> a synthesis of bitmap fonts < > designed by zuzana licko <

Lo-Res
Old name New name Menu Name Family name Bitmap
ppem

Base 9 Lo-Res-Nine Narrow LoResNineNarrow LoResNine 9

Base 9 Bold Lo-Res-Nine Narrow Bold LoResNineNarrowB LoResNine 9
Lo-Res-Nine Wide LoResNineWide LoResNine 9
Lo-Res-Nine Wide Bold LoResNineWideB LoResNine 9
Oakland 6 Lo-Res-Nine Wide Bold Alt LoResNineWideBAlt LoResNine 9
Base 9 SCaps Lo-Res-Nine Narrow SC LoResNineNarrowSC LoResNine 9
Base 9 B.SCaps Lo-Res-Nine Narrow SC Bold LoResNineNarrowSCB LoResNine 9
Lo-Res-Nine WideSC LoResNineWideSC LoResNine 9
Lo-Res-Nine WideSC Bold LoResNineWideSCB LoResNine 9
Lo-Res-Plus-Nine Narrow LRPlusNineNarrow LRPlusNine 9
Lo-Res-Plus-Nine Narrow Bold LRPlusNineNarrowB LRPlusNine 9
Lo-Res-Plus-Nine Wide LRPlusNineWide LRPlusNine 9
Lo-Res-Plus-Nine Wide Bold LRPlusNineWideB LRPlusNine 9
Lo-Res-Plus-Nine Wide Bold Alt LRPlusNineWideBAlt LRPlusNine 9
Lo-Res-Plus-Nine Narrow SC LRPlusNineNarrowSC LRPlusNine 9
Lo-Res-Plus-Nine Narrow SC Bold LRPlusNineNarrowSCB LRPlusNine 9
Lo-Res-Plus-Nine Wide SC LRPlusNineWideSC LRPlusNine 9
Lo-Res-Plus-Nine Wide SC Bold LRPlusNineWideSCB LRPlusNine 9
Lo-Res-Minus-Nine Narrow LRMinusNineNarrow LRMinusNine 9

Lo-Res
Lo-Res-Minus-Nine Wide LRMinusNineWide LRMinusNine 9
Lo-Res-Minus-Nine Narrow SC LRMinusNineNarrowSC LRMinusNine 9
Lo-Res-Minus-Nine Wide SC LRMinusNineWideSC LRMinusNine 9
Emperor 8 Lo-Res-Twelve Narrow LoResTwelveNarrow LoResTwelve 12
Universal 8 Lo-Res-Twelve Regular LoResTwelveRegular LoResTwelve 12
Emigre 8 Lo-Res-Twelve Bold LoResTwelveBold LoResTwelve 12
Oakland 8 Lo-Res-Twelve Bold Alt LoResTwelveBoldAlt LoResTwelve 12
Emperor 10 Lo-Res-Fifteen Narrow LoResFifTeenNarrow LoResFifTeen 15
Emigre 10 Lo-Res-Fifteen Bold LoResFifTeenBold LoResFifTeen 15
Oakland 10 Lo-Res-Fifteen Bold Alt LoResFifTeenBoldAlt LoResFifTeen 15
Emigre 14 Lo-Res-Twenty-One Serif LoResTwentyOneSerif LoResTwentyOne 21
Emperor 15 Lo-Res-Twenty-Two Narrow LoResTwentyTwoNarrow LoResTwentyTwo 22
Emigre 15 Lo-Res-Twenty-Two Serif LoResTwentyTwoSerif LoResTwentyTwo 22
Oakland 15 Lo-Res-Twenty-Two Bold LoResTwentyTwoBold LoResTwentyTwo 22
a synthesis of bitmap fonts Emperor 19
Universal 19
Lo-Res-Twenty-Eight Narrow
Lo-Res-Twenty-Eight Regular
LoResTwentyEightNarrow
LoResTwentyEightReg
LoResTwentyEight
LoResTwentyEight
28
28

