Opentype Outline Flavour

Total Page:16

File Type:pdf, Size:1020Kb

Opentype Outline Flavour OpenType outline flavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi Arabesque™ Ornaments 1 Regular Arabesque™ Ornaments 2 Regular Arabesque™ Ornaments 3 Regular Arial® Pro Light Arial® Std Light Arial® Std Light Italic Arial® Pro Light Italic Arial® Pro Regular Arial® Std Regular Arial® Std Italic Arial® Pro Italic Arial® Pro Medium Arial® Std Medium Arial® Std Medium Italic Arial® Pro Medium Italic Arial® Pro Bold Arial® Std Bold Arial® Std Bold Italic Arial® Pro Bold Italic Arial® Pro Extra Bold Arial® Std Extra Bold Arial® Std Extra Bold Italic Arial® Pro Extra Bold Italic Arial® Pro Black Arial® Std Black Arial® Std Black Italic Arial® Pro Black Italic Arial® Pro Condensed Light Arial® Std Condensed Light Arial® Std Condensed Arial® Pro Condensed Arial® Pro Condensed Bold Arial® Std Condensed Bold Arial® Std Condensed Extra Bold Arial® Pro Condensed Extra Bold Arial® Pro Narrow Regular Arial® Std Narrow Regular Arial® Std Narrow Regular Arial® Std Narrow Italic Arial® Std Narrow Italic Arial® Pro Narrow Italic Arial® Pro Narrow Bold Arial® Std Narrow Bold Arial® Std Narrow Bold Arial® Std Narrow Bold Italic Arial® Std Narrow Bold Italic Arial® Pro Narrow Bold Italic Arial® Std Monospaced Regular Arial® Std Monospaced Oblique Arial® Std Monospaced Bold Arial® Std Monospaced Bold Oblique Arial® Std Rounded Light Arial® Pro Rounded Light Arial® Pro Rounded Regular Arial® Std Rounded Regular Arial® Std Rounded Bold Arial® Pro Rounded Bold Arial® Pro Rounded Extra Bold Arial® Std Rounded Extra Bold Arial® Cyrillic Light Arial® Cyrillic Regular Arial® Cyrillic Italic Arial® Cyrillic Bold Arial® Cyrillic Bold Italic Arial® Cyrillic Black Arial® Cyrillic Narrow Regular Arial® Cyrillic Narrow Italic Arial® Cyrillic Narrow Bold Arial® Cyrillic Narrow Bold Italic Arial® Cyrillic Rounded Regular Arial® Cyrillic Rounded Bold Arial® Greek Light Arial® Greek Regular Arial® Greek Italic Arial® Greek Bold Arial® Greek Bold Italic Arial® Greek Black Arial® Greek Narrow Regular Arial® Greek Narrow Italic Arial® Greek Narrow Bold Arial® Greek Narrow Bold Italic Arial® Greek Rounded Regular Arial® Greek Rounded Bold Arial OS Regular Arial OS Regular Arial OS Italic Arial OS Italic Arial OS Bold Arial OS Bold Arial OS Bold Italic Arial OS Bold Italic Arial® Unicode MS Regular Arial® Unicode MS Bold Artisan Roman™ Std Regular Artistik™ Std Regular Ashley Crawford Std Light Ashley Crawford Std Bold Ashley Crawford Std Regular Ashley Crawford AT Std Inline Ashley® Script Std Regular Athenaeum™ Std Regular Athenaeum™ Pro Regular Athenaeum™ Pro Italic Athenaeum™ Std Italic Athenaeum™ Std Bold Athenaeum™ Pro Bold Athenaeum™ Std Initial Positive Athenaeum™ Std Initial Negative Augusta™ Std Regular Augusta™ Std Cancellaresca Augusta™ Std Schnurkl Azbuka™ Std Extra Light Azbuka™ Pro Extra Light Azbuka™ Std Extra Light Azbuka™ Std Light