A DIGITAL HOMAGE TO VICTORIAN TYPOGRAPHY
![](/img_posted/Lovelace_Zetafonts P14.png)
![](/img_posted/Lovelace_Zetafonts P03.png)
"The more I study, the more insatiable do I feel my genius for it to be."
Ada Lovelace
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Lovelace Script
Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.
Writing system:
Language Supported:
Features
-
fl fiStandard Ligatures
-
{¿Ko?}Case-Sensitive Forms
-
ABCDESmall Capitals From Capitals
-
fb fkDiscretionary Ligatures
-
gacks?Stylistic Alternates
-
AbagoSmall Capitals
-
GORZStylistic Set 1
-
12/23Fractions
-
1a 3thOrdinals
-
12360Oldstyle Figures
-
1234Tabular Figures
-
H123Alternate Annotation Forms
-
H123Denominators
-
H123Subscript
-
H123Superscript
-
H123Numerators
-
(C) ->additional discretionary ligatures
-
FLCTSstraight serifs (ss01)
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.
Unicode Charset:
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While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the <strong>Elzevir</strong>. This digital homage to <strong>victorian typography</strong>, aptly named after the algorist daughter of lord Byron, is developed in <strong>two optical sizes</strong>, both in a <strong>six weights range from extralight to extrabold</strong>. The <strong>text variant</strong> offers maximum readability thanks to the generous x-height and screen-friendly design, while the <strong>display variant</strong> excels in the sharp contrast and thin details needed for editorial and large-size titling use. The <strong>italics</strong>, strongly influenced by calligraphy, have been complemented with a <strong>display script family</strong>, including <strong>luscious swashes</strong> and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace <strong>cover over 200 languages that use latin, cyrillic and greek alphabets</strong>, and include advanced <strong>Open Type features</strong> as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.</p> [9] => [desc2] => [10] => [desc3] => [11] => [desc4] => [12] => [desc5] => [13] => [desc6] => [14] => [corp1] => [15] => [corp2] => [16] => [corp3] => [17] => [corp4] => [18] => [corp5] => [19] => [corp6] => [20] => [link] => [21] => [email] => [22] => 2019-04-17 00:00:00 [data] => 2019-04-17 00:00:00 [23] => 0000-00-00 00:00:00 [data2] => 0000-00-00 00:00:00 [24] => Lovelace Specimen.pdf [img] => Lovelace Specimen.pdf [25] => 893 [id_cat] => 893 [26] => 0 [id_cat2] => 0 [27] => 0 [id_cat3] => 0 [28] => 9207 [id_arg] => 9207 [29] => 9 [id_dec] => 9 [30] => 6238 [id_col1] => 6238 [31] => 5144 [id_col2] => 5144 [32] => 2829 [id_col3] => 2829 [33] => 319 [id_col4] => 319 [34] => 7218 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