TYPE DESIGN INFORMATION PAGE last updated on Wed Jan 22 21:33:48 EST 2020
FONT RECOGNITION VIA FONT MOOSE
Type design in Italy
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] ⦿
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.
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] ⦿
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).
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] ⦿
Grosseto, Italy-based designer (b. 1973) of the Etruscan simulation font AM False Etruscan (2003).
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.
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:
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.
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).
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:
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] ⦿
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:
Italian designer (b. Rome, 1966) who studied at KABK in Den Haag in 2004, and was at the Atelier National de Recherche Typographique in Nancy, France, in 2001 and Parsons School of Design in New York in 1999, after a design career in Venice, Milan, and Switzerland. He holds a PhD from the University of Leiden for his research into Bruno Munari's graphic design work. He teaches type design at UQAM in Montreal. His research interests are focused on typographic history, type design and lettering, and information design.
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
Italian-born graduate of the MATD program at the University of Reading, class of 2013. Before that, she received a Bachelor of Arts in Graphic Design from Central Saint Martins, London and a Bachelor of Arts in Graphic and Multimedia Design from Sapienza, University of Rome. She currently lives and works in the UK.
For her graduation program, she created the typeface family Prakashan for Odia (Oriya) and Latin. The Latin comes in a low-contrast Light and a quite striking and lively high-contrast Black. Prakashan won an award at Granshan 2014.
Other typefaces by her include SMN (a display typeface that is based on metal letters located in Florence's Santa Maria Novella train station) and Xstitch (a multi-layered typeface designed as part of the One Day Font project while studying at Central Saint Martins, London).
In 2014, she created Rossella Hairline.
In 2015, with Jonathan Hill of The Northern Block, she designed Monsal Gothic, a modern gothic sans which was influenced by News Gothic, Benton and Whitney.
In 2020, she co-designed Marble with Vaibhav Singh at URW. Marble is part of Asterisk Type Collection by URW Type Foundry. Marble is a modern sans serif with a distinct character and comes in 108 styles plus variable fonts.
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] ⦿
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] ⦿
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] ⦿
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. Behance link. Klingspor link. [Google] [More] ⦿
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.
In 2007, he co-designed Saffran with Erasmo Ciufo and published it at CAST in 2015.
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.
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] ⦿
Graphic designer in 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).
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. [Google] [More] ⦿
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] ⦿
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.
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.
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).
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] ⦿
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] ⦿
Milan, Italy and Tirana, Albania-based designer of Juan Miro Typeface (2012), a school project that was finished in EPS vector format. Free download.
A freelance artist and illustrator based in Palermo, Italy, and born in Russia, Anastasiia Macaluso created various hand-crafted 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 hand-crafted Latin / Cyrillic typeface), Sofia (thick brush. free), Astrid (hipster style), Giglio (paperclip style).
Typefaces from 2017: Palma Nana (script).
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] ⦿
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).
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.
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] ⦿
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 tean that developed Aquawax.
In 2017, he designed the sans titling family Font For Fighting.
Graduate in Communication Design from Politecnico di Milano. Behance link.
Aka Big Macca. Italian FontStructor who made Big Macca (2010, a macho mechanical face).
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 the alchemic typeface Alter.
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] ⦿
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.
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] ⦿
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] ⦿
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] ⦿
Pesaro-based printer. For his typefaces, see Nuovo saggio di caratteri e vignette della tipografia di Annesio Nobili in Pesaro (Pesaro, 1834). [Google] [More] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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.
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] ⦿
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] ⦿
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.
Antonio Del Bino
Italian designer of the Linotype Gianotten family (1990, named after Hen Gianotten), a Bodoni revival of sorts. He also designed logotype and a font for the city of Milan in 2002, called Cita (or Area?).
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] ⦿
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 include 1480 Humanistica (2010) by Klaus-Peter Schäffel. [Google] [More] ⦿
Italian type designer, b. 1943, Forio d'Ischia, Italy, who emigrated to the USA. His first design job was at Bonder&Carnase. In 1969, he joined Lubalin Smith Carnase Inc. He ran his own studio, Tony DiSpigna Inc. (since 1973). He teaches typography at the Pratt Institute, the School of Visual Arts and the New York Institute of Technology.
Typefaces: ITC Serif Gothic (designed in 1972 by Herb Lubalin and Tony DeSpigna for the International Typeface Corporation, it is a "cold" almost copperplate typeface; poster by Michael Bunnell, 2013), Playgirl, ITC Lubalin Graph (with Herb Lubalin), Fattoni, ITC Korinna (1974, with Ed Benguiat), WNET.
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] ⦿
Aka Panda Ryuji. Born in Rome in 1995, Arcangelo created the simple hand-printed typeface Arcangelo's Words (2012).
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). [Google] [More] ⦿
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] ⦿
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. Revivals of their typefaces, blends between humanist and blackletter, include the Subiaco font done by Ashendene Press in 1902, and the scanfont 1467 Pannartz Latin by GLC. 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). [Google] [MyFonts] [More] ⦿
Graphic designer who is originally from Cyprus. During his Masters studies at IED in Firenze, Italy, he created the octagonal typeface Rosso (2013).
Italian designer at the graphic design studio Tipiblu in Milan. Her typefaces include:
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
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] ⦿
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.
Terni, Italy-based creator the monospaced alchemic typeface Chroma (2013).
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 i(now defunct) decried Monotype's digital version of this font. Minion (Robert Slimbach) is another revival, but it is quite far from the original. 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.
