ABCDEFGHJKLM
NOPQRSTUVWXYZ
abcdefghijklm
nopqrstuvxyz
0123456789&
Ambra Sans Light
Ambra Sans Light Italic
Ambra Sans Book
Ambra Sans Book Italic
Ambra Sans Regular
Ambra Sans Italic
Ambra Sans Medium
Ambra Sans Medium Italic
Ambra Sans Bold
Ambra Sans Bold Italic
Ambra Sans Extrabold
Ambra Sans Extrabold Italic
Ambra Sans Black
Ambra Sans Black Italic
Ambra Sans Heavy
Ambra Sans Heavy Italic
Ambra Sans Text Light
Ambra Sans Text Light Italic
Ambra Sans Text Book
Ambra Sans Text Book Italic
Ambra Sans Text Regular
Ambra Sans Text Italic
Ambra Sans Text Medium
Ambra Sans Text Medium Italic
Ambra Sans Text Bold
Ambra Sans Text Bold Italic
Ambra Sans Text Extrabold
Ambra Sans Text Extrabold Italic
Ambra Sans Text Black
Ambra Sans Text Black Italic
Designed by Cosimo Lorenzo Pancini with Francesco Canovaro as a development and reinvention of Tarif by Andrea Tartarelli, Ambra is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height.
In designing Ambra, the authors wanted to research the elusive natural signature of handmade humanist letter shapes, in the effort of preserving it while still developing all the capabilities of type as a technical tool in the digital age. Like a frail insect preserved in amber, humanist design is the "ghost in the machine" of this font, that aims at seducing the viewers with its soft, welcoming text flow, firmly opposing the rigid, formal tone of most sans serif fonts. Born to provide a useful tool to graphic designers with branding and editorial needs,
Ambra developes around two subfamilies with slight but fundamental differences. The display family offers a taller x-height, optimizing readability and spacing in headings and display use, while offering a single story lowercase g to provide more consistent branding usage. The text family, on the other side, goes for a smaller x-height to give more traditional proportion to the text and removes the slight tapering in the stems to provide better rendering on screen in small formats.
Both subfamilies of Ambra develop around a wide range of seven weights with corresponding true italics, with Ambra Display sporting an extra heavy weight for maximum versatility. In total the family counts 30 fonts, each with over 600 glyphs for a wide language coverage. Open type features and glyph alternates further enrich the usage possibility of this typeface that wants to offer contemporary designer an alternative, unexpectedly human approach to contemporary sans type, softly preserving the spirit of handmade calligraphy while encasing its frail nature in a transparent, strong and powerful design language.
Features
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fi ff flStandard Ligatures
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(¡HO!)Case-Sensitive Forms
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fh ffjDiscretionary Ligatures
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arpaStylistic Set 1
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oggiStylistic Set 2
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QURStylistic Set 3
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MOMStylistic Set 4
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yoyoStylistic Set 5
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fafStylistic Set 6
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12/23Fractions
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1a 2oOrdinals
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12360Oldstyle Figures
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1234Tabular Figures
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H123Denominators
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H123Subscript
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H123Superscript
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H123Scientific Inferiors
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120Slashed Zero
Variable Typefaces
Ambra Sans Variable
VARIABLE FONTS ARE ONLY AVAILABLE WITH THE FULL FAMILY PACKAGE, MAY NOT WORK WITH ALL THE SOFTWARE
European languages
The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.
The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary. The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.