655.2^
L859t C.5
y
UNIVERSITY OF FLORIDA
LIBRARIES
wmm SPECIMENS FOR
LAYOUT* PRINTING
*
LETTERING
by
WILLIAM LONGYEAR Head, Department of Advertising Design, Pratt Institute, Brooidyn,
New
York.
Designer for Commerce and Industry
Copyright, 1940, by
WATSON-GUPTILL PUBLICATIONS, NEW
YORK, N.
Pfinled
in
U. S. A.
Y.
INC.
ARCHlJ
TECTURg BOOK ROOM
WAY OF INTRODUCTION
BY
The book
for
purpose of
offers not only
terms,
this
volume
is
twofold.
First,
a convenient, well-indexed reference
it is
who
anyone, whether layman or professional,
interested
is
printing.
in
To him
it
proofreading marks, explanations of the point system, definitions of printing
and other
helpful information on type
and
uses, but also these four features of
its
particular value:
1.
A
selection of
145 single
line
alphabetically arranged to
specimens of type faces
moke
it
in
common
use today,
easy for one to acquaint himself quickly
with their individual characteristics or to identify, by comparison, types from
other sources.
2.
A
similar selection of
58
and
single line specimens of antique
exotic types
such OS have recently been revived.
3.
A number ter:
4.
of pages demonstrating the use of selected types in printed mat-
also several
A group types
of
now
pages of
is
man who makes
layouts for printing, or
learning to do these things), this book
onstrates,
among
other things,
it
is
(with numerals) of in
several sizes,
to mention
how
it,
who
hand-lettering (or
letterer
and beside
the whole
dem-
brief but nevertheless vital text which
its
to use the reference material to
presents a typical layout
an advertisement— based upon
who does
a veritable storehouse of inspiring and easily
alphabet and shows how the
selects a typical
work: again,
material.
388 separate alphabets.
adopted reference material, not
it
and decorative
popular, most of the alphabets being repeated
giving a total of
Secondly, for the
rules
80 pages showing 90 complete alphabets
it
advantage. For example,
would adapt
it
to his
hand-done
a finished piece of printed matter—
accompanied by
full
description of the pro-
cedure. In short,
merely
in
whether one
is
novice or
adept— whether he
is
interested in lettering, in layout, or
gaining a greater knowledge of type faces— we believe he
most helpful.
It
is
especially
recommended
book
will find this
for use in schools in connection with courses in
lettering, advertising design, printing, sign painting, etc. Students
can turn to
its
pages with
the assurance that they represent the highest professional standards.
ACKNOWLEDGMENT The
author expresses
preparation of
this
his
deep appreciation
volume. Especially
is
credit
due
for their
generous assistance: The Composing Room,
Rumford
Press, Frederic
Nelson
Phillips, Inc.,
to all
who have cooperated
to the following firms Inc.,
and
in
the
individuals
The Bauer Type Foundry,
Inc.,
The International Paper Company, Gideon
Haynes, Underwood and Underwood, General
Year Book. [ iii ]
Electric
Company, Chicago Advertising
\
Digitized by tine Internet Arciiive in
2011
witii
funding from
LYRASIS IVIembers and Sloan Foundation
http://www.archive.org/details/typespecimensforOOIong
CONTENTS BY
WAY OF INTRODUCTION
rii
INDEX OF TYPE FACES AND PRESENT
v, vii, ix
TYPE PAST
1
HOW TO USE THIS BOOK A TYPE SCRAP BOOK OUR BOOK AS A LETTERER'S GUIDE HOW TO LETTER FROM TYPE AND NOW COMES LAYOUT
3 3 3
5,7 9 9
INDICATING TYPE
COPY BLOCKS SET IN DIFFERENT TYPES MEASURING SYSTEM
11
TYPE
11
PRINTING TERMS DEFINED POINT SIZE OF RULES
12,13 14
U
PROOFREADING MARKS RULES
AND DECORATIVE
MATERIAL
14,
BIBLIOGRAPHY TYPE FACES (SELECTED EXAMPLES)
23
to
26 15
16to 116
INDEX OF TYPE FACES Note: The letters ca after a type name designate where complete alphabets can be found. Types indexed with a letter e will be found on our pages of antique and exotic type faces.
^
g
20
Adstyle Border Antique and Exotic Types Antique No. 1 Antique No. 1 Italic Antique Condensed Antique Extended No. 2 Aquatint
21, 22
e 22 e 22 e 21
ca 38 16 16
Bonk Script Baskerville Baskerville Italic
Beekman
e 22
Book
28 28
Cursive Cursive Bold
16, 28,
Roman
.
Tango
Beton Beton Light Beton Medium Beton Medium Condensed Beton Bold Beton Bold Condensed Beton Extra Bold Beton Open Bodoni Bodoni Italic Bodoni Bold
ca
16, 27, co 1
6,
27, co
16, ca 41, 16, 29, ca 16, ca 44,
Bold
Italic
16, 29, ca 47, 16, ca 49,
Ultra Italic
Book Book
16, 16,
Italic
28 28 38 27 27 27 27 27 27 40 40 42 43 45
50
co51
ca 52, 53 16
Roman Roman Bold
29 29 29
Title
16 16 ca 54 ca 54
e22
Broadway Buffalo
48
co 46
Bold APL Ultra
Bowl
ca 39
Italic
Bodoni Bodoni Bodoni Bodoni Bodoni Bodoni Bodoni Bodoni Bodoni
Bookman Bookman Italic Bookman Mono. Bookman Antique
27through37
Bauer
Bernhard Bernhard Bernhard Bernhard Bernhard Bernhard
B
16 16
55 e21
16, ca
Bill
Camelot Old Style
Cameo Cartoon Cartoon Bold Coslon 137 Caslon 137 Italic Coslon 471 Caslon 471 Italic Caslon 540 Caslon 540 Italic Caslon Bold Caslon Bold Italic Caslon Bold Condensed
16,
16 CO 66 -a
30 56 16
J6
16, 16,
ca56, 57 co 58 ca 61, 62 co 61, 63 16, co 59 16,
ca60 16
CONTINUED [Âť]
INDEX OF TYPE FACES CONTINUED
^
Caslon New Caslon New No. 3 Caslon New No. 3 Italic Caslon Old Face 471 Caslon Old Face Italic 471 Caslon Open Century Century Bold Chancel
Futura Bold Oblique
16 16 16 16
Futura Book Futura Display Futura Inline
e 22
Garamond Light Garomond Light Italic Garamond Medium Garamond Medium Italic Garamond Bold Garamond Bold Italic
17, ca 67 Cheltenham Bold 17, ca68 Cheltenham Bold Condensed 17 Cheltenham Bold Extra Condensed
17
Civilite
Cloister Bold
17,
Cloister Bold Italic
17,
Cloister Text
17,
co69 ca69 ca69
Cooper Black Cooper Black Italic
17, 17,
co70 ca70
Corvinus Corvinus
31
Italic
Medium Medium
31 31
Italic
31
Corvinus Bold Corvinus Skyline
31
Crayon
Q
e 21
Delphian
C Eden
17,
Elizabeth
Roman
Elizabeth
Italic
ca71
c.
c
c c
c.
18
Light
18,
ca90 18 18 18
Light Italic
Medium Medium Italic Bold Bold Italic No. 4, 5 point
1
8,
1
8,
Agency Open Alternate No.
1
Alternate No. 2 Alternate No. 3
Condensed Condensed Italic 529, Condensed Condensed-Ludlow
CO 89 18 18 ca 94 ca 95 18 18 18
e21 18 CO 93 18
Copperplate No. 31 8,
ca 96
Gothi c, Franklin
18,
17 ca 74 17, ca 74 17 17
Franklin Condensed Gothi Gothi ic, Franklin Extra
CO 97 CO 97
18,
Condensed- APL
18, CO
Gothic, Gillies Light
Gothic, Herald Gothic, Gothic,
News News Condensed News Condensed-Light
Gothic, Gothic, Novel
e21
e22
Flirt
Italic
18
Gothic, Gillies Bold
32 32 21,22
Fashion Condensed
Goudy Bold Goudy Bold Italic Goudy Cursive Goudy Hand-Tooled Goudy Hand-Tooled Goudy Open Goudy Text
French Clarendon Extended e 21 Fournier 17, co74 Futura 33 Future Light 1 7, 33, ca 75, 76 Futura Light Oblique 17, 33 Futura Medium 17, 33, co 77, 78 Futura Medium Oblique 17,33 .
Medium Condensed
c.
85
CO 86, 87 18, CO 88
1
Exotic types
Futura
c.
18, CO
18,
Gothi c. Copperplate No. 32 Franklin-APL Goth
17, ca 72,
Italic
c
CO 82, 83 CO 83, 84
72 73 17
17, ca 71,
Light
Eden Bold Egmont Egmont Italic Egmont Light Egmont Medium Egmont Medium Egmont Bold
C
Goth Goth Goth Goth Goth Goth Goth Goth Goth Goth
31
Corvinus Light Corvinus Light
Girder Girder Girder Girder Girder Girder
17 17 17
Cochin, Nicolas Cochin, Nicolas Italic Cochin, Nicolas Bold
33 17,33 33 33 33 33
Futura Black
17 17
80
17, 33, ca 81
Futura Bold Condensed Futura Demi Bold
co66
16,
17, 33, ca 79,
Futura Bold
ca 64, 65
Grant Antique
33
18,
98 34 34
18 CO 99
18, CO
99
19, CO
94
18 19, CO 91 19,
Italic
CO 92 19 19 19 CO 90
e21 e21
CONTINUED [vii]
INDEX OF TYPE FACES CONCLUDED
Q U
Graphic Bold Greco Adornado Hauser Script Horto Condensed Ideal
I
Ideal
J
ca 99 19, ca
Jim
e 21
19, ca 101 19, ca 101
Italic
e 22
1^ Kobel Bold
KabelBold Keynote
19, Italic
Kenntonian Kenntonion
Italic
Kincaid I
Italic
Lucian Bold
Open 19,
M
19, ca
Metropolis Bold
19,
Neuland Nubian
Q
Orleans
Open
Orplid
P
D
Park Avenue Penelope Phidion Philodelphian Pironesi Bold Pironesi Bold Italic
20
T
e 21 20, ca 108
e
Roy Shaded
e 21
Reflection
e21
co113
Bold
20, co 114
Lined
e21 20 20, 36, co 114 e 21
Trafton Script
Treasury Open Tuscan Shaded
e21 20 20
Typo Script Typo Upright
y
Umbra 20, co 115 Underwood Typewriter & Underscore 20 University Text
\/ Vogue Vogue
\^
20, co 108
Radiant
Tempo Tempo Tower
20, CO 107
e21
20
Tinted
20 22
20 e 22
e 22
,
19 19 19
e21 e21
21,22
Stymie Light Italic callO Stymie Medium Italic colli Stymie Medium Condensed 20 Stymie Extra Bold Italic co 112 Stymie Extra Bold Condensed 20, ca 112 Sylvan 20
e 22
e
Medium
types)
CO 108
Ornate
e 22
Spindler Shaded Stationer Script
cal04
OldStyleNo.l
Onyx
e21
Soncroft Scotch
Single Line Specimens (antique
e 22
Old Style No. 1 Italic Old Style No. 7 Old Style No. 7 Italic Old Style Shaded
Rustic
e 21 20, ca 109 Single Line Specimens (popular types) 16 through 20
103
19,cal07
Obelisk
e 21
27 through 37
19 19,ca 105, 106
Narciss
Roman Rimmed
Signal
col03
Mayfair
Mother Hubbard
22 20
e 21
Siderei
Lucian
^ Mandate
Underscore
Scotch Italic 20 Scotch No. 2 20 Scotch No. 2 Italic 20 Selected Types and Their Use (Bauer)
35 19 19 28 28 28 28
Liberty
Lucian
5
ca 102 ca 102 19 19 19 e 22
Legend Le Mercure
Lucian
e
&
Ripple Text
Roman Rimmed Condensed e 21 Round Shaded e 22 Rules and Decorative Material 14,23,24,25,26
19 19
Crow
Renaissant
Remington Typewriter
ca 100
News News Italic
Janson Janson
p
100
22
[ix]
Shaded
e 21
ca116
Light Light
Oblique
Weiss Initial Series Weiss Initial Series Weiss Initial Series Weiss Roman Weiss Roman Bold Weiss Italic
ca 116
1
II
III ,
37 37 37 37 37 37
TYPE
PAST AND PRESENT
•
Typography
is
one
were making rubbings from
of the youngest of the civilized arts, even
on
letters cut
wood
blocks as early as
generally conceded to be the inventor of movable type. His, the
though the Chinese
900 A.D. Gutenberg
first
Is
complete book from
movable type, was printed about 1450. The design of early type faces was based on manuscript
Goromond, Bodoni, and other great designers gave
of Jenson, Caslon,
lower case types
common
in
done by Giovanni
Paoli in
use today. The
Mexico City
in
printing in the
first
Stephen Day and
his
son
in
Cambridge, Mass.
