This CD-ROM has 141 different fonts. There are four different font formats available.
Mac Postscript Type One
Mac TrueType
PC Postscript Type One
PC TrueType
This just shows you the fonts and gives some background to usage.
How to use this access stack:
This is the main card and allows you to select fonts by family name to see how they look and get some background on each.
You may also go through each font family alphabetically by clicking on the right and left arrows (in the gray box.) The font families follow this card in alphabetical order. The rounded arrows (in the middle of the gray box) will take you back to this card.
About the organization of the CD-ROM:
* The fonts are organized into font families (a grouping of related fonts.)
* The fonts are organized into 4 available formats.
* For the Macintosh we have also organized each format of fonts to speed installation with Suitcase or other font utilities.
Wayzata Technology
21 Northeast Fourth St.
Grand Rapids, MN 55744
(218) 326-0597
(800) 377-7321
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Amphion
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BERNADETTE Bernhard Modern, the model for Bernadette, is one of a wide variety of faces that bore the Bernhard name. It is modern only in the sense that it adopts the vertical shading of Bodoni's faces, as opposed to the diagonal stresses in Garamond and other "old faces" that preceded Bodoni. It also retains the tall ascenders of Bodoni and his predecessors and even exaggerates them to create a sense of old-fashioned elegance. The consequently short x-height is further emphasized by the generous width of the lowercase. These characteristics make it inefficient in long texts but demand attention in shorter ones by defying the current fad for relatively condensed faces with large x-heights.
Styles available: 4
Regular, Bold, Italic,
Outline
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Arena
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BITMAP deliberately introduces jaggies into its tall, svelte letterforms to suggest monitor-display associations. At the same time, these proportions prevent any literal association with screen dumps. Use the face when you want to imply high fashion and sophistication as well as cyber-life, reminding your reader that the two are not mutually exclusive after all.
Styles available: 2
Regular, Wide
Avian
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BOOKPLATE is our version of the classic Bookman family, derived in the mid-Nineteenth Century from the Old Face of William Caslon. It is a little less fussy than Caslon's, though the "Q" goes in the opposite direction, and is darker in color. It is characterized by short ascenders and descenders, which gives it a sturdy quality. Though intended as a text face, it can become oppressive in long texts if it is carelessly handled, and today it is more commonly used for headings.
Styles available: 4
Regular, Bold, Italic, Bold Italic
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BorderBats are collections of designs that can be used together to make borders across or around your body text. You'll want to use Window's Charmap (or Macintosh KeyCaps) so you'll have a reference to the different designs and their character positions. Side-to-side, characters within a family will easily butt-up against each other to provide a continuous design, but to do so vertically you may have to tell your word processing software to use "fixed-size" line spacing.
Styles available: 3
Filligee, Fleur, Geo
Basset
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BRAILLE Louis Braille lost his vision at age three as the result of an accident About 150 years ago he invented a character set consisting of a matrix raised bumps that could be felt and "read" by the blind. Since only a limited combination of these bumps are possible, Braille has fewer characters than text sets, but this limitation has not prevented Braille's use for printing music, as well as text. Our Braille, used with any of the familiar sorts of computer printers, will not produce the bumps necessary for touch-reading, of course. But otherwise the character set faithful reproduces the patterns of the standard braille character set.
Styles available: 1
Regular
Bordeaux
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BRUSH FLASH, like most scripts, is intended for use in texts that combine upper- and lowercase characters, even though it is logically used for titling. It a more relaxed and easygoing style than some other brush scripts, but despite its informality it presents a neat and consistent "hand." The simplicity of the figures further adds to its unassuming legibility and help to retain a friendly feeling that more imposing scripts generally miss
often by a very wide margin.
Styles available: 1
Regular
p<0x>
Boston
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CASQUE
The greatest of English typefounders (before this century, at least) was surely William Caslon. Unlike his Scottish near-contemporary, Baskerville (who was somewhat younger), Caslon went back to pre-Bodoni models almost exclusively for his inspiration. The result was a series of Caslon typefaces in the early 1700's that became the model for subsequent "style" designs. Our Casque follows it closely. It is valued for its combination of ruggedness and grace and has been widely used as a text face from Caslon's day to our own. Also included is Casque Open Face, an old-style intended for setting large display elements without overwhelming the lightness and delicacy of the smaller types that accompany it.
