1 Abadi, introduced in 1988 offers a versatile sans serif design whose style lies somewhere between the humanist Gill Sans and the more rigidly lineal Helvetica. Subtle humanistic characteristics give Abadi a friendly appeal and contribute as much to the typeface's legibility as does its generous x-height. This legibility keeps the typeface usable in smaller point sizes.\nAvailable weights, from light to extra bold, give Abadi a wide range of graphic applications, from magazines, newspapers, packaging, advertising, to use even with television.\n
2 Berthold Wolpe, a German-born type designer who studied at the famous Offenbach Technical Institute, first designed Albertus in 1932 as an all-capitals typeface for bronze lettering. Stanley Morison (responsible for the classic Times New Roman) liked Albertus so much that he commissioned it for Monotype in England. In 1938, Wolpe added a lowercase.\nConsidered a modified sans serif design, Albertus has slightly flared edges that make it distinctive and legible. The wedge shape of the serifs gives Albertus a crisp, chiseled look. Albertus is a good face for headlines, book titles, overheads, slides, advertising, posters, and brochures.\n
3 Algerian traces its origins to the British foundry, Stephenson Blake and Co., in 1911. In the mid-1980s, URW digitized Algerian.\nThe style in Algerian typifies the writing on signs in Spain and countries on the north coast of Africa, possibly reflecting the influence of Arabic calligraphers and signmakers. More decorative than its Latin counterpart, traditional Arabic calligraphy is characterized by an ornamental flavor used to enhance individual characters and sometimes whole pages.\n
4 Uncial letterforms go back to handwriting found in Latin and Greek manuscripts of the fourth to the eighth centuries A.D., long before the evolution of the ornate English black letter (particularly popular in the Middle Ages) or today's ubiquitous roman with its serifs.\nThe distinctive calligraphic style of Uncial letterforms has inspired quite a few variations. For example, Hammer Uncial, designed in 1923, shows how lovely these letterforms were in old manuscripts. Solemnis, which was drawn for the Berthold foundry in 1954, offers a single case with a mixture of letters resembling uppercase and lowercase characters. American Uncial was more recently made in Germany by URW. American Uncial is comparable to the New Hammer Uncial made in 1953. Its rounded, calligraphic strokes make it a beautiful face at large sizes. Avoid using it at small sizes, however, or you will lose the contrast between the thick and thin elements of the strokes.\n
5 Roger Excoffon, renowned for brilliant graphics and typefaces created for advertising, designed Antique Olive (pronounced "Ahn-TEEK-oh-LEEV") in 1962 for the French type foundry, Fonderie Olive. You'll find this strong sans serif typeface easy to recognize because it puts more weight on the top, rather than on the side, of each letter. \nWith its large x-height and condensed character spacing, Antique Olive is an excellent typeface for its original application, advertising. It is readable even at very small sizes, especially if you slightly increase the line spacing.\n
6 Arial is a contemporary sans serif font developed by Monotype in 1982. It was first used by IBM as a complementary sans serif for the Times New Roman family that was also licensed by them. Because it had to suit many purposes what was needed was a neutral style of sans. Arial, unlike many sans faces, can be used for continuous text. It also makes a clean shape for contrasting headlines on text set in a traditional roman serif face.\n
7 Arial Narrow, which was made by Monotype in 1989, is marvelous for anything that has lots of vertical columns. It takes the minimum of horizontal space but remains legible for almost any word, except that with a word like millimeter an extra 'l' or 'i' might go unnoticed because they take so little room.\n
8 This font is a development of the widely used and versatile Arial typeface. Rounding the ends of the strokes imparts a very different feel to the typeface, especially in the heavier weights, where the rounding is more apparent. You'll find Arial Rounded MT Bold more informal than its Arial counterpart.\n
9 The basic Augsburger typeface, first issued by at least two German foundries in the last century, contains the lower-case alphabet and numerals, as well as capital letters. The Initial variation has been limited to caps. You are never likely to use more than a letter or two at a time.\n
10 A special font for emulating Minitel / Prestel that ships with Windows.\n
11 This face is based on one developed by the renowned 18th century typographer John Baskerville. But tell-tale differences, including the characteristic squarish curves in the capital C and G, identify it as the version first issued by the Fry type foundry, established by the Fry family after they succeeded in the chocolate business. The face first appeared in 1766 under the name of Isaac Moore, the foundry manager. Baskerville is known as the first of the transitional romans, with its greater differentiation between thick and thin strokes. This makes Baskerville look good in large sizes. No type library is complete without at least one version of a Baskerville face.\n
12 The original of this face was made 200 years ago and is thought by some to mark the introduction of the "modern" faces. It was made for Bell's Type Foundry by Richard Austin at about the time that the face we now know as Firmin Didot also appeared. Bell did not have a bold weight at that time. This new TrueType version, made in 1992 by Monotype Typography, tries to emulate the roughness that they imagine characterized typefounding in the 1780s. The metal version was a favorite of many designers who used it to bring some character to the text they were printing.\n
13 A great many splendid types, including one called Bernhard Antiqua Schmalfette (schmalfette means "bold condensed" in German), came from the Bauer foundry. The version is comparable to the schmalfette version from Bauer, but in fact first came from Monotype in 1926 with its unique spelling as Bernard. Bernard MT Condensed is one of a group of typefaces developed during the first 20 or 30 years of this century, yet it retains some affinity with the organic forms of the art nouveau movement. Generally, these typefaces are black, making them suitable for display and poster work. Although both bold and condensed, Bernard MT Condensed maintains a pleasant period charm due to its balanced chunky serifs and rounded strokes. Use it in situations where you want to get attention while maintaining a casual tone.\n
14 This is a roman typeface based on pen-drawn letters of the Italian Renaissance. Because it is distinctive and gentle in appearance it can be used to give a document a different feel than is given by the more geometrical designs of most text faces. It is also useful for occasional lines, as in letter headings and compliments slips. Its beautiful italic has many uses of its own.\n
15 Type faces, like skirt lengths, tend to go through phases when they are very popular. Then they go out of fashion. Then they come back into vogue. This Bookman Old Style first saw the light before the first Great War as Lanston Monotype's Antique Old Style. It includes elements of the standard, traditional Scottish and English fonts of the 19th century. It is very sturdy and legible and has a warm and comfortable appearance. It is in fact an all round workhorse that can be used for any document, and it makes a change from the Times that so many of us tend to use by default.\n
16 This lighthearted display face was designed by the gentle Bill Woolley when he was a young man. His brief was to make a face that would be welcomed with glad cries by the manufacturers of printing inks. Braggadocio first appeared in about 1930, so it antedates the more condensed Futura Black that is more usually a part of every designer's type library. How much nicer his letter y is!\n
17 G.S. Briem, who holds a doctorate from the Royal College of Art in London, is that rare being: an Icelander. In the 1980s, Briem, a well-known lecturer in many art schools, wrote a much-admired monograph on teaching handwriting in schools. Since then, his approach has been widely adopted in many places around the world. BriemScript was designed for the experimental teaching of italic handwriting in Iceland. Try it for informal notes and memos.\n
18 This interesting face always excites heated opinions. Some, like the writer, have always put Britannic Bold firmly in the category called 'Monumentally Overrated'. Others swear by it. In fact, a survey conducted at great expense (among three people) found that two out of three thought Britannic Bold was magnificent. And it can't be all bad, having started life at the renowned Stephenson Blake type foundry, and to have outlasted the same foundry's Rothbury, which to most people is probably indistinguishable from Britannic. State your opinion. And if you like Britannic Bold, try it.\n
