DOCSLIB.ORG

Download the Full Font Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download the Full Font Catalog Legend M- Minimum height for font use M+ Maximum height for font use U Font contains uppercase letters only L Font contains lowercase letters only B Font contains both uppercase and lowercase letters N Font contains numerals 0-9 C Font contains all or a subset of the following special characters: !”#$’()*+,-./:;=?@_{}|¡¢£¥¦¨©« -®¯°¿ In Font may contain a subset of international characters from the following languages: Czech, Dutch, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish, and Swedish Block Fonts Name: 3D Block Name: Avante New Name: Baby Blanket M - : 0.51in / 13mm U N C M - : 0.28in / 7mm B N C In M - : 0.6in / 15mm B N C M+ : 1.97in / 50mm M+ : 2.05in / 52mm M+ : 1.4in / 35mm Name: Beatsville Name: Blackboard M - : 0.4in / 10mm B N C In M - : 0.3in / 8mm B N C M+ : 1.0in / 25mm M+ : 1.3in / 32mm Name: Block New Name: Block 2 Name: Block 2 Compact M - : 0.2in / 5mm B N C In M - : 0.2in / 5mm B N C In M - : 0.24in / 6mm B N C In M+ : 1.38in / 35mm M+ : 1.38in / 35mm M+ : 1.38in / 35mm Name: Block 2 Compact Light Name: Block 2 Light Name: Bold Block M - : 0.6in / 15mm B N C In M - : 0.6in / 15mm B N C In M - : 0.2in / 5mm U N C In M+ : 2.95in / 75mm M+ : 2.95in / 75mm M+ : 1.18in / 30mm Name: Cin Block Name: Compact Name: Eurostyle New M - : 0.28in / 7mm B N C M - : 0.5in / 13mm B N C In M - : 0.25in / 6mm B N C In M+ : 2.05in / 52mm M+ : 2.56in / 65mm M+ : 1.58in / 40mm For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 5 Block Fonts Name: Fine Point Name: Franklin Bold Name: Full Block M - : 0.8in / 20mm B N C M - : 0.25in / 6mm B N C In M - : 0.3in / 8mm U N C M+ : 2.8in / 70mm M+ : 0.87in / 22mm M+ : 1.38in / 35mm Name: Full Block 2 New Name: German Block Name: Government Block M - : 0.3in / 8mm U N C In M - : 0.28in / 7mm B N C M - : 0.25in / 6mm U N C M+ : 2.17in / 55mm M+ : 1.77in / 45mm M+ : 1.38in / 35mm Name: Key Block Name: Leggy Name: Model Block M - : 0.28in / 7mm U N C M - : 0.6in / 15mm B N C M - : 0.25in / 6mm U N C In M+ : 1.46in / 37mm M+ : 1.7in / 43mm M+ : 1.57in / 40mm Name: Varsity M - : 0.28in / 7mm U N C In M+ : 1.38in / 35mm 6 Tajima DG/ML by Pulse Font Catalog For more information, visit www.pulsemicro.com/fonts Fancy Fonts Name: Abbey Medium Name: Angels Name: Banco M - : 0.3in / 8mm B N C In M - : 0.59in / 15mm B N C In M - : 0.35in / 9mm B N C In M+: 1.0in / 25mm M+ : 1.77in / 45mm M+: 1.0in / 25mm Name: Bedrock Name: Bellbottoms M - : 0.32in / 8mm L N C In M - : 0.59in / 15mm B N C In M+ : 1.18in / 30mm M+ : 0.79in / 20mm Name: Bikly Name: Birdhouse Name: Bolero M - : 0.31in / 8mm M - : 0.24in / 6mm U N C In B N C M - : 0.24in / 6mm B N C M+ : 1.0in / 25mm M+ : 1.18 in / 30mm M+ : 1.77in / 45mm Name: Bubble Gum Name: Caboodle Name: Calligraphy M - : 0.59in / 15mm M - : 0.2in / 5mm B N C In B N C In M - : 0.28in / 7mm B N C M+ : 0.59in / 15mm M+ : 1.97in / 50mm M+ : 1.38in / 35mm Name: Camberic Name: Carving Name: Cascade Light M - : 0.5in / 12mm M - : 0.28in / 7mm B N C In U M - : 0.28in / 7mm B N C In M+ : 0.9in / 22mm M+ : 2.0in / 50mm M+ : 1.0in / 25mm For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 7 Fancy Fonts