Agafonov Stephan. Creative designer in Moscow who made a Cyrillic font called Origami 2013. This typeface was obtained by scanning cut and folded strips of paper. We would like to show you a description here but the site wont allow us. Links to Chinese fonts compiled by Luc Devroye. Chinese font archive. The fonts are simply called tt1, tt13, tt2, tt201f, tt202f, tt203a, tt205a. Founded in 1990, FontHaus has become a trusted resource for designers to buy font software. Search and find what you need from an online catalog of thousands of fonts. League Gothic Font Free by The League of Moveable Type Font Squirrel. League Gothic Regular. League Gothic Italic. League Gothic Condensed Regular. League Gothic Condensed Italic. League Gothic Regular. League Gothic Italic. League Gothic Condensed Regular. League Gothic Condensed Italic. SIL Open Font License v. This license can also be found at this permalink https www. League Gothic. Copyright c 2. Caroline Hadilaksono Micah Rich lt carolinehadilaksono, with Reserved Font Name League Gothic. This Font Software is licensed under the SIL Open Font License, Version 1. This license is copied below, and is also available with a FAQ at http scripts. Benton Sans Bold Italic Font Free Download' title='Benton Sans Bold Italic Font Free Download' />OFL SIL OPEN FONT LICENSE Version 1. February 2. 00. 7 PREAMBLEThe goals of the Open Font License OFL are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. The fonts, including any derivative works, can be bundled, embedded, redistributed andor sold with any software provided that any reserved names are not used by derivative works. The fonts and derivatives, however, cannot be released under any other type of license. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. DEFINITIONSFont Software refers to the set of files released by the Copyright Holders under this license and clearly marked as such. Download and install the League Gothic free font family by The League of Moveable Type as well as testdrive and see a complete character set. In metal typesetting, a font is a particular size, weight and style of a typeface. Each font was a matched set of type, one piece called a sort for each glyph. Morris Fuller Benton designed Century Schoolbook in 1923 for elementaryschool textbooks, so its a highly readable font. Its one of the best fonts available. Philosophy Metaphilosophy Metaphysics Epistemology Ethics Politics Aesthetics Thought Mental Cognition. Baskervilles typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy industrialist, who had started his. This may include source files, build scripts and documentation. Reserved Font Name refers to any names specified as such after the copyright statements. Original Version refers to the collection of Font Software components as distributed by the Copyright Holders. Modified Version refers to any derivative made by adding to, deleting, or substitutingin part or in wholeany of the components of the Original Version, by changing formats or by porting the Font Software to a new environment. Author refers to any designer, engineer, programmer, technical writer or other person who contributed to the Font Software. PERMISSION CONDITIONSPermission is hereby granted, free of charge, to any person obtaining a copy of the Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell modified and unmodified copies of the Font Software, subject to the following conditions 1 Neither the Font Software nor any of its individual components, in Original or Modified Versions, may be sold by itself. Original or Modified Versions of the Font Software may be bundled, redistributed andor sold with any software, provided that each copy contains the above copyright notice and this license. These can be included either as stand alone text files, human readable headers or in the appropriate machine readable metadata fields within text or binary files as long as those fields can be easily viewed by the user. No Modified Version of the Font Software may use the Reserved Font Names unless explicit written permission is granted by the corresponding Copyright Holder. This restriction only applies to the primary font name as presented to the users. The names of the Copyright Holders or the Authors of the Font Software shall not be used to promote, endorse or advertise any Modified Version, except to acknowledge the contributions of the Copyright Holders and the Authors or with their explicit written permission. The Font Software, modified or unmodified, in part or in whole, must be distributed entirely under this license, and must not be distributed under any other license. The requirement for fonts to remain under this license does not apply to any document created using the Font Software. TERMINATIONThis license becomes null and void if any of the above conditions are not met. Benton Sans Bold Italic Font Free Download' title='Benton Sans Bold Italic Font Free Download' />DISCLAIMERTHE FONT SOFTWARE IS PROVIDED AS IS, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE. Notes from Fontsquirrel about the heritage of this font We found this font family on http www. SIL OFL license. Webfont Kit. The license for this font is the SIL OFL license. This license does not allow us to redistribute derivative versions of the font without wholesale name changes inside and out of the font. Until we figure out a reasonable method of delivering these to you and complying with the license, you will have to use the Webfont Generator yourself on these, renaming the fonts appropriately. If you are the designer of this font, and this was an unintended consequence of using the OFL license, contact us and give us permission to allow webfont conversions. Baskerville Wikipedia. Baskerville is a seriftypeface designed in the 1. John Baskerville 1. Birmingham, England and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskervilles typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskervilles time. As Baskervilles typefaces were proprietary to him and sold to a French publisher after his death, some designs influenced by him were made by British punchcutters. The Fry Foundry of Bristol