DOCSLIB.ORG

Futura Franklin Gothic

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Franklin Gothic Morris Fuller Paul Benton & Renner Futura Futura 1927 Designer Paul Renner created the designed by Renner. Futura has con- typeface Futura in 1927. Futura is a tinued to thrive even to this day with nice geometric sans-serif font, which the help of it’s nice and clean design, unlike typical sans-serif fonts used and is a staple in the typographic in the display world, featured a low world. Young, thriving designers look X-height. Renner wanted to stay to typefaces such as Futura as inspi- away from any decoration when de- ration in the use their own work. signing the font, leaving it with just a crisp and clean typeface. Futura also included some features such as small capitals and old style figures. Renner is a German citizen, so Futura was designed in Germany. Since it’s re- lease, Futura has become one of the most popular fonts, and a common- ly used one for headlines, posters, banners, etc. There have been a few versions that have stemmed off of it’s creation and popularity, including Futura Black, Futura Display, Futu- ra Condensed, and Steile Futura, all Franklin Gothic 1902 Franklin Gothic is a grotesque, over the years. Franklin Gothic is the sans-serif font, designed by Ameri- most popular of the gothic series can designer Morris Fuller Benton in that Benton designed throughout his 1902. Since he was American, nat- career. Due to it’s fame, this typeface urally Franklin Gothic was created is frequently talked about in high in the United States. The typeface is regards in classrooms and schools bolder than a regular font and named where typography history is taught. after Benjamin Franklin. Some oddi- ties are that despite it being sans-ser- if, Franklin Gothic still stands by more traditional features such as a double story “a” and “g”. Benton wanted to create a clean and crisp typeface that took ideas from earlier models from the 1800’s. Over a span of ten years, different faces and sizes of the typeface were introduced, in- cluding condensed, extra condensed, italic and condensed shaded. Frank- lin Gothic is very popular and is used frequently in various types of media Paul Renner Paul Renner was born in 1878 in Wernigerode, Germany. He was not Typefaces by Renner a big fan of modern arts at the time like jazz and cinema, but he liked how much modernist focused on 1927 Architype Renner function and making thing easier to do. These traits really stick Renner in 1927 Futura the middle between a traditionalist, and a modernist, which is what he attempted with his typefaces, mixing 1928 Plak Gothic and Roman. This can be seen in Futura. During his time living, 1929 Futura Black Renner created multiple typefaces, many based around his most famous and popular font, Futura. When he 1932 Futura Light was not designing typefaces, Renner spent his time writing typography 1938 Ballade books, his most famous being (in their English translation) The Art of Typography, and Typography as Art. His 1939 Renner Antiqua life revolved around his typography. Morris Fuller Benton Morris Fuller Benton was born in 1872 in America. His father, Linn Gothic Typefaces Boyd Benton, was a very skilled type- face designer before him, and Full- by Benton er Benton was able to pick up the 1900 Globe Gothic designer qualities from his father and apply them later in life. Unlike some of his successors, Fuller Benton mas- 1902 Franklin Gothic tered and embraced the new tech- nology and thoroughly used them in 1903 Alternate Gothic his designs. He designed numerous typefaces, with his most famous be- ing the Gothic series, headlined by 1907 Monotone Gothic Franklin Gothic. When it was all said and done, Fuller Benton had com- 1908 News Gothic pleted 221 typefaces. He was an im- portant member of American Type Founders, and was Chief Type De- 1910 Clearface Gothic signer for 37 years starting in 1900. His Gothic series became very fa- 1930 Bank Gothic mous and highly regarded over time. Advertising Advertising in today’s world is huge. It is almost impossible to avoid see- ing an advertisement on a day-to-day basis. Ads are something that have become a huge part of our culture, and are being forced into our life every day. One of the biggest and most important factors in advertis- ing is what font is used. Choosing the right font is everything. The font chosen must represent the type of product or service being offered. For example you would not use a child- ish font if you were designing a logo or advertising for a law firm. Futura was revolutionary in the advertising world. It was not a usual sight at the and forever changed the advertising time to see a sans-serif font used in a game with the use of Futura. All it headline. Volkswagen challenged that took was a single word consisting of notion in the 60’s with their ad, Lem- five letters and a period, and Futura on, which became a huge success would solidify it’s spot in history.. Advertising (cont.) While Futura was making headlines, ed Franklin Gothic and became very literally, with Volkswagen, Franklin successful as the font for all head- Gothic was making it’s own. One lines, inside and out, and trusted it to of the most popular magazines in be the font that caught the users eye. the country, Time Magazine, adopt- It was the success of the font choice that has helped the magazine stay up there as one of the most popular magazines for over 90 years. Frank- lin Gothic has continued it’s in run in advertising as the main font for countless other brands. Some other places where Franklin Gothic is used include Bank of America’s Logo, cover art for Van Morrison’s Brown Eyed Girl, the main font for the film poster of Rockey, and countless other places. Futura has also had a lot of success in the advertising world by being used as the main font for a few television shows such as Sesame Street, Lost, Doug, and Warehouse 13. Anthony Guagliardo Works Cited Burke, Christopher. Paul Renner: the art of typography. London: Hyphen Press, 1998. “Lemon.” Flickr. N.p., n.d. Web. <https://www.flickr.com/photos/alan- pf/5806353556/>. Jaspert, Berry and Johnson. Encyclopaedia of Typefaces. Cassell Paperback, London; 2001 GDES 2345 This Land is My Land. Time Magazine Articles. N.p., n.d. Web. <http://www.personal.psu.edu/cbp5032/blogs/pritts_ art_203/ed_article_time-magazine.jpg>. “Futura.” Wikipedia. N.p., n.d. Web.<http://upload.wikimedia.org/ wikipedia/commons/thumb/5/50/Futura_Specimen.svg>. “Franklin Gothic.” Wikipedia. N.p., n.d.Web. <http://upload.wikimedia.org/ wikipedia/commons/3/35/FranklinGothicSP.svg>..
Recommended publications
  • Century 100 Years of Type in Design