Name: Casual Name: Caveman Name: Charisma M - : 0.4in / 10mm B N C M - : 0.24in / 6mm U N C In M - : 0.28in / 7mm B N C M+ : 1.6in / 40mm M+ : 0.79in / 20mm M+ : 2.1in / 52mm Name: Choc Ex Name: Chopsticks Name: Connector M - : 0.24in / 6mm B N C In M - : 0.24in / 6mm B N C In M - : 0.6in / 15mm B N C M+ : 0.7in / 18mm M+ : 1.57in / 40mm M+ : 1.8in / 46mm Name: Cunei Name: Daisy Name: Designer New M - : 0.39in / 10mm M - : 0.3in / 8mm B N C M - : 0.39in / 10mm U N C In B N C In M+ : 1.4in / 35mm M+ : 1.57in / 40mm M+ : 4.02in / 102mm Name: Diamond Edge Name: Doghouse Name: Eklektic M - : 0.5in / 13mm M - : 0.6in / 15mm B N C M - : 0.28in / 7mm B N C U N C In M+ : 1.4in / 35mm M+ : 2.0in / 51mm M+ : 3.2in / 80mm Name: Elephant Name: Fangs Name: Freehand M - : 0.39in / 10mm M - : 0.39in / 10mm B N C In M - : 1.0in / 25mm U N C B N C In M+ : 0.67in / 17mm M+ : 2.0in / 50mm M+ : 3.15in / 80mm 8 Tajima DG/ML by Pulse Font Catalog For more information, visit www.pulsemicro.com/fonts Fancy Fonts Name: Frequency Name: Goblin M - : 0.2in / 5mm B N C In M - : 0.4in / 10mm B N C M+ : 0.59in / 15mm M+ : 1.6in / 40mm Name: Hobo New Name: Homely Name: Humpty Dumpty M - : 0.28in / 7mm B N C In M - : 0.4in / 10mm B N C M - : 0.28in / 7mm U N C M+ : 1.18in / 30mm M+ : 1.57in / 40mm M+ : 0.8in / 20mm Name: Ink Plot Name: Inscription M - : 0.32in / 8mm B C M - : 0.28in / 7mm B N C In M+ : 0.9in / 23mm M+ : 1.38in / 35mm Name: John Handy Name: Judo Kick Name: Juliet M - : 0.28in / 7mm B N C M - : 0.24in / 6mm B N C In M - : 0.24in / 6mm B N C In M+ : 2.36in / 60mm M+ : 0.79in / 20mm M+ : 1.38in / 35mm Name: Kindergarten Name: Lancelot Name: Lorraine M - : 0.3in / 8mm B N C M - : 0.79in / 20mm B N C In M - : 0.6in / 15mm B N C M+ : 2.36in / 60mm M+ : 2.36in / 60mm M+ : 1.8in / 46mm For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 9 Fancy Fonts Name: Madison Name: Marker Name: Masala M - : 0.24in / 6mm B N In M - : 0.32in / 8mm B N C M - : 0.28in / 7mm B C In M+ : 1.77in / 45mm M+ : 1.0in / 25mm M+ : 0.99in / 25mm Name: Metal Play Name: Neon Sign Name: Old English M - : 0.28in / 7mm B N C In M - : 0.2in / 5mm B N C In M - : 0.32in / 8mm B N C M+ : 1.77in / 45mm M+ : 1.18in / 30mm M+ : 2.01in / 51mm Name: Olde Manor Name: Oriental Name: Queen Anne M - : 0.32in / 8mm M - : 1.58in / 40mm B N C In U C M - : 0.39in / 10mm U N C In M+ : 2.76in / 70mm M+ : 1.38in / 35mm M+ : 0.79in / 20mm Name: Rodeo Name: Saloon Name: Scroll M - : 0.39in / 10mm M - : 1.0in / 25mm U B N C In M - : 1.2in / 30mm B N C M+ : 2.2in / 55mm M+ : 0.99in / 25mm M+ : 2.4in / 60mm Name: Serpentine Name: Silent Night Name: Sliver M - : 0.39in / 10mm M - : 0.39in / 10mm B N C In B N C In M - : 0.39in / 10mm B N C In M+ : 1.38in / 35mm M+ : 0.99in / 25mm M+ : 1.38in / 35mm 10 Tajima DG/ML by Pulse Font Catalog For more information, visit www.pulsemicro.com/fonts Fancy Fonts Name: Splash Name: Stencil Name: Stencil 2 M - : 0.28in / 7mm B N C In M - : 0.32in / 8mm U N C M - : 0.28in / 7mm B N C In M+ : 1.18in / 30mm M+ : 0.79in / 20mm M+ : 0.79in / 20mm Name: Stone Age Name: Story Time Name: Summer Camp M - : 0.2in / 5mm M - : 0.59in / 15mm B N C In M - : 0.35in / 9mm B N C In U N C In M+ : 0.79in / 20mm M+ : 0.79in / 20mm M+ : 0.99in / 25mm