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Carollo Playscript

por The Ampersand Forest
Estilos individuales desde $20.00 USD
25% Off
Familia completa de 10 fuentes: $150.00 USD
La familia tipográfica Carollo Playscript fue diseñada por DC Scarpelli y publicada por The Ampersand Forest. Carollo Playscript contiene 10 estilos y opciones de paquete familiar.

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Sobre la familia


The typewriter gave us the dominant document body copy look for much of the 20th century. This is especially true of scripts — whether for stage or screen. In the entertainment industry, Courier is still the industry standard for scriptwriting.


The problem is that Courier is ugly. Like all typewriter slabs, it's monospaced, so wide letters like m and w are cramped into the same horizontal space as narrow letters like i and l, which are forced to have exceptionally large serifs to fill the same space. More than that, standard digital versions of Courier are too light for effective reading under stressful performance conditions.


Enter Carollo Playscript. Carollo Playscript has the charm, height, and punch of a classic typewriter slab serif with the versatility, proportions, legibility, readability, and poise of a workhorse serif family. Its high x-height and recognizable letterforms gives your talent and creatives a script that's more legible and readable. Unlike Courier, it has true italics to set directions and actions apart from dialogue. And it has three body weights—light, regular, and medium—to let you adjust the density of block text. It even has Greek and Cyrillic character sets. And, even though it's not perfectly fixed-width, it keeps the runtime-per-page pretty damned stable. That's a tradeoff very much worth making.

Diseñadores: DC Scarpelli

Editorial: The Ampersand Forest

Fundición: The Ampersand Forest

Propietario del diseño: The Ampersand Forest

MyFonts debut: Nov 26, 2021

Carollo Playscript

Acerca de The Ampersand Forest

The Ampersand Forest is DC Scarpelli. And probably vice versa. I am a wholly inveterate Type Nerd. I’ve been in love with letterforms my whole life, and, for 16 years, I taught type history, type design, and typography as a college professor. Type is voice, and I love giving people a voice. A variety of voices, actually, so that they can choose whichever one is best for them for a particular context. And I don’t just mean designers, either! Type’s for everyone, and every typeface has a purpose and context.For me, deliciousness—flavor—is key. Not all type has to be “good type,” whatever that means. It should be designed with thought and care and craft. It should be supremely usable. But it should aim beyond usability toward (trust me: this is the right word) yumminess.

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