Old name New Name Menu Name Family Name Bitmap

ppem

Lo-Res-Nine Wide LoResNineWide LoResNine 9

Lo-Res-Nine Wide Bold LoResNineWideB LoResNine 9
Lo-Res-Nine WideSC LoResNineWideSC LoResNine 9
Lo-Res-Nine WideSC Bold LoResNineWideSCB LoResNine 9
Lo-Res-Plus-Nine Narrow LRPlusNineNarrow LRPlusNine 9
Lo-Res-Plus-Nine Narrow Bold LRPlusNineNarrowB LRPlusNine 9
Lo-Res-Plus-Nine Wide LRPlusNineWide LRPlusNine 9
Lo-Res-Plus-Nine Wide Bold LRPlusNineWideB LRPlusNine 9
Lo-Res-Plus-Nine Wide Bold Alt LRPlusNineWideBAlt LRPlusNine 9
Lo-Res-Plus-Nine Narrow SC LRPlusNineNarrowSC LRPlusNine 9
Lo-Res-Plus-Nine Narrow SC Bold LRPlusNineNarrowSCB LRPlusNine 9
Lo-Res-Plus-Nine Wide SC LRPlusNineWideSC LRPlusNine 9
Lo-Res-Plus-Nine Wide SC Bold LRPlusNineWideSCB LRPlusNine 9
Lo-Res-Minus-Nine Narrow LRMinusNineNarrow LRMinusNine 9
Lo-Res-Minus-Nine Wide LRMinusNineWide LRMinusNine 9
Lo-Res-Minus-Nine Narrow SC LRMinusNineNarrowSC LRMinusNine 9
Lo-Res-Minus-Nine Wide SC LRMinusNineWideSC LRMinusNine 9
Base 9 Lo-Res-Nine Narrow LoResNineNarrow LoResNine 9
Base 9 B.SCaps Lo-Res-Nine Narrow SC Bold LoResNineNarrowSCB LoResNine 9
Base 9 Bold Lo-Res-Nine Narrow Bold LoResNineNarrowB LoResNine 9
Base 9 SCaps Lo-Res-Nine Narrow SC LoResNineNarrowSC LoResNine 9
Emigre 10 L0-Res-Fifteen Bold LoResFifTeenBold LoResFifTeen 15
Emigre 14 Lo-Res-Twenty-One Serif LoResTwentyOneSerif LoResTwentyOne 21
Emigre 15 Lo-Res-Twenty-Two Serif LoResTwentyTwoSerif LoResTwentyTwo 22
Emigre 8 Lo-Res-Twelve Bold LoResTwelveBold LoResTwelve 12
Emperor 10 Lo-Res-Fifteen Narrow LoResFifTeenNarrow LoResFifTeen 15
Emperor 15 Lo-Res-Twenty-Two Narrow LoResTwentyTwoNarrow LoResTwentyTwo 22
Emperor 19 Lo-Res-Twenty-Eight Narrow LoResTwentyEightNarrow LoResTwentyEight 28
Emperor 8 Lo-Res-Twelve Narrow LoResTwelveNarrow LoResTwelve 12
Oakland 10 Lo-Res-Fifteen Bold Alt LoResFifTeenBoldAlt LoResFifTeen 15
Oakland 15 Lo-Res-Twenty-Two Bold LoResTwentyTwoBold LoResTwentyTwo 22
Oakland 6 Lo-Res-Nine Wide Bold Alt LoResNineWideBAlt LoResNine 9
Oakland 8 Lo-Res-Twelve Bold Alt LoResTwelveBoldAlt LoResTwelve 12
Universal 19 Lo-Res-Twenty-Eight Regular LoResTwentyEightReg LoResTwentyEight 28
Universal 8 Lo-Res-Twelve Regular LoResTwelveRegular LoResTwelve 12
 > a synthesis of bitmap fonts < > emigre fonts < > a synthesis of bitmap fonts < > emigre fonts <

Lo-Res Lo-Res
More than fifteen years ago, Zuzana Licko designed a Currently, bitmaps are also gaining popularity due to their
series of coarse bitmap fonts, created on the newly intro- continued use in electronic gadgets other than PCs. While
duced Macintosh computer with a crude public domain computer developers strive towards faster performance
software. These fonts were considered by many designers and higher resolution in high-end devices, respectively
as a cute computer effect – generally relegated to special lower resolutions remain more affordable, portable and
effect status like blown-up halftone screens and coarse efficient and therefore continue to be implemented
photo grains. This category of typefaces was seen as idio- in such devices as cell phones, pagers and microwave oven
syncratic, with limited applicability, soon to be rendered panels. Accordingly, the need for type and graphics that
obsolete with the impending arrival of high resolution address the coarse resolution environment will remain in
computer screens and output devices. demand; a demand that is particularly pressing, since
these low-resolution components often function as the
During the following decade, bitmaps continued to be crucial link between humans and machines.
marginalized, but would not disappear. While computer
screen displays increased more in size than in resolution, Whatever the stylistic, cultural or functional reasons be-
computer generated typefaces did attain print quality hind the current popularity of bitmapped type, the result
through the implementation of outline font technologies, is an increased need for bitmap typefaces which are fine-
such as PostScript, and high resolution output devices. tuned for the computer’s display grid; which has prompted
As a result, bitmapped fonts made only the occasional this reworking of Emigre’s bitmap font offering into the
appearance in print when something computer related Lo-Res family.
was to be expressed.
The Lo-Res family of fonts is a synthesis of pixelated
Recently, however, coarse bitmapped fonts have made a designs, including Emigre’s earlier coarse resolution fonts,
huge comeback in print. And this time around, their usage as well as bitmap representations of Base 9. It replaces
goes far beyond computer related themes, although it the preexisting Emigre, Emperor, Oakland and Universal
remains a dominant typographic force within areas such families and groups these related bitmap designs under
as techno music and other disciplines where computer one family name in the font menu, thereby simplifying
technology has had an impact. their naming. The Lo-Res fonts also offer technical
improvements, including a more complete character set,
The reasons for this dramatic comeback are varied. The more consistent character shapes among styles and
most obvious is that a new generation of young graphic weights, as well as improved alignment among the various
designers has entered the profession. For these design- resolutions.
ers, and their audiences, who grew up playing video games
and now surf the Internet, low resolution type is no longer
an alien, difficult-to-read, crude computer phenomenon.
It’s been a part of their daily reading experience at home
and at school. For this generation, it may be that reading a
crude bitmap in print is no different than reading it on the
screen. Through our everyday encounters with computers,
the idiosyncrasies of bitmaps are disappearing - visible
pixels are becoming accepted as the natural mark of the
computer, like brush strokes on an oil painting.

