F a X Q D F S Altura X

Total Page：16

File Type：pdf, Size：1020Kb

ANÁLISIS TIPOGRÁFICO - ESTILO ANTIGUO Idar González Anatomía Bembo Times new roman 1929 Asta ascendente ABCDEFGHIJKLMNOPQRSTUVWXYZ Contraforma Panza Gota Hombro Espolón abcdefghijklmnopqrstuvwxyz Altura de caja Altura X F A x q d f s Línea de base Ehrhardt Travesaño 1937 Ápice Serif Espina Apófige ABCDEFGHIJKLMNOPQRSTUVWXYZ Brazo Ojal abcdefghijklmnopqrstuvwxyz Barra Asta Asta descendente Al indagar en qué geometrías Construcción geométrica resuenan en las tipografías, pude encontrar trazos rectos, círculos, óvalos y deformacio- nes de círculos, éstos últimos están con un azúl más oscuro. A pesar de que son los mismos elementos geométricos, su disposición y uso hace las ABKPR ABK PR diferencias formales. La Ehrhardt, posee articula- ciones de trazos más “duros”, en cambio Bembo tiende a tener terminaciones más “suaves” y graduales. Aún así, en ambas existen rasgos que se cruzan, como las terminaciones en sus remates, o las barras abf j kqr abf jk qr curvas en Ehrhardt y la K en la Ehrhardt Bembo Bembo. Altura X Ehrhardt Bembo La diferencia altura de caja de ambas tipografías es existente tanto en las mayúsculas como las minús- AACCXXRR culas. Ehrhardt tiene una altura x mayor que la Bembo, otorgándole un nivel de lectura óptimo. La altura de las letras es vital para el golpe visual que generan al ojo. Cuando tienen una altura consider- able, las tipografías pueden resistir pequeños tama- aabbppxxgg ños y aún así mantener su nivel de lectura. Serif Ehrhardt tiene serifas muy duras, encontrándose con el trazo de una manera muy brusca. Bembo tiene un paso suave entre el trazo y el remate. El serif, crea un hori- zonte de lectura que guía el ojo, esto se puede traducir como un guía en nuestra lectura. Los serifes de Ehrhardt son mucho más notorio por su peso, aparecen de una ARmanera mucho más sólida que en Bembo. AR Contraforma y blanco interno Todas las dimensiones vistas anteriormente, van dibujando el blanco interior de cada letra, dándole una característica formal. Estas contraformas nos guían rítmicamente en la lectura, es un contraste Bembo formal entre el trazo y el fondo. La textura la Bembo en comparación a la Ehrhardt es mucho más suave y redondeada. Si bien existen intersec- ciones rectas, los remates curvos le dan esta suavi- Ehrhardt dad al blanco. Como la Ehrhardt es una tipografía de caja más compacta, su blanco es más rectangular y está lleno de bordes puntiagudos..

Copy Link

Recommended publications

Design One Project Three Introduced October 21. Due November 11
Design One Project Three Introduced October 21. Due November 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used, or the evolving fashion of design. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image, to broaden the viewer’s knowledge of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write a minimum150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer.
