Waden Font

[Kenneth Larson]

Webfontsallow you to embed the font into a webpage using the @font-face rule, so paragraphs and headings of text can be styled as the webfont. You will be serving the webfont kit for your own site and linking it in the CSS.

Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web design agencies or hosting providers, may not share a single webfont license across multiple websites.

An Electronic Doc license is based on the number of publications in which the font is used. Each issue counts as a separate publication. Regional or format variations don't count as separate publications.

We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. This kit may be shared with third parties who are working on your behalf to produce the ad creatives, however you are wholly responsible for it.

Digital advertisements also have different usage patterns compared to websites. Most websites generally have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month. Prices reflect this, making it much less expensive to use a Digital Ad license.

If you know the number of impressions the campaign requires, that amount can be ordered before the campaign begins. For campaigns where number impressions is unknown until the end of the campaign, you can true up at the end of each calendar month.

Wadenfont is a layered font-family with family well-balanced contemporary font with a fancy, unique, and versatile vintage serif font that you can combine to get any variations and unique shapes easily just in seconds with stack it. It is a serif display font with moderate contrast that perfect for branding projects, logo, wedding designs, social media posts, advertisements, product packaging, product designs, label, photography, watermark, invitation, stationery, and any projects, it makes with a high level of legibility.

They are fully installable font files, able to be used in any software program for testing and comping purposes. They are not allowed to be used in a final project (whether personal or commercial) without purchasing a license.

Despite its rustic appearance, Walden is perfectly adaptable to contemporary use, wherever a bit more character is needed. Decidedly kept simple, these three weights with matching italics is all you need.

Font licensing is not the most glamorous aspect of typography. When people think about type, they typically think about serifs and swashes, and all of the personality and emotion a well-drawn typeface can deliver.

However, not everyone realizes that typeface designs and the font software that generates those designs are entitled to intellectual property protection. Each font file is a separate piece of software that needs to be properly licensed.

No. A typical desktop license allows you to install the font on your computer for use in design programs like InDesign. Web font licenses will enable you to embed that font in the code for a website. So, whereas you might use a desktop license to create a static image (like a .jpeg) you upload to your website, a web font license facilitates the implementation of the font in the actual code of your website.

A typeface is usually grouped together in a family containing individual fonts for a range of styles, including thin, light, regular italic, bold, condensed, and other variations of the primary design. Individuals and brands can license a single font, the whole family, or any selection of fonts from a typeface.

Quick note from the Monotype legal department: The information included here pertains to Monotype font licenses only. Other foundries may have unique requirements or restrictions in their contracts. Always read your licensing agreements closely.

Server licenses allow non-licensed desktop users to use font software on company platforms. Examples of non-licensed desktop users include your clients, dealerships, and third-party distributors. Examples of server-based software include prepress and variable print software, dynamic text generation (e.g., signage), automated marketing services (CMS/templates), and web-based print-on-demand platforms. The output of server environments can include non-commercial embedded documents like marketing materials as long as they cannot be edited. Commercial Embedded Documents (e.g., eBooks, magazines, etc.) require additional license coverage.

A thoughtful approach to font licensing gives design, brand, and marketing teams the freedom to be creative and the confidence to move quickly. It takes the guesswork out of choosing fonts and streamlines the finding, sharing, and designing with typography. Imagine what your teams could do if they got those eight hours back.

October 2023 has been full of pretty significant milestones for me.1 Most notably to subscribers of Long Live the ABB, October 18 was the one-year publication anniversary of my fourth, and most significant book, Play All Night! Duane Allman and the Journey to Fillmore East.

I discovered something else in those album covers: a true appreciation/full-blown fascination with graphic design. It extended to football and baseball cards, team logos and uniforms, fonts, magazines, and photography in general.

Capricorn/Atlantic used a pretty generic/unimaginative font for The Allman Brothers Band (1969) with the band in everyday clothes, standing near on the portico of what seems to be an old Southern mansion (it was).

Judy Reeves Petty came up with the cover concept for Brothers and Sisters. The elegant cursive-like font seems like a formal invitation to a record that is much more joyous than the circumstances in which it was made.

Unlike the mushroom or the Eat a Peach cover, this is the first ABB logo to appear on its own. The rock merch business was just getting rolling around this time and Phil Walden was among those at the forefront of that movement. This script wordmark showed up on posters, iron-on transfers, belt buckles, all kinds of mid-70s rock ephemera. 11

I worked off the title, imagining a classy saloon window with Allman Bros. lettered on it. Right around the corner from me was a stained glass studio called Sunshine Glass Works, so I was able to go in and design the window around the logo I had developed. I then had a giant decal made and we shot it all as one piece.12

This came on the heels of learning last week that I\u2019d crossed a threshold of sorts, 1,000 subscribers to Long Live the ABB and a really killer interview on the Principal Notes podcast of my new bandmate34 whose love of \u201CMountain Jam\u201D rivals my own. Links to the interview on all podcast platforms and on YouTube.

I received some kind responses and wanted to say thanks to each of you for joining me on this journey. To be entirely honest, I would be doing this if you weren\u2019t here, but it makes it more fun knowing folks are interested.

I\u2019ve long been fascinated by the visual element of rock music. It started with me pouring over albums. I\u2019d soak in everything, from the lyrics, liner notes, photographs, whatever little information I could glean about the magical sounds coming out of the speakers. No detail was too small.

I shared a bit here about the ABB\u2019s first flyer for a show in Macon. Bubble lettering was en vogue; it reflected whimsy and psychedelia of the counterculture. The \u201Clogo\u201D (which isn\u2019t a logo, I know) signals this is a band that represents their audience. (So does the copy, btw.)

Of course, Phil Waden and company wanted to capitalize on that and sought to build an image of the group as the \u201CPeople\u2019s Band\u201D\u2014a concept I explored pretty in-depth in Play All Night.

But I\u2019m not going to focus on that album cover (which itself gives a really killer vibe that reflects my point). Instead, I want you to look at the ABB\u2019s wordmark at the bottom. Though different from the hand-lettering on that first poster, it sure reflects its spirit.

The first time I saw this particular logo was this photo from 1969/70(?). It\u2019s on a banner and taped to Gregg\u2019s B-3. (Typically logos are found on bass drum heads, but the ABB drummers weren\u2019t doing that yet.)

By 1970, artist Flouronoy Holmes of the Atlanta-based Wondergraphics, created the ABB\u2019s iconic mushroom logo. He included \u201Cthe Allman Brothers Band\u201D in a style adapted from the psychedelic font Wes Wilson created for posters for Bill Graham\u2019s original Fillmore Auditorium.8

For At Fillmore East (1971), they went back to the People\u2019s Band image: the band name and album title stenciled in white spray paint on a road case and stacked in the upper left-hand corner of the image:

It didn\u2019t even end up on the merch for the tour, which used a block font that combines the look of Civil War recruitment posters with Lost Cause imagery of a plume-hatted cavalier, sword in hand, mounted, bursting through a cannonball-sized hole in a rebel flag.10

First things first, the cover Win, Lose, or Draw didn\u2019t have the ABB\u2019s name on it anywhere. There\u2019s lots confusing about the cover design, but leaving off the name of the biggest band in the country was a particularly egregious mistake.

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