Mapping of Adobe's Type 1 Fonts to Opentype
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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 -
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. -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Essential Chomsky
CURRENT AFFAIRS $19.95 U.S. CHOMSKY IS ONE OF A SMALL BAND OF NOAM INDIVIDUALS FIGHTING A WHOLE INDUSTRY. AND CHOMSKY THAT MAKES HIM NOT ONLY BRILLIANT, BUT HEROIC. NOAM CHOMSKY —ARUNDHATI ROY EDITED BY ANTHONY ARNOVE THEESSENTIAL C Noam Chomsky is one of the most significant Better than anyone else now writing, challengers of unjust power and delusions; Chomsky combines indignation with he goes against every assumption about insight, erudition with moral passion. American altruism and humanitarianism. That is a difficult achievement, —EDWARD W. SAID and an encouraging one. THE —IN THESE TIMES For nearly thirty years now, Noam Chomsky has parsed the main proposition One of the West’s most influential of American power—what they do is intellectuals in the cause of peace. aggression, what we do upholds freedom— —THE INDEPENDENT with encyclopedic attention to detail and an unflagging sense of outrage. Chomsky is a global phenomenon . —UTNE READER perhaps the most widely read voice on foreign policy on the planet. ESSENTIAL [Chomsky] continues to challenge our —THE NEW YORK TIMES BOOK REVIEW assumptions long after other critics have gone to bed. He has become the foremost Chomsky’s fierce talent proves once gadfly of our national conscience. more that human beings are not —CHRISTOPHER LEHMANN-HAUPT, condemned to become commodities. THE NEW YORK TIMES —EDUARDO GALEANO HO NE OF THE WORLD’S most prominent NOAM CHOMSKY is Institute Professor of lin- Opublic intellectuals, Noam Chomsky has, in guistics at MIT and the author of numerous more than fifty years of writing on politics, phi- books, including For Reasons of State, American losophy, and language, revolutionized modern Power and the New Mandarins, Understanding linguistics and established himself as one of Power, The Chomsky-Foucault Debate: On Human the most original and wide-ranging political and Nature, On Language, Objectivity and Liberal social critics of our time. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Adobe Font Folio Opentype Edition 2003
Adobe Font Folio OpenType Edition 2003 The Adobe Folio 9.0 containing PostScript Type 1 fonts was replaced in 2003 by the Adobe Folio OpenType Edition ("Adobe Folio 10") containing 486 OpenType font families totaling 2209 font styles (regular, bold, italic, etc.). Adobe no longer sells PostScript Type 1 fonts and now sells OpenType fonts. OpenType fonts permit of encrypting and embedding hidden private buyer data (postal address, email address, bank account number, credit card number etc.). Embedding of your private data is now also customary with old PS Type 1 fonts, but here you can detect more easily your hidden private data. For an example of embedded private data see http://www.sanskritweb.net/forgers/lino17.pdf showing both encrypted and unencrypted private data. If you are connected to the internet, it is easy for online shops to spy out your private data by reading the fonts installed on your computer. In this way, Adobe and other online shops also obtain email addresses for spamming purposes. Therefore it is recommended to avoid buying fonts from Adobe, Linotype, Monotype etc., if you use a computer that is connected to the internet. See also Prof. Luc Devroye's notes on Adobe Store Security Breach spam emails at this site http://cgm.cs.mcgill.ca/~luc/legal.html Note 1: 80% of the fonts contained in the "Adobe" FontFolio CD are non-Adobe fonts by ITC, Linotype, and others. Note 2: Most of these "Adobe" fonts do not permit of "editing embedding" so that these fonts are practically useless. Despite these serious disadvantages, the Adobe Folio OpenType Edition retails presently (March 2005) at US$8,999.00. -
Opentype Installation Basics for Context
The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-16 OpenType installation basics for ConTEXt Adam T. Lindsay To make a sweeping generalization, ConTEXt tends to attract people who are in- terested in customizing their own documents. While LATEX’s use is dominated by pre-cooked document layouts, using templates for academic publishing, ConTEXt seems to attract those people looking for just a little bit more flexibility. It is not surprising, then, that many ConTEXt users – both professional and personal users – tire of dealing with the default Computer Modern font family, and look to install their own fonts in order to imbue their documents with their own personality. Font purchasing has been a tricky business. Fonts have traditionally been avail- able in two different formats (PostScript and TrueType) for each of two different platforms (different encapsulating file formats for PC and Mac). Periodically, mod- ern updates to those font formats have appeared, promising new features with that new technology (e.g., Multiple Masters, GX), only to have withered and died in the marketplace. So designers and others who buy fonts may tire of the frac- tured market of multiple font formats, but they should understandably be a little leery of new font formats. It is within this environment that the OpenType font format was conceived. It attempts to unify TrueType and PostScript imaging models, and unifies the file formats so that there is one file designed to work on any platform. It unifies across many encodings by utilizing Unicode as the native font encoding. It unifies across expert encodings, small caps fonts, and other fonts with alternative glyphs by in- troducing OpenType features, which allow fairly sophisticated glyph replacement procedures. -
