Google’s New Logo is Based Upon Their Custom Font, Product Sans. Many people are wondering “what font is the new Google logo?” To be perfectly accurate, Google’s new logo isn’t in any one particular font. It’s a logo, and usually logos (at least for a big company like Google) have some customizations to them. A font is a complete set of characters—letters, numbers, and symbols—that share a common weight, width, and style, such as 10‑pt Adobe Garamond Bold. Typefaces (often called type families or font families) are collections of fonts that share an overall appearance, and are designed to be used together, such as Adobe Garamond. A type style is a variant version of an individual font in a. Computers and devices use two methods to represent fonts. In a bit-mapped font, every character is represented by an arrangement of dots.To print a bit-mapped character, a printer simply locates the character's bit-mapped representation stored in memoryand prints the corresponding dots. Each different font, even when the typeface is the same, requires a different set of bit maps.

1. What Is The Font For Harry Potter

The4 Basic North American License Plate Font Design TypesLicensePlate Fonts of the Western WorldPage: North America (2) Why North American License PlateFonts Look the Way They DoNow that we’ve covered the availablereplicas of North American license plate fonts , let’s look at how the fonts were originally designedand constructed and why they look the way they do. Also presentedhere is a simple classification scheme to make sense of the hodge-podgeof different character shape types scattered throughout the variousstates’license plate fonts visible out on the highways.Fonts in graphic design and commercial printing/publishing vs. License plate fonts. Most typefaces seenon everyday items — such as books, magazines, newspapers, brochures,direct mail pieces, most signage (other than roadway signage), or ininternet communications such as email, websites, and PDF documents —are created by and for those with experiencein graphic design, commercial illustration, and/or sign painting. Licenseplate fonts, however, are created by those trained as draftsmen, mechanicalengineers, or product engineers working with the design of industrialequipment and processes.

What Is The Font For Harry Potter

The approach to font design and creation isconsiderably different for each. Since the “font mainstream”is defined by those working in graphic design, let’s briefly lookat how fonts are designed there, then compare that with how licenseplate fonts are created.Font creation in the graphic design world, past and present.During the decades prior to the shift to personal computers for doinggraphic design and print publishing (which began in the mid-1980s),typefaces were drawn by hand. Typically, characters would be drawn eitherfreehand using pencil, ink, and eraser; by cutting shapes on amberlithor rubylith (a semi-transparent mylar-based sheeting) with an X-actoknife; as well as with ruler and compass if appropriate for the particulartypeface (those with a more “geometric” look). Then at alater, more technical stage, the drawings or amberlith/rubylith artwork would be transformed into the printing or typesettingtechnology of the day. From the first Western printing presses of Gutenbergin the 1400s up through the 1940s or 1950s, this was metal type, afterthat phototype on film, and still later early electronic digital typein the 1970s and early 1980s.Even after the creation of the first digital typeface production system(by Peter Karow of URW in Germany during the early 1970s), typefaceswere still usually drawn by hand to begin with, then digitized later.It wasn’t until after the release of Fontographer in 1986 thattype designers started converting to digital creation methods enmasse.

Even now, some designers or certain kinds of typeface designsmay still utilize hand-drawn methods as the best way to initiallycreate the artwork for a given style of font before digitizing it.And even where a typeface may be created from scratch mostly digitally,hand-drawn sketches of initial concepts (sometimes quite detailed)to work out the basic design theme and troubleshoot any design issuesmight be used to begin with.Drawing tools and the type of people creating fonts stronglyinfluence their design. In the printing and graphic artsindustries, character shapes are often very fluid in nature becauseof the artistic training or on-the-job experience most professionalgraphic designers in the businesstypically have.

Even where the type designs are geometrically based,optical adjustments and subtle variations in stroke weight are almostalways built in to compensate for the quirks of human perception andrefine the appearance to the human eye.In the license plate industry, fonts have been drawn by draftsmen, engineers, or otherstrained in mechanical drawing, however. Ruler and compass rule, so tospeak, so everything has for the most part been drawn highly geometrically.The business of license plates has been the business of blueprints,tool-and-die machines, and industrial equipment driven by a mass manufacturingmindset. Without formal artistic training, the approach to font-makinghas been mechanically driven because that’s how those who have been in a position to draw them have been trained. Only individualsworking at the manufacturers supplying the equipment on which the fontswould be used, or who have a special ongoing business relationship withthem, are typically involved.Uniform construction with “geometric primitives.”Thus, the much more constructivist, industrialized look of licenseplate fonts: shapes built from perfectly straight lines, perfectlycircular arc sections, and/or oval arcs that can easily be drawnby ruler and compass or other common drafting tools.

