FONTS.TXT                                                01/15/91


                     THE FONTS OF WPUS1.ALL
                  Copyright 1991, Hector Santos



With the thousands of PostScript fonts available commercially,
why should you even consider using public domain and shareware
fonts?

   The very first thing that comes to mind is cost - public
domain fonts are free, shareware fonts are low-cost.  Cost is a
very important factor, but is that all there is?  You don't need
a free font if you can't use it.

   One other characteristic that most of these fonts share is
probably just as important as cost.  With one or two exceptions,
these fonts are not available anywhere else at any price.  Their
designers are typically more daring, more free-wheeling, and more
unconventional than their counterparts in the commercial world. 
Some of them may not have had any formal training or appren-
ticeship in typography; thus they may not feel constrained by the
rules that have developed over five centuries.  While this may be
a handicap, it can sometimes result in pleasant surprises.

   Even those designers who choose to recreate traditional fonts
choose models that commercial companies have neglected.  They
fill a need that commercial sources have not satisfied.


                     FONT REVIEW & CRITICISM

   In this collection, you will find a lot of wacky, novelty
fonts.  You will also find scripts and hand-lettered fonts. 
Display fonts seem to be popular, too.  Unfortunately, there are
only a few text faces.

   We are obligated to these designers with their Macintoshes and
Fontographer programs for, without exception, all these fonts
were originally designed for use on the Macintosh.  As of now, we
PC users still do not have anything comparable to Fontographer. I
have heard promises from ZSoft that their next release of Type
Foundry, if used in conjunction with SoftType, will generate Type
1 and Type 3 fonts with their corresponding AFMs and PFMs.  As of
this date, the promised release is not out yet.

   Instead of just descriptions (which is very hard to do), this
document also includes critiques of each font.  It is easy to
dismiss wacky and novelty fonts.  It is easier still to criticize
fonts that are based on historical models.  One knows how these
fonts should look like and anybody who strays from the path worn
down by orthodoxy and slow evolution over 500 years is given a
verbal lashing.  These I have done, I hope in a manner that's
more critical than mean.


                          FONT RATINGS

   I have given each font a rating solely based on how well I
like it.  The rating goes from zero stars (don't bother) to five
stars (must have).  The ratings don't have anything to do with
useability.  For instance, a script font with five stars means
that it is a good script font, not that there are many applica-
tions for it or script fonts in general.

   It is harder to express what is good in a font than to find
fault with it.  The only good word I know is "nice" and I hate to
keep repeating myself.  That's one reason you don't see too many
good words.

   If you find that you like a font, use it no matter what I say. 
I confess that I have enjoyed some movies that the critics didn't
have a good word for.



                        FONT DESCRIPTIONS


Name:     Alison                                  Rating: *****
Designer: Robert & Nancy Wall                     Type: 3
Author:   Gary Garrett
Fee:      $5


   Alison is a pretty calligraphic script that is derivative of
Copperplate Script (also known as Spencerian, Engraver's, or
Formal Script).  This style of writing was popular in England in
the seventeenth and eighteenth centuries and was written with a
pointed pen whose nib got wider as you applied more pressure. 
This implementation has a large x-height making it more legible. 
Its up and down strokes are terminated abruptly and sharply.  It
is also bold in weight.  Surprisingly, Alison is the only font in
this collection that has lining figures (monospaced numerals).

   Alison provides 36 extended characters; 16 of these are
substitutes.  Among the substitutes are alternate letters A, G,
o, r, and s, and terminal letters c, t, s, e, m, n, h and k.  The
characters atilde, aring, and ntilde come out unaccented.

   This is one font that you really have to register.  You can't
spend your $5 on a better deal.



Name:     Architect                               Rating: *****
Author:   Hank Gillette                           Type: 1 and 3
Fee:      Free


   Architect is an uncanny clone of Adobe's Tekton Regular.  I
own a copy of the real thing and I can't tell them apart.  This
typeface looks like hand lettering, the kind that an architect
may employ, thus the name.  You have to get this one if you can't
spend the money to buy the real Tekton.

   It has 62 extended characters and they are all properly
mapped.  This font is available in both Type 1 and Type 3 ver-
sions.  See WPUS1.DOC for important additional information.



Name:     Armadillo                               Rating: **** 
Author:   Russ Coffman                            Type: 3
Fee:      Free


   This font consists of just a few dingbats, mostly with a Texas
State motif, like armadillos, Lone Star, Texas map, etc.  It is
quite well-made and is worth getting.

   There are no extended characters and I have left the mapping
in Character Set 0 instead of Character Set 12.

   I generated the width tables from actual type measurements as
no AFM file was provided by the author.



