Professional and Clean PowerPoint slides. Fully editable, perfect to impress your audience on your next presentation.
1. FULL HD Aspect Ratio: 16:9 (1900×1080)
2. Fully animated
3. Quickly, Easy and Fully Editable in PowerPoint (All Graphic Resizable and Editable)
4. Drag and Drop Images
5. Print Version Included (A4 Handouts Ready)
6. Retina Ready
7. Data charts (Editable via Excel)
8. Sync in SharePoint
9. Based on Master Slide
10. Pictures Placeholder Ready
11. PPTX and PPT Files
12. Vector icons as Shape
Note: Not need Photoshop – All Photos not included
Apple has used several typefaces throughout its history that help define its brand identity. From 1984 to 2001, Apple Garamond, a modified version of Garamond, was its main corporate font. In 2001, Apple began transitioning to Myriad, designed by Adobe. Other fonts Apple has used include Motter Tektura, Gill Sans, Espy Sans, Podium Sans, Helvetica, and Lucida Grande. Apple's choice and modification of typefaces helps reinforce its brand while maintaining readability.
Font type identification of hindi printed documenteSAT Journals
This document summarizes an approach for identifying the font type in Hindi printed documents. It discusses preprocessing steps like noise removal, binarization, and skew correction. Features are extracted from text including typographical features like word height and width, and structural features like thickness of vertical lines. Five Hindi font types are classified using these extracted features, achieving 96-100% accuracy on test documents. Future work could involve word-level font identification and improving image quality before feature extraction and classification.
Thomas Phinney, “Fonts. Everything is Changing. Again.”WebVisions
Just when you thought it was safe to go back in the font-water.
On September 14th, representatives from Microsoft, Adobe, Apple and Google made a joint font announcement in Warsaw: OpenType 1.8 was unveiled, featuring variable fonts, a.k.a. OpenType Font Variations, based on an all-but forgotten Apple technology, GX Variations.
Variable fonts enable type designers to create fonts that have one or more design axes, such as weight or width. Use of a design axis frees designers; for example, if there is a weight axis, a designer is free to choose any arbitrary weight within the font's design space, not just a few pre-set weights.
Many type designers have long used such technology for font design, so there is a backlog of existing typefaces that could be adapted to this technology. But two previous axis-fonts technologies did not take off: Apple's GX/AAT Typography allowed it, and Adobe's Multiple Master did as well. Why should this be different?
. . . . . . . . . . . . . . .
Thomas Phinney is President of FontLab, the font software tools company. Previously he was product manager for fonts and global typography at Adobe, and then senior product manager for Extensis. In the 2000s he was instrumental in driving the adoption of OpenType, both within Adobe and in the marketplace.
This document provides an overview of using webfonts. It discusses where fonts come from and the history of typesetting. It explains that type designers hold copyrights on their fonts, so foundries pay them to convert designs to digital formats. The document reviews options for finding free and purchased fonts, and covers how to use @font-face kits to embed fonts across browsers. It also discusses hosting font libraries through services like Google Fonts, Fontdeck, and Fonts.com. Finally, it offers tips for using type professionally through best practices like line height, quotes, and limiting justified text.
This document discusses text, fonts, and hypermedia. It begins by outlining the objectives of recognizing the importance of word choice, understanding the difference between typeface and font, and learning about font sources and hypermedia concepts. It then covers the history of text, defines typeface and font terminology, and discusses font features, styles, and sizes. It also explains hypertext, links, and anchors. The document provides tips for effective text usage and recommends testing word choices. It defines multimedia concepts and reviews technologies like HTML, CSS, and eBooks.
This document discusses text, fonts, and hypermedia. It begins by outlining objectives related to word choice, typefaces versus fonts, font sources, and hypermedia concepts. It then provides information on the history of text, fonts and type terminology. It discusses using text in multimedia, including considerations for screen reading versus print. It also covers hypermedia, hypertext, and web technologies. Overall, the document provides an overview of textual concepts and their application in digital media.
Professional and Clean PowerPoint slides. Fully editable, perfect to impress your audience on your next presentation.