contribution, sixteen thousand editions
were laboriously
lettered
1638
In
his
and the
talents
upper and
us the
Western Hemisphere was
1539. The Rev. Jesse Glover
printing outfit but died before reaching America.
were
writing, These letters
the natural result of the square-pointed pen used by the scribes. Evolution
left
England with a
equipment was
set
up by
the short half century after Gutenberg's
In
were published
in
Europe. Before that time books
by hand. They were generally the property of the church and
the rich.
Obviously, printing has been a great force
Recent years have witnessed a renaissance
book
printing,
resulted
Type's major purpose
and as blocks of
is
is
and
in
and good
in
and the
the actions of countless
type design. Modern advertising and interest
on the part of the public
must be legible as individual
it
and use
of a type for
on the
advertiser. Doily, alphabets
a particular pur-
listener;
type has the some effect on
in their
many forms
beings.
.
.
.
0Us
Old
.
.
.
Caslon
.
.
Style 17th century, typified
by
Transitional 18th century, typified
by
Contemporary, typified by
by
(fitlBliSl)
Bulmer Bodoni Future
in
the hands
affect the lives
THE FIVE PERIODS IN THE HISTORY OF TYPE
typified
letters
good type
all
a subtle and powerful tool
is
Venetian 16th century, typified by
Modern,
possible the
baudy, conservative or aggressive. The manner of speech
instant impression
human
made
They give character to the printed page. Type may
the mind of the reader. Here indeed
of the designer
has
It
the voice of advertising.
taste are characteristic of
the selection
individual.
is
interesting type faces.
be read; therefore
brutal, refined or
an individual makes an
the eye
to
many new and
necessary
Type faces are highly
be delicate or
in
printing. Simplicity
faces. Discrimination
of
Printing
improved printing processes and a renewed
and designers hove
pose.
civilization.
in
and newspapers.
public library, books, magazines
tppe
and
HOW
TO USE THIS BOOK
Spiral binding was adopted
ume to
for functional reasons.
be
an easel as
utilized like
for this vol-
enables the book
It
the sketch at the
in
right—a thing of double value,
for, in this vertical
book not only occupies
position, the
little
room
on the desk or drav/ing board, but permits the spectator to see the pages position. This
man
the letterer or layout single
page
advantage when
desires to refer to a
for a considerable period.
as this
Full
an unforeshortened
in
of particular
is
book
of type faces,
is
only a modest percentage of the
which are available. Each type face mally manufactured
many
In
contains
it
many hundreds
sizes.
is
also nor-
While we
here offer a generous assortment of sizes tain standard alphabets such as Caslon
doni,
most less
we have
some other cases
in
demand
In
known faces
which are
In
printing,
In
and
Trafton
like
to
in cer-
and Bo-
limited ourselves mainly to the smaller sizes which are
extremely large sizes helpful to the
letterer.
Newer and
and Tempo have not been overlooked, but extreme
styles
questionable taste have purposely been omitted.
SCRAP BOOK
A TYPE
Students
often find
it
advantageous to supplement such a book as
izing scrap books, usually of loose leaf form, of
this
by organ-
supplementary material collected from
books, magazines and other printed matter, and including both individual type faces and attractive
examples of
their application to printing.
OUR BOOK Just
as
many
AS A LETTERER'S GUIDE
type faces were originally based on hand-lettering, so the letterer
often draws inspiration from type faces. Especially
be used together (as
in
ualized headings, captions
much
in
such as
and other important copy
common: there must be this,
with
its
many
perfect
On
the next
is
harmony between
in
page we
late type faces into lettering.
in his lettering
shall discuss
to
which individ-
often hand-lettered) they have the two. Therefore a type
beautiful type faces, can prove, within reasonable
excellent guide for the letterer, helping him
with types.
where hand-lettering and type are
advertisements and other forms of printed matter
book
limits,
an
while acquainting him intimately
a method which enables the
letterer to trans-
HOW
TO LETTER FROM TYPE
To
UTILIZE type faces like those
method must be followed. Here
logical
in this is
a
volume as a basis
common
for hand-lettering,
some
we have
one. For purposes of study
selected one of the finest standard type faces, Caslon 540.
Rg.A
PROCEDURE Thumbtack a sheet of tracing paper
to the
drawing board. With the T-square, draw two
horizontal guide lines three-quarters of an inch or so apart. See
Next, with T-square and triangle
These
draw a number
serve as guides for letter ascenders
will
of closely
mon
beginner's mistake, pictured
in Fig. B,
at 4, for example, that the vertical letters
is
pond (5), resulting
of Caslon of getting
mill
Your
and
lightly sketch the
a crowded effect
in
some
the com-
places.
Note
are too closely spaced as compared with test of
good good
in
an irregular tone over the whole. The
legibility
as to appearance, as
will
in Fig. C. first
rough sketch
is
only a
trial.
letters.
place and draw
pond,
approximately
in
the letters
alike.
this practice
See
is
never advisable to correct poor spacing by tissue
keeping the white spaces
6, Fig. C. Shift this tracing until the
with the
should be as uniform as
It
Lay another sheet of
changing the proportions of
Repeat
sheet
line
540 as a model. Don't make
spacing (and particularly open spacing) adds as much to
be noted
A.
2, Fig.
vertical lines: Fig. A, 3.
the evenness of tone (color) over a word, line, or paragraph. Incidentally,
the round letters
spacing
and
and descenders.
Tack a second sheet of tracing paper over the guide
word millpond/ using the specimen sheet
1
spaced
in
first
three letters of the word,
m
over the two already
in
and between
I
next to
i
I
our example. By using tracing paper
p spaces and
(Fig. C, 7), in this
manner,
in
the letters correctly.
the result shifting
it
as necessary for study of spacing, time can be saved and best results obtained.
-..
^.
As pencil
it
is
seldom advisable to
drawing
try to
do
lightly transferred to
is
finished lettering
on tracing paper, the perfected
some firmer surface such as
flatwise), next lining the
forms are then perfected with pen or brush
board. This can
bristol
be done by coating the back of the paper with graphite, applied with a
soft pencil {used
forms through from the face with a sharp pencil. The transferred in pencil,
after which they ore inked
and waterproof drawing
ink,
as
in
in.
Fig. C. This
Inking
is
generally done
completes the customary
procedure.
A
study of the various alphabets
in
volume
this
will
moke
clear that lettering
upon them would not always demand exactly the some treatment. For
instance,
a
based
style like
Future Light (page 75) can often be interpreted satisfactorily with single strokes of the pen.
On
the other hand, a type like Hauser Script (page 100) requires a quick, bold handling
of the brush.
In
all
lettering, perfection
comes only through careful observation coupled
with constant practice. By working from various alphabets OS each style
The experienced ever changes established
in this
his
and
letterer often interprets
mood
a
style of lettering rather freely,
making what-
or purpose dictates. Normally, however, he at least maintains the
beautiful relative proportions of his prototype:
does so consistently.
f
book, using pen or brush
demands, sound progress should be mode.
I
Fig.B
SPACE TO OBTAIN EVEN TONE 7
if
he diverges from them he
AND NOW COMES LAYOUT DOTH
man
the
matter (but does not sketch
in
printed matter.
it
need knowledge of layout. But what
which the designer records
the case of the
moke
do hand-lettering and the one who designs printed
qualified to
letter)
is
It
his
generally drawn actual size,
word millpond
just
pencil,
in
rich blacks so
A
layout?
on a large
discussed, the texture of the
Type and
possible to produce one study over another.
into the layout.
is
layout
is
the
conception of an advertisement or other piece of tissue
paper and
Its
illustration
pod. As
in
transparency
can be traced
Layout pencils, similar to lithographic pencils, give the uniform grays and
necessary
in
a good page. La/out
Reproduction
The layout shows the placing of relative size
elements of the advertisement, indicating their
all
and importance. The layout man seldom
writes the advertisement— a
normally supplies the theme and reading matter— but he does, as a
rule,
copy writer
determine the
general style of on advertisement and he arranges the illustrations and type matter.
INDICATING TYPE In such
work, headings— large words of display— are roughly blocked out
in
read-
able form with strokes suggestive of the type to be used. Blocks of smaller type are merely indicated by massed horizontal lines of such weight desired. All this
is
weights of type create different tone (color) values the top of the following page. See
how
light in
pared with others. Examine publications Such tone
and
is
an important factor
illustrations,
and spacing as
exemplified by the accompanying
when
to simulate the effect
That different
set in blocks of
copy
is
sizes
and
shown at
tone some of these areas are when com-
for further
in printing. In
illustration.
examples of tone created by type.
a layout, the relative grays of type matter
as indicated by the layout man, create pattern.
6 Point Bodoni Bold Italic No. 275K The selectinn oj type faces for different forms of eampnsitinn is a aithjert ic/iich ahoulit f>L' Kii-en careful thought as the beauty of coinpnnititin i.i closely influenced by the san\i-
10 Point Sans Serif Extra Bold No. 332
The
selection of type faces for different forms of composition is a subject which should be given careful thought as the beauty of
composition
by the same
dominate in the designing of typefaceSt A character may have no particular individual beauty oteing to its limitation of
principles that
closely influenced principles that domiis
8 Point Sans Serif Extra Bold No. 332
The 6 Point
selection of type (aces for different forms of composition is a subject which should be given careful thought as the beauty of composition is closely influenced by the same principles that domi-
Bookman No. 98
The selection of type facca for different forms of composition ia a subject which should be given careful thought aa the beauty of compoaition is influenced
closely
by the same
principlca
that
12 Point Sans Serif
10 Point Caslon, Lining Italic No. 37
selection of type faces for different forms of coviposition is a subject which
subject careful
line of
whicfi
sfiould
be
for a
is
given
thought as the beauty of
SET IN DIFFERENT TYPES
The blocks of copy above give an idea of the per
331
type faces
of
different forms of composition
should be given careful thought as the beauty of composition is closely in-
COPY BLOCKS
Medium No.
The selection
The
and number
legibility, tone,
of characters
various type sizes.