Name:     Avant Garde Alternate Set               Rating: ***  
Author:   Corey Oordt                             Type: 1
Fee:      Free


   This provides the alternate character set to ITC Avant Garde
Book Regular.  If you are familiar with Avant Garde's alternate
character set, you know that it has a lot of ligatures provided. 
Fractions are also made available.

   There are 35 extended characters but they are mostly use to
provide the numerators and denominators for the fractions.

   The proper way to use this font in WordPerfect is to use PTR
to edit the printer driver (PRS file) and choose ITC Avant Garde
Book Regular as the only substitute font for this typeface.



Name:     Beatsville                              Rating: **   
Author:   Jim Morton                              Type: 3
Fee:      Free


   This font is described by the author as a wacky, novelty font
with an early-sixties look.  It is said to be based on Ad Lib, a
font I'm not familiar with.  It is wacky all right but it doesn't
remind me too much of the early sixties.

   It has 65 extended characters, all properly mapped.  However,
some extended characters appear to have been borrowed from
another typeface.



Name:     Black Chancery                          Rating: **** 
Designer: Doug Miles                              Type: 1
Author:   Earl Allen
Fee:      Free


   Black Chancery is a script font with beautiful swash capitals. 
Its lower case is simple and straightforward making this typeface
very legible, even at smaller sizes.  The script reminds me of
the Spanish national hand during the Medieval and Renaissance
periods.

   There are 18 extended characters and they are all correctly
mapped except that alternate j replaces Delta.



Name:     Bodidly Bold                            Rating: **** 
Author:   Printer's Devil                         Type: 1
Fee:      $10


   Bodidly Bold looks like Ultra Bodoni except for the treatment
of the serifs (not triangular but sharper with slight bracketing)
and the gentler, more rounded treatment of the counters.  It
makes a good display face and should find lots of use.

   There are 96 extended characters, all properly mapped.  
Eighteen of them look like they were lifted from another type-
face.



Name:     Brighton Bold                           Rating: ***  
Author:   Dennis M. Walsak                        Type: 3
Fee:      Free


   Brighton Bold is a copy of the original with the same name. 
It reminds me of Cooper Black (except, of course, that it is
lighter) because everything is rounded and soft - there are no
sharp edges, very much like the smooth, water worn stones you
find in rivers.

   Only the capital letters, A - Z, are included in this imple-
mentation.



Name:     Caligula                                Rating: ***  
Author:   Earl Allen                              Type: 1
Fee:      Free


   Caligula is yet another script font, albeit one of the less
complicated and simpler of the examples in this collection.  It
is quite legible at small sizes, thanks to its simple design and
its Type 1 implementation.

   It has 76 extended characters and they are all properly mapped
except for three substitutions.



Name:     Carole's Chunks                         Rating: **   
Author:   J. O. Bryan                             Type: 3
Fee:      Free


   Carole's Chunks is an irreverent typeface that portrays some
characters in various modes of throwing up, presumably after a
wild New Year's party or the like.  It is finely drawn and only
includes the capitals A to Z, exclamation, question, and period.

   No AFM was provided by the author and I had to generate the
width tables from actual type measurements.



Name:     Caveman                                 Rating: **   
Author:   Jim Morton                              Type: 3
Fee:      Free


   Honestly, do we need another copy of Flintstone?  Neverthe-
less, Caveman has enough differences with Flintstone to make it
worth a look.

   This version is lighter than Flintstone making it appear to
look more like initials carved in wood with a penknife.  Unlike
Flintstone where you have the same capital letters mapped into
the lower case keys, Caveman substitutes another similar but
different set of capital letters when you use lower case.

   It has four extended characters all mapped correctly.



Name:     ChiTown                                 Rating: **   
Author:   Jim Morton                              Type: 3
Fee:      Free


   This font is a copy of Chicago, the Macintosh default screen
font.

   ChiTown is not an attractive font, something like a cross
between an LED display and what an MICR font would be if it had
alphabets.  It is bold in weight.  I can't think of any applica-
tion where I personally would use it but you may conceivably want
to use it if you need a font with a cold, mechanical, and contem-
porary look.

   It has 76 extended characters and they are all properly mapped
except for one.



Name:     Diego1                                  Rating: *****
Designer: Judy Thorn                              Type: 3
Author:   Steve Shubitz
Fee:      $10


   I generally stay away from fonts named after cities like the
ones Macintosh and First Publisher users are familiar with but I
make an exception with this one (named after the author's home
city, San Diego).  Designed as a display font, this typeface has
a casual look and looks great in larger sizes.

   At smaller sizes, it can also be used for lettering architec-
tural and mechanical drawings.  It suggest how a neat draftsman
might letter his work.  It is a bit heavy, though, and Architect
would be more suitable for this purpose.  Furthermore, the
numerals do not align and would therefore look odd in a drawing,
graph, chart, or any other place other than inside a text file.

