TYPE DESIGN INFORMATION PAGE last updated on Fri Aug 1 10:40:36 EDT 2014
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 face he proposed comes with all measurements explicitly spelled out. Alternate URL. [Google] [More] ⦿
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 (2006-2008) and Arista (2006-2008). He also made Cibreo, Sugo (2006), and the rounded fat sans Bubblebody (2009).
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 face 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 face 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 faces 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 face 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 in Rome (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. He created some fun fonts such as A like Animals (2003, also called A di Animali, an experimental face done together with illustrator Anna Donadelli), and 5G (2002, handwriting). He has made custom type such as Guia Script (2006, for Gelati Carte d'Or Algida), Guia Script Greek (2006), Quintag (2002, handwriting), Forno (2004, handprinted), Dolce (2005, a swift brush face for Barilla), Unione (2005, for a bank), Pacioli (2005, for Accademia Editoriale in Rome), Phoebus (custom sailing boat vinyl lettering). In 2005, he took a position as graphic design instructor at the Department of Graphic Design of Bilkent University (Bilkent, Ankara, Turkey). Since 2007, he is at the Izmir University of Economics, Izmir, Turkey. PDF file with samples of his fonts. Limerick was designed in 2006 together with Marek Brzozowski. At ICTVC 2007, he spoke about 20th century Bodonians. Home page. In 2009, Segalini published Hemingway Pro, a commercial 9-style sans display family, available from Red Rooster. Hemingway Deco Initials is free though. Hemingway was inspired by the prize-winning novel The Old Man and the Sea (1952, Ernest Miller Hemingway). Typophile link. Alessandro's page with hundreds of useful links. Behance link. Klingspor link. [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.
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] ⦿
Italian designers of the sans face 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. 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.
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.
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. 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 face constructed with ruler and compass. Behance link. [Google] [More] ⦿
Originally from Lazio, Italy, Alessio d'Ellena graduated from ISIA Urbano (Italy) with a thesis entitled Tipografia Parametrica e Matematica (2012). He created some typefaces such as Corso (2013, text family) and New Banco (2013, after Roger Excoffon's Banco from 1951). [Google] [More] ⦿
Graphic design tudent 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. Posters by Bush Mthembu (Durban, South Africa). [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] ⦿
Ex-student at the Rietveld Academie in Amsterdam. Italian designer of Equo (2006), a VAG Round style display family which also includes Equo Stencil Caps, Equo Extended, and Equo Extra Fat. Other creations: Shaolin Caps, Stout Caps, Frank-Latin (wide wedge-serifed face), Crasto (serif family). Some fonts are free or have a free test version.
Born in 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.
Later fonts: MM Vinny (a multiple master family designed for use by the cosa nostra), Yorker (based on The NewYorker), MM Charlie, Artissima Condensed (a dada poster font), Romano Grotesque, Futura Passata, Novalis Condensed.
Graphic designer in Milan who created a multilayered display face in 2012.
In 2010, he did the free brush face 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 face Minardi (+Collage), and the curly family Vannucci Antico. Metropolis (2010) is an angular face 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 face 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 face based on Steven Spielberg's 2011 movie. Fantastic Four (2011) is a StarTrek style family that is based on the Tim Story movie.
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 face based on the movie with Tom Cruise), Manhattan (from Woody Allen's movie), Assassin (based on a Ubisoft video game).
Roberto Baldassari highlights the faces used in "Space: 1999": Countdown (an LCD font by Esselte, 1965), Data 70 (another LCD font by Esselte, 1970), Futura Black, Microgramma, and Futura Medium. [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] ⦿
Anatole Type Foundry
Elena Albertoni (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.
At the Rencontres de Lure 2005, she spoke about OpenType and Latin characters.
Other faces include Kigara, Scritta (connected calligraphic script), Dolce (2005, connected script), Helene (squarish face), Valora, Schneider, Gregoria (a Gregorian chant font that won an award at TDC2 2007), Deja Rip and Deja Web (2010, eight-style sans family of great utility, codesigned with Fred Bordfeld; Cyrillic included).
Acuta (2010) is an all-purpose type family.
Spinnaker (2011) is a sans design based on French and UK lettering found on posters for travel by ship.
In 2011, Elena cofounded LetterinBerlin, a studio dedicated to handmade and digital design, with a special focus on lettering and type-design.
Graduate of LABA University (Libera Accademia di Belle Arti) in Firenze, Italy, class of 2012, b. 1988, Pietrasanta. Designer of the counterless modular typeface True Oasi (2013) and of the breautiful multiline connect-the-dots typeface Ego (2013).
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 shadowed display face Pomodorino in 2013 for a restaurant identity. One Have To Coma Again (2013) is an angular display sans typeface.
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.
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. Creator of the alchemic typeface Marina (2012).
Milan-based designer of Mantua (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] ⦿
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 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 Modena (b. 1980) who made Clara (2007, sans). His blog from Reading, where he was a student. He obtained an MA in typeface design from The University of Reading (2009), based on his Latin / Cyrillic typeface Enquire. After Reading, he started an internship in the type group at Apple in Cupertino, CA.
Born and raised in Sassuolo, Italy, he studied in Reggio Emilia, Bristol and Reading. He now works as a type designer in California. Speaker at Typecon 2012 in Milwaukee.
Antonio Cerri (b. 1972, Catania, Italy) freelances in web, graphic and motion design. 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 face Silver Chisel appeared.
In 2012, he designed the techno family Steel.
Typefaces from 2013: Firebird (techno, automotive, speed font family).
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?).
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 faces, 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).
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 faces, 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).
Bafio Font Page
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
Terni, Italy-based creator the monospaced alchemic typeface Chroma (2013).
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] ⦿
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 faces 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 face 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] ⦿
Bruce Rogers: Italian Printers in Venice
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.
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.
Marco Comastri (Bunker) is located in Modena, Italy. His design studio does some custom font work, among many other things. He created the sans face Laulkìtere (2007). Spaghetti Grafica poster. During studies at ISIA Urbino, he codesigned the futuristic face 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. 1515â€“1575), as featured in Libro di M. Giovambattista Palatino Cittadino Romano, published in Rome around 1550 AD. [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. [Google] [More] ⦿
Graphic designer in Rovato, Brescia, Italy, b. 1976. She cofounded Studio Charlie with Gabriele Rigamonti and Vittorio Turla, with whom she codesigned 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).