The acceptance of bitmaps should not be a complete

surprise; bitmapped images and type have a long history.
After all, prior to computer graphics, bitmaps had long
served a multitude of ubiquitous visual forms including
tiled mosaics, tapestries, embroidery, knitting and weav-
ing. In each of these disciplines, distinct elements (pixel
units) of color or shade are combined to form
a coherent image.
 > a synthesis of bitmap fonts < > emigre fonts < > a synthesis of bitmap fonts < > emigre fonts <

Lo-Res Lo-Res
The number in each Lo-Res font name indicates the num- Unlike bitmap fonts, most typefaces used on today’s
ber of pixels in its body, or ppem (“pixels per em”.) computers are resolution independent. They are designed
On a standard Macintosh display, this is equal to the point at very high resolutions, making their shapes scalable to
size; under Windows the point size will appear reduced by virtually any size. However, because they usually are not
(or can not be) optimized for low resolutions, they are
approximately 75% on a 96 dpi display. (For example, a
difficult to read on screen at small sizes.
font designed on a twelve pixel body will appear best at 12
point on a 72 dpi Macintosh display, whereas on a 96 dpi In contrast, a bitmap font is designed to be optimized for
Windows display, the same twelve pixel body will be best a specific resolution; that is, a specific number of pixels
displayed at 9 point. relative to it’s body.

In order to achieve perfect pixel control at small sizes,

approx. 8 x magnification bitmap designs incorporate the pixels in their structure.
The result is that the pixels remain apparent when the
fonts are scaled to other sizes. (Their apparent resolution
1/4 inch 18 points does not increase as the resolution of the output device
is increased, for example, from video display to a printed
page.) Therefore, each bitmap design is tied to a
resolution.

For ease of use, the Lo-Res fonts are provided in outline

format; as stair step outlines of the bitmap design. When
12 points
used at low resolutions (when the pixels are visible to the
naked eye, such as on a video display) the Lo-Res fonts
are best used at their intended size, or at point sizes that
1/8 inch 9 points
are integer multiples thereof.

inches typographic 72 dpi 96 dpi ppem mac win

points screen display screen display 9 9 7
(macintosh) (windows) 12 12 9
lo-res-twelve = 12 point lo-res-twelve = 9 point 15 15 11
21 21 16
22 22 17
28 28 21

To add variety for high resolution applications, the Lo-Res

Plus and Lo-Res Minus variants were developed. These
counterparts to Lo-Res-Nine mimic the effect of photo-
graphically overexposing and underexposing, which
become apparent when bitmaps are reproduced with such
methods as photocopying. (The underexposed effect
applied to the Minus series was inspired by Rian Hughes’s
Mastertext Light.)

Plus
> lo-res-nine > plus > narrow <
At high resolutions (when the pixels are invisible to the
naked eye, such as print quality output) the Lo-Res fonts
can be scaled to any size.

Minus
> lo-res-nine > minus > narrow <
 > a synthesis of bitmap fonts < > emigre fonts < > a synthesis of bitmap fonts < > emigre fonts <

Lo-Res Lo-Res
The terms “bitmap” and “pixel” are now so commonly used
that it’s worth noting their origins. Both are abbreviations:
Bitmap = “map of bits” (A bit being the smallest element
on the map or grid.)

