An outstanding feature of them is the fanciful swirls of the initial and final tails of the letters, which will add a playful elegance to your typography designs. This font consists of a pair of handwritten script font and additional font with hand-drawn flourishes and decorative elements.

The typeface was designed by Sabina Chipară and Diana Ovezea.Īmazing lightness of modern calligraphic writing is reproduced in handwritten script font Sadlyne. Bega’s friendly look makes it an ideal choice for use in corporate communication design. The lowercase letters’ ascenders are tall, and they rise up above the tops of the capital letters and numerals. The font’s numerals are proportional lining figures these have the same height as Bega’s uppercase letters. Thanks to the family’s large number of weights – eight really is a lot – you can combine two or more of them with each other to create headlines that exhibit quite a bit of contrast! Each of Bega’s fonts includes a full range of numerators and denominators, to use when typesetting fractions, etc. The strokes of Bega’s letterforms all appear to be monolinear that doesn’t mean that Bega is without contrast, however. Bega’s italics are obliques their letterforms are slanted. Each weight has two fonts on offer: An upright font, and an italic. The Bega family includes eight weights, which range from Thin through Black.

The lack of spurs in Bega is most-clearly visible when you look at the top-left corners of letters like ‘m’, ‘n’, and ‘r’. This is most visible in its ‘spurlessness.’ The visible strokes (or spurs) have been eliminated from the letterforms that would typically feature them. Formal reduction plays a strong role in its design. Bega is a simplified sans serif typeface.

Bebas neue cyrillic