
                 ••• Sample Fonts ReadMe •••
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The ReadMe files for the fonts in this sample fonts directory
have been incorporated into this one text file. These fonts are
for your use as a Fontographer® owner. Unless specified, these
fonts are copywrited and are not for general distribution.
Please respect the rights of the typographers who have supplied
these fonts.


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May 1, 1991

GRAPHICL.FOG ReadMe

I first saw GraphicLight back in the middle Seventies when the
Baltimore Type Foundry was closing down and selling off its
remaining stock of metal types. I liked it, but I don't clearly
know why. Maybe it was its unusual "ft" ligature, maybe the
small x-height. I bought lots of it, in several sizes, and even
set a few small pamphlets in it.

When the Macintosh came along, GraphicLight was one of countless
typographical treasures that I was no longer able to use. So,
since no big company is likely to reproduce it, and since
Fontographer 3.x makes the work so easy, I have done it myself.
It is a Christmas gift to any and all from "The Underground
Grammarian."

I have included the Fontographer outline file so that you can do
things to it, but do be respectful. You may, for instance, want
to add for your own use an "ffi" ligature. The original had only
"ft," "ff," "fi," "fl," and "ffl." You could do others very
easily, usually with nothing more than a Get Part. But don't go
crazy. Don't slant it! It had no italic to begin with, and
doesn't need one.

If you use it for blocks of text, always try it first set solid,
that is, with a line spacing equal to its size, 12 on 12, for
instance. The face, because of its small x-height, is very small
on the body, and the lines will fly apart with too much leading.
Since you're setting type on a computer, you can even use a
negative leading. I have made a few attractive pages using 13
point type leaded 12.5 points. Works well.

Greetings to all from

Richard Mitchell, Associate Circulation Editor 
The Underground Grammarian 
Post Office Box 203 
Glassboro, NJ 08028


GraphicLight Type 1 notes by Earl Allen, February 17, 1992:

The Fontographer outline source file for the GraphicLight font
that you'll find on this disk is modified somewhat from the
original GraphicLight described below. I added some useful
characters and put the ligatures for "fi" and "fl" in the places
they normally inhabit. If you don't like the design of the
characters I added, remove them or fiddle with them in
Fontographer to create better ones.


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May 7, 1991

GCITYMOD.FOG Read Me

Naturally, you may be asking yourself, 'How did he create this
font?' It started late one night, restless... Glancing through
some type books, I stopped upon a reproduction of the Gutenberg
typeface; thought, that would be a great typeface to do in
Fontographer. Thinking further, perhaps several weeks in the
library and several more at my Mac with Fontographer 3.0 and I
would be done. Hmm, things do not happen quite that way.
Murphy's law was determined to be bothersome. There were only
fragments of pages to go by... My Mac and scanner broke,
requiring costly repairs. However, while visiting my parents
(near C.W. Post Campus of Long Island University in Brookville,
New York), I found a full character set to copy at the college
library. Work could commence.

The reproduction was small and the copier worse, but I managed.
Studying the page, I quickly realized several key points. One:
Gutenberg designed the font with a deep understanding of Latin
grammar and spelling. He had kerning pairs based on repeated
letter usage throughout the Bible and kerned small words into
tight units (i.e., "our," "of," and "and"). Second: That he
posited key geometric guidelines to aid in creating the font. He
was doing more than just capturing the scribe-like strokes of
his day, but in addition had a respect for the metal and ink to
be used in printing his Bible. This second point made it
possible to actually create the font; because of the smallness
of the reproduced letters, I had to re-create (for techies,
'reverse-engineer') them. My loupe and the page became very
close friends!

After some hand drawings to 'feel' the letter forms, I scanned
the page at 150 dpi and made a bitmap font using Fontastic
Plust. Sometimes, I felt another hand on my mouse while
fat-bitting away late at night... Then, I typed Latin text into
Fontastic Plus' sample text edit window to see the typeface in
actual context. Next, using the bitmap font, a PostScript
printer, and Apple's print driver, I printed a page of
characters at 200% enlargement with the option 'smoothing' (to
partly smooth out the jaggies) checked from Apple's print
driver. Thus, one could scale and smooth out a bitmap font -
without fatbitting a lot. Finally, I cleaned up the scan in
MacPaint®.