From 1997-1999, Turin-based Claudio Beccari created his cb fonts (metafont) for Greek by adapting Silvio Levy's Greek fonts. The cb-fonts are now the official fonts for the Greek option of the BABEL package. They are very complete and highly recommended. Type 1 versions here. In 2004, he added the CB Coptic family (metafont), which was based on files created in 1995 by Serge Rosmorduc. The type 1 fonts were made by using TeXtrace and pfaedit by Apostolos Syropoulos. The fonts: glic0700, glic0800, glic1000, glic1200, glic1382, glic1659, glic1991, glic2389, glic2866, glic3440, glic4128, glii0700, glii0800, glii1000, glii1200, glii1382, glii1659, glii1991, glii2389, glii2866, glii3440, glii4128, glin0700, glin0800, glin1000, glin1200, glin1382, glin1659, glin1991, glin2389, glin2866, glin3440, glin4128, glio0700, glio0800, glio1000, glio1200, glio1382, glio1659, glio1991, glio2389, glio2866, glio3440, glio4128, gliu0700, gliu0800, gliu1000, gliu1200, gliu1382, gliu1659, gliu1991, gliu2389, gliu2866, gliu3440, gliu4128, gljc0700, gljc0800, gljc1000, gljc1200, gljc1382, gljc1659, gljc1991, gljc2389, gljc2866, gljc3440, gljc4128, gljn0700, gljn0800, gljn1000, gljn1200, gljn1382, gljn1659, gljn1991, gljn2389, gljn2866, gljn3440, gljn4128, gljo0700, gljo0800, gljo1000, gljo1200, gljo1382, gljo1659, gljo1991, gljo2389, gljo2866, gljo3440, gljo4128, glmc0700, glmc0800, glmc1000, glmc1200, glmc1382, glmc1659, glmc1991, glmc2389, glmc2866, glmc3440, glmc4128, glmi0700, glmi0800, glmi1000, glmi1200, glmi1382, glmi1659, glmi1991, glmi2389, glmi2866, glmi3440, glmi4128, glmn0700, glmn0800, glmn1000, glmn1200, glmn1382, glmn1659, glmn1991, glmn2389, glmn2866, glmn3440, glmn4128, glmo0700, glmo0800, glmo1000, glmo1200, glmo1382, glmo1659, glmo1991, glmo2389, glmo2866, glmo3440, glmo4128, glmu0700, glmu0800, glmu1000, glmu1200, glmu1382, glmu1659, glmu1991, glmu2389, glmu2866, glmu3440, glmu4128, gltc0700, gltc0800, gltc1000, gltc1200, gltc1382, gltc1659, gltc1991, gltc2389, gltc2866, gltc3440, gltc4128, gltn0700, gltn0800, gltn1000, gltn1200, gltn1382, gltn1659, gltn1991, gltn2389, gltn2866, gltn3440, gltn4128, glto0700, glto0800, glto1000, glto1200, glto1382, glto1659, glto1991, glto2389, glto2866, glto3440, glto4128, glwc0700, glwc0800, glwc1000, glwc1200, glwc1382, glwc1659, glwc1991, glwc2389, glwc2866, glwc3440, glwc4128, glwi0700, glwi0800, glwi1000, glwi1200, glwi1382, glwi1659, glwi1991, glwi2389, glwi2866, glwi3440, glwi4128, glwn0700, glwn0800, glwn1000, glwn1200, glwn1382, glwn1659, glwn1991, glwn2389, glwn2866, glwn3440, glwn4128, glwo0700, glwo0800, glwo1000, glwo1200, glwo1382, glwo1659, glwo1991, glwo2389, glwo2866, glwo3440, glwo4128, glwu0700, glwu0800, glwu1000, glwu1200, glwu1382, glwu1659, glwu1991, glwu2389, glwu2866, glwu3440, glwu4128, glxc0700, glxc0800, glxc1000, glxc1200, glxc1382, glxc1659, glxc1991, glxc2389, glxc2866, glxc3440, glxc4128, glxi0700, glxi0800, glxi1000, glxi1200, glxi1382, glxi1659, glxi1991, glxi2389, glxi2866, glxi3440, glxi4128, glxn0700, glxn0800, glxn1000, glxn1200, glxn1382, glxn1659, glxn1991, glxn2389, glxn2866, glxn3440, glxn4128, glxo0700, glxo0800, glxo1000, glxo1200, glxo1382, glxo1659, glxo1991, glxo2389, glxo2866, glxo3440, glxo4128, glxu0700, glxu0800, glxu1000, glxu1200, glxu1382, glxu1659, glxu1991, glxu2389, glxu2866, glxu3440, glxu4128, gmmn0500, gmmn0600, gmmn0700, gmmn0800, gmmn0900, gmmn1000, gmmn1095, gmmn1200, gmmn1440, gmmn1728, gmmn2074, gmmn2488, gmmn2986, gmmn3583, gmmo0500, gmmo0600, gmmo0700, gmmo0800, gmmo0900, gmmo1000, gmmo1095, gmmo1200, gmmo1440, gmmo1728, gmmo2074, gmmo2488, gmmo2986, gmmo3583, gmtr0500, gmtr0600, gmtr0700, gmtr0800, gmtr0900, gmtr1000, gmtr1095, gmtr1200, gmtr1440, gmtr1728, gmtr2074, gmtr2488, gmtr2986, gmtr3583, gmxn0500, gmxn0600, gmxn0700, gmxn0800, gmxn0900, gmxn1000, gmxn1095, gmxn1200, gmxn1440, gmxn1728, gmxn2074, gmxn2488, gmxn2986, gmxn3583, gmxo0500, gmxo0600, gmxo0700, gmxo0800, gmxo0900, gmxo1000, gmxo1095, gmxo1200, gmxo1440, gmxo1728, gmxo2074, gmxo2488, gmxo2986, gmxo3583, gomc0500, gomc0600, gomc0700, gomc0800, gomc0900, gomc1000, gomc1095, gomc1200, gomc1440, gomc1728, gomc2074, gomc2488, gomc2986, gomc3583, gomi0500, gomi0600, gomi0700, gomi0800, gomi0900, gomi1000, gomi1095, gomi1200, gomi1440, gomi1728, gomi2074, gomi2488, gomi2986, gomi3583, gomn0500, gomn0600, gomn0700, gomn0800, gomn0900, gomn1000, gomn1095, gomn1200, gomn1440, gomn1728, gomn2074, gomn2488, gomn2986, gomn3583, gomo0500, gomo0600, gomo0700, gomo0800, gomo0900, gomo1000, gomo1095, gomo1200, gomo1440, gomo1728, gomo2074, gomo2488, gomo2986, gomo3583, gomu0500, gomu0600, gomu0700, gomu0800, gomu0900, gomu1000, gomu1095, gomu1200, gomu1440, gomu1728, gomu2074, gomu2488, gomu2986, gomu3583, goxc0500, goxc0600, goxc0700, goxc0800, goxc0900, goxc1000, goxc1095, goxc1200, goxc1440, goxc1728, goxc2074, goxc2488, goxc2986, goxc3583, goxi0500, goxi0600, goxi0700, goxi0800, goxi0900, goxi1000, goxi1095, goxi1200, goxi1440, goxi1728, goxi2074, goxi2488, goxi2986, goxi3583, goxn0500, goxn0600, goxn0700, goxn0800, goxn0900, goxn1000, goxn1095, goxn1200, goxn1440, goxn1728, goxn2074, goxn2488, goxn2986, goxn3583, goxo0500, goxo0600, goxo0700, goxo0800, goxo0900, goxo1000, goxo1095, goxo1200, goxo1440, goxo1728, goxo2074, goxo2488, goxo2986, goxo3583, goxu0500, goxu0600, goxu0700, goxu0800, goxu0900, goxu1000, goxu1095, goxu1200, goxu1440, goxu1728, goxu2074, goxu2488, goxu2986, goxu3583, grbl0500, grbl0600, grbl0700, grbl0800, grbl0900, grbl1000, grbl1095, grbl1200, grbl1440, grbl1728, grbl2074, grbl2488, grbl2986, grbl3583, grmc0500, grmc0600, grmc0700, grmc0800, grmc0900, grmc1000, grmc1095, grmc1200, grmc1440, grmc1728, grmc2074, grmc2488, grmc2986, grmc3583, grmi0500, grmi0600, grmi0700, grmi0800, grmi0900, grmi1000, grmi1095, grmi1200, grmi1440, grmi1728, grmi2074, grmi2488, grmi2986, grmi3583, grml0500, grml0600, grml0700, grml0800, grml0900, grml1000, grml1095, grml1200, grml1440, grml1728, grml2074, grml2488, grml2986, grml3583, grmn0500, grmn0600, grmn0700, grmn0800, grmn0900, grmn1000, grmn1095, grmn1200, grmn1440, grmn1728, grmn2074, grmn2488, grmn2986, grmn3583, grmo0500, grmo0600, grmo0700, grmo0800, grmo0900, grmo1000, grmo1095, grmo1200, grmo1440, grmo1728, grmo2074, grmo2488, grmo2986, grmo3583, grmu0500, grmu0600, grmu0700, grmu0800, grmu0900, grmu1000, grmu1095, grmu1200, grmu1440, grmu1728, grmu2074, grmu2488, grmu2986, grmu3583, grxc0500, grxc0600, grxc0700, grxc0800, grxc0900, grxc1000, grxc1095, grxc1200, grxc1440, grxc1728, grxc2074, grxc2488, grxc2986, grxc3583, grxi0500, grxi0600, grxi0700, grxi0800, grxi0900, grxi1000, grxi1095, grxi1200, grxi1440, grxi1728, grxi2074, grxi2488, grxi2986, grxi3583, grxl0500, grxl0600, grxl0700, grxl0800, grxl0900, grxl1000, grxl1095, grxl1200, grxl1440, grxl1728, grxl2074, grxl2488, grxl2986, grxl3583, grxn0500, grxn0600, grxn0700, grxn0800, grxn0900, grxn1000, grxn1095, grxn1200, grxn1440, grxn1728, grxn2074, grxn2488, grxn2986, grxn3583, grxo0500, grxo0600, grxo0700, grxo0800, grxo0900, grxo1000, grxo1095, grxo1200, grxo1440, grxo1728, grxo2074, grxo2488, grxo2986, grxo3583, grxu0500, grxu0600, grxu0700, grxu0800, grxu0900, grxu1000, grxu1095, grxu1200, grxu1440, grxu1728, grxu2074, grxu2488, grxu2986, grxu3583, gsma0500, gsma0600, gsma0700, gsma0800, gsma0900, gsma1000, gsma1095, gsma1200, gsma1440, gsma1728, gsma2074, gsma2488, gsma2986, gsma3583, gsmc0500, gsmc0600, gsmc0700, gsmc0800, gsmc0900, gsmc1000, gsmc1095, gsmc1200, gsmc1440, gsmc1728, gsmc2074, gsmc2488, gsmc2986, gsmc3583, gsme0500, gsme0600, gsme0700, gsme0800, gsme0900, gsme1000, gsme1095, gsme1200, gsme1440, gsme1728, gsme2074, gsme2488, gsme2986, gsme3583, gsmi0500, gsmi0600, gsmi0700, gsmi0800, gsmi0900, gsmi1000, gsmi1095, gsmi1200, gsmi1440, gsmi1728, gsmi2074, gsmi2488, gsmi2986, gsmi3583, gsmn0500, gsmn0600, gsmn0700, gsmn0800, gsmn0900, gsmn1000, gsmn1095, gsmn1200, gsmn1440, gsmn1728, gsmn2074, gsmn2488, gsmn2986, gsmn3583, gsmo0500, gsmo0600, gsmo0700, gsmo0800, gsmo0900, gsmo1000, gsmo1095, gsmo1200, gsmo1440, gsmo1728, gsmo2074, gsmo2488, gsmo2986, gsmo3583, gsmu0500, gsmu0600, gsmu0700, gsmu0800, gsmu0900, gsmu1000, gsmu1095, gsmu1200, gsmu1440, gsmu1728, gsmu2074, gsmu2488, gsmu2986, gsmu3583, gsxa0500, gsxa0600, gsxa0700, gsxa0800, gsxa0900, gsxa1000, gsxa1095, gsxa1200, gsxa1440, gsxa1728, gsxa2074, gsxa2488, gsxa2986, gsxa3583, gsxc0500, gsxc0600, gsxc0700, gsxc0800, gsxc0900, gsxc1000, gsxc1095, gsxc1200, gsxc1440, gsxc1728, gsxc2074, gsxc2488, gsxc2986, gsxc3583, gsxe0500, gsxe0600, gsxe0700, gsxe0800, gsxe0900, gsxe1000, gsxe1095, gsxe1200, gsxe1440, gsxe1728, gsxe2074, gsxe2488, gsxe2986, gsxe3583, gsxi0500, gsxi0600, gsxi0700, gsxi0800, gsxi0900, gsxi1000, gsxi1095, gsxi1200, gsxi1440, gsxi1728, gsxi2074, gsxi2488, gsxi2986, gsxi3583, gsxn0500, gsxn0600, gsxn0700, gsxn0800, gsxn0900, gsxn1000, gsxn1095, gsxn1200, gsxn1440, gsxn1728, gsxn2074, gsxn2488, gsxn2986, gsxn3583, gsxo0500, gsxo0600, gsxo0700, gsxo0800, gsxo0900, gsxo1000, gsxo1095, gsxo1200, gsxo1440, gsxo1728, gsxo2074, gsxo2488, gsxo2986, gsxo3583, gsxu0500, gsxu0600, gsxu0700, gsxu0800, gsxu0900, gsxu1000, gsxu1095, gsxu1200, gsxu1440, gsxu1728, gsxu2074, gsxu2488, gsxu2986, gsxu3583, gttc0500, gttc0600, gttc0700, gttc0800, gttc0900, gttc1000, gttc1095, gttc1200, gttc1440, gttc1728, gttc2074, gttc2488, gttc2986, gttc3583, gtti0500, gtti0600, gtti0700, gtti0800, gtti0900, gtti1000, gtti1095, gtti1200, gtti1440, gtti1728, gtti2074, gtti2488, gtti2986, gtti3583, gttn0500, gttn0600, gttn0700, gttn0800, gttn0900, gttn1000, gttn1095, gttn1200, gttn1440, gttn1728, gttn2074, gttn2488, gttn2986, gttn3583, gtto0500, gtto0600, gtto0700, gtto0800, gtto0900, gtto1000, gtto1095, gtto1200, gtto1440, gtto1728, gtto2074, gtto2488, gtto2986, gtto3583, gttu0500, gttu0600, gttu0700, gttu0800, gttu0900, gttu1000, gttu1095, gttu1200, gttu1440, gttu1728, gttu2074, gttu2488, gttu2986, gttu3583. [Google] [More] ⦿
In 2012, Cecilia Negri and Virginia Nardelli, both located in Milan, took the Fiat logo, and set out to design a full (condensed, octagonal) alphabet by extrapolation, called the Fiat Typeface. Cecilia is a designer and illustrator. [Google] [More] ⦿
Italian calligrapher who drew a few calligraphic alphabets in 2013.