Styles available: 5
Regular, Bold, Italic, Bold Italic,
Open Face
Brush
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CHECK NUMBERS gives you the characters that are printed in the semi-cryptic code at the bottom of checks. Without magnetic inks, they cannot be read by bank scanning equipment, of course. So unless you are having checks printed according to the full spec, its use will be limited to simulating the look of a bank check. The characters are obligatory, for example, when you want to suggest what a winner's check will look like in a mailing piece for a give-away campaign.
Styles available: 1
Regular
Casque
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Clearly Gothic is based on Clearface Gothic and is a sans-serif face designed specifically to complement Clearly Roman (or Clearface). The Gothic is available in eight varieties, affording the typographer a subtly varied palette of sixteen gradations when it is used together together with Clearly Roman.
Styles available: 4
Regular, Bold, Italic, Bold Italic
Chancery
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Clearly Roman follows the lead of Morris Benton's Clearface of 1911. It is compact, with a somewhat condensed proportion in the capitals and moderate x-height in the lower case. At the same time, it is designed for easy legibility, as the name implies. Benton's design in some ways prefigures Times New Roman, introduced four years later. In today's world, however, Times is so widely used that the earlier design looks fresh and new by comparison, while its relatively tall ascenders lend an added elegance.
Styles available: 4
Regular, Bold, Italic, Bold Italic
Civic
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CODE-USPS If you do mass mailings, you're surely aware of the U.S. Postal Service bar coding that, placed on the envelope, can cut costs by permitting Post Office automation to perform optimally. Well, here is the code
digits only, of course, because it codes only the zip of the addressee
ready for you to use when you build your own direct-mail empire. Use the "@" key to create the stop and start codes.
Styles available: 1
Regular
Cookie
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CODE 3 OF 9 This popular bar-code format can be used for identification of anything accessible to a bar-code reader
not only for product labels, but for inventory-control systems and routing logistics among many potential applications. It contains only the characters valid for that bar code; use the "@" or "*" key to get the start/stop position code.
Styles availble: 1
Regular
Cornet
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COMIX obviously evokes the sort of lettering used for funny-paper dialog "balloons," though the bold version looks more as though the characters were snipped from dark colored paper. The "lower case" characters actually are variants of the upper case, so you can get more variety, and thus a more convincingly hand-lettered look, by intermixing the two, particularly where letters are doubled or otherwise appear more than once in the same word.
COMIX HIGHLIGHT is patterned after Bertram, a 1936 design. The basic letterforms are not radically different from those of many "hand-lettered" all-caps fonts, but the suggestion of relief and shadow set them apart from others of the sort. It's a good font for grabbing attention rapidly in posters or ad headings.
Styles available: 3
Regular, Heavy, Highlight
Cricket
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COMPOSER is a musical notation font based on Sonata. It is intended primarily for use with music composition software and MIDI programs, and while seemingly random, actually has its characters and symbols in the positions where such software expects to find them. Musical notation is far more standardized than verbal fonts, of course. Composer follows modern practice in offering forms that enhance legibility by being at once cleaner and zestier than was the rule a century ago.
Styles available: 1
Regular
Daniela
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COMPSTYLE was inspired by MICR, the typeface in which bank and account numbers are printed, in magnetic ink, on check blanks. While the original comprises only numerals and a few symbols, Compstyle offers a full character set and has been redrawn for legibility by human eyes, rather than bank equipment. At the same time, it still suggests the high-tech associations of the originals.
Styles available: 1
Regular
FormalScript
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CUT-AND-PASTE is not alone in mixing fonts for a deliberate collage effect, but it is among the most amusing and the most literal in representing the scraps of paper from which such collages are assembled. It's great for headlines where the subject matter supports it. But, like almost any novelty font, it can overstay its welcome if you use it too liberally. Enjoy
with restraint.