[Show full text]
Opentype Outline Flavour
OpenType outline ﬂavour: CFF - PostScript-Outlines Contained fonts: Akhbar™ Light Akhbar™ Regular Akhbar™ Bold Albany® Std Regular Albany® Std Italic Albany® Std Bold Albany® Std Bold Italic Albertina™ Std Regular Albertina™ Pro Regular Albertina™ Pro Italic Albertina™ Std Italic Albertina™ Std Medium Albertina™ Pro Medium Albertina™ Pro Medium Italic Albertina™ Std Medium Italic Albertina™ Std Bold Albertina™ Pro Bold Albertina™ Pro Bold Italic Albertina™ Std Bold Italic Albertus® Pro Light Albertus® Pro Roman Albertus® Pro Italic Albertus® Std Light Albertus® Std Roman Albertus® Std Italic Alisal™ Std Regular Alisal™ Pro Regular Alisal™ Pro Italic Alisal™ Std Italic Alisal™ Std Bold Alisal™ Pro Bold Almanac™ Regular Amadeo™ Std Regular Amadeo™ Std Regular SC Amadeo™ Std Bold Amadeo™ Std Bold SC Amanda™ Std Regular Amanda™ Pro Regular Amanda™ Pro Bold Amanda™ Std Bold Amasis™ eText Regular Amasis™ eText Italic Amasis™ eText Bold Amasis™ eText Bold Italic Andale® Mono WGL Regular Andale® Mono WGL Regular Andale® Mono WGL Italic Andale® Mono WGL Italic Andale® Mono WGL Bold Andale® Mono WGL Bold Andale® Mono Std Regular Andale® Mono Pro Regular Andale® Mono Pro Bold Andale® Mono Std Bold Andale® Mono WGL Bold Italic Andale® Mono WGL Bold Italic Andy™ Std Regular Andy™ Pro Regular Andy™ Pro Italic Andy™ Std Italic Andy™ Std Bold Andy™ Pro Bold Andy™ Pro Bold Italic Andy™ Std Bold Italic Antique Roman™ Std Solid Apollo™ Std Roman Apollo™ Pro Roman Apollo™ Pro Italic Apollo™ Std Italic Apollo™ Std Semibold Apollo™ Pro Semibold Aqua Life™ Pi
[Show full text]
New Opentype Fonts on Folio 11
New OpenType Fonts on Folio 11 Postscript Name Preferred Name AdobeArabic-Bold.otf Adobe Arabic Bold AdobeArabic-BoldItalic.otf Adobe Arabic Bold Italic AdobeArabic-Italic.otf Adobe Arabic Italic AdobeArabic-Regular.otf Adobe Arabic Regular AdobeHebrew-Bold.otf Adobe Hebrew Bold AdobeHebrew-BoldItalic.otf Adobe Hebrew Bold Italic AdobeHebrew-Italic.otf Adobe Hebrew Italic AdobeHebrew-Regular.otf Adobe Hebrew Regular AdobeThai-Bold.otf Adobe Thai Bold AdobeThai-BoldItalic.otf Adobe Thai Bold Italic AdobeThai-Italic.otf Adobe Thai Italic AdobeThai-Regular.otf Adobe Thai Regular AmigoStd.otf Amigo Std Regular ArnoPro-Bold.otf Arno Pro Bold ArnoPro-BoldCaption.otf Arno Pro Bold Caption ArnoPro-BoldDisplay.otf Arno Pro Bold Display ArnoPro-BoldItalic.otf Arno Pro Bold Italic ArnoPro-BoldItalicCaption.otf Arno Pro Bold Italic Caption ArnoPro-BoldItalicDisplay.otf Arno Pro Bold Italic Display ArnoPro-BoldItalicSmText.otf Arno Pro Bold Italic SmText ArnoPro-BoldItalicSubhead.otf Arno Pro Bold Italic Subhead ArnoPro-BoldSmText.otf Arno Pro Bold SmText ArnoPro-BoldSubhead.otf Arno Pro Bold Subhead ArnoPro-Caption.otf Arno Pro Caption ArnoPro-Display.otf Arno Pro Display ArnoPro-Italic.otf Arno Pro Italic ArnoPro-ItalicCaption.otf Arno Pro Italic Caption ArnoPro-ItalicDisplay.otf Arno Pro Italic Display ArnoPro-ItalicSmText.otf Arno Pro Italic SmText ArnoPro-ItalicSubhead.otf Arno Pro Italic Subhead ArnoPro-LightDisplay.otf Arno Pro Light Display ArnoPro-LightItalicDisplay.otf Arno Pro Light Italic Display ArnoPro-Regular.otf Arno Pro Regular ArnoPro-Smbd.otf
[Show full text]
Patrick Reagh Printers Note: the Number Following the Name Indicates the Monotype Series
