Buying pimp 210 freeware shareware

The author of a freeware program may still retain a copyright on its contents and stipulate that others not modify the program or charge significant fees for its use or distribution. Public domain software is not copyrighted. It is released without any conditions upon its use, and may be used without restriction. This type of software generally has the lowest level of support available. Open-source software is jointly developed software that can be used, shared, borrowed, or changed without restriction.

For more, see About open source software and the Open Source Initiative. Other programs may fall in between or overlap these categories. Some authors may ask for charitable donations in return for the use of their software. Still others may distribute free software as a form of advertising, sometimes called "bannerware". Since then, a few sites—including SourceForge themselves—have started cleaning up their act. Most freeware download sites still use shady tactics, unfortunately, cramming their own installers full of unwanted software and misleading advertisements down your throat in order to make a buck.

But now that a few are getting better, we wanted to give credit where credit is due—so consider this an ongoing list of sites that have made things right. Tucows is another old freeware download site that succumbed to the temptation of packing its installers with junkware. On May 3, , Tucows announced that it, too, was done with that practice.

You can now visit Download. This website still has a little ways to go, however. But Download. FossHub is an excellent download site that many projects switched to when they were abandoning SourceForge. FossHub has never bundled any junkware with its downloads.

FossHub remains trustworthy site. Ninite is also great. Ninite offers an especially useful tool to quickly download and install software on a new PC, and it has never bundled junkware. Ninite even lets you install software that normally includes its own, developer-added junkware and skips it for you. Many software projects offer downloads on their own websites and these downloads can be clean, although many software projects make money by adding junkware to their own downloads.

GitHub is generally fine—for open-source projects hosted on GitHub, you can download the latest software builds without any junkware. So stay tuned. Agung Aries Triyanto is the Indonesian designer b.

In , he designed the handcrafted typeface Cuties Caps. The mini-slabbed Bounaville was added in Egyptian designer of the avant-garde Arabic font Slavian Photographer in Philadelphia, PA.

Creator of the display sans typeface Duma Font He advertizes himself as a leader in PostScript Open Type Font development specializing in the revival of print-only letterforms into digital typographic materials. In , he announced that he would stop making typefaces altogether. His work can be partitioned into time periods. For this reason, Prescott's oeuvre is split over several pages: His late period In these three years, he showcased his work on Facebook, and was mainly involved in reving 19th century typefaces, about half of which were from the Victorian era.

The annotations in the list below are quoted from Prescott's pages. Absolution Cursive When I was a typesetter in New York City, I had one of the largest collections of typefaces from CompuGraphic's library available for setting.

One of the faces I never used in two decades of work was a rather ungainly decorative font called Abel Cursive. Apparently it was designed by Bernie Abel perhaps one of CompuGraphic's employees and I'm not sure it got much use, since I don't recall seeing it anywhere except my type catalog.

Before I sold my equipment and closed my business for good, I made a scan of every typeface at point size that I owned for future development, if there ever came a time to work on something crazy like that.

Most of those 2, scans were lost when I changed computers a long time ago, but Abel Cursive survived and I made a down-and-dirty mow-and-blow font back then. I have recently worked on it extensively to make it usable as a multilingual slightly redesigned font in OTF format. I would classify it is as neo-Victorian medium-contrast decorative italic. It is definitely an oddball and may never see use. Algol Based on a scan from Dan X. Solo, Algol is a vastly expanded character set for Algernon, a typeface that clearly presages Machine and other "octics.

Aloysius and Aloysius Ornamented This is a digital revival of the original Algonquin, cut by J. Cumming in the late s for the Dickinson Type Foundry in Boston. While this was not my most challenging project, it was a doozy. Alpenhorn Roman Another oddball typeface is revived here, renamed from the design called Alpine by Henry Schuenemann for the Cleveland Type Foundry in the s.

Buried in the "gingerbread" of this weird face is technically a Latin serif, but otherwise it is an entirely unique letterform for which I had a heart soft enough to revive here in digital form. Androgen Roman I know next to nothing about this ultra-geometric blackletter called Anderson that I found displayed in a Dan X. Solo catalog, but it is another oddball that is attractive and very simple to revive in digital format. It is one of those projects I would recommend to a beginning revivalist who wanted to cut his or her teeth on a moderate challenge after mastering some basic tools in font development software.

Angolan Text I found Angular Text in a Solo catalog and revived it as a digital font with diacritics and other characters for expanded typesetting possibilities. Interesting to see what others have done with the exact same typeface and scan and some research for tantalizing missing glyphs Antiochia Series This collection of typefaces represents a revival of several bold slab-serif wood types with the name Antique that are related.