    Century 100 Years of Type in Design

    Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister
  • Cloud Fonts in Microsoft Office

    Cloud Fonts in Microsoft Office

    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
  • CSS Font Stacks by Classification

    CSS Font Stacks by Classification

    CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed.
  • Surviving the TEX Font Encoding Mess Understanding The

    Surviving the TEX Font Encoding Mess Understanding The

    Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24.
  • Vision Performance Institute

    Vision Performance Institute

    Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.
  • A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With

    A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With

    Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l .
  • Download Futura Font Word

    Download Futura Font Word

    1 / 5 Download Futura Font Word Futuristic Fonts Download Free futuristic fonts at UrbanFonts.com Our site carries ... '80s generator gives your words a neon retro tribute Oct 07, 2016 · Well, if you ... Futuristic Logos Futura Fonts generator tool will let you convert simple and .... Download Futura fonts from UrbanFonts.com for PC and Mac. Futura EF Fonts Free ... Futura Lt Font. How to Install Futura Font in Adobe, Ms Word, Mac or Pc?. 11 Free Chrome Graphics Generators Welcome to MyFonts, the #1 place to download great @font-face webfonts and desktop fonts: classics (Baskerville, Futura, .... Mar 12, 2020 — Want to use beautiful custom fonts in your WordPress theme? ... First thing you need to do is download the font that you like in a web format.. Download Futura PT font (22 styles). Futura PT FuturaPTBold.otf 126 Kb | Futura PT Bold Italic FuturaPTBoldOblique.otf 125 Kb | Futura PT FuturaPTBook.otf ... Download Futura PT Font click here: https://windows10freeapps.com/futura-pt-font-free-download .... Free Font for Designers! High quality design resources for free. And helps introduce first time customers to your products with free fonts downloads and allow .... I'll use Futura PT Heavy which I downloaded from Adobe Typekit, but any font will work: ... This Font used for copy and paste and also for word generator.. Sep 23, 2011 — This is the page of Futura font. You can download it for free and without registration here. This entry was published on Friday, September 23rd .... ... the text it generates may look similar to text generated using the HTML or tags or the CSS attributes font-weight: bold or font-style: italic , it isn't.
  • ITC Franklin Gothic Std Demi Italic