Monotype typefaces available for fonts and composition at Patrick Reagh Printers note: the number following the name indicates the Monotype series. An e or an a after the number indicates either English- or American-manufactured matrices. R-roman / I-italic / SC-small caps / B-boldface lc-large composition* Antique 26a R 8 10 12 Baskerville 353a R/I/SC 7 8 10 11 12 Bembo 270e R/I/SC 8 10 11 12 13 14 (16 & 18 lc R/I) Narrow Bembo Italic 194e 10 12 13 (16 lc) Bodoni Medium 375a R/I/SC 8 10 12 Bodoni Book 875a R/I/SC 6 8 10 12 Bookman 98a R/I/SC 6 8 10 12 Bulmer 462a R/I/SC 6 8 9 10 12 (18 lc R) Centaur 252a (16 lc roman only) Cochin 61a R/I/SC 6 8 10 12 Deepdene 315a R/I/SC 6 8 10 12 Ehrhardt 453e R/I/SC 10 12 14 Fournier 185e R/I/SC 10 12 13 Franklin Gothic 107a R 6 8 10 12 Futura Light 606a R/I 6 8 10 12 Futura Medium /Extra Bold 605a & 603a R 6 8 10 12 Garamont 248a R/I/SC 8 10 12 Garamond Bold 548a R/I 6 8 10 12 Gill Sans 262e R/I/B 6 7 8 10 12 Goudy Bold 294a R/I 8 10 12 Goudy Modern 249e R/I/SC 8 10 11 12 Goudy Old Style 394a R/I/SC 6 8 10 12 Janson 401a R/I/SC 8 9 10 11 12 (14 & 18 lc R/I) Jenson Old Style 58a R 8 10 12 Sans Serif 329a (Kabel) R/B 8 10 12 Sans Serif Light/Bold 329a & 330a R 8 10 12 Univers Light 45e R/I 6 8 10 12 14 Univers Medium 55e R/I 6 8 10 12 14 Univers Bold 65e R/I 6 8 10 12 14 Univers Extra Bold 75e R/I 6 8 10 12 14 *Large composition can only be composed in roman or italic separately 1 Monotype display typefaces available for fonts at Patrick Reagh Printers note: the letter d following the size on English matrices indicates Didot which is the European standard for type sizing and is generally a point or two larger than the American point system.
[Show full text]
Pastoralism and Security in West Africa and the Sahel
Pastoralism and Security in West Africa and the Sahel Towards Peaceful Coexistence UNOWAS STUDY 1 2 Pastoralism and Security in West Africa and the Sahel Towards Peaceful Coexistence UNOWAS STUDY August 2018 3 4 TABLE OF CONTENTS Abbreviations p.8 Chapter 3: THE REPUBLIC OF MALI p.39-48 Acknowledgements p.9 Introduction Foreword p.10 a. Pastoralism and transhumance UNOWAS Mandate p.11 Pastoral Transhumance Methodology and Unit of Analysis of the b. Challenges facing pastoralists Study p.11 A weak state with institutional constraints Executive Summary p.12 Reduced access to pasture and water Introductionp.19 c. Security challenges and the causes and Pastoralism and Transhumance p.21 drivers of conflict Rebellion, terrorism, and the Malian state Chapter 1: BURKINA FASO p.23-30 Communal violence and farmer-herder Introduction conflicts a. Pastoralism, transhumance and d. Conflict prevention and resolution migration Recommendations b. Challenges facing pastoralists Loss of pasture land and blockage of Chapter 4: THE ISLAMIC REPUBLIC OF transhumance routes MAURITANIA p.49-57 Political (under-)representation and Introduction passivity a. Pastoralism and transhumance in Climate change and adaptation Mauritania Veterinary services b. Challenges facing pastoralists Education Water scarcity c. Security challenges and the causes and Shortages of pasture and animal feed in the drivers of conflict dry season Farmer-herder relations Challenges relating to cross-border Cattle rustling transhumance: The spread of terrorism to Burkina Faso Mauritania-Mali d. Conflict prevention and resolution Pastoralists and forest guards in Mali Recommendations Mauritania-Senegal c. Security challenges and the causes and Chapter 2: THE REPUBLIC OF GUINEA p.31- drivers of conflict 38 The terrorist threat Introduction Armed robbery a.
