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Amor
Amor is a Storm font family with 16 styles priced from $40.00. Click a Purchase Options button below to view pricing and availability information for a particular group of fonts, or see purchase options for the entire family.
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Design Credits
First seen on MyFonts: April 27th, 2005
Designed by: František Štorm
Designed when: 2005
Design owned by: Storm
MyFonts Keywords: optical sizes
Amor
Antique monumental incriptional majuscule, originally carved in stone, and sometimes called “Roman Capital”, is the origin of the upper-case part of our latin alphabet. Its narrowed form, derived from handwritten originals used between the first to third century A. D., served as the inspiration for the Mramor typeface, which I drew with ink on paper in 1988 under Jan Solpera’s leadership.
After composing negative letters on a strip of film it was possible to use Mramor with the early phototypesetting devices. In 1994 with the help of Macintosh IIvi I added the lowercase letters and bolds, and issued this typeface as 14-font family. After some years of using Mramor for various purposes, I realized a need of modernization and humanizing its very fragile appearance, as well as removing numerous decorative and useless parts. Besides that, type design made a huge technical progress in past few years, so I was able to finish the remaining approximately 9600 glyphs contained in the present font system names Amor.
It is already usual to combine sans and serif fonts within one family in order to distinguish (e. g. in a book) historical part from contemporary, a plain chapter from a special one, or, in quotations, to divide speaking persons. Sans-serif typefaces don't arise by simple removal of serifs; they have to be drawn completely separeately, when ocasionally many declined forms may be made, considered to the serifed original.
Neverteless, both parts of this type system appear consistent as for proportional, aesthetic and emotional atmosphere.
Usage of type is often closely linked to its original inspiration, in this particular case with architecture and figurative sculpture. An inner “order” was also text setting in smaller sizes. A smooth scale of weights enriches the possibilities in designing of magazines, brochures, exposition catalogues and corporate indentity. Economizing, but opened shape of characters is well legible and antique hint comes into play after longer reading.
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