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] ⦿
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] ⦿
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] ⦿
Blackmoon Foundry (was: La Letteria, or: Anatole Type Foundry)
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.
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.
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).
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:
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] ⦿
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, and in 2019 the knife-edged Okkur. [Google] [More] ⦿
Bruce Rogers: Italian Printers in Venice
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 (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).
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] ⦿
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.
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 (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 (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.
His fonts include
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 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] ⦿
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 hand-crafted typeface Moody Spaghetty (2016) and the cursive typeface Yellow Llama (2016). Dafont link. Home page. [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.
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] ⦿
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] ⦿
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] ⦿
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).
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:
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] ⦿
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, 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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 (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).
Italian calligrapher who drew a few calligraphic and brush alphabets in 2013.
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).
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] ⦿
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] ⦿
Cagliari, Italy-based designer of the free art deco display typeface CS Blocks (2012).
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] ⦿
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).
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] ⦿
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] ⦿
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] ⦿
During their studies at Politecnico di Bari, Clarissa Bolettieri 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] ⦿
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] ⦿
Type designer from Modena, Italy, b. 1969. Designer of these fonts:
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, Alberto Casagrande, Ruggero Magri, Nunzio Mazzaferro, Luigi Gorlero and Davide Montesano. [Google] [More] ⦿
Trieste-based printer. For their typefaces, see Saggio di caratteri, fregi e vignette della stamperia di Colombo Coen (Trieste, 1858). [Google] [More] ⦿
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.
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] ⦿
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). Targa Monospace (2002) is a sans inspired by Italian vehicle registration plates. It has an handmade version (Targa Hand) that can be used for comic book lettering.
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.
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.
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.
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.
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. [Google] [MyFonts] [More] ⦿
Italian 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. Behance link. [Google] [More] ⦿
Milan, Italy-based graphic designer. During Typeclinic 11th International Type Design Workshop, she created the typeface Salvatore Serif (2015). Behance link. [Google] [More] ⦿
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 multicolr 3d typeface.
Typefaces from 2016: Xandra (script), Xova (a 5-layer techno/logo font), Xova Rounded, Maria Script (heavy signage script).
Typefaces from 2020: Labyrinthus Rounded.
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] ⦿
Catania-based creator of the ornamental caps alphabets Fattidarte Pills (2012) and Ich Bin Ein Berliner (2012).
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).
Italian architect in Viterbo who is interested in typography. 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] ⦿
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] ⦿
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] ⦿
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 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] ⦿
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] ⦿
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] ⦿
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] ⦿
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 hand-crafted typeface Heniek (2017). [Google] [More] ⦿
Student in Torino, Italy, whose first font is the geometric monoline sans typeface Cosmic Sans (2012).
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.
Davide Di Mattina
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] ⦿
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.
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 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).
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] ⦿
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. 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.
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.
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.
Design Lab SRL, Milan
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] ⦿
DF Type (or: Fischbachpresse)
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 DF (1999), a humanist antiqua.
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] ⦿
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] ⦿
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.
DJ Andrea Esu
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).
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.
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).
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] ⦿
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] ⦿
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] ⦿
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 Mictlantecuhtliâ€™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.
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. [Google] [More] ⦿
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] ⦿
Italian graphic designer, b. Puglia. He studied at the European Institute of Design in Rome, and works in Rome. His typefaces:
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] ⦿
Milan-based designer of an experimental typeface derived from Helvetica Neue in 2013.
During their studies at Politecnico di Bari, Clarissa Bolettieri 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] ⦿
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.
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] ⦿
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] ⦿
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.
She co-designed the legible sans family FS Me with Mitja Miklavic, Phil Garnham, Jason Smith and Fernando Mello (Fontsmith).
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] ⦿
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 hand-crafted Ritaglio (2016).
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] ⦿
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.
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).
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] ⦿
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] ⦿
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] ⦿
San Benedetto del Tronto, Italy-based graphic designer. Behance link.
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] ⦿
Graphic designer in Padova, Italy, who created a bilined display typeface called La Ligne (2012).
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] ⦿
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] ⦿
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] ⦿
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.
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.
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 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 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.
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.
Fabio Milito Design (or FMD)
Turin, Italy-based designer of the free ultra-condensed fashionable retro display typeface Granfondo (2018).
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.
Fabrizio Schiavi Design (or: FSD)
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), FSDItems (2001), FSDforMantraVibes (2001), Pragmata (2001, monospace, designed for programs), PragmataFlash (2002, a pixel font), Essential 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 CPCompany (2000). Other clients include 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.
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.
At ATypI in Rome in 2002, he spoke about the need for more fonts.
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] ⦿
Milan-based creator of the condensed retro typeface Nebulosa (2013).
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] ⦿
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.
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] ⦿
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] ⦿
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.
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] ⦿
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).
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] ⦿
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).
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
Flanker (or: Studio di Lena)
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.
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] ⦿
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] ⦿
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] ⦿
Font & Co
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. . [Google] [MyFonts] [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 hand-crafted 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 (dingabts), 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.
Fonts Lab was an Italianfree 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).
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.
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] ⦿
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.
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.
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 (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] ⦿
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] ⦿
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.
In 2013, he created the circle-based typeface AlphabetMod Tondiccio.
Francesco Mistico Canovaro
Roman creator of the poster typeface Sabrina (2013).