[Show full text]
Menupro 9 User Guide Getting Started • I
MenuPro® by SoftCafé Version 9 MenuPro® User's Guide Copyright © 1994-2010 SoftCafe, LLC. All rights reserved. Microsoft is a registered trademark of Microsoft Corporation. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark Office and elsewhere. Adobe and Acrobat are trademarks of Adobe Systems Incorporated. Abadi, Albertus, Arial, Bembo, Corsiva, Gill Sans, Pepita and Swing are trademarks of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. Binner Gothic, Braggadocio, Broadway, Colonna, Coronet, Forte, Gallia, Ginger, Impact, Imprint, Matura, Palace Script, and Runic are trademarks of The Monotype Corporation and may be registered in certain jurisdictions. American Diner is a trademark of HandCraftedFonts Company. Buffalo Gal is a trademark of Thomas A. Rickner. Curlz is a trademark of The Monotype Corporation. Ginko is a trademark of Paul Pegoraro. Lebeau is a trademark of Bo Berndal. Andy and Looseprint are trademarks of Steve Matteson. Caslon Antique, Choc, Mistral, Ortem and Zambesi are trademarks of Polyvroom BV. Cruz Handy and Woodcut Alpha are trademarks of Agfa Monotype Corporation may be registered in certain jurisdictions. Balmoral, ITC Braganza, ITC Juanita, ITC Rastko and Papyrus are trademarks of the International Typeface Corporation and may be registered in certain jurisdictions. ITC Eras and ITC Rennie Mackintosh are trademarks of the International Typeface Corporation registered in the U.S. Patent & Trademark Office and may be registered in certain jurisdictions. Ashley Crawford, Galaxy Run, Goudy Ornate, Haarlemmer and Othello are trademarks of Agfa Monotype Corporation and may be registered in certain jurisdictions.
[Show full text]
The Monotype Library Opentype Edition
en FR De eS intRoDuction intRoDuction einFühRung pReSentación Welcome to The Monotype Library, OpenType Edition; a renowned Bienvenue à la Typothèque Monotype, Édition OpenType; une collection Willkommen bei Monotype, einem renommierten Hersteller klassischer Bienvenido a la biblioteca Monotype, la famosa colección de fuentes collection of classic and contemporary professional fonts. renommée de polices professionnelles classiques et contemporaines. und zeitgenössischer professioneller Fonts, die jetzt auch im OpenType- profesionales clásicas y contemporáneas, ahora también en formato Format erhältlich sind. OpenType. The Monotype Library, OpenType Edition, offers a uniquely versatile La Typothèque Monotype, Édition OpenType propose une collection range of fonts to suit every purpose. New additions include eye- extrêmement souple de polices pour chaque occasion. Parmi les Die Monotype Bibliothek, die OpenType Ausgabe bietet eine Esta primera edición de la biblioteca Monotype en formato OpenType catching display faces such as Smart Sans, workhorse texts such as nouvelles polices, citons des polices attrayantes destinées aux affichages einzigartig vielseitige Sammlung von Fonts für jeden Einsatz. Neben ofrece un gran repertorio de fuentes cuya incomparable versatilidad Bembo Book, Mentor and Mosquito Formal plus cutting edge Neo comme Smart Sans, des caractères très lisibles comme Bembo Book, den klassischen Schriften werden auch neue Schriftentwicklungen wie permite cubrir todas las necesidades. Entre las nuevas adiciones destacan Sans & Neo Tech. In this catalogue, each typeface is referenced by Mentor et Mosquito Formal, et des polices de pointe comme Neo die Displayschrift Smart Sans, Brotschriften wie Bembo Book, Mentor llamativos caracteres decorativos como Smart Sans, textos básicos classification to help you find the font most suitable for your project.
[Show full text]
Global Education Components
Global Education Components Compiled by the Global Education Committee Spring 2011 1 Table of Contents Division of Arts of Humanities ...................................................................................................................... 4 Submitted by Professor Julie Corff............................................................................................................ 5 Submitted by Professor Jon Inglett ........................................................................................................... 8 Submitted by Professor Jon Inglett ........................................................................................................... 9 Submitted by Professor Michael Punches .............................................................................................. 10 Submitted by Professor Ginnett Rollins .................................................................................................. 11 Division of Arts of Humanities ................................................................................................................ 11 Submitted by Professor Gwin Faulconer-Lippert .................................................................................... 15 Submitted by Professor Mark Schneberger ............................................................................................ 17 Submitted by Professor Steve Morrow ................................................................................................... 18 Division of Arts of Humanities ...............................................................................................................