In recent decades,computer-aided drawing (CAD) software has come into play (typicallyusing AutoCAD), but the approach remains the same. In addition toperfectly straight lines and perfectly circular or elliptical arcs,stroke weights are completely uniform with no variation in thickness,resulting in the industrial monoweight look characteristic of traditionallicense plate fonts.Multiple “cooks” and competing objectives withlicense plate fonts = quirky designs.

Also, since the fontswere (and still are) subject to a process of approval and oversight(and, who knows, perhaps just plain monkeywrenching) by committeeat the state level (DMVs, correctional industries, etc.), any coherentdesign plan for a font that may have been present at the beginningcan be lost. Sometimes for good reasons (to prevent confusion oftwo different characters such as D and O when seen from some distance,for example), other times not. A small smorgasbord of varying charactertraits that don’t mesh together quite coherentlycan occur. Of course, this can also be part of the charm of industrialproducts like this — the very quirks themselves can be beguilingto others of us in the sometimes over-designed information age. The 4 North American Font TypesBased on Curve Construction/AppearanceWhat exactly have been the results interms of the typefaces passed down through the above process to ustoday?

Here’s a simple classification scheme grouping togetherthe license plate fonts of North America into three basic types plusa fourth hybrid category that together make about as much useful senseout of the myriad of fonts as can probably be made. Since most of thecharacters in North American license plate fonts that utilize exclusivelystraight lines (A, E, F, H, I, K, L, M, N, T, V through Z, 1, 4,and usually7) all look very similar, the scheme here is based on how the charactersthat contain curves differ in appearance and construction (B, C,D, G, J, O, P, Q, R, S, zero, 2, 3, 5, 6, 8, and 9).

These basicdesign types are:SemicircularCurves / DIN-StyleCurved characters that have straight left/right sides joined by semicircles (often perfect semicircles)on the top/ bottom. License plate fonts usingthis construction method are similar in appearance to in the section on European number plate fontsand which served as the prototype for many of the number plate fontsin use there.

North American fonts based on this theme, though, aretypically less consistent in their application of it with more quirks.The look is different, also, due simply to the more condensed characterwidths of North American fonts.SquarishHere, characters that would normally be composed of curved sides arebox-shaped, i.e., the bowls have all straightsides on left/ right/ top/ bottom with roundedcorners (usually perfectly circular 90-degree arcs). Fontswith this type of construction are similar in concept to the mainstreamtypeface,though of course considerably different in implementation — morecondensed and without the refined optical adjustments. For example,the curves in Eurostile connecting its straight sides aren’tperfect 90-degree arcs as with license plate fonts, but subtlyfinessed for a more refined appearance. Also, fonts for graphicdesign like Eurostile contain horizontal strokes slightly narrowerthan verticals to compensate for a quirk of human perceptionso that they appear equal-width with the vertical strokes tothe eye. The character strokes in license plate fonts, on theother hand, are typically uniformly thick with no variance.

Themechanical way these design features are handled in license platefonts is a key factor telegraphing their more industrial appearance,over and above any embossing that might be done.OvalCurvesCurved characters that have oval/elliptical bowls and arcs. These could be compared (veryloosely) to the curves seen in mainstreamfonts. However, license plate fonts of this type retain a strong industriallook due to their mechanically derived AutoCAD-wrought shapes and uniformly-thickstroke weights, with just a hint of humanistic feel.Mixturesor HybridsTwo potential patterns seen in hybrid fonts. Sometimesa license plate font is a hybrid just because it contains inconsistentlydesigned characters without much of an apparent plan behindit.

(Such fonts might be better termed mixtures.) However, thereare a number of cases where a font uses one stylefor alpha characters but another for the numerals. Herethe term hybrid fits a little better. Even though in such casesthe curved alpha characters may outnumber the curved numerics, herethey’restill classed as hybrids. Aboutthe plate example links below. The links below refer to platephoto pages from Plate Shack and 15Q.net, the two most comprehensivecollectors’ sites on the net for North American license platephotos.has two different types of license plate photopages:. The first type of page, designated here after each state or jurisdiction’sname with a link labeled “ PS,”shows a plate example for each year the “base plate”has changed.