19 First released in 1929, Broadway exudes the atmosphere of the Roaring Twenties. Thick black strokes on the left half of characters such as the 'B' and 'O' make the letterforms abstract and ornamental. Where thick and thin strokes meet, the letterforms feature angles rather than curves, similar to the way Art Deco treats natural forms. \nBroadway is ideal for the design of decorative posters and display material. With no descenders in the lowercase letterforms, Broadway accepts bold underlining without the usual trouble of disappearing descenders. In addition, due to its high contrast, Broadway remains visible on backgrounds of similar density, making it ideal for colorful work. For example, green lettering on a blue background would be difficult to read if the font were Arial, but the same colors would be easier to read with the text in Broadway.\n
20 This heavy, informal script looks as though it was written with a brush because its lowercase letters join together. Use the uppercase letters primarily as initials, although you might find it interesting to use all capitals of this typeface for some words.\n
21 Everyone has a favorite text face, and Calisto has proven to be the favorite of many professional designers. Drawn in 1987, Calisto has gathered a devoted following, due mostly to its versatility. \nA classic text face, its thin, pointed serifs provide interesting accents to the contrasting strokes in the characters. Use this robust, yet elegant font when you want a solid text face with a classic feel, but not too much weight.\n
22 John Peters drew Castellar in 1957 for Monotype when phototypesetting was in its infancy, well before the first laser printer appeared. This typeface, designed for titles, cannot, unlike Monotype's Centaur, be used for anything else. If you print Castellar in too small a size on a laser printer with a resolution of 300 dots per inch, watch out! And if that doesn't discourage you from misusing the typeface, nothing will. Stay above 24 points, and you'll be safe.\n
23 Bruce Rogers, one of the giants of the United States typographic community, designed Centaur in 1914 for the Metropolitan Museum to use for titles. Subsequently, various people reworked Centaur into a text face. It cannot be disguised that, in the opinion of the writer, each version has lost some of the vigor of the version that preceded it. This version is now issued by Monotype Typography. Centaur is what is known as a Venetian face, characterized by oblique stress, minimal contrast between thick and thin strokes, the slanted bar in the e, and heavy serifs. You can stick with it for titles, but Centaur remains legible in much smaller sizes than anybody ever dreamed of. At small sizes, Centaur is like any Venetian face in that you won't be able to tell that it is Centaur.\n
24 Century Gothic is a sans serif typeface based upon Monotype's Twentieth Century, a typeface first released in the late 1930s. Although it hasn't undergone as many design changes as Futura, the x-height has been increased in the digital version to give it a more modern look. Its simple and legible letterforms appear to be much larger than most other fonts at the same size. It probably should be used more for headlines, and contrast than for large bodies of text, for which so distinctive a sans serif design is not well suited.\n
25 The first Century was cut by Linn Boyd Benton working with T. L. De Vinne for Century magazine to replace the unsuitable face they had used previously. This was followed a few years later, at the turn of the century, by Century Expanded. It was Morris Fuller Benton, who made several other versions of Century, who also made several versions Schoolbook for ATF, starting in about 1919. The best known appeared in 1924.\nThis face does the job it was meant to do very well. It is round, open, and sturdy, and although heavier in appearance than many other serif fonts, it comes near the top of the list of no-nonsense text fonts that will withstand a lot of punishment. Generations of children learned to read with this font.\n
26 CG Omega (pronounced "OH-may-gah") is comparable to Optima, which Herman Zapf designed in 1958 for the Stempel AG type foundry in Germany. Inspired by Renaissance scripts, CG Omega is a graceful and simple sans serif. Its slightly flared strokes act like serifs, guiding the eye through the text and making it comfortable to read.\nThis versatile typeface is appropriate for both text and headlines. Try CG Omega in manuals, books, magazines, forms, posters, ads, parts lists, and catalogs.\n
27 In 1845, R. Besley & Company designed a heavy typeface to contrast with ordinary roman type in publications. The resulting Clarendon Condensed featured heavy slab serifs, along with condensed characters. In 1953, Edourd Hofman and Herman Eidenbenz revived Clarendon Condensed for the German type foundry, Haas'sche Schriftgiesserei. This heavy face still proves popular for headlines and other display applications that call for large type sizes.\n
28 Developed by Monotype in 1927, this inline roman face has some very elegant letterforms. Colonna looks its best in larger sizes, consistent with its origins as an advertising face.\n
29 Designed by Microsoft's Vincent Connare, this is a face based on the lettering from comic magazines. This casual but legible face has proved very popular with a wide variety of people.\n
30 Filmotype, introduced in the 1950s, was the first mass-produced machine that used photographic techniques to replace hand lettering. That foundry quickly built up a large library of faces of hand-lettered type by famous lettering artists of the time, created by people like Tommy Thompson. As time passed, more and more genuine typefaces were brought into the Filmotype library, supplementing the original hand-lettered faces. Here we have a strong, generous pair of fonts that came from the Filmotype library. Nothing needs to be said about these two that your eye will not tell you. A document written in Contemporary Brush is, at the same time, both legible and informal. Although most informal faces do not want to be used for large blocks of text, this face can stand it.\n
31 Popular since it was designed in 1921, Cooper Black has inspired many imitations. However, although many type designers and manufacturers have tried to market similar designs, none has outdone Cooper Black. The blunt and rounded forms, blurred serifs, and very small counters make this a warm and friendly face.\nIts most distinctive features are the backward tilt of the counters on the 'O' and 'Q', as well as the elliptical dots in the 'i' and 'j'. More than anything else, its blackness draws attention to Cooper Black. The lack of contrast in the design calls for using this font on a clearly divergent background.\n
32 Originally designed in 1901, Copperplate Gothic was first released as a font family containing several weights and condensed variations. The font name reflects the popularity of this particular style of typeface during the time that copperplate engraving was a popular technique for reproducing illustrated material; from about 1530 up to the 19th century.\nAlthough a true lowercase has never been designed, Copperplate Gothic is ideal for all-capital text typically set in small print. For example, it's very popular for use on business cards. Tiny serifs lend Copperplate Gothic a distinctive feel. The design captures both the sturdiness of a sans serif, as well as the elegance of typefaces with serifs.\n
33 In 1937, Robert Hunter Middleton designed this elegant script typeface for Ludlow Industries Ltd. in England. As an informal, flowing typeface, Coronet is suitable for decorative applications such as invitations and announcements.\n
34 Courier New (pronounced "Curr-ee-er New") is a monospaced typewriter font developed by IBM in 1956 for business communications. If we consider the number of typewriters that carried it, and the number of documents made on those typewriters, it may be the most used typeface of all time. It is certainly the most familiar, and probably the best designed of all monospaced fonts. Its monospaced widths ensure consistent and predictable line lengths and character counts. There are also many of us who feel that a letter written in Courier looks less like a mass-produced flyer, and therefore more personal, than a letter written in a typical computer typeface. But it does use more space than any other typeface because all letters take the same space as the widest letter.\n
