisierung) » / Syntax Serif » / Syntax Lapidar Serif Display » / Syntax Lapidar Serif Text » / ABC Schrift Eins » / ABC Schrift Zwei » / ABC Schrift Drei » / Elysa » / Gestickte Antiqua » / Syntax (1.Digitalisierung) » / Syntax Entwurf 1955 » / Syntax Entwurf 1959 » / Syntax Reinzeichnung 1964 » / Syntax Fotosatz » / Roman » / Classica » / Konstrukta Miedinger Max 1910 Detailseite » Pro Arte » / Neugrotesk » / Helvetica » / Horizontal / Neue Helvetica » %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% FRUTIGER, Adrian. Type, sign, symbol, ABC Verlag, 1980 GRAY, Nicolette. XIXth century ornamented types and title pages, Faber&Faber, 1951 -. `Slab-serif type design in England 1815-1845 ' in Journal of the Printing Historical Society, no.15, 1980/81 HANDOVER, P M. `Grotesque letters' in Monotype Newsletter, no.69, 1963 -. `Letters without serifs' in Motif, no.6, Shenval Press, 1961 -. `Black serif' in Motif, no.12, Shenval Press, 1964 JOHNSON, A F. Type designs, their history and development, Grafton, 1959 -. `Fat faces: their history, forms and use' in Alphabet and Image, no.5, Shenval Press, 1947 LEWIS, John. Printed ephemera, Antique Collectors' Club, 1962 MCLEAN, Ruari. `An examination of egyptians' in Alphabet and Image, no.1, Shenval Press, 1946 MOSLEY, James. The nymph and the grot, Friends of the St Bride Printing Library, 1999 -. ` The type foundry of Vincent Figgins, 1792-1836' in Motif, no.1, Shenval Press, 1958 NESBITT, Alexander. The history and technique of lettering, Dover Publications, 1957 TSCHICHOLD, Jan. ` Type mixtures' in Typography, no.3, Shenval Press, 1937 TWYMAN, Michael. Printing 1770-1970, Eyre&Spottiswoode, 1970 -. ` The bold idea: the use of bold-looking types in the nineteenth century' in Journal of the Printing Historical Society, no.22, 1993 Bauer, Friedrich: Chronik der Schriftgießereien in Deutschland und den deutschsprachigen Nachbarländern. Offenbach 1928 %Z as8: Typography & Type DesignÂ [ definition ]
%Z Go to : graphic-design; calligraphy; info-design; design-education; linguistics
%Z Ahrens, Tim. 2009, Size-specific Adjustments to Type Designs (page), Mark Batty Publisher, New York.
%Z Berry, John. 2002, Language, Culture, Type: international type design in the age of Unicode, Graphis, New York.
%Z Cabarga, Leslie. 2004, Learn FontLab Fast, Iconoclassics, Los Angeles.
%Z Carter, Sebastian. 2002, Twentieth Century Type Designers, Lund Humphries, Hampshire.
%Z De Jong, Purvis. 2005, Creative Type: A Sourcebook of Classical and Contemporary Letterforms, Thames & Hudson, London.
%Z Froshaug, A. 2000, Typography & texts / Documents of a life (synopsis), Hyphen Press, London.
%Z Frutiger, Adrian. 1989, Signs and Symbols, Studio Editions, London.
%Z Frutiger, Adrian. 2009, Typefaces (page, review), BirkhÃ¤user, Basel.
%Z Gill, Eric. 2001, An Essay On Typography, Lund Humhries, Hampshire.
%Z Gordon, Bob. 2001, Making Digital Type Looking Good, Thames & Hudson, London.
%Z Heller, S. and Fili, L. 1999, Typology: Type Design from the Victorian Era to the Digital Age (review), Chronicle, San Francisco.
%Z Hurst, Mark. 2007, Bit Literacy (sample), Good Experience Press, New York.
%Z Kane, John. 2002, A Type Primer, London, Laurence King, 2002.
%Z Kinross, R. and Hochuli, J. 1996, Designing Books: Practice and Theory (synopsis), Hyphen Press, London.
%Z Kunz, Willi. 2000, Typography: Macro- + Microaesthetics, Niggli, Sulgen.
%Z Level J. and Newman B. 2000, The Precision Type: Font Reference Guide, version 5.0, Hartley & Marks, Vancouver.
%Z Loxley, Simon. 2006, Type: The Secret History of Letters (page, toc, review), I.B. Tauris, London.
%Z Lupton, Ellen. 2004, Thinking with Type (review and bibliography), Princeton Architectural Press (page), New York.
%Z Mediavilla, Claude. 1993, Calligraphie, Imprimerie Nationale, Paris.
%Z Noordzij Gerritt. 2001, Letterletter, Hartley & Marks, Vancouver.
%Z Prestianni, John. 2001, Calligraphic Type Design in The Digital Age, Gingko Press, Corte Madera.
%Z Smeijers, Fred. 1996, Counterpunch: Making Type in the Sixteenth Century, Designing Typefaces Now, Hyphen Press, London.
%Z Spiekermann, Erik. 1993, Stop Stealing Sheep and Find Out How Type Works (Chapter III .pdf), Adobe Press, Mountain View.
%Z Tracy, Walter. 1986, Letters of Credit: A View of Type Design (review); David R. Godine (page), Boston.
%Z Truong; Siebert; Spiekermann (edited by). 2006, FontBook Digital Type Reference (page), FontShop International, Berlin.
%Z Tschichold, Jan. 1995, The New Typography (review), University of California Press, Berkeley.
%Z Unger, Gerard. 2007, While Youâ€˜re Reading (press), Mark Batty Publisher, New York.
%Z VanderLans, Rudy. 2009, Emigre #70: The Look Back Issue (press), Gingko Press, Berkeley.
%Z Young Doyald. 1999, Fonts & Logos; Logotypes & Letterforms (review), Delphi Press, Sherman Oaks.
%Z Warde, Beatrice. 1956, The Crystal Goblet (or Printing Should be Invisible) (text, lecture), Sixteen Essays on Typography, Cleveland.
%Z //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
%Z Typography Papers. 1996, No. 1-8. University of Reading, Department of Typography: reading.ac.uk.
%Z Baseline Magazine: baselinemagazine.com. 1979, Kent, England.
%Z BlaÅ¾ek, Filip (edited by). 2003, TYPO Magazine: magtypo.cz (wiki) Praha, Czech Republic.
%Z Boardley, John. 2007, I Love Typography, Blog (review); WLT Search Engine (index).
%Z Coles, Stephen (edited by). 2002, Typographica: typographica.org; Typeface and Type Book Reviews.
%Z Lubalin, Herb. 1973, U&lc Magazine, Online Index.
%Z Richardson, Margaret (edited by). 2007, FontShop Font Magazine: fontmag.com (review).
%Z Rocha, Claudio (edited by). 2009, TIPOITALIA Magazine: tipoitalia.it; Grafiche Antiga.
%Z Everson, Michael. 1993, Bibliography of Typographyand scripts, Cathair na Mart, Ireland.
%Z Periodicals on Typography, Online Index.
%Z Typophile Books, Online Library and List.
%Z Typeradio: typeradio.org. 2004, Stream and Podcast Station.
%Z Type Conferences, Online Index.
%Z Links
%Z Type Design
%Z â€œTypefaceâ€ Definition, http://en.wikipedia.org/wiki/Typeface
%Z â€œThinking with Typeâ€ by E. Lupton, www.thinkingwithtype.com
%Z Underware Type Basics, www.typeworkshop.com/type-basics
%Z Adobe Typography Primer, www.adobe.com/education/pdf/type_primer.pdf
%Z Character Design Standards, www.microsoft.com/typography
%Z TypeCulture Articles and Essays, www.typeculture.com
%Z â€œTypography Basicsâ€ handout by A. Segalini, www.as8.it/handouts/typography-basics.pdf
%Z MATD Reading Typeface Design Master Class, http://wiki.typefacedesign.org
%Z KABK Type and Media, http://ilovetypography.com/kabk
%Z ESAD Personal Views Lectures, www.esad.pt/personalviews, www.jimhargreaves.com/esad
%Z Lettering, http://typophile.com/wiki/lettering
%Z FontShop Education, www.fontshop.com/services/education
%Z â€œType Is Artâ€ Interactive Project by J. Rodriguez, http://typophile.com/node/47413, www.typeisart.com
%Z â€œA Brief Guide to Basic Typographyâ€ by D. Ross, www.djr.com/id/sheet.pdf
%Z â€œType, Handwriting & Letteringâ€ by G. Briem, http://briem.ismennt.is
%Z â€œMy Typography Courseâ€ by J.F. Porchez, www.typofonderie.com/edu, issuu.com/jfp/typeface-course
%Z â€œThe Emâ€ by C. Highsmith, http://type101.fontbureau.com/Em
%Z â€œThe Em and Sidebearingsâ€ threads, http://typophile.com/wiki/Em, typophile.com/Em, typophile.com/sidebearings
%Z â€œCorporate Typeâ€ by E. Spiekermann, http://typophile.com/corporatetype.pdf
%Z â€œDesigning Type(faces)â€ by G. Everet, http://george-everet.blog/designing-typefaces
%Z â€œFont Distribution and Marketing: foundry, reseller, soloâ€ by S. Coles, http://typographica.org/001157.php
%Z â€œAgainst Anti-foundationalismâ€ by E. Earls, www.theapolloprogram.com, typeculture.com/essays/article12.pdf
%Z â€œNew Fonts: A Graphic Designerâ€™s Perspectiveâ€ by Hoefler and Frere-Jones, www.typography.com/new-fonts
%Z Font Glyph Synopsis, www.as8.it/type/font-glyph-synopsis
%Z Bezier (Spline) Curves, cse.unsw.edu.au/splines, math.ubc.ca/bezier, processing.org/bezier
%Z Curve Compensation, http://briem.ismennt.is/curves
%Z The Eyeballing Game (Optical Geometry Test), http://woodgears.ca/eyeball
%Z Inkscape + Spiro, www.youtube.com/spiro, http://levien.com/spiro
%Z â€œVector Drawing Mistakesâ€ at Typies, http://typies.blogspot.com/2006/11/vdm
%Z â€œDigital Type Primerâ€ by K. Tam, http://keithtam.net/type-primer.pdf
%Z â€œDrawn to Digitalâ€ by E. Berliner, www.vikburian.net/dtd-thesis.pdf
%Z â€œOldrich Menhartâ€ by V. Burian, www.vikburian.net/menhart-thesis.pdf
%Z â€œWhy Study Typographyâ€, http://typophile.com/node/29108
%Z â€œType Design Philosophyâ€ by M. Majoor, www.typotheque.com/articles/type_philosophy, http://scalafont.com
%Z â€œMiscellanea; Important Aspects of Typeface Designâ€ by G. Munch, www.gmunch.com/typomisc
%Z â€Type Hunger, Lettering and Typeâ€ by E. Lupton, www.printmag.com/article/type-hunger
%Z â€œTypeEduâ€ by H. Famira, www.typedu.org
%Z â€œContinuing Studies in Typographyâ€ by I. Strizver, www.itcfonts.com/ulc/continuing-studies
%Z Italics and Oblique How-To, http://typophile.com/wiki/oblique, briem.ismennt.is/italic, typophile.com/node/49550
%Z â€˜Sâ€™ design, http://typophile.com/node/13036
%Z Text Figures (Numerals), http://en.wikipedia.org/wiki/text_figures
%Z OSF Figures â€“ Old Style, Text and Lining, www.fontshop.com/fontfeed/osf-lf-tf
%Z Numbers at Hoefler & Frere-Jones, www.typography.com/numbers/overview.php
%Z Font Bureau One-Line Type Specimen, www.fontbureau.com/specimens.pdf
%Z Live Pen Calligraphic Drawing Software, http://01-lab.com/livepen
%Z â€œArabic Calligraphy as a Typographic Exerciseâ€ by J. Kaestle, ilovetypography.com/arabic-calligraphy, typophile.com/arabic
%Z Khatt Foundation (Center for Arabic Typography), www.khtt.net
%Z â€œKrazy About Kâ€ by P. Patton, www.aiga.org/content/krazy-about-k
%Z â€œAn Alphabet Bookâ€ by B. Fry, http://acg.media.mit.edu/fry/alphabetbook
%Z â€œRhythm in Type Designâ€ by A. Lo Celso, www.pampatype.com/escritos
%Z â€œInterletrado, Estudio de Los Blancosâ€ by J. Gaitto, www.catedragaitto.com.ar/interletrado.pdf
%Z â€œDesign a Bold From a Regularâ€ http://typophile.com/node/20709
%Z â€œDuctus and Glyph Identityâ€, http://typophile.com/node/7740
%Z â€œFamily How-Toâ€, http://typophile.com/wiki/Family_how-to
%Z â€œStyles, Weights, Widths; Itâ€™s All in The (Type) Familyâ€ by Y. Peters, http://fontfeed.com/type-family
%Z â€œSpacing Essayâ€ by F. de Mello, www.fermello.org/spacing_essay.pdf
%Z â€œThe Value of Typeâ€ by E. van Blokland, http://letterror.com/content/valueoftype
%Z â€œCall It What It Isâ€ by J. Downer, www.emigre.com/editorial/callitwhat
%Z â€œType Is Designed By Real People With Real Feelingsâ€ by Y. Peters, www.typographer.org/type&people
%Z â€œFont Design as Software ?â€, www.typographer.org/2005.11.01_digests
%Z â€œDevelopment of Sanserif in 20thâ€, http://keithtam.net/sanserif.pdf
%Z â€œThe Human Side of Sans Serifâ€ by J.D. Berry, www.creativepro.com/story/human-sans
%Z â€œThe Revival of Slab Serif in 20thâ€, http://keithtam.net/slabserif.pdf
%Z â€œThe Creation of FFÂ Unit Slabâ€ by Y. Peters, http://fontfeed.com/the-creation-of-ff-unit-slab
%Z Oketz, An Introduction to Hebrew Type, http://oketz.com, http://typophile.com/oketz
%Z â€œWomen in Typeâ€, 29489, 6414, 19397, 18251, non-existent, unseen-hands
%Z â€œLeipziger Lives Againâ€, by T. Ahrens, www.graphic-design.com/lapture
%Z â€œTeX TypeSpecâ€ by S. Moye, www.ctan.org/tex-archive/TypeSpec.pdf
%Z â€œFive Steps to Better Typographyâ€, by M. Boulton, www.markboulton.co.uk
%Z â€œCyclesâ€ Text Font by S. Stone, www.stonetypefoundry.com/cycles
%Z â€œNotes on Arabic Font Specimenâ€ by K. Luecke, www.kltf.de/arabic-font-specimen
%Z Typography and Lettering Pool, www.flickr.com/groups/type/pool
