TYPE DESIGN INFORMATION PAGE last updated on Sun Jul 3 12:38:13 EDT 2022






Type design in Italy


A. Grimoldi

Type foundry from the early part of the 20th century, located in Turin, Italy. [Google] [More]  ⦿

[Nazareno Crea]

ABC ETC INC. is a font and logo design service (est. 2018) based in New York City, run by Nazareno Crea. Nazareno Crea (b. Cinquefrondi near Reggio Calabria, 1983) is a Brooklyn, NY-based book and type designer, who studied at ECAL/University of Art and Design Lausanne (class of 2006) and the Royal College of Art in London (class of 2010). His typefaces:

  • At Lineto, he released LL Gulliver (2008-2018), which was renamed LL Catalogue in 2019. A new serif family with 3 weights/6 styles based on Miller & Richard's Antique Old Style (1858), LL Gulliver was first used in print in an early version in 2008, and was to be published by Lineto in early 2019.
  • The custom sans typeface Gabellini Sheppard.
  • Zug (Regular and Light). A custom typeface done for the Ski Brand Matek (matek.clothing). Inspired by Walter Haettenschweiler's lettering work for Lettera 2, published by Niggli in 1961.
  • Waldorf Astoria. Waldorf Astoria is a custom display typeface inspired by the façade engravings of the homonymous hotel building in New York City. Expanded into a full set of upper and lower cases. Designed for the relaunch of the residential project of the Waldorf Astoria in New York City. Inspired by the work of the architects Weaver & Schultze who designed the building and the original lettering in 1931.
  • Pan Display and Pan Text. Corporate typefaces designed for the jewellery brand Pandora A/S. Developed in collaboration with Chi-Long Trieu and engineered by Alphabet Type, Pan is loosely inspired by the work of Percy Smith.
  • BBB Neu. Created for the identity of French artist Stephane barbier Bouvet. A brutalist adaptation of Helvetica.
  • Olivetti (2020). Based on a 1934 logo design by Bauhaus artist Xani Schawinsky for the Italian typewriter company Olivetti.
  • Plantin Rounded (2020).
[Google] [More]  ⦿

Abinaya Ananthachary

Florence, Italy-based designer of the mini-serifed typeface Herm (2018). [Google] [More]  ⦿

Adalberto Libera

One of the preeminent Italian Rationalist architects of the 1930s and 1940s. See also here. In 1938 he edited the book "Manuale pratico per il disegno dei Caratteri", in which he proposed a rationalist view towards type design. The Landi stretto typeface he proposed comes with all measurements explicitly spelled out. Alternate URL. [Google] [More]  ⦿

Adam Rot

Roman printer, d. 1475. Some think he is the same as Adam(o) de Ambergau, a contemporary printer in Venice, but others refute that. Rot used a proto-roman typeface in Rome to print Dominicus de Sancto Geminiano's Lecturae super secunda parte sexti Decretalium in 1471 and used it until 1474. A digital revival was undertaken by Alexis Faudot and Rafael Ribas in 2016 at a type design workshop at HBK Saar and Bibliothèque municipale de Metz, Sarrebrücken. That typeface is Rot 102R by Faudot and Ribas. [Google] [More]  ⦿

ADB Studio
[Antonio Del Bino]

Florence, Italy-based designer of the free calligraphic typeface Perale (2016) and the fun Peignotian typefaces LH Stan and LH Ollie (2017), where LH stands for Laurel and Hardy.

In 2017, he published the text typeface family Audrey H. Behance link. Creative Market link. [Google] [More]  ⦿

Adler Traldi

Type foundry, aka Adlertype, from the middle part of the 20th century, located in Pavona, Italy. Their 1978 catalog includes these typefaces: Forma (sans), Impressum, Times, Modulario, Sirio (sans), Esperia (sans), Victoria, Ionic, Excelso, Bodoni, Aulico, some dingbats, and Akkad (simplified Arabic). [Google] [More]  ⦿

Adolfo Monti

Codesigner with Francesco "Mistico" Canovaro at Zetafonts / Studio Kmzero in Firenze of the simple bold sans families Duepuntozero Pro (2006-2008) and Arista (2006-2008). He also made Cibreo, Sugo (2006).

Dafont link. [Google] [MyFonts] [More]  ⦿

Adrea Vercetti

Fano, Italy-based designer of the decorative multi-colored geometric caps typeface Afivez (2015). Behance link. [Google] [More]  ⦿

Adriana Longoria

Italian graphic designer. At TypeParis 2017, she designed the warm text typeface Domenico, which is based on a text from 1723 published in Urbino. [Google] [More]  ⦿

Agnese Addone

Agnese Addone graduated in Medieval History and post-graduated in Paleography and Archival studies in Rome. In 2021, she was a Ph.D. candidate in Computer Science. She has been a member of the cooperative Italian type foundry CAST since 2020, specializing in epigraphy and signs. [Google] [More]  ⦿

Agnese Tisi

During her studies, Rome-based Agnese Tisi designer the display sans typeface Hetic (2019). [Google] [More]  ⦿

Agostina Ciccone

Designer in Udine, Italy, who touched me with her beautifully lettered logo design La Tetta di Giulietta (2012). [Google] [More]  ⦿

Ahmed Tarek

During his studies at University of Lower Silesia in Wroclaw, Poland, Ahmed Tarek designed the monoline and rigorously geometric sans typeface Abo (2018). [Google] [More]  ⦿

Aki Pentatonica

Italian designer in Trieste of the hand-printed typeface Akina (2011). Her name is Elena. [Google] [More]  ⦿

Alan Mattano

Milan, Italy-based designer of the rounded monospaced programming font PixelCoding (2013-2015). Alan says that he was inspired by Elysium Film Hex. Behance link. Alan is senior designer at Ferrari and Pininfarina. [Google] [More]  ⦿

Albert Pinggera
[Design Buero]

[MyFonts] [More]  ⦿

Alberto Antoniazzi

Milan-based graphic designer and graphic artist. He created the 3d typeface Platform (2009) and Century Funky (2009, after Century Gothic; free). Behance link. Abstract Fonts link. [Google] [More]  ⦿

Alberto Casagrande

Italian lettering artist, illustrator and calligrapher. As a member of the Italian open source font cooperative Collletttivo, Alberto Casagrande designed the decorative typeface Mazius Review (2019).

The 24-font Casagrande was designed in 2020 by the Italiantype Team (Manuel Alvaro, Valentino Coppi and Mario De Libero), working in close collaboration with Alberto Casagrande, and with help from the Zetafonts Team (Francesco Canovaro, Andrea Tartarelli and Cosimo Lorenzo Pancini). The final product has six display families with styles varying from the thirties-inspired Antifascista and Deco, to the modernist Casabau, to the geometric Grind, to the vintage script families Reclame and Casatiello. The collection is complemented by a two-color icon set font, Casagrande Ornaments. [Google] [More]  ⦿

Alberto Larizza
[Flash Design]

[More]  ⦿

Alberto Mafficini

Italian designer of the horror movie font Maleficio (2015). [Google] [More]  ⦿

Alberto Malossi

Graphic designer in Milan, Italy. Creator of the free Wim Crouwel-style piano key typeface Pxl Supercondensed (2015). [Google] [More]  ⦿

Alberto Manzella

Photographer and graphic designer in Monza, Italy. In 2014, he designed the calligraphic blackletter typeface AM Gotisch. Behance link. [Google] [More]  ⦿

Alberto Milli

Grosseto, Italy-based designer (b. 1973) of the Etruscan simulation font AM False Etruscan (2003).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Alberto Moreu

Cofounder with Piero Di Biase, of studio TWO in Udine, Italy. His typefaces include Cross Sans (2007), Corsivo (2015) and the neutral sans typeface family Studio Pro (2015-2018). [Google] [More]  ⦿

Alberto Tallone

Italian typographer, type designer and printer (b. Bergamo, 1898; d. Alpignano, 1968) who created the garalde typeface Tallone for his own private press in Alpignano in 1949-1952. He was in Milan and then Paris, to finally move his printing business to Alpignano after the war. Jack W. Stauffacher wrote about him in Homage to Alberto Tallone, 1898-1960 in volume 6.1 of Visible Language, 1972. Tallone also designed the tall and slender Garalde typeface Tallone Max Factor in 1959 (or was it 1956 as reported by Mac McGrew?) for use by the cosmetics company.

Jean Loize also wrote on Tallone in 1951: i, ii, iii, iv, v, vi. A letter of Bianca Tallone, dated 1982.

Samples of the Tallone typeface (1951): I, II, III, IV, V. Photograph. Klingspor link. [Google] [More]  ⦿

Alberto Terribile

Rome, Italy-based designer of the free Tuscan spaghetti Western font New Mexico Bold (2015). [Google] [More]  ⦿

Alberto Vitullo

Italian photographer who works in London. He created the alchemic typeface Universe (2013), a custom typeface made for Feel Good Inc. Collective in Genoa, Italy. [Google] [More]  ⦿

Aldo Novarese

Italian designer, 1920-1995, who designed most of his typefaces at Nebiolo in Turin. Until 1975, he made about 30 families at Nebiolo, and after 1975, he produced about 70 further families of fonts. With weights included, he created about 300 fonts. Biography by Sergio Polano. He was very influential, and wrote two important books, Alfa Beta: Lo Studio e il Disegno del Carattere, a study on font design and history (1964), and Il Segno Alfabetico (1971). Essay by Sergio Polano on Novarese. The list of fonts done at Nebiolo:

  • Landi Linear (1942). This was revived in digital form in 2011 by Toto as K22 Landi Linear.
  • Etruria (1940-42)
  • Express (1940-43)
  • Normandia (1946-49, with Butti, and 1952)
  • Athenaeum Initials (with A. Butti, 1945-1947)
  • Fluidum (+Bold) (1951, script). Revived by Ralph Unger as Butti (2011).
  • Fontanesi (1951-54, an all caps rococo font). Digital revivals include Fontanesi RMU (2018, Ralph M. Unger) and Fontanesi (2003, a free font by Frogii).
  • Microgramma (1952, with A. Butti; available at URW++). This was done as an alternative to Bank Gothic, and is identical to Eurostile Bold Extended.
  • Nova Augustea (1951, ITC Augustea Open)
  • Egizio (1953-57), a slab serif [see E710 Roman on the SoftMaker MegaFont XXL CD, 2002, or Egizio URW (2009, quite complete family with 5 styles) or Egizio EF (2001), or Thierry Gouttenègre's Aldogizio (2013)]. For a specimen, see here.
  • Cigno (1954). This script typeface was revived an extended as P22 Cigno (2008, Colin Kahn, P22).
  • Swan (1954), aka Cigogna (with A. Butti).
  • Juliet (1954-55). For a superb revival and extension of this copperplate script, see Canada Type's Ambassador Script (2007).
  • Ritmo (1955)
  • Rhythm (1955)
  • Garaldus (1956-ff). A garalde digitally revived in 2012 as Garaldus by Flanker.
  • Slogan (1957). Digital revival by Terry Wudenbachs in 2010 called P22 Slogan.
  • Recta (1958-1961). This is a large sans family. Canada Type published an 18-font revival in 2011, also called Recta.
  • Estro (1961). A western font now found in the Mecanorma collection.
  • Fancy (1961)
  • Exempla (1961). Published by VGC in 1966. Third Prize in the 1966 VGC National Type Face Design Competition.
  • The Eurostile family (1952: caps, with Alessandro Butti; 1962: lower case). This is carried by many foundries such as Adobe, Linotype, and URW++. Eurostile lookalikes include Aldostile (Autologic), ES (Itek), Eurasia (SoftMaker), Eurogothic, Eurostar (MGI Software), Eurostile, Eurostile Next (Akira Kobayashi), Gamma, Jura (Daniel Johnson), Microgramma, MicroSquare (SoftMaker), Microstyle (Compugraphic), NuevoSolStile (Cayo Navarro), SD Eurostile Elite (Justin Rotkowitz), Square 721 (Bitstream), Waltham. Noteworthy is Eurostile Round (2014), a rounded version of Eurostile by URW++.
  • Patrizia
  • Magister (1966)
  • Forma (1966). Alessandro Colizzi explains: From 1965, following a marketing-oriented approach focused on the user, the management set a research group of graphic designers to work on a new typeface design. Headed by Novarese, who provided the basic alphabet, the team included Franco Grignani, Giancarlo Iliprandi, Till Neuburg, Ilio Negri, Pino Tovaglia, Luigi Oriani, and Bruno Munari. The collective design process was based on an analysis of contemporary sanserif typefaces and legibility tests, to develop a more mature, humane interpretation of the Swiss sanserif trend. The process was quite laborious with monthly meetings spanning across over two years. In 1968, Forma was eventually released as lead type. As its name implies, Forma aimed at representing the ideal letterform of its time, equally appealing to designers, printers and the general public. The typeface was favourably received by the design community (it won a special mention at Compasso d'oro in 1970), but although initial sales were encouraging, it could not really compete in a market already saturated by Univers, Helvetica and the like. . A grand revival of Forma, described by Indra Kupferschmdt, was organized by Roger Black for Hong Kong Tatler (as fashion mag). The revival was executed by Font Bureau's David Jonathan Ross in 2013. See David Jonathan Ross's site.
  • Oscar (1966)
  • Lambert (Compacta lookalike)
  • Metropol (1967). This gaspipe typeface was digitized by Patrick Griffin at Canada Type in 2007 as Press Gothic. Originally, it was meant as an alternative to Geoffrey Lee's Impact at Stephenson Blake.
  • Elite (1968, a boring linear script, digitized in 2005 by Canada Type as Fontella)
  • Fenice
  • Stop (1971; available at Mecanorma, Linotype, URW++, Elsner&Flake)
  • Dattilo (1974, an Egyptian face) (1974): his last creature for Nebiolo, a typewriter type. It was considered as a slab serif companion of Forma. This typeface was revived as a variable font in 2020 by David Jonathan Ross.
His post-Nebiolo fonts:
  • Primate (1972), for AG Berthold. For a digital revival of this wedge serif, see Luca Terzo's Noctis (2020).
  • Sintex 1 (VGC, 1973). A revival and expansion of this funky nightclub typeface was done in 2008 by Patrick Griffin at Canada Type as Stretto (2008).
  • Sprint (1974). A script typeface. Digital versons: Sprint (Linotype), Sprint (2019, SoftMaker).
  • Bloc (1974, VGC)
  • Mixage (1977 Haas, a lineal font, now ITC Mixage) 1985?
  • Novarese Book (1978, now ITC Novarese Book)
  • Lapidar (1977)
  • Andromeda (1978, VGC)
  • Global (1978, VGC)
  • Fenice (1977-80; now ITC Fenice)
  • Expert or Expert Haas (1982-1983). At Haas'sche Typefoundry.
  • Floreal Haas (1983). A decorative and slightly wavy serif published by Haas'sche Schriftgiesserei.
  • Colossal (1984); see Colossalis at Berthold, a slab serif sports lettering family)
  • Stadio (1974). A reverse contrast sans that was published only as a rub-on transfer typeface. Revived in 2020 by the Zetafonts team as Stadio Now.
  • Symbol (1982-1984, now ITC Symbol)
  • Arbiter (1989, Berthold)

View Aldo Novarese's typefaces. [Google] [MyFonts] [More]  ⦿

Aldo Novarese: Alfa Beta (1964)

Alfa Beta is a text book written by Aldo Novarese in 1964. It is especially useful to learn for the first time about the differences between typefaces and about type classification. [Google] [More]  ⦿

Aldus Manutius

Late 15-th century Venetian scholar and printer, b. 1449, Bassiano, d. 1515, Venice. He founded the Aldine Press in 1495. His typefaces were all designed and cut by the brilliant Francesco Griffo, a punchcutter who created the first roman type cut from study of classical Roman capitals. Bembo, Cloister Italic and Poliphilus [aka Aldus Manutius' Roman] can be traced back to him. Example of his Italian Antiqua, 1499.

Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.

Digital typefaces derived from his work: 1501 Manutius (2001) by Klaus-Peter Schäffel.

Selection of fonts based on Manutius's work. [Google] [MyFonts] [More]  ⦿

Alejandra Sepulveda

Graphic designer in Concepcion, Chile, who created, together with Valentina Aufiero, Leo Colalillo, Francesca Sperti, and Natale Ventre at Politecnico di Milano, the hybrid typeface Gill Trump (2012).

Behance link. [Google] [More]  ⦿

Alejandro Torres

Genova, Italy-based designer of the bilined art deco typeface Metropolis (2013) that covers Latin, Greek and Cyrillic. Behance link. [Google] [More]  ⦿

Alena Belokonova

Florence, Italy-based designer of Albe Font (2014, imitating calligraphy), and a few experimental typefaces. [Google] [More]  ⦿

Alessandra Daniele

During her studies at Accademia delle Arti e Nuove Tecnologie in Rome, Alessandra Daniele designed the pop art typeface Shape (2013). [Google] [More]  ⦿

Alessandra Loreti

Illustrator and digital artist in Rome who created the display typeface New Generation in 2013. [Google] [More]  ⦿

Alessandra Morcella

Italian digital art director in the Pesaro Urbino area. Creator of the stylish and frivolous adaptation called Stile Bodoni (1994). [Google] [More]  ⦿

Alessandro (Alex) Segalini

Freelance Italian graphic designer, b. near Piacenza, 1976, who graduated with an M.S. in Industrial Design in 2004 from the Politechnic of Milan with a thesis entitled Ernesto Hemingway: una font tra letteratura e tipografia: a font between literature and typography. In it, he describes his typeface Ernesto Hemingway. At ATypI 2005 in Helsinki, he spoke about that same typeface. Initially, he worked in Rome, with interests extending across linguistics, book design, information design, calligraphy, lettering, visual identities, and designing with multiple languages. In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). In 2007, he took a position at the Izmir University of Economics in Izmir, Turkey. In 2010 he co-founded ISType, a lecture and workshop series devoted to encouraging typographic literacy in Turkey. Presently he teaches typography and type design at Texas State University, School of Art & Design. He is the typographer and graphic designer for Contra Mundum Press (CMP), a boutique publisher based in New York and Paris that specializes in world literature and other genres.

He created these typefaces:

  • A like Animals (2003). Also called A di Animali, this is an experimental typeface done together with illustrator Anna Donadelli.
  • 5G (2002). Handwriting.
  • Custom types: Guia Script (2006, for Gelati Carte d'Or Algida), Guia Script Greek (2006), Quintag (2002, handwriting), Forno (2004, hand-printed), Dolce (2005, a swift brush typeface for Barilla), Unione (2005, for a bank), Pacioli (2005, for Accademia Editoriale in Rome), and Phoebus (custom sailing boat vinyl lettering).
  • Limerick was designed in 2006 together with Marek Brzozowski.
  • In 2009, Segalini published Hemingway Pro, a commercial 9-style sans display family, available from Red Rooster. Hemingway Deco Initials is free though. Hemingway was inspired by the prize-winning novel The Old Man and the Sea (1952, Ernest Miller Hemingway).

At ICTVC 2007, he spoke about 20th century Bodonians. Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. Home page. PDF file with samples of his fonts. [Google] [MyFonts] [More]  ⦿

Alessandro Anselmi

Italian designer of the pay pixel typefaces iPix (2008) and Pixies (2009). [Google] [More]  ⦿

Alessandro Becagli
[Champagne Design]

[MyFonts] [More]  ⦿

Alessandro Butti

Italian designer and teacher (b. Turin, 1893, d. Turin, 1959), who spent most of his life designing type at Nebiolo, where he was also art director. He headed Studio Artistico della Nebiolo from 1936-1952. Bio by Gio Fuga in 2010. His> typefaces:

  • Paganini (under the direction of Raffaello Bertieri, 1928), a very elegant roman family. Jessica Svendsen digitized this in 2010 under the same name. Patrick Griffin and Kevin Alan King created a revival at Canada Type in 2001 simply called Paganini.
  • Semplicità (1930), a sans serif family with a fresh feel that includes an Ombra version. This Futura-like family was revived in a 16-style family by Ben Blom called Simplo (2011). Bill Troop and Patrick Griffin created the carefully executed and powerful Semplicita Pro family (2011, Canada Type). Semplicità (2015) by Studio di Lena is another digital revival. Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Semplicita.
  • Quirinus (1939).
  • Landi (1939-1943): Butti designed the slab serif Landi Echo (with inclined inline). The corresponding outline, Landi Linear, was designed by Aldo Novarese. Landi Echo was digitally revived in 2011 under the same name by Claude Pelletier.
  • Hastile (1941). [Others say this was done in 1952.]
  • Athenaeum (1945, Nebiolo, initials by Aldo Novarese), a roman typeface with schizophrenic M and Q letters.
  • Normandia (1946, with Aldo Novarese). This fatface didone was published in 1949 at Nebiolo in three styles, tono, corsivo and contornata. For a digital revival of the entire family, see Normandia (2021, by Patrick Griffin and Hans van Maanen at Canada type).
  • Rondine (1948, with Aldo Novarese). There is a digital version called Bella Donna (2004, Rebecca Alaccari at Canada Type).
  • Augustea Open and Augustea, both all caps fonts, were done in 1951. They were the forerunners of the full font Nova Augustea (done with Aldo Novarese). For revivals of Augustea Open, see Openface No. 2 (2012, Softmaker), and the earlier SoftMaker typefaces Openface and A850 Deco.
  • Microgramma (1952, with Aldo Novarese) is a checkbook font. Novarese would use this as model for his famous Eurostile (1962).
  • Cigogna (1950 or 1954): a quill pen lettering script.
  • Fluidum (1937-1951): a script with heavy contrasts. Revived by Ralph M. Unger as Butti (2011).
  • Titano (1929). Original characters in lead and wood. Thanks to Paolo Cadeddu's research, we now know the exact date of Titano's design, 1929. The shadowed version was added in the 1940s. Titano was digitally revived in Black, Shadowed and Inline versions by Paolo Cadeddu between 2019 and 2021. In 2022, Cadeddu published the story of Titano in Author of L'Italia nascosta---Oggetti, grafica e caratteri usi e costumi (translated: Hidden Italy---Graphic objects and typefaces, uses and customs).
  • Neon Ombrato, using Giulio di Milano's Neon from 1935.
  • Quirinus (1939).
  • Juliet (1955), done with Aldo Novarese.
  • Recta. Well, he did the first sketches, and Aldo Novarese finished the font in 1958.
[Google] [MyFonts] [More]  ⦿

Alessandro Caminiti

Aka Nova Sama. During his studies in Venice, Italy, Alessandro Caminiti (b. 1995) designed the free typeface Hexagon Cup (2018). Dafont link. [Google] [More]  ⦿

Alessandro Colizzi

Alessandro Colizzi (b. Rome, 1966) is associate professor at Milan's Politecnico, Department of Design, where he teaches graphic design history, typography, and type design. He was professor at the Ecole de design of UQAM (Montreal) from 2005 to 2019, and visiting professor at the Design Academy Eindhoven (2014/15). He holds a PhD from the University of Leiden (with a thesis on Bruno Minari), an MA in Type Design from The Hague's Koninklijke Academie van Beeldende Kunsten, a postgraduate diploma from the Atelier National de Recherche Typographique (Nancy, France, 2001), and an MLitt in English Literature from the University of Rome La Sapienza (1985-2000). He researches graphic design history, typography, and information design and interned in 1999 with Paul Shaw at Parsons School of Design in New York. He is a member of the Nebiolo History Project and has been a member of the cooperative Italian type foundry CAST since 2019.

His typefaces include:

  • Mignonne (2004, aka Mirabelle). This was specially designed for small text setting under modern printing conditions.
  • The condensed Offbeat (1998, T-26, with Marco Tancredi).
  • Neon Nbl (2019-2020, CAST). Neon Nbl is a display typeface working at its best for headlines, posters and logos. It is the faithful digital redesign of the original geometric monocase sans designed by Giulio da Milano and released by Nebiolo in 1933-1934. The original face had different proportions with varying widths for each type size, ranging from extra narrow (72 pt) to wide (6 pt), while Neon Nbl comes in a coordinated range of weights (Thin to Bold) and proportions (UltraCondensed to Normal). Neon Nbl also comes in a shaded titling version (Ombra) in four styles. Colizzi extended the oroginal character set which now contains 700 glyphs per font.

Speaker at ATypI 2013 in Amsterdam: Forma, Dattilo, Modulo. Nebiolo's last effort to produce a 'universal' typeface. Organizer of ATypI 2017 in Montreal. Speaker at ATypI 2018 in Antwerp. [Google] [MyFonts] [More]  ⦿

Alessandro Comotti

Milan, Italy-based designer of the free wavy font Liquido (2014). [Google] [More]  ⦿

Alessandro Congiu

Cagliari, Italy-based designer of the masculine octagonal typeface Qatsi (2014) and the wedgy sans typeface Mezzana (2015). Mezzana is a free font inspired by Corrado Mezzana (1890-1952), an italian artist who designed stamps and award notices in the 1930s, 1940s and 1950s. The font is also partially based on Paul Renner's Futura and Alessandro Butti and Aldo Novarese's Semplicita. Behance link. Additional link. [Google] [More]  ⦿

Alessandro Crippa

Milan-based designer of the display sans titling typeface Destiny (2013, together with Nivi Jasa). Behance link. [Google] [More]  ⦿

Alessandro Da Corte
[Font Ale]

[MyFonts] [More]  ⦿

Alessandro Dattola

At the Academy of Fine Art of Urbino, Italy, Alessandro Dattola (Reggio di Calabria, Italy) created the modular comic book titling typeface Cinecomics (2015, with Laura Arcangeli). Behance link. [Google] [More]  ⦿

Alessandro Demchenko

Rome-based designer of the modular typeface Console Sans (2015) and of Icon Font (2015). [Google] [More]  ⦿

Alessandro Fiore

Italian architect and graphic designer, b. 1974. He obtained a degree with a thesis on Neue Tipografie and is studying towards a PhD at the University of Palermo (Italy) where he studies countemporary type design, in collaboration with the Department of Typography of the University of Reading. Speaker at ATypI 2007 in Brighton: New professional identity of type designer. [Google] [More]  ⦿

Alessandro Fulciniti

Alessandro Fulciniti (Axel or Alex Fulton) is the designer at FontStruct in 2008 of Digg (based on the Digg.Com logo), SmartShop, Triple-X, Last Brick (3d brick face), Last Brick Neon, Bubble Gum, Maxxell, Pico (pixel face), Omino (dingbats of men), jelly_fish_1, pixel_runner, red_light_district (dot matrix face), three_am. Son of Statement and Statement are heavy block fonts. Other typefaces: Acchooga (condensed), Dottic (2008, pixel face), Headshop (2008), Three AM (2008), Red Light District (2008, dot matrix face) and Fat Bit Lova (2008, pixel face), Brooklin Bros (2008, octagonal), Absurd, Dottic (pixel face), Hybrid Boost, Five AM, Futuristica (Bank Gothic-inspired), HeadShop, Americana (American flag-themed glyphs), Elevator (lightbulb signage font), Bombay (Indic simulation), Regent (octagonal, between two horizontal lines), Spaceman (pixel meets kitchen tile), Faster Baby, Fontharrt, Subpixel, Promises, Best-before-end (horizontal stripes), Weekend (fat headline face), Predator's Alphabet, Futures, Magnus (constructivist), Zeppa (great---Far West meets LED), Wide Horizon, Pixelity, Wide Horizon Rounded, Snipers' Font, Gunny (heavy metal stencil), Pinball Special 5, Gallop, Horizon Condensed, Western Zappa (Far West font), Wide Horizon Rounded, Nano Spaceman (nice fat kitchen tile style), Black Sheep, Best-before-end, Black-Sheep, Bubble-Gum, Crazy-Pixel, Faster,-baby!, Gallop, Horizon-Condensed, Last-Brick, Little-Spaceman, Magnus, Pinball-Special-5, Promises, Teenage-Mutant-Ninja-Font, Weekend, Zeppa, maxxell, pic. Born in 1975 in Northern Italy, he is a columnist for the Italian web design portal html.it since 2003, who has written extensively on CSS, javascript and web design. Web site. [Google] [More]  ⦿

Alessandro Locatelli

Italian graphic designer. Creator (aka Vic) of the iFontMaker font Schizofrenia (2010, scratchy hand-printed face). [Google] [More]  ⦿

Alessandro Malcotti

During his Masters studies at Politecnico di Milano, he spent a year in Berlin where he designed the blackletterish typeface The Raven (2015) in a course taught by Luc(as) de Groot at Fachhochschule Potsdam. Earlier, in 2012, he created the condensed octagonal typeface Fiat that is based on Fiat's logo. Fiat was a school project completed with Cecilia Negri and Virginia Nardelli. [Google] [More]  ⦿

Alessandro Morelli

Italian designer of the handcrafted typeface Brizel (2018). [Google] [More]  ⦿

Alessandro Panichi and Jonathan Pierini

Italian designers of the sans typeface with diagonal endings called Lino as part of their thesis in 2006. The design was based on an early 1900's type from the Milanese foundry Urania, which was later acquired by Nebiolo. [Google] [More]  ⦿

Alessandro Pascoli
[Sezione Aurea]

[More]  ⦿

Alessandro Segalini
[Izmir University of Economics]

[More]  ⦿

Alessandro Tartaglia

[More]  ⦿

Alessandro Vigoni

Creative Italian designer who managed to draw letters with water (2010). [Google] [More]  ⦿


Italian dog fanatics Alessandro and Katiusha made a font called "Dalmatian" from BookmanITCbyBT-Demi. [Google] [More]  ⦿

Alessia Mazzarella

[MyFonts] [More]  ⦿

Alessia Nicotra

Italian medical doctor with a PhD in neurology and neurophysiology. She currently works as a clinical neurophysiologist at Charing Cross Hospital in the UK and is also involved in academic research into the autonomic and peripheral nervous systems. Together with Bruno Maag she researches the physiological emotional impact of different type styles. At ATypI Sao Paulo 2015, her talk, together with Dalton Maag, is entitled Busting the Dyslexia Myth. As the master communicator of type design, Dalton Maag shows that nearly all dyslexia type research in the past was ignorant. Witness the abstract of the Nicotra / Maag talk at ATypI: There have been a number of fonts in recent years which claim to improve reading for people with dyslexia. Many of these designs have a handwritten quality, similar to Comic Sans. Often, the designers of these fonts claim to understand what is required to design a dyslexic font, simply by virtue of being dyslexic themselves. There may be some design merit to these fonts but the claim that they are favourable to dyslexics is misleading, and shows a complete lack of understanding what dyslexia is. The presentation will critique the designs that claim to be "the font for dyslexia", based on a scientific overview of dyslexia, and how dyslexia is dependent on language and other factors. It will also highlight the ignorance of design institutions that have awarded MAs and PhDs for fonts designed in the name of dyslexia. The talk was forceful, entertaining and convincing, based on an analysis of various pathways in the brain. For one thing, opaque languages (i.e., with a very tentative connection between what is written and spoken, as in English) have a higher population density of dyslexia. Italian and German are notr opque and thus fare better. Alessia also spoke at ATypI 2014 in Barcelona. Speaker at ATypI 2016 in Warsaw: Bruno Maag and Alessia Nicotra review a selection of studies published in regards to the emotional and functional qualities of typefaces since Poffenberger in 1927. The presentation investigates the methodologies employed and questions the results in the cultural and technological contexts of their time, and provide guidance as to their relevance today. [Google] [More]  ⦿

Alessia Pettinari Ventura

During her studies at NABA (Nuova Accademia di Belle Arti) in Milan, Alessia Pettinari designed Alfabeto Fantasia (2011), an art deco display typeface developed on the basis of Linea. [Google] [More]  ⦿

Alessia Sbabo

Thiene, Italy-based designer of Geometric (2019). [Google] [More]  ⦿

Alessio Atzeni

Web designer based in Rome. Creator of Pyconic (2012), an icon font in PNG format with 768 icons. He also has a free 40-icon EPS and truetype font for weather icons called Meteocons (2012). [Google] [More]  ⦿

Alessio Avventuroso

Milan, Italy-based graphic and type designer, who studied at Universidad Politecnica de Valencia (Spain) and Politecnico di Milano His ultra-black Cuadra (2009) is free. Sofia (2009, a clean sans) is available upon request. Coldi (2009) is a free modular typeface. Arroz (2009) is a modular typeface constructed with ruler and compass. [Google] [More]  ⦿

Alessio Azzolini

Milan, Italy-based designer of the spurred modular typeface Kramer (2019) and the free spurred handcrafted typeface Pirate K (2019). [Google] [More]  ⦿

Alessio Cottino

Torino, Italy-based creator of a poster typeface in 2014. Behance link. [Google] [More]  ⦿

Alessio D'Amico

During his studies at Istituto Vittorio Emanuele III di Palermo, in sicily, Alessio d'Amico created the stencil typeface Just Me (2015). He also designed the absolutely wonderful experimental typeface Morse Code in 2015. [Google] [More]  ⦿

Alessio D'Ellena

Originally from Lazio, Italy, Alessio d'Ellena (b. 1985, Frattocchie, Rome) graduated from ISIA Urbano (Italy) with a thesis entitled Tipografia Parametrica e Matematica (2012). Graduate of the Typemedia program at KABK, class of 2016.

He created some typefaces such as Corso (2013, text family) and New Banco (2013, after Roger Excoffon's Banco from 1951).

In 2007, he co-designed Saffran with Erasmo Ciufo and published it at CAST in 2015. Saffran is a stencil sans with squarish letterforms.

His graduation typeface at KABK in 2016 is the 9-12 point text typeface Laica, which is characterized by tall-hat terminals on glyphs like the 4, the a and the t. Like Trump's politics, Laica surprises---no glyph is what one would expect. It won an award in the TDC Typeface Design competition in 2017. Laica A sports chiseled transitions that guarantee good rhythm and balance from small-sized text use to eye-catching billboard applications. Laica B has straight transitions at its joints and therefore an overall more simplified, elegant tone. Laica was released by Dinamo in 2020, where Alessio was supported by Franziska Weitgruber, Igino Marini (kerning) and Chi-Long Trieu (font engineering).

In 2017, he designed the sans typeface Juventus Fans. [Google] [More]  ⦿

Alessio Laiso

Graphic designer in Lisbon, Portugal (was: Dublin, Ireland), who studied at ISIA Roma in 2013. Creator of the free 6-style slab serif typeface Aleo (2013): Aleo is a contemporary typeface designed as the slab serif companion to the Lato font by Lukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. It is also available from Open Font Library and Google Fonts (in 2018). Google Fonts mentions Kevin Conroy as co-designer. Posters by Bush Mthembu (Durban, South Africa).

In 2017, he designed the commercial typefaces Lagu Sans and Lagu Serif, which feature large x-heights and open counterforms.

Typefaces from 2020: Pani Sans (which takes inspiration from Italian rationalist and art deco genres, and includes variable types).

Open Font Library link. Fontspring link. Fontown link. [Google] [MyFonts] [More]  ⦿

Alessio Leonardi
[BuyMyFonts (or: BMF)]

[MyFonts] [More]  ⦿

Alessio Pompadura

The Due Studio (or: Due Collective) of Alessio Pompadura and Massimiliano Vitti, both based in Perugia, Italy, co-designed the grid-based stencil typeface Nodo in 2017.

In 2018. they developed PVF Display for the identity of Palazzo Vertemate Franchi.

In 2019, they designed Grotta, and wrote: Grotta is an irreverent contemporary neo-grotesk typeface with strong geometric accent and sharp contrast in its form. Characterized by tight apertures and an overall dynamic feeling it is suited for both display and text sizes. It is our interpretation of the 21st century grotesk, exuberant, irruptive and [...] winks at [...] Venus-Grotesk and Monotype Grotesque. It shows influences of hipstertism in the way strokes are joined in the 1, N, M, V, W, and other letters.

The semi-pixel typeface Analo Grotesk was codesigned in 2019 by Alessio Pompadura and Massimiliano Vitti.

In 2020, he released Decay White: Decay is a modern serif that brings the idiosyncratic philosophy of Decadent Movement into our darkest future, mixing sinuous curves with eccentric pointed serifs and drastic ligatures between multiple and single letters. A typeface on the border between irrational aesthetics and rational function.

Typefaces from 2021: Autaut Grotesk. [Google] [More]  ⦿

Alessio Sabbadini

Communication designer in Milan, Italy, who created the honeybee-themed typeface Picnic in 2017. [Google] [More]  ⦿

Alessio Sciascia

During his studies at Politecnico di Milano, in James Clough's class, Alessio Sciascia created the display typeface Decora (2013) in Regular and Ombra styles. [Google] [More]  ⦿

Alex Alberico

Avezzano, Italy-based creator of the poster headline typeface family Linestoorb (2015). Behance link. [Google] [More]  ⦿

Alex joystikX

Italian creator of the experimental geometric typeface Covenant (2009). [Google] [More]  ⦿

Alex Passi

Alex Passi from the University of Bologna created an elegant Sanskrit font in 1998 called Vinayaka. He has a Mac version. The PC truetype version is here. [Google] [More]  ⦿

Alex Ruocco

Graphic designer in Rome, who created the display typeface Momo (2013). [Google] [More]  ⦿

Alex Sanmartino

Saluzzo, Italy-based designer of the modular sci-fi typeface Interstellar (2017), which was finished during his studies at IAAD in Torino. [Google] [More]  ⦿

Alex Valentina

Alex Valentina is a graphic designer from Italy who graduated from KHIB, Bergen, Norway, and is based in London, UK. A musician, music producer and video director, he also occasionally designs typefaces. At The Designers Foundry, he released the fairytale font Goliagolia in 2019, and the spindly lava lamp font GabyGaby in 2020. [Google] [More]  ⦿

Alexandra De Angelis

Roman graphic designer. Creator of these typefaces in 2012: Lounge Curve (a wide monospaced techno sans), World Fashion Channel (ornamental caps), ASN (ornamental caps), and Polytype. [Google] [More]  ⦿

[Davide Tomatis]

Davide Tomatis of Archivio Tipografico in Turin, Italy, is curating the reissue of Alfa-Beta, a book by the Italian type designer Aldo Novarese, originally from 1964 and out of print since a long time. The Alfa Beta team is collaborating with Novarese's family, namely his second daughter Federica, and his granddaughter Francesca Faro (daughter of Gabriella Novarese), to republish it, after having found all the original films. The book will be translated by Alta Price. The first edition of Alfa-Beta (published in 1964 by Progresso Grafico and distributed by G.B. Paravia) reviewed the evolution of writing systems and typography from their advent up to the present day. Kickstarter link (June 2020).

In addition, the project aims to revive Also Novarese's Nova Augustea (1964), which in turn was based on Alessandro Butti's Augustea. That revival will be done by Studio 23.56. [Google] [More]  ⦿

[Joseph Miceli]

Graduate of the Rietveld Academie in Amsterdam. Born in Syracuse, Sicily, he spent half of his life in New York City, and studied for four years in The Netherlands. He worked in Lithuania with a group called Alfa60, and is now based in Turin.

His typefaces:

  • Equo (2006). A VAG Round style display family which also includes Equo Stencil Caps, Equo Extended and Equo Extra Fat.
  • Shaolin Caps.
  • Stout Caps (revised in 2015).
  • Frank-Latin. A wide wedge-serifed face.
  • Crasto. A serif family.
  • MM Vinny. A multiple master family designed for use by the cosa nostra.
  • Yorker. Based on The NewYorker.
  • MM Charlie or Charlie Grotesque (2013). A sans typeface family in the American style of Morris Fuller Benton.
  • Artissima Condensed. A dada poster font, now called Altissma Condensed.
  • Romano Grotesque. Angular, chiseled: revised in 2015.
  • Futura Passata. A rounded all caps version of Futura that combines two widths of a wood type version of Futura for use in posters.
  • Novalis Condensed.
  • Bianco. A bespoke sans created for Nero magazine). Accompanied by Bianco Serif (used in some sections of The New York Times).
  • Lago Sans. A geometric superfamily.
  • Arial Grotesque.
  • Tratto (2018). A sans.
  • Beaux. An all caps display typeface. /UL> [Google] [More]  ⦿

Alice Alisss Mignogna

Milano, Italy-based designer of the display typeface Iceberg (2018). [Google] [More]  ⦿

Alice Donadoni

Graphic designer in London, UK. While still in Milan in 2012, she created a multilayered display face. In 2015 she designed an experimental multi-stroke type system called Designer Dream---the strokes are fixed but one can chose from a selection of outlines.

Behance link. [Google] [More]  ⦿

Alice Mignogna

Milano, Italy-based student-designer of the squarish typeface Iceberg (2019). [Google] [More]  ⦿

Alice Tebaldi

Foundry, est. in Milan by Alice Tebaldi in 2011. Calligraphic Griffo (2011) is her interpretation of the style of Francesco Griffo.

Fontspring link. [Google] [MyFonts] [More]  ⦿

Allessia Castelli

Graduate of the KABK in Den Haag in 2008. Originally from Italy, she created the subdued Pomme family of serif typefaces as a student at KABK. [Google] [More]  ⦿

Alphabeta Linguarum Orientalium: typia congregationia de propag. fide

Collection of texts published between 1629 and 1789 in Rome. Digital versions: here, here. Local downloads: Part I, part II. [Google] [More]  ⦿

[Paolo Vannucci]

Paolo Vannucci (Alphabet&Type, b. 1969, Punta Marina Terme) created the curly handwritten Halloween typefaces Afterlife, Evernight (2009) and Evernight Stargazer (2009).

He also has an interest in Startrekkery because he designed the typefaces Transformers Movie (2009) and Star Trek Future (2009). All these typefaces are free at Dafont and/or Fontspace. Alternate URL.

In 2010, he did the free brush typeface Fronte del Porto, which is based on the Elia Kazan movie with Marlon Brando entitled On The Waterfront.

There is also a commercial side of Alphabet&Type: In 2010, they published the angular family Antares, the bold organic typeface Minardi (+Collage), and the curly family Vannucci Antico. Metropolis (2010) is an angular typeface based on the titling of Fritz Lang's movie Capolavoro. Sabrina (2010) is taken directly from the Best movie by Billy Wilder, with Audrey Hepburn and Humphrey Bogart. An American in Paris (2010, or: UnAmericanoAParigi) is based on the font used in the movie by Vincente Minnelly, with Gene Kelly and Leslie Caron.

Cleopatra (2011) is a chisel font with a Greek look, based on Cleopatra, the movie by Joseph L. Mankiewkz, starring Liz Taylor and Richard Burton. Il Grinta (2011) is the wedge serif titling font of True Grit, Henry Hathaway's movie starring John Wayne. The beautiful inline typeface Singapore (2011) after the titling in John Brahm's movie featuring Ava Gardner. Strade di Fuoco (2011) is based on the movie Streets of Fire by Walter Hill, with Diane Lane. Flash Gordon (2011) is based on the famous movie by Mike Hodges, starring Max Von Sydow. Amazing Spider Man (2011) is based on the Spiderman movie by Marc Web which featured Andrew Garfield. Captain America (2011) is based on the movie by Joe Johnston, with Chris Evans. Twilight New Moon (2009) is based on the Twilight movie. Electric Dreams (2011) is based on steve Barron's movie.

Tintin (2011) is a comic book typeface based on Steven Spielberg's 2011 movie. Fantastic Four (2011) is a StarTrek style family that is based on the Tim Story movie. Faelorehn (2011) is a vampire script.

Creations from 2012: Sherlock Holmes, Watson (based on Guy Ritchie's movie), Lucky Luke (after the successful Western comic book series by Morris and Goscinny), Danger Diabolik, Ghost Rider (based on the movie by Mark Steven Johnson, starring Nicolas Cage), Notorious (a brush font based on Notorious, a movie by Hitchcock starring Cary Grant and Ingrid Bergman), Cullen, Flower Header, Dorian Gray (from the movie by Oliver Parker starring Ben Barnes), Snow White (from Rupert Sanders's movie Snow White and The Huntsman).

Typefaces made in 2013: Beastly (based on the David Barnz movie featuring Vanessa Hudgens), Top Gun (an octagonal typeface based on the movie with Tom Cruise), Manhattan (from Woody Allen's movie), Assassin (based on a Ubisoft video game).

Typefaces from 2014: Dylan Dog (based on Kevin Munroe's movie starring Brandon Routh). [Google] [MyFonts] [More]  ⦿

Alphan Typefaces
[Roberto Baldassari]

Roberto Baldassari shows and discusses the fonts used in Space: 1999, from Data 70 (Esselte, 1970), to Futura Black, Futura Medium, Microgramma, and Eurostile Bold Extended to Countdown (an LCD font by Esselte, 1965). [Google] [More]  ⦿

Amarpreet Singh
[Runikh Art]

[More]  ⦿

Ambra Farris

Masters degree communication design student at Politecnico di Milano. Behance link. Creator of the (imaginary) traffic and signage family Mantuarcade (2008-2009) for the city of Mantova, which was inspired by its many arches. This was a project led by Professor Braccaloni. [Google] [More]  ⦿

Amedeo Mencarini

Graduate of Academy of Fine Arts in Urbino, Italy, BA class of 2020. Cartoceto, Italy-based graphic designer, video editor, photograper and motion designer. Creator of the grotesque typeface Anthropocene (2020). [Google] [More]  ⦿

Ampersand (or: Vladocar)
[Vladimir Carrer]

Verona, Italy-based web and type designer. In 2015, he made the commercial typefaces Hand Drawn Font, Monster Font and Hammer Font (spurred vintage style).

Typefaces from 2016: Urban Stencil, Slab Classico, Slab Lungo.

Typefaces from 2020: Barista (handcrafted, blackboard bold), Alphabet and Letters, Autumn Leaves SVG, Azzurro SVG, Blue Orange Color SVG, Bold Unicorn, Branch, Bubble Letter (a bubblegum font), Christmas Stars, College Sport, Color Cubes, Color Dots, Color Hearts, Color Stars, Comic Next, Crazy Brush Neue, Dashed Line, Dino World, Dog Paw, Doodle Classic, Dripping Zombie Halloween, Galactica Grid, Grigio 3D SVG Color, Halloween Monster, Hammer, Hand Drawn, Hipster Hand Drawn, Jungle Zoo, Love Stencil 3D, Milan Stencil, Moustache, Old School 80s, Old West, Pumpkin Halloween, Retro 3D SVG, Santa Ugly Sweater, Slab Forte, Snowflakes Christmas, Space Slab, Star Slab, Stitched Letters SVG, Stitched Line, Swiss Cheese, Turquoise Brush SVG, Urban Brush SVG, Zombie Attack Halloween. [Google] [More]  ⦿

Ana Hoxha

Milan, Italy and Tirana, Albania-based designer of Juan Miro Typeface (2012), a school project that was finished in EPS vector format. Free download.

In 2017, Ana Hoxha and Julian Hoxhaj co-designed the free techno font Shkoder 1989. Dribble link. [Google] [More]  ⦿

Anastasiia Macaluso

A freelance artist and illustrator based in Palermo, Italy, and born in Russia, Anastasiia Macaluso created various handcrafted typefaces in 2015, including a mummy-themed font, a bloody font, a bubblegum font, a couple of crayon typefaces and watercolor and dry brush types. In 2015, she started selling her work, such as the vampire script font Rodion, the crayon typeface Carbon Script, and a drop-dead gorgeous set of vector format snowflakes.

Typefaces from 2016: Prosto (a handcrafted Latin / Cyrillic typeface), Sofia (thick brush. free), Astrid (hipster style), Giglio (paperclip style).

Typefaces from 2017: Palma Nana (script).

Typefaces from 2019: Module (a monoline display typeface), Unmoor (an outlined and color rope font).

Typefaces from 2020: Katrin Sketch, Be My Candy.nastasiiaMacaluso-Module-2019 [Google] [More]  ⦿

Andrea Alati

Aka Lhotse. Rome-based designer of various sets of icons (Adventure, Stupid, Sugar) and the monoline sans typeface Sweet Snow (2017). Behance link. [Google] [More]  ⦿

Andrea Amato

[More]  ⦿

Andrea Amoretti
[Fratelli Amoretti]

[More]  ⦿

Andrea Ascari

Italian designer (b. 1990) of the pixel typeface Super Effective (2012). [Google] [More]  ⦿

Andrea Basile

Creative director of BasileADV who is based in Bonito, Italy. In 2021, Giuseppe Salerno and Andrea Basile co-designed a wayfinding typeface and icon set for Univerest. [Google] [More]  ⦿

Andrea Bassan

Milan-based creator of the handmade experimental typeface Tracce (2012). [Google] [More]  ⦿

Andrea Bax

Graphic designer in Milan, b. 1990, Thiene, Vicenza, who graduated from IED in Milan. Creator of Bax 01 (2012) and the geometric typeface Tracce (2012). [Google] [More]  ⦿

Andrea Bergamini

[More]  ⦿

Andrea Biagi
[Chef Studio]

[More]  ⦿

Andrea Bianchi

Graduate of the European Institute of Design (IED) in Milan. Visual designer in New York and Milan, Italy, who revived the bullet hole typeface Lucky (André Pless, Mecanorma, 1973) in 2019. His version, also called Lucky, is free. [Google] [More]  ⦿

Andrea B-Ja Bigiarini

Turin-based creator of the hand-printed typeface Irreality Mark 01 (2012, iFontMaker). [Google] [More]  ⦿

Andrea Braccaloni

[MyFonts] [More]  ⦿

Andrea Brogiotti

Or Andreas Brogiottus. Author of Indice de'caratteri con l'inventori et nomi di essi esistenti nella stampa Vaticana et Camerale (1628, Stampa Vaticana). Local download. [Google] [More]  ⦿

Andrea Carrer
[Fonderia Serena]

[MyFonts] [More]  ⦿

Andrea Cerboneschi
[Monofonts (or: Monocromo Creative Factory)]

[More]  ⦿

Andrea D'Antonio

Milan-based creator of typefaces such as Antigua Ferreteria (2013, a heavy grotesk based on old railroad style lettering found on a hardware building Sevilla: free download) and OpArt (2013, an op-art typeface).