Francesco Paolo Lo Galbo
Francesco Paolo Siniscalco
Francesco Paolo Siniscalco Typefounders
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] ⦿
Designer (b. Riva Ligure 1875-d. Torino 1953) at Monotype in 1927 with Eduardo 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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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). 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] ⦿
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 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 Francisco Canovaro.
Katiuscia Mari is the partner of Andrea Cerboneschi in Monocromo, an Italian design studio in Firenze. She created Quaderno Bianco (2016, hand-crafted), Diamante (2011, a sans typeface with a condensed feel) and Peppermint (2011, a techo face). [Google] [More] ⦿
Located in Mottola, Italy, this design studio created several logotypes, as well as a full-fledged font, Pandora (2013).
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 (hand-crafted), 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.
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.
Futurismo (Futurism) is 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] ⦿
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, 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] ⦿
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] ⦿
Florence, Italy-based graphic designer who created an ornamental caps typeface in 2013 at Accademia Italiana.
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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
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] ⦿
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] ⦿
Vicenza, Italy-based creator of the minimalist sans display typeface Arcado Sans (2013).
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] ⦿
Italian creator in Milan of the free techno typeface Black Caps (2011).
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] ⦿
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.
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] ⦿
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.
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] ⦿
Giò Fuga Type
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:
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] ⦿
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:
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).
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] ⦿
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 (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]
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] ⦿
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] ⦿
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.
Italian calligrapher and type designer 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 DF (1999), a humanist antiqua with lots of alternates and extra characters.
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] [More] ⦿
Giovanni de Faccio
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.
Digital fonts directly based on his work include the Trajan all-caps typeface Cresci LP (1997, Garrett Boge).
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] ⦿
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:
Firenze-based printer. For his typefaces, see Saggio de' caratteri e fregi della tipografia di G. Marenigh (Firenze, 1813). [Google] [More] ⦿
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 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] ⦿
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.
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.
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).
Typefaces from 2018: Fletcher.
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] ⦿
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] ⦿
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] ⦿
A painter, 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:
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.
Giuseppe de Cesare
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).
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] ⦿
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] ⦿
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.
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] ⦿
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).
Designer of the italic stencil typeface Resolut (1937, Nebiolo). This typeface has seen two revivals:Google] [More] ⦿
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] ⦿
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] ⦿
During his graphic design studies in Florence, Italy, Harendra Kapur designed the ultra-condensed typeface Rockefeller.
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] ⦿
Hederae Creative (or: Hederae Type Foundry)
Talented visual designer in Bari, Italy. Creator of the hand-crafted 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 hand-crafted poster typeface family inspired by rubber stamps), Fibon Neue (a 32-style modern sans family with Low contrast), Cuciniere (a fun hand-crafted 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 hand-crafted 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).
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] ⦿
Italian graphic designer and art director Erasmo Ciufo (b. 1982, Milan) runs Fontinspiration and participates in Hellotype. His typefaces include Tura (2008), Rapida (2008), Inspiration (2006, free), Regolo, Saffran (2007, with Alessio D'Elena; published in 2015 by CAST as a commercial typeface family) and Minutron.
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] ⦿
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] ⦿
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.
Igino Marini (b. 1964), an Italian civil engineer, teaches mathematics for design at ISIA Urbino. He made revivals of the Fell types from 2000-2004: 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 an unbelievable historically important collection:
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 Garamond (2015), ATF Headline Gothic (2015), 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.
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] ⦿
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] ⦿
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] ⦿
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] ⦿
Irene Torresi (Arezzo, Italy) created Fluid Font in 2012.
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] ⦿
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.
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.
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] ⦿
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 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] ⦿
"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 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] ⦿
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 is a professional designer in Italy, who has been at it since 1999. His typefaces include Aldo Sans (2004) and Vinca Stencil (2004).
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] ⦿
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] ⦿
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
Type design projects (June 2007) by Alessandro Segalini's students at Izmir University of Economics:
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.
Jacques de Sanlecque the elder
Original free font foundry in Italy that offers the same free fonts as Typografia Leone Sas. These typefaces include:
James Clough (b. 1947, London) studied typographic design at the London College of Printing. For more than thirty years he has lived and worked in Milan as typographer, designer and calligrapher and since 1990 also as a teacher of 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.
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. [Google] [More] ⦿
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
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.
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).
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).
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] ⦿
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] ⦿
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] ⦿
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).
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] ⦿
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:
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] ⦿
Simone wiorks as graphic and type designer
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.
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] ⦿
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.
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. Revivals of their typefaces, blends between humanist and blackletter, include the Subiaco font done by Ashendene Press in 1902. More recently, an almost exact copy of their types was digitized by Shane Brandes as SweynheymPannartz (2010). Nicholas Fabian on Sweynheym. An Italian Antiqua from 1465. [Google] [MyFonts] [More] ⦿
Graphic designer in Florence, Italy, who created the dashed stroke typeface Dirichlet (2015), which is named after the Dirichlet function. The pearl-studded hand-crafted Cascine typeface (2015) was created for Parco delle Cascine in Florence, Italy, a park founded in the XVIth century by the Medicis. [Google] [More] ⦿
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] ⦿
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] ⦿
Type historian. Author of these articles (in Italian):
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 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] ⦿
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:
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.
Leonardo Di Lena
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] ⦿
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).
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] ⦿
Italian publishing house specializing in type. Edited by Stampa Alternativa / Graffiti and led by Giovanni Lussu. Titles include:
Libro di M. Giovambattista Palatino cittadino romano
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] ⦿
Born in 1989 in Treviso, Italy. Creator of Lilith Script (2012, hand-printed). Aka Fatum Path.