Azbuka™ Pro Light Azbuka™ Std Light Azbuka™ Std Light Italic Azbuka™ Pro Light Italic Azbuka™ Std Light Italic Azbuka™ Std Regular Azbuka™ Pro Regular Azbuka™ Std Regular Azbuka™ Std Italic Azbuka™ Pro Italic Azbuka™ Std Italic Azbuka™ Std Medium Azbuka™ Pro Medium Azbuka™ Std Medium Azbuka™ Std Medium Italic Azbuka™ Pro Medium Italic Azbuka™ Std Medium Italic Azbuka™ Std Bold Azbuka™ Pro Bold Azbuka™ Std Bold Azbuka™ Std Bold Italic Azbuka™ Pro Bold Italic Azbuka™ Std Bold Italic Azbuka™ Std Heavy Azbuka™ Pro Heavy Azbuka™ Std Heavy Azbuka™ Std Heavy Italic Azbuka™ Pro Heavy Italic Azbuka™ Std Heavy Italic Azbuka™ Std Black Azbuka™ Pro Black Azbuka™ Std Black Azbuka™ Std Extra Black Azbuka™ Pro Extra Black Azbuka™ Std Extra Black Azbuka™ Std Light Condensed Azbuka™ Pro Light Condensed Azbuka™ Std Light Condensed Azbuka™ Std Condensed Azbuka™ Pro Condensed Azbuka™ Std Condensed Azbuka™ Std Medium Condensed Azbuka™ Pro Medium Condensed Azbuka™ Std Medium Condensed Azbuka™ Std Bold Condensed Azbuka™ Pro Bold Condensed Azbuka™ Std Bold Condensed Azbuka™ Std Heavy Condensed Azbuka™ Pro Heavy Condensed Azbuka™ Std Heavy Condensed Azbuka™ Std Black Condensed Azbuka™ Pro Black Condensed Azbuka™ Std Black Condensed Azbuka™ Std Extra Black Cond Azbuka™ Pro Extra Black Condensed Azbuka™ Std Extra Black Cond Monotype Baskerville™ Std Roman Monotype Baskerville™ Pro Roman Monotype Baskerville™ Pro Italic Monotype Baskerville™ Std Italic Monotype Baskerville™ Std Semi Bold Monotype Baskerville™ Pro Semi Bold Monotype Baskerville™ Pro Semi Bold Italic Monotype Baskerville™ Std Semi Bold Italic Monotype Baskerville™ Std Bold Monotype Baskerville™ Pro Bold Monotype Baskerville™ Pro Bold Italic Monotype Baskerville™ Std Bold Italic Monotype Baskerville™ eText Roman Monotype Baskerville™ eText Italic Monotype Baskerville™ eText Bold Monotype Baskerville™ eText Bold Italic Bell® Std Regular Bell® Pro Regular Bell® Pro Italic Bell® Std Italic Bell® Std Semi Bold Bell® Pro Semi Bold Bell® Pro Semi Bold Italic Bell® Std Semi Bold Italic Bell® Std Bold Bell® Pro Bold Bell® Pro Bold Italic Bell® Std Bold Italic Bembo® Std Roman Bembo® Pro Roman Bembo® Pro Italic Bembo® Std Italic Bembo® Std Semibold Bembo® Pro Semibold Bembo® Pro Semibold Italic Bembo® Std Semibold Italic Bembo® Std Bold Bembo® Pro Bold Bembo® Pro Bold Italic Bembo® Std Bold Italic Bembo® Std ExtraBold Bembo® Pro Extra Bold Bembo® Pro Extra Bold Italic Bembo® Std ExtraBold Italic Bembo® Std Titling Bembo® Std Titling Italic Bembo® Std Infant Bembo® Std Infant Italic Bembo® Std Infant Bold Bembo® Std Infant Bold Italic Bembo® Book Pro Regular Bembo® Book Std Regular Bembo® Book Std Italic Bembo® Book Pro Italic Bembo® Book Pro Bold Bembo® Book Std Bold Bembo® Book Std Bold Italic Bembo® Book Pro Bold Italic Monotype Bernard™ Std Condensed New Berolina® Std Regular Biffo™ Std Regular Binner Gothic™ Std Regular Binner Poster™ Std Regular Binny Old Style™ Std Regular Binny