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Fallback font (freeware fallback font for Windows) Free UCS Outline Fonts aka FreeFont (free/open source, "FreeSerif" includes 3,914 glyphs in v1.52, MES-1 compliant) Gentium (free/open source, "Gentium Plus" includes over 5,500 glyphs in November 2010) GNU Unifont (free/open source, bitmapped glyphs are inclusive as defined in unicode-5.1 only)
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
GNU FreeFont (also known as Free UCS Outline Fonts) is a family of free OpenType, TrueType and WOFF vector fonts, implementing as much of the Universal Character Set (UCS) as possible, aside from the very large CJK Asian character set. The project was initiated in 2002 by Primož Peterlin and is now maintained by Steve White.
The Free UCS Outline Fonts [1] (also known as freefont) is a font collection project. The project was started by Primož Peterlin and is currently administered by Steve White. The aim of this project has been to produce a package of fonts by collecting existing free fonts and special donations, to support as many Unicode characters as possible.
It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002. Other such typefaces take creative liberties from Helvetica and its basic letter shapes. Liberation Sans is a metrically equivalent font to Arial developed by Steve Matteson at Ascender and published by Red Hat under the SIL Open Font License .
Printer Font ASCII (PFA) is a pure ASCII version of a Type 1 font program, containing in particular a font's glyph data. It is pure PostScript code without any sort of wrapper, and can be copied in full into a PS file to define the font to the PS interpreter. PFA is the preferred format for Type 1 fonts used in UNIX environments, and usually ...
Handel Gothic is a geometric sans-serif typeface designed in 1965 by Donald J. Handel (1936–2002), who worked for the graphic designer Saul Bass. [1]Handel Gothic was an instant success when first released.
Contrary to their current perception, in its early years, the Bauhaus school printed serif art nouveau typefaces. After some years of design work at the school, Herbert Bayer and Joost Schmidt created the more recognizable proposals—sans-serif geometric letterings, with decorative elements of the font removed for a crisp industrial style.