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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] ⦿
LR Type foundry
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] ⦿
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] ⦿
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] ⦿
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] ⦿
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.
Italian web, graphic and type designer who lives in Brescia. Behance link.
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] ⦿
Rome-based creator of Janueri (2013), an angular text typeface.
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] ⦿
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] ⦿
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.
Ludovico Vicentino degli Arrighi
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] ⦿
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] ⦿
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] ⦿
Manuale Tipografico: 1818 (full)
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. All images of the 1818 book are here. [Google] [More] ⦿
Manuale Tipografico: 1818 (partial)
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] ⦿
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] ⦿
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] ⦿
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] ⦿
Milan-based and Sao Paulo-born designer of Rolo (2013), a typeface that was inspired by Sao Paulo's pixacao style.
During his studies in Rome, Marcloud, or Claudius Marcus (b. 1990), designed the unicase typeface The Copenhagener (2013).
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 hand-crafted 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 hand-crafted 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.
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] ⦿
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
Italian designer Marco Fornasier studied at Universita IUAV di Venezia (2008) and became a professor at 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] ⦿
Italian (b. 1997, Cesena) who designed the 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] ⦿
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.
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] ⦿
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] ⦿
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).
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 2017: Friki (a free geometric solid style font).
Italian visual artist based in Amsterdam and Berlin. In 2005 he graduated with a bachelor's degree in visual communication from ISIA (Florence, Italy) and Bauhaus University (Weimar, Germany). He continued his studies at the Sandberg institute of the Rietveld Academy, Amsterdam, where he obtained a Master's degree.
Creator of the geometric sans typeface Biko (2013), which is named after South African anti-apartheid activist Steve Biko. See also Biko Light (2013). Buy Biko from Monofonts. Obtain a free copy from Dafont.
In 2014, he designed the masculine sans typeface Coluna Condensed Bold (also free at Dafont, this family includes Rounded, Outlined, and Sketched styles).
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, 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 interesting hairline octagonal typeface Otto (2008). [Google] [More] ⦿
Born in Venice in 1984, Margherita Rubini studied industrial design at the IUAV. In 2013, she created the 3d "industrial look" typeface Block.
Graphic designer and letterer in Florence, Italy. 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.
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. [Google] [More] ⦿
Italian designer of the hand-printed typeface Effe (2012, +New Version).
Maria Lyng (Copenhagen, b. 1983) created the flowing sans typeface Favonio (2012).
Firenze-based printer, 1803-1877. For his typefaces, see Saggio dei caratteri della Tipografia Galilejana : e per incidenza cenni sull'origine della stampa : storia di detta tipografia e catalogo delle opere stampate fin qui dalla medesima (Firenze, 1853). [Google] [More] ⦿
Italian graphic designer (b. Bari, 1983) who studied at the Politecnico di Bari with people such as Luciano Perondi, Giovanni Lussu, Nino Perrone and Daniele Turchi. Her work includes a nice set of emoticons for moods, and a typeface called Perbacco (2004, codesigners at the Politecnico di Bari of this organic sans: Davide Cantatore and Enzo Ruta; teachers: Giovanni Lussu, Luciano Perondi and Nino Perrone). She lives in Colle, Bari. She got her degree in Disegno Industriale at Politecnico di Bari in 2006, and is doing a Masters in Comunicazini Visive e Multimediali at Università IUAV di Venezia. Codesigner with Enzo Ruta in 2007 of the techno typeface FF3300 Type. [Google] [More] ⦿
Mariia Parkhomenko (Turin, Italy) created the mechanical typeface just called Alphabet (2012) for a book game.
Italian graphic designer (b. 1954) and architect who published La Grafica su Marte 2000 (Milan,1996), Universo Balan (Milan, 2001) and Progettare il marchio (Turin, 2001). In 1996, he founded the 46xy studio in Milan. He also teaches graphic design at the Politecnico in Milan. Since 1992, he is the president of AIAP, the Italian Visual Communications Design Association. At ATypI in Rome in 2002, he spoke about contemporary type design in Italy. [Google] [More] ⦿
Mark van Leeuwen (or Marco van Luijn), a designer and letterer in Milan, Italy, created the hand-drawn slab serif typeface Timber in 2014 and the soft-edged marker type Woodland and the rounded sans Oregon in 2015. Timber can be bought here. Woodland is here.
In 2016, he designed the rounded sans typeface Bouquet. Behance link.
During her studies in 2013 at the Accademia delle Arti e Nuove Tecnologie di Roma, Marta Coppola designed Backfist, a very modular condensed geometric sans. Earlier, in 2011-2012, she designed a set of pictograms. [Google] [More] ⦿
Graduate of the Type and Media program at KABK, 2009. There, she designed the serif family Alice, specifically for magazines. She is working on Bolano in 2010 about which she writes: It is based on my brush calligraphy, tamed down to a book typeface. [Google] [More] ⦿
Graphic designer and illustrator in Milan, Italy. In Gio Fuga's class at Politecnico di Milano, Marta Isabella Reina created the signage script typeface Campbell (2009), which is modeled after the lettering on Campbell's soup tins. [Google] [More] ⦿
In 2011-2012, Martina Casonato studied at Universita degli Studi di Venezia, Politecnico di Milano and the London College of Communication.