Styles available: 1
Regular
Fritz
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Digiface apes the segmented letterforms of LCD (liquid-crystal diode) readout panels. It thus is an excellent choice for representing the messages that can appear on the control panels of a wide variety of high-tech hardware, from laser printers to CD players to automatic cameras. If you ever have occasion to write owner's manuals for such equipment, keep Digiface handy.
Styles available: 2
Regular, Italic
Dingbats
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The name is associated with the contemporary designer Hermann Zapf, whose Zapf Dingbats are the basis for this font and have been a staple of digitized type. Actually, the word has been used by other designers as well to include what traditionally were called "printer s flowers:" the little flourishes and decorations that have formed borders and cartouches in all sorts of display printing from title pages to handbills since the days of Claude Garamond.
Styles available: 2
One, Two
Futurist
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ERGOE MILD
One of the most original designs of recent decades, Eras was produced by a Paris studio in 1969 for photolettering. Neither a true roman nor a true italic (or oblique), it splits the difference between them with a slight slant that lends urgency to whatever text is set in the face. Ergoe follows the lead of Eras fairly literally. Ergoe Mild, however, combines that slant and the basic Eras letterforms with subtly flared terminals similar to Hermann Zapf's Optima for added elegance and improved legibility. You won't find the equivalent of Ergoe Mild elsewhere
Styles available: 4
Regular, Bold, Italic, Bold Italic,
Garnet
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EUROSE
The derivation of this face from the very popular Eurostile (aka Microstyle), designed by Aldo Novarese, will be immediately apparent to most users. The distinctive squarishness of the letterforms has made it a hit for advertising applications, particularly in the heavier weights and in the extended form (as in Eurose Wide). At the same time, the rather severe elegance of the lighter weights has made Eurostile popular among art publishers. While it is not suited to long texts, it works very well in subheads and captions.
Styles available: 4
Regular, Bold, Italic, Bold Italic
Ghouly
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Fleurish Script, while similar in both appearance and appropriate uses to WSI's Formal Script, is based on a somewhat later model. For instance, Formal Script follows the Spencerian model in its "r," but Fleurish adopts the flat-topped "r" used by most Americans in their own handwriting. The flourishes in the capitals and the strict regularity of the lowercase, however, maintain the face's formality; use it only where dignified aplomb is called for.
Styles available: 1
Regular
Gilde
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FUNSTUFF, based on Remedy by Judith Sutcliff, is a totally whimsical "hand-lettered" face that clearly tells your readers "I don't take myself too seriously, and you shouldn't take me too seriously either." Though it has roots going back to the 1940s, it is very contemporary in feeling and represents a characteristic thrust of stylish typography in our time.
Styles available: 2
Regular, Bold
Giligan
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FUTURIST is modeled on Futura, one of the Art Deco sans-serif faces. As such, it is more geometric in feel than the sans-serifs developed after World War II. Futura was designed by Paul Renner in 1927. Although it is only one of many Deco faces that adhered to strictly geometric letterforms, it is a classic that has remained popular to this day while many of its rivals either went into temporary eclipse in the post-war era or have disappeared altogether.
Styles available: 6
Condensed: Regular, Bold, Italic, Bold Italic,
Fixed Width, Fixed Width Bold
pc838
x da
Grail
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GARNET
The type of Claude Garamond, on which Garnet is based, is the equivalent of an "all-time all-timer" on the old Your Hit Parade show: a creative product with an astonishingly long run of popularity. It is as well loved today as it was at any time in the four-and-a-half centuries since Garamond cast his type. After all that time, many variations have crept into the design, and Garnet follows modern practice in designing for a significantly larger x-height than was the rule in Garamond's day. This makes it possible to set text at smaller point-sizes without losing legibility.
Styles available: 4
Condensed: Regular, Bold, Italic, Bold Italic
tF">6
y02~s&f
y32~s&f
Graverplate
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GECKO is a shadowed "brush-lettering" font based on a design called Riccardo, originally issued by the Haas foundry. It is strong and informal, a fine choice for banner headlines in advertising layouts and newsletters where you want a "just among us folks" feeling.
