Seleccione el estilo para mostrar todos los glifos:
Malaga Regular▲
Malaga Regular
Malaga Italic
Malaga Medium
Malaga Medium Italic
Malaga Bold
Malaga Bold Italic
Malaga Black
Malaga Black Italic
Malaga Narrow Regular
Malaga Narrow Regular Italic
Malaga Narrow Medium
Malaga Narrow Medium Italic
Malaga Narrow Bold
Malaga Narrow Bold Italic
Malaga Narrow Black
Malaga Narrow Black Italic
Malaga Regular - Recuento de glifos:
Este es un listado de todos los glifos de contenidos en el archivo fuenteincluyendo variantes OpenType que sólo pueden ser accesibles a través de aplicaciones OpenType.
A cada carácter básico ("A") le siguen variantes Unicode del mismo carácter carácter (Á, Ä...), y luego las variantes OpenType (versalitas, alternas, ligaduras...). De este modo puede ver todas las variantes de un mismo carácter.
Selecciona el estilo para ver las especificaciones técnicas:
167476388
167476389
167476390
167476391
167476392
167476393
167476394
167476395
167476396
167476397
167476398
167476399
167476400
167476401
167476402
167476403
Opciones de licencia
Puede utilizar este fuente en cualquiera de los siguientes lugares. Lea el texto completo del CLUF para más detalles sobre cada licencia. Si tiene en mente un uso que no está cubierto por estas licencias, póngase en contacto con nosotros y veremos qué podemos hacer.
Desktop: para su uso en una estación de trabajo desktop
Para los usos más habituales, tanto personales como profesionales, para su uso en aplicaciones desktop con un menú fuente
.
Por ejemplo:
Instala fuente en tu sistema Mac OS X o Windows.
desktop Utilice fuente en aplicaciones como Microsoft Word, Mac Pages, Adobe InDesign, Adobe
Photoshop, etc.
Crear e imprimir documentos, así como imágenes estáticas (.jpeg, .tiff, .png)
Desktop Las licencias se basan en el número de usuarios de fuentes. Puede cambiar el número de usuarios haciendo clic en la opción desplegable de cantidad en las páginas Opciones de compra o Carrito.
haciendo clic en la opción desplegable de cantidad en las páginas Opciones de compra o Carrito.
Asegúrese de revisar el acuerdo de licencia de la fundición del listado
Desktop acuerdo de licencia
ya que pueden aplicarse algunas restricciones, como el uso de logotipos/marcas comerciales, restricciones geográficas (número de establecimientos) y productos que se venderán.
ubicaciones) y los productos que se venderán.
Why do we need another typeface?
This is a prickly question often asked of typeface designers. Depending on who you ask, the answer in simplified form is usually one of two:
1. As the basis of written communication, type design carries social responsibility, so we must continue to improve legibility.
2. Type design is a form of artistic expression. Without art, life is not worth living.
The best work, of course, accomplishes both.
Xavier Dupré, the designer of the Malaga typeface family, has at least one leg securely planted in the latter notion. He believes, like others, that within typeface design most legibility needs have been worked out and that today we are satisfying aesthetic desires. We design typefaces to differentiate our communications. Type design is primarily a formal exercise reflecting our personal quirks, technological obsessions, and cultural heritage.
In case of Dupré’s work, issues of cultural heritage and personal quirks are of particular consequence. An incessant traveler, he visited the following countries during the development of the Malaga type family: Thailand, Malaysia, Indonesia, Myanmar, Cambodia, Vietnam, France, Belgium, and finally, Spain, where his choice for the name Malaga originates (Malaga is a port city in southern Spain).
Dupré’s home is where his laptop is. He travels with a 12- or 15 inch PowerBook, without a printer, and with sporadic access to his reference books and other historical documents. All he needs is a table and chair. He even learned to design without a mouse since hotel and cafe tables are often too small to also fit a mousepad.
Dupré is the new global designer who can take disparate influences and fluidly process the information into a coherent whole. Malaga is a case in point. It is inspired by ideas ranging from blackletter to Latin fonts, and from the Quattrocento’s first Venetian antiquas to brush stroke types. This makes Malaga a richly animated font saturated with unorthodox detail. Its black and bold weights are particularly suited for headlines and short texts, while the subtle modulation and moderate contrast in the regular and medium weights makes it perfectly readable in extended text settings.
While Malaga doesn’t claim to resolve any particular legibility issues, it is nonetheless perfectly readable and will impart any design with a healthy dose of visual character.
Emigre, Inc. is a digital type foundry based in Berkeley, California. Founded in 1984, coinciding with the birth of the Macintosh computer Emigre were among the early adaptors to the new digital technology. From 1984 until 2005 Emigre published the legendary Emigre magazine, a quarterly publication devoted to visual communication. Emigre created some of the very first digital layouts and typeface designs winning them both world-wide acclaim and much criticism. The exposure of these typefaces in Emigre magazine eventually lead to the creation of Emigre Fonts, one of the first independent type foundries utilizing personal computer technology for the design and distribution of fonts. They created the model for hundreds of small foundries who followed in their footsteps.