35 This handsome face originated in Vienna many years ago when high-waisted capital alphabets were very fashionable. In the 1960s, John McConnell revived Desdemona when he and Chris Dubber started Face Photosetting, one of the first of European ad setting companies in London. Since then, Desdemona has appeared all over the world. You are as likely to see it over a shop on the Olympic Peninsula in the state of Washington as under the shadow of Olympus itself in Greece.\n
36 An outline face, Edda may have originated at Schelte and Giesecke, a foundry that operated in Germany. The Font Bureau has made additional characters for this issue. There is nothing mean about the shapes of these letters. They look feminine, strong, and yet light in character, making Edda welcome for many uses.\n
37 The earliest renderings of this design, which pops up every 10 or 20 years, seem to originate from a type foundry in Offenbach, Germany, outside Frankfurt, where the dogs appear to have also originated. The shapes (of both the type and the sausages) are unmistakable, but the type is still legible. Many other display types are not legible, sacrificing legibility for the sake of noticeability. This design is both legible and distinctive.\n
38 Matthew Carter is one of the most-praised type designers of our time. His work ranges from newspaper typefaces for Mergenthaler Linotype to the condensed sans typeface now used more than any other in re-designed telephone books. His Galliard became one of the most popular new text faces of the last 20 years. Now we have Elephant and its italic, a careful re-working of a traditional English extra-bold serif style. Originally, Elephant appeared in posters, often alternating from roman to italic on successive lines. In Europe, faces of this kind still may be used in very small sizes for telephone numbers in letterheads and business cards. Today, the best use of Elephant is for an eye-catching word. Even a single quote will draw the reader's eye to where it is placed.\n
39 Some typographers claim that the first designs of Engravers MT came from America rather than from one of these European foundries: Stephenson Blake and Co., Bauer, or Schelter & Giesecke. It's difficult to be sure which design could be called the original, but this face, introduced in 1924, is Monotype's contender to that claim. The metal version was available in one size only: 6 points. Even so, the font's very thin hairlines printed clearly, a tribute to the engraver's art. If you use Engravers MT in small sizes, watch that your printer's resolution can similarly preserve the hairlines and sharpness most loved in the original design.\n
40 Almost every graphic student has at one time or another tried their hand at a geometrical type. Few have made anything remotely memorable. But in the early 1950s, Novarese and Butti made Microgramma for the best known of the Italian foundries, Nebiolo, in Turin. Microgramma came with a variety of weights and widths, which enhanced its immediate popularity. But the original version of Microgramma had only caps. So, a decade later, Aldo Novarese designed Eurostile, adding a lower-case alphabet and some additional weights, like Compact. What you get here is the starter kit.\n
41 Flexure is a face from the new breed of type designers, a blurred mix of serif and sans serif.\n
42 Designed in 1985, this typeface earns its name due to the theatrical sparkle it imparts to the text set in it. Footlight MT was first designed as an italic face, followed later by the roman version, which is unusual in the typeface industry. Footlight MT is an informal, yet lively and elegant typeface whose craftsmanship lends it an air of authority.\n
43 Kabel and Futura are birds of a feather, and both fonts seem to have been fledged between 1927 and 1930. Kabel was designed by Rudolph Koch for Klingspor, while Futura was designed by Paul Renner for Bauer. Although it started life with some very eccentric letters, particularly 'a' and 'g', the lower-case alphabet of Futura is now a shade less eccentric and more polished. As a result of this and its wider base, Futura has become the better known and more popular of the two families. The appealing spikiness of both fonts, however, makes for clean-looking headlines and text as easy to read as any sans serif face can be. By the way, if you think Futura looks like typefaces named Intertype and Spartan, you're right. At different times, different type foundries have marketed the same font under those names.\n
44 Based on Claude Garamond's elegant 16th-century typeface, this particular cut of Garamond was developed in 1924 at Stempel AG, a German type foundry. This versatile serif typeface has a small x-height, so more words fit on a line. Short ascenders and descenders allow lines to be set closer together. Its italic (or Kursiv) style is particularly graceful. \nThe very readable and versatile Garamond works well for long blocks of text, reports, magazines, books, manuals, correspondence, and slides.\n
45 There's a lot of fun in this face, which is also known as Gill Kayo. If you had to read directions on how to put on your lifebelt as the boat was sinking, you would probably mind if the directions were in Gill Sans Ultra Bold. But if a sign said stop, you would probably stop, even if you are not normally an obedient person. Gill Sans Ultra Bold was particularly popular in Germany in the 1960s and 1970s. The off-center dot and the dished top on the i and j distinguish it most clearly from other faces of the same kind. The original drawings for Gill Sans Ultra Bold, signed by Eric Gill himself, came from the Gill studio at the request of what was then the Monotype Corporation. The real responsibility for the style, however, almost certainly goes to the people working under Pierpont, who headed the drawing office at that time.\n
46 The first hot-metal sizes of Gloucester Old Style were issued in 1911, derived from a design created in 1896 by the distinguished American architect, Bertram Goodhue. Intended to maximize legibility, the original design featured long ascenders, while the descenders (considered of lesser importance) were very short.\nPopular as a text face in the early 20th century, the extra-condensed variation proves particularly useful to maintain legibility while packing more characters into a certain space.\n
47 Elegant, yet surprisingly hardy, Goudy Old Style has never gone out of fashion. Its resemblance to classic Italian typefaces is coincidental. This Old Style is not an adaptation of previous letterforms. \nWith round curves and thin strokes, Goudy Old Style brings a little gentle humanity to a document that might look too austere in a more workaday face.\n
48 Drawn by Microsoft's Vincent Connare, this is a revival of an old decorative version of Goudy.\n
49 We have called this face Gradl because it was one of many hand-drawn cap alphabets made by M. J. Gradl. The Font Bureau added the lower-case alphabet and numerals in the style we felt Gradl might have followed. Gradl started as a hand-drawn alphabet, and we've resisted the temptation to smooth it out. There are already quite enough of the mechanical designs that the computer can so easily duplicate. For a hand-drawn flavor, try Gradl.\n
50 This font matches a font that ships with WordPerfect. This enables Word to translate any WordPerfect documents that may use these particular characters. This font is a symbol font based on Times New Roman and this character set is only available in the regular weight.\n
51 Haettenschweiler derives from a more condensed typeface, called Schmalfette Grotesk, first shown in the early 1960s in a splendid book called Lettera by Walter Haettenschweiler and Armin Haab. Schmalfette Grotesk was a very condensed, very bold alphabet of all capitals schmalfette means "bold condensed" in German, and grotesk indicates it is without serifs.\nIt was immediately picked up by designers at Paris Match who cut up pictures of it to make headlines. Soon everybody wanted it. In due course, extra-bold extra-condensed faces for families like Helvetica began to appear, looking remarkably like the original Schmalfette. \nPhotoscript had made a lowercase version quite early on. Later, they made a less condensed version and called it Haettenschweiler Extended as a tribute to a designer whose idea so greatly affected the graphic scene in the second half of the century. Use this distinguished face in large sizes for headlines.\n
52 This face was made during the late 19th century, the same period when these high-waisted art nouveau letters were fashionable. Harrington probably first appeared in the list of fonts from Haddons, a type foundry in London. Unlike many of the other art nouveau fonts, however, Harrington came with a full character set. For some years, the need for a typeface of this kind has only been met by fonts like University Roman. Harrington deserves to be seen once again, nearly a century after it first appeared.\n
