Adobe C
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Caflisch Script Mm Volume C Adobe Caflisch Script is an informal script face based on the handwriting of Swiss typographer, Max Caflisch. The Caflisch Script font has a joining italic style and is useful for informal correspondence, advertising, flyers and labels. The Caflisch Script multiple master font offers weight variation from light to black. Review this product |
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Caliban C Adobe Caliban is a non-joining script based on John Benson’s handwriting. The Caliban font was developed from a page of writing produced with a blunt pen on rough paper. Less regular than Alexa, Caliban should prove ideal for informal texts. Review this product |
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Calvert™ C Adobe The basis for Calvert – a slab serif typeface – was the design (by Margaret Calvert) used on the signage for the Tyne and Wear Metro in England. The designer, in conjunction with the Monotype Type Drawing Office, adapted Calvert for use as a text typeface. Calvert is a modern re-working of the slab serif Egyptians that were so popular during the 1930s. Calvert has a vitality and elegance that is lacking in many of the earlier, more mechanical, slab serif designs. Use the Calvert font in magazines, manuals etc. and for display work in newspapers, advertising and circulars. Review this product |
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Calvert™ Bold C Adobe The basis for Calvert – a slab serif typeface – was the design (by Margaret Calvert) used on the signage for the Tyne and Wear Metro in England. The designer, in conjunction with the Monotype Type Drawing Office, adapted Calvert for use as a text typeface. Calvert is a modern re-working of the slab serif Egyptians that were so popular during the 1930s. Calvert has a vitality and elegance that is lacking in many of the earlier, more mechanical, slab serif designs. Use the Calvert font in magazines, manuals etc. and for display work in newspapers, advertising and circulars. Review this product |
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Calvert™ Light C Adobe The basis for Calvert – a slab serif typeface – was the design (by Margaret Calvert) used on the signage for the Tyne and Wear Metro in England. The designer, in conjunction with the Monotype Type Drawing Office, adapted Calvert for use as a text typeface. Calvert is a modern re-working of the slab serif Egyptians that were so popular during the 1930s. Calvert has a vitality and elegance that is lacking in many of the earlier, more mechanical, slab serif designs. Use the Calvert font in magazines, manuals etc. and for display work in newspapers, advertising and circulars. Review this product |
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Candida Bold C Adobe Candida was originally designed for the Ludwig & Mayer foundry. The Candida font has the characteristics of an Egyptian but the serifs are very much thinner. The capitals are of a generous width, x-height is large. Candida offers good legibility in small sizes making it a useful face in newspapers and magazines, while the strong character shapes make pleasing display lines. Review this product |
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Candida Italic C Adobe Candida was originally designed for the Ludwig & Mayer foundry. The Candida font has the characteristics of an Egyptian but the serifs are very much thinner. The capitals are of a generous width, x-height is large. Candida offers good legibility in small sizes making it a useful face in newspapers and magazines, while the strong character shapes make pleasing display lines. Review this product |
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Candida Roman C Adobe Candida was originally designed for the Ludwig & Mayer foundry. The Candida font has the characteristics of an Egyptian but the serifs are very much thinner. The capitals are of a generous width, x-height is large. Candida offers good legibility in small sizes making it a useful face in newspapers and magazines, while the strong character shapes make pleasing display lines. Review this product |
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Cantoria® C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Bold C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Bold Italic C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Extrabold C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Extrabold Italic C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Italic C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Light C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Light Italic C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Semibold C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Cantoria® Semibold Italic C Adobe Cantoria was based on a design by Thomas M Cleland, for Lanston Monotype 1902, called Della Robbia. This, in turn was based on rubbings of stone-cut capitals seen by the designer in Rome. In style, Cantoria is like a lineal (sans serif) but with short, tapered serifs. The open nature and the wide range of weights, make the Cantoria font family ideal for advertising and magazine work. Review this product |
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Caravan™ 1 C Adobe Caravan™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Review this product |
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Caravan™ 2 C Adobe Caravan™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Review this product |
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Caravan™ 3 C Adobe Caravan™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Review this product |
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Caravan™ 4 C Adobe Caravan™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Review this product |
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Carolina™ Package C Adobe The Carolingian minuscule was the standard script during the period of Charlemange and governed the subsequent evolution of Western scripts. The Carolina font is a decorative display typeface, based on the early minuscule. The characteristic style of the Carolina font emphasizes the ascenders and descenders and is surprisingly modern and readable. Carolina™ is a trademark of Linotype GmbH and may be registered in certain jurisdictions. Review this product |
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Carta C Adobe The Carta font contains a set of map symbols designed by Lynne Garell. Review this product |
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Cascade Script™ C Adobe Cascade Script is a strong, slanted script ideal for setting lines where the immediate attention of the reader is demanded. The Cascade Script font is at its best in sizes over 14 pt with at least 2 pt linespace. Cascade Script is a spirited attempt at expressing activity and freshness in a bold style design. Cascade Script™ is a trademark of Linotype Corp. registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH. Review this product |
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Caslon 3 Italic C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 3 Italic Osf C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 3 Roman C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 3 Roman SmallcapsandOsf C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 540 Italic C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 540 Italic Osf C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 540 Roman C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon 540 Roman SmallcapsandOsf C Adobe William Caslon (1692-1766) laid the foundation for English typefounding, when he cut his first roman face in London in 1722. He modeled his designs on late seventeenth-century Dutch types; thus his typefaces are classified as Old Styles. The original Caslon punches have been preserved, enabling a perfect recutting of his faces. Notice the hollow in the apex of A and the two full serifs or beaks in the C. The italic capitals are irregular in their inclination. The Caslon font family is distinctive for use in subheadings or continuous text. Review this product |
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Caslon Open Face C Adobe Open, outline or inline faces became very popular in the 1940’s. By removing the usual weight, a clear-cut letterform is achieved. In Caslon Open Face, the right-hand strokes are accentuated, providing a slightly three-dimensional effect. The ascenders of Caslon Open Face are large and the overall design of this version does not relate to Caslon 3 Roman. This Caslon Open Face font is good for personal stationery, or sentences where a decorative but distinguished result is sought. Review this product |
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Castellar® C Adobe Castellar is an all-capital display typeface designed by John Peters in 1957. Castellar is based on the inscriptions on a Roman column dedicated to Emperor Augustus. The incised quality of Castellar is recreated in the shading on the thick strokes. Castellar is a worthy font choice for titling and headlines. Review this product |
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