A. Grimoldi

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

ABC ETC INC
[Nazareno Crea]

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

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

Abinaya Ananthachary

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

Adalberto Libera

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

Adam Rot

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

ADB Studio
[Antonio Del Bino]

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

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

Adler Traldi

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

Adolfo Monti

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

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

Adrea Vercetti

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

Adriana Longoria

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

Agnese Addone

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

Agnese Tisi

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

Agostina Ciccone

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

Ahmed Tarek

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

Aki Pentatonica

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

Alan Mattano

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

Albert Pinggera
[Design Buero]

[MyFonts] [More]  ⦿

Alberto Antoniazzi

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

Alberto Casagrande

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

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

Alberto Larizza
[Flash Design]

[More]  ⦿

Alberto Mafficini

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

Alberto Malossi

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

Alberto Manzella

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

Alberto Milli

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

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

Alberto Moreu

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

Alberto Tallone

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

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

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

Alberto Terribile

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

Alberto Vitullo

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

Aldo Novarese

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

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

• Primate (1972), for AG Berthold. For a digital revival of this wedge serif, see Luca Terzo's Noctis (2020).
• Sintex 1 (VGC, 1973). A revival and expansion of this funky nightclub typeface was done in 2008 by Patrick Griffin at Canada Type as Stretto (2008).
• Sprint (1974). A script typeface. Digital versons: Sprint (Linotype), Sprint (2019, SoftMaker).
• Bloc (1974, VGC)
• Mixage (1977 Haas, a lineal font, now ITC Mixage) 1985?
• Novarese Book (1978, now ITC Novarese Book)
• Lapidar (1977)
• Andromeda (1978, VGC)
• Global (1978, VGC)
• Fenice (1977-80; now ITC Fenice)
• Expert or Expert Haas (1982-1983). At Haas'sche Typefoundry.
• Floreal Haas (1983). A decorative and slightly wavy serif published by Haas'sche Schriftgiesserei.
• Colossal (1984); see Colossalis at Berthold, a slab serif sports lettering family)
• Stadio (1974). A reverse contrast sans that was published only as a rub-on transfer typeface. Revived in 2020 by the Zetafonts team as Stadio Now.
• Symbol (1982-1984, now ITC Symbol)
• Arbiter (1989, Berthold)

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

Aldo Novarese: Alfa Beta (1964)

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

Aldus Manutius

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

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

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

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

Alejandra Sepulveda

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

Behance link. [Google] [More]  ⦿

Alejandro Torres

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

Alena Belokonova

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

Alessandra Daniele

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

Alessandra Loreti

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

Alessandra Morcella

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

Alessandro (Alex) Segalini

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

He created these typefaces:

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

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

Alessandro Anselmi

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

Alessandro Becagli
[Champagne Design]

[MyFonts] [More]  ⦿

Alessandro Butti

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

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

Alessandro Caminiti

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

Alessandro Colizzi

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

His typefaces include:

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

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

Alessandro Comotti

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

Alessandro Congiu

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

Alessandro Crippa

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

Alessandro Da Corte
[Font Ale]

[MyFonts] [More]  ⦿

Alessandro Dattola

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

Alessandro Demchenko

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

Alessandro Fiore

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

Alessandro Fulciniti

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

Alessandro Locatelli

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

Alessandro Malcotti

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

Alessandro Morelli

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

Alessandro Panichi and Jonathan Pierini

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

Alessandro Pascoli
[Sezione Aurea]

[More]  ⦿

Alessandro Segalini
[Izmir University of Economics]

[More]  ⦿

Alessandro Tartaglia
[FF3300]

[More]  ⦿

Alessandro Vigoni

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

Alessandro&Katiusha

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

Alessia Mazzarella
[Typeland]