   It has 91 extended characters, but 36 are substitutes.  Among
the substitute characters you will find various arrows, stars,
and boxes.  Two do not print out properly because of the way
WordPerfect creates composite characters.

   This is another font that I recommend you to register.



Name:     Display Sans A                          Rating: ***  
Author:   18+ Fonts                               Type: 3
Fee:      $20


   Most of the comments I'll make in this section regarding the
first of five 18+ Fonts entries also apply to the rest of them. 
These fonts are presented as $20 shareware versions of $65
commercial versions.  What the differences are, if any, are not
explained.  The documentation, which is identical for all five
fonts, makes sure that you know it is shareware.  The first three
pages explain everything that you are not allowed to do.  The
rest explains how to install it on a Macintosh.

   The 18+ Fonts series are all display and titling fonts and,
therefore, do not have many extended characters included.  As a
matter of fact, none of them even has a complete basic ASCII set.

   18+ Fonts prides itself in providing extensive kerning infor-
mation.  However, this could simply be a kluge for improper
placement of characters within their respective cells.  No amount
of kerning can completely undo bad design.  I did not bother to
enter kerning tables for Display Sans A, Display Sans B, and
Display Serif B in WPUS1.ALL.  Sorry.

   Use these fonts only at huge sizes; they tend to run together
and become illegible at smaller sizes.

   Display Sans A is a copy of Futura Extra Bold Condensed.  It
is one of the better fonts from 18+ Fonts and you can easily find
display applications for it.

   Display Sans A has 14 extended characters of which 4 are
substitutes.

   One thing 18+ Fonts has going for it is that you may not be
able to buy these fonts anywhere else at any price.  If you need
them, then you may be getting good bargains.



Name:     Display Sans B                          Rating: **   
Author:   18+ Fonts                               Type: 3
Fee:      $20


   Display Sans B is based on Clearface Gothic Black.  Its
strokes are wider than the original model causing the letters to
have less contrast and appear more monotonic.  Another result is
that the capitals are too wide.  It also has a bad effect on M
where the inner apex looks awkward.

   The wider strokes also cause the counters in A, B, P, R, a,
and e to be too small which make them appear heavier.

   There are 15 extended characters of which 3 are substitutes.

   See also Display Sans A description for relevant additional
comments.



Name:     Display Sans C                          Rating: **** 
Author:   18+ Fonts                               Type: 3
Fee:      $20


   Display Sans C, which is a copy of Compacta Bold, is the best
implementation of an original model of all the fonts from 18+
Fonts.  It has narrow letters which finds a lot of use in today's
applications.

   Display Sans C has 16 extended characters with 5 substitu-
tions.

   See also Display Sans A description for relevant additional
comments.



Name:     Display Serif A                         Rating: **** 
Author:   18+ Fonts                               Type: 3
Fee:      $20


   The model for Display Serif A is Bauer Text Initials or
Schneidler Old Style Initials.  They differ from regular Bauer
Text and Schneidler Old Style in the treatment of the serifs.  U,
Q, and Y are also different.

   This implementation includes only the capital letters, A - Z
and an incomplete set of the rest of the other basic ASCII
characters.

   This is a beautiful, old style font but I still do not like
its Y, which is a V with a short tail.  It somehow doesn't appear
to belong with the traditional elegance of the other letters.

   Display Serif A has 12 extended characters of which 3 are
substitutes.

   See also Display Sans A description for relevant additional
comments.



Name:     Display Serif B                         Rating: **   
Author:   18+ Fonts                               Type: 3
Fee:      $20


   Display Serif B is a flawed implementation of Plantin Bold. 
Its slab serifs are too thick making the capital letters look to
me like men with combat boots.  Worse yet, K and R look like men
with one boot on and the other off.  Optical illusion makes K
look like his bare foot is lifted off the floor.

   The bottom arm of Z is too long and the bend of j is too
sudden.  While the small letters appear with correct proportions,
the capital letters are wide making the two set look like they
don't go together.  I find very little to like about this imple-
mentation.

   Display Serif B has 15 extended characters with 4 substitu-
tions.

   See also Display Sans A description for relevant additional
comments.



Name:     Dot Matrix                              Rating: *    
Author:   Timothy Rogers                          Type: 3
Fee:      $10


   Why would you need a dot matrix font if you use a laser
printer?  Because there is no other way to simulate its look.

   There may be times when you would need to make a document like
it came out during the good old days and, if you're like me, you
don't have a dot matrix printer anymore.  That is when this font
may prove to be handy.  You can also mix dot matrix output with
sharp normal fonts on the same page if you need to.

   Another use would be in illustrations where you need to show a
Times Square type moving news display.  The font really looks
more like those lights than a dot matrix output.  A dot matrix
printer overlaps the dots horizontally to make them look sharper. 
This font doesn't; that's why it's 25% wider than what it should
be.

