Arianna Ellwood

Carollo Playscript 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 rea

Download Now Server 1 Download Now Server 3 Download Now Server 2 Schreibmeister is my interpretation of Arno Drescher’s design for Ludwig Wagner, Leipzig, completed in 1958. The letters X and x were improved as well as some ligatures. The letter E has an alternative, and the small d comes with two alternatives, of which one form can be reached by typing the partial different key. Generally it is recommended to activate both Standard and Discretionary ligatures. Schreibmeister

Download Now Server 1 Download Now Server 3 Download Now Server 2 Schreibmeister is my interpretation of Arno Drescher’s design for Ludwig Wagner, Leipzig, completed in 1958. The letters X and x were improved as well as some ligatures. The letter E has an alternative, and the small d comes with two alternatives, of which one form can be reached by typing the partial different key. Generally it is recommended to activate both Standard and Discretionary ligatures. Schreibmeister

Download Now Server 1 Download Now Server 3 Download Now Server 2 Just as most buildings are based on a structure of vertical columns, horizontal floors, square angles and the occasional arch, most Latin typefaces are designed within a largely uniform, static, alphabetic structure that provides a framework for playing with the style of the terminals —serif, sans-serif, slab-serif, flared, Tuscan— without significantly modifying the deep anatomy of the letters. Orgánica Pro, by contrast, proposes a different structure: curvilinear, subtle and sophisticated, beyond the typical «sticks and balls» model. Organic anatomy, in one word; deliberately dynamic and asymmetrical. Over this radically distinct structure, terminals play a characteristic, expressive role that challenges easy classifications: Is this a serif or a sans font? A semi-serif? A semi-sans? For text or display? Modern or ultra-modern? Joke or serious? All answers are valid. Anyway, its six stylistic var