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Samples of Monospaced typefaces Typeface name Example 1 Example 2 Example 3 Anonymous Pro [1]Bitstream Vera Sans Mono [2]Cascadia Code: Century Schoolbook Monospace
Kurinto Font Folio (open source , pan-Unicode, 21 typefaces, 506 fonts; v2.196 (July 26, 2020) has coverage of most of Unicode v12.1 plus many auxiliary scripts including the UCSUR) LastResort (fallback font covering all 17 Unicode planes, included with Mac OS 8.5 and up) Lucida Grande (Unicode font included with macOS; includes 1,266 glyphs)*
Miller is a serif typeface, released in 1997 by the Font Bureau, a U.S.-based digital type foundry. [1] It was designed by Matthew Carter and is of the 'transitional' style from around 1800, based on the "Scotch Roman" type which originates from types sold by Scottish type foundries that later became popular in the United States.
Download QR code; Print/export Download as PDF; ... The "Included from" column indicates the first edition of Windows in which the font was included. Included ...
Font Bureau Agency is a geometric sans-serif typeface family intended for titles and headings, released between 1990 and 1995. [ 1 ] [ 2 ] It was designed by David Berlow of Font Bureau . It is an expansion of a capitals-only titling face created in the 1930s by Morris Fuller Benton , adding lower-case characters and a wider range of widths and ...
A sample of News Gothic. A sample of Bank Gothic. A sample of Franklin Gothic.. All of Benton's typefaces were cut by American Type Founders.. Roycroft (c. 1898), inspired by lettering in the Saturday Evening Post and often credited to Lewis Buddy, though (according to ATF) designed “partly” by Benton.
Compact Font Format (also known as CFF font format, Type 2 font format, or CFF/Type 2 font format) is a lossless compaction of the Type 1 format using Type 2 charstrings. It is designed to use less storage space than Type 1 fonts, by using operators with multiple arguments, various predefined default values, more efficient allotment of encoding ...
Much imitated was the Thorowgood "grotesque" face of the early 1830s. This was arrestingly bold and highly condensed, quite unlike the classical proportions of Caslon's design, but very suitable for poster typography and similar in aesthetic effect to the (generally wider) slab serif and "fat faces" of the period. It also added a lower-case.