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Talasem Fonts Free Downloads

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Springfield LT Std
by: Bob McGrath
Update : Wed, 19 Oct 2016 21:07:45 +0800Company : Linotype GmbHSize : 38.28 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : NOTIFICATION OF LICENSE AGREEMENTYou have obtained this typeface software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to your workstation for your own use. You may not copy or distribute this software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informacin concernant la contrat d'utilisation du logiciel de polices, veuillez consultez notre site www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418

Free
☆☆☆☆☆
8.1K Sales
Last updated: 19 Oct 2016

Stempel Garamond LT Pro Bold
by: D Stempel AG
Update : Wed, 19 Oct 2016 21:07:45 +0800Company : Linotype GmbHSize : 85.2 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. The Linotype Library has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. First released by D. Stempel AG in 1925, Stempel Garamond was based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types. It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text fonts. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds. Stempel Garamond is available in several weights with small caps, oldstyle figures, and Central European characters.

Free
☆☆☆☆☆
2.2K Sales
Last updated: 19 Oct 2016

Stempel Garamond LT Pro Bold Italic
by: D Stempel AG
Update : Wed, 19 Oct 2016 21:37:47 +0800Company : Linotype GmbHSize : 83.56 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. The Linotype Library has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. First released by D. Stempel AG in 1925, Stempel Garamond was based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types. It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text fonts. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds. Stempel Garamond is available in several weights with small caps, oldstyle figures, and Central European characters.

Free
☆☆☆☆☆
5.3K Sales
Last updated: 19 Oct 2016
Stempel Garamond LT Pro Italic
by: D Stempel AG
Update : Wed, 19 Oct 2016 21:37:47 +0800Company : Linotype GmbHSize : 83.95 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. The Linotype Library has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. First released by D. Stempel AG in 1925, Stempel Garamond was based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types. It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text fonts. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds. Stempel Garamond is available in several weights with small caps, oldstyle figures, and Central European characters.

Free
☆☆☆☆☆
2.5K Sales
Last updated: 19 Oct 2016
Stempel Garamond LT Pro Roman
by: D Stempel AG
Update : Wed, 19 Oct 2016 21:37:47 +0800Company : Linotype GmbHSize : 81.33 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the Garamond types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. The Linotype Library has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. First released by D. Stempel AG in 1925, Stempel Garamond was based on the Egenolff-Berner specimen of 1592 and was therefore a revival of the genuine Garamond types. It is one of the most famous Garamond interpretations, and since its introduction in 1925, it has been one of the most frequently used text fonts. Stempel Garamond has its own unique temperament, with a rhythm and sharpness that set it apart from other Garamonds. Stempel Garamond is available in several weights with small caps, oldstyle figures, and Central European characters.

Free
☆☆☆☆☆
5.5K Sales
Last updated: 19 Oct 2016
Stempel LT Std 1
by: Martina Balke
Update : Wed, 19 Oct 2016 21:37:47 +0800Company : Linotype GmbHSize : 34.22 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke and are part of the TakeType Library from Linotype.

Free
☆☆☆☆☆
8.2K Sales
Last updated: 19 Oct 2016
Stempel LT Std 2
by: Martina Balke
Update : Wed, 19 Oct 2016 22:07:48 +0800Company : Linotype GmbHSize : 43.86 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : The Stempel family consists of two fonts; each made to look like a set of block stamps. Each letter appears inside its own roughly drawn square. Stempel One's letters are very simple form/counterform objects. Stempel Two's forms are more ornate: each square stamp has a thin border inside of it, and then the individual letterforms have been knocked-out, so that the colored area depicts the counters around the letters rather than the letters themselves. As a line of text is typed, a box appears for each letter entered, and all of the boxes slightly nudge against each other to form the line. The Stempel fonts have the appearance of a hand-made quality to them. Their forms appear too random, too delicate, and too thought out to have been made on a machine. Using these fonts will add a nice warm, linoleum-cut touch to your work. Both Stempel One and Stempel Two were designed by German designer Martina Balke and are part of the TakeType Library from Linotype.

Free
☆☆☆☆☆
7.5K Sales
Last updated: 19 Oct 2016
Stempel Schneidler Std Light
by: FH Ernst Schneidler
Update : Wed, 19 Oct 2016 22:07:48 +0800Company : Size : 32.48 KbpsVersion : OTF 1.029;PS 001.003;Core 1.0.33;makeotf.lib1.4.1585Trademark : Copyright 1990, 2002 Adobe Systems Incorporated. All Rights Reserved.

Free
☆☆☆☆☆
5.1K Sales
Last updated: 19 Oct 2016
Stencil Moonlight LT Std
by: Gustav Grinbergs
Update : Wed, 19 Oct 2016 22:07:48 +0800Company : Linotype GmbHSize : 52.27 KbpsVersion : 2.00;2006Trademark : NOTIFICATION OF LICENSE AGREEMENTYou have obtained this typeface software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to your workstation for your own use. You may not copy or distribute this software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informacin concernant la contrat d'utilisation du logiciel de polices, veuillez consultez notre site www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418

Free
☆☆☆☆☆
6.2K Sales
Last updated: 19 Oct 2016
Stilla LT Std
by: Franois Boltana
Update : Wed, 19 Oct 2016 22:07:48 +0800Company : Linotype GmbHSize : 38.54 KbpsVersion : 1.100;PS 001.001;hotconv 1.0.38Trademark : NOTIFICATION OF LICENSE AGREEMENTYou have obtained this typeface software either directly from Linotype GmbH or together with software distributed by one of Linotype's licensees.This software is a valuable asset of Linotype GmbH. Unless you have entered into a specific license agreement granting you additional rights, your use of this software is limited to your workstation for your own use. You may not copy or distribute this software. If you have any questions regarding your license terms, please review the license agreement you received with the software.General license terms and usage rights can be viewed at www.linotype.com/license.Generelle Lizenzbedingungen und Nutzungsrechte finden Sie unter www.linotype.com/license.Pour plus d'informacin concernant la contrat d'utilisation du logiciel de polices, veuillez consultez notre site www.linotype.com/license.Linotype GmbH can be contacted at:Tel.: +49(0)6172 484-418

Free
☆☆☆☆☆
5.2K Sales
Last updated: 19 Oct 2016