Her Hono typeface (2012) is designed for small print. It was developed in collaboration with Diego Savalli, Paola Dus, Manuel Rigo and Tommaso Vidus Rosin, under the direction of Marta Bernstein and Andrea Braccaloni at Politecnico di Milano. She works as a graphic designer in London.
In 2013 she createc a blackletter typeface called Origami.
Martina Zanini lives in Lodi, Italy. While studying in 2010-2011 with James Clough at the Politecnico di Milano, she created the roman flare serif typeface Bulino (2011). Wolpe's Albertus and Gerard Unger's Amerigo served as models for its development. [Google] [More] ⦿
Son of Giovanni Mardersteig, born in 1941. At nineteen he started setting type by hand at the Officina Bodoni under the guidance of his father. He studied at the Akademie für Graphische Gewerbe in Munich and joined the Stamperia Valdonega in Verona. Since 1974, he is the owner of Stamperia Valdonega. At ATypI in Rome in 2002, he spoke about traditional typography. [Google] [More] ⦿
Soccer enthusiast in Verona, Italy. During his studies at Politecnico di Milano in 2014, he created font proposals for FC Inter and AS Roma. In 2015, he created NBA Basketball Font and a proposalfont for Chelsea FC. [Google] [More] ⦿
Teacher (b. 1964) of Visual Communication at the Politecnico di Milano and of Tools and Techniques of Graphic Design at the Rome University, La Sapienza. In 1995 he founded the Vitamina studio with Aldo Buscalferri, where he does graphic design work, calligraphy, photography, and illustration for industrial clients. In 2002, he became the creative director at Landor Associates in Milan. He is the vice-president of BEDA. His clients include MTV, Heineken, Onyx, Sony, Mediaset (TV network) and Blu (an Italian mobile phone company), for whom he created a company typeface, Blutype. He also made a hip version of Agenda, called Diario.
Founder of Pitis e Associati, a design and consultancy studio based in Milan and Paris, and art director for Wired Italia. At ATypI in Rome in 2002, he spoke about type for branding and communication. [Google] [More] ⦿
Famous Turin-based calligrapher with a great web presentation of his work. The type community is eagerly awaiting his first calligraphic font! Calligraphic workshop coordinator at ATypI 2015 in Sao Paulo. [Google] [More] ⦿
Famous Italian typographer and graphic designer, b. 1931, Milan, d. 2014. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest disign firm of its day. He left Unimark in 1971, to set up Vignelli Associates in New York City with his wife Lelli.
He dismissed Emigre as a garbage pail of design. Famous for his designs and opinions, he once said that a designer should only use these five typefaces: Bodoni, Helvetica, Times Roman, Century and Futura. Another quote along the samne lines: In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.
In his Vignelli Canon (free PDF book on design), he mentions these six: Garamond (1532), Bodoni (1788), Century Expanded (1900), Futura (1930), Times Roman (1931) and Helvetica (1957) [However, in that booklet he uses 8 different type families: the above six, and Gill Sans and Univers]. Yves Peters' reaction: Massimo Vignelli clearly hasn't got a clue. It's not the first time a quote of his makes me cringe. I hope you appreciate I'm trying real hard to stay polite. Frankly, if I ever heard anyone say: "a music lover should only listen to 5 artists: Elton John, Celine Dion, Billy Joel, Whitney Houston and Luciano Pavarotti" I'd go to great lengths to ridicule the billy sastard. Nevertheless, in the eyes of many designers, he is a role model and an icon. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International).
Como, Italy-based designer of the free ransom note font Not In Use (2016). This font has multiple glyph choices per character. For his MA Thesis in 2015, he created the Anatoma typeface family (Anatoma Uncial, Anatoma Sans, Anatoma Runes, Anatoma Humanist, Anatoma Gothic, Anatoma Gothic Book, Anatoma Book, Anatoma Grotesk), and wrote: Anatoma, or the Anatomy of the British Character: A study of British type design through the creation of a sans-serif typeface which aims to unveil the letterforms that shape the national typographic identity.
Designer of the free sans typeface Rabbit Fount (2015), Maria (2016, free: a typeface for stoners), and the blobby Ink (2016; a free typeface done for La Rivoluzione delle Seppie). Behance link. [Google] [More] ⦿
Cofounder in 2012 with Leonardo Maltese of Studio Polpo. Together with Leonardo Maltese, Matteo Brogi (Rome) created the vintage signage typeface Forno (2013). Matteo designed the ornamental caps typeface Fishes (2013).
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] ⦿
Graduate of the Academy of Belle Arti in Milan. Deshio and Milano, Italy-based designer of Simplego (2017), the free plump sans typeface Fluf (2017), the free hipster display typeface family Angoli (2017), the free display typeface Eclisse Sans (2017) and the zebra-striped hexagonal Legno (2017: free demo).
Gradate of the European Institute of Design, class of 2012. Graphic designer based in Rome, who created the elementary sans typeface Babel (2014) and the poster typeface Wilder (2016). Behance link. [Google] [More] ⦿
Matteo Federico Bologna
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. Behance link. [Google] [More] ⦿
Catanzaro-based Italian designer (b. 1985) of Bigattino (2008, a fun face), DownBoy (2008), Ludiko Village (2008, a family of houses, factories, trees and little characters commisioned by Ludiko Village, Verbania: Ludiko is a multidisciplinary duo formed by Andrea Ruschetti aka Ludiko boy and Francesca Mendolia aka Miss Paka.) and Somalove (an African-themed free font created in cooperation with John Calugi).
