In typography, a typeface is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, condensation, slant, italicization and designer or foundry. For example, "ITC Garamond Bold Condensed Italic" means the bold, condensed-width, italic version of ITC Garamond, it is a different font from "ITC Garamond Condensed Italic" and "ITC Garamond Bold Condensed", but all are fonts within the same typeface, "ITC Garamond". ITC Garamond is a different typeface from "Adobe Garamond" or "Monotype Garamond". There are thousands of different typefaces with new ones being developed constantly; the art and craft of designing typefaces is called type design. Designers of typefaces are called type designers and are employed by type foundries. In digital typography, type designers are sometimes called font developers or font designers; every typeface is a collection of glyphs, each of which represents an individual letter, punctuation mark, or other symbol.
The same glyph may be used for characters from different scripts, e.g. Roman uppercase A looks the same as Cyrillic uppercase А and Greek uppercase alpha. There are typefaces tailored for special applications, such as map-making or astrology and mathematics; the term typeface is confused with the term font. Before the advent of digital typography and desktop publishing, the two terms had more understood meanings. In professional typography, the term typeface is not interchangeable with the word font, because the term font has been defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font, 10-point Caslon Italic was another. Fonts came in specific sizes determining the size of characters, in quantities of sorts or number of each letter provided; the design of characters in a font took into account all these factors. As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific weight and stylistic variants have led to font families, collections of related typeface designs that can include hundreds of styles.
A font family is a group of related fonts which vary only in weight, width, etc. but not design. For example, Times is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families include several fonts, though some, such as Helvetica, may consist of dozens of fonts; the distinction between font and typeface is that a font designates a specific member of a type family such as roman, boldface, or italic type, while typeface designates a consistent visual appearance or style which can be a "family" or related set of fonts. For example, a given typeface such as Arial may include roman and italic fonts. In the metal type era, a font meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size; the first "extended" font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting with ATF's Cheltenham, with an initial design by Bertram Grosvenor Goodhue, many additional faces designed by Morris Fuller Benton.
Examples include Futura, Lucida, ITC Officina. Some became superfamilies as a result such as Linotype Syntax, Linotype Univers. Typeface superfamilies began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing Clearface; the superfamily label does not include quite different designs given the same family name for what would seem to be purely marketing, rather than design, considerations: Caslon Antique, Futura Black and Futura Display are structurally unrelated to the Caslon and Futura families and are not considered part of those families by typographers, despite their names. Additional or supplemental glyphs intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the Adobe Systems type group introduced the idea of expert set fonts, which had a standardized set of additional glyphs, including small caps, old style figures, additional superior letters and ligatures not found in the main fonts for the typeface.
Supplemental fonts have included alternate letters such as swashes and alternate character sets, complementing the regular fonts under the same family. However, with introduction of font formats such as OpenType, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs. Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way; these fonts included the characters which were missing on either Macintosh or Windows computers, e.g. fractions, ligatures or some accented glyphs. The goal was to deliver t
An airplane or aeroplane is a powered, fixed-wing aircraft, propelled forward by thrust from a jet engine, propeller or rocket engine. Airplanes come in a variety of sizes and wing configurations; the broad spectrum of uses for airplanes includes recreation, transportation of goods and people and research. Worldwide, commercial aviation transports more than four billion passengers annually on airliners and transports more than 200 billion tonne-kilometres of cargo annually, less than 1% of the world's cargo movement. Most airplanes are flown by a pilot on board the aircraft, but some are designed to be remotely or computer-controlled; the Wright brothers invented and flew the first airplane in 1903, recognized as "the first sustained and controlled heavier-than-air powered flight". They built on the works of George Cayley dating from 1799, when he set forth the concept of the modern airplane. Between 1867 and 1896, the German pioneer of human aviation Otto Lilienthal studied heavier-than-air flight.
