Andada was born from the relationship between language and typography. It is an organic-slab serif text font, hybrid style and medium contrast. It is the product of 10 years’ research and development. It was designed to be used in a multilingual context and to survive to adverse print conditions. Award category Design II Bienal Iberoamericana de Diseño BID_10 (2010).

[More info]


  • Type Foundry: HT Fonts
  • Author: Carolina Giovagnoli
  • Created: 2010
  • Revision 1: 2015. OpenType SmallCaps
  • Revision 2: 2019. Diacritics update
  • Revision 3: 2021. Version pro upload at Google Fonts
  • Revision 4: 2023. Wounaan
  • 8 Fonts:
    • 4 Weights: Regular, Medium, Bold and Extra bold
    • Roman
    • Italic
    • Small caps
  • Language support: Latin Plus
  • License Types: SIL OPEN FONT LICENSE Version 1.1

Andada - Regular

Andada regular

Andada - Italic

Andada italic

Andada - Medium

Andada Medium

Andada - Medium Italic

Andada Medium italic

Andada - Bold

Andada Bold

Andada - Bold Italic

Andada Bold Italic

Andada - Extra bold

Andada Extra bold

Andada - Extra bold Italic

Andada Extra bold Italic

Awards and exhibitions

  • Exhibitions: Tipos Latinos 2010 - 2014 - América Latina
  • Award Diseño gráfico in the 2nd Bienal Iberoamericana de Diseño_BID 2010, diseño para la diversidad y el desarrollo. More info: Experimenta and BID_10
  • 2013. Exhibition: Octubre, mes del diseño Museo Municipal de Arte Moderno, Mendoza
  • 2017. Exhibition: Novo mundo MUDE – Museu do Design e da Moda. Portugal
  • 2019. Exhibition: Al pie de la letra, Experiencias tipográficas en Argentina Museo del libro y de la lengua, Buenos Aires, Argentina. Download the catalogue here

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Andada on Google Fonts

Andada was born from the relationship between language and typography. It is an organic-slab serif, hybrid style and medium contrast type for text. Initially it was designed to be used in a specific bilingual context — Spanish and Guaraní (pre-Hispanic) languages — so language is its design criterion.

The Guaraní language uses the Latin system, it has a character named puso, which is an identifying sign for Guaraní, like the ñ in Spanish, the č in Czech or the ß in German. The correct sign to represent the puso is the saltillo (Saltillo uniA78B, saltillo uniA78C), but usually it’s replaced by an apostrophe because the saltillo does not appear in the Spanish, English or Portuguese keyboard layouts.

During these 10 years of work I have looked for different solutions to improve the composition of text in Guaraní, from the typographical and technical points of view.

I have developed a new keyboard layout, which allows the Guaraní language users to type naturally in their language.

More info: https://github.com/huertatipografica/teclado-Guarani


Andada Andada Andada Andada Andada Andada

"Beautification" of the language

Following the original idea of language as design criteria, Andada has improved its performance in different languages:

  • The stylistic set 1 replaces the apostrophe by the saltillo to speed up keyboard typing.
  • There are alternative designs of k and ascendant characters to avoid collision with the alternative caron (ď / ľ)
  • The stylistic set 3 ss03 replaces the connected cedilla with the disconnected cedilla.
  • Uppercase diacritics set.

Andada Andada

New weight program

  • Regular
  • Medium
  • Bold
  • Extra bold

Since 2019 Andada has 4 weights. The Regular is lighter and the bold turns into extra bold, and now there is room for the new family members.


Andada Andada Andada Andada Andada

And more…

  • Task improvements. Now it’s possible to change from rounded to italic from the keyboard, in the whole color palette.
  • Small caps figures.
  • Roman numerals.
  • New set of decorative elements.

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Andada Andada Andada

Saltillo. u+a78b [ꞌ] / u+a78c [Ꞌ]

Classification: Letter.
Many alphabets use it to represent glottal occlusion or the glottal stop phoneme. It doesn't have a shortcut on the Spanish or English keyboard layouts, which is the reason for its resemblance to the apostrophe, which does have a key. That replacement creates confusion. Saltillo and apostrophe have different Unicode points and functional categories — one is a letter and the other is a punctuation mark — and this discrepancy causes conflicts in the digitization of texts.