%Z Handwriting, Lettering and Calligraphy Inspiration, www.smashingmagazine.com/lettering-and-calligraphy
%Z â€œCharacters and Identity Manifestoâ€ by A. Segalini, http://ieu.edu.tr/segalini/design/k&k-manifesto.pdf
%Z Cyrus Highsmith Interview, typographica.org, aiga.org/rebel-without-a-caslon, atlantamagazine.com, myfonts.com/highsmith
%Z â€œLearning the Craft Through Study and Apprenticeshipâ€ by C. Highsmith, http://eyemagazine.com/highsmith
%Z â€œDetesto la Calli-grafiaâ€ by S. Polano, www.polano.eu
%Z â€œGraphic Designer vs. Typographerâ€ thread, www.typophile.com/node/15197
%Z â€œTypography Is a Gridâ€ by A. Froshaug, www.hyphenpress.co.uk/journal/grid
%Z â€œNo, There Are Not Enough Typefaces Alreadyâ€ by C. Highsmith, http://type101.rss/highsmith, zahar.livejournal.ru
%Z â€œCrimes Against Typographyâ€ by S. Heller, www.aiga.org/crimes-against-typography
%Z â€œ10 Common Typography Mistakesâ€ by B. Hoff, www.thedesigncubicle.com/10-common-typography-mistakes
%Z â€œAbout Default Lining Figures and Building Fontsâ€ thread by D. Reynolds, www.facebook.com/reynolds/figures/default
%Z â€œStretching Type; Type Tabooâ€ thread, www.typophile.com/node/34401
%Z â€œType Sizeâ€ by E. Lupton, www.papress.com/thinkingwithtype/size
%Z â€œWhat the Font You Choose Says About Youâ€ by Bennett and Black, www.newsweek.com/type-choice
%Z â€œHow Much Do I Charge My Clientâ€ thread, http://typophile.com/node/clients
%Z Letter as Image, www.letterasimage.com
%Z Daily Drop Cap, http://dailydropcap.com
%Z House Letters & Ligatures Exhibition by House Industries, www.houseind.com/show
%Z Type Design Rules-of-Thumb, http://edweb.sdsu.edu/ET650/TypeRules
%Z Fine Typography by Monotype, www.fonts.com/articles/fine-typography
%Z Typester Mapping, http://typophile.com/content/typester
%Z Typographic Education Forum, http://typophile.com/edu/forum
%Z Typeface Design at Reading, www.flickr.com/groups/MAtd, www.reading.ac.uk/type
%Z Typophile Pool, www.flickr.com/groups/typophile/pool
%Z Type Directory Club, www.tdc.org/contents
%Z Adobe Type Licensing Information, www.adobe.com/type/legal
%Z End User License Agreement (EULA), http://typophile.com/wiki/eula
%Z Type Classification
%Z Typeface Classification Schemes, http://typophile.com/typeface-classification-schemes
%Z Letters Relationship handout, www.as8.it/handouts/relationship-chart.pdf
%Z Typeface Anatomy handout, www.as8.it/handouts/type-classification.pdf
%Z Vox 13 handout, www.as8.it/handouts/vox13-fonts.pdf
%Z ParaType Font Classification, www.paratype.com/help/class
%Z Serif Types Small Chart, www.as8.it/type/serif-types.gif
%Z Classification by E. Lupton, www.papress.com/thinkingwithtype/classification
%Z Type Terminology by J. Boardley (iLT), Humanist, Old-Style, Transitional, Didone
%Z Fonts and Designers
%Z MyFonts, www.myfonts.com; review
%Z Identyfont, www.identifont.com
%Z Typedia, http://typedia.com
%Z â€œFont or Typefaceâ€ by Y. Peters, http://fontfeed.com/font-or-typeface
%Z Typebase portal, www.typebase.com
%Z FontShop TypeNavigator, http://typenav.com; browser, www.fontshop.com
%Z Global Type Searching For Typefaces, www.global-type.org
%Z Adobe Type Library Classification, www.adobe.com/type/classifications
%Z TypeSQL Typeface Connection Visualization, www.typesql.com
%Z Type Designers, carleton.ca/devroye/designers, linotype.com/designers, myfonts.com/persons
%Z Typophile Designers List, http://typophile.com/wiki/designers
%Z Luc Devroye Database, carleton.ca/devroye/fonts
%Z Font Identification Guides by M. Yanega, script, serif, sans, foundries
%Z Linotype Keywords List, www.linotype.com/keywordlist
%Z Fontscape: Period, www.fontscape.com/period
%Z Veer Pool, www.flickr.com/groups/veer/pool
%Z PhotoLettering, www.photolettering.com, idsgn.org/introducing-photo-lettering
%Z Fontshop Gallery, www.fontshop.com/fonts/gallery
%Z Periodic Table of Typefaces, www.behance.net/squidspot, squidspot.com/type/table
%Z TypeCity, www.veer.com/ideas/typecity
%Z Die 100 Besten Schriften, www.100besteschriften.de
%Z â€œTypelistâ€ by P. Shaw, www.tdc.org/reviews/typelist
%Z â€œTypefaces No One Gets Fired for Usingâ€ by C. Moll, www.cameronmoll.com/type
%Z â€œTypefaces For Corporate Designâ€ by Smashing Editorial, www.smashingmagazine.com/type/corporate
%Z â€œInternet :-) :-( Smilings or Emoticonsâ€ by A. Harmon, www.nytimes.com/smilings, designjunction.com/smilings
%Z â€œModern Suite: Figgins and Scoth Romanâ€ by N. Shinn, www.fontshop.com/specimen/modern-suite.pdf, fonts
%Z MyFonts â€œCreative Charactersâ€, www.myfonts.com/newsletters/cc
%Z MyFonts â€œIn Your Faceâ€, www.myfonts.com/newsletters/iyf
%Z MyFonts â€œRising Starsâ€, www.myfonts.com/newsletters/rs
%Z Legit Free Fonts, http://typophile.com/wiki/free
%Z â€œFree Fonts Manifestoâ€ by E. Lupton, www.elupton.com/ffm, freefontmanifesto.com
%Z Pixel Fonts License-Free, www.alvit.de/pixelfonts
%Z Free Quality Fonts List by V. Friedman, www.alvit.de/license-free-fonts, pt.2, pt.3
%Z Free Quality Fonts by J. Buivenga, www.josbuivenga.nl, www.myfonts.com/foundry/exljbris
%Z Free Fonts 2009 Collection, http://creativenerds.co.uk/2009/free-fonts
%Z â€œRobert Farrelly on Free Fontsâ€¦â€ thread comment, http://typophile.com/node/51522/comment/311510
%Z Open Font Library, http://openfontlibrary.org
%Z â€œFontsâ€ by J. Kottke, http://kottke.org/tag/fonts
%Z â€œFavourite Fontsâ€ by D.J. Ross, 2009
%Z Typographica Favorite Typefaces, 2006, 2007, 2008; @delicious
%Z FontShop Best Releases, 2008, 2009
%Z MyFonts Best Fonts, 2008, 2009
%Z Typo.cz Font of the week, www.typo.cz
%Z Typo.cz Foundries List, www.typo.cz/odkazy
%Z LT Fonts in Focus, www.linotype.com/fontsinfocus
%Z Typofonderie Font Discoveries, www.typofonderie.com/alphabets/fontdiscoveries
%Z Post Typography â€˜Alphabetâ€™ Exhibition, www.posttypography.com/alphabet
%Z â€œCreative Alphabetsâ€ by R. Miller, http://reubenmiller.typepad.com
%Z â€œCreative Alphabetsâ€ by L. Frank, http://flavorwire.com/tag/typography
%Z â€œWeapons of Mass Seduction and Reductionâ€ posters by M. Giesser, www.behance.net/giesser
%Z Go Font Ur Self*, www.gofonturself.com.au
%Z Tropical 1950s Retro Type Inspiration, www.arkivatropika.com
%Z Alternatives to Helvetica, http://fontfeed.com/alternatives-to-helvetica
%Z Lucida by C. Bigelow and K. Holmes, www.ascendercorp.com/bigelow-holmes
%Z â€œCalligraphic Type Design in the Digital Ageâ€ by S. Taylor (H. Zapf), http://sfpl.ca/zapfest
%Z â€œMemories of Adrian Frutigerâ€ by M. Comte, www.mstudiostalk.com/memories-of-frutiger
%Z â€œFrutiger Talkâ€ by M. Simonson, www.marksimonson.com/frutiger-talk.pdf
%Z â€œOur Favorite Fontsâ€ http://typographi.com/000969.php
%Z â€œThe Logos of Web 2.0â€ by S. Coles, www.fontshop.com/fontfeed/web2.0
%Z â€œFamiliar Facesâ€ by A. Haley, www.unc.edu/FamiliarFaces
%Z â€œA Few Good Fontsâ€ by E. Lupton, www.papress.com/thinkingwithtype
%Z â€œMistakes in Typography Grate the Puristsâ€ by A. Rawsthorn, www.nytimes.com/rawsthorn/type/howlers
%Z â€œFont/Typeface Terms Survey Resultsâ€ by T. Phinney, www.thomasphinney.com/font-terms-survey-results
%Z Fonts in Use, delicious/in-use/organic, typophile.com/in-use, underware.nl/in-use, typotheque.com/in-use, typetide/in-use
%Z Characters Required by Languages, www.myfonts.com/Language
%Z Omniglot Resources, www.omniglot.com/writing
%Z History
%Z ABC, http://abc.planet-typography.com
%Z â€œTo Write Without a Penâ€ by A. Byrom, www.andrewbyrom.com/essay
%Z â€œLecture on History of Printed Lettersâ€ by Lupton and Faden, http://thinkingwithtype/history-notes
%Z â€œLecture on History of the Alphabetâ€ by J. Ross, www.papress.com/judy-ross.pdf
%Z History of Western Typography, http://wikipedia.org/history-of-western-typography
%Z Movable Type, http://wikipedia.org/movable-type
%Z Gutenberg Johannes, www.rightreading.com/printing, typolexikon.de/gutenberg, B42.jpg, 1455-64.wav
%Z â€œThe Gutenberg Pressâ€ by S. Fry, www.dontpressme.com/video/gutenberg
%Z Romain du Roi, http://jacques-andre.fr/truchet, papress.com/grandjean, identifont.com/grandjean
%Z Prof. Mosleyâ€™s Typefoundry Blog, http://typefoundry.blogspot.com
%Z â€œIl Carattere da Stampa e sua Evoluzione Stilistico-Progettualeâ€ by A. Marconi, www.stampatipografica.it
%Z â€œGood Book on the History of Typographyâ€ thread, http://typophile.com/node/45919
%Z â€œTeaching Typographyâ€ thread, http://typophile.com/node/45731
%Z â€œType Historyâ€ by J.F. Porchez, www.typofonderie.com/typehistory
%Z Type Design 1470â€”1840, www.designhistory.org/typemilestones
%Z Typographic Timeline, www.rsub.com/typographic/timeline, www.as8.it/handouts/type-timeline.pdf
%Z â€œHistory of Typeâ€ compiled by L. Devroye, http://cg.scs.carleton.ca/~luc/history
%Z â€œHistory of Canadian Type Designâ€ by N. Fabian, www.webcom.net/fabian/history
%Z Macro-Typography by J.B. Piggin, www.piggin.net/contents
%Z Hamilton Wood Type Museum, www.woodtype.org
%Z â€œA Concise History of The Printed Book in The Nederlandsâ€ by P.G. Hoftijzer, www.bibliopolis.nl/proto
%Z â€œThe True Story of Helvetica and the New York City Subwayâ€ by P. Shaw, www.aiga.org/helvetica-nyc, helveticasubway.com
%Z â€œThe Origin of the Term â€™Kerningâ€˜â€ by I. Strizver, www.creativepro.com/blog/typetalk/kern
%Z â€œThe Origin of the Sans Serif and Helveticaâ€™s Plagiarismâ€ by M. Majoor, www.eyemagazine.com/#63/majoor
%Z â€œTimes New Roman Historyâ€ by M. Parker, www.ft.com/alas/times-new-roman, www.typeradio.org/parker
%Z Edu-chart by E. Bloemsma, www.typophile.com/forums/edu-chart
%Z Woodwardâ€™s Redsun Resources, www.redsun.com/type
%Z Arabic Typography, www.arabictypography.com
%Z Basque (Euskara) by T. Arsaut, http://backspace.com/notes/euskara
%Z History of Devanagari Letterform Design in India, www.designinindia.net/history/writing, @facebook
%Z Counterspace, www.counterspace.us/typography
%Z Sereno Editore, www.serenoeditore.com/font
%Z â€œType as Shapeâ€, by A. Kator, www.atpm.com/10.01/design
%Z â€œHot Metalâ€ by L. Kaehler, www.global-type.org/hot-metal
%Z â€œWhen Wood Trumped Metal: An Interview with Bill Moranâ€ by S. Heller, www.aiga.org/hamilton-wood-type-museum
%Z Letterpress by G. Bignell, http://typophile.com/node/45233
%Z Bella Figura Letterpress Invitations, www.bellafigura.com/letterpress
%Z â€œThe Materials of Typefoundingâ€ by J. Mosley, http://typefoundry.blog/2006/01/materials
%Z â€œHow Hand Compositors Justified Linesâ€ by P. Luna, www.lunascafe.org/how-hand-compositors-justified-lines
%Z â€œPreserving Ancient Wisdom with Age-Old Printing Techniquesâ€ by J.D. Berry, creativepro.com/preserving-techniques
%Z â€œThe Ampersand (&)â€ by M. Caflisch et al., adobe.com/type/&, typography.com/&, flickr.com/&, typowiki/&
%Z The Cary Graphic Arts Collection, http://wally.rit.edu/cary/library
%Z WNY Book Arts Center Letterpress, http://bflobookarts.blog, publicbroadcasting.net/buffalo/kryszak
%Z Textism by D. Allen, www.textism.com/textfaces
%Z â€œThe Meanings of Typeâ€ by S. Heller, www.eyemagazine.com/issue50
%Z â€œAdventures in Kerningâ€ by J. Hoefler, www.typography.com/blog/kerning
%Z â€œThe Typographic Modernâ€ by R. Giampietro, http://linedandunlined.com/010504
%Z â€œGreat British Printersâ€ by C. Archer, www.uktype.com/british/prints
%Z â€œDutch Typeâ€ by J. Middendorp, http://books.google.com/middendorp
%Z Dutch Government Corporate Typeface Rijksoverheid, www.designworkplan.com/fonts/rijksoverheid
%Z â€œScotch Romanâ€ by J. Mosley, http://typefoundry.blogspot.com/scotch-roman
%Z â€œProto-neoclassical Romanâ€ by J. Hudson, http://typophile.com/node/53112
%Z â€œJan Tschichold: A Titan of Typographyâ€ by R. Hollis, www.guardian.co.uk/design/tschichold
%Z â€œPrinters Guide to Europeâ€ by C. Archer, www.uktype.com/printers-guide-to-europe
%Z Historic Typefaces by Walden Font Co., www.waldenfont.com
%Z Woody Allenâ€™s Typography, http://kitblog.com/2007/12/woody_allen
%Z 20th Century Type Designers handout, www.as8.it/20th-century-type-designers.pdf
