DOCSLIB.ORG

A Typeface a Type Study

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Typeface a Type Study COURIE RCOUR IERCOU RIERC OURIER COURI ERCOUR IERCO URIERC A Type Study Designed & Authored by Justin Bend (2013) A Typeface Designed by Howard G. “Bud” Kettler (1955) CourierCommissioned and designed for use Howard George by IBM in 1955, Courier is a monospaced slab serif typeface. Designed for use with the typewriter, Courier’s characters are deliberately “BornBud on September” 10, 1919Kettler in New Bremen, Ohio, Howard Kettler had crafted to be uniform in size. This not 20th century industrial and only allows characters to be measured in mechanical innovation called a fascination with type and I design from an early age. for a sturdier serif font. linear inches for manual word counting, His work included still- but also allowed for the replacement of classified engagements with characters when mistakes were made on He was a high school newspaper cartoonist, the American Federal Bureau typewritten pages. a member of the Navy during World Ward II, of Investigation and the a postal clerk, and a newspaper editor. On Canadian Mounted Police. Courier has had four primary uses. October 1, 1952 he accepted a position designing type in Poughkeepsie, New York His self-professed most Courier was the American for IBM. Just three years later, in 1955, It was the ubiquitous typeface of the fulfilling assignment for IBM answer, becoming the most American typewriter. Industry standard he designed the “Courier” typeface which was came in the form of designing widely used typeface of the screenplays are written in 12 point Courier. B adapted as a standard for IBM typewriters. a Braille font for the IBM last 50 years. It naturally evolved as the default font for Braille Writer. operating system languages, and PostScript Bud’s colleagues loved him at IBM. printing devices. The most prominent use of Courier has come from its adoption, in the Roger Roberson, who worked Paul Rainey, an IBM protégé, said, “One with Bud for 24 years, said form of 12pt Courier New, as the official thing he did that no other font designer did that he was always designing typeface of the US State Department from was to rotate the mock up page a full 180 fonts in his spare time. 1955 through 2004. degrees…he wanted to make sure that no one character stood out. He explained that font M designing was meant to be invisible to the Originally tested with the name “Messenger,” reader. He said the reader should not be conscious of characters and just see words.” Designer Howard G. “Bud” Kettler corrected this, stating that “A letter can be just an Howard Kettler died 8 days after his 80th birthday on September 19th, 1999 ordinary messenger, or it can be the in Lexington, KY. courier, which radiates dignity, prestige, and stability.” I II A B C D E F G H I J K L M N O P Q R X T U V W X Y Z Courier a b c d e f g h i j k l m n o p q r x t u v w x y z The U.S. Government’s adoption of the ColdCourier typeface for official War use by our 1 2 3 4 5 6 7 8 9 0 ! @ # State Department coincided with the amplification of our Cold War with the $ % ^ & * ( ) _ + - = { } Soviet Union. When Courier was commissioned TOP SECRET in 1955, our then-ally the U.S.S.R. and our still-young nation had just defeated the [ ] \ | ; : ‘ “ , . / < > fascist alliance of Nazi Germany, Italy and the Empire of Japan in World War II. The EYES ? ~ ` Korean War had ended in 1953, and tension began to mount between Capitalist and ONLY Communist states vying for world ideological and economic dominance. In 1953 a communist revolution in Cuba, led A B C D E F G H I J K L M by Fidel Castro, had deposed the United NOFORN States-installed President Fulgencio Batista. In 1955 the Central Intelligence N O P Q R X T U V W X Y Z Agency was in Vietnam. Feeling the pressure of third-world Communist ideological SPECIAL a b c d e f g h i j k l m proliferation, and using the very real threat of nuclear war as justification, our government began to encroach upon the HANDLING n o p q r x t u v w x y z sovereignty of other nations like never before. During this period our country took 1 2 3 4 5 6 7 8 9 0 ! @ # some of the most aggressive and morally questionable actions in its history. SECRET $ % ^ & * ( ) _ + - = { } All of those stories are told in the form of classified documents written in the [ ] \ | ; : ‘ “ , . / < > Courier typeface. III ? ~ ` IV XX 1. A meeting XXwas held in General Carter’s office on 29 XXX November 1963 toXXX discuss the subject program. Those XXX present, in additionXX to General Carter, were Messrs. XX Helms,argued Kirkpatrick, XX xxxxxxxx, Gottlieb and Earman. The Project main thrust of the Xdiscussion was the testing of cer- for the X tain drugs on unwittingXTHE U.S. citizens. Dr. Gottlieb gave continuation X This operation was a covert human research One distinguishing component a brief history of theX MKULTRA program which was not in of the Courier typeface is X GRATEFUL MKUltraprogram run by the CIA’s Office of Scientific of unwitting X that it cannot be trademarked Intelligence using U.S. and Canadian any way at variance Xwith the IG report of August 1963 or copyrighted, and remains XX citizens to test various methods of completely royalty free. on testing,this subject. 