Name: Swashbuckle Name: Sweep Italic Name: Time Travel M - : 0.39in / 10mm M - : 0.28in / 7mm B N C In M - : 0.28in / 7mm B N C In B N C In M+ : 1.57in / 40mm M+ : 1.18in / 30mm M+ : 1.58in / 40mm Name: Twirl Name: Wizards Name: Woodwork M - : 0.35in / 9mm M - : 0.28in / 7mm B N C In M - : 0.79in / 20mm B N C In B N C In M+ : 1.38in / 35mm M+ : 1.58in / 40mm M+ : 1.58in / 40mm Name: Zap New M - : 0.35in / 9mm B N C M+ : 1.18in / 30mm For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 11 Image Fonts Name: Animal Symbols Name: Balloons Name: Borders M - : Character Dependent M - : 0.99in / 25mm U N In M - : 1.0in / 25mm M+ : Character Dependent M+ : 1.97in / 50mm M+ : 6.0in / 152mm Name: Chariot Name: Creeper Name: Egypt M - : 0.39in / 10mm B N In M - : 1.2in / 30mm B N C M - : 1.02in / 26mm M+ : 1.18in / 30mm M+ : 2.4in / 60mm M+ : 1.46in / 37mm Name: Flashcards Name: Floral Name: Floral 2 M - : 0.4in / 10mm B N C M - : 1.0in / 25mm U M - : 0.6in / 15mm U M+ : 1.2in / 30mm M+ : 4.02in / 102mm M+ : 1.57in / 40mm Name: Footsteps Name: Hearts Name: Holidays M - : 0.6in / 15mm U N C M - : 0.8in / 20mm U N C M - : 0.79in / 20mm U N In M+ : 1.0in / 25mm M+: 3.2in / 80mm M+ : 2.2in / 55mm Name: Nautical Symbols Name: Occupation Symbols Name: Paws M - : Character Dependent M - : Character Dependent M - : 0.6in / 15mm B N C M+ : Character Dependent M+ : Character Dependent M+ : 1.6in / 40mm 12 Tajima DG/ML by Pulse Font Catalog For more information, visit www.pulsemicro.com/fonts Image Fonts Name: Pearls Name: Shining Star Name: Shooting Star M - : 0.99in / 25mm M - : 0.79in / 20mm U N C M - : 0.47in / 12mm L N C In U N In M+ : 1.38in / 35mm M+ : 0.79in / 20mm M+ : 1.97in / 50mm Name: Spooks Name: Sports Symbols Name: Swirl M - : 0.59in / 15mm M - : 0.79in / 20mm U In M - : Character Dependent B N C In M+ : 2.36in / 60mm M+ : Character Dependent M+ : 1.38in / 35mm Name: Symbols Name: Teacher Name: Teddy M - : 1.2in / 30mm M - : Character Dependent M - : 1.18in / 30mm B N C In U N M+ : Character Dependent M+ : 2.36in / 60mm M+ : 3.0in / 75mm Name: Twinkle M - : 1.97in / 50mm U N C In M+ : 3.55in / 90mm For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 13 Language Fonts Name: Cyrillic Name: Greek Name: Greek Block M - : 0.24in / 6mm B N M - : 0.24in / 6mm U N M - : 0.25in / 6mm B N M+ : 1.18in / 30mm M+ : 0.79in / 20mm M+ : 1.5in / 38mm Name: Hebrew Name: Katakana Name: Megagreek M - : 0.47in / 12mm U N M - : 0.47in / 12mm U N C M - : 3.0in / 76mm U M+ : 1.02in / 26mm M+ : 2.36in / 60mm M+ : 3.0in / 76mm Name: Megagreek Double Name: Parthenon M - : 4.63in / 118mm U M - : 0.39in / 10mm B N M+ : 4.63in / 118mm M+ : 1.18in / 30mm Name: Two Color Greek M - : 0.98in / 25mm U M+ : 2.05in / 52mm 14 Tajima DG/ML by Pulse Font Catalog For more information, visit www.pulsemicro.com/fonts Monogram Fonts Name: Antique Monogram Name: Circle Monogram Name: Classic Monogram M - : 0.59in / 15mm U M - : 0.63in / 16mm U M - : 0.63in / 16mm U M+ : 1.37in / 35mm M+ : 4.02in / 102mm M+ : 2.56in / 65mm Name: Colonial Monogram
Load more

Recommended publications
  • Tajima DG/ML by Pulse Offers an Extensive Collection of Professional Quality Embroidery Fonts