%Z Computer History, www.computerhistory.org, www.youtube.com/computerhistory
%Z Incunabula, Dawn of Western Printing, www.ndl.go.jp/incunabula
%Z Istitut dâ€™Histoire du Livre -bibliography-, http://ihl.enssib.fr
%Z Berlin Museum of Letters, www.core77.com/berlin-museum-of-letters
%Z Briar Press Letterpress Community, www.briarpress.org/register
%Z Rencontres Internationales de Lure, www.rencontresdelure.org
%Z Historical Type and Lettering Pool, www.flickr.com/groups/T&L/pool
%Z Paleography
%Z Dedicated Linkography, www.as8.it/edu/calligraphy
%Z Calligraphy
%Z Dedicated Bibliography, www.as8.it/edu/calligraphy
%Z Information Design
%Z Dedicated Linkography, www.as8.it/edu/info-design
%Z Font Browsers
%Z Ergonis PopChar (Mac, PC), www.ergonis.com/products/popchar
%Z Unicode Font Info (Mac), http://pixel.recoil.org/cocoa
%Z Morrison FontVista 2.1 (Mac), www.thepowerxchange.com/product/fontvista
%Z Lemke FontBook 4.4 (Mac), www.lemkesoft.com/fontbook
%Z Dreystone Font Safari 1.0 (Mac), http://dreystone.com/fontsafari
%Z Neuber Typograf 4.8 (PC), http://neuber.com/typograph
%Z MyFontbook (online), www.myfontbook.com
%Z Typetester by M. DugonjiÄ‡ (online), http://typetester.maratz.com
%Z Font Managers
%Z Insider FontAgent (Mac), http://fontagent.com
%Z Extensis Suitcase (Mac, PC), www.extensis.com/products/font-management, best-practices-guide.pdf
%Z High-Logic MainType 1.1 (PC), www.high-logic.com/maintype
%Z Fontonizer 1.0 (PC), www.fontutilities.com/fontonizer
%Z Morrison FontDoctor 7.1 (Mac), http://morrisonsoftdesign.com/fontdoctor
%Z CreativeTechs Font Managers reviews, www.creativetechs.com/tips/fontmanagement
%Z â€œFont Managmentâ€ by J. Sacks, www.digital-web.com/articles/better-font-management
%Z
%Z
%Z Font Editors
%Z FontLab, Fontographer, AsiaFont, etc. (Mac, PC), www.fontlab.com
%Z FontForge (Mac, PC, Linux), http://fontforge.net
%Z RoboFab, http://robofab.com; â€œRoboFab Basicsâ€ by B. Kiel, typographica.org/robofab
%Z Â Â Superpolator, http://superpolator.com
%Z Â â€œRobothonâ€ by J. Middendorp, http://blog.eyemagazine.com/robothon
%Z AFDKO (Adobe Font Development Kit for OpenType), typophile.com/afdko, adobe.com/afdko, thomasphinney.com/afdko
%Z iKern Tool for Autospacing and Autokerning, http://ikern.com
%Z â€œFont Remix Toolsâ€ by T. Ahrens, www.remix-tools.com
%Z â€œMeek Typographic Synthesizerâ€ by Meek and MÃ¼ller, http://meekfm.org
%Z YourFonts Handwriting, www.yourfonts.com
%Z FontStruct, introduction, review, fontstruct.com
%Z Technical Support
%Z pan-European WGL character set, WGL-Character-Set.pdf, microsoft.com/WGL4
%Z Unicode Character Code Charts, www.unicode.org/charts
%Z Unicode 5.1, www.unicode.org/versions
%Z ASCII (American Standard for Information Interchange), http://en.wikipedia.org/ascii
%Z Kerning Text, www.as8.it/type/basic_kerning_text
%Z iKern Tool for Autospacing and Autokerning, http://ikern.com
%Z Letter Frequency Meter, www.typotheque.com/type-utilities/lettermeter
%Z Qwerty Keyboard Layout, www.as8.it/type/qwerty-keyboard-layout
%Z â€œOpenType Font Productionâ€ by K. Luecke, www.kltf.de/resources
%Z Villageâ€”OpenType Kerning, http://vllg.com/OpenType_kerning
%Z â€œHow to Install Fontsâ€, www.linotype.com/howtoinstallfonts.html
%Z â€œManaging Fonts on OSXâ€ by Estensis, http://extensis.com/fonts/best-practices-guide.pdf
%Z Character Palette in Leopard, http://textism.com/char-palette-leopard
%Z Using Fonts with OSX, 10.3 Panther; 10.4 Tiger
%Z MacOSX Fonts List, 10.3 Panther; 10.4 Tiger
%Z Standard Windows Fonts, www.kayskreations.net/fonts/winstd
%Z Arabic Fonts for Mac, www.smi.uib.no/arabic-fonts
%Z â€œGet Typographically Correct Text from Word (.doc)â€ by I. Strizver, www.creativepro.com/text-from-word
%Z PDF Standards, www.planetpdf.com/standards
%Z Certified PDF, www.certifiedpdf.net
%Z Fiery VUE Printing by EFI,Â www.efi.com/fieryvue
%Z Standard 35 PostScript Fonts Built Into PostScript Printers, www.ep.ph.bham.ac.uk/.ps-fonts
%Z Win Central and East European Fonts and Keyboard Drivers, http://aatseel.org/wineelatin
%Z â€œWPF Microsoft Font Selection Modelâ€ by Leonov and Brown, blogs.msdn.com/text/wpf.pdf
%Z AIGA Use of Fonts, www.aiga.org/resources/aiga-fonts.pdf, eight-golden-rules.pdf
%Z Adobe Products, www.adobe.com/products, adobe.com/exchange; adobe.com/brilliant, CS
%Z Â Â Adobe Support, www.adobe.com/support
%Z Â Â Acrobat, www.adobe.com/support/acrobat, adobe.com/products/acrobat, adobe.com/products/reader
%Z Â Â InDesign CS3 Help Resource Centre, http://livedocs.adobe.com/indesign
%Z Applications, http://typophile.com/wiki/design_applications
%Z OS X Features and Shortcuts, http://appstorm.net/os-x/features-and-shortcuts
%Z Media Training UK Courses, www.mediatraining.ltd.uk/courses
%Z Designerâ€™s Toolkit, www.precisedtk.com
%Z DTP Tools, www.dtptools.com
%Z DTP File Release Checklist, http://ieu.edu.tr/asegalini/design/dtp-checklist
%Z Quite PDF Editing Plug-ins, www.quite.com
%Z Quite Imposing Guide 1.2, www.as8.it/book/support/quite-imposing_guide.pdf
%Z PDF to Word Converter, www.pdftoword.com
%Z Varnishing, www.printingdirect.com/information/varnishing
%Z Image Resolution, http://wikipedia.org/image-resolution
%Z Shubert PDF Browser Plugin, www.schubert-it.com/pluginpdf
%Z Shubert Word Browser Plugin, www.schubert-it.com/pluginword
%Z PostScript Print Driver (âŒ˜P .pdf), www.adobe.com/support/postscript-driver-Mac; Windows
%Z MyFonts International Typography, www.myfonts.com/International
%Z OpenType User Guide for Adobe Fonts, www.adobe.com/type/OTGuide.pdf
%Z OpenType Feature Support in Applications, www.typotheque.com/fonts/opentype_feature_support
%Z â€œOpenType Stylistic Setsâ€ thread, http://typophile.com/node/55586
%Z â€œOpenType Glossaryâ€ by J.F. Porchez, www.typofonderie.com/technical/opentype
%Z â€œAutomatic Page Numberingâ€ by I. Strizver, www.fonts.com/fyti/auto-page-numbering
%Z â€œFraction Feverâ€ by T. Leming, http://talleming.com/fraction-fever
%Z â€œRich Black vs. Plain Blackâ€ by D. van Holten, www.printernational.org/rich-black-plain-black
%Z â€œInDesign Black Output on PDF Exportâ€ thread, http://typophile.com/node/31345
%Z Rutgers Guidelines by C. Hedrick, www.nbcs.rutgers.edu/~hedrick/typography
%Z Ergonis Typinator, www.ergonis.com/typinator
%Z Proportionbar by W. Adams, http://verizon.net/william-adams; proportionbar-PC.zip, proportionbar-Mac.sit
%Z â€œHow to Use Angled Guidelines in FontLabâ€ by J. Buivenga, www.youtube.com/exlibris/fontlab
%Z FontLab Keyboard Shortcuts, http://benkiel.com/typedesign/fontlabkeys.pdf
%Z Diacritics Project by F. BlaÅ¾ek, http://diacritics.typo.cz/index.php
%Z â€œOn Diacriticsâ€ by D. BÅ™ezina, http://ilovetypography.com/on-diacritics
%Z â€œCedilla vs Undercomma Debateâ€ thread, http://typophile.com/node/49347
%Z â€œGood Tilde Designâ€ by M. Stuckwisch, http://mateo.elahorcado.net
%Z â€œThe Quote-like on the Keyboardâ€ by Peterson and Hallmundur, designobserver.com/", ministryoftype.co.uk/"
%Z >Ten Typographic Mistakes Everyone Makes, www.recedinghairline.co.uk/10-type-mistakes
%Z >Workhorse definition, http://typophile.com/wiki/workhorse
%Z >Languages Supported by Latin 1 Encoding (ISO 8859-1), http://typophile.com/node/40054
%Z â€œWorld-Ready Composer in Adobe CS4â€ by T. Phinney, www.thomasphinney.com/adobe-world-ready-composer
%Z â€œTypographic Bilingualism: the coexistence of Chinese and English textsâ€ by K. Tam, http://keithtam.net
%Z â€œChinese Character Identificationâ€ by K. Lunde, http://typophile.com/node/51022
%Z Japanese Kerning (â€œMetrics Roman Onlyâ€), http://typophile.com/node/51574
%Z â€œAfrican Language Supportâ€ thread, http://typophile.com/node/49307
%Z >Hebrew Typography Group at Typophile, http://typophile.com/node/47967
%Z â€œArabic-Latin Combinations (Multi Language Fonts)â€ thread, http://typophile.com/node/53183
%Z â€œMultilingual Textâ€ by K. Mansour, www.worldwareconference.com/synopses/mansour
%Z â€œTypography For Lawyersâ€ thread, http://typophile.com/node/49288
%Z â€œBank Statement and Invoice Designâ€ thread, http://typophile.com/node/53192
%Z â€œPolitic and Typeâ€ thread, http://typophile.com/node/18519
%Z Omniglot Tower of Babel, www.omniglot.com/babel
%Z SIL, Computers and Writing Systems, http://scripts.sil.org
%Z â€œRepresenting IPA phonetics in ASCIIâ€ by E. Kirshenbaum, www.hpl.hp.com/ascii-ipa.pdf
%Z Phonetic Fonts, www.linguistics.ucla.edu/fonts
%Z Language Characters Required, www.ask-group.co.uk/publish
%Z Language Coverage, http://typophile.com/node/34854
%Z Permament Press Filter, www.misterretro.com, typophile.com/permanent-press
%Z Technical Writing
%Z â€œTech: Book Designâ€ by D. McMurrey, www.io.com/~hcexres/textbook/bookdesign
%Z â€œThe Keyboard: A Tool Kitâ€ by M. Kisman, www.icograda.org/kisman
%Z â€œInformation Design Is Typographyâ€ by O. Reichenstein, www.informationarchitects.jp/id
%Z â€œHow (Not) to Write Like a Designerâ€ by Core77, www.core77.com/writing, sva.edu/caplan-theoretical.pdf
%Z â€œThinking Outside the Inboxâ€ by A. Cooper, www.cooper.com/journal/inbox, bitliteracy.com
%Z â€œThree Typefaces for Mathematicsâ€ by D. Rhatigan, www.typeculture.com/essays/rhatigan
%Z Proofreadersâ€™ Marks, www.as8.it/type/proofreaders_marks.pdf
%Z File Format Info, www.fileformat.info
%Z PNG (Portable Network Graphics) format, www.w3.org/graphics/PNG, www.andreas.com/faq-gif-png
%Z >â€œNavigating Today's Signsâ€œ by M. Hora, www.aiga.org/navigating-today-signs
%Z >â€œSymbol Signsâ€ by AIGA, www.aiga.org/content/symbol-signs, www.aiga.org/thank-you-for-not-smoking
%Z â€œPhD in Small Capsâ€ thread, http://typophile.com/node/33815
%Z Review on Adobe InDesign CS2, www.creativepro.com/review-adobe-indesign-cs2
%Z â€œOrigin of Music Notation (Music Theory)â€œ by B. Blood, www.dolmetsch.com/theory, manuscript-paper, theory-index
%Z â€œXerox Scientist Finds Meaning in How Documents are Presentedâ€ by B. McKee, www.xerox.com/capturing-document
%Z >LCM/GCF Least Common Multiple, http://wikipedia.org/least-common-multiple, www.math.com/lcm/gcf
%Z >Exponent (Power), www.math10.com//algebra/exponent
%Z >Multipurpose Internet Mail Extensions, http://wikipedia.org/wiki/S/MIME
%Z >ISO 216 Standard Paper Size, www.cl.cam.ac.uk/iso-paper, as8.it/letter-A4, wikipedia.org/ISO216
%Z >Foundations of :
%Z >Â Design and Print Production, www.adobe.com/education/visualdesign
%Z >Â Web Design, www.adobe.com/education/digitaldesign
%Z >Â Video Design and Production, www.adobe.com/education/video
%Z >â€œNew to DTPâ€ thread, http://typophile.com/node/50336
%Z Acrobat Printing Guide, http://adobe.com/acrobat/printing-guide.pdf
%Z Office of the Yale University Printer, www.yale.edu/university-printer
%Z >â€œDictionary Design Bibliographyâ€ thread, http://typophile.com/node/53246
%Z >â€œGlossary of Internet and Web Jargonâ€ by UC Berkeley, www.lib.berkeley.edu/internet/glossaryÂ
%Z HTML5, www.w3.org/html5
%Z WordPress Tips and Tricks, www.wpbeginner.com/tutorials/tips
%Z Web Design Resources at ScrunchUp, http://scrunchup.com/resources
%Z >â€œMicrotipografia: Il Progetto dei Nuovi Dizionari Collinsâ€ at P. BilÌŒak, www.typotheque.com/microtipografia
%Z >â€œGrammar of Comic-book Typographyâ€ by N. Piekos, blambot.com/grammar, typophile.com/comics
%Z >â€œWord, Quark or InDesign; Itâ€™s Assumed You Care About Designâ€¦â€ by D. Williams, http://typophile.com/node/20298
%Z >â€œAbout Digital Comicsâ€ byÂ Y. Bigerel, deviantart.com/about-digital-comics
%Z >The Euro 'â‚¬' Symbol, myfonts.com/character/euro, fontshop.com/fontmag/euro, carleton.ca/euro, wikipedia.org; euro.png
%Z >â€œBeta-testing Type: Print Proofingâ€ thread, http://typophile.com/node/53254
%Z >â€œBar Codingâ€ by J. Rongitsch, resources.com/bar-coding, wikipedia.org/barcode, universal-product-code
%Z Machine Tags for Type, http://typedia.com/blog/post/machine-tags-for-type
