Fonts of March

Mar 09, 2011 No Comments by


Manuel Corradine from Bogota, Colombia, has given us some fine fonts in the past, such as the eclectic and elegant Mussica and the spontaneous Corradine Handwriting. But Legendaria is his biggest coup so far, his pi?ce de r?sistance, his Nec plus ultra. Legendaria is a sophisticated connected script font that dexterously mixes formality and friendliness, exuberance and legibility. With more than 1,300 ornamented characters it is an incredibly versatile toolkit for building gorgeous typographic artwork. Most lower case letters have at least fifteen different options, including tails and flourishes. For users of software with full OpenType functionality, Legendaria OT is the best choice. Others can combine the standard Legendaria with a choice of Swashes, Beginnings and Endings fonts.


Having been featured in last month’s Rising Stars, Kondolar has continued to do well, settling comfortably among the font elite of our Best Seller list. Which offers us an opportunity to revisit the font in the current issue, and showcase some of the other fine fonts from Cadson Demak, a small typographic studio based in Bangkok, Thailand.
Kondolar’s squarish silhouette combines very well with the short, sturdy serifs, some of which are asymmetrical. With a well-built character set including small caps and several numeral styles, and a supple italic for the Regular weight, Kondolar is surprisingly versatile for such a small family. Besides its use as a text and display typeface in print, we predict a prosperous career as a web font.

OrpheusOrpheus Pro

Orpheus Pro is a spectacular revival of the gorgeous 1920s typeface of that name, drawn for Klingspor by Walter Tiemann. Like so many typefaces of that era, Tiemann’s masterpiece got overlooked when type technology changed over to film and then to digital. Enter Canada Type, where designers Patrick Griffin and Kevin Allan King got carried away while working on what started out as a straightforward revival. “The great roman caps just screamed for plenty of extensions, alternates, swashes, ligatures, fusions from different times, and of course small caps. The roman lowercase wanted additional alternates and even a few ligatures. The italic needed to get the same treatment for its lowercase that Tiemann envisioned for the uppercase … Orpheus Pro has been a real ride.” The result is an amazing feat with upwards of 1,000 characters per OT font. And here is good news for those who don’t have access to full OpenType functionality: the Pro fonts ship with their corresponding TTF versions, with six TrueType fonts to cover the character range of the roman and six more to cover the italic.



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