Update May 2 1998 (still making it better-looking every now and then...)<br />
<br />
<br />
      Hello dear downloader!<br />
<br />
 This truetype-font is made entirely from scratch by me, Julius. One of my own<br />
 handwriting-derived fonts. I'm sort of giving it away for FREE, and don't expect<br />
 to get rich from this. Mostly created it because I wanted to have it myself.<br />
<br />
 The first version came about in 1993  by use of a scanner,<br />
 photoshop, freehand, coreltrace, fontographer and fontmonster.<br />
 Soon after I had send some printed letters with the first version,<br />
 people started telling me things like:<br />
 "Wow man, is that your handwriting? Can I have it too? It's beautiful!"<br />
 So I decided to give it a try and put one of the later versions<br />
 of the font out on a CD-rom that I was publishing together with<br />
 some people for a Sybex-computer-book in the Netherlands.<br />
 The file that you have gotten with this text however, is<br />
 a much improved version, it's the latest one I generated of<br />
 this typeface, and I'd like ALL older versions to be replaced<br />
 by this one worldwide. I hope you like it. It is rather lightweight,<br />
 but so are most fonts that derive from real handwritten type. It was<br />
 in fact first scanned parker-blue ballpoint-written material; I thought<br />
 I had to do that because I usually DO write with a ballpoint pen.<br />
 It also has a very high leading value, couldn't get it any lower,<br />
 but most people use Word-processors where you can change it<br />
 to an exact value anyway.<br />
 When you use Word, you'll get very nice-looking results when<br />
 printing it in 14 pts size, with paragraph height set to 16 pts.<br />
<br />
 You may get this font and others that I've made or will make<br />
 also directly from me through a downloadpage to be found<br />
 somewhere on my homepage, this URL will take you there:<br />
 http://come.to/us<br />
<br />
     Have fun with the font!<br />
<br />
          Julius B. Thijssen<br />
<br />
<br />
=============================================================================<br />
<br />
 Now, some text that went with older versions of our fonts<br />
 when they were published on that CD-rom;<br />
<br />
<br />
                  J - F o n t s  b y  I m m o r t a l w a r e<br />
<br />
     Please take the time to review this file during or before you use and<br />
     run the fonts. The TrueType-fonts are Copyright 1997 ImmortalwareJTHZ<br />
         Freely distributable by all channels! Please do copy and re-<br />
           distribute, we like to see ALL previous/older versions of<br />
             files with the same names being replaced worldwide!!!<br />
<br />
<br />
                   Tips & Guidelines for using the truetypes<br />
<br />
 Because of the absolute nature of automatic kerning-pair data (KPX),<br />
 we advise you to switch on auto-KERNING PAIRS only for point-sizes 12<br />
 and larger ! Don't make use of kerning below 12 points,<br />
 this significantly lowers legibility of the fonts.<br />
<br />
 Thanks to the vast breaking take-over of high-resolution equipment<br />
 (printers and monitors), hinting (meant for low-resolution equipment)<br />
 in these fonts was not considered as important as it used to be<br />
 in the old-days. Try test-printing the fonts high-resolution before<br />
 writing them off as strange- or bad-looking (low screen-resolution<br />
 might fool you into believing how the fonts really look...).<br />
 Just remember that what you see on your screen is usually of lower<br />
 quality than what you will get out of your printer!<br />
<br />
 - ALL J-fonts contain a paragraph symbol! In some cases it isn't your<br />
 average paragraph thingy, but this is done only where the typeface<br />
 did not have one to begin with; We've put it there for<br />
 reasons of visibility-ease in DTP/word-processing. (Don't you hate that<br />
 when you can't seem to get one out of a font at all?)<br />
<br />
 - Almost all fonts by Immortalware have Font-specific encoding!<br />