Behance link. [Google] [More]  ⦿

Andrea D'Auria

Italian graphic designer and illustrator in Berlin, who created the shaded display typeface Pomodorino in 2013 for a restaurant identity. One Have To Coma Again (2013) is an angular display sans typeface.

Behance link. [Google] [More]  ⦿

Andrea Delbene

Bachelor in Science of Design at IAAD Istituto d'Arte Applicata e Design, Italy, class of 2013. Graphic designer in Vercelli, Italy, who created the multiline typeface Forty-Four (2015) and the deco typeface Parmigiano Reggiano (2018). Behance link. [Google] [More]  ⦿

Andrea Evangelista

Graphic designer in Rome, b. 1989. Creator of the modular octagonal typeface Italic (2012). [Google] [More]  ⦿

Andrea Ferrari

Cormano, Italy-based designer of Palazzo Sans (2011), an ink trap typeface created for the city of Mantova. [Google] [More]  ⦿

Andrea Gaspari

Art director Milan who studied in Firenze, Italy. In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. He was also part of the Zetafonts team that developed Aquawax.

In 2017, he designed the sans titling family Font For Fighting.

In 2017, he designed the grunge typeface Fingermade. Dafont link. [Google] [MyFonts] [More]  ⦿

Andrea Gessa

Graduate in Communication Design from Politecnico di Milano. Behance link.

His beautiful typeface Grypho (2012) is based on an italic by Francesco Griffo. [Google] [More]  ⦿

Andrea Laureti

Roman brand designer Andrea Laureti's Stop The Oil logo (2012) is full of visual typographic punch. [Google] [More]  ⦿

Andrea Lodato

Naples, Italy-based of the techno sans typeface Plegma (2010-2011, with Raffaele Casaburi at ABA Napoli, Italy). Behance link. [Google] [More]  ⦿

Andrea Maccarini

Aka Big Macca. Italian FontStructor who made Big Macca (2010, a macho mechanical face).

Dafont link. [Google] [More]  ⦿

Andrea Malpede

Andrea Malpede (Nocive Laboratory, Naples, Italy) works in London. He created the ornamental alphabet called Maxicanito Nocive Font (2011). He also did Baboletor (2011, a superposition of basic geometric shapes), and Busy (2011).

In 2013, he designed Xylophone (an experimental 3d font) and Siick Nocive.

Behance link. [Google] [More]  ⦿

Andrea Mantegna

Italian painter and engraver (b. Vicenza or Padova, 1431, d. Mantua, 1506).

Fonts named after him include Mantegna (Philip Bouwsma at ITC) and Mantinia (1993, Matthew Carter). Typedia link. [Google] [MyFonts] [More]  ⦿

Andrea Mantuano

Milan-based creator of the hexagonal typeface Slight (2012), the thin experimental typeface Rim (2012) and the thin straight-edged Linea (2012). He studies at NABA University in Milan.

In 2013 he designed the alchemic typeface Alter.

Behance link. [Google] [More]  ⦿

Andrea Marino

Andrea Marino (Marino Design, Firenze, Italy) created the contrasted experimaental typeface Didetica in 2014. [Google] [More]  ⦿

Andrea Meriggioli

Information designer in Rome. Creator of the geometric typeface Tri Font (2013). [Google] [More]  ⦿

Andrea Occhetta

Italian designer of Faia (2021, at Type Department). Faia is a display typeface characterised by floral details and high contrast. It was inspired by folklore from the Piemonte region in Italy. He writes: Faia is inspired by Art Nouveau aesthetics, which it combines with a gentle, humanist structure. It [...] considers its frivolity a virtue. [Google] [More]  ⦿

Andrea Pela

Torino, Italy-based designer of the retro futuristic typeface Future Banco (2018). [Google] [More]  ⦿

Andrea Pinchi

Italian designer, b. 1981. Creator of Elektrodisiac (2005). His web page makes Mozilla/UNIX and Firefox/MacOSX hang. Dafont link. [Google] [More]  ⦿

Andrea Prina

During his studies, Torino-based Andrea Prina designed the free mechanically-inspired typeface Mechano (2014) and the tweetware bubblegum typeface Chubby (2015). [Google] [More]  ⦿

Andrea Rauch
[Rauch Design]

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Andrea Ricciarini

Graphic designer in Arezzo, Italy. Creator of several experimental all caps typefaces in 2018. [Google] [More]  ⦿

Andrea Savelli

Graphic designer in Rome, who created the great hipster typeface Optika Sans (2015). [Google] [More]  ⦿

Andrea Tardivo

Italian codesigner, with Giuseppe Salerno and Paco Gonzalez, of the chocolate box script typeface family Gianduja (2016, Resistenza). [Google] [MyFonts] [More]  ⦿

Andrea Tartarelli

Andrea Tartarelli studied at the Academy of Fine Arts of Carrara and worked as a marble sculptor before turning to graphic and type design. He continued his studies at the Plantin Institute at Antwerp, and now teaches type design at IED Florence. He designed Tarif (selected by Fontspring.com among the Best fonts of 2019), Malik (shortlisted for the Communication Arts Typography awards 2021) and has been co-designer on dozens of typefaces at Zetafonts including the award winning Blacker (selected by Myfonts as one of the best new families of 2019), Monterchi (CA typography award 2020, Myfonts hidden gem 2019) and Stinger (CA typography award 2021). He works and lives in Pietrasanta (Tuscany, Italy). His graphic design outfit is called Surface Studio. Tartarelli's typefaces:

  • In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free.
  • In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.
  • Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima. In 2019, Beatrix Antiqua was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli. Monterchi Book is free.
  • Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.
  • In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.
  • Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.
  • Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).
  • In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

    In 2018, Pancini designed Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli). Radcliffe has Text and Casual subfamilies. See also Radcliffe at MyFonts.

  • Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).
  • In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sharp wedge serif typeface Blacker to pay homage to the 1970s. The idea of extreme wedge serifs and reverse (Italian) stress was pushed even further in 2018 by Francesco Canovaro and Andrea Tartarelli in Blackest.
  • In 2019, Blacker Sans (Francesco Canovaro, Andrea Tartarelli) and Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli) were released. The 63-strong fashion mag powerhouse Blacker Sans Pro (Francesco Canovaro, Andrea Tartarelli) followed in 2020. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. Zetafonts writes: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs.
  • Together with Cosimo Lorenzo Pancini, he designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.
  • Sugo Pro (2018, Francesco Canovaro, Andrea Tartarelli).
  • In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.
  • Extenda (2018) is a thin-to-wide grotesque advertising or movie credit family with some of the DNA of Impact or Compacta. By Francesco Canovaro and Andrea Tartarelli.
  • In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.
  • Klein (2019) is (in their words) Zetafonts' love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions---with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full coverage of Latin, Cyrillic and Greek. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to French nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.
  • In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.
  • Kitsch (2019, Francesco Canovaro, Andrea Tartarelli and Maria Chiara Fantini) mixes angular medieval elements and old style letterforms.
  • Tarif (2019). Tarif is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.
  • Thicker (2020, by Francesco Canovaro and Andrea Tartarelli). They write: A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism..
  • Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini).
  • As part of the free font set Quarantype (2020), Andrea Tartarelli designed Quarantype Bikeride and Quarantype Campfire.
  • Eastman (2020, by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau) is a 178-font geometric sans workhorse family with Bauhaus genes developed for maximum versatility both in display and text use, with a wide weight range and a solid monolinear design featuring a tall x-height. It comes with a two axis variable font (weight, italic angle). It was followed by the 46-style font Eastman Grotesque (2020, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli), which comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs, and Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).
  • Malik (2020). An 18-style flared sans typeface with seriouus contrast in the heavier weights. It has variable fonts as well.
  • In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.
  • Amazing Slab (2021). A 20-style typeface family designed by Francesco Canovaro, Mario de Libero (who did the inline versions), Sofia Bandini and Andrea Tartarelli, developed from the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Characterized by outward-pointing top serifs, this typeface is designed for use in athletic lettering, logos and titling. Zetafonts writes: Mixing an Egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene---a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black).
  • Coco Sharp (2021). A 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.
  • Heading Now (2021). A 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.
  • Asgard (2021). A 72-strong experimental display sans superfamily with a 3-axis (weight, width, slant) variable font, designed by Francesco Canovaro, Andrea Tartarelli ans Mario De Libero.
  • Calvino and Calvino Grande (2021). A 38-style sharp-edged text typeface named after Italian author Italo Calvino.
  • Marcovaldo (2021). A tweetware condensed display serif based on Calvino.
  • Millard Grotesque (2021). A true "grot" in the Akzidenz Grotesque sense of the word, this typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.
  • Milligram (2021). A very tightly set grot by Cosimo Pancini and Andrea Tartarelli.
  • Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero) is a German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy.

Andrea Unali

Andrea Unali (Zone 13 Studio, Milan, Italy) created a great-looking lettered poster to illustrate the 1940s (2014). [Google] [More]  ⦿

Andrea Vendetti

At a workshop at ENSAD in Paris in 2015, Andrea Vendetti (Urbino, Italy), Delphine Bereski and Jussi Kantonen co-designed Appalachian Cherokee. [Google] [More]  ⦿

Andrea Venditti

Architect and visual designer in Puglia, Italy. In 2021, he designed the free experimental modular typeface Hofmann, which was inspired by the work of Swiss designer Armin Hofmann. [Google] [More]  ⦿

Andrea Zanchetta

[More]  ⦿

Andrea Zucca

Andrea Zucca (Livorno, Italy) created the kitchen tile typeface Looz (2012) and the modular circle-based typeface Spikkio (2012). [Google] [More]  ⦿

André Nunes

Graphic designer in Entroncamento, Portugal. In 2019, he published the monoline display typeface Hermo. [Google] [More]  ⦿

Andy Anzollitto

In 2017, Louise Fili, Nicholas Misani and Rachel Michaud co-designed the art nouveau typeface Montecatini, which is inspired by Italian travel posters from that era. In 2019, Louise Fili, Nicholas Misani and Andy Anzollitto expanded this typeface to the 24-style Montecatini Pro.

Marseille (2017) is co-designed by Louise Fili, Nicholas Masani and Andy Anzollitto. It is an art deco-inspired letterform that is based on Louise Fili's cover design for the Marguerite Duras novel The Lover. [Google] [MyFonts] [More]  ⦿

Andy Usikov

Florence, Italy-based designer of the free Latin / Cyrillic geometric sans display typeface Rostov (2017), named after the city he hails from, Rostov-on-Don. [Google] [More]  ⦿

Angela Pappalardo

Graphic designer in Maiori, Italy, who created the thin script typeface Calpa (2015). [Google] [More]  ⦿

Angelica Baini

Angelica Baini was born in Castiglion Fiorentino, Italy in 1990. During her studies at the New World School of the Arts in Miami, FL, she designed the blackletter typeface Infinitüm (2013), which can be bought from Ten Dollar Fonts and The Designers Foundry. Creator of the alchemic typeface Marina (2012). In 2014, she designed the retro diner signage font Nighthawk Script.

In 2017, Tatiana Gancedo and Angelica Baini co-designed the free modular typeface Renasci.

Behance link. Cargo Collective link. You Work For Them link. [Google] [More]  ⦿

Angelo Germano

Graphic designer in Rome. Creator of the Peignotian typeface Clavecin Capital Serif (2012). [Google] [More]  ⦿

Anna Bulycheva

Florence-based Anna Bulycheva designed Deconstruction in 2015 for a school project. She took inspiration from Mondrian's paintings. For another school project she created the doctor's handwriting typeface Lefty (2015). [Google] [More]  ⦿

Anna Clara Fanesi

Milan-based designer of Mantua (2009-2012, a sans and serif pair of typefaces) and Odita (2012, a geometric art deco news and fashion magazine made for a university project at Politecnico di Milano). [Google] [More]  ⦿

Anna Morena

Roman creator of the information design / rolodex / horizontal (almost) stencil face Meridian (2009), which was designed while she was studying at the Politecnico in Milan. [Google] [More]  ⦿

Anna Ronchi
[Ronchi Tubaro Thom]

[More]  ⦿

Annalinda Ruocco

In Gio Fuga's type design class in Milan, Annalinda Ruocco created the cool techno display typeface Deggy (2014). [Google] [More]  ⦿

Anne Cuneo

Author of "Le maître de Garamond" (Editions Stock, 2002), a beautiful book on the life and death of Antoine Augereau, who was Claude Garamond's teacher and mentor. Anne Cuneo was born in 1936 in Italy and lives in Zürich. Comment by Guy Schockaert: Le 24 décembre 1534, place Maubert, accusé d'hérésie, Antoine Augereau est pendu, son corps et ses mains brûlées. Homme de lettres, érudit, théologien, Antoine Augereau était un grand imprimeur, éditeur et graveur de caractères typographiques. Il modela ceux dont nous nous servons encore aujourd'hui, et avec Clément Marot, inventa l'usage des accents et de la cédille. La publication du Miroir de l'âme de Marguerite de Navarre lui coûtera la vie. La Sorbonne, gardienne jalouse d'une orthodoxie figée, désapprouve la pensée de la soeur de François Ier, mais ne peut la condamner. Antoine Augereau paiera pour elle. Racontée par le plus célèbre de ses disciples, l'histoire passionnante et émouvante d'un humaniste prêt à mourir pour défendre ses idées. UN livre à lire absolument et à offrir. [Google] [More]  ⦿

Anne-Cécile Manfré

Parisian designer. Creator of a commissioned typeface, Uni Type (2012) for the annual report of Unicancer. [Google] [More]  ⦿

Annesio Nobili

Pesaro-based printer. For his typefaces, see Nuovo saggio di caratteri e vignette della tipografia di Annesio Nobili in Pesaro (Pesaro, 1834). [Google] [More]  ⦿

Anonima Impressori

Graphic design studio in Bologna, Italy, run jointly by Veronica Bassini, Massimo Pastore, Luca lattuga and Roberto Malpensa. Their interest in wood and old lead types in relatively unknown Italian print shops led to a wonderful (wood) type catalog started in 2011, Catalogo Caratteri in Piombo e Legno. That book covers these companies: Tipografia Girasole (Inzago), Tipografia Nazionale (Piacenza), Tipografia Co.Ba (Massa Finalese), Tipografia Artigiana (Vignola), Tipografia Artestampa (Corinaldo), Tipografia Tade (Empoli), Tipografia Riva (Solara di Bomporto Tipografia Sociale (Arezzo), Tipografia Minetti (Rossiglione), Tipografia Aldo Sacco (Vercelli), Tipografia STEM Mucchi (ex Soliani) (Modena Tipografia Nuovagraf (ex Perfecta) (Roma Tipografia Il Dado (ex Pivetti) (Mirandola Tipografia Golinelli (Mirandola), Tipografia Lugli (Rolo), Tipografia Bagnoli (Pieve di Cento), Tipografia La Commerciale (Fidenza), Tipografia Galeati (Imola), Tipografia Perini (Rovigo), Tipografia La Fiorentina (Grosseto), Tipografia Tiferno (Citta di Castello), Tipografia Bottega della Stampa (Sansepolcro Tipografia Montagna (Voghera), Tipografia Artigiani Tipografi (Voghera), Tipografia Emiliana (ex Amici) (Castel San Giovanni Tipografia Valvassori (Vigevano), Tipografia FG (Vicchio), Tipografia Greco Remo (Sorbara), Tipografia Adriatica (Cervia), Tipografia Valpadana (Brescello), Centro Stampa (Poviglio), Tipografia Zanichelli (Sassuolo), Tipografia ArteGrafica 91 (Castellarano), Tipografia Caiti (Reggio Emilia), Tipolitografia Moderna (Reggio Emilia), Grafiche La Comasina (Senna Comasco), Tipografia RD (Medicina), Tipografia Conti (Bologna), Unione Tipografica Operaia (Macerata), Tipografia La Tipografica (Poggibonsi), Tipografia Pesatori (Milano), Tipografia 2000 (Pesaro), Tipografia Antonio La Grotteria (Roma), Tipolito Lugli (Novellara), Tipografia Rossi (San Pietro in Casale), Litotipografia M.P.P. (Modena), Tipografia Lecchese (ex Adda) (Lecco), Tipografia Ghibaudo (Cuneo), Tipografia Botalla (Biella), Tipografia BC (Bologna), Tipografia Olmo (Clusone), Tipografia Fanti (Formigine), Tipolito Ennio Cappetta (Foggia), Tipografia Valgiusti (Bagni di Romagna), Tipografia Guidi (San Piero in Bagno), Tipografia Croppi (Forli), Tipografia Zoli (Forli), Tipografia Pontone (Cassino), Artigrafiche Franco Antoni (Mesagne), Tipolito Valprint (Grezzana), Grafica Sestrere (Sestri Levante), Tipografia Scaletta (Ravenna), Tipografia Uggeri (Cremona), Tipografia Brigati & Molinari (Castel San Giovanni), Tipografia Aldo Sacco (Vercelli), Tipografia Grassigli (San Giovanni in Persiceto), Tipografia Banina (San Colombano al Lambro), Tipografia Reggiana (Reggio Emilia), Tipografia Segreti (Porto San Giorgio), Poligrafico Silva (Parma), Tipografia La Rapida (Mantova), Tipografia E Comelli (Garessio), Tipografia Artegrafica Sociale (Cittadella), Tipografia Boni (Sassuolo), Tipolitografia Savino (Gambolo), Tipografia Bramante (Loreto), Tipografia Martini (Ostiglia), SCIA (Bologna), Grafiche Malvezzi (ex Pennaroli) (Fiorenzuola), Tipografia SMA (Cogoleto), Tipografia Sciocchetti (San Benedetto del Tronto), Tipografia Demetri e Crepaldi (Polesella), Tipografia G. Palermo (Adrano), Tipografia BEMA (Belletti Alberto E C.) (Bellaria), Tipografia SIACA (Cento), Tipografia FD (Bologna), Tipografia F.lli Tine (Floridia), Tipografia Anigoni (Reggio Emilia), Grafiche Vianello (Treviso). [Google] [More]  ⦿

Anonima Impressori: Art Nouveau

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent the art nouveau era. They comprise Amalia, Aurora Arcaico, Barnum, Bastone Stretto Fiat, Cenisio, Desdemona, Iris, Libellula, Liberty, Titania, Uranio. [Google] [More]  ⦿

Anonima Impressori: Bastone

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here are bastoni (plural bastone: stick styles). They include Arenzano, Aurora, Block, Grottesca, Linea, Bastone, Cairoli, Etruria, Grottesca, Hastile, Linea, Macchinato, Simplex. [Google] [More]  ⦿

Anonima Impressori: Egizi Antichi (classical slab serifs)

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent classical slab serifs, also called Egizio (Egizi in plural). [Google] [More]  ⦿

Anonima Impressori: Egizi Moderni (modern slab serifs)

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent modern slab serifs: Egizio Lubalin, Italo, Landi, Landi Echo, Nilo. [Google] [More]  ⦿

Anonima Impressori: Graziati Antichi

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent graziati antichi: Bodoniano, Claredonia, Elzeviro, Garaldus Corsivo, Graziato, Intestazione elzevire, Raffaello Neretto, Romano Largo. [Google] [More]  ⦿

Anonima Impressori: Ornati (script fonts)

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent decorative syles: [Google] [More]  ⦿

Anonima Impressori: Razionali

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here are razionali (sans styles, including art deco and Futura). They comprise Alessandria, Balilla, Bastone Tondo Corsivo, Corsiva Razionale, Deco Nerissimo, Fantasia con Capolettera, Futura, Geometrico Tondo, Rapallo, Razionale, Semplicita and Triennale. [Google] [More]  ⦿

Anonima Impressori: Scritti (script fonts)

Some Italian wood types shown in Catalogo Caratteri in Piombo e Legno by Anonima Impressori (Bologna, Italy). The styles covered here represent scripts: Appennino, Calvi, Corsivo a Pennello, Corsivo Fantasia, Display, Leandro, Ritmo, Scalpellato, Signal, Slogan, Veltro, Vulcano. [Google] [More]  ⦿

Antiqua (or: Venetian) typefaces

In the late 1400s, blackletter was replaced by a type style that mimicked handwriting. It was of uniform thickness, and thus appeared quite dark on paper. The humanist writing of Italian scholars of the Renaissance served as a model for what is now known as the Antiqua style.

Several such types came out Nicolas Jenson's printing workshop set up by nicolas Jenson in 1468. That first antiqua typeface was used in De Evangelica Praeparatione in 1470. Jenson died in 1480 at the age of 60, but many would take up that style between 1470 and 1600. The Venice connection led quite naturally to the other name for the type style, Venetian. Occasionally, the name old style is also used but that refers to a later style, the aldine or garalde.

Well-known Venetian typefaces include ITC Berkeley Oldstyle, Brioso Pro, Centaur, (Adobe) Jenson, Hightower, Kennerly, Schneidler, Nicolas Jenson SG, Phinney Jenson, Stempel Schneidler, Verona, Abrams Venetian, Lutetia, Jersey, Lynton, Spira.

It is easy to recognize Venetian types, not just from the uniform thickness and semi-calligraphic look, but also by the small x-height, small counters, tall ascenders, overly wide HMN, sloped cross-bar on the "e", negative axis on the "o", and two roof serifs on the M.

Additional literature: Martin Silvertant's history of type, from which the analytic image is borrowed. [Google] [More]  ⦿

Antonello Bertozzi

Padova-based calligrapher who produced some calligraphic alphabets, ca. 1604. See also his Book on lace with Sebastian Zanilla, also 1604. Examples: I, II, III, IV, V, VI, VII, VIII. [Google] [More]  ⦿

Antonio Basoli

Basoli (1774-1848) was born in Bologna, where he studied at the Accademia di Belle Arti, thereafter gradually making a name for himself as a specialist decorator and scene-painter. Basoli did a great deal of scene-painting and production design for the Teatro Comunale in Bologna. Beginning in 1803, he taught at the Accademia in Bologna where he had studied, and was appointed Professor of Ornament there. He published an ornamental architectural alphabet in Bologna in 1839 called Alfabeto Pittorico, ossia raccolta di pensieri pittorici composti di oggetti comincianti dalle singole lettere alfabetiche (Pictorial Alphabet, or, a collection of pictorial thoughts composed of objects beginning with the individual letters of the alphabet). Each letter in this fantastic lithographic alphabet features a surreal architectural form. [Google] [More]  ⦿

Antonio Blado

Italian printer working in Rome from 1515 to 1567. He got the italic type by Arrighi, the revival of which is Monotype Blado, by Stanley Morison (1923). [Google] [MyFonts] [More]  ⦿

Antonio Bodoni

[More]  ⦿

Antonio Cavedoni

Italian designer from Sassuolo, Modena (b. 1979). He obtained an MA in typeface design from the University of Reading (2009), based on his Latin / Cyrillic typeface Enquire and his dissertation on the work of the Officine Simoncini. After Reading, he started an internship and eventually worked as a full-time employee in the type group at Apple in Cupertino, CA. He left Apple in September 2016 and is now working on his own typefaces in Milano, Italy.

Speaker at Typecon 2012 in Milwaukee. His blog from Reading. Unger's Workshop at Reading. Flickr link. Speaker at ATypI 2018 in Antwerp. [Google] [More]  ⦿

Antonio Cerri

[MyFonts] [More]  ⦿

Antonio Del Bino
[ADB Studio]

[More]  ⦿

Antonio Filigno

Graphic and brand designer in Turin, Italy. His typefaces include the black geometric sans typeface Filo Black (2021) and the free Futurismo-inspired Italian art deco typeface Italico (2021), a trend that flourished during the Ventennio, i.e., the twenty years of fascist rule in Italy (1922-1943). [Google] [More]  ⦿

Antonio Iaconesso

Calabria, Italy-based graphic and type designer. In 2020, he released the wide monolinear rounded titling sans family Fullfox Liberalism on the day of the 2020 American elections. [Google] [MyFonts] [More]  ⦿

Antonio Locicero

Italian creator (b. 1991) of the condensed octagonal techno font First (2013). [Google] [More]  ⦿

Antonio Moro

[More]  ⦿

Antonio Mosca

Milano-based designer who used the Ray-Ban logo to create a creamy connected typeface (2015). [Google] [More]  ⦿

Antonio Natola

Margherita di Savoia, Italy-based graphic designer who created the squarish typeface Modular in 2015. [Google] [More]  ⦿

Antonio Pace

Italian designer of these typefaces:

  • Linotype Gianotten (1990). Named after Henk Gianotten, this is a Bodoni revival.
  • A logotype and a font for the city of Milan in 2002, called Cita (or Area?).
  • Luiss (2018)ss, i.e., Libera universita Internazionale di Studi Sociali Guido Carli.

Linotype link. FontShop link. [Google] [MyFonts] [More]  ⦿

Antonio Possemato

Italian web and graphic designer based in Benevento, who studied at Accademia delle Arti e Nuove Tecnologie (AANT) in Rome. In 2015, he designed an elliptical monoline sans typeface. Behance link. [Google] [More]  ⦿

Antonio Schiratti

Italian scribe from Perugia, who published Opera Dianto Nella Quale Vedrete Molte Caratteri di Lettere ca. 1600-1615 in Perugia. See also Columbia University's site. Scans: I, II. [Google] [More]  ⦿

Antonio Sinibaldi

Late fifteenth century Italian renaissance era calligrapher who was based in Florence, and who was famous for his florentine style of antiqua and cancellaresca. His alphabets inspired many typefaces, such as Petrarch (ATF), Sinibaldi (1926, Raffaello Bertieri) and Bologna (1946, Stephenson Blake).

Digital typefaces based on his work:

  • 1480 Humanistica (2010) by Klaus-Peter Schäffel.
  • Antonio, Sinibaldi and Magnifico (Maria Chiaro=i Fantini, 2021). In 2021, Fantini embarked on a project to create a font based on Antonio Sinibaldi's calligraphic material in Libro d'Ore di Lorenzo de Medici, now in possession of the Biblioteca Medicea Laurenziana di Firenze. Her first rough font was called Antonio. She also studied Raffaello Bertieri's Sinibaldi font done in 1928 at the Nebiolo Type Foundry when she designed her own digital version of Sinibaldi (2021). The latter font was regularized and smoothed in her final typeface in this project, Magnifico (2021).
[Google] [More]  ⦿

Antonio (Tony) DiSpigna

[MyFonts] [More]  ⦿

Antonio Vignali

[MyFonts] [More]  ⦿

Antonio Zatta e Figli

Venice-based foundry headed by Antonio Zatta, 1757-1797. Their work can be found in Caratteri e vignette, o sieno, Fregi della nuova fonderia di Antonio Zatta e Figli tipografi, calcografi, e libraj veneti (A. Zatta, Venezia, 1793). That book shows elegant garalde families listed by size as Testin, Garamoncin, Garamoncino, Garamon, Filosofia, Silvietto, Silvio, and Test d'Aldo. For further typefaces, see Saggio dei caratteri, segni celesti, di matematica, algebra, numeri tagliati, ed altro / della nuova fonderia di Antonio Zatta q:m Giacomo tipografo, calcografo, e librajo veneto. N.\2070 III (1799). [Google] [More]  ⦿

Arcangelo V

Aka Panda Ryuji. Born in Rome in 1995, Arcangelo created the simple hand-printed typeface Arcangelo's Words (2012).

Dafont link. [Google] [More]  ⦿

Archivio Grafica Italiana

Archivio Grafica Italiana is a project conceived and produced by Nicola-Matteo Munari in 2015. It is the first online archive dedicated to the entire Italian graphic design heritage. [Google] [More]  ⦿

Archivio Tipografico
[Gabriele Fumero]

Archivio Tipografico is a letterpress printshop in Torino, Italy, which also has a collection of metal typefaces, letterpress machines and type specimens and catalogues. It is maintained and managed by Gabriele Fumero, who graduated from ECAL in Lausanne, class of 2017. At ECAL, he designed the flared typeface Opale (2017).

Historically, Archivio Tipografico was the main type design and typography magazine in Italy from 1889 until 1933. Dalmazzo Gianolio (1863-1926), printing department foreman, launched an industry journal, Archivo Tipografico, in 1889 at Nebiolo. Produced regularly until 1933, it included type specimens, advertising, and industry news along with articles on printing arts and technologies. It was printed and directed by Societa Nebiolo under the direction of Dalmazzo Gianolio. [Google] [More]  ⦿

Arianna Valentini

Based in Rome, Arianna Valentini designed the sans typeface Duncombe (2017). She took as a model the nscriptions on Charles Duncombe's grave in the Testaccio cemetery in Rome, dating back to 1819. [Google] [More]  ⦿

Ariel Graphics
[Jury Zambon]

Italian designer of the free font Ariel Insular (2017). [Google] [More]  ⦿

Armando Grimaldi

Italian type foundry. [Google] [More]  ⦿

Arnold Pannartz

German printer (b. Köln, d. 1476), who left Mainz with Conrad Sweynheym to establish Italy's first printing press, in the monastery of St. Scholastica at Subiaco. There, they published three books, Cicero's De Oratore, the Opera of Lactantius, and St. Augustine's De Civitate Dei. In 1467, they set up a press in the De Massimi palace in Rome, from where they published 50 more books.

Nicholas Fabian on Pannartz. Catholic Encyclopedia. Literature: Burger: The Printers and Publishers of the XV Century (London, 1902); Fumagalli: Dictionnaire géogrique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays (Florence, 1905); Löffler: Sweinheim und Pannartz in Zeitschrift für Bücherfreunde, IX (Bielefeld, 1905), and Die ersten deutschen Drucker in Italien in Historisch-politische Blätter, CXLIII (Munich, 1909).

Revivals of their typefaces, blends between humanist and blackletter, include:

[Google] [MyFonts] [More]  ⦿

Arnoldas Dambrauskas

An Italian graphic designer in Paris, b. 1983. Creator of Arnold (2009, outline face). Another link. Dafont link. [Google] [More]  ⦿

Arthur S. Osley

Author of Luminario: an introduction to the Italian writing books of the 16th and 17th centuries (Nieuwkoop, 1972). This book surveys the Italian writing-manuals, 1514-1660. He also wrote Mercator. A Monograph on the Lettering of Maps, etc. in the 16th century Netherlands. With a facsimile and translation of Ghim's Vita Mercatoris (London, 1969). [Google] [More]  ⦿

Asa Ama

Studio in Turin, Italy. Behance link. Creators of an extremely contrasted didone face, called Cinema (2009). [Google] [More]  ⦿

Associazione Calligrafica Italiana

Calligraphy association located in Milan. [Google] [More]  ⦿

Asterios Kokkinis

Graphic designer who is originally from Cyprus. During his Masters studies at IED in Firenze, Italy, he created the octagonal typeface Rosso (2013).

Behance link. [Google] [More]  ⦿

Athena Tejada

Verona, Italy-based designer of the geometric solid color font Loxi (2018) [Google] [More]  ⦿

Att Arts

Brescia, Italy-based designer of the free squarish typeface Efesto (2017). [Google] [More]  ⦿

Aurora Biancardi

Italian designer at the graphic design studio Tipiblu in Milan. Her typefaces include:

  • Artypodia (2014). A decorative modular typeface family by Aurora Biancardi.
  • Orti (2014). A decorative caps typeface by Aurora Biancardi.

Behance link. [Google] [More]  ⦿

Aurora Fioramonti

Visual artist in Rome who created the display typeface Alpha in 2017. [Google] [More]  ⦿

[Daniel Berio]

AutoGraff is a research project aimed at computationally modelling the perceptual and dynamic processes involved in the production of graffiti art and calligraphy. The purpose of the study is to develop computer graphics and robotic systems that are capable of generating traces, letters, and patterns that are similar to the ones made by an expert human artist. The project is driven by Daniel Berio and Frederic Fol Leymarie at the University of London.

Daniel Berio is a researcher and artist from Florence, Italy. Since a young age Daniel was actively involved in the international graffiti art scene. In parallel he developed a professional career initially as a graphic designer and later as a graphics programmer in video games, multimedia and audio-visual software. In 2013 he obtained a Masters degree from the Royal Academy of Art in the Hague, where he developed drawing machines and installations materializing graffiti-inspired procedural forms. In 2021, Daniel obtained a PhD at Department of Computing Goldsmiths, University of London under the supervision of Frederic Fol Leymarie. Daniel Berio's PhD thesis is entitled AutoGraff: Towards a computational understanding of graffiti writing and related art forms.

The abstract of this spectacular work that mixes art and mathematical modeling: The aim of this thesis is to develop a system that generates letters and pictures with a style that is immediately recognizable as graffiti art or calligraphy. The proposed system can be used similarly to, and in tight integration with, conventional computer-aided geometric design tools and can be used to generate synthetic graffiti content for urban environments in games and in movies, and to guide robotic or fabrication systems that can materialise the output of the system with physical drawing media. The thesis is divided into two main parts. The first part describes a set of stroke primitives, building blocks that can be combined to generate different designs that resemble graffiti or calligraphy. These primitives mimic the process typically used to design graffiti letters and exploit well known principles of motor control to model the way in which an artist moves when incrementally tracing stylised letterforms. The second part demonstrates how these stroke primitives can be automatically recovered from input geometry defined in vector form, such as the digitised traces of writing made by a user, or the glyph outlines in a font. This procedure converts the input geometry into a seed that can be transformed into a variety of calligraphic and graffiti stylisations, which depend on parametric variations of the strokes.

Co-author of StrokeStyles: Stroke-based Segmentation and Stylization of Fonts (ACM Transactions on Graphics, vol. 41 (3), pp. 1-21, 2022). In this paper by Daniel Berio (Goldsmiths, University of London), Frederic Fol Leymarie (Goldsmiths, University of London), Paul Asente (Adobe Research, San Jose, CA), and Jose Echevarria (Adobe Research, San Jose, CA), the authors develop a method to automatically segment a font’s glyphs into a set of overlapping and intersecting strokes with the aim of generating artistic stylizations. The segmentation method relies on a geometric analysis of the glyph’s outline, its interior, and the surrounding areas. It uses the medial axis, curvilinear shape features that specify convex and concave outline parts, links that connect concavities, and seven junction types. We show that the resulting decomposition in strokes can be used to create variations, stylizations, and animations in different artistic or design-oriented styles while remaining recognizably similar to the input font. [Google] [More]  ⦿

Azzurra Pini

Graphic designer in Milan. Italian designer of Charles Stencil (2007), which was created during the advanced Type Design course at PoliDesign (Politecnico di Milano). [Google] [More]  ⦿

Barbara Jelenkovich

Italy-based designer of the fat finger font Martina (2020). [Google] [More]  ⦿

Barbara Lasagna

Italian designer of the hand-printed typeface Another Sunday (2013). [Google] [More]  ⦿

Bartolomeo Sanvito

Bartolomeo Sanvito (1435-1518) was a scribe from Padua, Italy, who was trained in Rome. A master of the humanist italic script, his style is characterized by wquare capital letters alternating colored and gold.

Books on Sanvito include Bartolomeo Sanvito: the Life and Work of a Renaissance Scribe (A.C. de la Mare and Laura Nuvoloni, Paris: Association internationala de Bibliophilie, 2009) and The Script of Humanism: Some Aspects of Humanistic Script 1460---1560 (James Wardrop: Oxford University Press, 1963).

Many digital typefaces were modeled or named after Sanvito. These include

[Google] [More]  ⦿

Battle Fonts
[Marco Battaglia]

Florence, Italy-based graphic designer who released the 16-style creamy decorative large x-height serif typeface Queens Pro in 2020.

In 2022, he designed the 112-style Swiss style sans family Enotria (for Latin, Cyrillic and Greek), that is characterized by Calbrian quirks such as an overreaching r and a perky ear on the g. [Google] [MyFonts] [More]  ⦿

Bauke van der Laan

Dutch type designer, b. 1987, currently located in Italy. Graduate of LUCA School of Arts, Ghent, Belgium, class of 2012. In 2015, with Theo van Beurden, he set up DOGMA, a practice for graphic design and typography. They decided then to digitize Mercator, a famous sans serif by Dick Dooijes (1958, Lettergieterij Amsterdam Tetterode). In 1958, Mercator was lauded as the Dutch Helvetica, to compete with the Swiss typeface Helvetica. Mercator never took off the way Helvetica did, so Bauke and Theo wanted to retrieve it from history's dustbin. Design studio De Ronners from Rotterdam has now used this letter to design the magazine for the members of the Association of Dutch Designers BNO (Beroepsorganisatie Nederlandse Ontwerpers). [Google] [More]  ⦿

Beatrice Brunelli

Brescia, Italy-based designer of the techno typeface Network (2014). [Google] [More]  ⦿

Beatrice Caciotti

Beatrice Caciotti is an art director based in Rome, Italy. In 2021, she published the intestinal typeface Bumpy at Type Department. She explains: Bumpy is a variable display font to explore the relationship between gender stereotypes and typefaces. It uses letters as a metaphor for individuals within a complex system, and variability as a means to tackle binary thinking. These ideas translate into a condensed typeface, embodying the sense of external pressure often experienced by individuals. Two masters represent two opposite ways of engaging with the world. Rigid adapts and conforms [...] whereas as Fluid is filled with unexpected, non-conventional, fluid shapes. From the interpolation of these two extremes, a series of stunning variables are born. [Google] [More]  ⦿

Beatrice D'Agostino

Italian designer of Iki Mono (2020, at CAST) Iki Mono is a multifaceted monospaced typeface designed for publishing and coding. It has two variable styles. [Google] [MyFonts] [More]  ⦿

Beatrice Davies

Bio copied from Fust & Friends, a foundry set up in 2017 by Jan Middendorp in Berlin: Beatrice Naomi Davies grew up in Acquapendente, Central Italy, but as a young girl spent two years in New York and two years in Seoul, South Korea, where her grandmother lived. She attended IISAC art high school in Orvieto, Italy. In 2010 she attended the School of Visual Arts of New York, NY. She moved to Berlin in early 2012. [...] She combines her illustration work with animation, theatre, branding, logo design and hand-lettering. She became MyFonts' principal illustrator and portrayed dozens of type designers. Noticing her stylistic versatility, Fust & Friends invited her to contribute a set of dingbats and illustrations compatible with Minjoo Ham's Teddy script---which became the Teddings font. Teddings (2017) was fontified by Andreas Seidel and Minjoo Ham. [Google] [MyFonts] [More]  ⦿

Beatrice Giaramita

Graphic designer in Bologna, Italy, who designed the decorative caps typeface Creative (2014). [Google] [More]  ⦿

Beatrice Tamagnini

London, UK-based designer of the floriated caps typeface Naturale (2018), which was created during a course taught by the Riccardo Olocco at the University of Bolzano, Italy. [Google] [More]  ⦿

Beatrice Tonon

For a school project at Iade Creative University in Lisbon, Portugal, Beatrice Tonon (Treviso, Italy) designed the didone variant Wire Font (2016). [Google] [More]  ⦿

Beatrice Vivaldi

Graphic designer in Brescia, Italy. Behance link. She created an expressive typographic portrait of Beethoven in 2012. [Google] [More]  ⦿

Belle Lettere

Belle Lettere is the hub for calligraphy in Italy. [Google] [More]  ⦿

Bellini Studio
[Savio Bellini]

Savio Bellini (Bellini Studio, Capua, Italy) designed the free monoline sans typeface Inprimis (2016) and the informal typeface Sgriffo (2016).

In 2018, he designed the semi-stencil typeface Omologo and the ampersand typeface Etaday.

In 2019, he designed the handcrafted typeface Impreciso. [Google] [More]  ⦿


Terni, Italy-based creator the monospaced alchemic typeface Chroma (2013).

Behance link. [Google] [More]  ⦿

[Sergio Lelli]

Sergio Lelli designed the Mozart (italic) and StravinskijCondensed (sans serif) families. Based in Bologna, Italy. [Google] [More]  ⦿

Bembo: Comments

Bembo is the name given in 1929 by Stanley Morrison to his revival of type in use in 1495 Venice by the printer Aldus Manutius. Textism (now defunct) decried Monotype's digital version of this font. Textism: Monotype Bembo, released in 1929, was a brilliant revival of type in use in 1495 Venice by the printer Aldus Manutius. In its metal version, Bembo is my favourite thing to read; with acknowledged subjectivity, it is the most beautiful and readable text typeface of all. The tragedy is that its digital incarnation is sloppy in comparison: thin, wispy, it falls apart and its character evaporates unless used at sizes too large to be practical. Because of licensing and ownership of the design, this is the Bembo we are stuck with.

View various digital versions of Monotype Bembo.

View digital versions of Bembo. Compare digital versions of Bembo. [Google] [More]  ⦿

Benedetta Bovani

As a member of the Italian open source font cooperative Collletttivo, Benedetta Bovani designed the polygonal typeface Ortica Bold (2019) and the thin display serif typeface Ortica Light (2019). Ortica Bold takes inspiration from the work of Czech designer Vojtech Preissig. [Google] [More]  ⦿

Beniamino Verdirosi

Italian creator of the techno typeface Pronto (2009), which was designed while he was studying at the Politecnico in Milan. [Google] [More]  ⦿

Bennardino Cataneo

Writing Master at the University of Siena, Italy, ca. 1544-1560. The only known surviving exemplars of his writing are twenty vellum leaves bound in a manuscript copybook, dated 4 February 1545, dedicated to Edward Raleigh, an Englishman (Signor Odoardo Ralyg Gentilhuomo). Handwriting instructions (by James Pickering) based on Cataneo's work. [Google] [More]  ⦿

Bia Andrade
[Just Bia]

[MyFonts] [More]  ⦿

Biagio Di Stefano

Biagio Di Stefano (Salerno, Italy) designed the organic circle-based sans typeface family Negg in 2016 and the handcrafted typeface Diabolik in 2017. Behance link. [Google] [More]  ⦿

Biagio Imitizione

Gorizia, Italy-based designer of Furious (2015), a typeface based on the handwritten book Orlando Furioso by Ludovico Ariosto. Behance link. [Google] [More]  ⦿

Bianca Vagnoli

During her graphic design studies in Prato, Italy, Bianca Vagnoli created a decorative caps Imaginary Alphabet (2014). [Google] [More]  ⦿


Bibliologia: An International Journal of Bibliography, Library Science, History of Typography and the Book is published by Istituti Editoriali e Poligrafici Internazionali in Pisa under the editorship of Fabrizio Serra. The first volume appeared in 2006. About 64 Euros per year subscription. [Google] [More]  ⦿

Biblioteca Bodoni

One can view Bodoni's work here. The sample images are small and basically useless. No PDF downloads. [Google] [More]  ⦿

[Roberto Sofi]

Milan, Italy-based designer of Marins Perdus (2019, inspired by graffiti in Marseilles) and Casper Marker (2019).

Typefaces from 2020: Horror Graffiti Cholo (based on Los Angeles' cholo lettering from the 1970s as represented by Charles "Chaz" Bojorquez).

Typefaces from 2021: Dynamic Block (a stencil typeface), Dynamic Block (a stencil font), Bulaa (a comic book font). [Google] [MyFonts] [More]  ⦿


Italian designer of the primitive hand-printed typeface BKappa93. [Google] [More]  ⦿

Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)
[Elena Albertoni]

Elena Albertoni (Blackmoon Foundry, and before that, La Letteria, and before that, Anatole Type Foundry, est. 2005) is an Italian type designer (b. 1979, Bergamo) who studied at ESAD Amiens and the Ecole Estienne in Paris, before taking a position as type designer at FontFabrik in Berlin, where she still lives. She cofounded Anatole Type Foundry with Pascal Duez. La Letteria is located in Berlin. In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.

At the Rencontres de Lure 2005, she spoke about OpenType and Latin characters.

Her typefaces:

  • The connected script typeface Dolce (2005), which won an award at the TDC2 2005 type competition.
  • Dyna (2009). A connected feminine script. Review of Dolce & Dyna.
  • Kigara.
  • Scritta (connected calligraphic script). Followed by Scritta Nuova (2011): a rhythmic upright connected script, which evokes retro calligraphic styles taught in Italian schools around the 1950s.
  • Helene (squarish face).
  • Valora.
  • Schneider.
  • Gregoria. A Gregorian chant font that won an award at TDC2 2007.
  • Deja Rip and Deja Web (2010). An eight-style sans family of great utility, co-designed with Fred Bordfeld; Cyrillic included.
  • Acuta (2010). An all-purpose type family.
  • Nouvelle Vague (2011). A connected display script along the lines of Mistral.
  • Spinnaker (2011). A sans design based on French and UK lettering found on posters for travel by ship.
  • The plump and curvy script typeface Molle (2012, Google Web Fonts).
  • Kiez (2016, The Blackmoon Foundry).
  • Vidal (2018). A wide sans with low contrast and medium-to-tall ascenders.
  • Coast (2018). An almost monoline sans inspired by enamel signs from the 1920s.

Alternate URL. MyFonts link. Behance link. Klingspor link. Google Plus link. [Google] [MyFonts] [More]  ⦿


Graphic and type designer in Milan. [Google] [More]  ⦿

[Niccolo Agnoletti]

Italian designer, b. 1998, of the free handcrafted typeface Niscript (2017) for Latin and Cyrillic. Typefaces from 2020 include Ranch CMX Sans, QVR Sharp (a squarish typeface) and Primova Display (a tuxedo font). [Google] [More]  ⦿

Bob Noorda

Italian graphic designer, b. Amsterdam, 1927, d. Milan, 2010. He lived and worked in Milan from 1954 until his death. Noorda attended the Instituut voor Kunstnijverheidsonderwijs (now the Gerrit Rietveld Academie), graduating in 1950. He moved to Milan in 1954. In Italy, Noorda gained fame for his design in the late 1950s and early 1960s for posters and advertisements for Pirelli where he also served as art director.

In 1964 he won, together with Franco Albini and Franca Helg, the Compasso d'Oro, the most prestigious Italian award for design, for the Milan Metro station design. The typeface used for the Milan metro was called Noorda. Noorda is a modification or optimization of Helvetica. Several other subway systems later used his typeface, including the entire New York City subway system in the 1960s, as well as other subway signage projects for Noorda in Sao Paulo, Naples and the regional train network in Lombardy.

In 1965, Noorda and fellow Milan-based designer Massimo Vignelli were among the seven founders of Unimark International, an American design firm with offices around the world, including Chicago and Milan. Noorda is best known in the United States for Unimark's work with New York's Metropolitan Transportation Authority. These wayfinding fonts were revived in 2017 by Gabriel Ruiz as New York City Metro Font.

Noorda was a professor in graphic design at Societa Umanitaria in Milan, ISIA Urbino and IED in Milan. From 1996 to 2001 he was a professor of visual communication at Politecnico di Milano.

Additional link. [Google] [More]  ⦿

Boba Fonts
[Davide Canavero]

Star Wars fonts: all made by Boba Fonts (Davide Canavero, Italy) in 1998-1999: Aurek-BeshHand, EPISODE-I, ShadowofXizor, Star Logo fonts (3 kinds), StarJediSpecialEdition, StarJedi, StarJediHollow, StarJediOutline, StarJediLogoDoubleLine1, StarJediLogoDoubleLine2, StarJediLogoMonoLine, TIEWing, Aurek-Besh, Bumbazoid (bubblegum and balloon font).