    Tajima DG/ML by Pulse offers an extensive collection of professional quality embroidery fonts. Whether you are adding lettering to an existing design or digitizing a corporate logo, with hundreds of exquisite fonts to choose from, you are sure find the perfect font for any job. Each Pulse font has been expertly digitized using beautiful satin stitches to create flawless lettering. Fonts are scaleable and include a myriad of special and international characters so they can be easily customized for any design. www.tajima.com www.pulsemicro.com For more information, visit www.pulsemicro.com/fonts Tajima DG/ML by Pulse Font Catalog 1 Legend M- Minimum height for font use M+ Maximum height for font use U Font contains uppercase letters only L Font contains lowercase letters only B Font contains both uppercase and lowercase letters N Font contains numerals 0-9 C Font contains all or a subset of the following special characters: !”#$’()*+,-./:;=?@_{}|¡¢£¥¦¨©« -®¯°¿ In Font may contain a subset of international characters from the following languages: Czech, Dutch, French, German, Icelandic, Italian, Norwegian, Portuguese, Spanish, and Swedish Notes: This catalog includes all standard and optional fonts. Standard fonts are those that are included with Tajima DG/ML by Pulse. The list of standard fonts is dependent on the software level and version. Optional fonts are those available to users at an extra cost. Not all fonts contain all characters. For a complete list of characters included in each font, visit www.pulsemicro.com/fonts or consult the Tajima DG/ML by Pulse Font Help by clicking on Fonts from the Help menu within the software.
    [Show full text]
  • Font Catalog Creator 2.0
    Veenix® Font Catalog Creator 2.0 Introduction Veenix® Font Catalog Creator allows you to quickly and easily create and print font catalogs and font sample sheets of all your fonts, whether they are installed and active in your System or just sitting somewhere on a hard drive. Font Catalog Creator offers 16 professional page layouts, numerous easy to use customization options and even allows you to activate any font in your collection. 2 Easy Steps to Creating A Font Catalog 1. Add your font collection by clicking on the "Add Fonts" icon button in the tool bar of the Font Catalog Creator window. Navigate to the folder containing your fonts and click the "Choose" button. 2. Click the "Print Font Catalog" button in the tool bar of the Font Catalog Creator window or select "Print Font Catalog" from the "File" menu. (Note: It's a good idea to Print to Preview or Print To PDF before actually printing to paper.) Important Printing Notes When printing large font collections, it is a very good idea to start with a clean memory slate by restarting your computer first. It is also a good idea to print in smaller batches: pages 1-50, then 51-100, etc. and also to turn off any other font management software while printing. Font Catalog Creator will alert you if problems are encountered in the printing process, and provide you with the page number on which the error occurred. If you encounter such errors, you should print the fonts on the indicated page in a single-page format (one font per page) to discover the offending font and then remove that font from your database.
