![]() The serifs were also generally designed in a slightly chunkier, less delicate way than the ones found in garaldes, and they usually present sharp cuts and squared edges which make them quite crisp at text sizes.īrabo’s much more cursive italics take the air of erudition up a notch with a lyrical collection of decorative capitals, swashes and ligatures, for embellishing or adding emphasis to display text or titles. Extravagant ligatures add scholarly flourishes. The contrast in stroke width in Brabo, not as pronounced as in typical 16th century fonts, allied to the presence of generous counters, gives the family a strong, sturdy, affable character in body text. It doesn’t intend to be a revival or a mere reproduction of a classic design, but brings some freshness and authenticity to these models. ![]() ![]() Visible in Brabo’s proportions is the influence of punch-cutters such as Claude Garamond, Robert Granjon and others, and the book-oriented class of typefaces known as garaldes (a portmanteau of Garamond and Aldus ), which display finer proportions than the earlier humanist faces.īrabo is very much a personal interpretation of a garalde – a contemporary typeface family designed to bring a beautifully bookish personality to hardworking modern applications. Its place of origin – and long, taxing resolution – led to the name: Brabo, after the Roman hero of legend who battled for days to liberate Antwerp from the tyranny of the evil giant, Antigoon.įernando’s starting point was the genre of 16th century typefaces that he encountered in the Plantin-Moretus Museum, inspired by broad-nibbed calligraphy. It would take another three years for Fernando to complete his work on the typeface, first in the Fontsmith studio and, finally, in Brazil. The course took place in the hallowed Plantin-Moretus Museum in Antwerp, Belgium which is a UNESCO World Heritage Site and houses the two oldest surviving printing presses in the world, and a priceless archive of typographical and artistic material. A font that can add poetry to the plainest prose.įernando Mello’s classical serifed font began to emerge in 2012 while he was studying an expert type design course run by Frank Blokland by the Plantin Institute for Typography. But every donation is greatly appreciated.To design a beautiful, functional, serifed text font for books. ![]() Kiosk Font is DEMO font not containing all of its glyphs, and for PERSONAL USE ONLY. The font is PUA encoded and you can access alternate characters from OpenType controls or manually from Character or Glyphs window. In addition it has Swash, Stylistic and Titling Alternates and even more alternates for some characters. It has Contextual Alternates and Standard Ligatures that are automatically help to keep the connections smooth. Kiosk Script is equipped with several OpenType features. Textured versions are the same fonts with a rugged outline and with a “stamp” texture inside the letters. Script is great as a logotype, used for quotes, magazines, packaging and branding. Sans is great for sturdy headlines, menu titles, packaging or any such, the bigger the better. Kiosk fonts work as a pair or as themselves. In addition there are textured “print” versions of them both. This is a luxury typeface duo created by Fenotype with a combination of elegant sans serif font and an eloquent brush script, that look divine when paired together.
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