TYPE MEASURING SYSTEM Type
is
measured by v/hat
of the inch into
72 equal parts or
is
knov/n as the point system. This
6 points
:
and
six
All material
1
6 picas
1
inch
72 points
1
inch
lar foot rule
Inches
in
what In
is
known as
boHom in
of
of
rules,
an
an
inch,
inch.
ornaments, leads,
etc.,
is
specified. Printers use in place of our reguis
normally graduated
or,
more
in
picas
and
often, "twelve pica measure."
page 14 give a grophic mdicafion of fhe increase
contact with the
For example, compare the 6-point faces in
pica
and a point about 0.0138
the printer's rule, which
width "twelve picas wide,"
same
division
other words, the printer would call a column of type which measures two
type—the part which comes
sarily the
1
used by the typographer such as type, borders,
Nofe: Whife fhe rules at the of
-
the fable are slightly inaccurate as fhe pica actually measures 0.16608 of
picas measuring 0.99648 of an inch
measured by the point system and should be so
nonpareils.
based on the
nonpareil
2 nonpareils
12 points
* This statement
is
points.*
in
paper and gives the
visible
in size of
impression— varies
fill
types of different design.
the type
body— a
matter exemplified by the
11
is
not neces-
same designation because few illustraiian on poge 15.
actual size. Usually type faces are considerably smaller than rules of the
completely
lype by points, the actual face
in size in
the copy blocks above. In other words, all lype of a certain designated size
faces
PRINTING TERMS DEFINED The
and science
art
of printing being extremely complicated,
could easily be devoted to almost any phase of stance, printers have practically a
language of
quate definitions of most printing terms
AGATE— S/a-point
in
h, d,
high used to
parts of lower-case letters that
the waist or
main
line,
book form. BUILT-UP LETTER— Letter then
first
drawn
in
outline
GRIPPERS— Metal prongs in
metal frame
in
GUIDE— Pieces
point system
and used
tray graduated to the
tion of
by hand type.
I'
line,
to a given
e.g.,
in
square of the body of any size type; 10 wide for 10-point type, etc.
and
single type body, e.g.,
LIGHT FACE— Lightest and its
series;
distinction.
and material locked
ready for the
prolonged be-
ff,
ce,
ffi,
flFl,
a
etc.
thinnest form of a type
opposite of bold-face. of type set by a machine maniputypewriter fashion; also name of
LINOTYPE— Line
faces that make a related group. assortment of type of one size and face, 12-point Goudy, etc.
lated
FONT— Full e.g.,
is
line
LEADS— Strips of metal for separating type lines. LIGATURE— Two or three characters combined on
type.
FAMILY— Type
FORM— Type
part of a type that
used to lead the reader's eye from word to word in tabular matter. LEADING— Insertion of metal strips of required width between lines of type.
points
it
Linotype.
process of spacing out type lines may be uniform
measure that
LEADERS— Dotted
designating a body of copy and illustration that spreads across two facing pages of a publication.
top part of a type piece that gives
body
yond the body.
emphasis.
EN— One-half the width of an em. EXPANDED TYPE-Opposite of condensed
Wash-
as distinguished from
length.
KERN— That
print shop.
DOUBLE TRUCK-Term
style
spacing out
for obtaining impressions, e.g.,
JUSTIFICATION— The
P-
FACE— The
in
in principle and performance as ITALICS— Script-like letters or type.
form.
DEVIL— Usually youngest helper in a DISPLAY TYPE-Large type used for
EM— The
used
type.
of the lower-case letters that
descend below the main or waist 9'
strips
IMPOSITION— Lockup of page forms in a chase. INTERTYPE— Typesetting machine exactly the same
that prints by the acflat
in printing.
ington Press.
HEADINGS— Headlines
letters.
a cylinder on a
fed
HAIRLINE— Thin rule in printing. HAND PRESS— Vertical moving press manipulated
to set type to a given
COPPER SPACES-'/2-point spaces. CURSIVES— Joined letters with rounded angles-
DESCENDERS— Parts
is
HAIR SPACES— Thinnest
measure.
CYLINDER PRESS-Machine
without
type.
COMPOSITOR— One who composes or sets CONDENSED TYPE-A narrow type face.
like uncial
type
or
on a platen press that
space between the feet of a type. of metal on the tympan against
which paper
which type and plates
ore locked up for printing.
COMPOSING STICK— Metal
for
hold the sheets to the platen.
GROOVE— The
and
filled in.
CHASE— The
in
easily corrected.
is
GOTHIC— Uniform-stroke letters serifs: also SANS SERIF.
light
BROCHURE— A
chase
in
decorative figures or pictorial compositions made with geometric or type forms.
dark form of a type family as
and medium forms. pamphlet bound and stitched
large blank spaces
tray used to assemble or store
GEOMETRICS— Expression
job, usually 14-point or less.
its
fill
and so
the galley
extend to the extreme edges of the page. from top to bottom of type, BODY-TYPE— Type used for the main body of a to
against
and cuts. Also hand type.
or metal forms less than type-
away type and plates. GALLEY PRESS— Machine for making proofs. GALLEY PROOF— Proof of type matter that is still
BODY— Size
BOLD FACE— The
use.
not occupied by printing matter.
GALLEY— Shallow
e.g.,
BLACK-FACE LETTER-Dark or bold form of German text; also called Gothic. BLEED— A picture that has been trimmed to permit it
ade-
find
common
in
refers to foundry type, or individual
etc.
f,
own. Fortunately one can
FURNITURE— Wood
principle from the Ludlow.
above
a whole volume
to terminology, for in-
original form consisting of type
bugaboo. Machine used mainly Not dissimilar In
for the casting of big type.
project
comes
electrotype foundry, where electrotype plates are made by casting from the
from original copy, or
Linotype.
ASCENDERS— The
their
it
FOUNDRY— The
author's corrections. The printer's
A-P-l— All Purpose
When
the dictionary. Here are a few
type.
ALTERATIONS— Changes
it.
in
in
machine. LIVE TYPE-Printing matter still in use. LOCKUP— Type matter and plates locked together in a frame preparatory to printing.
a chase and
press.
12
PRINTING TERMS CONTINUED LOWER CASE-Small
usually found
letters
QUAD— Below-type-high
the
in
which matrices are hand
machine
QUOIN— Wedge-shaped
in
type matter
set.
MACHINE COMPOSmON-Type
REGISTER
by machine,
set
of
type,
and
press,
plate forms with overlay or underloy to obtain of types
and
cuts
into
a
form.
MEASURE-Width of a column of MISPRINT— Typographical error.
set type.
ciding
MONOTYPE— A
method of costing individual types from matrices. The Monotype process is divided
first
measure— one-half
of
a
points.
OFFSET PRINTING— Impression on a rubber blanket made by a plate and then offset on paper.
OLD ENGLISH-Heovy
blofk-foced
between
tympon on
words words
press to even the impres-
lines
in
set
without leading
lines.
blanks used to separate
to
type matter. the size of the spaces between improve the appearance of the line
composition.
TEXT— Body
matter of a page or advertisement, printing that is powdered and then heated to obtain a raised effect. TISSUE— Thin paper used in building up a block
mixed type. PICA— Printer's unit of measure; 12 points (approximately 12/72 of an inch). PLANER— Smooth block of wood used for proofing or
leveling
PLATEN— The paper
is
body
THERMOGRAPHY -Wet
of text.
in
unit
press that obtains
of type
equal about an
of tough
paper that covers the
platen or cylinder.
TYPE
an Impres-
by pressing the paper against the type.
POINT— A
moke-ready.
TYMPAN— Sheet
port of the platen press to which the fed.
PLATEN PRESS— The sion
were
STICK— Device for composing type to measure. STRAIGHT MATTER-Opposite of display, plain
tis-
sion.
PI— Dropped
and
thai
SPACING— Varying
lines.
layers of
letters
in Italy.
to separate lines of type.
wedge-shaped serifs which ore especially marked in the lower coses.
sue under
used
SPACE— Below-type-high
letters
with
OPEN MATTER-Widely spaced type OVERLAY— Make-ready; addition of
and forming a bond
rollers or broyers.
SOLID MATTER-Type
letters.
OLD-STYLE TYPE-Thick-and-thin-stroked
successive lines
SCRIPT TYPE-ltalicized type that looks like writing. SERIFS— Fine cross-stroke terminations of letters— usually on top and bottom. SET— To compose or arrange type. SLUGS— Leads 6 points and more in thickness, used
positor to avoid mixing similar types. of
in
ROMAN— Thick-and-thin-serifed
which, player piano fashion, acts as the monitor when placed in the casting unit. slit in a type which helps the comunit
locking up
devices that
RULE— Strip of type-high metal that prints tines. SANS SERIF— Letters or type without serifs.
NICK— Shallow
pica—6
in
of unprinted 'Vlvers."
ROLLERS— Printing
into two mechanical units, the keyboard, or composing unit and the casting unit. At the keyboard, holes are punched in a roll of paper
NONPAREIL— A
printing, the
REGLET— 6- and 12-point wooden furniture. REVISE PROOF-Proof taken to check corrections made in a first proof. RIVERS— Spaces between words, accidentally coin-
uniform impression.
MAKE UP— Adjustment
forms used
chase.
in
MARKS— In
help colors to fit into their correct relationship. In engravers' proofs, the crosses that help to obtain register in proofing.
not by hand.
MAKE-READY— Preparation
metal blank used to space
out ends of lines.
lower port of the type cose.
LUDLOW TYPOGRAPHY-Slug-CQSting
measurement— (72
GAUGE— Printer's
ruler
having
inch
and
point divisions.
TYPE-HIGH-Height
points
of type (0.9186 of an inch).
TYPOGRAPHY— Art of type arrangement. UNDERLAY— Moke-ready; building up of
inch).
PROOF— Impression
from a cut or a body of type examination or correction. marks copy for correction with "proofreader's marks."
plate with layers of paper to obtain an even impres-
for
PROOFREADER— One who
sion.
UPPER CASE-Capital
13
letters.
COPVRERDinG mnRHS Symbol*
for
rdiriiig
Corrfci
PROOFREHDinC HIHRHS Symbols
cupy.
rfducfs avrragc cuslly alifraiinn chargr^ by more
rdiiing
ihan half, and allrraiiim^ accciunr for from 10
SO
to
per cent
uf
most jobs
If our only yard stick oT boelness proTlts la dol-
OKE VDfU) BOLD ?ACE
lmr», uii
•
aeuura our wary aotlvlty by th«
It BKkas on tha onah ras^star,
APOSTflOPHC
uiythln£.
SEUIOOLOtt
than
I
noiaa
say, doift Join
Koap out oT your trada ossoolationsA right
for correciiiig
V
OOIUA
first plaoa, with suob
tU£TOR£
put Duoh Into thaSA a#***^*lluuji and you aay be psr-
a
nUH IH
INSERT L£TTLA
faotly oortain you won't taka nuoh out.^ 57" /"^ s *^lt taJcas BOro than duas to aak* a BuooeaXul assool
J
TRAKSPOSE
tlon.
OUIT
/if
ptillosophv^ou probably won't
Jm
up
IHSEar WORD
stay ^t your dask.
ITALICS
But don't bla/aa
Bad {spacing :^pace more (evenly. Wrong font: character of wrong siie Transpo^ ^ake a new paragraph.
CXCLAUATIOH POIHT
to the right.
DeP"38.
for
— correct.
Spac^hows between words
K»ap your haad burlediyour pKperSi
ayona but y^uraolf If you and your
-hi
bu3ln«B3 soon dlo of hardanlng of th« ai-terlos/
or style.
EleVate.
If you aro that sort of bird.
TTlf. howsvor, you noasura profits by tha frlonda you
confuird
Rodent; or, put in an em-quad space. L Carry to the left.
C*iy
||
PARAGRAPH
to be
— turn. — no apace.
Imperfect type buaino33|flr3t purposaa.
in typf. not
in^pace.
