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Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

Fusetti Display: back to the future!
CAST and Parakeet Studio design the custom face for Bitter Fusetti’s visual identity.

Developed by CAST Type Foundry in collaboration with Parakeet Studio for Bitter Fusetti (@fusettibitter) , Fusetti Display is a bold all-caps typeface conceived for headings and medium-size text.

Its design explores the tension between heavy strokes and tight counters, generating an unconventional yet controlled rhythm. Curved inner shapes soften the density, introducing a more fluid pace that contrasts with the typeface’s modular construction. Low contrast keeps the texture compact and consistent, without compromising clarity at smaller sizes.

Built from a rational, geometric approach, the design starts from solid black forms where counters emerge as negative shapes—giving the words a strong, stable presence while adding subtle articulation between outer structure and inner detail.

Project: Parakeet Studio (@parakeet_studio ) & CAST Foundry
Designer: Stefano Baldassari (@_stefanobaldassari), James D. Barranger (@jdbarranger)
Accounting: Destinazionemercurio (@destinazionemercurio) & Overlude s.r.l.
Client: Bitter Fusetti

#fusetti #fusettibitter #customtypeface #castfoundry

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

AM Aosta revived by Stefano Baldassari and James D. Barranger
Aosta is a monolinear geometric sans with an extensive character set. It includes capitals, lowercase and small caps, all of which can also be equipped with lines below and above the letters (underlines and overlines). This makes it ideal for both emphasis and decoration.

Aosta has several unusual features, including bulbous lowercase terminals (untypical of sans serifs) and notable variations in the widths of lowercase letters: narrow n, m, s and wide circular letters (apart from c and e which are unusually narrow). However, Aosta’s most striking feature is the eccentric design of the capitals. They are much taller than ascenders and some of them also sit below the baseline (see D, P and Z). They sometimes display just one descending stroke (A, M, N and R) and unusual curves for A and V are also noteworthy.

Originally released as a wood type by Xilografia di Verona shortly before World War 2, Aosta was available with a variety of ligatures for setting titles and logos.

Compared to the original model, the AM Aosta digital revival has smaller ascenders and descenders and the capitals have also been slightly reduced to improve usability. Designers Stefano Baldassari and James D. Barranger also made numerous optical adjustments and improved the original letter construction, which was sometimes rather poor. Finally, there are three dedicated stylistic sets that offer underlined, overlined, and combined underlined–overlined letterforms. A selection of uppercase glyphs has been designed specifically to connect with the horizontal strokes, extending the system to display-oriented use.

You can find AM Aosta on our website. Soon will be available on @adobe Fonts and @fontstand

#alfabetimodernisti #italianmodernism #displaytypeface #fontstand #adobefonts

Lettering for logo proposal. Unfortunately this one didn’t make til the end 💔
#lettering #orto #type

First reverse glass gilding attempt with 22k gold leaf ✨
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.
#v #goldleaf #enamels #signpainting

#Alike

#D

#r

#L

#true

#either

#everything

upanddown