Pixel = “picture element” (A pixel being the smallest ele-

ment in a picture that is constrained by a grid.)
Bitmap typefaces are composed of pixels. The pixel size is
Lo-Res fonts shown
defined by the resolution of the grid, which also constrains
at the same pixel the pixel placement. In turn, the resolution of the grid
size - the stem is defined by the output device. (For example, a standard
weights match - the Macintosh display is 72 pixels per inch; a Windows display
capital heights is usually 96 or 120 pixels per inch.)
decrease.
(Recommended for
screen use.) The coarser the resolution of the grid, the larger is the
relative size of the pixels, and the more limited is the
possibility of pixel placement. While this limits the variety
Lo-Res fonts shown of representable font characteristics, such limitations can
at the same point
size; the stem
be a strong source of design inspiration. Constraints on
weights increase - design choices allow many options to be evaluated quickly.
the capital heights By contrast, having many choices can be overwhelming,
match. (Recommended and the solution is often more difficult to distill from the
for use in print.) myriad of options.

lo-res 28 lo-res 28 lo-res 22 lo-res 15 lo-res 12 lo-res 12 lo-res 9 lo-res 9 The result is that bitmaps have a strong and decisive
lo-res name
narrow regular narrow narrow narrow regular narrow wide character, which is most noticeable when used at headline
sizes. In print work, bitmaps also function well at very small
old name emperor 19 universal 19 emperor 15 emperor 10 emperor 8 universal 8 base 9 sizes; their modular proportions maintain open counters
and there are no delicate details to drop out or fill in.
Lo-Res fonts shown
The bitmapped aesthetic is here to stay because it’s inex-
at the same pixel
size - the stem tricably linked to computer technology, and computers are
weights match - the increasingly affecting the production of, and our relation
capital heights to, everything around us. As information is increasingly
decrease. being stored, accessed and displayed in digital form,
(Recommended for
screen display has become the final method of viewing
screen use.)
much of our information.

Lo-Res fonts shown

at the same point
size; the stem
weights increase -
the capital heights
match. (Recommended
for use in print.)

lo-res name lo-res 21 lo-res 22 lo-res 22 lo-res 15 lo-res 12 lo-res 9 lo-res 9 lo-res 9
serif serif bold bold bold wide bold alt narrow bold wide bold

old name emigre 14 emigre 15 oakland 15 emigre/oak 10 emigre/oak 8 oakland 6 base 9 bold

Recommended Computer Settings

Macintosh users:
To activate bitmap fonts on screen, be sure to select “Disable
Smoothing at Screen Font Sizes” in the ATM control panel.

Windows users:
To activate smoothing at sizes other than the bitmap font sizes,
be sure to select “Smooth Edges of Screen Fonts” under Control
Panel/Display/Plus! Note: you may also need to select “High Color”
or “True Color” under Settings/
Color Palette.
 > lo-res-twenty-eight > narrow < < 14 pt > > lo-res-twenty-two > serif < < 11 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Typi non habent claritatem insitam; est usus legentis in iis qui facit
Lo-Res-Twenty-Eight Investigationes demonstraverunt lectores legere melius quod ii legunt saepius. Claritas est
etiam processus dynamicus, qui sequitur mutationem consuetudinum lectorum. Mirum est
Lo-Res-Twenty-Two eorum claritatem. Investigationes demonstraverunt lectores legere
melius quod ii legunt saepius. Claritas est etiam processus dynamicus,
qui sequitur mutationem consuetudinum lectorum. Mirum est notare
< 7 pt >
notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum for- < 5.5 pt >
quam littera gothica, quam nunc putamus parum claram, anteposuerit
Typi non habent claritatem insitam; est usus
Typi non habent claritatem insitam; est usus legentis in iis
qui facit eorum claritatem. Investigationes demonstraverunt
mas humanitatis per saecula quarta decima et quinta decima. Eodem modo typi, qui nunc legentis in iis qui facit eorum claritatem. litterarum formas humanitatis per saecula quarta decima et quinta
Investigationes demonstraverunt lectores
lectores legere melius quod ii legunt saepius. Claritas est nobis videntur parum clari, fiant sollemnes in futurum. legere melius quod ii legunt saepius. decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r st u v w x y z 0 1 2 3 4 5 6 7 8 9 . . . A B C D E F G H I J K L M N O P Q R S T U VW X Y Z a b c d ef g h i j k l m n op q r st v w x y z 0 1 2 3 4 5 6 7 8 9 . . .