 - They are equipped with Fs-code Type 0, which basically means you can<br />
 embed them, save them embedded, print them after embedding,<br />
 edit them and use them all the way through the process,<br />
 without 'falling-out of the font'.<br />
 - Be advised that the US and Dutch versions of Windows (up to 95)<br />
 do not allow access to characters above decimal nr. 255. This is<br />
 why we 'upgraded' some much-used symbol-encoded characters up to<br />
 availability in the Windows Character Map. Now you can use them<br />
 without having to switch unicode-configuration.<br />
<br />
 - Most font-files include our new and improved extended vision of<br />
 kerning pairs, based on practical and scientific interpretation of<br />
 American AND European character combinations in modern use of text<br />
 today. These pairs are unique for each font and carefully chosen!<br />
<br />
<br />
            I n t e n s i v e  C a r e  b y  I m m o r t a l w a r e<br />
<br />
 Generally speaking a truetype fontfile created by Immortalware<br />
 will never crash or halt your program/application. Some former<br />
 publications of the fonts in this ZIP were bad in several ways<br />
 (hey, we were not to blame, slackspace-creators Microsoft<br />
  DO actually suck sometimes). If Immortalware's fonts still<br />
 give you any problem whatsoever we are now proud to say it HAS to be<br />
 the application where you encounter the problem, and can never be<br />
 any of our fonts! As opposed to lots of TrueTypes available today,<br />
 the J-fonts DO print all characters correctly and in normal use<br />
 do not mess up your product! Our hearts were in creating reliable<br />
 quality, not in making money or re-assuring the creation of updates<br />
 or improved versions by not finishing up a font. We have confidence<br />
 that the data put in the fonts are fully according to the specs, but<br />
 in order to be ‘DOS-friendly’ we had to limit creation data structure<br />
 to 64k. Fonts consisting of hundreds of characters will likely reach<br />
 that 64k limit on sizes above 96 points. Some fonts therefore are not<br />
 liable to be created at very large point-sizes. (Some characters might<br />
 dropout and disappear). We must stress that this is not related to the<br />
 J-fonts in particular, but to all existing TrueTypes. We have worked<br />
 our asses off in limiting the data to the lowest possible size.<br />
 We even figured out the totally wacky TrueType-standards and<br />
 drop-out-scheme. We believe it's safe to say that these fonts are<br />
 EXTREMELY WELL-TESTED. Many hours were spent on low-level editing<br />
 and deciphering the wired backgrounds in the TrueType format.<br />
 Some of the fonts (Corrodated and Frosty Typewriter for example)<br />
 are really packed with vector-data. In such cases we don't feel responsible<br />
 if you encounter problems using them; It has nothing to do with us.<br />
<br />
 Whatever strangeness you might find in some characters, they were all meant to be<br />
 that way and are not mistakes of any kind. This is APART FROM THE HACKIES<br />
 THAT MAY APPEAR ON SCREEN  IN SMALL SIZES WITH LOW RESOLUTION<br />
<br />
 Making (outline) Fonts is very, very difficult. Many people imagine<br />
 that there are programs that will simply convert pictures into fonts<br />
 for them. This is not the case; most fonts are painstakingly created by<br />
 drawing curves that closely approximate the letterforms. In addition,<br />
 special rules (which improve hinting, etc.) mandate that these curves<br />
 be drawn in specific ways. Even designing, or merely digitizing<br />
 a simple font can take hundreds of hours. As of the point where you<br />
 have an idea for a font, everything starts to get better and better-<br />
 looking every little step of the way. We suppose there aren't many<br />
 things in life which can be as rewarding as creating printable fonts,<br />
 and that is probably why many still create them..<br />
<br />
<br />
                                Distribution ?<br />
<br />