“Base plate” here is collector lingo forthe underlying plate layout and graphics — in other words,everything appearing on a plate “underneath” the largealphanumeric serial and small plate stickers. Semicircular Curves/ DIN-Style (currently 18 states plus District of Columbia)EMBOSSED PLATESUSINGWALD FONT DIES.

California (,): 7-digit. Mostly DINtheme alphas, and oval numerals except 5, 8, zero (numeral 3 intermediate).Serifs on B, D. Squarish O to distinguish from zero. Floating Q.Long diagonal spine on S and top counter much smaller than bottom.The replica font is based on California’s plate lettering. Louisiana (,): 6-digit.

Mostly DIN,although diagonals on numerals are oval-arc style. Maine (,): 7-digit-capable butused for 6. 1994 onward: DIN-style. 1993 and previous: Ovalish numerals,softish square theme for alphas.

Massachusetts (,): 6-digit, mostly DIN,with diagonal-arc tails on 6 and 9, ovalish curves on 2. Angularcorner on top half of numeral 3. Missouri (,): 6 digit. DIN-style.Bent angled 2. New Hampshire (,): 7-digit, mostlyDIN. Serifs on capital I.

Serifless numeral 1, bent angled 2.Use of all numerals on plates starting in 2000. 1999 and prior:6-digit, DIN-style including alphas with angled tails on 6 and9. Angled top on 3. North Dakota (,): 6-digit DIN-themewith angled oval-arc diagonals on 6 and 9, gently curved spine on 2. Ohio (,): 7-digit, DIN-themewith a few squarish (D, P, R, for example), virtually identicalto Ontario dies.

Bent angled 2. Square zero presumablyto distinguish from zero. Washington (,): 7-digit-capable,used for 6. DIN-like overall with exception of small-bowled charactersthat are squarer like B, P, R; plus D (to differentiate better fromzero). Dave Hansen’sfont is a replica based on scans of the state’s plates. Wisconsin (,): 7-digit style since1995, but using 6 digits plus hyphen, except for 7 allowable digitson vanities.

DIN theme with exceptions that include diagonal strokeson 2, 6, and 9. Almost identical to Ontario dies other than 6 and 9.STATES WITH PAST EMBOSSED PLATES IN SEMICIRCULAR CATEGORY. Arizona (,): Switched to flat plates in 2008 (Mixed/Hybrid).

Prior to that, a7-digit-capable embossed font, usedfor 6. DIN-theme plus squarish B, D, P, and R.

Idaho (,): Flat digital since2008 (Semicircular). Before that: 7-digit DIN-styleembossed font from 1995, with squarish B, D, P, and R, ovalish numeral 2, curved diagonal on 7. Montana (,): Went to flat digitalplates in 2003 (Semicircular). In prior years:7-digit narrow DIN-style, with squarish B, P, and R. Tennessee (,): Began using flat plates in 2006 (Mixed/Hybrid). 1985–2006 prior to3M: 6-digit. DIN-style alphas but with serifson B, D, P, R.

Diagonal spine on 2, angled 3, diagonal terminalson 6 and 9.Note:, which was inspired by Ontario’slicense plate font, is also extremely similar to several states’ embossedfonts in this category. In all likelihood, these similar juridictions’ fonts spring from a shared initial set of AutoCAD drawings by Wald for thefont dies, with occasional later modifications along the way.FLAT DIGITAL PLATESUSING3M’S DEFAULT FONT.

District of Columbia (,): Switched to flatdigital with 6 digits in 2001. See Mixed/Hybrid category for previous font. Idaho (,): Flat digital since2008 with 7 digits. Indiana (,): Flatplates since 2003.

6 digits (althoughincluding much smaller 7th-digit alpha character code on plate). Iowa (,): 7-digit usingflat plates since about 1999/2000.

Montana (,): Flat digitalsince 2003 employing 7-digit scheme, but sometimes using only 6 digits depending on circumstances. Nebraska (,): Producing 6-digit flatdigital plates since 2005. Nevada (,): Began producing flat digital plates in late 2006 in a 6-digit format. Texas (,): Switched to 7-digit flatdigital plates in 2009. Wyoming (,): Producing digital flat plates since 2001 using 6 digits, with room for a 7th. Squarish (currently 7 states)EMBOSSED PLATESUSINGWALD FONT DIES.

