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A New Church/Ministry Font

Carl Shank • January 10, 2024

A New Ministry/Church Font. CARE Typography is pleased to release a new church/ministry font for use by non-profits and churches as well as ministry venues. This font is FREE to all such ministries.


The Ministry Picts Font was adapted from Pictograms found in The Image Book: 2,500 Visual and Verbal Images To Clip and Use During the Church Year (C.I. Publishing, 1993). This image book was originally designed for image copying and use by church and ministry organizations. Developed thirty years ago for copying images for newsletter and other church uses, we found a number of Pictograms that can be updated and adapted for use by religious organizations. While no doubt dated, these Pictograms can add spice to your newsletters and church articles. Think of them as "retro" images.


Some of the Pictograms offered in the Image Book are suitable for font development. We have used Fontographer 5 after cleaning up the images and making them suitable for typeface use. Since these Pictograms are now in font form, they can be sized and used most anywhere in church and ministry publications without concern for readability or clarity.  CARE Typography recommends sizing at 100 points or higher for quality use.


You can secure your copy of the font by emailing CARE Typography at cshanktype@gmail.com. Enjoy them!

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Wide Is Beautiful

By Carl Shank • March 15, 2025
Wide Is Beautiful What makes a typeface beautiful? Aesthetically pleasing fonts or typefaces have differing qualities that make them suitable and beautiful in different contexts and uses. I have chosen six (6) wide or "extended" font faces to highlight the inherent beauty and usability of such type. The samples chosen range from well used Adobe fonts to a specialty antique wide font CARE Typography crafted from an old fashioned type book published by Frederick Nelson Phillips, Inc of New York back in 1945.

Italics

By Carl Shank • February 22, 2025
Italics . Typography historically received its most valuable improvements from the printers of Italy giving us three text-letters of greatest usefulness : (1) the Roman typeface, first founded by Sweinheym and Pannartz in 1465, and afterward perfected by Jenson at Venice in 147 1 ; (2) Italic and (3) Small Capitals, introduced together by Aldus Manutius at Venice in 1501. The first volume entirely in Greek was printed at Milan in 1476 ; the first book entirely in Hebrew, at Soncino in 1488. The transition from Gothic to Italic typefaces was part of the broader evolution of typography that took place during the Renaissance period, driven by shifts in cultural, aesthetic, and technological factors. Gothic script was primarily used for religious texts, legal documents, and early printed books like the Gutenberg Bible. It symbolized tradition, formality, and authority. Gothic, was characterized by its dense, angular, and ornate letters, often with sharp vertical strokes, tight spacing, and elaborate flourishes. It was designed to mimic the style of manuscript writing at the time.
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