Mandevilla Familia tipográfica

Diseñado por  Laura Worthington/2013

Nine exceptional fonts from different foundries

Sometimes it is possible to recognise a typeface at a single glance. This includes those whose overall concept is so unique that it is difficult to forget them. Then there are others with a few quite distinctive features that are enough to make them stand out from the vast crowd of other typefaces. When the task is to create something with a high degree of recognisability, such as a logo or title, typefaces like these are worth their weight in gold. Read on for an introduction to nine quite special and original fonts from the various libraries.
We are sure you will be inspired!

Aubaine/Omashuisje Library

With just very slight variations in line thickness, an extremely large x-height and harmoniously formed letters, this Grotesque typeface is quite exceptional. Characteristic features include the curved legs of the “k” and the bulbous upstrokes and downstrokes of the some of the capitals, such as “A”, “V” and “W”. Eye-catching is also the double circle around the “@” symbol.

Liebelei/Ekke Wolf

Curvilinear extended line terminals are the most obvious defining characteristic of Liebelei by Ekke Wolf. Additional highlights include some extravagantly shaped characters, such as the “A” with its very low positioned horizontal bar, the rounded “E” and a “T” with a tail that points away from the writing direction.

Fox Grotesque/TipografiaRamis

Fox Grotesque
A particularly striking attribute of the monolinear Fox Grotesque by Ramiz Guseynov is the form of the tittles over the “i” and the “j” with their semicircular shape that is repeated in the German umlauts. Those looking for something even more unusual can use the alternative characters, which include letters such as the “a”, “g” and “m” that have lost some of their curves and have gained as a result a rune-like appearance.


The double-pronged terminals, marked contrast and synthetic forms impart Ramiz Guseynov’s Umbria a particularly decorative look, which is further enhanced in a second variant that has swash-like loops.

Rumba/Type O Tones

The dynamic and somewhat irregular outlines of the characters of Rumba make these look as if they have been drawn by hand. They are particularly individual and thus are readily memorable. Marked contrasts in line thickness and especially flamboyantly shaped letters provide the extra weight with considerable dynamism. The small weight, on the other hand, is far more restrained. Letters such as the uppercase “E” and “G” seem more like elements of a calligraphic font.

Zubizarreta/Type O Tones

The naively structured characters of Zubizarreta with their hint of ‘chaos’ typography look a little as if they had been cut from coloured paper. There is no differentiation between uppercase and lowercase letters in Zubizarreta, but the variants are used indiscriminately. In addition, there are very unusual letters, such as the “A” without cross bar and the “E” that combines uppercase and lowercase letter elements.

Salamander Script/Fenotype

Salamander Script
The playfully agile quill font Salamander Script by Emil Bertell draws attention to itself, and not just by including unusually shaped letters, such as the lowercase “f”. In the form of additional variants, there are numerous decorative and ornamental alternatives.

Mandevilla/Laura Worthington

Mandevilla/Laura Worthington
While the lowercase characters of Laura Worthington’s Mandevilla are muted and reminiscent of script written with a ballpoint pen, the uppercase letters are far more extravagant with their numerous ornaments and decorations. The arching strokes do not, as is customary, extend beyond the letters, but are skilfully and ingeniously integrated in them.

seriousSally/ Joebob Graphics

Jeroen van der Ham’s quill-written font seriousSally with its individual autograph-like appearance reveals its somewhat uneven quality when examined more closely. Tiny flourishes and decorations provide this typeface with a stylish character.


Las fuentes de escritorio están diseñadas para instalarse en un ordenador y usarse con aplicaciones. Se emite una licencia para cada ordenador.
Las fuentes web se emplean con la norma CSS @font-face. Cada licencia cubre un determinado número de visitas de página sin limitaciones temporales.
Las fuentes web se usan con la regla @font-face de CSS. La licencia no tiene caducidad.
Las fuentes de App son aptas para incrustar en aplicaciones móviles. La licencia es válida para cada App y se basa en el número de instalaciones de la App.
Las fuentes para publicaciones electrónicas se pueden integrar en un libro electrónico, una revista electrónica o un periódico electrónico. La licencia de estas fuentes se concede por emisión.
Las fuentes para servidores se pueden instalar en un servidor y, p. ej., usarse en procesos automáticos para crear artículos. Cada licencia es válida para un servidor y durante un año.
Este tipo de licencia lo puede utilizar para incrustar fuentes web en Digital Ads, por ejemplo en anuncios creados en HTLM5. Las licencias son válidas para un determinado número de Ad Impressions sin limitación de tiempo.

3 Tipos de letra

world-map map

Std / OT CFF

compatible con al menos

21 idiomas.

Mandevilla Light

-  4 variants
Desde US$ 19
Añadir al carrito

Mandevilla Regular

-  4 variants
Desde US$ 19
Añadir al carrito

Mandevilla Bold

-  4 variants
Desde US$ 19
Añadir al carrito