2. XMessrs. Gottlieb and xxxxxxxx ar- mental state modification and brain X function under duress. guedusing for theas continuationthe X of unwitting testing, using IBM deliberately chose not X LSD, Heroine, Marijuana, MDMA, cocktails to pursue this intellectual as principalthe principal pointX that controlled testing cannot of amphetamines and barbiturates, and property protection, thus X making Courier some of the be depended upon for Xaccurate results. General Carter, other controlled substances were point that X earliest available shareware. XDEAD administered to unwitting participants. Mr. Kirkpatrick, and IXX do not disagree with this point. Tactics such as isolation, hypnosis, verbal controlled XX and sexual abuse were used. We also accept the necessityXX for having a “stable of X JUNE 6, 1967 testing XXX Famous test subjects included Boston Mobster drugs” on the shelf andXXX the requirement for continued James “Whitey” Bulger, The “Unabomber” Ted researchcannot and developmentX ofLIVE drugs -- not only for possi- X Kaczynski, the author Ken Kesey, and X Grateful Dead lyricist Robert Hunter. The blebe operational depended use butXX also to give CIA insight on the program was active from 1953 to 1973. X These experiments resulted in at least stateupon of forthe art in thisX field and in particular to alert XX one documented death. us to what the oppositionXX is or might be expected to do accurate XX in results.the R&D and employmentX of drugs. 3. xxxxxxxxxx noted DECLASSIFICATION: X that there was no disagreementXX ATLANTIC with theRECORDS recommendations 29 November 1963 XXXXXXXX XX MEMORANDUM FOR THE RECORD XX XXXXXXXXXXXXXX 9PM of the XXIG survey on MKULTRA with the exception of the SUBJECT: MKULTRA PROGRAM X SAN FRANCISCO XX unwittingXX testing problem. In response to a query from Read the original text: http://goo.gl/YFnUjJ GeneralX Carter, he stated that since the IG report such V X VI X testingX FILLMOREhas been held in abeyance. 4.WEST General Carter made Xit clear 1. The Attorney General opened the Meeting by saying thatTHE higher PATRIOTS authority WHO is concerned about progress on the MONGOOSEHAVE BEEN program FIGHTING and feels that more priority should be given to trying to mount sabotage*** **operations.******** The At- Operation torneyIN OUR General HILLS said AND that he wondered************ *if**** **a new look is *************************** notCITIES required FOR at THE this time **in*** ***view******** *of**** **the****** ***meager***** results, LAST SIX MONTHS ****** * *************** This action was the United States’ answer to especially in the sabotage** *field. He *urged******* ***that* “massive Mongoosethe failed Bay of Pigs invasion of 1961. ***** ******** ** activity”WERE REINFORCED be mounted within*** the entire MONGOOSE************** frame- In 1962, Robert F. Kennedy spearheaded the * **** work.TODAY There BY ANwas ARMY a good ** deal**** of discussion ***about***** this, effort to undermine and overthrow the Castro ******** ** ******** regime in Cuba by any means necessary. This andOF General LIBERATION. Lansdale said that another******** attempt***** ***will be operation included domestic sabotage, ** *** ********* paramilitary training of Cuban exiles, made against the major** target which has** been**** ***the***** object solicitation of mafia hit men, and of three unsuccessful* missions, and that approximately**** * assassination attempts against * ****** Fidel Castro himself. six new#@### ##ones are in *the planning stage. Mr.** *Johnson**** said @#@@############# * **** * ############### ***** None of these tactics were successful, and that “massive####### ####activity”###### # * would** have to appear* * **to* come some historians now characterize them as ###############* ************ ****** carried out by the United from within. He ##also####*###* #**said**** that*** he hopes soon*** to be able terrorist actions # ** * *#*##*#*##*##*##### ****** ***** States against the island of Cuba. ******###### *** **** to present to the ***Group**** a plan *for*** giving******** **Cuban exiles moreTHE of BATTLE a free hand,****** *with *the full***** **realization******** that this DECLASSIFICATION: ********** ***** **************** wouldFOR giveA FREE more visibility*********** *to their******** *activities.************ On this MEMORANDUM FOR RECORD ******************** *** **** *******
Load more

Recommended publications
  • Supreme Court of the State of New York Appellate Division: Second Judicial Department
    Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch.