Following its limited use in World War I, aircraft technology continued to develop. Airplanes had a presence in all the major battles of World War II; the first jet aircraft was the German Heinkel He 178 in 1939. The first jet airliner, the de Havilland Comet, was introduced in 1952; the Boeing 707, the first successful commercial jet, was in commercial service for more than 50 years, from 1958 to at least 2013. First attested in English in the late 19th century, the word airplane, like aeroplane, derives from the French aéroplane, which comes from the Greek ἀήρ, "air" and either Latin planus, "level", or Greek πλάνος, "wandering". "Aéroplane" referred just to the wing, as it is a plane moving through the air. In an example of synecdoche, the word for the wing came to refer to the entire aircraft. In the United States and Canada, the term "airplane" is used for powered fixed-wing aircraft. In the United Kingdom and most of the Commonwealth, the term "aeroplane" is applied to these aircraft. Many stories from antiquity involve flight, such as the Greek legend of Icarus and Daedalus, the Vimana in ancient Indian epics.
Around 400 BC in Greece, Archytas was reputed to have designed and built the first artificial, self-propelled flying device, a bird-shaped model propelled by a jet of what was steam, said to have flown some 200 m. This machine may have been suspended for its flight; some of the earliest recorded attempts with gliders were those by the 9th-century poet Abbas ibn Firnas and the 11th-century monk Eilmer of Malmesbury. Leonardo da Vinci researched the wing design of birds and designed a man-powered aircraft in his Codex on the Flight of Birds. In 1799, George Cayley set forth the concept of the modern airplane as a fixed-wing flying machine with separate systems for lift and control. Cayley was building and flying models of fixed-wing aircraft as early as 1803, he built a successful passenger-carrying glider in 1853. In 1856, Frenchman Jean-Marie Le Bris made the first powered flight, by having his glider "L'Albatros artificiel" pulled by a horse on a beach. Alexander F. Mozhaisky made some innovative designs.
In 1883, the American John J. Montgomery made a controlled flight in a glider. Other aviators who made similar flights at that time were Otto Lilienthal, Percy Pilcher, Octave Chanute. Sir Hiram Maxim built a craft that weighed 3.5 tons, with a 110-foot wingspan, powered by two 360-horsepower steam engines driving two propellers. In 1894, his machine was tested with overhead rails to prevent it from rising; the test showed. The craft was uncontrollable, which Maxim, it is presumed, because he subsequently abandoned work on it. In the 1890s, Lawrence Hargrave conducted research on wing structures and developed a box kite that lifted the weight of a man, his box kite designs were adopted. Although he developed a type of rotary aircraft engine, he did not create and fly a powered fixed-wing aircraft. Between 1867 and 1896, the German pioneer of human aviation Otto Lilienthal developed heavier-than-air flight, he was the first person to make well-documented, successful gliding flights. Clement Ader constructed his first of three flying machines in the Éole.
It was a bat-like design run by a lightweight steam engine of his own invention, with four cylinders developing 20 horsepower, driving a four-blade propeller. The engine weighed no more than 4 kg/kW; the wings had a span of 14 m. All-up weight was 300 kg. On 9 October 1890, Ader attempted to fly the Éole. Aviation historians give credit to this effort as a powered take-off and uncontrolled hop of 50 m at a height of 20 cm. Ader's two subsequent machines were not documented to have achieved flight; the Wright brothers flights in 1903 are recognized by the Fédération Aéronautique Internationale, the standard setting and record-keeping body for aeronautics, as "the first sustained and controlled heavier-than-air powered flight". By 1905, the Wright Flyer III was capable of controllable, stable flight for substantial periods; the Wright brothers credited Otto Lilienthal as a major inspiration for their decision to pursue manned flight. In 1906, Alberto Santos-Dumont made what was claimed to be the first airplane flight unassisted by catapult and set the first world record recognized by the Aéro-Club de France by flying 220 meters in less than 22 seconds.
This flight was certified by the FAI. An ear
The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus, is the best-known symbol of Christianity. It is related to the crucifix and to the more general family of cross symbols, the term cross itself being detached from the original Christian meaning in modern English; the basic forms of the cross are the Latin cross with unequal arms and the Greek cross with equal arms, besides numerous variants with confessional significance, such as the tau cross, the double-barred cross, triple-barred cross, cross-and-crosslets, many heraldic variants, such as the cross potent, cross pattée, cross moline, cross fleury, etc. John Pearson, Bishop of Chester wrote in his commentary on the Apostles' Creed that the Greek word stauros signified "a straight standing Stake, Pale, or Palisador", but that, "when other transverse or prominent parts were added in a perfect Cross, it retained still the Original Name", he declared: "The Form of the Cross on which our Saviour suffered was a simple,', by whose Procurator he was condemned to die.
