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Bu Global

Bu Global

by Butlerfontforge
Individual Styles from $18.00
Complete family of 4 fonts: $18.00
Bu Global Font Poster 1 Bu Global Font Poster 2 Bu Global Font Poster 3 Bu Global Font Poster 4 Bu Global Font Poster 5 Bu Global Font Poster 6 Bu Global Font Poster 7 Bu Global Font Poster 8 Bu Global Font Poster 9 Bu Global Font Poster 10 Bu Global Font Poster 11 Bu Global Font Poster 12 Bu Global Font Poster 13 Bu Global Font Poster 14 Bu Global Font Poster 15
Bu Global Font Family was designed by Robert Butler and published by Butlerfontforge. Bu Global contains 4 styles and family package options.

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Bu Global Complete Family

 4 fonts

Best Value!

Per style:

$4.50

Pack of 4 styles:

$18.00

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About Bu Global Font Family

While throned before your keys, under your drumming fingers awaits the most astounding standard computer typeface ever devised: BuGlobal. In addition to all the usual alphanumeric characters and symbols, this lone font lets you type more than 400 accented letters appearing in more than 80 English-variant languages worldwide, 70 common math and science symbols, and dozens of other useful characters —more than half a thousand all told— all within the digital parameters of one standard computer typeface, without needing any alternate keyboards or other clumsy digital luggage. Here is a sample:

  1. You can add any accent appearing in more than 80 English-variant languages used around the world to any letter appearing in all these languages simply by typing ANY letter then the accent. This includes more than 400 diacritic-laden letters in all —without needing to remember several keystrokes to type any of these letters as a few of them appear in standard computer typefaces.

  2. You can type more than 50 math/science symbols that do not appear in standard computer typefaces. These new symbols include several kinds of arrows plus constants, centerlines, dimensions, and graphs and scales that when retyped create continuous scales and graphs.

  3. Common symbols such as ballot boxes, rating stars, checkboxes, hearts, fancy fleurons, and similar motifs that do not appear in standard computer typefaces.

  4. Dozens of flashy arabesques like ========= [in BuGlobal these equal signs are kerned together so when you type them you create a continuous double line]. In this typeface more than 30 symbols that never appear twice in a row are kerned together so when you continuously type them you create all kinds of flashy arabesques that will make your typing more attractive. No other standard compute typeface allows you to do this.

As for Beauty, BuGlobal’s characters are designed according to several axioms of ocular perception until each profile is as iconically simple as Shaker furniture. These axioms make BuGlobal’s letters easier to read compared to other typefaces, and a few of them are:

  1. Each letter should look much like the others but for one defining detail.

  2. The letters should be as similarly wide as possible.

  3. The letters’ midbars should be the same height and thickness.

  4. The higher the lowercase letters are compared to capital letters, the more legible and easily readable are their texts.

BuGlobal has a typeface user’s guide, titled A Lovely Face, in which a description of each ocular axiom compares BuGlobal with Baskerville, Georgia, Palatino, and other commonly-used standard computer typefaces so you can quickly see why the other typefaces are inferior. You can download a pdf file of this typeface user’s guide, for free, at BuGlobal’s website, butlerfontforge.com, at any time so you can learn all about BuGlobal’s many amazingly new features before possibly buying it.

BuGlobal’s plain letters are perfect for texts, its italics are gracefully emphatic, its bolds are ideal for titles and headers, and its arabesques are a fancy way to make your texts look dressy —all of which will add more shimmer to your semantic plumage.  

One good typeface is more useful than an infinity of poor ones. Robert Bringhurst

Designers: Robert Butler

Publisher: Butlerfontforge

Foundry: Butlerfontforge

Design Owner: Butlerfontforge

MyFonts debut: May 31, 2023

Bu Global

About Butlerfontforge

The seeds to all my computer typeface designs were planted in the late 1990s in the hallowed halls of one of the world’s largest publishers, McGraw-Hill, where as a prominent architect I authored five thick books on architectural engineering. This labor required many letters and symbols which to simplify my work I wanted in one “master” typeface —but finding none, I made one. Within the parameters of a computer typeface’s standard digital database of 220 or so cells, I formulated one font that included every character appearing in all 3,620 pages of these five best-selling books. Afterward, flushed with success and enjoying fat royalty checks, I formed a foundry named BuFontForge and created all kinds of typefaces for duty, pleasure, and possible profit. Again I spurned a computer typeface’s standard digital database —this time because it was inadmissibly deficient as follows: It excluded many science symbols I knew from my work at McGraw-Hill. It excluded many letters that appear in English-variant languages worldwide. It included many obsolete characters that no one uses anymore. It included some 66 diacritic-laden letters —nearly a third of its database— when more than 400 diacritic letters appear in English-variant languages worldwide. Custom be damned —this was a file that needed revising! Who to do it but me? First, from a standard typeface’s 66 diacritic letters I removed the letter under each diacritic to create a hanging diacritic, 28 in all, each of which could be added to any letter, which included typing the 400 diacritic letters cited above. Then from this database I removed the diacritic letters and obsolete characters and I added the hanging diacritics, the missing English-variant letters, nearly 60 common science symbols, and a dozen popular icons such as rating stars and checkmarks. Thus this one invention no bigger than a pepperspeck —the hanging diacritic— enables a cast of half a thousand characters to perform on an old-timey eighth-bit stage with no other digital props. No other standard typeface comes even close to having so many characters as this! This superior assembly of letters —the Global Format™— may be the most profound development in typography in forty years. Within its digital parameters I’ve designed serif faces, flared-serif faces, semisans faces, sans-serif faces, architectural hand-lettering faces, and other styles, each of which would be immensely beneficial to: Billions of computer users worldwide who want to type words like Lech Wal-e˛sä, piñon pine, and Ångström unit, indeed every letter appearing in more than 80 English-variant languages worldwide —with fewer keystrokes and no other typefaces. Scientists and all their scholarly kin from accountants to zoologists who want to type an arrow or an angle, a scale or graph, a fraction or fleuron, and dozens of other familiar symbols that never appear in standard faces. Businesses worldwide that make products or render services whose activities involve multilingual communication. Publishers of newspapers, magazines, and books that describe international subjects or have international audiences, as well as printers of such works. But my typefaces not only possess the best letters, their shapes are as alluringly simple as Shaker furniture. From root to plume these two traits are twined, conjunctive; and so mated, every exemplar has a muscular heart and a lovely face. As an imprimatur of their polish, here says the Encyclopedia Britannica: “Typography has as its first object not ornament but utility. A printer must never distract, not even with beau­ty, the reader from one’s text.” Care for this as you chair your hands before your keys.

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