Creamerybrookpress Inventory
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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. -
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 ............................ -
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 -
„Bitstream“ Fonts
Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts. -
Standard Fonts List Used for Poster Creation
Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. These are the standard fonts. Failure to comply with using a standard font, will result in your poster not printing correctly. 13 Misa Arial Rounded MT Bold Bodoni MT 2 Tech Arial Unicode MS Bodoni MT Black 39 Smooth Arno Pro Bodoni MT Condensed 4 My Lover Arno Pro Caption Bodoni Poster MT Poster Compressed Abadi Condensed Light Arno Pro Display Book Antiqua ABCTech Bodoni Cactus Arno Pro Light Display Bookman Old Style ABSOLOM Arno Pro Smdb Bookshelf Symbol 7 Adobe Calson Pro Arno Pro Smdb Caption Bradley Hand ITC Adobe Calson Pro Bold Arno Pro Smdb Display Britannic Bold Adobe Fangsong Std R Arno Pro Smdb SmText Broadway Adobe Garamond Pro Arno Pro Smdb Subhead Brush Script MT Adobe Garamond Pro Bold Arno Pro SmTest Brush Script Std Adobe Heiti Std R Arno Pro Subhead Calibri Adobe Kaiti Std R Baskerville Old Face Californian FB Adobe Ming Std L Bauhous 93 Calisto MT Adobe Myungjo Std M Bell Gothic Std Black Cambria Adobe Song Std L Bell Gothic Std Light Cambria Math Agency FB Bell MT Candara Albertus Extra Bold Berlin Sans FB Castellar Albertus Medium Berlin Sans FB Demi Centaur Algerian Bernard MT Condensed Century AlphabetTrain Bickham Script Pro Regular Century Gothic Antique Olive Bickham Script Pro Semibold Century Schoolbook Arial Birch Std CG Omega Arial Black Blackadder ITC CG Times Arial Narrow Blackoak Std 1 Standard Fonts List used for Poster Creation Please use any of the fonts listed below when designing your poster. -
Webtypogrphy Inforgraphic.Graffle
THE NEW WEB TYPOGRAPHY #1 WHAT IS A WEBFONT? + Although it is estimated that there are more than one hundred fifty thousand different digital fonts, that does not mean you can 150,000 legally use them in your web designs as webfonts. Fonts are small pieces of software subject to End User License Agreements (EULAs) which control what you can and can not legally do with them. Most fonts do not include the right to use the font with ✗ALL DIGITAL FONTS@font-face, so you should not use them. If in doubt, check with the font manufacturer before using as a webfont. f f 10! 182! 40,000@+ ! ✔CORE WEB FONTS ✔WEB SAFE FONTS ✔WEBFONTS Microsoft licensed ten typefaces to be installed on all PCs. Both Mac and Windows computers have a list of fonts that Webfonts are downloadable font file that can be used by a Apple also provided the same fonts, making them the most are always installed. Additionally, commonly installed Web browser to display text. Webfonts come in different commonly available typefaces, and thus the default choice software such as Microsoft Office and Apple iLife include formats which are supported by different browsers, but for most designers. The list originally included 11 typeface, more fonts. From this, we can derive a list of one-hundred virtually all browsers support Webfonts now, including but Microsoft no longer includes Andale Mono. eighty-two additional fonts that are commonly installed on Internet Explorer. Of the 100K digital fonts, around forty most computers. For the full list, visit http://bit.ly/web- thousand have been licensed for @font-face usage and the safe-fonts . -
