Mangueira is a sans-serif geometric typeface that is made up of 2 sub-families: one standard more contemporary family perfectly suited for display use and one alternative version for short blocks of text and more neutral titles. Each subfamily comes in 9 weights and includes swashes, which can be easily accessed from the OpenType menu.
One of its main features is the combination of geometric shapes and vertical terminals that resemble Humanist sans typefaces. A generous number of swashes along with unique details in some glyphs such as “g” and “k” make Mangueira a versatile font well-suited for editorial design, branding, packaging, web and broadcast use, etc.
Mangueira contains a set of 502 characters, supporting over 200 Latin-based languages.
Mangueira Font Glyph Count
There are 504 glyphs contained in the Mangueira font, including OpenType variants that may only be accessible via OpenType-aware applications.
Each basic character (“A”) is followed by Unicode variants of the same character (Á, Ä…), then OpenType variants (small caps, alternates, ligatures…). This way you can see all the variations on a single character in one place.
See all Glyphs for Mangueira here.
Who Designed Mangueira Font?
Mangueira font was designed by Sofia Mohr.
Her work inspiration is usually related to her personal experiences. Being Brazilian and living in a different country (Chile), has always pushed her in trying to rescue aspects of her own culture, allowing her to feel closer to her origins. It might be the aroma of an expresso coffee, or the wildlife of the amazon rainforest, even more personal experiences of Sofia’s childhood, that she tries to re-interpret through font design.
The first font she designed was Café Brasil, specially done as part of her font design diploma at the Universidad Católica de Chile.
This work was after selected as part of the 2014 Latin American typography biennial, receiving great feedback overall, motivating her to continue learning and consider font design as a full time profession.
Calligraphy has been an important part of her learning process, helping to incorporate a more personal touch to what she does. This method was specially important in fonts like Amazônia, Sofia’s first brush pen font, which required a wild organic stroke.