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Aria’s ‘A’s and alternate ‘A’sAria’s origin: the epigraph on a 19th century paintingAria ampersand
Typeface Review

Aria

Reviewed by Laura Meseguer, posted on January 25, 2012

I truly fell in love at first sight with the lowercase ‘a’ of Aria, capricious and full of happiness, and later with every letter of the roman weight.

According to its designer Rui Abreu, an inscription in a 19th century painting was the main source of inspiration for this display face. One might sense that inspiration in the alternate ‘A’ and ‘H’ with their decorative crossbar. But this epigraphic influence was shrewdly combined with a touch of energetic English calligraphy, reaching a perfect balance between exuberance, charm, and artisanal quality. The italic weight is even more flourishing and lively, especially in the set of ligatures. It is also quite legible at medium text sizes – maybe it would be interesting to develop a text version?

Laura Meseguer lives in Barcelona from where she designs logos, posters, books and custom typefaces. She is a graduate of the Type and Media masters program at KABK in The Hague where she created Rumba, one of the Typographica selections for 2006.

One Comment

  1. I just would like everyone to know that I am a poor college student and I really want this font and I am accepting donations. So if you would like to buy this font for me I would love to design something for you with it.

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Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles, also of Fonts In Use and The Mid-Century Modernist.

Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Chris Hamamoto.

Set in Anchor by Eric Olson, FF Dagny by Örjan Nordling and Göran Söderström, FF Quadraat by Fred Smeijers, and Lucida Sans/Grande by Charles Bigelow and Kris Holmes.

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