CI<Qie
And you probably won't nai^ aany frlands. for
paoplo havan't nuoh usa for tha nan who Joins
W'ORD
HYPHEN
art
Dele, or delete: takel^out.
o
Bhy of tha loaal ^arvloe
LETTt:;R
has beeu
Letter rev^ijed
Put
«ltb axaoutlvas organltad on funotlonal MnssQ) In th«
"
it
Sense, typographical errors and the faithful following of copy
3>
UJM^ CaSE
haTa nothing to do
;
©
PERIOD
>!liibB|
cnpy aftrr
with cupyrradiiig mark^. Good proofreading checks the finished compo&ititm for three factors
oaC,a*t'Ccftu.
— push down.
Straighten alignment.
Restore or ra^njn words crossed out. Print (ae, fiT etc.) as a ligature.
Words are omitted from, or in,.copy Query to author: Js this correct? Put in Jggi^^ Put in SMALL CAPITALS. Put in LOWER CASE. Put in Toman type. Put in italic type. Put in bslifftsa type-
OUIT UTT£R
tnaJco
SUAU. CAPS
Theodore Roosagelt that every aan owes soaethlng to
QUUTES
his profession ani aro not satisfied to go through
DASH
life, taking all you oan getabut giving nothing In re-
TWO UORD&
turn--thon Join at least oae of your hooAown's fel-
CAPITALIZE
lowship groups,
SPELL OUT
this aarth a few years.
Uost of us have but/^^yaars
Insert period^
NUMERAL
at best In the hoj-ness.
Uhy not spand jonej per oaat of
Insert an apostrophe in proof readerj marks. Insert hyphen in printing-office efficiency.
as wall
as tha
aonay you| bank) If you agree with
AX.
THANSfOSE
WRDS
QireSTION UARK
after all, you know wo aro only on
those reisDlnlng years doing what wefto^ oant aake this
world
k
better plaoe In whlob
.to
ll*«|
4
Insert en dash between 1918 20. Insert
RUIES, BORDERS HRD
ORnHmEnTS
SHAPrn Roll Parallel Rule
Bkomen Rule InnccuLtn Rule
* •
* * 6
e pt
pi.
3 pi.
4pt
*
*•
••
**
12 pt.
18 pt.
10 pt
6 pt
••••••#! 8 pt.
10 pt.
12 pt.
la pi.
Squares Spt.
Apt.
10 pt.
IBpt.
12 pt.
Decoration:
FUtwKHS
Ornamental BonOEna
^ 'fi
}^
^
J^
^ ^
l^
14
em
dash^
POIRT SIZES OF RUIES
TYPE TERMINOLOGY =Face
KnMark Counter
Body or Shank
Beard or
Neck Nick
Shoulder
BIBLIOGRAPHY Believing that it
is
many
of our readers will desire to investigate
impossible to present here,
ADVERTISING lAYOUT
we
AND TYPOGRAPHY
.
.
.
New
York, The Ronald Press, 1935
by Eugene De Lopetecki,
New
York, The Ronald Press, 1937
NEW TYPOGRAPHY AND MODERN LAYOUTS AND
PITMAN'S DICTIONARY OF ADVERTISING
... by
Frederic Ehrlich,
DESIGN
AND BEAUTY
IN
second edition
PRINTING
.
.
by
in'
AMERICAN TYPOGRAPHY, 1780
BIBLIO-TYPOGRAPHICA,
to
J.
Freshwater, London, Pitman, 1930
Eric Gill,
New
London, Stieed and Ward, 1936
York, Press of the Woolly Whole,
1930 by Edmund Geiger .
A SURVEY OF CONTEMPORARY
.
Gross,
.
.
BOOK
THE ART OF THE
BOOK AND
York, Harper, 1931 .
.
.
New
York, Covici-Friede, 1930
New
York, Covici-Friede, 1937
.
by Douglas Crawford McMurtrie,
THE ART OF THE
New
FINE PRINTING STYLE
AND BOOKMAKING
1934
.
by Paul Johnston,
THE BOOK; THE STORY OF PRINTING
York, Stokes, 1934
.
by Frederic William Goudy,
FASHIONS
New
A COMPLETE WORK OF REFERENCE
PRINTING;
by G.
AN ESSAY ON TYPOGRAPHY,
of our subject which
by Eugene De Lopetecld,
TYPOGRAPHER'S DESK MANUAL THE
some phases
offer this brief bibliography.
by Bernard Henry Newdigote, London, The Studio, 1938
ITS
ILLUSTRATION
A MANUAL OF ADVERTISING TYPOGRAPHY
by Jon Poortenaar, Philadelphia, Lippincott
.
.
.
by Thomas Blaine Stanley,
PRINTING TYPES, THEIR HISTORY, FORMS,
AND
USE
New
York, Prentice-Hall, 1935
...
by Daniel Berkeley Updike, Cambridge, Harvard University 15
Press,
1922
SINGLE LINE SPECIMENS The following types are
To aid
instruction.
in
all
common
in
use today,
and ore offered here
interpreting the notes as to sizes, etc.,
we
offer
purposes of identification and
for
on page 11 o description of the point
system and on pages 12 and 13 definitions of such words or abbreviations as Lino., Foundry, Ludlow, Mono.,
and
Intertype.
Antique No.
Bookman
1 Lino.:
Antique No.
0, 8, 10, 12,
1 Italic Lino.: 6,8,
10, 12,
U point
M,
IB point
Intertype:
Foundry:
Baskerville Lino.:
8, 10, II, 12,
Italic
11 point
6. 8, 0, 10. 12,
u point
10, 12, 11. 18, 21. 30. 36, 48
point
Camelot Old Style Foundry:
8. 10, 12, 18, 24.
30 point
Baskerville Italic Lino.;
8, JO,
U.
12, 11
point
Ludiow;
cJOevnnard. CnÂť*9it'e cJOold Foundry: H.
10, 18. 21. 30, 8Q, 12. 51, 72
Mono.:
8. 10. 12.
U,
16, 18. 21. SO, 30. 18. 60
point
Caslon Bold
point
Beton Extra Bold Foundry:
18, 24. 30, 36, 18
8, 10. 12, 14.
Ludlow:
Caslon Bold
point
18. 21, 30, 30,
Foundry:
48.
60 point
Italic
Mono.;
10, 12, 11, 18, 21, 30, 30
8,
point
Caslon Bold Condensed Foundry;
20, 21, 30, 30. 18 point
Foundry:
21, 30. 30,13, 18 point
Foundry:
Lino.;
0. 8, 0, 10, 12, 14, 18.
Foundry
Bodoni Book
18, 00 point
11. 18. 21, 38.
CASLON OPEN
Bodoni Book
:
24, 30. 80
point
CAPS ONLY
Italic
Lino.
:
B, 8, 0. 10, 12, 11, 18.
Foundry:
21, 30, 36
point
Caslon Old Face (471)
12, 18, 60, 72
point
Caslon Old Face
Lioo.;
8. 10, 12, 11, 18.
Ludlow:
24, 30. 80, 42, 48, 60, 72 point
Bodoni Lino.
:
0, 8. 10, 12, 14, 18.
A-P-L:
24, 30,
Bfl,
Lino.:
Bodoni
Italic
8. 10, 12, 14.
(471)
Ludiow:
IS, 24, 30, 36, 42, 46
point
Italic Lino.;
0. 8, 10, 12. 11. 18.
A-P-L:
21, 80, 80. 12, 18 point
Caslon (540) Lino.
:
8, 10, 11. 12, 14, 18.
Foundry:
81. 06 point
Bodoni Bold Lino.:
Ludlow:21.
B, 8, 10, 12. 14,
80, 86. 42. 48, 60, 72.
A-F-L:
84,
18 point 06 point
Caslon Italic (540) Lino.
Bodoni Bold
Lino.: 18, 21. ao, 06, 48.
0, 8, 10. ]2.
Foundry:
14 point
12, 00, 72
Caslon,
point
fl,
8. 10, 11, 12, 11.
lo, 12, 14, 18, 21, 30, 30. 42, 18.
Foundry:
0,
Caslon,
60 point
Lino.
Bodoni, Ultra Italic Mono.:
Foundry:
48, OO, 72, 84, 06 point
:
8, 10,
12, 14.
New
8, 10, 12, 14.
14, 16, 21, 80, 80 point
Mono.:
Foundry:
(No, 3)
Foundry
:
18, 21. 30,
36.12, 48, 60 point
Italic
10, 12. 14, 18, 24. 30, 80.
Llno.:8,
Caslon (137) 0, 8, 0, 10, la, 14.
(No. 3)
42, 18 point
Caslon (137)
Bookman Intertype:
New
Lino.:
Bodoni, Ultra Mono.:
;
Italic
Ludlow:
is, 21, 80, 86 point
Lino.:
16
D, 10. 11,
12 point
8, D, 10, 11,
12 point
Italic
SINGLE LINE SPECIMENS Eden Light
(2ivifi<e
Foundry:
18 point
Ludlow:
14, 18. 24.30. 30,42, 48, 72 point
Ludlow:
14, 18, 24, 30, 36, 42, 48, 72
Eden Bold
Cocnin, Nicolas Foundry:
U.
IB, 24, 86, 48
point
14, 18, 24, 30, 48
point
12, 14, 18, 24, 36, 48
point
10, 12.
point
Egmont
Cochin, Nicolas Italic Foundry:
Intertype:
Egmont
C-ocnin, PNicoIas fiolo Foundry:
Century
Mono.:
24.
Foundry;
48 point
8, 10, 12, I4,
19 point
Italic Intertype;
Egmont Medium
Li„o..»,iopoioi
Intertype;
Century Bold
8, 10. 12, 14, 18.
u„o.:8,ioMnt
Foundry:
8, 10, 12, 14, 18.
Egmont Medium
24,
30,
48,
60 point
Italic Intertype:
8. 10, 12, 14,
18 point
8, 10. 12, 18. 24. 80.
46 point
Cheltenham Bold Mono.:
14, IB, 24, 80, 8Q
Egmont BolJ
point
Foundry:
Cheltenham Bold Condensed Mono.;
18, 24, BO. 80 point.
Foundry:
42,
48,
60,
FOURNIER
72 point
Mono.:
Cheltenham Bold Extra Condensed Mono. 18.24, :
30, 36 point.
Foundry;
42,
48,
00,
Foundry:
Intertype:
6, 8, 10, 12, 14, IB point 24. 30. 88, 4B, 60, 72, 84 point
Bold Llno.;0,
8, 10, 12, 14, 18.
Mono.:
21.
80,
30 point
Fufura Light Oblique
Mono.:
24,
30,
36 point
Futura
Intertype:
Cloister
30 point
Futura Light 72 point
Foundry:
Cloister
24.
Bold
6, 8, 10, 12, 14, 18.
14 point
Medium
Intertype;
Cloister tlext
Ludlow: Foundry: 24, 80,
0, 8. 10. 12. 14. 18.
Fufura
Medium Oblique
Intertype:
Ludlow
12. 14, 18, 24, aO, aa, 48 Foundry: fl, 8, 10, eo, 73, ge L
point point
8, 10, 12, 14.
Foundry;
6, 8. 10, 12,
Foundry:
U.
18, 24. 80, 86, 48
16, 18, 24, 80, 30, 48
point
Futura Bold
Bloclt Italic Foundry:
24. 80. 86. 42, 48 point SB. 48, SO, 72, 84 point
m„„„. :..„,..,.., a. p„,„.
Cooper Black
Cooper
8. 10, 12,
Italic
Lino.:
Intertype: a, 8. 10. 12, Ludlow: 18. 24, 80, 36, 42, 48. 60, 8. 10, 12, 14, lO. 18, 24, 80, 36, 48. 80. 72,
14 point 72 point 84 point
point
Fufura Bold Ob/ique
"^ r
Intertype:
DELPH AN in>
K
Ludlow:
0, 8, 10, 12, 14.