SY*T*K Ffiptrxt&
SY*T*K ffiPTRXT& POEMS BY Swsan Elizabeth Howe STONtr SPIRITS Redd Center Publications Stone Spirits W Swsan Elizabeth Howe The Charles Redd Center for Western Studies Brigham Young University Provo, Utah 1997 Charles Redd Publications are made possible Hy a grant from Charles Redd. This grant served as the basis for the establishment of the Charles Redd Cenier for Western Studies at Brigham Young University. Center editor: William A. Wilson Cowr photograph courtesy of Aaron Coldenberg lWild Earth Images LiBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Howe, Susan, r949- Stone spirits / Susan trlizabeth Howe. {, p. cm. - (Redd Center publications) rseN r-56o85 -rc7-4 (pbk. : alk. paper) I. Title. II. Series. rs3558.o8935s76 ry97 8n'.54-oczr 97-4874 cIP @ry97 by Charles Redd Center for Western Studies, Brigham Young Universif'. A11 rights reserved. First printing, r997. Printed in the United States of America. Distributed by Signature Books, 564 West 4oo North, Salt Lake City, Utah 84116 Author's acknowledgments appear on page 70. FOR MY PARENTS, Maralyne Haskell Howe and Elliot Castleton Howe Table of Contents Foreword, by Edward A. Ceary ix I. THE WORLD IS HARSH, NOT OF YOUR MAKING Things in the Night Sky 4 ArchAngel 5 The Wisdom of the Pyrotechnician 7 Flying at Night g Feeding rl Alternatives to Winter ry The Paleontologist with an Ear Infection ry Tiger trating a European 6 NorAm I Who I Was Then t7 t Lessons of Erosion rB II. THE BLUES OUT THERE Mountains Behind Her 20 Summer Days, A Painting by Georgia O'Keeffe 22 The Stolen Television Set 23 In the Cemetery, Studying Embryos 24 To the Maker of These Petroglyphs z6 Another Autumn zB Sexual Evolution 30 We Live in the Roadside Motel 32 lviil III. -
New Opentype Fonts on Folio 11
New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf -
Create Adobe® PDF Files for Print and Press
How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat® at work Create PDF files for online publishing ® Create Adobe PDF Files Create PDF files for printing for Print and Press Create PDF files for press Create PDF files for presentation Create PDF files from paper documents Create PDF forms Adobe Acrobat 4 Edition Collaborate with PDF Adobe Systems Incorporated 345 Park Avenue, San Jose, CA 95110-2704 USA World Wide Web www.adobe.com How to Create Adobe PDF Files for Print and Press Adobe Acrobat 4 Edition This book was created using Adobe Illustrator®, Adobe PageMaker®, Adobe Photoshop®, and font software from the Adobe Type Library. Adobe, the Adobe logo, AdobePS, Adobe Type Manager, Acrobat, Acrobat Exchange, ATM, Distiller, PostScript Extreme, FrameMaker, Illustrator, InDesign, PageMaker, Photoshop, PostScript, and PostScript 3 are trademarks of Adobe Systems Incorporated. Microsoft and Windows are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Macintosh, and TrueType are trademarks of Apple Computer, Inc., registered in the United States and other countries. UNIX is a registered trademark of the Open Group. -
Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe
Adobe offers one of the largest collections of high-quality typefaces in the world, bringing you the combination of typographic excellence with the convenience of round-the-clock availability. Whether you're communicating via print, web, video, or ePaper®, Adobe Type gives you the power to create, manage and deliver your message with the richness and reliability you've come to expect from Adobe. The Adobe Type Library Online Adobe Font Folio™ 9.0 Adobe Type Basics Adobe Type Library Reference Book Adobe Type Manager® Deluxe The Adobe Type Library Online With more than 2,750 typefaces from internationally renowned foundries, such as Adobe, Agfa Monotype, ITC, and Linotype, as well as award-winning individual type designers and distinguished design studios, the Adobe Type Library offers one of the largest collections of high-quality type in the world. Choose from thousands of fonts in the PostScript® Type 1 format, offered in broad range of outstanding designs and exciting styles. And now you can also select from hundreds of fonts in the new OpenType® format, which offers improved cross-platform document portability, richer linguistic support, powerful typographic capabilities, and simplified font management. Whether you're publishing to print, web, video, or ePaper, Adobe typefaces work seamlessly with most popular software applications. Best of all, you can access any of the high-quality Adobe typefaces you need, anytime you need them, directly from the Adobe web site. You can browse, preview, purchase and immediately download any font from the online Adobe Type Library at your convenience - day or night. Simply visit http://www.adobe.com/type in North America, or at the Adobe Download Centre at http://downloadcentre.adobe.com in many other regions of the world, including Europe, Australia, Hong Kong, Singapore, and more to come.