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Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood [...] Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending 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. Born as an exercise in subtlety and love for lost letterforms, Cairoli Now stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

Cairoli • 88 styles + variable

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Etrusco Now

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Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. [...] Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Etrusco Now • 52 styles + variable

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Florentia

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Florentia is a humanist sans-serif typeface designed by Francesco Canovaro, designed developing his Beatrix Family design. Florentia takes its inspiration from the classic Roman monumental capital model of Beatrix but developes the influences derived from the stone carvings in Florence Santa Croce Cathedral into a more contemporary overall design, featuring lower X-height and an extended character set that covers over fourty languages using the [...] Florentia is a humanist sans-serif typeface designed by Francesco Canovaro, designed developing his Beatrix Family design. Florentia takes its inspiration from the classic Roman monumental capital model of Beatrix but developes the influences derived from the stone carvings in Florence Santa Croce Cathedral into a more contemporary overall design, featuring lower X-height and an extended character set that covers over fourty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

Florentia • 18 styles

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Stadio Now

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Stadio Now is the revival of a original design by Aldo Novarese for dry transfer brand R41, published in 1974. The original typeface, is an extra bold grotesque sans serif that is notable for its reverse contrast, with the horizontal lines being thicker than the vertical. This style, historically called “Italian”, result in a dramatic effect, in which the letters look slightly odd. In his never-ending quest for interesting letterforms, [...] Stadio Now is the revival of a original design by Aldo Novarese for dry transfer brand R41, published in 1974. The original typeface, is an extra bold grotesque sans serif that is notable for its reverse contrast, with the horizontal lines being thicker than the vertical. This style, historically called “Italian”, result in a dramatic effect, in which the letters look slightly odd. In his never-ending quest for interesting letterforms, Novarese was intrigued by this style and created some successful and interesting variations on the idea, from the calligraphic slab Estro to the sci-fi Sintex. In his book Il Segno Alfabetico Novarese described Stadio as a “decorative display typeface, in the so-called nineteenth century ‘Italian’ style, but sans serif. Horizontal proportions have been visibly enlarged, offering a very intriguing graphic effect”. Published in 2021 with a prerelease version offered in occasion of Novarese’s 100th birth anniversary, Stadio Now expands the original design into a multi-weight versatile family, with text and display variants and a variable version to fully explore its reverse contrast design space. In autumn 2021 the family was expanded with the inclusion of Stadio Deva, a devanagari version of the typeface in five weights, available exclusively on Canva.com.

Stadio Now • 26 styles + variable

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Targa Pro

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For many years license plates in Italy have been using a quite peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton. These letterforms have been used by Cosimo Lorenzo Pancini as an inspiration for Targa, published as the first-ever Zetafonts typeface in 2003. Almost twenty years later, Francesco Canovaro has brought the project under scrutiny for a complete redesign, keeping its inventions, [...] For many years license plates in Italy have been using a quite peculiar sans serif monospace typeface with slightly rounded corners and a geometric, condensed skeleton. These letterforms have been used by Cosimo Lorenzo Pancini as an inspiration for Targa, published as the first-ever Zetafonts typeface in 2003. Almost twenty years later, Francesco Canovaro has brought the project under scrutiny for a complete redesign, keeping its inventions, solving its issues, and making it into a versatile multi-weight typeface. The original type family has been developed in two subfamilies: Targa Pro Mono (which keeps the original monospace widths) and Targa Pro Roman (with proportional widths), both in five weights plus italics. The original family also included the handmade version Targa Hand which has been paired with a new Targa Pro Stencil to allow for more versatility and choice for display use. All weights of Targa Pro feature an extended latin character set covering over 200 languages, as well as a full set of Open Type features including positional numbers, alternates and stylistic sets. Halfway between postmodern appropriation of utilitarian design and rationalist design, Targa Pro sits comfortably at the crossroads between artificial nostalgia and modernist functionality, ready to surprise the user with its versatility and quirky italian flavor.

Targa Pro • 23 styles + variable

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