Alternate URL. Dafont link. Skyje link. [Google] [More]  ⦿

Bodoni (Dave Farey)

Dave Farey's great essay on the history and implementations of Bodoni. All Bodoni typefaces published today have genetic material from Giambattista Bodoni's original. Below are various implementations:

  • ATF/Monotype Bodoni, originally designed by Morris Fuller Benton in 1907, and used by Monotype in the 1930s. Linotype's version. Adobe's version. Ultra weights sold by URW as Bodoni No 2. Libre Bodoni (2014, a free font family by Pablo Impallari and Rodrigo Fuenzalida) is based on Benton's Bodoni.
  • Bodoni Modern (R.H. Middleton, 1930s, for the American Ludlow foundry). See his 1936 Bodoni Campanile, sold by Bitstream as Modern 735. URW offers Black and Stencil weights.
  • Bauer Bodoni (Heinrich Jost, 1926). Dave Farey argues for its delicacy but still calls it a bastard. Neufville has the original design, with Linotype, Bitstream, Adobe and URW offering derivatives.
  • Berthold Bodoni Antiqua (1935), a descendant of ATF Bodoni, resurrected in the 1970s by Günter Gerhard Lange. This was continued by Karl Gerstner in the 1980s and is available as IBM Bodoni from URW. See also the URW version of Bodoni Antiqua.
  • Berthold Bodoni Old Face was designed in 1983 by Günter Gerhard Lange
  • WTC Our Bodoni designed by Massimo Vignelli in 1989 for the World Typeface Corporation. For display only. Related to the ATF version.
  • FF Bodoni Classic (FontShop, 1994). Designed in a two-year period by Gerd Wiescher, this is the first Bodoni version that tried to stick closely to Bodoni's original drawings. Farey complains that the italics are not tilted enough though. Check also Wiescher's FF Bodoni Classic Handdrawn (1997).
  • ITC Bodoni is another faithful interpretation developed by Sumner Stone, Holly Goldsmith and Jim Parkinson. These come in 6, 12 and 72 point ranges and form an extensive extremely useful family. Versions sold by URW and Linotype.
  • Bodoni Old Fashion by URW.
  • Bodoni Classico, designed by Franko Luin at Omnibus.
  • FB Bodoni: just two digitizations based on Benton's 1933 Ultra Bodoni Extra Condensed, by Richard Lipton in 1992. Clearly, for display only.
  • URW Bodoni.
  • Linotype Gianotten: Created by Antonio Pace in 2000, this typeface is said to go back directly to the Bodoni Museum in Parma.
  • Ambroise, Ambroise Firmin (condensed) and Ambroise François (2001, extra condensed), 30 fonts in all, are splendid fonts named after Ambroise Didot by their creator, Jean-François Porchez. Many say that they are closer to Bodoni than to Didot--just look at the question mark, but Porchez based his work on late style Didot's published around 1830.

View various Bodoni Antiqua / Bodoni Old Face typefaces. [Google] [More]  ⦿

[Giuseppe de Cesare]

Giuseppe de Cesare (BohFonts) is an Italian designer who now lives and works in Barcelona, where he started Boh Fonts. Behance link. He created the informal typeface Zarina Sans (2011) for use as a text face. The design elements are quite interesting, with carefully chosen and different angles for increased legibility. [Google] [MyFonts] [More]  ⦿


Firenze-based foundry. Their work can be found in Campione dei caratteri, fregi e vignette della fonderia tipografica dei fratelli Boyer e c. stabilita in Firenze (Firenze : Dai torchj di Gregorio Chiari e figlj, 1832). [Google] [More]  ⦿


Italian designer of Yagiza (2001, techno face), which can be downloaded here. [Google] [More]  ⦿

Brandi Violetta

Marquette, Michigan-based creator (b. Italy) of the spurred typeface Storico (2013). [Google] [More]  ⦿

Brando Corradini

Rome, Italy-based designer of the modulated sans typeface Segmento (2017) and the display typeface Zeronine (2017). In 2018, he designed the pixel typeface Mhtirogla, in 2019 the knife-edged Okkur, and in 2020 Danzante and Okkur. [Google] [More]  ⦿

Brito Renato

Italian designer at T-26 who made the Cubica and Orgasmia families in 2000.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Bruce Rogers
[Bruce Rogers: Italian Printers in Venice]

[More]  ⦿

Bruce Rogers: Italian Printers in Venice
[Bruce Rogers]

An essay by Bruce Rogers on Italian printers in Venice in the renaissance period. [Google] [More]  ⦿

[Stefano Giliberti]

Salerno, Italy-based designer of these typefaces in 2018: Sonica (a rounded techno sans), Giordano (a geometric sans), Sauro (techno family), Deciso (octagonal / mechanical / brutalist: free), Adita (sans), Partita (a free outlined pixel font family), Marmo (slab serif), Denso (sans), Apice (a free sans), Altero (titling sans), Parco (a rounded octagonal multilined typeface family), Mani (a free set of hand icons), Sagoma (bilined), Serico (a free semi-calligraphic display typeface), (Altero (caps only sans), Animosa (free), Voluta (rounded sans, with a handicapped lower case e), Stoica (a fine monolinear sans), Anodina (free), Mandorlato (a free display typeface with almond-shaped glyphs).

Typefaces from 2019: Osmica.

Typefaces from 2021: Desta (a squarish family in 18 styles, with some styles branded neon), Agosto (a dry brush script with calligraphic roots). Blog.

Typefaces from 2022: Valerio (a high contrast boutique serif). [Google] [More]  ⦿

Bruno Bonamore

Roman graphic designer and landscape architect who created the fun display typeface Amaro (2014). [Google] [More]  ⦿

Bruno Capezzuoli
[Pixel Orchestra]

[More]  ⦿

Bruno La Versa

Graphic designer from Catania, Italy. He created the ultra-geometric typeface Eidos (2013).

In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. Bruno La Versa did the illustrations for that project. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. [Google] [More]  ⦿

Bruno Munari

Italian artist, writer, designer, architect, graphic designer, educator, and philosopher, who proposed one font, Essential, in 1935, consisting of the minimum parts of letters needed for readability. His principles were lucidity, leanness, exactitude and humor. He was part of a team at Nebiolo (with Giancarlo Illiprandi, Franco Grignani, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Born in 1907 in Milan, he died there in 1998.

Forma was revived by Tankboys as Forma Nova.

The PhD thesis of Alessandro Colizzi at the University of Leiden deals with Bruno Munari's graphic design work. See also Colizzi's talk at ATypI 2013 in Amsterdam on Munari's legacy.

Several typefaces have been made tio honor his work. These include Munari (2013, Dori Novotny).

Dolcevita link. Munart: dedicated web site. [Google] [More]  ⦿

Bruno Pierini

Italian type designer who co-designs typefaces with Nicola Manzari at Unio Creative Solutions:

  • Macaw (2021). An 8-style text family based on early 1900s Italian newspaper type.
  • Argon (2020). A minimalist grotesk by Bruno Pierini and Nicola Manzari.
  • Rosebay (2021). A slab serif by Bruno Pierini and Nicola Manzari.
  • Aeternus (2022). A tall condensed variable sans by Bruno Pierini and Nicola Manzari.
[Google] [More]  ⦿

[Maurizio Loreti]

Maurizio Loreti's type 1 brushscript font, BrushScriptX-Italic, with all files needed to use it in TeX. It was slightly modified by Barta karoly (2010), with updates here. [Google] [More]  ⦿


Designers of very original and semi-experimental commercial display typefaces that appeal to avant-garde designers and the capuccino crowd: Trash (2019), Ockham (2019), Monor (2018). [Google] [More]  ⦿

[Marco Comastri]

Marco Comastri (Bunker) is located in Modena, Italy. His design studio does some custom font work, among many other things. He created the sans typeface Laulkìtere (2007). Spaghetti Grafica poster. During studies at ISIA Urbino, he co-designed the futuristic typeface Syntellect (2002-2003) with Alessia Travaglini, Denis Imolesi Faraoni and Luca Piraccini. [Google] [More]  ⦿

BuyMyFonts (or: BMF)
[Alessio Leonardi]

Alessio Leonardi (b. Florence, 1965) is an Italian designer and type designer who lives in Berlin since 1990. He worked in Berlin at MetaDesign of Erik Spiekermann and in Frankfurt at xplicit. In 1997, with Priska Wollein, he opened the office Leonardi Wollein Visuelle Konzepte in Berlin. His humor shows through his letters and his many dingbats.

In 2002 he founded Buy My Fonts that produces typefaces for corporate applications and also for standard use.

Speaker at ATypI in Rome in 2002. In 2004 he published his book From the Cow to the Typewriter: the (true) History of Writing. The Alberobanana project tries to suggest an alphabet that could have been. In 2007, he started the pixel font project BMF Elettriche. Available from MyFonts, it includes 648 styles. Speaker at ATypI 2007 in Brighton.

Linotype link. Typefaces.de site.

His fonts include

  • F2F Ale Ornaments (1994, +Rotato, +Spirato), Ale Signs, Ale Transport: all done at Linotype.
  • F2F Allineato (1995): grunge, part of the Face2Face project.
  • Alternativo Franklin Gothic
  • Aposto
  • F2F Al Retto (1995): grunge, part of the Face2Face project.
  • BMF Ale Pi Fonts
  • BMF Atypico (1994): organic.
  • FF Baukasten (1995): grungy pixel face.
  • BMF Bolbody, or Bolbodico.
  • Bodetica
  • BMF Brohan Black (2000)
  • BMF Bread Type.
  • BMF Brera.
  • FF Cavolfiore
  • FF Coltello (+Figure)
  • BMF Cratilo Poster (1996, +Signs): angular face.
  • Cool Wool
  • Cotton Club
  • Debaq Face
  • BMF Elleonora Dun Tondo, BMF Elleonora Dun Cane (1994): script typefaces.
  • Etica Temporale
  • Font Card (2000)
  • FF Forchetta (+figure)
  • BMF Fontcard (2000): Monospaced, modular.
  • FF Graffio (+Visivo) (1995): scratchy graffiti face.
  • Graffiti One, Two, Three and Four (1993): at AA International.
  • Ha Manga Irregular (+Pictures)
  • FF Handwriter (+Symbols)
  • Happy Days
  • BMF However
  • Kaos
  • BMF Imme Gothic (2001): made for the official communication of the wedding of Imme and Alessio.
  • BMF Just Do It Again (1999).
  • FF Letterine (+Archetipetti, +Esagerate, +Teatro): kid font family.
  • BMF Love and Hate Pie (2010)
  • F2F Madame Butterfly (1995)
  • FF Matto, FF Matto Porco, FF Matto Sans, matto Sans Porco: blotchy.
  • Metadoni
  • F2F Metamorfosi (1995): experimental, part of the Face2Face project.
  • FF Mulinex
  • BMF Mekanikamente
  • F2F Mekkaso Tomanik
  • BMF Objects Pi (2010)
  • Omegalo
  • BMF Planets Pi (2010)
  • F2F Poison Flowers (1994).
  • FF Priska Serif (+Little Creatures)
  • F2F Prototipa Multipla
  • F2F Provinciali
  • BMF Quaderno
  • Samuele
  • Schering type family (2000): done for a pharmaceutical company headquartered in Berlin. Includes Sans, Serif, Letter.
  • BMF Serbatoio (1991): Pixel face, originally called This Is Not (My Beautiful Wife). Includes Pieno, Vuoto, Prospettico.
  • F2F Simbolico
  • BMF Sicily (1991): grungy ransom note face.
  • Stone Washed
  • F2F Tagliatelle Sugo
  • Tagliatelle Poster, Tagliatelle Grazie, Tagliatelle Tagliate
  • Tempore
  • BMF Testuale, BMF Testuale Sans, BMF Testuale Cornici (1994): angular family.
  • BMF Zazi.
  • BMF Zodiac Pi (2010)

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿

Caffè italic Group

Flickr group about Italian typefaces. [Google] [More]  ⦿

Cagil Aygen
[Velvele Design Community]

[MyFonts] [More]  ⦿

Calligraphy Shop

Daniel Quinn's calligraphy shop in Firenze shows nice examples of these hands (names in Italian): Onciale, Maiuscola Insulare, Minuscola Insulare, Carolina, Gotico Antico, Textura Quadrata, Capitali Gotiche, Beneventana, Rotunda, Capitali Rotunda, Bastarda Cancelleresca, Batarde Français, Fraktur Tedesca, Capitali Bastarde, Cadel, Capitali Longobarde, Foundational. [Google] [More]  ⦿

Cameron Moll

Cameron Moll is a type specialist. He writes extensively on type design and typography. He sells EPS format glyphs based on the work of master Italian calligrapher M. Giovambattista Palatino (ca. 1515–1575), as featured in Libro di M. Giovambattista Palatino Cittadino Romano, published in Rome around 1550 AD. [Google] [More]  ⦿

Camilla Bertoni

As a student, Camilla Bertoni (Cuneo, Italy, b. 1995) created the free black counter typeface Linestones (2016), the free script typeface Honey Llama (2016), the free the handcrafted typeface Moody Spaghetty (2016) and the cursive typeface Yellow Llama (2016). Dafont link. Home page. [Google] [More]  ⦿

Camilla Cima

Designer in Milan. Behance link. Creator of the Stapler Font (2012, experimental). [Google] [More]  ⦿


This is a multi-year project at Accademia di Belle Arti di Urbino (Italy) which has workshops and ateliers, and occasionally goes into type design. The type design activities, such as the free open source type family Titillium, are done under the leadership of Luciano Perondi. However, Titillium is a work in progress---it is unfinished and for Florian Hadwig's eye, a bit too close to Klavika.

Titillium Web at Google Fonts. [Google] [More]  ⦿

[Marco Anelli]

Exposition on type and symbolism in type, by Marco Anelli, held from November 6, 2008 until June 31, 2009, in Hlam Design, Milan. [Google] [More]  ⦿

Carla Scorda

Graphic designer in Rovato, Brescia, Italy, b. 1976. She cofounded Studio Charlie with Gabriele Rigamonti and Vittorio Turla, with whom she co-designed the futuristic Stereotype family (2005). [Google] [MyFonts] [More]  ⦿

Carlo Buffa

Padova-based graphic designer, teacher of advertising art at the Istituto Statale d'Arte Michele Fanoli in Cittadella Padova, Italy. Organiser of the international calligraphy award Belle Lettere (1997). The resulting publication Belle Lettere won the Fedrigoni Prize for graphic excellence. At ATypI in Rome in 2002, he spoke about two fonts he created: The font Ritratti (1999) was extracted from an Aldina edition and traces the cursive writings drawn and inscribed by Griffo at Venice, so as to imitate the original handwritten text. The font was created for Carlo Mazzacurati and Marco Paolini's three films about the most important modern-day Venetian writers, Mario Rigoni Stern, Andrea Zanzotto, and Luigi Meneghello. The font AnnoMille was used in another Mazzacurati film, La lingua del Santo, and graphically reinterprets the light-hearted and fluid feel of medieval capital letters. These two fonts highlight the roughness and imprecision typical of ancient print and the heterogeneous nature of letters written loosely by hand. Home page. Biography. Logo. Pic. [Google] [More]  ⦿

Carlo Favale e Comp.

Italian foundry in Torino. Scan of a specimen book cover, 1872. [Google] [More]  ⦿

Carlo Occhiena

Photographer in Genova, Italy. In 2017, he used the golden ratio when he designed the free vector format slab serif typeface OC1. Behance link. [Google] [More]  ⦿

Carlo Vinti

From 1998 to 2001 he taught History of Visual Communication and Contemporary Art History at Naples' Istituto superiore di design. At ATypI in Rome in 2002, he spoke about "The new typography and Campo Grafico; the debate on typography in Italian magazines in the 1930s". [Google] [More]  ⦿

Carlotta Mazuy

Roman graphic designer, b. Paris, who studied at the Accademia delle arti e nuove tecnologie.

Creator of the droopy-serifed New Forty Five (2012), the bubblegum font Gummy (2014).

Behance link. [Google] [More]  ⦿

Carlotta Megali

Milan, Italy-based designer of Amore (2020), a female breast dingbat typeface. [Google] [More]  ⦿

Carmen Cavallo

Francavilla Fontana, Italy-based designer of the adventure fonts Pyramid Round (2016) and Cubic Round (2016). [Google] [More]  ⦿

Carola Baiotti

During her studies at IAAD (Istituto di Arte Applicata e Design), Turin-based Carola Baiotti designed the octagonal typeface Optagon (2016). [Google] [More]  ⦿

Carol-Anne Ryce-Paul

Visual designer at Sesame Workshop in New York City, who created Brandless Typeface in 2012. [Google] [More]  ⦿

Carolina Mauri

Graphic designer in Milan, Italy, who created the custom typeface Musa (2015) for the museum magazine Musa. [Google] [More]  ⦿

Carolina Monaco

Rome, Italy-based designer of Giotto (2016), a school project typeface based on the Angela di Giotto mosaic. [Google] [More]  ⦿


CAST, or Cooperativa Anonima Servizi Tipografici (est. 2014, Bolzano, Italy) is a digital type foundry dedicated to the production and marketing of high quality fonts catering to specific needs, especially in the areas of branding and publishing. Their typefaces:

  • Divenire (2014). By Molotro / Luciano Perondi. Divenire is derived from an earlier custom typeface designed for the Partito Democratico (Italian Democratic Party), which uses it for political communications. For the information of non-Italians---this is not Berlusconi's party.
  • Dic Sans (2014, Luciano Perondi). This elliptical sans was inspired by Aldo Novarese's Eurostile. It has its own idiosyncracies, and comes with a gorgeous Dic Sans Extra Bold weight (2014). On the nomenclature---French are allowed to use Sans Dic, and Americans are permitted to typeset in Extra Bold Dic, or its shadow version, Tricky Dic.
  • Brevier (2014). Riccardo Olocco's typeface was designed for setting long texts in small or very small type sizes---the name Breveir refers to 8 point size in ancient times.
  • Gramma (2014, Riccardo Olocco). A compact temporary sans with large x-height eventually published at CAST.
  • Brasilica (2015). By Rafael Dietzsch, based on his graduation typeface in 2012 in the MATD program at the University of Reading. This Latin / Greek typeface family with sufficient diacritical support of most Brazilian indigenous languages. It is a serifed typeface but has matching sans styles. My own first reaction to this typeface was sturdy. Brasilica won an award at Tipos Latinos 2014 and was published by CAST.
  • Macho Modular (2015). By Luciano Perondi. Macho was originally designed in 2010 for MAN (Museo d'Arte Provincia di Nuoro) and is based on the idea of modular widths of the 20th-century typesetting systems, as required by the Olivetti Margherita and the hot-metal Linotype machine.
  • Saffran (2007, by Erasmo Cuifo and Alessio D'Ellena; published in 2015 by CAST). Saffran is a stencil sans with squarish letterforms.
  • Zenon (2014, for Latin, Bengali, Greek and Cyrillic, by Riccardo Olocco). Zenon is Riccardo's graduation typeface in the MATD program at the University of Reading, UK. He writes: is a sum of different styles, from Francesco Griffo to Granjon, from modern typefaces to the first sketches of Times New Roman. Zenon is an apparently Renaissance revival with modernish proportions. A closer look reveals that it is a typographic potpourri. Zenon was published by CAST in 2015.
  • Sole Serif (2016). A text typeface family by Luciano Perondi, who writes: Sole Serif is a newspaper face with features relating to book typography. Inspiration from Francesco Griffo's romans was adapted to resist the rough usage typical of newspaper printing without any loss of quality. Sole Serif is available in an extensive range of cuts including extra bold and ultra thin. With its big x-height, short ascenders and a roundish and wide italic for text and titles, it has all the attributes of a newspaper face. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper. In 2018, Luciano Perondi and Riccardo Olocco designed the companion typeface Sole Sans. It was originally designed for the leading Italian financial newspaper Il Sole 24 ore.
[Google] [MyFonts] [More]  ⦿

Caterina Chiarello

Graphic designer in Milan, Italy, who created the creamy typeface Chocolate Drop (2015). [Google] [More]  ⦿

Caterina Scardillo

Graphic designer and calligraphy teacher at LABA, Free Academy of Fine Arts, in Firenze, Italy. In 2016, she designed the drop-dead gorgeous typeface Davanzati for Palazzo Davanzati, Museo della Casa Fiorentina. Davanzati has elements of Bembo (like the nose in the e) and Trajan. [Google] [More]  ⦿

cb fonts
[Claudio Beccari]

From 1997 until 1999, Turin-based Claudio Beccari created his cb fonts (metafont) for Greek by adapting Silvio Levy's Greek fonts. The cb-fonts are now the official fonts for the Greek option of the BABEL package. They are very complete and highly recommended. Type 1 versions here. In 2004, he added the CB Coptic family (metafont), which was based on files created in 1995 by Serge Rosmorduc. The type 1 fonts were made by using TeXtrace and pfaedit by Apostolos Syropoulos. The fonts: glic0700, glic0800, glic1000, glic1200, glic1382, glic1659, glic1991, glic2389, glic2866, glic3440, glic4128, glii0700, glii0800, glii1000, glii1200, glii1382, glii1659, glii1991, glii2389, glii2866, glii3440, glii4128, glin0700, glin0800, glin1000, glin1200, glin1382, glin1659, glin1991, glin2389, glin2866, glin3440, glin4128, glio0700, glio0800, glio1000, glio1200, glio1382, glio1659, glio1991, glio2389, glio2866, glio3440, glio4128, gliu0700, gliu0800, gliu1000, gliu1200, gliu1382, gliu1659, gliu1991, gliu2389, gliu2866, gliu3440, gliu4128, gljc0700, gljc0800, gljc1000, gljc1200, gljc1382, gljc1659, gljc1991, gljc2389, gljc2866, gljc3440, gljc4128, gljn0700, gljn0800, gljn1000, gljn1200, gljn1382, gljn1659, gljn1991, gljn2389, gljn2866, gljn3440, gljn4128, gljo0700, gljo0800, gljo1000, gljo1200, gljo1382, gljo1659, gljo1991, gljo2389, gljo2866, gljo3440, gljo4128, glmc0700, glmc0800, glmc1000, glmc1200, glmc1382, glmc1659, glmc1991, glmc2389, glmc2866, glmc3440, glmc4128, glmi0700, glmi0800, glmi1000, glmi1200, glmi1382, glmi1659, glmi1991, glmi2389, glmi2866, glmi3440, glmi4128, glmn0700, glmn0800, glmn1000, glmn1200, glmn1382, glmn1659, glmn1991, glmn2389, glmn2866, glmn3440, glmn4128, glmo0700, glmo0800, glmo1000, glmo1200, glmo1382, glmo1659, glmo1991, glmo2389, glmo2866, glmo3440, glmo4128, glmu0700, glmu0800, glmu1000, glmu1200, glmu1382, glmu1659, glmu1991, glmu2389, glmu2866, glmu3440, glmu4128, gltc0700, gltc0800, gltc1000, gltc1200, gltc1382, gltc1659, gltc1991, gltc2389, gltc2866, gltc3440, gltc4128, gltn0700, gltn0800, gltn1000, gltn1200, gltn1382, gltn1659, gltn1991, gltn2389, gltn2866, gltn3440, gltn4128, glto0700, glto0800, glto1000, glto1200, glto1382, glto1659, glto1991, glto2389, glto2866, glto3440, glto4128, glwc0700, glwc0800, glwc1000, glwc1200, glwc1382, glwc1659, glwc1991, glwc2389, glwc2866, glwc3440, glwc4128, glwi0700, glwi0800, glwi1000, glwi1200, glwi1382, glwi1659, glwi1991, glwi2389, glwi2866, glwi3440, glwi4128, glwn0700, glwn0800, glwn1000, glwn1200, glwn1382, glwn1659, glwn1991, glwn2389, glwn2866, glwn3440, glwn4128, glwo0700, glwo0800, glwo1000, glwo1200, glwo1382, glwo1659, glwo1991, glwo2389, glwo2866, glwo3440, glwo4128, glwu0700, glwu0800, glwu1000, glwu1200, glwu1382, glwu1659, glwu1991, glwu2389, glwu2866, glwu3440, glwu4128, glxc0700, glxc0800, glxc1000, glxc1200, glxc1382, glxc1659, glxc1991, glxc2389, glxc2866, glxc3440, glxc4128, glxi0700, glxi0800, glxi1000, glxi1200, glxi1382, glxi1659, glxi1991, glxi2389, glxi2866, glxi3440, glxi4128, glxn0700, glxn0800, glxn1000, glxn1200, glxn1382, glxn1659, glxn1991, glxn2389, glxn2866, glxn3440, glxn4128, glxo0700, glxo0800, glxo1000, glxo1200, glxo1382, glxo1659, glxo1991, glxo2389, glxo2866, glxo3440, glxo4128, glxu0700, glxu0800, glxu1000, glxu1200, glxu1382, glxu1659, glxu1991, glxu2389, glxu2866, glxu3440, glxu4128, gmmn0500, gmmn0600, gmmn0700, gmmn0800, gmmn0900, gmmn1000, gmmn1095, gmmn1200, gmmn1440, gmmn1728, gmmn2074, gmmn2488, gmmn2986, gmmn3583, gmmo0500, gmmo0600, gmmo0700, gmmo0800, gmmo0900, gmmo1000, gmmo1095, gmmo1200, gmmo1440, gmmo1728, gmmo2074, gmmo2488, gmmo2986, gmmo3583, gmtr0500, gmtr0600, gmtr0700, gmtr0800, gmtr0900, gmtr1000, gmtr1095, gmtr1200, gmtr1440, gmtr1728, gmtr2074, gmtr2488, gmtr2986, gmtr3583, gmxn0500, gmxn0600, gmxn0700, gmxn0800, gmxn0900, gmxn1000, gmxn1095, gmxn1200, gmxn1440, gmxn1728, gmxn2074, gmxn2488, gmxn2986, gmxn3583, gmxo0500, gmxo0600, gmxo0700, gmxo0800, gmxo0900, gmxo1000, gmxo1095, gmxo1200, gmxo1440, gmxo1728, gmxo2074, gmxo2488, gmxo2986, gmxo3583, gomc0500, gomc0600, gomc0700, gomc0800, gomc0900, gomc1000, gomc1095, gomc1200, gomc1440, gomc1728, gomc2074, gomc2488, gomc2986, gomc3583, gomi0500, gomi0600, gomi0700, gomi0800, gomi0900, gomi1000, gomi1095, gomi1200, gomi1440, gomi1728, gomi2074, gomi2488, gomi2986, gomi3583, gomn0500, gomn0600, gomn0700, gomn0800, gomn0900, gomn1000, gomn1095, gomn1200, gomn1440, gomn1728, gomn2074, gomn2488, gomn2986, gomn3583, gomo0500, gomo0600, gomo0700, gomo0800, gomo0900, gomo1000, gomo1095, gomo1200, gomo1440, gomo1728, gomo2074, gomo2488, gomo2986, gomo3583, gomu0500, gomu0600, gomu0700, gomu0800, gomu0900, gomu1000, gomu1095, gomu1200, gomu1440, gomu1728, gomu2074, gomu2488, gomu2986, gomu3583, goxc0500, goxc0600, goxc0700, goxc0800, goxc0900, goxc1000, goxc1095, goxc1200, goxc1440, goxc1728, goxc2074, goxc2488, goxc2986, goxc3583, goxi0500, goxi0600, goxi0700, goxi0800, goxi0900, goxi1000, goxi1095, goxi1200, goxi1440, goxi1728, goxi2074, goxi2488, goxi2986, goxi3583, goxn0500, goxn0600, goxn0700, goxn0800, goxn0900, goxn1000, goxn1095, goxn1200, goxn1440, goxn1728, goxn2074, goxn2488, goxn2986, goxn3583, goxo0500, goxo0600, goxo0700, goxo0800, goxo0900, goxo1000, goxo1095, goxo1200, goxo1440, goxo1728, goxo2074, goxo2488, goxo2986, goxo3583, goxu0500, goxu0600, goxu0700, goxu0800, goxu0900, goxu1000, goxu1095, goxu1200, goxu1440, goxu1728, goxu2074, goxu2488, goxu2986, goxu3583, grbl0500, grbl0600, grbl0700, grbl0800, grbl0900, grbl1000, grbl1095, grbl1200, grbl1440, grbl1728, grbl2074, grbl2488, grbl2986, grbl3583, grmc0500, grmc0600, grmc0700, grmc0800, grmc0900, grmc1000, grmc1095, grmc1200, grmc1440, grmc1728, grmc2074, grmc2488, grmc2986, grmc3583, grmi0500, grmi0600, grmi0700, grmi0800, grmi0900, grmi1000, grmi1095, grmi1200, grmi1440, grmi1728, grmi2074, grmi2488, grmi2986, grmi3583, grml0500, grml0600, grml0700, grml0800, grml0900, grml1000, grml1095, grml1200, grml1440, grml1728, grml2074, grml2488, grml2986, grml3583, grmn0500, grmn0600, grmn0700, grmn0800, grmn0900, grmn1000, grmn1095, grmn1200, grmn1440, grmn1728, grmn2074, grmn2488, grmn2986, grmn3583, grmo0500, grmo0600, grmo0700, grmo0800, grmo0900, grmo1000, grmo1095, grmo1200, grmo1440, grmo1728, grmo2074, grmo2488, grmo2986, grmo3583, grmu0500, grmu0600, grmu0700, grmu0800, grmu0900, grmu1000, grmu1095, grmu1200, grmu1440, grmu1728, grmu2074, grmu2488, grmu2986, grmu3583, grxc0500, grxc0600, grxc0700, grxc0800, grxc0900, grxc1000, grxc1095, grxc1200, grxc1440, grxc1728, grxc2074, grxc2488, grxc2986, grxc3583, grxi0500, grxi0600, grxi0700, grxi0800, grxi0900, grxi1000, grxi1095, grxi1200, grxi1440, grxi1728, grxi2074, grxi2488, grxi2986, grxi3583, grxl0500, grxl0600, grxl0700, grxl0800, grxl0900, grxl1000, grxl1095, grxl1200, grxl1440, grxl1728, grxl2074, grxl2488, grxl2986, grxl3583, grxn0500, grxn0600, grxn0700, grxn0800, grxn0900, grxn1000, grxn1095, grxn1200, grxn1440, grxn1728, grxn2074, grxn2488, grxn2986, grxn3583, grxo0500, grxo0600, grxo0700, grxo0800, grxo0900, grxo1000, grxo1095, grxo1200, grxo1440, grxo1728, grxo2074, grxo2488, grxo2986, grxo3583, grxu0500, grxu0600, grxu0700, grxu0800, grxu0900, grxu1000, grxu1095, grxu1200, grxu1440, grxu1728, grxu2074, grxu2488, grxu2986, grxu3583, gsma0500, gsma0600, gsma0700, gsma0800, gsma0900, gsma1000, gsma1095, gsma1200, gsma1440, gsma1728, gsma2074, gsma2488, gsma2986, gsma3583, gsmc0500, gsmc0600, gsmc0700, gsmc0800, gsmc0900, gsmc1000, gsmc1095, gsmc1200, gsmc1440, gsmc1728, gsmc2074, gsmc2488, gsmc2986, gsmc3583, gsme0500, gsme0600, gsme0700, gsme0800, gsme0900, gsme1000, gsme1095, gsme1200, gsme1440, gsme1728, gsme2074, gsme2488, gsme2986, gsme3583, gsmi0500, gsmi0600, gsmi0700, gsmi0800, gsmi0900, gsmi1000, gsmi1095, gsmi1200, gsmi1440, gsmi1728, gsmi2074, gsmi2488, gsmi2986, gsmi3583, gsmn0500, gsmn0600, gsmn0700, gsmn0800, gsmn0900, gsmn1000, gsmn1095, gsmn1200, gsmn1440, gsmn1728, gsmn2074, gsmn2488, gsmn2986, gsmn3583, gsmo0500, gsmo0600, gsmo0700, gsmo0800, gsmo0900, gsmo1000, gsmo1095, gsmo1200, gsmo1440, gsmo1728, gsmo2074, gsmo2488, gsmo2986, gsmo3583, gsmu0500, gsmu0600, gsmu0700, gsmu0800, gsmu0900, gsmu1000, gsmu1095, gsmu1200, gsmu1440, gsmu1728, gsmu2074, gsmu2488, gsmu2986, gsmu3583, gsxa0500, gsxa0600, gsxa0700, gsxa0800, gsxa0900, gsxa1000, gsxa1095, gsxa1200, gsxa1440, gsxa1728, gsxa2074, gsxa2488, gsxa2986, gsxa3583, gsxc0500, gsxc0600, gsxc0700, gsxc0800, gsxc0900, gsxc1000, gsxc1095, gsxc1200, gsxc1440, gsxc1728, gsxc2074, gsxc2488, gsxc2986, gsxc3583, gsxe0500, gsxe0600, gsxe0700, gsxe0800, gsxe0900, gsxe1000, gsxe1095, gsxe1200, gsxe1440, gsxe1728, gsxe2074, gsxe2488, gsxe2986, gsxe3583, gsxi0500, gsxi0600, gsxi0700, gsxi0800, gsxi0900, gsxi1000, gsxi1095, gsxi1200, gsxi1440, gsxi1728, gsxi2074, gsxi2488, gsxi2986, gsxi3583, gsxn0500, gsxn0600, gsxn0700, gsxn0800, gsxn0900, gsxn1000, gsxn1095, gsxn1200, gsxn1440, gsxn1728, gsxn2074, gsxn2488, gsxn2986, gsxn3583, gsxo0500, gsxo0600, gsxo0700, gsxo0800, gsxo0900, gsxo1000, gsxo1095, gsxo1200, gsxo1440, gsxo1728, gsxo2074, gsxo2488, gsxo2986, gsxo3583, gsxu0500, gsxu0600, gsxu0700, gsxu0800, gsxu0900, gsxu1000, gsxu1095, gsxu1200, gsxu1440, gsxu1728, gsxu2074, gsxu2488, gsxu2986, gsxu3583, gttc0500, gttc0600, gttc0700, gttc0800, gttc0900, gttc1000, gttc1095, gttc1200, gttc1440, gttc1728, gttc2074, gttc2488, gttc2986, gttc3583, gtti0500, gtti0600, gtti0700, gtti0800, gtti0900, gtti1000, gtti1095, gtti1200, gtti1440, gtti1728, gtti2074, gtti2488, gtti2986, gtti3583, gttn0500, gttn0600, gttn0700, gttn0800, gttn0900, gttn1000, gttn1095, gttn1200, gttn1440, gttn1728, gttn2074, gttn2488, gttn2986, gttn3583, gtto0500, gtto0600, gtto0700, gtto0800, gtto0900, gtto1000, gtto1095, gtto1200, gtto1440, gtto1728, gtto2074, gtto2488, gtto2986, gtto3583, gttu0500, gttu0600, gttu0700, gttu0800, gttu0900, gttu1000, gttu1095, gttu1200, gttu1440, gttu1728, gttu2074, gttu2488, gttu2986, gttu3583. [Google] [More]  ⦿

Cecilia A. Nuñez

During her studies at Politecnico in Milan, Italy, Cecilia A. Nuñez created the rounded organic sans typeface Kurve (2012). [Google] [More]  ⦿

Cecilia Negri

Cecilia (b. Trento, Italy) is a designer and illustrator based in Trento, Italy, who studied at ISIA Urbino. In 2012, Cecilia Negri and Virginia Nardelli, who where then both located in Milan, took the Fiat logo, and set out to design a full (condensed, octagonal) alphabet by extrapolation, called the Fiat Typeface. She also designed a set of animal silhouettes called Dinner Time (2017).

Behance link. [Google] [More]  ⦿

Cerchio Perfetto

Italian calligrapher who drew a few calligraphic and brush alphabets in 2013.

Behance link. [Google] [More]  ⦿

Cesar Bourgeois

During his studies, Bassano del Grappa, Italy-based Cesar Bourgeois created the ruler-and-compass typeface Process (2015). [Google] [More]  ⦿

Cesare Vagnoni

Rome-based designer of the free circle-themed sans typeface Equos (2020). [Google] [More]  ⦿

Champagne Design
[Alessandro Becagli]

Viareggio, Italy-based designer who has a degree in graphic arts from Accademia delle belle Arti Carrera, class of 2020, and attended IED Florence as well. In 2022, he released Tritone, an art nouveau font which was inspired by the facade of a bathing establishment. [Google] [MyFonts] [More]  ⦿

Chef Studio
[Andrea Biagi]

Chef Studio is located in Pietrasanta, Lucca, Italy. Its founders are Igor Biagi and Andrea Biagi (b. 1988, Pietrasanta). Andrea graduated from LABA University (Libera Accademia di Belle Arti) in Firenze, Italy, class of 2012. Designer of the counterless modular typeface True Oasi (2013) and of the beautiful multiline connect-the-dots typeface Ego (2013, free).

Behance link. Andrea Biagi's home page. Igor Biagi's home page. [Google] [More]  ⦿

Chiara Di Terlizzi

Visual designer in Milano, who created the (virtual) type and identity for Agfa in 2012 starting from their old logo. Around the same time, Mirko Landi, another designer in Milan, did a similar thing. I wonder if they were not doing a school assignment. In 2014, she created the lapidart sans typeface Xanto. Behance link. [Google] [More]  ⦿

Chiara Dozio

Merate, Italy-based designer of the fashion mag piano key typeface Muscle (2015). [Google] [More]  ⦿

Chiara Picano

During her studies at Accademia delle Arti e Nuove Tecnologie, Chiara Picano (Formia, Italy) designed the striking flared roman caps typeface Stygius Light (2014: free). [Google] [More]  ⦿

Chiara Quaggia

During his studies in Milan, Chiara Quaggia created the signage typeface Ray Ban (2013) by reverse-engineering the famous Ray Ban logo. [Google] [More]  ⦿

Chiara Ricolfi

Graphic designer in Milan, who graduated from the Politecnico. In 2011, she showed her techno typeface Aspes on Behance. It was made a few years earlier during her studies. I am a bit confused as this photograph shows a typeface called Aspes designed by Bisiac, Caroni and Comelli during their studies at ISIA Urbino from 2003 until 2004. [Google] [More]  ⦿

Chiara Sotgiu

Cagliari, Italy-based designer of the free art deco display typeface CS Blocks (2012).

Behance link. [Google] [More]  ⦿

Chiara Vianello

Italian creator of the pixel script typeface Graphicavita (2010). Chiara lives in Venice. [Google] [More]  ⦿

Chiara Virdis

Art director in Rome who created the display typeface Neomerovis (2015) during a course at l'Accademia delle Arti e Nuove Tecnologie. In 2019, Chiara Virdis and Ilario Strazzullo co-designed the art deco sans typeface Gravo. [Google] [More]  ⦿

Chicks and Types

Chicks and Types, aka Sketch This Out, is a virtual artist in Firenze, Italy. He created a few posters in 2012, such as Isabelle & Times New Roman, Heather & Museo, and Carla & Din. [Google] [More]  ⦿

Chintal Bharat

Graphic designer in Milan, Italy, who ceated the geometric sans typeface Spatial in 2018. [Google] [More]  ⦿

Christie Liberatore

American graphic designer from Baltimore, MD, who studied in SVA;'s Masters program in Rome in 2012. Roman signage inspired her in the creation of four alphabets in 2012: Sermoneta (Victorian), Giolitti (Victorian), Credito Italiano (Victorian), and Deccio (avant-garde).

Behance link. [Google] [More]  ⦿

Cira Viggiano

Italian type and graphic designer who graduated in 2005 from the Università La Sapienza in Rome (under Silvana Amato and Giovanni Lussu) with a thesis that developed a new text type family, Sinus, comprising Sinus Normal, Sinus Italic and Sinus Maiuscoletto. This type family was designed for small print. [Google] [More]  ⦿

Ciro Continisio

Italian designer (b. 1984) of Hobbit Script (2005), based on a font used in the Lord of the Rings movie trilogy. [Google] [More]  ⦿

[Andrea Zanchetta]

Italian free font outfit based in Torino headed by Politecnico di Torino graduate Andrea Zanchetta. Their creations include Fetta di Polenta Extra Narrow (2008) and Sweetest (2008), both based on lettering used by architects on drawings, and made by Andrea Zanchetta. Linkedin link. [Google] [More]  ⦿

Cláudio Rocha

Cofounder of Now Type, Cláudio Rocha is an Italian Brazilian illustrator and designer (b. 1957) who was first based in sao Paulo, then in Treviso, Italy, and currently in The Netherlands. Now Type is jointly run with his son Lucas Franco (b. 2001). He edited Tupigrafia, a magazine dedicated to typography and calligraphy in Brazil. Partner of Oficina Tipografica Sao Paulo. His typefaces include:

  • ITC Gema (1998: a felt tip pen font) and ITC Underscript (1997, a grungy fat script).
  • Cashew (2000-2020). Cashew is a rounded squarish sans serif font, originally created as a logotype for Tupigrafia magazine (2000). In its 2020 iteration, done together with Lucas Franco, it is a variable font with one axis, from Regular to Extended.
  • Tenia.
  • Viela Regular (Claudio Rocha & Lucas Franco, 2008-2019). A great thick-and-thin typeface.
  • Unidin (sans display face).
  • Rock Regular (slab face). Rock Titling (1998-2019).
  • Old Future (a brush version of Futura).
  • Chacal Pixel.
  • Persplextiva (2001-2002, a bouncy hand-drawn 3d face done in the lettering style of Brazilian cartoonist Millor Fernandes).
  • Liquid Stencil (1998-2000). A brush stencil.
  • Feijoada Light.
  • Akrylicz Grotesk (2002, brush/paint face).
  • Sampa (1999-2019). An informal brush script.
  • Genova (2008-2020). A reinterpretation of Paganini typeface, lauched by Nebiolo type foundry in 1928 for hand composition and developed by Alessandro Butti under the supervision of Raffaello Bertieri.
  • Stampface (2006-2018, by Claudio Rocha and Lucas Franco). Based on a Headline Gothic metal type sample found in a reference book, which was designed by Morris Fuller Benton in 1936 for American Type Founders.
  • Pieces Stencil (2016). Think piano key or Futura Stencil.
  • Antonio Maria (2017): Antonio Maria, a font by Claudio Rocha and Lucas Franco, takes its shapes from the lettering found in the cover of Afixação Proibida (Display Prohibited), a book by the Portuguese poet Antonio Maria de Lisboa (1928-1953). In fact, Antonio Maria was the leader-writer of Afixação Proibida, a collective manifesto from 1949, that initiated the surrealist movement in Portugal. It is an inverted-contrast typeface with 150 ligatures and a large character set.
  • Rudolf Antiqua and Rudolf Initials (2018). A faithful revival of Rudolf Koch's Koch Antiqua (1922). Followed by Rudolf Text (2017-2020, Lucas Franco and Claudio Rocha).
  • Mefistofele. A revival in 2018 by Claudio Rocha and Lucas Franco of the modular stencil typeface Mefistofele (1930, Reggiani foundry).
  • Rudolf Titling (Lucas Franco and Claudio Rocha), a typeface that won an award at Tipos Latinos 2018.
  • Agora Titling Extra Light (2018).
  • Pieces Stencil (2016-2019). Pieces is a piano key typeface built on a modular system with emphasis on diagonal endings.
  • Moreira Serif (2019). A slab serif version of Morris Fuller Benton's art deco typeface Broadway (1927). In the 1930s, the Portuguese graphic artist Antonio Moreira Junior added serifs to Broadway's letterforms and marketed it under a new name. Moreira Serif revives that typeface.
  • Scarpa Titling (2019, Claudio Rocha and Lucas Franco). An all caps typeface based on a nameplate found on the front door of a shoemaker in Treviso, Northern Italy.
  • Anton (2020, by Claudio Rocha and Lucas Franco). An art deco typeface modeled after a Dutch deco type seen on the Anton Antonius Kurvers's cover of Wendingen in 1927.
  • Esperanca Sans (2019). A Peignotian sans by Claudio Rocha & Lucas Franco.
  • Jaguaribe (2020). In Unicase and Serif versions, by Claudio Rocha. A squarish sans and serif pair based on the of letterforms drawn by Brazilian artist Gil Duarte.
  • Spinface (2020). An experimental turned letter font by Claudio Rocha and Lucas Franco.
  • Werner (2020-2021). A revival of A.D. Werner's famous deco inline typeface Dubbeldik (1972).
  • Densa (2020). Emulating 19th century wood types. Densa typeface was based on the Fantastic Voyage movie title in the 1966 poster
  • Tegel (2020-2021). Tegel is a layer font that emulates the ceramic tile letters found on a school façade in Delft.
  • Etna Futurist (2020, Claudio Rocha & Lucas Franco). Digital interpretation of Etna, a wood type produced by the Italian type foundry Xilografia Meneghello & Belluzzo, in the 1920s.
  • Cassiano (2020). A super-fat octagonal typeface based on letters found on a book cover by the Brazilian artist Belmonte (1896-1947).
  • Fortunato (2020). A digital interpretation of the lettering work done by the Italian Futurist genius Fortunato Depero (1892-1960) for advertising and editorial design. A pure Italian art deco typeface. The lowercases were developed from scratch.
  • Jurriaan (2021). A square block typeface.
  • Hendrik (2021, by Claudio Rocha & Lucas Franco). A revival of Simplex (Sjoerd Hendrik de Roos, 1937).
  • Martin (Swing, Straight) (2020). A beatnik typeface based on the letters found in the jazz record albuns designed by David Stone Martin (1913-1992).
  • Tesoura (2020). A paper-cut typeface.

He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Treviso, Italy, from where he launched the type magazine Tipoitalia in 2009.

FontShop link. Klingspor link. [Google] [MyFonts] [More]  ⦿


Creator (b. 1989, Italy) of Claire's Hand (2012) and Claire's Hand 3 (2012). [Google] [More]  ⦿

Clara Reali

Florence, Italy-based designer of the free squarish typeface Geoglyph (2015). [Google] [More]  ⦿

Clara Zorzoli

Graphic designer in Milan, Italy. CZ Invicta is a layered hipster typeface family created for her final graduation project at the master of Communication Design, at Politecnico di Milano Behance link. [Google] [More]  ⦿

Clarissa Bolettieri

During their studies at Politecnico di Bari, Clarissa Bolettieri, Dora Riondino and Elena Maroccia designed the roman inscriptional typeface Helias (2016). This typeface is based on rubbings taken from inscriptions dating back to 1105 in Bari's Saint Nicholas Cathedral. [Google] [More]  ⦿

Clarissa La Viola

Italian designer of the sans typeface Cliché (2020), which is based on Museo Sans. [Google] [More]  ⦿

Claudia Altavilla

Italian graphic designer who is based in Fragagnano. In 2013, she designed the cursive typeface Female and the display typeface Oskar Kokoschka.

Behance link. [Google] [More]  ⦿

Claudia Cattelan

During her studies, Verona, Italy-based Claudia Cattelan designed the beveled typeface Cretecon (2018). [Google] [More]  ⦿

Claudia Ripanti

Claudia Ripanti (Bologna, Italy) used the outlines of DIN Black to make the ornamental Flowers typeface in 2011. [Google] [More]  ⦿

Claudia Rolletto

During her studies at Politecnico di Torino, Italy, Claudia Rolletto designed the pixel typeface LED (2015) and the dot matrix typeface Dotspot (2015). [Google] [More]  ⦿

Claudio Beccari
[cb fonts]

[More]  ⦿

Claudio Beccari

[More]  ⦿

Claudio Chiocchio

Roman designer of the squarish monoline sans typeface Milonga (2013). [Google] [More]  ⦿

Claudio Gomboli

[More]  ⦿

Claudio Parisi

During his studies at Politecnico di Milano, Claudio Parisi created the grid-based typeface Safari (2013). Later, as a visual designer at M&C Saatchi in Milan, he published his free graduation typeface Rubik Sans (2013), which is based on Zuzanna Licko's bitmap font Oakland (1980s), and was co-designed with "Raffele" and "Marco". Behance link. [Google] [More]  ⦿

Claudio Piccinini

Type designer from Modena, Italy, b. 1969. Designer of these fonts:

  • Memory (1993): will be on the Fontomas CD for the Kids Organization Woldvision Germany later in 2002.
  • Ottomat (1994, Emigre), an avant-gardish font family.
  • Neoritmo (1996), a gorgeous semi-experimental font family completed in 2002 for Psy-Ops [read about its development here].
  • Reality (1996), Exegetic (1997), Fear Unknown (1997), Inexpressed (1997): all at Thirstype.
  • Ideal (1999), unreleased.
  • Ogilve (2001, Thirstype).
  • Squatront (2002, Thirstype): to be released soon.
He started Thoughtype, a site for critiques and type talk. Bio at Emigre. Speaker at ATypI in Rome in 2002. [Google] [MyFonts] [More]  ⦿

Claudio Vegilante

Italian digital artist who made the sans display typeface Etrusca (2011). Behance link. [Google] [More]  ⦿

Claudius Marcus

[More]  ⦿

Clément Thévenoux

During his studies in Siena, Italy, Clément Thévenoux designed the modular multicolor typeface Drama Queers (2017). [Google] [More]  ⦿

Clio Chaffardon

Art director at Studio B C in Amiens, France, and at Mirage Studio in Rome, Italy. In 2014, Clio Chaffardon and Benjamin Dennel co-designed the ink-trapped typeface Calico Monospace. In 2018, she designed the basic monoline sans typeface Bosatlas (2018). [Google] [More]  ⦿


Italian open source font cooperative, based in Milan. Members include Jules Durand, Marco Condello, Luca Marsano, Matteo Maggi, Sara Lavazza, Benedetta Bovani, Ethan Nakache, Alberto Casagrande, Ruggero Magri, Nunzio Mazzaferro, Luigi Gorlero and Davide Montesano. [Google] [More]  ⦿

Colombo Coen

Trieste-based printer. For their typefaces, see Saggio di caratteri, fregi e vignette della stamperia di Colombo Coen (Trieste, 1858). [Google] [More]  ⦿

Cordial Campari

Examples of the great use of typography in advertizing. The web site "Italian Ways" presents and discusses Davide Campari's contributions through artists invited to design posters for him, mainly in the interbellum period. [Google] [More]  ⦿

Corrado Mariani

Motion graphics designer in Mona, Italy, who created the signage typeface Makita (2013), which he calls a power tool font. It was made during for a type design class at Politecnico di Milano.