1. FULL HD Aspect Ratio: 16:9 (1900×1080)
2. Fully animated
3. Quickly, Easy and Fully Editable in PowerPoint (All Graphic Resizable and Editable)
4. Drag and Drop Images
5. Print Version Included (A4 Handouts Ready)
6. Retina Ready
7. Data charts (Editable via Excel)
8. Sync in SharePoint
9. Based on Master Slide
10. Pictures Placeholder Ready
11. PPTX and PPT Files
12. Vector icons as Shape
Note: Not need Photoshop – All Photos not included
Apple has used several typefaces throughout its history that help define its brand identity. From 1984 to 2001, Apple Garamond, a modified version of Garamond, was its main corporate font. In 2001, Apple began transitioning to Myriad, designed by Adobe. Other fonts Apple has used include Motter Tektura, Gill Sans, Espy Sans, Podium Sans, Helvetica, and Lucida Grande. Apple's choice and modification of typefaces helps reinforce its brand while maintaining readability.
Font type identification of hindi printed documenteSAT Journals
This document summarizes an approach for identifying the font type in Hindi printed documents. It discusses preprocessing steps like noise removal, binarization, and skew correction. Features are extracted from text including typographical features like word height and width, and structural features like thickness of vertical lines. Five Hindi font types are classified using these extracted features, achieving 96-100% accuracy on test documents. Future work could involve word-level font identification and improving image quality before feature extraction and classification.
Thomas Phinney, “Fonts. Everything is Changing. Again.”WebVisions
Just when you thought it was safe to go back in the font-water.
On September 14th, representatives from Microsoft, Adobe, Apple and Google made a joint font announcement in Warsaw: OpenType 1.8 was unveiled, featuring variable fonts, a.k.a. OpenType Font Variations, based on an all-but forgotten Apple technology, GX Variations.
Variable fonts enable type designers to create fonts that have one or more design axes, such as weight or width. Use of a design axis frees designers; for example, if there is a weight axis, a designer is free to choose any arbitrary weight within the font's design space, not just a few pre-set weights.
Many type designers have long used such technology for font design, so there is a backlog of existing typefaces that could be adapted to this technology. But two previous axis-fonts technologies did not take off: Apple's GX/AAT Typography allowed it, and Adobe's Multiple Master did as well. Why should this be different?
. . . . . . . . . . . . . . .
Thomas Phinney is President of FontLab, the font software tools company. Previously he was product manager for fonts and global typography at Adobe, and then senior product manager for Extensis. In the 2000s he was instrumental in driving the adoption of OpenType, both within Adobe and in the marketplace.
This document provides an overview of using webfonts. It discusses where fonts come from and the history of typesetting. It explains that type designers hold copyrights on their fonts, so foundries pay them to convert designs to digital formats. The document reviews options for finding free and purchased fonts, and covers how to use @font-face kits to embed fonts across browsers. It also discusses hosting font libraries through services like Google Fonts, Fontdeck, and Fonts.com. Finally, it offers tips for using type professionally through best practices like line height, quotes, and limiting justified text.
This document discusses text, fonts, and hypermedia. It begins by outlining the objectives of recognizing the importance of word choice, understanding the difference between typeface and font, and learning about font sources and hypermedia concepts. It then covers the history of text, defines typeface and font terminology, and discusses font features, styles, and sizes. It also explains hypertext, links, and anchors. The document provides tips for effective text usage and recommends testing word choices. It defines multimedia concepts and reviews technologies like HTML, CSS, and eBooks.
This document discusses text, fonts, and hypermedia. It begins by outlining objectives related to word choice, typefaces versus fonts, font sources, and hypermedia concepts. It then provides information on the history of text, fonts and type terminology. It discusses using text in multimedia, including considerations for screen reading versus print. It also covers hypermedia, hypertext, and web technologies. Overall, the document provides an overview of textual concepts and their application in digital media.
A font refers to a complete set of characters (letters, numbers, symbols) that share the same design properties like weight, style, and size. There are three main font formats: Type 1 PostScript fonts used by graphic designers, TrueType fonts used in Windows and Apple software, and OpenType fonts which can support expanded character sets, glyph substitution, and multi-platform use. TrueType fonts contain both screen and printer font data in a single file, while Type 1 PostScript fonts separate bitmap screen fonts from scalable outline printer fonts. OpenType fonts build upon Type 1 and TrueType with additional features.
This document provides an overview of text in multimedia presentations and discusses various topics related to fonts and typefaces. It discusses:
1. The importance of text in multimedia and different attributes that can be applied to blocks of text like font, size, color, etc.
2. The differences between typefaces, fonts, and font families. It also describes different types of typefaces like serif, sans serif, script, etc.
3. Font encoding systems and how fonts can be represented through bitmapped images or as scalable vector graphics like TrueType and PostScript fonts. It highlights factors like legibility and readability that affect text display across different devices and mediums.