53 This font matches a font that ships with WordPerfect. This enables Word to translate any WordPerfect documents that may use these particular characters. This font is set as a symbol font.\n
54 Geoffrey Lee designed this face, first issued in 1965 by the famous Sheffield foundry, Stephenson Blake. The mid-1960s marked the height of a fashion for bold condensed faces that probably originated when Paris Match cut up prints of the Schmalfette Grotesk font, which had been drawn by Walter Haettenschweiler. Because Impact was less condensed than Schmalfette, designers often used the two fonts together as companion faces. Even without Schmalfette, you can use Impact for, well, impact.\n
55 This 1930 sans serif face has some odd angular insertions. It was designed with the spirit to amaze, rather than to inform, which you may want to keep in mind when using this typeface.\n
56 Designed by Roger Robertson in 1962 for IBM, Letter Gothic is a monospaced (fixed-pitch) typeface. This traditional sans serif design has become an ever-popular alternative to Courier, widely used in business documents.\n
57 Characteristics:\nA modern interpretation of a cursive blackletter style used for printing in the 15th and 16th centuries.\nUses:\nUse for signs, posters, menus, or any time you want a font with an antique look. \nGuidelines\nUse enough line spacing so that ascenders and descenders do not collide. Use all capital combinations sparingly; capitals were intended to be combined with lowercase only. Tightly fitted by design, so do not tighten letter spacing at text sizes. Spacing can be tightened at large display sizes. Combines well with other Lucida fonts.\n
58 Characteristics:\nVery easy to read. Text looks larger at smaller point sizes. Narrow typeface so you can fit more words on a line.\nUses:\nUse for manuals, magazines, and when you need to use space effectively, such as in text columns in newspapers and newsletters. \nGuidelines:\nAt small point sizes (8 points or less) add a few units of letter spacing. In wide columns of text, such as in books, use additional line spacing. Complementary fonts include Lucida Sans; Lucida Icons for ornament and decoration; Lucida Calligraphy combines well with Lucida Bright Italic.\n
59 Characteristics:\nIncludes math symbols in a variety of forms, spread across three fonts. These fonts contain a wide variety of mathematical symbols, including all of those recommended for mathematical publishing (except for the Cyrillic alphabet). This is also a superset of the character set used by the TeX math composition software.\nUses:\nUse to create math equations or whenever specialized symbols are required.\nGuidelines:\nCombines well with Lucida Calligraphy for mathematical script characters, and Lucida Blackletter for mathematical blackletter/fraktur characters. Many of the arrows and geometric shapes in Lucida Arrows and Stars can also be used in mathematical setting. Lucida Bright Math fonts also work well with the other Lucida fonts (such as Lucida Bright), as well as with most popular text faces, such as Times New Roman, when mathematical composition is needed.\n
60 Characteristics:\nScript font developed from Chancery cursive. Very easy to read.\nUses:\nAnnouncements, invitations, greetings, menus, placards, information labels, posters, heads, titles, text paragraphs, and personal notes and memos.\nGuidelines:\nLooks best in text with 30% 50% extra line spacing. For example, when using 12 point text, use 18 points of line spacing. Use capitals with Lucida Bright Italic. Use plain Lucida Bright capitals between initial and final Calligraphy capitals. Lucida Icons ampersands and ornaments combine well with Lucida Calligraphy.\n
61 Characteristics:\nA slab-serif font designed for telefaxing. A large x-height and generous spacing between letters makes it easy to read at small sizes. Also easy for children to read.\nUses:\nEducational printing and publishing. Use with printing methods that tend to degrade quality such as newspapers, packaging, and labeling. Use when rendering fonts at low resolution, or small sizes such as for dot-matrix printing and screen displays. Ideal for creating documents (from simple memos to complex newsletters) for telefaxing. Complementary fonts include Lucida Sans, Icons, Stars, and Arrows. Use Lucida Fax as a small size version of Lucida Bright. For example, if you are using 10 point Lucida Bright, try using 6 point Lucida Fax for notes and footnotes.\n
62 Characteristics:\nScript font developed for digital typography and desktop publishing. Readable at all sizes on screen and when printed. Can be used more successfully than most other script fonts.\nUses:\nWide range of uses including memos, greetings, announcements, placards, labels, posters, addresses on envelopes, salutations and signatures on form letters.\nGuidelines:\nLooks best with extra line spacing, from 33% 50% of the text font size. Works well with normal weights of all the Lucida styles.\n
63 Characteristics:\nLarge x-height, making it readable at all sizes.\nUses:\nWide range of uses including directories, tables, forms, memos, telefaxes, manuals, heads, titles, posters, and displays.\nGuidelines:\nAt larger sizes (14 points or more), subtracting a few units of letter spacing gives a tighter look. When using all capitals, you can use small amounts of additional letter spacing. At larger sizes, space capitals more tightly. Complementary fonts include Lucida Bright, Lucida Arrows, and Lucida Stars. Lucida Fax at smaller sizes and lower resolutions. The ampersands, interrobangs, and circled Lucida Sans numerals in Lucida Icons combine well.\n
64 Characteristics:\nDesigned as a typeface for typewriters. Monospaced. Economical in typesetting: At 10 points, it is equivalent to a 12-pitch typewriter font.\nUses\nMemos, telefaxes, commercial forms, invoices, packing lists, source-code listings, line-printer emulations, terminal emulations, and any document in which you want the text to look as if it were typed on a typewriter.\nGuidelines:\nIn lines greater than 79 characters, add extra line spacing of 20% of the font size. For example, when using 10 point text, add 2 points of line spacing. Complementary Fonts include Lucida Bright and Lucida Fax. Lucida Arrows has eight arrowheads designed for use with the box-draw characters in Lucida Sans Typewriter for constructing a variety of arrows.\n
65 Designed in 1989 by Arthur Baker for AlphaOmega Typography, Marigold is a calligraphic typeface likely to become a classic. Its narrow lowercase characters mean that more than a typical number of characters fit on a line, without decreasing readability. \nThe simple elegance of Marigold makes it suitable for invitations, announcements, and decorative headlines.\n
66 Designed around 1938, this calligraphic sans serif font contains an occasional serif. This feature imparts some distinctiveness to this upright, somewhat angular, and heavy font.\n
67 This font matches a font that ships with WordPerfect. This enables Word to translate any WordPerfect documents that may use these particular characters. This font is set as a symbol font.\n
68 Sitting on the edge of the Mediterranean during the 1950s, was the Fonderie Olive. Supplying it with type designs, from a studio filled with devoted assistants, was Roger Excoffon. The assistants were right to be devoted; the creative space he filled remains empty to this day. But among the many faces that came out of Excoffon's studio were the Antique Olive family and Mistral, which probably will never be successfully imitated. What better testimonial can a designer have? Mistral was a tour de force in metal type making, because this apparently casual script joined flawlessly (although the ragged outline helps to disguise the joins). Now it looks just as good in electronic form.\n
69 Modern No. 20 is the king of titling faces, even though in its original form it could also be used at less than 10 points. What annual report, what title page doesn't look better with this used? It has class.\n
70 A font based on the Papal script of Arrighi, in the 15th century, this was made by Elizabeth Bloop in 1990. At first glance, if you haven't got a wedding in the family, it may be difficult to think of uses for so distinctive a face, but the few chancery cursive faces that have been made available to desktop publishing have proved very popular, if only to make an occasional headline. The swash capitals may be very tempting, but you will make yourself known as a real type novice if you set two or more caps together. Nobody ever wrote in capital letters in chancery cursive.\n