Behance link. [Google] [More]  ⦿

Corso di alta formazione in Type Design

Andrea Braccaloni, James Clough, Piero De Macchi, Giangiorgio Fuga and Luciano Perondi, together the "who is who" in type design in Italy today, offer a high level type design course from September 15 until October 10, 2008, at Poli.design, Consorzio del Politecnico di Milano. A similar course was organized there in 2007 as well. [Google] [More]  ⦿

Cose Design

Italian graphic designer. Alternate URL. Creator of the simple hand-printed font Student F3 (2007) and the informal caps typeface cippo xc (2008). [Google] [More]  ⦿

Cosimo Lorenzo Pancini

Born in Firenze in 1969. Cofounder with Francesco Canovaro and Debora Manetti of the Italian design firm in Firenze called Studio Kmzero. He co-designed some typefaces there such as Arsenale White (2009). In 2002, Pancini developed Targa, TargaMS and TargaMSHand (for comic books?), basing his design on the peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton that Italy had been using for its license plates. In 2022, Francesco Canovaro redesigned this font into a versatile multi-weight typeface, Targa Pro, which includes Targa Pro Mono (which keeps the original monospace widths), Targa Pro Roman (with proportional widths), both in five weights plus italics, the handmade version Targa Hand, and Targa Pro Stencil.

The handwriting of Lord Byron led Pancini to develop the brush script typeface Byron (2013, Zetafonts).

MyFonts credits him with the rounded avant garde sans family Antipasto (2007), but elswhere we read that this typeface is made by Matteo di Iorio, so there is some confusion. It was extended in 2017 by Pancini as Antipasto Pro.

In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro co-designed Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014; replaced by Cocogoose Pro in 2017) and the stylish deco font Offensive Behaviour. Cocogoose Letterpress is free. Cocogoose is part of the Coco Gothic family, a collection of twelve typefaces each inspired by the fashion mood of every decade of last century, named after fashion icon Coco Chanel. Cocogoose is Coco Gothic for the 1940s. See also Coco Gothic Pro (2021).

In 2015, Pancini published the grand family Coco Gothic. This Latin / Greek / Cyrillic typeface family features a small x-height and sligghtly rounded corners to make the avant garde and geometric sans typefaces in vogue in the 1970s come alive again, ready for 21st century fashion magazines. It comes with substyles that recreate many moods, including art nouveau and arts and crafts (Cocotte), Italian propaganda style and Italian deco (Cocosignum), hipster style (CocoBikeR), or Bauhaus (Cocomat). Coco Gothic was initially developed as a corporate font for Lucca Comics & Games Festival 2013. The rounded geometric sans family Cocomat (by Cosimo Lorenzo Pancini, Deborah Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

Still in 2015, Cosimo and Zetafonts published the connected creamy baseball script Bulletto, the grungy handvetica Neue, and the calligraphic wedding typeface Hello Script. In 2015, at Zetafonts, Cosimo Lorenzo Pancini designed CocoBikeR (2015) to celebrate the hipster and bike cultures. CocoBikeR (for Latin, Greek and Cyrillic) is part of the successful Coco Gothic typeface family. In 2017, Pancini designed the 1930s Italian art deco typeface families Cocosignum Maiuscoletto and Cocosignum Corsivo Italico. In 2021, he published the 48-style (+variable) font family Coco Gothic Pro. This is a redrawn and expanded set of fonts: Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (like Futura, Kabel or the italian eponyms like Semplicita) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth through a slight rounding of the corners that is translated digitally in the design of Coco Gothic. [...] A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow you to use the typeface as a true typographic time machine, selecting period letterforms that range from art deco and nouveau, to modernism and to eighties' minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century. There is also attention to Darkmode and there is coverage of Cyrillic and Greek.

Typefaces from 2016: Adlery (a curly brush script), Kitten (Fat, Swash, Swash Monoline, Slant, Bold: signage script family), Adlibitum (a blackletter typeface by Cosimo Lorenzo Pancini and Francesco Canovaro), Morbodoni (a display didone by Cosimo Lorenzo Pancini and Francesco Canovaro).

In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Still in 2016, Pancini designed Calligraphunk, an experimental typeface that mimicks polyrythmic calligraphy, by alternating two sets of lowercase letters to emulate handwriting.

In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual.

Beatrix Antiqua (2016, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli). This humanist sans-serif typeface is part of the Beatrix family (Beatrix Nova, etc.) that takes its inspiration from the classic Roman monumental capital model. Its capitals are directly derived from the stone carvings in Florence's Santa Croce Cathedral. Beatrix keeps a subtle lapidary swelling at the terminals suggesting a glyphic serif, similar to Hermann Zapf's treatment in Optima.

Amazing Grotesk (2016) is based on a logo designed by Francesco Canovaro.

Studio Gothic (2017, by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli) is an 8-style geometric sans family based on Alessandro Butti's geometric sans classic, Semplicita.

Hello Script and Hello Sans can be used for layering and coloring. The Christmas-themed version is Hello Christmas.

Pancini designed the 64-strong typeface family Body Grotesque and Body Text in 2017-2018, together with Andrea Tartarelli. It was conceived as a contemporary alternative to modernist super-families like Univers or Helvetica.

In 2017, Cosimo Lorenzo Pancini and Andrea Tartarelli co-designed the sans typeface family Kabrio, which gives users four different corner treatment options.

Anaphora (2018). Anaphora is a contemporary serif typeface designed by Francesco Canovaro (roman), Cosimo Lorenzo Pancini (italic) and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to heavy. Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display size. Anaphora covers Latin, Greek and Cyrillic.

Canovaro's Arista served as a basis for the 29-style monolinear rounded sans typeface family Aristotelica (2018) by Cosimo Lorenzo Pancini and Andrea Tartarelli. See also Aristotelica Pro (2020).

In 2018, he designed the italics for Cosimo Lorenzo Pancini's Domotika typeface family. Between 2018 and 2021, Cosimo Lorenzo Pancini and Andrea Tartarelli developed the 8-weight humanist sans typeface Domotika for Latin, Cyrillic and Greek, further into the 18-style Domotika Pro (2021).

In 2018, he published Radcliffe, with Andrea Tartarelli, a Clarendon revival with Text and Casual subfamilies. Radcliffe (a Clarendon revival by Cosimo Lorenzo Pancini and Andrea Tartarelli), and added the layerable condensed Cocogoose Narrows to the Cocogoose family. Codec (2018) by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli is a geometric sans typeface family in which all terminal cuts are horiontal or vertical. See also Codec Pro (2019).

His Double Bass (2018) is a jazzy 4-style typeface family that pays tribute to Saul Bass's iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence and other movies, Bass's vibrating, almost brutal cut-out aestethics, and the cartoonish lettering and jazzy graphics of the fifties.

In 2018, he published the sharp wedge serif typeface Blacker to pay homage to the 1970s. In 2019, that was followed by Blacker Pro (Cosimo Lorenzo Pancini and Andrea Tartarelli, who write: Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs). Still in 2018, he designed the swooping polyrhythmic calligraphic typeface Calligraphunk.

In 2018, Cosimo Lorenzo Pancini and Andrea Tartarelli designed Holden, a very Latin cursive sans typeface with pointed brush aesthetics and fluid rhythmic lines.

In 2019, Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli published the monolinear geometric rounded corner amputated "e" sans typeface family Cocogoose Classic, the sans family Aquawax Pro, and the condensed rounded monoline techno sans typeface family Iconic.

In 2019, Cosimo Lorenzo Pancini, Andrea Tartarelli and Maria Chiara Fantini at Zetafonts published a slightly calligraphic Elzevir typeface, Lovelace.

In 2019, the lapidary typeface family Beatrix Antiqua (Francesco Canovaro) was reworked by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini into a 50-style type system called Monterchi that includes Text, Serif and Sans subfamilies. Monterchi is a custom font for an identity project for a famous fresco in Monterchi, developed under the art directorship of Riccardo Falcinelli.

Tarif (2019) is a typeface family inspired by the multicultural utopia of convivencia---the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, together with Muslim culture and aesthetics. It is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing Latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Maria Chiara Fantini and Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the Latin letters find a natural connection with modern arabic letterforms.

Late in 2019, Cosimo Lorenzo Pancini released the fun typeface family Hagrid at Zetafonts, which writes: Crypto-typography---the passion for unknown, weird and unusual character shapes---is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design.

In 2020, Pancini released Stinger (2020, a 42-style reverse contrast family by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Maria Chiara Fantini) and Boring Sans (a typeface family designed along two variable axis: weight and weirdness). As part of the free font set Quarantype (2020), Cosimo Lorenzo Pancini designed Quarantype Embrace, Quarantype Hangout, Quarantype Hopscotch, Quarantype Joyride, Quarantype Sackrace, and Quarantype Uplift (with Maria Chiara Fantini).

In 2020, Cosimo Lorenzo Pancini and Mario De Libero revived Nebiolo's Carioli (1928) as Cairoli Classic and Cairoli Now at Italian Type / Zetafonts. They extended the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Cairoli Variable has a weight and width axis.

In 2020, Cosimo Lorenzo Pancini and Mariachiara Fantini---with the help of Solenn Bordeau---released Erotique at Zetafonts. Erotique evolved from Lovelace, an earlier Zetafonts typeface. Zetafonts describe this evil serif as follows: it challenges its romantic curves with the glitchy and fluid aestethic of transmodern neo-brutalist typography. Late in 2020, they added Erotique Sans, the sans version of Erotique, also designed by Cosimo Pancini and Maria Chiara Fantini.

Late in 2020, he co-designed the 46-style font family Eastman Grotesque together with Francesco Canovaro and Andrea Tartarelli. This monolinear sans with a tall x-height comprises an interesting Eastman Grotesque Alternate subfamily with daring and in-your-face glyphs. The typeface evolved from Zetafonts' earlier Bauhaus-inspired typeface Eastman (2020). Later fonts in this family include Eastman Condensed (2021, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli).

In 2020, Cosimo Pancini, Andrea Tartarelli and Mario De Libero drew the 60-style Cocogoose Pro Narrows family, which features many compressed typefaces as well as grungy letterpress versions.

Sunshine Pro (2020, Zetafonts) was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection (2020), which in turn was designed as a typeface for good vibes against Covid-19. Sunshine Pro is an experimental Clarendon-style font with variable contrast along the weight axis---contrast is reversed in light weight, minimized in the regular weight and peaks in the bold and heavy weights.

Coco Sharp (2021) is a 62-style sans feast, with two variable fonts with variable x-height, by Francesco Canovaro, Cosimo Pancini and Andrea Tartarelli.

Co-designer of Heading Now (2021), a 160-strong titling font (+2 variable fonts) by Francesco Canovaro, Cosimo Pancini, Andrea Tartarelli and Mario De Libero that provides an enormous range of widths.

Keratine (2021, Cosimo Pancini, Andrea Tartarelli and Mario De Libero). A German expressionist typeface that exists in a space between these two traditions, mixing the proportions of humanistic typefaces with the strong slabs and fractured handwriting of blackletter calligraphy. Pancini, its main designer, writes that it explores the impossible territory between antiqua and blackletter.

Geppetto (2021) is a frivolous Tuscan font that started out as a revival of a condensed Tuscan wood type family appearing in the 1903 Tubbs Wood Type catalog and which was probably derived from an 1859 typeface by William Hamilton Page. Pancini built a variable font on top of it and calls it a font for fake news.

In 2021, Pancini added Coco Tardis as a variable font with a time travel slider to the Coco Gothic family.

Millard Grotesque (2021) is a true "grot" in the Akzidenz Grotesque sense of the word. This typeface family was designed by Cosimo Lorenzo Pancini and Andrea Tartarelli.

Pancini's Descript (2021) is a variable script font with two axes, slant and speed of writing.

Milligram (2021) is a very tightly set grot by Cosimo Pancini and Andrea Tartarelli. [Google] [MyFonts] [More]  ⦿

Cosimo Torsoli

Cosimo Torsoli (Florence, Italy) created Codryceps (2012), a caps typeface that was inspired by a video from the BBC called Planet Earth. [Google] [More]  ⦿

Costanza Tarabella

Italian designer (b. 1991) of the fat finger font Ebrinnas Candy (2014). Dafont link. [Google] [More]  ⦿

Cristian Iaccarino

Roman designer of the circle-based monoline logotype font Diadema (2012), the squarish techno typeface Vanadio (2013), and of the bilined typeface Arianna (2013).

His fonts can be bought at Chrisworks. [Google] [More]  ⦿

Cristian Mantovani

Graphic designer from Bologna. Creator of the experimental typeface Zothik Bold (2011). [Google] [More]  ⦿

Cristina Guareschi

Cristina Guareschi (Loving Lettering Design, Parma, Italy) created the outlined sketched typeface Retro Italian in 2017. Creative Market link. [Google] [More]  ⦿

Cristina Pagnotta
[Cristina Pi]

[More]  ⦿

Cristina Pellicano

Milan, Italy-based graphic designer. During Typeclinic 11th International Type Design Workshop, she created the typeface Salvatore Serif (2015). Behance link. [Google] [More]  ⦿

Cristina Pi
[Cristina Pagnotta]

Italian art directore designer in London who created the futuristic typeface Space, the modern geometric sans typeface King Lear, and the free Peignotian typeface family Audrey in 2016. In 2015, she made a free EPS format set of icons. [Google] [More]  ⦿

[Antonio Cerri]

Antonio Cerri (b. 1972, Catania, Italy) freelances in web, graphic and motion design from San Giovanni La Punta, Sicily. He created some typefaces in 2010, such as the futuristic CRR NTN (+Outline).

In 2011, he made Labyrinthus, a multilined all caps family: inspect each glyph and note that there is one point of entrance and one exit. Still in 2011, the decorative family Atlantide and the futuristic all caps typeface Silver Chisel appeared.

In 2012, he designed the techno family Steel.

Typefaces from 2013: Firebird (techno, automotive, speed font family).

In 2014, he made Luna Crescente, a layered multicolor 3d typeface.

Typefaces from 2016: Xandra (script), Xova (a 5-layer techno/logo font), Xova Rounded, Maria Script (heavy signage script).

Typefaces from 2020: Bilya Layered, Xova Layered, Labyrinthus Rounded.

Typefaces from 2021: Astralys (futuristic caps), Labyrinthus Pro (labyrinthine).

View Antonio Cerri's typefaces. [Google] [MyFonts] [More]  ⦿

Cynthia Torrez

Graphic designer in Milan, Italy (was: Cordoba, Argentina), who created the ink-trapped sans typeface Gris in 2017, and the stylish thin typeface mantra in 2019. Behance link. [Google] [More]  ⦿

[Gregory Flajszer]

Dadakool (or DK) was founded by Parisian Gregory Flajszer and Padovan Alex Mazzuccato Mezzoccoli in 2005, after they met each other during their studies in Paris. They created the 3d experimental typefaces DK01 (2005) and DK Stencil (2006). [Google] [More]  ⦿

Dafne Salvatori

Italian designer of the handcrafted typeface Dufus Doodle (2017). Dafont link. [Google] [More]  ⦿

Dalila Capelli

Bergamo, Italy-based designer of Dalila Garamond (2015), a hybrid of Garamond and Bodoni/Didot targeted for use in fashion mags. Dalila Garamond was a student project. [Google] [More]  ⦿

Damiano Cenderelli

During his studies, Carrara, Italy-based Damiano Cenderelli designed the free squarish typeface Monocr (2018). [Google] [More]  ⦿

Damiano Stingone

Catania-based creator of the ornamental caps alphabets Fattidarte Pills (2012) and Ich Bin Ein Berliner (2012).

Behance link. [Google] [More]  ⦿

Dana Asfoura

Italy-based designer of an experimental set of fonts called Wired (2016). [Google] [More]  ⦿

Daniel Berio

[More]  ⦿

Daniel Comerci

Italian illustrator. In 2017, he designed the handcrafted typeface Rust Paint sans. Creative Market link. [Google] [More]  ⦿

Daniela Arnoldo

Milan-based designer of Double Chocolate Brownie (2012, hand-printed, available from Ten Dollar Fonts). Klingspor link. [Google] [More]  ⦿

Daniela Cominale

Graphic designer and illustrator in Genoa, Italy, who created the comic book / marker pen typefaces Primo (2018) and Boldone (2018). [Google] [More]  ⦿

Daniela Verona

Roman graphic and web designer who has degrees from La Sapiena University in Rome, the Rome University of Fine Arts (RUFA) and Politecnico in Milan. She teaches graphic and type design at IED, the Istituto Europeo di Design (Rome).

Creator of the typewriter / keyboard typefaces Mela+Tipo and Mela+Tondo (2010), which were executed while she was studying at the Politecnico in Milan. [Google] [More]  ⦿

Daniele Bruno

As a graphic design student in Rome, Daniele Bruno designed the alchemic typeface family I Shut My Eyes In Order To See (2013). [Google] [More]  ⦿

Daniele Capelli

[More]  ⦿

Daniele Capo

Italian architect in Viterbo who is interested in typography. He studied at the Faculty of Architecture at the University of Firenze. He collaborates with Arci Viterbo in the communication of their social and cultural initiatives and has a contract assignment for the graphic design course at the Disucom of the Universita della Tuscia. He specializes in font engineering and training for engineers. He has been a member of the cooperative Italian type foundry CAST and is its type engineer since 2016.

In 2009, he tried to design a typeface and called it Pince-Nez. He was working on Guido (2010), a free typeface based on the Italian gothic letterforms (roughly speaking, a blend between blackletter and chancery), or gotica corsiva (used in the fourteenth century for books such as Dante's Divine Comedy). Flickr page. Capo studied at the Faculty of Architecture at the University of Firenze. [Google] [More]  ⦿

Daniele Cima

Italian art ditrector, graphic designer and visual artist. In 2022, he published the colourful Artphabet, which was inspired by Ettore Sottsass and the Memphis movement, as well as by artists such as Peter Blake, Alighiero Boetti, Robert Brownjohn, Fortunato Depero, Milton Glaser, Alessandro Mendini, Piet Mondrian, Bruno Munari and Piet Zwart. [Google] [More]  ⦿

Daniele De Nigris

Digital and graphic artist in Bologna, Italy, who runs DNDesign. He created an Escher-inspired alphabet called Impossible (2010). Flickr page. [Google] [More]  ⦿

Daniele Fieni

Freelance graphic designer in Cisterna di Latina, Italy. Creator of the foliate typeface Leave (2014). [Google] [More]  ⦿

Daniele Franchi

Art director in Dublin, Ireland (was: Milan, Italy). In 2020, he designed the free futuristic rounded sans typeface Mango, the thin experimental font Joky, the high contrast experimental typeface Nera and the organic sans Elegantly. [Google] [More]  ⦿

Daniele Piccone

Italian designer of the free sans caps typeface Michelucci (2013). He says it was made from photos made in the Firenze Santa Maria Novella station: The station was designed in 1932 by a group of architects known as the Gruppo Toscano (Tuscan Group) of which Giovanni Michelucci and Italo Gamberini were among the members; the building was constructed between 1932 and 1934. [Google] [More]  ⦿

Daniele Politini

A native of Italy, Daniele Politini graduated from the Politecnico di Milano with a degree in Design of Visual Communication in 2001. Currently, he is a graphic designer living and working in NYC, where he works as Design Director at FutureBrand New York. Creator of Lady First (2010, an informal sans typeface developed at Bauer School in Milan). Behance link. [Google] [More]  ⦿

Daniele Togninelli

Rome-based designer of the experimental typeface Positive (2013) and the art deco typeface Dark Side (2015). Behance link. [Google] [More]  ⦿

Daniele Vignato

Vicenza, Italy-based designer of the prismatic typeface Cerchi (2013). [Google] [More]  ⦿

Daniele Zanchi

Italian guy, b. 1992, who lives in Civitavecchia near Rome. He used FontStruct to make Skydon (2010), an artificial language face. [Google] [More]  ⦿

Danielle Abbon

Florence, Italy-based designer of the Cymatics dingbat series (216) and the sans typeface Straya (2016), which is based on iconic Australian shapes. [Google] [More]  ⦿

Danilo De Marco

Web designer in Milano, Italy (and before that, Lugano, Switzerland, and Catania, Sicily), who created the didone typeface Rachel and the partly tweetware sans typeface family DDM in 2014. With Meedori Studio in Catania, he created the tweetware Futura-inspired caps-only typeface Meedori Sans (2015).

In 2017, he designed the free wayfinding sans typeface Agané, which is based on Adrian Frutiger's Frutiger and Avenir, FF Transit by Erik Spiekermann and Bob Noorda's Noorda. With Giulia Gambino, he co-designed the free icon font Agane Icons.

In 2018, Danilo De Marco and Giulia Gambino codesigned the free blackboard bold typeface K95 for K95, a communication and graphic agency based in Catania, Italy.

In 2019, De Marco designed the didone display typeface family Herbert, which is named after Herbert Lubalin. Herbert Regular is free. Still at K95, he published Points & Lines (2019). Still in 2019, he also designed the free geometric color typeface Huber Alphabet, which is named in honor of Max Huber. [Google] [More]  ⦿

Danilo Musci

Italian llustrator rom Fermignano. Graduate of Istituto Tecnico Commerciale Giovanni Calo (Francavilla Fontana, 2008) and Accademia di Belle Arti di Urbino (2015), who is currently (in 2017) based in Geneva, Switzerland. Designer of the free textured typeface Materia (2016). Behance link. [Google] [More]  ⦿

Dario Ferrando

Graphic designer from Italy, freelancing in Berlin. Specializing in icons. He created the large free icon sets Linea (2014, including music, weather, e-commerce, software, arrowed and other subsets: free) and Outlined Icon Set (2014, free). See also PixsHub in New York City. [Google] [More]  ⦿

Dario Lipani

Graphic designer in Monza, Italy, who created the oriental simulation typeface Zen (2015). [Google] [More]  ⦿

Dario Quadri
[The Words Face]

[MyFonts] [More]  ⦿

Dario Sepe

As a student at AANT (Accademia delle Arti e Nuove Tecnologie, Rome), Rome-based Dario Sepe created the free diodone font Blasone HC (2015). I could not figure out where the download link would be, but it is nevertheless claimed to be free. [Google] [More]  ⦿

Dariusz Jasak

During his studies at IED in Firenze, Italy, Dariusz Jasak designed the experimental typeface Morse (2016), which is supposed to teach Morse to its users. He also designed the handcrafted typeface Heniek (2017). [Google] [More]  ⦿

Dave Humphrey

Student in Torino, Italy, whose first font is the geometric monoline sans typeface Cosmic Sans (2012).

Behance link. [Google] [More]  ⦿

David Terzano
[Souldavid (or: Wrktag, or: Work It)]

[More]  ⦿

Davide Ardissone

Creator of the minimal sans typeface Albertino (2008), and the monoline sans typeface Giorgino (2011). Fontspace link. [Google] [More]  ⦿

Davide Baratta

Art director in Rome, Italy. Creator of the alchemic typeface Carma (2014). Behance link. [Google] [More]  ⦿

Davide Bassu

Rome, Italy-based designer of the free dry brush script typeface Perfetto (2017). [Google] [More]  ⦿

Davide Bernardi

Graphic designer in Varese, Italy, who created the stackable artsy typeface family Fork (2015). [Google] [More]  ⦿

Davide Canavero
[Boba Fonts]

[More]  ⦿

Davide Cariani

Italian designer (b. Rome) of the free art deco typeface True Love (2013). It has a blackboard bold outline version. Davide runs the design studio Davelab.

Dafont link. [Google] [More]  ⦿

Davide DallAra

Italian creator of Davide China (2011, iFontMaker), a scratchy hand-printed face. [Google] [More]  ⦿

Davide Di Mattina

[More]  ⦿

Davide Francesco Montesano

As a member of the Italian open source font cooperative Collletttivo, Davide Francesco Montesano designed the geometric sans typeface Porpora (2019). [Google] [More]  ⦿

Davide Gigi Rizzi

Italian designer of the handwriting fonts Rusty Battersea (2005, based on AF Battersea), mmfh30 (2004), Malamela (2003), Malamela's Old Typewriter no12004, based upon an old Olivetti), Photocopied Futura (2005), Stamped Palatino (2005), and Malamela Freehand 3.0 (2004). [Google] [More]  ⦿

Davide Giovanni Steccanella

During his studies in Trento, Italy, Davide Giovanni Steccanella designed the neo deco typeface Adelante (2017). Behance link. Creative Market link. [Google] [More]  ⦿

Davide Lasagni

Italian designer of Futuro (2016), the sharp-edged typeface Arctic Explorer (2016), the frivolous sci-fi font Sonic Boom (2016), and the constructivist typeface Hammerhead (2016). [Google] [More]  ⦿

Davide Laudati

During his studies, Caserta, Italy-based Davide Laudati designed the display typeface Kexo (2017). [Google] [More]  ⦿

Davide Mancini

Art director in Milan, b. 1986. He created the droplet-themed sans typeface Amsdam in 2015. He has been participating in the communication activities of the cooperative Italian type foundry CAST since 2018. [Google] [More]  ⦿

Davide Mascioli

Italian designer of Singularity Type (a 4-style geometric sans) (2021). [Google] [MyFonts] [More]  ⦿

Davide Melotti
[Dubbio Gusto]

[MyFonts] [More]  ⦿

Davide Molinari

Italian type and graphic designer in Genova. His first typeface is Hono (2012), the final project of the Corso di Alta Formazione in Type Design at the Politecnico in Milan. Hono is a 4-font open source system that includes Hono Mono, Hono Sans, Hono Serif and Hono Display. [Google] [More]  ⦿

Davide Mottes

Italian designer from Trento, b. 1986, now in Milan. Creator of Material Sans (2008, sans based on Luciano Perondi's Zotico and an itsy bitsy on Eric Olson's Klavika), Graphic Line (2009, a severe slab serif). Behance link. Flickr site. [Google] [More]  ⦿

Davide Natalucci

Student in Rome who designed the free brutalist sans poster typeface Fondamenta (2019). [Google] [More]  ⦿

Davide Paoletti

Davide Paoletti (Fossano, Italy) created the geometric typeface Ballons (2013). [Google] [More]  ⦿

Davide Piscitelli

Based in Milan, Italy, Davide Piscitelli created the futuristic compass-and-ruler typeface Trnk in 2016. Behance link. [Google] [More]  ⦿

Davide Romito

After majoring in industrial design at the University of Palermo (Sicily) Davide Romita became a graphic designer with a particular interest in visual and corporate identity. In 2014 he set up romdesing in Sicily. In 2017 he moved to Treviso where he joined the HEADS collective, where he worked on the visual identity of the FIS Alpine World Ski Championships Cortina 2021, designing the symbol of the shield logo.

In 2022, he released the modernized blackletter typeface Trisquare. [Google] [MyFonts] [More]  ⦿

Davide Scarpantonio

Graphic designer in Rome (and before that, Milan), b. 1987, Ascoli Piceno. Creator of the hipster font Pentothal (2013). [Google] [More]  ⦿

Davide Tarsi

Roman designer of Elephont (2012). [Google] [More]  ⦿

Davide Terenzi

San Marino-based designer (b. 1981) of the hand-drawn caps typeface Damagrafik Script (2013) and the modular octagonal typeface Moduldama (2013). Dafont link. [Google] [More]  ⦿

Davide Tomatis

[More]  ⦿

Davide Zomer

Davide Zomer (Bologna, and before that, Trento, Italy) created the modular typeface REZN7399 (2012) during his studies at the academy of Fine Arts in Bologna. In 2013, he designed the alchemic typefaces Eres and TMRRW, the art deco typeface Goldie, the experimental Nimcts [nothing is more contagious than sin], and the blackletter typeface Voelkisch XXI (with Tommaso Gonzalez).

Typefaces from 2014 include Schelling, Friedrich (blackletter) and Youngzarro (hipster face). [Google] [More]  ⦿

Davide Zomer

Student of Academy of Fine Arts of Bologna, who was born in Trento, Italy. He is heavily into sup-fitting geometric experimental typefaces that flirt with the optical limits. One example is his NMTCS typeface. [Google] [More]  ⦿

Debora Manetti

Studio Kmzero is an Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. Debora Manetti (Florence, Italy) designed Sala de Fiestas (2005-2006, free download at OFL), inspired by a handpainted sign for a ballroom on the island of Fuerteventura. In 2021-2022, Francesco Canovaro built his 5-style (+variable) font Salad on top of Sala de Fiestas.

Arsenale White and ArsenaleBlue (2009) are children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro, Andrea Mi, Debora Manetti, Katiuscia Mari and Jonathan Calugi.

At Kmzero and Zetafonts, she designed the hand-printed Panforte family in 2011. Panforte Serif is free at Dafont.

The rounded geometric sans family Cocomat (2015, Zetafonts, by Cosimo Lorenzo Pancini, Debora Manetti and Francesco Canovaro) was inspired by the style of the twenties and the visions of Italian futurists like Fortunato Depero, Giacomo Balla and Antonio Sant'Elia. Updated in 2019 as Cocomat Pro.

She also co-designed the successful Cocogoose and Coco Gothic typefaces in 2015. Designer of Jamscript (2015).

In 2018, Debora Manetti and Francesco Canovaro designed the brush handwriting font Freehand Brush.

Behance link. Studio Kmzero link. Dafont link for downloading some of her fonts. [Google] [More]  ⦿

Design Buero
[Albert Pinggera]

Albert Pinggera, who runs Design Buero in St. Leonhard in Passeier in Italy, is a Tirolian-Italian type designer (b. 1971). He created FFLetterGothic (Text and Mono) and FF Strada (2002) at FontFont. A graduate of the Royal Academy of Fine and Applied Arts, he currently runs a type and design shop in Italy. In 2003, FF Strada won an award at the TDC2 2003 competition.

Klingspor link. FontShop link. [Google] [MyFonts] [More]  ⦿

Design Lab SRL, Milan
[Jane Patterson]

Jane Patterson founded Design Lab SRL in Milan, Italy. She is a partner in Design Lab with Sebastiano Castiglioni. Jane Patterson designed or co-designed

  • FB Californian (1994). Based on Goudy's California Oldstyle from 1938. Lanston issued Californian in 1958. The Font Bureau story: Carol Twombly digitized the roman for California in 1988. David Berlow revised it for Font Bureau with italic and small caps. Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, David Berlow designed the black and the text and display series.
  • FB Cheltenham (1992). Ingalls Kimball sketched the basic weight while architect Bertram Grosvenor Goodhue completed drawings in 1901. Morris Fuller Benton finished the ATF version in 1902, beating Mergenthaler by two years. In 1906 he drew Bold Extra Condensed, which David Berlow adapted for the SF Examiner, later a Font Bureau release.
  • Eldorado (1993-1994). W. A. Dwiggins's Eldorado was released by Mergenthaler in 1953. He followed an early roman lowercase, cut in the 16th century by Jacques de Sanlecque the elder (Granjon). Berlow, Frere-Jones, and Rickner revived and expanded the series in 1993-1994 for Premiere magazine, with versions not only for text and display, but a Micro for six point and smaller.
  • Skyline (1992). Skyline was commissioned from Font Bureau by Condé Nast as headletter for Traveler magazine. This typeface dating from 1929-1934 by Imre Reiner was known in Europe as Corvinus.
  • John Downer's Simona.
[Google] [MyFonts] [More]  ⦿

[Stefano Meriggi]

Design.it is the graphic design company of Stefano Meriggi in Milan. Creators of Genova (1997, sans), Type Studio 01 (2000, techno), Desroches (1987, techno), Design.it (2000, liquid), SAT (2000, monoline sans). No sales or downloads. [Google] [More]  ⦿

Device Motion Graphics

Milan-based motion graphics studio with a side interest in typography. One of their typefaces is the squarish tecno typeface Hodino (2011). [Google] [More]  ⦿

DF Type (or: Fischbachpresse)
[Giovanni de Faccio]

DF Type is the Austrian foundry of Giovanni de Faccio and Lui Karner. Giovanni de Faccio (a calligrapher born in Venice in 1966) and Lui Karner made the very classy text family called Rialto Grande dF (1999), a humanist antiqua. There is also a smaller optical size, Rialto Piccolo dF.

Rialto won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Soon to release a sans serif family called Linea. [Google] [More]  ⦿

Diana Elisa Militano

Digital artist from Milan who graduated from Politecnico in Milan. She created a branding and wayfinding type family for the city of Genova in 2010. This includes Zena Sans, Zena Pittogrammi, Zena Contrastato (Peignotian), Zena Pixel, Zena Unicase, and Zena Stencil. [Google] [More]  ⦿

Diego Massaro

During his studies at Isia Urbino (Italy), Diego Massaro (Imola, Italy) designed the display typeface Residua (2019) and the Japanese emulation typeface Fukuro (2019).

In 2020, he puvblished the stylish modern serif typeface Angustina. [Google] [MyFonts] [More]  ⦿

Diego Ornato

Diego Ornato (DOD Creative, Napoli, Italy) created the thin display typeface Fiber (2013). Behance link. [Google] [More]  ⦿

Diego Quijano

Born in 1987 in Santander, Spain, Diego Quijano Sanchez created Metatipografia Modular in 2012 for his graduation project. This is a modular type system in which keys on the keyboard are used to compose letters and icons. This fascinating project, and other ones called Metatipografia Monerd and Metatipografia Coordinate (pixel typeface) are conceptually related to Robert Meek's FontStruct.

Diego works as a graphic designer in Rome. Behance link. [Google] [More]  ⦿

DJ Andrea Esu
[Studio Volk]

[More]  ⦿


Italian designer of the connected car logi script font Alfaowner Script (2003). The font info says that the font is the copyright of Google] [More]  ⦿

Dmitry Goloub

Russian type foundry, est. 2014 by Dmitry Goloub, the Moscow-based codesigner with Lucas Perdidaão of the free grid-based art deco typeface Bobber (2012, in ai format) and of Alpine (2014). From 2009 until 2010 and again in 2012, he lived in Firenze, Italy.

Typefaces from 2013 include Bolognese Sans, Moor (multilined art deco family), Bobber Script, and Bread & Milk Sans. Genplan (2013) is a great free layered inline typeface for Latin and Cyrillic that is based on 1930s Soviet poster types. See also TT Genplan Pro (2014).

Cittadino Symbols (2013) is a free rounded city traffic icon font related to a Milan subway project. In 2013, this was replaced, still for the Milan metro maps, by Meneghino Wayfind, a tweetware typeface that was influenced by PT Sans Caption.

In 2015, Goloub created Ardent: Ardent is my Sergey Chekhonin-inspired typeface. Ardent is an attempt to prove that the bizarre Cyrillic letterforms of 20s are still decent for use in modern design, even in Latin script. It is highly ornamental and lapidary. Still in 2015, he designed the sans typeface family Intersans (a multilingual Swiss army knife sans), which supports Extended Latin, Extended Cyrillic (including Bulgarian and Serbian Cyrillic), Polytonic Greek, Armenian (Asomtavruli, Nuskha-khutzuri, Mkhedruli, Mkhedruli Mrglovani), Georgian and Hebrew. It also includes true italics, small caps, small caps italics and a lot of pictograms.

Typefaces from 2020: Grrr (at Paratype, with Alexandra Korolkova: a techno family characterized by an oversized lower case f).

Dmitry Goloub's home page. [Google] [MyFonts] [More]  ⦿

Domenico Catapano

Italian designer from Naples of Leftist Mono Sans and Serif (2005) and Twentytwelve Slab (2012).

Dafont link. [Google] [More]  ⦿

Domenico Cristallo

Aka D128 design. Italian creator (b. 1996) of the scratchy pencil font Domenico 128 (2012) and of Warrior's Destiny (2012), Splash 180 (2012, grunge), Heart (2012), Art4 Symbian Handwriting (2012), Breaking Time (2012, a glaz krak face), Triangular HD (2012) and No Name (2012, graffiti font).

In 2018, he designed the upright script Stefania and the logo typeface Vaporwave.

Fontspace link. [Google] [More]  ⦿

Domenico Ruffo

Student at NABA (Nuova Accademia Belle Arti) in Milan. Creator of the elegant bilined typeface Jadore (2012) and of the rune simulation / hipster font Quarz 974 (2012). In 2012, he started his own foundry.

In 2013, he published the alchemic typefaces Blazer and Quarz 974 Light (a free font).

Hellofont link. [Google] [MyFonts] [More]  ⦿

Domina Fidanzati

Domina Fidanzati (Milan) created the display typeface Domina 89 (2013). [Google] [More]  ⦿

Dominique Barbieri

During her studies in Firenze, Italy, Dominique Barbieri designed the vernacular typeface Rio de Janeiro (2013), which took inspiration from lettering found in Rio.

Behance link. [Google] [More]  ⦿

Donatella Craparo

Sciacca, Italy-based designer of Stazione Centrale (2016), an industrial era typeface that adorned the train station of Palermo since 1862. [Google] [More]  ⦿

Donatello D'Angelo

Florence-based designer who proposed an identity for the city of Rome in 2011 which included a minimalist typeface. [Google] [More]  ⦿

Drako Mallafoglia

During his studies in Bologna, Italy, Drako Mallafoglia designed the foliate typeface Leafont (2014), the art deco typeface Security (2016), Dots (2016), and the upright ornamental copperplate-inspired didone typeface Cupcake (2016). [Google] [More]  ⦿

DTP Italia (or: Tipi e contratipi)

Tarmsaft and DincType archives. Plus a tutorial in Italian on font creation via Photoshop and Fontographer. [Google] [More]  ⦿

[Davide Di Mattina]

Davide Di Mattina (b. 1980) lives in Milan and runs du2 design. He created the fat hand-printed outline font called Dudufont (2008). [Google] [More]  ⦿

Dubbio Gusto
[Davide Melotti]

Italian designer of the fat display typeface DG Zanardini (2020) and the curvy rebellious display sans typeface Arqua (2020; in Goodboy and Badboy styles). [Google] [MyFonts] [More]  ⦿

Due Studio

Graphic and type design studio in Perugia, Italy, founded by Massimiliano Vitti and Alessio Pompadura. They co-designed the grid-based stencil typeface Nodo in 2017.

In 2018. they developed PVF Display for the identity of Palazzo Vertemate Franchi.

In 2019, they designed Grotta, and wrote: Grotta is an irreverent contemporary neo-grotesk typeface with strong geometric accent and sharp contrast in its form. Characterized by tight apertures and an overall dynamic feeling it is suited for both display and text sizes. It is our interpretation of the 21st century grotesk, exuberant, irruptive and [...] winks at [...] Venus-Grotesk and Monotype Grotesque. It shows influences of hipstertism in the way strokes are joined in the 1, N, M, V, W, and other letters.

In 2021, they added the pixel font Analo Grotesk.

Type Department link. [Google] [More]  ⦿

Dusan Lazarevic

Milan, Italy-based designer of Poster Antique (2018), and Hambia (2014: a gothic dome-shaped font). [Google] [More]  ⦿


Paul Haeberli's free C code (1989) for transforming mouse positions into dynamic (and calligraphic) strokes. A free port to OpenGL and GLUT (and Mac OSX) by Nicholas Zambetti is here. Zambetti lives in Ivrea, Italy. [Google] [More]  ⦿

Easy Reading
[Federico Alfonsetti]

Federico Alfonsetti designed the highly legible font family Easy Reading in 2009. It is used on many web sites, including at the University of Turin, and is recommended by the designer for use by dyslexics. A comparative study was carried out by Dr. Christina Bachmann that showed the value of the font. [Google] [More]  ⦿

Edgar Olivas

Creator of a beautiful Day of the Dead postcard series in 2009. He says: The Tzompantli, or wall of skulls was another element taken from the Aztec culture. These racks were built to display the sacrificial victims or those deceased at wars. The grin. In all these characters the grin is related to Mictlantecuhtli’s mocking smile. Some anthropologist say that this enigmatic gesture, depicted in one sculpture, seems to smile or mock ironically of those who typeface or will typeface him one day. Three posters were created as well, for silkscreen painting. The skulls in the postcards were designed using an ornamental and illustration style called DIDOQUE, which emulates the baroque ornamentation and is constructed on whole letters and pieces, signs, glyphs of the DIDOT typography. Didoque, is a portmanteau word and concept result of the words Didot and Baroque. The Didoque illustrations he Published in 2014 were based on HTF Didot.

IN 2014, Olivaswas based in Milan.

Home page. Behance link. [Google] [More]  ⦿

Edoardo Cotti

Italian art nouveau painter, lettering artist and type designer, 1871-1940. Around 1898, a photomechanical engraving studio for zinc, copper, and wood engravings was established under the supervision of Edoardo Cotti at nebiolo.

Designer at Monotype in 1927 with Francesco Pastonchi of Pastonchi, a beautiful humanist text typeface with small bracketed serifs. Pastonchi MT is available from Monotype. The Monotype version of Pastonchi is due to Robin Nicholas.

Author of Origine della Scrittura e Derivazione Morfologica dell'Alfabeto (Turin, Regio Scuola Tipgrafica, 1917). [Google] [More]  ⦿

Edoardo Richetti

Artist in Torino, Italy who created the free Adobe Illustrator format artsy display typeface Cine in 2015. [Google] [More]  ⦿

Edoardo Santamato
[Invasione Creativa]

[More]  ⦿

Eduardo Notizia

Art director at Leo Burnett in Milan. Creator of the ornamental caps typeface Ritheart (2012). [Google] [More]  ⦿

Edward Catich

The late Father Edward Catich was a talented and productive calligrapher who has published several fine books on the making of Roman inscriptions. He researched the Trajan inscriptions on the Trajan column in Rome, and is known for his clear and classy calligraphic "Petrarch Script". [Google] [More]  ⦿

Edward Elric

Italian designer of the nice scratch font Psychotika (2007). Dafont link. [Google] [More]  ⦿

Egidio Filippetti

Italian graphic designer, b. Puglia. He studied at the European Institute of Design in Rome, and works in Rome. His typefaces:

  • Quasith (2013). A bilined typeface.
  • The clean rounded geometric sans typeface Focus (2014). One free weight.
  • Linjar (2017). A squarish geometric sans.

Behance link. [Google] [More]  ⦿

Egle Kirdulyte

FontStructor in Bolzano, Italy, who created Eastwave (2012). [Google] [More]  ⦿

Einaudi Garamond

A Garamond custom-designed for Italian publisher Einaudi. The closest digitally available typeface is Simoncini Garamond (see, e.g., the Elsner & Flake version). The original Simoncini Garamond by Francesco Simoncini and Wilhelm Bilz dates back to 1961---its design is owned by either Linotype or Neufville, and there is some conlict in the matter. PDF at Einaudi's site. [Google] [More]  ⦿

Elena Albertoni
[Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)]

[MyFonts] [More]  ⦿

Elena Gullace

Milan-based designer of an experimental typeface derived from Helvetica Neue in 2013.

Behance link. [Google] [More]  ⦿

Elena Maroccia

During their studies at Politecnico di Bari, Clarissa Bolettier, Dora Riondinoi and Elena Maroccia designed the roman inscriptional typeface Helias (2016). This typeface is based on rubbings taken from inscriptions dating back to 1105 in Bari's Saint Nicholas Cathedral. [Google] [More]  ⦿

Elena Papassissa

Italian graduate of ISIA Urbino, Italy (M.Sc. in Communication and Design for Publishing and a Bachelor's in Graphic Design and Visual Communication). Graduate of the MATD program at the University of Reading in 2012. Her graduation typeface at Reading was the multi-script Dr. Jekyll and Miss Hyde (2012), created for Latin, Greek and Armenian. My first reaction is that the curviness and roundness of the Latin part is due to the desire to harmonize with the two other scripts. All styles are flared out near the top, which gives the result a comic book feel. In fact, Elena mentions that children's books was one of the main motivations.

Elena Papassissa (Greek) collaborated with Akira Kobayashi and Monotype Studio on the Greek and Armenian parts of Avenir Next World (2021).

She is pursuing a PhD at the University of Reading on the history of Armenian type design under Fiona Ross. At ATypI 2013 in Amsterdam, she discusses the current state of Armenian type design. Speaker at ATypI 2017 Montreal. [Google] [More]  ⦿

Eliabetta Giordana

Italian graphic designer and illustrator in London. She created Feather Sans (2011), a sans family with calligraphic influences. [Google] [More]  ⦿

Eliana Dedda

During her design studies in Politechnico di Milano, Eliana Dedda created the stylish blackboard bold typeface Genesi (2013) for her own identity. [Google] [More]  ⦿

Elis Bonini

Designer in Reggio nell'Emilia, Italy, who created the paint brush typeface From Scratch (2015, free download). Behance link. [Google] [More]  ⦿

Elisa Basile

Florence, Italy-based designer of Joan Miro Font (2015). [Google] [More]  ⦿

Elisa Bavieri

Born in Modena, graphic designer Elisa Bavieri now lives in Rome. She created the display typeface Chance in 2012. [Google] [More]  ⦿

Elisa Brandi

Florence, Italy-based designer of the experimental typeface Monocle (2015), which represents Elisa's eyes---the left part is sharp, while the right side is blurred. In 2015, she also designed the hairline avant garde typeface Flamingo. [Google] [More]  ⦿

Elisa Iadicicco

Torino, Italy-based designer of the modern stencil typeface Kaigo (2018, with Marta Cagno). [Google] [More]  ⦿

Elisa Leotti

Italian designer who created a great circle and compass-based monogram in 1998-1999 at ISIA Urbino. See here. [Google] [More]  ⦿

Elisa Lucaccini

In 2014, Natan Sabatello (Rome, Italy) and Elisa Lucaccini (Rome) co-designed the tattoo font Epoca. [Google] [More]  ⦿

Elisa Marsigliante

Elisa Marsigliante is based in Lecce, Italy. Designer of the display typeface Dielis (2014). [Google] [More]  ⦿

Elisa Rastello

During her studies in Torino, Italy, Elis Rastello designed a balcakletter typeface that was inspired by Behrensschrift (1902, Peter Behrens). [Google] [More]  ⦿

Elisa Tarchini

Morbeno, Italy-based designer of the op-art deco typeface Line Font (2017). [Google] [More]  ⦿

Elisa Terbonetti

Cesano Maderno, Italy-based designer of the original display typerface Asile (2017). [Google] [More]  ⦿

Elisabetta Alesi

Graphic designer in Rome. She created the condensed typeface Humoral (2012). [Google] [More]  ⦿

Elisabetta Vedovato

Graphic designer in Milan, Italy, who created a colorful all caps collage alphabet in 2017. [Google] [More]  ⦿


Italian archiver of these death-themed fonts: Death Font (designer unknown), 05 ZZ Death Note (by ZeZa J. Sirapot) and deathnote (by Namazuirimo). [Google] [More]  ⦿

Eloise Barbanera

Roman designer of the Trajan typeface Traiano (2014). [Google] [More]  ⦿

Elvira Butera

Graphic and web designer in Bergamo, Italy, who created the slinky typeface Circle (2013). [Google] [More]  ⦿

Emanuela Conidi

Conidi obtained an MA in typeface design from the University of Reading in 2008, and a PhD from the same university a few years later. Her graduation typeface is Nabil, a hookish serifed typeface that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. She also holds a Masters degree in Design and Visual Communication from the Polytechnic University in Milan

Emanuela joined Fontsmith in 2008: With a background in Graphic Design, experience in hot-metal type hand composition and letterpress printing, she is passionate about typographic history, 19th century typefaces and Arabic typography. In 2009, Mitja Miklavcic, Jason Smith and Emanuela co-designed the slab serif family FS Rufus, which was described by them as benevolent, quirky, peculiar, offbeat, jelly beans and ice cream, a retro eco warrior.

She co-designed the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).

Designer of FS Albert Arabic, FS Rome (with Mitja Miklavcic: an all caps Trajan typeface) and FS Blake (a sans with some inherent tension) at Fontsmith.

Speaker at ATypI 2018 in Antwerp on the topic of Arabic type history. [Google] [MyFonts] [More]  ⦿

Emanuela Drei

During her studies in Bologna, Italy, Emanuela Drei designed the origami typeface Kitano (2013). [Google] [More]  ⦿

Emanuele Caira

Graphic designer in Rome, Italy, who created the all caps sans typeface Unpointed (2016). He also made a fun set of pictograms for cults and sects. [Google] [More]  ⦿

Emanuele Catena

Italian designer who has an MA from the London College of Communication. He created the sheared grid typeface Trius (2013). [Google] [More]  ⦿

Emanuele Fabrizioli
[Pavlov Design]

[More]  ⦿

Emanuele Fonticoli

Roman graphic designer who created the signage typeface Fonticoli (2012). [Google] [More]  ⦿

Emanuele Luppino

Graphic designer, b. 1988, who is in the Masters program in Communication Design at Politecnico di Milano in 2012. In 2012, he created Indian Nocturne and Null:Eins (a horizontally-striped typeface family). Null:Eins was originally designed for the cover of Diego De Silva's book I did not understand nothing. [Google] [More]  ⦿

Emanuele Papale

Italian art director in Amsterdam who designed the elegant free hipster sans typeface Elianto (2016). [Google] [More]  ⦿

Emilia Viscido

Salerno, Italy-based designer of the circle and grid-based sans typeface Kreion (2015). Behance link. [Google] [More]  ⦿

Emilie Rollandin

Born in 1977, Emilie Rollandin, an architect, lives in Val d'Aosta, Italy. Her company is Studio Archistico. She created the sketched typeface Archistico (2013), the blueprint lettering typeface RollandinEmilie (2014), and the handcrafted Ritaglio (2016).

