Overview

   There are several ways to classify the typefaces in this collection. If they are classified by style, they can be fit into four groups:

1. Sans Serif (14 families, 45 total faces): AndrewAndreas(3), Concavex(1), DavidFarewell(2), Grandecort(2) JetJaneMono(9), Letrinth(1), Letuncial(3), Mushmellow(3), NewNerdish(3), PeterPierre(4), Qualettee(3), Rundigsburg(5), RundigPencil (3), Yahosch(3)

2. Serifed (17 families, 56 faces)—Anarckhie(4), BetterTypeRight(9), BearButteT(5),  FeggoliteMono(2), FeggoliteHatched(1), HippityDippity(3), KampFriendship(4), MedievalGunslinger(1), OakParked(6), QuidicHatched(1) Tuskcandy(3), TiredOfCourier(6), WurstchenDotted(1), WyomingPastad(3), WyomingStrudel(1), WyomingSpaghetti(2), WyomingMacroni(4),

3. Script, Cursive, Calligraphic, or Medieval (13 families, 20 faces)—AlbertBetenbuch(1), Balboat(2), EdwardEdwin(2), GretchenHello(2), Gothamburg(2), Handana(2), NewAltisch(1), Iggolite(1), PhederFrack(1), Talloween(1), Vundersburg(2), Xahosch(1),  and Zumbelsburg(2).

4. Dingbat (3 families, 4 faces)—SternStella(2), PatCzeckers(1), PatColumRow

   A family is made up of a basic or plain face and variations of it. A standard complete family for a serifed, text face consists of plain, italic, bold, and bolditalic styles. Six families in this collection are complete in this way. Most families consist of only plain and bold, with often a thin or medium added. However, some families have more esoteric members, such as inline or shadowed.

   Alternatively, one can classify typefaces into the categories of text and display. A text face is one which can be easily read at small point sizes in large blocks of text. A good text face should not call attention to itself but should be transparent to the reader. BetterTypeRight or BearButteT can be used as text fonts when a serifed face is desired, AndrewAndreas works well when a sans-serifed face is appropriate, and JetJaneMono or TiredofCourier serve well when a monospaced font is needed. There are others which are readable at small point sizes, but which are suitable only for special circumstances.
 
   In contrast, a display face should jump out at the reader. Unusual letter shapes, which ruin a text face, may be an asset to a display face because they slow the reader down and catch his/her attention. Display faces are usually used at larger sizes and are often unreadable at the small sizes most common for text faces.
Most of the typefaces in this collection are display faces with limited or no use as a text face. A display face has a personality which determines when its use is appropriate. It can be elegant or casual, sleek or ornate, clumsy or graceful. An essential element of good design is to use the right personalities in the right places.

   All of the typefaces in this collection provide the punctuation and standard diacritical characters of Western European languages. Many also include a few alternate characters. For example, instead of the florin, there is usually an alternate and more decorative f. On the other hand, some of the mathematical symbols and Greek letters are missing on many of the faces. 

   The typefaces in this collection were constructed on a Macintosh with Fontographer versions 3.5 and 4.0 from Altsys. Each face is available in both PostScript and TrueType formats for both the Macintosh and Windows 3.1 or higher. Though a great deal of effort has gone into testing, there are undoubtedly many glitches left. I apologize for any inconvenience such oversights may cause. The original Fontographer files are included on the CD for anyone who would like to customize a particular face for their own use. (Be aware that no face so constructed may be distributed to others without violating copyright laws. You may not used any element from those files, no matter how you transform it with various programs, in any typeface or picture file which you distribute.) All type designs are original, though obviously I have been influenced by a great many sources, many of which I probably am unaware.

   Some typefaces in this collection are more useful than others. There are some I use and will use extensively and others I will rarely if ever use. However, I have learned that my tastes are not shared by everyone and may be unusual. Therefore I will not reveal my evaluation of where the strengths and weaknesses of this collection lie, but let you make your own judgements.

   There are also additional typefaces in the Bonus folder or directory. These are typefaces which for one reason or another (lateness of completion, quality, limited usefulness, or whim) were not included in the main collection. Check them out. You may find some that you really like.
I appreciate any constructive criticism you may have. I can be reached electronically on the internet at bobs@saintjoe.edu.  I can also be reached by mail at P.O. Box 404, Rensselaer, IN 47978. 

December, 1993

About Font Preview

  Font Preview allows you to see samples of all 125 typefaces in Font Pro Vol 3. Faces are arranged alphabetically by family name, and all the styles (bold, italic, etc.) of each family are illustrated. To move through the faces, use the buttons at the bottom of the screen, or get the same effect by pressing the R, B, P, N, F, S and H keys (without the Command or Apple Key). To jump long distances, use the Jump To Menu. To see the comments about each family, press CMD-G. 
   The samples illustrated are at 32 point. You should be aware that printed output at 300 or 600 dpi will appear much better than these screen shots at 72 dpi.