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Part IV: Unleashing Day-to-Day Windows 98 > Using Fonts in Windows 98 - Pg. 476

476 Chapter 20. Using Fonts in Windows 98 IN THIS CHAPTER · · · · · · · · · · Fontamentals, Part I: The Architecture of Characters Fontamentals, Part II: Screen Fonts Versus Printer Fonts Fontamentals, Part III: The Font-Rendering Mechanism Working with Fonts Adding New Fonts to Windows 98 Deleting Old Fonts Font Tips Using Character Map for Extra Symbols and Characters Font Limitations Troubleshooting Fonts Letterforms conceal arbitrarily deep mysteries. -- Douglas Hofstadter Windows has turned many otherwise ordinary citizens into avid amateur typographers. People at cocktail parties the world over are debating the relative merits of serif versus sans serif fonts, ex- pounding the virtues of typefaces with names like Desdemona and Braggadocio, and generally just byte-bonding over this whole font foofaraw. OK, so most of us don't take fonts to that extreme. However, we certainly appreciate what they do to jazz up our reports, spreadsheets, and graphics. There's nothing like a well-chosen font to add just the right tone to a document and to make our work stand out from the herd. This chapter shows you how Windows 98 and fonts work together. You learn just what fonts are and how Windows 98 sees them, and then you learn a few techniques for dealing with the fonts on your system. Fontamentals, Part I: The Architecture of Characters Back in the days when DOS dinosaurs dominated the PC landscape, people rarely had to pay much attention to the characters that made up correspondence and memos. Outside of a measly few effects (such as making words bold), there wasn't a whole lot you could do with individual letters and symbols, so they became mere foot soldiers in any given war of words. The advent of the graphical interface changed all that, however. With Windows, it suddenly became a snap to alter the size and shape of letters and numbers and therefore impart an entirely different atmosphere to writings. The engine behind this newfound typographical prowess was, of course, the font.