    [Show full text]
  • 15 the Effect of Font Type on Screen Readability by People with Dyslexia
    The Effect of Font Type on Screen Readability by People with Dyslexia LUZ RELLO and RICARDO BAEZA-YATES, Web Research Group, DTIC, Universitat Pompeu Fabra, Barcelona, Spain Around 10% of the people have dyslexia, a neurological disability that impairs a person’s ability to read and write. There is evidence that the presentation of the text has a significant effect on a text’s accessibility for people with dyslexia. However, to the best of our knowledge, there are no experiments that objectively 15 measure the impact of the typeface (font) on screen reading performance. In this article, we present the first experiment that uses eye-tracking to measure the effect of typeface on reading speed. Using a mixed between-within subject design, 97 subjects (48 with dyslexia) read 12 texts with 12 different fonts. Font types have an impact on readability for people with and without dyslexia. For the tested fonts, sans serif , monospaced, and roman font styles significantly improved the reading performance over serif , proportional, and italic fonts. On the basis of our results, we recommend a set of more accessible fonts for people with and without dyslexia. Categories and Subject Descriptors: H.5.2 [Information Interfaces and Presentation]: User Interfaces— Screen design, style guides; K.4.2 [Computers and Society]: Social Issues—Assistive technologies for per- sons with disabilities General Terms: Design, Experimentation, Human Factors Additional Key Words and Phrases: Dyslexia, learning disability, best practices, web accessibility, typeface, font, readability, legibility, eye-tracking ACM Reference Format: Luz Rello and Ricardo Baeza-Yates. 2016. The effect of font type on screen readability by people with Dyslexia.
    [Show full text]
  • Presentation
    Born Broken: Fonts And Information Loss In Legacy Documents Geoffrey Brown and Kam Woods Indiana University School of Informatics and Computing Key Questions How pervasive are font substitution problems ? What information is available to identify fonts ? How well can we match the fonts required by a document collection ? How can we assist archivists in identifying serious font issues ? Page 8 MCTM Bulletin February 2005 K: I knew what you meant. I was just kidding. I’ll do XüLLbl (W):InputQ:FnOff :"""Y =! Y",Y#:PlotsOff the dishes tonight at dinner. YüL‚(W):Goto:0!Xscl:0!Yscl:Plot1(Scatt T er,L#,L$,&) PlotsOn 1:ZoomStat:StorePic Pic1 Lbl Q:FnOff :""üY :PlotsOff Jennifer felt better so offered the following challenge to Pause :Goto T Kevin. Lbl:0üXscl:0üYscl:Plot1(Scatt S:ClrHome:2!dim(L%er,L):dim(L ,L‚,Ñ)# )!N J: What type of general statement can you make DispPlotsOn "NO. 1:ZoomStat:StorePic OF Pic1 regarding the various polygons and, better yet, what PausePTS.":Output(1,13,N):Pause :Goto T can you say about a figure that looks like this? LblFor(I,1,N):ClrHome S:ClrHome:2üdim(Lƒ):dim(L )üN Disp "NO. "PT. OF NO.","":Output(1,9,I) PTS.":Output(1,13,N):Pause L#(I)!L%(1):L$(I)!L%(2) For(I,1,N):ClrHome Disp L%:Pause :End:Goto T LblDisp "PT.0:Menu(" NO.","":Output(1,9,I) MODELS R""," LINEAR (2)",1,"L(I)üLƒ(1):L‚(I)üLƒ(2) QUADRATIC",2," CUBIC/QUARTIC",3,"Disp Lƒ:Pause :End:Goto LOGARITHMIC",4," T LblEXPONENTIAL",5," 0:Menu(" MODELS POWER",6," RÜ"," LINEAR MAIN (2)",1," MENU",T) QUADRATIC",2," CUBIC/QUARTIC",3," Lbl 1:"aX+b"!Y# Kevin was impressed.
