Presenting Thin Italic Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Demi Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Demi Heirloom Artcraft Font is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Demi Italic Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N. It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Book Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Book Heirloom Artcraft Font is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. Book Heirloom Artcraft Font font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Book Italic Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Book Italic Heirloom Artcraft Font is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Black Heirloom Artcraft Font by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Black Heirloom Artcraft Font is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. Black Heirloom Artcraft Font font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well-mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N.

It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Presenting Black Italic Heirloom Artcraft Font– by Baseline Fonts within the Grit History B series. Like an auntie who insists on baking cookies from scratch every time you visit, Heirloom Artcraft is a beacon of tradition and consistent delight with every letterform.

Gentleness and subtlety keep this font far away from kitsch. This font sincerely says “ma’am” and “sir” and is perfect for business cards, custom stamps, coffee table books, letterhead, invitations, and anywhere you or your client wish to make an extremely well mannered and charming statement.

There are many alternate ligatures available within the font including capital alternates for T, A, P, B, D, and N. It also boasts a full symbol set and the most darling little swashes scattered tastefully throughout the character map you ever did key.

Heirloom Artcraft is available in Thin, Thin Italic, Book, Book Italic, Demi Italic, Black, and Black Italic.

It also features Metrics and Optical kerning– metrics displays characters with letterpress-traditional spacing that is pleasantly askew, or more rigid optical kerning which displays characters at identical distances for times when the importance of readability exceeds that of stylistic merit.

Cooper Text Font is comprised of two fonts- Cooper Text Font OldStyle and Cooper Initials. Cooper Text Font OldStyle is a round-serifed text typeface, while Cooper Initials are ornamental capitals designed for use as complementary drop caps.

Cooper Text Font OldStyle has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs while Cooper Initials have been drawn from a sample in the seminal monograph of Cooper’s work, The Book of Oz.

Cooper Text Font OldStyle was originally released as a non-kerning typeface, which offered limited use for text settings.

Oz Cooper Text Font was never quite happy with the copious amount of “air” around the typeface’s characters, so this definitive version has been painstakingly spaced and kerned for even text-setting.

Cooper Text Font Initials is a set of three typefaces:

• Cooper Initials, the base form derived from Cooper’s original design
• Cooper Ground, blocks of solid color that match the proportions of the Initials and which can be used to add a background color to the typefaces through layering
• Cooper Capitals, the lone letterforms within the initials, which can be layered to add highlight color to the letterform component of the set

These typefaces can be paired with Cooper Italic Complete for setting long lengths of text.

The history of these typefaces:

Cooper OldStyle is the result of Barnhart Brothers & Spindler type foundry representatives Richard N. McArthur and Charles R. Murray having met with Oswald Cooper and his business partner Fred Bertsch in 1917.

Due to other commercial design firms adopting Cooper’s style of lettering throughout the Midwest, both companies came to an agreement to create a family of types based on Cooper’s advertising lettering.

McArthur and Murray saw the biggest potential in the super-bold advertising lettering that would become Cooper Black but agreed that a roman weight old style should be executed first, the logical progenitor to a family of related types.

The foundry requested that the roman has rounded serifs so as to more specifically correlate to the planned bold.

This was the first of many tactical strategies in type design between type designer and foundry, most specifically McArthur and Cooper, whose back-and-forth relationship in designing, critiquing, and modifying letterforms was integral in shaping the oeuvre of type designs credited to Cooper.

While it was Cooper’s sheer talent in shaping appealing and useful alphabets that made his work so popular, McArthur’s role as critic and editor has gone largely unnoted in the slim amount of writing of length about Cooper’s work.

Cooper and McArthur went back and forth over the design of the roman face for nearly two years with Cooper, constantly redrawing and revising the typeface to get it to a castable state.

The capitals were successively redrawn by Cooper, with particular care paid to the “B” and “R” to make them relate formally.

The lowercase was redrawn numerous times, as were experiments in shaping the punctuation.

McArthur requested a pair of dingbats to accompany the typeface, along with a decorative four-leaf clover ornament “for luck”.

Cooper included a slightly iconoclastic, cartoonish paragraph mark, as well as decorative end elements, a centered period, and brackets with a hand-drawn feel.

The final typeface is a lively, bouncy conglomeration whose rounded forms dazzle and move the eye. Originally called merely “Cooper” in early showings, the name was later revised to “Cooper Oldstyle”.

The typeface met with a warm reception upon release in 1919, the public favoring its advertising-friendly, tightly-spaced appearance. Sales were moderate, and the face was considered a success.