Mono.:
18, 24, 30
point
A TV
aa, 48 point
Futura Demi Bold Foundry:
CAPS ONLY
B, 10, 12. 14, la, 18, 24, 80. 36. 48.
Ludlow:
17
IB, 24, 10, sa, 42, 48,
80,
60 point 72 point
SINGLE LINE SPECIMENS Gothic, Alternate No. 3
Garamond Light B. 8, 9. 10, 11. 12, 14,
Intertype:
Ludlow: Mono.:
Foundry:
18 point point 72 point
8, lO, 12, ll. la, 24, 30, 30. 42,
48. BO point
Z4, 30, S6. 42, 48
Foundry:
18, 24, 80, as. 4Z, 48.
flO,
Gothic Condenseil
Garamond Light Italic
Ludlow:
Intertype:
14, IB 24. 30, 80, 42, 48 24, 30, 85, 42, 48
S. 8. B. 10, 11, 12,
Ludlow: Mono.:
point point point
point. No. 1.2.
Lino.:
Ludlow:
3, 4.
point
18, 24, 30. 30, 42, 4H. 00, 72
GOTHIC, COPPERPLATE NO.
31
12 pt.
No.
18 point
1, 2. 8, 4,
Garamond Medium GOTHIC. COPPERPLATE NO. 32
Lino.: 0, 8, 10, 11, 12, 14, 18 point
Lino.: 6 pt. No.
Garamond Medium
Lino.
:
fl,
8, 10, 11, 12, 14,
Golhlc Nd.
18 point
Garamond Bold Mono.:
1, 2. 3, 4,
Italic
Intertype: 6, 8, 10, 12, 14. 18 Ludlow: 24, 80, SB. 42, 48, 60. 72 24, ao. 39, 48. Foundry: 60, 72, 84 A-P-L: 88, 144
4, G
Point
Gothic, Franklin
point point point point
GothiCf Franklin Italic
Garamond Bold Italic
Foundry: 6, 8, 10, 12, 14. 18 24, ao, bb, 42, 48, eo, 72 Mono.: 24, 30, 86, 48
Intertype:
Ludlow;
8, 10, 12, 14, 18, 24, 30, 30. 42,
48 point
point point point
Gothic, Franklin Condensed Foundry:
B, 8, 10, 12, 14, 13, 24, SO, 30,
42, 48, 60, 72 point
Girder Light Lino.:
0, 8, 10, 12, 14.
Ludlow:
18. 24, ao, 8S, 42, 48
point
Gothic, Franklin Extra Foundry:
Condensed
8, 8, 10, 12, 14, 18, 24. 80, 80, 42, 4B. 00,
Lino.:
12, 14
point
24, 80, 80
point
B, 10,
72 point
Foundry; 84 point CAPS
Girder Light Italic
ONLY
60THIG 529, CONDENSED
Girder
Medium Lino.:
Foundry:
6, B, 10, 12, 14, 18.
Mono.:
Gothic,
Gkdei Medium Italic Lino.:
6, 8, 10, 12, 14,
Mono.:
GOTHIC, NEWS CONDENSED Foundry
Girder Bold Italic
Gotiile, Franklin Lino.:
8, 10, 12,
14 point
24, so, so, 42, 48, BO, 72
1
point
6, 12, 18, 24,
BO point
CAPS ONLY
Condensed
Mono. 14, 18, 24, 80. 8S. 42, 48 point 18, 24, 80, SB, 42, 48, 00. 72, 84, 120, 144 point
GOTHIC, HERALD
point
GOTHIC,
Gothic, Alternate No. 2 Foundry:
:
16, 24, 30, 80
LIGHT
:
A-P-L:
GOTHIC, ALTERNATE NO.
point
News Condensed
18 point
Girder Bold
Foundry:
12, 14, 18, 24, ao, 30, 42, 48, GO, 72
24, 30, 36, 42, 48, BO, 72 point
18
Foundry:
18, 24, 38
point
Foundry:
B,
12, IS
point
NEWS
SINGLE LINE SPECIMENS Gothic, Hovel Foundry:
31 point
8, 10, 12, 14, 18.
I
JVxercure
vC
Foundry:
36, 18, 72 point
Goudy Bold Ludlow:
14, IS, Zl, 30. 36, 42, 48, 00, 72, 84
point
oil iberltf
Foundry:
Qoudy Bold
14, 18, 21, 30, 48
point
Italic Ludlow:
I
.
mandah
72 point 12 point
IS, 24. 30. 36. 4H, 60.
Foundry:
Goudy Hand -Tooled
II
Mono.:
3a point
18, 24, ao,
Qoudy Hand 'Tooled
Ludlow:
IS. 21. 30. 33
Foundry:
point
Qoudy Qursive Fouudry:
72 point
18. 24. 36. 48. 80. 72
point
Metropolis Bold
Italic
Mono.;
Ludlow: 18.24. 30.48,
layfair
8, 10. 12. 14. 18. 24, SO, 36, 48. 00, 72, 84,
SO point
Narciss
10, 12, 14, 18, SO. 36
Lino.: 12, 14 point
GMECO ABOMHAOO Foundry:
Ideal
14, 18, 30
point
NEULAND
CAPS ONLY
Foundry:
News
8, 10, 12, 14, 18.
24. 30, 42. 54. 72 point
CAPS ONLY
6 Polnl; No. 1
Intertype: 7,8, B point
Ideal
News
Linotype
Italic
6
Intertype:
7, 8, D
Point No, 2
point
Linotype
5ÂŤ
Janson LlDO.:
8, 10. 11, 12,
Point No. 2
Linotype
14 point
&% Point No. 8 Bold
Janson
Linotype
Italic Lioo.:8, 10. 11, 12. 14pDlnt 5 Point No.
lOBooiBn
Linotype
Kabel Bold Mono.
:
18, 24. 80, 33, 42, 48
Mnbian
point
Foundry:
13, 14, 18, 24, 30, 36, 42, 48
point
Kenntonian Intertype:
8, 10, 12,
14 point
Old Style (No. 1) Lino: 6.8, 10 point
Kenntonian
Italic Intertype:
8, 10, 12.
Old Style
14 point
Italic
(No. 1) Lino:
Kevnote
6, 8,
10 point
Old Style (No. 7) Foundry:a4.
36.
48polnt
Lino.
19
:
B
point
SINGLE LINE SPECIMENS Old Style
Italic
Stynue Extra Bold Condensed
(No. 7)
Mono.:
14, IS, 24, 30. 30
point
StYmie Medium Condensed Mono.: 14,18,24.30. 30 point
Foundry:
18, 24
point
CAPS ONLY
Foundry:
24. 30. 30, 48
point
FoDiidrT : This slie only
1
iranesi
TiMP© LDNiD
Oold Foundry:
^hanesl
18, 24. 80, se, 42, 48
point
Mono.:
£BoU Sialic Foundry
:
24, 60
16,
24.80. 30 point
TOWER
point
Foundry;
SO, 48 point
Remington Typewriter & Underscore Lino.: 10. li point
J-taftffit
v^ctivt Foundry:
Scotch Lino.:
6, 8. 10, 11,
tiJifJio
is point
18. 24, 80, SO. 48, 00, 72
point
^oriJii Foundry:
SB, 48 point
Foundry:
IB. 24
Scotch Italic LIdo.:
a, 8, 10, 11,
12 point
(JuQ<i
UAriaii.t point
Scotch No. 2 LIdo.: 10. II point
Underwood Typewriter & Underscore Lino.: 10, 12 point
Scotch No. 2 Italic Lino.: 10, II point
—
Founf" Foundry:
18, 24, BO, 42, 04, 72
UMSRA
point
Ludlow:
Qjtationer Qjcript Foundry Tbls :
24, 80,48, 72
point
CAPS ONLY
OO0OOOO OOOOOO CK)©© Foundry:
elie only
20
12, is, 24 point
ANTIQUE AND EXOTIC TYPE FACES Grant Antique
& ST. LOUIS ftNDD&TROlT are said 10 have base
ball
Glubs
Grant Antique
AT WflSHINGTON French Clarendon Extended
plays ball
THE
some too
can
8 pt.
I^IIrTE
cSc "^^rlll
! !
DVR1!I@
ADD YERYE AND COLOR Y/HICH
TIE
are indispensable to most advertising!
lal® tlgbilts »m§ l«f«re Roman Rimmed
THESE
d-esig-ns
Fashion Condensed
Roman Rimmed Condensed
P0PmAE
-CJSE 01^
i3aello*^<7- old.
Italic
Gothic Condensed
IT'S ALL IN
18 pt.
12
12
Ihal idenlify their real superiority Condensed Horto
RoiDKn
KliSfjC
Rimmed
pt
THE SLANT AND GUT 24
pt
8Uf AHfJSflC
Orteaos Open
30 pt.
iMiiiiriaK]© Treasury Open Phlladelphisn
Tuscan Shaded
Mfl
pt
mm mmm
22 pt.
lIGMfllSIl
Phidlan (no flKurea)
mp
18
12 pt.
lE&Hl' POSSS WEiSS ®Ot B¥ tbe lebDBom Sjpe Woumitj In
iiii
HUBtlC
BO
Ripple Text
86
Im It III fete I
80 pt
it iif!
University Text Shaded (no firurcs)
36 p
Siderel (caps only)
Ornate (caps only)
KCIP¥
IB^
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g
10 pt.
OF E.OOSE bCnP STy[.E.&
Coudy Text
18
pt.
Siderei (caps only)
^hotDing. IChe postal card size Crayon
24
IT IS
pt.
THIS £Il€TnOD Tinted (caps only)
Aquatint
24
pi.
24
pt.
if Rustic (caps only) only)
21
\2 pt.
nOPEDTI^/VT ^12
Siderei (caps only)
^^as ^een ^Kosen ReBeaion (caps
pu
BBMaXES^
Siderei (caps only)
14 pi.
S? 24 pt.
ANTIQUE AND EXOTIC TYPE FACES
mw Beckman
36
Renaisaant
pt.
TiwE $ We ask that you Flirt
BLiB
type designers
18 pi.
Please Bear ^ith
Renaissant
lis
Kincaiil (caiis only)
48 pt.
12 pi.
OREFUlili
AND OUR facilities $S7 Chancel
If
mmm
36 pt.
36 pi.
YOUF pF00l§ j^t Penelope
30
and
pi.
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WERE THEY
10 pt.
RXACTLaY PE.RFRGT
diligent
Mother Hubbard
IN
8 pt.
THE INTERPRETArieN
Mother Hubbard
10 pt.
Sn
OF THE NEEB & REQdlREMENTS
SHARP & CLwEAR
or THE YEARS P0LLQWING
Sancrofl
Mother Hubbard
12 pt.
Antique Cond.
Mother Hubbard
10 pi,
really be
made
18 pt.
THeSE DAYS WHEN
AS EEPEODDCTION PROOFS SHOULD &C. for producing the best results!
Mother Hubbard
Radiant
24 pt.
BeeKS VERE
s«;
Mother Hubbard
R
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3<i
Old Style Shaded
WITl EMH
Mother Hubbard
la tCQUlLSitiOE of I
48 pt
HANDS
Round Shaded
Antique Extended No.
iLi Fiies
TO
12 pt.
Bowl
24 pt.
2
16 pt.