Their individual histories will follow at another time, but note that several here are useful derivatives that add to the variety of this letterform's impact. Azurine Roman Azurine is a digital revival of a typeface known as Aztec, drawn by an unknown designer for the Union Type Foundry before Beltane Roman Dan Solo called this face Belmont but only showed caps and was suspect anyway. I was able to find specimens elsewhere and a motherlode of other interesting things in the Inland Printer.

I developed my first full-featured OTF using this typeface and designed Greek and Cyrillic glyphs as well. I also fitted it out with a set of small caps to make a font that now has 4, glyphs for nearly every non-Asian language. To top it off, Robert Donona revived the decorative caps for this typeface, an excruciating task that I once considered for myself but was lucky enough to have this other crazy person take up. The number of hours dedicated between Robert and myself in reviving this complete series digitally is probably unprecedented.

Bernhard Swirl This is a digital revival of the letterform of the same name. It is equipped only with the upper case, an ampersand, a spacer dingbat and the numerals. The numerals are quirky, not only in design, but the fact that they seem to have been intended as old-style figures with the exception for the 4 and 7. Lucian Bernhard is either the designer of this limited-use typeface or inspired a reworking of his "wobbly" poster typefaces for which he is known as an innovator.

I have reworked the scanned samples I had used as templates and drew them with a little more consistency than the originals to improve color on the page. Bireme Roman Below is a digital revival of a typeface called Bijou. As I have come to understand, several people have revived this face already. It is similar to Flirt in many respects.

I will update information as I come across it, but I wanted to post my version here for your appreciation. Blackguard This is a digital revival of a typeface known as Black Cap. William E. Loy writes that Black Cap was designed and cut by Charles H. Beeler Jr. The earliest-known commercial specimen was advertised in the January edition of The Inland Printer, so he probably created it in Blackminster One of the more interesting treatments of blackletter forms in the 19th century is this beauty called Black No.

Originally I was unable to locate certain key glyphs in this font, but they were graciously supplied by others in our crazy network of type geeks.

More information on the people behind these projects will follow in other articles. Bleak Bleak is a series based closely on a typeface called Stark. As with nearly all typeface names, there are several unrelated fonts developed in recent years that bear no resemblance to this gorgeous sans serif. Brotherly Roman Among many "antiqued" letterforms developed in the late 19th century, Ben Franklin was offered by Keystone Type Foundry in Philadelphia.

Several glyphs were missing from my best showing of the font, but I was luckily able to find them, as well as logotypes, two ornaments, several alternate characters and some punctuation.

There had already been a digital revival of this typeface kicking around as shareware in the s, but it was very poorly drawn and incomplete. I believe it has been rendered nicely and consistently here for posterity. Busker Contour Burlesque was the name given by Solo to a typeface originating through Caslon or Figgins around and shown in German specimens a couple of years later.

Cane Gothic Cane Gothic was designed and cut by Edwin C. Ruthven c. The Bruce catalog number is unknown. The tradename Cane Gothic, an apt description of the caning patterned background, may have been assigned by Dan X.

Solo, who had revived the face for his photo-lettering service, but it has previously been considered impossible for digitizing. It is digitized for posterity and I thank Anna Allen once again for the patent specimen No. Thus I've generated the border glyphs and a pound Sterling symbol to augment this letterform.

As far as I can determine, this character set is complete, and I have generated three fonts in order to accommodate chromatic typesetting with very little effort. Cantini Casual This is a digital revival of the typeface of the same name or at least that is the name Solo gave it in the type specimen book from which it was scanned.

It is a great example of the exuberant fancy characters that came to ascendance during the s and s. It is a medium-weight Latin italic with unusual decorative details in addition to crazy swash choices. I do not have any information on the history of this trippy face, but it is likely it was revived at some time in the recent past.

It includes a large number of alternate glyphs as well. Capulet This is a revival of a typeface called Caprice that was patented in by Arthur M. Barnhart and assigned to Barnhart Bros. This letterform is a prime example of the explosion in design ideas occurring before the turn of the century, hundreds of which remain to be translated into digital format.

Carmenite Roman This beautiful digital revival covers a letterform drawn by the Bauer Type Foundry of Stuttgart, Germany sometime before It was originally called Carmen and has been referred to as Carmencita in the Solo books. Centrum Text This is my digital revival of one of the more complex decorated blackletters, among my favorite and most difficult projects to work on and just finished today.

It is identified as Celebration Text on p. But I believe all three were drawn by the same designer, although I have no idea how old they are. The lowercase may simply have been used for all three decorated capitals, since they are a very good match. Intentional, who knows? It is a real beauty and I'm going to perhaps revive the other two in this triplet of great examples of decorated capitals.

Chapterhouse Roman This is an interesting typeface known as Ecclesiastic from Caslon around It was also known as Albion and Chapel Text No. Most of those names were applied to completely unrelated designs, adding to the confusion that permeates typographic development and history to this day and only gets worse over time.

