DOCSLIB.ORG

Font Catalog 18 Points

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Font Catalog 18 Points Font Catalog 18 Points AGaramondPro Bold OpenType c:\windows\fonts\agaramondpro-bold.otf 73K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AGaramondPro BoldItalic OpenType c:\windows\fonts\agaramondpro-bolditalic.otf 75K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AGaramondPro Italic OpenType c:\windows\fonts\agaramondpro-italic.otf 90K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AGaramondPro Regular OpenType c:\windows\fonts\adobe garamond pro.otf 125K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AGaramondPro Semibold OpenType c:\windows\fonts\agaramondpro-semibold.otf 101K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AGaramondPro SemiboldItalic OpenType c:\windows\fonts\agaramondpro-semibolditalic.otf 77K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AlexaStd OpenType c:\windows\fonts\alexastd.otf 45K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Algerian OpenType c:\windows\fonts\alger.ttf 74K AABBCCDDEEFFGGHHIIJJKKLLMMNNOOPPQQRRSSTTUUVVWWXX 1234567890 Amelia BT TrueType C:\Windows\Fonts\tt0510m_.ttf 44K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 1 6/23/2017 Font Catalog 18 Points AmericanCaptain OpenType c:\windows\fonts\american captain.otf 32K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 AmigoStd OpenType c:\windows\fonts\amigostd.otf 51K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Angsana New Italic OpenType c:\windows\fonts\angsai.ttf 101K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Aparajita OpenType c:\windows\fonts\aparaj.ttf 217K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Aparajita Bold OpenType c:\windows\fonts\aparajb.ttf 211K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Aparajita Italic OpenType c:\windows\fonts\aparaji.ttf 234K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Arial OpenType c:\windows\fonts\arial.ttf 756K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 Arial Black OpenType c:\windows\fonts\ariblk.ttf 117K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Arial Bold OpenType c:\windows\fonts\arialbd.ttf 733K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXx 1234567890 2 6/23/2017 Font Catalog 18 Points Arial Bold Italic OpenType c:\windows\fonts\arialbi.ttf 550K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXx 1234567890 Arial Italic OpenType c:\windows\fonts\ariali.ttf 544K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 BalloonBT Bold Adobe Type 1 c:\windows\fonts\0728a___.pfb 43K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Barbatrick Regular OpenType c:\windows\fonts\barbatrick.otf 28K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Baskerville Old Face OpenType c:\windows\fonts\baskvill.ttf 54K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Bauhaus 93 OpenType c:\windows\fonts\bauhs93.ttf 45K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BirchStd OpenType Adobe TypeKit 30K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Blippo Black BT TrueType C:\Windows\Fonts\tt0511m_.ttf 38K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Bodoni MT Poster Compressed OpenType c:\windows\fonts\bod_pstc.ttf 89K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 3 6/23/2017 Font Catalog 18 Points Bookman Old Style OpenType c:\windows\fonts\bookos.ttf 157K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwX 1234567890 Bookman Old Style Bold OpenType c:\windows\fonts\bookosb.ttf 151K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwX 1234567890 Bookman Old Style Bold Italic OpenType c:\windows\fonts\bookosbi.ttf 159K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwX 1234567890 Bookman Old Style Italic OpenType c:\windows\fonts\bookosi.ttf 157K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwX 1234567890 Bookshelf Symbol 7 OpenType c:\windows\fonts\bssym7.ttf 53K Borealis Regular TrueType C:\Windows\Fonts\Borea___.ttf 52K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Bradley Hand ITC OpenType c:\windows\fonts\bradhitc.ttf 103K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BremenBT Black Adobe Type 1 c:\windows\fonts\1232a__.pfb 35K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTt 1234567890 BremenBT Bold Adobe Type 1 c:\windows\fonts\1231a__.pfb 35K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXx 1234567890 4 6/23/2017 Font Catalog 18 Points Browallia New OpenType c:\windows\fonts\browa.ttf 88K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Browallia New Bold OpenType c:\windows\fonts\browab.ttf 74K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Browallia New Bold Italic OpenType c:\windows\fonts\browaz.ttf 87K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Browallia New Italic OpenType c:\windows\fonts\browai.ttf 98K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BrowalliaUPC OpenType c:\windows\fonts\browau.ttf 88K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BrowalliaUPC Bold OpenType c:\windows\fonts\browaub.ttf 