Cooper originally drew the figures the same width as the “M” of the font but revised them to the width of the “N” at the request of McArthur.

Early versions of drawings of the slimmer figures are noted as “cruel stuff” in accompanying notes by Cooper, though they were versioned out into far more elegant numerals than the earlier stout figures.

Both versions of the numerals are included in the digital release, as are the ornamental elements.

In 1925, McArthur and Murray requested a set of ornamental initials. Cooper designed the initials open-faced on a square ground surrounded by organic ornament.

The initials were “intended to be nearly even in ‘color value’ with that of normal text type”. The letterforms themselves are a medium-bold variation on the Cooper OldStyle theme, lacking the balance of Cooper’s text faces, but charming nonetheless.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

Cooper Italic Complete Font typeface is the definitive version of Oswald Bruce Cooper Italic Complete Font classic typeface Cooper Italic.

1924 saw the release of Cooper Italic Complete Font, the italic companion to Cooper Oldstyle. Cooper Italic Complete Font possesses “a most unusual swing” in a number of the characters, most specifically the scooped, pigeon-toed feet of the lowercase “n”, “h”, and “m”.

Cooper Italic Complete Font These idiosyncratic characters are offset by more stately and assured capitals. Cooper Italic Complete Font said that his Italic is “much closer to its parent pen form than the roman” and “that freedom is almost the life of it”.

Cooper Italic Complete Font was a firm believer in creating humanist letterforms that echo the hand that created them, not wringing the life out of them through refinement and mechanization.

In Cooper Italic Complete Font own words about Cooper Italic, “The designer is conscious of its crudity, and of its irreverence for the best traditions.

But he believes that there are enough good types already– that the need is for poor types that can be used! And since he admits this to be a poor one, there now remains to be found out only whether it is usable or not.”

Cooper was long a believer that good type should be homely- if too pretty or sleek, its lifespan would be exponentially shortened.

Cooper designed a set of swash capitals to pair with Cooper Italic in 1927 that had not been released until now.

The swash capitals are a lively interpretation of round serifed old-style caps mixed with classic Caslon italic forms.

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces.

The typefaces include the original ligatures (never before released digitally), the previously unreleased Swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text settings.

“Inspired by the type elements of 17th century Dutch mapmaking, Boncaire Titling Font provides you with a historic yet adventurous look for your library.

Boncaire Titling Font addition from insigne™ found its muse in a map of Curacao by Dutch cartographer Gerard Van Keulen, a member of the prosperous Van Keulen family from Amsterdam, who were engaged in the manufacture of maps for seafaring.

Boncaire Titling Font Much thanks on this project goes to The Norman B. Leventhal Map Center, housed at the Boston Public Library.

Through the center’s kindness, Boncaire Titling Font I was able to view a number of period maps in person and to meet with curators, who explained more about the Van Keulen family and the way maps of the period were created.

While I studied the maps, I narrowed in on some of the original type’s unique idiosyncrasies. For instance, the long, exaggerated serifs, which give the forms a sense of stability, aid in the face’s legibility–largely a byproduct of the engraving method that was used to create the metal plates for manufacturing these maps.

In creating Boncaire Titling, I decided to capture these unique idiosyncrasies, embracing the character of the engravings rather than removing them entirely through “over-refining” the forms. The result is an elegant family with far more than seafaring potential.

This font has a full range of six weights, from thin to black. It also includes a wide variety of OpenType alternates. All insigne™ fonts are fully loaded with OpenType features.

Boncaire Titling is also equipped for complex professional typography, including alternates, smaller titling caps and plenty of alts, including “normalized” capitals and lowercase letters.

There are over 30 autoreplacing ligatures, and the face includes a number of numeral sets, including fractions, old-style and lining figures with superiors and inferiors.

OpenType capable applications such as Quark or the Adobe suite can take full advantage of automatically replacing ligatures and alternates. You can find these features demonstrated in the .pdf brochure.

Boncaire Titling also includes the glyphs to support a wide range of languages, including Central, Eastern and Western European languages.

In all, Boncaire Titling supports over 40 languages that use the extended Latin script, making the new addition a great choice for multi-lingual publications and packaging.

Maps are fascinating; they come with the promise of treasure to be uncovered. Examining the map itself, too, you can find great wealth in the details so artfully condensed to that single piece of paper–details carried over into this new insigne font. For your next project, explore the imagination potential in Boncaire Titling.”