Americano

Technical information

Americano is my first variable font. I created it’s hand-out as part of my master's thesis at UMPRUM (2016). It is a connected script based on the Czech cursive script called Pentlovka. The Pentlovka’s elasticity is based on the logic in sign painting, where the sign painter had to choose the proper spacing between letters according to the length of the signboard so that the letters would fit evenly into the designated area. Connecting strokes then serve more as an ornament. Americano is like a hybrid – it has a flowing effect, but its rhythm and regular connection are solid. Here, the smooth connections are made using the necessary initial, medial, isolated, and final glyph forms. The variable axis allows designers to choose the specific length of the connections between the glyphs, as the format requires. The variability can be helpful for various book spines, window displays or patterns, for example.

The shape of the lowercase letters are keeping the regular rhythm and slant, while the shapes of the uppercase are full of swashes so that they look more like an initials. For typesetting in uppercase only, the typeface thus includes narrow small capitals. At first, I wrote the typeface with a mono-linear marker, but it wasn't until I used a flat marker that the script typeface took on the exact character. The only thing missing was a name derived from the long connecting strokes – as a drink you can sip for however long you want – as café americano! In the future, you can look forward to a version with differently shaped connecting strokes; but for the moment, it must come out of the drawer!

Specification

Full Name:

PD Americano
Styles:

3 – Short, Regular, Long
Variable font:

Available
Type design:

Petra Dočekalová
Designed:

2016, in use from 2022
Released:

2024
Classification:

Script, Cursive, Display
Number of glyphs:

805
Font mastering:

Renegade Fonts, Petra-D
Specimen Design:

Marius Corradini
Text:

Petra Dočekalová

Glyph

UTF-8: U+0041

Letters uppercase

0041

00C1

0102

01CD

00C2

00C4

Ạ

1EA0

00C0

0100

0104

00C5

00C3

00C6

01FC

01E2

0042

0043

0106

010C

00C7

0108

010A

0044

010E

0110

00D0

0045

00C9

0114

011A

00CA

00CB

0116

Ẹ

1EB8

00C8

0112

0118

Ẽ

1EBC

018F

0046

0047

011E

011C

0122

0120

0048

0126

0124

0049

0132

00CD

012C

01CF

00CE

00CF

0130

Ị

1ECA

00CC

012A

012E

0128

004A

0134

004B

0136

004C

0139

013D

013B

013F

0141

004D

004E

0143

0147

0145

Ṇ

1E46

00D1

014A

004F

00D3

014E

01D1

00D4

00D6

Ọ

1ECC

00D2

0150

014C

00D8

01FE

00D5

0152

0050

00DE

0051

0052

0154

0158

0156

0053

015A

0160

015E

015C

0218

Ṣ

1E62

ẞ

1E9E

0054

0166

0164

0162

021A

0055

00DA

016C

01D3

00DB

00DC

Ụ

1EE4

00D9

0170

016A

0172

016E

0168

0056

0057

Ẃ

1E82

0174

Ẅ

1E84

Ẁ

1E80

0058

0059

00DD

0176

0178

Ỵ

1EF4

Ỳ

1EF2

0232

Ỹ

1EF8

005A

0179

017D

017B

0394

03A9

Ω

2126

Letters lowercase

0061

00E1

0103

01CE

00E2

00E4

ạ

1EA1

00E0

0101

0105

00E5

00E3

00E6

01FD

01E3

0062

0063

0107

010D

00E7

0109

010B

0064

010F

0111

00F0

0065

00E9

0115

011B

00EA

00EB

0117

ẹ

1EB9

00E8

0113

0119

ẽ

1EBD

0259

0066

0067

011F

011D

0123

0121

0068

0127

0125

0069

0131

00ED

012D

01D0

00EE

00EF

ị

1ECB

00EC

012B

012F

0129

0133

006A

0237

0135

006B

0137

0138

006C

013A

013E

013C

0140

0142

006D

006E

0144

0149

0148

0146

ṇ

1E47

00F1

014B

006F

00F3

014F

01D2

00F4

00F6

ọ

1ECD

00F2

0151

014D

00F8

01FF

00F5

0153

0070

00FE

0071

0072

0155

0159

0157

0073

015B

0161

015F

015D

0219

ṣ

1E63

00DF

0074

0167

0165

0163

021B

0075

00FA

016D

01D4

00FB

00FC

ụ

1EE5

00F9

0171

016B

0173

016F

0169

0076

0077

ẃ

1E83

0175

ẅ

1E85

ẁ

1E81

0078

0079

00FD

0177

00FF

ỵ

1EF5

ỳ

1EF3

0233

ỹ

1EF9

007A

017A

017E

017C

03BC

03C0

0192

00B5

Numbers

0030

0031

0032

0033

0034

0035

0036

0037

0038

0039

00BD

00BC

00BE

00B9

00B2

00B3

⁴

2074

⁹

2079

Marks

0308

0307

0300

0301

030B

0302

030C

0306

030A

0303

0304

0312

0323

0326

0327

0328

Punctuation

002E

002C

003A

;

003B

…

2026

0021

00A1

003F

00BF

00B7

•

2022

002A

0023

002F

005C

002D

–

2013

—

2014

‑

2011

005F

(

0028

)

0029

{

007B

}

007D

[

005B

]

005D

‚

201A

„

201E

“

201C

”

201D

‘

2018

’