[MyFonts] [More]  ⦿

Alessia Nicotra

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

Alessia Pettinari Ventura

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

Alessia Sbabo

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

Alessio Atzeni

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

Alessio Avventuroso

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

Alessio Azzolini

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

Alessio Cottino

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

Alessio D'Amico

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

Alessio D'Ellena

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

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

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

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

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

Alessio Laiso

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

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

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

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

Alessio Leonardi
[BuyMyFonts (or: BMF)]

[MyFonts] [More]  ⦿

Alessio Pompadura

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

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

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

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

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

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

Alessio Sabbadini

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

Alessio Sciascia

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

Alex Alberico

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

Alex joystikX

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

Alex Passi

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

Alex Ruocco

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

Alex Sanmartino

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

Alex Valentina

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

Alexandra De Angelis

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

Alfa-Beta
[Davide Tomatis]

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

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

AlfaType
[Joseph Miceli]

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

His typefaces:

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

Alice Alisss Mignogna

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

Alice Donadoni

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

Behance link. [Google] [More]  ⦿

Alice Mignogna

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

Alice Tebaldi

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

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

Allessia Castelli

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

Alphabeta Linguarum Orientalium: typia congregationia de propag. fide

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

Alphabet&Type
[Paolo Vannucci]

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

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

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

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

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

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

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

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

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

Alphan Typefaces
[Roberto Baldassari]

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

Amarpreet Singh
[Runikh Art]

[More]  ⦿

Ambra Farris

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

Amedeo Mencarini

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

Ampersand (or: Vladocar)
[Vladimir Carrer]

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

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

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

Ana Hoxha

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

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

Anastasiia Macaluso

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

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

Typefaces from 2017: Palma Nana (script).

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

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

Andrea Alati

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

Andrea Amato
[Tipiblu]

[More]  ⦿

Andrea Amoretti
[Fratelli Amoretti]

[More]  ⦿

Andrea Ascari

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

Andrea Basile

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

Andrea Bassan

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

Andrea Bax

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

Andrea Bergamini
[Mintea.org]

[More]  ⦿

Andrea Biagi
[Chef Studio]

[More]  ⦿

Andrea Bianchi

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

Andrea B-Ja Bigiarini

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

Andrea Braccaloni
[Leftloft]

[MyFonts] [More]  ⦿

Andrea Brogiotti

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

Andrea Carrer
[Fonderia Serena]

[MyFonts] [More]  ⦿

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

[More]  ⦿

Andrea D'Antonio

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

Behance link. [Google] [More]  ⦿

Andrea D'Auria

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

Behance link. [Google] [More]  ⦿

Andrea Delbene

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

Andrea Evangelista

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

Andrea Ferrari

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

Andrea Gaspari

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

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

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

Andrea Gessa

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

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

Andrea Laureti

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

Andrea Lodato

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

Andrea Maccarini

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

Dafont link. [Google] [More]  ⦿

Andrea Malpede

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

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

Behance link. [Google] [More]  ⦿

Andrea Mantegna

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

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

Andrea Mantuano

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

In 2013 he designed the alchemic typeface Alter.

Behance link. [Google] [More]  ⦿

Andrea Marino

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

Andrea Meriggioli

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

Andrea Occhetta

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

Andrea Pela

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

Andrea Pinchi

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

Andrea Prina

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

Andrea Rauch
[Rauch Design]

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Andrea Ricciarini

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

Andrea Savelli

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

Andrea Tardivo

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

Andrea Tartarelli

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

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

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

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

Andrea Unali

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

Andrea Vendetti

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

Andrea Venditti

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

Andrea Zanchetta
[Civico13]

[More]  ⦿

Andrea Zucca

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

André Nunes

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

Andy Anzollitto

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

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

Andy Usikov

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

Angela Pappalardo

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

Angelica Baini

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

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

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

Angelo Germano

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

Anna Bulycheva

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

Anna Clara Fanesi

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

Anna Morena

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

Anna Ronchi
[Ronchi Tubaro Thom]