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. [Google] [More] ⦿
Graphic designer in Milan, who graduated from the Politecnico. In 2011, she showed her techno face Aspes on Behance. It was made a few years earlier during her studies. I am a bit confused as this photograph shows a face called Aspes designed by Bisiac, Caroni and Comelli during their studies at ISIA Urbino from 2003-2004. [Google] [More] ⦿
Cagliari, Italy-based designer of the free art deco display face CS Blocks (2012).
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. 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. [Google] [More] ⦿
Type designer from Modena, Italy, b. 1969. Designer of these fonts:
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 codesigned 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.
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro codesigned Amazing Grotesk (+Ultra). He also designed the calm bold geometric rounded sans typeface Cocogoose (2014) and the stylish deco font Offensive Behaviour.
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 faces 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 type designer from Viterbo who is 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, he 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). [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] ⦿
Student in Torino, Italy, whose first font is the geometric monoline sans face 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 (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.
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 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.
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 (1999), a humanistic 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] ⦿
DJ Andrea Esu
Typefaces from 2013 include Movember (sans), Bolognese Sans, Moor (multilined art deco family), Bobber Script, and Bread & Milk Sans. Genplan (2013) is a great free inline typeface for Latin and Cyrillic that is based on 1930s Soviet poster types. See also TT Genplan Pro (2014).
Weave (2013) is an interlocking letter typeface for Latin and Cyrillic. 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 2014, Goloub created Robostile. He writes: In the process of the RoboCop game development, Glu Mobile studio has decided to create a Cyriilic font that would be used in Russian localization, instead of Eurostile. I had created a boxy, display face with similar metrics and more technological feeling, that includes not only the basic Latin and Cyrillic characters but also the game symbols.
Aka D128 design. Italian creator 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 2013, he published the alchemic typefaces Blazer and Quarz 974 Light (a free font).
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] ⦿
Designer at Monotype in 1927 with Francesco Pastonchi of Pastonchi, a beautiful humanist face with small bracketed serifs. Pastonchi MT is available from Agfa-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. In 2013, he created the bilined typeface Quasith (2013). In 2014, he published the clean rounded geometric sans typeface Focus (one free weight).
A Garamond custom-designed for the 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 dayes back to 1961---its design is owned by either Linotype or Neufville. PDF at Euinaudi's site. [Google] [More] ⦿
Milan-based designer of an experimental typeface derived from Helvetica Neue in 2013.
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. Elena lives in the UK. 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.
Conidi obtained an MA in typeface design from the University of Reading in 2008. Her graduation typeface is Nabil, a hookish serifed face that covers Latin and Arabic. It won a bronze medal at the 2009 EDAwards. Emanuela joined Fontsmith in 2008 after studying typeface design. 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 codesigned the slab serif family FS Rufus.
She codesigned 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 lives in Val d'Aosta, Italy. She created the sketched typeface Archistico (2013).
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 face 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 face 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 face Prendotempo (2007). He has addresses in Ravenna asnd Rotterdam. He codesigned Lekton at ISIA Urbino with Luciano Perondi aka Molotro, Marco Tortoioli Ricci aka BCPT, Michela Povoleri, Stefano Faoro, Elena Papassissa, Giulia Sagramola, Erica Preli, Müge Yilmaz, Luna Castroni, Caterina Giuliani, Veronika Bannert, Laura Fuligna, Caterina Carli, Tobias Seemiller. [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 face 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 face 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] ⦿
Graphic designer in Rome (b. 1990) who studied at the Accademia delle Belle Arti, Naples, from 2009-2010, and at the Accademia delle Arti e Nuove Tecnologie, Rome, from 2011-2012. 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 face 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 face with connected and unconnected versions. Optic Art (2011) is an ornamental face 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: 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).
Graphic designer in Portogruaro, Italy. Creator of the geometric sans face 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
Milanese cofounder with Denis Dulude of the Montreal-based typefoundry 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, Babbio, 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 faces 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, OK for programs), PragmataFlash (2002, a pixel font), Pragmata Pro (2011), 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 face 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.
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 face 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).
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 face Nebulosa (2013).
Designer in Barcelona who was born in 1982 in Pistoia, Italy. He created the ultra fat counterless face Virgola Mobile (2010) and the elegant art eco fashion mag typeface Fabrizio (2011). In 2011, he created an original octagonal face 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 face custom designed for the Pistoia Underground Festival.
Born in Verona, 1433, died in Rome in 1479. He was a printer and calligrapher. Monotype's Felix Titling (1934) is based on his lettering from 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. [Google] [MyFonts] [More] ⦿
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 face 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 face for the Pollofriabile magazine in Rome).
Italian creator (from Fratta Polesine) of the information design faces 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).
Filippo Tommaso Marinetti
Flanker (or: Studio di Lena)
Flanker, or Studio Di Lena, is the foundry of Italian type designer Leonardo Di Lena (b. 1975, Rome). Initially, it offered fresh free designs of classics. In 2012, it went commercial. Their fonts, made beteen 1998 and 2009:
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.
Commercial fonts at Flanker via MyFonts: Garaldus (2012, based on a 1956 font by Aldo Novarese), Italian Typewriter (2012, a family of monospaced typewriter typefaces based on Italian typewriters of the thirties and forties).
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] ⦿
Italian foundry in Milan, which published a bulletin in the 1930s entitled Tipografia (in which we find contributions of Edoardo Persico and the typographer Guido Modiano). They published the avant-garde font Triennale in 1933, a face that set the tone for the institutionalized graphics imposed by the Italian fascists. Some of the posters of that eraare here. [Google] [More] ⦿
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), Brio, and Armonia. Not involved in digital typography. Today, they mainly sell typesetting machines. [Google] [More] ⦿
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 faces), Hand Shop Typography C30, and many more in the Hand Shop Typography pack, including the frame font Hand Shop Elements.
In 2014, we find 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 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, h 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. 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 face 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.
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.
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" face 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 face 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 face 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).
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 face Toscano, flared caps faces called "Chinese", and a few minor families grouped under generic names such as Ornato, Egiziano, Ombrato, Americano, Bislunche and Grasso. [Google] [More] ⦿
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). [Google] [More] ⦿
Designer (b. Riva Ligure 1875-d. Torino 1953) at Monotype in 1927 with Eduardo Cotti of Pastonchi, a beautiful humanist face with small bracketed serifs. Pastonchi MT is available from Agfa-Monotype. 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] ⦿
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] ⦿
Designer at Nebiolo (b. 1908, Pavia, d. 1999). 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.
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 ia 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-based foundry. Their work can be found in Nuovo saggio de'caratteri e fregi della fonderia dei Fratelli Amoretti, incisori e fonditori in Parma (Parma, 1830). [Google] [More] ⦿
Fregio Mecano is a modular font of Italian origin created in the 1920s composed of 20 different elements. The designer is unknown. Section Bold Condensed (Creative Alliance) is a digital version of the font. [Google] [More] ⦿
Firenze, Italy-based design group, which made the free grotesque monospace face Fresko (2010), and the bold techno face Peppermint (2010). In 2011, they made Diamante, Opificio, Tape Rail, and Square Block (octagonal). Behance link. 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. [Google] [More] ⦿
Located in Mottola, Italy, this design studio created several logotypes, as well as a full-fledged font, Pandora (2013).
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.
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 codesigned the futuristic Stereotype family (2005). [Google] [MyFonts] [More] ⦿
Florence, Italy-based graphic designer who created an ornamental caps typeface in 2013 at Accademia Italiana.
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). He was the director of the Stamperia Reale in Parma. Court typographer of the Spanish king, Charles III, in 1782. 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 face 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 face 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. [Google] [More] ⦿
Italian creator in Milan of the free techno face Black Caps (2011).
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.
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 face 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 (Compougraphic), 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] ⦿
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 face 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 (1999), a humanistic 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 1995-2001, 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 face 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] ⦿
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.
Milan-based graphic designer who made the display face 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:
Giuseppe de Cesare
Prolific Italian designer of the futuristic monoline face GE Mezzano (2008) and the futuristic sans GE Futuribile (2008). He also made the wonderful ink splash connected handwriting face ITC Santangeli (2009). Other faces: 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] ⦿
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] ⦿
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 face ProtoType by hand. Giulio Grigollo made the avant garde face Architecta (2009). [Google] [More] ⦿
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. [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] ⦿
Italian graphic designer and art director Erasmo Ciufo (b. 1982, milan) runs Fontinspiration and Hellotype. His typefaces include Tura (2008), Rapida (2008), Inspiration (2006, free), Regolo, Safran (2007) and Minutron. Klingspor link. [Google] [More] ⦿
Robecchetto-based Italian graphic designer (b. 1986), who created Zodiac (2007), Old Skull Hellron (2007, skulls), Thorn (2007), Hellphabet (2007, handprinted), 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 faces), 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 face Dear Santa Claus. Free for those who ask.
Igino Marini (b. 1964), an Italian civil engineer, 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:
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] ⦿
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. [Google] [More] ⦿
Irene Torresi (Arezzo, Italy) created Fluid Font in 2012.
Italian Institute with type classes led by Luciano Perondi. Aka Accademia di Belle Arti di Urbino. In 2008, they made the typewriter face 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.
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 face Vivitar (2003-2004) by Alessandra Bicchi, Claudio Collina, Cinzia Quaglia, Margherita Vecchi, Dario Volpe, and Diego Zappelli, the futuristic face Syntellect (2002-2003) by Alessia Travaglini, Denis Imolesi Faraoni, Luca Piraccini, and Marco Comastri, the techno face Aspes (2003-2004) by Bisiac, Caroni and Comelli, the StarTrek face Fieldcrest (2002-2003) by Alessandra Schweiggl, Cornelia Hasler, Luca, and Giovanni Munari, the heavy display caps face 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 face Air New Zealand (2002-1003) by Chiara Cardascia, Giovanni Munari, Elisa Pellacani, and Susanna Tosatti.
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 experieces 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:
During his communication design studies in Milan, Jacopo Atzori created a decorated caps typeface (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) codesigned 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. [Google] [More] ⦿
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. [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 (handprinted), JD Rossella (handprinted), JD Fabiola (handprinted), JD Techno (handprinted), JD Teresa (handprinted), 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 Irregutype, JD Quadz, JD Cereus, JD Stripex, JD Din (scribbly hand), JD Alessandra (curly script), JD Sophara, JD Equinox, JD Estrellas.
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 face Otto (2008, octagonal), Peggy (2005, organic), Swimming (2001, organic). [Google] [More] ⦿
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 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.
He created the Vasinto Sans family as a student at KABK.