Styles available: 1
Regular
Hammer
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GLYPHICS comprises two stylized fonts in one. Both share a single angular freehand style, based on the typeface known as Flintstone, but the "lower case" characters are glyphs or symbols, rather than characters as such. Many bear a graphic relationship to the characters whose keys they occupy
for example, the "c," "d," "e" and "f"
but this is more a mnemonic device than an invitation to cryptic lettering. Still, the face as a whole conveys a sense of deriving from some mysterious primitive culture.
Styles available: 1
Regular
Hobby
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Griffon is basically a conservative face with understated serifs that give it almost a sans-serif look at first glance. But one aspect of the design
based on a font called Dragon
is downright radical: the uppercase is much shorter than the lowercase ascenders. So it's moot whether the x-height is large (as compared to the caps) or small (as compared to the overall lowercase height). This ambiguity keeps the reader slightly off-balance and adds subtly to the interest of the reading process.
Styles available: 4
Regular, Bold, Italic, Bold Italic
r?>yG
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JOLT obviously is designed to suggest electrical current
not excluding lightning. Use it to give your reader a jolt as well. This is the sort of novelty face that perhaps is best saved for a single word or, at most, phrase to add special emphasis and meaning in what otherwise would be a typographically staid, conventional head.
Styles available: 1
Regular
Kabob
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KABOB
Based on the bolder weights of the geometric sans face Kabel, which itself was basedon a 1927 design by Rudolf Koch, Kabob is a fairly straightforward example of a face in the Art Deco style. Though the lighter weights of Kabel are characterized by relatively tall ascenders, the heavier weights in effect enlarge the x-height to keep the lowercase legible. It is appropriate for titling or for break heads that must stand out from the mass of type around them.
Styles available: 4
Regular, Bold, Extrabold, Black
KeyCaps
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KEYCAPS
An original, this face is intended for computer hardware and software manuals, to illustrate stroke procedures. Somewhat similar fonts have existed for many years for use in texts that teach typing and related skills, though few had comparable finesse. Since legibility, as such, is not the point of such a font, it should be saved for those contexts in which it is clearly to the point and its suggestion of the computer keyboard contributes materially to the intended effect.
Styles available: 1
Regular
KingTut
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KING TUT is a charming pair of fonts for which, frankly, I can't think of a single practical use. No matter. Whether you simply use them as arcane doo-dads to leaven your page or indulge in encoded messages by setting in King Tut a note to a comparably equipped typeophile, they are great fun to have around.
Styles available: 2
One, Too
Lapland
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LAPLAND
Lubalin served as the model for the present example of a square-serif typeface (formerly known as "egyptian"
though at an even earlier date that term was used for sans-serif). It is fairly typical of the genre, which trades subtlety for a rather stentorian way of presenting its content. As a result, it is better suited to headings than to text, though sometimes it is used in solid blocks for the sake of the coarse texture it creates.
Styles available: 4
Regular, Bold, Italic, Bold Italic
LINUS SCRIPT and TEXT
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LINUS SCRIPT and TEXT are based on the long-familiar Linoscript and Linotext faces. The "script" suffix needs no explanation. In this context, "text" does not mean "as opposed to display." Also called "old English" (though it is neither), this sort of text face takes its name from the German word "Textur," which specifies the Germanic black-letter fonts that trace their lineage back to Guttenberg. Text faces, though much more recent in origin, are used most often where an academic or antiquarian flavor is desirable.
Styles available: 2
SCRIPT and TEXT
LITHE
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LITHE is a clean, geometric sans-serif with an open, comfortable stance that keeps it from projecting an excessively mechanical feeling. The incomplete closure of the bowl on the "P" (similar to that in Hermann Zapf's Palatino) is repeated in the "B" and the "e." Other unusual details include the treatment of the "J" and the play of rounds ("5," "6") vs. ovals ("0," "2") in the figures.
Styles available: 4
Regular, Bold, Extrabold, Light
MARACA
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MARACA will immediately be identified by most digital typographers as one of the new "Taco-Bell" wave of irreverently playful and extremely informal "hand lettering" faces. It works perfectly used that way. But, you know what? It actually is based on a 1934 design of R. H. Middleton, called Mambo.