Mattia Compagnucci (b. 1984), Simone Iocco, Claudio Fina, Emanuele Serra and Marino Bressan cooperated on the Hono Sans typeface in 2011 while studying at the Accademia delle Arti e Nuove Tecnologie in Rome. Mattia lives in Milan. Behance link. [Google] [More] ⦿
Senior art director in Milan. Designer of the Oblio typeface (2012), an experimental typeface of the neurotic genre that was started in 2011 by Abneurone over at FontStruct, and that is typified by mistrust and disrespect of present day society. Montanari uses that symbology in his art and posters as well.
Artist, teacher, graphic and web designer, born in Sasso Marconi, a small town outside Bologna, Italy. Since 1978 Osti has taught courses in Special Graphic Techniques and recently also the course of Progettazione Grafica, at the Accademia di Belle Arti. He works as an art director. In 2009 he received the Premio Marconi for Multimedia Art.
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 and the Estate of Ben Shahn, under license from VAGA (New York). FF Folk (2003) is the only authorized and officially endorsed digital version of Shahn's well-known lettering.
Mauro's graduation thesis in Rome was about the development of the Sady typeface, wg=here Sady stands for Sabon Dyslexic. He took Tschichold's Sabon and broke the smooth Beziers up to increase the angular aspect of each glyph. In addition, attention was paid to the spacing and global word shapes (or Boumas). [Google] [More] ⦿
Born in Rimini in 1965, studied in Ravenna, and lives in Milan. He designed BabyMine (1997) and EctoPlasm (2001) at T-26 and Orbit Light (2002), Bioplasm (2002), Glass Flag (2002), Water Flag (2002), and Arab Stroke (2002) at Linotype.
A freelancer for graphic design firms or publishing companies, he and Stefano Domizi founded Limbo, a graphic design studio in which they work mainly for fashion and furniture companies. At ATypI in Rome in 2002, he spoke about the fluidity of the typographic process.
Roman graphic designer who made an exquisite "generative" skeletal alphabet, VX (2010). Cercles (2011), Nebula (2011) and Tangle (2011) are further experimental typefaces with mind-boggling details. I reproduce his "About" blurb because it is wonderful in its modesty---rare indeed, today: I didn't discover America. I am not an artist with a world-famous name. I don't solve political problems and what I write, never gets published. I have never supervised meetings. I have plans for my future, as a spiteful mouse from a famous cartoon. I don't smoke weed and I don't do coke. I can be someone or be no one at all. I do not have five figure number of friends, but there are some that are real and close to me. I'm not self-obsessed and probably never will be. And you shouldn't even to try to understand me... I'm only a design lover. [Google] [More] ⦿
Italian artist who drew Alfabeto di Lettere Iniziali (ca. 1730), ornamental caps with scrolls and flourishes and then inhabited by satyrs, mermaids, Medusa heads, birds, cats, dogs, snakes, and other creatures. The letters were designed by Poggi, drawn in ink by Andrea Bimbi, and engraved by Lorenzo Lorenzi. A digital version was done by Jose Jimenez in 2010 called Mauro Poggi Ornamental Caps. [Google] [More] ⦿
Rome-based graphic designer (b. 1953, Rome), who spoke at ATypI in Rome in 2002. A paleographer and calligrapher, he is the author of Calligrafia. Fondamenti e procedure (Stampa Alternativa). He adores old Roman lettering, and has become one of the world's specialists on the topic. He teaches graphic design at the Università per Stranieri (University for Foreigners) of Perugia and at the Carlo Urbany Professional High School in Rome.
His typefaces include
Firenze, Italy-based designer of the techno sans typeface Prime (2012).
Italian creator of 32 Cupcakes (2016), the free Valentine's Day font Heart Explosion (2016), the free Halloween font Fluffy Ghost Ding (2014) and Fluffy Hearts Ding (2015, for Valentine's Day), Ink and Bones (2015), Flower Explosion (2015), Ice Lolly Ding (2015), Oh Christmas Ding (2015), and Christmas People Ding (2015).
Designer in Torino, Italy. Graduate of the Type Media program at KABK in Den Haag, The Netherlands, class of 2019. His graduation typeface, Rapida, evokes speed and pressure to buy (or else!). In 2018, Joseph Miceli (Alpha Type) and Michelangelo Nigra co-designed Arial Grotesk. They write: Arial appears to be a loose adaptation of Monotype's venerable 215 Grotesque series, redrawn trying to match the proportions and weight of Helvetica. Arial Grotesk is truer to the original. [Google] [More] ⦿
Michele Cricco (Todi, Italy) is a graphic designer who runs Crimic Design Studio in Todi, Umbria, Italy. He designed Weltam (2003, an experimental alphabet that makes frequent use of rotated letters; his thesis project at ISIA di Urbino in 2002) and Eidos (2004, another experimental font on the same theme). The studio does identity design for companies. Behance link. [Google] [More] ⦿
Graduate of the MATD program at the University of Reading in 2012. Michele's graduation typeface is Overlook (2012), a typeface made for cinema magazines. It is built around a serif family, but also includes several neogrotesque sans weights, a Greek and a Devanagari (for Bollywood, I presume).
In 2018, he published Malden Sans at Monotype and wrote: Malden Sans is a mischievous humanist sans serif with charming details that gives designers a solid typographic voice. It was originally designed as part of a type system for cinema magazines, and embodies the devil-may care attitude of the silver screen. [Google] [More] ⦿
Graphic designer in Bologna, Italy. Creator of Trasimeno (2012, modular typeface).