> lo-res-twenty-eight > regular < < 14 pt > > lo-res-twenty-one > serif < < 10.5 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit Typi non habent claritatem insitam; est usus legentis
Lo-Res-Twenty-Eight eorum claritatem. Investigationes demonstraverunt lectores legere
melius quod ii legunt saepius. Claritas est etiam processus dynamicus,
Lo-Res-Twenty-One in iis qui facit eorum claritatem. Investigationes
demonstraverunt lectores legere melius quod ii legunt
saepius. Claritas est etiam processus dynamicus, qui
< 7 pt >
qui sequitur mutationem consuetudinum lectorum. Mirum est notare < 5.5 pt >
sequitur mutationem consuetudinum lectorum.
Typi non habent claritatem insitam;
Typi non habent claritatem insitam; est usus
legentis in iis qui facit eorum claritatem.
quam littera gothica, quam nunc putamus parum claram, anteposuerit est usus legentis in iis qui facit Mirum est notare quam littera gothica, quam nunc
eorum claritatem. Investigationes
Investigationes demonstraverunt lectores litterarum formas humanitatis per saecula quarta decima et quinta demonstraverunt lectores legere putamus parum claram, anteposuerit litterarum

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTVWXYZabcdefghijklmnopqrstvwxyz0123456789...
> Lo-Res-Twenties > All 6 Fonts > $65
> lo-res-twenty-two > narrow < < 11 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem.
Lo-Res-Twenty-Two Investigationes demonstraverunt lectores legere melius quod ii legunt saepius. Claritas est
etiam processus dynamicus, qui sequitur mutationem consuetudinum lectorum. Mirum est
notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum
< 5.5 pt > formas humanitatis per saecula quarta decima et quinta decima. Eodem modo typi, qui nunc
Typi non habent claritatem insitam; est usus legentis in iis qui
facit eorum claritatem. Investigationes demonstraverunt lec- nobis videntur parum clari, fiant sollemnes in futurum. Typi non habent claritatem insitam; est
tores legere melius quod ii legunt saepius. Claritas est etiam
processus dynamicus, qui sequitur mutationem consuetudinum usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r st v w x y z 0 1 2 3 4 5 6 7 8 9 . . .

> lo-res-twenty-two > bold < < 11 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum
Lo-Res-Twenty-Two claritatem. Investigationes demonstraverunt lectores legere melius quod ii
legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
tionem consuetudinum lectorum. Mirum est notare quam littera gothica,
< 5.5 pt >
quam nunc putamus parum claram, anteposuerit litterarum formas human-
Typi non habent claritatem insitam; est usus
legentis in iis qui facit eorum claritatem. itatis per saecula quarta decima et quinta decima. Eodem modo typi, qui
Investigationes demonstraverunt lectores legere
melius quod ii legunt saepius. Claritas est etiam nunc nobis videntur parum clari, fiant sollemnes in futurum.

A B C D E F G H I J K L M N O P Q R S T U VW X Y Z a b c d e f g h i j k l m n o p q r s t vw xyz 0 1 2 3 4 5 6 7 8 9 . . .
> Lo-Res-Twenties > All 6 Fonts > $65
 > lo-res-fifteen > narrow < < 7.5 pt > > lo-res-twelve > regular < < 6 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum clari-
tatem. Investigationes demonstraverunt lectores legere melius quod ii legunt

Lo-Res-Fifteen Investigationes demonstraverunt lectores legere melius quod ii legunt saepius. Claritas est
etiam processus dynamicus, qui sequitur mutationem consuetudinum lectorum. Mirum est
notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum
formas humanitatis per saecula quarta decima et quinta decima. Eodem modo typi, qui nunc
Lo-Res-Twelve saepius. Claritas est etiam processus dynamicus, qui sequitur mutationem consue-
tudinum lectorum. Mirum est notare quam littera gothica, quam nunc putamus parum
claram, anteposuerit litterarum formas humanitatis per saecula quarta decima et
quinta decima. Eodem modo typi, qui nunc nobis videntur parum clari, fiant
< 5 pt >
nobis videntur parum clari, fiant sollemnes in futurum. Typi non habent claritatem insitam; sollemnes in futurum. Typi non habent claritatem insitam; est usus legentis in iis
< 4 pt >
Typi non habent claritatem insitam; est usus est usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores qui facit eorum claritatem. Investigationes demonstraverunt lectores legere melius
Typi non habent claritatem insitam; est usus
legentis in iis qui facit eorum claritatem. legere melius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur
Investigationes demonstraverunt lectores legere
legentis in iis qui facit eorum claritatem. quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
Investigationes demonstraverunt lectores
melius quod ii legunt saepius. mutationem consuetudinum lectorum. Mirum est notare quam littera gothica, quam nuncrum. legere melius quod ii legunt saepius. tionem consuetudinum lectorum. Mirum est notare quam littera gothica, quam

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz012345678...