Computer fonts can be categorized as either outline fonts or bitmap fonts. Outline fonts use vector images consisting of lines and curves to define glyphs, allowing them to be scaled to any size without pixellation. This makes outline fonts preferable to bitmap fonts for professional digital typesetting. Common outline font formats include Type 1, TrueType, and OpenType, with the latter extending the TrueType format to support PostScript fonts and advanced typographic controls.
This document discusses OpenType fonts, which are a cross-platform font format developed by Adobe and Microsoft. The main benefits of OpenType fonts are their cross-platform compatibility, as the same font file works on both Mac and Windows, and their ability to support expanded character sets and advanced typographic features. OpenType fonts also allow for easy switching between languages without needing different fonts.
This document discusses typography and web fonts. It provides a brief history of fonts used on the web from 1996 to 2010. It then covers the @font-face rule which allows custom fonts to be used on websites. Both free and paid solutions for using web fonts are presented. Key considerations around web fonts like download size, copyright, and font quality are also outlined. The document concludes with comparisons between different techniques for displaying non-web fonts like sIFR, Cufon, and @font-face.
This document discusses the history of typography on the web. It covers early web-safe fonts, the transition to using @font-face to embed custom fonts, and more recent developments like hosted font services from Google and others. Key topics include the difference between typefaces and fonts, common fonts in the early web, challenges of embedding custom fonts, and tools for evaluating typography on websites and mobile applications.
A presentation about webfont services and how to stop using the same old 15 web-safe fonts we've been using for two decades. Examples from four webfont providers: FontSquirrel, Google Font API, Typekit, and Extensis WebINK. Includes implementation details.
The document discusses the history of fonts and font technologies. It describes:
- How Apple's choice of 72 pixels per inch resolution for early Macintosh monitors matched printing standards.
- How Postscript became the desktop publishing standard in the 1980s, allowing scalable outline fonts.
- The development of TrueType by Apple and Microsoft as an alternative to Postscript that could render fonts on low-resolution screens.
- How OpenType was later developed to incorporate benefits of Postscript and TrueType, becoming the industry standard.
The document provides definitions and examples for common type terminology used in typography. It defines terms like ascender, baseline, cap height, descender, glyph, italic, ligatures, serif, x-height and more. Each definition is accompanied by a visual example to illustrate the term. It is a reference document for basic typographic concepts and vocabulary.
COMPUTER LANGUAGES AND THERE DIFFERENCE Pavan Kalyan
In this ppt you will understand the difference among languages and You will know what is necessary for a language to become best in the present software filed
This document discusses typography on the web. It provides an overview of the history of embedding fonts online through technologies like @font-face, and formats like EOT, TTF, OTF and WOFF. It also discusses OpenType features that allow for rich typography effects through CSS, though browser support is still limited. The document advocates optimizing typography to improve readability and the user experience of reading on the web.
The GNU FreeFont project aims to provide a set of free scalable fonts that support many languages and character sets defined by ISO and Unicode standards. The fonts include Latin, Cyrillic, Greek, Arabic, Hebrew, and Asian scripts. They come in monospaced and proportional styles to allow mixing of text from different writing systems. The fonts can be edited with FontForge and are distributed under the GNU GPL license.
Font file formats: TrueType (TTF), PostScript y OpenType (OTF)David Fimia Zapata
Characteristics, history and definition of different file formats of the different fonts files types for operating systems like Windows, Mac OS and Linux. TrueType fonts (TTF) and OpenType PostScript (OTF) that can be found on the websites of free fonts to download like www.ultimatefonts.com and they have special characteristics and peculiarities to know that file format is used for each thing we can serve.
The document discusses text and its use in multimedia. It describes factors that affect text legibility like font size and style. It recommends choosing easily readable fonts in few sizes and colors. It also discusses tools for editing and designing fonts used to create custom fonts and manipulate existing ones. These tools include Fontographer and Font Monger. The document also discusses using text in multimedia, like subtitles, and navigation elements like menus and buttons. Hypertext and hypermedia are discussed along with their structures like nodes, anchors, and links that allow non-linear navigation.
This document discusses font formats and typography. It defines key typographic concepts like typeface, font, bitmap fonts, TrueType fonts, and font formats. It explains the differences between a typeface and font. Bitmap fonts are described as consisting of screen and printer fonts, while TrueType fonts have a single file. The document also covers serif, sans-serif, and decorative fonts as well as guidelines for choosing fonts and using typographic emphasis through size, weight, alignment, leading and other techniques.