 We urge you to copy and distribute ALL or SOME of the fontfiles<br />
 you got with this textfile, provided that all the files<br />
 are always included in the distributed segment, and that they<br />
 may always be found together with any of the (TTF) fontfiles.<br />
<br />
 If you are a COMMERCIAL ENTERPRISE (selling disks or whatever),<br />
 you may distribute ALL or SOME of the fontfiles included in this<br />
 package without our permission, as long as you send us part of the<br />
 profits. When we find out you made money on our fonts and you never<br />
 paid us anything, we will personally damage your software by<br />
 telekinesis, or make you familiar with some of our gezellige virusses,<br />
 which might be hidden in our fonts and like aids, might never show up,<br />
 but then again: You never know, do you? The files you copy or<br />
 distribute really should not be modified in any way. If we bump into<br />
 modifications, we WILL try to trace the source and somehow prosecute.<br />
 It is in theory in fact possible to add (logical) virusses to<br />
 truetype-files, since they are in a way being executed.<br />
 And if you really have to rename or modify one or more of our fonts,<br />
 be smart and change all stuff referring to us!<br />
<br />
<br />
              M o n e y  t a l k s ,  b u l l s h i t  w a l k s<br />
<br />
 Try out the fonts thoroughly, and as soon as you decide to keep them<br />
 installed because of the joy they give you, please send us some money;<br />
 Try to make it at least 10 Dutch guilders or 5 US dollars.<br />
 Hardly anything, considering the quality of the software!<br />
 You can:<br />
 - make a deposit on Dutch POSTbank-nr. 945945 t.n.v. J.B.Thyssen.<br />
 - send the money in checks or cash (no coins!) by mail, or<br />
 - send a so called 'international postal money order' (to Dutch guilders), or<br />
 - make a deposit on Mastercard-accountnr. 5413 3027 1903 6493, or<br />
<br />
 The correct snailmail-adress for all that<br />
 can be found at the bottom of this URL:<br />
 http://www.GalaxyCorp.com/009<br />
<br />
      And of course if you have an idea for a font you have not yet seen<br />
     but always hoped was there, drop us a line (we might just go for it)<br />
              - and yes: this can also be your own handwriting! -<br />
<br />
 You can contact us through EMAIL:<br />
<br />
 <juul@gmx.net>  or  <hens@gmx.net><br />
<br />
<br />
<br />
                       Some philosophy behind our fonts<br />
<br />
 The demand for new and original fonts is growing more than ever before.<br />
 Reasons to try out other new collections; We hereby present a set of<br />
 very distinguished and original fonts. Some are inspired by existing<br />
 fonts and typical character-improvements of a typeface, others are<br />
 totally new or have never been 'digitized' or 'vectored' by us<br />
 before being truetyped.<br />
<br />
<br />
 When someone thinks about needing a font for a certain purpose,<br />
 in the end that someone will always select a font by its look, and NOT<br />
 (as the industry sometimes tries to make us believe) by looking at the<br />
 (describing) written data of the font. Some typographic standards<br />
 tend to forget what fonts are used for in the first place;<br />
<br />
 There is a standard, Panose, but it is mostly ignored by typographers<br />
 (not because it's bad, just because they don't need it).<br />
 The Panose system is documented, among other places, in the Microsoft<br />
 Windows Programmer's Reference from Microsoft Press.<br />
 But as is the EULA (end user license agreement), it is invented by<br />
 a group of incompetent people, not knowing shit about the subject.<br />
<br />
 Panose is a perfect example of what got out of hand in visions<br />
 about fonts. Panose came up with a scary, limiting-your-choice kinda,<br />
 creepy "manual" for placing your font in certain useless groups that<br />
 are (what else can you expect in defining human art?!) never clearly<br />
 defined. In the making of the J-fonts by Immortalware we all agreed<br />
 in opposing against all these obscurely made-up classifying-crap<br />