> lo-res-fifteen > bold < < 7.5 pt > > lo-res-twelve > bold < < 6 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum

Lo-Res-Fifteen claritatem. Investigationes demonstraverunt lectores legere melius quod ii

legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
tionem consuetudinum lectorum. Mirum est notare quam littera gothica,
quam nunc putamus parum claram, anteposuerit litterarum formas humani-
Lo-Res-Twelve claritatem. Investigationes demonstraverunt lectores legere melius quod ii
legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
tionem consuetudinum lectorum. Mirum est notare quam littera gothica,
quam nunc putamus parum claram, anteposuerit litterarum formas humani-
tatis per saecula quarta decima et quinta decima. Eodem modo typi, qui tatis per saecula quarta decima et quinta decima. Eodem modo typi, qui
< 5 pt >
< 4 pt > nunc nobis videntur parum clari, fiant sollemnes in futurum. Typi non habent
Typi non habent claritatem insitam; est nunc nobis videntur parum clari, fiant sollemnes in futurum. Typi non
Typi non habent claritatem insitam; est
usus legentis in iis qui facit eorum clari- habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. usus legentis in iis qui facit eorum clari- claritatem insitam; est usus legentis in iis qui facit eorum claritatem.
tatem. Investigationes demonstraverunt tatem. Investigationes demonstraverunt
lectores legere melius quod ii legunt Investigationes demonstraverunt lectores legere melius quod ii legunt lectores legere melius quod ii legunt Investigationes demonstraverunt lectores legere melius quod ii legunt

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123...

> lo-res-fifteen > bold > alternate < < 7.5 pt > > lo-res-twelve > bold > alternate < < 6 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum

Lo-Res-Fifteen claritatem. Investigationes demonstraverunt lectores legere melius quod ii

legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
tionem consuetudinum lectorum. Mirum est notare quam littera gothica,
quam nunc putamus parum claram, anteposuerit litterarum formas humani-
Lo-Res-Twelve claritatem. Investigationes demonstraverunt lectores legere melius quod ii
legunt saepius. Claritas est etiam processus dynamicus, qui sequitur muta-
tionem consuetudinum lectorum. Mirum est notare quam littera gothica,
quam nunc putamus parum claram, anteposuerit litterarum formas humani-
tatis per saecula quarta decima et quinta decima. Eodem modo typi, qui tatis per saecula quarta decima et quinta decima. Eodem modo typi, qui
< 5 pt >
< 4 pt > nunc nobis videntur parum clari, fiant sollemnes in futurum. Typi non habent
Typi non habent claritatem insitam; est nunc nobis videntur parum clari, fiant sollemnes in futurum. Typi non
Typi non habent claritatem insitam; est
usus legentis in iis qui facit eorum clari- habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem. usus legentis in iis qui facit eorum clari- claritatem insitam; est usus legentis in iis qui facit eorum claritatem.
tatem. Investigationes demonstraverunt tatem. Investigationes demonstraverunt
lectores legere melius quod ii legunt Investigationes demonstraverunt lectores legere melius quod ii lectores legere melius quod ii legunt Investigationes demonstraverunt lectores legere melius quod ii

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstvwxyz01234...
> Lo-Res-Teens > All 7 Fonts > $65
> lo-res-twelve > narrow < < 6 pt >

Typi non habent claritatem insitam; est usus legentis in iis qui facit eorum claritatem.

Lo-Res-Twelve Investigationes demonstraverunt lectores legere melius quod ii legunt saepius. Claritas est
etiam processus dynamicus, qui sequitur mutationem consuetudinum lectorum. Mirum est
notare quam littera gothica, quam nunc putamus parum claram, anteposuerit litterarum
formas humanitatis per saecula quarta decima et quinta decima. Eodem modo typi, qui nunc
nobis videntur parum clari, fiant sollemnes in futurum. Typi non habent claritatem insitam; est
< 4 pt >
usus legentis in iis qui facit eorum claritatem. Investigationes demonstraverunt lectores leg-
Typi non habent claritatem insitam; est usus
legentis in iis qui facit eorum claritatem. ere melius quod ii legunt saepius. Claritas est etiam processus dynamicus, qui sequitur
Investigationes demonstraverunt lectores legere
melius quod ii legunt saepius. Claritas est etiam mutationem consuetudinum lectorum. Mirum est notare quam littera gothica, quam nuncrum.