71 This extensive selection of characters to enhance all graphic communications was chosen from Monotype's collection of more than 30,000 symbols, ornaments, and other special characters. It offers a wide-ranging assortment of symbolic characters which work well with any standard typeface. It is worth taking the trouble to run through this font in the Character Map applet and keeping in mind what is available. This way you are more likely to make use of one of these symbols to brighten up a message.\n
72 The diverse icons and images in this collection of symbols emphasize sports and leisure activities, with additional symbols for transportation, zodiac symbols, weather, and more. For special effects in text, you also get a full set of numbers and all-capital alphabet reversed out of black diamonds.\nTo review what's in this font, use Character Map in the Accessories group. Then keep what Sorts 2 offers in mind when you need one of these symbols to brighten up a message. Because these are TrueType characters, you can use them much like clip art, but format them to change size, apply color, and align them just as you would any other text.\n
73 This font matches a font that ships with WordPerfect. This, when used in conjunction with the Times New Roman core font, enables Word to translate any WordPerfect documents. This font is set as a symbol font and is only available in the regular weight.\n
74 The Scotch Roman faces of the 19th century were quite rightly a very popular family of faces, some being also particularly elegant. In 1938, Dwiggins made this modern design for the Linotype Company, and Caledonia soon achieved the popularity it deserved. There was a time after World War II when it was hard to find any magazine in the United States that was not set in New Caledonia. Just as Times New Roman was the most used Monotype text face, Caledonia was the staple of Linotype users. Caledonia, you will remember, is the poetic name of Scotland made famous perhaps by the couplet of Sir Walter Scott that says, "Oh Caledonia, stern and wild, moot nurse for a poetic child!"\n
75 Sans serif faces can get very boring and can be difficult to read. One of the primary reasons is that font designers cannot make many variations in the shape of a sans serif letter, particularly those like 'l', 'i' and 'o'. News Gothic MT, however, has a nice angularity that allows it to wear better than most, and you will find it a pleasant change from the other sans serif typefaces of this world. Originally designed in 1908, News Gothic MT preceded the more fiercely geometric forms of the twentieth century. This design, with its plainly stated, unselfconscious letterforms, was revived by Monotype in 1962. You'll find it useful as a text face, but it's quite nice for headlines and section headings as well.\n
76 Optical Character Recognition face extended to the regular Win Ansi character set.\n
77 With the advent of optical character recognition (OCR) systems, a need arose for typefaces whose characters could be easily distinguished by machines developed to read text. Unfortunately, a face that sufficiently distinguished between '1', 'i' and 'l' for the machine tended to look crude, if not just plain ugly. OCR-A was such a face. \nOCR-B was subsequently designed as a standard typeface that would be adequately readable by both human and machine. OCR-B is still the face that many OCR readers are happiest with. It makes a good face for advertising that needs a 'typewriter' or obvious 'computer' look. It looks good at low resolutions, too; a fax in this face leaves no room for doubt even if the image comes out badly at the other end.\n
78 There are two main kinds of what people tend to call Gothic letters: the German Frakturs and the English Blackletter. The Frakturs have an x that looks like an r with a mysterious disease, and the Blackletters have fiddly bits in the middle like those you see in this Old English Text. Little is known about the history of Old English Text, provided here by Monotype Typography, but it has been beautifully made. It looks remarkably like the famous Cloister Black designed by Morris Fuller Benton in 1904.\n
79 Many fonts look like Onyx, inspired by a font named Stephanie that the Bauer foundry issued in 1870. Onyx began its life in 1937 at the American Type Founders, and this version comes from Monotype Typography. The condensed form of this font, combined with its high-waisted letters and mixture of thick/thin strokes, evokes an elegant, formal charm.\n
80 Palace Script MT is an early twentieth-century version of an English copperplate script. Its steep incline and dramatic color variation give its letters the appearance of being engraved. In due course, you may need other script faces in your type library, but Palace Script MT is a standard that you'll find useful on a regular basis. Because of the small x-height, you'll need to use this face in large sizes, or you won't be able to read the lowercase letters. Sparing use of the capitals is recommended, lest the frills become overwhelming.\n
81 A unique font from the Filmotype library, which also provided Contemporary Brush. \nFew other typefaces look anything like Parade, made to represent casual lettering by a competent artist. Use it for invitations, announcements, and other informal communications.\n
82 One of the really great European type foundries has been Deberny & Peignot in Paris. Just as Fonderie Olive was so well served by Roger Excoffon, Deberny & Peignot was served as well in modern times by Cassandre, who designed this and many other faces. Deberny & Peignot introduced Peignot in 1937.\n
83 Perpetua Titling was originally designed for Monotype in 1931. From the 1930s to the 1950s (the last days of metal typesetting) Perpetua Titling proved very popular for contrasting headlines. You can easily find books from that era that were set with Times or Baskerville body text and Perpetua headings.\nBecause they have been designed to be used at large point sizes, both Perpetua Titling MT Bold and Perpetua Titling MT Light look best with extra space between the letters. Consider increasing character spacing so these fonts do not look too tight.\n
84 The idea of having an Egyptian face whose horizontals were thicker than the verticals seems to have surfaced only a few years after the Battle of Waterloo. Designs of this kind were given names like Italienne or, later in England, French Antique. In 1938, the Stephenson Blake type foundry revived this look, with the appropriately named Playbill, and others followed. It seems proper to start with the first and best known.\n
85 This set of typefaces may not become an important part of the corporate graphic scene. Nor should you expect to see them much used in presentations. Ransom was enthusiastically created by the Font Bureau. The best way to use the Ransom set of typefaces is to write the message in one variant. Next, change letters that appear too often by replacing them with letters from one of the other variations or by using lower case instead of caps.\n
86 Rockwell is a distinctive version of a geometric slab serif design, which has retained its popularity since its appearance in the 1930s. The slab serifs, or Egyptians, originated in the nineteenth century when they were used principally for display work. Rockwell is notable for its judiciously clipped slab serifs, and is given a particular sparkle by means of its angular terminals. In more recent years this style of typeface has been increasingly used for text setting where their even colour and visual impact can be fully exploited.\n
87 Developed as a decorative typeface in 1935, Runic Condensed has short serifs and little contrast between the thick and thin strokes. In this very condensed typeface, the x-height is large, with very short ascenders and descenders. Legible only in large point sizes, Runic Condensed capably captures a reader's attention. Use this typeface with care and in small doses for headlines, titles, and other display purposes.\n
88 Stencil faces have been made for as long as people have been shipping wooden boxes. Most of the letterforms look a bit like a softer, bolder Clarendon before lines are cut through it to allow counters (those little spaces enclosed in 'a', 'b' and other letters) to remain as counters without becoming solid blobs. Consider this Stencil face a decorative font for limited use; a little goes a long way.\n
89 There isn't a lot of humor in type design, but the face called Stop makes up for it. In 1970 Nebiolo, the best known of the Italian foundries, came up with this design, which is irresistible. It's so irresistible, in fact, that every Tom, Dick, or Harry seems to have copied it with slight variations. We have gone back to the earliest use of the idea that we can find.\n