   There are 90 extended characters and they mostly correctly
mapped except in places (12) where the author had to substitute
characters because the dot matrix grid did not have enough
resolution for the correct characters.



Name:     Durango                                 Rating: **** 
Author:   Hank Gillette                           Type: 3
Fee:      Free


   Durango is patterned after the nineteenth century slab serifed
display faces that came out in this country as wood types.  It
gives a Western look to your application.  It is caps only, the
lower case being mapped as caps.  There are only 6 extended
characters and two of them are both the ligature "WA".



Name:     Flintstone                              Rating: **   
Designer: Peter S. Bryant                         Type: 3
Author:   Peter S. Bryant
Fee:      $5


   Flintstone is supposed to look like how the people in the
popular TV cartoon and comic strip would write on their cave
walls with a chisel and hammer as they went about recording
events in their daily lives.  It is a novelty font and if you can
believe that dinosaurs and humans existed together, then you can
believe that their writing could have looked like this.

   It is a fun font whose small letters print out the same as the
capital letters.  It has 8 extended characters, all properly
mapped.



Name:     Graphic Light                           Rating: *****
Author:   Richard Mitchell                        Type: 1 and 3
Fee:      Free


   This free font from The Underground Grammarian is not actually
light but demi-bold in weight.  It was copied from a metal type
of the same name from the Baltimore Type Foundry.  It is one of
the few text typefaces in this collection of fonts and its main
distinguishing feature is its small x-height.

   One typeface that looks similar, has a small x-height, and
that you may have seen recently is Bernhard Modern.  It is
currently loved by art directors and recent examples of adver-
tisements that use it are those from Everex and Mass Mutual. 
Graphic Light is heavier, has less contrast, has wider capitals,
and has a completely different texture when compared to Bernhard
Modern.  But the only other thing they have in common, their
small x-heights, is enough to make one remind you of the other.

   I like small and medium x-heights for text applications. 
Using currently popular fonts with large x-heights for long text
applications is like talking loud all the time.  Use this type-
face for a change of pace.

   Graphic Light has 10 extended characters; 4 are substitutes. 
The substitutes are all ligatures: ffl, fi, ft, and fl.

   If it weren't free, I'd insist that you register it.



Name:     Heidelberg                              Rating: **** 
Designer: Bill Horton                             Type: 3
Author:   Bill Horton
Fee:      Free


   Heidelberg does not conform to any historical model that I'm
familiar with.  Its shapes can only be formed by constantly
changing the axis of the broad pen or brush.  It is upright and
looks like a black letter, it has the rounded strokes of an
uncial although some strokes go the wrong way, and it attempts to
recreate the stress of an italic although it is not oblique.  It
combines the characteristics of letterforms from different
periods and styles making it an eccentric, though not necessarily
displeasing, typeface.  Use in place of your blackletter or
script fonts some time for a fresh look.

   This font is being marketed in another forum as a $20 share-
ware for the PC by a person who is not the original author.  He
claims to have ported it from the Mac to the PC but Heidelberg
was released to the public domain in 1989.

   It has 29 extended characters, 14 of which are substitutes. 
Among the substitute characters are a terminal c and the liga-
tures ct, The, of, fi, st, and for.

   Asciitilde (126) appears to act like a deadkey except that it
goes over the last letter typed instead of not advancing to the
next position and simply letting the next letter fall under it.



Name:     Kathlita                                Rating: **   
Designer: Jim Morton                              Type: 3
Author:   Jim Morton
Fee:      $20


   Kathlita (designed for Kathy McFadden) is an original font
that almost makes it.  There are many, many little things that
appear wrong but they are very difficult to explain or even
verbalize.  Perhaps, it is because of the soft apices in A, M, V,
W, v, w, y, and z that don't seem to quite fit in with the sharp
vestigial serifs in most of the other letters.  Or maybe, it is
the poor modeling of the contours in C, D, and G.  But no, it
could be that the letters with round bottoms don't seem to touch
the baseline, or that g looks like a balloon that has risen,
while p and q are just starting to.  How about the T or the Z
trying to taper its arms like a crude Optima or Albertus?

   Maybe, it's none of the above.  Maybe, its just that Kathlita
is trying to be so many different things at the same time.

   Surprisingly, the font is very legible.  Its many idiosyncra-
cies make it look rough hewn, natural, and unpretentious - very
different from all the sophistication and elegance that we see
everyday in other fonts.

   Kathlita has 124 extended characters and they are all correct-
ly mapped.



Name:     Kiddie Korner                           Rating: **** 
Author:   Unknown                                      Type: 3
Fee:      ?


   It is unfortunate that the documentation on the Macintosh SIT
file for Kiddie Korner is unintelligible to a PC user so that I
cannot give proper credit to its creator.  If anybody knows,
please inform me.

