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Abos und Preise

Ingy Ding MCD

von Ingrimayne Type
Einzelschnitte ab $21.00 USD
Ingy Ding MCD Font Poster 1 Ingy Ding MCD Font Poster 2 Ingy Ding MCD Font Poster 3 Ingy Ding MCD Font Poster 4 Ingy Ding MCD Font Poster 5
Die Schriftfamilie Ingy Ding MCD wurde von Robert Schenk entworfen und von Ingrimayne Type veröffentlicht. Ingy Ding MCD enthält 1 Stile.

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Über die Familie

This font began as an attempt of draw alternatives to the images of Microsoft’s Wingdings, but then grew beyond that. This new version from late 2010 has over 1400 characters, including almost all of the geometric shapes in unicode 2500 and 2B00 ranges, almost all of the arrows in the unicode 2100, 2700, 2900, and 2B00 ranges, almost all of the dingbats and symbols in the unicode 2600 and 2700 ranges, many of the pictures, symbols, and emoticons in the 1F300 to 1F600 ranges, and a few of the miscellaneous technical items in the 2300 range. There are also pictures on the standard open type letters, most of which can be accessed from the keyboard. However, most of the characters in this typeface have to be accessed using their unicode designation. In Windows this is done with the alt key and the unicode hex number. On the Macintosh the easiest way (and for the five digit unicode characters, perhaps the only way) is to use the “Special Characters” window under the Edit Menu in the Finder. A unicode index of the font is provided in a pdf file that was generated using FontLab. However, it only has four of the unicode digits for the five-digit elements. Almost all of the unicode numbers starting with F should have a 1 in front of the F.

Designer: Robert Schenk

Herausgeber: Ingrimayne Type

Foundry: Ingrimayne Type

Eigentümer des Designs: Ingrimayne Type

MyFonts Debüt: Jan 11, 2011

Ingy Ding MCD

Über Ingrimayne Type

IngrimayneType distributes digital typefaces designed by Robert Schenk. Robert became fascinated with type design in the late 1980s and began designing type in 1988 with an early version of Fontographer. He has designed a wide variety of typefaces, from standard text fonts to bizarre decorative faces. Many of these faces were designed to meet specific needs but others were experimental, designed as a challenge to form letters that met a narrowly-defined criteria. Areas of special strength in the IngrimayneType library include novelty fonts, picture fonts including tessellations, and fonts with alternating character sets.

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