Dafont link. [Google] [More]  ⦿

Emilio Cassanese

Salerno, Italy-based graphic designer and digital artist. Creator of VXY (2011). [Google] [More]  ⦿

Emilio Grazzi

Graphic and information designer. Emilio Grazzi focuses on typography issues related to music notation and representation. After his graduation in Cello at Conservatorio G. Rossini in Pesaro, in 2012, he completed the editorial design course at ISIA Urbino with a dissertation about parametric type design applied to music notation. Since then, Emilio Grazzi continued his activities in this multidisciplinary field, co-supervising thesis projects, and promoting layout and design solutions for music notation. [Google] [More]  ⦿

Emilio Ignozza

Roman designer at FontStruct in 2008 of Mango (ultra fat, rounded), Doodeka (dodecahedron-themed letters---sublime!), Culdesac, Candelabra, Legorama, Legorama Everywhere Fill, Legorama Everywhere, Legorama Fill, Magnetor (shadow outline face), Thuring (athletic lettering), Monkey Pizzazz (pixelized monkeys), Escaptionist (pixel face), Dioptical (optical illusions face), allurium, allurium_welded, avinguda (an octagonal face), Avinguda Light, Myopia, Fast Pussycat, Roboro (techno), Monkey Pizzaz (monkey dings), Solari Platform, avinguda_jagged, beamo (monoline sans, a take on Franklin Gothic), beamo_outline, beamo_pixel, conformista_1, hairdo, minimalia, minimalia_noon, minimalia_rounded, sherif_1, yvette ("a fat font with a belly button), Hairdo, Bee Legacy (blackletter glyphs encased in hexagons), Legorama. He also made the beautiful hairline squarish typeface Les Bains (2008) which is based on the lettering used for the signs in Les Bains des Docks, by French architect Jean Nouvel.

Additions in 2009: Chauncey, Sixto (ultra fat octagonal typeface made at FontStruct; obese geometry in his own words), Proclama (a cold war font), Lamina.

Fonts from 2010: Bromance (upright connected script), Oliva (open typeface style), Podio (3d), Thuring (athletic lettering), Budino and Budino Kiri (fat counterless), Escaptionist (pixel), Riba (2010, a ribbon font).

Fonts from 2011: Arancito (upright connected script).

Home page at House 42. Behance link. [Google] [More]  ⦿

Emilio Macchia

Italian designer of the fat display typeface Prendotempo (2007). He has addresses in Ravenna and Rotterdam. He co-designed the monospaced typewriter typeface Lekton at ISIA Urbino with Luciano Perondi aka Molotro, Marco Tortoioli Ricci aka BCPT, Michela Povoleri, Stefano Faoro, Elena Papassissa, Giulia Sagramola, Erica Preli, Mige Yilmaz, Luna Castroni, Caterina Giuliani, Veronika Bannert, Laura Fuligna, Caterina Carli, Tobias Seemiller. Google Fonts link. [Google] [More]  ⦿

Emma Zazio

Brescia, Italy-based designer of a set of ten type typefaces in 2015 that represent ten different type styles. [Google] [More]  ⦿

Emo Risaliti

Italian designer (b. Prato, near Florence, 1959) of Kniff (1993, Font Bureau). He lives and works in Agliana (Pistoia). He is involved in poster design, corporate imaging, and wine label design. At ATypI in Rome in 2002, he described the development of the highly original and beautiful tall narrow didone typeface Kniff for logo and display purposes. For an experimental sports shirt font, one might consider his Summertime (1993). Home page, where one can savour his wine labels. [Google] [MyFonts] [More]  ⦿


Bologna, Italy-based designer of the free octagonal typeface Grotk (2017). Behance link. [Google] [More]  ⦿

Enrico Baldetti

Italian designer (b. Rome, 1973) who studied Industrial Design and Visual Communication at Rome University. He works sometimes in Paris. For the magazine 2A+P, he created the monospaced font 2A+P (2000) which evokes robots and synthesized voices. Mènil (1999) is a fluid informal sans family. He also made Jollymusic. Solid Script and Streetfont were made in 2004 for the French mag Worldsigns. [Google] [More]  ⦿

Enrico Bevere

San Benedetto del Tronto, Italy-based graphic designer. Behance link.

Creator of an experimental typefaces Jellymorph (2012) and No IS (2011), which use the Perlin random number generator and trigonometric functions to create glyph outlines. [Google] [More]  ⦿

Enrico Bravi

Graduate in Graphics from the ISIA in Urbino with a thesis titled Graphica Programmata. From 1999 to 2002 he collaborated as designer with Nofrontiere Design in Vienna. Lives and works in Vienna, Austria. He spoke at ATypI 2005 in Helsinki on Ortho-Type, a type project about 3d typefaces. His collaborators on that project were Mikkel Crone Koser and Paolo Palma. [Google] [More]  ⦿

Enrico Rudello

Graphic designer in Padova, Italy, who created a bilined display typeface called La Ligne (2012).

Behance link. [Google] [More]  ⦿

Enza Gianfrancesco

Graphic and web designer in Rome, who created the angry angular typeface Realizzazione (2011). [Google] [More]  ⦿

Enzo Lo Re

Born in Sicily, Enzo Lo Re is the Milano, Italy-based designer of the decorative caps typeface Escher (2016). [Google] [More]  ⦿

Enzo Ruta

Italian graphic designer. Codesigner with Mariarosaria Digregorio in 2007 of the techno typeface FF3300 Type and in 2004 at the Politecnico di Bari of Perbacco, an organic sans designed under the supervision of Giovanni Lussu, Luciano Perondi and Nino Perrone. [Google] [More]  ⦿

[Fabrizio Torchia]

Sardinia and Milan, Italy-based designer of the enigmatic typeface Epta (2019). [Google] [More]  ⦿

Erasmo Ciufo

[MyFonts] [More]  ⦿

Ergisto Reggiani
[Fonderia Reggiani]

[More]  ⦿

ErgoType (or: Ergonauth)

Italian pair of designers based in Florence. Their free fonts from 2017 include the brush typeface Colpa Tua (created by Giulia Ursenna Dorati for Ergonauth in 2000), Mr. Caponata, the script typeface Scrivimi, the sans typeface Wilmina, and Wilmina BDD. Dafont link. [Google] [More]  ⦿

Erika Bordonali

Born in 1992 in Siracusa, Sicily, Erika Bordonali first studied in Rimini (class of 2015) and then settled as a graphic designer in Osimo. Creator of Oxygen (2015), a monoline typeface whose glyps are absed on two circles. [Google] [More]  ⦿

Erlend Storaker

Graphic designer in Milan of Norwegian roots. In 2016, he created the thick rounded monoline set of digits called Cloudy Numbers. [Google] [More]  ⦿

Ernesto Saroglia

Italian type foundry which had a wood type collection in the 1940s. [Google] [More]  ⦿

Eskimo Alberto Scialo

Naples, Italy-based designer of the handwriting typeface Egon (2016), which is inspired by the signature of the Viennese expressionist painter Egon Schiele. [Google] [More]  ⦿

Ester Valorio

During her studies at Politecnico di Milano, Ester Valorio designed the sketched typeface Alphabzzet (2013). [Google] [More]  ⦿


Sicilian studio in Catania. Behance link. The purely experimental typeface Catania (2011) is meant to be readable no matter in which direction the paper is held. [Google] [More]  ⦿

Eugenio de Riso

Graphic designer in Rome (b. 1990) who studied at the Accademia delle Belle Arti, Naples, from 2009 until 2010, and at the Accademia delle Arti e Nuove Tecnologie, Rome, from 2011 until 2012. His typefaces include Berlin Allee (2013, free), a mix between Italian (vertical lines are thinner than horizontal ones) and the slab serif.

Behance link. Dafont link. [Google] [More]  ⦿

Eugenio Pancaldi

During his studied, Bologna, Italy-based Eugenio Pancaldi designed Pelerin (2020), a revival of a dadaist sans typeface found inside of the French church's Almanach du Pélerin (1955). In 2019, he published Hot Tiles, which is a variable font designed at a workshop with ABCDinamo Studio at ISIA Urbino. [Google] [More]  ⦿

[Olcar Alcaide]

Institute in Benalmadena, Spain (was: Santa Severa), where one can take 4-week courses at 1450 Euros a shot on the Etruscan alphabet, Trajan, Cuadrata and Rustic Roman Capital letters, and related subjects. They also organize lettering tours in Italy and guided tours in various musea. The teachers are Alberto Di Santo (Professor of the visual communication, Tor Vergata University, Rome; Professor of Graphic Design, Istituto Europeo di design, Rome; Professor of editorial design, La Sapienza University, Rome; Professor of Typography, C.F.P. Sinalunga, Siena) and Olcar Alcaide (b. 1952, Argentina, Professor of Graphic and Typography Design, University of Buenos Aires; Professor of Typography, University of Lanús, and Professor of Graphic Design, Marbella Design School, Spain). Type link jump page.

Eurotypo is also the foundry of Olcar Alcaide.

Catalog of Olcar Alcaide's typefaces.

In 2010, he published the text family Antium and the warm signage typefaces Mijas Ultra and Lila Pro Heavy.

Typefaces from 2011 include Lila pro, Atenea (a humanist sans family), Agerola Script (a fat flowing signage face), Teja (signage face), Zalea (yet another signage face), and Nabu Pro (a connected signage script). Equalis (2011M, with Juan Lavalle) is a monoline slab typeface with a huge x-height and wide open counters. It was followed by Equalis Stencil (2011). Ravel (2011) is a fat signage script face. Atenea Egyptian (2011) is a solid slab serif family. Berta (2011) is a signage brush typeface with connected and unconnected versions. Optic Art (2011) is an ornamental typeface with building blocks that can be used for overlays. Creator of Eurotypo Bodoni Bold (2011).

Typefaces from 2012: Cubus (dingbats), Saxo Deco (art deco), Moliere (2012, an elegant didone family with outspoken ball terminals), Melon Script (a fat curvy signage script family), Riky (comic book family), Chipa (a signage and package design script), Heket (an expressive curly script), Lenga (a slab serif typeface family), Mikal (brush script). Duktus is a 1940s style script in the style of Donatello (1935, Wagner & Schmidt), Troubadour (1927, Wagner & Schmidt), Liberty Script (1927, Willard T. Sniffin), Trafton Script (1933, Howard Allen Trafton), and Coronet (1937, R.H. Middleton).


Typefaces from 2013: Dignus (influenced by Bank Gothic and Eurostile), Bague (old Dutch style with little contrast, in the style of Jan Van Krimpen), Lugo (a heavy signage or advertising script), Brittes (copperplate script), Talis (contrast-rich sans family), Fiesole (display family with an awkward back-curled lower case d), C Duflos (after a bâtarde coulée by Claude Duflos, a French engraver who was acitve around 1690).

Typefaces from 2014: Talks (creamy signage script), Fiume (calligraphic script), Predy, Daevon (copperplate script), Beily (letterpress style), Ritts (a heavy script-like display family), Ritts Cursive (in the style of the brush signage scripts descending from Robert E. Smith's Brush Script for ATF in 1942).

Typefaces from 2015: Valentia (a semi-copperplate calligraphic script followed by Valentia Condensed in 2016), Stabia, Digatte Quill (connected script), Digatte (connected monoline cursive script).

Typefaces from 2016: Duero (signage script), Turia (calligraphic script), RRollie (a lapidary typeface based on the roman inscriptions), Valentia Nit (a copperplate typeface enriched with swashes and extensions).

Typefaces from 2017: Citix (a great calligraphic / penmanship script), Citix Two Condensed, Alfabetica (humanist sans), Merick.

Typefaces from 2018: Fortezza (a stiifened didone), Portoluce, Hotdogger (a cursive brush font family), Hotdogger Extras (dingbats), Favarotta, Vikive (a grotesque family), Aretino (a renaissance text typeface), Mirabella, Lectio.

Typefaces from 2019: Palio (a condensed tall didone), Fractus (blackletter), Blackduck (blackletter), Sgraffio (copperplate script).

Typefaces from 2020: Eolia A (a 12-style low contrast grotesque typeface), Breda (a 12-style geometric sans), Breda Two (six additional condensed styles), Marcus Traianus (in the Trajan style, with lowercase included as well), Eurotypo Sans, Eurotypo SII, Eurotypo BKL (a Baskerville-inspired family), Cannoli (a retro brush lettered signage script).

Typefaces from 2021: Zornale (a 7-style text family inpsired by the Zornale, an original manuscript that contains a daily record of the books acquired by the Venetian bookseller Francesco de Madiis, between 1481 and 1488), Alacant (a 14-style slab serif with elliptical shoulders), Tre Giorni (a carefully designed script in solid and outline styles), Due Giorni (a rhythmic calligraphic script), Sagasti (a text typeface with straight serifs), Calcis (a 10-style sans), Rufolo (an 8-style lapidary typeface influenced by Robert Hunter Middleton's Stellar (1929), William A. Dwiggins' Albertus (1932) and Hermann Zapf's Optima (1952)).

Typefaces from 2022: Zornale Title.

Creative Market link. Klingspor link. [Google] [MyFonts] [More]  ⦿


Printer in Venice of books such as De Praepartione Evangelico (1470). [Google] [More]  ⦿

Eventi: Italic 2.0

Type events in Italy. Not updated since 2010. [Google] [More]  ⦿

Evolution Publishing and Manufacturing

Commercial site (Evolution Publishing and Manufacturing, Huntingdon Valley, PA) offering four old Italian Scripts: Etruscan, Oscan, Umbrian, Volscian. 15 USD per font. Mac only. [Google] [More]  ⦿

Fabian Pfeifhofer
[Protofonts (and Loosy Design)]

[More]  ⦿

Fabio Corubolo

From Verona, Italy, Fabio Corubolo's free Kitch Liebe font is a mix of letters from various places. [Google] [More]  ⦿

Fabio Furlanis

Graphic designer in Portogruaro, Italy. Creator of the geometric sans typeface called BAC (2012), and of the heavy octagonal typeface C-Alphabet (2013, collaboration with Roberto Duse), which was named after Wim Crouwel.

Behance link. [Google] [More]  ⦿

Fabio Giorgi

Roman who made the techno typeface Nando (2010). [Google] [More]  ⦿

Fabio Matteo Dozio

At the Politecnico di Milano, Fabio Matteo Dozio (Lecco, Italy) designed an almost-copperplate typeface called Indie Dozoo (2012). [Google] [More]  ⦿

Fabio Milito
[Fabio Milito Design (or FMD)]

[MyFonts] [More]  ⦿

Fabio Milito Design (or FMD)
[Fabio Milito]

Foundry in Rome run by Fabio Milito. Creator of the gridded typeface Tangra (2009). In 2016, Fabio Milito and Nouchka Huijg co-designed the vernacular street art brush font Nouch.

In 2018, he published the traditional all caps roman typeface Romolo. Home page. [Google] [MyFonts] [More]  ⦿

Fabio Rovere

During his studies at IAAD in Turin, Italy, Fabio Rovere created Forwell (2014). [Google] [More]  ⦿

Fabio Servolo

Co-founder of Panama. Turin, Italy-based designer of the free ultra-condensed fashionable retro display typeface Granfondo (2018).

In 2019, he released the free all caps angular headline wedge serif typeface Amagro Bold. The Cyrillic part of that font was designed by Raphael Alegbeleye.

Fontsquirrel link. [Google] [More]  ⦿

Fabio Tridenti

Art director at M&C Satchi in Milan. Creator of the high-contrast fashion mag typeface Penguin (2013). [Google] [More]  ⦿

Fabio Viola

Fabio Viola (Blinkimp) is the Bologna-based Italian designer (b. 1986) of the dot matrix typeface Ballplay (2012). [Google] [More]  ⦿

Fabrizio Gilardino

Milanese cofounder with Denis Dulude of the Montreal-based type foundry 2Rebels in Montreal, at the zenith of the grunge era. Montreal-based designer whose fonts may be bought from 2Rebels in Montreal. Some creations: Angry (1998, grunge), Babbio (1995), Boggle, Carbon, Hanbuhrs, Manesca, Nonlinear, Nunavik (1995: Inuktitut simulation typeface), Scritto Politto Freako (1996), Toxin, Duchamp-Dirty (2001), DV9 (with Marie-France Garon). 2Rebels was absorbed into / bought by FontHaus.

FontShop link. Klingspor link.

View Fabrizio Gilardino's typefaces. [Google] [MyFonts] [More]  ⦿

Fabrizio Narcisi

Art director in Martina Franca, Italy, who created the minimalist typeface Narcisi (2014). [Google] [More]  ⦿

Fabrizio Pastori

Italian creator of the futuristic family Nuvolari (2009), which was designed while he was studying at the Politecnico in Milan. Pastori is based in Bareggio. [Google] [More]  ⦿

Fabrizio Schiavi
[Fabrizio Schiavi Design (or: FSD)]

[MyFonts] [More]  ⦿

Fabrizio Schiavi Design (or: FSD)
[Fabrizio Schiavi]

Fabrizio Schiavi was born in Ponte dell'Olio in the Piacenza province in 1971. FSD Fabrizio Schiavi Design in Piacenza was opened in 1998. With Alessio Leonardi, he co-founded Fontology. He also co-launched the experimental graphics magazine Climax in 1994.

Bio at FontFont where he made FF Mode 01, FF 0069, FF GeabOil, FF9600, FF Trade 01, FF Steel Mix, FF Steel Ring, FF Steel Jones.

[T-26] designer of D44 (1994), Lithium (1994, dingbats), Moore895 (1994), Moore899 (1994), Sidewalker (1994), Exit (1988). Many of his typefaces are grungy such as Washed (1994). Some are minimalist, such as Monica Due (1999), Monica (1999), and Eco (2001, developed from a logo in the 70s for Ageco). The latter three fonts are very geometric in nature.

Other fonts: Washed (1994), Parakalein, Aurora Nintendo (1995), Aurora CW (1995), Mode01 (1995), GeabOil (1995), 9600/0069 (1995), Fontology (1995), CP Company (2000: a corporate sans), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011, still monospaced), Sys (2002), SysFlash (2002, a pixel font), Sys 2.0 (2012, a condensed sans designed for very small print), Virna (2003, a multiline typeface for Italian MTV, discussed here). The Pragmata and Sys series were optimized for screen usage. In addition, Sys has many ink traps, so it prints well at small sizes, and is more legible than Verdana.

He does some custom typeface design, such as the innovative sans serif family called CP Company (2000). Other clients include Al Hamra Complex Kuwait, Nike, MTV, YU, Beretta, Abitare magazine, Ferrari and Philip Morris.

In 2007, he produced a stencil and signage font, Siruca (see also here), for the Al Hamra Complex, one of highest skyscrapers in the world, located in Kuwait. Siruca Pictograms (2008) is free. In 2015, he followed that up by a non-stencil rounded sans called Sirucanorm: Designed using golden ratio formulas, it's inspired to DIN and Isonorm typeface.

In 2013, he published Sys Falso, Abitare Sans (30 weights, originally commissioned by the group Rizzoli Corriere della Sera. Abitare is an Italian magazine).

Typefaces from 2014: Nove (a German expressionist typeface inspired by B movie typography: Nove freshly reworks exploitation film era movie poster lettering, refitting the genre to a contemporary audience. The expressive typeface was done for a Nike Italy spoof campaign featuring 1970s cult film director Enzo Castellari and a recently found film reel from his archives, featuring several current Italian athletes and American basketball star Kobe Bryant).

The rounded sans typeface Widiba Bank (2015) was co-designed with Jekyll & Hyde in 2015 for the brand identity of the new bank of Gruppo Monte dei Paschi di Siena.

In 2016, he designed the custom corporate typeface R&M in art nouveau style.

In 2020, he released the (variable) retail version of CP Company called oook.

In 2021, he released Nure (a 54-style sans font family that includes a three-axis (weight, optical, width) variable font).

At ATypI in Rome in 2002, he spoke about the need for more fonts.

Hellofont link. FontShop link. Font Squirrel link.

Showcase of Fabrizio Schiavi's typefaces. [Google] [MyFonts] [More]  ⦿

Fabrizio Serra

Author of Regole editoriali, tipografiche & redazionali (Publishing, Typographical & Editorial Rules) (Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma, 2004), with a Preface by Martino Mardersteig and a Postscript by Alessandro Olschki. Professor at the Istituti Editoriali e Poligrafici Internazionali, Pisa - Roma. [Google] [More]  ⦿

Fabrizio Torchia

[More]  ⦿

Fabrizio Torchia

At Istituto Europeo di design (IED), Fabrizio Torchia (Oristano, Italy) designed the hipster typeface Graven (2018). [Google] [More]  ⦿

Fatih Günes
[Oldschool Designer Co (or: Design Dukkan, or: Font Art)]

[MyFonts] [More]  ⦿

Fausto Bassini

Italian stencil font producer, active between 1913 and 1940. Paolo Cadeddu digitized several of them in 2021, including Architettura, Cubitale 900, Imperiale, and Duo. [Google] [More]  ⦿

Fausto Gallico

Italian foundry in Genoa and Milan. Their catalog were published from the 1930s until the 1950s. [Google] [More]  ⦿

Fausto Renier

Milan-based creator of the condensed retro typeface Nebulosa (2013).

Behance link. [Google] [More]  ⦿

Federica Bernile

Roman designer of the squarish typeface Lyoko (2014). [Google] [More]  ⦿

Federica Ciotola

During his studies in Naples, Italy, Federica Ciotola created the didone titling typeface Dido (2015) that was influenced by deco and could be used in fashion mag applications. [Google] [More]  ⦿

Federica Colombo

During her studies in Milan, Federica Colombo created the bold monoline sans typeface Casacca (2014). [Google] [More]  ⦿

Federica Moscariello

As a student at the International school of Comics in Naples, Italy, Federica Moscariello designed the deco sans typeface Scriba (2016). [Google] [More]  ⦿

Federica Palomby

Graphic designer in Milan (b. 1990, Anzio), who created the informal typeface Funny Round (2013). Behance link. [Google] [More]  ⦿

Federica Pezzuto

In 2011, for a course taught by James Clough and Riccardo De Franceschi at Politecnico of Milan, Federica Pezzuto designed the fashionable sans typeface Gabrielle, which was inspired by Coco Chanel. [Google] [More]  ⦿

Federica Pignata

Torino, Italy-based designer of the cursive script typeface Mr. Moustache (2015) and the all caps sans typeface Without (2015). [Google] [More]  ⦿

Federico Alfonsetti
[Easy Reading]

[More]  ⦿

Federico Galvani

[More]  ⦿

Federico Landini

Designer in Pistoia and Firenze (and before that, Barcelona) who was born in 1982 in Pistoia, Italy. He created the ultra fat counterless typeface Virgola Mobile (2010) and the elegant art eco fashion mag typeface Fabrizio (2011). In 2011, he created an original octagonal typeface called Excellens: Excellens is the first font totally created using Microsoft EXCEL 97. The glyph design was done using a standard EXCEL 97 worksheet, adding some border and diagonal color to draw the letters shape. The final result is something that reminds one of the Cholo Graffiti Calligraphy used by Mexican gangs in Los Angeles, but in a new digital and elegant way. Anunnaki (2011) is an artificial language font.

Federico Landini and Jonathan Calugo cooperated on Chinotto Regular (2012), a sans typeface custom designed for the Pistoia Underground Festival.

In 2018, he designed the MICR font Code 2020. [Google] [MyFonts] [More]  ⦿

Federico Meroni

Graduate of the Politecnico of Milan, 2009-2012. Now a graphic designer in Mariano Comense, Italy, he created the quaint Perrier typeface (2011) together with his co-students Tommaso Elli, Gianluca Malimpensa and Pietro Mazza. [Google] [More]  ⦿

Federico Neeva Orrù

Designer in Cagliari, Italy. In 2013, with Simon Becker, he created a versatile octagonal multiline display family, Vasarely, named after optical artist Victor Vasarely.

Behance link. [Google] [More]  ⦿

Federico Panelli

Italian designer (b. 2000) of the outlined shadow font Oreo (2021). [Google] [More]  ⦿

Federico Piras

Italian architect, b. 1979, Oristano. Creator of the hand-printed typefaces Taccuino (2011, iFontMaker), Pivas (2011, iFontMaker), and Sardine (2011, iFontMaker). [Google] [More]  ⦿

Federico Salesi

For a branding project for BIG4 streetball, a 3x3 basketball tournament based in La Spezia/East Coast Liguria, Federico Salesi (Florence, Italy) designed the cool custom font Big 4 Streetball (2018). [Google] [More]  ⦿

Federico Zerbinati

Codesigner of Eye of Goat (2005, Molotro, medieval ornaments) with Luciano Perondi and Valentina Montagna. [Google] [More]  ⦿

Felice Feliciano

Born in Verona, 1433, died in Rome in 1479. Fifteenth century calligrapher, composer of alchemical sonnets, and expert on Roman antiquity, especially inscriptions on stone. Author of a geometrically constructed compass-and-ruler roman capitals alphabet in Alphabetum Romanum (1463). About these letters, he wrote: I, Felice Feliciano, have revived this in the antique manner after ancient marble tablets such as are to be found in Rome and elsewhere. People credit him with the first ruler-and-compass construction of letterforms.

Typefaces that are based on his original from 1463 include Monotype's Felix Titling (1934). Berry, Johnson and Jaspert write: A titling based on the inscriptional letters designed by Felice Feliciano of Verona in 1463. The manuscript is in the Vatican Library and was reproduced in the Italian periodical La Bibliofilia in 1935 and in an edition by Dr. Giovanni Mardersteig entitled Alphabetum Romanum published in 1960 at Verona. Note the angle of stress in the O and the open bowl of the P. [Google] [MyFonts] [More]  ⦿

Ferdinando Ruano

Vatican calligrapher who created Lettera Cancellaresca Formata. This inspired Raffaelo Bertieri at Nebiolo to cast the typeface Ruano in 1926. The chancery typeface was finally digitized in 2013 by Leonardo Di Lena as Flanker Ruano. [Google] [More]  ⦿

Fereshteh Ghareh Khani

Rome-based designer of a modular alphabet in 2017. [Google] [More]  ⦿

[Alessandro Tartaglia]

Italian design studio run by Alessandro Tartaglia, graphic designer, strategist for FF3300, and professor at Politecnico of Bari.

Mariarosaria Digregorio and Enzo Ruta are the creators in 2007 of the techno typeface FF3300 Type. FF3300 is also an independent and freely downloadable pdf magazine about graphic design, typography, architecture and design, illustration, photography, street art and writing.

Tartaglia's typefaces include minimalist experimental types such as Valdrada (2007), Ipazia (2007) and Zoe (2007), as well as ISIA (custom-made for ISIA in Urbino; slabbed and slabless simple glyphs) and Handwriting (a commissioned grunge typeface for the Pollofriabile magazine in Rome).

FF3300 created the Divenire typeface for the Italian Democratic Party. The weights are Divenire Roman, Divenire Italic and Divenire Mono (2012-2013). Subpage. Another subpage.

Blog. Story of FF3300. Facebook link. [Google] [More]  ⦿

Filippo Dalla Fina

During his studies, Filippo Dalla Fina (Vicenza, Italy) designed an untitled 3d typeface (2014). [Google] [More]  ⦿

Filippo Dalla Villa

Italian creator (from Fratta Polesine) of the information design typefaces Solari Mono Fermo and Solari Mono Remigio (2009), which were designed while he was taking a course at the Politecnico in Milan. [Google] [More]  ⦿

Filippo Di Virgilio

Rome, Italy-based designer of the modular sci-fi typeface Gopale Sans (2015). [Google] [More]  ⦿

Filippo Gin

Venice-born graduate of the San Marco Institute of Graphic Arts and Multimedial Communication in Mestre, Venice. During his studies at IUSVE-STC University (Scienze e Tecniche della Comunicazione Grafica e Multimediale), Mestre, he created the grid-based stonecarving simulation and cartoon typeface Stick (2013).

Behance link. [Google] [More]  ⦿

Filippo Morara

Graduate of ISIA Faenza, Italy. Imola, Italy-based creator of the art deco typeface Italian Football (2010) and the Hebrew and Arabic simulation typeface Ryja (2015). [Google] [More]  ⦿

Filippo Pellini

ECAL (Lausanne) graduate Filippo Pellini (b. Italy) used to run Alberto Claudia Type. At ECAL in 2014, he designed the fat sans typeface Claudia Shouter. His other typefaces include Alberto Editor, Claudia Columnist and Claudia Insider. [Google] [More]  ⦿

Filippo Tommaso Marinetti

[More]  ⦿

Filippo Vecchi

Borgomanero, Italy-based designer of the circle-themed typeface Quando (2016). [Google] [More]  ⦿

Flanker (or: Studio di Lena)
[Leonardo Di Lena]

Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts:

  • Bodoni Flnk.
  • CNR lineare: athletic lettering.
  • Didot Flnk.
  • Doppio Senso: inspired by the 1992 traffic signal typeface in Italy, Transport D.
  • Elettra (2013). A transitional typeface with extra long serifs and several didone traits. For display work.
  • Flanker: classical roman face.
  • Flanker Garaldus (2012). Based on a 1956 font by Aldo Novarese.
  • Griffo Flnk: A multistyle family after typefaces like Bembo.
  • Imperator: a classical roman face.
  • Italian Typewriter (2012). A family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties.
  • Lello: another classical roman face.
  • Magnificat (2011): after Friedrich Peter's ornamental font from 1975. Free download at Dafont.
  • Marantz: fat art deco face, after the logo of the sound system company.
  • Marlboro Flnk: ultra condensed and tall.
  • Poliphili (2017). This is a serious attempt at a revival of the elegant typeface used in Hypnerotomachia Poliphili (1499, publ. Aldus Manutius) that was cut by Francesco da Bologna. That roman font in turn was a revised version of the type used in 1496 for Pietro Bembo's De Aetna.
  • Flanker Ruano (2013). Based on a chancery typeface by Raffaelo Bertieri (1926).
  • Selene (2013). A monoline sans. Followed by Selene Book (2021: a 14-style geometric sans with art deco influences in some styles).
  • Semplicità (2014-2015): a remake of the art deco sans by Butti and Novarese in 1930.
  • Shock to the system: an original in the cyberpunk style.
  • Sony: after the Sony logo letters.
  • Flanker Tanagra (2022). Leonardo writes about this condensed vintage serif: In order to give new imput to the art of typeface design in Italy, Nebiolo Company held, in March 1910, an artistic competition for a new alphabet conception, so the best-ranked design would be transformed into a real new typeface. 42 competitors participated and, although the first prize was not technically awarded, "Ancora" resulted as the best typeface, created by the designer-typographer Natale Varetti of Turin. Nonetheless, the new alphabet was transformed into a full-fledged metal typeface in 1924, renamed "Tanagra" in honor of the Greek city in the center of Boeotia.
  • There's nothing money can't buy: a sans.
  • Titano: an original art deco sans family.
  • Total Eclipse: futuristic.
  • Traiano: Trajan column style.
  • Travertino: a sans workhorse family.

The outfit was known as JFDooM Flanker's Fonts, between 2001 and 2004. The fonts then were slightly different. They included BodoniFlnk, BodoniFlnkCor, BodoniFlnkCorGrass, BodoniFlnkGas, CNRLineare, DidotFlnk, DidotFlnkCorsivo, DidotFlnkCorsivoGrassetto, DidotFlnkGrassetto, Emblema-della-Repubblica-Italiana, Frantisek, GaramondFlnkNormale, GaramondFlnkCorsivo, GaramondFlnkCorsivoGrassetto, GaramondFlnkGrassetto, GriffoFlnkCorsivo, GriffoFlnkCorsivoGrassetto, GriffoFlnkGrassetto, GriffoFlnknormale, Lellocorsivobold, Lellocorsivo, Lello, MarlboroFlnk, Magnificat, There's-nothing-money-can't-buy, Poker, ShocktothesystemCorsivo, ShocktothesystemVuoto, Sony, Bjork-Isobel, Imperator, Traiano, Rdclub. Most fonts have Greek and Cyrillic letters as well.

View Leonardo Di Lena's typefaces. [Google] [MyFonts] [More]  ⦿

Flash Design
[Alberto Larizza]

Alberto Larizza (Flash Design, and now Era Ora Studio, Winston-Salem, North Carolina) created Deco Font (2011). In 2010, he created the poster font Era Ora.

Alberto was born in Tuscany, Italy, in 1985. Behance link. Linkedin link. Home page. [Google] [More]  ⦿

Flavia Bocco

Italian designer of Vintage (2007). Fontsy link. [Google] [More]  ⦿

Flavia Isk
[Isik Chic]

[More]  ⦿

Flickr: Italian typography

Flickr group on Italian typography. [Google] [More]  ⦿

Fonderia Caratteri Augusta

Italian foundry in Torino, est. 1908 by the merger of Nebiolo (Torino) and Urania (Milano). Soon after that, it comprised / absorbed fourteen foundries, Nebiolo, Urania, Paolo Albé and son, Filippo Fiazza, Carlo Radaelli, Francesco Rizzi, F. Zappa, Wilmant L., Baccigaluppi&C., Ferdinando Negroni, Rayper&C, Fratelli Alessandri, Cucco&Gorigli and Dell'Orto. Scan of a specimen book cover, ca. 1914, and ca. 1909. [Google] [More]  ⦿

Fonderia Cisalpina

Italian foundry in Milano. Scan of a specimen book cover, ca. 1914. [Google] [More]  ⦿

Fonderia Italiana

Italian foundryo. Scan of a specimen book cover, ca. 1930, showing the type family Impero. [Google] [More]  ⦿

Fonderia Reggiani
[Ergisto Reggiani]

Or Fonderia Tipografica Enrico Reggiani. Italian foundry in Milan, started by Enrico Reggiani in Milan in 1883. The business was taken over by his son Ergisto Reggiani (1888-1964). Reggiani published a bulletin in the 1930s entitled Tipografia (in which we find contributions of Edoardo Persico and the typographer Guido Modiano). It shows 44 very modernist typefaces, such as Reggiani, Macchina, Bodiniana, Jenson, Mascotte, Zaza, Mignon, Tosca, Manon, Mimi, Fedora, Butterfly, Fanciulla West, Turandot, Norma, Fornarina, Parisina, Isabeau, Fiammetta, Licia, Gioconda, Beatrice, Laura, Francesca, Asteria, Rosmunda, Minnie, Rossana, Mirandolina, Saida, D'Annunzio, Sansone, Nerone, Van Dyck, Olimpo, Olimpia, Olimpionica, Rubria, Ottocento, Pre Italica, Italia Nova, Era Nova, Vittoriale, Vittoriosa, Eia, Alala, Ardita, and Asse d'Acciao. Standout art deco designs included Ciclope and Mefistofele.

They published the avant-garde font Triennale in 1933, a typeface that set the tone for the institutionalized graphics imposed by the Italian fascists. Some of the posters of that era are here.

A scan of Campionario Caratteri da Stampa e per Contorno (Enrico Reggiani Foundry, Milan, 1937). See also Campionario Caratteri Fonderia Tipografica Enrico Reggiani (1937).

Digital revivals by Now Type (Lucas Franco and Claudio Rocha) include Ciclope and Mefistofele. TIF Balilla is a custom digital revival for Tipoteca Italiana Fondazione and not available for licensing. The original was Serie Balilla. [Google] [More]  ⦿

Fonderia Serena
[Andrea Carrer]

Venice, Italy-based designer of the monoline script typeface Sapore (2020). [Google] [MyFonts] [More]  ⦿

Fonderia Tipografica Cooperativa

Or FTC. Foundry established in Milan in 1886 by merging 37 private Italian foundries (originally under the name Fonderia Tipografica Panfilo Castaldi). It remains in existence today, and its last type director was Umberto Fenocchio. Faces produced include Linea (a grotesque face), Sigla (a transitional face designed by Umberto Fenocchio), Brio, and Armonia. Not involved in digital typography. Today, they mainly sell typesetting machines. [Google] [More]  ⦿

Fonderia Tipografica Meridionale Armando De Luca

Italian type foundry located in Naples. Their typeface Adriatico Corsivo is a copy of Lettergieterij Amsterdam's ATF Garamond. [Google] [More]  ⦿

Font & Co
[Francesco Gianesini]

Font & Co. is an independent type foundry established in 2017 by Francesco Gianesini, co-founder and Creative Director of Gianesini Design, a multidisciplinary design studio based in New York City. He started Gianesini Design with his wife Tina in 1994. In 2018, he published Wah Wah Narrow (a condensed logo or headline font), the Italian art deco typeface Via Roma Display, and the geometric display font Lingotto Black, which was by early 70s Italian lettering.

In 2021, he released Timbro (Italian for rubber stamp), an all-caps, decorative display typeface with flared terminals based on lettering from old Land Registry records. [Google] [MyFonts] [More]  ⦿

Font Ale
[Alessandro Da Corte]

Italian designer of DS Greta (2021), a hand-crafted typeface advertized as dyslexic-friendly). [Google] [MyFonts] [More]  ⦿

[Michela Graziani]

Rome, Italy-based designer. In her Fontikon font project (2020), ishe has produced eight fonts, each with letters and culture symbols: Alchemy Complex, Adinkra Wisdom, Aztec Empire, Celtic Iron, Lovecraftian Neue, Japan Kamon, Viking Norse, Slavian Ustav.

Her Symbolikon set (2020) contains over 800 symbols / icons from the following cultures: Adinkra, Africa, Alchemy, American Native Rock Art, Ashtamangala, Asia, Astrology, Aztec, Buddhism, Celtic, Central America, Central Europe, Chakra, Christianity, Egyptian, Flowers, Greek Mythology, Hopi, Inca, Islam, Lakota Sioux, Latvian, Lovecraftian Mythos, Maori, Mapuche, Maya, Mu, Norse, Norse Runes, North America, North Europe, Pacific Area, Sacred Geometry, Slavic, South America, South Europe, Taino, Tarot Major Arcana. [Google] [More]  ⦿


Italian creator of Broken Depth (2015, a shadow font), Fuzzy (2015), Dark Place (2015, scary font), Whispers Calligraphy (2015), Vintage College Dept Worn (2015), Peacock (2015), the free handcrafted typeface Old Sydney (2015) and the vintage typeface Old Bob Junior (2015).

Typefaces from 2016: Forever 7eventy (textured disco typeface), Daily, Matildas Grade School Hand (children's script), Dream American Diner (retro script), Gasoline (grungy), Nice Love The Simple Font, Manual (a grungy dymo label font), Charming Normal (script).

Typefaces from 2017: Merry Christmas (dingbats), Freaky Halloween (dingbats), Carpe Diem Mark (an inline typeface), carpe Diem Middle.

Typefaces from 2018: Carpe Diem Luxury (textured), Happy Valentine's Day, Happy Easter.

Typefaces from 2019: Matildas Back to School, Nice Picture (dingbats).

Typefaces from 2020: Comic Boom (Bubble, Elements). [Google] [More]  ⦿

Fontscafe (was: Fonts-Lab)

Fonts Lab was an Italian free font foundry with emphasis on "free", even for commercial use. The first fonts, all made in 2011, included Fonts-lab Gift, Fonts Lab Symphony, Free For Fonts-Lab Subscribers, Lady Jane Old, Five Dollars Matter, Writing Something by Hand, Hint Retro, Hint Retro Grunge, Soul Handwriting (brushy script), Variety, Universal College Draft (2011, a sketched sports jersey alphabet), Handwriting Draft (sketch face), Around 20 (experimental), Adelfy, Old Printing Press (grunge), Frank Handwriting, Sketch Me, Retro Lined Area.

Fonts Lab became Fontscafe, located in Milan.

Production in 2012: Making Lettering Tall, Universal College (grungy athletic letters), Marmellata Jam (connected script), Marmellata Jar 01 and 02 (connected fat signage scripts), Henry Rodeo Circus (Western face), Scrappy-Looking, Contribute Free Version (connected fountain pen script), Basically Serif, I'm Fashionista, Sign Handwriting, Chalk Hand Lettering, Chalk Hand Lettering Shaded, Voluptate (retro connected script), Retroactive (a great connected script face).

Around June 2012, something happened---possibly a complaint from the FontLab software people---, and the name changed from Fonts Lab to Fontscafe. In the same year, a commercial foundry was started via MyFonts.

Typefaces from 2013: Free Sketching, Hand Printing Press [in ten styles such as Meshed, Scraped, Normal, Stencil, Stamps, and Eroded], Egregio Script (retro script), Hand Shop Typography A20 (an 8-style poster font set that includes shadow and inline typefaces), Hand Shop Typography C30, and many more in the Hand Shop Typography pack, including the frame font Hand Shop Elements.

In 2014, we find Hand Christmas Doodle, My Valentines Love (heart dingbat font) and Bold Pressing (vintage letterpress typeface family, with ornaments).

Typefaces from 2016: Handwriting Draft (a great sketched font that shouts Leonardo da Vinci), Universal College (a grungy athletic lettering font, updated from an earlier 2011 version).

Typefaces from 2017: Hot Varsity Team, Hot National Team, Back To School Elements, Hot Winner Team, Ultimate College Team (athletic lettering), Display of Character.

Typefaces from 2018: Publishing Draft Script, Publishing Script, Ottanio Pack, Advertising Master, HandPrinting Press Eroded, Making Lettering, Hot Legend Team.

Fontspace link. Dafont link. Abstractfonts link. Behance link. [Google] [MyFonts] [More]  ⦿

Fortunato Depero

Fortunato Depero (1892-1960) was an Italian futurist painter, writer, sculptor and graphic designer. Born in Fondo/Malosco, Depero grew up in Rovereto serving as an apprentice to a marble worker. On a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. In 1914, Depero moved to Rome and met fellow futurist Giacomo Balla. In 1915, Depero and Balla coauthored the manifesto Ricostruzione futurista dell universo. In the same year he was designing stage sets and costumes for a ballet. In 1919 Depero founded the Casa d'Arte Futurista in Rovereto, which specialised in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts).

In 1927, he published the monograph Depero Futurista, aka The Bolted Book, because it is famously bound together by two large industrial aluminum bolts. In 2016, a kickstarter movement was started to publish a new facsimile edition of this groundbreaking book.

In 1928, Depero moved to New York City, where [acccording to Wikipedia] he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy.

In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly be attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. In New York, he published So I Think, So I Paint, a translation of his autobiography initially released in 1940, Fortunato Depero nelle opere e nella vita. From the winter of 1947 to late October 1949 Depero lived in a cottage in New Milford, CT. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto. In August 1959 Galleria Museo Depero opened. Depero died in 1960 a bout of diabetes and spending the last two years unable to paint due to hemiparesis.

Alan Kegler at P22 created a typeface, P22 Futurismo (1996) and P22 Futurismo Extras, based on Depero's work. P22 link.

A second digital typeface is based on his work, Emporium NF by Nick Curtis. It is based on this poster by Fortunato Depero (1927). [Google] [MyFonts] [More]  ⦿

Fra Luca Pacioli

Italian letter artist (b. 1445, d. ca. 1514) who constructed his characters geometrically, as early as 1509. He practiced mathematics and was a Franciscan friar. A Franciscan monk, he is mentioned several times in the notebooks of Leonardo da Vinci. His Summa di Arithmetica, Geometria, Proportioni e Proportionalità appeared in 1494. Continuing his work on proportion, he published Divina Proportione in 1509 (Venice: A. Paganius Paganinus).


His mathematically constructed capitals (1497) were made into a font called Pacioli by Matthew Desmond in 2007. Giovanni Mardersteig also made a font based on Pacioli's caps. Other implementations include LucaPacioliCaps (2004, Manfred Klein), Pacioli (2005, by Alessandro Segalini for Accademia Editoriale in Rome) and Pacioli (1999, a metafont by Peter Wilson). [Google] [MyFonts] [More]  ⦿

Fran De Martino

Italian designer in Naples of Fran's Handwriting (2011). Aka Pupazzoso. [Google] [More]  ⦿

Francesca Bolognini

Graduate of the KABK in Den Haag in 2008. Originally from Italy, she was at Spiekermann Partners in Berlin for two years, working closely with Erik Spiekermann for clients such as Birkhauser, Bosch, Messe Frankfurt, and FontShop. After Den Haag, she moved to London where she works as a graphic and type designer, and worked for Dalton Maag. She created the heavily serifed Kina family as a student at KABK. That was followed by the quite original alphabet Python, the feminine transitional family Duchesse. The last typeface is a revival of this typeface from a French book dating from 1908. About this mysterious face, Hrant Papazian writes: That font looked familiar to me, and I immediately looked at my copies of Audin's books, since that's such a singular repository for funky old French stuff. The roman is shown in figure 125 of volume 3 as "Type Beaudoire" #2 (the #1 is actually even more fascinating). The italic is a few pages down in figure 141, shown as the font "XXe Siècle" by Mayeur. I remember from the time I translated Ponot's article about Perrin that there's a connection between Perrin, Beaudoire and Mayeur (and Marquet). IIRC one of them swiped a design from one other, with the help of another, or something.

In 2011, she and Miles Newlyn created Frank, a 5-style humanist sans family.

In 2017, Francesca Bolognini and Sebastian Losch co-designed the ribbon calligraphy font Volina at Dalton Maag. [Google] [MyFonts] [More]  ⦿

Francesca Bruzzone

As a self-proclaimed studentessa in Turin, Italy, Francesca Bruzzone designed the display typeface Zigota (2016). [Google] [More]  ⦿

Francesca Casnati

Como-based student at Politecnico di Milano. During the course of Professors Iliprandi and Pavesi in 2011, she designed an art deco typeface. [Google] [More]  ⦿

Francesca Guida

Bologna-based designer, who created Bononia (2012). [Google] [More]  ⦿

Francesca Iovino

Graphic designer in Naples, Italy, who created a graffiti alphabet and a handcrafted asrological alphabet, Zodiaco, in 2016. [Google] [More]  ⦿

Francesca Lapsus

Art director in Sondrio, Italy, who created the fun circle-based typeface Dropfont (2014). [Google] [More]  ⦿

Francesca Maggiore

Rome, Italy-based multimedia graphic designer. In 2020, she created the roman caps font Fidentia. [Google] [More]  ⦿

Francesca Schioppo

Bari, Italy-based graphic designer. In a type design class of Gio Fuga, she created the copperplate typeface Singer (2012). [Google] [More]  ⦿

Francesca Schiro

Italian graduate of the Politecnico di Milano. Her signage style typeface Fiorucci (2011) is based on the logo of the Italian company Fiorucci. [Google] [More]  ⦿

Francesca Spinicci

Francesca Spinicci (Obostudio) is a graphic designer in Pistoia, Italy. Creator of a decorative caps typeface, Obofont (2013), which is useful for logos and monograms. Its design was inspired by the wind.

Behance link. [Google] [More]  ⦿

Francesca Sterpone

Graduate of the London College of Communication, class of 2013. London-based designer (b. 1989, Alba, Italy) of the fat-stroke rounded stencil typeface MyVoice (2013). Behance link. [Google] [More]  ⦿


Aka Mocon. Italian designer (b. 1987) of the futuristic typefaces Ultras (2010) and the free Rounded (2010, foliate design). Later typefaces include Klavier (2018) and Baba (2012). [Google] [More]  ⦿

Francesco Barbieri

Roman art director and illustrator who makes typographically interersting pieces such as one socialist revolution-inspired illustration called Apostrophe (2014) and a poster for the Still Three Jazz Trio (2006). [Google] [More]  ⦿

Francesco Bonvecchio

Graphic designer and illustrator in Trento, Italy, who created the floral caps typeface Sprout (2016). [Google] [More]  ⦿

Francesco Caponi

Firenze, Italy-based designer (b. 1971) of Yana (2013, hand-printed) and Matias (2014, outline font). [Google] [More]  ⦿

Francesco Corberi

During his studies at Accademia di Belle Arti Santa Giulia di Brescia, Italy, Francesco Corberi created the bipolar experimental typeface Lettereal (2015). [Google] [More]  ⦿

Francesco Cutolo

Naples, Italy-based designer of the squarish typeface Monoframe (2016). Behance link. [Google] [More]  ⦿

Francesco Faggiano

Francesco Faviano (Tsuji Design, Milan) created some typefaces such as the slabby Fuvert (2009). [Google] [More]  ⦿

Francesco (Felice) Polanzani

Francesco (Felice) Polanzani (1700-1783) entered into an engraving apprenticeship in Venice under the tutelage of Giovanni Pitteri before settling in Rome in 1742. The following 20 years are regarded as Polanzani's most active professional years, with the majority of his engraving and etching output being modelled after paintings by the Masters (see, for instance, this web set at Thorvaldsens Musem in Denmark). While in Rome, Polanzani became a friend---and/or student---of the renowned architectural illustrator, Giovanni Battista Piranesi. Polanzani is perhaps best remembered for his eccentric portrayal of Piranesi.