   Kiddie Korner is supposed to look like a child's printing.  It
actually looks like the printing of an adult trying to make it
look like a child's.  Nevertheless, it is effective.

   There are only four extended characters (the quotes and double
quotes).  No AFM was available and I had to generate the width
tables from actual measurements.



Name:     MacHumaine                              Rating: **** 
Designer: Bill Horton                             Type: 3
Author:   Bill Horton
Fee:      Free


   MacHumaine is the father of Heidelberg.  This is an older work
of Bill Horton and is closer to the classic humanist hand than
Heidelberg.  In Heidelberg, Horton starts to add black letter
touches, more angular strokes, etc.  There apparently is an even
earlier version for the ImageWriter and I would be interested in
seeing it.

  I actually like MacHumaine better than Heidelberg.  It is a
kinder and gentler version.  Get them both and see which you
prefer.

   There are 48 extended characters but WordPerfect won't print
eight of them correctly because of the way WP generates composite
characters.  Fourteen characters are substitutes.  Among the
extended characters are alternates A, D, E, F, P, R, V, d, and k
and the ligature ct.



Name:     Mary Dale                               Rating: *****
Author:   Brian L. Willson                        Type: 3
Fee:      Free


   Mary Dale is another fine example of a casual looking font
that looks like hand lettering.  It was based on the hand of Mary
Dale, one of the author's colleagues.  This type of font seems to
be very, very popular nowadays and much of this can be attributed
to the public's acceptance of Adobe's best-selling Tekton.  Mary
Dale is less disciplined than Tekton or even Diego1.  It weight
is fine for smaller sizes (like Tekton) where Diego1 might appear
too heavy.

   Because it is much more free-wheeling than either Tekton or
Diego1, I would not use it for architectural drawings.  It is
best used for short notes or even short sections of text where
you want to exude a casual and informal feel.

   Although I am against extensive kerning information (a sign of
improper cell placement of characters), I forgive Brian Willson
for the over 3500 kerning pairs he developed for this font. 
Because the letters are unconventional in shape, there was no way
he could have optimally placed the letters within their font
cells without going through too much trouble.

   Mary Dale contains 16 extended characters of which 7 are
substitutes.



Name:     Medici                                  Rating: *    
Author:   John Paul McCarty                       Type: 3
Fee:      $20


   Medici is a copy of Goudy's Michelangelo, a titling font.  It
contains only the capital letters, the numerals, some punctuation
marks, and seven properly mapped extended characters.

   Michelangelo is a beautiful typeface based on the Trajan
Column inscriptions.  It looks a bit like the previously de-
scribed Display Serif A except that its stress is angled instead
of vertical.  But there is a serious flaw in Medici.  O, Q, and 0
are slightly deformed around the one to two o'clock region and
that is enough to ruin the whole set.

   Medici, like many of the fonts in this collection are strictly
the products of technology.  Font samples from various sources
are scanned, the outlines run through a tracing program, and a
font generator is used.  However, the better efforts are the
result of careful editing of the bitmap before it is traced and
the reworking of the final product until it looks just right. 
Middleton is a good example of perfect technique, Medici is not.



Name:     Memphis Display                         Rating: **** 
Author:   Dennis M. Walsak                        Type: 3
Fee:      Free


   The choice of the name for this font is unfortunate because
Memphis is a well-known, slab-serifed font.  Memphis Display is a
set of art deco style illustrations that look like letters.  They
are all well crafted and can also be used as dingbats or even as
ornaments.  Because they represent objects and are abstract at
the same time I guess they can also be classified in either
category.

   Only the capital letters, A - Z, are available.  Use sparing-
ly.



Name:     Mesozoic Gothic                         Rating: **** 
Author:   Bryan J. Radue                          Type: 1
Fee:      $15


   Mesozoic Gothic is a knock off of Publicity Gothic, a black
display type font.  However, its edges are not as crisp as those
on the original, probably as a result of the scanning and tracing
process.  It contains the capital letters, the numerals, a few
punctuation marks, and four extended characters (quotes and
double quotes).  The alternate letters in the original are not
provided.

   No AFM file was included in the distribution and I generated
the width tables from actual measurements.



Name:     Middleton                               Rating: *****
Author:   Jonathan Hodges                         Type: 1 and 3
Fee:      Free


   Middleton is an excellent copy of Robert Hunter Middleton's
Florentine.  Although not a book face, it can be used for text
applications (a rarity among this set of public domain and
shareware fonts).  It has an art decoish look to it with its high
waist and graceful downstrokes.  Middleton is a perfect example
of how a copy should be implemented.  The extended character set
includes alternates A, B, E, F, M, N, O, P, R, S, a, e, o, and y. 
They are all beautiful.