74K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BrowalliaUPC Bold Italic OpenType c:\windows\fonts\browauz.ttf 87K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 BrowalliaUPC Italic OpenType c:\windows\fonts\browaui.ttf 98K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Brush Script TrueType C:\Windows\Fonts\Brush Script.ttf 110K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 5 6/23/2017 Font Catalog 18 Points Brush Script MT Italic OpenType c:\windows\fonts\brushsci.ttf 52K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Buccaneer Regular TrueType C:\Windows\Fonts\BUCCANEE.TTF 18K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWw 1234567890 Bungee Outline OpenType Adobe TypeKit 206K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Bungee Regular OpenType Adobe TypeKit 111K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Burnstown Dam TrueType C:\Windows\Fonts\burnstow.ttf 174K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Buxton Sketch OpenType c:\windows\fonts\buxtonsketch.ttf 249K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Cooper Black OpenType c:\windows\fonts\coopbl.ttf 79K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvW 1234567890 Cooper Black Outline BT TrueType C:\Windows\Fonts\tt1034m_.ttf 85K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWw 1234567890 Courier New OpenType c:\windows\fonts\cour.ttf 694K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 6 6/23/2017 Font Catalog 18 Points Courier New Bold OpenType c:\windows\fonts\courbd.ttf 695K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 Courier New Bold Italic OpenType c:\windows\fonts\courbi.ttf 519K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 Courier New Italic OpenType c:\windows\fonts\couri.ttf 605K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYy 1234567890 Croobie TrueType C:\Windows\Fonts\croobie.ttf 79K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 DinerFat TrueType C:\Windows\Fonts\difat___.ttf 12K AaBbcdefghij C D E F G H I J KkL l MmN nopqrstuv O P Q R S T U V WwX x YyZ z 1234567890 Ding Dong Bold TrueType C:\Windows\Fonts\xxdingdong.ttf 16K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwX 1234567890 Elephant OpenType c:\windows\fonts\elephnt.ttf 50K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXx 1234567890 Elephant Italic OpenType c:\windows\fonts\elephnti.ttf 53K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWw 1234567890 Footlight MT Light OpenType c:\windows\fonts\ftltlt.ttf 82K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 7 6/23/2017 Font Catalog 18 Points Jokerman OpenType c:\windows\fonts\jokerman.ttf 68K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Jokewood TrueType C:\Windows\Fonts\jokewood.ttf 63K AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 Wingdings OpenType c:\windows\fonts\wingding.ttf 82K 8 6/23/2017.
Load more

Recommended publications
  • 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
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • P Font-Change Q UV 3
    p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia .......................................................................................
    [Show full text]
  • INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
    INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
    [Show full text]
  • Does Font Type Has Effects on Web Text Readability?
    International Education Studies; Vol. 6, No. 3; 2013 ISSN 1913-9020 E-ISSN 1913-9039 Published by Canadian Center of Science and Education Reading on the Computer Screen: Does Font Type has Effects on Web Text Readability? Ahmad Zamzuri Mohamad Ali1, Rahani Wahid1, Khairulanuar Samsudin1 & Muhammad Zaffwan Idris1 1 Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Perak, Malaysia Correspondence: Ahmad Zamzuri Mohamad Ali, Faculty of Art, Computing & Creative Industry, Universiti Pendidikan Sultan Idris, Tanjong Malim, 35900, Perak, Malaysia. Tel: 60-124-777-395. E-mail: [email protected] Received: January 9, 2013 Accepted: January 18, 2013 Online Published: January 23, 2013 doi:10.5539/ies.v6n3p26 URL: http://dx.doi.org/10.5539/ies.v6n3p26 Abstract Reading on the World Wide Web has become a daily habit nowadays. This can be seen from the perspective of changes on readers’ tendency to be more interested in materials from the internet, than the printed media. Taking these developments into account, it is important for web-based instructional designers to choose the appropriate font, especially for long blocks of text, in order to enhance the level of students’ readability. Accordingly, this study aims to evaluate the effects of serif and san serif font in the category of screen fonts and print fonts, in terms of Malay text readability on websites. For this purpose, four fonts were selected, namely Georgia (serif) and Verdana (san serif) for the first respondents and Times New Roman (serif) and Arial (san serif) for the second respondents. Georgia and Verdana were designed for computer screens display.