    [Show full text]
  • A Scaled Courier Font Herbert Schulz [email protected] December 24, 2011
    A Scaled Courier Font Herbert Schulz [email protected] December 24, 2011 Abstract The couriers package provides a scalable interface to the Courier Font for use as the Typewriter Font with other type faces. It offers an interface just like that provided in the helvet package for the Helvetica Font used as the Sans Serif Font but with a different default magnification. 1 Introduction The fourier package uses the available Adobe Utopia fonts scaled down a bit for the Serif Font as well as maths. To my eyes the default Sans Serif and Typewriter Fonts, EC or CMSuper since Fourier-GUTenberg uses T1 encoding, don’t match well with scaled Utopia. I’ve settled on using Helvetica scaled at 0.875 for the Sans Serif Font but Courier at normal size appears too large. As with the helvet package this package provides a Scalable Courier which I use at 0.95 to match Fourier-GUTenberg; it is physically a bit too small but seems to look good at that scale to my eyes: as usual this is a bit on the personal side and YMMV. 2 Usage Like the helvet package couriers takes a single optional argument, scaled. When used as \usepackage{couriers} it gives you Courier scaled at its normal size as the default Typewriter Font. If you use the package with \usepackage[scaled]{couriers} you get Courier scaled at 0.95 (i.e., a document set a 10pt will give Courier set a 9.5pt). You can get arbitrary scaling by using the package with \usepackage[scaled=sfactor]{couriers} where sfactor is an arbitrary scale factor.
    [Show full text]
  • 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.
    [Show full text]
  • Arab Children's Reading Preference for Different Online Fonts
    Arab Children’s Reading Preference for Different Online Fonts Asmaa Alsumait1, Asma Al-Osaimi2, and Hadlaa AlFedaghi2 1 Computer Engineering Dep., Kuwait University, Kuwait 2 Regional Center For Development of Educational Software, Kuwait [email protected], {alosaimi,hadlaa}@redsoft.org Abstract. E-learning education plays an important role in the educational proc- ess in the Arab region. There is more demand to provide Arab students with electronic resources for knowledge now than before. The readability of such electronic resources needs to be taken into consideration. Following design guidelines in the e-learning programs’ design process improves both the reading performance and satisfaction. However, English script design guidelines cannot be directly applied to Arabic script mainly because of difference in the letters occupation and writing direction. Thus, this paper aimed to build a set of design guidelines for Arabic e-learning programs designed for seven-to-nine years old children. An electronic story is designed to achieve this goal. It is used to gather children’s reading preferences, for example, font type/size combination, screen line length, and tutoring sound characters. Results indicated that Arab students preferred the use of Simplified Arabic with 14-point font size to ease and speed the reading process. Further, 2/3 screen line length helped children in reading faster. Finally, most of children preferred to listen to a female adult tutoring sound. Keywords: Child-Computer Interfaces, E-Learning, Font Type/Size, Human- Computer Interaction, Information Interfaces and Presentation, Line Length, Tutoring Sound. 1 Introduction Ministries of education in the Arab region are moving toward adopting e-learning methods in the educational process.