    [Show full text]
  • Arabic Type Classification System
    ARABIC TYPE CLASSIFICATION SYSTEM QUALITATIVE CLASSIFICATION OF HISTORIC ARABIC WRITING SCRIPTS IN THE CONTEMPORARY TYPOGRAPHIC CONTEXT BY DARIN ABU-SHAQRA | INCLUSIVE DESIGN | 2020 SUBMITTED TO OCAD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN INCLUSIVE DESIGN TORONTO, ONTARIO, CANADA, 2020 i ACKNOWLEDGEMENTS I wish to express my sincere appreciation to both my primary advisor Richard Hunt, and secondary advisor Peter Coppin, your unlimited positivity, guidance and support was crucial to the comple- tion of this work. It was an absolute honour to have two geniuses in their fields as my advisors. Enriching my knowledge of typography and graphic design and looking through the lens of inclusive design and cognitive science of representation shaped a new respect for the cultural and experiential power of typography in me. My sincere gratitude goes to the talented calligraphers and graphic designers whom I have interviewed back in Jordan. Thank you, for your valuable time, and for allowing me to watch the world from different angles, and experiences. This project owes a lot to your motivation. My heartfelt thanks goes to my family - my late father Khalid, who, although is no longer with me, continues to inspire every step I have to take, my mother Nadia for being the symbol of strength and persistence, my siblings Yasmin, Omar, Ali and Abdullah for always believing in my dreams and doing whatever it takes to make them come true. A special thanks goes to the one who made those two years possible, Ra’ad thank you for being the definition of a life companion and a husband.
    [Show full text]
  • SAS/GRAPH Fonts
    125 CHAPTER 6 SAS/GRAPH Fonts Overview 125 Specifying Fonts in SAS/GRAPH Programs 125 Font Specifications 126 Default Fonts 126 Font Locations 127 Using Hardware Fonts 128 Default Hardware Fonts 128 Changing the Default Hardware Font 128 With a GOPTIONS Statement 128 With the GDEVICE Procedure 129 Alternative Hardware Fonts 129 Specifying Special Characters 130 Using SAS/GRAPH Software Fonts 131 Rendering Fonts 131 Font Lists 131 Overview SAS/GRAPH software has a variety of type styles that you can use to display text and special characters in your procedure output. These type styles are stored in fonts that you can specify when you want to select type for the text on your graphs or choose plot symbols. This chapter explains how to specify a font, how to change the default hardware font, how to produce special characters, and how to select a software font. Note: In some operating environments, you can access the System or TrueType fonts that are available to the host print driver that is currently set for your printer. For more information, see the SAS documentation for your operating environment. R Specifying Fonts in SAS/GRAPH Programs When you select a type style for text or plot symbols, you use statement options to assign the font. You can assign fonts for any amount of text from a single character in a title to all the text in your output. When SAS/GRAPH software encounters an explicit font specification in a SAS statement, it uses the font that you specify rather than a font that is specified in a GOPTIONS statement or the device’s hardware font.