In which there was not only a straight and erected piece of Wood fixed in the Earth, but a transverse Beam fastned unto that towards the top thereof". There are few extant examples of the cross in 2nd century Christian iconography, it has been argued that Christians were reluctant to use it as it depicts a purposely painful and gruesome method of public execution. A symbol similar to the cross, the staurogram, was used to abbreviate the Greek word for cross in early New Testament manuscripts such as P66, P45 and P75 like a nomen sacrum; the extensive adoption of the cross as Christian iconographic symbol arose from the 4th century. However, the cross symbol was associated with Christians in the 2nd century, as is indicated in the anti-Christian arguments cited in the Octavius of Minucius Felix, chapters IX and XXIX, written at the end of that century or the beginning of the next, by the fact that by the early 3rd century the cross had become so associated with Christ that Clement of Alexandria, who died between 211 and 216, could without fear of ambiguity use the phrase τὸ κυριακὸν σημεῖον to mean the cross, when he repeated the idea, current as early as the apocryphal Epistle of Barnabas, that the number 318 in Genesis 14:14 was interpreted as a foreshadowing of the cross and of Jesus.
His contemporary Tertullian rejected the accusation of Christians being "adorers of the gibbet". In his book De Corona, written in 204, Tertullian tells how it was a tradition for Christians to trace on their foreheads the sign of the cross; the crucifix, a cross upon which an image of Christ is present, is not known to have been used until the 6th century AD. The oldest extant depiction of the execution of Jesus in any medium seems to be the second-century or early third-century relief on a jasper gemstone meant for use as an amulet, now in the British Museum in London, it portrays a naked bearded man whose arms are tied at the wrists by short strips to the transom of a T-shaped cross. An inscription in Greek on the obverse contains an invocation of the redeeming crucified Christ. On the reverse a inscription by a different hand combines magical formulae with Christian terms; the catalogue of a 2007 exhibition says: "The appearance of the Crucifixion on a gem of such an early date suggests that pictures of the subject may have been widespread in the late second or early third century, most in conventional Christian contexts".
The Jewish Encyclopedia says: The cross as a Christian symbol or "seal" came into use at least as early as the second century. Accordingly the Christian Fathers had to defend themselves, as early as the second century, against the charge of being worshipers of the cross, as may be learned from Tertullian, "Apologia," xii. xvii. and Minucius Felix, "Octavius," xxix. Christians used to swear by the power of the cross Catholics, Orthodox Catholic, Oriental Orthodox, members of the major branches of Christianity with other adherents as Lutheranism and Anglicans, others make the Sign of the Cross upon themselves; this was a common Christian practice in the time of Tertullian. The Feast of the Cross is an important Christian feast. One of the twelve Great Feasts in Orthodox Catholic is the Exaltation of the Cross on September 14, which commemorates the consecration of the basilica on the site where the original cross of Jesus was discovered in 326 by Helena of Constantinople, mother of Constantine the Great.
The Catholic Church celebrates the feast on the same day and under the same name, though in English it has been called the feast of the Triumph of the Cross. Roman Catholic, Eastern Orthodox and Anglican bishops place a cross before their name when signing a document; the dagger symbol placed. In many Christian traditions, such as the Methodist Churches, the altar cross sits atop or is suspended above the altar table and is a focal
In typography, a dingbat is an ornament, character, or spacer used in typesetting employed for the creation of box frames. The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions designated for alphabetical or numeric characters. Examples of characters included in Unicode: The advent of Unicode and the universal character set it provides allowed used dingbats to be given their own character codes. Although fonts claiming Unicode coverage will contain glyphs for dingbats in addition to alphabetic characters, fonts that have dingbats in place of alphabetic characters continue to be popular for ease of input; such fonts are sometimes known as pi fonts. Some of the dingbat symbols have been used as signature marks, used in bookbinding to order sections; the Dingbats block was added to the Unicode Standard in June 1993, with the release of version 1.1. This code block contains decorative character variants, other marks of emphasis and non-textual symbolism.