    ITC Franklin Gothic Std Demi Italic

    Laura Bae Baske Baskervilleis a serif typeface designed in the 1750s by John Baskerville in Birming- ham, England, and cut into metal by punchcutter John Handy. Baskerville 1495 is classified as a transitional typeface, intended as a refinement of what are Garamond now called old-style typefaces of the period. Compared to earlier designs pop- ular in Britain, Baskerville increased the contrast between thick and thin Bb Bb strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical po- sition. The curved strokes are more circular in shape, and the characters Bb became more regular. Characters ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwyz Bb Bb 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* Styles Regular Characters SemiBold ABCDEFGHIJKLMNOPQRSTUVWXYZ SemiBold Italic abcdefghijklmnopqrstuvwyz GARAMOND Italic Bold 1757 1234567890’”!”(%)[#](@)/&\<+-=>:;,.* GARAMOND Styles Italic GARAMOND Bold GBold Italic GGARAMOND rville Bodoni 1934 Bodoni is one of the most carefully re- Characters searched and accurate interpretations of Bodoni’s typefaces ever attemped. ABCDEFGHIJKLM- ROCKWELL The process involved two trips to NOPQRSTUVWXYZ Parma, Italy, and hundreds of hours abcdefghijklmnopqrstuvwyz of research. Then, thousands of hours Rockwell is a slab more were spent carefully designing 1234567890’”!”(%)[#] serif typeface fonts, using an original copy of Bon- (@)/&\<+-=>:;,.* designed by Mono- doni’s 1818 Manuale Tipografico as a type. The design is benchmark for accuracy. based off an earli- The first step was a trip to Parma Styles er slab serif from by the four-person design team to Bold 1910 known as Litho study, first hand, Bodoni’s work. In the Antique, which is words of Sumner Stone, the project’s Book considered the very art director, “The search for Bodoni Book Italic first geometric slab took on a new dimension and mean- serif.
  • Language and Materiality Ethnographic and Theoretical Explorations

    Language and Materiality Ethnographic and Theoretical Explorations

    Language and Materiality Ethnographic and Theoretical Explorations Edited by Jillian R. Cavanaugh CUNY, New York Shalini Shankar Northwestern University University Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 4843/24, 2nd Floor, Ansari Road, Daryaganj, Delhi - 110002, India 79 Anson Road, #06-04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107180949 DOI: 10.1017/9781316848418 C Cambridge University Press 2017 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2017 Printed in <country> by <printer> A catalogue record for this publication is available from the British Library. Library of Congress Cataloging-in-Publication Data ISBN 978-1-107-18094-9 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. 4 Fontroversy! Or, How to Care about the Shape of Language Keith M. Murphy Introduction On July 4, 2012, standing in the well of a packed lecture hall on the cam- pus of the European Organization for Nuclear Research (CERN), just outside Geneva, particle physicist Joseph Incandela looked up at the hall’s projection screen and, with only a hint of nerves in his voice, uttered the following pro- nouncement: “If we combine the ZZ and gamma-gamma, this is what we get.
  • Futura Is a Geometric Sans-Serif Typeface

    Futura Is a Geometric Sans-Serif Typeface

    M g o U & 9 n 1 G U 2 a O k s C N B Z T A G J % 6 G D 0 y 8 z E i u g 6 o U A n d l q G 7 @ 1 B Z f D S y m X Q e L Y V R u F N H O 9 I A H G P J k 4 0 g 8 j x H Y z K s u l c Q E 6 J 7 T L F t g q E j O & y R w b d s E 2 O A p i Y F V M a w 4 x N J L o R E m A h j s q W O Y % 3 l P i t 0 # H B C $ q s h D c a 4 J u g k o M A T 7 E G O 3 G m a Y F W 5 X I l u i c a b d G j D E A J h r o & q w n X D Y U P Classification: Futura is a geometric sans-serif typeface. It was a movement toward the modern Roman letter. It is widely used by contemporary designers for its crisp geometric and formal simplicity. Futura evokes a feeling of efficiency and moderness. Classification: Futura is a geometric sans-serif typeface. It was a movement toward the modern Roman letter. It is widely used by contemporary designers for its crisp geometric and formal simplicity.
  • American Type Founders Typefaces Notes for ATF Typefaces Spreadsheet Version 4 (Mar