    [Show full text]
  • The Comicsans Pacakge
    The comicsans package∗ Scott Pakin [email protected] December 19, 2013 1 Introduction The comicsans package makes Microsoft's Comic Sans font available to LATEX 2". comicsans supports all of the following: • Roman text, boldface text, SMALL-CAPS TEXT, and—with a little extra effort—italic text • Кирилица (римский шрифт, жирный шрифт, каллиграфический шрифт) • Mathematics using Comic Sans wherever possible: ′ log 2" 1 k y (x) 3 10 3 + k=x pk1 Comic Sans is a TrueType (TTF) font. As such, it works particularly well with pdfLATEX, which natively supports TrueType fonts. Some TEX distribu- tions also support dynamic conversion of TTF to PK (a bitmapped font format long used by TEX) so TEX backends other than pdfTEX can (indirectly) utilize TrueType fonts, as well. 2 Installation The following is a brief summary of the comicsans installation procedure: 1. Acquire and install the Comic Sans TrueType (.ttf) files. 2. [Optional] Generate the italic and/or Cyrillic variants of Comic Sans 3. Install the comicsans font files and refresh the TEX filename database. ∗This document corresponds to comicsans v1.0g, dated 2013/12/19. 1 4. Point the TEX backends to the comicsans files. Details are presented in Sections 2.1–2.4. 2.1 Acquire and install the TrueType files comicsans requires the Comic Sans and Comic Sans Bold TrueType files (comic.ttf and comicbd.ttf). You may already have these installed. (On Windows, look in C:\WINDOWS\Fonts for Comic Sans MS (True- Type) and Comic Sans MS Bold (TrueType).) If not, see if a package called msttcorefonts is available for your operating system or operating-system distribution.
    [Show full text]
  • (212) 555-1212 [email protected] Active Member
    William Shunn (he/him) about 1,500 words 12 Courier Place Pica’s Font, NY 12012 (212) 555-1212 [email protected] Active member, SCHWA Proper Manuscript Format by Bill Shunn No one knows how many good stories are passed over because the manuscripts containing them are poorly formatted. We can be certain, however, that editors will more eagerly read a cleanly formatted manuscript than a cluttered and clumsy one. Here are a few suggestions for giving your manuscript that critical leg up on the competition. Start with a fresh white page, no color, no decorations. Set one-inch margins all around--left, right, top, and bottom. This is the default for most word processors, but you might want to recheck your settings just to be safe. Use black type only, since other colors can make your work difficult to read. Set your font size to 12 points. For the Shunn / Format / 2 font itself choose something standard and easily readable, like Times New Roman. Avoid sans-serif fonts, and stay far away from anything flashy or unusual. You want to wow the editor with your content, not your font choice. (Some writers, myself included, still prefer Courier New, a monospaced font that resembles typewriter output. You can use that too if you like, but it’s probably on its way out, at least in fiction circles.) Place your contact information in the upper-left corner of the first page, including your legal name, address, phone number, and email. Add your preferred pronouns if you like. List any professional writing affiliations next, but only when relevant.
    [Show full text]
  • 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
    [Show full text]
  • Base Monospace
    SPACE PROBE: Investigations Into Monospace Introducing Base Monospace Typeface BASE MONOSPACE Typeface design 1997ZUZANA LICKO Specimen design RUDY VANDERLANS Rr SPACE PROBE: Investigations into Monospace SPACE PROBE: Occasionally, we receive inquiries from type users asking Monospaced Versus Proportional Spacing Investigations Into Monospace us how many kerning pairs our fonts contain. It would seem 1. that the customer wants to be dazzled with numbers. Like cylinders in a car engine or the price earnings ratio of a /o/p/q/p/r/s/t/u/v/w/ Occasionally, we receive inquiries fromstock, type theusers higher asking the number of kerning pairs, the more us how many kerning pairs our fonts contain.impressed It thewould customer seem will be. What they fail to understand /x/y/s/v/z/t/u/v/ that the customer wants to be dazzled iswith that numbers. the art Like of kerning a typeface is as subjective a discipline as is the drawing of the letters themselves. The In a monospaced typeface, such as Base Monospace, cylinders in a car engine or the price earnings ratio of each character fits into the same character width. a stock, the higher the number of kerningfact pairs,that a theparticular more typeface has thousands of kerning impressed the customer will be. What theypairs fail is relative,to understand since some typefaces require more kerning is that the art of kerning a typeface pairsis as thansubjective others aby virtue of their design characteristics. /O/P/Q/O/Q/P/R/S/Q/T/U/V/ discipline as is the drawing of the lettersIn addition, themselves.