Masters degree student (b. 1983) at the Politecnico di Milano, who specializes in signage, wayfinding and information design. He researches traffic system fonts and typography. His Flickr page has scans of the Italy's Codice della Strada which dictates street type in Italy, and features his world map which shows the origin and the different "routes" taken by the two main typefaces used in world signs: the American Highway Gothic, published by the traffic engineer Ted Forbes in 1945 and the British Transport type by Jock Kinneir and Margaret Calvert, published in 1963. He also has photographs of traffic signs. Creator of the free family Flaminia (The League of Movable Type, 2009; see also here).
He writes: Flaminia is a 2008 opensource project started as a Master Degree Thesis by Andrea Bergamini, an Italian graphic designer annoyed by the chaotic and poorly designed road signage system in his country. The leading idea was that tests taken in real-life conditions are the only way to validate the design of a font to be used for signage and that the final solution should always come from all of the modifications derived by those experiments. These considerations led to the design of Flaminia, a typographical system that allows its users and its future designers to quickly morph (through the use of Multiple Master axes) different variants of the glyphs. By allowing minimal changes of only one variable in the letter shapes, Flaminia also provides a tool to study which are the most relevant factors in the process of reading signs, and can be used free of charge for further researches in this field. [Google] [More] ⦿
Mirko Camia is an independent illustrator and digital artist based in Milan, Italy. Typefaces created by him include Vectory (2013, free hexagonal typeface), Magma (2013), Happy Scan (2013, pixelish).
Italy-based designer of Fast Gothic (2017), Gothic Ornamental (2017), Minimum Sharpness (2017), Modern Stencil (2017), Fast Left Hand Script (2017), Ordine (2017) and Textura Nouveau (2017). [Google] [More] ⦿
Molotro is Luciano Perondi's type foundry, which he runs with Stefano Minelli and Valentina Montagna. This Italian type designer (b. Busto Arsizio, 1976) lives in Busto Arsizio (Varese). At ATypI in Rome in 2002, he spoke about the logo-grammatic approach to type design: "Carattere senza un nome importante". His ATypI 2002 report is here. In this enlightening piece, you can read about his opinions on type. From 2000 on, he is lecturer at the Basic Design Lab of the Politecnico di Milano. In 2003 he founded the Research Team EXP. The research team, formed by type designers and psychologists, studies the reading process, the influences of the irregularity of typefaces on reading and the non linear script. EXP is now starting to work on the effects of presbiopia on reading and on how an adequate design of types could help presbiopian readers. At ATypI 2005 in Helsinki, he spoke about How does the irregularity of letters affect reading? His type designs include
Monofonts was founded by Katiuscia Mari, Andrea Cerboneschi and Marco Ugolini. Monofonts is the Font Foundry related to Monocromo Creative Digital Agency based in Florence, Italy. Valentino Coppi is the Italian designer (b. Firenze) of the free typeface family Aron Grotesque (2016, Monocromo), which is named after French intellectual Raymond Aron.
Typefaces from 2017: Joe Stamp (monospaced roundish children's book type), Abuse (a blackletter font in the calligraffiti style), Sweetheart Script.
Monofonts (or: Monocromo Creative Factory)
Monofonts is the font foundry of Studio Monocromo, a Creative Agency based in Florence, Italy. Katiuscia Mari, Marco Ugolini and Andrea Cerboneschi are the founders of both Studio Monocromo and Monofonts, located in Firenze. Matteo Bonini is also involved. Most of their fonts can be freely downloaded from Dafont.
Creators of Fresko (2010), and the custom corporate sans family Opificio (2011, Andrea Cerboneschi) for a fashion and crafts company by the same name. It was followed in 2014 by the more organic, but still geometric, Opificio Neue. Cerbetica (2011, Andrea Cerboneschi) is a reworked Helvetica. Diamante (2011, Katiuscia Mari) is a sans typeface with a condensed feel. Peppermint (2011, Katiuscia Mari) is a techno face. Tape Rail (2011) overlays straight edges and looks like an oriental simulation face. Square Block (2011) is octagonal.
Fonts from 2012: Halfmoon.
Typefaces from 2014: San Frediano (sans family), Zeronero (an artsy art deco geometric sans), Malandrino.
Typefaces from 2016: Aron Grotesque (by Valentino Coppi; named after French intellectual Raymond Aron), Emily the Brush (connected brush script), Quaderno Bianco, Monohipster.
Fonts from 2017: Sweetheart Script.
Fonts from 2018: Lazy Dog.
He writes about the elegant ten-style sans typeface family MTT Milano (2013): MTT Milano is a font inspired by the Milanese typographic heritage and the Futurist movement that developed it. Drawn from scratch, it features ascendants and descendants slightly taller than what can usually be found in similar typefaces, in order to improve its elegance.
In 2016, MTT published MTT Roma, a humanist sans inspired by the Trajan capitals, as is apparent from the razor sharp terminals. It is designed to re-create the atmosphere of the city of Rome of the 21st century.
MTT Type Firm (was: Type Firm)
Type foundry, est. 2014 by Mattia Bonanomi in Milan. In 2016, Bonanomi published the modernist grotesque Anti, which is characterized by a meat hook lower case f. He republished his successful MTT Milano (2013) and MTT Roma (2016) there in 2016. [Google] [MyFonts] [More] ⦿
Mucca Design (or: Mucca Typo)
Born in Milan in 1965, Matteo Federico Bologna emigrated to the United States, where he founded Mucca Design in 1999, a company involved in logos, type, and corporate identity. He teaches font design at the Parsons School of Design in New York.
