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            Array
(
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    [id] => 3091
    [1] => 112
    [id_men] => 112
    [2] => Lovelace languages
    [titolo1] => Lovelace languages
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    [18] => 
    [corp5] => 
    [19] => 
    [corp6] => 
    [20] => 
    [link] => 
    [21] => 
    [email] => 
    [22] => 0000-00-00 00:00:00
    [data] => 0000-00-00 00:00:00
    [23] => 0000-00-00 00:00:00
    [data2] => 0000-00-00 00:00:00
    [24] => Lovelace_Zetafonts P01.png
    [img] => Lovelace_Zetafonts P01.png
    [25] => 3051
    [id_cat] => 3051
    [26] => 0
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    [93] => 2019-04-17 11:00:00
    [record_date] => 2019-04-17 11:00:00
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        (
            [0] => 3051
            [id] => 3051
            [1] => 42
            [id_men] => 42
            [2] => Lovelace
            [titolo1] => Lovelace
            [3] => 
            [titolo2] => 
            [4] => 
            [titolo3] => 
            [5] => 
            [titolo4] => 
            [6] => 
            [titolo5] => 
            [7] => 
            [titolo6] => 
            [8] => <p>Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, <strong>Lovelace</strong> is Zetafonts homage to the tradition of nineteenth century &ldquo;Old Style&rdquo; 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&rsquo;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>
            [desc1] => <p>Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, <strong>Lovelace</strong> is Zetafonts homage to the tradition of nineteenth century &ldquo;Old Style&rdquo; 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&rsquo;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] => 
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            [12] => 
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            [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
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            [27] => 0
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            [37] => 10
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            [39] => Lovelace_Zetafonts P01 copy 3.png
            [dato0] => Lovelace_Zetafonts P01 copy 3.png
            [40] => 
            [dato1] => 
            [41] => 
            [dato2] => 
            [42] => Cosimo Lorenzo Pancini
            [dato3] => Cosimo Lorenzo Pancini
            [43] => 1.0.1
            [dato4] => 1.0.1
            [44] => 
            [dato5] => 
            [45] => 
            [dato6] => 
            [46] => 
            [dato7] => 
            [47] => Lovelace_header.svg
            [dato8] => Lovelace_header.svg
            [48] => 
            [dato9] => 
            [49] => Andrea Tartarelli, Mariachiara Fantini
            [dato10] => Andrea Tartarelli, Mariachiara Fantini
            [50] => 
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            [51] => 0
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            [53] => 
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            [54] => 1.5
            [dato15] => 1.5
            [55] => 1
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            [56] => 0
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            [57] => S; k
            [dato18] => S; k
            [58] => 
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            [59] => 0
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            [60] => case: {¿Ko?}; dlig:fb fk; salt:gacks?; ss01:GORZ; ss02:-; dlig-additional discretionary ligatures: (C) ->; ss01-straight serifs (ss01):FLCTS; pnum:-; lnum:-; sinf:-;
            [dato21] => case: {¿Ko?}; dlig:fb fk; salt:gacks?; ss01:GORZ; ss02:-; dlig-additional discretionary ligatures: (C) ->; ss01-straight serifs (ss01):FLCTS; pnum:-; lnum:-; sinf:-;
            [61] => 5
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            [91] => 
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            [92] => 10
            [publish_status] => 10
            [93] => 2023-02-28 15:00:00
            [record_date] => 2023-02-28 15:00:00
            [94] => 3063
            [id_series1] => 3063
            [95] => 3054
            [id_series2] => 3054
            [96] => 3075
            [id_series3] => 3075
            [97] => 3083
            [id_series4] => 3083
            [98] => 3079
            [id_series5] => 3079
            [99] => 0
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        )

    [first] => 0
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    [counter] => 16
    [zebra] => even
)

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