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. [Google] [MyFonts] [More] ⦿
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), who met at the Royal College of Art in London, founding the studio Julia in 2008 upon graduation. Julia works on books, typefaces, exhibition design, posters, websites, identities and tablet applications. Typefaces created by them include
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 was founded in 2008 upon their graduation. Together, they on books, typefaces, posters, websites, identities and exhibition design. They teach as visiting lecturers at Kingston University. Typefaces: Above Magazine (2009, an almost typewriter type), Copan (2010, a multilined face commissioned by Wallpaper's Born in Brazil issue), Riso, Herman (octagonal, done for Wired Magazine in 2010), Modo (2008, an experiment on a superposition of shifted strokes), Gill Sans Rounded (2007), Serious Sans (2008, anti--Comic sans), Volt (2009, a sans done for Volt Magazine). [Google] [More] ⦿
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-prfit 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 codesigned 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.
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 faces, 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] ⦿
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):
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 face 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"), 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). [Google] [More] ⦿
Designer in Milan who designed the heavy angular display face Grosser (2013), which was earlier called Größe (2012). This octagonal typeface covers Greek and is loaded with opentype features. [Google] [MyFonts] [More] ⦿
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). [Google] [More] ⦿
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] ⦿
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 faces 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] ⦿
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] ⦿
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 he Uruguayan Patricia beer.
Italian web, graphic and type designer who lives in Brescia. Behance link.
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. [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 codesigned the signage script typeface Chang Beer New Chang (2014). [Google] [More] ⦿
Milan-based and Sao Paulo-born designer of Rolo (2013), a typeface that was inspiured 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 youngster, b. 1992. Creator of the comic strip scanbat face 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] ⦿
Italian (b. 1997, Cesena) who designed the the sketched face Sketchetik (2011)---at least that is the information given by Dafont. I believe that they are wrong and that Sketchetik, the face posted by Dafont, belongs to Hiekka Graphics. Home page. [Google] [More] ⦿
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] ⦿
Graphic designer in Milan. In 2013, he created the ransom note style httype typeface, which uses letters from social media logos.
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.
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 face 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 face 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.
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 face FF3300 Type. [Google] [More] ⦿
Mariia Parkhomenko (Turin, Italy) created the mechanical typeface just called Alphabet (2012) for a book game.
Art director and illustrato in Milan, who created the arts and crafts display face Pesto (2013).
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] ⦿
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. She is back in Milan now where she works at LS Design. She wrote A Hundred Years of Type 1813-1908 Typefounders and Printers in Italy from Bodoni's death to the foundation of Augusta company in Turin (Master degree dissertation developed with Emanuela Conidi. Supervisor: Prof. James Clough at Politecnico di Milano, July 2006; in Italian: Cento Anni di Caratteri 1813-1908). Scans of Alice: i, ii, iii, iv, v. Scans of Bolano: i, ii, iii.
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 face 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] ⦿
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. At ATypI in Rome in 2002, he spoke about type for branding and communication. Scan of some posters made in 2010. Behance link. [Google] [More] ⦿
Famous Italian typographer and graphic designer, b. 1931, Milan. Designer, with Tom Carnase, of WTC Our Bodoni (1989). In 1966, he set up Unimark International in New York City, which became the largest diseign firm of its day. He left Uimark in 1971, to set up Vigneeli Associats 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. Vignelli published New York City Transit Authority Graphics Standards Manual (1970, New York, as Unimark International).
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).
Matteo Federico Bologna
Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) codesigned 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 faces 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).
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).
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] ⦿
Molotro is Luciano Perondi's typefoundry, 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 (or: Monocromo Creative Factory)
Monofonts is the font foundry of Studio Monocromo, a Creative Agency based in Florence, Italy. Katiuscia Mari and Andrea Cerboneschi are the founders of both Studio Monocromo and Monofonts, located in Firenze. 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. Cerbetica (2011, Andrea Cerboneschi) is a reworked Helvetica. Diamante (2011, Katiuscia Mari) is a sans face 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: Zeronero (an artsy art deco geometric sans), Malandrino.
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. [Google] [MyFonts] [More] ⦿
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. 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. [Google] [More] ⦿
Established in 2005, Muccatypo's is a group of three type designers that form a subgroup of Mucca Design in New York:
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 face Female (2013).
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, 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 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 no 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 face 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.
Milan-based creator of the connect-the-dots typeface Concept (2012).
French printer and artist born in Sommevoire, France in 1420. He worked mostly in Venice as a printer, type designer, punch cutter, and engraver from 1468 until his death in Venice in 1480. In 1475 he was made a papal count by Pope Sixtus IV. He produces his first roman type in Cicero, Epistolae ad Brutum (1468), which is described as perfect and unequaled. A Greek typeface which is used for quotations was made in 1471. In 1473, he creates a blackletter typeface which he uses in books on medicine and history. In 1475, he founds his first book trading company, Nicolaus Jenson sociique, whose partners include the Frankfurt businessmen Peter Ugelheimer and Johann Rauchfass. In 1480, his second book trading company is launched under the name Johannes de Colonia, Nicolaus Jenson et socii.
Jenson's typefaces influenced many new alphabets:
Graphic designer in Milan who was born in 1990 in Ancona, Italy. In 2011, he made a grid and compass-based geometric face called Le Tour Eiffel. At Politecnico in Milan, Nicolo Arena and Claudia Consiglieri did research under Marta Bernstein on the use of typefaces in the music field. Nicolo Arena designed the compass and ruler-based typeface Tour Eiffel (2012).
In 2008, he designed the Peignotian typeface Claire.
Pisa-based foundry whose work can be seen in Campione dei caratteri, fregi e vignette della tipografia dei fratelli Nistri (Pisa, 1839). [Google] [More] ⦿
NodeBox is a Mac OS X application that lets you create 2D visuals (static, animated or interactive) using Python programming code and export them as a PDF, an image or a Quicktime movie. NodeBox is free and well-documented. Examples include this thesis at Politecnico di Milano in 2007 that gives a Python script for creating illuminated letters. [Google] [More] ⦿
NOW Type is Cláudio Rocha, a Sao Paulo-based illustrator and designer (b. 1957). His typefaces include ITC Gema (1998) and ITC Underscript (1997, grunge). He runs Tupigrafia, a magazine dedicated to typography and calligraphy in Brazil. He designed Cashew (2000, a rounded face), Tenia, Viela Irregular, Unidin (sans display face), Rock Regular (slab face), Old Future (a brush version of Futura), Chacal Pixel, Persplextiva (2002, a bouncy hand-drawn 3d face), Liquid Stencil (brush stencil), Feijoada Light, Akrylicz Grotesk (2002, brush/paint face), Sampa (informal brush script) and Stampface. Partner of Oficina Tipografica Sao Paulo. Director of Now Design (Sao Paulo). He published the books "Projet Tipográfico" (Ed. Rosari), "Trajan e Franklin Gothic" (Ed. Rosari), and "Tipografia Comparada" (Ed. Rosari). Claudio now lives in Genoa, Italy, from where he launched the type magazine Tipoitalia in 2009.
Obostudio is a Florence-based design studio specialised in brand development. They created OBO Font in 2012 and write: "Typefaces are like clothes. They either make us look good or bad. They also indicate what kind of character we want to portray." OBO Font is a new typeface inspired by the wind. OBO Typeface should be used for logo design, monograms and other creative fields feeling moved by the wind. [Google] [More] ⦿
An ex-student of the IUAV in Venezia, where she wrote a thesis on road signage. At ATypI in Rome in 2002, she almost spoke about road signs and pictograms but her talk was canceled to to the birth of her child. [Google] [More] ⦿
Fonts designed by talented Swedish designer Franko Luin (born in Trieste, Italy in 1941, to Slovenian parents). Luin immigrated to Sweden in 1961. After studying at the Grafiska Institutet during the 1960s, Franko Luin spent two decades as a print designer for Ericsson before becoming independent. In the 1990s he was involved in multimedia and typeface design. In 1996, he founded his own typographic studio, Omnibus Typografi. At some point, he led a course in Web Typography at the Berghs School of Communication in Stockholm. Franko Luin passed away on September 15, 2005, in Tyresö, Sweden. Autobiography. Obituary by Dan Reynolds. Linotype pages on Luin.
His typefaces, all at Linotype: Omnibus (1993), Goudy Village (1994),
Milano, Italy-based designer of the free icon font Payment Webfont (2014), which contains the logos of Mastercard, Maestro, Visa, Visa Electron, American Express, Postepay, CartasÃ¬, Diners Club, Discover, Union Pay, Electronic Cash, TrustE, Amazon, JCB, Google Wallet, Stripe, Square, Ogone, VeriSign, and Bitcoin. Behance link. [Google] [More] ⦿
Enrico Bravi's 3-d type project. Bravi graduated in Graphics at the ISIA in Urbino with a thesis titled Graphica Programmata. From 1999 to 2002 he collaborated with Nofrontiere Design in Vienna. He now lives and works in Vienna, Austria. Speaker at ATypI 2005 in Helsinki. [Google] [More] ⦿
Ottaviano Scoto of Monza (or Ottaviano Scotus) headed a distinguished family of Venetian printers. Born of a noble family of Monza, he went to Venice at the age of 35 and operated a press there between 1479 and 1484. He continued as an editor until 1499 whereupon his heirs, including his brothers and nephews, undertook their own activity (1499-1532). His blackletter types were in the style of Anton Koberger's. Based on his etters, Paulo W made the typefaces ScotoKobergerFrakturN11 (2007) and ScotoKobergerFrakturN9 (2007). [Google] [MyFonts] [More] ⦿
Manuele Mascheroni is a freelance designer and founder of Oven Foundry, born in 1988 with Italian and Belgian origins. While based in Bologna for his MA degree in Design Management, he designed the German expressionist typeface Weiss (2013) and Explorer (2013: a grotesk).
Pablo de Mello is a graphic designer in Rio de Janeiro. He made the Lupo typeface in 2013 during his Master in Graphic Design studies at IED Firenze, Italy. Lupo is a soft rounded sans display face.