Apostrophe, quoteright. u + 2019

Classification: Punctuation mark.
Many languages use the apostrophe to mark elision, separate morphemes or indicate inflections. This glyph also coincides with the single quotation mark, which in Spanish occupies the last hierarchy « “ ‘Hello’ ” ». Many linguists and authors use it to graphically represent the phonemes of glottal occlusion, suspension or the aspirated letters.


Prima, minute, feet. u + 2032

Classification: Mathematical sign.
This sign is used as the abbreviation of minute (60′ = 1º) or the measure of foot length (1 ′ = 12 ″). It can be straight or inclined but it should not be confused with the quotation mark.


Map of Guarani language regions

Where is Guaraní language used?

Latin America, Caribbean, Spain and different regions where Guaraní-speaking groups live.

It is an official language in:

  • Paraguay
  • Bolivia
  • Province of Corrientes, Argentina
  • Tacuru, Mato Grosso do Sul, Brazil
  • Mercosur

It is regulated by the Guaraní Language Academy.
It has approximately 8,000,000 speakers.
Its family language is Tupí.
It uses the Latin system writing.

I've developed Andada specifically for the variety known as Paraguayan Guarani (Avañeꞌẽ) that belongs to the Tupi–Guarani family of the Tupian languages.


Guarani Alphabet's characters set

Guarani Alphabet

It's made up of 33 letters, ordered as follows:
A, Ã, Ch, E, Ẽ, G, G̃, H, I, Ĩ, J, K, L, M, Mb, N, Nd, Ng, Nt, Ñ, O, Õ, P, R, Rr, S, T, U, Ũ, V, Y, Ỹ, Ꞌ.

  • 12 vowels: A, Ã, E, Ẽ, I, Ĩ, O, Õ, U, Ũ, Y, Ỹ.
  • 15 consonants: G, G̃, H, J, K, L, M, N, Ñ, P, R, S, T, V, Ꞌ.
  • 6 digraphs: Ch, Mb, Nd, Ng, Nt, Rr.

I've developed Andada specifically for the variety known as Paraguayan Guarani (Avañeꞌẽ) that belongs to the Tupi–Guarani family of the Tupian languages.

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Andada Character set

Upper case

Andada regular

Lower case

Andada italic

Small caps

Andada Medium

Figures and fractions

Andada Medium italic

Punctuations, signs, symbols

Andada Bold

Language support: LATIN PLUS

The language validation from Underware validates that Andada pro supports 219 languages from 212 countries:
Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Azerbaijani, Bashkir (Latin), Basque, Belarusian (Latin), Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Cornish, Corsican, Creek, Crimean Tatar (Latin), Croatian, Czech, Danish, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut), Guadeloupean Creole, Gwich’in, Haitian Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotcąk (Latin), Hungarian, Icelandic, Ido, Igbo, Ilocano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kaingang, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Kurdish (Latin), Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, Māori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Nahuatl, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Onĕipŏt, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zarma, Zazaki, Zulu & Zuni.

characters set validation

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Andada OpenType features

OpenType features are designed and developed for task improvements. They help to set and design the text and to keep the pages, the paragraphs and the words beautiful.


OpenType features ligatures

Ligatures [liga]

Historically, these ligatures were designed to improve the kerning and readability of certain letter pairs that, due to their design or structure, make the setting difficult. Here, this tradition continues as an aesthetic resource. This feature should be active by default. Below are the standard and historical ligatures.


OpenType features discretionary ligatures

Discretionary Ligatures [dlig]

They are designed to be ornamental, and not specifically designed for readability. This feature should be off by default.


OpenType features contextual alternates

Contextual alternates [calt]

This feature should be active by default. It is designed to enhance readability by providing better joining behavior between the characters that make up the ligature.


OpenType features small caps

Small Caps from Lowercase [smcp]
Small Caps from Capitals [c2sc]

We have two small caps options:

  • [SMCP] Lowercase letters are replaced with a glyph form of a small caps letter.
  • [C2SC] Both capital and lowercase letters are replaced with a glyph form of a small caps letter.

