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ARB 44 Chicago Modern™

por The Fontry
Licencias desde $25.00 USD
Familia completa de 12 fuentes: $25.00 USD
ARB 44 Chicago Modern Font Poster 1 ARB 44 Chicago Modern Font Poster 2 ARB 44 Chicago Modern Font Poster 3 ARB 44 Chicago Modern Font Poster 4
La familia tipográfica ARB 44 Chicago Modern fue diseñada por Alf R. Becker, Michael Gene Adkins y publicada por The Fontry. ARB 44 Chicago Modern contiene 0 estilos y opciones de paquete familiar.

Más información sobre esta familia

ARB 44 Family

 12 fuentes

¡Mejor Precio!

  • ARB 44 Chicago Modern AUG-35 DTP Normal

  • ARB 44 Chicago Modern AUG-35 DTP Normal Italic

  • ARB 44 Chicago Modern AUG-35 DTP Normal Italic

  • ARB 44 Chicago Modern AUG-35 DTP Bold

  • ARB 44 Chicago Modern AUG-35 DTP Bold Italic

  • ARB 44 Chicago Modern AUG-35 DTP Bold Italic

  • ARB 44 Chicago Modern AUG-35 CAS Normal

  • ARB 44 Chicago Modern AUG-35 CAS Normal

  • ARB 44 Chicago Modern AUG-35 CAS Normal Italic

  • ARB 44 Chicago Modern AUG-35 CAS Normal Italic

  • ARB 44 Chicago Modern AUG-35 CAS Bold

  • ARB 44 Chicago Modern AUG-35 CAS Bold Italic

Por Estilo:

$2.08 USD

Paquete de 12 estilos:

$25.00 USD

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Sobre la familia

Want to build elegance and sophistication into a font? First, start with a narrow stance. That’s always a strong beginning. Second, look to the past for inspiration. But what if you mix in hints of deco and gently sweeping curves and arches and heavily contrasting thicks and thins? Well, that means it’s August, 1935, all over again, and SIGNS of the Times magazine by ST Publications has just released its 44th alphabet by master sign painter, Alf R. Becker. Beginning in January, 1932, Alf R. Becker of St. Louis, Missouri, at the request of then-editor E. Thomas Kelly, supplied SIGNS of the Times magazine’s new Art and Design section with an alphabet a month, a project initially predicted to last only two years. Misjudging the popularity of the series, it instead ran for 27 years, ending finally two months before Becker’s death in 1959, for a grand total of 320 alphabets, a nearly perfect, uninterrupted run. In late 1941, just ten years after the first alphabet was published, 100 of those alphabets were compiled and published in book form under the title, “100 Alphabets,” by Alf R. Becker. As published in August, 1935, this is the description that accompanied Becker’s 44th alphabet, Chicago Modern Thick and Thin: This is Chicago Modern Thick-and-Thin, alphabet No. 44 in Alf R. Becker’s SIGNS of the Times series. It is one of those styles in which spurs are to be avoided, and in which the letter height should be twice as great as the average width. Many font designers have tackled converting Becker’s incredible achievement from paper to digital, and many claim to treat his work with care and dignity. But the Fontry’s Becker fonts remain the most historically accurate and viable treatments available, arriving in two industry-satisfying versions: CAS (Computer-Aided Signmaking) and DTP (Desktop Publishing). And as with all Fontry fonts, the kerning is not optional--it’s exceptional!!!

Diseñadores: Alf R. Becker, Michael Gene Adkins

Editorial: The Fontry

Fundición: The Fontry

Propietario del diseño: The Fontry

MyFonts debut: Apr 3, 2009

ARB 44 Chicago Modern™

Acerca de The Fontry

When foundry's were making steel and fonts were but a molten dream ... well, we don't go that far back! But that's how we came up with the name for The Fontry. Spun into existence in 1992 by James L. Stirling and Michael Gene Adkins, The Fontry owes its origins to lots and lots of years working around screenprint shops and the signmaking business, influences that translate clearly into our font designs. It stands to reason then that many of our typographic efforts reflect the needs of those industries. Not ones to wimp around with frilly type, many of our fonts exude the strength you've come to expect from any font that dares to call itself a display face. No typesetting lots of tiny text with any of our fonts! And our inspiration covers the gamut, from full-on customs to period revivals. But no matter the origins, we pride ourselves on taking care of the details, from the nudge-fussiest node positioning to the single-digit kerning adjustments. Every Fontry font has over 40 hours of work in it, and we like to think it shows. At least we hope it shows--really! So for fonts that really fill the space, we're the foundry guys you wanna try!

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