   It has 123 extended characters, all properly mapped except
where the 15 alternate characters had been mapped into.



Name:     Morton Dingbats                         Rating: ***  
Designer: Jim Morton                              Type: 3
Author:   Jim Morton
Fee:      Free


   Morton Dingbats is a set of fun dingbats - whimsical, humor-
ous, astrological, runes, etc.  Nice to have around because you
can always find a use for this font.

   Use WordPerfect Alternate Character Map 12.



Name:     Oswald Black                            Rating: **** 
Author:   Printer's Devil                         Type: 1
Fee:      $10


   Oswald Black is a nice modification of Oswald B. Cooper's
Cooper Black.  It is a wee bit narrower overall, has a little bit
more contrast in its strokes, and its serifs are narrower, too. 
Printer's Devil apparently does not copy typefaces blindly but
makes intelligent modifications to them as is shown in this
example and in their Bodidly Bold derived from Ultra Bodoni.

  Oswald Black contains 99 extended characters all properly
mapped.



Name:     Paul's Typewriter                       Rating: **   
Author:   Timothy Rogers                          Type: 3
Fee:      $10


   Who needs another Courier?

   This typeface pretends to be a typewriter font but it is just
too darn wide, 12.5% wider than a typewriter font to be exact. 
It has 123 correctly mapped extended characters.



Name:     Playbill                                Rating: **** 
Author:   Hank Gillette                           Type: 1 and 3
Fee:      Free


   Playbill is a copy of the font with the same name, a nine-
teenth century display face with a look derived from French
Antique.  Unlike the caps-only Durango, it has small letters.  It
has nine extended characters, with two substitutes.



Name:     PostCrypt                               Rating: **** 
Designer: Walter Kafton-Minkel                    Type: 1 and 3
Author:   Glenn Reid
Fee:      Free


   As its name implies, PostCrypt is a typeface with a ghoulish
look.  Blood or slime appear to drip from distorted letters.  The
small letters print out as raised small caps.  Great for Hallow-
een!

   PostCrypt has 47 extended characters of which only three are
substitutes.



Name:     Prisma                                  Rating: **** 
Author:   West Paces Publishing                   Type: 3
Fee:      $10


   This is a nice copy of the original font with the same name. 
M, N, and R are folded differently (on purpose, according to the
author).  Caps, numerals, a few punctuation marks, and cent in
the extended character set are included.

   This implementation does not open up until around 48 points
and does not look good until it reaches around 60 or 72 points. 
The parallel lines tend to run into one another at smaller sizes. 
I do not think this font can be properly implemented without
PostScript hand coding of the characters.  That is the only way
to make the line width get thicker or thinner with the font size.

   No AFM was available and I generated the width tables from
actual font measurements.  Excellent at 72 points or bigger!



Name:     Rodchenko                               Rating: **** 
Author:   Scott Leyes                             Type: 3
Fee:      $5


   Rodchenko is an excellent copy of Futura Black, a very famil-
iar typeface that probably needs no further description.  But if
you don't know what Futura Black looks like, another way to
describe it is to say that it is a display font that is in the
same vein as Broadway and Stencil.  If you still can't tell what
it looks like, you'll just have to print out a sample.

   This implementation has an amazing 122 extended characters
which are all properly mapped except that right arrow, up arrow,
am, and pm were substituted for apple, circumflex, dotaccent, and
ring, respectively.

   Be sure to send your $5 to Scott Leyes.  It is well worth it. 
(Note: My check to register this font had never been cashed.)



Name:     Saint Francis                           Rating: **   
Author:   Hank Gillette                           Type: 1 and 3
Fee:      Free


   This is a copy of that crazy Mac font, San Francisco, where
every character comes from a different style of type.  In the 21
extended characters, the author includes as a joke a real dagger,
bullet, and ring in place of the typographical dagger, bullet,
and ring, respectively.

   Next time you write a ransom note, you won't have to cut up
newspapers and magazines anymore.  Just use this font and your
PostScript printer.



Name:     Searchlight                             Rating: **** 
Author:   Jim Morton                              Type: 3
Fee:      Free, $20 for special version


   Searchlight is a nice, very narrow, art deco font that can be
used for display purposes.  It was based on Empire and like the
original, Searchlight only contains the capital letters, A - Z,
and the numerals, 0 - 9.

   It evokes the period from which it was designed.  If you like
the font well enough, Jim Morton has a unique version for $20
that includes all the small letters and other things that were
not available in the original model.

   This free version of Searchlight has no extended characters.



Name:     Slab Face                               Rating: **** 
Author:   J. O. Bryan                             Type: 3
Fee:      Free


   Slab Face is a copy of Roger Excoffon's Banco.  Hard to
describe, it is a unique display face with a very casual but
neat, disciplined look to it.  Lower case is implemented as small
caps although Banco had none.  No extended characters.