Colorado (,): 7-digit capable since1993, but currently used as 6 digits. Squarish except oval zero.Serifs on D, none on B. Florida (,): 7-digit-capablesince 1997 (8 digits possible if plate design would accommodateit), but currently used as 6 digits. Bhairava ashtakam tamil pdf. Squarish, with sheared corners(same or similar dies used also for Michigan since 2007). Serifson B and D. 1992 and prior: ovalish numerals, squarish or DIN-likealphas.,a font inspired by Florida’sdesign (though with some differences for design consistency), is alsosimilar to both Michigan and New Jersey’s fonts. Michigan (,): 7-digit since 2005.2007–2008 version became all squarish with sheared corners(Florida’s or Florida-like dies used) — seemingly intendedto be a permanent font change, as base plate also changed at sametime.

2005 version DIN-like but squarish B, D, P, R. Bent angledstroke on 2. Nearly identical dies to Ontario and Ohio, if not completely so. New Jersey (,): 6-digit.

Squarishfont with sheared corners but with DIN-style semicircular zero (sincecapital O is squarish). Nearly identical to the 6-digit squarish/sheared font on Florida’s specialty plates. (The latterstate uses a more condensed 7-digit version of the same font forits general passenger plates.) One difference is that numeral 4in Florida’s 6-digit version employs a double-vertex for theleft corner of the main triangular counter, whereas New Jersey’sversion uses a regular single vertex. Another is the more abbreviatedserifs on numeral 1 in New Jersey’s font compared to Florida’s. New Mexico (,): 6-digit. Squarishwith diagonal tails on 6 and 9, and curved spine on 7.

DIN-stylezero, presumably to distinguish from capital O, although it’s notclear if the latter is in fact a legal character on plates. North Carolina (,): 7-digit. All squarish.Consistently applied theme throughout. The commercially available fontis nearly identical in design concept, albeit with a little widercharacters. Vermont (,): 7-digit-capable,currently used as 6. Same font since 1991. Squarish throughout,with a little more rounded corners than most squarish fonts, exceptoval-arc spine on 2 and DIN-style zero.

Examples of capital O not seen.STATES WITH PAST EMBOSSED PLATES IN SQUARISH CATEGORY. Oklahoma (,): Flat plate switchin 2009 (Mixed/Hybrid). Previously, 6-digit embossedfont with a squarish design was used. Features of the latter: Angular3. High-waisted K. Serifs on B, D, P, and R.

Fairly similar to Florida’s,including 4’s truncated left vertex, except for the angular3, though Florida’s P and R don’t have serifs. Earlyplates in 1960s/70s used dies very similar to Kansas. Iowa (,): Moved to flat plates in 1999/2000 (Semicircular). Prior tothat, 6-digit embossed font, squarish, but softer than usual. Nebraska (,): Producing flat plates since 2005 (Semicircular). Prior to that, plates were embossedwith a 6-digit squarish font, though with softer rounds on the cornersthan some; with angled stroke on 2. Nevada (,): Flat-plate state since 2006 (Semicircular).

Prior to that,the embossed plates used a squarish font, but with angled curvedtails on 6, 9. Oval Curves (currently 5states)EMBOSSED PLATESUSINGWALD FONT DIES. Arkansas (,): For the last decadeor so (including the last few years), the state’s plates havebeen produced mostly by Waldale using an oval font. Prior to thelast few years, there was some alternation in plate production withplates manufactured by Polyvend that have used a hybrid font utilizingDIN-style alphas (but with squarish B, D, P, and R) and ovalishnumerals except for a DIN-style zero.

Hawaii (,): 6-digit. Ovalishsimilar to Kansas. Kansas (,): 6-digit. Ovalishthroughout.

New York (,): 2001 onward: 8-digit-capable, currently used for 7. Narrow, oval-curve-style throughout.Fairly graceful for such a narrow license plate font, except forthe slight hitch halfway between baseline and cap-height on sidesof C, D, G, O, etc.

— no doubt an artifact of the AutoCAD-baseddesign. Oregon (,): 6-digit. Oval-shapedwith a similar feel to the fonts of Kansas and Hawaii, however thereare a few anomalies, though not really enough to push it completelyinto the hybrid category. Breaking the oval-curve theme are thesquarish B and D, while P and R exhibit a more semicircular style.STATES WITH PAST EMBOSSED PLATES IN OVAL CURVES CATEGORY. Alabama (,): Made flat digital switch in 2007 (Mixed/Hybrid). Prior to that:7-digit embossed, ovalish curves throughout.