[More]  ⦿

Annalinda Ruocco

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

Anne Cuneo

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

Anne-Cécile Manfré

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

Annesio Nobili

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

Anonima Impressori

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

Anonima Impressori: Art Nouveau

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

Anonima Impressori: Bastone

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

Anonima Impressori: Egizi Antichi (classical slab serifs)

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

Anonima Impressori: Egizi Moderni (modern slab serifs)

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

Anonima Impressori: Graziati Antichi

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

Anonima Impressori: Ornati (script fonts)

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

Anonima Impressori: Razionali

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

Anonima Impressori: Scritti (script fonts)

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

Antiqua (or: Venetian) typefaces

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

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

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

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

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

Antonello Bertozzi

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

Antonio Basoli

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

Antonio Blado

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

Antonio Bodoni

[More]  ⦿

Antonio Cavedoni

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

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

Antonio Cerri
[CRR TNN]

[MyFonts] [More]  ⦿

Antonio Del Bino
[ADB Studio]

[More]  ⦿

Antonio Filigno

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

Antonio Iaconesso

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

Antonio Locicero

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

Antonio Moro
[Itomi]

[More]  ⦿

Antonio Mosca

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

Antonio Natola

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

Antonio Pace

Italian designer of these typefaces:

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

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

Antonio Possemato

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

Antonio Schiratti

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

Antonio Sinibaldi

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

Digital typefaces based on his work:

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

Antonio (Tony) DiSpigna
[Thinstroke]

[MyFonts] [More]  ⦿

Antonio Vignali
[RM WD]

[MyFonts] [More]  ⦿

Antonio Zatta e Figli

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

Arcangelo V

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

Dafont link. [Google] [More]  ⦿

Archivio Grafica Italiana

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

Archivio Tipografico
[Gabriele Fumero]

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

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

Arianna Valentini

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

Ariel Graphics
[Jury Zambon]

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

Armando Grimaldi

Italian type foundry. [Google] [More]  ⦿

Arnold Pannartz

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

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

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

• The Subiaco font done by Ashendene Press in 1902. The Subiaco type is now owned by Cambridge University Press. Its punches were cut by E.P. Prince.
• Nephi Mediaeval (1983). A metal type by Jim Rimmer for private use. McGrew gives the date 1986. Rimmer writes: It was inspired by the Subiaco type of the Ashendene Press and by its inspiration, the type of Sweynheym and Pannartz. My design breaks away from those types slightly in form and is softer in general feeling. In time I will cut other sizes.
• Linotype Conrad (1999, Akira Kobayashi). Not a revival at all, but rather an interpretation and modernization.
• The scanfont 1467 Pannartz Latin by Gilles Le Corré in 2009.
• Pannartz Book (2009, Tomi Haaparanta, Suomi).
• SweynheymPannartz (2010, Shane Brandes).
• Benedictine (Anthony Elder, 2014-2015). In the Type@Cooper Extended Program in 2014-2015, Brooklyn, NY-based Anthony Elder designed Benedictine, which is inspired by the first printed books in Italy by Konrad Sweynheym and Arnold Pannartz in the XVth century. Behance link.
• A couple of free fonts by Alexis Faudot and Rafael Ribas that were developed during a 2018 workshop at Biblioteca Statale del Monumento Nazionale di Santa Scolastica, Subiaco. The first one, Sweynheim & Pannartz Subiaco 120R, is a proto-roman first used in Subiaco by Konrad Sweynheim and Arnold Pannartz for an edition of Donatus in 1465 (no longer preserved) and used until 1467 in four editions in total. The secon one, Sweynheim & Pannartz 115R, is a proto-roman first used in Rome by Konrad Sweynheim & Arnold Pannartz for Cicero's Epistolae ad familiares in 1467 and used until 1476.