Name:     Ultra Line                              Rating:      
Author:   Charlie Brown Design                    Type: 3
Fee:      Free


   From 1917 to 1931, an influential Dutch movement called the De
Stijl school attempted to influence art by trying to reduce it to
its minimal forms of line, mass, and color.  They left their mark
in painting, architecture, graphic design, and even typography. 
As an example, the paintings of Piet Mondrian show the De Stijl
school's influence.

   In their version of typography, square boxes, angles, parts of
circles, complete circles, and triangles were used for letter
shapes.  More properly, it should be said that they were used to
suggest the letters of the alphabet.

   Ultra Line is an example of this style.  I do not know if it
is an original or if it was modeled on a historical model, but it
has got to be the ugliest font I have ever seen.

   Take a box with a 5 x 5 grid, create all the letters in the
alphabet by filling in the little squares, use only vertical and
horizontal but no diagonal lines, and you'll come up with the
monstrosity called Ultra Line.

   If you fill a page with text using small- to medium-point
sized Ultra Line, the page will have a beautiful, shimmering
texture that looks like some abstract piece of art.  The only
trouble is that you cannot read it.

   Possible uses for this font are: a letter to Saddam Hussein,
an explanation to your ex-wife regarding how you will implement a
court-ordered increase in child and spousal support, or an
activity report to your boss when you've had a bad week.

   It has 51 extended characters and they are all properly
mapped; but who cares?



Name:     Upper West Side                         Rating: *    
Author:   David Rakowski                          Type: 1
Fee:      $6


   This is the famous New Yorker font.  Too bad its implementa-
tion is imperfect.  This is another example where the scanning
and tracing technique wasn't carried out properly.  Perhaps the
author didn't have a good sample to work with; those magazine
heads and subheads aren't really that big to use as masters. 
Whatever the case, the subtle look of the New Yorker type's
studied informality is lost.  The stroke widths are only slightly
changed but everything is ruined.

   The A, for instance, has all its straight lines deformed and
its corners rounded too much.  Its counter has lost its crispness
where the strokes meet.

   If you use this font at all, do not use the lower case which
is implemented as small caps (I don't think the original had
any).  The wight differences are just too great and the effect is
terrible.

   There are only three extended characters.



Name:     Woodcut Dropcaps 1                      Rating: *****
Author:   David Rakowski                     Type: 3
Fee:      $1


   Scanned from an old children's book, the letters included are
nice and beautiful.  Normally implemented as graphics because of
the file size (had to be split into two, Woodcut Dropcaps 1 and
2), fonts are nevertheless easier to use for most people.

   This set includes A, B, C, F, H, I, M, another H, another I,
and two decorations.



Name:     Woodcut Dropcaps 2                      Rating: *****
Author:   David Rakowski                          Type: 3
Fee:      $1


   This is Part 2 of the above.  It includes A, B, O, P, S, T, U,
W, another T, another W, and a T on a globe (Ctrl V; 4,39).





                 APPLE STANDARD AND WORDPERFECT

   AppleStandard Encoding produces a strange character set that
consists of regular typographic characters, symbols, and one
dingbat.  These different characters sets are normally distribut-
ed as separate fonts.

   The WordPerfect printer driver is a fairly sophisticated
driver with capabilities of substituting another font (or the
closest typeface) if you don't have the correct size available or
the correct character set in your chosen font.  If necessary,
WordPerfect will even print out the needed characters in graphics
format.  With PostScript and other scalable fonts, size would not
be a factor, but the availability of the needed character would
be in deciding whether to substitute or not.

   However, in a few instances WordPerfect will substitute fonts
for these AppleStandard encoded fonts whether or not the charac-
ters are available in the font you are currently using.  This
happens when you are using a font close in characteristics to a
text font (as opposed to a display or decorative font).  WordPer-
fect assumes (properly, I might say) that symbols are not includ-
ed in normal fonts and would automatically substitute the Symbol
font, which is included in all PostScript printers, for the
AppleStandard encoded font.  These substitute characters are
usually the ones that belong to WordPerfect Alternate Character
Maps 6 and 8.

   If you are using DrawPerfect's WP.DRS to get more screen
preview fonts, the problem is magnified.  For example, you may
get HOBO once in a while even if you don't have that soft font. 
WordPerfect uses graphics to substitute the HOBO screen font in
DrawPerfect's WP.DRS in this instance.  (You can use this trick
to get "free" fonts.  I still have not figured a way to make it
work with everybody's printer setups so I'm not ready to post
information on how to do it.  Perhaps, you can figure a way to do
it reliably and tell us.)

