Bodoni 72 Oldstyle Book Italic 7.0d1e1 font (Font family name: Bodoni 72 Oldstyle; ... Bodoni 72 OS.ttc Bodoni 72 Smallcaps Book.ttf Bodoni 72.ttc Bodoni Ornaments.ttf ... f5574a87f2 Bodoni 72 Small Caps Book Font 41.
We have 41 free Fashion, Serif Fonts to offer for direct downloading 1001 Fonts is ... Fonts 1 - 10 of 41 .. Hawx2unlockallplanessavepcbodoni 72 small caps fontElsie Swash Caps Regular ... Libre Bodoni Regular ...
Bodoni 72 Small Caps Book Font 41
The book's text is set in a prerelease version of Adobe Jenson, a Multiple.. Master font ... capital, or uppercase, letter is called the cap height; the height of a small, or ... There are approximately 72 points, or 6 picas, to an inch, but the ... The top face is Bodoni and the bottom face is Park Avenue (both of ... 41K font suitcase.
Personally, I find elements such as colour palettes, themes and fonts can ... 41 NA Georgia.afm.gz ## 42 NA Georgia Bold.afm.gz ## 43 NA Georgia ... Ornaments.ttf ## 26 /Library/Fonts/Bodoni 72 Smallcaps Book.ttf ## 27 ...
Everybody ran to make fonts with Fontographer on the Mac and then that wave subsided a bit.. ... from light to bold, and contains small caps and number sets for all occasions.. ... Have you seen the Cyrillic version of the ITC Bodoni 72? ... In September 2009, the university opened new academic centre 41 ...
The counterpart Stone Sans type family is distinguished by its low contrast. The x-height is rather large, while character proportions are slightly narrowed. Diagonals are cut off at a right angle to the stroke axis. Work on the Cyrillic version was started by Vladimir Yefimov at ParaGraph in 1994 and Maxim Zhukov advised on the project. Today, this wonderful humanistic sans-serif contains six styles with Cyrillic, while the Medium and Semibold have small caps. All styles are equipped with Old-style figures, fractions, subscript and superscript characters, and a number of Latin ligatures.
Cycles has calm, open forms in both the Roman and Italic faces. The elongated serifs, as in Stone Print, are marginally concave. The axes of the lowercase c, d and e are angled, which reminds us of the handwritten foundation of the forms, like in many Old-style serifs. At the same time, the axis inclination of the letters b, p and q is less pronounced. In the Italic, all the characters are a little narrower than in the Roman. In accordance with this, the serifs are shortened too. The Italic Q, as in the other faces, has a long tail slightly off to the side of the lower base of the circle. The Roman face has small caps that are slightly larger than the height of lowercase letters. Capital letters, alongside the ligatures ff, fi, fl, ffi and ffl, can be found in the extended set.
Playlist Script is a beautiful calligraphy style font reminiscent of beautiful handwriting on love letters. It matches well with a robust all-caps font for a fun pairing that works great on mugs, merchandise, t-shirts and social media.
Josefin Sans is a clean-cut geometric sans serif for any purpose. This is a great font for body text of any size. Easy to read at small point sizes and great for titles in the bold variant at a higher point size.
Resagnito is a decorative sans serif font with unique connectors inside letters. Both rounded and angular, this font is best for small body text, quote graphics or headers. Corporate design projects would be a good fit for this font.
Forque is an all caps font with limited glyphs and no multi-language support. This is a font best suited for logos, posters, bold designs that use a few words. Pair it with a simple sans serif like Lato or even a soft serif like Georgia.
Dolce Vita is a bold all-caps font with a combination of straight and diagonal lines that makes certain letters stand out from the rest. This font is great if the title or word you write uses one of the special letters. It works great as a logo in that case.
Bebas Neue is a clean-cut and beautiful display font perfect for headlines, labels, captions and packaging design. The free version available in Visme is all caps, but if you want the lowercase glyphs you can buy Bebas Neue and upload it to your Visme brand Kit.
Distant Galaxy is a unique font that combines a futuristic style with multilingual support for African languages. This is an all-cap font visually, but the true caps include an extra swash ligature for differentiation. Distant Galaxy is great for titles, logos and packaging labels.
Although Gafata STD was exclusively made for small size text in a medium to long context, this flexibility allows the font to work well when used in logo design in so many different platforms and applications. This whimsical sans-serif does wonders for mixing style and legibility, leaving an impression through ease and its minimal touches.
