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[24] => 0_VERGATA_IMG - SB 4.0_Zetafonts P13.png
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[8] => <p><strong>Bogart</strong> has been designed in 2020 by <strong>Francesco Canovaro</strong> as a personal homage to the iconic look of low-contrast <strong>oldstyle fat faces,</strong> like <strong>Cooper Black</strong> (Oswald Bruce Cooper, 1922) and <strong>Goudy Heavy Face</strong> (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of <strong>Bookman, </strong>these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively bursting with hippie energy and exuberant vitality, they often included an extensive repertoire of swash characters, bridging the space between lettering and typography.</p>
<p>In researching these shapes, Canovaro decided to include also the influence of another idiosyncratic american old style typeface, <strong>Windsor</strong>, quoting its sloping shapes and quirky solutions, and expanding the weight range of <strong>Bogart</strong> to include a selection of display light weights where the muddy shapes of the heavy weights distill into elegant teardrop terminals. All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over <strong>1600 glyphs</strong>, covering <strong>219 languages using latin, cyrillic and greek</strong> alphabets, and sporting a complete set of <strong>Open type features</strong> including <strong>alternate forms, discretionary ligatures, small capitals, stylistic sets, positional numbers, case-sensitive, terminal and initial swash forms</strong>. To add flexibility for editorial usage, a text-oriented <strong>Bogart Alternate</strong> set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range.</p>
<p>Hollywood icon Humprey <strong>Bogart</strong>, famously said: "things are never so bad they can't be made worse.". This typeface was named after him, aiming at a way to embody the moody spirit of vintage typography, from film noir aesthetics, to the pop culture reference, from joyous swash titling and logo design to strict, balanced text typesetting. Because "typefaces are never so good that they can't be made better".</p>
[desc1] => <p><strong>Bogart</strong> has been designed in 2020 by <strong>Francesco Canovaro</strong> as a personal homage to the iconic look of low-contrast <strong>oldstyle fat faces,</strong> like <strong>Cooper Black</strong> (Oswald Bruce Cooper, 1922) and <strong>Goudy Heavy Face</strong> (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of <strong>Bookman, </strong>these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively bursting with hippie energy and exuberant vitality, they often included an extensive repertoire of swash characters, bridging the space between lettering and typography.</p>
<p>In researching these shapes, Canovaro decided to include also the influence of another idiosyncratic american old style typeface, <strong>Windsor</strong>, quoting its sloping shapes and quirky solutions, and expanding the weight range of <strong>Bogart</strong> to include a selection of display light weights where the muddy shapes of the heavy weights distill into elegant teardrop terminals. All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over <strong>1600 glyphs</strong>, covering <strong>219 languages using latin, cyrillic and greek</strong> alphabets, and sporting a complete set of <strong>Open type features</strong> including <strong>alternate forms, discretionary ligatures, small capitals, stylistic sets, positional numbers, case-sensitive, terminal and initial swash forms</strong>. To add flexibility for editorial usage, a text-oriented <strong>Bogart Alternate</strong> set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range.</p>
<p>Hollywood icon Humprey <strong>Bogart</strong>, famously said: "things are never so bad they can't be made worse.". This typeface was named after him, aiming at a way to embody the moody spirit of vintage typography, from film noir aesthetics, to the pop culture reference, from joyous swash titling and logo design to strict, balanced text typesetting. Because "typefaces are never so good that they can't be made better".</p>
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[42] => Francesco Canovaro, Andrea Tartarelli, Mariachiara Fantini
[dato3] => Francesco Canovaro, Andrea Tartarelli, Mariachiara Fantini
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[60] => salt:-; ss01:agv; ss02:CEg; ss03:VWvw; ss04:-; ss05:-; ss06:-; liga: fi fl; dlig: ct st; swsh: Bon; swsh-initial and final:Ea; sups:H2O2; subs:H2O2; ordn:1a2o; frac:12/34; onum:136; smcp:Halo; tnum:1234; nalt:012; ordn:-; lnum:-; c2sc:-; pnum:-; zero:-; case:-;
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[72] => The Detective's Demise
[dato33] => The Detective's Demise
[73] => The story of a man with a face that suggested he had seen one too many rainy nights and smoked one too many unfiltered cigarettes, and a vocabulary so labyrinthine, it could make even the most astute wordsmith weep.
[dato34] => The story of a man with a face that suggested he had seen one too many rainy nights and smoked one too many unfiltered cigarettes, and a vocabulary so labyrinthine, it could make even the most astute wordsmith weep.
[74] => It all began when a femme fatale sauntered into his dimly lit office, the kind of woman who could make a strong man's knees turn to putty and a weak man's putty turn to existential dread. She had a name that sounded like a secret code, and a gaze that hinted at hidden enigmas.