   To correct this unwanted font substitution, you will have to
use PTR to edit your PRS file.  Remove all entries under Substi-
tute Fonts for the font you are interested in using as is.  This
will prevent the driver from substituting fonts automatically and
enable you to use characters that would otherwise be inaccessi-
ble.

   I recommend that this be done for all the above listed fonts,
specially for Kathlita and Middleton.  It is mandatory for
Middleton if you are interested in using its nice alternate
characters.

   If you are unfamiliar with PTR's use, do not attempt to do
this.  Just live with the PRS file you have.  It is perfectly
adequate in most cases.


                           POST SCRIPT

   There are dozens more of these kinds of fonts out there.  I
add new fonts to my driver constantly.  They would, naturally, be
included in the next release.

   I would like to remind you of your obligation to the authors
of the shareware fonts.  If you use their fonts, please register
them.  Please do not use any of my negative comments in this
document as an excuse not to pay a fee for fonts that you use.

   The last part of this document is an appendix listing all the
font authors with their addresses, if available, or other data
that you may need in getting in touch with them.




Hector Santos       2616 Berkeley Avenue     CIS 74216,1143
                    Los Angeles, CA 90026    Tel. (213) 413-4642                            APPENDIX


          18+ Fonts                          Sans A, Sans B, Sans
          W.M. Shanahan                      C, Serif A, Serif B
          337 White Hall Terrace
          Bloomingdale, IL 60108
          Tel. (708) 980-0887

          Earl Allen                         Architect, Black
          Altsys                             Chancery, Caligula,
          269 W. Renner Rd.                  Graphic Light, Post-
          Richardson, TX 75080               Crypt, Saint Francis
          (214) 580-2060                     (Type 1 versions)
          CIS 76004,2071

          J.O. Bryan                         Carole's Chunks,
          Aartvark Design Studios            Slab Face
          P.O. Box 770274
          Cleveland, OH 44107
          CIS 71420,1431

          Peter S. Bryant                    Flintstone
          P.O. Box 946
          Zephyr Cove, NV 89448-0946

          Charlie Brown Design               Ultra Line
          CIS 75130,10

          Gary Garrett                       Alison
          11330 Pine Acres Road
          Jacksonville, FL 32217

          Hank Gillette                      Architect, Durango,
          432 Tyrella Avenue                 Playbill, Saint
          Mt. View, CA 94043                 Francis
          CIS 73627,3612

          Jonathan Hodges                    Middleton
          24-32 26th Street
          Astoria, NY 11102
          CIS 76276,3102

          Bill Horton                        Heidelberg,
          1205 de la Vina St.                MacHumaine
          Santa Barbara, CA 93101
          Tel. (805) 962-3964

          Scott Leyes                        Rodchenko
          Hymenoptera Studios
          11662 MacMurray St.
          Garden Grove, CA 92641

          John Paul McCarty                  Medici
          J.P. Fonts
          3927 Livingston St., NW
          Washington, D.C. 20015

          Richard Mitchell                   Graphic Light
          The Underground Grammarian
          P.O. Box 203
          Glassboro, NJ 08028
          CIS 71611,332

          Jim Morton                         Beatsville, Caveman,
          Pop Void Publications              ChiTown, Kathlita,
          109 Minna St., Suite 583           Morton Dingbats,
          San Francisco, CA 94105            Searchlight

          Corey Oordt                        Avant Garde Alt Set
          125 North Main
          Blue Earth, MN 56013
          CIS 72047,760

          Printer's Devil                    Bodidly Bold, Oswald
          P.O. Box 1828                      Black
          Easton, MD 21601

          Bryan J. Radue                     Mesozoic Gothic
          Underground Type & Graphics
          3711 Libal Street
          Green Bay, WI 54301

          David Rakowski                     Upper West Side,
          CIS 73240,3060                     Woodcut Dropcaps 1,
                                             Woodcut Dropcaps 2

          Glenn Reid                         PostCrypt
          Angola, IN
          CIS 71177,3461 (?)

          Timothy Rogers                     Dot Matrix, Paul's
          Artists by Moonlight               Typewriter
          P.O. Box 5523
          Balboa Island, CA 92662

          Steve Shubitz                      Diego1
          Published Perfection!
          7486 La Jolla Blvd., Suite 552
          La Jolla, CA 92037
          Tel. (619) 546-9309
          CIS 72047,3402

          Dennis M. Walsak                   Brighton Bold,
          Modular Graphics                   Memphis Display
          611 South Front St.
          Wilmington, NC 28401
          Tel. (919) 763-2012
          CIS 73457,3372

          West Paces Publishing              Prisma
          77 E. Andrews Drive, Suite 389
          Atlanta, GA 30305-1335

          Brian L. Willson                   Mary Dale
          Three Islands Press
          215 Cedar Street
          Rockland, ME 04841-2307
          CIS 76662,2364