Old Style™ Std Italic Biome™ Std Basic Extra Light Biome™ Pro Basic Extra Light Biome™ Pro Basic Extra Light Biome™ Pro Basic Extra Light Italic Biome™ Pro Basic Extra Light Italic Biome™ Std Basic Extra Light Italic Biome™ Std Basic Light Biome™ Pro Basic Light Biome™ Pro Basic Light Biome™ Pro Basic Light Italic Biome™ Pro Basic Light Italic Biome™ Std Basic Light Italic Biome™ Std Basic Regular Biome™ Pro Basic Regular Biome™ Pro Basic Regular Biome™ Pro Basic Italic Biome™ Pro Basic Italic Biome™ Std Basic Italic Biome™ Std Basic Semi Bold Biome™ Pro Basic SemiBold Biome™ Pro Basic Semi Bold Biome™ Pro Basic Semi Bold Italic Biome™ Pro Basic SemiBold Italic Biome™ Std Basic Semi Bold Italic Biome™ Std Basic Bold Biome™ Pro Basic Bold Biome™ Pro Basic Bold Biome™ Pro Basic Bold Italic Biome™ Pro Basic Bold Italic Biome™ Std Basic Bold Italic Biome™ Std Basic Black Biome™ Pro Basic Black Biome™ Pro Basic Black Biome™ Pro Basic Black Italic Biome™ Pro Basic Black Italic Biome™ Std Basic Black Italic Biome™ Std Basic Ultra Biome™ Pro Basic Ultra Biome™ Pro Basic Ultra Biome™ Pro Basic Ultra Italic Biome™ Pro Basic Ultra Italic Biome™ Std Basic Ultra Italic Biome™ Pro Narrow Extra Light Biome™ Pro Narrow Extra Light Biome™ Std Narrow Extra Light Biome™ Std Narrow Extra Light Italic Biome™ Pro Narrow Extra Light Italic Biome™ Pro Narrow Extra Light Italic Biome™ Pro Narrow Light Biome™ Pro Narrow Light Biome™ Std Narrow Light Biome™ Std Narrow Light Italic Biome™ Pro Narrow Light Italic Biome™ Pro Narrow Light Italic Biome™ Pro Narrow Regular Biome™ Pro Narrow Biome™ Std Narrow Regular Biome™ Std Narrow Italic Biome™ Pro Narrow Italic Biome™ Pro NarrowItalic Biome™ Pro Narrow Semi Bold Biome™ Pro Narrow Semi Bold Biome™ Std Narrow Semi Bold Biome™ Std Narrow Semi Bold Italic Biome™ Pro Narrow Semi Bold Italic Biome™ Pro Narrow Semi Bold Italic Biome™ Pro Narrow Bold Biome™ Pro Narrow Bold Biome™ Std Narrow Bold Biome™ Std Narrow Bold Italic Biome™ Pro Narrow Bold Italic Biome™ Pro Narrow Bold Italic Biome™ Pro Narrow Black Biome™ Pro Narrow Black Biome™ Std Narrow Black Biome™ Std Narrow Black Italic Biome™ Pro Narrow Black Italic Biome™ Pro Narrow Black Italic Biome™ Pro Narrow Ultra Biome™ Pro Narrow Ultra Biome™ Std Narrow Ultra Biome™ Std
Recommended publications
  • Inventaris Letterproeven 2013-10-11 1 Inventaris Nummer Land Van
    Inventaris Land van Bedrijf Plaats van Titel Opmerkingen Omvang Aantal Datering nummer vestiging vestiging letter- proeven van tot 0001 [onbekend] [onbekend] [onbekend] [Tiervignetten] Ongeïdentificeerde, Duitstalige proef met 32 p. 1890 1910 vignetten van dieren, van gewervelden tot protozoa. 0002 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Diverse formaten. Bevat Mediaeval 10 1900 land, gieterij. Egyptian/Roman/Italic; Eirenne; 0003 [onbekend] [onbekend] [onbekend] Messingschriften für Handvergoldung aus Viertalige catalogus van letters voor 82 p. 1932 Instrument und Matern gegossen boekbinders. 