Peter R. Wilson's metafont code (1999) for Pacioli. The pacioli package provides fonts designed by Fra Luca de Pacioli in 1497. The font is uppercase letters together with punctuation and some analphabetics; no lowercase or digits. [Google] [More] ⦿
Panos Voulgaris (b. 1983) is an architectural student in Venice, Italy. He lists his place of residence as Thessaloniki, Greece. Creator at FontStruct (under the alias Rotweiler83) of the modular techno face Raptor Sans (2009). [Google] [More] ⦿
Paola Gallo (Lecco, Italy) created a wonderful logotype to express suffocation, called Soffocato (2012). It is a set in a warm plump type, as well as in an Ed Benguiat Interlock style compositionC, created during a course at Politecnico di Milano in 2011 with Giangiorgio Fuga. [Google] [More] ⦿
Paolo Beraldo (b. 1984) of zero8production in Italy designed a battery of pixel faces, all called Pixel Berry. I cannot find download buttons, but one of the fonts, Pixel Berry 08/84 (2003) is free at Dafont where he is known as zero8. [Google] [More] ⦿
Italian type designer. The Farfa typeface (2008, designed together with Mauro Zennaro) was developed for the city of Fara in Sabina. This typeface, with historical and Carolingian roots, was published at Eurotypo. [Google] [MyFonts] [More] ⦿
Paolo Daniele Corda was born in Milan in 1975. He is currently operations room coordinator of the Central Briefing Office for the national air traffic services of northern Italy. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More] ⦿
Italian designer (b. Fermignano, 1973) of the experimental font Elise (2000). He lives in Fermignano. At the School of Graphic Design in Urbino, he wrote a thesis on Wim Crouwel. As a result, his fonts are expertimental and geometric: Zen (2002, looks like lego blocks), Eroi (2001, artistic stencil font), Rainbow Type (2001, dot matrix font), CuboType (2001), Paradise (2001, fonts nailed to the wall), Ale (2000, only circles and lines, a cross between a kitchen tile and a Codex font). [Google] [More] ⦿
Born in Trieste in 1955, he has been active in Italy in visual design and corporate identity. With Vetta, he runs CODEsign in Trieste since 2000. At ATypI in Rome in 2002, he spoke about typographical architecture. [Google] [More] ⦿
Italian type designers Riccardo Olocco and 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. Finally, the language extensions include Parmigiano Arabic (by Rana Abou Rjeily), Parmigiano Cyrillic (by Irina Smirnova) and Parmigiano Greek (by Irene Vlachou). The Parmigiano Typographic System was published in 2014 by Typotheque, but was developed a few years before that. [Google] [More] ⦿
Illuminator who created the Alphabet of Paulini (1570). Beinecke Library writes: "Nothing is known of Paulini, the designer and engraver of this Mannerist alphabet--not even his first name. Each letter is a fantastic composite of human figures, botanical and marine specimens, landscapes or cityscapes, with a frame of arabesques, grotesques, putti, antique statuary, and the like. No two frames are identical. Each letter encapsulates a mythological episode from Ovid, A for Actaeon, B for Bacchus, C for Cadmus, etc. The Ovidian episode is illustrated behind each letter, and printed captions identify the figures." [Google] [More] ⦿
Pavlov Design offers free Mac typefaces by Emanuele Fabrizioli: Spraygun (stencil), Sushimix, Blackblock (techno font reminiscent of Wim Crouwel's lettering), Molecola, Pseiko (LCD font), Puerto Plata Market (stencil, inspired by a face made by Leonardo Sonnoli for the Biblioteca San Giovanni). [Google] [More] ⦿
Creator of the scratchy sketched face Alabama (2009). Originally, his fonts were free, but later he established the commercial outlet Peqpe.
Peter R. Wilson
French graphic designer who lived in Perugia, Italy, and is now in Nantes, France. I would call him an experimental typographer. He likes experimenting, for example, with modular typeforms, as is apparent from his typefaces called Tubular Type, Type Lover, and Fold Type (2009). His Electro (2009) is supposed to look like your hair when you plug your fingers into the socket. Bang Bang type (2009, Western meets organic) and Frak type Abigaëlle (modular blackletter, 2009) and All Slab Western (2009) are further experimental faces.
In 2014, he designed the beveled typefaces Vernacolare, Prism Rounded, Prism, and Old Prism, and the circle-based display typeface Neo Quadrata. Terzo (2014) is a compass-and-ruler typeface. Modula (2014) is a minimalist modular typeface.
Pier Francesco Martini (b. 1984), a graphic designer in Prato / Firenze, Italy, designs and sells typefaces. He created Bahn (2013), a display font inspired by the old Austrian Bahn signs. Free version. Later in 2013, he published the 4-style headline sans typeface family Alto.
In 2014, he finished Bahn Pro Rough (a constructivist version of Bahn), Pire (a 1930s style grotesk family) and Haus Sans (Bauhaus style sans in six weights).
Latina, Italy-based designer of an unnamed modular display typeface in 2013.
Freelance graphic designer. Stones inspired Pierfrancesco Annicchiarico (Grottaglie, Italy) to design the experimental typeface Secco (2009). The Cà brùtta building by Giovanni Muzio in Milan got him to design Monumentale (2009). The 2010 logo for Bar Marangi in his home town is also quite refreshing. He also made the experimental geometric faces Cutoff (2011) and Apulia Round (2010).
Grottangeles (2014) is possibly named after the cholo graffiti style practiced in Los Angeles. He also designed a set of wayfinding icons in 2014. El Santo (2014) is a hipster typeface.
Italian type designer born in Turin in 1937. Designer at Nebiolo from 1956-1959. Freelancer and writer since 1971 at his own De Macchi graphic design studio. Most of his typefaces were commissioned by corporations. In 1992 he set up the calligraphic association Dal Segno alla Scrittura. His typefaces:
De Macchi's company, De Macchi Progetti Grafici, is located in Torino.
Born in Trieste in 1955, d. 2003). He was active in Italy in visual design and corporate identity. With Tassinari, he ran CODEsign in Trieste since 2000. At ATypI in Rome in 2002, he spoke about typographical architecture. [Google] [More] ⦿
Italian classical scholar, who lived from 1470 (b. Venice) until 1547 (d. Rome). He was well-connected and knew the famous Medicis. Above all, he had an affair with Lucrezia Borgia. He influenced the development of the Italian language and established the madrigal as the most important secular musical form of the 16th century. He was made cardinal in 1539. Monotype gave his name to their typeface Bembo of 1929. The design is based on type cut by Francesco Griffo for the Aldine Press of Aldus Manutius, and first used in Bembo's work De Aetna (1495-1496). Allan Haley writes: In February 1496, Aldus [Manutius] published a rather insignificant essay by the Italian scholar Pietro Bembo. The type used for the text became instantly popular. So famous did it become that it influenced typeface design for generations. Posterity has come to regard the Bembo type as Aldus's and Griffo's masterpiece. Pietro Bembo himself had no connection to or influence on the typeface that carried his name. [Google] [MyFonts] [More] ⦿
While studying at Milan Polytechnic, Pimpa Gerroc created the rounded sans typeface family Verona (2013).
Designer at Nebiolo. He was part of a team (with Giancarlo Illiprandi, Bruno Munari, Ilio Negri, Till Neuburg, Luigi Oriani and Franco Grignani) that designed the lineale family Forma from 1966-1970 under the direction of Aldo Novarese. [Google] [More] ⦿
Great place in Italy for studying typography. Teachers in the Dipartimento di Industrial Design, delle Arti, della Comunicazione e della Moda include Giovanni Anceschi (who is now at IUAV in Venice) and Mario Piazza. Pictures at Flickr. The impressive staff includes James Clough (history), Giangiorgio Fuga (ype metrics and introduction), Piero De Macchi (type design), Michele Patanè (FontLab), Andrea Braccaloni and Luciano Perondi (thesis projects). The hosts are Mauro Zennaro and Claude Marzotto. Students in 2007: Bellucci Carmine, Casanova Lorenzo, Debenedetti Chiara, Viggiano Cira, Ciufo Erasmo Alessandro, Capo Daniele, Dugo Marco, Magni Fabio Ambriogio, Marchi Ilaria, Jannello Ludovica, Pezzotta Marina, Olocco Riccardo, D'Alessandro Paola, Pasqualicchio Carlo, Belli Pietro, Pini Azzurra, Rui Chiara, Tassi Roberta, Scalia Veronica, Tomietto Anna, Laurora Nicola. [Google] [More] ⦿
Francesco Messina (b. 1952, Udine) is a graphic designer and principal of Polystudio in Tricesimo, Udine. He is the creator of Bomfield, a semi-serif version of Fairfield and Bodoni, created in his "Bompiani graphic project". Quite interesting!
Protofonts (and Loosy Design)
Fabian Pfeifhofer is an Italian/Tirolian designer, b. 1984. Creator of Ugloosy (2007, grunge), Loosydings Extended (2008), Karmoofel (2007, experimental; see also here), Freestyle Silouet, Funnighosts (2007, a Halloween font), Funghosts (2007), Tramyad (2007, grunge; see also here), Trashco (2007, grunge), Helvari (2007, a helvetica-style family), Fracta (2007, a blackletter family).
Free fonts from 2006-2007: Blabloosy (grunge), bubbles bubbles (grunge), Loosydings, LoosydingsExpert, UntitledRegular, Freestyle-pictos, loosy-Italic, loosy-regular, mashen-Semi-expanded-Bold, ruculus-Semi-expanded-ExtraBold, ruculus (rounded futuristic face), Skirules-Sans2 (grunge), skirules-Sans-Expanded-Medium (grunge), skirules-Sans-Expanded-Medium, spikes, staccato, wing.
Typefaces from 2008: the grungy Dinstik. As Loosy Design, he also made the grunge face Malle (2007), Ambo Thin (2012: a monoline hipster script), loosydings-extended (2008) and the pixel face Blockline (2008). Creations in 2009: Slutotronic (dripping paint font), Illoosy (grunge), Training (dingbats), Camera (dings), Haloa-Heavy, Minuscula (uncial).
Free UNIX program for making a PostScript program into an HTML file. By Alessandro Agostini, Daniele Andreuccetti and Stefano Cerreti at the Florence Research Area and Electromagnetic Research Institute of National Research Council in Florence, Italy. [Google] [More] ⦿
It is well-known that a Didot or Bodoni without serifs turns into a high-contrast sans comparable to Peignot. I call these Peignotian typefaces. A real beauty was created in this manner by Italian designer Raffaella Isidori in 2011 entitled Bodoni Bare.
Rauch Design is an Italian corporate identity company with an impossible web page. They made the heavy rounded shadow face Ombratonda (2008). The experimental stencil face Creabc (2007) was designed by Andrea Rauch and Sephora Laghi (Rauch Design) and digitally optimized by Gianni Sinni (LCD) for the signs and identity of the Festival della Creatività in Firenze, October 2007.
Andrea Rauch is an Italian graphic designer who made a custom type for the city of Siena, drawing inspiration from fifteenth century inscriptions of Francesco di Giorgio Martini.
Sergio Polano writes: The Graphiti office operates since 1983 in Florence, the less than half-a-million people capital of Tuscany, one of the extraordinary Italian towns of art. The work of the partners Andrea Rauch, Stefano Rovai, Walter Sardonini ranges from visual to book design, from exhibition to stage design but keeps his roots (as for Dolcini Associati) in the experiences of the grafica di pubblica utilità. The variegate poster production of Graphiti in the 1990s confirm and deepens the diverging approaches of office founders Rauch and Rovai, that instead seem trying to cohabit in the Sardonini works. The calli-graphic, illustrative, self-indulgent hand of Rauch is clearly recognizable in pen-and-ink drawings, on very simple backgrounds; while the photo-graphic eye of Rovai likes the perceptive complication and the image fragmentation, ending in syncopated montages of pictures and words. [Google] [More] ⦿
Italian site which shows various comic book faces for a comic strip called Recreo. The site is managed by Marzia Lorusso and Alessandro Micheli in Bologna. Faces on the page are by Seth, James Sturm, Adrian Tomine, Daniel Clowes, Igor Tuveri, and Max Andersson. Additional typefaces by unknown designers: Norma, Ochs, Recreo, Resistance. [Google] [More] ⦿
Giuseppe Salerno (aka Resistenza.es) is an Italian graphic designer, specializing in web design. He lived in Torino, Amsterdam, Madrid, and Valencia, and currently works in Berlin and Turin.
