<text><span class="style1">egal stuffAll of the typefaces in this collection are copyrighted by </span><span class="style2">Robert Schenk</span><span class="style1">. With the purchase of this product, you gain the right to use these typefaces in any documents you create. You do NOT gain the right to distribute through sale or gift the typeface files themselves, nor may you distribute any typeface file you derive from these typefaces.PostScript is a trademark of Adobe Corporation. TrueType is a trademark of Apple Computer Corporation.</span></text>
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<text>General CommentsI began designing typefaces in 1988 because it was fun and because the technology to do itΓÇöFontographer 2.4 for the MacintoshΓÇöwas cheap enough for me to afford. However I would never have designed as many typefaces as I haveΓÇöI count 171 on this disk and I have sold rights to othersΓÇö if I had not had financial encouragement from several people. The most recent of these people are the folks at Wayzata Technology. As a result of the opportunity which they gave me to put my typefaces on a CD-ROM, I have spent several hundred hours reworking old designs and drawing new ones. Small type foundries emerging from the desktop-publishing revolution have found several niches to occupy. Some have developed cheap clones of popular faces. Some have developed a limited number of very carefully drawn and redrawn faces, and have tried to sell to the same market which the big type houses, such as Adobe, Monotype, et. al. have catered to. Some have just had fun exploring typeface design and have produced typefaces which, though useful, may not be economical for the large type houses. I consider myself in this last category.Typefaces are like people in that each has a personality. Some are efficient and business-like, others are snobbish. Some are elegant and simple, or friendly, or ignorant and rude. Some are strange and perhaps a bit psychotic, while others are bland and boring. When I design a typeface, I usually have an idea of what ΓÇ£feelΓÇ¥ or personality I want it to have. Often I do not get exactly what I had planned. Sometimes the results are disappointing, but occasionally they are delightful and the end result is better than what I had planned.This collection of typefaces includes both designs with which I was very happy and designs which disappointed me. In the past I dropped what I considered weaker designs as I developed new designs. On this CD-ROM I have not dropped anything even though I have added a number of new designs. In fact, I have brought several faces out of storage. There are some typefaces which you will probably dislike. I know there are some I do not care much for.The reason for including everything is based on a simple cost-benefit rationale. The cost of putting an extra typeface on a CD-ROM is close to zero if not zero. This collection will occupy only a small faction of the 600 megabytes of space available on the CD-ROM. The expected benefit is greater than zero. Some of these typefaces may be of no use to 99% of the people who purchase this product. But for 1% of the users, one of those designs I consider weak may have just the ΓÇ£feelΓÇ¥ or personality which they need for a particular job. I could have been selective and included only what I consider my best 150 or 125 typefaces, but I do not think I injure anyone by including all of the 170+ typefaces I have available. These "weaker" typefaces can be found in the "Bonus" folder.In fact, I think the case can be made that a CD-ROM is an excellent place for typefaces which are only of occasional use. The major type vendors have substantial cost just to keep a type design in their catalog. Even I, who have costs close to zero, find some typefaces not worthwhile when I have to put them on disks. I do not plan to sell typefaces such as LetterTrain and WaterWorksCaps on disk even though I think they are interesting designs with potential uses.Designing a new typeface is time consuming. I usually start with an idea which I have sketched on paper. I then try to get that idea into the computer and improve it in the process. (I find I draw better with a mouse than with a pencil.) There is a lot of trial and error involved: I print out results and make changes when something looks "funny" to me.However, most of the typefaces I have done are not done from scratch. Once I have designed a typeface, I often modify it to obtain a second typeface. Then I may modify this second face further. This method of creating typefaces is much less time consuming than starting over for each typeface, and without it I would never have been able to complete as many typefaces as I have. Sometimes the modifications result in typefaces which appear totally unrelated, but more often one can see similarities. In the descriptions which follow I note some of the lines of descent. Most of the typefaces in this collection include both upper- and lower-case letters, numbers, all punctuation, and standard diacritical letters used in Western European languages. I have not in most cases included a number of the characters which Adobe takes from the Symbol font, characters such as pi, omega, sigma, etc. There are a few exceptions. Some typefaces have only one set of letters which is repeated on the lower case keys. For these I have usually included only one set of the diacritical letters. There are also a very few faces, such as LetterTrain, ShirlyUJest, and WaterWorksCaps, which do not have diacritical letters. None of these typefaces would be of use for more than a few letters at a time, so I doubt if this will cause any problems.The typefaces in this collection come in four formats. Each is in PostScript Type 1 and TrueType format for the Macintosh, and in the same two formats for the PC running Windows 3. To use the PostScript versions, the Macintosh user must either have a PostScript printer, or have AdobeΓÇÖs Type Manager. To use the TrueType versions, he or she must have System 7, or at least System 6.0.5 and the TrueType Init. The WindowΓÇÖs user must have AdobeΓÇÖs Type Manager version 2 in order to use the PostScript versions whether or not he or she has a PostScript printer. To use the TrueType versions, he or she must have version 3.1 or later of Windows. (It is also possible for users of the Apple GS with latest system software to use the TrueType fonts in Macintosh format) AFM files are also included, but most users probably will never need them. If you do not know what they are, do not worry about them. For the PC user .INF and .CFG files are included. They are of use only if you use AdobeΓÇÖs Font Foundry.The PostScript format was developed by Adobe Corporation. The TrueType format was developed by Apple Computer, and then, in one of the stranger episodes of computer history, Apple gave the right to use this format to Microsoft. Before this deal, Adobe was the only company able to produce typefaces in Type 1 format; the rest of us had to settle for Type 3. After the Apple-Microsoft deal, Adobe published the specifications and shortly thereafter Fontograher added the ability to produce Type 1. The experts tell us that it is best not to mix TrueType and PostScript; pick one format and ignore the other.I have used both the PostScript and TrueType formats and find both print well. However, there are a few fonts, most noticeably a couple of the picture fonts, which will work best on a PostScript printer. They include characters which extend above or below the bounding box, something PostScript handles easily but which TrueType (and AdobeΓÇÖs Type Manager) do not like.Most faces have several characters which are accessible from the keyboard in the PostScript format but which are not accessible in the TrueType format. These characters are those with ASCII numbers below 32, which are the characters on the Control keys. On the Macintosh you can retrieve these characters fro the PostScript fonts using KeyCaps. The characters are in the TrueType fonts, but one cannot get to them without a specialized program such as Fontographer. This is apparently a feature of the TrueType format. Do not read much significance into the names. Occasionally the names are jokes or puns, but often they are random. I had to change some names of old typefaces to prevent conflicts in the PC versions. Demotte-Plain and Dequorum-Plain have PostScript files called DemotPla and DequoPla on the Mac, but both become DeP_____ on the PC. Apparently this is because PC files can have names only eight characters long, not the 32 permitted on the Mac.I have done my best to eliminate errors, but I am certain an embarrassing number remain. There are probably between 20000 and 30000 characters in the typefaces in this collection. Certainly there must be many things I missed. The fault is mine and I apologise for any inconvenience these errors cause.If you have any comments, corrections, or suggestions, I would like to hear them. I do not know if this CD-ROM will ever go to a second edition, but I hope it will. In two or three years I could add another hundred faces. Since I am getting better with practice, a second edition could be much improved. And of course if it ever goes to a second edition, I would like to clean up any mistakes I missed in this edition. I can be reached at Robert SchenkP.O. Box 404Rensselaer, IN 47978My e-mail address is bobs@saintjoe.edu. This is an internet address, and may change in the future. (Also, I do not keep up with mail sent here, so do not expect a quick reply.) </text>