[Show full text]
Marian Is a Series of Revivals of Some of the Greats
!aria" Marian is a series of revivals of some of the greats from the typographic canon; Austin, Baskerville, Bodoni, Fournier, Fleischman, Garamont, Granjon, Kis & van den Keere. The twist is that they have all been rendered as a hairline of near uniform weight revealing the most basic structure. PUBLISHED Marian is a unique typeface: part history lesson, part conceptual 2012 art, and part loving tribute to the great punchcutters of the past DESIGNED BY PAUL BARNES who continue to inspire contemporary type design. In musical 9 STYLES terms, it’s an album of standards or cover versions. We have no ROMAN & ITALICS illusions that this typeface is anything but challenging to use, BONUS FONT BLACKLETTER but with a careful touch its unique character can be used to great FEATURES VARY BETWEEN STYLES e!ect. The lightness of Marian means that the typeface, in its SWASH CHARACTERS IN SOME ITALICS SMALL CAPITALS IN ALL ROMANS single weight, is only intended for headline use. We recommend PROPORTIONAL LINING FIGURES PROPORTIONAL OLDSTYLE FIGURES "# pt and above, with an absolute minimum of $# pt or so. FRACTIONS !PREBUILT AND ARBITRARY" Commercial commercialtype.com Marian 2 of 68 Marian 1554 Roman Marian 1554 Italic Marian 1565 Roman Marian 1565 Italic Marian 1571 Roman Marian 1571 Italic Marian 1680 Roman Marian 1680 Italic Marian 1740 Roman Marian 1740 Italic Commercial commercialtype.com Marian 3 of 68 Marian 1742 Roman Marian 1742 Italic Marian 1757 Roman Marian 1757 Italic Marian 1800 Roman Marian 1800 Italic Marian 1812 Roman Marian 1812 Italic Marian Black Commercial commercialtype.com Marian 4 of 68 Marian 1554 During the sixteenth century the combination between roman & italic became codi!ed.
[Show full text]
Shari'ah Criminal Law in Northern Nigeria
SHARI’AH CRIMINAL LAW IN NORTHERN NIGERIA Implementation of Expanded Shari’ah Penal and Criminal Procedure Codes in Kano, Sokoto, and Zamfara States, 2017–2019 UNITED STATES COMMISSION ON INTERNATIONAL RELIGIOUS FREEDOM On the cover: A veiled Muslim woman sits before Islamic judge Nuhu Mohammed Dumi during a court trial over a matrimonial dispute at Unguwar Alkali Upper Sharia Court in Bauchi, Northern Nigeria, on January 27, 2014. AFP PHOTO / AMINU ABUBAKAR Photo: AMINU ABUBAKAR/AFP/Getty Images USCIRF | SHARI’AH CRIMINAL LAW IN NORTHERN NIGERIA UNITED STATES COMMISSION ON INTERNATIONAL RELIGIOUS FREEDOM SHARI’AH CRIMINAL LAW IN NORTHERN NIGERIA Implementation of Expanded Shari’ah Penal and Criminal Procedure Codes in Kano, Sokoto, and Zamfara States, 2017–2019 By Heather Bourbeau with Dr. Muhammad Sani Umar and Peter Bauman December 2019 www.uscirf.gov USCIRF | SHARI’AH CRIMINAL LAW IN NORTHERN NIGERIA Commissioners Tony Perkins Gary Bauer Chair Anurima Bhargava Gayle Manchin Tenzin Dorjee Vice Chair Andy Khawaja Nadine Maenza Vice Chair Johnnie Moore Executive Staff Erin D. Singshinsuk Executive Director Professional Staff Harrison Akins Patrick Greenwalt Dominic Nardi Policy Analyst Researcher Policy Analyst Ferdaouis Bagga Roy Haskins Jamie Staley Policy Analyst Director of Finance and Office Senior Congressional Relations Keely Bakken Management Specialist Policy Analyst Thomas Kraemer Zachary Udin Dwight Bashir Director of Operations and Project Specialist Director of Outreach and Policy Human Resources Scott Weiner Elizabeth K. Cassidy Kirsten Lavery Policy Analyst Director of Research and Policy International Legal Specialist Kurt Werthmuller Jason Morton Supervisory Policy Analyst Policy Analyst USCIRF | SHARI’AH CRIMINAL LAW IN NORTHERN NIGERIA TABLE OF CONTENTS Introduction by USCIRF ........................................................................................................................................