 by often choosing categories like "Any", "Don't Care" and/or "0".<br />
<br />
 Strange as it may sound, they actually wanted us to believe in<br />
 splitting a Serif Style in No fit, Cove, Obtuse cove, Square cove,<br />
 Obtuse square cove, Square, Thin, Bone, Exaggerated, Triangle,<br />
 Normal sans, Obtuse sans, Perp sans, Flared or Rounded.<br />
 Never could we think of one font that would fit into just one of them.<br />
<br />
 They also thought of specifying the proportion of the font into<br />
 No fit, Old style, Modern, Even width, Expanded, Condensed,<br />
 Very expanded and Very condensed. Makes one wonder when a definition<br />
 like 'Modern' ever becomes outdated, or what happens if you decide<br />
 to manufacture fonts and put them all in the 'No Fit'-category???<br />
 Will those fonts simply refuse to appear in some never-used font-<br />
 grouping systems and therefore never be used??? Handy, ain't it?<br />
<br />
 Believe it or not, we were also asked to specify the 'contrast'<br />
 of our created fonts. We'd have -of course- limited choices:<br />
 Any, No fit(again!), None, Very low, Low, Medium low, Medium,<br />
 Medium high, High or Very high. How can a font (a vector graphic in essence)<br />
 ever have a contrast before it is processed by a user? And if there is one,<br />
 how would a font look when the contrast is 'None'???<br />
 Can we then still see the font, that is the question...<br />
<br />
 And hell, they even think one font has strictly one type<br />
 of stroke variation. Limiting terms like Gradual/diagonal,<br />
 Gradual/transitional, Gradual/vertical, Rapid/horizontal,<br />
 Instant/vertical should do, they must have thought making<br />
 up this regulating buzz.<br />
<br />
 It never ended; We had to specify the style for the 'arms' in the font!<br />
 And only had 11 options! And the letter form, the style of the midline<br />
 for the font (options like Standard/trimmed Standard/serifed<br />
 High/pointed High/serifed Constant/serifed Low/trimmed etc.<br />
 really made us nervous!).<br />
<br />
 And how can they expect a font to have only one x-height!?<br />
 It looks as if they made up a whole science around just that aspect of a font.<br />
 "WHO CARES?" we ask them. Where lie the exact borders between<br />
 Constant/small and Constant/standard or Ducking/standard and<br />
 Ducking/large? Oh and really; Who needs to know this?<br />
<br />
 Surprisingly enough Windows 95 divides and matches fonts in<br />
 its installation list by their Panose-data. This is strange, especially<br />
 when you look at how many fonts today don't have that information in<br />
 them. Windows95 easily assumes there is NO PANOSE-data available in<br />
 most of our fonts, while we had chosen for the 'any fit' and 'no fit'<br />
 Panose-options. If that was no Panose-data to begin with, why put the<br />
 option there for font-creators? ALL J-fonts DO have Panose information,<br />
 despite the NO-PANOSE-DATA warning in WIN95. We don't know what this<br />
 means. Is Microsoft being paid to do this? By whom and why?<br />
 What's the use? Don't you get bored using those same old fonts<br />
 time and time again? Try something different for a change!<br />
<br />
 Most of the J-fonts have ID-code-nrs. that are not as unique as the<br />
 font IS. This has to do with a generally existing flaw in the given<br />
 explanation as to what exactly "unique ID's" are being used for.<br />
 If the number tells some goody-two-shoes-geek that there is already<br />
 another font with the same code, we're sorry to have used these<br />
 existing numbers. It's simply because they work. We didn't feel<br />
 like en- or sub-scribing according to the (apparently somewhere<br />
 available) official route; This saves us lots of time & effort:<br />
 Difficult-to-understand for-no-useful-reason-added-ID's should not<br />
 frustrate the creation-process of (new & original) fonts, should they?<br />
 We don't feel that this opinion damages the software-industry in any way,<br />