Arnoldas Dambrauskas

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

Arthur S. Osley

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

Asa Ama

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

Associazione Calligrafica Italiana

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

Asterios Kokkinis

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

Behance link. [Google] [More]  ⦿

Athena Tejada

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

Att Arts

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

Aurora Biancardi

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

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

Behance link. [Google] [More]  ⦿

Aurora Fioramonti

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

Autograff
[Daniel Berio]

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

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

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

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

Azzurra Pini

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

Barbara Jelenkovich

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

Barbara Lasagna

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

Bartolomeo Sanvito

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

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

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

• 1480 Humanistica (2010) and 1475 Humanistica Cursiva (2005) by Klaus-Peter Schäffel.
• Sanvito (1993), a multiple master font by Robert Slimbach at Adobe.

Battle Fonts
[Marco Battaglia]

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

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

Bauke van der Laan

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

Beatrice Brunelli

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

Beatrice Caciotti

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

Beatrice D'Agostino

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

Beatrice Davies

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

Beatrice Giaramita

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

Beatrice Tamagnini

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

Beatrice Tonon

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

Beatrice Vivaldi

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

Belle Lettere

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

Bellini Studio
[Savio Bellini]

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

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

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

Bellistrami

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

Behance link. [Google] [More]  ⦿

BelTypo
[Sergio Lelli]

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

Bembo: Comments

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

View various digital versions of Monotype Bembo.

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

Benedetta Bovani

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

Beniamino Verdirosi

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

Bennardino Cataneo

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

Bia Andrade
[Just Bia]

[MyFonts] [More]  ⦿

Biagio Di Stefano

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

Biagio Imitizione

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

Bianca Vagnoli

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

Bibliologia

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

Biblioteca Bodoni

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

Biroakakarati
[Roberto Sofi]

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

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

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

BKappa93

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

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

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

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

Her typefaces:

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

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

BLAZER

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

Blazrdsky
[Niccolo Agnoletti]

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

Bob Noorda

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

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

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

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

Additional link. [Google] [More]  ⦿

Boba Fonts
[Davide Canavero]

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

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

Bodoni (Dave Farey)

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

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

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

BohFonts
[Giuseppe de Cesare]

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

Boyer

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]  ⦿

b-rain

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

Brandi Violetta

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

Brando Corradini

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

Brito Renato

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

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

Bruce Rogers
[Bruce Rogers: Italian Printers in Venice]

[More]  ⦿

Bruce Rogers: Italian Printers in Venice
[Bruce Rogers]

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

Brumale
[Stefano Giliberti]

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

Typefaces from 2019: Osmica.

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

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

Bruno Bonamore

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

Bruno Capezzuoli
[Pixel Orchestra]

[More]  ⦿

Bruno La Versa

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

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

Bruno Munari

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

Forma was revived by Tankboys as Forma Nova.

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

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

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

Bruno Pierini

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

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

BrushScriptX-Italic
[Maurizio Loreti]

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

Brutatypes

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

Bunker
[Marco Comastri]

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

BuyMyFonts (or: BMF)
[Alessio Leonardi]

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

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

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

Linotype link. Typefaces.de site.

His fonts include

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

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

Caffè italic Group

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

Cagil Aygen
[Velvele Design Community]

[MyFonts] [More]  ⦿

Calligraphy Shop

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

Cameron Moll

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

Camilla Bertoni

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

Camilla Cima

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

Campivisivi

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

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

Caratteri
[Marco Anelli]

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

Carla Scorda

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

Carlo Buffa

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

Carlo Favale e Comp.

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

Carlo Occhiena

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

Carlo Vinti

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

Carlotta Mazuy

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

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

Behance link. [Google] [More]  ⦿

Carlotta Megali

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

Carmen Cavallo

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

Carola Baiotti

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

Carol-Anne Ryce-Paul

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

Carolina Mauri

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

Carolina Monaco

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

CAST

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

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

Caterina Chiarello

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

Caterina Scardillo

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

cb fonts
[Claudio Beccari]

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

Cecilia A. Nuñez

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

Cecilia Negri

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

Behance link. [Google] [More]  ⦿

Cerchio Perfetto

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

Behance link. [Google] [More]  ⦿

Cesar Bourgeois

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

Cesare Vagnoni

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

Champagne Design
[Alessandro Becagli]