In 2010, he made the circular multiline face Afrobeat (+Light), the fat counterless face Vito Sans (2010), Wonderwall (2010, like a skeletal construction), the high-contrast art deco face Zaza (2010), and the pure Italian vintage art deco face Luxx (futurism).
Creations from 2011: Ratatan, Bodoni At Home (a handpainted Bodoni), Arcanotype (2011, delicate caps, individually drawn using Chinese ink on Japanese calligraphy paper), Babushka (2011), Dolce Caffe (2011, handprinted), Adelaida (handprinted poster face), Monella (octagonal).
Production in 2012: Ampersanders (a font with many ampersands), BLAQ (an ornamental blackletter caps face inspired by Henry W. Troy), The Bay (handprinted all caps poster face), Bratislove (an artsy hand-drawn typeface), Modernissimo, Clementina (hand-printed caps), Afrobeat Gothic (angular multiline face).
Typefaces from 2013: Glob (bubblegum face), Archivio (slab serif family with very open counters), Mina (connected script), Monster Hand (brush script), Berliner Fraktur (a flat brush fraktur inspired by Rudolf Koch), The Luxx (a redesign of the 2010 art deco sans face Luxx---a comparable face is Mostra Nuova by Mark Simonson), Starburst (calligraphic gestural light script), Caramello Script, Copperlove (copperplate script), Yma Italic (retro script), Sonica Brush.
Typefaces from 2014: Ingles (copperplate script), Peperoncino Sans (a decorative sans serif font system designed with a marker), Attica RSZ (inspired by Caslon Italian and Novarese's Estro), Montana (poster family, +Icona), Superb (a yummy creamy script, codesigned with Paco Gonzalez), Dolce Caffe 3D, Coming Home (a hairline curly script based on a childish handwriting), The Crashed Fonts (a glaz krak family), Newland (inspired by Rudolf Koch's Neuland), Two Fingers (a funky hand-drawn family that includes, e.g., Two Fingers Bodoni, Two Fingers Courier, Two Fingers Poster [blackboard bold] and Two Fingers Script).
Italian graduate from the type design program at the University of Reading in 2010, who lives and works in Piedmont and Lombardy in Northern Italy, and publishes typefaces at Sorkin Type. His typefaces:
During his graphic design studies in Italy, Riccardo Fissore created the experimental circle-based typeface Kuplat (2013) for an imaginary bubbly underwater world.
Prior to a four-year stint as a lecturer in typography at the faculty of design and Art of the free University of Bolzano, Italian type designer Riccardo Olocco freelanced as a graphic designer in Milan and elsewhere in Italy. He is currently (in 2014) taking an MA in Typeface design at the University of Reading.
Riccardo writes on type design and type history. Besides his ongoing investigation into Francesco Griffo's roman types, his research with James Clough on Bodoni's types will be published by Codex.
Together with Jonathan Pierini, Olocco 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. [Google] [More] ⦿
Designer in Florence, Italy. He created the ornamental caps faces Mekkanika (2011) and Brushwood (2011). In 2012, he added the beautiful 3d cube face Hexahedra and the beveled typeface Embossy. [Google] [More] ⦿
Born in Rome, 1513-1589. He did most of his work in Paris. Granjon's designs live on in the balanced Plantin family, designed by Frank Hinman Pierpont in 1913 at Monotype, and available at Linotype (and elsewhere).
The Gothic italic typeface Civilité (1566; some say 1557) is also due to him, as well as Parangonne Grecque. The first modern metal version of Civilité is due to Morris Fuller Benton (1922, ATF). Among the digital versions, Ralph M. Ungers's Civilité (Profonts / URW++) is noteworthy.
W.A. Dwiggins' Eldorado (1953) was based on an early roman lowercase of Granjon. Font Bureau's Eldorado (1993-1994), developed by David Berlow, Jane Patterson, Tobias Frere-Jones and Tom Rickner for Premiere Magazine, was a far-reaching extension of that.
Brigitte Schuster did a revival of Monotype Plantin at KABK in 2010.
The Linotype Granjon face designed by George W. Jones in 1928 is a Garamond though---Jones used Granjon's work as a model for his italic---, and the name seems to suggest that Granjon created the model for this garamond, which is not the case. Image of Linotype's Granjon. For related typefaces, see ITC Galliard (1978, Matthew Carter).
Spillo (2013) is a typeface created by Roberta Cipriani during a course at the Accademia delle Arti e Nuove Tecnologie in Rome. This geometric monoline sans has a inline and solid styles. [Google] [More] ⦿
Graphic designer in Bergamo, Italy. In 2010, she designed Nervo Ottico 2, a typewriter face that was inspired by Courier New. It was part of Roberta's type design course project at Politecnico di Milano, done under the guidance of Andrea Braccaloni. Nervo Ottico 1 was made by co-sdtudent Yuri Ferrari. [Google] [More] ⦿
Italian designer (b. 1971) who graduated from the Art Institute of Parma. He is currently the main designer for MTV Italia. He created the gothic font Grimoire, first as a logo for the group Barbie Car and later for some MTV titles. [Google] [More] ⦿
Italian co-designer (from Bari) with Pierluigi Portolano of the funny dingbat fonts Toon in Time and Muscles (in Poptics style) both at Garagefonts, 1999. Designed the fifties diner style font Inhumaine (Garagefonts) as well. He also made Petrologos.
Based in Naples, Italy, Roberto Cacace did some interesting hand-drawn lettering in 2013.
Treviso, Italy-based creator (b. 1975) of the original experimental face Aierbazzi (2008), in which letters are placed on top of each other to make combinations. He also made the free dingbat face Bagarozz (2010).
Graphic designer in Rome who made the pixelish monospace display typeface The Only Person (2013).
Ronchi Tubaro Thom
RTT is Ronchi Tubaro Thom, an outfit in Milan, Italy, involved in typography, graphic design and calligraphy. Its principals are Anna Ronchi, Ivana Tubaro and Stuart Thom. Born in 1962, Anna Ronchi is primarily a calligrapher. She studied visual design at the Politecnico in Milan, and lives in that city. She co-founded the Italian Calligraphy Association and has taught many calligraphy courses via that Association. Her typefaces include Etruria (2000, an archaic lapidary font made for "La Operina", the association's magazine), Baby (1999, a Flintstone font created for the launch of Baby Martini), Serate (2001, a swashy face) and Mulino Bianco (1999, a calligraphic font done for a Barilla ad campaign). [Google] [More] ⦿
Typographer and graphic artist (b. 1856, Verona, d. 1934, Vienna). Author of Beispiele künstlerischer Schrift, 5 Folgen (1900-1926) and Unterricht in ornamentaler Schrift (1905). His wife, Frau Hertha von Larisch, gave most of his work to the Klingspor Museum in Offenbach. Some samples from his books are here. Larisch taught lettering at Kunstgewerbeschule (School of the Commercial Arts) and Akademie der Bildenden Kunste (Academy for Visual Arts), both in Vienna.
Digital descendants include Larisch (2007, HiH), an all-caps handlettered design based on the title page of Beispiele Kunstlerischer Schrift (1903).
Italian graphic designer who lives in Rome. Creator of the display typeface Rain (2013).
Designer from Ragalna, Italy, b. 1976. Creator of the comics book font Y2KFriendlyFuture (2000). See also here. He also created Special K (2007), Drinking (2007, condensed), Telegrafico (2006, geometric sans all caps face), Drinking (2007, ultra condensed sans), Caffe Latte (2008, sans), Plaster Caster (2007, stencil), Atyp1 (2007, a minimalist sans), and the VAG Round inspired Tondo (2007), which was renamed Maagkramp in 2010 after an (unjustified) trademark complaint by Dalton Maag. Dafont link. He is working on a geometric hairline sans called Architetto (2009).
Illustrator in Rome, Italy. Together with Sabina Alcaraz, she created the alchemic display typeface Pintadera (2013). She also created an experimental watercolor typeface in 2013. Behance link. [Google] [More] ⦿
During her graphic design studies in Florence, Italy, Sarah Sellars created Tea (2014: a foliate typeface) and Hikuri Sans (2014: a hipster typeface). She writes: Hikuri is the Huichol name for the Peyote cactus found in the desert of Northern Mexico. Given its halucinogenic properties the Hikuri cactus is a central religious resource. [Google] [More] ⦿
Padova-based calligrapher who produced some calligraphic alphabets, ca. 1604. See also his Book on lace with Antonello Bertozzi, also 1604. Examples: I, II, III, IV, V, VI, VII, VIII. [Google] [More] ⦿
Italian Mannerist architect, engraver and painter of the sixteenth century, who designed some of the most refined variants of the classic Roman letters---the prototypical Italian Renaissance roman alphabet, also known as Serlio's alphabet. Born in Bologna in 1475, he died in 1554. He was part of the Italian team building the Palace of Fontainebleau. An excellent model for constructing the Roman capitals in a standard form can be found in the geometric compass-and-ruler adaptation by A. R. Ross from an alphabet of capitals drawn by Sebastiano Serlio, an Italian architect, engraver and painter of the sixteenth century, who devised some of the most refined variants of the classic Roman letter. [Google] [More] ⦿
The Associazione Culturale Calligrafia e Lettering in Torino, Italy, organizes workshops and courses on a variety of topics, some of which are related to calligraphy and the history of type. For example, from 14-15 March 2009, there was a course on Gothic Textura. [Google] [More] ⦿
Rauch Design is an Italian corporate identity. They made the heavy rounded shadow face Ombratonda (2008). The experimental stencil face Creabc (2007) was designed by Andrea Rauch and Sephora Laghi at Rauch Design and digitally optimized by Gianni Sinni (LCD) for the signs and identity of the Festival della Creatività in Firenze, October 2007. [Google] [More] ⦿
Professor of Aesthetics, Architecture Faculty, IUAV University in Venice, b. 1950. At ATypI in Rome in 2002, he spoke about the state of art in type design in Italy and the history of Italian type design in the twentieth century. He wrote extensively on Aldo Novarese: "Aldo Novarese: Letters Are Things" (Emigre, Sacramento, vol. 26, spring 1993, pp. 30-37), "Aldo Novarese. Progettare l'alfabeto" (Arte|Documento|, Udine, vol. 7, 1993, pp. 339-344), "So long, Aldo!" (TypeLab Gaczeta, Barcelona, Sept. 1995, vol. 3, p. 2), "Aldo Novarese letterista 1920-1995" (Casabella, Milano, vol. 632, March 1996, pp. 46-49), "Alfa-beti: sintesi di scrittura e figura" (sintesi, Perugia, vol. 8, March 2000). See also here. Also known as Poison Galore. [Google] [More] ⦿
An Italian company involved in identity and brand design. Founded in 2002 by Alessandro Pascoli and Daniele Paoletti. Pascoli created the experimental geometric typeface Riccini Aureo in 2005. It was a brand face for Riccini in Perugia to replace Blippo, totally conceived on the basis of geometric patterns as in the days of Dürer. [Google] [More] ⦿
Italian mathematician and astronomer from Ferrara. He published Theorica et Practica de modo scribendi fabricandique omnes litterarum species (Venice: Giovanni Rosso, 1514). In 1535, he published the penmanship book Thesauro de scrittori : opera artifisiosa laquale con grandissima arte si per pratica come per geometria insegna a scrivere diversa sorte littere... . Quoting this site: Fanti published this work so that secretaries, copyists, merchants, and artisans could learn techniques of applying geometry to the construction of letterforms. These woodcuts of the capital letters "D" and "E" are examples of how Fanti used geometric patterns in the design of his letters. The circle and the square, the building blocks of classical architecture and the basis for letter designs that appeared in Luca Pacioli's Divina proportione, published in Venice in 1509, provide a starting point for Fanti. He, however, pushed past the limits of Pacioli's theory of proportion by applying principles of geometry to extend the lines of his letterforms beyond the limits imposed by the proportionality of the circle and the square. [Google] [More] ⦿
Teacher of editorial design at the Accademia di Comunicazione in Milano, and coauthor of "La grafica in Italia". Partner in Studio Bianca and in Studio Alizarina. At ATypI in Rome in 2002, she spoke about contemporary type design in Italy. Her talk was a summary of "Italic 1.0 Il disegno di caratteri contemporaneo in Italia Contemporary Type Design in Italy", an English-Italian book edited by Paola Lenarduzzi, Mario Piazza and Silvia Sfligiotti and published by AIAP in 2002.