0004 [onbekend] [onbekend] [onbekend] [cluster] Losse proeven zonder datum, Inhoud: Intertype Arabic (4); 13 [onbe land, corporatie. Caslon+Locarno (1); Splendor+Splendor kend] Vet+Excelsior (3); cijfers(1), Garamont sierletters cursief, romein, kapitalen cursief (3); Acropolis (1). 0005 Argentinië Curt Berger y Buenos Aires Titulares Series Económicas / Fundidas con 16 p. 1920 Cía metal especial importado direcamente de Alemania 0006 Argentinië Curt Berger y Buenos Aires Letras Inglesas rondas y cursivas / Tipos Bijlage: 3 losse toepassingen. 36 p. 1930 Cía imitación máquina de escribir 0007 Argentinië Curt Berger y Buenos Aires Tipos para textos y titulares / últimas 72 p. 1930 Cía creaciones / series artísticas y modernísmas / matrices originales de la gran fundición de J.G. Schelter & Giesecke 0008 Argentinië Curt Berger y Buenos Aires Tipos para texto / Bastardillas, Negritas y 24 p. 1935 Cía Versalitas ... [...] 0009 Argentinië Curt Berger y Buenos Aires [zonder titel] Brochure. Bijlage: 2 ex van een proef, 2 19 p. 1935 Cía S.R.L. p., van de Silphide. 0010 Argentinië Curt Berger y Buenos Aires Tipos Modernos / Pincel Silfide Vouwblad, met toepassingen en proeven 8 p.
    [Show full text]
  • Design One Project Three Introduced October 21. Due November 11
    Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
    [Show full text]
  • Adobe Font Folio Opentype Edition 2003
    Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00.
    [Show full text]
  • Graphics Design
    Graphics Design - Typography Exercise 7 - ‘Arial’ ____________________________________________________________________________________________________________________________ Closest Fonts: {Arial, Helvetica, MS Gothic} Closer Fonts: {Newhouse DT Condensed, CG Triumvirate Condensed} Chosen Focus Font: {Arial Narrow Bold Italic} ____________________________________________________________________________________________________________________________ Font: Monotype Grotesque Birth-Date: 1926 Creator: Frank Hinman Pierpont Publisher: Monotype Foundry Based Off: Grotesque (by H. Berthold AG Foundry & William Thorowogood, 1832) Family: Largely-Extended: Multiple Widths (Condensed,...,Extended) Recognition: Easily Recognisable as san-serifs were few and unusual in England. Use: Early 20th Century Avant Garde Printing from Western & Central Europe ____________________________________________________________________________________________________________________________ Font: Arial Alias: (Original) Sonoran Sans Serif, (After Microsoft Acquisition) Arial MT Birth-Date: 1982 Self-Description: “Contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can
    [Show full text]
  • New Opentype Fonts on Folio 11
    New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf
    [Show full text]
  • Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
    Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system.