His typefaces include Food Mucca, Hair Updown, Littoria, Filo Mucca, Mirra Mucca (gorgeous lettering), Mongo Mucca, Rigid Mucca, Rubens Mucca, Vox Mucca, Egizio Mucca, Latina Mucca, Joung Mucca and Pravda (cyrillic simulation font). Free fonts: Geo Mucca, Fax Mucca, Melt Mucca, Updown Mucca, Pepina Mucca (curly lettering). Mucca Design custom-designed Balazs, Decora, Moranda Serif and Grotesque, One Atlantic (a slabbed Garamond done by Joshua Darden), Faux Cyrillic (done for Manhattan's Pravda restaurant), Victoria's Secret Logotype. At iFontMaker, he did ItalianoAMano, and ItalianoAManoPieno.
In 2015, he created the industrial squarish vernacular typeface NoExit. Originally designed for the Chicago Athletic Association Hotel, its inspiration was an old sign that said STAIRWAY found the hotel's old building.
Free typefaces at Muccatypo include the useless grunge typefaces Fax Mucca, Geo Mucca, Pepina Mucca, Melt Mucca and Up Down Mucca.
Nadia Abate (Turin) designed the paperclip font Clips in 2010 during a workshop led by Piero De Macchi. She graduated from ISIA in Urbino in 2010, and designed the outline typeface Naa there. Nadia created the flowing script typeface Female (2013).
Nadja Kargruber (Nana Kar, Reykjavik, Iceland) was born in Italy and grew up in Tesido in northern Italy. She graduated from the Accademia Leonetto Cappiello in Florence in 2014 before moving to Iceland. She designed these typefaces in 2014: Aventa (human figurines) and Allure (ultra-condensed thin sans). Behance link. [Google] [More] ⦿
Italian designer of Tanagra (1924), which in 1910-1911 won an award sponsored by the Fonderia Augusta. It appeared in 1924 in the publication "Archivio Tipografico", and was produced by Nebiolo in Turin. Varetti was a teacher at the Regio Scuola Tipografica in Turin. [Google] [More] ⦿
Graphic designer in Milan, who during a course at Politecnico di Milano in 2012, co-created the hybrid typeface Gill Trump with Alejandra Sepulveda, Valentina Aufiero, Leo Colalillo, and Francesca Sperti.
In 1878, Giovanni Nebiolo bought a foundry from Giacomo Narizzano. In 1889, the Levi brothers joied this venture to form Nebiolo&Co. After 1899, several other foundries were absorbed by Nebiolo, and for some time, the company was called Società Augusta Torino, but it reverted to Nebiolo&Co in 1917. Based in Turin, type design started in the 1930s, first under the direction of painter Giulio da Milano, then from 1936 under Alessandro Butti, and from 1952 under the guidance of Aldo Novarese. It was Italy's premier foundry of the 20th century. It closed its typography department in 1975, and went bankrupt in 1978, when Fiat took over. In 1990, the foundry was taken over by Fruttiger AG in Münchenstein. Their most famous font families include Eurostile (1962), Microgramma (1952), Torino (1908) and Stop (1971). Others worth mentioning are Vittorio (before 1920), Neondi (1935, da Milano), Resolut (1937, Brünnel), Landi Echo (1939, Butti), Veltro (script, 1931), Veltro Nero, Scritto a Lapis (script). Americana (ca. 1945) was a great flowing script later revived by Rebecca Alaccari as Pendulum (2005, Canada Type). Canada Type is doing further digitizations including Bella Donna (Rondine, 1948), Gala (Neon from 1935-1938) and Swanson (Cigno, 1954). Nebiolo was not averse to copycat design. Christian Schwartz writes: The Etruschi from the Nebiolo specimen is an exact copy of Schelter&Giesecke's Grotesk, specifically the Halbfette weight (what we would call Medium). This typeface first appeared in the late 1890s and was shown in S&G's specimens at least until 1918.
This file by Klingspor shows all the types ever made by Nebiolo.
Catalog of digital typefaces that were made by various foundries based on Nebiolo designs. Another digital catalog of commercial Nebiolo typefaces. Another page with digital typefaces based on Nebiolo. [Google] [MyFonts] [More] ⦿
Designer and artist, b. Milan, 1926, d. Caracas, 2001. From MyFonts: Several Venezuelan generations had acquired very strong design, typographic and drawing knowledge due to the historical and artistic heritage left by Master Nedo Mion Ferrario. He spent big part of his life teaching and working on design. His passion for impossible figures and geometric optic illusions were the most valuable characteristics of his work. Most of his knowledge was obtained from his father, Emilio Mion Vianello, who dedicated his life to wood carve, a high profile job those day in Italy. Emilio studied in the Brera Academy in Milan and Nedo studied in the Commercial and Technical Institute of Milan between 1936 and 1940, and then in the Fine Arts Academy in the same city. At the end of the Second Word War, both of them decided to leave Italy due to the political situation in those days. Encouraged by the immigration Venezuelan politics they arrived in Caracas in 1950. Wiki.
His work inspired Carlos Camargo Guerrero to create the Escheresque font Denedo (2001-2007). According to Camargo, Denedo is a font based in one of the impossible alphabets created by the Italian graphic designer Nedo Mion Ferrario during the 60's and 70's in Caracas, Venezuela, South America. Michael Parson designed the prismatic typeface Nedo in 2013 based on Ferrario's work.