Italian designer who lives in Turin.
Silvia made a few rounded typefaces, both in the sans genre (Draghettico, 2011) and in the slab style (Nardello, 2011). She also created the dingbats Icons GQ Italia (2011) and Icons (2011, for web site usage).
Italian designer of the informal sans face Claus (2010). Developed with the help of Nino Perrone and Michele Colonna, it is based on inscriptions in the San Nicola church in Bari. Free download. [Google] [More] ⦿
Simon Laudati (Nssfactory, a social media factory in Milan) created D-Type Font (2012), a paper-fold typeface.
Simoncini Garamond (1961, Simoncini) is also called Italian Garamond (by Bitstream and SoftMaker, for example). Bitstream made a derivative called Aldine 525. We also have a similar URW Garamond No9, which, according to URW++, is based on an original by Stephenson Blake. Other digital versions called Simoncini Garamond are sold by Linotype, Adobe, Elsner & Flake, and Scangraphic. Close relatives include Garamont Amsterdam EF (2004, Elsner & Flake) and Sabon (Linotype).
Links: Simoncini Garamond (Linotype), Simoncini Garamond (Adobe), Garamond Simoncini EF (Elsner+Flake), Garamond Simoncini SH (Scangraphic Digital Type Collection), Garamond Simoncini SB (Scangraphic Digital Type Collection), Italian Garamond (Bitstream), Garamont Amsterdam EF (Elsner+Flake), Garamond No 9 (URW++), Sabon (Linotype).
Graphic designer in Rome, who used Roger Penrose's Penrose tiling in the construction of a set of ornamental numbers in 2013. For the Order Of Architects, P.P.C. of Rome and Province and the Order Of Engineers of Rome, he created a prismatic caps face called Seventeen Lines (2012). [Google] [More] ⦿
Simone Wolf, born in Germany, now lives and works in Italy from where she runs her studio typevents Italy. She has worked in the graphic arts field since 1999, specializing in marketing, consultancy and PR. She also organizes seminars, conferences and events. She has been a visiting professor at universities in Milan and Florence. [Google] [More] ⦿
Souldavid (or: Wrktag, or: Work It)
Genova, Italy-based designer of the free fonts Werktag (2012, graffiti font) and Ecliptic (2012).
History of typography and type design (in Italian): "Il carattere da stampa e sua evoluzione stilistico-progettuale", by Andrea Marconi and Franco Marinelli. Main page entitled Stamperia e Caratteri. [Google] [More] ⦿
Turin-based printer. For their typefaces, see Saggio dei caratteri e fregi della Stamperia di compositori-tipografi (Torino, 1866). [Google] [More] ⦿
Stefania Cantù was born in Gallarate (Milan) in 1985. In 2012, she obtained a Masters degree in Languages and Culture for International Communication and Cooperation, Arabic and Chinese languages. Stefania Cantù and Paolo Daniele Corda coauthored La Scrittura Araba e il Progetto DecoType (2013, Sedizioni). [Google] [More] ⦿
During her studies at Scuola Internazionale di Comics in Firenze, Italy, Stefania Pizzichi created SpizzyFont (2011).
Creative designer from Milan, who co-founded Typojungle, now defunct. His typefaces include Nero (2010, avant-garde), Minimo (2010, hairline geometric sans), Boulevard (2009, fat stencil face), Studio 45 (almost a paperclip face), Nu Classic (ornamental caps, 2008), Rocket (2009, techno) and Metropolitain (2009, a display didone of high contrast). Behance link. Twitter link. Another URL. Yet another URL. [Google] [More] ⦿
Graphic designer in Turin, Italy. Behance link.
Graphic and editorial designer in Milan. In 2010 he designed a large type family, Tremila. He writes: Tremila is a typographic system designed for the city of Genoa. It has been conceived to give the Italian seaport a strong and bold identity, in order to improve all tourism-related communication. While the rounded terminations give Tremila a young and playful feel, its large x-height and open forms make the typeface ideal for official documents and signage too. The system consists of two main fonts, Tremila Sans and Tremila Unicase. [Google] [More] ⦿
Stefano Perrone graduated in 2008 in Industrial Design from the Politecnico of Milan and has a Masters degree in Art Direction in 2010 from IED of Milan. He currently works at Saatchi & Saatchi in Milan. Creator of the octagonal typeface Factory (2012) and the artistic experimental typeface Lucio (2013). [Google] [More] ⦿
Author of Di un patetico saggio di caratteri tipografici (Firenze, Sansoni, 1960). I haven't seen that book yet, but with such an intriguing title, I will make it a must for my next trip to Harvard. [Google] [More] ⦿
The students at Politecnico in Milan designed many sans serif fonts during the 1997-1998 academic year: OPTIFOUR was made by Luca Cenerelli, Elisa De Luca, Simona Di Liddo, Alberto Lavadini, Federico Muratori, Andrea Muzzini and Wladimir Testa. PHONEFONT is due to Annalisa Biffi, Paolo Brambilla, Lucia Caccia, Simona Carena, Daniela Casiraghi, Daniela Cipriani, Erik Ciravegna, Lorenzo Cocola, Annalisa Migliazza, and Guido Nava. PHONET was made by Luca Arrigoni, Matteo Astolfi, Annalisa Baga, Gian Luca Balzerano, Liborio Biancolillo, Matteo Capitini, Francesca Castagnetti, Fabio Cardano, Stefano Carrozza and Cristian Confalonieri. [Google] [More] ⦿
Fonts sold by MyFonts: the DIN-inpired 6-style sans family Superbastone (2006), the futuristic Stereotype family (2005), the skull dingbat font Catacumbes (2006), the ransom note font Cavillus (2006), the dog dingbat font Charliedog (2006), the leafs dingbat font FontFoliae (2006), the Stencil G family (2006) and the rounded octagonal family Pied de Poule Text (2006) were codesigned by all three founders.
In 2007, they added Insects (dingbats), Design We Like (dingbats), MyFace (an award-deserving collection of faces), Friz Biz (simple children's hand), Washing Machine (dingbats), Superbastone (sans family), Superclosed, Supersquared, Superstarlike, and Superwood.
In 2008, we saw the publication of Retrofont, a very condensed high contrast sans.
In 2009, the dot matrix face Superpois saw the light.
Studio Cheste (est. 1995) is a Venice-based project by Peppe Clemente who is involved in editorial, identity and corporate design. Cooperators include Isabella Zegna, Paola Fortuna, Dario Serio, Gioia Stocco, Enrica Cavarzan, Francesco Zambello, Laura Scala, Elisabetta Cassin, and Arnel Heljia. Creators of the modular organic sans typeface GAT (2012), where GAT stands for Giovani a Teatro. [Google] [More] ⦿
Studio FM Milano (Barbara Forni, Cristiano Bottino and Sergio Menichelli) designed the blackletter typeface Giano Display (2013). In a project called 60 typefaces, they published several funny type faces (2013).
Studio Polpo was founded in 2012 by Matteo Brogi and Leonardo Maltese in Rome. Its typefaces include Fishes (2013, an ornamental caps typeface by Matteo Brogi), and the vintage signage typeface Forno (2013, done jointly by Leonardo Maltese and Matteo Brogi).
London-based designer who is originally from Italy.
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 decries Monotype's digital version of this font. Minion (Robert Slimbach) is another revival, but it is quite far from the original. iTextism: 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 face 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.
The Worst Truetype Font
Letterpress and typefoundry located in Firenze, Italy, est. 1950. At Dafont, and on their home page, they offer the free font Typography Times (2013), which is like Times, but with sharper edges and corners---the dagger and harpoon look. The same harpoon theme returns in the free sans typeface Leo Arrow (2013). Urban Elegance (2013), Typography Ties (2013) and America Faster (2013) are display typefaces. Romanesque Serif (2013) is a copperplate typeface. Carved Rock (2013) is a serifed typeface. Wind Sans Serif (2013) has angled cut terminals.
Typefaces from 2014: Downtown Elegance, Paris in Love, Signoria (sans family), Clocker, Christmas Sounds, Dream Love Valentine, Dalmata Dream.
They also set up a parallel free font foundry, Jambo Fonts.