Bitstream Font Name Aliases Fontotéka 3.0 Compiled by Petr Somol, Based on Jon A
Bitstream Font Name Aliases fontotéka 3.0 Compiled by Petr Somol, based on Jon A. Pastor‘s list from http://cgm.cs.mcgill.ca/~luc/jonpastor.txt. E-mail: [email protected] The list should not be considered complete, nor accurate. It is more a work in progress than anything else. Bitstream Name Common Name Designer(s) Date(s) Orig. Remarks/Attributions Vend. (all) (M.Macrone/J.Pastor,P.S.) (M.M,P.S.) (J.P., P.S.) Aachen Aachen Colin Brignall, Alan Meeks 1969-1977 17 Ad Lib Ad Lib Freeman Craw 1961 6 Aldine 401 Bembo Stanley Morison after Francesco 1929 after 1,4 Griffo / Giovanni Tagliente 1495 / 1520 Aldine 721 Plantin Frank Hinman Pierpont after ~1930 after 1,4 Robert Granjon‘s type used by 16th ~1550 / 16h century printer Christophe Plantin cent. Alternate Gothic No. 2 Alternate Gothic Morris Fuller Benton 1903 6 Amazone Amazone Leonard H. D. Smit 1958 12 Amelia Amelia Stanley Davis 1967 18, 2 American Text American Text Morris Fuller Benton 1932 6 Americana Americana Richard Isbell, Whedon Davis 1965 6 Aurora Aurora ? 1928 (c.) 11 Baker Signet Baker Signet Arthur Baker 1965 18 Balloon Balloon Max R. Kaufmann 1939 6 Bank Gothic Bank Gothic Morris Fuller Benton 1930-33 6 Baskerville Baskerville George W. Jones after John 1929 after 2 Baskerville ~1754-1775 Baskerville No.2 Baskerville No.2 ? ? 19 Bauer Bodoni Bauer Bodoni Heinrich Jost, Louis Höll after 1926 after 8 Giambattista Bodoni ~1800 Bell Gothic Bell Gothic Chauncey H. Griffith 1938 2 Belwe Belwe Georg Belwe before 1950 20 Bernhard Bold Con- Bernhard Bold Con- Lucian Bernhard -
Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress. -
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. -
Garalde/Venetian Transitional Slab Serif Q
Garalde/Venetian univeros Slab Serif bergamo 5uorx7t University Old Style cheltenh 5borx7t Bergamo 5uorix7t University Old Style Italic 5ctr7t Cheltenham 5borix7t Bergamo Italic 5uobx7t University Old Style Bold 5ctri7t Cheltenham Italic 5borcj7t Bergamo SC OsF 5uobix7t University Old Style Bold Italic 5ctr7tc Cheltenham Condensed 5bobx7t Bergamo Bold vendome 5ctri7tc Cheltenham Italic Condensed 5bobix7t Bergamo Bold Italic 5ver7t Vendome 5ctb7t Cheltenham Bold 5bobcj7t Bergamo Bold SC OsF 5veb7t Vendome Bold 5ctbi7t Cheltenham Bold Italic caslon 5ctb7tc Cheltenham Bold Condensed 5carx7t Caslon Transitional 5ctbi7tc Cheltenham Bold Italic Condensed 5carix7t Caslon Italic antiqua 5ctl7t Cheltenham Light 5cabx7t Caslon Bold 5aqrx7t URW Antiqua 5ctli7t Cheltenham Light Italic 5cabix7t Caslon Bold Italic 5aqrix7t URW Antiqua Italic 5ctl7tc Cheltenham Light Condensed garacond 5aqbx7t URW Antiqua Bold 5ctli7tc Cheltenham Light Italic Condensed 5gdr7t Garamond Condensed 5aqbix7t URW Antiqua Bold Italic clarendo 5gdri7t Garamond Condensed Italic baskervi 5cdr7t Clarendon 5gdb7t Garamond Condensed Bold 5bvrx7t Baskerville 5cdb7t Clarendon Bold 5gdbi7t Garamond Condensed Bold Italic 5bvrix7t Baskerville Italic 5cdh7t Clarendon Heavy 5gdl7t Garamond Condensed Light 5bvbx7t Baskerville Bold 5cdl7t Clarendon Light 5gdli7t Garamond Condensed Light Italic 5bvbix7t Baskerville Bold Italic egyptian garamond centuros 5eer7t Egyptian 5gmrx7t Garamond 5curx7t Century Old Style glytus 5gmrix7t Garamond Italic 5curi7t Century Old Style Italic 5glr7t Glytus -
