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Budinger Oldstyle

Budinger Oldstyle

par The Ampersand Forest
Styles individuels à partir de $20.00 USD
Famille complète de 10 polices: $150.00 USD
Budinger Oldstyle Font la famille était conçu par DC Scarpelli et publié par The Ampersand Forest. Budinger Oldstyle contient 10 styles et des offres familiales.

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ESSAI GRATUIT DE 30 JOURS de Monotype Fonts pour obtenir plus de 150 000 polices de plus de 1 400 fonderies de caractères. Démarrer l'essai gratuit
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À propos de la famille Budinger Oldstyle Police


The Ampersand Forest has its first book family! Budinger Oldstyle is elegant and approachable at the same time, with five different weights, making it a perfect choice for text or display in situations that require a hint of scholarship, fine arts, craft, erudition, and clarity.


Budinger Oldstyle has the legibility of a Garalde (like those of Garamond, Manutius, et al.), with a whiff of Venetian revival (after the fashion of Schneidler & Goudy). The letters are arbitrary, with conventions like cupped serifs and leftward stress. It also has a higher x-height than might be expected, to give it an upright posture and openness in the counters. The italic is more compact, with more clearly calligraphic letterforms and conventions like Swash Caps.


Its many features include OpenType alternates (a one-story a and g, and a K, R, and Q with elongated descenders), full and true small caps, both standard and discretionary ligatures, oldstyle and lining numerals, and Swash letterforms in the Italic (all capitals and descenders, plus the ascender of the d).


Plus, the most adorable pudge of an ampersand you've ever seen!

Concepteurs: DC Scarpelli

Éditeur: The Ampersand Forest

Fonderie: The Ampersand Forest

Maître d'ouvrage: The Ampersand Forest

MyFonts débout: Dec 14, 2021

Budinger Oldstyle

À propos The Ampersand Forest

The Ampersand Forest is DC Scarpelli. And probably vice versa. I am a wholly inveterate Type Nerd. I’ve been in love with letterforms my whole life, and, for 16 years, I taught type history, type design, and typography as a college professor. Type is voice, and I love giving people a voice. A variety of voices, actually, so that they can choose whichever one is best for them for a particular context. And I don’t just mean designers, either! Type’s for everyone, and every typeface has a purpose and context.For me, deliciousness—flavor—is key. Not all type has to be “good type,” whatever that means. It should be designed with thought and care and craft. It should be supremely usable. But it should aim beyond usability toward (trust me: this is the right word) yumminess.

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