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Donatora
DESIGNER
Neil Summerour
Neil Summerour
RELEASED
2004
2004
WEIGHTS/STYLES
Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, SC Regular, SC Italic, SC Medium, SC Medium Italic, SC Bold, SC Bold Italic, OSF Regular, OSF Italic, OSF Medium, OSF Medium Italic, OSF Bold, OSF Bold Italic, Display Rg, Display Rg It, Display Bd, Display Bd It, Display SC Rg, Display SC It, Display SC Bd, Display SC Bd It, Display OSF Rg, Display OSF It, Display OSF Bd, Display OSF Bd It
Regular, Regular Italic, Medium, Medium Italic, Bold, Bold Italic, SC Regular, SC Italic, SC Medium, SC Medium Italic, SC Bold, SC Bold Italic, OSF Regular, OSF Italic, OSF Medium, OSF Medium Italic, OSF Bold, OSF Bold Italic, Display Rg, Display Rg It, Display Bd, Display Bd It, Display SC Rg, Display SC It, Display SC Bd, Display SC Bd It, Display OSF Rg, Display OSF It, Display OSF Bd, Display OSF Bd It
FORMAT OPTIONS
OpenType (OTF)
TrueType (TTF)
OpenType (OTF)
TrueType (TTF)
LOCALIZATION
Extended Latin
Extended Latin
Purchase
WEBFONT
design information
Donatora was an attempt to soften a modern Bodoni and give it the characteristics of highly legibily text font. Gone is the sharp 90-degree angle of the bracket, in is the rounded, slighly heavier serif and a miniscule bracket. Modulation and stresses have been minimized in everything but the display weights. A chiseled transition was used frequently to reolve the connections between vertical stresses with the end of a serif or the resolution of a ball terminal.
The italic is heavily inspired from sections of Bodoni's Manuale Tipografico with severe resolutions accomplished with the a more chiseled italic and the departure from some obliqued variants currently on the market. This chiseled transition is adopted as well but with greater severity.
Donatora was an attempt to soften a modern Bodoni and give it the characteristics of highly legibily text font. Gone is the sharp 90-degree angle of the bracket, in is the rounded, slighly heavier serif and a miniscule bracket. Modulation and stresses have been minimized in everything but the display weights. A chiseled transition was used frequently to reolve the connections between vertical stresses with the end of a serif or the resolution of a ball terminal.
The italic is heavily inspired from sections of Bodoni's Manuale Tipografico with severe resolutions accomplished with the a more chiseled italic and the departure from some obliqued variants currently on the market. This chiseled transition is adopted as well but with greater severity.
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Ligatures (liga) |
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Stylistic & Contextual Alts (salt & calt) |
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Small Capitals (smcp) |
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Case Sensitive (case) |
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Numerator/Denominator (numr/dnom) |
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Old Style Numerals (onum) |
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Latin-1 Support Albanian, Danish, Dutch, English, Faroese, Finnish, Flemish, German, Icelandic, Indonesian, Irish, Italian, Malay, Norwegian, Portuguese, Scottish Gaelic, Spanish, Swahili, Swedish, Tagalog, Latin Extended-A Support Afrikaans, Basque, Bosnian, Breton, Catalan, Croatian, Czech, Esperanto, Estonian, Fijian, French, Frisian, Greenlandic, Hawaiian, Hungarian, Latin, Latvian, Lithuanian, Maltese, Māori, Polish, Provençal, Rhaeto-Romanic, Romanian, Moldavian, Romany, Sámi, Samoan, Slovak, Slovenian, Sorbian, Turkish, Welsh Supported ISO codepages 8859-1 Latin 1 (West European) 8859-2 Latin 2 (Central European) 8859-3 Latin 3 (South European) 8859-4 Latin 4 (Baltic) 8859-9 Latin 5 (Turkish) 8859-10 Latin 6 (Scandinavian) 8859-13 Latin 7 (Baltic 2) 8859-15 Latin 9 8859-16 Latin 10 |