created a version, probably cut by their punchcutter Isaac Moore. Known in the twentieth century as Frys Baskerville or Baskerville Old Face, a digitisation is included with some Microsoft software. Historyedit. The Folio Bible printed by Baskerville in 1. Baskervilles first publication, an edition of Virgil. The design shows the smooth, gleaming finish of his paper and minimal title pages. Baskervilles typeface was part of an ambitious project to create books of the greatest possible quality. Baskerville was a wealthy industrialist, who had started his career as a writing master teacher of calligraphy and carver of gravestones, before making a fortune as a manufacturer of varnished lacquer goods. At a time when books in England were generally printed to a low standard using typefaces of conservative design, Baskerville sought to offer books created to higher quality methods of printing than any before, using carefully made, level presses, a high quality of ink and very smooth paper pressed after printing to a glazed, gleaming finish. Having been an early admirer of the beauty of Letters, I became insensibly desirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a Set of Types according to what I conceived to be their true proportion. It is not my desire to print many books, but such only as are books of Consequence, of intrinsic merit or established Reputation, and which the public may be pleased to see in an elegant dress, and to purchase at such a price as will repay the extraordinary care and expense that must necessarily be bestowed upon them. Baskervilles preface to Milton. While Baskervilles types in some aspects recall the general design of William Caslon, the most eminent punchcutter of the time, his approach was far more radical. Beatrice Warde, John Dreyfus and others have written that aspects of his design recalled his handwriting and common elements of the calligraphy taught by the time of Baskervilles youth, which had been used in copperplate engraving but had not been previously been cut into type. Such details included many of the intricate details of his italic, such as the flourishes on the capital N and entering stroke at top left of the italic p. He had clearly considered the topic of ideal letterforms for many years, since a slate carved in his early career offering his services cutting tombstones, believed to date from around 1. The result was a typeface cut by Handy to Baskervilles specifications that reflected Baskervilles ideals of perfection. According to Baskerville, he developed his printing projects for seven years before finally releasing his first book, an edition of Virgil, in 1. A slate carved by John Baskerville in his early career offering his services carving tombstones, in blackletter, roman, script and italic. The design is similar to his typography. A recreation in Monotype Baskerville shows the similarities of letterforms. In 1. 75. 8, he was appointed printer to the Cambridge University Press. It was there in 1. Bible. At the start of his edition of Paradise Lost, he wrote a preface explaining his ambitions. ReceptioneditThe crispness of Baskervilles work seems to have unsettled or perhaps provoked jealousy in his contemporaries, and some claimed the stark contrasts in his printing damaged the eyes. Amber Lee Swimsuit Edition more. Baskerville was never particularly successful as a printer, being a printer of specialist and elite editions, something not helped by the erratic standard of editing in his books. Abroad, however, he was much admired, notably by Pierre Simon Fournier, Giambattista Bodoni and Benjamin Franklin who had started his career as a printer, who wrote him a letter praising his work. His work was later admired in England by Thomas Frognall Dibdin, who wrote that in his Italic letter. Aldus and Colinaeus. Baskerville was a truly original artist, he struck out a new method of printing in this country and may be considered as the founder of that luxuriant style of typography at present so generally prevails and which seems to have attained perfection in the neatness of Whittingham, the elegance of Bulmer and the splendour of Bensley. Thomas Curson Hansard in 1. On his death his widow Sarah eventually sold his material to a Paris literary society connected to Beaumarchais, placing them out of reach of British printing. Baskervilles styles of type and printing, although initially unpopular in Britain, proved influential for a brief transitional period in the late eighteenth and early nineteenth century, with printers and type designers such as Joseph Fry, his punchcutter Isaac Moore, and Wilson of Glasgow. Bulmer, cut by the brother of Baskervilles foremen, was one design inspired by it, as is Bell. Alastair Johnston has described this period as a glorious but short lived period of innovative type design in Britain of harmonious types that had the larger on the body proportions of the Romain du Roi, with the modelling of Baskerville but more colour and fine serifs. This period saw an increasing influence of Didone printing from the Continent, in particular the types of the Didot family and the editions published by Bodoni. The style then disappeared from view altogether following a full trend towards Didone typefaces, often with a much darker style of impression Updike suggests that this change mostly happened around 1. The Scotch Roman genre which proved popular in Britain and America is something of an intermediate between Didone typefaces and Baskervilles influence. The succession of more extreme Didone typefaces quickly replacing Baskervilles style has led to Baskerville being called transitional on the road to the Didone style which dominated printing for a long period, although of course Baskerville would not have considered his design transitional but as a successful end in itself. The original Baskerville type with some replaced letters was revived in 1. Bruce Rogers, for the Harvard University Press, and also released by G. Peignot et Fils in Paris France. Modern revivals have added features, such as italics with extra or no swashes and bold weights, that were not present in Baskervilles original work.