Antique Ejctt-nded No. 2
Spindler Shaded (noflKure9}
Spindler Shaded
pt
MADE BY5
s^seiBisai
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BAUER Beron
lighl
8
td
48 Poinf
lo
Mechanical Production
ENGLISH ANTIQUES ledium 8
lo
60 Point
BEAUTIFUL on bold 8
O
Motor Car
Slreamline
BOOKS
34 Poin
lo
The Decorative Art
FISH
LORD KITCHENER
comes
bold
14 to
to the rescue BY JULIA LEE WRIGHT
84 Poini
Reclining Figures
This monlh, McCall's
second in
ILLUSTRATIONS
its
The author,
is
proud
series of articles
Julia Lee Wright,
is
millions as the Direclor of the 6eton medium condensed 3
to
84 Poinl
Inc.,
known
to
Oakland, Calij
":hen
14 lo 34 Point
MahoganY Bookcase OLIVER CROMWELL to
well
Safeway Home-
RECIPES TESTED IN THE
HUMOROUS LITERATURE
Belon open 20
present ihe
makeis' Bureau, a divi^^^^Llhe Safeway Stores,
Development of Industries
on bold condensed
ro
on Wise Buying.
84 Poin
ii®wiisi^aias^(g
FOUGER X <
o w •J M E->
n CO
leuron bleu
le
f
the
anglo-american florist; avenue victor hugo
12
4,
tel.passy 53-95 teleg. fleuron paris
O
27
¥
BERNHARD TYPES Bernhard Cursive
florris Bernhard Cursive bold
and
(ijTisioriccd
O
CURACAO
LS
Orifimal of M(emonrs
OR ORANGE
COLLEGE PALS Bernhard
italic
Otandard
o/ the Alociern Library oi
FAMOUS
TYPE DESIGN
Bernhard Roman
Artistic Ue.si^n.s lor
i
rint
^
UNIVERSITY RED Lucian
A History oi trie Roman
Bo
^O. '^/A^r
^4A
^Jis
^'yo..
DRAW FASHIONS Lucian
Italic
Now is
the
Time
to
Buy
HEN
THAT MANAGER
N
E s S Y
Lucian bold
Linlitn^OM^ Touring
ikik'^ y^ognac
LOW GARDENS
Life roll, along today in ibe .
did one hondred and
to
CoHn
entv Vfar*
C/tj randy region of France n^ucb as
fl^o.
it
Today, as then, accepted
ÂŤ" (o the
vine^i-owers trundle fbcit
Bernhard Book
c
Hennesay ^-arehouses,
ahillfnll, blenJvd I nJ stored to aa-ait the magic And today, an ben, the bouquet and "clean" Hcnnesay maltc it tbe pre erred liqueur everynrbere DialilUd and bottled at Cognac. F
.Aere they arc
Instead of the stimulus of tne brand new,
advised
to color
we
them by hand, invading the
INSTEAD OF BEING ACTUALLY
mello^^-in^ of time. taHte of
.
cJoL ff^yonl sjor
SCHIEFFELIN
28
ihe
& CO.
.
.
QLUedcJl [lies:
NEW YORK
CITY
BODONI TYPES ROMAN
ITALIC
Radio Talk for Books
Design for Dressmaking
WARNING SIGNAL
EVENING HERALD
ROMAN BOLD The
ITALIC
glasses of a
man
BOLD
Automobiles Wrecked
CANADIAN PACIFIC
PERFECT REST
TITLE
ITALY Go
to
SECTOR
enchanted lands of charm, gayety and balmy
climate.
To colorful Spain, tofascinating Italy and
picturesque Sicily, fia the luxurious liners. Stopover privileges at all ports of call. Optional shore excursions. Connections to
Egypt and Near
East.
LLOYD SABAUDO
r^
HOTEL
1 PIERRE
Typically Furnished Suites Fifth Avenue at 61st Street,
29
may
be seen
'^4
J
by Appointment
New York, Telephone Regent 5901
28 A GUTENBERG STARTED WITH fORTY LINES TO A
6 Point
B Point
A
2*
THAT PRINTING HAS BECOME THE 10
Point
CARTOON
A
22
HERE'S AN OPPORTUNITY TO 12
Point
A
la
NEW LOW
PRICES
AND
LOWER OPERATING IB
Point
10
A
THIS SET 24 Poini
a
IS
FINE
A
OUTWITTED 30 Point
6
RAVEL LOG MEXT-MORMIMG BLUES, EH? ALL
A
PLAN rOR
IS SOME SROMO-SELTZER
YOU MEED
HAWAII
telU
lis
alluring sIoiy in
it if you hava a chance to travel the wesiwaid). The spell of the enchanted islands caiiiss
a booklet (send lor
over inlo the beautilul photographs.
36 Point
5
A
LIMCOLM 10 Poini
E2
THIS
invnei you South
Winter with an
inletes ting booklel
hleially overilowlng with pictures oi
things to
do and places
lo see
We
are illustrating a lively story lor you.
A
IS
MIAMI SEACH lor
GRIPSHOLM CRUISE
OUR NEW MOTOR
around
South America describes an itinerary lor a winter holiday thai lakes you
and then most glorious land ol Brazil.
to the ancient Inca Lands, 12
Poini
IB
A
to Ihe
THE ATLANTIC OCEAN 14
Poini
16
A
OaR GREAT ACTOR le
Point
10
A
MUSIC FOR ALL
CUSTOMERS 30 Poini
6
A
COMPANY Si/MMER 4a Point
4
HAND CRAFT STUDIOS
IMC.
AUTHENTIC EARLY AMERICAN DESIGNS TO SERVE AS FINE
AND APPEALING
GIFTS FOR ALL OCCASIONS. <SLiIil^<
ALL PIECES
MADE BY OUR OWN CRAFTSMEN.
A
DOWN
ILLUSTRATED BOOKLET AVAILABLE UPON REQUEST
30
Odd Designs .».,„,
in
Furniture
PRESIDENT LINCOLN
Winter Arrangements
MUSICAL JOURNAL
|01d
England
Today pipe smokers praise Old England Tobacco just as did before
tlieir fatliers .
smokers have been
Exquisite Sideboard
THE
BEAUTIFUL BOOKS
and grandfatlicrs
them For over eighty
years,
partial to the honest,
FOX COMPANY
H. A.
CHASE The Breakers Prmte Hotels ....
imUMNCE COMPANY
KEW YORK
THE IDEAL GIFTS
AIVD
OF
E
CHICAGO N D U
Aher Dinner
FAMOUS PORCELAIN MR. ol
good GUIs
u
'*
Coffee
JMonday, December
JVinlfi
Ei^hl (0 Ten
Shoppers in Search
I
Will you come for
grand Evening Concert
Corvinus Skyline
B
CHARLES HOWARD BAT
'Come
Let
Us Worship Together"
VERONA COMMUNITY SEHVICES
ABCDEFGHIJKLMNOPQRSTU < ^ X
X 5
>
>-<
ELIZABETH
-4—1
N
I— CI,
O
Stein way 10 PomI 6 A JOd
b/1
CAttcmpt
ro
..„..,.
is
the Instrument of Immortals
LIQUID REFRESHMENTS to
Make ContaimrTaxcs Retroactive
GEOMETRICAL DESIGN
iZJTDU/oyU
MICHELANGELO BY
Our cBusincss is
an oArt
MARCEL BRION
Uramlaud from
the
frcnch by James 'Whitall
THE GREYSTONE PRESS
MCMXL
32
NEW YORK
FUTURA .y:^--:.'>y--v."'
Graphic Futuia
Art Exposition
i.--\--S-.-
Fine Habits Contagious .
fufura
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Book
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Complete Equipments Fuluro
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SUMMER
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PRICE 35 CENTS
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THE CONDE HAST PUBLICAIIOHS INC
Oxford University Fuluro
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Quality Furniture for the House Fuluro bold
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Glorious Mountain Scenery Fuluro Display
Southern EHpedition
AND
IN
lomato
Juice
CAMPBELL'S ASSURES QUALITY Historicsil
l*«»rti*siit
Campbell's Vitamin-Rich Tomato Juice meets an instant response with those the
who enjoy
the
same source of
good
things of
finest, fresh
life.
The same famous kitchens,
tomatoes that contribute to the en-
joyment of the fomous Campbell's Soups, guarantee the high quality
and delicious flavor of
Red-and-White
this latest
Label. Drink
it
product, identified by the distinctive for breakfast— or
any time of day.
Be sure to osk your grocer for Campbell's Vitamin-Rich Tomato Juice.
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56
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DECORATING STUDIOS SEVENTH AND PINE STREETS
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111
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all
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popular today.
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in
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is
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mnopqrstuv
wxyz 62
CASLON
[540]
ABCDEFGH IJKLMNOP
ORSTUVW abcdefghijkl
mnopqrstuv
wxyz
NOTE This sheet
is
dent to use
62 a
an extra one to be torn out by the in
the exercise described on
stu-
page
5.
CASLON
ITALIC [540]
ABCDEFG HIJKLMN OPQRSTUV
WXYZ
opqrstuvwxyz 63
NEW CASLON
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
24
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
30
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ& 1234567890$ abcdefghijklmnopqrstuvwxyz 36
POINT
ABGDEFGHIJKLMNOPQRS
TUVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz
\
64
NEW CASLON
ABGDEFGHIJKLMNO PQRSTUVWXYZ& abcdefghijklmnopqrstuvw 1234567890$ xyz 4B POINT
ABGDEFGHIJKLMN
OPQRSTUVWXYZ& abcdefghi jklmnopqrstuv
wxyz
1234567890$
65
CASLON OPEN 24
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890J
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
12;
albccle%l]Li])Jki]iiii]LopqFstiuivw'xyz
ABCDEFGHIJKLMNOP
QRSTUVWXYZ& CAMEO
ABCDEFGHIJKLMN
OPQRSTUVWXYZ& abcdefgMj Huiopqrstu
vwxyz
1234567890$ ^
66
CHELTENHAM BOLD 14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1 234567890$
abcdefghijklmnopqrstuvwxyz 30 POINT
ABCDEFGHIJKLMNOPQRSTUVWX YZ& 1234567890$ abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz
67
CHELTENHAM BOLD CONDENSED 18
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdef ghij kimnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1 234567890$
abcdef ghijklmnopqrstuvwxyz
30
POINT
ABCDEFGHIJKLiyiNOPQRSTUVWXYZ& 1 234567890$
abcdef ghijklmnopqrstuvwxyz
36
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdef ghijklmnopqrstuvwxyz 42
1 234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ& 1234567890$ abcdefghijklmnopqrstuvwxyz
68
CLOISTER BOLD POINT
6
ABCDEFGHIJKLMNOPQRSTUVWXYZ*
bcdefBhijUmiiopqntiivwsyY
1234S67890I
POINT
8
ABCDEFGHIJKLMNOPQRSTUVWXYZat 10
abcdefghijUmnopqmuvwxyi
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 12
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
1234567890?