The document discusses the use of @font-face to embed fonts on webpages. It provides information on browser support, best practices for CSS implementation, tools for converting fonts, licensing considerations, and resources for using web fonts. While web fonts allow more typographic control and flexibility, issues like performance, hinting, and file sizes must be addressed. Typography also requires skill to implement properly.
For novice programmers, it is difficult to decide on which programming language to learn first, or which one to try out next? The choice is vast and the complexities many. The author analyses various programming languages, and suggests making a choice based on the programmers’ interests and current software trends.
Can programming be liberated from the von neumman styleshady_10
John Backus.
Can programming be liberated from the von neumman style.
Conventional programming languages are growing ever more enormous, but not stronger. Inherent defects at the most basic level cause them to be both fat and weak: their primitive word-at-a-time style of programming inherited from their common ancestor --the von Neumann computer, their close coupling of semantics to state transitions, their division of programming into a world of expressions and a world of statements, their inability to effectively use powerful combining forms for building new programs from existing ones, and their lack of useful mathematical properties for reasoning about programs.
Explore the essential graphic design tools and software that can elevate your creative projects. Discover industry favorites and innovative solutions for stunning design results.
A font refers to a complete set of characters (letters, numbers, symbols) that share the same design properties like weight, style, and size. There are three main font formats: Type 1 PostScript fonts used by graphic designers, TrueType fonts used in Windows and Apple software, and OpenType fonts which can support expanded character sets, glyph substitution, and multi-platform use. TrueType fonts contain both screen and printer font data in a single file, while Type 1 PostScript fonts separate bitmap screen fonts from scalable outline printer fonts. OpenType fonts build upon Type 1 and TrueType with additional features.
This document provides an overview of text in multimedia presentations and discusses various topics related to fonts and typefaces. It discusses:
1. The importance of text in multimedia and different attributes that can be applied to blocks of text like font, size, color, etc.
2. The differences between typefaces, fonts, and font families. It also describes different types of typefaces like serif, sans serif, script, etc.
3. Font encoding systems and how fonts can be represented through bitmapped images or as scalable vector graphics like TrueType and PostScript fonts. It highlights factors like legibility and readability that affect text display across different devices and mediums.
Computer fonts can be categorized as either outline fonts or bitmap fonts. Outline fonts use vector images consisting of lines and curves to define glyphs, allowing them to be scaled to any size without pixellation. This makes outline fonts preferable to bitmap fonts for professional digital typesetting. Common outline font formats include Type 1, TrueType, and OpenType, with the latter extending the TrueType format to support PostScript fonts and advanced typographic controls.
This document discusses OpenType fonts, which are a cross-platform font format developed by Adobe and Microsoft. The main benefits of OpenType fonts are their cross-platform compatibility, as the same font file works on both Mac and Windows, and their ability to support expanded character sets and advanced typographic features. OpenType fonts also allow for easy switching between languages without needing different fonts.
This document discusses typography and web fonts. It provides a brief history of fonts used on the web from 1996 to 2010. It then covers the @font-face rule which allows custom fonts to be used on websites. Both free and paid solutions for using web fonts are presented. Key considerations around web fonts like download size, copyright, and font quality are also outlined. The document concludes with comparisons between different techniques for displaying non-web fonts like sIFR, Cufon, and @font-face.
This document discusses the history of typography on the web. It covers early web-safe fonts, the transition to using @font-face to embed custom fonts, and more recent developments like hosted font services from Google and others. Key topics include the difference between typefaces and fonts, common fonts in the early web, challenges of embedding custom fonts, and tools for evaluating typography on websites and mobile applications.
A presentation about webfont services and how to stop using the same old 15 web-safe fonts we've been using for two decades. Examples from four webfont providers: FontSquirrel, Google Font API, Typekit, and Extensis WebINK. Includes implementation details.
The document discusses the history of fonts and font technologies. It describes:
- How Apple's choice of 72 pixels per inch resolution for early Macintosh monitors matched printing standards.
- How Postscript became the desktop publishing standard in the 1980s, allowing scalable outline fonts.
- The development of TrueType by Apple and Microsoft as an alternative to Postscript that could render fonts on low-resolution screens.
- How OpenType was later developed to incorporate benefits of Postscript and TrueType, becoming the industry standard.
The document provides definitions and examples for common type terminology used in typography. It defines terms like ascender, baseline, cap height, descender, glyph, italic, ligatures, serif, x-height and more. Each definition is accompanied by a visual example to illustrate the term. It is a reference document for basic typographic concepts and vocabulary.
