Al Fresco is a breezy, light, yet meaningful typeface best for product packaging products and entitling work that require a vibrant, scrumptious style. Its sophistication carries a subtle earthiness; its appeal is unconventional, both trendy and exuberant. Al Fresco is made even more flexible when titling is activated (in the OpenType combination,) served along with swash forms, contextual alternates, and accessories to sweeten this delicious typeface.
As with my other type styles, Al Fresco does not live in isolation, but stimulates an unique ambience, age, or way of life-- in this case, an enviably carefree, elegant, and organically trendsetting life, genuine and true to oneself and merely delicious. Naturally, each designer who uses my work filters it through their special interpretation, imbuing the fonts with a fantastic variety of outcomes such as those discovered on menus, food packaging, branding for light colognes, or young, hip, clothes shops. Al Fresco was born in my creativity as a symbol of dining exterior at golden under sparkling lights, laughing warmly with pals, drinking signature mixed drinks and consuming tapas-- each bite leaking with intense taste. In the workday setting, Al Fresco represents a style that is quite however not elegant: swishy intense flowery skirts and cute little flats. "Service casual," not cubicle prisoner. After all, Al Fresco originates from the 18th century Italian "in the fresh air."
.For those who recognize with my Hummingbird typeface, Al Fresco has a more loose and unrestrained feel. I created it utilizing quicker strokes, and was unconcerned with convention. After the intricacy of my Charcuteries family of typefaces, I longed for simplicity. I went back to basic tools: little felt brush pens with repaired ideas, enjoyable to use for practicing lettering. To relax after hours of intense style, I wanted to have fun with kinds and tools that were rejuvenating and tidy. Beginning with the word "Tempting," I started filling pages with letters and words. While I usually start with lowercase letters, my initial focus with Al Fresco's shape began with strong uppercase letters that set the tone for what I then recognized would be my next typeface. While lowercase letters are used more often, making Al Fresco's uppercase letters the focal point added a chance for variety and an unconventionality-- it can't actually be credited to any one design. That, in turn, colored the lowercase letters, enabling some "fresh air" into the design. Each word in a type specimen is distinctly various from the words along with it. Each is a little bit unexpected.
.Al Fresco, which consists of a User's Guide, makes adequate usage of Open Type features. If you trigger titling, the loops have been eliminated from the lowercase ascenders and descenders, providing the typeface a cleaner aesthetic and more contemporary feel. This feature supplies you with fonts that are practically a style within a design. 157 lowercase swash types, 46 ligatures (the majority of which are simply ornamental rather than functional), and 16 accessories are the cherry on top-- or when it comes to Al Fresco, the marinaded Spanish olive in your martini.
.As often discovered in my work, there are constantly more treasures in the plan. In this case, two extra sets of uppercase letters are consisted of. When contextual alternates are triggered, you'll discover that ending strokes have been lessened. (Software application typically turns these on by default.) This additional function offers a more natural appearance, adding a minor randomness or quirkiness-- an unique touch that reveals the warmth and originality of the human hand and mind.
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