Alfa Slab One is a fresh take on the Six-lines Pica Egyptian Robert Thorne created for the Thorowgood Foundry in 1821. The difference between the two is that Alfa Slab One was designed to be heavier. Just to name a few details, it has extreme stem weight, big serifs, more stem contrast and gradual terminals. Thicker and bolder fonts are great attention grabbers. Pair together with a thinner, smaller serif font, like Nixie One, to bring out that most important bold.
Yvonne Schüttler, the designer behind Krona One, looked to hand lettering from early 20th-century Swedish posters for inspiration. This sans serif font is done in a low contrast, semi-extended style, which makes it super readable, memorable and attractive in either a small or larger display.
The letterforms of Caslon's roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur at bottom right. The sides of the "M" are straight.[10] The "W" has three terminals at the top and the "b" has a small tapered stroke ending at bottom left.[10] The "a" has a slight ball terminal.[11] Ascenders and descenders are relatively short and the level of stroke contrast is modest in body text sizes. In italic, Caslon's "h" folds inwards and the "A" is sharply slanted.[10] The "Q", "T", "v", "w" and "z" all have flourishes or swashes in the original design, something not all revivals follow.[10] The italic "J" has a crossbar, and a rotated casting was used by Caslon in many sizes on his specimens to form the pound sign.[3] However, Caslon created different designs of letters at different sizes: his larger sizes follow the lead of a type he sold cut in the previous century by Joseph Moxon, with more fine detail and sharper contrast in stroke weight, in the "Dutch taste" style.[12] Caslon's larger-size roman fonts have two serifs on the "C", while his smaller-size versions have one half-arrow serif only at top right.
Caslon's type rapidly built up a reputation for workmanship, being described by Henry Newman in 1733 as "the work of that Artist who seems to aspire to outvying all the Workmen in his way in Europe, so that our Printers send no more to Holland for the Elzevir and other Letters which they formerly valued themselves much."[4][29][c] Mosley describes Caslon's Long Primer No. 1 type as "type with generous proportions and it was normally cast with letter-spacing that was not too tight, characteristics that are needed in types on a small body. And yet it is so soundly made that words that are set in it keep their shape and are comfortably readable...It is a type that works best in the narrow measure of a two-column page or in quite modest octavos."[31] Caslon sold a French Canon face he did not engrave that may to have been the work of Joseph Moxon with some modifications, and his larger-size faces follow this high-contrast model.[17] He publicised his type through contributing a specimen sheet to Chambers' Cyclopedia, which has often been often cut out by antiquarian book dealers and sold separately.[16]
Besides regular text fonts, Caslon cut blackletter or "Gothic" types, which were also printed on his specimen. These could be used for purposes such as title pages, emphasis and drop caps.[35] Bold type did not exist in Caslon's time, although some of his larger-size fonts are quite bold.[14]
Adobe Caslon is a very popular revival designed by Carol Twombly.[81][13] It is based on Caslon's own specimen pages printed between 1734 and 1770[82] and is a member of the Adobe Originals programme. It added many features now standard in high-quality digital fonts, such as small caps, old style figures, swash letters, ligatures, alternate letters, fractions, subscripts and superscripts, and matching ornaments.[83][84]
Big Caslon by Matthew Carter is inspired by the "funkiness" of the three largest sizes of type from the Caslon foundry. These have a unique design with dramatic stroke contrast, complementary but very different from Caslon's text faces; one was apparently originally created by Joseph Moxon rather than Caslon.[17][4] The typeface is intended for use at 18pt and above.[87][88] The standard weight is bundled with Apple's macOS operating system in a release including small caps and alternates such as the long s. Initially published by his company Carter & Cone, in 2014 Carter revisited the design adding bold and black designs with matching italics, and republished it through Font Bureau.[89][f] It is used by Boston magazine and the Harvard Crimson.[92]
LTC Caslon is a digitisation of the Lanston Type Company's 14-point size Caslon 337 of 1915, in turn a revival of the original Caslon types.[93][94] This family include fonts in regular and bold weights, with fractions, ligatures, small caps (regular and regular italic only), swashes (regular italic weight only), and Central European characters.[95] A notable feature is that like some hot metal releases of Caslon, two separate options for descenders are provided for all styles: long descenders (creating a more elegant designs) or short (allowing tighter linespacing). 2ff7e9595c
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