COMPUTER LANGUAGES AND THERE DIFFERENCE Pavan Kalyan
In this ppt you will understand the difference among languages and You will know what is necessary for a language to become best in the present software filed
This document discusses typography on the web. It provides an overview of the history of embedding fonts online through technologies like @font-face, and formats like EOT, TTF, OTF and WOFF. It also discusses OpenType features that allow for rich typography effects through CSS, though browser support is still limited. The document advocates optimizing typography to improve readability and the user experience of reading on the web.
The GNU FreeFont project aims to provide a set of free scalable fonts that support many languages and character sets defined by ISO and Unicode standards. The fonts include Latin, Cyrillic, Greek, Arabic, Hebrew, and Asian scripts. They come in monospaced and proportional styles to allow mixing of text from different writing systems. The fonts can be edited with FontForge and are distributed under the GNU GPL license.
Font file formats: TrueType (TTF), PostScript y OpenType (OTF)David Fimia Zapata
Characteristics, history and definition of different file formats of the different fonts files types for operating systems like Windows, Mac OS and Linux. TrueType fonts (TTF) and OpenType PostScript (OTF) that can be found on the websites of free fonts to download like www.ultimatefonts.com and they have special characteristics and peculiarities to know that file format is used for each thing we can serve.
The document discusses text and its use in multimedia. It describes factors that affect text legibility like font size and style. It recommends choosing easily readable fonts in few sizes and colors. It also discusses tools for editing and designing fonts used to create custom fonts and manipulate existing ones. These tools include Fontographer and Font Monger. The document also discusses using text in multimedia, like subtitles, and navigation elements like menus and buttons. Hypertext and hypermedia are discussed along with their structures like nodes, anchors, and links that allow non-linear navigation.
This document discusses font formats and typography. It defines key typographic concepts like typeface, font, bitmap fonts, TrueType fonts, and font formats. It explains the differences between a typeface and font. Bitmap fonts are described as consisting of screen and printer fonts, while TrueType fonts have a single file. The document also covers serif, sans-serif, and decorative fonts as well as guidelines for choosing fonts and using typographic emphasis through size, weight, alignment, leading and other techniques.
The document discusses the use of @font-face to embed fonts on webpages. It provides information on browser support, best practices for CSS implementation, tools for converting fonts, licensing considerations, and resources for using web fonts. While web fonts allow more typographic control and flexibility, issues like performance, hinting, and file sizes must be addressed. Typography also requires skill to implement properly.
For novice programmers, it is difficult to decide on which programming language to learn first, or which one to try out next? The choice is vast and the complexities many. The author analyses various programming languages, and suggests making a choice based on the programmers’ interests and current software trends.
Can programming be liberated from the von neumman styleshady_10
John Backus.
Can programming be liberated from the von neumman style.
Conventional programming languages are growing ever more enormous, but not stronger. Inherent defects at the most basic level cause them to be both fat and weak: their primitive word-at-a-time style of programming inherited from their common ancestor --the von Neumann computer, their close coupling of semantics to state transitions, their division of programming into a world of expressions and a world of statements, their inability to effectively use powerful combining forms for building new programs from existing ones, and their lack of useful mathematical properties for reasoning about programs.
Explore the essential graphic design tools and software that can elevate your creative projects. Discover industry favorites and innovative solutions for stunning design results.
International Upcycling Research Network advisory board meeting 4Kyungeun Sung
Slides used for the International Upcycling Research Network advisory board 4 (last one). The project is based at De Montfort University in Leicester, UK, and funded by the Arts and Humanities Research Council.
Discovering the Best Indian Architects A Spotlight on Design Forum Internatio...Designforuminternational
India’s architectural landscape is a vibrant tapestry that weaves together the country's rich cultural heritage and its modern aspirations. From majestic historical structures to cutting-edge contemporary designs, the work of Indian architects is celebrated worldwide. Among the many firms shaping this dynamic field, Design Forum International stands out as a leader in innovative and sustainable architecture. This blog explores some of the best Indian architects, highlighting their contributions and showcasing the most famous architects in India.
ARENA - Young adults in the workplace (Knight Moves).pdfKnight Moves
Presentations of Bavo Raeymaekers (Project lead youth unemployment at the City of Antwerp), Suzan Martens (Service designer at Knight Moves) and Adriaan De Keersmaeker (Community manager at Talk to C)
during the 'Arena • Young adults in the workplace' conference hosted by Knight Moves.