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ8C 15
1234567890{(
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 14
1234567890^
POINT
1234567890^
abcdcfghijklmnopqrstuvwxyz
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1 234567890^
CLOISTER BOLD ITALIC 6 POINT
ABCDEFCHIlKLMNOPQRSTVVWXyZa
8
„b,dolshiiHimop,T,iuri,xy,
ABCDEFGHIJKLUNOPQRSTVVWXYZe/ 10
abcJefghijUmnopqriluywxyz
1234567890$
POINT
ABCDEFGHUKLMNOPQRSTVVWXYZe/ 12
I214!<!7S90f
POINT
abcdef ghijklmnopqrsturwxyi
U}4567S90t
POINT
ABCDEFGH1JKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrslurwxyz
1234567890$
CLOISTER TEXT
WS^VW}iM$c
1234567890$
69
COOPER BLACK
ITALIC
ABCDEFGHIJKLMNOPQR
STUVWXYZ& ahedefghiikltnnopqrstuv tvxyz
1234567890$ COOPER BLACK
ABCDEFGHIJ
KLMNOPQRS TUVWXYZab cdefghijklmno
pqrstuvwxyz 1234567890$ 70
EDEN BOLD 14
POrNT
ABCDEFGHIJKLMl\iaPOHSTlIVWX짜Z&
abcdefghijklmnopqrstavwxyz
1234567890$
ABCDEFGHIJKLMNDPOHSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
24
12345G7890$
POINT
ABCDEFGHIJKLMMDPDRSTUVWXYZ& 1234567890$
abcdefghijklnmDpqrstuvwxyz 30
POINT
ABCDEFGHIJKLMlVOPDRSTUVWXYZIi 1234567890$
abcdefqhijklmnopqrstnvwxyz 36
POINT
ABCDEFGHIJKLMlVnPDHSTUVWX
YZ&
1234567890$
abcdefghijklmnopqrstnvwxyz 48 POINT
ABCDEFGHIJKIM^DPDRST UVWXYZS. 12345678905 ahcdefghiiklmnDpnrstuvwxyz 73
EGMONT
LIGHT
ABCDEFGHIJKLMNOPQ RSTU\AVXYZ& aDcaergnijklmnopqrstuvwxyz
1234567890$ EGMONT MEDIUM
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 48
1234567890$
POINT
ABCDEFGHIJKLMNOP
QRSTUVWXYZ& 1254567890$ FOURNIER
1234567890$
WXYZ<Sl 74
FUTURA LIGHT 24
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 30 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 36
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 48
POINT
ABCDEFGHIJKLMNOPQRS
TUVWXYZ& abcdefghijklmnopqrstuvw
xyz
1234567890$
75
iUlA
FUTURA LIGHT
ABCDEFGHIJKL
MNOPQRSTUV WXYZ& abcdefghijklmno
pqrstuvwxyz
1234567890$ 76
FUTURA MEDIUM 24
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
30 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
ABCDEFGHIJKLMNO
PQRSTUVWXYZ& abcdefghijklmnopqrst
uvwxyz 1234567890$ 77
FUTURA MEDIUM
ABCDEFGHIJKL
MNOPQRSTU VWXYZ& abcdefghijkimn
opqrstuvwxyz
1234567890$ 78
FUTURA BOLD POINT
e
ABCDEFGHIJKLMNOPQRSTUVWXYZA
10
abcdsfglll|lflmnopqrituvwxyz
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
12
abcdefghijklmnopqrstuvwxyz
1334567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& H
1334567890$
abcdefghijklmnopqrstuvwxyz
1234567890
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 15
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& .1234567890$
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
30 POINT
ABCDEFGHIJKLMNOPQRSTUVW
XYZ&
1234567890$
abcdefghijklmnopqrstuv>vxyz
79
FUTURA BOLD 84
POINT
ABCDEFGHIJ
KLMNOPQRS
TUVWXYZ& abcdefghijkl
mnopqrstuv v^xyz 1234
567890$ 80
FUTURA BOLD OBLIQUE 14
POINT
ABCDEFGHIJKLMNOPQItSTUVWXYZ&
IB
abcdefghijklmnopqntuvwxyz
1234567890$
POINT
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 24 POINT
ABCDEFGHIJKLMNOPQIISTUVWXYZ& abcdefghijklmnopqrstuvwxyx 30
1234567890$
POINT
ABCDEFGHIJKIMNOPQRSTUVWXYZ& abcdefghiiklmnopqrstuvwxyz
1234567890$
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
1234567890$
abcdefghiiklmnopqrstuvwxyz
81
GARAMOND
LIGHT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234367890$
abcdefghijklmnopqrstuvwxyz 30 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 3t
POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ& 1234567890$ abcdefghijklmnopqrstuvwxyz 42
POINT
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
123456789C^
abcdefghijklmnopqrstuvwxyz 48 POINT
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 82
GARAMOND
LIGHT
ABCDEFGHIJKLM
NOPQRSTUVWXY abcdefghij klmnopqrst
uvwxyz& 1234567890$ GARAMOND
LIGHT ITALIC
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
1234567890S
ahcdefghiiklmm)p(irstuvwxy\ 4S
POINT
ABCDEFGHIJKLMNOPQ
KSTUVWXYZ& iopqrstuvwxy\
1234567890S 83
GARAMOND
LIGHT ITALIC
6 POINT
ABCDEFGH1IKLM:^0PQRS7UVWXYZC>
8
abrileUhitkim7ioliq'sli'vt^>'y:
POINT
ABCDEFGHI/KLMNOPQRSTUmifXYZO
9
abcdejghijklmnofqrsluvwxyz
abcdejghijklmnopijrsliivwxyz
abcdelghijtlmmpqrstuvwxyz
ahcdejghijklmnofqrstuvwxyz
1234)67890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 14
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 12
1234367890$
POINT
ABCDEFGH1JKLMN0PQRSTUVWXYZ&
11
1234i67890$
POINT
ABCDEPGHIIKLMNOPQRSTUVWXYZ&
10
t3i4J67890t
abcdejghijklmnopqrstuvwxyz
1234}67890$
POINT
ABCDEPGH1JKLMN0PQRSTUVWXYZ&
abcdejghijklmnopqrstuvwxyz
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxy\ 24
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdejghijklmnopq^rstuvwxy\ 30
1234567890S
POINT
ABCDEFGHIJKLMNOPQKSTUVW XYZdT 1154567890$ abcdefghijklmnopqrstuvwxy^
84
GARAMOND MEDIUM b POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& a
ABCDEFGHijKLMNOpQRSTUv^'XYZft
ABCDEFGHIJKLNfNOPQRSTUVWXYZ& I
abcdefghiiklmnopqrsluvwxyz
123-1567890$
POINT ABCDEFGHljKLMNOPQRsruvwxYZk
abcdefghijklmnopqrstuvwxyz
1234^7890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 10
1
abcdbfghijklmnopqrstuvwxyz&
234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijkJmnopqrstuvwxyz II
abcdefghijklmnopqrstuvwxyz^
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 12
1
abcdefchijklmnopqrstuvwxyz&
234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 14
abcdefghijklmnopqrstuvwxyz^
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 18
abcdefghijklmnopqrstuvwxyz&
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
24 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 30 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 36
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 42
POINT
ABCDEFGHIJKLMNOPQRST
UVWXYZ&
1234567890$ abcdefghij klmnopqrstu vwxyz 85
GARAMOND BOLD 4 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijkimnopqcstuvwxyz
ASCDEFCHijitLAiNopQRSTiivwxYZ*
12345678901
POINT
8
ABCDEFGHIJKLMNOPQRSTUVWXVZ&
10
abcdefghijklmnopqrstuvwxyz&
abcdefgbijklmoopqrstuvwxyz
1234567890S
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijkimnopqrstuvwxyz* abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1234567890$
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
15
ABCDEFGHIJKLMNOPQRSTUVWXYZ*
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 30
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
36 POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ& 1234567890$ abcdefghijklmnopqrstuvwxyz 86
GARAMOND BOLD H
POINT
ABCDEFGHI
JKLMNOPQ
RSTUVWX YZ&
abcdefghijkl
mnopqrstuv
wxyz 1234567890$ 87
GARAMOND BOLD
ITALIC
i POINT
ABCDEFGHtJKLMNOPQRSTVyfrxYZ&
a
ABCDErcHiiKLMNoraRsTVVvxrzo
abcdefghijklmnopqrstufwxyz
abcdefghuklmnopqrstvvvxyzi,
POINT
abcdejghijklmnopqrstiwwxyz
abcdefghiiklmnopqrstuvwxyz6
1234367890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdej ghijklmnopqrstuvwxyz IS
ni4i67aw$
1234^678909
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
H
abcdejghijtlrmwpqrsluvwxyz
POINT
ABCDEPGHIJKLMNOPQRSTUVWXYZ&
12
1234567890$
POINT
ABCDEFGHIIKLMNOPQRSTUVWXYZ& 10
abcdefghiiktmnol/qrslutuxyz
ASCDE^CHiikLMNOPQitsTuyvxYZ&
abcdefghi]klmnopqrstuvwxyz&
1234%7890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 24
1
234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 123 67890$
abcdefghijklmnopqrstuvwxyz 30
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 36
1234367890$
POINT
ABCDEFGHIJKLMN0PQRS7UVW
XYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 88
GIRDER BOLD 6
POINT
A£CDEFGHirSLMNOFQB3TUVWXYZ&
g
obcdvfghlJklnuiapqnhivwxYZ
AfiCDEFGHl|KLMNOPQRSTUVWXYZ&
10
ABCDCFCaiJKLMNOPqRSTUVWXYZfi
abcdefghiiklmsopqrstuTwxyz
1234S67690S
POINT
ABCDEFGHIJELMNOPQRSTUVWXYZi abcdeighijklmnopqrstuvwxYZ
ABCDETOBiiKiMNOPqRSTttVWXYZs
1234567890$
ABCDEFGHIIKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
84
12345B7890S
POINT
abcdefghijklmnopqhstuvwxyzs
1234567890$
POINT
ABCDEFGHIJ
KLMNOPQRS TUVWXYZ& abcdefghijklin
nopqrstuvwxyz 1234567890$ 89
GIRDER LIGHT POINT ABCDEFGHDKLMNOPOBSTUVWXYZS
t
1234567890!
obcdslghllklmnopqtslnvwxyz
POINT
8
ABCDEFGH1IKLMNOP0RSTUVWXYZ5 10
POINT
abcdefghijklmnopqrstuvwxyzs
ABCDEFGHIIKLMNOP0RSTUVWXYZ& obcdGfghijklmnopqrstuvwxyz 12
1234567890$
POINT
abcdefghijklmnopqrstuvwxyzs
ABCDEFGHIJKLMNOPORSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 14
1234567890J
abcdelghliklmnopqrsluvwxyz
ABCDErCHiiKLMNOPQHSTUVwxYZS
1234567890$
POINT
abcdefghijklmnopqrstuvwxyzs
ABCDEFGHIJKLMNOPORSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZS abcdefghijklmnopqrstuvwxYz
1234567890$
GOUDY OPEN abed efgliij klmnopqrstuv wxy z
1234567890$
albcdefgliijklmiiopqrstiuLVWxyz
90
12,34567890$
GOUDY BOLD 14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&. abcdefghijklmnopqrstuvwxyz 18
1
234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz 24
POINT
ABCDEFGH1JKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 72
1234567890$
POINT
ABCDEFGHIJ
KLMNOPQRS
TUVWXYZ& abcdefghijklmn opqrstuvwxyz 1234567890$ 91
GOUDY BOLD 14
ITALIC
.
POINT
ABCDEFQH1JKLMNOPQRSTUVWXYZ& abcdeighijklmnopqrstuvwxyz
1234567890$
ABCDEFQHIJKLMNOPQRSTUVWXYZ& ahcdefghijklmnopqrstuvwxyz
7Z
123456 7890$
KUINl
ABCDEFGHIJ
KLMNOPQRST
UVWXYZ& ahcdefghijklmno p(jrstuvwxyz
1234567890$ 92
GOTHIC CONDENSED-LUDLOW |g
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1234567890$
24 POINT
ABCDEFGHIJKLMN0PQRSTUVWXY2&
1234567890$
abcdefghijklmnopqrstuvwxyz
30
POINT
ABCDEFGHIJKIMN0P(1RSTUVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz
72
POINT
ABCDEFGHIJK
UVWXYZ& abcdefghijklmnopqrstuv
wxyz
1234567890$ 93
AGENCY GOTHIC OPEN
P
p
m
m p'
/i=r^
m
NOVEL GOTHIC
ABCDEFGHIiKLMHOPQRSTUyWXYZ& abcdefghijklmnopqrstuywxi|z
1234567890$
94
ALTERNATE GOTHIC
No.