"Mr. Bogart," she purred, her voice a symphony of sultriness and intrigue. "I need your help. There's been a disappearance, and I fear the shadows are closing in."
Bogart, never one to shy away from linguistic acrobatics, replied with a phrase that would make even the most seasoned linguist question their life choices.
"Darling, the night is as murky as a metaphor in a postmodern novel, and we're all just characters in a plot that's unraveling faster than a poorly-knitted sweater. I'll take the case, but let me warn you - this narrative is teetering on the brink of a tragic denouement, like a Shakespearean play but with fewer iambic pentameters and more existential dread."
The dame, eyes gleaming like a cat who had just discovered the meaning of life, handed him a dossier. 'This,' she declared, 'is the key to unraveling the tapestry of deceit.'
Bogart, the maestro of verbal gymnastics, deciphered the dossier with the finesse of a lexicographer on a tightrope, revealing a conspiracy as intricate as a labyrinth designed by M.C. Escher after a night of heavy drinking. The air in the room was now thick with tension, like the unresolved subplots of a Russian novel: a narrative more perplexing than a Rubik's cube in the hands of a blindfolded mathematician.
Yet, as the layers of the mystery peeled away like the pages of a pop-up book with a penchant for existentialism, Bogart couldn't escape the ever-looming specter of his own fate. The narrative, like a relentless literary Grim Reaper, hinted at the impending demise of its protagonist with a subtlety akin to a sledgehammer to the fourth wall.
"In the end," Bogart mused, his words hanging in the air like the smoke from a thousand philosophical musings, "we're all just characters in a narrative we can't control, puppets in a play written by an author with a morbid sense of humor. I'm just a detective, lost in the verbosity of my own narration, navigating the treacherous terrain of a story that's bound to end in a denouement more final than a period at the end of a particularly long and convoluted sentence."
As the plot hurtled towards its inevitable conclusion, Bogart faced the impending darkness with a nonchalant demeanor and a quip that encapsulated the essence of his literary existence.
"I suppose," he said, a wry smile playing on his lips, "it's time for this detective to take a bow, exit stage left, and bid adieu to the narrative shadows. After all, every story needs a conclusion, even if it's as enigmatic as a riddle wrapped in a conundrum and sprinkled with a dash of exquisite nonsense."
[dato35] => It all began when a femme fatale sauntered into his dimly lit office, the kind of woman who could make a strong man's knees turn to putty and a weak man's putty turn to existential dread. She had a name that sounded like a secret code, and a gaze that hinted at hidden enigmas.
"Mr. Bogart," she purred, her voice a symphony of sultriness and intrigue. "I need your help. There's been a disappearance, and I fear the shadows are closing in."
Bogart, never one to shy away from linguistic acrobatics, replied with a phrase that would make even the most seasoned linguist question their life choices.
"Darling, the night is as murky as a metaphor in a postmodern novel, and we're all just characters in a plot that's unraveling faster than a poorly-knitted sweater. I'll take the case, but let me warn you - this narrative is teetering on the brink of a tragic denouement, like a Shakespearean play but with fewer iambic pentameters and more existential dread."
The dame, eyes gleaming like a cat who had just discovered the meaning of life, handed him a dossier. 'This,' she declared, 'is the key to unraveling the tapestry of deceit.'
Bogart, the maestro of verbal gymnastics, deciphered the dossier with the finesse of a lexicographer on a tightrope, revealing a conspiracy as intricate as a labyrinth designed by M.C. Escher after a night of heavy drinking. The air in the room was now thick with tension, like the unresolved subplots of a Russian novel: a narrative more perplexing than a Rubik's cube in the hands of a blindfolded mathematician.
Yet, as the layers of the mystery peeled away like the pages of a pop-up book with a penchant for existentialism, Bogart couldn't escape the ever-looming specter of his own fate. The narrative, like a relentless literary Grim Reaper, hinted at the impending demise of its protagonist with a subtlety akin to a sledgehammer to the fourth wall.
"In the end," Bogart mused, his words hanging in the air like the smoke from a thousand philosophical musings, "we're all just characters in a narrative we can't control, puppets in a play written by an author with a morbid sense of humor. I'm just a detective, lost in the verbosity of my own narration, navigating the treacherous terrain of a story that's bound to end in a denouement more final than a period at the end of a particularly long and convoluted sentence."
As the plot hurtled towards its inevitable conclusion, Bogart faced the impending darkness with a nonchalant demeanor and a quip that encapsulated the essence of his literary existence.
"I suppose," he said, a wry smile playing on his lips, "it's time for this detective to take a bow, exit stage left, and bid adieu to the narrative shadows. After all, every story needs a conclusion, even if it's as enigmatic as a riddle wrapped in a conundrum and sprinkled with a dash of exquisite nonsense."
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