Calligraphy for Print 2 Value Pack
Designed by Various in 2004
be installed on a computer for
use with applications.
Licensed per computer.
@font-face rule. They are licensed
for a set number of page views with
no time limitation.
embedded in an eBook, eMagazine or
eNewspaper. Fonts are licensed per issue.
a server and e.g. used by automated
processes to create items.
A license is per server core CPU per year.
on which the font will be installed.
that you can use over time. We’ll let
you know when you’re running low.
installations you want to license.
Some mobile app fonts allow an
unlimited number of installations.
you intend to embed the font in. Each license
is valid for one issue for the life of that issue.
CPUs of the servers on which
the font will be installed.
A license has a term of 1 year.
language support of the font.
the font: W1G (98 languages),
COM (56 languages),
PRO (33 languages) or
STD (21 languages).
available in. These differ in contained
characters and file size. You get all
available versions with your license.
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and semantic designs. Check for readability,
rendering and beauty then share a working
prototype of your design.
Tip: Add fonts to your Favorites, then test your custom selection in Typecast!
Calligraphy for Print 1–2 – Calligraphy for Print 2
Two collections of calligraphic typefaces that enable you to create beautiful writing with your keyboard
Available as Value Packs for instant download
This fonts are included in Calligraphy for Print 2:
Arioso from Gottfried Pott stems from an early form of Old Face, developed during the 14th and 15th centuries in Italy. The style mixed Roman capital letter forms with Carolingian minuscule for the lower case. This combination puts it in the same basic family as many other Italic Chancery typefaces, like Hermann Zapf’s ITC Zapf Chancery®. The pen strokes that form Arioso’s letters remain quite visible in the final product, and this contributes to the typeface’s legibility. Like most chanceries, Arioso works most successfully in point sizes from 12 points on upward.
The basic style of Grace, designed by Elisabeth Megnet, is based on the Gothic miniscule of the 13th century. It represents a modern philosophy held by Andre Guertler, Professor of Typography in Basel with whom Megnet once studied. With this philosophy, calligraphy is not to be seen as a decorative art, and fonts created according to this tenet have far fewer ornamental strokes. They are eccentric, drawn out and almost bulky. Like Gothic forms, one of the predecessors of this font, Grace gives vertical lines a particular emphasis. This font is not meant for long texts but makes a distinctive impression in shorter texts or headlines.
Grafiko, produced by Linotype Design Studio has an alphabet with little stroke width contrast and tiny triangular serifs similar to those of Copperplate. The forms were obviously influenced by the Jugendstil. The high x-height, for example of the B, E and R, the slope of the N and the close curve of the J makes Grafiko a typical alphabet of the turn of the 20th century. Other distinguishing characteristics are the loop of the g and the slanted, slightly rounded cross stroke of the e. Grafiko is a decorative typeface and its detailed filigree figures are best used in medium point sizes for short texts and headlines.
Lake Informal™ Roman and Bold
Rudolph Ruzicka designed Lake Informal during the 1930s. This beautifully constructed handwriting face is available in both regular and bold weights. The slant of the letterforms imitates the movements of feather quill writing on paper. A dynamic, individual typeface, Lake Informal is very legible, even in smaller point sizes, and is perfect for personal correspondence.
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