%Z >
%Z Font Formats
%Z >
%Z â€œAbout Font Formatsâ€ by D. Maag, www.daltonmaag.com/about/fontformats
%Z â€œFormati delle Fontâ€ by A. Segalini, www.as8.it/symposium/formati.pdf
%Z Font Formats Overview by Adobe, www.adobe.com/type/formats
%Z Multiple Master Fonts, wikipedia.org/MM, youtube.com/MM, typophile.com/MM, developer.apple.com
%Z â€œFont Rasterization: the State of the Artâ€ by R.D. Hersch, http://diwww.epfl.ch/frsa.pdf
%Z â€œThe Death of The Pixel Fontâ€ by Z. Fernando, http://labs.zeh.com.br
%Z â€œBest FL TrueType Export Settingâ€ thread, http://typophile.com/node/55255
%Z Typotheque OpenType Online Font Tester, http://www.typotheque.com/font_tester
%Z Bitmap, www.gskinner.com/fonts/flex, http://typophile.com/node/32614, raster-12-2048
%Z True Type, http://typophile.com/node/13679
%Z OpenType, http://typophile.com/node/12420
%Z â€œOpenType Glossaryâ€ by J.F. Porchez, www.typofonderie.com/technical/opentype
%Z â€œTrueType Versus Postscriptâ€, http://typophile.com/node/16695
%Z Type Technologies, http://typophile.com/node/34854
%Z >
%Z >
%Z Hinting
%Z TrueType Hinting by Microsoft, www.microsoft.com/typography/TrueTypeHinting
%Z Hinting at Typowiki, http://typophile.com/node/13964
%Z Hinting at MyFonts, www.myfonts.com/activity/hinting
%Z AAT Font Quality Specification , http://developer.apple.com/textfonts/TTQualSpec
%Z â€œBasic Hinting Philosophies and TrueType Instructionsâ€ by V. Connare, www.microsoft.com/typography/hinting
%Z â€œTrueType Hintingâ€ by T. Penney, www.truetype-typography.com/tthints
%Z â€œHinting TT OpenType Fontsâ€ thread, http://typophile.com/node/31317
%Z â€œFont Renderingâ€ by M. Duggan, www.windowsfordevices.com
%Z â€œTo Autohint, or NOT to Autohintâ€ thread, http://typophile.com/node/15436
%Z â€œThe Raster Tragedy at Low Resolutionâ€, www.microsoft.com/typography/tools
%Z â€œHinting in FontLab and Fontographerâ€ by N. Fabian, http://web.archive.org/~nfhome/hinting
%Z â€œItâ€™s Not Just Fontsâ€ by B. Hill, http://msdn.microsoft.com/endbracket
%Z â€œHow To Set Hint Replacement Correctlyâ€ thread, http://typophile.com/node/29166
%Z â€œSoftware Developer, the pleasant Monospaceâ€ thread, http://typophile.com/node/29761
%Z â€œHints, Good or Badâ€ thread, http://typophile.com/node/31448
%Z â€œWhen Is the Better Time to Hintâ€ thread, http://typophile.com/node/15812
%Z â€œCorelDraw-FontLab Problemâ€ thread, http://typophile.com/node/15458
%Z â€œHinting and Metrics Problemâ€ thread, http://typophile.com/node/40669
%Z â€œHinting and the Printingâ€ thread, http://typophile.com/node/39237
%Z Legibility
%Z Legibility vs. Readability, www.graphic-design.com/type/legibility-vs-readability
%Z Science of Word Recognition, www.microsoft.com/typography/word-recognition
%Z â€œPhysiology of Reading (Minuscule Project)â€ by T. Huot-Marchand, www.256tm.com/minuscule
%Z â€œWhat Is the Most Important OSâ€ by B. Hill, http://microsoft.com/the-most-important-os, commarts.com/columns/ilyin
%Z â€œThe Magic of Readingâ€ by B. Hill, www.billhillsite.com/osprey.doc, poynterextra.org/osprey.doc, microsoft.com/billhill
%Z Adobe â€œTaking It Inâ€, www.adobe.com/archive/taking-it-in.pdf
%Z â€œDeconstructionâ€ by Lupton and Miller, www.designwritingresearch.org/science
%Z â€œBouma as Bounded Mapâ€, http://typophile.com/node/15432, wikipedia.org/bouma
%Z â€œLarge vs. Small Type Sizesâ€, http://typophile.com/node/28764
%Z â€œLarge X-heights = More Readable ?â€, www.typophile.com/node/31427
%Z â€œGestural Exercises: Excursions into the Visual Cortex and Designâ€ by P. Enneson, www.enneson.com/eitvc-script.pdf, slides.pdf
%Z â€œIf itâ€™s Hard to Read, itâ€™s Hard to Doâ€ by Song and Schwarz, http://umich.edu/norbert-schwarz.pdf, typophile.com/node/46304
%Z â€œText Treatment and the User Interfaceâ€ by T. Komischke, www.uxmatters.com/komischke
%Z â€œSignage Design Manualâ€ by E. Smitshuijzen, www.signdesignsociety.co.uk/manual
%Z The Neural Basis of Reading, http://nbr.physiol.ox.ac.uk
%Z â€œThe Evolution of the Human Eyeâ€ by S.D. Pitman, www.detectingdesign.com/humaneye, mÃ¼ller-cells.jpg
%Z â€œAn Essay Towards a New Theory of Visionâ€ by G. Berkeley, http://www.gutenberg.org/etext/4722
%Z â€œThe Psychology and Pedagogy of Readingâ€ by E.B. Huey (1908), www.thoemmes.com/psychology/wozniak
%Z Reading Online Text, http://psychology.wichita.edu/whitespace
%Z Why People Donâ€™t Read Online, www.acm.org/ubiquity/article
%Z â€œThe Effects of Onscreen Typeface Personalityâ€ by R. Hazlett, www.chi2008.org/hazlettr.pdf
%Z â€œPerception of Fonts: Personality Traits and Usesâ€ by Shaikh et al., http://psychology.wichita.edu/fonts
%Z â€œGuidelines for the Label and Package Leaflet of Medicinal Products for Human Useâ€, europa.eu/pharmaceuticals.pdf
%Z â€œLetter Case and Text Legibility in Normal and Low Visionâ€ by Arditi and Cho, www.pubmedcentral.nih.gov/legibility
%Z â€œEasy to Read, Easy to Doâ€ by Song and Schwarz, www.typophile.com/node/51158, listserv.heanet.ie/typo-L/12392
%Z Rate of Reading Test, www.essex.ac.uk/psychology/overlays
%Z â€œCharacter Spacing as Defining Factor for Legibilityâ€ by D. Pelli et al., http://fontfeed.com/nyu-legibility
%Z â€œGood Legibility Tests For Typefacesâ€ thread, typophile.com/node/41365
%Z â€œThe Visual Nuclei Hypothesisâ€ threads, typophile.com/node/4829, snopes.com/apocrypha, languagehat.com, bisso.com
%Z Progetto-EXP, www.progetto-exp.org
%Z Clearview Highway Typeface, http://mutcd.fhwa.dot.gov/clearfont, typographica.org/000931.php, nytimes.com/magazine/clearview
%Z â€œReading and Drivingâ€ by V. Hanlon, www.cmaj.ca/casestudy
%Z â€œBritish Motorway Signage Systemâ€ by Kinneir and Calvert, www.designmuseum.org/signage
%Z Max Kerning, the Man (Not the Idiot), www.maxkerning.com
%Z Typography for Children, www.fonts.com/typography-for-children
%Z Graffiti Comic Strip by P. Selby, http://bigeyedeer.blog/2008/07/graf.gif; comments
%Z â€œTypeface for a School Bookâ€ thread, http://typophile.com/node/52058
%Z â€œADD and Words per Line (Design for Attention)â€ by L. Powell, typophile.com/node/49883
%Z Type-Syntactic (poetry: layout to read slow) by J.B. Piggin, www.as8.it/handouts/type-syntactic.pdf
%Z â€œItâ€™s All Down to How Fast You Reactâ€ by J. Petre, www.dailymail.co.uk/sciencetech/petre
%Z â€œFonts and Authority Perceptionâ€ thread, http://typophile.com/node/58433
%Z â€œOn Reading With a Themeâ€ by M. Brown, http://aworkinglibrary.com/reading-with-a-theme; aworkinglibrary.com/book
%Z â€œOn the Typography of Flight-Deck Documentationâ€ by A. Degani (1992), www.nasa.gov/isd/adegani/flight-deck.pdf
%Z â€œOn Dowdingâ€™s â€˜Finer Points of the Spacing and Arrangement of Typeâ€™â€ thread, www.facebook.com/profile686525364/feed
%Z Read Regular, www.readregular.com
%Z Grover by Sally Castle, www.typophile.com/Castle_Grover.pdf
%Z Mencap by FontSmith, www.microsoft.com/typography/mencap, typophile.com/node/44143, press
%Z Alphabetic Letter Similarity Matrices, http://obereed.net/Mueller2004.pdf
%Z â€œWhatâ€˜s Your Signageâ€ by SBDC, www.nyssbdc.org/whatsyoursignage
%Z Gaze Movement and Focal Points, http://people.mit.edu/fredo/GazeMovement.pdf
%Z Eye Movement References, www.readingplus.com/eye-movement-references.pdf
%Z AdeLE Eye Tracking Prototype, www.iicm.edu/cguetl/papers/AdeLE-05.pdf
%Z â€œHow Much the Eye Tells the Brainâ€ at E. Tufte, www.edwardtufte.com/eye&brain, tinyurl.com/e&b.pdf
%Z Design To Read Resources, www.designtoread.com/resources
%Z Letter Identification, http://typophile.com/wiki/letter-identification
%Z Screen Typography
%Z â€œThe Elements of Typographic Style Applied to the Webâ€ by R. Rutter, http://webtypography.net/toc
%Z Â Â â€œWeb Typography Sucksâ€ by Rutter and Boulton, http://webtypography.net/sxsw2007
%Z â€œLayoutâ€ at A List Apart, www.alistapart.com/topics/design/layout
%Z Flash Player v.10 Text Engine, http://typophile.com/node/45368
%Z Web 2.0 Howto Design Style Guide, www.webdesignfromscratch.com/web-2.0-design-style-guide
%Z W3C Specification: Fonts, www.w3.org/CSS2/fonts
%Z Web Fonts Basics, http://webstyleguide.com/type/character, efuse.com/web-fonts-basics, typophile.com/node/45089
%Z â€œWeb Fonts: web pages containing embedded fontsâ€ by T. Leming, http://talleming.com/web-fonts; webfont-proposal, foundries
%Z Typotheque Web Font Service, www.typotheque.com/webfonts/multilingual, principle
%Z â€œThe Different Faces of Type (Hinting, Raster and Platforms)â€ by K. Lueke, http://kltf.de/notes-raster
%Z Scroll Magazine, http://scrollmagazine.com
%Z Hot To Improve Web Typography, www.webdesignerdepot.com/improve-web-typography
%Z ClearType, www.microsoft.com/typography/cleartype, ascenderfonts.com/cleartype, poynter.org/cleartype; fonts-preview
%Z â€œWindows Vista Fonts Compared to Typical Web Fontsâ€ C. Montoya, www.christianmontoya.com/web-fonts-comparing.pdf
%Z â€œEnhancements to Georgia and Verdana Typeface Familiesâ€ by B. Davis, www.ascendercorp.com/pr/2009-09-08
%Z â€œThe Best Online Reading Experienceâ€ by S.D. Quinn, www.poynter.org/msfonts/online-reading
%Z â€œWeb Style Guideâ€ by Lynch and Horton, www.webstyleguide.com
%Z â€œGuide To Web Typographyâ€ by J. Boardley (iLT), http://ilovetypography.com/a-guide-to-web-typography
%Z Â Â â€œInspirational Typography in Web Designâ€ at Pattern Tap, http://patterntap.com
%Z â€œWriting Style for Print vs. Webâ€ by J. Nielsen, www.useit.com/alertbox/print-vs-online-content
%Z â€œBaseline Frameworkâ€ by ProjectUrbain, http://baselinecss.com
%Z â€œSetting Type on the Web to a Baseline Gridâ€ by W. Miner, www.alistapart.com/setting-type-on-the-web
%Z â€œTypography On the Webâ€ thread, http://typophile.com/node/29622
%Z â€œThe Hazy Future of Web Typographyâ€ by C. Foresman, http://arstechnica.com/2009/state-of-web-type
%Z â€œUnreadableâ€ by J. Clark, http://scrollmagazine.com/no.1/unreadable, aworkinglibrary.com/unreadable
%Z â€œPerfectly-sized Web Graphicsâ€ by M. Golding, illustrator.blog/perfectly-sized-web-graphics
%Z â€œMoving From Print To Screenâ€ by J. Clark, www.alistapart.com/articles/unwebbable, readableweb.com/print-to-screen
%Z â€œWordlings in a Web 2.0 Worldâ€ by C. Lee, http://firstmonday.org/lee/wordlings
%Z â€œGolden Age of Type Blogsâ€ at Eye, http://blog.eyemagazine.com/type-blogs
%Z â€œHow People with Disabilities Use the Webâ€ by W3C, www.w3.org/WAI/intro/people-use-web
%Z â€œTypographica Redesignâ€ by T. Brown, http://typesites.com/typographica
%Z â€œIn Defense of Readersâ€ by M. Brown, www.alistapart.com/in-defense-of-readers, aworkinglibrary.com
%Z â€œWeb Fonts At TypeCon 2009â€ summaries, www.facebook.com/note/web-fonts, readableweb.com/web-fonts, ilovetypography.com/web-fonts
%Z â€œRevised Web Fonts Proposalâ€ thread, http://typophile.com/node/59489
%Z >The Grid
%Z%Z %Z â€œThe Golden Section Familyâ€ by M. Reynolds, www.markareynolds.com
%Z Golden Ratio, phi, wikipedia.org/golden-ratio, wikipedia.org/phi, typophile.com/node/44943
%Z â€œGolden Section Illustrationâ€ by I. Gulkov, http://flickr.com/golden-section.gif
%Z â€œDavid Colley Speaks About Grid Systemsâ€, www.typographicdesign4e.com
%Z â€œTypography Is a Gridâ€ by A. Froshaug, www.hyphenpress.co.uk/journal/grid
%Z The Art of The Grid, www.artofthegrid.com
%Z The Grid System, www.thegridsystem.org, www.aisleone.net, yearofthesheep.com, baselinecss.com
%Z â€œBaseline Grid in InDesignâ€ thread, typophile.com/node/32509, typophile.com/node/47265
%Z â€œGrids Are Goodâ€ by M. Boulton, www.subtraction.com/grids-are-good.pdf
%Z â€œSimple Steps to Designing Grid Systemsâ€ by M. Boulton, www.markboulton.co.uk/journal/designing-grids
%Z â€œGrids as Interfacesâ€ by C. van den Heuvel, www.analogousspaces.com/grids-interface.pdf
%Z â€œThe Vignelli Canonâ€ by M. Vignelli, www.vignelli.com/bookmagazine/canon, containerlist.org/vignelli
%Z â€œCan the Grid Really Be Brokenâ€ thread, typophile.com/node/51578