There are probably more alternate characters out there, but this is the best showing I could make with the resources I have and it is now available from me as a digital font. Clarence Roman and Dotted Wood typeface Cooktent comes from W. Page before and the other looks to be a back-formation from it. Commissioner Script The typeface known as Commercial Script was designed by Morris Fuller Benton in the early twentieth century and enjoyed widespread use for decades. There have been many variations from other foundries, varying mostly in contrast; but as far as I know there was ever only one rather bold weight produced.

I have redesigned the letterforms for consistency on the way to producing the ten weights shown here. It is interesting to see the font in lighter weights that accentuate the beauty lurking in this standard, and the heavier weights to see that the design still holds up under even heavier lifting. Courtesan Roman Among the dozens of wood types I have revived digitally is Courier, here called Courtesan.

Many of these letterforms have been revived by others, all slightly different in their interpretations. More information on wood types will follow in articles I plan to write in the future on various areas of interest in the field of revival in particular and typography in general. Cranston Ornamented This is one of the most difficult digital revivals I have worked on. It started as Crayon, another masterful design from the prolific Ihlenburg, available at MSJ in There are sister fonts in an Open and a Solid that differ slightly in design and will be available from me at some point in the future.

Creekside Playful and Calligrapic These are two digital casual scripts of my own creation based loosely on hand-drawn types from the 's.

One is a calligraphic interpretation and the other is a more mono weight design that is a bit more slanted, both available for multi-language setting. Criticism This is a digital revival of Critic, a typeface designed by William F.

Several logotypes had been designed for this letterform and many alternate glyphs. I added a few of my own, as well as diacritic marks, for balance to this surprisingly modern face that can be rendered multilingually as well. Crosby Roman It was also known much later as Morningside. It is a stylized Latin with great charm. Crossan Roman This is digital multilingual OTF revival of a typeface called Cross Gothic, another one of those unique, nearly unusable letterforms I adore.

I got a million of 'em. Cullane Roman Others helped me scour the literature for missing glyphs and no one is sure we've got them all, but this is a wonderful showing of what we think is available until something randomly shows up in the future.

Currier Lieberman, Ph. It is an exuberantly decorated engraved shadowed heavy-weight Egyptian. Danuvius Danube is the original name for this letterform, again found in a Solo catalog, and its links with medieval letterforms is obvious despite the trends toward modernization at the time it was first produced.

I otherwise have no information on this face. Devonian Roman This is a digital revival of a wood typeface known as DeVinne. More information updated later. Dorothy Series The original Doric Chromatic was designed as a wood typeface and made its appearance in the United States in the s, though it probably got its start in France in the s according to Rob Roy Kelly.

Doughboy Roman This series of decorative caps is shown as Dodge City in Solo. I am not sure it is very old; it may very well have been a photographically slanted version of an older wood typeface in the Thunderbird category with flourishes added on at the same time.

This has been revived before because of its simplicity, but I made my own version a little more consistent and they make attractive drop caps. Enclave Roman and Expanded These two related digital revivals represent Enchorial in two versions. The roman came out of the Caslon Type Foundry in and was extremely popular sometimes known as London.

Petzendorfer showed the expanded Enchorial around Esteban It is a medium-contrast sans serif produced in nine weights plus italics. Euclid a lighter version of Elberon with a few different glyphs is an obvious derivative from Illinois Type Founding Co. Auroral basically a shaded form of Elberon appears in January from Central type foundry. Astral, also from Central type foundry, the almost exact shading concept whose base form is a condensed, heavier form than Euclid appears in December Euclastic is my name for a complete set of weights, from a Hairline at the extreme end of lightness, through Black at the other extreme, using redesigned examples of Euclid and Elberon.

Farmerboy and Farmergirl Although these two typefaces have both been called Fargo in the past, they are distinctly not the same letterform despite sharing some characteristics. They are both probably late s, early s and some sources say they are German. In any case, two interesting oddballs with no usage in the last century-and-a-half are revived digitally by AJPT.

Fastidious Series The typeface known as Fashion started out in and was patented by Andrew Little for A. There are a total of five related typefaces in the same design: the prototype, condensed, ornamented, antique and extra-condensed. It turned out that the samples I had available when I originally revived these two were rather suspect and I have to consider going back to these and try to figure out what the "real" glyphs are.

I believe that the Solo ornamental showing was rather a hatchet job on the base font, so I consider these two on hold pending further research, but they are interesting to view how they are so far. Flare Serif Striped This is a digital revival of a face called Ornamented 1, This over-the-top candy-cane-with-curls design was created by Henry Brehmer, who patented it in December —January The application was submitted and approved on the same days as Ornamented No.

It was advertised in The Inland Printer of October Thanks again to Anna Allen Conroy for the background on Ornamented 1, and for the patent samples giving a good idea of the design of glyphs missing from the catalogs. I have produced AE and OE ligatures as well as a decent set of diacritical marks for setting in a few important languages, but it is not at OTF font at the moment and exists only as PostScript for Mac only.