    [Show full text]
  • 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]
  • Bookman Old Style (16 Pt-Bold)
    CDI BEST PRACTICES TIP SHEET Recommended Fonts for Résumés Compatible with Word 2003 (.doc) Most Common Serif Fonts Font Names Acceptable Sizes & Styles Acceptable Sizes & Styles (all keyed in 12 point) Body Content Letterhead & Section Headings Book Antiqua Book Antiqua (12 pt –bold) Book Antiqua (16pt –bold) Book Antiqua (12 pt – italics) BOOK ANTIQUA (16pt –bold caps) Book Antiqua (11 pt) OOK NTIQUA (16pt – bold small caps) Book Antiqua (11 pt- bold) B A Book Antiqua (11 pt – italics) Book Antiqua (14pt –bold) BOOK ANTIQUA (14pt –bold caps) BOOK ANTIQUA (14pt – bold small caps) Book Antiqua (12pt –bold) BOOK ANTIQUA (12pt – bold caps) BOOK ANTIQUA (12pt –bold small caps) Bookman Old Style Bookman Old Style (12 pt- bold) Bookman Old Style (16 pt-bold) Bookman Old Style (12 pt- italics) BOOKMAN OLD STYLE (16 pt – bold caps) Bookman Old Style (11 pt) OOKMAN LD TYLE (16 pt – bold small caps) Bookman Old Style (11 pt-italics) B O S Bookman Old Style (10 pt) Bookman Old Style (14pt-bold) Bookman Old Style (10 pt-bold) BOOKMAN OLD STYLE (14pt –bold caps) BOOKMAN OLD STYLE (14pt – bold small caps) Bookman Old Style (12pt –bold) BOOKMAN OLD STYLE (12pt – bold caps) Courtesy of Norine Dagliano, ekm Inspirations February 2013 Garamond Garamond (12pt –bold) Garamond (16 pt-bold) 12 pt – italics) Garamond ( GARAMOND (16 pt- bold caps) Garamond (11-pt) GARAMOND (16 pt – bold small caps) Garamond (11 pt- bold) Garamond (14 pt – bold) GARAMOND (14 pt – bold caps) GARAMOND (14pt – bold small caps) Georgia Georgia (12pt –bold) Georgia (16 pt –bold)
    [Show full text]
  • Use One Typeface
    01 Flush Left When in doubt, set your type flush left rag right. Why? In western culture, people read from top to bottom, left to right. By justifying type left, the eye is able to find the edge and read copy much more easily. Avoid indenting the first line of a paragraph for this reason. Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 02 Use One Typeface Using two typefaces successfully within a layout requires an understanding of the chosen faces in order to be confident that they are complementary. In general, avoid using two typefaces of the same classification. For example, do not use two sans serif, serif, slab serif or script faces together. The reason—contrast. Stay with one typeface until you have achieved mastery. Helvetica Neue Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 03 Skip A Weight Go from light to bold, or from medium to extra bold when changing font weights. The key to great design is contrast. Slight changes in weight change make it harder for the audience to notice the difference. Try mixing bold for the headline and light for the body copy for greater contrast. Light/Bold Everything I learned in design school in 10 simple rules to help you start designing like a rock star. @theChrisDo www.TheFutur.com 04 Double Point Size A good rule of thumb when changing point sizes, is to double or half the point size you are using.
    [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]
  • Bookmania Specimen
    A Fresh Revival of an Old Classic from Mark SimonSon Studio Light Light Italic Regular Regular Italic Semibold Semibold Italic Bold Bold Italic Black Black Italic &Bookmania One might wOnder: Why bother? Bookman has had its day. It’s a has-been. Some might argue that it’s no great loss. But I believe it’s a typographical gem that’s never been properly revived. itC’s redesign in the Seventies took it so far from its roots that it should have been called something else. But that’s the “Bookman” we’ve been stuck with—like it or not—for a long time. The original, for the most part, has been lost to us. My aim was to go back to the earlier Bookmans and make a typeface that would restore the dignity (as well as frivolity) that was lost. As with any revival, it’s an interpretation. I’ve leaned heavily toward the more refined look of the display sizes of the older Bookmans. Nevertheless, it also works well for text, although the effect is different than the old Bookmans at smaller sizes. (I hope to do a Bookmania Text someday that has the look and feel of the old text sizes.) I tried to picture what AtF’s Morris Fuller Benton would have done if he had developed Bookman Oldstyle the way he did Cheltenham Oldstyle. Bookman Oldstyle (and most later Bookmans) had a certain unpolished look. There is some charm to this, but I wanted to see the same fit and finish that Benton gave to his Cheltenham and Century faces.
    [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]