South Carolina (,): Using flatdigital plates as of 2007/2008 (Mixed/Hybrid). Previous years’ plateswere 6-digit embossed. Oval curves throughout. Mixtures orHybrids (currently 19 states)EMBOSSED PLATESUSINGWALD FONT DIES. Alaska (,): 6-digit.

Light-weight oval numerals with end-caps sheared at slightangle on some terminating strokes. Connecticut (,): 7-digit-capable since2000/2001, used for 6. Squarish but some DIN-like.

Curved diagonaltails on numerals. Georgia (,): Current: 7-digitDIN-theme but terminals end at diagonal angle, 2 is ovalish. Serifson B, D.

2000 and prior: Same but less narrow (6-digit). Illinois (,): 7-digit. DIN-themewith some squarish. Mostly numerals on plates. Diagonal tails onnumerals (nice numbers), open 4, curved 7, long diagonal on 2 directlyinto curved top.

Short Q. Kentucky (,): 6-digit. DIN-flavoredwith ovalish 2, oval diagonal tails on 6 and 9, small/large bowlcombo on 8, but DIN zero. B, P, and R bowls are round rather thansquare. Truck plates are pretty much consistent DIN (added serifon P, though).

Maryland (,): 6-digit. Alphas —mixture of DIN and squarish. Numerals — mixture of ovalish and DIN.

Mississippi (,): 7-digit-capable,used for 6. DIN-style alphas.

Ovalish numerals with DIN8 and zero. Pennsylvania (,): 7-digit.

Combinationof DIN and squarish alphas, plus oval-shaped numerals.(a replica font) and(an “inspired by” version) are both based on Pennsylvania’splates. Rhode Island (,): 6-digit font usedfor 5. DIN-theme alphas with smaller-bowled characters squarer.Mostly DIN-style numerals but hooked diagonal tails on 6 and 9,ovalish 2, slightly curved 7.

Utah (,): 6-digit. Numbers DIN-style but with oval-arc diagonal tails on6 and 9, which both have significantly smaller counters than thenorm. Angled 3, odd (probably to distinguish from B),top serif on J, straight diagonal spine on S directly connectingwith curved top/bottom. West Virginia (,): 6-digit.

Numerals close to official DIN.FLAT DIGITAL PLATESUSING3M’S 2ND DIGITAL FONT (SQUARISH CURVES FOR ALPHAS, OVALISH NUMERALS). Alabama (,): 7-digit. Switched to flat digital platesin late 2007. Arizona (,): 7-digit, usinga modified version of 3M’ssecond flat digital font since 2008. Minnesota (,): Flat digital since 2008.

7-digit fontbut used for 6. 3M’ssecond digital font used by the states in this sub-category isbased on Minnesota’sprevious embossed font. Oklahoma (,): Flat digital switch made in 2009.

7-digit-capable,currently used as 6. South Carolina (,): Producing flat platessince 2007/2008.

South Dakota (,): 6-digit. Beganusing flat plates in 2006. Tennessee (,): Flat plates since 2006,using 6 digits.OTHER FLAT DIGITAL PLATESUSING CLASSIC-STYLE FONT. Delaware (,): 7-digit-capablebut used for 6. Delaware’s plates had been flat but screen-printedfor many years prior to its switch to digital plates in 2002. Up untilthat time, its plates used a classic-style font following a DIN-likedesign template with ovalized influences.When the switch to digital production was made, a pseudo-condensedversion of Arial was substituted to much subsequent publicoutcry. Over the following few years a couple of different attemptswere made to create a new digital design that matched the previousscreen-printed plate font, with a reasonably close facsimile ofthe traditional font achieved by late 2006.

Numbers only are usedon the general passenger issue. As mentioned, the font design ismostly DIN-like with a bit of ovalized-curve influence, plus acouple of other differences: The endstrokes on otherwise-DIN-like2, 3, 5, 6, and 9 are angled (rather than vertical), numerals 2and 3 are constructed with an overall oval-curved theme, and numeral4 includes a bottom serif.STATES WITH PAST EMBOSSED PLATES IN MIXED/HYBRID CATEGORY. District of Columbia (,): Switched to flat digital plates in 2001 (Semicircular). Prior tothat: 6-digitembossed hybrid font with DIN-style alphas and oval numerals (exceptfor DIN zero). Unique 3 combining angled top with oval bottom,though not particularly attractive.