    [Show full text]
  • Bluetooth Thermal Printer – 3 Inch Compact, Battery Drive, 3 Inch, Standalone Thermal Printer
    1 USER MANUAL - BTP EXEL EXEL-3A Bluetooth Thermal Printer – 3 inch Compact, Battery Drive, 3 inch, Standalone Thermal Printer 2 USER MANUAL - BTP EXEL Document Title: BTP EXEL-3A : 3inch Bluetooth Thermal Printer User Manual. Version: Ver 1.0 Date: 3rd August 2015 Author: Mr Mahesh Saibanna Bagali Technical Support E-mail: [email protected] Technical Discussion Forum: www.coineltech.com/forums Company Contact Information CoiNel Technology Solutions LLP nd No-32, 2 Floor, HAPBCO Tower, RPC Layout, Hampinagar, Bangalore-560104 Ph: 080-23154423 3 USER MANUAL - BTP EXEL Revision: Revision Changes Rev 1.0 Initial Revision 4 USER MANUAL - BTP EXEL AFFORDABLE AND HIGH QUALITY CoiNel’s feature-rich and competitively priced EXEL-3A Series thermal printer units bring quality, durability and reliable performance to many low- to medium-volume direct thermal printing applications. COMPACT DESIGN AND POWERFUL FEATURES EXEL-3A printers are compact, space-saving units and contain a powerful processor for fast and reliable data transfer and printing, and 2 MB Flash memory for increased storage of fonts and graphics. APPLICATIONS The semi-rugged printer unit is most suitable for markets such as handheld, mobile and portable devices, applications such as healthcare, hospitality, retail, ticketing and loan, pygmy, tax collection, token issues (parking, bank, hospitals) and billing (canteens, electricity, water, grocery, pharmacy) 5 USER MANUAL - BTP EXEL TABLE OF CONTENTS 1 FEATURES 6 2 INTERFACE SPECIFICATIONS 7 3 EXEL-3A SERIES MODELS 8 4 EXTERNAL PERIPHERAL
    [Show full text]
  • Courier Courier-Bold Courier-Oblique Courier-Boldoblique Helvetica
    Courier Courier-Bold Courier-Oblique Courier-BoldOblique Helvetica Helvetica-Bold Helvetica-Oblique Helvetica-BoldOblique Times-Roman Times-Bold Times-Italic Times-BoldItalic Symbol ZapfDingbats MSungStd-Light-Acro MSungStd-Light-Acro,Bold MSungStd-Light-Acro,Italic MSungStd-Light-Acro,BoldItalic MSungStd-Light-Acro--ETen-B5-H MSungStd-Light-Acro--ETen-B5-H,Bold MSungStd-Light-Acro--ETen-B5-H,Italic MSungStd-Light-Acro--ETen-B5-H,BoldItalic STSongStd-Light-Acro STSongStd-Light-Acro,Bold STSongStd-Light-Acro,Italic STSongStd-Light-Acro,BoldItalic STSongStd-Light-Acro--GBK-EUC-H STSongStd-Light-Acro--GBK-EUC-H,Bold STSongStd-Light-Acro--GBK-EUC-H,Italic STSongStd-Light-Acro--GBK-EUC-H,BoldItalic KozMinPro-Regular-Acro KozMinPro-Regular-Acro,Bold KozMinPro-Regular-Acro,Italic KozMinPro-Regular-Acro,BoldItalic KozMinPro-Regular-Acro--90ms-RKSJ-H KozMinPro-Regular-Acro--90ms-RKSJ-H,Bold KozMinPro-Regular-Acro--90ms-RKSJ-H,Italic KozMinPro-Regular-Acro--90ms-RKSJ-H,BoldItalic HYSMyeongJoStd-Medium-Acro HYSMyeongJoStd-Medium-Acro,Bold HYSMyeongJoStd-Medium-Acro,Italic HYSMyeongJoStd-Medium-Acro,BoldItalic HYSMyeongJoStd-Medium-Acro--KSCms-UHC-HW-H HYSMyeongJoStd-Medium-Acro--KSCms-UHC-HW-H,Bold HYSMyeongJoStd-Medium-Acro--KSCms-UHC-HW-H,Italic HYSMyeongJoStd-Medium-Acro--KSCms-UHC-HW-H,BoldItalic Liz Calligrapher-Regular feta16- feta-alphabet16- BitstreamVeraSans-Roman GFSDidot-Regular NimbusSanL-Regu LiberationSerif-Italic LiberationSerif-BoldItalic DroidArabicNaskh-Bold URWBookmanL-DemiBoldItal Dingbats DroidNaskhShiftAlt NimbusMonL-Regu DroidArabicKufi-Bold
    [Show full text]