Bilingual (Italian/English) type magazine launched in 2009 by Claudio Rocha (editor-in-chief) and Simone Wolf (managing editor). The editorial board consists of Sandro Berra, James Clough, Giada Coppi, Giangiorgio Fuga, Piero de Macchi and James Mosley. As a teaser, issue 1 (2009) has articles on lettering on letter boxes, the Dante typeface, Nebiolo specimens, covers of the Campo Grafico magazine, Piero de Macchi, and "The Italian monstrosity" (by James Clough). [Google] [More] ⦿
Italian type museum in Cornudo (Treviso), also called Museo del Carattere e della Tipografia. It has a printshop, library and archive, and it organizes casting workshops. The museum has some section devoted to Italian type designers and Italian type. The following types are exhibited:
Tiziana Alocci (Milan) created an interesting parametric font in 2012 called Trapezifont. She writes: Trapezifont is a parametric font created in FontLab through the programming language Python. The glyphs were not drawn in a traditional way, with the Bezier curves but writing the codes inside the edit macro of FontLab. Trapezifont works according to one variable included between 0 and 100 that can be set at will. Once set the script the font is re-drawn as to the variable given changing the value of the tapering of each glyph. She is pursuing a masters degree in Communication Design at the Politecnico of Milan. [Google] [More] ⦿
Tomaso Typo Baj Fonts
Gironico, Como, Italy-based designer of the retro sans all caps typeface Aero Club Como (2014). In 2012, he created Archiquadro, a Bauhaus style piano key stencil face.
Tommaso Bovo (Florence, Italy) created Istanbul (2013), a typeface inspired by the city.
Italian student at the Politecnico of Milan, 2009-2012. He created the quaint Perrier typeface (2012) together with his co-students Federico Meroni, Gianluca Malimpensa and Pietro Mazza.
Venice-based graphic designer who created a great calligram called Moka in 2012.
Toni Pecoraro was born in Favara (Agrigento) Italy in april 1958. In 1977 he graduated from the Agrigento Institute of Art. From 1977 to 1981 he studied decoration at Florence Fine Arts Academy. From 1985 to 1990 he taught Engraving Techniques at Macerata Fine Arts Academy. At present he is teaching Engraving Techniques at Bologna Fine Arts Academy, and lives in Montefiore Conca. On his web site, he placed a reedited version of Giovanni Antonio Tagliente's 1530 book published in Venice. [Google] [More] ⦿
Located in Canegrate, Italy, TrueBlue is the foundry of Gianni Marcolongo (b. Legnano, 1963). He created the scholastic (upright and connected) handwriting font Pinocchio (2006), the connected calligraphic faces Emanuela (2008) and Martina (2007), TB FireSigns (2007), TB Matrix (2007, dot matrix font), TB Abacus (2007), TB Valentine A and B (2008, Valentine Day-themed dingbats), Philo Logic (2012, an extended sci-fi family), and the American-flag inspired TB StarsAndStripes (2007). [Google] [MyFonts] [More] ⦿
Swiss and/or Italian foundry, est. 2013, located in Campione d'Italia, Italy. Their 14-style sans family, Pieta (2013), which is advertized as a modern wide sans, has the openness and geometry of Avant Garde, but deviates in the details, making it more humanistic, more lettered. The hairline weight is especially attractive.
In 2013, they published the clean nearly (but not quite) monoline slightly tapered 6-style sans typeface family Larsseit.
Typefaces from 2014: Sailec (a neutral sans), Elysio (a condensed minimalist humanist sans, with weights ranging from Hairline to Black), Celias (a geometric sans with sharp corners), Revisal (humanist sans), Predige (a modular sans family promoted for use in scientific publications), Predige Rounded, Sarine (a technical sans family), Lasiver (a sans family from Hairline to Black).
James Mosley researched the names of all the calligraphic writers, mostly professionals, working in Italy between 1501 and 1700, whose names have been recorded:
Brazilian graphic desgner and illustrator who worked in Torino, Italy. Fontstructor who made these pixel faces in 2011: the Chip SS series (based on 8/16 bit video-games), Chip SBI, Cosmonaut, Pixel Reto (+Shadow) [a pixel font based on 'pixo reto', one of Brazil's most representative form of graffiti], Cleardom (+Bold) [an adaptation of Clarendon], Bit Script, 4 Square, Mononucleose, PXLTD.
In 2014, he set up his own commercial typefoundry, Typeoca, in Belo Horizonte, Brazil. His first typeface at Typeoca is Pixel Reto (2014).
Ugo da Carpi (b. ca. 1455, d. ca. 1523) was an Italian painter and printmaker who worked in woodcut. Author of the handwriting book Thesauro de Scrittori (1535). This book was republished in 1968 by Nattali and Maurice (London). An alphabet. [Google] [More] ⦿
Designer of the pen script font Grafico (Cooperativa, 1965), characterized by a large x-height, the grotesque family Linea (Cooperativa, 1966-1969), Calligrafia, Armonia (calligraphic) and Brio (script face at Mecanorma). He has worked with Aldo Novarese and Pietro De Macchi at Nebiolo in Turin, and was afterwards artistic director at Fonderia Tipografica Cooperativa di Peschiera Borromeo, where he designed Linea, Sigla, as well as Arabic and Hebraic alphabets. Linea, in particular, is his major type design oeuvre---it contains weights called Linea Tonda Chiara, Linea Tonda Neretta, Linea Corsiva Neretta, Linea Nera, Linea Nerissima, Linea Neretta Stretta, Linea Nera Stretta, Linea Nerissima Compatta and Linea Profil. From 1974-1996, he was professor of typography and calligraphy at the Istituto Statale Isia di Urbino, while from 1969-1998, he taught lettering at the Scuola Politecnica di Design di Milano. In 1996, he became professor of calligraphy and lettering at NABA, the Nova Academia di Belli Arti in Milan, Italy. PDF of his work by Hans Reichardt. Gio Fuga's info on him. Klingspor link. [Google] [MyFonts] [More] ⦿
Marco Virgillito (Unknown Studio, Milan, Italy) created the great super-sized poster typeface UT Amen (2014). Marco lives in Bollate, Italy. Luca Sabatini (Unknown Studio) created the fat poster typeface UT Mammut (2014).
Little-known foundry in Milan, active in the early part of the 20th century. I wonder if this company is the same as the ones which produced the lettering for the Urania typewriter in 1926. [Google] [More] ⦿
Paris-based Italian type designer (b. 1972) who designed Estrella (1996), a Basque font based on research she did at L'école Estienne (1996) on Basque lapidary engravings in cemeteries. Her mentor there was Gérard Blanchard. Rustica (1996), also done during her studies, is based on Latin calligraphy from the Vth century. [Google] [More] ⦿
Valeria Necchi (Milan) graduated in Design Communication at Politecnico di Milano. She is preparing her doctoral thesis on social communication. She was inspied by street signs in the city of Trento when she created the informal family De Trentum (2011). [Google] [More] ⦿
Valerio Di Lucente
Italian comic book site. Creator of the free comic book caps font Vermi Di Rouge (2012).
16th century Franciscan scribe and calligrapher (1501-1563), known for his 1554 writing manual Opera di Frate Vespasiano Amphiareo da Ferrara ... nella quale si insegna a scrivere varie sorti de lettere (Venice, 1554), the first place where one can find a Bastarda. Typefaces based on scans of his work include Gothic Majuscles (2003, Manfred Klein, based on Gothic Initials, 1554), and Amphiareo (2002, a Mac font made by Michael Schrauzer). Pictures of his capitals. [Google] [More] ⦿
Jacopo Atzori (Milano), Vicky Chinaglia (Roma) and Matteo Giordano (Alessandria) codesigned 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. [Google] [More] ⦿
Palermo, Sicily-based designer of Gravity, a compass-and-ruler font that is going to be used as an official font by Accademia di Belle Arti Palermo. He created the free experimental type family Mun (2012).
In 2012, Cecilia Negri and Virginia Nardelli, both located in Milan, took the Fiat logo, and set out to design a full (condensed, octagonal) alphabet by extrapolation, called the Fiat Typeface. Virginia is a designer and illustrator. [Google] [More] ⦿
Graphic designer in Rovato, Brescia, Italy, b. 1975. He cofounded Studio Charlie with Carla Scorda and Gabriele Rigamonti, with whom he codesigned the futuristic Stereotype family (2005). [Google] [MyFonts] [More] ⦿
(Italian?) designer of the dingbat font Linotype Caciocavallo (1997).
Graphic designer in Lecco, Italy. In 2010, he designed Nervo Ottico 1, a (free) sans face that was inspired by Herb Lubalin's Avant Garde. It was part of Yuri's type design course project at Politecnico di Milano, done under the guidance of Andrea Braccaloni. Nervo Ottico 2 was made by co-sdtudent Roberta Donatini. [Google] [More] ⦿
Born in Beirut, Lebanon in 1986, Zeina graduated in 2008 from NDU (Notre Dame University Lebanon). Presently she is a print and media designer in Florence, Italy.
Creator of the Arabic simulation face Gibran (2012), which was created for Lebanese author Gibran Khalil.
Zetafonts is a font foundry created by Francesco Canovaro, Cosimo Lorenzo Pancini and Debora Manetti. Almost all of these fonts were created as part of the design process for logos and printed materials. Many were created for the experimental magazine ego[n]. Foundry in Florence, Italy, although the Behance page places them in the United States. [z]fonts is the font development section of Studio Kmzero, a Florence (Italy) based Design and Communication Agency. Studio Kmzero is an Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini.
Also called ZeroFont.
Francesco Canovaro and Adolfo Monti are the designers of the simple bold sans face Arista (2007). They also made the basic sans faces Cibreo, zProzak-Bold, zProzak and zProzakLight in 2006, and Sugo in 2007. We also find Antipasto (2007, clean elegant sans, by Matteo Di Iorio), Arsenale White and ArsenaleBlue (2009, children's hands, done by Cosimo Lorenzo Pancini, Francesco Canovaro and Jonathan Calugi), Bistecca (2005, a bellissima extra-condensed serif font created for ego[n] 5 and for the cover of ego[n] 4), Braciola (2006; monospaced and octagonal, with stencil styles added), Bubblebody, Byron (2006, handwriting), Delizioso (2008, art deco), Docporn (comic book style), Duepuntezero, Handvetica (2005, arched), Happyfruhzero, Modulo3 (2008, an artsy beauty), New Romantic (curly grunge), Prozak (2006), Sala de Fiestas (2005-2006, free download at OFL), Senzacuore, Square80 (2009), Sugo, Taller Evolution (2009, geometric sans), Taller, Tallest (2009, ultra-condensed), Targa Monospace (inspired by license plate lettering), Targa (2002), TargaMS (2002), TargaMSHand (2002), Tutor (2006, rectangular, pixelish---what I call a piano key font), Toller (2009, ultra-condensed), Filetto (2009, a sans modeled after DIN 1451 done with Francisco Canovaro and Katiuscia Mari).
In 2014, Cosimo Lorenzo Pancini and Francesco Canovaro codesigned Amazing Grotesk (+Ultra).
Zetafonts (or: Studio Kmzero, or: ZeroFont)
Italian design firm in Firenze consisting of three graphic designers, Francesco Canovaro, Debora Manetti, and Cosimo Lorenzo Pancini. Dafont link. Canovaro's Behance link. Also called ZeroFont and Zetafonts. Typefaces: