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New Font Offerings

Carl Shank • May 11, 2023

Introducing the Christograph Font & FancifulAlphabets Font. CARE Typography is pleased to announce two new font offerings, especially for use in churches and ministries—the Christograph Font and the FancifulAlphabets Font. These are pictograph fonts, designed from pictograms courtesy of The Image Book: 2,500 Visual and Verbal Images to Clip and Use During the Church Year (C.I. Publishing, 1993). The pictograms used have been cleanly drawn and sized to fit a normal sized font display. There are 83 pictograms in the Christograph font that occupy font glyphs. They cover the church year adequately and can be used in a variety of newsletter and display materials. These fonts are true Open Type Postscript fonts, the kind preferred by Adobe systems.


The FancifulAlphabets Font is a decorative capital letter font, from A to Z, suitable for fancy text introductions or stand alone old time graphics. One of the nice things about having such fancy lettering in a font family is that they can be sized to fit most any text or advertising use, especially in the larger sizes.


The fonts are free to all churches and ministries. To secure your copy of the fonts, send an email to CARE Typography at cshanktype@gmail.com. The fonts are copyrighted by CARE Typography and can be used only by permission from the creator.


We believe these fonts can be helpful to many!

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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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