Monotype Imaging B
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Bangor B Monotype Imaging Bangor is a decorative display font from Richard Yeend. Bangor font designer Richard Yeend is based in Fourqueux, France. Review this product |
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Banjoman B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Bold B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Light B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Open B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Open Bold B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Open Light B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Text B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Text Bold B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Banjoman Text Light B Monotype Imaging Banjoman was designed by Paul Veres. Banjoman began as a design for a musician friends business card which included a replica of his newest classical guitar. The lettering of the Banjoman font needed to have a clean, round feeling and the double lines echoed the strings and frets. The original concept became Banjoman Open, from which Banjoman and Banjoman Text were derived. They work best at large sizes as headlines, but the Text works well at small sizes. Review this product |
€25.99 |
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Barclay Outline B Monotype Imaging Barclay Outline or Barclay Open is a headline font with Modern characteristics. The letters of the Barclay Outline font have a fine outline contrasted by strong shadow strokes. Review this product |
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Basilia™ Black B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
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Basilia™ Black Italic B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
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Basilia™ Bold B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
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Basilia™ Bold Italic B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
€25.99 |
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Basilia™ Italic B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
€25.99 |
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Basilia™ Medium B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
€25.99 |
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Basilia™ Medium Italic B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Review this product |
€25.99 |
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Basilia™ Roman B Monotype Imaging Basilia was originally designed in 1978 by Andre Gurtler of Swiss typographic team, Team 77, and released as Basilia Haas in 1982. Basilia is a clean text face with good contrast, similar to Walbaum. The contrast in thick and thin strokes of the Basilia font is very strong, but it has a relaxed feel, suitable for advertising copy. Basilia™ is a trademark of Heidelberger Druckmaschinen AG, which may be registered in certain jurisdictions, exclusively licensed through Linotype Library GmbH, a wholly owned subsidiary of Heidelberger Druckmaschinen AG. Review this product |
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Basilica B Monotype Imaging Basilica is a calligraphic typeface that will add style and grace to short copy. Use the Basilica font for poetry, menus and stationery. Review this product |
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Basque B Monotype Imaging Basque is a delicate nineteenth-century upright typeface of angular appearance, reminiscent of Black Letter scripts. The letterforms of the Basque font do not flow, but are made up of straight lines joined to form a rigid shape. Review this product |
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Bell® B Monotype Imaging 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 |
€25.99 |
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Bell® Bold B Monotype Imaging 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 |
€25.99 |
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Bell® Bold Expert B Monotype Imaging 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 |
€25.99 |
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Bell® Bold Italic B Monotype Imaging 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 |
€25.99 |
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Bell® Bold Italic Expert B Monotype Imaging 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 |
€25.99 |
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Bell® Expert Package B Monotype Imaging 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 |
€25.99 |
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Bell® Italic B Monotype Imaging 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 |
€25.99 |
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Bell® Italic Expert Package B Monotype Imaging 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 |
€25.99 |
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Bell® Semi Bold B Monotype Imaging 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 |
€25.99 |
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Bell® Semi Bold Expert Package B Monotype Imaging 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 |
€25.99 |
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Bell® Semi Bold Italic B Monotype Imaging 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 |
€25.99 |
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Bell® Semi Bold Italic Expert Package B Monotype Imaging 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 Small Caps B Monotype Imaging 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 |
€25.99 |
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Bell® Small Cap B Monotype Imaging 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 |
€25.99 |
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