Newspaper Fonts, 12/2005, 04/2007, 11/2007; www.fontbureau.com/newspaper

Ron Reason, www.ronreason.com

Garcia Media, www.garcia-media.com

Jim Parkinson, www.typedesign.com, www.myfonts.com/interview

Walter Tracy, www.linotype.com/waltertracy

Mark Porter, www.markporter.com

Roger Black, â€œThe Last Blogâ€, www.rogerblack.com

About Impact by G. Lee, typophile.com/node/7921, typophile.com/node/21081

About Greta by P. BilÌŒak, www.typotheque.com/newspaper/greta, typophile.com/greta

About Swift by G. Unger, gerardunger.com/swift, eyemagazine.com/unger, myfonts.com/unger, wikipedia.org/unger

â€œFonts on the Front Pagesâ€ by Ascender Corp., www.ascendercorp.com/research.pdf, front-page-fonts

â€œNewspaper Font Sizeâ€ thread, http://typophile.com/node/44734

â€œWhite; ISOnewspaper26v4â€ by M. Kramer, www.digital-engineer.net/there-is-no-white

â€œReading Paths on Newspaper Spreadsâ€ by Holsanova et al., http://vcj.sagepub.com/content/5/1/65

â€œBest of Newspaper Designâ€ by The Society for News Design, www.rockpub.com

â€œElements of Typographyâ€ by A.V. Wagener, www.poynter.org/wagener, feedbacks

Phone Book Typography, typophile.com/phone-book

The British Library Newspapers Catalogue, http://catalogue.bl.uk

Newspaper Design Day 2006 (St Bride), http://magculture.com/blog/50

Award-Winning Newspaper Designs 2007, http://snd.org/snd29/best-papers, vimeo.com/snd29

Award-Winning Newspaper Designs 2008, http://snd.org/snd30/best-papers, vimeo.com/snd30, fontfeed.com/snd30, smashingmagazine.com

Historical Newspapers, http://historynews.chadwyck.com

Collection of Chinese Masthead Clip-Art, www.flickr.com/oldtasty

â€œIrritating Readers For Fun and Profitâ€ by Brass Tacks Design, http://brasstacksdesign.com/irritating-readers

SF Chronicle Redesign, http://typophile.com/chronicle, blogs.sfweekly.com/chronicle, sfgate.com/chronicle

The Times, typolis.de/times, www.researchstudios.com, typophile.com, timesonline.co.uk, prnewswire.co.uk, claritas

Ã„ripÃ¤ev, www.snd.org/aripaev; metroflex.pdf

Sydsvenskan, www.bruhnfamily.com/sydsvenskan

New York Times, www.typophile.com/nyt-nameplate, nytimes.com/web.jpg, earstudio.com/moveable-type, arquitectura.cl/nyt

New York Times Magazine, www.nytimes.com/magazine, typophile.com/nyt-blog-face

Corriere Della Sera, www.newsdesigner.com/corriere, www.leftloft.com/corriere-della-sera

Redesigning the Pennsylvania Indipendent College Newspaper, http://typophile.com/node/18125

â€œThe Snailpaper Termâ€ by D. Bloom, http://zippy1300.blog/2010/02/snailpaper-interview

â€œNewspaper Website Trends and Examplesâ€ by S. Snell, www.smashingmagazine.com/newspaper-trends

â€œPrinting The NYT and Kindleâ€ by N. Carlson, www.alleyinsider.com/nyt-kindle, www.newscientist.com/kindle

Poynter Online on Journalism, http://groups.poynter.org

RSS Readers, http://wikipedia.org/RSS, email.about.com/rss

NYT Times Reader 2.0, http://timesreader.nytimes.com, blogs.adobe.com/times-reader

Spectra Visual Newsreader, http://msnbc.com/msnbc/spectra

Film and Video

â€œAdrian Frutiger, The Man of Black and Whiteâ€, www.linotype.com/frutiger-dvd

â€œEtched in Stoneâ€ by C. Dave, www.veer.com/ideas/etched

â€œFeeling Goodâ€ by T.G. Connolly, www.youtube.com/school-of-visual-art/conolly

â€œFirefly Letterpressâ€, http://elsa.photo.net/video/firefly-small.mov

â€œHeart Made of Soundâ€ by K. Moyes, www.kmoyes.com/softlightes/hmos.mov

â€œMonotype Workâ€ by Kat Ran Press, www.katranpress.com/resources

â€œThe Art of Hermann Zapfâ€ in â€œThe World of Alphabetsâ€, www.linotype.com/zapf

â€œThe Art of the Carved Letterâ€ by Muhly and Oâ€˜Neill, www.folkstreams.net/film-no.141

â€œThe Child, NYCâ€ by A. Bardou-Jacquet, www.youtube.com/dj-gopher

â€œTypecastâ€ by K. Cho, www.typecastfilm.com

â€œTypophile Film Festival 5 Opening Titlesâ€ by B. Barson, http://vimeo.com/6382511

â€œA Lesson on Typographyâ€ by the Vancouver Film School, www.vfs.com/typography.mov, youtube.com/vfs

â€œThe Dot and the Line: A Romance in Lower Mathematicsâ€ by N. Juster, www.youtube.com/the_dot-and-the-line

â€œThe Beauty of Numbersâ€ by S. Kawakami, www.fubiz.net/numbers, www.ministryoftype.co.uk/numbers

â€œThe Gutenberg Pressâ€ by S. Fry, www.dontpressme.com/video/gutenberg

â€œSuch Subtle Beauty: Inside the Hammerpress Studioâ€ by Ladesich and Vest, www.designrelated.com/hammerpress

â€œHistoria de un Letrero (The Story of a Sign)â€ by A. Barreda, salesianity.blog/story-of-sign, tu.tv/historia-de-un-letrero

Calligraphy Movies at MVK Contemporary Museum of Calligraphy, www.calligraphy-mvk.ru/movies

â€œThe Art of Eric Gillâ€ at FactualTV, www.factualtv.com/documentary/the-art-of-eric-gill

â€œGill Sans Explainedâ€ byÂ M. Dufour, www.typographyserved.com/gill-sans-explained