    [Show full text]
  • The Methods and Business of Petrucci Vs. Attaingnant
    Musical Offerings Volume 7 Number 2 Fall 2016 Article 2 9-2016 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Sean A. Kisch Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Book and Paper Commons, Fine Arts Commons, Musicology Commons, Printmaking Commons, and the Publishing Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Kisch, Sean A. (2016) "Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant," Musical Offerings: Vol. 7 : No. 2 , Article 2. DOI: 10.15385/jmo.2016.7.2.2 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss2/2 Casting the Bigger Shadow: The Methods and Business of Petrucci vs. Attaingnant Document Type Article Abstract The music printing of Ottaviano Petrucci has been largely regarded by historians to be the most elegant and advanced form of music publishing in the Renaissance, while printers such as Pierre Attaingnant are only given an obligatory nod. Through historical research and a study of primary sources such as line-cut facsimiles, I sought to answer the question, how did the triple impression and single impression methods of printing develop, and is one superior to the other? While Petrucci’s triple impression method produced cleaner and more connected staves, a significant number of problems resulted, including pitch accuracy and cost efficiency.
    [Show full text]
  • PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125
    PETRUCCI B-04 BOORMAN 6-04-2005 11:15 Pagina 125 STANLEY BOORMAN PETRUCCI IN THE LIGHT OF RECENT RESEARCH It is in the nature of a paper with such a title as this that there can be no single over-arching theme – unless it be that the life and work of Petrucci continue to present surprises and raise problems for the modern interpreter. However, this paper will address a number of diverse issues, which will be subsumed under four different headings: his life before 1520; his contacts for the music he published; his life after 1520 – with perhaps the most interesting new evidence; and something of the implications of patterns of ownership of his editions.1 PETRUCCI’S LIFE BEFORE 1520 Apart from two earlier documents executed in Fossombrone,2 and his privilege application of 1498, Petrucci appears on the scene in 1501 with the immediate triumph of his Harmonice Musices Odhecaton A (RISM 1501).3 This book, with its startlingly brilliant title-initial, with the elegant impagination and individual notational characters, and with the then-unusual landscape format, must have presented an impressive face to browsers in bookshops of the time. Not surprisingly, it has led to the presumption that Petrucci had studied the craft of printing, perhaps in Venice, and presumably after he had studied music (as it was thought) at the court of Urbino. And yet there is no evidence for either. The only list known to me of the “family” of the Urbino Duke, Guidobaldo I, survives in an eighteenth-century copy.4 1 Much of what follows will be examined in greater detail in my forthcoming Ottaviano Petrucci: Catalogue Raisonné (New York: Oxford University Press).
    [Show full text]
  • 6Layouts and Fonts
    i i i ‘beginlatex’ --- 2018/12/4 --- 23:30 --- page 131 --- #167 i 6Layouts and fonts This is the chapter that most users think they want first, because they come to structured documents from a wordprocessing environment where the only way to convey different types of information is to fiddle with the font and size drop-down menus. As you will have seen by now, this is normally unnecessary in LATEX, which does most of the work for you automatically. However, there are occasions when you need to make manual typographic changes, and this chapter is about how to do them. 6.1 Changing layout The design of the page can be a very subjective matter, and also a rather subtle one. Many organisations large and small pay considerable sums to designers to come up with page layouts to suit their purposes. Styles in page layouts change with the years, as do fashions in everything else, so what may have looked attractive in 1978 or 1991 may look rather dated in 2020. As with most aspects of typography, making the document readable involves making it consistent, so the reader is not interrupted or distracted too much by apparently random changes in margins, widths, or placement of objects.1 However, there are a number of different 1 Some authors — and perhaps some designers — believe that consistency is undesir- able, and that double-page layouts in printed books should each be designed inde- £ Formatting Information ¢ 131 ¡ i i i i i i i ‘beginlatex’ --- 2018/12/4 --- 23:30 --- page 132 --- #168 i CHAPTER 6.