I did preliminary versions in Fontographer 3.0.5 thru 3.1. As
the in-house tester for FreeHand 3.0, I was naturally thinking
mostly in terms of FreeHand, constantly experimenting with new
ways to use it. At one point, I wondered "how much of my font
could I do in FreeHand?" So, I placed the scanned image into
FreeHand 3.0 to trace and refine - using all its new features to
accomplish the task. For example, while Fontographer has layers,
I preferred the naming and ordering of the layers palette that
FreeHand offered. Yes, bcp by bcp, the font came alive. There
were days I felt a presence in the room...

Once the character paths were done, I simply option-copied them
from FreeHand into Fontographer 3.2. Once paths are in
Fontographer, one can create the needed ligatures. Finally,
after upgrading from Fontographer 3.2 to 3.3, I created kerning
pairs. Based on the same careful study Gutenberg did on Latin
letters, I needed to create 800 pairs! Now as of 5:15 pm, June
18, 1991, using Fontographer 3.3, I was finished.

A few historical notes. The original typeface was created for
Latin, not for modern English; hence, the 'modern' in the name
of my translation. I had to create a full Roman set everyone can
use. However, there is an exact Latin version which is not done.
The 'goodcity' part of its name comes from German: guten-good,
burg-city (or fortress), (actually, Earl Allen, a fellow
Altsysian coined the term - thanks, Earl!)

Enjoy and use in good health.

Andrew S. Meit Altsys Tester (and Stackhead) Altsys Corporation

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GCITYMOD.FOG & LOMBARD.FOG version 1.1 ReadMe  November 22, 1991

Ah, like software development, there is always the needed 1.1
after the first version ships. Quite a lot has happened to GCM
(GoodCityModern): numerous tweaking of path points; corrected
accented characters; improved some character widths; added a few
new characters. Enough about the software.

Since GCM's 1.0 release, I have been busy reading about Latin
grammar. I learned several things. The original kerned pairs
that Gutenberg created (po, pe, pp, etc...) are actually special
abbreviations for Latin prefixes, suffixes, and phrases. He
attempted to carry over the medieval scribe's style of spelling
and 'shorthand' for fitting long words at the end of lines.

Some have complained that the spacing for GCM is uneven or too
tight. Go look at a Gutenberg Bible reproduction and see for
yourself. It's far easier to unkern a few pairs to one's liking
than try to know which pairs should be kerned. Until Apple
releases the Line Layout Manager, there is no smart way to
duplicate how Gutenberg typeset his 42 line Bible.

The main new 'feature' of this version is a set of Lombardic
caps to be used as initial caps with GCM. The original caps will
be another font down the way. To use the provided Lombardic
caps, set the font size between 96 and 127, otherwise the
characters will be too tiny. To use the printers flourish that
goes with the caps, type "&" and then the upper case you want
next to the flourish. The two chars are already kerned correctly
to get the proper effect. Now, before typing the main text,
change the font to GoodCityModern. Type the textbody intended.
The combined initial cap is meant to be slightly indented into
the main textbody.

Remember: Blessed is one who teaches another to scribe the
Letters. Shalom.

Andrew S. Meit


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February 14, 1991

GOUDYHUN.FOG ReadMe

GoudyHundred is a rendering of Frederick Goudy's Bertham type.
The drawings and matrices were lost in a fire in 1939. The
complete roman font is shown in Goudy's "Half Century of Type
Design" (page 210). The font was named for Goudy's wife, Bertha.

So far as I know there is no companion italic. A very attractive
alternative is to use small caps in place of italics. I have not
provided small caps: these are usually provided (in the absence
of the real thing) by scaling along the y-axis to achieve
harmony with the lowercase, and a slight enlargement along the
x-axis. This, in the case of Bertham, has not proved a very
attractive approach. Use the normal small caps function of most
word-processor/page-layout programs instead.