    American Type Founders Typefaces Notes for ATF Typefaces Spreadsheet Version 4 (Mar

    American Type Founders Typefaces Notes for ATF Typefaces spreadsheet version 4 (Mar. 2009): * This listing is provided by the American Amateur Press Association. Please visit our Web site at http://www.aapainfo.org * The ATF ID numbers are from Mac McGrew's American Metal Typefaces of the Twentieth Century . * 10 ATF catalogs identified by the year printed (plus 1909, 1917, and 1941 supplements) are listed in the spreadsheet * The "BBS25" column lists faces in Barnhart Brothers & Spindler catalog 25 (1925). BB&S was purchased by ATF about 1911 and it operated independently until about 1930. BB&S ID#s are 1500 through 1942. * The entries for each catalog are the page numbers the typefaces appear on. * A brown italic page number indicates a slightly different name was used in the 1897 or 1899 catalog. For example, Cushing No. 2 appears as Cushing in the early catalogs. (Adding or changing a number usuallly indicates the typeface was realigned for the point system.) * An "s" appears before a page refers to a supplement; "s" alone if the face was issued subsequently. * The "McG" column gives the page number where the typeface is discussed in McGrew's book. * ATF ID#s 807 - 944 are for faces acquired with Keystone Type Foundry. * If a typeface was reissued under a different name, that name appears {within braces} and has its own entry. * Corrections and additions are encouraged. Send e-mail to [email protected] or write to David M. Tribby, 1529 Fantail Ct., Sunnyvale, CA 94087 Name ID # 1897 1899 1903 06/09 12/17 1923 BBS25 1934 1941
  • Fonts Installed with Each Windows OS

    Fonts Installed with Each Windows OS

    FONTS INSTALLED WITH EACH WINDOWS OPERATING SYSTEM WINDOWS95 WINDOWS98 WINDOWS2000 WINDOWSXP WINDOWSVista WINDOWS7 Fonts New Fonts New Fonts New Fonts New Fonts New Fonts Arial Abadi MT Condensed Light Comic Sans MS Estrangelo Edessa Cambria Gabriola Arial Bold Aharoni Bold Comic Sans MS Bold Franklin Gothic Medium Calibri Segoe Print Arial Bold Italic Arial Black Georgia Franklin Gothic Med. Italic Candara Segoe Print Bold Georgia Bold Arial Italic Book Antiqua Gautami Consolas Segoe Script Georgia Bold Italic Courier Calisto MT Kartika Constantina Segoe Script Bold Georgia Italic Courier New Century Gothic Impact Latha Corbel Segoe UI Light Courier New Bold Century Gothic Bold Mangal Lucida Console Nyala Segoe UI Semibold Courier New Bold Italic Century Gothic Bold Italic Microsoft Sans Serif Lucida Sans Demibold Segoe UI Segoe UI Symbol Courier New Italic Century Gothic Italic Palatino Linotype Lucida Sans Demibold Italic Modern Comic San MS Palatino Linotype Bold Lucida Sans Unicode MS Sans Serif Comic San MS Bold Palatino Linotype Bld Italic Modern MS Serif Copperplate Gothic Bold Palatino Linotype Italic Mv Boli Roman Small Fonts Copperplate Gothic Light Plantagenet Cherokee Script Symbol Impact Raavi NOTE: Trebuchet MS The new Vista fonts are the Times New Roman Lucida Console Trebuchet MS Bold Script newer cleartype format Times New Roman Bold Lucida Handwriting Italic Trebuchet MS Bold Italic Shruti designed for the new Vista Times New Roman Italic Lucida Sans Italic Trebuchet MS Italic Sylfaen display technology. Microsoft Times