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

Chef Studio
[Andrea Biagi]

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

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

Chiara Di Terlizzi

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

Chiara Dozio

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

Chiara Picano

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

Chiara Quaggia

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

Chiara Ricolfi

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

Chiara Sotgiu

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

Behance link. [Google] [More]  ⦿

Chiara Vianello

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

Chiara Virdis

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

Chicks and Types

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

Chintal Bharat

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

Christie Liberatore

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

Behance link. [Google] [More]  ⦿

Cira Viggiano

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

Ciro Continisio

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

Civico13
[Andrea Zanchetta]

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

Cláudio Rocha

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

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

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

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

Clara

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

Clara Reali

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

Clara Zorzoli

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

Clarissa Bolettieri

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

Clarissa La Viola

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

Claudia Altavilla

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

Behance link. [Google] [More]  ⦿

Claudia Cattelan

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

Claudia Ripanti

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

Claudia Rolletto

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

Claudio Beccari
[cb fonts]

[More]  ⦿

Claudio Beccari
[LXfonts]

[More]  ⦿

Claudio Chiocchio

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

Claudio Gomboli
[Grafisticceria]

[More]  ⦿

Claudio Parisi

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

Claudio Piccinini

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

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

Claudio Vegilante

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

Claudius Marcus
[Marcloud]

[More]  ⦿

Clément Thévenoux

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

Clio Chaffardon

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

Collletttivo

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

Colombo Coen

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

Cordial Campari

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

Corrado Mariani

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

Behance link. [Google] [More]  ⦿

Corso di alta formazione in Type Design

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

Cose Design

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

Cosimo Lorenzo Pancini

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cosimo Torsoli

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

Costanza Tarabella

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

Cristian Iaccarino

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

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

Cristian Mantovani

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

Cristina Guareschi

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

Cristina Pagnotta
[Cristina Pi]

[More]  ⦿

Cristina Pellicano

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

Cristina Pi
[Cristina Pagnotta]

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

CRR TNN
[Antonio Cerri]

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

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

In 2012, he designed the techno family Steel.

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

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

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

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

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

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

Cynthia Torrez

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

Dadakool
[Gregory Flajszer]

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

Dafne Salvatori

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

Dalila Capelli

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

Damiano Cenderelli

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

Damiano Stingone

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

Behance link. [Google] [More]  ⦿

Dana Asfoura

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

Daniel Berio
[Autograff]

[More]  ⦿

Daniel Comerci

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

Daniela Arnoldo

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

Daniela Cominale

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

Daniela Verona

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

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

Daniele Bruno

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

Daniele Capelli
[Lasagner]

[More]  ⦿

Daniele Capo

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

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

Daniele Cima

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

Daniele De Nigris

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

Daniele Fieni

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

Daniele Franchi

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

Daniele Piccone

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

Daniele Politini

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

Daniele Togninelli

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

Daniele Vignato

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

Daniele Zanchi

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

Danielle Abbon

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

Danilo De Marco

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

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

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

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

Danilo Musci

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

Dario Ferrando

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

Dario Lipani

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

Dario Quadri
[The Words Face]

[MyFonts] [More]  ⦿

Dario Sepe

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

Dariusz Jasak

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

Dave Humphrey

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

Behance link. [Google] [More]  ⦿

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

[More]  ⦿

Davide Ardissone

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

Davide Baratta

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

Davide Bassu

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

Davide Bernardi

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

Davide Canavero
[Boba Fonts]

[More]  ⦿

Davide Cariani

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

Dafont link. [Google] [More]  ⦿

Davide DallAra

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

Davide Di Mattina
[du2]

[More]  ⦿

Davide Francesco Montesano

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

Davide Gigi Rizzi

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

Davide Giovanni Steccanella

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

Davide Lasagni

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

Davide Laudati

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

Davide Mancini

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

Davide Mascioli

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

Davide Melotti
[Dubbio Gusto]