La Penna da Scrivere (The Writing Pen) (1768, Rome) was designed by Felice Polanzani and published by P&G Samonati. This copybook consists of a title page and nineteen engraved plates featuring alphabets and writing samples reflecting contemporary business and letter styles. [Google] [More]  ⦿

Francesco Filigoi

Francesco Filigoi (Udine, Italy) designed the soft stencil typeface Olivia (2009) while taking a type design course at Consorzio Poli.Design in Milan. [Google] [More]  ⦿

Francesco Fioretto

Italian designer of the (imaginary) AS Velasca soccer font (2016). He writes that it has been designed for the most artistic football club in the world, the A.S. Velasca. The typeface respects the proportions, the curves and the morphology of the Velasca Tower in Milan. The structuralistic appearance is studied not to bother the clarity of the letters both form closed and far reading. [Google] [More]  ⦿

Francesco Fonteviva

Illustrator in Conegliano, Italy. He created the free modular typeface Rounded (2012) and Baba (2012, glyphs inspired by mosques). [Google] [More]  ⦿

Francesco Franchi

Talented Italian information designer who worked for The Intelligent Lifestyle Magazine and La Repubblica and its magazine, Robinson. Examples of his work: Bicchiere ragionato (2011), Infografica (2011), Information Design.

Author of Designer Quotidiano, re-designer.org. Flickr page. [Google] [More]  ⦿

Francesco Gianesini
[Font & Co]

[MyFonts] [More]  ⦿

Francesco Gioia

Italian designer of Coated Sans (2007) and Zwart (2007-2008). His web site is called Uncoated. [Google] [More]  ⦿

Francesco Graziano

Roman graphic designer. Creator of Slender (2011). [Google] [More]  ⦿

Francesco Griffo

Born and died in Bologna, ca. 1450-1518. Also called Francesco da Bologna. He was a Venetian punchcutter, who worked for Aldus Manutius cutting early italics, music types and romans. Under the surname Griffo, he designed and cut all types for the Aldine Press. The "Aldine" typeface was recreated by Monotype in 1929. In 1990, the Monotype staff digitized 24 weights of Francesco Griffo's Bembo family, which was originally created in 1496---however, read on below regarding the date. The Bitstream version is called Aldine 401. Bembo is a typeface that is not compact, with its wide letters and ample spacings, so its use must be carefully weighed.

Interesting detail about the end of his life: after the death of Manutius in 1515, Griffo returned to Bologna where he printed some of his own editions until his own death in 1518 or 1519, when it is thought he was hanged for killing his brother-in-law. Kevin Steele explains in 1996: Some sources cite the publication of Cardinal Bembo's De Aetna as 1493 or 1495. And in fact, the design continued to evolve until the 1499 publishing of the spectacular Hypnerotomachia Poliphili. Let's not split hairs. Let's celebrate 500 years of Bembo! In the mid fifteenth century printing quickly spread to Italy from Germany, and by the 1470's Venice had became the center of the printing industry, home to over 100 printing companies. Pioneers such as Erhard Ratdolt and Nicolas Jenson had already begun working on adapting the roman alphabet for metal type by the time Aldus Manutius established his press in 1494, with the intention of publishing all the Greek classics. Aldus Manutius (1450-1515) was a printer, entrepreneur, a great ego, and publisher of over 1200 titles. Among the many contributions of Aldus was the popularization of small, portable books. His expensive beautiful books were far from today's paperbacks, mind you. One of the many great talents working for Aldus was Francesco Griffo, a gifted type designer. Griffo created many innovative type designs that are still admired for their beauty and readability. Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type typeface that Griffo developed under the direction of Aldus. Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design. The alphabet was widely copied, and the style is known as italic, after its country of origin.

Fontdeck link. Linotype link. FontShop link. Nicholas Fabian on Griffo. Agustina Cabal's poster of Bembo. [Google] [MyFonts] [More]  ⦿

Francesco Innocenti

Italian graphic and web designer in Vicenza. His Bruciamo Le Gondole (2011) is an ultra-black display typeface modeled after Mostra. Behance link. [Google] [More]  ⦿

Francesco Loschiavo

Italian designer, b. Stefanaconi, Calabria, who studied at La Sapienza in Rome, where he currently works. He created the squarish display logo typeface Mamut (2012) and Modular (2012).

In 2013, he created the circle-based typeface AlphabetMod Tondiccio.

Behance link. [Google] [More]  ⦿

Francesco Mantovani

Italian designer of Lucrezia (2003), a font made for his thesis at ISIA in Urbino. It was inspired by the cursive Petrarca by Francesco Griffo, ca. 1503. [Google] [More]  ⦿

Francesco Messina

[More]  ⦿

Francesco Mistico Canovaro
[Zetafonts (or: Studio Kmzero, or: ZeroFont)]

[MyFonts] [More]  ⦿

Francesco Necco

Roman designer of the modular grid-based typeface Magnani (2011). [Google] [More]  ⦿

Francesco Panella

Roman creator of the poster typeface Sabrina (2013).

Dafont link. [Google] [More]  ⦿

Francesco Paolo Lo Galbo

[MyFonts] [More]  ⦿

Francesco Paolo Siniscalco
[Francesco Paolo Siniscalco Typefounders]

[More]  ⦿

Francesco Paolo Siniscalco Typefounders
[Francesco Paolo Siniscalco]

Naples-based foundry. Their work can be found in Saggio di caratteri della fonderia di proprietà di Francesco Paolo Siniscalco e c. (Napoli, Dalla stamperia di Salvatore de Marco, 1846). That book shows a modern family, some Fraktur families such as Gotico Tedesco and Gotico Inglese, a Rondo, an Inglese connected writing face, the frilly caps typeface Toscano, flared caps typefaces called "Chinese", and a few minor families grouped under generic names such as Ornato, Egiziano, Ombrato, Americano, Bislunche and Grasso. [Google] [More]  ⦿

Francesco Pastonchi

Designer (b. Riva Ligure 1875-d. Torino 1953) at Monotype in 1927 with Edoardo Cotti of Pastonchi, a beautiful humanist text typeface with small bracketed serifs. Pastonchi MT is available from Monotype. The Monotype version of Pastonchi is due to Robin Nicholas. Pastonchi himself was a poet and fable writer. [Google] [More]  ⦿

Francesco Paternoster

Graphic designer in Matera, Italy, who is now located in Lièlge, Belgium. In 2014, he created the weathered typeface Mater, and wrote: The Mater typeface represents the global identity of the ancient city of Matera, its history, morphology and culture. Behance link. [Google] [More]  ⦿

Francesco Periccioli

Italian calligrapher and scribe whose Cancellaresca moderna from 1610 in Sienna influenced 1610 Cancellaresca (2008, Gilles Le Corre). [Google] [More]  ⦿

Francesco Pezzotti

Designer in Orte, Italy. Creator of the sans typeface Flexicool (2012). [Google] [More]  ⦿

Francesco Scotti

Borgo (2015) is a half square serif typeface family designed by Francesco Scotti at the Sintesi Studio for Il Borgo di Ischia Ponte as part of their overall identity. Tony Di Spigna was a consultant. Borgo is very sturdy and can be read at very small point sizes. Behance link. [Google] [More]  ⦿

Francesco Sesto

Italian designer of the scratchy typeface Drunk Gentleman (2018). [Google] [More]  ⦿

Francesco Simoncini
[Officine Simoncini]

[MyFonts] [More]  ⦿

Francesco Terragin

Graphic designer at Indieground Design in Vicenza, Italy. In 2020, Roberto Perrino and Francesco Terragin co-designed the retro 80s and synthwave inspired typeface Coubra. In 2021, they added the free display typeface Narse, Ransom Note Letters, the all caps geometric sans titling font Newake, the super-condensed movie credit typeface Bayside, the condensed octagonal titling typeface Atlantico, the Japan-inspired octagonal typeface Dujitsu and the 1970s techno font Radwave. Still in 2021, Roberto Perrino and Francesco Terragin co-designed the free brush font Blaster.

In 2022, Roberto Perrino and Francesco Terragin co-designed the (free) bold confident aerospace sans font Airone. [Google] [More]  ⦿

Francesco Torniello

Italian lettering artist famous for his geometrical constructions. See here. Author of the treatise L'Alfabeto (1517). Pictures of the geometric construction of the capitals are here. Fonts named after him include GFT Torniello by Gio Fuga. [Google] [More]  ⦿

Francesco Zorzi

Florence, Italy-based illustrator. Designer of Ovo (2014), a font designed to be used for the cultural institutions of the town of Montevarchi, Italy. Its shapes are influenced by the architecture of the medieval town, and is based on arcs and a grid. Behance link. [Google] [More]  ⦿

Franco Grignani

Designer at Nebiolo (b. 1908, Pavia, d. 1999, Milan). He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova.

Sergio Polano writes: Alone master, the Italian visual designer, painter and photographer Franco Grignani, born in Pieve Porto Morone (Pavia) in 1908, trained as architect at the Polytechnic School of Turin (1929-1933); after being part as painter of the late, second futurism, his artistic research came across the European abstract avantgarde movements, and developed a strong interested in the perception psichology of form, that results from the Fifties in his dinamic kind of OpArt, years before it: the mastering of perception rules is expressed by his visual experiments on virtual movement, optical illusion, subperceptions, distortions, moirés, dilatations, flous and so on, applied, with no breaks, from painting to graphic design, through pictures, images, patterns, signs and words. From the Thirties he works in the field of graphic design, collaborating a with Borletti, Breda Nardi, Cremona Nuova, Dompé, Domus, Mondadori, Montecatini, Spi, Triennale; his artistic direction for Alfieri&Lacroix printing firm is particularly interesting, as it shows an exceptional integration of words (wrtitten by himself) and images. Very well known, his trademark for Lambswool is a paradigmatic example of his approach to sign design. For 26 years he has been art director of Pubblicità in Italia, a magazine devoted to Italian advertising and visual design. He wrote many essays on design and arts, and lectured in Europe and USA. [Google] [More]  ⦿

Franco Lancio

Naples, Italy-based architect and graphic designer. Creator of the experimental typeface Autovelox (2007) and the connect-the-dots typeface Link City (2017). Behance link. [Google] [More]  ⦿

Franklin Soler

Venezuelan-born graphic designer in Rome. Designed Franklin Romano. See also here (Mac only). [Google] [More]  ⦿

Franko Luin
[Omnibus Typographi]

[MyFonts] [More]  ⦿

Franziska Purucker

During her studis in Bolzano, Italy, Franziska Purucker designed the arc-based typeface Perugia (2014). [Google] [More]  ⦿

Franziska Weitgruber

Based in Vienna, Austria, and/or Latsch, Italy, Franziska Weitgruber received her Bachelor's Degree in Graphic Design with a focus on type from the New Design University (NDU) Sankt Pölten, Austria in 2014. She also studied in the Typemedia program at KABK in The Hague, class of 2016. She publishes her work mostly via Future Fonts and Fontwerk.

Franziska created the text typeface Porta Serif and the science journal text typeface Sphera in 2014. Her graduation typeface at KABK in 2016 is the expressionist Kaligari. It comes in six styles---in its genre, it is the best digital German expressionist typeface published to date.

In 2018, Michael Hochleitner, Christoph Schütz, Simon Liesinger and Franziska Weitgruber co-designed Gretel Script at Typejockeys. This optically sized three-style typeface is based on the hand of calligrapher Natascha Safarik.

Still in 2018, she published Gig at Future Fonts. Gig is monolinear retro felt pen script in the style of Roger Excoffon's Banco.

Typefaces from 2019: Antonia (a crisp variable headline text typeface by Franziska Weitgruber and Michael Hochleitner at Typejockeys; a 64-style font family with optical sizing from headline H1, H2, and H3 to Text, with a variable font added to the mix), Roba (a typeface family in which Franziska experiments with stress and counter-stress, form and counter-form), Nikolai (an elegant display family released at Fontwerk). Nikolai started out as a revival of Nebiolo's Jenson but became a sharp-edged hyper-modernized version of that Venetian type.

Future Fonts link. [Google] [MyFonts] [More]  ⦿

Fratelli Amoretti
[Andrea Amoretti]

Parma, Italy-based type foundry. The Amorettis (San Pancrazio Parmense, 18th and 19th centuries) are a family of type engravers, printers, and crafted blacksmiths of the Duchy of Parma. They were friends and pupils of Giambattista Bodoni, from whom they detached in 1791 in order to establish their own printing house and type foundry as competitors of their master.

Andrea Amoretti, firstborn of Pancrace, helped his uncle James to engrave the punches and both worked in the type foundry of the Royal Printing House. He autonomously cut a big deal of Bodoni's punches, including the "Parma" size, the smallest font Bodoni ever proposed and used. Their work can be found in Nuovo saggio de'caratteri e fregi della fonderia dei Fratelli Amoretti, incisori e fonditori in Parma (Parma, 1830) and in Saggio de caratteri e fregi della fonderia dei fratelli Amoretti incisori e fonditori in San Pancrazio presso Parma (1811). Local download of the 1811 book.

The brothers Andrea, James and Peter fell out with Bodoni, who did not like the new competition from his ex-pupils. The son Joseph Amoretti held the company until 1863, when his son-in-law Ferdinand Negroni was called to guide it. In 1880 he remained sole owner and definitely changed brand name in Negroni. The company was absorbed by the enterpises Nebbiolo of Turin at the beginning of the 20th century and ceased in 1924. [Google] [More]  ⦿

Frederic Argazzi

Italian designer at FontStruct in 2008 of cialix. [Google] [More]  ⦿

Fregio Mecano

Fregio Mecano is a modular font of Italian origin created in the 1920s composed of 20 different modular elements. The designer is unknown. Section Bold Condensed (Creative Alliance) is a digital version of the font. [Google] [More]  ⦿

Fresko Design
[Katiuscia Mari]

Fresko Design is a Firenze, Italy-based design group, which made the free grotesque monospace typeface Fresko (2010), and the bold techno typeface Peppermint (2010). In 2011, they made Diamante, Opificio, Tape Rail, and Square Block (octagonal). Fresko Design is Andrea Cerboneschi, Giada Bargellini and Katiuscia Mari. In this group, Katiuscia Mari (a graduate of the Accademia di Belle Arti di Firenze) seems to be the type design specialist. Filetto (2009) is a sans modeled after DIN 1451 done with Debora Manetti and Francesco Canovaro.

Katiuscia Mari is the partner of Andrea Cerboneschi in Monocromo, an Italian design studio in Firenze. She created Quaderno Bianco (2016, handcrafted), Diamante (2011, a sans typeface with a condensed feel) and Peppermint (2011, a techo face). [Google] [More]  ⦿

Frida Garibay

Florence, Italy-based creator of a multilayered geometric typeface in 2012. [Google] [More]  ⦿


Located in Mottola, Italy, this design studio created several logotypes, as well as a full-fledged font, Pandora (2013).

Behance link. [Google] [More]  ⦿

Fuk Studio Labs

Milan and Los Angeles-based studio, aka Fukstudio and Fukstudiola. In 2017, they published Rodeo (2017, an angry angular typeface family), Ultra Boost (unorthodox), Uncaged, Mocha, Prima Donna Script, Antica Roma (handcrafted), Maxfield (a script inspired by Rick Owens), Vittorie, Castello (blackletter font) and Merch (weathered blackletter). Towards the end of 2017, all typographic activity ceased, and the say to have jumped to retail clothing.

Instagram link. Graphicriver link. Creative Market link. [Google] [More]  ⦿

Fulvio Bisca

Italian illustrator and designer from Torino (b. 1970) who made Antitled, a sans serif family at T-26 (2001, completed in 2004). Ex-graduate of Institute G.B. Bodoni in Torino in 1989.

In 2010, he made Cutoff Pro (URW++, +Bold), a serif family with serifs cut off in odd ways, and which covers all European scripts, including Cyrillic and Greek. One could say that it is a hyper-organic typeface.

Typefaces from 2014 include Vertebrata.

Behance link. Logo. Klingspor link. [Google] [MyFonts] [More]  ⦿

Fulvio Mhu Calzamiglia

Creator of the free octagonal display font WikiMhu (2006). [Google] [More]  ⦿

Furetto Bislacco

Italian creator of the Morse code font Morse (2012). [Google] [More]  ⦿

[Filippo Tommaso Marinetti]

Futurismo (Futurism) is an Italian art deco movement (1908-1943) launched by writer Filippo Tommaso Marinetti in his futurist manifesto. The most important artists were Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. The wiki: Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong Futurists!" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science. Images from the Futurismo movement: Cyclist by Natalia Goncharova, Painting, Painting, Painting, Colin O Griffin (2008), Poster, Poster, Poster, Giovanni Coletta's bike, Marinetti's Danunzio poster. [Google] [More]  ⦿

G. Commoretti&Figlio

Italian foundry in Milano. Scan of a specimen book cover, 1897. In a leaflet from 1901, the company advertizes its first original typeface, implying that all previous typefaces since its inception in 1838 were not original---indeed, Itlaina types were by-and-large imported from Germany and the United States. Commoretti became Urania in 1903. [Google] [More]  ⦿

Gabriel Figueiredo

[MyFonts] [More]  ⦿

Gabriele Archibugi

Italian designer of the free hand-printed font A Day in Autumn (2012) and of Trattopenlife (2012). [Google] [More]  ⦿

Gabriele Bellanca
[Rumors Foundry]

[MyFonts] [More]  ⦿

Gabriele Cecere

Designer who studied at the Instituto Europeo di Design, Milan, Italy. Creator of this experimental typeface, called New International. [Google] [More]  ⦿

Gabriele Fumero
[Archivio Tipografico]

[More]  ⦿

Gabriele Magurno

Italian designer (b. 1972, Brescia) of The B.O.M.B. (2004, dingbats), Distopia Black Outlines (2011, a dymo label face), and Steiner (2006, monoline geometric sans). Dafont link. Another URL. [Google] [More]  ⦿

Gabriele Malaspina

Gabriele Malaspina, also known as Zeno, was born in Reggio Calabria, Italy, in 1986. He is an environmental engineering student. Designer of Fat Block (2009, FontStruct). Alternate URL. [Google] [More]  ⦿

Gabriele Rigamonti

Graphic designer in Rovato, Brescia, Italy, b. 1976. He cofounded Studio Charlie with Carla Scorda and Vittorio Turla, with whom he co-designed the futuristic Stereotype family (2005). [Google] [MyFonts] [More]  ⦿

Gaetano La Peruta

Milan, Italy-based designer of the dashing all caps alphabet called Love Type (2021). [Google] [More]  ⦿

Gaia Marrone

Trieste, Italy-based designer of Hoenir Text (2017), an experimental typeface that combines Hoefler Text and Avenir. [Google] [More]  ⦿

Gaiata Verriti

In 2017, Gaiata Verriti posted the free typeface Cookies and Cream on Dafont, but the font infor says that it was made by Nicky Laatz in 2014. [Google] [More]  ⦿

Genna Cadangyao

Florence, Italy-based graphic designer who created an ornamental caps typeface in 2013 at Accademia Italiana.

Behance link. [Google] [More]  ⦿

George Antony
[George Katticaran]

Florence, Italy-based designer of the fun poster typeface Croca (2017) and an unnamed hexagonal typeface (2017). [Google] [More]  ⦿

George J. Fox

Creator (b. 1982, Italy) of the pixelish typefaces Sung (2012) and Fox Line (2012). Liner (2012) is a bilined typeface. [Google] [More]  ⦿

George Katticaran
[George Antony]

[More]  ⦿

Ghadi Wali

Italy-based type designer, who won an award at Granshan 2016 for the display typeface Let's Play. [Google] [More]  ⦿

Gi Gi Illustrations

Rome, Italy-based designer of the monoline display typeface Absolute Blonde (2017). [Google] [More]  ⦿

Giacomo Bonomi

For a school project at Politecnico di Milano---Bovisa, Giacomo Bonomi (Monza, Italy) designed the sans typeface Hylki in 2016. Designed in the shadow of Futura, it shows more curvature and roundness. [Google] [More]  ⦿

Giacomo Dal Pra

Vicenza, Italy-based designer of Italy calligram (2017). [Google] [More]  ⦿

Giacomo Franco

Italian copper engraver and publisher (1550-1620), who in 1596 published a human form alphabet largely influenced by similar alphabets of Peter Flötner in Germany. A font based on this was made by Ulrich Stiehl: GiacomoFranco (download link). [Google] [More]  ⦿

Giacomo Marangon

Venice, Italy-based designer (b. 1994) of the tangram typeface Pangraph (2014). Dafont link. [Google] [More]  ⦿

Giacomo Paolini

Italian author of a suite of ornamental letters known as Grotesque Alphabet in Mythological Landscapes (16th century). Scans of some letters in this alphabet: A, B, C, D, F, H, I, M, N, O, Q, R, S, T, V, Z. [Google] [More]  ⦿

Giacomo Silva

Milan-based designer of the bamboo stick typeface Tipo Canneto (2014). [Google] [More]  ⦿

Giacomo Urgeghe
[Nues Design]

[More]  ⦿

Giada Bettio

Italian creator (from Jesolo) of the ink trap techno face Lumina (2009), which was designed while he was studying at the Politecnico in Milan. It was intended for applications such as illuminated dashboards of cars and planes. [Google] [More]  ⦿

Giaime Del Bello

[MyFonts] [More]  ⦿

[Giaime Del Bello]

Italian designer specializing in handwritten and hand-cratfed fonts. In 2020, he released the monoline upright school script typeface Dear Penpal Script. [Google] [MyFonts] [More]  ⦿

Giambattista Bodoni

Italian typographer and type designer, b. Saluzzo (1740), d. Parma (1813). Bodoni began his career as a typesetter at the Vatican's Propaganda Fide printing press in Rome before setting up a Royal Press (Stamperia Reale) for the Duke of Parma. In 1782, he was appointed court typographer for Charles III of Spain and opened his own printing press, Tipi Bodoni. Bodoni designed hundreds of fonts in his lifetime. In 1788, he published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and was full of ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. Today, most of his work resides in the Museo Bodoni of Parma.

The early modern attempts at recreating his type are due to ATF (ATF Bodoni by Morris Fuller Benton, 1907-1915), Mergenthales Linotype Bodoni (1914-1916), Haas Bodoni (1924-1939), Bauer Bodoni (by Louis Hoell, 1924), and Berthold Bodoni (1930). Today, Linotype lists 114 weights/versions/faces of Bodoni. Some find Bodoni too severe, but I like its proud upright strong and mathematically exact look.

Links: The story of Bodoni Open. Bio by Nicholas Fabian. Another URL for that piece by Fabian. Another bio. FontShop link. MyFonts link. Wiki. Another wiki. Giambattista Bodoni, génie ou assassin? (2007, Jonathan Perez's thesis at Estienne). Linotype link. Klingspor link

Pink poster below created by Michael Robinson (Raleigh, NC). [Google] [MyFonts] [More]  ⦿

Giambattista Bodoni
[Manuale Tipografico: 1818 (full)]

[More]  ⦿

Giambattista Bodoni
[Manuale Tipografico: 1818 (partial)]

[More]  ⦿

Giammarco Alfio Formiconi

Italian creator (b. 1992) of the sharp-edged techno typeface Im Not Lazy (2013). [Google] [More]  ⦿

Giampiero Quaini

Graphic and type designer from Mantova, Italy. Behance link. He studied industrial design and visual communication at the Art Academy in Mantova and the School of Design in Milan. His conceptually original typefaces include a Tuning Fork typeface made in 2009. Check also his typographic work in The Roommates (2009). [Google] [More]  ⦿

Giampietro Bubola

Mysterious type designer. I foud only one instance in which his name popped up, namely in the Copyright Notice of the CarlingOpti-Light font (1991-1992, castcraft Software Inc), where we learn that Bubola has "redesigned" this font for Castcraft. [Google] [More]  ⦿

Gian Luca Fonderico

Vicenza, Italy-based creator of the minimalist sans display typeface Arcado Sans (2013).

Behance link. [Google] [More]  ⦿

Gian Marco Favretto

Bolzano, Italy-based designer of the modular ball terminal-laden display typeface Karma (2014). From 2010 until 2015, he studied at Libera Università di Bolzano. [Google] [More]  ⦿

Giancarlo Barison

Italian artist. Designer of Linotype Graphena (1997), a very aesthetic architectural font. FontShop link. Linotype link. [Google] [More]  ⦿

Giancarlo Candela

Art director in naples who designed the 2-weight sans typeface Jalne in 2016 during his studies at International School of Comics in that city. [Google] [More]  ⦿

Giancarlo Illiprandi

Designer at Nebiolo. He was part of a team (with Franco Grignani, Bruno Munari, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova. [Google] [More]  ⦿

Gianfranco Barco

Marostica, Italy-based art director who created Juventus Font in 2015 for the jerseys of Juventus Torino. Behance link. [Google] [More]  ⦿

Gianfranco il Cane Bisceglia

Graphic designer in Milan, Italy. Creator of the avant garde typeface Atype (2014). Behance link. [Google] [More]  ⦿

Giangiorgio Fuga
[Giò Fuga Type]

[More]  ⦿

Giangiuseppe Vedele

Creator of the free graffiti typeface Y-Yo Tags (2012). Giangiuseppe (b. 1993) lives in Galtelli on the island of Sardinia. [Google] [More]  ⦿

Gianka Petracco

Gian Carlo Petracco is the Italian designer of the squarish typeface Square iMM (2015) and Immune (2017). [Google] [More]  ⦿

Gianluca Aiello

Italian creator in Milan of the free techno typeface Black Caps (2011).

Dafont link. Devian Tart link. [Google] [More]  ⦿

Gianluca Cassioli Qassjo

Italian airline pilot. Designer of the free Slavonic emulation font Tesserale Ecclesiastica (2016, iFontMaker). See also Tesserale Duro and Tesserale Qomfort. In 2017, he designed the rounded monospaced typewriter typeface Typetypo. [Google] [More]  ⦿

Gianluca Cerulli

Graphic designer in Rome who created the ultra-hipster typeface TO in 2015. [Google] [More]  ⦿

Gianluca De Vivo

During his studies in naples, Italy, Gianluca De Vivo created the display typeface Barcellona (with two ells) (2013), which was inspired by the shapes of Gaudì's buildings in Barcelona.

Behance link. [Google] [More]  ⦿

Gianluca Malimpensa

Graduate of the Politecnico of Milan, 2009-2012. Now a graphic designer in Milan, he created the quaint Perrier typeface (2011) together with his co-students Tommaso Elli, Federico Meroni and Pietro Mazza. Behance link. [Google] [More]  ⦿

Gianluca Migliorini

Graphic designer in Verona, Italy, who created the free all caps typeface Plaza (2018) and the fun colored all caps children's book alphabet Animalfabeto (2018). [Google] [More]  ⦿

Giannabella Sacco

Italian-Venezuelan designer who grew up in both countries, graduated from The American School of Milan (ASM) in Milan (2009), and currently enrolled in the BFA program at Otis College of Art and Design.

With James Kenneally, she designed the free fun informal typeface Reacoo (2012). [Google] [More]  ⦿

Gianni Marcolongo

[MyFonts] [More]  ⦿

Gianni Sinni
[LCD Graphics]

[MyFonts] [More]  ⦿

Gillian Riley

Typographer and food historian who lives in London. She is the author of the National Gallery cookbook, and is currently working on the Oxford Companion to Italian Food. At ATypI in Rome in 2002, she spoke about the connection between the works of Renaissance Humanist scholars and the food they enjoyed eating. [Google] [More]  ⦿

Gino Manicone

Graphic and webb designer in Priverno, Italy. Creator of the monospaced sci-fi typeface HAL 9000 (2013). [Google] [More]  ⦿

Gioele Castevetere

Graphic designer in Milan who created the techno typeface Finnair (2012) based on the lettering in the Finnair logo. [Google] [More]  ⦿

Giò Fuga Type
[Giangiorgio Fuga]

An Italian type foundry by Milan-based type designer Giangiorgio Fuga, ATypI member, teacher of typography at the Istituto Europeo of Milan, Politecnico of Milan, Italy and Unisinos of Porto Alegre, Brasil. His great type blog page takes the pulse of Italian type design. Fuga designed gorgeous text fonts such as these:

At ATypI in Rome in 2002, he spoke about the corporate types and OpenType features. Type photos. Type blog. The most beautiful NewYear's card ever printed. [Google] [More]  ⦿

Gioia Silvia Buracchini

Italian designer of LollyandJoys (a hand-printed font) (2020). [Google] [MyFonts] [More]  ⦿

Giordano Cruciani

During his studies at ISIA Urbino, Giordano Cruciani designed the display typeface Flamingo (2016). [Google] [More]  ⦿

Giorgia B

Roman creator of BBB (2012), a typeface created with compass and ruler. [Google] [More]  ⦿

Giorgia Brunamonti

Graphic designer and photographer in Rome. She created the display typeface Dandelion (2013). [Google] [More]  ⦿

Giorgia Pinotti

During a course at cfp Bauer, Parma, Italy-based Giorgia Pinotti created the black slab serif typeface Titolo (2015). [Google] [More]  ⦿

Giorgio Catalisano

Sicilian designer of the pixel typeface Graphic Pixel (2007). Lives in Palermo. [Google] [More]  ⦿

Giorgio del Buono

Italian graphic design student at the University for the Creative Arts in Farnham, UK. He created the modular geometric typeface Wirdem (2011) during his studies. [Google] [More]  ⦿

Giorgio Dovas

Florence, Italy-based graphic and print designer who made the experimental LineType (2009), the fat grotesk typeface Vince Nkarawi (2011), and the ultra-fat Ovalian (2009). [Google] [More]  ⦿

Giorgio Espen

Italian graphic designer, b. 1969, whose comic book company is called Giorgio Espen Fumetti. In 20-20, he released the free handcrafted typefaces Espen Halloween and Espen Comics. [Google] [More]  ⦿

Giorgio Giaiotto

Born in 1938 in Udine, Italy, Giorgio Giaiotto studied architectural design with Carlo Magnani, and then worked in newspaper typography and finally moved to cartoon design. Creator of typefaces at VGC, such as Giorgio (1966, wood type style). [Google] [More]  ⦿

Giorgio Sellari

Calligrapher and writing master in Italy, who drew this and this in one stroke. [Google] [More]  ⦿

Giorgio Tropiano

Pisa, Italy-based designer of the thin tall display typeface Iconik Roze (2019). [Google] [More]  ⦿

Giovambattista Palatino
[Libro di M. Giovambattista Palatino cittadino romano]

[More]  ⦿

Giovanantonio Tagliente

Or Giovanni Antonio Tagliente. Calligrapher and writing master, born in Venice, 1468-1527. Author of Lo presente libro insegna la vera arte de lo excellente scrivere de diverse varie sorti de litere (1524). Sample images from that penmanship book, which includes scripts for Latin, Hebrew and Greek: i, ii, iii, iv. Also: Chancery, Florentine, Florentine bastarda, Lettera bollatica, Lettera imperiale. Sets of ornamental capitals: Italian gothic Initials and Italian Renaissance Capitals. Picture of Tagliente's title page of his book in 1531. PDF of his work by Toni Pecoraro. Digitizations:

  • A scanfont based on his chancery is 1491 Cancellaresca Formata (2009, GLC).
  • Stanley Morison's metal Bembo (1929) is based on Tagliente's letters. Bitstream's Aldine 401 is the first digital take of Bembo, which is attributed jointly to F. Griffo and G. Tagliente. JY Aetna (1994) is Jack Yan's version. Other revivals include Bembo MT (Monotype), Bamberg Serial (Softmaker), Bergamo and Bergamo Osf (Softmaker), Bergamo (Infinitype) and Bergamo (FontSite).
FontShop link. [Google] [MyFonts] [More]  ⦿

Giovanbattista Palatino

Or Giovanni Battista Palatino. Giovanbattista Palatino, b. Rossano, Italy, d. ca. 1575, Naples. The calligrapher's calligrapher, was the most prolific designer in the first half of the sixteen century. Palatino designed 29 different scripts, and also designed, not only Latin but, German, Hebrew, Chaldee, Arabic, Greek, Egyptian, Syrian, Indian, Cyrillic and several other alphabets. In 1540 he published a writing instruction and lettering book entitled Libro nuovo d'imparare a scrivere. In 1566, he wrote Compendio dl Gran Volume.

Palatino is also the name of a famous typeface designed in 1948 by Hermann Zapf at Linotype. Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino Nova in 2005 and Palatino Sans and Palatino Sans Informal in 2006 as a joint effort of Hermann Zapf and Akira Kobayashi. Copies or near-copies of Zapf's Palatino include Book Antiqua (by Monotype, distributed by Microsoft---this typeface did not have Zapf's blessing and may well have led Zapf to resign from ATypI), URW Palladio L (on which Zapf collaborated), TeX Gyre Pagella (free), Zapf Calligraphic 801 (by Bitstream, approved by Zapf), Zapf Renaissance Antiqua (by Scangraphic), Paltus (URW), Palladium (Compugraphic), Palm Strings (Corel), Parlament (Scangraphic), Patina (Alphatype), pal (GoScript), Palladio (by SoftMaker), palazzo (by SoftMaker), and FPL Neu (based on URW Palladio L).

View various digital implementions of Zapf's Palatino. [Google] [MyFonts] [More]  ⦿

Giovanni Anceschi

Professor of Visual Design at the Faculty of Design and Arts of University IUAV of Venice. At ATypI in Rome in 2002, he was supposed to speak about monograms and images, but did not show up. [Google] [More]  ⦿

Giovanni B. Landi

Landi writes about his company, GBL: GBL is a digital fonts foundry operating in Italy from 1994. We can create fonts or elaborate existing font. We have created Pineider's lithographic fonts from ancient metallic lithographic masters. Designer of the free ornamental caps typeface Miniature Caps (2014). [Google] [More]  ⦿

Giovanni Battista Braccelli

Giovanni Battista Braccelli (ca. 1600, d. before 1650) was an Italian engraver and painter of the Baroque period, who was active in Firenze. He is best known for his book of prints, Bizzarie di Varie Figure [a variety of human shapes], published in 1624 in Livorno, and dedicated to Don Pietro Medici. It contains wonderful futuristic engravings. Wikipedia: In this book, he engraves baroque experiments recalling Arcimboldo, engaging in a rarified set of conceits. Some of the figures are composed of boxes or raquets or curlicues. He published a second collection of prints entitled Figure Con Instrumenti Musicali E Boscarecci. Finally, he created Alfabeto figurato (1632, Italy), letters made by human forms.

Link to his human figure alphabet.

Digitization of his Bizzarie di varie figure include Bracelli Geometric Human Forms (Dick Pape, 2010). Dick Pape writes: Giovanni Battista Braccelli's Bizzarie di varie figure contains a suite of 50 etchings that celebrate the human figure in geometric forms. (1624) Squares, triangles, circles, and parallelograms take the place of muscle, bone, and tissue, defining the body in a new visual vocabulary. Braccelli's designs are unique in the history of book illustration. They represent a high point in the Mannerist style of etching that flourished in the 17th century. Mannerism incorporated the techniques of the Renaissance but rejected the classical imagery and harmonious style that is the hallmark of much 15th- and 16th-century European art. Braccelli's work had considerable influence on later generations of artists. His figures were adopted, for example, during the 20th century by the Surrealists, who lavished praise on his geometric forms and his ability to invest mechanical images with graceful, human qualities. Some of the etchings portray human emotion, as when figures dance across the page or struggle with one another in mortal combat. [Google] [More]  ⦿

Giovanni Battista Sassi

Bologna-based foundry. His work can be found in Saggi dei caratteri, fregi, e sgraffe della nuova fonderia di Giambattista Sassi tipografo (Bologna. Con approvazione. 1797). [Google] [More]  ⦿

Giovanni Battistini

Bologna, Italy-based creator (b. Como) of the typewriter font Lettera-G (2009), which was designed while he was studying at the Politecnico in Milan. It was based on a 60's typewriter typeface by Olivetti.

Behance link. [Google] [More]  ⦿

Giovanni de Faccio

Italian calligrapher and type designer from Venice who lives in Austria. Giovanni de Faccio (b. San Donà di Piave, Venezia, 1966) and Lui Karner run the Austrian foundry DF Type (or: Fischbachpresse). They made the very classy text family called Rialto Grande dF (1999, CAST), a humanist antiqua with lots of alternates and extra characters. He writes: The letterforms of Rialto dF were drawn directly in digital format with a starting point deriving from humanistic letterforms memorized in the hearts, minds and the manual ability of its designers. Named after the famous bridge in Venice, it was conceived as a bridge between calligraphy and typography, roman and italic. It can also be thought of as an imaginary bridge between Italy and Austria, since it is the result of collaboration started in 1995 between the Austrian Lui Karner and Venetian Giovanni de Faccio. Rialto comes in two optical sizes, Rialto Piccolo dF (less than 14pt) and Rialto Grande dF (more than 14pt). Alternate characters and various dingbats are also provided and these are available through OpenType features developed by type designer and technician Karsten Luecke. Work on Rialto started in 1995.

Rialto won an award at the TDC2 Type Directors Club's Type Design Competition 2002. Soon to release a sans serif family called Linea.

From 1995 until 2001, he taught calligraphy and typography at the College for Communication and Media Design in Pöchlarn, Vienna and St. Pölten, Austria. He cuts letters in stone. At ATypI in Rome in 2002, he spoke about Rialto. Working on df Stilo (2006). [Google] [MyFonts] [More]  ⦿

Giovanni de Faccio
[DF Type (or: Fischbachpresse)]

[More]  ⦿

Giovanni Francesco Cresci

Or Gianfrancesco Cresci. Milanese calligrapher who worked in Rome during the later 16th century, and became the Vatican's scriptor. Author of Essemplare (1560) and Il Perfetto Scrittore (Venice, 1569-1570), and influential Italian writing master. The full title of the book is II perfetto Scrittore Di M. Gio. Francesco Cresci Cittadino Milanese Doue se veggono i veri Caratteri & le natural forme di tutte quelle sorti di lettere che a vero scrittor si appartengono. Con alcun'altre da lui nuouamente ritrouate : Et i modi che deue tenere il mastro per ben insegnare.

BibliOdyssey describes a type scandal from that era: Gianfrancesco Cresci heralded the onset of the Baroque by categorically rejecting what he considered were the useless adornments to some of the alphabets produced in the 1540s by the master calligrapher, Giambattista Palatino. Palatino responded by adopting letterforms similar to Cresci's (whose first work was published in 1560 in Essemplare) only to be accused by Cresci of lacking the necessary skills to produce the set himself, instead hiring an engraver for the work. It was quite the calligraphy/typography scandal of the 16th century. I believe the modern scholarly consensus, from manuscript comparisons, vindicates Palatino.

Some images of his alphabets: Italian Gothic Capitals (1570), Italian Initials (1570), Italian Minuscule (1570). Another minuscule from 1570.

Digital fonts directly based on his work include the Trajan all-caps typeface Cresci LP (1997, Garrett Boge).

Pictures of his roman capitals. Images from Il Perfetto Scrittore. [Google] [MyFonts] [More]  ⦿

Giovanni Landi

Pistoia, Italy-based designer (aka Il Papyrus) of the Celtic knot font Celtic101 (2002) and the Greek font families Atene (1995) and Naxos (1995). GBL edizioni is his company. [Google] [More]  ⦿

Giovanni Luca Mendola

Firenze, Italy-based designer (b. 1984) of the display typeface Game (2020). [Google] [More]  ⦿

Giovanni Lussu

Born in Rome in 1944, Lussu is a graphic designer who teaches Graphic Design in the Course in Industrial Design of the Politecnico di Milano since its opening in 1993. He also teaches at LaSapienza in Rome. Cofounder of the magazine Calligrafia. At ATypI in Rome in 2002, he spoke about the shape of language (is typography the ultimate means of communication?). Author of G. Lussu, A. Perri, and D. Turchi: "Scritture. Le forme della communicazione" (AIAP Edizioni, 1997). Author of G. Lussu: "La lettera uccide" (Stampa Alternativa&Graffiti, 1999; also Nuovi Equilibri, Viterbo 1999). He is one of the founders of the magazine "Calligrafia". Editor of the series "Scritture" published by Stampa Alternativa, where volumes by Adrian Frutiger, R. O. Blechman, Roy Harris and James Mosley appeared. He created a Roman lettering font, Scipio, in 1998 for 8mm-high letters to be carved out on the path from the Pantheon to the Trevi Fountain in Rome. This roman type was based on the lettering found on the Sepolcro degli Scipioni (2nd century before Christ). [Google] [More]  ⦿

Giovanni Mardersteig

German type designer (b. Weimar, 1892, d. Verona, 1977). He started out in Kurt Wolff's München-based press in 1919, founded the Officina Bodoni, which moved first to Montagnola and then in 1926 to Verona. In 1968, he won the Gutenberg Prize. Here is the laudatio of Rudolf Hagelstang for the first Gutenberg prize winner (in German): Die Jünger Gutenbergs sind eine internationale Gesellschaft. Wenn wir heute einen ihrer Meister ehren, so blicken wir dabei weder auf die Stadt noch auf Länderfahnen, sondern fühlen uns mit dem Preisträger Giovanni Mardersteig als Bürger jenes Landes, das das Vaterland der Vaterländer ist: die Kunst. He became a perfectionist and printed exquisite books of the highest typographical standards. Hagelstang said that Mardersteig came as close to the ideal as possible. People referred to him as the prince among printers, the "Fürst der Drucker" or "Principe dei stampatori". His typefaces:

  • Dante (1947-1952, Officina Bodoni; 1957-1959, Monotype). The first digital release of Dante was in 1993. It was cut from 1947 until 1954 by Charles Malin for the private press of Officina Bodoni in Verona. This is a marvelously balanced serif family based in part on Luca Pacioli's renaissance face. It also has a Dante Titling style. Adobe says this about the family: Giovanni Mardersteig started work on Dante after the Second World War, when printing at the Officina Bodoni returned to full production. He drew on his experience of using Monotype Bembo and Centaur to design a new book typeface with an italic which worked harmoniously with the roman. Originally hand-cut by Charles Malin, it was adapted for mechanical composition by Monotype in 1957. The new digital version has been redrawn, by Monotype's Ron Carpenter, free from any restrictions imposed by hot metal technology. It was issued in 1993 in a range of three weights with a set of titling capitals, and is now available from Adobe. Dante is a beautiful book typeface which can also be used to good effect in magazines and periodicals. Monotype issued Dante Etext in 2013.
  • Fontana (1961, Monotype): designed for the Glasgow publisher Collins in 1936 (for the Collins dictionary), and based on a type cut by Alexander Wilson of the Glasgow Letter Foundry about 1770. It is an old style numbered typeface with some relationship to Baskerville.
  • Griffo (1928-1930, Officina Bodoni): designed for use in Mardersteig's own private press. Related to Dante, but more flowing.
  • Zeno (1937, Officina Bodoni). Based on early Italian romans; the punches were cut by Charles Malin.
Books on the Officina Bodoni include Giovanni Mardersteig: stampatore, editore, umanista (Valdonega, 1989). The Officina Bodoni: an account of the work of a hand press, 1923-1977 (Valdonega, 1980; a translation of "Die Officina Bodoni: das Werk einer Handpresse, 1923-1977" by Maximilian-Gesellschaft (1979)).

In 1967, Monotype published The Work of Giovanni Mardersteig with 'Monotype' Faces (London). This text was set in Monotype Dante and printed by Stamperia Valdonega Verona. It contains an insert with an advance specimen of the Monotype Dante Series no. 592, designed by Hans Mardersteig. [Google] [MyFonts] [More]  ⦿

Giovanni Marenigh

Firenze-based printer. For his typefaces, see Saggio de' caratteri e fregi della tipografia di G. Marenigh (Firenze, 1813). [Google] [More]  ⦿

Giovanni Mei

During his studies in Rome, Giovanni Mei designed the black metal font Thug Type (2013). [Google] [More]  ⦿

Giovanni Padovana

Italian typographer. Imre Reiner shows and compares the earliest fleurons, including one by Aldus Manutius (1500), Giovanni Padovana (1528), Dolet (1540) and Egenolff (1590). Close-up. [Google] [More]  ⦿

Giovanni Pisciottaro

Graphic and web designer in Aversa, Italy, who created the compass-and-ruler typeface Digrin in 2016. [Google] [More]  ⦿

Giovanni Roccabianca

Giovanni Roccabianca, co-founder of DarkMotoStudio in Verona, Italy, designed Pazzerello (2016), a digital revival of a wood font found in an old printing shop in Verona. Behance link. Behance link for DrkMotoStudio. [Google] [More]  ⦿

Giovanni Santovito

Industrial designer in andria, Italy, who created the art deco typeface Bellica in 2019. [Google] [More]  ⦿

Giovanni Spagnoli

Italian designer who created the sans typeface Centralissimo (2008) during his studies. [Google] [More]  ⦿

Giovannino dei Grassi

Medieval miniaturist and painter, who died in 1398, probably in Milan. He was one of the first ones to show (painted) letters of an alphabet containing drawings of birds, animals and ladies (around 1390). This alphabet is known as The Bergamo Alphabet.

Wikipedia link. Link to The Sketchbook of Giovannino de Grassi. [Google] [More]  ⦿

Girgio Coraglia

[More]  ⦿

Giuditta Brusadelli

Graphic designer in Lecco, Itay, who made a type-based portrait of Bodoni in 2009. [Google] [More]  ⦿

Giulia Belcastro

During her studies in Rome, Giulia Belcastro created the modular typeface Negative Circle (2014). [Google] [More]  ⦿

Giulia Boggio

Italian web designer based in London who sells her fonts via Type Department. Creator of Bastardo Groteskish, a sans serif typeface designed and developed from a university project into a fully working typeface (started in Milan in 2017 and finished in London in 2020). In 2021, she designed the free monolinear script typeface Boris, Rigatoni (an extended grotesk), Fabio Grotesk, Margo+Beuys Black (a hipster display typeface), and Milkman (a free experimental typeface, Blending caps from Fabio Grotesk and Blocus, designed by Martin Desinde).

Typefaces from 2022: Galgo Condensed (free), Fabio (+XM, +XF, _XS, +Brut). [Google] [More]  ⦿

Giulia Borsi

Florence, Italy-based designer of Universo (2015), a connect-the-dots typeface inspired by the Braille grid. [Google] [More]  ⦿

Giulia Conte

During her industrial design studies, Giulia José Conte (Torchiarolo, Italy) created the stitching font Diaz (2013). [Google] [More]  ⦿

Giulia De Grazi

Giulia De Grazi (Verona, Italy) used only circular arcs and straight lines in the construction of her circular font called Alphabet (2011). [Google] [More]  ⦿

Giulia Filippi

Illustrator, graphic designer, photographer, model and self-declared Berliner based in Vicenza, Italy. In 2019, she designed an alphabet called Mondrian (2019). [Google] [More]  ⦿

Giulia Gambino

Designer in Catania, Italy. In 2018, Danilo De Marco and Giulia Gambino codesigned the free blackboard bold typeface K95 for K95, a communication and graphic agency based in Catania, Italy.

In 2017, Danilo De Marco and Giulia Gambino codesigned the free icon set Agane Icons to accompany De Marco's free sans wayfinding typeface family Agane. [Google] [More]  ⦿

Giulia Russo

Designer in Rome of the sharp-serifed typeface Settembre (2016), which is inspired by the work of the stonemasons of the monument to the Bersagliere at Porta Pia in Rome. [Google] [More]  ⦿

Giulia Tasso

Graphic designer in London (b. 1990, Italy) who created the connect-the-dots typeface Constellatio (2015). [Google] [More]  ⦿

Giulia Ursenna Dorati

Designer in Firenze, Italy, b. 1991, who works as Gud, and who studied industrial design at ISIA Firenze. She heads Ergonauth in Firenze.

Creator of the hand-drawn typefaces Ordinario Super and Chloe (2014) and of the rounded monoline organic sans typeface Mode G (2014).

Typefaces from 2015: Pennellino (brush script), Wilmina (sans).

In 2016, Cosimo Lorenzo Pancini, Andrea Tartarelli, Giulia Ursenna Dorati and Andrea Gaspari co-designed the 1940s vintage brush script typeface Banana Yeti, which is based on an example by Ross George shown in George's Speedball 1947 Textbook Manual. The Zetafonts team extended the original design to six styles and multilingual coverage. The ExtraBold is free. Other fonts from 2016 by her include Glitchy, Scrivimi (for love letters) and Whitewasher (brush typeface).

Home page.

Typefaces from 2018: Fletcher.