1
POINT
e
UCDEFCHUUIINOPOIISTIIiniXTZt
10
POINT
«BCDEFGHIiKlMKOPQRSIUVWXVZ&
12
POINT abcdefehijklmnopiirstuwHyz
1234567890$
abcdefghijklmnDpqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
30
1234567890$
POINT
ABCDEFGHIIKIMNOPQRSTUVWXYZ&
24
1234567890$
abcdefehijklmniipqtstgywqz
ABCDEFGHUKLMNOPORSTUVWXYZ&
14
IZ345B7IIDS
ilEtfifitlJUiiiitpintinq!
abcdefghijklmnopqrstuvwxyz
1234567890$
POINT
ABCDEFGHIIKLMNOPQRSTUVWXYZ&
1
234567890$
abcdefghijklmnopqrstuvwxyz
36
POINT
ABCDEFGHIJKLMNOPQRSTOVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 42
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 95
1234567890$
FRANKLIN GOTHIC-APL
ABCDEFGHI
JKLMNOPQ
RSTUVWX YZ& 1234 567890$ abcdefghijkl
mnopqrstuv
wxyz
. 96'
FRANKLIN GOTHIC CONDENSED 72
POINT
ABCDEFGHIJKLM
NOPQRSTUVWX YZ& abcdefghijk Imnopqrstuvwxyz
1234567890$ FRANKLIN GOTHIC ITALIC 4B l-UINI
ABCDEFGHUKLMNO PQRSTUVWXYZ& abcdefghijklmnopqrst
uvwxyz 1234567890$ 97
FRANKLIN GOTHIC EXTRA CONDENSED-APL 84
POINT
ABCDEFGHIJKLMN
OPQRSTUVWXYZ& abcdefghijklmnop qrstuvwxyz
1234567890$ 94
POINT
ABCDEFGHIJKLM
NOPQRSTUVWX YZ&
NEWS GOTHIC POINT ABCDEFGHIJKLMNOP0RSTUVWXYZ& 6
1234567890$
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
NEWS GOTHIC CONDENSED 6
POINT
ABCDEFGHIJKLMN0PQRSTUVWXYZ4
12
abcdefghijmmnoDqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& IS
1234567890$
POINT
1234567890$
POINT '
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 24
1234567890$
POINT
ABCDEFGHIJKLIV1N0PQRSTUVWXYZ&
1234567890$
GRAPHIC BOLD to POINT
ABCDEFGHIJKLM
NOPQRSTUVWX YZ& 1234567890$ aDcaex^nijkliiinopqps ttrvyvxyx.
GRECO ADORNADO
30
POINT
ABCDEFGHIJKILMNOPQRS
TUyWXY2:&)
ia34567S9o$
HAUSER SCRIPT
xifj
iZ34S67890$
100
JANSON POINT (Muil bo
8
Sol on 9 Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
10
POINT (Muit bo
Sol on
1
1
ABCDEFCHijKLMNOPQRsruvwxYzat
abcdefghijklmnopqrstuvwxyz
POINT (Must bi
ABCDEFGHIJKLMNOPQRSTUv^vxYZ&
1234567890$
Sot on 12 Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
POINT (Musi be
12
1234567890S
Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
11
abcdefghijk]mnopqrstuv\vxyz
1
2
abcdefghijklmnopqrstuvwxyz^
34567890?
Sot on 13 Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz&
1234567890$
POINT
14
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1
2
abcdefghijklmnopqrstuvwxyz&
34567890$
JANSON POINT (Must bo
g
ABCDEFGHljKLMNOPQRSTU VWKYZit
10
POINT (Must bo
abcdefghijkhrmopqntuvwxyz
POINT (Musi bo
POINT (Must bo
abcdefghijkltnnopqrsuwwxyz
abcdefghijklmnopqrstuvwxyz
uj^s^lSfof
Sol on 13 Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXYZ& 14
l234s6^8so$
Sol on 12 Point Slug)
ABCDEFGHIJKLMNOPQRSTUVWXrZ& 12
/ij^yfiySjol
Sol on II Point Slug)
ABCDEFGHljKLMNOPQRSTU V\VXyZ& 11
ITALIC
Sol on 1 Point Slug)
abcdefghiiklmnopqrsmvwxyz
i234;6-j8so$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
101
abcdefghijkhimopqrstuvwxyz
i234s6-]890$
KABEL BOLD IS
POINT
ABCDEFGHIJKLMNOPQRSTUVWXyZ& 1234567890$
abcdefshijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXyZ& 1234567890$
abcdefghijklmnopqrstuvwxyz
48
POINT
ABCDEFGHIJKLMNOPQ
RSTUVWXyZ& abcdefshijklmnopqrstuvwxyz
1234567890$ KABEL BOLD ITALIC 48
POINT
ABCDEFGHUKLMNOPQRST
UVWXYZ&
1234567890$
abcdefghijklmnopqrstuYwxyz 102
MANDATE IS
POINT
abais^qhJiklmmfuJiXihwwxifi
vivxi^i
123^567890$
123if567890$ MAY FAIR
mn©ff>Q<jissiivw i23jf56j8QO$
ahcaefghijRimnopqrstuvwxyz 103
METROPOLIS BOLD POINT
8
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ABCDEFGHIJKlMNIOPQRS-njVWXVZ& 10
abcdefglitjUinnopqntuTWiTi
POINT
ABCDEFGHIJKLMN10PQRSTUVWXVZ& 12
l«M56*(KIOS
abcJcfwIlUlJninoptirsliiTwxri
1«3456I890S
POINT
ABCDEFGHIJK11WTOOPQRSTUVWXYZ& l«3456Jr890S
abcdefgliUlJiiinopfirslMTWXY* H
POINT
ABCDEFGHIJKt]»miOPQRSTUVWXYZ&. 19!34561890S
abcdefobijklmnopqrsiuvwxyx IS
POINT
ABCDEFGHUKLM1VOPQRSTUVWXYZ& abcdefghijklmnhpqirstuvwxYZ 60
1234567890$
POINT
ABCDEFGHU
KLMIVOPQRS
TUVWXYZ&
fiibcclejp<9liijklm
1234567890$ 104
NEULAND 8
POINT
ABCDEFGHIiKLMNOPQRSTUVWXVZ 10
POINT
AB<DEF«HIJKLMNOPORfTUVWXyZS 12
12)4S07800$
POINT
ABCDEF<SHIJKLMNOPQRSTUVWXyZ& 14
1234567890$
abcdef9hijklmnopqrstuvwxi|x
1224S67890S
POINT
AB<DEFGHIJKLMNOPQR$TUVWXyZ&
12l4S0780O$
ABCI>EF6HIJKLMNOPORSTUVWXyZ& 12I4S67890S 24
POINT
AB<DEP0HIJKLMNOPQRfTUVWXyZ« 12I4S67890S 30
POINT
ABCDEFGHIJKLMNOPQRfTU
VWXyZ& I2}4567890$ ABCDEFCHIJKLMNOP n
POINT
QRSTUVWXyZ& 1234S67890S 105
NEULAND 54 POINI
ABCDEFOHIJKL
MNOPQRSTUV
wxyz&
12US67890S 72
POINT
ABCDEFOHI
JKLMNOPQ RSTUVWXy Z& 1234 567890S 106
NUBIAN 12
POINT
abcdeftfhljklnaaopq[rstiiY¥ioKyz
U
12S4S67S909
POINT
abcdefail>iiklinnopqrstav%«':Kyz
12 34307S90#
SCHJlflMOPQI^S abcdefslliijklmii ORPLID IS
POINT
mm: 107
ONYX
mmm icdefghijklinnopptDmyz PIRANESI BOLD
ABCDEFGHIJKLMNOPQ
RSTUVWXYZ& abcaergniJKlmnopqrstuv^^xyz
123456^890$ PIRANESI BOLD ITALIC
DCyZ&L
abcJefgkc/klmnopq^istuvwxyz
12;^4S6j8gO$
POINT
30
jimca)e3QMS3JiX3imo^Q3is^
1JCV^X^Z&
1254561890$
aDcaefgnljklmnopq^stavwxijz 108
SIGNAL MEDIUM
'j
18
POINT
ABCDef^}ICmmpMSmt(/XI^2& 24
POINT
30
POINT
oUdef^UiiUUHMtu^eitumK^
123^567890$
ABCdeF(fai}UMM?MS7M}JWXlf^ 113^567890$ aJUdei^Uiil^^^ 72
POINT
mxj^ 1Z3^567890$ 109
STYMIE LIGHT ITALIC 14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdeighijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdeighijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdetghijklmnopqrstu vwxyz 30
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz
1234567890$ at
POINT
ABCDEFGHIJKLMNOPQRSTUVW XYZ& 1234567890$ abcdefghijklmn opqrstu vwxyz
no
STYMIE MEDIUM ITALIC 14
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdeighijklmnopqrstavwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz 24
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ& abcdefghijklmnopqrstuvwxyz 30
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ ahcdefghijkhnnopqrstuvwxyz&
1234567890$ 36
POINT
ABCDEFGHIJKLMNOPQRSTUV
WXYZ&
2234567890$ abcdefghijklmn opqrstu vwxyz
STYMIE EXTRA BOLD CONDENSED 14
POINT
ABCDErGHIJKLMNOPQRSTUVWXYZ&
obcdefghijklnmopqistnvwxYz
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
12J4567890$
1234567890$
obcdefghijklmnopqistuvwxyz
24
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdefghijklmnopqistuvwxyz 4B
POINT
ABCDEFGHIIKLMNOPQRSTU
VWXYZ&
1234567890$
abcdefghijklmnopqistuvwxYz STYMIE EXTRA BOLD ITALIC 34
POINT
ABCDEFGHIJKLMNOPQRS
TUVWXYZ& abcdeiffhijkbnnopqxstuir
wxyz
1234567890$ 112
TEMPO BOLD
ABCDEFGHIJKLMN
OPQRSTUVWXYZ& abcdefghijklmnopqrs
tuvwxyz
1234567890$ 72
POINT
ABCDEFGHIJKL
MNOPQRSTUV WXYZ& abcdefghijklmno
pqrstuvwxyz
1234567890$ 113
TEMPO IS
LINED
POINT
AiCDiFSIHIDJI!CLMINl©IPQIRSTy¥WXYZ&
11345^78^®$
AiCOiFOIHllDJlKLMINIOIPQI^STyVWXYZiL
lll34S67i9@S
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POINT
Xy^^
1234567890$
a.pcJLetakLtkLtttiuypax^ti4-vwx.uz 36 POINT
agC2>CJQAJjli/JijV0pQJZS7U U14JX2f^6^
1234367890$
aDcJLerakukiHtucfpati^tuvwKUT 4S POINT
114
UMBRA 72
POINT
ABCDEFGHU TUVWXYZSi 12345
67890$ ABCDEFGHIJKLMNO?QRSTUVWXY2& I234567390S
15
VOGUE LIGHT 6 POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdelghiiUmropqrstuvw^yi
l2J«67e90S
POINT
e
ABCDEFGHIJKLMNOPQRSTUVWXYZS
123^' 7890$
abcde(ghiiHmropqrstuvw<yj
POINT
10
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
POINT
12
1
234567890$
*
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ABCDEFGHIJKLMNOPQRSTUVWXYZ&
1234567890$
abcdefghijklmnopqrstuvwxyz
POINT
14
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1
234567890$
ABCDEFGHIJKLMNOfQRSTUVWXYZ& 1234567890$
abcdefghijklmnopqrstuvwxyz
VOGUE 8
^,
LIGHT OBLIQUE *-*-•
POINT
ABCDEFGHIJULHINOPQRSTUVWXYZi
10
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
12
abcdefghijklmnopqrstuvwxyz
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYI&
14
1234567890}
cbcdefghijUmmpqrstiiv„,y!
-
^,
1234567890$
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abcdefghijklmnopqrsfuvwxyz
1234567890$
POINT
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrsfuvwxyz
16
1234567890$
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