Indiana (,): Switched to flat digital in 2003 (Semicircular). Before that, 6-digit embossed font based on oval curves(and using same 7th-digit smaller alpha code). Plate serials boththen and now have used all numerals other than the lone single-digitalpha code. The previous classic embossed font was a hybrid of oval-curvealphas plus mostly DIN-style numerals with some ovalish elementsthrown in, such as the diagonal-curve tails on 6 and 9, and oval-arccurve on spine of both 2 and 7. Minnesota (,): Moved to flat digitaltags in 2008 (Mixed/Hybrid). 7-digit fontbut used for 6.

Previous embossed plates used same font design — squarishalphas but with numbers based on oval curves — and was usedas the model for 3M’s second flat digital font. South Dakota (,): Began producingflat plates in 2006 (Mixed/Hybrid). Prior to that, used a 6-digit mostlyDIN-style font from 2000–2006, but some years were squarish.Hooked diagonal tails on 6 and 9. Diagonal central stroke manyyears, but ovalish another year. Texas (,): Switched to flat digital font in 2009 (Semicircular). Beforethat, 7-digit-capable embossed, but spaced widely and used for 6.

Combination of DIN and squarish alphas, with ovalishnumerals. Letters are often high-waisted such as K, P, R, S, X,Y, or the bend in 7. Open 4 like California’s.

Wyoming (,): Switched to flatdigital in 2001 (Semicircular). Previous embossed plates employeda 7-digit-capable font, though used for 5, 6, or 7, with ovalishnumerals. Alphas were mostly DIN with some oval, though not as prominent,either at smaller size on plate using a two-digit stacked code,or single-digit code atfull-size. Serif (1 state currently)EMBOSSED PLATESUSINGWALD FONT DIES.

Virginia (,): 7-digit. The onlybook-typography font style with bracketed (tapered) serifs seenon any Western country’s license plates. (All other licenseplate fonts are sans-serif — with only occasional slab-style serifsadded on some letters to prevent confusion with similar characters.)Numerals have some resemblance to Times Roman in condensed form.The serif style of the alphas is different, with characters inconsistentin form and weight from one character to the next. Semicircular /DIN-Style. Canal Zone :7-digit-capable but used for 5. DIN-style since 1976. Puerto Rico (,):6-digit consistently used die style since 1973 for passenger plates.DIN-style but more squarish on smaller bowls (B, P, R).

Diagonalhooked tails on 6 and 9, ovalish 2. Recent specialty plates as ofat least 2008 use 3M’s newer 6-digit digital font printedon flat plates. Virgin Islands (,):6-digit. Up through 2004, the general passenger issue used oval-styleembossed dies of a consistent make since 1993. In 2005, the diesused are the Irwin-Hodson DIN-style font employed on Mississippi’splates and those of several Canadian states (see below). Specialtyplates have used a few different fonts including Colorado’ssquarish digital font. Semicircular /DIN-Style.

British Columbia (,): 6-digit DIN-style. Northwest Territories (,): 7-digit-capablefont, but used for 5 digits on small plate stamped out in the shapeof a polar bear.

This embossed font takes the Neo-Grotesque typefaceUnivers as its obvious model, and therefore falls somewhat outsidethe typical license plate font style categories. What’s interestingabout this is that Univers was the original typeface designed in1956 that a later typeface, Zurich, is an inexact clone of. Zurichis in turn the typeface on which 3M based its first digital defaultfont which has been elsewhere in this article.Differences between the Northwest Territory implementationcompared to 3M’s digital takeoff are that it’s lesscondensed and also is not monospaced, retaining Univers’ proportionalspacing, which together open up the counters some and improve thelegibility somewhat. Nunavut also uses the same dies, andthe proportional lettering (for example the wideletter M) can be better seen in the link given below for Nunavut.

Nunavut (,): Same 7-digit-capablefont as the Northwest Territories (see above), but used for 6 digits(despite just 2,000 registered vehicles) on small plate stampedout in the shape of a polar bear. Nunavut used to be part of theNorthwest Territories and therefore retained the same polar bearplate after separation since Nunavut is where most of the bearsare concentrated. Ontario (,): 7-digit, DIN-styleexcept zero, D, and small-bowled B, P, and R. This font was theinspiration fordesigned by Canada Type, which is based in Toronto, Ontario.