Type Catalog & Specimen Ebook
Swamp Press Letter Foundry MONOTYPE CATALOG & SPECIMEN BOOK S WAMP P RESS MMX . he Monotype Keyboard, which puches a Tpaper ribbon that governs the caster so that a text may be cast to your specifi cations, and ready for the press. Swamp Press 15 Warwick Road Northfi eld MA 01360 [email protected] 4134984343 © 2010 by Swamp Press • iii • Swamp Press Type Catalog and Specimen Book NOTE No catalog is ever complete. If you do not see what• you• want, INQUIRE. Sometimes I can borrow matrices for sizes and faces not listed here. The specimens SOMETIMES show characters which• are NOT AVAILABLE. If you have specific requirements, let me know. If you are MIXING new type into your drawers send• me a cap H so that my type will align with yours. “COMPOSITION” means machine typesetting can• be done to your specifi cations. Your manuscript can be set with spacing, justifi cation etc. performed in the keyboarding and casting process. When done with your printing, you may return the metal for a REFUND of the metal charge or you may keep some or all of the type to put into cases for future hand setting. DISPLAY or an asterisk ‘‘*’’ means that one character• is cast until it is done and then a new character is cast, and so on, allowing only fonts, sorts and hand composition to be available. IN GENERAL machine composition runs 6 to 12 point although comp up to 24 point is possible. Many of the classic and newer designs run “small comp” to 14 point and “large comp” to 24 point. -
300 Additional Linotype Public Domain Fonts
300 Additional Linotype Public Domain Fonts Compiled by Ulrich Stiehl, Heidelberg, May 2012 As of 1st January 2012, 300 additional Linotype fonts contained in the Linotype catalog of January 1986 "Lino Type Collection – Mergenthaler Type Library" entered the public domain. These additional fonts (font families) are emphasized in bold below. All the other fonts listed fell into the public domain earlier: The 1986 catalog contained 1700 fonts, the 1984 catalog 1400 fonts, and the 1982 catalog 1000 fonts. For these older fonts please read the main document http://www.sanskritweb.net/forgers/publicdomain.pdf and the subsequent document http://www.sanskritweb.net/forgers/publicdomain2.pdf. Some of the typefaces, e.g. the Linotype font family "Bryn Mawr", including eight font styles, seem to have vanished altogether. In the year 2012, most of the old ITC font families, marked below by "(ITC)", are now in public domain. Aachen Bank Gothic Bookman Ad Lib Barcelona (ITC) Bookman (ITC) Adroit Barry Boutique Adsans Basilia Haas Bramley Akzidenz-Grotesk Baskerville Breughel Aldus Baskerville No. 2 Brighton Allegro Fry's Baskerville Britannic Alpine New Baskerville (ITC) Broadway Alternate Gothic No. 1 Bauhaus (ITC) Bruce Old Style Amelia Becket Brush American Typewriter (ITC) Bell Centennial Bryn Mawr American Greeting Script Bell Gothic Bubble Americana Belwe Bulmer Antikva Margaret Bembo Busorama Antique No. 3 Benguiat (ITC) Caledonia (Cornelia) Antique Olive Benguiat Gothic (ITC) New Caledonia Antique Open Berkeley Oldstyle (ITC) Calligraphia Antique Solid Bernhard Candida Aquarius 5 Bernhard Modern Carnase Text (WTC) Ariston Beton Cartier Arnold Boecklin Biltmore Cascade Script Arrow Binny Old Style Caslon Antique A & S Gallatin Bison Caslon Old Face 2 Aster Blippo Caslon 3 New Aster Bloc Caslon 540 Athenaeum Block Caslon Open Face Auriga Block Gothic Caslon No.