[Show full text]
SC14-1044 Petitioner, 1DCA No.: 1D12-6071 Vs. LEWIS B. HUNT
Filing # 15432978 Electronically Filed 07/01/2014 11:50:21 AM RECEIVED, 7/1/2014 11:53:54, John A. Tomasino, Clerk, Supreme Court IN THE SUPREME COURT OF FLORIDA AURORA LOAN SERVICES, LLC, CASE NO.: SC14-1044 Petitioner, 1DCA No.: 1D12-6071 vs. LEWIS B. HUNTER, JR., Respondent. ___________________________/ RESPONDENT’S JURISDICTIONAL ANSWER BRIEF ____________________________________________________________ ON REVIEW FROM THE DISTRICT COURT OF APPEALS, FIRST JUDICIAL DISTRICT, STATE OF FLORIDA ____________________________________________________________ WENDY S. LOQUASTO Florida Bar No. 763195 FOX & LOQUASTO, P.A. 1201 Hays Street, Suite 100 Tallahassee, Florida 32301 Ph: (850) 425-1333 Fax: (850) 425-3020 Email: [email protected] & [email protected] Attorney for Respondent Lewis B. Hunter, Jr. TABLE OF CONTENTS TABLE OF AUTHORITIES.. ii JURISDICTIONAL STATEMENT. 1 INTRODUCTION AND RESPONSE TO AURORA’S STATEMENT OF THE CASE AND FACTS. 1 SUMMARY OF ARGUMENT.. 3 ARGUMENT.. 3 Aurora failed to satisfy the foundational requirement for admission of evidence under the business records exception to the hearsay rule.. 4 The First District’s opinion does not expressly and directly conflict with Cayea, Cooper, WAMCO XXVIII, Ltd., or Weisenberg. 5 The First District did not misapply this court’s decision in Yisrael.. 8 CONCLUSION. 10 CERTIFICATE OF SERVICE. 10 CERTIFICATE OF TYPEFACE COMPLIANCE. 11 i TABLE OF AUTHORITIES CASES Cayea v. CitiMortgage, Inc., __ So. 3d __, 39 Fla. L. Weekly D1105, 2014 WL 2197616 (Fla. 4th DCA May 28, 2014). 6-9 Cooper v. State, 45 So. 3d 490 (Fla. 4th DCA 2010). 6-9 Florida Star v. B.J.F., 530 So. 2d 286 (Fla. 1988).
[Show full text]
Smartfont Price List 1..2
WEB PRINT Price list SmartFonts SmartFont LIBRARY E1,5 0 0 Headlines 4 E135 Calvert (3) E120 E 1050 SmartFonts and Pi-fonts Impact Candida (5) 15 0 E IncludesTypeface book/Manual,CD. Lightline Gothic Cantoria (10) 300 E Machine Caslon 224 (8) 240 Type Reference Book E25 Castellar (1) E65 Machine Bold E Free and shipped free E Caxton (4) 135 with order over E 250 Headlines 5 135 Centaur (7) E210 Neographic Monotype Century (7) E210 SINGLE FONTS E65 Pioneer ITCCentury (16) E370 Placard Condensed Century Old Style (4) E135 MIXED PACKAGES Placard Bold condensed Century Schoolbook (9) E270 E Headlines 6 E135 Cheltenham (16) E370 Scripts1 135 E Runic Clarendon12 (1) 65 Ashley Script E Stencil Clarendon (3) 120 Biffo E V|ktoria Clarion (4) 135 Brush Script E Gill Sans Extra Bold Display Monotype Clearface (1) 65 Dorchester Script ITCClearface (8) E240 Scripts 2 E135 Clearface Gothic (2) E100 Englische Schreibschrift PACKAGES Colonna (1) E65 E Englische Schreibschrift Medium Aachen (1) 65 Compacta (1) E65 E Abadi, (14) 350 Concorde (4) E135 Forte E Albertina, (3) 120 Cooper Black (3) E120 GoudyText E Albertus (3) 120 Corona (3) E120 Scripts 3 E135 E Albion (1) 65 Coronet (1) E65 Klang Amasis (10) E250 Courier12 (1) E65 Matura Script Americana (3) E120 Courier PS (4) E135 Matura Script Caps Am.Typewriter (6) E15 0 Dom (3) E120 Mercurius AntiqueOldStyle(1) E65 Dorchester Script (1) E65 Scripts 4 E135 Antique Olive (9) E270 Egyptienne E65 Monoline Script Apollo (4) E135 Ehrhardt (5) E15 0 New Berolina Arial (20) E410 Ellington (10) E300 Palace Script Ashley Script (1) E65 Englische Schreibs.
[Show full text]