DOCSLIB.ORG

Skyline Type Foundry Matrix Library Revised November 8, 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Skyline Type Foundry Matrix Library Revised November 8, 2018 Skyline Type Foundry Matrix Library Revised November 8, 2018 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No. or Face Mfr 5 6 7 8 9 10 11 12 14 16 18 24 30 36 42 48 Admiral Script Lud 14 18 24 30 36 Adonis Inter 12 Adtype 163 24 30 36 Albertus Titling E324 24 36 48 "Alden Classic" NM 16 24 30 "Alden Italic" 16 24 30 Anglo Fdry 18 24 Antique, Bold 144 14 18 24 30 inc Antique, Bold Condensed 145 10 14 18 24 30 36 Antique, Modern 26 8 12 Arboret No. 2 NM 12 24 Argent NM 24 Argentine NM 12 18 Arrighi E252i 14 18 24 30 36 Artcraft Lud 18 24 30 36 Artcraft Italic 30 Bailey Shaded NM 42 Barnum Heavy Fdry 36 Baskerville w/Quaints 353 8 9 10 11 12 14 18 24 30 36 Baskerville Small Caps 8 9 10 11 12 Baskerville Italic 3531 8 9 10 11 12 14 18 24 30 36 Baskerville Bold 453 8 9 10 11 12 Bembo E270 11 14 18 24 30 inc Bembo Italic 11 14 18 24 30 36 Bembo Bold E428 11 Ben Franklin Outline 44 14 18 24 30 36 Bernhard Fashion 12 14 18 24 42 Bernhard Gothic Light Fdry 10 12 14 18 24 Bernhard Gothic Medium Fdry 10 12 14 18 24 Bernhard Gothic Heavy Fdry 10 12 14 18 24 Bernhard Modern Roman NM 12 14 18 Beton Medium Inter 8 10 12 14 Beton Bold Inter 8 10 12 14 Beton Bold Condensed NM 14 16 18 30 36 Beton Extra Bold NM 14 16 18 24 30 36 Beton Open (Title) NM 24 Bewick Roman NM 12 18 24 30 36 Binny Old Style 21 5 6 7 8 9 10 11 12 14 18 24 30 36 Binny Old Style Small Caps 5 6 7 8 9 10 11 12 Binny Old Style Italic 2111 5 6 7 8 9 10 11 12 36 Bodoni 175 6 8 9 10 12 14 18 24 30 36 48 Bodoni Small Caps 6 8 9 10 12 Bodoni Italic 1751 6 8 9 10 12 14 18 24 30 36 Bodoni 375 6 7 8 9 10 11 12 14 18 24 30 36 48 Bodoni Small Caps 6 7 8 9 10 11 12 14 Bodoni Italic 3751 6 7 8 9 10 11 12 14 18 24 30 36 1 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No. or Face Mfr 5 6 7 8 9 10 11 12 14 16 18 24 30 36 42 48 Bodoni Bold 275 6 7 8 9 10 11 12 14 18 24 30 36 42 48 Bodoni Bold Italic 2751 6 7 8 9 10 11 12 14 18 24 30 36 42 48 Bodoni Bold Condensed 775 14 18 24 30 36 42 48 Bodoni Bold, Recut 975J 6 7 8 9 10 11 12 Bodoni Bold, Recut Italic 975K 6 7 8 9 10 11 12 Bodoni Bold Shaded 194 14 18 24 30 36 Bodoni Bold Panelled Initials 575 30 36 42 Bodoni Book 875 6 7 8 9 10 11 12 14 18 24 30 36 Bodoni Book Small Caps 6 7 8 9 10 11 12 Bodoni Book Italic 8751 6 7 8 9 10 11 12 14 18 24 30 36 Bodoni Campanile Lud 14 18 Bodoni Modern Inter 10 12 14 Bodoni Modern Italic 10 12 14 Bodoni, Poster Lino 8 10 12 14 18 24 36 Bodoni, Poster Italic 8 10 12 14 18 Bodoni, Ultra 675 10 12 14 18 24 30 36 42 48 Bodoni, Ultra Italic 6751 12 14 18 24 30 36 42 48 Bookman Old Style w/swash 98 6 7 8 9 10 11 12 14 18 24 30 36 48 Bookman Old Style Small Caps 6 8 10 12 Bookman Old Style Italic 981 6 7 8 9 10 11 12 14 18 24 30 36 Bookman, New 398 18 24 30 36 Bold Face No. 9 Lino 12 Boston Breton Condensed NM 12 14 18 24 30 36 42 48 Boston Gothic NM 18 Bradley 75 18 NM Broad-Stroke Cursive E322 14 18 24 30 36 Broadway 306 12 14 18 24 30 36 Broadway Engraved 307 14 18 24 30 36 Bruce Mikita NM 18 24 Bruce Old Style No. 20 31E 6 8 9 10 11 12 Bruce Old Style No. 20 Small Caps 31F 6 8 9 10 11 12 Bruce Old Style No. 20 Italic 31G 6 8 9 10 11 12 Brush 302 12 14 18 24 30 36 42 48 Bulmer 462 6 7 11 12 14 16 18 24 30 36 Bulmer Small Caps 6 7 11 12 14 18 Bulmer Italic 4621 6 7 11 12 14 16 18 24 30 36 Calypso NM 24 30 36 48 Camera Inter 12 Card Italic Lino 10 12 14 18 Caslon, American 637 48 Caslon Antique Fdry 18 Caslon Old Style 337 7 8 10 12 14 18 24 30 36 36H 48 22 Caslon Old Style Small