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Laderas

por Salsipuedes
Estilos individuales desde $15.00 USD
Familia completa de 4 fuentes: $50.00 USD
La familia tipográfica Laderas fue diseñada por Alberto Martínez y publicada por Salsipuedes. Laderas contiene 4 estilos y opciones de paquete familiar. Más información sobre esta familia

Laderas Complete Family

4 fuentes

¡Mejor Precio!

Por Estilo:

$12.50 USD

Paquete de 4 estilos:

$50.00 USD

Sobre la familia


This is not a typeface; this is also a tribute to the pioneers in this wonderful world of creating new tools of communication. The first printers in Europe carried out their work at a time when classical antiquity was beginning to be rediscovered. That influence blended with the scribal tradition, particularly in Central Europe.

Laderas aims to critically reexamine those early days, when Western typographic standards were established, and offer a different perspective. We now very used to working with typefaces with a stable baseline but the old Gothic style did not have a clear ending at bottom instead. Laderas experiments with blending both traditions Gothic and Roman but also includes elements from the Modern typography such as the thin and not modulated endings. The oblique endings make the letters dance on the baseline recalling the imperfections in the first printing pages.

Laderas is a typeface specially designed for printing and for a large text that require careful reading. Nowadays when the everything must go increasingly faster, having a communication tool that helps make the reading experience more relaxing is a very positive factor for well-being.

Finally, Laderas is versatile, with four weighs that covers most typographic needs, and it features a wide range of glyphs that ensure excellent performance in a Latin-script environment.

Diseñadores: Alberto Martínez

Fundición: Salsipuedes

MyFonts debut: May 10, 2026

Laderas

Acerca de Salsipuedes

Salsipuedes is a very small foundry with very big ideas. I try to come true my dreamed typefaces by following two principles: Building on the masters' teaching and constantly searching new ways to break with tradition. This could sound like a paradox, but considering how flooded the typography market is right now, my idea is taking an alternative track, an unexplored way to design typefaces. And there is no better way to do it that getting into the printing workshop and making some tweaks. I am a graphic designer, yes, but I don't forget where my profession comes from: the typography of previous centuries. That was the origin of the profession I love. I always imagine Manuzio or Baskerville in their offices with hardly references to start working, and this is how we, the modern 21st typographers, must approach our work, with clear minds. There is nothing more subversive today than printing a poster with a large letter “a” in Garamond. But what about if we make a Garamond with other rules. I am not thinking of digital world since it has been saturated as well. I am talking about using elements that had been ruled out or moving guides or even combining concepts. My typefaces aim to prompt questions: what's the meaning of "baseline" today; can we break this line? Is the letter space fixed? What is the value of blank space? A good designer must be constantly wondering. Someone who claims to have all the answers is either a fraud or a fool.

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