90 A varied collection of characters mainly for use in mathematical and scientific notation. Traditionally called a "pi" or "sorts" font.\nFeatures: A good selection of characters for math, science, and common business usage. Includes upper and lowercase Greek alphabets.\nBenefits: Allows equations and formulas to be place in normal text. Greek alphabets can be used to set simple Greek words and phrases.\n
91 Designed by Stanley Morison at Monotype for The Times of London newspaper in 1932. A great communicator, it is probably the world's most widely used font.\nFeatures: Excellent readability and a narrow overall width. A very graceful and elegant, though straight-forward style.\nBenefits: Can be used for almost any application. Narrow width allows more words per line than many fonts. Will not tire the eye when reading long texts.\nUses: Newsletters, books, magazines, manuals, letters, memos, newspapers.\nTimes New Roman can be used for just about anything.\n
92 This font matches a font that ships with WordPerfect. This, when used in conjunction with the Arial core font, enables Word to translate any WordPerfect documents. This font is set as a symbol font and is only available in the regular weight.\n
93 While a student at the Zurich School of Arts and Crafts in the 1940s, Adrian Frutiger began designing Univers as a sans serif typeface. In 1957, he finished this geometrically precise typeface for the French type foundry, Deberny and Peignot. Frutiger applied strict principles of geometry to create styles compatible with each other and designed to look good when scaled to any size. \nUnivers is a good choice for titles, headlines, posters, slides, and other display purposes. It also works well for correspondence and forms.\n
94 Adrian Frutiger designed Univers Condensed to work harmoniously with the rest of the Univers family. The condensed design fits more text on a line without reducing the point size. Univers Condensed is particularly useful for spreadsheets. This workhorse typeface also makes attractive headlines, captions, and footnotes.\n
95 In the mid-1960s after banks began printing machine-readable account numbers on checks, a British font designer made an entire typeface along the same lines. No one took this typeface seriously, however, until Photoscript produced it, naming the typeface after the bank that helped Photoscript fund the font's production. Westminster was an instant hit, and the very font makers who had previously rejected the idea rushed out to commission alternative designs.\nThis is the first of those designs, and it's the best. Although you're welcome to use only the numbers (perhaps you run a bank), the rest of the face can provide a number of interesting uses at both large and small sizes.\n
96 Wide Latin has been much used and not a little abused as well. For example, more logotypes than you can shake a stick at have used Wide Latin. It has also been used with the serifs knocked off the right hand side to give a feeling of speed. Sometimes the type will be oblique as well. Do you remember the PanAm Airlines logo?\n
97 There is nothing I can usefully add over what could be said by somebody who had the glyphs in front of them. This set is a lovely wide range of pointing symbols and border pieces. Here you have a box full of images, everything from zodiac signs of the past to computer pieces from the 20th century.\n
98 Marlett is a TrueType font used by Microsoft Windows to draw scalable icons in menus. Users can select these icons to be larger or smaller than the default size. Another use of Marlett is in radio buttons, where 6 characters from Marlett are used to make the full radio button. Marlett was designed and produced by the Windows 95 User Interface and Microsoft Typography teams.\n
99 Trebuchet, designed by Vincent Connare in 1996, is a humanist sans serif designed for easy screen readability. Trebuchet takes its inspiration from the sans serifs of the 1930s which had large x heights and round features intended to promote readability on signs. The typeface name is credited to a puzzle heard at Microsoft, where the question was asked, "could you build a Trebuchet (a form of medieval catapult) to launch a person from the main campus to the consumer campus, and how?" The Trebuchet fonts are intended to be the vehicle that fires your messages across the Internet. "Launch your message with a Trebuchet page".\n
100 Designed in 1904 by Morris Fuller Benton for the American Type Founders company, Franklin Gothic was originally conceived as only one weight. Over the next several years, the ATF family was expanded to include italic, condensed, condensed shaded, extra condensed and wide variants. For some unknown reason no light or intermediate weights were ever created. In 1979, under license from ATF, International Typeface Corporation created four new weights Book, Medium, Demi and Heavy in roman and italic versions. Designed by Victor Caruso, these new designs matched the pure characteristics of the original Franklin Gothic, adhering closely to the subtle thick and thin pattern of the original ATF typeface while featuring a slightly enlarged lowercase x-height. This increased x-height which improved the typeface's appearance and readability and the availability of larger family made ITC Franklin Gothic a preferred choice when setting large blocks of sans serif text. Franklin Gothic was named by Morris Fuller Benton in honor of Benjamin Franklin, whom Benton greatly admired for his significant contributions to American history and culture, and to printing in particular.\n
101 The Verdana typeface family was designed specifically to address the challenges of on-screen display. Designed by world renowned type designer Matthew Carter, and hand-instructed by leading hinting expert, Monotype's Tom Rickner, these sans serif fonts are unique examples of type design for the computer screen.\n\nIn its proportions and stroke weight, the Verdana family resembles sans serifs such as Frutiger, and Johnston's typeface for the London Underground. \n\nThe Verdana fonts are stripped of features which are redundant when applied to the screen. They exhibit new characteristics, derived from the pixel rather than the pen, the brush or the chisel. The balance between straight, curve and diagonal has been meticulously tuned to ensure that the pixel patterns at small sizes are pleasing, clear and legible. Commonly confused characters, such as the lowercase i j l, the uppercase I J L and the number 1, have been carefully drawn for maximum individuality an important characteristic of fonts designed for on-screen use. And the various weights have been designed to create sufficient contrast from one another ensuring, for example, that the bold font is heavy enough even at sizes as small as 9 ppem, or 7pt on the screen. \n\nAnother reason for the legibility of these fonts on the screen is their generous width and spacing. \n\nAt low resolutions, because of the limited number of pixels, letters cannot differ very much. But often the smallest differences can often change the whole look of a page, or a screen full of type.\n
102 Designed in 1996 by Matthew Carter. Georgia is the serif companion to the first Microsoft sans serif screen font, Verdana. It was designed specifically to address the challenges of on-screen display and hand-instructed by leading hinting expert, Monotype's Tom Rickner. Georgia was jokingly named after a tabloid headline "Alien heads found in Georgia." If you must have one serif face for reading on a computer, then you've found the best one right here.
103 Tahoma is one of Microsoft's new sans serif typeface families. It consists of two Windows TrueType fonts (regular and bold), and was created to address the challenges of on-screen display, particularly at small sizes in dialog boxes and menus. \n\nSince the Tahomas are TrueType fonts, they can be rotated and scaled to any size, and anti-aliased by the rasterizer built into Microsoft Windows 95 and Microsoft Windows NT 4.0. These features give the fonts significant advantages over bitmap system fonts such as MS Sans Serif. \n\nDesigned by world renowned type designer Matthew Carter, and hand-instructed by leading hinting expert, Monotype's Tom Rickner, Tahoma sets new standards in system font design. It is ideal for use in User Interface Scenarios and other situations requiring the presentation of information on the screen.
104 Designed for Adobe by Robert Slimbach, this face was based on classical old style types from the late Renaissance period. A sturdy text face available in a wide range of weights and including some swash characters and ornaments.
105 Designed for Linotype by Robert Norton, Else is a transitional style face with large x height and very short descenders. The serifs are quite long and lightly bracketed. The rather narrow proportions of this face make it an economical choice for text setting.