Most of its characters were taken from Zapf Dingbats. The Dingbats block contains 33 emoji: U+2702, U+2705, U+2708–U+270D, U+270F, U+2712, U+2714, U+2716, U+271D, U+2721, U+2728, U+2733–U+2734, U+2744, U+2747, U+274C, U+274E, U+2753–U+2755, U+2757, U+2763–U+2764, U+2795–U+2797, U+27A1, U+27B0 and U+27BF; the block has 40 standardized variants defined to specify emoji-style or text presentation for the following twenty base characters: U+2702, U+2708–U+2709, U+270C–U+270D, U+270F, U+2712, U+2714, U+2716, U+271D, U+2721, U+2733–U+2734, U+2744, U+2747, U+2753, U+2757, U+2763–U+2764 and U+27A1. The Dingbats block has four emoji, they can be modified using U+1F3FB–U+1F3FF to provide for a range of skin tones using the Fitzpatrick scale: Additional human emoji can be found in other Unicode blocks: Emoticons, Miscellaneous Symbols, Miscellaneous Symbols and Pictographs, Supplemental Symbols and Pictographs and Transport and Map Symbols. The following Unicode-related documents record the purpose and process of defining specific characters in the Dingbats block: The Ornamental Dingbats block was added to the Unicode Standard in June 2014 with the release of version 7.0.
This code block contains ornamental leaves and ampersands, quilt squares, checkerboard patterns. It is a subset of dingbat fonts Webdings and Wingdings 2. Arrows in Unicode blocks Fleuron, known as a class of horticultural dingbats Punctuation Text semigraphics, a method for emulating raster graphics using text mode video hardware Unicode symbols Webdings, a TrueType dingbat font designed at Microsoft and published in 1997 Wingdings, a TrueType dingbat font assembled by Microsoft in 1990, using glyphs from Lucida Arrows, Lucida Icons, Lucida Stars, three fonts they licensed from Charles Bigelow and Kris Holmes Zapf Dingbats, a dingbat font designed by Hermann Zapf in 1978, licensed by International Typeface Corporation Retinart: A history of often-seen typographic marks Dingbat Depot: a large, well-known archive of free dingbat fonts
Crosses in heraldry
A number of cross symbols were developed for the purpose of the emerging system of heraldry, which appeared in western Europe in about 1200. This tradition is in the use of the Christian cross an emblem from the 11th century, during the age of the Crusades. A large number of cross variants were developed in the classical tradition of heraldry during the late medieval and early modern periods. Heraldic crosses are inherited in modern iconographic traditions and are used in numerous national flags; the Christian cross emblem was used from the 5th century, deriving from a T-shape representing the gibbet of the crucifixion of Jesus in use from at least the 2nd century. The globus cruciger and the staurogram is used in Byzantine coins and seals during the Heraclian period. Under the Heraclian dynasty, coins depict crosses potent, patty or pommy; the cross was used as a field sign by the Christian troops during the Crusades. In 1188, Kings Henry II of England and Philip II of France agreed to launch the Third Crusade together, that Henry would use a white cross and Philip a red cross.