â€œNederland Is Goed In Letters Ontwerpenâ€ by RTL, www.rtl.nl/2009/letters

â€œCalligraphy Moviesâ€ byÂ D. Brown, http://quillskill.com/video

â€œFont Conference Dramaâ€ by College Humor, www.collegehumor.com/font-conference

â€œFont Fightâ€ by College Humor, www.collegehumor.com/font-fight

â€œBicycle Film Festival â€™09 trailerâ€ by M. Mucig, http://vimeo.com/5441671

Jâ€™adore la Typographie, www.monoscope.com/jadore-la-typographie

â€œTXT Islandâ€ by C. Gavin, http://fontfeed.com/txt-island-pegboard-letters, youtube.com/gavin/stop-motion

â€œDeadlineâ€ by B. Liu, http://fontfeed.com/deadline-post-it-notes, youtube.com/liu/stop-motion

James Earl Jones Recites the Alphabet, www.youtube.com/james-jones/alphabet

REM Hollowman, www.motionographer.com

ESAD Personal Views Lectures, www.esad.pt/personalviews, www.jimhargreaves.com/esad

â€œHelveticaâ€ by G. Hustwit, www.helveticafilm.com, www.pbs.org/independentlens

Hillman Curtis Films, www.hillmancurtis.com

â€œArtist Video Series Inspirationâ€ by AIGA, www.aiga.org/content/artist-video-series

TypeCulture Movie Resources, www.typeculture.com/movies

â€œTypefaceâ€ the Hamilton Wood Type Museum Documentary by J. Nagan, www.thedonutproject.com/typeface, http://typeface.kartemquin.com

Printing 1947 by Holmes Films, www.archive.org/printing1947

Learning to Set Type 1959 by Whitten-Appleton, www.archive.org/learning1959

Typesetting Linotype 1960 by Salesian Vocational and Technical Schools, www.archive.org/typesetting-1960-pt.1, pt.2

33pt Eskapade Dortmund, www.33pt.de

Kinetic Type

How Skywriting Works (1935 aerial Chevrolet advertisement), www.archive.org/sky-billboards-1935

TrollbÃ¤ck + Company, www.trollback.com, www.dexigner.com/trollback

Saul Bass and Harold Adler, at: designmuseum.org, blog-entry, typotheque.com, typo-L, notcoming.com, saulbass.tv, wikipedia.org, tcm.com

Title Sequences Interviews by Thunder Chunky, www.thunderchunky.co.uk/title-sequences

Emotional Fractal by Levitated, www.levitated.net/emotion-fractal

â€œDevil's Advocateâ€ Al Pacino's Speech, www.youtube.com/kinetic-type/alpacino

â€œA Lesson on Typographyâ€ by the Vancouver Film School, www.vfs.com/typography.mov, youtube.com/vfs

â€œiQ Font: When Driving Becomes Writingâ€ by Pleaseletmedesign, www.designyoutrust.com/iq-font

â€œChalkbot, Type On the Roadâ€ by DeepLocal and StandardRobot, www.youtube.com/chalkbot

â€œThe Big Lebowski Speechâ€ by K. Dekker, www.youtube.com/kinetic/lebowski

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Text Genererators

Adhesion, www.adhesiontext.com

Malevole, www.malevole.com/mv/misc/text

Lorem Ipsum, www.lipsum.com, www.lipsum3.info

Ahrensâ€™, www.justanotherfoundry.com/tools/generator

Blindtext, www.newmediadesigner.de

Textile Web Text Generator, www.textism.com/tools/textile, hobix.com/textile

Automatic Text, Phyton FL script, http://typophile.com/node/38539

Spell with Flickr, http://metaatem.net/words

Art21 Synthesis Machine, http://alphabet.tmema.org

P22 Music Text Composition Generator, http://p22.com/musicfont

Universal Declaration of Human Rights, www.ohchr.org/UDHR/language, www.un.org/en/udhr

BBC World Service, www.bbc.co.uk/worldservice/languages

Eki Letter Database, www.eki.ee/letter

Pangram (Holoalphabetic Sentence), http://wikipedia.org/pangram, typowiki, thread

â€œPack My Box With Five Dozen Liquor Jugsâ€ thread, www.typophile.com/node/36610

Pangrammer by M. Simonson, www.ms-studio.com/animation/pangrammerhelper

â€œHamburgefontsivâ€, http://typophile.com/wiki/hamburgefontsiv

â€œKerning Listâ€, http://typophile.com/node/29545

Word Lists, http://thesaurus.com, thewordlist.com, numerical, Q-no-U, Vs, atkinson

Wordle, www.wordle.net, alphaworks.ibm.com/manyeyes/wordle

Typorganism, www.typorganism.com/asciiomatic

Ascii Art, ascii-art.de, asciiartfarts.com, patorjk.com, network-science.de/ascii

Bar Code Graphics, www.barcode-us.com, www.barcode-it.co.uk, wikipedia.org

â€œIn Defense of Lorem Ipsumâ€ by K. McGrane, www.karenmcgrane.com/defense-of-lorem-ipsum

ACET, www.infomotions.com/alex

Wowio Free Books, www.wowio.com

Project Gutenberg, www.gutenberg.org

Pubblications

Rob Wallerâ€™s, www.robwaller.org

Max Bruinsmaâ€™s at Eye, http://maxbruinsma.nl/eye

John D. Barryâ€™s, http://johndberry.com/blog

Mark Batty Publisher, www.markbattypublisher.com

Michael Bierutâ€™s, www.designobserver.com

Baseline mag, www.baselinemagazine.com

Spatium mag, www.spatium-magazin.de

Encore mag, www.magwerk.com/encore

TipogrÃ¡fica mag, www.tipografica.com

Typo mag, www.magtypo.cz

Typotheque articles, www.typotheque.com/site/articles_main.php

Pingmag articles, www.pingmag.jp/category/typography

Design Observer: writings about design and culture, www.designobserver.com

Font Bureau One-Line Type Specimen, www.fontbureau.com/specimens.pdf

Greenboathouse Press Library, www.greenboathouse.com/typelibrary

Adgoodness, www.frederiksamuel.com/blog

Ffffound!, http://ffffound.com

Itâ€™s Nice That, www.itsnicethat.com

Text Wrap Blog, http://textwrap.wordpress.com

Fine Typography by Monotype, www.fonts.com/articles/fine-typography

TEAL by J. Deck, www.jeffdeck.com/teal

Mr. Typo, www.linotype.com/mrtypo

Seeking Inspiration Conference, www.ministryoftype.co.uk/st-bride

Manystuff, www.manystuff.org

Monoscope, www.monoscope.com

Balla Dora Typo-Grafika, http://balladora.blog

Scroll Magazine, http://scrollmagazine.com

RBtL (Read Between The Leading), http://readbetweentheleading.com

Ergonaut: the principles of good interactive design, www.ergonaut.com

Multi, The RIT Journal, http://multi.cias.rit.edu

Counter-Print: art and design related material, http://counter-print.co.uk

The Serif Publishing, www.serifpublishing.com

Winterhouse Editions, http://winterhouse.com/editions

The Little Bookroom, www.littlebookroom.com

Princeton Architectural Press, www.papress.com

Allworth Press, www.allworth.com

Focal Press, www.focalpress.com

Hyphen Press, www.hyphenpress.co.uk

Nijhof & Lee, www.nijhoflee.nl/design/typography

Sage Journals, http://vcj.sagepub.com

Typowiki Books, http://typophile.com/wiki/books

Glossary

Metric Typographic Units, www.cl.cam.ac.uk/metric-typo, as8.it/type/pt.mm.gif

DTP Typometer â€“ wikipedia.org; grafipress.de; galaxygauge.com; paratype.ru; microtype.com; pfeifer.de

â€œeXtreme Type Terminologyâ€ by P. Dean, http://iLT.com/extreme-type-terminology

Typolexikon, www.typolexikon.de

Type Measurement, www.linotype.com/typemeasurement

DotType Guide, www.philiplikens.com/dottype/guide.swf

Type Anatomy by Pecina and BÅ™ezina, http://typomil.com/anatomy

OpenType Features, www.bertholdtypes.com/opentype, www.typofonderie.com/opentype

Foamtrain, www.owlsoup.com/foamtrain/glossary

ParaType, www.paratype.com/help/term

Lingsoft, www.lingsoft.fi/ereriksso/typography

Graphion, www.typographia.org/graphion

Betutan, www.font.hu/morpho

The Jargon Words, www.microsoft.com/typography/glossary

Bibliopolis Glossary, www.bibliopolis.nl

iPhone Typography Manual, http://typographyapp.com

Sappi Prepress, www.sappi.com/knowledgebank/glossary

Mimi Glossaries, http://en.mimi.hu

Artic Paper, www.arcticpaper.com/glossary.pdf

Packaging Gateway Glossary, www.packaging-technology.com/glossary

Wikimedia <Typography>, http://wikimedia.org/typography

Wikipedia <Printing>, http://de.wikipedia.org/drucktechnik

â€œPrinting Primer DTP Glossaryâ€ by H. Budgett, http://bosshard.com/printing, dtp-glossary.pdf

