Faizaan Levy

Download Now Server 1 Download Now Server 3 Download Now Server 2 Designed primarily for editorial use, Silva is a superfamily ideal to typographically complex environments requiring a highly versatile typeface. With slightly condensed proportions, generous x-height, moderated ascenders and descenders and robust serifs, it is an extremely readable and economic type. Subdivided in two optical sizes, the family has a total of 26 fonts including italics. Silva has an extensive character set — with extensive language support — that provides both old style and lining figures as well as their respective tabular versions, fractions, various ligatures, small capitals, arrows and a number of different symbols. Silva Display

Download Now Server 1 Download Now Server 3 Download Now Server 2 Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design , inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy , which has been dealing with for centuries with fixed space grids. The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush wi

Calvino In designing the  Calvino  typeface family  Andrea Tartarelli  set himself the challenge to follow the principles expressed by the Italian writer  Italo Calvino   in his masterpiece  Six memos for the next millenium .  Exactitude  and  visibility  are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour,  lightness  and  quickness  were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of  multiplicity was kept central, developing  Calvino  in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family,  Calvino Grande , to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure,  Calvino Grande  sports condensed proportions, sharper details and tighter metrics.

Calvino In designing the  Calvino  typeface family  Andrea Tartarelli  set himself the challenge to follow the principles expressed by the Italian writer  Italo Calvino   in his masterpiece  Six memos for the next millenium .  Exactitude  and  visibility  are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour,  lightness  and  quickness  were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of  multiplicity was kept central, developing  Calvino  in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family,  Calvino Grande , to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure,  Calvino Grande  sports condensed proportions, sharper details and tighter metrics.