FONTANA ND
Rubén Fontana designed Fontana ND originally for the edition of tipoGráfica magazine. Special emphasis on the “ñ”, “ch” and “f” signs, typical of the Spanish language, contribute to facilitating the recognition of the word. It is a typeface that offers excellent results in publishing contexts, including text and title versions.
Fontana is a Trademark of BauerTypes SL
21 INDIVIDUAL STYLES
INFO
OPENTYPE FEATURES
LANGUAGES
Afar, Afrikaans, Aragonese, Asu, Bemba, Bena, Catalan, Cebuano, Chiga, Corsican, Danish, Taita, German, English, Spanish, Estonian, Basque, Finnish, Filipino, Faroese, French, Friulian, Irish, Scottish Gaelic, Galician, Swiss German, Gusii, Manx, Interlingua, Indonesian, Ido, Icelandic, Italian, Lojban, Machame, Jju, Makonde, Kabuverdianu, Kalaallisut, Kalenjin, Shambala, Cornish, Latin, Luxembourgish, Ligurian, Luo, Luyia, Morisyen, Malagasy, Makhuwa-Meetto, Malay, Norwegian Bokmål, North Ndebele, Low German, Norwegian Nynorsk, Norwegian, South Ndebele, Northern Sotho, Nyankole, Occitan, Oromo, Portuguese, Romansh, Rundi, Rombo, Kinyarwanda, Rwa, Samburu, Sangu, Sardinian, Sena, Sango, Sidamo, Southern Sami, Shona, Somali, Albanian, Swati, Saho, Southern Sotho, Sundanese, Swedish, Swahili, Teso, Tswana, Taroko, Tsonga, Volapük, Vunjo, Walloon, Warlpiri, Xhosa, Soga, Zulu
ABOUT
This system of 30 alternative weights was originally developed for the magazine tipoGráfica, and so was specially attuned to the spanish language. In addition to the “ñ” particular to the language, the “ch” received special attention, and the “f” was given a descender so as to better aid word recognition. A system of weights and of prede ned proportions has been applied to the complete series, and different versions have been developed for text and titling. The difference in the design of upright and italic variants maintains the historic criterion of the italic being narrower.
Rubén Fontana was born in Buenos Aires. Typographer and founder of Fontana diseño, specialized on Corporate Identity. He was responsible for introducing typography as a subject in the Graphic Design Career at the University of Buenos Aires. His deep affection and respect for Juan Andralis is evidenced by the publication of a book in 2001 on the occasion of the great loss that the sudden death of Andralis in 1994 meant for him and other friends. In fact, Fontana specially designed a typeface to edit the book. The need to be a typeface for long texts combined very well with another premise: somehow Fontana sought a design according to the typographic preferences of Juan Andralis.