MARACA EXTRAS, designed primarily for use with Maraca, includes a matching set of playfully Latin-American icons and initials. You can construct brief heads from the initials, since there is a matching space character, but keep it very short if you do. You can also use these initials as decorated drop-caps
either in a short text set in Maraca or combined with a conventional text face.
MARKING PEN is not unlike several relatively condensed "hand-lettered" faces, but with one characteristic difference: the slight exaggeration of terminals, which is typical of felt-marker lettering. It is both exceptionally regular and clear and, at the same time, an exceptionally convincing simulation of hand lettering. This combination of factors recommends it for all sorts of applications where an ad-lib immediacy is desirable.
Styles available: 3
Regular, Thin, Heavy
Minstrel
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MARQUEE MIEUX, like WSI's earlier Marquee, is an art deco display font. The letterforms are different, however. Marquee Mieux is more individual and stylish, not only because of its more complex use of fine-line detail, but also because of its stronger, more inventive shapes. For example, the 3 and 5 both have surprisingly large "bellies" to balance the fine line in which the lower portions of these characters are executed.
Styles available: 1
Regular
NeonCaps
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MUSIC HALL is an unabashed return to the Victorian era, with its delicate curlicues and its insistence that decorativeness is, in some contexts, more important than utility. It is based on the black-letter ("old English") typefaces, but with a penchant for linear adornments that the Germanic originals don't even hint at. It also is exceptionally condensed of its type, making it appropriate where a monogram-like quality is desirable. WSI is the first commercial collection to produce and offer such a clean digitization of this style face.
Styles available: 1
Regular
} EY
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Olivia Antique, as any typeophile will recognize immediately, is based on Antique Olive
named after its original type-foundry, not the martini condiment. The "Antique" presumably refers to the sans-serif design, often called "grotesk" and thought of as a crude, rudimentary sort of alphabet in the face's native Germany. Paradoxically, the subtle modernity of this specific design is what has made it such an enormous success, particularly for ads and catalogs.
Styles available: 6
Regular, Bold, Italic, Bold Italic,
Black, Black Italic
`><x`
OldEnglish
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Pageclips obviously plays with paperclip shapes in the letterforms and is based on a face called Paperclip. It is intended as an amusing novelty face for headings in press releases or notes of any sort where the idea of clipping your page to some other, possibly less ephemeral publication is appropriate.
Styles available: 1
Regular
Optane
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PC CharSet will be welcomed by anyone who has to print straight ASCII texts from Microsoft Windows, which assumes the ANSI character mappings in place of the original IBM extended ASCII set. The face is monospaced, like a typewriter face, and includes all the IBM line-drawing characters, so shareware documentation and similar texts will print as their writers intended.
Styles available: 1
Regular
Oracle
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PENYAE
Among sans-serif type faces that break the rigidly mechanistic mold of their ilk by introducing very individual traits, Penyae and its inspiration, Peignot, are among the most elegantly extreme. Very French-modern in feel, its deft mixture of upper- and lowercase letterforms gives this design a special chic that suggests the most sophisticated boutiques of the Grands Boulevards.
Styles available: 1
Regular
Palisade
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PLAYING CARDS essentially has one use and only one: to explain card games. If you need to do that, you will be hard put to find any alternative computer font. To that extent, the clarity and attractiveness of the present design are beside the point. If you don't have it, you probably won't have anything.
Styles available: 1
Regular
ParkPlace
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QUARK obviously apes the appearance of bent, chrome-plated steel rods. It cleverly suggests everything from classic "moderne" furniture to those multilink puzzles that used to be a staple item in Christmas stockings. For most typographers the face probably will be more at home in advertising than elsewhere, but the truly creative always find inventive ways of defying such rules.
Styles available: 1
Penyae
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RELIEF SERIF is a way of making your words appear to be "cast in stone," so to speak. The delicacy of the line structure lets you run the face in very large point sizes without ponderousness. The classic proportions and detailing of the letterforms add to the sense that the words set in Relief Serif carry as special authority. The face also serves as an effective foil for type elements set in much smaller, blacker faces.