10 Typographical Rules, www.owlsoup.com/10-rules

Lexicon WikipÃ©dia Summary, www.lexisum.com

Typowiki Terminology, http://typophile.com/wiki/Terminology

[return to the index page]
check out typographica in libraries. http://www.cns11643.gov.tw/web/download.jsp http://www.cndesign.com/ http://www.linotype.com/29/fontdesigners.html http://www.stbride.org/friends/conference/hiddentypography/phototype.html http://mediatheek.thinkquest.nl/~ara140/html/index.html http://mediatheek.thinkquest.nl/~ara140/wie_zijn_wij.html http://online.wsj.com/article/SB119509324869293744.html http://blogs.adobe.com/typblography/2007/11/web_fonts_1.html http://typophile.com/node/31319 Proto http://www.textmatters.com/guides/visually_impaired.html http://palimpsest.stanford.edu/byform/mailing-lists/exlibris/1998/01/msg00218.html http://desktoppub.about.com/compute/desktoppub/library/type/bl_legible.htm http://www.unhjem.com/ http://www.moderntypography.com/ Continue at http://www.fontexplorer.com/isroot/FontStore/content/03_company/content/comp_03_hist_f/comp_03_hist1973a.html asshole: Dan.Schell@sympatico.ca ftp.blg.ru/pub/for_win/FONTS.zip http://www.liberliber.it/biblioteca/b/bembo/index.htm#Cenni_biografici http://www.liberliber.it/biblioteca/b/bembo/de_aetna_ad_angelum_chabrielem_liber/html/index.htm The TrueType version is at: http://www.fontsnthings.com/tools/conversion.html Dead: http://www.monotypeuk.com/moredesignerinfof.cfm?dnum=141 DID 100-129 Alpha (Inferno, Paradiso, Purgatorio) family by Stephen Schuster (Element) which was shown in the book Typographics 4 (Ed. Roger Walton) http://www.winsite.com/win3/fonts/truetype/ mvnewmosExt, HeliosThin, @akta.kz Christopher Antos' "GrabFont" %M DO M-Z of math page to fix links. Fontomas: Deleted Dry Heaves: Greased Monkey Life Saving Fonts: America Prays, Missing Man Out, She Proudly Waves, Standing Proud, Still Shining, Terrorism Bytes, Unity Ribbon, World Peace Nick Curtis: Hamburger Heaven, Madison Square Dustbust: Phutura Cumberland: Yank Scriptorium: Allencon Demo, Dementia Sparky Type: Charmy, Kiwi Free font set Series at Territory. This is by Adria. (Caps&a few misc characters) at Typephases: http://inicia.es/de/jmas/ Continue from Benton: http://club.telepolis.com/tipoduro/paginas/maes8.htm on page 5 with GaramondNo3. http://www.google.com/search?q=truetype+fonts+download+zip+-softseek&num=50&hl=en&start=650&sa=N Nebiolo: Ottocento http://desktoppub.tqn.com/library/fonts/bl_fontindex.htm http://web.archive.org/web/20001020083424/web.idirect.com/~nfhome/libraryd.htm get Caslon and Gill Visit http://www.myfonts.com/BrowseBy?idtype=foundry&id=19 ftp://ftp.shax.ru/pub/soft/Linux/X/xrusfonts/w2k/ http://www.rencontresdelure.org/rdv/liens/liens2.html Check http://www.dmi.usherb.ca/laboratoires/documentations-logiciels/Perl/lib/Font/ "Lettrine" is the word (in french;-)... "Versal" aka "dropped initial" (in english;-). "JSL Ancient" (e-mailware) http://www.shipbrook.com/jeff/typograf.html A quick approach : http://desktoppub.about.com/library/weekly/aa051597.htm http://www.designer.com/focus/articles/typophile_6/typophile_print.htm www.itaxkanpur.com/font.html Richard Bender Hans Schmidt siehe unter Illustratoren http://www.circassianweb.com/tools/font.htm http://www.fontexplorer.com/isroot/FontStore/content/00_home/content/home_05_fdesigner.html I did H-L S-Y We welcome Tiina Paju from Finland, Joel Shane from Canada, William Hill, Paul Lomas, Katherine Gillieson and Roger Dawkins (Font Friend) from the UK, Vincent Ciccone, Aiko Oshima from France, Michele Tranquillini from Italy, Richard Weaver and Frank Armstrong from USA, and Gabriela Fontanillas Ferrer from Venezuela. We welcome Victoria Hindley, Wendy Ramsay, Fanny Krivoy and Alta Price from the USA, Zeina El Abed from Lebanon, Brenda Dermody from Ireland, and Mark Brooks from the UK. http://www.fonts.com/findfonts/detail.asp?pid=205623 http://www.vrac.iastate.edu/~kevn/html/graphic.design/ http://www.schoolfonts.com/cursive-font-blockletter/_Letters_zaner-bloser_style.htm http://www.webforeman.narod.ru/fonts.html http://www.cs.mcgill.ca/~dchest/xfthack/ http://www.infoworld.com/articles/op/xml/02/10/07/021007opcurve.xml http://www.nicksfonts.com/fonts/fontnote/page04.html Here's some reading about the fonts newspapers use today: http://www.creativepro.com/story/feature/21081.html http://www.creativepro.com/story/feature/21157.html http://www.terravista.pt/Fernoronha/2604/download.htm Impact Wide http://www.with-m.com/ François-Ambroise Didot http://www.evertype.com/celtscript/fonthist.html: continue Everson only. Explore more here: http://www.affaire-esperluette.com/polices.htm Make a page for Imprimerie Nationale. http://www.font.to/downloads/TT_PS_OT.pdf Jacques Andre's new book on Unicode. http://www.femur.com.br http://www.die-gestalten.de/display.php?template=verlag.php&usetmpl=73&cat=1&sub=3&item=96 Do http://www.neufville.com/FontData/FONTS_AZ.htm Auspurg: www.klingspor-museum.de/KlingsporKuenstler/ Schriftdesigner/Auspurg/AAuspurg.pdf - http://xenia.sote.hu/vmirror/os2/flora/Flora.programming.graphics_library.scitech.beta-5.html http://www5d.biglobe.ne.jp/~konpeito/one3.htm#ryo http://www.fonts.com/findfonts/detail.asp?pid=205098 is said to be made by Societa Augusta in Torino. Egiziano = Egizio? http://www.vector.co.jp/vpack/browse/person/an007477.html http://www.paratype.com/default.asp?page=/library/newstyles.asp?fontcode=PT_INF DO ALL ftp://sunsite.sut.ac.jp:/pub/archives/linux/X11/fonts/hebxfonts-0.2.tgz http://SunSITE.sut.ac.jp/pub/archives/packages/gimp/gimp/fonts/freefonts-0.10.tar.gz ftp://ftp.kuis.kyoto-u.ac.jp/X11/contrib/fonts/kaname_k12_bdf.tar.gz ftb:/ ftp.eos.hokudai.ac.jp/pub/TeX/fonts/umeda-vector-font/ ftp://sunsite.sut.ac.jp:/pub/archives/linux/X11/fonts/jmk-x11-fonts-1.2.tar.gz http://ctan.loria.fr/cgi-bin/ftp2web?OK=1&DIRCTAN=fonts/bookhands/humanist > I've uploaded the file 'fontinstallationguide.pdf' to the incoming > directory on ftp.dante.de. This is a maintenance release. > > Please install it as CTAN:info/Type1fonts/fontinstallationguide.pdf > replacing the previous version. http://ctan.loria.fr/cgi-bin/ftp2web?OK=1&DIRCTAN=info/Type1fonts/ _________________ "Roef Ragas (E-mail)" "Adriaan de Jonge (E-mail)" "Brigitte Slangen (E-mail)" "David Esser (E-mail)" "Hans Mulder (E-mail)" "Biemans, J.A.A.M." . "Jaap van Triest (E-mail)" . "Jan Keijser (E-mail)" . "Karel F. Treebus (E-mail)" . "Korsman Nathalie (E-mail)" . "Paul Watry (E-mail)" fonttype designers: A-C done http://www.fontfont.com/shop/ Snellen created characters for optical testing tables. Do http://www.klingspor-museum.de/Kuenstler.html ABZ Arquitectura at Agfa: http://www.fonts.com/fontlist/405800-arquitectura.html IBM Diplomat 72 golf ball font? Font Bureau: get bios and pics Fix Granjon. Get Civilite pics to illustrate the civilite page. civilite-hoefler.gif http://www.typography.com/catalog/historicals/images/civilite.gif http://www.typography.com/catalog/historicals/more2.html St. Augustin Civilite (Hoefler): "St. Augustin Civilité" is a digitization of Robert Granjon's extraordinary type of 1562, now in the collection of the Enschedé type foundry, Haarlem. This typeface is reproduced in Civilité Types by Harry Carter and H. D. L. Vervliet (Oxford Bibliographical Society, by the Oxford University Press, 1966.) As figures and punctuation were lacking in the original, these have been borrowed from two other Granjon types, the Courante and Bastarde of 1567. (The remainder of the character set has been invented.) http://www.identifont.com/show?5E0 Civilite-GeorgeThomas.gif (Agfa Monotype) civilite-granjon1.jpg Granjon in Abel Matthieu, Deuis de la langue francoyse,1559 Daleguild: Civilite-DaleGuild.jpg http://www.daleguild.com/Civilite_nn4.html Order the Cabarga books. http://garmond-font-free-download.thecycles.com/ > Another like this is > http://www.softlywhispers.us/Debbiej/fonts/home.html > ATF > http://image.ulib.org/cgi-bin/handlers/handle8?call=15490.20672 > Linotype > http://image.ulib.org/cgi-bin/handlers/handle8?call=15634.20816 Buy Heller;'s Education of a typographer chelleé Order Spatium Process http://www.myfonts.com/WhatsNew?foundryid=195&startdate=20040501 Hui font: http://www.vector.co.jp/download/file/data/writing/fh338879.html http://www.vector.co.jp/soft/data/writing/se337659.html Process Fontoholic. Process http://www.wazu.jp/fonts.html http://www.linotype.com/114/basiccommercial-family.html ATYPI: Lettres Françaises, 1998 Philip Bertheau u.a.: Buchdruckschriften im 20. Jahrhundert, 1995 Haagse Letters, 1996 Günter Schuler: Der Typo Atlas, 2000 P. K. Thomajan: American Type Designers, 1952 Hans Reichardt's list of type designers and punchcutters www.schriftenservice-d-stempel.de/ rund-um/TypeDesigner.pdf American Proprietary Typefaces, 1998 Who is Marina Bilotserkivska, working with Viktor Kharyk? Do Gerardus Mercator. Dogma http://typophile.com/node/10376 Historical type sizes Check the designers at abstractfonts.com Check the Gerard Unger site carefully Fix all typophile entries: a mess! Recall MyFonts categories, like brush, etcetera. The keywords really work! http://www.notograph.com/exla/hbussr/1/ Images of 1920-dated book covers with great Cyrillic lettering. Explore! http://diacritics.typo.cz/ Diacritics project and wikipedia launched in April 2005 at the Beirut type conference by Filip Blazek. Kevin Larson He spoke at ATypI 2005 in Helsinki on I am coming for your sheep. Thomas Phinney He spoke at ATypI 2005 in Helsinki on Falling over the edge. Gerry Leonidas He spoke at ATypI 2005 in Helsinki on Typographic education. Danielle Aubert She spoke at ATypI 2005 in Helsinki on Money is a design object. Yuri Yarmola He spoke at ATypI 2005 in Helsinki on FontLab Studio 5 for Mac OS X. Adam Twardoch He spoke at ATypI 2005 in Helsinki on Start Photofont with Photofont Start. http://typophile.com/node/12721 creator of Blockheads (2005). http://typophile.com/node/8991 creator of Wax - an ornament typeface based on my chest hair, 2005. http://typophile.com/node/14419 Parker: sans http://typophile.com/user/5642 Coop http://www.myfonts.com/WhatsNew?foundryid=223&details=listpage&monthselector=last21 Simonson on awful ITC Avant Garde Italic + slanting -->
New Media: Description and Download

Position	Font	Size	Coverage	Annual costs (private)	Annual costs (business)
1	Century Gothic	10	2,96%	36,82	161,64
2	Ecofont	10	3,17%	39,43	173,11
3	Times Roman	11	3,25%	40,43	177,48
4	Calibri	11	3,44%	42,79	187,85
5	Verdana	10	3,89%	48,39	212,43
6	Sans Serif	11	4,38%	54,48	239,19
7	Trebuchet	11	4,43%	55,10	241,92
8	Arial	11	4,47%	55,60	244,10
9	Tahoma	11	4,68%	58,21	255,57
10	Franklin Gothic Medium	11	4,97%	61,82	271,40

Company	Price	Delivery time	Comments
VLetter.com	$149.95(plus $25 rush delivery fee)	Six days	The site sells other people's handwriting fonts for $29.95 -- for that almost-personal touch.
Fontgod.com	$99.95	16 days	The company bailed us out when we had problems emailing the handwriting forms.
Fontshop.com	$179	Five days	Need info on a documentary about typography called "Helvetica"? Look no further.
Handwritingfonts.com	$49.95	Nine days	A bargain, and we were thrilled with our custom-designed dingbats

Book hands	the hands found in books produced by scriptoria prior to the spread of printing; such hands are more accommodating of attempts at codification
Court hands	general business/literary hands, including stylised hands in particular offices/professions which survive alongside Secretary (e.g., chancery hand, exchequer hand, etc.)
Secretary	an offshoot of the court hands of the beginning of the C16 (early-, mid-, late-Tudor, Jacobean)
Italic	created in Italy c. 1400 and popular with English Humanists from the early C16 on; only once the hand becomes widespread does it start to infect secretary and produce...
Mixed	or hybrid/transitional hands, the next stage of the Italic conquest, leading to
Round hand	mid-late C17 Italic: the hand we have inherited

Pearl	5 point
Nonpareil	6 point
Minion	7 point
Brevier	8 point
Bourgeois	9 point
Long Primer	10 point
Small Pica	11 point
Pica	12 point
English	14 point
Two Line Brevier	16 point
Great Primer	18 point
Paragon	20 point
Double small Pica	22 point
Double Pica	24 point
Double English	28 point
Four line Brevier	32 point
Double Great Primer	36 point
Canon	48 point

First digit	Second digit
Ultra Light Thin Light Normal, Roman, or Regular Medium Bold Heavy Black Ultra or Extra Black	Ultra Extended Ultra Extended Oblique (Italic) Extended Extended Oblique (Italic) Normal Oblique (Italic) Condensed Condensed Oblique (Italic) Ultra Condensed

Company	Type	Alternate type	Yet another type	Still another type

ARD	The Sans	The Serif
AirBerlin	Meta
Airbus	Helvetica Neue	Times New Roman	Arial
Akzo Nobel	Symbol
Aral	Aral V2 Medium	Baskerville BQ
Audi	Audi Antiqua	Audi Sans
BMW	BMW Helvetica
Bonnfinanz	Frutiger	Adobe Garamond	Bodoni Book
Bosch	Bosch Sans/Serif
Bundesregierung	Demos
CDU	FF Kievit
Credit Suisse	Credit Suisse Type
DHL	Frutiger	Minion
DRK	Gill Sans	Rockwell
DSK	The Sans5
DaimlerChrysler	Corporate ASE
Deutsche Bahn	Helvetica
Deutsche Bank	DeuBa Univers
Deutsche Post	Frutiger	Helvetica
E.ON	Polo
Ford	Ford Light/Bold
Heineken	Heineken Sans/Serif
Henkel	Helvetica Neue	Swift EF	Arial	Times New Roman
IKEA	Ikea
Langenscheidt	Trade Gothic
Linde AG	Linde Dax
Lufthansa	Helvetica
Mephisto	Futura Book
Mercedes	Corporate A/E/S
Mitsubishi	Alpha Headline
Nissan	NissanAG
Nivea	Nivea Sans
Nokia	Nokia Sans/Serif
Opel	Opel Sans
Pioneer	Meta
Porsche	Franklin Gothic
Roche	Minion	Imago
School	Chevin
Shell	Futura LT Bold
Siemens	Siemens Sans/Serif/Slab Serif
Sparkass	Sparkasse Lt/Rg
TUI	Tui
Tengelmann	Syntax
UBS	UBS Headline	Frutiger 45
UPS	Dax
VW	VW Headline	Utopia
Velux	Futura
Volvo	Volvo Broard
WDR	Meta	Minion
Zeche Zollverein	Chevin