    [Show full text]
  • Women Typeface Designers Laura Webber
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 Women typeface designers Laura Webber Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Webber, Laura, "Women typeface designers" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Women Typeface Designers by Laura G.C. Webber A thesis project submitted in partial fulfillment of the requirements for the degree ofMaster of Science in the School of Printing Management and Sciences in the College ofImaging Arts and Sciences of the Rochester Institute ofTechnology May, 1997 Thesis Advisor: Professor Archibald D. Provan School ofPrinting Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Laura G.C. Webber With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master ofScience degree at the convocation of May, 1997 Thesis Committee: Archibald Provan Thesis Advisor Marie Freckleton Graduate Program Coordinator Director or Designate Women Typeface Designers I, Laura G.C. Webber, hereby grant permission to the Wallace Memorial Library ofR.I.T to produce my thesis in whole or part. Any reproduction will not be for commercial use or profit. May 21, 1997 To my family and Steve, who selflessly give their support and encouragement.
    [Show full text]
  • Fonts and Scripting Installing Postscript Fonts Under Unix/Linux
    Roland Kwee fonts and scripting email: [email protected] Installing PostScript Fonts Under Unix/Linux abstract This article discusses practical issues for installing Adobe PostScript fonts for TEX running on Unix/Linux. It also presents a script for automating the installation in order to install a package with over 200 fonts. As a useful side effect, the script creates a font data base and a font catalog to help the buyer/user of the font collection. keywords fonts, PostScript, linux, Adobe, dvips, ghostscript. Introduction At the recent NTG meeting in Leuven, Belgium, I got enthousiastic about fonts, and even bought my first book on typography. After years of using TEX and Latex, I had become familiar with many text processing and formatting issues, and most of you will agree that this is a big field. But after reading the typography book I realized that text formatting is only one part of the job, and that using fonts in an effective manner is the other half. This article addresses people who are convinced that using fonts is a very important issue when creating documents. If you are not convinced of this, I recommend to study one of the introductory books on typography before going into the remainder of this article, because using fonts in the “wrong” way would probably not improve your documents. In order to use fonts, one first needs to obtain some. The computer modern fonts and the 35 standard PostScript fonts are just not enough for ambitious use of fonts. At the NTG meeting I thought differently, but after reading on typography I know better.
    [Show full text]
  • Ntroducing Typeset™ - a Powerful Font Management Utility That Will Improve Your Productivity When Working with Fonts
    ntroducing TypeSet™ - a powerful font management utility that will improve your productivity when working with fonts. TypeSet adds three highly useful tools to your TrueType™ font toolbox: a What-You-See­ Is-What-You-Get Font menu, informative font Reports, and user-definable Font Sets - all in one easy-to-use package. 1< ~A;er<y B).j,niAnlqUl If you've ever wished that the font names listed in the Font menu would appear in their own typefaces, IkhnlOroi Boo}:man you'll really appreciate TypeSet's WYSIWYG Font menu feature. WYSIWYG (pronounced "wizzy-wig") CII'IiIIIB~j! stands for "What You See Is What You Get". It turns the plain, uninformative Font menu into one which Chicago C.,],iI,nl.ck saves you time by letting you see what your TrueType fonts look like before selecting them. Courier DelTon DlamondDemlBold [1J••,," cf.'tlrA/III<Y fj]tld .... Being able to see what your typefaces look like in the Font menu is great, but it doesn't give you a complete picture of what the fonts will look like on paper. That's why TypeSet offers extensive reporting capabilities. With the Reports feature you can choose from any of four report designs. And, for added flexibility, you can send the reports to either the screen or the printer. All Characters This report shows 1"-"S%&'()*+,-.I0123..J-5ti78 Keystroke Equivalents This report 9::<",,>]'!cAHCDF.fGHIJKIlI-JN every character in a font at a large OPQRSllJVWXl'Z{\l· _ 'abc shows which keys you would type to defghijk1mnopqrstU\,\'XyL! point size.