The orthotypographic rules or “conventions” for the use of small caps are not strict, nowadays their function is more aesthetic than communicational.
[More info: Orthotypography]


OpenType sensitive case form

Sensitive case form [case]

By default, glyphs in a text typeface are designed to work with lowercase characters; sometimes you may need to set your text in all caps, where figures, parentheses, guillemets, dashes, hyphens and other punctuation marks don’t match with lowercase. When the “all caps feature” (not when text is typed in caps) is enabled, case-sensitive forms are automatically applied. The coexistence of uppercase, non-alphabetic signs, numbers, punctuation, etc., requires a review of space, proportion and position. This feature is developed to enhance the word's and paragraph's rhythm.
It's active by default when the text has the “All Caps” option enabled.
The typographic categories affected are: letters, punctuation, figures and symbols.


OpenType features proportional oldstyle hybrid small caps figures

Lining & Old style figures

Each figure (number) set is designed for a particular design situation. Therefore each set has its own space, proportion and structure to live together with its own type-partners.
Lining or uppercase figures are designed to harmonize with uppercase, while old style, lowercase or Elzevir figures are designed to live together with lowercase; they have ascender, descender and lowercase proportions.
The lining figures in Andada are not strictly lining — they are “hybrid figures” and they are the default set. They have shorter ascender and descender and a proportion between uppercase and lowercase.
[More info: Orthotypography]


OpenType features tabular figures

Tabular figures

The tabular figures’ priority is vertical readability, while the proportional figures’ priority is horizontal readability.
The tabular figures have a fixed width in all weights and variants. They can build a column in tables and lists.
The proportional figures have varying widths to harmonize with the horizontal text context.


OpenType features Superscript Subscript Scientific Inferiors

Superscript [sups]
Subscript [subs] = Scientific Inferiors [sinf]

This feature replaces all figures with their superior/inferior alternates. These can be used for footnotes, mathematical, chemical or scientific notation.
The superscript set affects figures, lowercase letters, some punctuation and some symbols.
Subscript and scientific inferior are the same set.


OpenType features Superscript Subscript Scientific Inferiors

Fractions [frac]
Numerators [numr]
Denominators [dnom]

Numerators and denominators are aligned to build diagonal fractions.
The font includes a basic set —¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞— which is enabled by default with the OpenType ligatures.
If the fraction feature is enabled, you can build any fraction quickly by typing the sequence: [number] [slash] [number]. The numbers before the slash are replaced by numerators, the numbers after the slash are replaced by denominators, and the slash glyph is replaced by the bar.
This feature can differentiate between fractions and dates.


OpenType features ordinal numbers

Ordinals [ordn]

This feature replaces default alphabetic glyphs with the corresponding ordinal forms and transforms them into an ordinal expression.


OpenType features stylistic set Guaraní language saltillo puso

Stylistic set 1 [ss01] - GUARANI

This feature replaces default apostrophe or quotesingle glyphs (U+0027 or U+2019) with the corresponding saltillo glyph (U+A78B - U+A78C, lower- and uppercase). It only happens when the apostrophe or quotesingle is between vowels.


OpenType features stylistic set Roman numerals

Stylistic set 2 [ss02] - Roman Numerals

This feature replaces i v x d c l m glyphs with the corresponding glyph forms from the Roman numerals.


Andada has two designs for cedilla, connected and unconnected

Stylistic set 3 [ss03]

Andada has two designs for cedilla, connected and unconnected.
This feature replaces default cedilla connected glyph with the corresponding unconnected form.
The default cedilla form is the connected one.


OpenType features stylistic set Arrows

Stylistic set 4 [ss04] - Arrows

This feature replaces 1-0 glyphs with arrow glyph forms.


OpenType features stylistic set Geometry

Stylistic set 5 [ss05] - Geometry

This feature replaces a-z glyphs with geometric glyph forms.


OpenType features stylistic set Mathematical

Stylistic set 6 [ss06] - Mathematical signs

This feature replaces [x] [hyphen] and [slash] glyphs with the corresponding mathematical glyph forms [multiply] [minus] and [divide].