    [Show full text]
  • Pastoralism and Security in West Africa and the Sahel
    Pastoralism and Security in West Africa and the Sahel Towards Peaceful Coexistence UNOWAS STUDY 1 2 Pastoralism and Security in West Africa and the Sahel Towards Peaceful Coexistence UNOWAS STUDY August 2018 3 4 TABLE OF CONTENTS Abbreviations p.8 Chapter 3: THE REPUBLIC OF MALI p.39-48 Acknowledgements p.9 Introduction Foreword p.10 a. Pastoralism and transhumance UNOWAS Mandate p.11 Pastoral Transhumance Methodology and Unit of Analysis of the b. Challenges facing pastoralists Study p.11 A weak state with institutional constraints Executive Summary p.12 Reduced access to pasture and water Introductionp.19 c. Security challenges and the causes and Pastoralism and Transhumance p.21 drivers of conflict Rebellion, terrorism, and the Malian state Chapter 1: BURKINA FASO p.23-30 Communal violence and farmer-herder Introduction conflicts a. Pastoralism, transhumance and d. Conflict prevention and resolution migration Recommendations b. Challenges facing pastoralists Loss of pasture land and blockage of Chapter 4: THE ISLAMIC REPUBLIC OF transhumance routes MAURITANIA p.49-57 Political (under-)representation and Introduction passivity a. Pastoralism and transhumance in Climate change and adaptation Mauritania Veterinary services b. Challenges facing pastoralists Education Water scarcity c. Security challenges and the causes and Shortages of pasture and animal feed in the drivers of conflict dry season Farmer-herder relations Challenges relating to cross-border Cattle rustling transhumance: The spread of terrorism to Burkina Faso Mauritania-Mali d. Conflict prevention and resolution Pastoralists and forest guards in Mali Recommendations Mauritania-Senegal c. Security challenges and the causes and Chapter 2: THE REPUBLIC OF GUINEA p.31- drivers of conflict 38 The terrorist threat Introduction Armed robbery a.
    [Show full text]
  • Menupro 9 User Guide Getting Started • I
    MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions.
    [Show full text]
  • The Monotype Library Opentype Edition
    en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project.
    [Show full text]
  • Lucida Sans the Quick Brown Fox Jumps Over a Lazy Dog
    Facing up to Fonts Richard Rutter “When the only font available is Times New Roman, the typographer must make the most of its virtues. The typography should be richly and superbly ordinary, so that attention is drawn to the quality of the composition, not the individual letterforms.” Elements of Typographic Style by Robert Bringhurst ≠ Times New Roman Times New Roman is a serif typeface commissioned by the British newspaper, The Times, in 1931, designed by Stanley Morison and Victor Lardent at the English branch of Monotype. It was commissioned after Morison had written an article criticizing The Times for being badly printed and typographically behind the times. Arial Arial is a sans-serif typeface designed in 1982 by Robin Nicholas and Patricia Saunders for Monotype Typography. Though nearly identical to Linotype Helvetica in both proportion and weight, the design of Arial is in fact a variation of Monotype Grotesque, and was designed for IBM’s laserxerographic printer. Georgia Georgia is a transitional serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. It is designed for clarity on a computer monitor even at small sizes, partially due to a relatively large x-height. The typeface is named after a tabloid headline titled Alien heads found in Georgia. Verdana Verdana is a humanist sans-serif typeface designed by Matthew Carter for Microsoft Corporation, with hand-hinting done by Tom Rickner. Bearing similarities to humanist sans-serif typefaces such as Frutiger, Verdana was designed to be readable at small sizes on a computer screen. Trebuchet A humanist sans-serif typeface designed by Vincent Connare for the Microsoft Corporation in 1996.
