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Acto

Acto

by DSType
Individual Styles from $40.00
Complete family of 22 fonts: $480.00
Acto Font Family was designed by Dino dos Santos and published by DSType. Acto contains 22 styles and family package options.

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About Acto Font Family


Acto is a type system designed as the sans serif counterpart of the previous released Acta. Both type families were designed in 2010 for the redesign of the Chilean newspaper La Tercera, but unlike some of our previous fonts (i.e., Leitura) Acto doesn't exactly match Acta in terms of structure, so they can live on their own. Acto is our first sans where the uppercase has the same height as the ascenders, so we decided to avoid common problems like the confusion between the I and the l, by drawing a curved l. We kept that spirit by removing the spurs on the b, g and q, resulting on a more warm typeface than Prelo, for instance. In the end it's a very powerful sans family, with eleven weights with matching italics, for editorial and corporate design.

Designers: Dino dos Santos

Publisher: DSType

Foundry: DSType

Design Owner: DSType

MyFonts debut: Jan 16, 2012

Acto

About DSType

“I began designing typefaces in the early ’90s because there weren’t many typefaces available to us in those days,” Dino dos Santos, founder of DSType, said in his Creative Characters interview. “I started designing fonts that matched the new typographic experience. To me, graphic design was never about taking a picture and then just choosing one of the available typefaces” Based in Porto, Portugal, Dino got his start designing typefaces for magazines and large corporations. Frustrated that the only fonts available for use were system fonts and dry transfer sheets, he began selling his typefaces on MyFonts. Since then, the self-taught designer has created a library full of striking experiments, charming display type, and most notably, an amazing collection of well-wrought, extensive text families. His collection also boasts a handful of bestsellers such as Velino Text, Prelo Slab and Prumo Slab. “There is not much of a type design history in Portugal,” he noted in his interview. He is, however, interested in what has been done in his country by older generations of type designers and calligraphers. “I want to understand what happened, how things worked back then, and expose the world to some lesser-known work. History is often seen as something that passed away, and that’s it. But for me history is one of the most relevant aspects of type design. I believe we are made of history, but also that we should take a step forward by connecting it to the present and the future and we can do that through technology.”The Premium foundry page can be viewed Here.

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