Artists, crafters, and designers will rejoice in 100 unusual and authentic Victorian type fonts. Plain and decorative alphabets include Calliope, Buffalo Bill, Shaded Barnum, Fargo, Jackpot, and Burlesque. Styles range from bold Bohemia and Broadside to delicate Aeolian Open and Arboret. Many include lowercase letters and numbers, plus Victorian printer's ornaments.
Ideal for bringing an old-timey charm to newsletters, posters, display ads, and other graphic projects, this spectacular sampling of 24 Victorian typefaces includes such distinctive fonts as Stereopticon, Chorus Girl, Glorietta, Hogarth Antique, Jagged, Romanesque, Rubens, and Wedlock. All of these black-and-white typefaces include complete uppercase alphabets, numerals, and punctuation; most feature lowercase characters.
Versatile, royalty-free alphabets offer scores of design possibilities with 100 complete fonts. Art Nouveau, Art Deco, Victorian, and contemporary styles include Albertus Outline, Gill Floriated, Washington Outline, Ben Franklin Open, Pluto Outline, Normandie Open, and many others. Most fonts feature both uppercase and lowercase characters; many also include numbers and punctuation.
Add contemporary flair with Glow Worm, Futurama Italic, Double Vision, Cubist, Convoy, and 95 other typefaces. All contain uppercase letters; many display lowercase initials, punctuation and numerals. Royalty-free.
Inspired by the calligraphy of the Middle Ages, this treasury of unusual fonts features Gothic typefaces such as Lowenbrau, Kaiser, and Hansa along with the lighter styles of Leipzig, Tory, and Hamburg. 53 fonts.
This attractive collection of royalty-free lettering for commercial artists features 100 complete upper-case stencil alphabets — many with lower-cases, numerals, and punctuation marks. Includes such classics as Ancient, Courtland, and Cleft Gothic; the whimsical Ragtime and Spooks Alive; bold Braggadocio; exotic Limbo, Beijing, and Samoa; the old-fashioned Victorian; and more.
Combining strength with intricacy, the typography of the 19th century is at once functional and fanciful, as displayed in this wonderful sampling of Victorian styles: the exaggerated thicks-and-thins of Express and Barnum typefaces; the unusually detailed serifs of Lafayette characters; the extravagant flourishes of Renaissant, Houghton, and Campanile; the swashes and eye-catching dot motifs of Hogarth and Gutenberg. Typographer and printing historian Dan X. Solo offers this outstanding collection of appealing, highly usable Victorian typefaces that will add a distinctive, old-fashioned flair to design solutions. These attractive letterforms will show their whimsical old-time personality in articles and newsletters, posters and packaging, display ads, signage, and innumerable other graphic projects. And every style is royalty-free. Presented in 24-, 36-, and 48-point fonts, each of the eight exquisite faces includes complete uppercase alphabet, numerals, and punctuations; all but one are designed with lowercase characters, too. Crisp printing on one side only on glossy, repro-quality stock means you can cut and combine characters directly from the book.
Victorian Alphabet Books and the Education of the Eye shows how the familiar genre went beyond mere reading instruction to offer nineteenth-century British writers, illustrators, and publishers a site for representing and re-thinking literacy itself. This interdisciplinary study traces how individuals throughout the Victorian era deployed alphabet books to promote visual literacy or oral culture as a vital complement to textual literacy. Their strategies ranged from puns and political allusions to elaborate designs that addressed adult audiences alongside or even instead of children. As the format became more familiar in the first part of Victoria's reign, George Cruikshank, William Makepeace Thackeray, Henry Cole, and Edward Lear were quick to recognize its critical potential. This history pivots around the mid-1860s and 1870s, when the production of illustrated alphabet books exploded thanks to evolving printing technology and national education reform. Case studies of individual works and makers show how a revolution in picture books reflected and responded to laws assuring children's access to schooling. On the one hand, Socialist artist Walter Crane was able to develop alphabetical illustration from a utilitarian mid-century product into an aesthetically rich, yet accessibly priced "education of the eye." On the other hand, Kate Greenaway, Hablot Knight Browne (Phiz), and their publishers tended to leverage commercialized nostalgia against pedagogy. This survey concludes by showing how market-oriented trends and the development of photographic reproduction toward the end of the century fed into interpretations of the alphabet, including works by Rudyard Kipling and Hilaire Belloc, that reflected growing ambivalence about industrialized print culture.
Lavishly illustrated with more than 450 images, A Typographic Workbook, Second Edition explains the process successful designers use to select, space, and creatively integrate fonts. This essential text demonstrates the use of type as a dynamic and expressive communication tool. This edition provides new and updated coverage of a broad range of topics–from a logical, clear historical overview of the craft to the latest digital technologies. Known for its highly interactive format, this Second Edition continues to include helpful review questions and multiple-choice quizzes, as well as many new projects and skill-building exercises that help readers immediately apply what they have learned. A Typographic Workbook, Second Edition is a valuable professional resource for working designers and an indispensable training tool for graphic design students.
Eye-catching typefaces with casual or "country" air. Annie Oakley, Hedge Row, Stuntman, Ticonderoga Bold, many more. Complete uppercase alphabets, many with lowercase, numerals and punctuation.