[MyFonts] [More]  ⦿

Davide Molinari

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

Davide Mottes

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

Davide Natalucci

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

Davide Paoletti

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

Davide Piscitelli

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

Davide Romito

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

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

Davide Scarpantonio

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

Davide Tarsi

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

Davide Terenzi

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

Davide Tomatis
[Alfa-Beta]

[More]  ⦿

Davide Zomer

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

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

Davide Zomer

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

Debora Manetti

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

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

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

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

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

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

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

Design Buero
[Albert Pinggera]

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

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

Design Lab SRL, Milan
[Jane Patterson]

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

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

Design.it
[Stefano Meriggi]

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

Device Motion Graphics

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

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

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

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

Diana Elisa Militano

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

Diego Massaro

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

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

Diego Ornato

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

Diego Quijano

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

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

Ditta Nebiolo&Comp.

This company published an unbelievable 900-page catalog in 1920 entitled "Campionario Caratteri e Fregi Tipografici". Gerald Lange on Typo-L wrote this: "Makes you weep. The decorative devices and ornamental initials are unbelievable, many of which I have never seen anywhere before. Almost 900 pages worth of salivating." [Google] [More]  ⦿

DJ Andrea Esu
[Studio Volk]

[More]  ⦿

djeddy

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

Dmitry Goloub

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

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

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

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

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

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

Domenico Catapano

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

Dafont link. [Google] [More]  ⦿

Domenico Cristallo

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

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

Fontspace link. [Google] [More]  ⦿

Domenico Ruffo

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

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

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

Domina Fidanzati

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

Dominique Barbieri

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

Behance link. [Google] [More]  ⦿

Donatella Craparo

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

Donatello D'Angelo

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

Drako Mallafoglia

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

DTP Italia (or: Tipi e contratipi)

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

du2
[Davide Di Mattina]

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

Dubbio Gusto
[Davide Melotti]

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

Due Studio

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

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

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

In 2021, they added the pixel font Analo Grotesk.

Type Department link. [Google] [More]  ⦿

Dusan Lazarevic

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

Dynadraw

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

Easy Reading
[Federico Alfonsetti]

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

Edgar Olivas

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

IN 2014, Olivaswas based in Milan.

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

Edoardo Cotti

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

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

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

Edoardo Richetti

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

Edoardo Santamato
[Invasione Creativa]

[More]  ⦿

Eduardo Notizia

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

Edward Catich

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

Edward Elric

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

Egidio Filippetti

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

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

Behance link. [Google] [More]  ⦿

Egle Kirdulyte

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

Einaudi Garamond

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

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

[MyFonts] [More]  ⦿

Elena Gullace

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

Behance link. [Google] [More]  ⦿

Elena Maroccia

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

Elena Papassissa

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

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

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

Eliabetta Giordana

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

Eliana Dedda

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

Elis Bonini

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

Elisa Basile

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

Elisa Bavieri

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

Elisa Brandi

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

Elisa Iadicicco

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

Elisa Leotti

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

Elisa Lucaccini

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

Elisa Marsigliante

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

Elisa Rastello

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

Elisa Tarchini

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

Elisa Terbonetti

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

Elisabetta Alesi

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

Elisabetta Vedovato

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

Elisafer

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

Eloise Barbanera

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

Elvira Butera

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

Emanuela Conidi

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

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

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

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

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

Emanuela Drei

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

Emanuele Caira

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

Emanuele Catena

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

Emanuele Fabrizioli
[Pavlov Design]

[More]  ⦿

Emanuele Fonticoli

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

Emanuele Luppino

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

Emanuele Papale

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

Emilia Viscido

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

Emilie Rollandin

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

Dafont link. [Google] [More]  ⦿

Emilio Cassanese

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

Emilio Grazzi

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

Emilio Ignozza

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

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

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

Fonts from 2011: Arancito (upright connected script).

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

Emilio Macchia

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

Emma Zazio

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

Emo Risaliti