The characters in GoudyHundred are faithful recreations of the
characters in Bertham, save for a few concessions that I have
made to 300 dpi. I have slightly altered some curves so that
they will not be the victims of undue stair-stepping, or
'jaggedies.' The only characters that I have created for
GoudyHundred that were not in Bertham are the AE, OE, ae, oe
ligatures, and, though they are to my mind successful, I do not
insist upon them. Likewise, I know of no paragraph symbol for
Bertham, so I expropriated one from a collection of typographic
devices contained in the "Half Century of Type Design" (page
241); it seems to work well.

Stephen Moye

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July 22, 1992

TREACYFA.FOG ReadMe

The enclosed font file called "Treacyfaces Sample" has been
included through an agreement with Treacyfaces, Inc. and Altsys
Corporation, for use by the purchaser of this Metamorphosisr
Professional package. We hope that you enjoy working with it.

A sans serif font by design, it is in a sense "transitional", in that
it exhibits both flared and non-flared terminal strokes, as well as
many experimental characters.

The character set included here goes to character 126. For
information about obtaining a full character set for this font
design, complete with kerning information, write to Treacyfaces,
Inc. at the address below.

If this font data is used by more than one user, or is imaged on
more than one imagesetter or other printer device, the user should
obtain a multi-user license from Treacyfaces. This data must not
be offered for sale as a commercial font product without first
obtaining a license from Treacyfaces in advance. Write
to Treacyfaces at the address below.

Treacyfaces, Inc. designs and offers a library of fonts for both the
Macintoshr and PC/Windowst environments (late 1992). For more
information about their exciting type library, write to Treacyfaces.
 
Treacyfaces, Inc.
P.O. Box 26036 
West Haven, CT 06516-8036.
Telephone (203)389-7037.


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July 17, 1992 - Evanston, Illinois

KOCHANTD.FOG ReadMe

The enclosed sample font "AI Koch Antiqua-Demi" is an
intermediate weight from our three weight A*I Koch Antiqua
family. A Multiple Master version available by Fall 1992 will
allow you to choose (using Adobe's® Font Creator utility) from a
continuous range of variable weights between extra-light and
extra-bold. A*I Koch Antiqua is available directly from
Alphabets, Inc.

Alphabets, Inc. produces exclusive and original typefaces,
designed for the discriminating typographer and those that
aspire to that position. Our A*I Prospera II Family is one of
the few new type families to offer full European accents,
complete "f" ligatures (fi, fl, ff, ffi, ffl) and small caps.
A*I Prospera comes with Roman, Italic, Bold, Bold Italic, Small
Caps.

Prospera was designed by Alphabets founder Peter Fraterdeus,
whose background in calligraphic and inscriptional design,
letterpress printing and letter carving gives him a deep
appreciation for the subtleties of letterforms. The original
version of Prospera was designed with the assistance of a
National Endowment for the Arts grant (1986).

For Fontographer users, we are offering the two families bundled
for a very low price. Call for Pricing Info!

Please call or write to receive a current catalogue! 
Alphabets, Inc. 
PO Box 5448 
Evanston, IL 60204 
1 800 326 4083  / 708 328 2733  / fax 328 1922 
Compuserve  73306,2703 InterNet:pfraterdeus@igc.org

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SABROGRAPH                       July 15, 1992

Designed by the Japanese-American painter and type designer 
Sabro Hasegawa, Sabrograph combines typographic precision with 
the flowing strokes of broad pen calligraphy. Simple, strong and 
legible enough for business use, its distinctive elegance makes 
it suitable for a wide range of fine printing applications, 
including book text and advertising. 

Because Sabrograph was designed initially with a broad pen, 
the letters retain the living quality of writing in the harmony 
of the ancient Roman capitals. Although it is a quintessentially 
Western typeface, it incorporates the traditional Japanese 
ethic of reflecting nature in the written line. 