Typefaces from 2019: Radcliffe Hand (with Cosimo Lorenzo Pancini). [Google] [MyFonts] [More]  ⦿

Giuliano Antonio Lo Re

Graphic designer in Rome. Creator of the ornamental typeface Louis XIV (2012). [Google] [More]  ⦿

Giulio Battelli

Graduate of Quasar Design University who is based in Rome, Italy. Giulio Battelli's Kenya (2014) is a light all caps typeface created during his studies as a hybrid situated between Avenir Next Ultra Condensed (Adrian Frutiger) and Adobe Caslon Pro. [Google] [More]  ⦿

Giulio Bertolotti

During his graphic design studies in Milan, Giulio Bertolotti created the display sans typeface Hill House (2013). [Google] [More]  ⦿

Giulio Bordonaro

Milan-based graphic designer who made the display typeface Amie Sans (2011), about which he says: Amie Sans is an obscene font. It's all about friendship, love, sex and casual relationships between glyphs. Behance link. [Google] [More]  ⦿

Giulio Carrucciu

An ex-student of the IUAV (the University Institute of Architecture of Venice), where he wrote a thesis on the theory and history of type classification. At ATypI in Rome in 2002, he spoke about Italian typeface atlases and classifications. [Google] [More]  ⦿

Giulio da Milano

Giulio da Milano (1987-1990) was an Italian painter and type designer. He was the first director of Nebiolo in Turin (from 1930-1936), and was succeeded in 1936 by Alessandro Butti. All his fonts were published at Nebiolo:

  • The lineale titling font Neon (1933-1935), with Alessandro Butti. Gala (2005, Canada Type; redrawn in 2017) is an extensive digital family by Patrick Griffin and Rebecca Alaccari that revives Neon. Canada Type writes: Gala is the digitization of the one of the most important Italian typefaces of the twentieth century: G. da Milano's 1935 Neon design for the Nebiolo foundry. This designs importance is in being the predecessor - and perhaps direct ancestor - of Aldo Novarese's Microgramma (and later Eurostile), which paved the worlds way to the gentle transitional, futuristic look we now know and see everywhere. It is also one of the very first designs made under the direction of Alessandro Butti, a very important figure in Italian design. It is quite strange, not to mention unfair, that this typeface, though way ahead of its time, is rarely mentioned in type history, but one could reason that it must have been treated with disdain like much of the immediate pre-war Italian artwork, and was later filed under the more visible gems Nebiolo produced through the prolificacy of Butti and Novarese. Alessandro Colizzi did another revival and extension in 2019-2020 at CAST simply called Neon Nbl.
  • The condensed lineale titling font on a black mesh background, Razionale (1935).
  • Triennale (1933).
  • In 1931, he designed a connected handwriting font, Veltro. This was digitized in 2007 by Ralph Unger at URW as Fontforum Veltro. It is available at Profonts as Veltro Pro.
[Google] [MyFonts] [More]  ⦿

Giulio Galli

Giulio Galli obtained a BA at the ISIA in Urbino on the topic of tactile typefaces. In 2021, he graduated with an MA in Typeface Design from the University of Reading. He started working closely with the coopperative Italian type foundry CAST in 2018.

His typefaces include the reverse contrast book typeface family Capraia (2019, CAST). Capraia has a big x-height, medium contrast and wide bracketed serifs [Google] [More]  ⦿

Giulio Grigollo

Based in Verona, Italy, this graphic designer and art director created the typeface Swan (2009) and the avant garde typeface Architecta (2009, Happycentro).

In 2015, he designed the condensed piano key typeface Clexidra 8. In 2016, he designed the data typeface No Fly Zone, and the airport signage typeface Terminale.

Typefaces from 2018: Ragazi Fugazi, Sabotage (experimental), Abracadabra (condensed and modular), Nultras (a free all caps monoline and monospace typeface). [Google] [More]  ⦿

Giuseppe Attisani

Italian designer of the handwriting font Amyie (2000). [Google] [More]  ⦿

Giuseppe Cacciatore

Graphic designer, b. 1989, Italy. For a school project at Escuela de Arte in Madrid, he created a font called Dynamich. This is pure experimentation, based on Malevich's paintings. [Google] [More]  ⦿

Giuseppe Cunsolo

[MyFonts] [More]  ⦿

Giuseppe de Cesare

[MyFonts] [More]  ⦿

Giuseppe de Lama

Italian author of Vita del cavaliere Giambattista Bodoni: tipografo italiano, e catalogo cronologico delle sue edizioni, Volume 1 (1816), a biography of Giambattista Bodoni, and a catalog of his work. Local download. [Google] [More]  ⦿

Giuseppe De Luca

Communications designer in Naples, who created Symbol Alphabet (2013) and the dot matrix typeface Mobitypes (2013). [Google] [More]  ⦿

Giuseppe Errico

Prolific Italian designer of the futuristic monoline typeface GE Mezzano (2008) and the futuristic sans GE Futuribile (2008). He also made the wonderful ink splash connected handwriting typeface ITC Santangeli (2009). Other typefaces: GE Cadeau, GE Elena, ITC Mattia, GE Martora, ITC Ludwig (2001-2002, distressed), GE WM, GE Quest (grunge).

Klingspor link. [Google] [MyFonts] [More]  ⦿

Giuseppe Fierro

Giuseppe Fierro (Benevento, Italy) created the retro grotesk typeface Macondo (2012). [Google] [More]  ⦿

Giuseppe Laterza

Taranto, Italy-based designer of custom types such as The Cube Bar (2019: free rounded hexagonal type). [Google] [More]  ⦿

Giuseppe Levi

Giuseppe Levi from Perugia designed AnecdoteCaps in 1993. [Google] [More]  ⦿

Giuseppe Librace

Naples-based typographer and calligrapher who created the straight-edged typeface Broderie Armen (2013). [Google] [More]  ⦿

Giuseppe Maria Mitelli

Italian graphic artist, 1634-1718. In Le Collezioni DArte della Cassa di Risparmio in Bologna, Le Incisioni - Volume 1, he showed many figurative alphabets, such as the bizarre Alfabeto in Sogno (Dream Alphabet), dating from 1683. [Google] [More]  ⦿

Giuseppe Salerno

[MyFonts] [More]  ⦿

Giuseppe Stillitano

As a student, Giuseppe Stillitano (Reggio di Calabria, Italy) designed the free basic sans typeface Simple (2016). [Google] [More]  ⦿

Gizem Evci
[KAF Design]

[More]  ⦿

Goa Shape

Calabria, Italy-based designer of the signature typeface Signeton (2017) and the brush typeface Nuks Script (2017). Creative Market link. Behance link. Behance link for Entiri in Pizzo, Italy. [Google] [More]  ⦿

Good Idea Graphic Solution

Desenzano del Garda, Italy-based designer of the squarish typeface Good Idea (2014). [Google] [More]  ⦿

Gottlieb Stalder

Gorgeous web page in which Gottlieb Stalder offers his calligraphic script "Gottlieb Stalder Schrift " in font format (truetype and type 1, Mac and PC): capitals and numbers only. [Google] [More]  ⦿

Grafici Senza Frontiere

Grafici senza frontiere (graphic designers without borders) is based in Milan. They created a piano key Bauhaus-inspired typeface called Archiquadro (2012). [Google] [More]  ⦿

Grafici Senza Frontiere (was: Tomaso Typo Baj Fonts)
[Tomaso Baj]

Gironico, Como, Italy-based designer of the retro sans all caps typeface Aero Club Como (2013-2014). In 2012, he created Archiquadro, a Bauhaus style piano key stencil face.

Another URL. [Google] [More]  ⦿

[Claudio Gomboli]

Originally from Turin, Italy, Claudio Gomboli now lives in Osaka. He set up Grafisticceria. Claudio created a commercial icon font called World Outside in 2012.

Creative Market link. [Google] [More]  ⦿

Graphic Content

Italian designer based in Urbino who created the pixelish facial dingbat typeface Funky Beheadz in 2020. [Google] [More]  ⦿

Graphic Dash

Italian designer who specializes in decorative or display fonts. His/her typefaces:

  • These decorative serifs done in his/her Italian mood collection in 2021: Eros Romano, Partizeno, Percheno, Giornata, Saint Monica, Segundos, and Kousis.
  • These glamour sans typefaces done in 2021: Rubenko, Fabringo.
  • The display serifs Theramy (2020) and Loretto (2020), and the decorative wedge serif Raluka (2020).
  • The signature font Andalo Signature (2018) and Andalo Sans (2018).
  • The signage script typeface Formia Script (2016) and Natale Christmas Font (2016).
[Google] [More]  ⦿

[Marco Pezzotta]

Italian designer who released these headline sans typefaces in 2021: Astroz (a sci-fi font), Nipok (a squarish display typeface), Minigap (a 14-style short-necked geometric sans), Monolith Pro (with blocky monolithic glyphs; inspired by Stenley Kubrick's monolith scene in 2001: a Space Odyssey), Alien UFO, Lonely Armadillo, Upper Now. [Google] [MyFonts] [More]  ⦿

Graziano De Rossi

Torino, Italy-based designer of the display typeface Kung Fu (2018). [Google] [More]  ⦿

Gregorio Manetti
[PerSeo Design]

[More]  ⦿

Gregory Flajszer

[More]  ⦿

Greta Bassanese

At Politecnico di Milano, Greta Bassanese designed the text typeface Karmina (2014) and the experimental Alvin Lustig typeface (2014). [Google] [More]  ⦿

Greta Silvi

Born in 1987, and living in Reggio Emilia, Greta Silvi created the surrealistic typeface Fusion (2009). [Google] [More]  ⦿

Guido Dal Pra

Vicenza, Italy-based designer of the modular Armenian simulation typeface Uruk (2014). [Google] [More]  ⦿

Guido Grugnola

Graphic designer and co-founder in 1989 of the design firm Industrial&Corporate Profiles Srl. He lives and works in Milan, Italy. At ATypI in Rome in 2002, he spoke about the corporate types he designed: Wally and Cordenons. [Google] [More]  ⦿

Guido Modiano

Type designer who collaborated with the Reggiano Type foundry in Milan on modernist typefaces in the 1930s. His typefaces include Ciclope, which was launched during the 1930s by the Fonderia Tipografica Reggiani, a type foundry based in Milan. The typeface has a strong and bold look, characteristic of the Italian art deco style. For a modern revival, see Now Type's Ciclope (2017). At Reggiani he also published the all caps art deco typeface Triennale (1933).

Astigmatic's Righteous (free at Google Web Fonts) is inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano. [Google] [More]  ⦿

Hajra Tariq

Florence, Italy-based designer of the children's script typeface Miraal (2016) and the free techno typeface Boxtrap (2016). Behance link. [Google] [More]  ⦿

Hanae Aoki

Milan, Italy-based designer of the display typefaces Junktown (2016) and Lamp (2016). [Google] [More]  ⦿

Hans Brünnel

Designer of the italic semi-stencil typeface Resolut (1937, Nebiolo). This typeface has seen two revivals:

[Google] [More]  ⦿

[Federico Galvani]

Happycentro is a creative studio based in Verona, Italy. Members include Federico Galvani, Giuliano Garonzi, Roberto Solieri, Giulio Grigollo, Andrea Manzati, and Federico Padovani. Behance link. They made various experimental types. Federico Galvani and Sebastiano Boni drew the caps typeface ProtoType by hand. Giulio Grigollo made the avant garde typeface Architecta (2009). [Google] [More]  ⦿

[Jonathan Calugi]

Very talented Pistoia, Italy-based designer (b. 1982). His typefaces:

A follower of Calugi writes: Jonathan is a young illustrator hailing from Pistoia, Italy. It's nearly impossible to not recognize his signature style: what at first appears to be a child-like doodling, a closer look will reveal a world of intricate, carefully crafted patterns and eccentric geometric forms. Hellofont link. Behance link. Dafont link. [Google] [More]  ⦿

Harendra Kapur

During his graphic design studies in Florence, Italy, Harendra Kapur designed the ultra-condensed typeface Rockefeller.

Behance link. [Google] [More]  ⦿

Haru Graphic

During her studies in Rome, Haru Graphic created the curly typeface Swirl (2013). [Google] [More]  ⦿

Hayley Parsons

Canberra-based graphic designer. During a course at the European Institute of Design in Florence, Italy, Hayley Parsons created the connected script typeface Cavale (2013). In 2014, she is finishing her studies at the University of Canberra, Australia. Behance link. [Google] [More]  ⦿

Hélène Barraud

Milano, Italy-based creator of the squarish typeface Chair (2013). [Google] [More]  ⦿


Castrovillari, Italy-based designer of the counterless sans typeface Sofia (2017). Behance link. [Google] [More]  ⦿

Hederae Creative (or: Hederae Type Foundry)
[Valerio Dell'Edera]

Talented visual designer in Bari, Italy. Creator of the handcrafted poster typefaces Neretto Sans (2015, thick and black), Organic Tobacco (2015) and Sensi Bold (2015), and the elegant rubber stamp-inspired Marinaio (2015).

Typefaces from 2016: Pervinca (a sharp-edged tall-legged display typeface with wedge serifs that is influenced by didones), Chamfort (12-style sans), Carnot (a slightly rounded partially hipster grotesk titling typeface), Lorano (a typeface inspired by the rationalist and minimalist movements), Marinaio (a handcrafted poster typeface family inspired by rubber stamps), Fibon Neue (a 32-style modern sans family with Low contrast), Cuciniere (a fun handcrafted typeface with interlocking ligatures and food icons), Regime Grotesk (influenced by the fascist era in Italy), Scritto Sans, Monique (monospaced and monoline), Abside (a geometric sans), Esther (a handcrafted antiqua), Fibon Sans and Zenzero Grotesk (tribal and unexpected).

Typefaces from 2017: Liber Text (a geometric sans with circular ink traps), Liber Grotesque (a futurismo sans influenced by Futura and Avenir).

Typefaces from 2018: Montagna LTD (inspired by early twentieth century Italian Arte Nuova and Stile Liberty). [Google] [MyFonts] [More]  ⦿

Heinz Waibl

Italian graphic designer, b. 1931. He was Max Huber's assistant from 1950 until 1954, and joined Massimo Vignelli's Unimark in 1967. In 1974, he founded the studio Signo. He heads the visual design program at Politecnico di Milano. [Google] [More]  ⦿

[Erasmo Ciufo]

Italian graphic designer and art director Erasmo Ciufo (b. 1982, Milan) graduated in 2004 in Communication Sciences at Milan University and obtained an MA in Visual and Graphic Design at the Scuola Politecnica di Design (SPD), Milan, in 2006. He founded Lettergram, a graphic design studio specialising in branding and type design, based both in Milan and New York. He also ran Fontinspiration and participated in Hellotype. In 2014, he co-founded the cooperative Italian type foundry CAST.

His typefaces include Tura (2008), Rapida (2008), Inspiration (2006, free), Regolo, Saffran (2007, with Alessio D'Ellena; published in 2015 by CAST as a commercial typeface family) and Minutron. Saffran is a stencil sans with squarish letterforms.

In 2019, he designed the ten-style forceful sans family Arkit at CAST. [Google] [MyFonts] [More]  ⦿


Robecchetto-based Italian graphic designer (b. 1986), who created Zodiac (2007), Old Skull Hellron (2007, skulls), Thorn (2007), Hellphabet (2007, hand-printed), and Dazed and Confused (2007, grunge face). Dafont link. [Google] [More]  ⦿

Heric Longe Abramo

Italian designer (b. Bologna, 1976) of some deconstructivist fonts such as Kill Your Neighborhood (2000, knife dingbats and scanbats of typefaces), and the broken stencil font Metal Meltdown (2001). In 2000, he co-founded the magazine Pressure, dedicated to graffiti art. [Google] [More]  ⦿

Histoire de l'imprimerie à Venise

History of printing in Venice. Exemplary web pages. Pieces on Jean and Wendelin de Spira, Nicolas Jenson, Erhard Ratdolt, and Aldus Manutius. [Google] [More]  ⦿

Hugh T. Gilmore

In Marta Bernstein's class at Politecnico di Milano, Hugh T. Gilmore created Nimble (2014), a humanist typeface based on his own calligraphic work. Behance link. [Google] [More]  ⦿


Designer in Faenza, Italy, who created some nice typographic posters in 2012. [Google] [More]  ⦿

I. Paulini

Italian copper engraver who lived in the 16th century. Around 1570, he created intricate initial caps, with each letter telling a story (the R in the link shows Romulus and Remus in Rome). His inspiration comes from mythology, and often involves angels, mermaids, snakes, and fruits. Spamula shows three letters of his alphabet, each letter encapsulating a mythological episode from the Methamorphoses of Ovid. [Google] [More]  ⦿


Graduate of the Accademia delle Arti e Nuove Tecnologie, Roma, who lives in Rome. Behance link.

In 2012, AIEMM created the informal sans typeface Dear Santa Claus. Free for those who ask.

Carbonmade link. [Google] [More]  ⦿

Iara Principe

Iara Principe (aka illustrissima) is a French-Brazilian-Italian freelance illustrator and graphic designer who resides in Paris. She drew a fat roundish face, ABC (2011). [Google] [More]  ⦿

Ida Greco

Naples, Italy-based designer of Eclectida (2016), a versatile art deco typeface family that was constructed by using rectangles and circles. [Google] [More]  ⦿

Igino Marini

[More]  ⦿

Igino Marini

Igino Marini (b. 1964) is an Italian civil engineer based in Osimo. He teaches mathematics for design at ISIA Urbino, and runs iKern, a service for autospacing and autokerning digital typefaces based on a mathematical model and programs that he developed since 2002. He made revivals of the Fell types from 2000-2006: IM_FELL_Double_Pica_Italic, IM_FELL_Double_Pica_Roman, IM_FELL_Double_Pica_Roman_SC, IM_FELL_English_Italic, IM_FELL_English_Roman, IM_FELL_English_Roman_SC, IM_FELL_French_Canon_Italic, IM_FELL_French_Canon_Roman, IM_FELL_French_Canon_Roman_SC, IM_FELL_FLOWERS_1, IM_FELL_FLOWERS_2, IM_FELL_Great_Primer_Italic, IM_FELL_Great_Primer_Roman, IM_FELL_Great_Primer_Roman_SC, IM_FELL_DW_Pica_Italic, IM_FELL_DW_Pica_Roman, IM_FELL_DW_Pica_Roman_SC, IM_FELL_THREE_LINE_PICA. This is a striking historically important collection:

  • English Roman, Italic&Small Caps probably cut by Christoffel van Dijck. The Italic was probably cut by Robert Granjon. Acquisition in 1672.
  • Three line pica (for 41pt size) by Peter de Walpergen. Acquisition in 1686.
  • French canon (for 33pt size) by Peter de Walpergen. Acquisition in 1686.
  • Double pica (for 17pt size) by Peter de Walpergen. Acquisition in 1684.
  • Great primer (for 14pt size) by Peter de Walpergen. Acquisition in 1684 (Roman&Small Caps) and 1687 (Italic).
  • De Walpergen pica (for 10.5pt size) by Peter de Walpergen. Acquisition in 1692.
  • Fell flowers bought by Fell in 1672 from Holland. Cut by Robert Granjon and others. To be used at 25 or 17,5 points.

Google Directory link where one can download IM Fell DW Pica SC, IM Fell French Canon, IM Fell English SC, IM Fell Great Primer SC, IM Fell Double Pica, IM Fell French Canon SC, IM Fell Great Primer, IM Fell English, IM Fell Double Pica SC, IM Fell DW Pica.

In 2015, Mark van Bronkhorst set up TypoBrand LLC in Berkeley, CA. As part of TypoBrand, he published several typefaces that are modern digital reinterpretations of ATF typefaces. The collection is published by TypoBrand LLC under the names ATF Type or American Type Founders Collection. Igino Marini co-designed, sometimes with others, classics such as ATF Alternate Gothic (2015), ATF Brush (2015), ATF Egyptian Antique (an expansion of Schraubstadter's Rockwell Antique by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Garamond (2015), ATF Headline Gothic (2015), ATF Livermore Script (by Mark van Bronkhorst, Igino Marini, and Ben Kiel), ATF Poster Gothic (2015) and ATF Wedding Gothic (2015), ATF Railroad Gothic (2016).

In 2019, Marini participated in the development of ATF Franklin Gothic (Mark van Bronkhorst, Igino Marini, and Ben Kiel). A broad and multi-weight interpretation of Morris Fuller Benton's classic from 1905, Franklin Gothic, which only had bolder weights. For the lighter styles, the designers were inspired by Benton's Monotone Gothic.

Klingspor link. Dafont link. Abstract Fonts link. [Google] [MyFonts] [More]  ⦿


Igino Marini's kerning program, which is better than InDesign's Kernus according to the examples on Igino's page. He will even kern your fonts for you! The program was tested on a collection of revivals of Fell types developed by Igino, an Italian engineer. [Google] [More]  ⦿

[Igino Marini]

iKern is a service for autospacing and autokerning digital typefaces based on a mathematical model and programs developed by Italian civil engineer Igino Marini since 2002. [Google] [More]  ⦿

Ilaria Bondanelli

Rimini, Italy-based designer of the friendly roundish sans typeface Garbino (2019). [Google] [More]  ⦿

Ilaria Buttari

Roman creator of the minimalist organic sans typeface Modular Sans (2013). [Google] [More]  ⦿

Ilaria Dell'Oro

Graphic designer in Lecco, Italy, who created the wide techno font Athletic (2013) with accompanying stick figure sports icons. Behance link. [Google] [More]  ⦿

Ilaria Iacoviello

Graduate in Communication Design from Politecnico of Milan. For her studies, she created a system of fonts and pictograms for the city of Venice called Neutral Font (2010). She also made a beautiful italic called Grypho (2010) based on the old style of Francesco Griffo. Behance link. [Google] [More]  ⦿

Ilaria Padovani

Graphic designer in Milan. She created a beautifully delicate flared semi-serifed face, Armagnac (2009). [Google] [More]  ⦿

Ilario Strazzullo

During his studies at Accademia delle Arti e Nuove Tecnologie, Ilario Strazzullo (Rome, Italy) created the free art deco sans caps typeface Gravo (2014, with Chiara Virdis). He is now based in Rome. [Google] [More]  ⦿

Ilenia Rizza

Graphic designer in Rome who made the roman caps typeface Rile (2012). [Google] [More]  ⦿

Ilio Negri

Designer at Nebiolo. He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Franco Grignani, Till Neuburg, Luigi Oriani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova. [Google] [More]  ⦿


"IMPRINT (The Newsletter of Digital Typography) is a free newsletter devoted to digital typography and typesetting." Edited by Robert A. Kiesling. [Google] [More]  ⦿

Indieground Design (was: Optimistic Designs)
[Roberto Perrino]

Poster artist Roberto Perrino (Optimistic Designs, Vicenza, Italy) created the script typeface family Gracia in 2014. In 2020, Roberto Perrino and Francesco Terragin co-designed the retro 80s and synthwave inspired typeface Coubra, and the sturdy octagonal typeface Nuport (2020). In 2021, they added the all caps geometric sans titling font Newake, the condensed octagonal titling typeface Atlantico, the Japan-inspired octagonal typeface Dujitsu and the 1970s techno font Radwave.

In 2021, Indieground Design released the blocky stencil typeface Narse and Ransom Note Letters. Still in 2021, Roberto Perrino and Francesco Terragin co-designed the free brush font Blaster.

In 2022, Roberto Perrino and Francesco Terragin co-designed the (free) bold confident aerospace sans font Airone. [Google] [More]  ⦿

Ines Cipolla

Roman designer of Memory Font (2014). [Google] [More]  ⦿

Invasione Creativa
[Edoardo Santamato]

Invasione Creativa is based in Milan, Italy. At this studio, Benedetto Papi and Edoardo Santamato co-designed the free constructivist typeface Scighera (2014) and a set of round icons (2014).

In 2017, Edoardo Santamato designed the experimental typefaces Capitals Tokyo and Capitals New York. Behance link. [Google] [More]  ⦿

Irene Torresi

Irene Torresi (Arezzo, Italy) created Fluid Font in 2012.

Behance link. [Google] [More]  ⦿

Isa Lloret

During her studies at Escola d'Art i Superior de Diseny de Valencia, EASD, Isa Lloret (Trieste, Italy) created a geometric solid alphabet that was inspired by the Bauhaus work of Josef Albers, and colored it according to Kandinsky's paradigm of relating color to shape. Behance link. [Google] [More]  ⦿

Isabella Ahmadzadeh

During her visual communication studies at IED Firenze, Livorno (and/or irenze-)-based Isabella Ahmadzadeh created the Indic simulation typeface New Delhi (2013) and Aladdin (2014). In 2016, she designed the cat dingbats in the Kitten typeface family created by Cosimo Lorenzo Pancini at Zetafonts in Italy [Kitten at MyFonts].

In 2016, she published the fun Egyptian typeface family Napo (Zetafonts) which is partly free. Leon is the accompanying sans family. Both are named after Napoleon Bonaparte.

Home page. [Google] [More]  ⦿

ISIA Urbino
[Luciano Perondi]

Italian Institute with type classes led by Luciano Perondi. Aka Accademia di Belle Arti di Urbino. In 2008, they made the typewriter typeface Lekton (free), about which they write: The typeface has been designed at Isia Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis). Lekton is inspired by some of the typefaces used on the Olivetti typewriters. We thank Gianmaria Capello for his precious support. This typeface has been designed in 8 hours. Lekton is an open source project to which other people are invited to contribute. Dafont link. Open Font Library link. Google Fonts link. Between 2008 and 2010, the following people contributed: Paolo Mazzetti, Luciano Perondi, Raffaele Flato, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, Jan Henrik Arnold. Minimal adaptations of Lekton (like a dotted zero) led to Lekton Code (2017), a programming font.

In 2009, this was followed by another open source type family, Titillium, a clean organic sans that became quite popular. This huge typeface family made it to Google Web Fonts in 2012. The team says: The aim of the project is the creation of a collective fonts released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. Besides Luciano Perondi, people involved in the direction of the project include Marcello Signorile, and Manuel Zanettin. Diego Gusti developed the first prototype of Titillium.

ISIA Urbino used to hold type design workshops. Examples: a monogram done in 1997-1998 by Michela Beccacece, another monogram from 1997-1998, the techno outline face Oracle (2002-2003) by Daniele Frattolin, Annamaria Mileo, Laura Testasecca, and Violetta Troina, Broderbund (2002-2003) by Laura Agostinelli, Francesca Ballarini, Elvira Pagliuca, and Alice Silvestri, the slab typeface Vivitar (2003-2004) by Alessandra Bicchi, Claudio Collina, Cinzia Quaglia, Margherita Vecchi, Dario Volpe, and Diego Zappelli, the futuristic typeface Syntellect (2002-2003) by Alessia Travaglini, Denis Imolesi Faraoni, Luca Piraccini, and Marco Comastri, the techno typeface Aspes (2003-2004) by Bisiac, Caroni and Comelli, the StarTrek typeface Fieldcrest (2002-2003) by Alessandra Schweiggl, Cornelia Hasler, Luca, and Giovanni Munari, the heavy display caps typeface Sharp (2003-2004) by Caterina Fattori, Marta Lettieri, Antonella Lorenzi, Alice Piazzi, and Roberta Paolucci, the typeface Canon (2002-2003) by Sonia Cattaneo, Sivia Pignat, Giulia Rizzini, and Claudia Stefanelli that was based on the logotype for Canon, the futuristic typeface Air New Zealand (2002-1003) by Chiara Cardascia, Giovanni Munari, Elisa Pellacani, and Susanna Tosatti.

Fontsy link. Font Squirrel link. Fontspace link. [Google] [MyFonts] [More]  ⦿

Isik Chic
[Flavia Isk]

Florence, Italy-based designer of script typefaces. In 2018, Isik made Santa Barbara script, Lost and Wonder Script, Maliziosa Script, Oleisia script, Velvet Sky (brush script), Jalapenow (brush script), Mammasita Script [Google] [More]  ⦿

Istituto Artigianelli Milano

Italian type foundry located in Milan, active in the twentieth century. [Google] [More]  ⦿

Istituto Universitario di Architettura di Venezia

This is now called Università Iuav di Venezia. It has three faculties, Architecture (since 1927), Design and Arts, and Urban Planning. A good place to study typography in Venice. The professorial staff includes Sergio Polano and Giovanni Anceschi. [Google] [More]  ⦿

Italian foundries of the 19th century

Italian foundries from the 1860s through 1890 include Zatta (Venice), Alessandri (Florence), Ameretti (Parma), Paganino (Parma), Negroni (Bologna) and Wilmant (Milan). In their thesis "Questioni di carattere", Manuela Rattin and Matteo Ricci write that these foundries were frought with alignment problems in the production, and had few original typefaces. It was a mediocre era in Italian typography. [Google] [More]  ⦿

Italian penmanship and calligraphic teaching books

Nice set of articles by Gio Fuga on some Italian penmanship books from the late 19th and 20th centuries---see also here and here. He discusses

  • Modello di Calligrafia---Metodo La Manna (Prof. Francesco La Manna 1947-1948, Casa Editrice Carlo Signorelli di Milano).
  • Modelli di Calligrafia (Prof. Primo Scapellato, 1953, Casa Editrice Giuseppe Principato di Milano).
  • Stile---Corso di bella scrittura (Enrica Magenta Piatti and Sergio Franchini, 1950s).
  • La Calligrafia nelle Scuole medie (Prof. Angelo Mona).
  • Modelli di Calligrafia per le Scuole Medie. Metodo Lamanna (approvato dal Ministero della Pubblica Istruzione) (Prof. Cav. Francesco La Manna). La Manna worked at the Reale Scuola tecnica Bonaventura Cavaliera di Milano. [Sample of the Metodo La Manna.]
  • Metodo razionale di calligrafia, ad uso delle scuole tecniche, normali, complementari, commerciali e degli aspiranti al diploma di calligrafia (1921, Prof. Tullio Giaconi edited in Livorno by R. Giusti).
  • Metodo di Calligrafia (1938, Prof. Gaetano Filosa). Other publications by Filosa include Trattato di calligrafia (1904, Litografia Democratica), Corso completo di calligrafia, per le scuole medie, professionali, commerciali e militari (1911), L'arte calligrafica nelle scuole medie: Raccolta di prospetti, intestazioni commerciali e composizioni calligrafiche (1913, Tipografia G. Federici), and Metodo di calligrafia (1958, ed. A. Garzanti).
  • Modello di calligrafia (1899, Eliodoro Andreoli, Milano). Andreoli was a renowned calligrapher.
  • La Calligrafia. Metodo teorico pratico (Prof. Giovanni Tonso). Tonso taught at Regio Istituto Sommeiller and at la Scuola Lagrange di Torino at the end of the 19th century. This book is not just about teaching calligraphy---it also covers writig for professionals, for the industry, the government and schools, and is a comprehensive manual on penmanship.
  • Il bello scrivere. Studio completo di calligrafia svolto con i più moderni sistemi e con procedimento teorico, pratico, nazionale (Giuseppe Ferrini, ca. 1902). This is a series with instructions for English, gothic (blackletter), Lapidary, Aldine, and Rotunda. Samples: i, ii, iii.
  • Calligrafia Moderna (Prof. Nicola D'Urso): this was used in high schools and graphic arts schools. [Sample of scrittura italiana, and of scrittura rotonda.]
  • La Calligrafia per le Scuole Medie. Metodo teorico-pratico diviso in 15 quaderni (Antonio Agostini): published in the early part of the 20th century in Treviglio, this book won a silver medal at the Fifth Esposizione Internazionale di Roma in 1903.
  • Manuale di Calligrafia per uso delle classi elementari (Cav. Michele Favaloro, Palermo).
  • The didactical worksof Bologna-based Fausto Saggiotti such as Esemplare di scrittura con massime di ben vivere per uso delle Scuole tecniche e normali (1882, Litografia G. Wenk, Bologna), Metodo per apprendere con facilità l'arte dei contorni per saggi di calligrafia, disegni, ecc. (1888, Stab. Litografico F. Barbieri, Bologna), Metodo di calligrafia (1888, Lit. G. Wenk, Bologna).
  • Metodo teorico---pratico illustrato (Prof. Giovanni Mundici, Società Tipografica Modenese). Sample of calligrafia inglese.
  • Metodo Teorico Pratico di Calligrafia (Prof. Ettore La Creta, Libreria Editrice Baroni, Lucca).
  • Metodo Cobianchi (Pietro e fratelli Cobianchi, Intra).
  • Metodo di calligrafia per le scuole elementari (Carlo Rossi). This book series was approved in Udine in 1878 and used in Friuli.
  • Metodo di Calligrafia (1889, Torello Bianchi): used in Umbria.
[Google] [More]  ⦿

Italian Type Foundry

Italian Type Foundry was created in 2019 as a spinoff of Florence-based Zetafonts Type Foundry in order to promote young Italian type designers. Their typefaces:

  • Quieta (2020, Maria Chiara Fantini). A 12-style humanist serif typeface inspired by the aesthetics of Italian Renaissance and by the empowering history of the painter Artemisa Gentileschi, first woman to be admitted to an Academy of Fine Arts in Italy. Fantini used sharp flat-nib calligraphic strokes to make the letters come alive.
  • Noctis (2020, by Luca Terzo), a wedge serif loosely based on Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate.
  • Casagrande (Alberto Casagrande, with help of the Italian Type and Zetafonts teams).
[Google] [MyFonts] [More]  ⦿

italic 1.0
[Silvia Sfligiotti]

"Italic 1.0 Il disegno di caratteri contemporaneo in Italia Contemporary Type Design in Italy" is an English-Italian book edited by Paola Lenarduzzi, Mario Piazza and Silvia Sfligiotti and published by AIAP in 2002. It summarizes the state of typography in Italy in 2002. [Google] [More]  ⦿

Italic 2.0

Italic 2.0 is an Italian blog and type project, very central to all that is happening on the type scene in Italy. There is also a book by the same title, dated 2008, edited by Marta Bernstein, Luciano Perondi, and Silvia Sfligiotti, with articles by Giovanni Lussu, James Clough, Antonio Cavedoni, Marta Bernstein, Luciano Perondi, Giangiorgio Fuga, and Silvia Sfligiotti. [Google] [More]  ⦿

Italo Typo Tour

Italian type tour, showing pictures of found type, with maps and commentary. Part of Social Design Zine. For example, one is called Bodoniana. The other subpages are grouped around themes as well. [Google] [More]  ⦿

[Antonio Moro]

Antonio Moro is a professional designer in Italy, who has been at it since 1999. His typefaces include Aldo Sans (2004) and Vinca Stencil (2004).

Another URL. Dafont link. [Google] [More]  ⦿

Ivan Favalezza

Ivan Favalezza (Verona, Italy) designed the experimental geometric typeface Snowflakes Display (2013). [Google] [More]  ⦿

Ivana Concilio

Ivana Concilio (Salerno, Italy) created the experimental CMD font (2012). What, how, why? She also made the wall-writing typeface Ribbonpop (2013) and the graffiti typeface FloWell (2014). [Google] [More]  ⦿

Ivana Tubaro

Calligrapher, typographer and architect. She is onere of three partners at RTT (Ronchi Tubaro Thom), an outfit in Milan, Italy, involved in typography, graphic design and calligraphy. [Google] [More]  ⦿

Ivano Colombo

Designer-entrepreneur who learned the craft of typesetter at the Istituto Pavoniano Artigianelli and founded Imagine, a book publishing company. At ATypI in Rome in 2002, he spoke about his experiences at the laboratory of type design at the Faculty of Industrial Design of Politecnico di Milano. [Google] [More]  ⦿

Izmir University of Economics
[Alessandro Segalini]

Type design projects (June 2007) by Alessandro Segalini's students at Izmir University of Economics:

  • Nil Kip: Kememnce.
  • Alp Koca: Doner.
  • Tolga Gunyuzu: Pestemal.
  • Aycin Turan: Delight, Nargile (faux Arabic).
  • Merve Ayse Caglayan: Henna night.
  • Burak Besen: Cig Kofte (grunge stencil).
  • Deniz Kuru: Kunefe, Nalin.
  • Melih Altinkut: Cop Sis.
  • Ersa Kiray: Kokorec.
  • Arzu Sohoglu: Nazar Boncugu.
[Google] [More]  ⦿

Jacopo Atzori

Editorial and type designer based in Lausanne, Switzerland. During his communication design studies in Milan, Jacopo Atzori created a decorative caps typeface in 2013 for 6:00am Skateboard Culture Magazine. Check also his oriental Nike Tour lettering for the same magazine in 2012.

Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) co-designed Anatomia in 2013-2014 during their studies at Politecnico di Milano (Italy) under the guidance of professors Marta Bernstein, Michele Patané and Andrea Braccaloni. It is a grotesk with peculiarities (such as the terminals on a and t) inherited from the Scotch Roman model found in the 1930 book by Giulio Chiarugi, Anatomia dell'Uomo.

Graduate of ECAL in Lausanne, class of 2016. During his studies at ECAL, he published the display typeface Piet (2017) and the slab serif typeface Gioco (2016). [Google] [More]  ⦿

Jacopo Rosano

Florence, Italy-based designer of the free octagonal hipster typeface Swegatan (2015). Behance link. [Google] [More]  ⦿

Jacques de Sanlecque the elder
[Robert Granjon]

[MyFonts] [More]  ⦿

Jaime Guisado

Graphic designer in Padova, Italy, who created the typeface Orb (2013). Behance link. [Google] [More]  ⦿

Jaini Parekh

Venice, Italy-based designer of the display typeface Premier Padmini (2016). [Google] [More]  ⦿

Jambo Fonts

Original free font foundry in Italy that offers the same free fonts as Typografia Leone Sas. These typefaces include:

  • Sans Serif: Jambetica (2014), Urban Elegance (2013), Signoria (2013), Clocker (2013), Wind Sans Serif (2013), Leo Arrow (2013).
  • Serif: Typography Times (2013), Romanicum (2014: medieval typeface), Carved Rock (2013: slab serif), Romanesque Serif (2013).
  • Display typefaces: Night Club 70s (2014), America Faster (2013), Dalmata Dream (2013), Vampetica (2014: knife-edged), Typography Ties (2013).
  • Miscellaneous fonts: Linearmente (2014), Dream Love Valentine (2014), Paris in Love (2013), Christmas Sounds (2013), Downtown Elegance (2014), Uptown Elegance (2014), Comistain (2014).

Open Font Library link. Dafont link [Google] [More]  ⦿

James Clough

James Clough (b. 1947, London) studied typographic design at the London College of Printing. In 1971 he moved to Milan to work as a designer, typographer and calligrapher. Since 1990, he has been teaching the theory and history of typography and visual communication at various institutions including the Milan Polytechnic University (since 2002) and the ISIA of Urbino. He lectures on many aspects of calligraphy, type design and the history of typography in Italy, Britain and Switzerland. Recent essays of his research for English and Italian publications include a study of the various editions of the Hypnerotomachia Poliphili (first printed by Aldus Manutius in 1499), types used by the earliest printers in Milan and Venice, the 20th century revivals of Bodoni's types and a study of historical and contemporary script types. In 2005 he curated the Mondovì Museum of Printing. He is on the scientific board of Bibliologia, and wrote the introduction to volume 2 in 2007.

James Clough co-founded the ACI (Associazione Calligrafica Italiana). He is a member of the Nebiolo History Project, and has been CAST's editor and adviser since its inception in 2013.

In 2015, James Clough and Chiara Scattolin coauthored Alphabets of Wood: Luigi Melchiori & the history of Italian wood type (Tipoteca Italiana, Cornuda, Italy). David Wolske writes: Alphabets of Wood is the most recent and arguably the most beautiful addition to the new wave of wood type scholarship. It is also important because it is the first publication to seriously examine the historical and cultural significance of Italian wood type manufacturers. In the first part of the book, James Clough calligrapher, writer provides a broad historical overview of wood block printing, from fourteenth- and fifteenth-century hand carved imagery and text through the nineteenth-century American origins of moveable wooden type. In Chapter 6 Clough introduces us to Luigi Melchiori, a skilled designer and manufacturer of wood type, active during the late nineteenth and early twentieth centuries in the Veneto Region of Italy. Through beautifully paced layouts, sumptuous photography, and a richly textured typographic palette, Melchiori's life, work, and legacy are situated in the context of other Italian wood type manufacturers. In the second part of Alphabets of Wood, Chiara Scattolin digs deep into the archive of wood type fonts, specimen books, tools, and documents held by Tipoteca Italiana. Detailed testimonies from peers help to humanize "the Bodoni of wood type," making it easy for contemporary typographers, graphic designers, letterpress printers, and artists to recognize themselves in the pride and craftsmanship Melchiori brought to his work. Every chapter of the book is illustrated with stunningly handsome antique wood type specimens. Two eight-page letterpress inserts on a toothy, soft-white paper stock provide an arrestingly modern counterpoint. The Stamperia of Tipoteca Italiana printed all sixteen frame-worthy pages using original wood type from Tipoteca's Wood Type Archive. Typographically the book echoes the best of Italian design, finding a harmonious balance between industrial sharpness and sensuous fluidity.

He also wrote Signs of Italy (2015, Lazy Dog Press). [Google] [More]  ⦿

James Mosley
[Type foundry: Italian writing masters and calligraphers of the 16th and 17th centuries]

[More]  ⦿

Jan Burchiellaro Falinski

Senior brand designer in Milan, Italy. His typefaces:

  • Ygro Sans (2021). A free grotesque typeface with inktraps.
  • A logotype for the city of Istanbul (2020).
  • An experimental variable font with two axes, geometry and tone of voice (2019).
  • An icon font for the real estate company Dovevivo (2018).
[Google] [More]  ⦿

Jan Falinski

Milan-based designer of a variable typeface in 2019 with geometric and tone of voice axes. [Google] [More]  ⦿

Jane Patterson

An American type designer and President of Design Lab SRL (in partnership with Sebastiano Castiglioni), a digital font foundry in Milan, Italy. Jane Patterson holds degrees in fine and computer arts from Colorado College and the School of Visual Arts in New York. After an apprenticeship with Benguiat, she joined Font Bureau in 1991.

Author of the essay entitled Copyright&Fonts In The Age of Cyber Space.

Jane Patterson designed or co-designed

  • FB Californian (1987-1994, with Carol Twombly and David Berlow). In 1938, Goudy designed California Oldstyle for the University of California Press. In 1958, Lanston issued it as Californian. Carol Twombly digitized the roman in 1988 at Adobe. David Berlow revised it for Font Bureau with italic and small caps. Jane Patterson designed the bold. In 1999, assisted by Richard Lipton and Jill Pichotta, Berlow designed the black and the text and display series.
  • FB Cheltenham (1992).
  • Eldorado (Font Bureau). W. A. Dwiggins created the gorgeous oldstyle font Eldorado during WWII. It was released by Mergenthaler in 1953. Goudy followed an early roman lowercase, cut in the 16th century by Jacques de Sanlecque the elder, aka Granjon. David Berlow, Tobias Frere-Jones, and Thomas Rickner revived and expanded the series in 1993-1994 for Premiere magazine, with versions not only for text and display, but a Micro for six point and smaller.
  • Skyline (1992). Skyline was commissioned from Font Bureau by Condé Nast as headletter for Traveler magazine. Based on Imre Reiner's Corvinus (1929-1934)], and John Downer's Simona.

    In 1995, Maurizio Osti reconstructed and redesigned Ben Shahn's Folk Alphabet, which was originally created as lettering in 1940, with the consent and approval of Mrs. Bernarda Shahn, Shahn's second wife, and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003, Marizio Osti and Jane Patterson) is the only authorized and officially endorsed digital version of Shahn's well-known protest poster lettering.

FontShop link.

View Jane Patterson's typefaces. [Google] [MyFonts] [More]  ⦿

Jane Patterson
[Design Lab SRL, Milan]

[MyFonts] [More]  ⦿

Jérémy Ruiz
[L'Ile Foundry]

[MyFonts] [More]  ⦿

Jeanet Tello

Italian graphic designer. She created the lively display typeface Lenoxx (2011). [Google] [More]  ⦿

Jeanlouis David Amodio

Taranto, Italy-based graphic designer (aka Jean Grphx) who made the free brush typeface Ciao (2010) and the grungy Anconventional (2012).

Dafont link. Old URL. [Google] [More]  ⦿

Jecko Development

Italian company which offers a free 500-set font package, of which five were made by Lecce, Italy-based Jecko (b. 1990), according to their web site: Jecko Legacy, JD LCD Rounded, JD Familla, JD Stars, JD Rings.

FontStructor who designed the dot matrix typeface JD LCD Rounded (2011).

Fontspace has several fonts made in 2011: JD LED 3 (dot matrix face), JD Scarabeo (white on black face for Scrabble tiles, +Light), JD Erica Regular (octagonal), Jecko Legacy, JD Jessica Regular (dot matrix face), JD Garden Regular (octagonal outline face), JD LCD Rounded, JD Eugeni (octagonal, white-on-black), JD Gina Regular, JD Star Regular, JD Rings Regular, and JD Nadia Regular, JD Brush, JD Stefania, JD Jerk, JD Hands, JD LED3 (dot matrix face), JD Familla, JD Treasure (hand-printed), JD Rossella (hand-printed), JD Fabiola (hand-printed), JD Techno (hand-printed), JD Teresa (hand-printed), JD Lecce (octagonal), JD Eugenia (white on black), JD Code (octagonal), JD Stars.

Fonts from 2012: JD Lucrezia, JD Digital Regular.

Fonts made in 2013: JD Melted, JD Carnival, JD Royal, JD Tuline (bilined), JD Digisquare (textured typeface), JD Glare, JD Pictura, JD Talk (a multiline typeface), JD Rosaria, JD LED 7, JD Vega, JD Teresa, JD Stefania, JD Gina (octagonal), JD Arrow Up, JD drip, JD LED 5, JD Wave, JD Fynx, JD Tyr, JD Fantasy (stitched font), JD Neos (octagonal).

Typefaces from 2014: JD Belt, JD Gems (FontStruct), JD Lovers (FontStruct), JD Bagues, JD Cloverleaf (dot matrix style), JD RevLED, JD Irregutype, JD Quadz, JD Cereus, JD Stripex, JD Din (scribbly hand), JD Alessandra (curly script), JD Sophara, JD Equinox, JD Estrellas.

Typefaces from 2015: JD Sketched, JD Vortex (dot matrix), JD Persegi (dot matrix), JD Raw Script, JD Ducky (curly script).

Abstract Fonts link. Fontspace link. Dafont link. FontStruct link. [Google] [More]  ⦿

[Marco Molteni]

Jekyll&Hyde is an Italian studio founded in Milan in 1996 by Marco Molteni and Margherita Monguzzi. Mainly involved in corporate logos, this studio also produced some typefaces, notably Contaminato (1997), Pop (2001, geometric letters consisting of very few atomic elements), and Apocalisse (1996, grunge). These are not on their interesting but useless web page. They made the hairline octagonal typeface Otto (2008, octagonal), Peggy (2005, organic), Swimming (2001, organic), Widiba Bank (2015, a 4-style corporate rounded sans typeface by Jekyll & Hyde and Fabrizio Schiavi).

Behance link. [Google] [More]  ⦿

Jessica Gaudino

Graphic design student at the Academy of Fine Arts Brera in Milan, who was born in 1985 in Gemona del Friuli. She created a semi-stencil rounded typeface in 2012. [Google] [More]  ⦿

Joana Pais

Joana Teles Rodrigues Pais is originally from Portugal, but lives in Milan. In 2009, she obtained a masters degree from the Scuola Politecnica di Design SPD in Milan. She made an experimental typeface called Small Urban Disasters (2011). [Google] [More]  ⦿

Joao Celio Caneschi

During his Masters studies at IED in Firenze, Italy, Joao Celio Caneschi created the display typeface Miscela (2015) and the experimental geometric typeface Vetrate (2015). Behance link. [Google] [More]  ⦿

Joao Pucci

During his studies at IED in Firenze, Italy, Joao Pucci, who hails from Brazil, designed Trytype (2013). This typeface was designed using geometric principles, and looks like an architectural typeface, a far relative of David Siegel's Tekton. [Google] [More]  ⦿

Johanna Lo Bosco

For her thesis project at Accademia di Belle Arti di Palermo, Italy, Johanna Lo Bosco designed the text typeface Jolly NS (2019), which was inspired by Perpetua and Baskerville, and the warm 9-style sans typeface Ponyo (2020), [Google] [More]  ⦿

Johannes de Spira

First printer of Venice. Died in 1469. [Google] [MyFonts] [More]  ⦿

John Luigi Flores

Filipino-Italian designer in Milan who created a decorative alphabet in 2014. [Google] [More]  ⦿

Jonathan Calugi

[More]  ⦿

Jonathan Pierini

Type and graphic designer from Italy, who he holds a BA in graphic design and visual communication from the ISIA Urbino and an MA in Type and Media from the Royal Academy of Arts (KABK) in 2008 in Den Haag, The Netherlands. He has worked for private companies, and has been teaching and tutoring in different Universities in Italy. He is currently working at the Free University of Bozen Bolzano, Italy. Since 2011 he has been running the ISIA Urbino Type design Week summer program. More recently, he had a stint with Dalton Maag.

He created the Vasinto Sans family as a student at KABK.

In 2013 Bistro Studio designed a new identity and typeface concept for Mediterranea 16. Implementation done by Jonathan Pierini.

Together with Riccardo Olocco, Jonathan Pierini reinterpreted Bodoni's work in 2014. Their Parmigiano Typographic System, which is named after Parma, the city where Giambattista Bodoni (d. 1813) established his printing house, attempts to revive, interpret and boldly extend Bodoni's work. There is not a single official original Bodoni---Bodoni's Manuale Tipografico contains many slightly different examples---, and so, the first challenge was to create coherent relationships between various optical sizes (Piccolo, Caption, Text, Headline) and weights. Besides the Parmigiano Serif family, Olocco and Pierini also developed the creative extension Parmigiano Sans. There are also Stencil, Typewriter, Egyptian styles, to name a few. The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that.