Styles available: 1
Regular
Pixel
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REVEL
The model for this face is the 1955 Revue design of Aldo Novarese, one of the early successful attempts to vitalize a modern, bold sans-serif by infusing it with a wealth of individual and even eccentric detail. If the name Revue suggests the music halls of the Place Pigale, the association is consistent with the face's exhibitionism. It can be very effective if used sparingly in the right context.
Styles available: 1
Regular
@`D "
Protege
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RIBBONS
The design for Ribbons can be traced back to Victorian times to a typeface called Ribonette, though a similar face by David Rakowski has been popular recently among Macintosh users. The busyness of its "ribbon" background adds to interest but not to legibility, so use it sparingly. Note that the curly-bracket keys
"{" and "}"
produce a beginning and an end, respectively, for your ribbon, while adding an equal number of spaces to the left and right of your text will lengthen the ribbon and keep the text centered within it. By its design, this is a complex font, and your installation of Windows may have trouble printing it with default TrueType parameter settings.
Styles available: 1
Regular
gKi}/
Revel
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SHEER ELEGANCE is based on one of the Shelley family of scripts (Andante, Allegro and Volante). They are related in basic concept but differentiated in their relative extravagance or reticence of calligraphic detail. Sheer Elegance (Volante) is the most ornate of this family.
Styles available: 1
Regular
Schoolbook
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Speedball is a graceful calligraphic face that is rather classic in its design, following the Italian cursive taught in most calligraphy courses using "Speedball" pens. This face is an excellent alternative to Zaph Chancery face that comes with the "standard 35" Postscript fonts when you want something mildly flamboyant.
Styles available: 1
Regular
Slalom
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SPELLBOUND is a semi-original, in a sense. It was created from the few letters used in the logo of Estee Lauder's SpellBound perfume. A little like a condensed Art Deco font, it is yet very contemporary
thanks, in particular, to the detached elements in, among many others, the A and T and 2. Its quality might best be described, perhaps, as understated upscale. Do note that there are a few alternate forms to this all-caps face in some of the lower-case positions, including R, S, U, and Y, where some are better suited to initial or trailiing characters and others are better used mid-word.
Styles available: 1
Regular
Soutane
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STAID is patterned after ITC Serif Gothic, which has a hint of a serif here and there in all the letterforms, but by no means everywhere you would expect them in a serif face. In fact, some of these mini-serifs appear in very unexpected places to tweak the shape into crisper, more telling form than it would otherwise have. There is perhaps a hint of Art Deco as well about the designs, which are rather self-conscious but convey a strong sense of style in all weights of the family.
Styles available: 4
Gothic: Regular, Extrabold, Heavy, Black
Stencil
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Page Pict
STENCIL SANS Stencil fonts have an ad hoc quality that suggests urgency and expediency. This family is unusual both in being a family (the usual stencil face comes in one flavor only) and in being a condensed sans with proportions suggesting some of the wooden "grotesque" fonts of the last century. At the same time, the elegant economy of means used to create the letterforms hits at Art Deco influence as well. Stencil Sans thus is both efficient and stylish.
Styles available: 2
Extrabold, Extrabold Italic
Tango
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Page Pict
STINGER is frankly an attention-getter. Its angular, nervous shapes and deliberately distorted letterforms and uneven line cannot be accused of elegance, but they do insist that the eye take notice of whatever they say. Two weights of the solid-black Stinger are supplied. The shadowed open-face version is perhaps the most effective of the three at their chosen task. As with all such faces, it must be used with caution, but as a real "fun" face, it can be just the thing when all caution is thrown to the winds.
Styles available: 1
Light
Technical
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TIMBREL is our version of Tiffany, a face originally introduced early in this century and popularized in the mid-1970's. Its parentage in Caslon Old Face is particularly noticeable in the "T," whose slightly exaggerated serifs are echoed throughout the character set. Also taking its cue from the top of the Caslon "A" is the liberal use of spurs on the diagonals of Timbrel's uppercase. These characteristics are responsible for its exceptional character and sparkle, compared to similar faces.