106 ITC Beesknees« was created in 1972 by David Farey, a British graphic and type designer. Influences for Mr Farey's type designs tend to be American, and Beesknees is no exception. He credits Pushpin Studio, Peter Max, Bob Zoell, and the Marx Brothers for much of the inspiration in this design. Farey has long admired both the cinematic humor and typographic titles of the Marx Brother films. Originally, the face was to be called "Horse Feathers" or "Monkey Business" after the famous Marx Brothers films. "Monkey Business" stuck for a short while, but it was later shortened to just "Business" and soon thereafter became "Beesknees." Since it is a caps-only face, Mr Farey claims that in reality it should have been named "Half-a bee," or perhaps "Knees." A former employee of the Letraset design office, Mr Farey is the managing director of the London design shop, Panache Graphics.\n
107 ITC Blaze"! is a traditional brush script with a vigor not found in many other designs. The powerful swash characteristics found in letters like the 'D' and lowercase 's' give distinction and vitality to the typeface. ITC Blaze is also space-economical, making it an ideal script for headlines and other display uses. Released in 1995, this typeface was designed by California native Patty King, who attended the College of Marin and the California College of Arts and Crafts. King, who has pursued a career in graphic design, has specialized in lettering for the last 17 years and is an accomplished fine artist whose work is greatly influenced by the art and style of the Impressionists.\n
108 ITC Kick"! is a bold brush script with a sense of energy. This calligraphic font is both stylish and graceful. The sharp contrast of stroke weight imparts dynamism and enthusiasm to the letterforms. Headlines set in ITC Kick achieve a sense of timeliness. Released in 1995, this typeface was designed by California native Patty King, who attended the College of Marin and the California College of Arts and Crafts. King, who has pursued a career in graphic design, has specialized in lettering for the last 17 years and is an accomplished fine artist whose work is greatly influenced by the art and style of the Impressionists.\n
109 ITC Bodoni Brush"! is a fanciful design suitable for publicity posters and other designs requiring instant impact. It was released in 1996 and was designed by Englishman John Viner. Viner learned the craft of brush lettering during the late 1940s while he was working at a firm that produced posters for the Gaumont and Odeon cinema circuits. After serving in the Royal Air Force, he moved to London and worked as a lettering and general artist in print studios which produced artwork for major advertising agencies. In the mid-1950s, he worked for a time at London's Savoy Hotel in a somewhat different capacity as a wine order clerk. It was his good fortune that the wine and in-house print departments were run by the same manager, and he was asked to produce posters to promote performances of the Savoy Cabaret. For this work he devised a style of brush lettering based freely on the original Bodoni typeface, and it is this style which he has now developed into ITC Bodoni Brush.\n
110 ITC Juice"! was conceived and drawn by David Sagorski and represents the creative ability and humor of this inventive designer. Sagorski was born in Kansas, but moved to southern Florida where he studied at the Art Institute of Fort Lauderdale. This typeface shows the clear influence of cartoon graphics of the 1960s and 1970s. While visions of Gerald McBoing-Boing"! or the Jetsons"! may come to mind, such associations should not be limited to 'period' or animated graphics. Released in 1995, ITC Juice has a subtle sophistication underneath its funky exterior and is space-economical.\n
111 ITC Snap"! was conceived and drawn by David Sagorski and represents the creative ability and humor of this inventive designer. Sagorski was born in Kansas, but moved to southern Florida where he studied at the Art Institute of Fort Lauderdale. This typeface shows the clear influence of cartoon graphics of the 1960s and 1970s. While visions of Gerald McBoing-Boing"! or the Jetsons"! may come to mind, such associations should not be limited to 'period' or animated graphics. Released in 1995, ITC Snap has the strength of Superman rippling beneath its angular forms and Latin serifs, and is an ideal design for headlines that demand attention.\n
112 ITC Matisse"! was born out of an editorial layout that Gregory Gray was designing for Madame Figaro, a supplement to the Figaro newspaper published in Paris. While working on a special issue featuring the work of Matisse, Gray fashioned his typeface out of paper with an X-Acto knife, and then scanned these cut-outs into a computer. While Gray does all the calligraphy for captions in Madame Figaro, this was his first full typeface design. Like the Matisse cut-outs on which this typeface is based, ITC Matisse seems to dance along the page. Gray included many alternate characters for letters that lend themselves to several versions. The spirit of this type design also comes in part from Gray's passion for African art, with its extreme contrasts from flat areas to protruding surfaces. Gray envisions ITC Matisse for offbeat display uses, as initial caps, or for music-related designs projects like CD covers. ITC Matisse was released in 1996.\n
113 Phill Grimshaw developed an interest in type design while studying for his master's degree in design at the Royal College of Art in London between 1972 and 1975. Grimshaw claims that every calligrapher's aspiration is to render Roman capitals perfectly with a pen, but admits that it is very difficult to do. For ITC Tempus"! he used a fountain pen on cheap, porous paper, and as you would expect, the ink bled. The resulting letterforms are classically based, but have rugged edges, so they deviate from the 'preciousness' of hand lettered romans. Released in 1996, ITC Tempus is a parody of a classical roman design. It is dictated by proportions, particularly those of capitals. The lowercase is somewhat loose and uninhibited. "Tempus Sans is just Tempus with the serifs surgically removed," Grimshaw says. "Yet the proportions of the characters work nicely." Because of its toughness, the typeface works best at larger point sizes, yet maintains its characters when set at small sizes. You might consider it a "punk roman" that works where a roman face is desired, but the fine edge is not.\n
114 ITC Eras« is a sans serif with unusual style, thanks to its slight forward slant and subtle variations in stroke weights. As with most contemporary typefaces designed for film typography, ITC Eras has a comparatively large lowercase x-height as well as excellent letter fitting characteristics. The inspirations for ITC Eras are twofold: Greek stone-cut lapidary letters, and Roman capitals. The result is at once a linear emphasis and a blend of sharp angularity and broad curves. The combination of wide curves and close letterspacing emphasizes the large open areas, the inner forms of the letters. ITC Eras is not a precise, geometric face. It appears spontaneous, like a 'serif-less' written script, particularly in its slight forward slant and its compound characters. This touch of style enhances the commanding appearance of its capitals which can also function as a titling face. French designer Albert Boton created ITC Eras in collaboration with the late Albert Hollenstein, also of France.\n
115 American graphic designer Ron Zwingelberg created Rage"! in 1984. This popular style is one of the first casual brush script styles with a rough textured edge. The lower case letters can be linked up and are supported by a set of initialing capitals. These capitals are designed to be used as the first letter of a word. Rage Italic is an ideal choice where a spontaneous pen on parchment look is required.\n
116 ITC Bodoni"! was a labor of love that stretched across the Atlantic Ocean. For many years, ITC wished to create a true Bodoni revival that accurately represented Giambattista Bodoni's rich stylistic palette. In 1990 ITC determined that the time was right and they assembled the design team of Janice Prescott Fishman, Holly Goldsmith, Jim Parkinson, and Sumner Stone to work on the project. Members of the team traveled to Parma, Italy, to examine and photograph Bodoni's original steel punches. They also visited the Museo Bodoniana and examined numerous specimens from the "Manuale Tipografico", a collection of Bodoni's type design work published posthumously by Bodoni's widow in 1818. Employing the contrasting thick and thin strokes noted in all renditions of Bodoni, ITC Bodoni also features size-specific designs that Bodoni used, including a weight specifically designed for small captions and settings, a version specifically for text setting, and a display design patterned after Bodoni's 72-point "Papale" font. ITC Bodoni was released in 1994.\n
117 Designed by an Austrian commercial artist who was trained as a compositor and later taught typography and drawing in Vienna. The idea for this script face came from the study of plants, individual letterforms being inspired by the long stems and furry heads of the reed. Forte is a strong design which contrasts well with sans serif faces and classical modern types. Use in advertising, flyers and labels.