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstvwxyz0123456789...
> Lo-Res-Teens > All 7 Fonts > $65
 > lo-res-nine > narrow < < 9 pt > >l o-res-nine > wide < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; est usus Typi non habent claritatem insitam; est
legentis in iis qui facit eorum claritatem. Inves- usus legentis in iis qui facit eorum clari-
tigationes demonstraverunt lectores legere tatem. Investigationes demonstraverunt
melius quod ii legunt saepius. Claritas est etiam lectores legere melius quod ii legunt
< 4.5 pt >
processus dynamicus, qui sequitur mutationem < 4.5 pt >
saepius. Claritas est etiam processus
Typi non habent claritatem insitam; Typi non habent claritatem
est usus legentis in iis qui facit eorum consuetudinum lectorum. Mirum est notare quam insitam; est usus legentis in dynamicus, qui sequitur mutationem con-
claritatem. Investigationes demon- iis qui facit eorum claritatem.
straverunt lectores legere littera gothica, quam nunc putamus parum Investigationes demonstra suetudinum lectorum. Mirum est notare

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz012345...

> small caps < abcdefghijklmnopqrstuvwxyz0123456789... > small caps < abcdefghijklmnopqrstuvwxyz0123456789...

> lo-res-nine > minus > narrow < < 9 pt > > lo-res-nine > minus > wide < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; est usus Typi non habent claritatem insitam; est
legentis in iis qui facit eorum claritatem. Inves- usus legentis in iis qui facit eorum clari-
tigationes demonstraverunt lectores legere tatem. Investigationes demonstraverunt
melius quod ii legunt saepius. Claritas est etiam lectores legere melius quod ii legunt
< 4.5 pt >
processus dynamicus, qui sequitur mutationem < 4.5 pt >
saepius. Claritas est etiam processus
Typi non habent claritatem insitam; Typi non habent claritatem
est usus legentis in iis qui facit eorum consuetudinum lectorum. Mirum est notare quam insitam; est usus legentis in dynamicus, qui sequitur mutationem con-
claritatem. Investigationes demon- iis qui facit eorum claritatem.
straverunt lectores legere littera gothica, quam nunc putamus parum Investigationes demonstra suetudinum lectorum. Mirum est notare

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz012345...

> small caps < abcdefghijklmnopqrstuvwxyz0123456789... > small caps < abcdefghijklmnopqrstuvwxyz0123456789...

> lo-res-nine > plus > narrow < < 9 pt > > lo-res-nine > plus > wide < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; est usus Typi non habent claritatem insitam; est
legentis in iis qui facit eorum claritatem. Inves- usus legentis in iis qui facit eorum clari-
tigationes demonstraverunt lectores legere tatem. Investigationes demonstraverunt
melius quod ii legunt saepius. Claritas est etiam lectores legere melius quod ii legunt
< 4.5 pt >
processus dynamicus, qui sequitur mutationem < 4.5 pt >
saepius. Claritas est etiam processus
Typi non habent claritatem insitam; Typi non habent claritatem
est usus legentis in iis qui facit eorum consuetudinum lectorum. Mirum est notare quam insitam; est usus legentis in dynamicus, qui sequitur mutationem con-
claritatem. Investigationes demon- iis qui facit eorum claritatem.
straverunt lectores legere littera gothica, quam nunc putamus parum Investigationes demonstra suetudinum lectorum. Mirum est notare

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz012345...

> small caps < abcdefghijklmnopqrstuvwxyz0123456789... > small caps < abcdefghijklmnopqrstuvwxyz0123456789...

> Lo-Res-Nines > All 22 Fonts > $95 > Lo-Res-Nines > All 22 Fonts > $95
 > lo-res-nine > narrow > bold < < 9 pt > > lo-res-nine > plus > narrow > bold < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; est Typi non habent claritatem insitam; est
usus legentis in iis qui facit eorum clari- usus legentis in iis qui facit eorum clari-
tatem. Investigationes demonstraverunt tatem. Investigationes demonstraverunt
lectores legere melius quod ii legunt lectores legere melius quod ii legunt
< 4.5 pt >
saepius. Claritas est etiam processus < 4.5 pt >
saepius. Claritas est etiam processus
Typi non habent claritatem Typi non habent claritatem
insitam; est usus legentis in dynamicus, qui sequitur mutationem con- insitam; est usus legentis in dynamicus, qui sequitur mutationem con-
iis qui facit eorum claritatem. iis qui facit eorum claritatem.
Investigationes demonstra suetudinum lectorum. Mirum est notar Investigationes demonstra suetudinum lectorum. Mirum est notare

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz012... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123...

> small caps < abcdefghijklmnopqrstuvwxyz0123456789... > small caps < abcdefghijklmnopqrstuvwxyz0123456789...