Styles available: 4
Regular, Bold, Italic, Bold Italic
UltraShadow
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Page Pict
TRAINS probably will affect you one way or the other: either "just what I always wanted" or "what for?" I happen to like trains, frankly, and this is an amusing and stylish way of playing with them. Take note of the flat car, which is ready to accept whatever typographic burden you care to place on it. The rest I leave to your imagination. Also, notice that where practical, the cars are placed in a mneumonic position where practical (i.e., Diesel is in 'D' and 'd' while Engine is in 'E' and 'e.' Enjoy, if you can; otherwise, pass on to more practical fare.
Styles available: 1
Regular
Universal
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Page Pict
TREKKER faces are based on lettering styles that appear in the Startrek series. Trekker itself is known otherwise as Crillee, a popular face for heads in both editorial and advertising copy. Its characteristic is a tiny skew to the left at the top of each character and a similar skew to the right at the bottom, which give it its crispness and, in conjunction with the italic tilt, its sense of motion. Its squarish lines are otherwise exceptionally clean and contemporary. Trekker Two is similar but based on a script alphabet, rather than the oblique sans of Trekker. Trekker-3's outlining revives a simple Victorian means of dressing up a relatively plain font. Trekker-Frontier's angled crossbars set up a pleasant and stylish rhythm.
TREKKER The inspiration for this face is one called Crillee, which is popular for heads in both editorial and advertising copy, including at various times in the Startrek series. Its characteristic is a tiny skew to the left at the top of each character and a similar skew to the right at the bottom, which give it its crispness and, in conjunction with the italic tilt, its sense of motion. Its squarish lines, which are otherwise exceptionally clean and contemporary, certainly contribute to its popularity.
Styles available: 1
Regular
University
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TYPIST
Like its model, American Typewriter, Typist bases its letterforms on the old Underwood Typewriter character set. But both faces are proportionally spaced and, to that extent, unlike the necessarily monospaced character placement of mechanical typewriters. The proportional spacing increases the gracefulness with which the various characters can relate to each other and enhances legibility, while the suggestion of typewritten characters has made such faces standard for some forms of correspondence and for editorial or advertising use where a "late bulletin" feel is required.
Styles available: 2
Regular, Bold
Vagabond
false
marked
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UNIVERSAL
Based on Adrian Frutiger's Univers, Universal reflects the direction that mainstream sans-serif type design has taken since World War II: to increasing subtlety of letterform in order to break away from the geometric approach that typified prewar faces. The result is much greater suavity and readability than had been the rule for sans-serifs. Universal, in lighter weights, is probably the face of choice for book design among contemporary typographers who employ sans-serif for that purpose.
Styles available: 8
Regular, Bold, Italic, Bold Italic
Condensed: Regular, Bold, Italic, Bold Italic
f8b&p
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false
marked
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WANTED-POSTER
The extremely bold slab serifs of the face follow the lead of metal types like Playbill that, in turn, take their inspiration from wood types of the last century. The brashness of the design lends itself to informal and humorous headlines, and it can even suggest a certain rowdiness. It is especially suitable where the context suggests the American West or popular entertainments of various sorts.
Styles available: 1
Regular
3.1 install
Windows TrueType Installation 1 of 5
Double click on Control Panel
Double click to open Main
buttonUp
false
showNameProp
previous
previous
buttonUp
false
showNameProp
buttonUp
false
showNameProp
Description
Print
enterBackground
Description
Print
leaveBackground
disable
"Description"
c"Print"
enable
false
dontSearch
Double click on Fonts Control Panel
Windows TrueType Installation 2 of 5
buttonUp
false
showNameProp
previous
previous
buttonUp
false
showNameProp
buttonUp
false
showNameProp
RQAAR
Click on the Add... Button
Windows TrueType Installation 3 of 5
buttonUp
false
showNameProp
previous
previous
buttonUp
false
showNameProp
buttonUp
false
showNameProp
Click on the Drives area: Choose your CD-ROM drive
(.txt)
(1995).bin/advanced/builder/help/old/cap-9.bmp){kind=link}