 if anything, it encourages creators to do something really worthwile.<br />
<br />
 The thing is: all programs needed for the full creation-process of a<br />
 TrueType are out there, the spreading media are there, so what exactly<br />
 is the point of first having to contact some state-controlled font-<br />
 company before others can use your creations? We chose the hack<br />
 around it. (And there obviously IS a lot of hacking possible in a<br />
 TrueType font.) We've tested the fonts on several computers,<br />
 in a diversity of types of programs, we even tried some Mac-<br />
 compatibility. They all seem to work according to our expectations,<br />
 in all different configurations on all sorts of DTP-applications.<br />
<br />
<br />
                           Some more general advice<br />
<br />
 No one can teach you font aesthetics; it must be learned by example<br />
 and experience. Look around you with wide eyes and an open mind, and<br />
 soon you will find that you know what to do where, with any font.<br />
 Motivation and interest are the key-words for successful use.<br />
<br />
 Running some comparative tests is a good idea. Better to blow off<br />
 a few sheets of paper now than to see a problem after thousands of<br />
 copies are made. Rainforests? Greenhouse effect? Yeah, right.<br />
 No christmascards, that'll help! One eruption of a volcano,<br />
 algae creating gas and we as humans are of absolutely NO<br />
 significance to the earth's environment. Just use your<br />
 thinking, that's all we can say really..<br />
<br />
 Never lose track of the kind of work you're doing. An effect that<br />
 would ruin a newsletter might be just the thing for a record cover.<br />
 Know when you can safely sacrifice legibility for artistic effect.<br />
 The 'Immortal Galaxy'-font for example starts to be useful at 24<br />
 points size. Smaller use just does not apply for that font.<br />
<br />
 Many people feel that bold or italic type is more legible:<br />
 "This is the most important part of the newsletter, let's put it<br />
 in bold." In fact, legibility studies show that such type is actually<br />
 harder to read in bulk. Keep the text in a normal style and weight,<br />
 and find another way to emphasize it - box it, illustrate it,<br />
 run it in color, position it focally.<br />
<br />
 The best designed fonts ARE scalable. A well designed 5pt font<br />
 will be its 10 pt counterpart 50% scaled down.<br />
<br />
 It seems to be the consensus of the comp.fonts community that<br />
 "you get what you pay for." THIS IS (as of 1994) NO LONGER THE CASE.<br />
 IF YOU NEED A PROFESSIONAL QUALITY FONT, YOU DO NOT NECESSARILY HAVE<br />
 TO GET IT FROM A SO-CALLED PROFESSIONAL. FONT-SOFTWARE WASN'T MADE BY<br />
 PROFESSIONALS TO BEGIN WITH. YOU ONLY HAVE TO LOOK CLOSER INTO THE<br />
 SILLY ENCODING TO KNOW HOW STUPID THE INVENTORS WERE. ADOBE'S TYPE<br />
 COMPANIES VERY MUCH TO OUR SURPRISE STILL KISS UP TO THIS STUPIDITY.<br />
<br />
 JBT for Men With A Plan-enterprises<br />
<br />
 The TrueTypes & this text were produced by J.B.Thyssen (c)1983-1998<br />
 for ImmortalSins ltd. and all TTF are TRADEMARKS of ImmortalwareJTHZ.<br />
 Microsoft is a registered trademark and Windows is a trademark of<br />
 Microsoft Corporation. TrueType is a trademark of Apple Computer,<br />
 licensed by Microsoft. Type 1 is a trademark of Adobe Systems Direct<br />
 Limited. All other trademarks mentioned herein are trademarks or<br />
 registered trademarks of their respective corporations, and are<br />
 hereby acknowledged. As if a sentence always says what you mean,<br />
 and we could not tell lies here? Weird stuff, that EULA-bit.<br />
<br />
 The information contained in this documentation is subject to revision<br />
 and/or alteration without prior notice. This documentation represents<br />
 no obligation, expressed or implied, on the part of the author or<br />
 Immortalware JTHZ.<br />
<br />
 TO SUM THINGS UP FOR YA :     WE DIDN'T DO IT!<br />
                                 NOBODY SAW US DO IT!<br />
                                   CAN'T PROVE ANYTHING!!