Caps 8 10 12 14 18 24 Caslon Old Style Italic/Swash 3371 7 8 9 10 12 14 18 24 30 36 22 Caslon Old Style 437 42 48 Caslon Old Style Italic/Swash 4371 48 Caslon Old Style, English 37 6 8 10 12 14 18 24 30 36 Caslon Old Style, English Sm. Caps 6 8 2 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No. or Face Mfr 5 6 7 8 9 10 11 12 14 16 18 24 30 36 42 48 Caslon Old Style, English Italic 371 6 8 10 12 14 18 24 30 36 Caslon Old Style, Inland 137E 9 10 12 Caslon Old Style, Inland Small Caps 137F 9 10 12 Caslon Old Style, Inland Italic 137G 9 10 12 Caslon Open Face TTMC 48 Caslon Bold 79 6 7 8 10 11 12 14 18 24 30 36 42 48 Caslon Bold Italic 791 6 7 8 10 12 14 18 24 30 36 42 48 Caslon Condensed 113 6 8 10 12 14 18 24 30 36 48 Caslon, New 537 6 8 9 10 14 inc 24 30 36 48 Caslon Italic, New 5371 6 8 9 10 14 18 24 30 36 48 Caxtonian NM 24 Celtic Ornate NM 24 Centaur E252 14 18 24 30 36 Century Expanded 20 6 7 8 9 10 11 12 14 18 24 30 36 48 Century Expanded Small Caps 6 7 8 9 10 11 12 Century Expanded Italic 201 6 7 8 9 10 11 12 14 18 24 30 36 Century Nova NM 30 36 48 Century Old Style 157 6 7 8 9 10 11 12 14 18 24 30 36 Century Old Style Small Caps 6 7 8 9 10 11 12 Century Old Style Italic 6 7 8 9 10 11 12 Century Schoolbook 420 6 7 8 9 10 11 12 14 16 18 24 30 36 48 Century Schoolbook Small Caps 6 7 8 9 10 11 12 Century Schoolbook Italic 4201 6 7 8 9 10 11 12 14 16 18 24 30 36 Century Schoolbook Bold 620 7 9 10 11 12 14 18 24 Century Bold 118 6 8 10 12 14 18 24 30 36 42 48 Century Bold Italic 1181 6 8 14 18 24 30 36 42 48 Century Bold Condensed 418 14 18 24 30 36 Century Bold Condensed Italic 4181 14 18 24 30 36 Chamfer Condensed 121 18 24 30 36 Chamfer Gothic Condensed TTMC 30 36 Charcoal NM 18 24 Cheltenham Old Style 64 6 8 10 12 14 18 24 30 36 48 Cheltenham Old Style Italic 641 6 8 10 12 14 18 24 30 36 Cheltenham Old Style Condensed 264 14 18 24 30 36 Cheltenham Wide 164 6 8 10 12 14 18 24 30 36 Cheltenham Wide Small Caps 6 8 10 12 Cheltenham Wide Italic 1641 6 8 10 12 14 18 24 30 36 Cheltenham Medium 186 14 18 24 30 36 42 48 Cheltenham Bold 86 5 6 7 8 10 12 14 18 24 30 36 42 48 Cheltenham Bold Italic 861 5 6 8 10 12 14 18 24 30 36 42 48 Cheltenham Bold Outline 12 14 18 24 30 36 Cheltenham Bold Condensed 88 6 8 10 12 14 18 24 30 36 42 48 Cheltenham Bold Condensed Italic 881 12 14 18 24 30 36 42 Cheltenham Bold Extra Condensed 141 6 10 12 14 18 24 30 36 42 48 36H Cheltenham Bold Extended 287 6 8 10 12 14 18 24 30 36 48 Cheltenham Bold Shaded 218 12 18 inc Cheltenham Inline 286 24 30 Cheltenham Inline Extended 285 18 3 NM indicates Non-Monotype manufacture Mono Point Sizes Held Prefix E indicates English Monotype Face No. or Face Mfr 5 6 7 8 9 10 11 12 14 16 18 24 30 36 42 48 Cheltenham Extra Condensed Inline 288 36 Cicero NM 18 Circular Script Fdry 12 18 24 Circus NM 24 36 48 Clarendon 81 18 24 Clarendon Bold Extended 665 14 18 24 30 36 Claytonian NM 12 Clearface 89 inc 24 30 36 Clearface Light Italic 2891 14 18 24 Clearface Heavy Italic TTMC 12 14 18 24 30 36 48 Clematis NM 24 Cloister Black w/Quaints 95 inc 14 18 24 30 36 Cloister Bold 295 8 10 14 18 24 30 36 42 48 Cloister Bold Italic/Swash 2951 8 10 14 18 24 30 36 Cloister Old Style 395 14 18 24 30 36 Cloister Old Style Italic 3951 14 18 24 30 36 Cochin Old Style 61 6 7 8 10 14 18 24 30 36 Cochin Old Style Small Caps 6 7 8 10 Cochin Old Style Italic 611 6 7 8 10 14 18 Cochin Bold 616 8 10 12 inc 18 24 30 36 Cochin Bold Italic 6161 14 18 24 Cochin Bold Tooled 253 24 Cochin Open * Initials 262 18 36* Collier NM 18 24 36 Columbine NM 24 Comstock 202 12 14 18 24 30 Comstock Condensed 203 inc Concave NM 18 Condensa E511 18 24 30 Condensed No.