    [Show full text]
  • Postscript/Scribe Font Catalog by J
    M.. I. T. LABORATORY FOR COMPUTER SCIENCE PostScript/Scribe Font Catalog by J. H. Saltzer June 13, 1990 Scope. This catalog shows face and size samples for the fonts that the Scribe1 document processing system supports when it generates output for PostScript2 printers. Faces and sizes. A complete set of characters for each font appears in an 11 point size, using normal, italic, bold, and bold-italic faces. Then a sample of text appears in sizes from 6 through 12 points. Finally, there is a sample of bold face headings in selected sizes from 14 points and up. The sizes shown here are only a subset of the possible range; PostScript and Scribe support font sizes of any number of points, even non-integer values. (Sizes ranging from 4 to 72 points have been verified to be acceptable both to Scribe and to PostScript.) Fonts. This catalog includes the following PostScript font families:3 • New Century Schoolbook • Helvetica • Helvetica Condensed • lTC Avant Garde Gothic •Bookman • Times Roman • Garamond • Palatino •ITC Lubalin Graph Book • ITC Souvenir • Courier •Zap} • Symbol 1Scribe is a registered trademark ofUnilogic, Ltd. 2PostScript is a trademark of Adobe Systems Incorporated. 3rfimes and Helvetica are registered trademarks of Allied Corporation. lTC Avant Garde Gothic, lTC Lubalin Graph, and ITC Souvenir are registered trademarks of Industrial Typeface Corporation. The Scribe (version 7) library database includes support for all of the above PostScript font families, but some font families are extra-cost options on some PostScript printers, and thus may not be available. Any family not supported by the printer used to produce this catalog will appear in the above list (and, ifprinted, in the catalog) in the Courier font.
    [Show full text]
  • A Bibliography of Publications About Typographic Fonts
    A Bibliography of Publications about Typographic Fonts Nelson H. F. Beebe University of Utah Department of Mathematics, 110 LCB 155 S 1400 E RM 233 Salt Lake City, UT 84112-0090 USA Tel: +1 801 581 5254 FAX: +1 801 581 4148 E-mail: [email protected], [email protected], [email protected] (Internet) WWW URL: http://www.math.utah.edu/~beebe/ 16 July 2021 Version 1.116 Title word cross-reference 3 [Orr94, Tho19]. 3-D [Orr94]. 300-dpi [Mac91a]. 3800 [BS84, FLS78]. 3D [Emm95, SFO88]. #1 [Ano89a]. #2 [Ano89b]. #6 [Ano89c]. 4.2 [Ano93f]. f [Hoe94, Hoe94]. 5 × 7 [MBG77]. Ω 5.25in [Bec91b]. [Har96, HP98]. 6670 [Int82]. 1 [Mal95]. 1-2-3 [Ano91a]. 1.3| [Ber96b]. 100-font [BN94]. 1000C [Sta87]. 106 7th [JN93]. [FN85a, FN85b]. 11#4 [Mit92]. 11th [IEE92]. 1988 [ICC88]. 1989 [AH89]. 1990 8-bit [Har92]. 855 [Pet86]. '86 [CVP86]. [Fur90]. 1990's [Rie89]. 1991 [MA91]. 1992 8700/9700 [Xer82a, Xer82b]. 8th [BDV95]. [DC93]. 1993 [SK93]. 1995 [AOM95]. 1st [Ano93a]. '93 [SK93]. '95 [Ano95a, AOM95, BDV95, Ano95a]. 9541 2 [Orr94, Tur00a, Tur03]. 2-D [Orr94]. 2.1.7 [SBSG89]. 978 [Tho19]. 978-1-61689-572-3 [The03]. 202 [CKT80]. 208pp [Tho19]. [Tho19]. 24-Wire [BM87]. 2nd [Ano94a]. 1 2 a2ac| [Ols95]. abacus [MVM09b]. [SFO88]. Andrew [Gla04]. Anecdotes abcdefg [Ada89]. ABF [Pos89a]. Abjad [TBLJ90]. animated [Emm95]. animation [MVM09a]. accented [Zla91]. Access [Van93a, Van93b]. annual [Rie89, Mor93]. [PRB87]. According [Ano86b]. accounting anomalies [Mid95]. Answers [Ano91c]. [Ano94s]. accuracy [AIDG95]. ACM Anti [NN89]. Anti-Aliasing [NN89]. [Rie89]. Acorn [RSSW89]. Acrobat Antipolis [Ano87d]. Any [Ano93b]. across [Van93a, Van93b].
    [Show full text]