118 Eric Gill studied under the renowned calligrapher, Edward Johnson, the designer of the London Underground sans serif typeface. This influenced Gill who later experimented with sans serif designs, and in due course produced a set of capital letters. These became Monotype series 231, produced in 1928, and the forerunner of the extensive Gill Sans range now available. Gill Sans is a twentieth century sans serif with a simplicity of form which does not reject traditional forms and proportions, and gives the face a humanist feel. The lighter weights are highly readable in text and suitable for magazine and book work, whereas the heavier weights are best used for display in advertising, packaging and labels.
119 Imprint holds a special place in the Monotype typeface library. It was the first typeface designed specifically for mechanical composition. Commissioned by E Jackson, E Johnson, J Mason and G Meynell for a new periodical, entitled The Imprint, which they were planning. Described later as "a modified old style with a Caslon old face motif". The more archaic features of Caslon were dropped, the weight was increased but certain old face characteristics were retained. The magazine for which Imprint had been commissioned was short lived but the typeface became popular and widely used for book setting. Imprint was also to influence many later book face designs.
120 Felix Titling, Monotype Type Drawing Office 1934.\nA titling font consisting of capitals, figures and punctuation. It is based closely on an alphabet developed by the Veronese calligrapher and painter, Felice Feliciano, which appeared in 1463 in his treatise on Roman inscriptions. The original is preserved in the Vatican library. It has the proportions of an inscriptional letter and is somewhat geometric in character, designed to look at its best in large sizes, where both its detailing and classic proportions can be seen to best effect.
121 French Script, Monotype Type Drawing Office 1989.\nA reproduction of the common French scripts of the nineteenth century. Cut by Stephenson Blake in 1905, by the Inland Type Foundry and later by American Type Founders. An upright script with flourished capitals and joining lowercase. Use for invitations, greetings cards and announcements.
122 Mead, Steve Matteson.\nSteve Matteson, when not working at Monotype's Palo Alto, California facility, is always working on his own typeface design projects. Mead is a casual typeface with a controlled spontaneity that still offers legibility needed for long documents.
123 Mercurius Bold Script, Imre Reiner 1957.\nThis alphabet was drawn by Imre Reiner with a pen cut from bamboo cane. It is a dramatic script with an angular and irregular design. The informal nature of this typeface makes it suitable for display work, especially where one might wish to suggest the intervention of an artist's hand, mind or eye.
124 Perpetua, Eric Gill 1931.\nA sensitive adaptation of a style of letter that had been popularized for monumental work in stone by Eric Gill. Large scale drawings by Gill were given to Charles Malin, a Parisian punch-cutter, and his hand cut punches were the basis for the font issued by Monotype. The incised quality of Perpetua will lend distinction to any work compatible with its serenity. First used in a private translation entitled "The Passion of Perpetua and Felicity"; the italic was originally called Felicity. Widely used as a text face in quality books, Perpetua is also very popular in advertising and display work.
125 Placard Condensed, Monotype Type Drawing Office 1937.\nBased on drawings received from Germany, these narrow, heavy, sans serif typefaces were made for use in headlines and advertising display work. They have large x heights, short ascenders and descenders and are capable of packing very tightly to produce forceful publicity work.
126 ITC Bradley Hand"! is an informal script face based on the handwriting of British designer Richard Bradley. Warm and familiar, ITC Bradley Hand has a relaxed rhythm typical of handwriting and lends a personal touch to computer generated copy. Bradley, who has been a lettering artist, type designer and studio artist for close to 30 years, has devoted much of his work to Christian literature, and has designed typefaces for scripture verses placed on panels or walls. With ITC Bradley Hand, he has created a friendly, everyday typeface that humanizes the look of digital text. Released in 1996, ITC Bradley Hand is available in regular and bold weights. \n
127 ITC Viner Hand"! is an informal script face that is based on the handwriting of British designer John Viner. Viner learned the craft of brush lettering during the late 1940s while he was working at a firm that produced posters for the Gaumont and Odeon cinema circuits. After serving in the Royal Air Force, he moved to London and worked as a lettering and general artist in print studios which produced artwork for major advertising agencies. Released in 1996, ITC Viner Hand has a relaxed rhythm typical of handwriting and lends a personal touch to computer generated copy. \n
128 Curlz was designed by Steve Matteson and Carl Crossgrove in 1995. For a unique, festive touch, add a little Curlz to posters, flyers, invitations, menus and tee shirts.\n
129 Designed by Steve Matteson, this is one of a set of versatile art fonts from Monotype. As you may have guessed from the name this is an astrological font containing all the signs of the zodiac and lots of other goodies as well. Great for instant illustrations, icons or bullets.\n
130 Designed by Carolyn Gibbs, this is one of a set of versatile art fonts from Monotype. Pieces of pie, a cup of tea, ice cream, lots of pictures to make your mouth water. Great for instant illustrations, icons or bullets. \n
131 Designed by Steve Matteson, this is one of a set of versatile art fonts from Monotype. When you need to tell someone where to go, and need an appropriate arrow, this is the font for you. Almost every possible direction in various different styles. Great for instant illustrations, icons or bullets. \n
132 Designed by Carolyn Gibbs & Steve Matteson, this is one of a set of versatile art fonts from Monotype. For readers from England this font's name will conjure up pictures of suntan lotion, sunglasses and ice creams by the seaside. But in America that is a vacation. This font is all about Halloween, Valentine's day, Easter etc., which American readers refer to as holidays. Great for instant illustrations, icons or bullets. \n
133 Designed by Joshua Hadley, this is one of a versatile set of art fonts from Monotype. If you need to illustrate any of the keys on your keyboard then this font will save you a lot of work. It has drawings of all the keys you might need from both Macintosh and standard keyboards. Great for instant illustrations, icons or bullets. \n
134 Designed by Carolyn Gibbs, this is one of a versatile set of art fonts from Monotype. Great for instant illustrations, icons or bullets. \n
135 Designed by Carolyn Gibbs, this is one of a versatile set of art fonts from Monotype. Recycled, No Parking, Fire Extinguisher and lots of other useful symbols that can save you time and effort. If you need to add a familiar symbol to your document make sure you have a look in this font first. Great for instant illustrations, icons or bullets. \n
136 Designed by Steve Matteson, this is one of a versatile set of art fonts from Monotype. This font will be extremely useful if you are about to do the artwork for a travel brochure or the map of a camping site. It consists of stylized simple silhouettes that can make great instant illustrations, icons or bullets. \n
137 Designed by Carolyn Gibbs & Steve Matteson, this is one of a versatile set of art fonts from Monotype. Trains, planes and automobiles, not to mention a submarine in case you ever need one as a form of transport. These are clear and simple silhouettes of various things that might move you, plus a picture of an anchor for some reason. Great for instant illustrations, icons or bullets. \n
138 Designed by Carolyn Gibbs & Steve Matteson, this is one of a versatile set of art fonts from Monotype. Just like the Sports Two MT font this is a selection of sports related illustrations. However, this covers some more unusual sports or recreational activities like roller blading and surfing. These symbols are also more illustrative, less formal than Sports two MT. Great for instant illustrations, icons or bullets. \n
139 Designed by Carolyn Gibbs & Steve Matteson, this is one of a versatile set of art fonts from Monotype. If you have just been handed the job of putting a flyer together for a local sports event, then this font has a large selection of sporting icons that will brighten up your document and make your life easier. Great for instant illustrations, icons or bullets. \n