The red-on-white cross came to be used by the Knights Templar, the white-on-red one by the Knights Hospitaller. Early cross or spiral-like shield decorations, not with Christian symbolism, are found on depictions of shields of the 11th century. Heraldry emerged in western Europe at the start of the 13th century out of earlier traditions; the basic variants of the red-on-white and the white-on-red crusaders' cross were continued independently in the flags of various states in the 13th and 14th century, including the Duchy of Genoa, the Electorate of Trier, the Bishopric of Constance and the Kingdoms of England and Georgia, which last two had special devotions to St George. On one hand; the cross appears as heraldic charge in the oldest rolls of arms, from about 1250. A roll of arms of the 13th century lists the coats of arms of various noblemen distinguished by crosses of different tinctures: Le Conte de Norffolk, d'or a ung crois de goulez. Glover's Roll, a 16th-century copy of a roll of arms of the 1250s has depictions of various heraldic crosses, including the or a cross gules of the earl of Norfolk, gules, a cross argent of Peter of Savoy, argent a cross gules of Robert de Veer, gules a cross flory vair of Guillaume de Forz, Comte d'Aumale, gules a cross fleury argent of Guillaume Vescy, gules a cross saltire engrele of Fulke de Escherdestone, argent a cross fleury azure of John Lexington, azure three crosses or of William de Sarren, or a cross gules, five scallops argent of Ralph Bigod, gules a cross fourchy argent of Gilbert de Vale, argent a cross fleury sable of John Lamplowe, or a cross saltire gules, a chief gules of Robert de Brus, gules a cross saltire argent of Robert de Neville, or a cross voided gules of Hamond de Crevecoeur, azure a cross or, four lions rampant or of Baudouin Dakeney.
In addition, the Glover Roll has semy of crosses crosslet as a tincture in several coats of arms. The desire to distinguish one's coat of arms from others led to a period of substantial innovation in producing variants of the basic Christian cross by the early 14th century; the great number of variants of crosses, the deep history of such variants results in confusing and contradictory terminology. In the heraldry of the Holy Roman Empire, the cross is comparatively rare in the coats of arms of noble families because the plain heraldic cross was seen as an imperial symbol, but in the 14th century the plain cross is used in the seals and flags of several prince-bishoprics, including Trier and Cologne. Looking back on the crusades as the foundational period of knighthood, the badge of the cross became associated with the idealized Christian knight of romance, as expressed by Spenser: "And on his brest a bloodie crosse he bore, The deare remembrance of his dying Lord, For whose sweete sake that glorious badge he wore, And dead, as living his ador'd: Upon his shield the like was scor'd.
The black-on-white cross worn by the Teutonic Knights was granted by Innocent III in 1205. The coat of arms representing the grand master is shown with a golden cross fleury or cross potent superimposed on the black cross, with the imperial eagle as a central inescutcheon; the golden cross fleury overlaid on the black cross becomes used in the 15th century. A legendary account attributes its introduction to Louis IX of France, who on 20 August 1250 granted the master of the order this cross as a variation of the Jerusalem cross, with the fleur-de-lis symbol attached to each arm. While this legendary account cannot be traced back further than the early modern period there is some evidence that the design does indeed date to the mid 13th century; the black cross patty was used for military decoration and insignia by the Kingdom of Prussia and gave rise to the cross patty in the German Reichskriegsflagge and the Iron Cross and Pour le Mérite orders. The Nordic cross is an
A nib is the part of a quill, dip pen, fountain pen, or stylus which comes into contact with the writing surface in order to deposit ink. Different types of nibs vary in their purpose and size, as well as the material from which they are made; the quill replaced the reed pen across Europe by the Early Middle Ages and remained the main writing tool of the West for nearly a thousand years until the 17th century. Quills are fashioned by cutting a nib into the end of a feather obtained from a large bird, such as a goose, traditionally from its left wing. A quill has the advantage of being more durable and more flexible than a reed pen, it can retain ink in the hollow shaft of the feather, known as the calamus, allowing more writing time between ink dippings; the quill was in common use until the advent of the metal nib. For business purposes, the quill was quickly overtaken. Metal nibs have their origins as far back as ancient Egypt and were made of metals like copper and bronze. However, the quality of writing that could be achieved with these pens was inferior to that of reed pens.
Metallic nibs were made up through the 18th-century as craftsman-made luxury items. In the early 1800s, Wise in Britain, Peregrine Williamson in the United States were the first recorded makers of steel pens as their primary occupation, it was not until the 1820s, when John Mitchell, Josiah Mason and others set up a factories in Birmingham, England to manufacture steel nibs, that their popularity took off. The metal nib retains a sharp point or edge much longer than the quill, which wears out more and requires much skill to sharpen. Metal nibs are easily manufactured to have different properties for different purposes, they can now be attached to and removed from holders, allowing one to switch between nibs with relative ease. Pen nibs come in a variety of different shapes and sizes for different purposes but can be split into two main types: broad nibs and pointed nibs; the broad nib called broad-edge or chisel-edge, is the older of the two nib types. It has a flat edge; the pen is held at a constant angle to the horizontal.
