Adobe B
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Baker Signet B Adobe Baker Signet was designed by Arthur Baker for Visual Graphics in 1965. Baker Signet is a display typeface with both calligraphic and roman influence. This combination makes the Baker Signet font suitable for text, with its subtle serifs, and for jobs requiring a calligraphic look. Review this product |
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Balzano B Adobe Balzano is an upright script intended for display use. The Balzano font was inspired by a page of pen-written letters by the calligrapher, Raphael Boguslav. Review this product |
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Banco™ B Adobe Banco was the first of French designer Roger Excoffon's types released by the Fonderie Olive in 1952. Often compared to Neuland, the strong forms of Banco look not so much carved out of wood but rolled out of sheet metal. The tapering strokes of Banco are all very upright, like a series of abrupt downstrokes made with a precise, sharp-edged, perfectly defined brush. The shapes of the counters are suggested by the placement of the curves and straight lines, many of which do not actually touch. The slight slant of all the letters, the varying heights of the upper ends of strokes, and the subtle interplay of taper and curve give Banco a distinct up-and-to-the-right motion. Like almost all of Excoffon's typefaces, Banco has the effect of being quickly sketched by a forceful hand. Unlike Mistral and Choc, however, Banco was originally an all-caps typeface; Excoffon made no attempt to design a lowercase. In designing Banco Light for text settings, Phill Grimshaw's first task was to create a lowercase alphabet. He then decided that he would also try a lowercase for the original weight as well. Using the existing caps as a clean, positive model on which to base an interpreted lowercase, Grimshaw deliberately under-designed the lowercase, in order to produce a consistent 'color,' while maintaining the simple letterforms evident in the original. In creating Banco Light, Grimshaw found that what preserved the characteristics of Banco best in a lighter weight was to make it quite narrow, almost condensed; this way he could keep the same angles between strokes that Excoffon had used in the original face. Review this product |
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Banshee B Adobe Download the Banshee font for Mac or Windows in OpenType, TrueType or PostScript format. Review this product |
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Baskerville Cyrillic Bold B Adobe Baskerville Cyrillic is based on the original design of John Baskerville, circa 1754. Baskerville is an excellent text face for books and magazines. The Baskerville font family is also useful at larger sizes in advertising and newspapers. Review this product |
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Baskerville Cyrillic Inclined B Adobe Baskerville Cyrillic is based on the original design of John Baskerville, circa 1754. Baskerville is an excellent text face for books and magazines. The Baskerville font family is also useful at larger sizes in advertising and newspapers. Review this product |
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Baskerville Cyrillic Upright B Adobe Baskerville Cyrillic is based on the original design of John Baskerville, circa 1754. Baskerville is an excellent text face for books and magazines. The Baskerville font family is also useful at larger sizes in advertising and newspapers. Review this product |
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Bauer Bodoni Black B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Black Condensed B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Black Italic B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Bold B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Bold Condensed B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Bold Italic B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Bold Italic Osf B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Bold Osf B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Italic B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Italic Osf B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Roman B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bauer Bodoni Roman SmallcapsandOsf B Adobe Giambattista Bodoni of Parma designed and cut his typefaces circa 1790. The Bodoni types were the first of the Modern type designs in which hairlines contrast sharply with bolder stems, and serifs are unbracketed. The Bauer Bodoni font family derives from a cutting for metal type in 1926, retaining many of the original features. As with all versions of this typeface, the contrast between thick and thin strokes of Bauer Bodoni should be taken into consideration as the thin strokes can appear to fade out under certain printing processes. Review this product |
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Bell® B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Bold B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Bold Expert B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Bold Italic B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Bold Italic Expert B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Centennial Address B Adobe Bell Centennial was designed for AT&T Corporation for setting telephone directories. Bell Centennial is a family of narrow, legible sans serif faces which can be used for parts lists and similar publications, as well as the traditional directories. The Bell Centennial font family offers the benefit of high legibility. Review this product |
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Bell® Centennial Bold Listing Package B Adobe Bell Centennial was designed for AT&T Corporation for setting telephone directories. Bell Centennial is a family of narrow, legible sans serif faces which can be used for parts lists and similar publications, as well as the traditional directories. The Bell Centennial font family offers the benefit of high legibility. Review this product |
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Bell® Centennial Name And Number B Adobe Bell Centennial was designed for AT&T Corporation for setting telephone directories. Bell Centennial is a family of narrow, legible sans serif faces which can be used for parts lists and similar publications, as well as the traditional directories. The Bell Centennial font family offers the benefit of high legibility. Review this product |
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Bell® Centennial Sub Caption B Adobe Bell Centennial was designed for AT&T Corporation for setting telephone directories. Bell Centennial is a family of narrow, legible sans serif faces which can be used for parts lists and similar publications, as well as the traditional directories. The Bell Centennial font family offers the benefit of high legibility. Review this product |
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Bell® Expert Package B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Gothic Black B Adobe Bell Gothic was the first typeface designed specifically with telephone directory setting in mind. It is a compact sans serif face with a large x-height and open counters. Intended for letterpress printing on poor quality paper, Bell Gothic was used in Bell telephone books before the advent of Bell Centennial. The Bell Gothic font family is a good sans serif choice for listings, catalogues and directories. Review this product |
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Bell® Gothic Bold B Adobe Bell Gothic was the first typeface designed specifically with telephone directory setting in mind. It is a compact sans serif face with a large x-height and open counters. Intended for letterpress printing on poor quality paper, Bell Gothic was used in Bell telephone books before the advent of Bell Centennial. The Bell Gothic font family is a good sans serif choice for listings, catalogues and directories. Review this product |
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Bell® Gothic Light B Adobe Bell Gothic was the first typeface designed specifically with telephone directory setting in mind. It is a compact sans serif face with a large x-height and open counters. Intended for letterpress printing on poor quality paper, Bell Gothic was used in Bell telephone books before the advent of Bell Centennial. The Bell Gothic font family is a good sans serif choice for listings, catalogues and directories. Review this product |
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Bell® Italic B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Italic Expert Package B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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Bell® Semi Bold B Adobe Bell is a facsimile of the typeface cut originally for John Bell by Richard Austin in 1788, using as a basis the matrices in the possession of Stephenson Blake & Co. Used in Bell’s newspaper, The Oracle, it was regarded by Stanley Morison as the first English Modern face. Although inspired by French punchcutters of the time, with a vertical stress and fine hairlines, Bell is less severe than the French models and is now classified as Transitional. Essentially a text face, the Bell font family can be used for books, magazines, long articles, etc. Review this product |
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