26. Acknowledgement
A
was a quick f
project, whi
wanted to
complete in t
r to give a cop
the result to
friend to
commemorat
27. League Gothic / League Ghotic Extended
g League Gothic is a revival of an old
and one of our favorite typefaces, A
Gothic No.1. It was originally design
0 Morris Fuller Benton for the Americ
Founders Company (ATF) in 1903. Th
company went bankrupt in 1993. An
the original typeface was created b
28. PT Sans
K
PT Sans family was developed as a
the project “Public Types of R
Federation”. The fonts of this projec
open user license and can be
l
distributed. The main aim of the pr
to give possibility to the peop
Russia to read and write on
native languages. The proj
dedicated to 300-year anniversary
civil type invented by Peter the G
29. Titillium
g The aim of the project is the creation of a
collective fonts released under OFL to be
promoted and shared through a web platf
Each academic year, a dozen of
y
students are working on the proje
developing and solving problems.
The type designers interest
the amendment or revisio
Titillium are invited to coop
or develop their own varian
31. Electrum
E
J'étais bien loin d'imaginer que la réa
ce caractère prendrait autant de temp
les premiers dessins mis en ligne fin
a
De même, j'ai profité de ce
réalisation pour fixer les sc
opentypes liés aux indices
dérivés parfois utilisés en
publication. L'objectif était
32. Mekanus
K
La famille de police Mekanus est née d'u
de style ayant pour objet de combiner u
typewriting et courbes qui rappellent l'é
Durant le developpement, elle a été empat
f
manière à embellir le rendu initial. Avec le
elle a été étendues avec de nombreuses liga
servirent à écrire le script opentype, ainsi
placement PUA de manière à pouvoir
incorporées dans les polices postscrip
33. Ikarius
ß
Les polices Ikarius utilisent des hauts
caractères épaißis et droits par rappo
et se caractérisent également par un s
pour les bas de caße. Elles sont deßin
k
manière à offrir un rendu visuel équili
utilisables à la fois pour le texte et le t
Ikarius poßède un espacement reßerré
un aspect légèrement condensé. Dans
version les caractères « v, y, w » ont d
la partie supérieure comme les autres
de la police. La barre inférieure de l'œ
34. a
Cantarell
“The Cantarell is a contemporary Human
designed for on-screen reading; in parti
web pages on an HTC Dream mobile ph
device runs Google Android and therefo
f
browser supporting the exciting new we
known as @font-face.
As my very first typeface design, th
has many faults, yet it achieves the
improving readability on this device
- David Crossland
35. X11 / MIT License
en.wikipedia.org/wiki/Mit_license
kernest.com/licenses/x11-license
- commercial use
- redistribution
- derivative works
36. CMU Serif Upright Roman
&
Computer Modern Unicode fonts were c
metafont sources using mftrace with aut
backend and fontforge (former pfaedit).
purpose is to create free good quality fon
X applications supporting many languag
k
the fonts contain glyphs from Latin1 (M
vnr), Cyrillic (lh) and Greek (cbgreek w
code sets and IPA extensions (from tipa
alphabets are also welcome. Now this se
fonts. It is better to use these fonts with
enabled.
37. CMU Concrete
A
Computer Modern Unicode fonts were co
metafont sources using mftrace with auto
and fontforge (former pfaedit). Their mai
create free good quality fonts for us
k
applications supporting many languages.
fonts contain glyphs from Latin1 (Metafo
Cyrillic (lh) and Greek (cbgreek when av
and IPA extensions (from tipa). Other alp
welcome. Now this set contains 33 fonts.
use these fonts with antialiasing enabled.
38. CMU Sans Serif
G
Computer Modern Unicode fonts were convert
metafont sources using mftrace with autotrace
fontforge (former pfaedit). Their main purpose
free good quality fonts for use in X applicat
a
supporting many languages. Currently the font
glyphs from Latin1 (Metafont ec, tc, vnr), Cyr
Greek (cbgreek when available) code sets and
(from tipa). Other alphabets are also welcome
contains 33 fonts. It is better to use these fo
antialiasing enabled.
39. Web Native
hi
low
openly stroke
licensed contrast
large
x-height
open
counter
kernest.com/web-native
42. “We all love League Gothic font
from theleagueofmoveabletype.com
So I extended this famous and
awesome font...”
http://typethefont.com/post/798257771/league-ghotic-extended
43. league gothic league ghotic extended
202 glyphs 321 glyphs