Thick and thin strokes are created by varying the direction of the stroke. Many writing styles have developed over the centuries with the broad nib, including the medieval Uncial and Carolingian minuscule scripts, the Italic Hand of the Renaissance, more Edward Johnston's Foundational Hand, developed in the early 20th century; the pointed nib comes to a sharp point rather than a broad edge. Thick and thin strokes are achieved by varying the amount of pressure on the nib. Thick lines are created on downstrokes by pushing down on the nib, causing the nib tines to splay and allowing more ink to flow through the widened slit onto the writing surface. Lighter pressure produces less flexing of the tines; the finest hairline strokes are created on sideways strokes. Due to the shape of the pointed nib, thick lines can only be produced on downstrokes. If too much pressure is applied to the pen on an upstroke, the nib tines are to dig into the paper. Pointed nibs originated in the 17th century and were created by hand from quills in a similar fashion to broad-edge nibs.
Towards the end of the Industrial Revolution in the early 19th century, a high demand for nibs coupled with steel manufacturing processes led to the mass production of the steel nib. Pointed nibs led to the development of newer styles of penmanship such as the English Round Hand and Copperplate scripts during the 17th and 18th centuries, as well as the Spencerian script in the 19th century. Pointed pens are used by artists and drafters for sketching and technical drawing. Although any pointed nib can be used for drawing, there are nibs available that resemble writing nibs but are specially designed for pen drawing. A stub nib lies somewhere between a broad and a pointed nib; the stub nib comes to a flat point, like a broad nib, pulling the pen down will create a wider line than a line drawn across, like a broad nib. The main differences are in matters of degree. In a stub nib, the nib is smaller than in a broad nib, though there are some broad nibs that would be considered a stub nib. In a stub nib, the corners are more rounded than in a sharp broad nib used for decorative writing.
This is because stub nibs on steel pens were invented as a reaction to the sharp and scratchy nature of the early pointed steel pens, are intended to be for rapid and easy writing. Many of the early steel stub nibs were marketed to professions who had a need to write large amounts of text without caring if the text was finely written or not. Names such as Judge's Quill, or Probate Pen or Lawyer's Pen all point to the legal profession as a major type of customer. You had other professions like Chancellors or Congressional which imply people who needed to write a lot, to write it and easily. You find stub nibs most today on fountain pens; these are measured in millimeters. On fountain pens, the difference between a broad nib and a stub nib can get murkier with all of the variations ranging from what's called an Italic nib, which tends to have sharper corners like a traditional broad dip nib, to a Cursive Italic or some such variation with more rounded corners to facilitate smooth and continuous writing.
A stub nib can be a good choice if you like the modulation in line you can ge
Webdings is a TrueType dingbat typeface developed in 1997. It was distributed with Internet Explorer 4.0 as part of Core fonts for the Web, is included in all versions of Microsoft Windows since Windows 98. All of the Webding glyphs that are not unifiable with existing Unicode characters were added to the Unicode Standard when version 7.0 was released in June 2014. There are some "categories" of symbols in Webdings. Symbol trends like this in the font include weather icons, land with different structures built on top, vehicles and ICT. Symbols which are the Webdings equivalent of characters not available on an English keyboard exist in the font. An unusual character in the font was the "man in business suit levitating", a humanized exclamation point. According to Vincent Connare, who designed the font, the character was intended as a nod to the logo of the British ska record label 2 Tone Records; the character has since been adopted as an emoji: U+1F574 MAN IN BUSINESS SUIT LEVITATING. Connare designed the lightning bolt symbol to resemble the one on the cover of the David Bowie album Aladdin Sane.
Following the controversy over possible anti-Semitic messages in the Wingdings font, Connare intentionally rendered the Webdings character sequence "NYC" as an eye, a heart, a city skyline, referring to the I Love New York logo. Core fonts for the Web Wingdings Webdings font information Webdings info page Downloadable version of Webdings for Windows