Flippant Roman This fun font is a revival of a typeface known as Flirt. Although it has that s feel, like many fonts popular then, I believe it has a much older pedigree. I will supply more information as I come across it.

There is currently an unrelated script font called Flirt on the market now, designed in Fusion You can never be too thin. Gallantry Roman The earliest known specimen of the original Gazelle is found in the catalog of ATF in Cleveland and designed by Henry Schuenemann. This digital revival has multilingual capabilities and is quite unusual, demonstrating again the almost limitless possibilities of type design over the centuries.

Gamut The Gamut series of very condensed sans serifs is based on a wide range of typefaces that all began with the letter "G": Galaxy, Gable, Garfield, Giant, Gamma, etc. Their italics began with the letter "E", perhaps to come at a later time. I produced these typefaces under the same name to keep them all in one place, all ten weights that are floating around somewhere undigitized until now. They are currently available from me as Mac-only fonts, but OTF may be developed over time.

They are members of the large "family" of typefaces whose members can be difficult to separate, such as the Helveticas, Trade Gothics, Standard Gothics, etc. I believe this was a well-designed condensed face that has nice nuances.

Gironde and Gironde Extended Giraffe is the original name for this digital revival. It has been difficult to find a complete character set for this typeface, as I'm sure whatever existed in the roman also existed for the extended version. I revived what I could find, but it is a rather simple design and other characters can be imagined that are congruent with what is seen here.

I'm not sure how much use these two oddball typefaces got in their time, but they were designed by Charles Beeler, Jr. Gothic Decorated This is my temporary name for the digital revival of a typeface once called Ornamented 1, In the past couple of weeks, I have revived the "ornamenteds" on either side of this number.

TF in New York City. Goudy Flare Extra Bold This is a digital revival of another typeface in the Goudy superfamily, titled originally as simply Goudy Flare. I don't know the provenance of this particular letterform, but it was found in a Solo publication and could very well be one of his own creations, since I have never seen it used in print.

It turns out that this is a modification of Goudy Old Style Extra Bold, and so I was able to find a suitable digitized version that matched the base forms very closely and modified the existing characters to accommodate these rather simple swashes.

A reader added: "Goudy Flair was created by Mr. This is a digital revival of the typeface of the same name, again another addition to the large Goudy family. There is a tremendous selection of swashes and alternate characters in this font, especially the upper case. It is an extra bold italic Goudy whose slant is less steep than normal for this family. There are no figures or punctuation provided for this letterform; those provided in the scan from which I worked were incorrect, and possibly back-formations from a different Goudy, so they were not produced for this version.

Goudy Swash Heavy Italic This is a digital revival of the typeface of the same name. There are literally hundreds of revivals of letterforms in the Goudy "family" of typefaces. Nearly every foundry has produced its own version of this popular form, with many nuances between them. There are many weights, italics, various alternate characters and swashes galore, but I haven't seen a revival of this particular set of gorgeous swashes and alternates.

Thus, I worked on very good printed samples, perhaps from a photolettering catalog half a century ago. Goudytype Antique This is digital revival of a typeface designated as Goudytype in a Solo catalog, with a slight twist.

There is no punctuation for this font, but several nice swash alternates, a dollar sign and an ampersand. I decided to draw this as an "antique," because the ink spread in the original lent itself to this sort of treatment.

Although a bit tedious, it can be used in the same way as other faces, such as Packard, Benjamin Franklin, Caslon Antique, Papyrus heaven forbid and others. Although one would assume this is in the Goudy superfamily, there are some characteristics that set it apart. The stresses and some other features are rather reminiscent of Palatino. And the slant is so slight as to make it unlike both typefaces' italics. Gracile Gracile is based closely on Greyhound Script, but has been expanded and standardized to include weights on either side of the two available in Solo.

It is a semi script, since not all characters can be joined, and thus has a more casual feel. It is a strictly monoweight letterform in all six stroke thicknesses, with several alternate glyphs. There are digital versions in two medium strokes available from others, but those I was able to locate are rather poorly realized despite having diacritical marks for foreign languages. They can readily be designed and added to my interpretations, but I have chosen to do this later if anyone requires them.

Griego Wood Series Several typefaces classified as Grecian were produced in wood for large sizes. I had revived some of these digitally years ago, but I revisited them recently and gave them a real facelift. They have undoubtedly been revived before because of their relative simplicity.

Grosgrain This is a revival of a typeface called Grotesque No. The lineage of the most famous typeface in the world, Helvetica and, sort of, Arial is evident in the early "grotesques. Another similar typeface from around the same time called Circular Gothic is even closer to the Helveticas and derivatives of today.

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