It also provides you with plenty of OpenType features and additional goodies: small capitals, ten sets of figures, case-sensitive forms, ligatures, superiors, fractions and arrows. Each weight is accompanied by carefully hand-corrected italics.Allrounder Grotesk supports more than 200 Latin-based languages, containing the complete “LatinPlus” glyph set developed by Underware. An unobtrusive teamplayer as well as an excellent soloist, this hard-working sans-serif typeface is ready for any task you’ll throw it at.A workhorse that lives up to its name, Allrounder Grotesk consists of ten weights ranging from a delicate Air to a powerful Black with 900+ glyphs per font. The only Grotesk you’ll ever need.Allrounder Grotesk is a neutral, powerful Neogrotesk member of the Allrounder superfamily. Of course I don't intend to recut it, but to reverse the way of thinking even further, and have often designed with the vague image of, for example, an old unrefined typeface in mind.Ī true workhorse. I am just clear about the fact that the mental picture of a typeface which I deem important when working on a design is a grotesque typeface like Akzidenz Grotesk. However, just because of that I don't necessarily spend time studying Helvetica in detail and analyzing its subtleties in order to progress with a design. In my head there is no conflict about this either, and I readily agree with this thinking. It is just that Sans Serif goes hand in hand with Helvetica after all, and I don't think it is exaggerated to say that everyone throughout the world would agree. Of course it is a great typeface, but I believe that one should not be fixated on the association of Sans Serif = Helvetica. For me, when I hear for example "Sans Serif", then immediately Helvetica comes to my mind, even though I don't think that it is the best Sans Serif out there.
Even if they were in the way of the reading process, I still think they form splendid letters. Inside my head, there are a number of forms of Sans Serif typefaces, and I cannot put aside any single one of them. All OpenType features can be accessed through OpenType compatible applications or the character map to view and copy any of the additional characters you want to paste into your favorite text editor / application.
This will help your creativity and make it easier to do the impressive and elegant typographic work. To this, we add a support of central European language to adjust your design. Galia has a total of 947 characters, in OpenType format, such as Stylistics and Contextual Alternatives, Swashes, Ligatures, up to twenty stylistic games by lowercase and three in the uppercase, which allow you to mix and match pairs of letters, in addition to a wide set of ornaments perfect for interacting with the text. Galia is a new font with a vintage character designed by Carine de Wandeleer, inspired by the beautiful look of Victorian calligraphy, capturing all the elegance of its flourishes.Galia has a variety of ornamental swash letters hundreds of ornamental and descending ascenders allow a beautiful interaction of strokes and combinations, avoiding overlaps or conflicts.
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