Company	Typeface	Foundry	Designer	Basis	Application

Škoda	Skoda Sans	Dalton Magg
3Sat	Gill Sans	Monotype	Eric Gill
ADAC	Franklin Gothic	Linotype	Morris Fuller Benton
AEG	Rotis	Agfa	Otl Aicher
AMD	Gill Sans	Monotype	Eric Gill
ARD	The Sans	LucasFonts	Lucas de Groot
ARD	The Serif	LucasFonts	Lucas de Groot
AVM	Info	FontFont	Erik Spiekermann, Ole Schäfer
AVM	Meta	FontFont	Erik Spiekermann
AWD	AWD			Interstate
AXA	Eras	ITC
Adidas	AdiHaus			DIN
Adobe	Myriad	Monotype
Adobe	Minion	Agfa	Robert Slimbach
AirBerlin	Meta	FontFont	Erik Spiekermann
Airbus	Times New Roman	Monotype
Airbus	Arial	Monotype	Patricia Saunders, Robin Nichols
Airbus	Neue Helvetica	Linotype
Akzo Nobel	Symbol
Aldi	Futura	Elsner+Flake	Paul Renner
Allianz	Formata Condensed				Headlines
Apple	Apple Myriad
Aral	Baskerville BQ
Aral	Aral V2 Medium
Arcor	Memphis	Linotype	Chauncey H. Griffith
Arvato	Bliss
Audi	Audi Antiqua
Audi	Audi Sans			Univers
B.Braun Melsungen AG	Rotis	Agfa	Otl Aicher
BMW	BMW Type			Helvetica
Beck's	Syntax	Linotype	Hans Eduard Meier
Berliner Zeitung	Walbaum	Linotype	J. E. Walbaum		Headlines
Berliner Zeitung	Utopia	Monotype			Text
Bertelsmann	Utopia	Monotype
Bertelsmann	Univers	Linotype	Adrian Frutiger
Bonnfinanz	Bodoni Book	Bitstream	Giambattista Bodoni
Bonnfinanz	Adobe Garamond	Agfa	Claude Garamond, Robert Slimbach
Bonnfinanz	Frutiger	Linotype	Adrian Frutiger
Bosch	Bosch Serif
Bosch	Bosch Sans
Bulthaup	Rotis	Agfa	Otl Aicher
Bundesagentur für Arbeit	Corporate S	URW++	Kurt Weidemann
Bundesregierung	Neue Demos
Bundesregierung	Neue Praxis
C&A	CA Info Type
C&A	CA Corporate Type
CDU	CDU Kievit			Kievit
Canon	DendaNew
Commerzbank AG	Commerzbank Headline			Stymie Black
CosmosDirekt	Geometric Slabserif 703	Bitstream			Logo
CosmosDirekt	Univers Condensed	Linotype	Adrian Frutiger
Credit Suisse	Credit Suisse Type
DA direkt	Frutiger	Linotype	Adrian Frutiger		Fliesstext
DA direkt	Linotype Ergo	Linotype			Logo
DAB Bank	DAB Bank Officina			Officina
DHL	Frutiger	Linotype	Adrian Frutiger
DHL	Minion	Agfa	Robert Slimbach
DRK	Helvetica	Linotype	Max Miedinger
DRK	Arial	Monotype	Patricia Saunders, Robin Nichols
DSK	The Sans	LucasFonts	Lucas de Groot
Delta Airlines	Delta	Dalton Magg
Der Spiegel	Spiegel Sans	LucasFonts	Lucas de Groot	Franklin Gothic
Der Spiegel	Spiegel Serif	LucasFonts	Lucas de Groot	Linotype Rotation
Detax	Frutiger	Linotype	Adrian Frutiger
Deutsche Bahn AG	DB Sans Condensed	URW++
Deutsche Bahn AG	DB Sans	URW++
Deutsche Bahn AG	DB Head	URW++
Deutsche Bahn AG	DB News	URW++
Deutsche Bahn AG	DB Serif	URW++
Deutsche Bank	Deutsche Bank Univers			Univers
Deutsche Post AG	Frutiger Condensed	Linotype	Adrian Frutiger		Headlines
Deutsche Post AG	Minion	Agfa	Robert Slimbach		Fliesstext
Deutsche Telekom	TeleAntiqua	URW++
Deutsche Telekom	TeleGrotesk	URW++
Deutsche Telekom	TeleLogo	URW++
Deutsche Welle	Bembo	Agfa	Francesco Griffo, A. Tagliente		Fliesstext
Deutsche Welle	DW Interstate			Interstate
Die Grünen	Corpus Gothic	Fountain	Peter Bruhn
Die Linke/PDS	Meta	FontFont	Erik Spiekermann		Fliesstext
Die Welt	Franklin Gothic	Linotype	Morris Fuller Benton
Die Welt	Excelsior	Linotype	Chauncery H. Griffith		Text
Die Welt	TimesBQ				Headlines
Direct Line	Gill Sans	Monotype	Eric Gill
Dr. Oetker	Dr. Oetker Tiffany			Tiffany
Dänisches Bettenlager	Futura	Elsner+Flake	Paul Renner
E-Plus	Frutiger	Linotype	Adrian Frutiger
E-Plus	OCR Plus	Linotype	Adrian Frutiger	OCR F
EnBW AG	DIN	FontFont
Erco	Univers	Linotype	Adrian Frutiger
Erco	Rotis	Agfa	Otl Aicher
Eurex (Deutsche Börse AG)	Syntax	Linotype	Hans Eduard Meier
Ev. Johanneswerk	Arial	Monotype	Patricia Saunders, Robin Nichols
Ev. Johanneswerk	Helvetica	Linotype	Max Miedinger
FC Bayern München AG	FCB Interstate			Interstate
FSB	News Gothic	Linotype	Morris Fuller Benton
FSB	Univers	Linotype	Adrian Frutiger
Festo AG	Meta	FontFont	Erik Spiekermann
Financial Times	Utopia	Monotype
Financial Times	Walbaum	Linotype	J. E. Walbaum
Ford	Ford Extended			Helvetica
Frankfurter Allgemeine Zeitung	Eighteen
Frankfurter Allgemeine Zeitung	Times Ten
Frankfurter Allgemeine Zeitung	FAZ Fraktur	URW++		Fette Gotisch
Fraunhofer-Gesellschaft	Frutiger	Linotype	Adrian Frutiger
Fujitsu Siemens Computer	Rotis	Agfa	Otl Aicher
GE (General Electric Company)	GE Inspira
Germanwings	Bliss
Gothaer (Versicherung)	Meta	FontFont	Erik Spiekermann
Heidelberg Gruppe	Heidelberg Gothic			News Gothic
Heidelberg Gruppe	Heidelberg Antiqua			Swift
Heineken	Heineken Sans
Heineken	Heineken Serif
Henkel	Swift
Henkel	Neue Helvetica	Linotype
Henkel	Arial	Monotype	Patricia Saunders, Robin Nichols
Henkel	Times New Roman	Monotype
IGEPA	IGEPA Raldo	URW++
ING DiBa	Stone Sans
Ikea	Ikea Sans			Futura
Ikea	Ikea Serif			New Century Schoolbook
Industrie- und Handelskammer	Rotis Sans	Agfa	Otl Aicher
Industrie- und Handelskammer	Rotis Serif	Agfa	Otl Aicher
J.M. Voith AG	Voith Helvetica			Helvetica
Jaguar	DIN	FontFont
Jet (Tankstelle)	JetSans
Kabel Deutschland	Kabel Unit			FF Unit
LBS	LBS The Sans			The Sans
Langenscheidt	Trade Gothic	Linotype	Jackson Burke
Lekkerland	LL Sari			FF Sari
Linde AG	Linde Dax			FF Dax
Linotype Library GmbH	Univers	Linotype	Adrian Frutiger
Lufthansa	Helvetica	Linotype	Max Miedinger
MINI	MINITypeRegular	Dalton Maag			Fliesstext
MINI	MINITypeHeadline	Dalton Magg			Headlines
Mazda	BaseTwelve Sans				Headlines
Mazda	Frutiger	Linotype	Adrian Frutiger		Text
McDonald's	Akzidenz Grotesk
Mecklenburg Vorpommern	Myriad Pro
Mecklenburg Vorpommern	Lithograph
MediaMarkt	Franklin Gothic	Linotype	Morris Fuller Benton
Mephisto	Futura Book	Elsner+Flake	Paul Renner
Mercedes	Corporate E	URW++	Kurt Weidemann
Mercedes	Corporate A	URW++	Kurt Weidemann
Mercedes	Corporate S	URW++	Kurt Weidemann
Mitsubishi	Alpha Headline
Mobilcom	Neue Helvetica Extended	Linotype
Müller (Drogerie)	MuellerSchrift			Gill Sans
Münchner Rück	Univers	Linotype	Adrian Frutiger
N-TV	Info Office	FontFont	Erik Spiekermann, Ole Schäfer		Laufbänder
NDR	NDR Sans
Nissan	NissanAG
Nissan	Nissan Standard	URW++
Nivea	Nivea Sans
Nokia	Nokia Sans		Erik Spiekermann
Nokia	Nokia Serif		Erik Spiekermann
OBI	Obi Sans	Elsner+Flake
Opel	Opel Sans			Futura
PAGE (Magazin)	GST Polo	TypeManufactur	Georg Salden
Paul Hartmann AG	Frutiger Next	Linotype	Adrian Frutiger
Peugeot	Gill Sans	Monotype	Eric Gill
Pioneer	Meta	FontFont	Erik Spiekermann
Plus (Supermarkt)	The Sans	LucasFonts	Lucas de Groot
Porsche	News Gothic	Linotype	Morris Fuller Benton
Porsche	Franklin Gothic	Linotype	Morris Fuller Benton
Postbank AG	Frutiger	Linotype	Adrian Frutiger
Premiere World	Premiere Gothic			Franklin Gothic
Puma	Puma Pace	Dalton Magg
Quelle (Versandhaus)	Quelle Interstate			Interstate
RBB	Interstate	Font Bureau	Tobias Frere-Jones
RTL aktuell	Bank Gothic	Bitstream	Morris Fuller Benton
RWE	RWE Corporate
Rama	Rama Typo
Ravensburger	The Sans	LucasFonts	Lucas de Groot
Roche	Minion	Agfa	Robert Slimbach
Roche	Imago
Roche	Minion	Agfa	Robert Slimbach
Roche	Imago
SPD	The Sans	LucasFonts	Lucas de Groot
Saab	Gill Sans	Monotype	Eric Gill
Sat.1	SAT1DigitalSans			Digital Sans
School	Chevin
Schwäbisch Hall AG	Charlotte Sans			The Sans
Shell	Futura LT Bold	Elsner+Flake	Paul Renner
Siemens	Siemens Serif	URW++
Siemens	Siemens Sans	URW++
Siemens	Siemens Slab	URW++
Smart	Smart Courier			Courier
Sparda Bank	Clarendon	Linotype	H. Eidenbenz		Headlines
Sparda Bank	ITC Officina Sans	Agfa	Erik Spiekermann		Fliesstext
Sparkasse	Sparkasse Light	Dalton Magg
Sparkasse	Sparkasse Regular	Dalton Magg
Stuttgarter Zeitung	DTL Argo
Stuttgarter Zeitung	Gulliver
Süddeutsche Zeitung	Excelsior	Linotype	Chauncery H. Griffith		Text
Süddeutsche Zeitung	Helvetica	Linotype	Max Miedinger		Headlines
TU Dresden	DIN Bold	FontFont
TU Dresden	Univers 45	Linotype	Adrian Frutiger
TUI	Tui	Dalton Magg
Tagesspiegel (Berlin)	Franklin Gothic	Linotype	Morris Fuller Benton
Tagesspiegel (Berlin)	Poynter	Font Bureau			Fliesstext
Tagesspiegel (Berlin)	Californian	Font Bureau	Frederic W. Goudy, David Berlow		Headlines
Talkline	Neue Helvetica	Linotype			Text
Talkline	Rockwell	Monotype	F. H. Pierpoint		Headlines
Taz (Berlin)	Taz III	LucasFonts	Lucas de Groot
Taz (Berlin)	Taz	LucasFonts	Lucas de Groot
Taz (Berlin)	The AntiquaE	LucasFonts	Lucas de Groot
Taz (Berlin)	TazText	LucasFonts	Lucas de Groot
Tchibo	Interstate	Font Bureau	Tobias Frere-Jones
Tengelmann	Syntax	Linotype	Hans Eduard Meier
UBS	Frutiger 45	Linotype	Adrian Frutiger
UBS	UBS Headline
UPS	UPS Sans
VW	Utopia	Monotype
VW	VW Headline
Vattenfall	Interstate	Font Bureau	Tobias Frere-Jones
Velux	Futura	Elsner+Flake	Paul Renner
Vobis	Interstate	Font Bureau	Tobias Frere-Jones
Vodafone	Vodafone Font Family	Dalton Magg		InterFace
Volvo	Volvo Broard
WDR	Minion	Agfa	Robert Slimbach
WDR	Meta	FontFont	Erik Spiekermann
Wilo AG	Wilo Plus			FF Plus
Xbox 360	Convection
Xerox	Walbaum	Linotype	J. E. Walbaum
Yello Strom	Yello DIN			FF DIN
ZDF	Handel Gothic	URW++			Logo
ZDF	Swiss 721			Helvetica
ZF Friedrichshafen	ZF Serif	URW++
ZF Friedrichshafen	ZF Sans	URW++
Zeche Zollverein	Chevin
comdirect	Dax	FontFont	Hans Reichel
dm Drogeriemarkt	DM Cochin			Cochin
dm Drogeriemarkt	DM The Sans			The Sans
e·on	GST Polo	TypeManufactur	Georg Salden
kabel eins	DIN 1451	FontFont
mdr (Mitteldeutscher Rundfunk)	can you (read me?)
tegut...	tegut-Sans			Officina Sans

Letter	PostscriptName	Microsoft	MacintoshRoman
¿	questiondown	191	192
¡	exclamationdown	161	193
Ñ	Ntilde	209	132
ñ	ntilde	241	150
Á	Aacute	193	231
É	Eacute	201	131
Í	Iacute	205	234
"	Oacute	211	238
Ú	Uacute	218	242
Ü	Udieresis	220	134
á	aacute	225	135
é	eacute	233	142
í	iacute	237	146
ó	oacute	243	151
ú	uacute	250	156
ü	udieresis	252	159
ª	ordfeminine	170	187
º	ordmasculine	186	188