2019

00AB

00BB

‹

2039

›

203A

0022

0027

0040

0026

00B6

00A7

†

2020

‡

2021

0025

‰

2030

Symbols

⁄

2044

00A9

00AE

℗

2117

™

2122

00B0

007C

00A6

₿

20BF

00A2

00A4

0024

€

20AC

00A3

00A5

002B

−

2212

00D7

00F7

003D

≠

2260

003E

003C

≥

2265

≤

2264

00B1

≈

2248

007E

00AC

005E

∞

221E

∫

222B

∆

2206

∏

220F

∑

2211

√

221A

∂

2202

↑

2191

↗

2197

→

2192

↘

2198

↓

2193

↙

2199

←

2190

↖

2196

◊

25CA

00A8

02D9

0060

00B4

02DD

02D8

02DA

02DC

00AF

00B8

02DB

Others

00AA

00BA

02C6

02C7

Opentype features

aalt c2sc calt case ccmp dlig fina frac init isol kern lnum locl mark mkmk onum ordn salt smcp sups swsh zero

Scripts

Latin

Language support

Afrikaans Albanian Basque Bosnian Breton Catalan Chamorro Chichewa Cornish Croatian Czech Danish Dutch English Esperanto Estonian Faroese Finnish French Frisian Galician German Greenlandic Hawaiian Hungarian Icelandic Indonesian Italian Kashubian Kurdish (Latin) Latvian Lithuanian Luxemburgis Maltese Māori Norwegian (Bokmål) Occitan Polish Portuguese Rhaeto-Romanic Romanian Serbian (Latin) Slovak Slovene Somali (Latin) Spanish Swedish Tswana Turkish Turkmen Welsh Wolof

Americano Short

Size: 65.0px

Line height: 140%

Argentine Brussels Canada Damascus Ecuador France Greece Hanover Italy

Americano Short

Size: 40.0px

Line height: 120%

A BRIEF HISTORY OF THE MULLET: BUSINESS UP FRONT, PARTY IN THE BACK! THE MULLET, A HAIRSTYLE CHARACTERIZED BY SHORT HAIR AT THE FRONT AND SIDES AND LONGER HAIR AT THE BACK, HAS HAD A FASCINATING JOURNEY THROUGHOUT HISTORY. WHILE IT'S OFTEN ASSOCIATED WITH THE 1980S, THE MULLET'S ROOTS CAN BE TRACED BACK TO ANCIENT CIVILISATIONS. WHILE THE MULLET MAY HAVE FADED IN POPULARITY FOR A TIME, IT HAS EXPERIENCED A RESURGENCE IN RECENT YEARS. CELEBRITIES AND INFLUENCERS HAVE EMBRACED THE STYLE, GIVING IT A NEW LEASE ON LIFE. THE MULLET'S ENDURING APPEAL LIES IN ITS VERSATILITY AND ABILITY TO BE ADAPTED TO SUIT DIFFERENT STYLES AND PERSONALITIES. WHETHER YOU LOVE OR LOATHE THE MULLET, IT'S UNDENIABLE THAT THIS ICONIC HAIRSTYLE HAS LEFT AN INDELIBLE MARK ON THE WORLD OF FASHION AND CULTURE.

Americano Variable

Size: 26.0px

Line height: 120%

Americano is a connected script based on the Czech cursive script called Pentlovka. The elasticity is based on the traditional sign painting, where the sign painter had to choose the proper spacing between individual letters according to the length of the

signboard so that the letters would fit evenly into the designated area. Connecting strokes then serve more as an ornament. Americano is like a hybrid – it has a flowing effect, but its rhythm and regular connection are solid.

Americano Long

Size: 28.0px

Line height: 140%

The shape of the lowercase letters are keeping the regular rhythm and slant, while the shapes of the uppercase are full of swashes so that they look more like an initials.

Americano Regular

Size: 65.0px

Line height: 140%

Lima Madrid Nancy Ostend Prague Quebec Rome Sicily Tokio Uruguay

Americano Short

Size: 55.0px

Line height: 120%

FRENCH BOB

PIXIE CUT

BIXIE

SHAGGY BOB

BUZZ CUT

BUTTERFLY CUT

WOLF CUT

BLUNT LOB

OCTOPUS CUT

BLOWOUT

MERMAID

CURTAIN LAYERS

U-SHAPED CUT

GLASS HAIR

WATERFALL

Americano Long

Size: 65.0px

Line height: 140%

Victoria Warszawa Xaintrie Yokohama Zanzibar

Americano Short

Size: 26.0px

Line height: 120%

AMERICANO IS LIKE A HYBRID – IT HAS A FLOWING EFFECT, BUT ITS RHYTHM AND REGULAR CONNECTION ARE SOLID. HERE, THE SMOOTH CONNECTIONS ARE MADE USING THE NECESSARY INITIAL, MEDIAL, ISOLATED, AND FINAL GLYPH FORMS. THE VARIABLE AXIS ALLOWS DESIGNERS TO CHOOSE THE SPECIFIC LENGTH OF THE CONNECTIONS BETWEEN THE GLYPHS, AS THE FORMAT REQUIRES. THE VARIABILITY CAN BE HELPFUL FOR VARIOUS BOOK SPINES, WINDOW DISPLAYS OR PATTERNS.

THE SHAPE OF THE LOWERCASE LETTERS ARE KEEPING THE REGULAR RHYTHM AND SLANT, WHILE THE SHAPES OF THE UPPERCASE ARE FULL OF SWASHES SO THAT THEY LOOK MORE LIKE AN INITIALS. FOR TYPESETTING IN UPPERCASE ONLY, THE TYPEFACE THUS INCLUDES NARROW SMALL CAPITALS. AT FIRST, I WROTE THE TYPEFACE WITH A MONO-LINEAR MARKER, BUT IT WASN'T UNTIL I USED A FLAT MARKER THAT THE SCRIPT TYPEFACE TOOK ON THE EXACT CHARACTER.