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ITEM DESCRIPTION PRICE FORMAT & COMPATIBILITY ADD TO BASKET
Maestro - Maestro Pro
$110.40
Maestro - Maestro Pro Bold
$110.40
Maestro - Maestro A
$20.80
Maestro - Maestro A Bold
$20.80
Maestro - Maestro B
$20.80
Maestro - Maestro B Bold
$20.80
Maestro - Maestro C
$20.80
Maestro - Maestro C Bold
$20.80
Maestro - Maestro D
$20.80
Maestro - Maestro D Bold
$20.80
Maestro - Maestro E
$20.80
Maestro - Maestro E Bold
$20.80
Maestro - Maestro F
$20.80
Maestro - Maestro F Bold
$20.80
Maestro - Maestro G Bold
$20.80
Maestro - Maestro Bold
$20.80
Maestro - Maestro L Bold
$20.80
Maestro - Maestro G
$20.80
Maestro - Maestro H
$20.80
Maestro - Maestro H Bold
$20.80
Maestro - Maestro I
$20.80
Maestro - Maestro I Bold
$20.80
Maestro - Maestro J
$20.80
Maestro - Maestro J Bold
$20.80
Maestro - Maestro K
$20.80
Maestro - Maestro K Bold
$20.80
Maestro - Maestro L
$20.80
Maestro - Maestro M
$20.80
Maestro - Maestro Ends 1
$20.80
Maestro - Maestro Ends 1 Bold
$20.80
Maestro - Maestro Ends
$20.80
Maestro - Maestro Ends 2 Bold
$20.80
Maestro - Maestro Borders
$20.80
Maestro - Maestro Borders Bold
$20.80
Maestro - Maestro Extras
$20.80
Maestro - Maestro Extras Bold
$20.80
Maestro - Maestro Ligatures
$20.80
Maestro - Maestro Ligatures Bold
$20.80
Maestro - Maestro Flourishes
$20.80
Maestro - Maestro Flourishes Bold
$20.80
Maestro - Maestro Rules Bold
$20.80
Maestro - Full Set
$190.40

ABOUT THIS FONT FAMILY

Foundry: Canada Type

The Maestro family consists of forty fonts distributed over two weights. The OpenType version compresses the family considerably down to two fonts, regular and bold, each containing the entire character set of twenty fonts, for a total of more than 3350 characters per font. These include a wide variety of stylistic alternates, ligatures, beginning and ending letters, flourishes, borders, rules, and other extras. The Pro version also includes extended linguistic support for Latin-based scripts (Western, Central and Eastern European, Baltic, Turkish, Welsh/Celtic, Maltese) as well as Greek. Maestro takes its cue from the Italian chancery cursive of the early sixteenth century. By this time type ruled the publishing world, but official court documents were still presented in calligraphy, in a new formal style of the high Renaissance that was integrated with Roman letters and matched the refined order of type. The copybooks of Arrighi and others, printed from engraved wood blocks, spread the Italian cancellaresca across Europe, but the medium was too clumsy and the size too small to show what was really happening in the stroke. Arrighi and others also made metal fonts that pushed type in the direction of calligraphy, but again the medium did not support the superb artistry of these masters or sustain the vitality in their work. As the elegant sensitive moving stroke of the broad pen was reduced to a static outline, the human quality, the variety and the excitement of a living act were lost. Because the high level of skill could not be reproduced, the broad pen was largely replaced by the pointed tool. The modern italic handwriting revival is based on a simplified model and does not approach the level of this formal calligraphy with its relationship to the Roman forms.

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