Sabrograph will be released soon as an extended family of six 
weights from book to black, with italic and sans.

AlphaOmega Typography, Inc.
P. O. Box 1897
Andover, MA 01810

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Woodtype HTF Antique XXX Condensed           July 25, 1992

Woodtype Antique is based on Antique XXX Condensed, a condensed
wood type of the Clarendon style (a bracketed slab-serif).
Condensed Clarendons trace their origin back to the
mid-nineteenth century; this particular face was first shown in
a type specimen issued by the American typefounder William Page
in 1859.

Though created for modern composition, the face retains much of
the flair of the original wood type. The stem widths are uneven,
creating an arresting rhythm on the page. The serifs are
rounded, in keeping with the technology of the time (wood types
were often cut with a router, incapable of producing sharp
corners.)

Woodtype Antique was originally created for Spy Magazine in 1989
by The Hoefler Type Foundry, a design firm concerned with
designing new typefaces. For more information, please contact:

The Hoefler Type Foundry
450 Sixth Avenue, Suite 2F
New York, NY 10011-8429
Tel. (212) 473-7152
Fax (212) 473-6189
AppleLink HOEFLER.TYPE


For more information on wood type:

Gray, Nicolete, et al. "Nineteenth Century Ornamented Typefaces."
     University of California Press, 1976.

Kelly, Rob Roy. "American Wood Type: 1828-1900." Da Capo 
     Press, 1977.

Kelly, Rob Roy (ed.) "Wood Type Alphabets: 100 Fonts." Dover 
     Publications, 1977.

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NOVA FONT FAMILY README                July 29, 1992

  Copyright© Rubicon Computer Labs Inc., 1990-92
  Unlicensed Copying, Distribution, or Posting to BBS is Illegal.

Rubicon Labs have executed a series of text fonts using Fontographer®,
based on the Computer Modern designs and the Metafont programming
language. Metafont is an excellent but obsolete font tool which does not
produce outline fonts. Bitmap master copies of each font were rendered
on an IBM PC, with a design size of 10 points, and a resolution of 3600
dots per inch (dpi). These fonts were separated into individual
characters, transferred to the Macintosh®, and placed in the background
of a Fontographer database.

Each character was hand-drawn in Fontographer, a process which takes 20
to 60 minutes per character, using a Macintosh SE/30 with 4MB of RAM and
an 80MB hard disk. A high degree of accuracy was employed, so the fonts
are suitable for printing at high resolution (1200 or 2400 dpi). Certain
details of the letters will not be visible on a 300 dpi laser printer.
Many aspects of each character were double-checked and corrected where
necessary. Mathematical font design formulas were used, together with
hand measurements taken from printouts of the Metafont bitmaps. Each
letter was printed on a grid 5 inches tall, at a resolution of 1000 dpi.

Approximately 230 characters are provided in each font. Around 30 of
these are not handled by Metafont, so they were designed from scratch in
Fontographer, while attempting to preserve a sense of harmony with the
other 200 characters.

OBTAINING THE OTHER RUBICON FONTS

Rubicon Labs have also produced "Classic" (a matching serif font for
Nova) and "Isotype" (a matching typewriter font for Nova). Further fonts
in this series are under development. Classic and IsoType, together with
the latest version of Nova, are available from Rubicon Labs for $40.
They are also included in the Rubicon-Elfring "Top Fonts" package,
available from various software vendors. Printer drivers and
instructions are available for certain popular MS-DOS® applications.

   Rubicon Computer Labs Inc.
   Box 336
   Chelsea, Quebec
   Canada  J0X 1N0
   Tel & Fax (819)827-4496
   CompuServe: 71307,1212

REFERENCES

   Knuth, Donald "The METAFONT book" Addison-Wesley, 1986
      ISBN 0-201-13445-4
      ISBN 0-201-13445-6 (soft)
   Knuth, Donald "Computer Modern Typefaces" Addison-Wesley, 1986
      ISBN 0-201-13446-2

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