    [Show full text]
  • Font List Goldedition 2.0 
    Font List GoldEdition 2.0 Catalog NamePC PS File Name PC TT File Name Mac PS File Name Printer Font Printer Font 1. Aachen by Linotype Medium lt_70005.pfb lt_70005.ttf AacheMedPla 2. Aachen by Linotype Bold lt_70004.pfb lt_70004.ttf AacheBolPla 3. Aachen by Adobe Bold lte50127.pfb lte50127.ttf AacheLTBol 4. Aachen by Adobe Central European Bold accb____.pfb AacheCEBol 5. Abadi® Extra Light abel____.pfb abel____.ttf AbadiMTExtLig 6. Abadi® Extra Light Italic abeli___.pfb abeli___.ttf AbadiMTExtLigIta 7. Abadi® Light abal____.pfb abal____.ttf AbadiMTLig 8. Abadi® Light Italic abali___.pfb abali___.ttf AbadiMTLigIta 9. Abadi® Regular aba_____.pfb aba_____.ttf AbadiMT 10. Abadi® Italic abai____.pfb abai____.ttf AbadiMTIta 11. Abadi® Bold abab____.pfb abab____.ttf AbadiMTBol 12. Abadi® Bold Italic ababi___.pfb ababi___.ttf AbadiMTBolIta 13. Abadi® Extra Bold abeb____.pfb abeb____.ttf AbadiMTExtBol 14. Abadi® Extra Bold Italic abebi___.pfb abebi___.ttf AbadiMTExtBolIta 15. Abadi® Light Condensed abacl___.pfb abacl___.ttf AbadiMTConLig 16. Abadi® Condensed abac____.pfb abac____.ttf AbadiMTCon 17. Abadi® Condensed Bold abacb___.pfb abacb___.ttf AbadiMTConBol 18. Abadi® Condensed Extra Bold abace___.pfb abace___.ttf AbadiMTConExtBol 19. ITC Abaton™ by Linotype Regular LT_70006.pfb LT_70006.ttf ITCAba 20. Abbot Uncial™ Regular ABBOU___.PFB AbbotUnc 21. Linotype Abstract™ Regular LT_14354.pfb LT_14354.ttf AbstrLT 22. Academy™ Engraved Regular 46152___.PFB 46152___.TTF AcadeEngPla 23. Achispado™ Regular lt_57657.pfb LT_57657.ttf AchisLT 24. Acorn Regular ACORN___.PFB Acorn 25. Acorn Bold ACORB___.PFB AcornBol 26. ITC Adderville™ Book AdrvilBk.pfb ADDEIW__.TTF AdderITCBoo 27. ITC Adderville™ Medium AdrvilMd.pfb ADDEITM_.TTF AdderITCMed 28.
    [Show full text]
  • Typesfaces by Style.Indd
    t y p e f a c e s SERIF: VENETIAN, GARALDE, TRANSITIONAL, DIDONE (MODERN) SLAB SERIF SANS SERIF: GROTESQUE, NEO-GROTESQUE, GEOMETRIC, HUMANIST SCRIPT AND HAND-LETTERED GLYPHIC BLACKLETTER HAND-TOOLED, INLINE, OUTLINE, STENCIL DECORATIVE, DISPLAY MONOSPACED CYRILLIC SYMBOL ORNAMENT SERIF serif Garalde Old Style Th e serif, or cross-line at the end of a stroke probably Garalde typefaces include some of the most popular dates from early Rome. Father Edward Catich pro- serif types in use today. Th ey were designed during the posed in his seminal work, Th e origin of the Serif, that 16th and 17th century by such masters as the French the serif is an artifact of brushing letters onto stone printer Claud Garamond and the Venetian printer Al- before cutting them. Serif, or roman, types are useful dus Manutius. Th e distinguishing features of Garalde in text because the serifs help distinguish individual typefaces are apparent in Adobe Garamond, which has letters and lead the eye along a line of type. Serif type- a horizontal bar on the lowercase e, a slightly greater faces fall into four main categories: Venetian, Garalde, contrast between thick and thin strokes than Vene- Transitional, Didone (Modern) tian types, axis curves that are inclined to the left, and bracketed serifs. ALDUS venetian oldstyle NEW ASTER named after the fi rst typefaces that appeared in Venice BEMBO in 1470, Venetian typefaces were initially designed to BERLING imitate the handwriting of Italian Renaissance scholars. CAXTON Th ese typefaces originated as book type and still serve CELESTIA ANTIQUA that function well because of their clarity and legibility.
    [Show full text]