Oval Curves. Alberta (,): 6-digit oval. SameWaldale dies as Arkansas, Manitoba, New Brunswick, and a few others.(Thanks to David Nicholson’s 15q.net site — no relationto this author — for this piece of information.). Manitoba (,): 6-digit Waldale oval dies. New Brunswick (,): 6-digit Waldale oval dies.

Newfoundland and Labrador(,): 6-digit Waldale ovaldies starting in 2007. Previously, Irwin-Hodson 6-digit DIN-styledies had been used from 2004–2005, which were a variant of the 7-digitDIN-style Irwin-Hodson dies used by Mississippi. The switch wasdue to Irwin-Hodson and Waldale having merged in late 2006/ early2007, with the Newfoundland contract returning to Waldale in Canada. Nova Scotia (,): 6-digit Waldaleoval dies, using a version since 2002 that’s very similarto but slightly different from the oval Waldale dies used forAlberta, Manitoba, and New Brunswick. See at 15Q.net for a bit of additional insight (bottom of page). Mixtures or Hybrids.

Prince Edward Island (,): 7-digit-capable(as seen on vanity plates), used for 5 digits on general passengerissues. DIN-style alphas similar to Ontario’s plates, butnumbers have a more ovalized-curve theme (other than 8 and 0 whichare DIN-theme) such as 2, 3, and 5, the curved diagonal on 7, andthe diagonal tails on 6 and 9. Yukon Territory (,): 6-digit, used for5. Font design has varied over the years due to the productioncontract going back and forth between competing vendors, and thefonts for any given contract may themselves be hybrid in design.As nearly as we can tell, the style since 2003 uses an ovalizedfont, but may be changing as of 2008 back to a DIN-style with afew ovalized elements that had been used at other times in prior years.Mexico. Oval – All States.,– Althoughthe Mexican states have had individually designed base plate graphicssince 1998, the same font is used on all. Prior to 1998, Mexicanplates regardless of state shared a common base plate design identicalin every respect except for the state identifier, containing onlyplate letters/ numbers and no graphics.

The current font since 1998is a 7-digit oval die font with almost the same design as the previous7-digit font, but smaller in size, the previous one having beenthe same larger size normally used on U.S. And Canadian plates.Both pre- and post-1998 fonts contain oval curves with a designvery similar to U.S. States such as Kansas and pre-2007 Alabama.(One notable difference, though, is a long, straight diagonalspine on capital S compared to the all-curved S’s in mostother oval-theme fonts.) Other than the reduction in size, thepost-1998 version retains all but a couple of features from thepre-1998 font.

The previous numeral 4 had a single left vertexthat has now been truncated, so that in its place are two closelyspaced vertexes with a short vertical connecting stroke. Also,the W now has perfectly vertical sides rather than slanted, andappears to be identical to M except turned upside-down.:Flat Digital Plates in the U.S. — End of the Embossed Era?(North America, cont.):North American License Plate Fonts (U.S., Canada, and Mexico)LicensePlate Fonts of the Western WorldPage: North America (2).

Whether you are writing a college paper or an article for publication in a journal, the appearance of your manuscript can leave a positive or negative impression on its reader. Even if your paper is well-written and has good ideas and solid research, readers might think less of your writing if its format or font makes reading difficult. Fonts signal the tone of a paper. For example, the font Times New Roman is a basic font that is often used for academic papers. Conversely, a font like Chalkboard is whimsical and may be used for a casual letter or message. To be certain your work looks professional, follow American Psychological Association (APA) guidelines on using recommended fonts and font sizes. The APA suggests that writers use a 12-point Times New Roman font for manuscripts.

This is a recommendation and not a requirement. There may be cases in which you might use a different font. If this is a college paper, for example, check with your professor about what is acceptable. Some professors have their own preferences for font and other formatting.

If you are submitting an article for publication, the journal will have its own formatting and font requirements that you will need to follow. Other Acceptable Fonts. If you want to use a font other than Times New Roman, the APA recommends that you use a serif font for text. Serif fonts are fonts that have small strokes or embellishments at the ends of the main parts of each letter. Serif fonts improve readability and are easier on the eyes than sans serif fonts (fonts without these embellishments). Serif fonts are fonts such as Courier, Georgia, Century and Baskerville. These are also considered more professional choices than fonts that are sans serif or without serifs.