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About this version
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This is an homemade conversion from TrueType PC and Mac Type 1 to OpenType-PostScript for the Mac and the PC ("basic" OpenType: the expert and small caps fonts aren't integrated into the main fonts). These Katarine fonts are good and useful. But they were absolutely unusable for me, because Tomas Brousil locked up himself in the Windows four-styles jail. Hence the crazy font names: "Light-Bold", "Bold-Bold", that sounds like "circle square" and "square square", and means nothing. And, in order to have 3 menu items instead of 5 in WinWord, he was forced to duplicate a whole font-weight for nothing: the "Bold" fonts are the same as the "Light-Bold"!

Look at these converted fonts: they are the proof that you can have a meaningful and well-ordered font menu in WinWord, and your 25 fonts in the same submenu on the Mac and in InDesign (PC and Mac)! Indeed, the only style to use in Word is italic, you may not use bold nor bold italic, but that's needed to preserve the document-compatibility between different platforms and different applications (if you open a Mac Word document with these Katarine fonts in InDesign PC, and vice-versa, it will work).


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About Katarine
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The Katarine family is convenient for book covers, posters, jobbing prints, programs, monographic prints, catalogues and journal compositions. Thus when the coldness and austerity of grotesque is inconvenient but its simplicity and readability is needed, the Katarine is the answer.

The Katarine alphabet originated from one capital typeface meant for text setting of posters and jobbing prints. After finishing the lower case characters a Medium typeface was created followed by Light and Bold. By Interpolation and never-ending correction of generated characters Regular and Semibold typefaces were added. For every tincture there are small caps types with higher mid-height and petite caps types with conforming mid-height in base typeface also containing non-aligning numeral characters. And of course there is an Expert type with fractions, many arrows and frames in pertinent impressions. For a demanding text setting there is a Numbers typeface containing numeral characters in four different frames. There are several drawing principles applied in the construction of the characters. Upper-case characters stem from an oval shape and therefore are lighter in the higher parts, lower case characters are drawn from a more robust square shape and better fit the baseline. Numeral characters are almost geometrical. These principles contradict each other which results in a very nice tension within the text. Although the font does not have any extra adjustment for the mid-height and is slightly condensed, it excels in readability even in small sizes. The characteristic design is very well-suited to poster sizes. 

http://www.suitcasetype.com/page.php?lmut=en&section=font&font=katarine
