Second and final installment of Tere Schultz’s text on Tuscan letters. Those decorative objects, delicate or extravagant, that inhabit the streets and typographic catalogues of all times, without losing an iota of expressive force. The product of ornamental ingenuity, Tuscan vernaculars dress the street signs of Mexico as much as the stained glass windows of Paris, the ‘fileteados porteños’ of Buenos Aires or the hulls of fishing boats in the Amazon waters. Against this notorious and implausible decorative ubiquity, which alarms many, in the first part of this article Schultz unfolded, like a healing balm, his hypothesis of how the Tuscan style would have been born of a mischievous interpretation of the inscriptions on stone. In this second chapter, it only remains to delight us with some examples of Tuscan vernaculars from some corners of the world.  Read

Tere Schultz delivers a new literary and typographic divertimento for passionate readers. This time she follows one of her personal fixations: the Tuscan letters. Those ornamental objects, delicate or extravagant, that inhabit streets and typographic catalogs of all times, without losing an iota of expressive force. The product of decorative ingenuity, Tuscan vernaculars dress the street signs of Mexico as much as the stained glass windows of Paris, the ‘fileteado porteño’ of Buenos Aires signs or the hulls of fishing boats in the Amazon waters. However, this decorative ubiquity, notorious and implausible, alarms many. Fortunately, like a healing balm, Schultz will deploy here her original hypothesis, suspiciously unexplored, of how the Tuscan style would have been born from a mischievous interpretation of the stone inscriptions (wrongly) called lapidary. Although perhaps here the term ‘lapidary’ is appropriate, since the idea caught the author strolling through a cemetery. (Warning: sensitive material. Agnostic typographers and designers of little faith, please refrain).  Read

The design of the Amster type family implied a process of creation and maturing of seven years. In this article Francisco Gálvez, its designer, gives us some of his various insights around that process, its referents and inspirations.  Read

Since its release Margarita have met much sympathy. No doubt it is a passionate type. One can easily relate its anatomy to Romanticism, Neoclassicism, or for that matter to the deeply emotional character everyone ascribe to Italians! a bit of a cliché…  Read