Load more

Recommended publications
  • 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
    [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]
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • Afgbaskerville (The Type Face)
    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
    [Show full text]
  • Copyrighted Material
    INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets,
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Wiley APA Style Manual: a Usage Guide
    Version 2.2 Wiley Documentation Wiley APA Style Manual: A Usage Guide File name: Wiley APA Style Manual Version date: 01 June 2018 Version Date Distribution History Status and summary of changes Version 2.2 01 June 2018 Journal copyedit levels Updating supporting information; using stakeholder group semicolon for back-to-back parentheses; numbered abstracts are allowed for some society journals; display and block quotes to be set in roman. Table of Contents Preface .......................................................................................................................................................... 3 Part I: Structuring and XML Tagging ........................................................................................................... 4 Part II: Mechanical Editing ........................................................................................................................... 4 2. Manuscript Elements ................................................................................................................................ 4 2.1 Running Head ..................................................................................................................................... 4 2.2 Article Title ......................................................................................................................................... 4 2.3 Article Category .................................................................................................................................. 5 2.4 Author’s Name
    [Show full text]
  • Font HOWTO Font HOWTO
    Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2
    [Show full text]
  • 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.
    [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]
  • Alien Heads Found in Georgia
    Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy. It features a large x-height (tall lower-case letters) and its thin strokes are thicker than would be common on a typeface designed for display use or the higher resolution of print. Besides, Georgia's bold is also unusually bold and bolder than most bolds. Georgia Alien heads found in Georgia Georgia is a serif typeface designed in 1993 by Matthew Carter and hinted by Tom Rickner for the Microsoft Corporation. The font is inspired by Scotch Roman designs of the 19th century and was based on designs for a print typeface in the same style Carter was working on when contacted by Microsoft. Georgia were released by Microsoft in 1996 as part of the Core Fonts for the Web collection. The typeface's name referred to a tabloid headline claiming“Alien heads found in Georgia.” As a transitional serif design, Georgia shows a number of traditional features of rational serif typefaces from around the early 19th century, such as alternating thick and thin strokes, ball terminals, a vertical axis and an italic taking inspiration from calligraphy.
    [Show full text]
  • TEX Support for the Fontsite 500 Cd 30 May 2003 · Version 1.1
    TEX support for the FontSite 500 cd 30 May 2003 · Version 1.1 Christopher League Here is how much of TeX’s memory you used: 3474 strings out of 12477 34936 string characters out of 89681 55201 words of memory out of 263001 3098 multiletter control sequences out of 10000+0 1137577 words of font info for 1647 fonts, out of 2000000 for 2000 Copyright © 2002 Christopher League [email protected] Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this permission notice are preserved on all copies. The FontSite and The FontSite 500 cd are trademarks of Title Wave Studios, 3841 Fourth Avenue, Suite 126, San Diego, ca 92103. i Table of Contents 1 Copying ........................................ 1 2 Announcing .................................... 2 User-visible changes ..................................... 3 3 Installing....................................... 5 3.1 Find a suitable texmf tree............................. 5 3.2 Copy files into the tree .............................. 5 3.3 Tell drivers how to use the fonts ...................... 6 3.4 Test your installation ................................ 7 3.5 Other applications .................................. 8 3.6 Notes for Windows users ............................ 9 3.7 Notes for Mac users................................. 9 4 Using ......................................... 10 4.1 With TeX ........................................ 10 4.2 Accessing expert sets ............................... 11 4.3 Using CombiNumerals ............................
    [Show full text]