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Andaluz

por Storm Type Foundry
Estilos individuales desde $38.00 USD
Familia completa de 8 fuentes: $200.00 USD
La familia tipográfica Andaluz fue diseñada por František Štorm y publicada por Storm Type Foundry. Andaluz contiene 8 estilos y opciones de paquete familiar.

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Sobre la familia


The land of beauteous angels, Andalucia, connects different cultures with a curved arch. Almond trees bloom there in February, and orange trees grow in the heavenly courtyards of Gothic churches. A Catholic cathedral stands in a mosque, Moorish fountains gush with water, and ornate arcades are reflected in the mirrors of the Alhambra pools. Fishing villages have long been busy with tourism, but there are remote pubs where only locals go for fresh fish. Beer is served in wine glasses, and with each one you get a piece of cheese, shrimp, or a few slices of specially smoked ham, sitting on the bar counter. Here, in the off-season, it is possible to gaze into the distance towards the African shores and sketch watercolors for the diary completely undisturbed.

Diseñadores: František Štorm

Editorial: Storm Type Foundry

Fundición: Storm Type Foundry

Propietario del diseño: Storm Type Foundry

MyFonts debut: Nov 28, 2022

Andaluz

Acerca de Storm Type Foundry

“I bought my first computer in 1993 and realized that there were no good fonts around," František Štorm says, “so I had to make my own.” He founded the Storm Type Foundry in Prague that same year in the hopes that he would be able to restore the classical values of typography that often times don’t get translated into the digital world. “I started the business when I realized that the fonts I made for myself could be useful for others,” he says. When he began digitizing original Czech typefaces, František teamed up with Otakar Karlas, Jan Solpera and Josef Tyfa, experienced Czech designers.“We are convinced that such teamwork is a guarantee of the permanence of the artistic value of our typefaces.” He made his MyFonts debut with Regent and has released nearly 90 typefaces since, resulting in a collective library that has evolved with the technologies of the last two decades. He started out by drawing alphabets which could be used in book printing, and then proceeded to alphabets for film and photosetting. Now that he is creating typefaces for screens, he focuses on retaining the human touches that have always made his typefaces personable.

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