In 2014, Leonardo Sonnoli and Jonathan Pierini developed the bespoke typeface family Mast for the MAST Foundation in Bologna.

His Ovo typeface (2014) is a restyling of the custom font originally designed for the multifunctional center Ginestra, Fabbrica della Conoscenza based in Montevarchi (Arezzo).

Behance link. [Google] [MyFonts] [More]  ⦿

Joseph Miceli

[More]  ⦿

Josie Maszk

During her studies at Anderson University, Josie Maszk (Charleston, SC) created the inscriptional roman typeface Sancro (2014), which is based on a 13th century inscription in the basilica of Santa Croce in Florence, Italy. The typeface is intended for the church's use on signs, tickets, and other material. Behance link. [Google] [More]  ⦿

Jules Durand

As a member of the Italian open source font cooperative Collletttivo, Frenchman Jules Durand designed the free Times-related font Sneaky Times (2019) and the half uncial typeface Sinistre (2020). At Themtyp.es, he published the sharp-serifed typeface Yamas (2020). [Google] [More]  ⦿

[Valerio Di Lucente]

Julia is Valerio Di Lucente (Italy), Erwan Lhuissier (France) and Hugo Timm (Brazil). They met at the Royal College of Art in London having come from different professional backgrounds in editorial design, web and art direction. The studio Julia was founded in 2008 upon their graduation. Together, they work on books, typefaces, posters, websites, identities and exhibition design. They teach as visiting lecturers at Kingston University. Typefaces:

  • Premio (2010), A beveled typeface, extended to lowercase in 2012.
  • Riso (2009) is a display typeface designed for The Invisible Dot.
  • Above Magazine (2009, an almost typewriter type).
  • Copan (2010, a multilined typeface commissioned by Wallpaper's Born in Brazil issue that paid tribute to Oscar Niemeyer).
  • Herman (octagonal, done for Wired Magazine in 2010).
  • Modo (2008, an experiment on a superposition of shifted strokes).
  • Gill Sans Rounded (2007).
  • Serious Sans (2008, anti--Comic sans).
  • Volt (2009, a sans done for Volt Magazine).
[Google] [More]  ⦿

Julian Hoxhaj

Milan-based (Albanian) designer (b. 1989) of the free techno font Shkoder 1989 (with Ana Hoxha). Dafont link. [Google] [More]  ⦿

Julius Mordecai Pincas

Aka Jules Pascin, 1885-1930, a painter born of an Italian Serbian mother and a Spanish Jewish father, in Bulgaria. Around 1910, he designed the rather primitive and light-hearted Pascin Alphabet. [Google] [More]  ⦿

Jury Zambon
[Ariel Graphics]

[More]  ⦿

Just Bia
[Bia Andrade]

Bia Andrade (b. Brazil) has a degree in South American literature. She moved to Europe, where she settled near the Lago di Como in Italy. In 2020, she published the hand-printed fonts So Wonky (2020) and Sassy. Other handcrafted typefaces made in 2020 include Gaia. Anastasia, Strawberry Love, Meow, Pink Lemonade, Spooky, Helena and Sweet Dreams. [Google] [MyFonts] [More]  ⦿

Justin Paul Villa

During his studies in Milan, Justin Paul Villa created the display typeface Volt (2014). [Google] [More]  ⦿

K Projects
[Simone Giorgio]

Simone Giorgio (K-Projects, Varese, Italy; b.1985) is a Fontstructor who created the Western typefaces W Bill (2010) and K Bill (2009), which were inspired by an old Italian comic called Cocco Bill.

Simone wiorks as graphic and type designer

He also designed the octagonal Antique Angles (2009), the counterless Simple Pop (2010), Xetra (2009), Alfabeto (2010) and the 3d shadow typeface Shadow45 (2010).

In 2012, he created the Italian wood style typeface East Wood, and a beautiful rounded suarish mionospaced typeface called Monocolo. This typeface family comes with an icon and emoticon set. In 2014, Kprojects published the monospaced monoline programming font Monocolo and the Italian / Western typeface Rockwood.

Behance link. [Google] [MyFonts] [More]  ⦿

KAF Design
[Gizem Evci]

Uber-talented designer from Turkey who studied at iED in Firenze, Italy. She created several display typefaces in 2014, including Mohocey (2014). [Google] [More]  ⦿

[Luca Ricci]

Art drector in Milan, Italy, who made Kaktus (2020). [Google] [More]  ⦿


Italian design studio in Reggio nell Emilia, est. 1996. Behance link. Creators of the BEE family (2011, fat and counterless). [Google] [More]  ⦿

Kate Seatter

Auckland, New Zealand-based designer of Elegant Ink Font (2014). [Google] [More]  ⦿

Katherine Khimenets

During her studies at Accademia Delle Arti e Nuove Technologie in Rome, Italy, Katherine Khimenets (b. Belarus) created the Trajan typeface Laurentia (2015). Behance link. [Google] [More]  ⦿

Katiuscia Mari
[Fresko Design]

[More]  ⦿


International non-profit type design and typography conference held in Faenza, Italy, on June 5 and 6, 2014. Speakers include Jessica Hische, Ellen Lupton, Erik van Blokland, Frank Chimero, Elliot J. Stocks, incent Connare, Ellen Lupton, Simone Wolf, Francesco Franchi, and Jan Middendorp. Calligrapher Luca Barcellona held a workshop. [Google] [More]  ⦿

[Marco Innocenti]

Kidstudio (Firenze, Italy) was founded in 1997 by Luca Parenti and Marco Innocenti (b. Firenze). In 2013, Innocenti co-designed Kidot with Anastasia Yakovleva: Kidot font was created as a corporate font for KIDSTUDIO. It was born from professional passion to design & typography. A child of bauhaus and modernism. Honest & pure.

In 2014, Kidstudio published the lapidary all caps typeface Vexilla.

Behance link. [Google] [MyFonts] [More]  ⦿

Klaudio Bojaxhiu

Web designer in Corato, Italy, who created Helvetica Numbers Bored Me (2013), an experimental set of numbers. [Google] [More]  ⦿

Konrad Sweynheym

German printer (b. Mainz, d. 1477, Rome), who left Mainz with Arnold Pannartz to establish Italy's first printing press, in the monastery of St. Scholastica at Subiaco. There, they published three books, Cicero's De Oratore, the Opera of Lactantius, and St. Augustine's De Civitate Dei. In 1467, they set up a press in the De Massimi palace in Rome, from where they published 50 more books. Sweynheym is also spelled Sweynheim in some publications.

Nicholas Fabian on Pannartz. Catholic Encyclopedia. Literature: Burger: The Printers and Publishers of the XV Century (London, 1902); Fumagalli: Dictionnaire géogrique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays (Florence, 1905); Löffler: Sweinheim und Pannartz in Zeitschrift für Bücherfreunde, IX (Bielefeld, 1905), and Die ersten deutschen Drucker in Italien in Historisch-politische Blätter, CXLIII (Munich, 1909).

Revivals of their typefaces, blends between humanist and blackletter, include:

  • The Subiaco font done by Ashendene Press in 1902. The Subiaco type is now owned by Cambridge University Press. Its punches were cut by E.P. Prince.
  • Nephi Mediaeval (1983). A metal type by Jim Rimmer for private use. McGrew gives the date 1986. Rimmer writes: It was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes.
  • Linotype Conrad (1999, Akira Kobayashi). Not a revival at all, but rather an interpretation and modernization.
  • The scanfont 1467 Pannartz Latin by Gilles Le Corré in 2009.
  • Pannartz Book (2009, Tomi Haaparanta, Suomi).
  • SweynheymPannartz (2010, Shane Brandes).
  • Benedictine (Anthony Elder, 2014-2015). In the Type@Cooper Extended Program in 2014-2015, Brooklyn, NY-based Anthony Elder designed Benedictine, which is inspired by the first printed books in Italy by Konrad Sweynheym and Arnold Pannartz in the XVth century. Behance link.
  • A couple of free fonts by Alexis Faudot and Rafael Ribas that were developed during a 2018 workshop at Biblioteca Statale del Monumento Nazionale di Santa Scolastica, Subiaco. The first one, Sweynheim & Pannartz Subiaco 120R, is a proto-roman first used in Subiaco by Konrad Sweynheim and Arnold Pannartz for an edition of Donatus in 1465 (no longer preserved) and used until 1467 in four editions in total. The second one, Sweynheim & Pannartz 115R, is a proto-roman first used in Rome by Konrad Sweynheim & Arnold Pannartz for Cicero's Epistolae ad familiares in 1467 and used until 1476.
[Google] [MyFonts] [More]  ⦿


Italian designers of the handwriting typefaces KoRnNet.too.it (2003) and Sick Font (2004). Alternate URL. [Google] [More]  ⦿

Kosha Shah

Graphic designer in Florence, Italy, who created a pixelish typeface in 2016. [Google] [More]  ⦿

Kseniia Zhuk

Graphic designer in Florence, Italy, who created the dashed stroke typeface Dirichlet (2015), which is named after the Dirichlet function. The pearl-studded handcrafted Cascine typeface (2015) was created for Parco delle Cascine in Florence, Italy, a park founded in the XVIth century by the Medicis. [Google] [More]  ⦿

La Fondografica

Type foundry in Torino, Italy, with offices in Milano, Roma, Genova and Napoli. Their typefaces are all named after Italian cities with a few exceptions: Bassano, Rovigo, Chioggia, Tolmino, Como, Rovereto, Trento, Roma, Velletri, Viterbo, Bernina, Casale, Garda, Lodi, Piacenza, Modena, Biologna, Remington, Remington Chiaro. Credit for the images below, taken from their 1929 catalog: Jaime Henderson. [Google] [More]  ⦿

La Operina
[Ludovico Vicentino degli Arrighi]

Full e-text of the first book on writing, La Operina (Ludovico Vicentino degli Arrighi, 1522), a 32-page book about Arrighi's calligraphic lettering. Comments by G. Briem. Briem writes: The author was a copyist, papal scribe, publisher and type designer. He called himself Ludovico Vicentino, and wrote the name eight times into his short text. Yet we know him as Arrighi, a name that appears nowhere in the book. Operina shows great handwriting on every page. It is more than a set of model sheets, however. It describes Arrighi's underlying forms and two basic entry movements. It covers the spacing of lines, words and letters. It deals with slant and joins. Operina is a slim volume of 32 pages. It teaches italic handwriting and is still essential reading. Each page was printed from a separate woodcut by Ugo da Carpi, who is best known as a master of chiaroscuro engraving. Title page. Page 20. Page 26. Page 27. Page 28. Page 29. Page 30. Last page. [Google] [More]  ⦿

La Susina

Italian designer of the handwriting typeface LaSuSiNaCLaSSiC (2008). [Google] [More]  ⦿

Lampridio Giovanardi

Italian engineer-inventor, engraver, cabinet maker, 1809-1878. He designed the decorative caps Alfabeto Figurato (ca. 1860). [Google] [More]  ⦿

Lara D. Gobbi

London-based designer (b. 1985, Rome) of the display caps typeface Funplastic (2013). [Google] [More]  ⦿

[Daniele Capelli]

Bergamo, Italy-based designer, b. 1998, who, as a student at S.Giulia Academy in Brescia, created the bold condensed sans typeface Build (2018). [Google] [More]  ⦿

Laura Addari

Laura Addari (Venice) created Positive Negative (2013). [Google] [More]  ⦿

Laura Anastasio

Milan, Italy-based designer of Abecedario del Falso Libro (2019). [Google] [More]  ⦿

Laura Antonucci

Type historian. Author of these articles (in Italian):

  • La scrittura giudicata: perizie grafiche in processi romani del primo seicento, Scrittura e civiltà, vol. 13 (1989), pp. 489-534.
  • Techniche dello scrivere e cultura grafica di un perito romano nel '600', Scrittura e civiltà, vol. 16 (1992), pp. 265-303.
  • Teoria e pratica di scrittura fra cinque e seicento: un esemplare interfogliato de Il primo libro di scrivere di Giacomo Romano (1589), Scrittura e civiltà, vol. 20 (1996), pp. 281-347.
[Google] [More]  ⦿

Laura Lezman

Designer in Florence, Italy, who created the circuit font Circuit Chords (2016). [Google] [More]  ⦿

Laura Quarto

Milan-based designer of the connect-the-dots typeface Parisienne (2016). [Google] [More]  ⦿

Laura Rosina

Rome, Italy-based designer of the pixelish / gridded typeface Streyes (2018). [Google] [More]  ⦿

Laura Sansotera

Based in Corbetta, Italy, Laura Sansotera created a typeface that is based on Coppertone's logo. It was a school project in 2009 at Politecnico di Milano. Designer of the retro typeface AmeriCar (2010), a typeface designed during a course at Politecnico in Milan where she studied under Gio Fuga. [Google] [More]  ⦿

LCD Graphics
[Gianni Sinni]

LCD Graphics has an impossible page. It is a company founded in 1982 by Gianni Sinni (b. 1960) and Franca Gori in Florence. It seems like it has some fonts by Gianni Sinni such as LetteraTrentadue (1995), created as an homage to the Olivetti typewriter (with a Cyrillic version to boot, see here for the Russian typewriter font). Cut Up (1995) has letters obtained by cutting and pasting parts of letters. New Tuscany (2001) too has letters created by a montage process---it is a surprisingly elegant atmospheric font. Kiub (T-26, 2007) is a wonderful rounded blockish shadow display family. Dada Sans (2006) is a basic simple sans family. In the 1980s, Sinni was art director of the magazines at Westuff and Emporio Armani. Other URL. [Google] [MyFonts] [More]  ⦿

Leandro Leanza

Palermo, Sicily-based designer of the modular squarish typeface Soffo (2014). [Google] [More]  ⦿

Leandro Lisboa

Visual designer in Amsterdam. Designer of the elliptical typeface Yon (2010), a typeface designed during a course at Politecnico in Milan where he studied under Gio Fuga. Leandro is from Belo Horizonte, Brazil. Other typefaces:

  • Imigongo (2012). An African-look face.
  • Nyanza (2012), for a brand for a refined collection of ethnic jewelry produced in Rwanda.
  • Iolanda (2012). A signage script.
  • Laguna and Laguna Italic (2012, a pair of sans typefaces in the final project for his graduation at IUAV University of Venice).

Behance link. [Google] [More]  ⦿

[Andrea Braccaloni]

Leftloft is a visual communications studio in Milan, founded in 1997 by graphic designer Andrea Braccaloni (b. Bologna, 1973), Francesco Cavalli, Bruno Genovese and David Pasquali. The studio is mainly engaged in corporate identity, and now also has an office in New York. Andrea Braccaloni teaches visual communication at the III Faculty of Architecture/Design at the Politecnico di Milano. At ATypI in Rome in 2002, he spoke about new typefaces he designed the old-fashioned way, as a handicraft. Within the studio, there is a small lab for type design, called "Die kleine Fonderie", at which Andrea Braccaloni and Veronika Burian are active. Designs include LL Egeo (1999, shifted letters), LL Mila (2002, a condensed sans with a trademark "g"), LL Etica (2001-2002, a sans family that derives its name from Helvetica, and has soft strokes and wide apertures---in 2009, Etica Seriffo was published by Type Together as the "trappist type family"; see also LFT Etica Sheriff in 2016, and LFT Etica Mono in 2019), LL Chicane (2001, geometric and experimental, between paperclip and neon sign), LL Impresa (2001, octagonal-themed font), LL SanSiro (masculine sans family), LL EU (a delicate sans), LL Alice ditalunghe (transitional text face), LL Officiel (extreme didone titling face, developed for French fashion magazine L'Officiel, in collaboration with Patricia Sartori), LL Crudo (experimental, now LFT Crudo), LL Ubu Re (2002, made by lines and circles only), Lemon (1998), L'Amante Perduto (1999), Solferino Text (2007, with Luciano Perondi, for Corriere della Sera), Brera (2007, a sans family by Leftloft and Molotro).

In 2014, Leftloft published the semi-techno wayfinding typeface family LFT Iro Sans at Type Together. It has a unicase set of styles.

In 2020, he released the flared humanist sans typeface LFT Arnoldo at TypeTogether.

Klingspor link. [Google] [MyFonts] [More]  ⦿

Leo Colalillo

Milan, Italy-based type designer who graduated from IED in 2007 and attended the Master of Type Design program at Politecnico di Milano. He has been working in the world of visual communication since then for clients such as Chianti Classico, Moretti, Amnesty International and UAAR. In 2019, he started teaching at IED (Istituto Europeo di Design) in Rome.

His early typefaces include the hand-printed Peake, Grill Trump (2012: a typeface derived from Gill Sans together with Valentina Aufiero, Francesca Sperti, Natale Ventre and Alejandra Sepulveda at Politecnico di Milano), BetaQin, and the heavy angular display typeface Grosser (2013), which was earlier called Größe (2012). This octagonal typeface covers Greek and is loaded with opentype features.

In 2018, he designed the ultra-condensed blackletter typeface Guglia.

In 2020, he released the all caps anthroposophic / lapidary typeface Caudine. It was inspired by the Oscan alphabet used by the Samnites, an pre-roman Italic culture from south-central Italy. Home page. [Google] [MyFonts] [More]  ⦿

Leonardo Di Lena
[Flanker (or: Studio di Lena)]

[MyFonts] [More]  ⦿

Leonardo Gava

At IUAV Design Venice, Leonardo Gava designed the titling sans typeface Spinosa Sans (2019). [Google] [More]  ⦿

Leonardo Guardigli

Bologna, Italy-based creator of a clean hand-printed typeface in 2013. [Google] [More]  ⦿

Leonardo Gubbioni

During his studies at Accademia delle Arti e Nuove Tecnologie in 2014, Leonardo Gubbioni (Terni, Italy) created Building (2014), a masculine condensed haedline sans that takes no prisoners. Free download. [Google] [More]  ⦿

Leonardo Guerra

As a student based in Venice, Leonardo Guerra designed the monoline Scandinavian sans typeface Raal (2016). [Google] [More]  ⦿

Leonardo Maltese

Graduate of IED in Rome in 2012. Cofounder in 2012 with Matteo Brogi of Studio Polpo. Together with Matteo Brogi, Leonardo Maltese (Rome) created the vintage signage typeface Forno (2013).

Behance link. [Google] [More]  ⦿

Leonardo Sonnoli

Born in Trieste in 1962, and a partner in CODEsign in Rimini with Vetta (who died in 2003) and Tassinari. From 1990 to 2002 he has been art director at the Dolcini associati office in Pesaro. At ATypI in Rome in 2002, he spoke about the pieces letters are made of. Creator of the militaristic geometric experimental typeface Corva Salto (1993).

In 2014, Leonardo Sonnoli and Jonathan Pierini developed the bespoke typeface family Mast for the MAST Foundation in Bologna. [Google] [More]  ⦿

Leonardo Suozzo

Italian graphic designer who graduated from the European Institute of Design in Rome. For his final project in 2012, he designed a typeface on the surface of a regular 3d polyhedron. [Google] [More]  ⦿

Leopardo Antonozzi

Italian penman, who wrote De Caratteri in 1638 in Rome. A facsimile was published in 1971 by Nieuwkoop. [Google] [More]  ⦿

Letizia Depedri

During her studies at the Academy of Fine Arts in Venice, Trento, Italy-based Letizia Depedri designed the geometric art deco typeface Triple (2015). [Google] [More]  ⦿

Letizia Picuno

Roman designer who created the Curly typeface in 2012. [Google] [More]  ⦿

Letteralmente Mediterraneo Giornata della tipografia 2007

Type workshop held on November 17, 2007 in Lugano. Speakers: Andreu Balius, Patrick Thomas, Alessandro Segalini, Tarek Atrissi. [Google] [More]  ⦿


Company that (re?)made the soccer lettering font Puma Pace in 2007. This was used by the Italian soccer team during the 2006 World Cup. Download here. [Google] [More]  ⦿

Lia Ra

Illustrator in Milan who designed a starry typeface in 2018. [Google] [More]  ⦿

Libreria AIAP

Italian publishing house specializing in type. Edited by Stampa Alternativa / Graffiti and led by Giovanni Lussu. Titles include:

  • Caterina Marrone: "I geroglifici fantastici di Athanasius Kircher" (2002). About hieroglyphs.
  • M. Rattin&M. Ricci: "Questioni di carattere. La tipografia in Italia dal 1861 agli anni Settanta".
  • M. Zennaro: "Calligrafia Fondamenti e procedure".
  • R.O. Blechman: "Tutto esaurito".
  • Roy Harris: "L'origine della scrittura".
  • James Mosley: "Radici della scrittura moderna" (2001).
  • Adrian Frutiger: "Il mondo dei simboli Passeggiate tra i segni".
  • Adrian Frutiger: "Segni&simboli Disegno, progetto e significato".
  • Marco Delogu: "Nature Scritti nel tempo".
  • F. Ascoli and G. De Faccio: "Scrivere meglio". How to improve your handwriting.
[Google] [More]  ⦿

Libro di M. Giovambattista Palatino cittadino romano
[Giovambattista Palatino]

This jewel of a book was published in 1550 by Antonio Blado asolano in Rome. It is now available on the web and contains of complete alphabets, from chancery scripts, to blackletter and roman. There are also Greek, Hebrew, Cyrillic, Syrian, Arabic and other alphabets. Selected pics to make you drool. [Google] [More]  ⦿

L'Ile Foundry
[Jérémy Ruiz]

Jérémy Ruiz is a French graphic designer living and working in Milan, who also lived in Rome, Berlin and Barcelona. During his studies in Visual Communication at ESMA in Montpellier, he completed an internship at Charlie Hebdo in Paris, as a layout designer. He worked for several years as a freelance graphic designer. In 2021, he released the wavy typeface families Kuma, Kuma Rounded and Kuma Square.

Typefaces from 2022: Ekko (an interlocking sans). [Google] [MyFonts] [More]  ⦿

Lilith Fate

Born in 1989 in Treviso, Italy. Creator of Lilith Script (2012, hand-printed). Aka Fatum Path.

Dafont link. [Google] [More]  ⦿

Linda Sciutto

Italian designer of the free handcrafted typeface Linda Sciutto (2017). [Google] [More]  ⦿

Linh Vu Pham Ferrari

Rome-based designer (b. Vietnam) of the thin art deco typeface Mumbai Cinemas Type (2017). Behance link. [Google] [More]  ⦿

Lino Russo

Milan, Italy-based graphic designer, illustrator and photographer, who created the beveled typeface Tetra (2016) and the neo-grotesque typeface Kita (2017). Creative Market link. [Google] [More]  ⦿

[Girgio Coraglia]

Pages by Giorgio Coraglia on Ottmar Mergenthaler and Linotype. As he himself puts it: "It is a site open to the testimonies of all those whom have dedicated a life of labor to a mythical profession: to the Linotype operator&typographers&= journalists throughout the world. To remember&to remind." [Google] [More]  ⦿

Lisi Borriello

Or Elisabetta Borriello. Rome, Italy-based designer of the sci-fi typeface Blade Stencil (2015), a modular type created for a school project in Bolzano. In 2016 she designed the decorative bicolored typeface Flamingo. [Google] [More]  ⦿

Liuna Virardi

Italian designer (b. 1983, Bologna) who studied graphic design and visual communication at ISIA in Urbino and illustration at Escola Massana in Barcelona. She currently lives in Toulouse, France. Creator of the free font Ethnic ABC (2015; this font was digitized by Philippe Petitpas). Blogspot link. Dafont link. Behance link. [Google] [More]  ⦿

Lodovico Curione

Italian writing master, b. Bologna, d. Roma 1617. Examples of his work date from 1582 and 1588. Author of II Cancelliere di Ludovico Curione ornato di lettere corsiue et d'altre maniere di caratteri vsati a scriuersi in Italia. Libre Quarto (Roma, 1609). [Google] [More]  ⦿

Lorenza Liguori

Graduate of RUFA (Rome University of Fine Arts). Milan, Italy-based designer of the display typefaces Supera (2019) ans Monstrum (2019). [Google] [More]  ⦿

Lorenzo Attenni

Rome-based designer of the free font Ozneo (2014), a geometric sans-serif that is inspired by neon signs. [Google] [More]  ⦿

Lorenzo Ballarini

In 2017, Stefano Torregrossa and Lorenzo Ballarini (Verona, Italy) co-designed the custom sans typeface Salvagnini for the sheet metal company by that name. [Google] [More]  ⦿

Lorenzo Castelli

Graduate of the Art Institute of Trento (2008-2013). Trento, Italy-based designer of the free strong text typeface family Supernova (2017). Behance link. [Google] [More]  ⦿

Lorenzo Fernandez

Graphic designer in Milan. During a 5-week type design course at Politecnico di Milano, he created the extraordinary mid-20th century display typefaces Rollopino and Rollopina (2009), created in the style used on wooden score boards for baseball. Portfolio. Alternate URL. [Google] [More]  ⦿

Lorenzo Lalatta

Graphic artist, illustrator, and web designer who lives and works in Parma, Italy, and studied at the European Institute of Design in Milan. He says to be inspired by the work of Belgian comic artist Hergé, Georges Remi, creator of the popular comic character, Tintin. Designer of the innovative display font Orchestra (2003, Bitstream), which has letters made up from instruments. Home page. Alternate URL for home page. Yet another URL. FontShop link. [Google] [More]  ⦿

Lorenzo Miola

Designer in Ferrara, Italy. In 2018, Lorenzo Miola, Luca Pedali and Lorenzo Richetta co-designed the didone stencil typeface Affettato for a school project. [Google] [More]  ⦿

Lorenzo Properzi

Italian designer of the DIN / Franklin Gothic style sans sans typeface P4 (2017). [Google] [More]  ⦿

Lorenzo Richetta

Designer in Brandizzo, Italy. In 2018, Lorenzo Miola, Luca Pedali and Lorenzo Richetta co-designed the didone stencil typeface Affettato for a school project. [Google] [More]  ⦿

Lorenzo Rigamonti

During his studies, Lecco, Italy-based Lorenzo Rigamonti designed the very original oriental simulation typeface Kana (2017), which comes wth wayfinding icons. [Google] [More]  ⦿

Lorenzo Tommasi

Naples, Italy-based designer of Jack Sans (2019). [Google] [More]  ⦿

[Scilla Corbelli]

Italian designer of Gummy Gum (2019) and Flower Power Script (2019). [Google] [MyFonts] [More]  ⦿

LR Type foundry
[Luca Romeo]

Italian communication designer, now based in London. Creator of the slab serif pixel typeface Invader Regular (2013). Behance link. [Google] [More]  ⦿

LS Graphic Design Tipografia

Italian graphic design blog with a subpage on typography. [Google] [More]  ⦿

Luca Barcellona

Celebrated Milan-based calligrapher, letterer and illustrator. Examples of his lettering include this shoe (2010), this octopus (2010) and this tiger. Enhanced graffiti lettering. Lettering video on Vimeo. Logos and designs for Carhart in 2010. MySpace link. Flickr page. Another Flickr page. Another URL.

He has shown some complete, mostly calligraphic, alphabets that I suspect have never been fonted. These include the calligraphic brush set ABC Narrow (2008), a blackletter demo, and Dry Brush Fraktur (2010). Pic. [Google] [More]  ⦿

Luca Bolognese

Italian calligrapher and programmer who splits his time between Spain and Italy. He writes that he is inspired by the classical Italic hand, as exemplified by Fairbanks and Lloyd Reynolds and that his fonts strike a balance between the freshness of the pen and the rigidity of the digital medium.

Typefaces from 2021: Italiko (a calligraphic typeface family; see also his Github page on Italiko). [Google] [MyFonts] [More]  ⦿

Luca Bresolin

Graphemica is the work of Luca Bresolin, an Italian graphic designer currently based in London and Zagreb. He created typefaces such as Mio Display (2016) and OCR-A Extended (2016, which covers English, Greek, Cyrillic, Arabic and Hindi). Behance link. [Google] [More]  ⦿

Luca Capretti

Rome-based designer of Paintdrip (2012). [Google] [More]  ⦿

Luca Casini

Milan-based graphic designer. Creator of Callibold (2011, iFontMaker), a hand-printed face. [Google] [More]  ⦿

Luca Chiti

Italian type designer at Zetafonts. In 2016, Cosimo Lorenzo Pancini, Matteo Chiti, Luca Chiti and Andrea Tartarelli co-designed the retro connected brush script font family Advertising Script, which is based on an example from Ross George's Speedball 1947 Textbook Manual. [Google] [MyFonts] [More]  ⦿

Luca De Stefano

Illustrator in Milan, Italy, who designed Canada (2018). [Google] [More]  ⦿

Luca Devinu

Pozzomaggiore, Italy-based designer of the pointy metal band typeface Hellblaze (2018). [Google] [More]  ⦿

Luca D'Onofrio

Milan-based designer who created the Buckeye typeface in 2013. [Google] [More]  ⦿

Luca Egidio Galessi

Art dieector in Villa di Serio, Italy. Creator of the school project font Filorosso (2010) during his studies at Polidesign, Politecnico di Milano, Italy. [Google] [More]  ⦿

Luca Emme

Torino, Italy-based designer of the free font Romanjo (2016). He writes: Font created for the cover of BUJO#07. The font is inspired by certain lettering observed during a trip to Romania within several religious structures indentifiable with the Neo-Romanian and the Brancovenesc architectural style. Dafont link. [Google] [More]  ⦿

Luca Ferrario

Located in Milan, Luca Ferrario designed the fat finger typeface Supergrass (2013) which is based on the Supergrass Festival logotype. Free download. Patricia Fraktur (2013) is based on the logo of the Uruguayan Patricia beer.

Behance link. Hellofont link. [Google] [More]  ⦿

Luca Grande

Caserta, Italy-based designer of Helvetica Destroy (2017). [Google] [More]  ⦿

Luca Grimaz

Aldeno, Italy-based designer of the simple sans typeface GRMZ (2016). [Google] [More]  ⦿

Luca Marsano

As a member of the Italian open source font cooperative Collletttivo, Luca Marsano designed the (free) wide sans and wedge serif typeface pair Messapia (2019). [Google] [More]  ⦿

Luca Mescoli

Milan-based creator of the hairline sans typeface Fibo (2013). [Google] [More]  ⦿

Luca Pagot

Italian designer in Udine. Creator of the modular futuristic typeface Space Paranoid (2010). [Google] [More]  ⦿

Luca Pedrotti

Italian web, graphic and type designer who lives in Brescia. Behance link.

His free typefaces: Evereverse (2010), Fatty Joy (2005, an art deco cum organic typeface), Ica3 (2006), Evereverse (2007) and wwwar (2005, pixel face).

He also experimented with the iPhone BBD app for making typefaces. Abstract Fonts link. [Google] [More]  ⦿

Luca Ricci

[More]  ⦿

Luca Romeo
[LR Type foundry]

[More]  ⦿

Luca Sabatini

Graphic designer at Unknown Studio in Novate Milanese, Italy. Creator of the heavy poster typeface UT Mammut (2014). Behance link. [Google] [More]  ⦿

Luca Saleppichi

Aka Graphic Worlds. Italian designer of Sunray Script (2016), Sister (2016), Sister Sans (2016), Pink Nightingale Script (2016) and Love Bugs (2016). Creative Market link. [Google] [More]  ⦿

Luca Taddeo

As a student at IUSVE, Verona, Italy-based Luca Taddeo created Universal Regular (2016), which is an extension of Herbert Bayer's Universal, and is---obviously--a compass-and-ruler typeface. Behance link. [Google] [More]  ⦿

Luca Terzo

Florence, Italy-based designer of the squarish typeface setto (2016). At Italian Type, he published Noctis (2020), a wedge serif loosely based on Aldo Novarese's 1972 typeface for H. Berthold A.G., Primate. [Google] [MyFonts] [More]  ⦿

Luca Tornatola

Italian designer of the hand-printed typeface AndNow Hand (2013). Dafont link. [Google] [More]  ⦿

Lucas Franco
[Now Type]

[More]  ⦿

Lucas Leo Catalano

Rome-based creator of Janueri (2013), an angular text typeface.

About me link. [Google] [More]  ⦿

Luciano Perondi

[MyFonts] [More]  ⦿

Luciano Perondi
[ISIA Urbino]

[MyFonts] [More]  ⦿

Luciano Quaranta
[Studio Variabile]

[More]  ⦿

Lucilla Lombardi

Rome, Italy-based designer of the compass-and-ruler logotype Bartorelli (2017). Behance link. [Google] [More]  ⦿

Lucio Bolognesi

Senior Italian designer who is based in London. Basik home page. His typefaces include Bass It Up (squarish), Privacy (modular), and Wellvetica (+Bold). [Google] [More]  ⦿

Lucio Passerini

Italian woodcutter, typographer and publisher. He teaches lettering and graphic arts history in Milan. At ATypI in Rome in 2002, he spoke about the current state of calligraphy in Italy and the achievements of the ACI (Associazione Calligrafica Italiana) since its inception in 1991. [Google] [More]  ⦿

Lucy Denning

During her graphic design studies in London, Lucy Denning created a decorative extension of Lucinda Handwriting called Iced Circulus (2013). [Google] [More]  ⦿

Ludiko kidult lab

Italian art cooperative in Omegna, where one can download the nice hand-printed Ave Giulio (2009). Other fonts viewable via Behance include Downboy (2009). Dafont link. Other fonts: Sciallo (2009), Maruto Skiing (2009, an art deco beauty), Crookers (2009, a dada face). [Google] [More]  ⦿

Ludovica Jannello

Graphic designer and illustrator in Milan, who created a new style of stencil typeface in her Beagle Stencil (2011). [Google] [More]  ⦿

Ludovico Cesetti

During his studies in Rome, Ludovico Cesetti created the alchemic typeface Rigel (2013). [Google] [More]  ⦿

Ludovico Scurto

For a school project at Istituto Quasar Design University, Ludovico Scurto (Rome, Italy) mixed Clarendon and Rotis sans tpo create Block Font (2014). [Google] [More]  ⦿

Ludovico Vicentino degli Arrighi da Vicenza

Influential Italian printer, writing master and calligrapher, b. ca. 1475-1480, d. 1527, aka Ludovico Vicentino (degli Arrighi), or Ludovico il Vicentino. Around 1510 he was a bookseller in Rome. He was employed as a scribe at the Apostolic Chancery in 1515. Author in 1522 of the writing manual La Operina, da imparare di scrivere littera cancellarescha, which was the first one for popular use. La Operina contains the first printed example of Chancery Cursive. In 1523, he wrote a sequel, Il modo de temperare le penne, a beautiful and influential typographic manual.

Roderick Cave writes in his The Private Press: The first part of this was printed entirely from wood blocks, but the second part, Il Modo di Temperare le Penne, contains several pages printed in a very fine italic typeface modeled on the cancellaresca formata hand. The type was fairly obviously derived from the hand used by Arrighi himself; it seems likely that the punches were cut by his partner, who can with reasonable certainty be identified as Lautizio de Bartolomeo dei Rotelli, of whose skill as an engraver of seals Benvenuto Cellini speaks with respect in his Autobiography. He started printing in 1524 and designed his own italic typefaces for his work, which were widely emulated.

His letterforms were revived in the 20th century by designers such as Plumet (1925), Stanley Morison (Monotype Blado (1923, Stanley Morrison) is based on Arrighi's lettering---it was unfortunately named after the printer Antonio Blado who used the type in the 1530s; the name Monotype Arrighi would have been more appropriate), Frederic Warde (in his Arrighi Italic, 1925), Robert Slimbach (one could say that his memory lives on through fonts like Adobe Jenson Multiple Master), Ladislav Mandel (Cancellaresca), Willibald Kraml (Vicentino, 1992), Paulo W (as Volitiva), Gunnlaugur S.E. Briem (Briem Operina), James Grieshaber (P22 Operina), Michelle Dixon (Arrighi Copybook), Gilles Le Corre (1522 Vicentino, 2011) and Jonathan Hoefler (Requiem Text).

Arrighi's last printing was dated shortly before the sack of Rome (1527), during which he was probably killed.

Sample pics: Fantastic ornamental capitals (1522), roman capitals (1522), Italian capitals, Italian minuscule. [Google] [MyFonts] [More]  ⦿

Ludovico Vicentino degli Arrighi
[La Operina]

[More]  ⦿

Luigi Gorlero

As a member of the Italian open source font cooperative Collletttivo, Luigi Gorlero designed the reverse stress typeface Ribes Black (2019) and Apfel Grotezk (2019; +Fett in 2021). [Google] [More]  ⦿

Luigi Oriani

Designer at Nebiolo. He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Ilio Negri, Till Neuburg, Franco Grignani and Pino Tovaglia) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. Forma was revived by Tankboys as Forma Nova. [Google] [More]  ⦿

Luisa Somaschini

Designer who studied at the Instituto Europeo di Design, Milan, Italy. Creator of this experimental typeface. [Google] [More]  ⦿

[Claudio Beccari]

A collection of free metafont and type 1 fonts made in 2008 by Turn-based Claudio Beccari designer for mathematical slide presentations. These are genealogically related to Knuth's Computer Modern fonts. The fonts: lcmbsy8, lcmex8, lcmmi8, lcmmib8, lcmsy8, leclb8, lecli8, leclo8, leclq8, llasy8, llasyb8, llcmss8, llcmssb8, llcmssi8, llcmsso8, lmsam8, lmsbm8, ltclb8, ltcli8, ltclo8, ltclq8. [Google] [More]  ⦿

Mahsa Bamdadi Nejad Shafti

Bologna, Italy-based designer of a squarish modular typeface in 2016. [Google] [More]  ⦿

Maje Navarro

Graduate of the Escuela Superior de Diseño de Murcia, Spain. .During her studies at Politecnico di Milano, Maje Navarro created the curvy organic typeface Ardini (2014). Behance link. [Google] [More]  ⦿

Malica Worms

Rome, Italy-based designer of the modular display typeface Cloitre Modular (2016). Behance link. [Google] [More]  ⦿

Manfredo Massironi

Italian author of The pleasure of showing and looking at words, an essay, ca. 2007, on the roots of calligraphy. [Google] [More]  ⦿

Manouche M

Lecce, Italy-based designer of the handcrafted typeface Aster (2016). [Google] [More]  ⦿

Manuale Tipografico: 1818 (full)
[Giambattista Bodoni]

In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and teemed with ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. All images of the 1818 book are here. [Google] [More]  ⦿

Manuale Tipografico: 1818 (partial)
[Giambattista Bodoni]

In 1788, Giambattista Bodoni published his masterpiece, the Manuale Tipografico (look at it here), which contained 291 alphabets, and was full of ornaments and borders. In 1818, 5 years after his death, his wife Margherita Dall'Aglio published a second edition, which contained 373 alphabets. He was influenced by Fournier and Firmin Didot. Some images of the 1818 book are in this page. [Google] [More]  ⦿

Manuel Alvaro

Italian type designer who grew up in Reggio Calabria and now lives and works in Florence, Tuscany. Associated with Italian type Foundry, he designed the compressed font Jonio (2021), which took inspiration from a typeface by Fonderia Tipografica Reggiani. Interview in 2021 by MyFonts. [Google] [More]  ⦿

Manuel Lazzarin

During his studies, Paese, Italy-based Manuel Lazzarin created Alfabeto (2014). [Google] [More]  ⦿

Manuela Ladu

Milan, Italy-based designer of the display typeface Honey (2019). [Google] [More]  ⦿

Manuela Rattin and Matteo Ricci

Authors of a thesis entitled Questioni di Carattere: La tipografia in Italia dal 1861 agli anni Settanta (1997, Stampa Alternativa&Graffiti). It surveys the history of Italian typography and type design. [Google] [More]  ⦿

Manuele Mascheroni
[Oven Foundry]

[More]  ⦿

Mara Giurgola

Designer in Castellanza, Italy. In Giangiorgio Fuga's type design class at Politecnico di Milano, Alessandro Asgari, Leonie Buch, Misha Faridani, Laurent Ferrante, Mara Giurgola, Nicolás Morales co-designed the signage script typeface Chang Beer New Chang (2014). [Google] [More]  ⦿

Marca Tipografica

Italian page that explains about typographic marks that were used principally between 1457 and 1700. [Google] [More]  ⦿

Marcello Della Puppa
[MCP Typefaces]

[More]  ⦿

Marcello Nizzoli

Italian artist, architect, industrial and graphic designer, 1887-1969. After graduating from the Accademia di Belle Arti of Parma in 1913, he worked as a draughtsman in Milan until World War I. The influence of futurism and Fortunato Depero influenced his later work. He was the chief designer for Olivetti for many years and was responsible for the Olivetti typewriter Lexicon 80 (1948) and the iconic Lettera 22 portable typewriter (1950). Nizzoli's style inspired Nizzoli (2017, Luciano Vergara for Los Andes), a modular, almost sci-fi, sans typeface family. [Google] [More]  ⦿

Marcello Raffo

Italian designer of the pixel font Pexel Grotesk (2020, at Supernulla). [Google] [More]  ⦿

Marcelo Omegna

Marcelo Omegna, who seems to be Italian, designed the round signage typeface Patronato 21 (2010). [Google] [More]  ⦿

Marcelo Vendramel

Milan-based and Sao Paulo-born designer of Rolo (2013), a typeface that was inspired by Sao Paulo's pixacao style.

Hellofont link. [Google] [More]  ⦿

[Claudius Marcus]

During his studies in Rome, Marcloud, or Claudius Marcus (b. 1990), designed the unicase typeface The Copenhagener (2013).

Dafont link. Behance link. [Google] [More]  ⦿

Marco Anelli

[More]  ⦿

Marco Antonio Rossi

Italian calligrapher from the late 16th century, who created several sets of beautiful initials. Geometric construction of roman capitals, from Giardino de Scrittori (Rome, 1598). [Google] [More]  ⦿

Marco Ballaré

Italian designer in Torino (b. 1984) who studied at Universita del Piemonte Orientale (class of 2010) and Universita di Torino (with a Masters degree, in 2012). Co-founder in 2014 of Pop Com, he is based in Torino, Italy.

Designer of the free handcrafted typeface Johnson Script (2014), the sans typeface Hasta Grotesk (2015), the rounded geometric sans typeface Menulis (2015), the hand-printed typeface Wicked Child (2014) and of Antraste (2015, a rounded geometric all caps sans), Vulpes (2015, a bold geometric sans), Easy Skyline (2015, dingbats), Danae (2015) and Bellerophon (2015, a rounded slab serif).

In 2016, he designed the sketchy handcrafted typeface Houndville, the sans typefaces Voras and Gotu, and the free brush typeface Remisso.

In 2017, he designed the free text typefaces Novar and Bludhaven, and the vernacular typeface Potatoes And Peas.

In 2018, he added the fat finger font Johnson Script. Dafont link. Behance link. [Google] [More]  ⦿

Marco Battaglia
[Battle Fonts]

[MyFonts] [More]  ⦿

Marco Bergamini Pzeros

Italian designer of the refined display typeface Jent (2011), which is fit for a gentleman's fashion mag. Home page. [Google] [More]  ⦿

Marco Biraghi

During his studies in Milan, Italy, Marco Biraghi designed the poster typeface Rocoe (2015). [Google] [More]  ⦿

Marco Campardo

[More]  ⦿

Marco Comastri

[More]  ⦿

Marco Condello

Torino, Italy-based designer of Pietre (2013), a stencil typeface inspired by stone slabs.

As a member of the Italian open source font cooperative Collletttivo, he designed the free monospaced typeface Necto Mono (2016) and writes: Necto Mono is an aseptic, neutral font designed for any kind of visual mutiny.. [Google] [More]  ⦿

Marco Corna

Milan-based graphic designer. Creator of Ottotipo (2010, grotesque). Behance link. [Google] [More]  ⦿

Marco D'Ambrosio

Italian youngster, b. 1992. Creator of the comic strip scanbat typeface KakuDingbatsOnePieceArtOnePieceArea (2008), DirtyFemaleFeet (2009, scanbats), Knives (2009, scanbats), Karyna Feet (2009), The Comedian Dingbats (2009, scanbats) and PipBoyWeaponsDingbats (2009). Aka Skulls, or The Fetish Press. [Google] [More]  ⦿

Marco de Luca Gaetani
[Upper Type Foundry]

[More]  ⦿

Marco Fornasier

Italian designer Marco Fornasier studied at Universita IUAV di Venezia (2008) and became a professor at IUAV San Marino University in 2010. He set up branding and design studio Huge in Padua in 2007. He writes about type and typography in articles such as these: Max Bill is not a type designer, Scrivee con la macchina: prologo, Scrivere con la macchina: como funziona and Scrivere con la macchina: scenari. Linkedin link. [Google] [More]  ⦿

Marco Fox

Italian (b. 1997, Cesena) who designed the sketched typeface Sketchetik (2011)---at least that is the information given by Dafont. I believe that they are wrong and that Sketchetik, the typeface posted by Dafont, belongs to Hiekka Graphics. Home page. [Google] [More]  ⦿

Marco Galtarossa

Padova, Italy-based designer of the sans typefaces MG Una (2017), MG Fixat (2016, monospaced), MG Primo (2016, grotesk) and MG Motan (2016). He also designed several sets of icons, such as Autumn Icons, Audio Icons, and Christmas Icons.

In 2017, he published the text typeface MG Sera. Behance ink. [Google] [More]  ⦿

Marco Goran Romano

Talented illustrator and graphic designer in Milan, Italy, who works for the Italian version of Wired Magazine. Behance link. Examples: a bike poster called Hand Made With Love (2011), and an illustration called Firenze (2011).

Creator of the fun free font GRN Burgy (2011), which was created for massive headlines, posters and fast food logos. It takes inspiration from the earliest American graffiti and from fast food culture. [Google] [More]  ⦿

Marco Goran Romano

Illustrator in Milan, Italy. Together with Valentina Casali, he runs the studio Sunday Büro. In 2019, Sunday Büro released the hexagonal / octagonal typeface Thndrbolt, which was co-designed by Valentina Casali and Marco Goran Romano. They explain: In 2017 we had the honour to work, under the art direction of Francesca Pignataro, on the restyling of Il Mucchio Selvaggio Magazine, the oldest (and boldest) Italian music magazine. A brand new font for titling was designed, aiming to represent the new soul of the magazine, its modern look, its freshness. The result is an overbearing typeface inspired from the typography of 70s / 80s music fanzine like Damaged Goods, Punkture or some openings of ZIG ZAG. [Google] [More]  ⦿

Marco Greppi
[Pimpa Gerroc]

[More]  ⦿

Marco Innocenti

[MyFonts] [More]  ⦿

Marco Invernizzi

Aka Marco Inve. Graphic designer in London (b. Milan, 1991). In 2013, he created the ransom note style httype typeface, which uses letters from social media logos. His octagonal typeface Tubed (2015) is free, as is his rounded slab serif typeface Phobo (2015).

In 2016, he designed Pactim, a sans typeface influenced by Impact. He also published the tweetware squarish typeface Disorder and the taped font Grunge.

Old home page. [Google] [More]  ⦿

Marco Lucidi

Udine-based designer of a nice typographic logo, Pinna (2012). [Google] [More]  ⦿

Marco Marciano

During his graphic design studies in Palermo, Sicily, Marco Marciano created the display typeface Panzer (2013). [Google] [More]  ⦿

Marco Marzoli

Marco Marzoli (b. 1986, near Florence, Italy) created the angular and quite readable (free) typeface Pinolo during a course at Bauer CFP in Milan in 2015. [Google] [More]  ⦿

Marco Milone

Aosta, Italy-based designer of the pixel typeface Talk to the Three-headed Monkey (2020). [Google] [More]  ⦿

Marco Molteni

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Marco Napoletano

During his graphic design studies, Marco Napoletano (Bari, Italy) created the sans titling typeface Octavia (2015). [Google] [More]  ⦿

Marco Oggian

Freelance designer and illustrator in Milan, now based in Laveno. Creator of Magico (2013, Ten Dollar Fonts: an ornamental caps typeface), Conizugna (2013, Ten Dollar Fonts), the alchemic typefaces Roccia (2013), Parqa (2012, Ten Dollar Fonts: inspired by Gotham, a font used in German expressionist cinema), Labieno (2012) and Harf 77 (2012, Ten Dollar Fonts: Harf77 is a contribution to the English punk scene of the late 70's). Harf 77 Neue followed in 2013.

Typefaces from 2014: Freschezza, Milano (a free sans typeface).

Typefaces from 2017: Friki (a free geometric solid style font).

Behance link. Hellofont link. Additional URL. [Google] [More]  ⦿

Marco Pezzotta

[MyFonts] [More]  ⦿

Marco Rodili

Chiavenna and/or Milano, Italy-based designer of Rodili Garamond (2014) and Roxi (2015, designed for logos and ads). [Google] [More]  ⦿

Marco Rollo

Graphic designer in Milan, Italy, who published Brutaype in 2019, where the name refers to brutalism. [Google] [More]  ⦿

Marco Santinelli

Marco Santinelli (Rome, Italy) created the circle-based modular typeface Bounce in 2014. Behance link. [Google] [More]  ⦿

Marco Sbaraglia

Graphic designer in Milan who made the flare-serifed heavy all caps typeface Camel (2012). [Google] [More]  ⦿

Marco Serpieri

Italian creator of the artsy stencil typeface Essedic