> lo-res-nine > wide > bold < < 9 pt > > lo-res-nine > plus > wide > bold < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; Typi non habent claritatem insitam;
est usus legentis in iis qui facit est usus legentis in iis qui facit
eorum claritatem. Investigationes eorum claritatem. Investigationes
demonstraverunt lectores legere demonstraverunt lectores legere
< 4.5 pt >
melius quod ii legunt saepius. Clari- < 4.5 pt >
melius quod ii legunt saepius. Clari-
Typi non habent claritatem Typi non habent claritatem
insitam; est usus legentis tas est etiam processus dynamicus, insitam; est usus legentis tas est etiam processus dynamicus,
in iis qui facit eorum clari- in iis qui facit eorum clari-
tatem. Investigationes qui sequitur mutationem consue tatem. Investigationes qui sequitur mutationem consue

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw...

> small caps < abcdefghijklmnopqrstuvwxyz0123456789... > small caps < abcdefghijklmnopqrstuvwxyz0123456789...

> lo-res-nine > wide > bold > alternate < < 9 pt > > lo-res-nine > plus > wide > bold > alternate < < 9 pt >

Lo-Res-Nine Lo-Res-Nine
Typi non habent claritatem insitam; Typi non habent claritatem insitam;
est usus legentis in iis qui facit est usus legentis in iis qui facit
eorum claritatem. Investigationes eorum claritatem. Investigationes
demonstraverunt lectores legere demonstraverunt lectores legere
< 4.5 pt >
melius quod ii legunt saepius. Clari- < 4.5 pt >
melius quod ii legunt saepius. Clari-
Typi non habent claritatem Typi non habent claritatem
insitam; est usus legentis tas est etiam processus dynamicus, insitam; est usus legentis tas est etiam processus dynamicus,
in iis qui facit eorum clari- in iis qui facit eorum clari-
tatem. Investigationes qui sequitur mutationem consue tatem. Investigationes qui sequitur mutationem consue

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw... ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvw...

> Lo-Res-Nines > All 22 Fonts > $95 > Lo-Res-Nines > All 22 Fonts > $95
 > a synthesis of bitmap fonts < > emigre fonts <

Lo-Res
Lo-Res-Nines:
Lo-Res-Nine > Narrow & Small Caps
Lo-Res-Nine > Narrow Bold & Small Caps
Lo-Res-Nine > Wide & Small Caps
Lo-Res-Nine > Wide-Bold & Small Caps & Bold Alternate
Lo-Res-Minus-Nine > Narrow & Small Caps
Lo-Res-Minus-Nine > Wide & Small Caps
Lo-Res-Plus-Nine > Narrow & Small Caps
Lo-Res-Plus-Nine > Wide & Small Caps
Lo-Res-Plus-Nine > Bold > Narrow & Small Caps
Lo-Res-Plus-Nine > Bold > Wide, Small Caps & Bold Alternate
All 22 Fonts > $95

Lo-Res-Teens:
Lo-Res-Fifteen > Narrow
Lo-Res- Fifteen > Bold & Bold Alternate
Lo-Res-Twelve > Narrow
Lo-Res-Twelve > Regular
Lo-Res-Twelve > Bold & Bold Alternate
All 7 Fonts > $65

www.emigre.com
Lo-Res-Twenties:
Lo-Res-Twenty-Eight > Narrow
Lo-Res-Twenty-Eight > Regular
Lo-Res-Twenty-Two > Narrow
Lo-Res-Twenty-Two > Bold
Lo-Res-Twenty-Two > Serif
Lo-Res-Twenty-One > Serif
All 6 Fonts > $65

Single Fonts:
Lo-Res-Twenty-Eight > Narrow
Lo-Res-Twenty-Eight > Regular
Lo-Res-Twenty-Two > Narrow
Lo-Res-Twenty-Two > Serif
Lo-Res-Twenty-Two > Bold
Lo-Res-Twenty-One > Serif
Lo-Res-Fifteen > Narrow
Lo-Res-Fifteen > Bold & Bold Alternate
Lo-Res-Twelve > Narrow
Lo-Res-Twelve > Regular
Lo-Res-Twelve >Bold & Bold Alternate
Lo-Res-Nine > Narrow & Small Caps
Lo-Res-Nine > Narrow Bold & Small Caps
Lo-Res-Nine > Wide & Small Caps
Lo-Res-Nine > Wide Bold, Small Caps & Bold Alternate
Lo-Res-Minus-Nine > Narrow & Small Caps
Lo-Res-Minus-Nine > Wide & Small Caps
Lo-Res-Plus-Nine > Narrow & Small Caps
Lo-Res-Plus-Nine > Wide & Small Caps
Lo-Res-Plus-Nine > Bold Narrow & Small Caps
Lo-Res-Plus-Nine > Bold Wide, Small Caps & Bold Alternate
Each Single Font > $39

Lo-Res-Family > All 35 Fonts > $149