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Andada Orthotypography

Typographical syntax, also known as orthotypography, is the aspect of typography that defines the meaning and rightful usage of typographic signs, notably punctuation marks, and elements of layout such as flush margins and indentation. Orthotypographic rules vary broadly from language to language, from country to country, and even from publisher to publisher. As such, they are more often described as “conventions”.

[Source]


Andada figures vs letters Andada figures vs letters Andada figures vs letters Andada figures vs letters

Figures vs Letters

A number could be written in figures (numbers: 1 2 3…) or in letters (words: one, two, three…).

The figures have the same hierarchy as the words and both have to observe the same orthographic and orthotypographic rules, except for hyphenation.
Figures belong to the figures system and letters belong to the letter system. When a text has letters and figures, both systems have to be reconciled.

The content and the meaning of the text are what determine whether you should use figures or letters.

Usage tips:

  • Pagination
  • to number photos, graphics, etc.
  • Date, year.
  • to street number, floor, house, etc.
Andada small figures Andada small figures Andada small figures Andada small figures

Andada small caps Andada small caps Andada small caps Andada small caps Andada small caps Andada small caps Andada small caps Andada small caps

Small caps

  • To organize elements into a text hierarchy to appeal to an aesthetic resource​.
  • If you are using Roman numerals, this letter could be small caps.
  • Signature, epigraph, poem or text within an insert.
  • To indicate whether a book's author has written their own prologue. If the author wrote it, use only the initial in uppercase to set the prologue’s signature; if other people have written it, use small caps.
  • In legal texts (laws, decrees, etc.) the word “article” must be set in small caps.
  • In a theatre play, the name of the speaker in dialogues should be set in small caps.
  • In a dialogue, the dialogue sign could be replaced with the speaker's name. In this case you should set the name in small caps.
  • The subtitles, abbreviations, acronyms, notes should be set in small caps.
  • In a biography, the author's name should be set in small caps.

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Transpassar – Poetics of movement
Transpassar – Poetics of movement
Transpassar – Poetics of movement
Transpassar – Poetics of movement
Transpassar – Poetics of movement
Transpassar – Poetics of movement

Transpassar – Poetics of movement

Book cover and interior pages for Transpassar, an anthology of poems about the streets of São Paulo.
The book was published by SESI-SP Editora and designed by graphic design studio Daó and Gabriela Pires.
Andada + Montserrat
[fontsinuse]


Chinese horoscope for the year of the Fire Rooster by Gustavo Ng
Chinese horoscope for the year of the Fire Rooster by Gustavo Ng
Chinese horoscope for the year of the Fire Rooster by Gustavo Ng
Chinese horoscope for the year of the Fire Rooster by Gustavo Ng
Chinese horoscope for the year of the Fire Rooster by Gustavo Ng
Chinese horoscope for the year of the Fire Rooster by Gustavo Ng

Chinese horoscope for the year of the Fire Rooster by Gustavo Ng

Editorial Atlantida. Designed by ZkySky
Andada + Brandon Grotesque + STHeiti.
[fontsinuse]


Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik
Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik
Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik
Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik
Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik
Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik

Nosotros Valemos. Horizontes latinoamericanos del filosofar by Samuel Cabanchik

Ediciones Urania. Designed by Gustavo Ibarra y Ral Veroni​.
Andada + Futura
[fontsinuse]


La jarana de Mario by Alec Dempster
La jarana de Mario by Alec Dempster
La jarana de Mario by Alec Dempster
La jarana de Mario by Alec Dempster
La jarana de Mario by Alec Dempster
La jarana de Mario by Alec Dempster

La jarana de Mario by Alec Dempster

Designed by Alec Dempster and Manuel López Rocha.
Andada
[fontsinuse]


El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America
El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America
El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America
El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America
El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America
El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America

El peronista rioplatense no es triple A by Iván Ouler. Anagrammatic map of South America

Ediciones Urania. Designed by Gustavo Ibarra y Ral Veroni​.
Andada + Telder + Diplomata
[fontsinuse]


Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere
Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere
Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere
Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere
Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere
Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere

Gran Desmesura Nacional is an essay by Vicente Mario di Maggio on the poem La Rozaida by Emilio P. Corbiere

Ediciones Urania. Designed by Gustavo Ibarra y Ral Veroni​.
Andada + Futura
[fontsinuse]

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