The Parmigiano Typographic System (named after Parma, the city where Bodoni established his printing house) has the stated ambition to be the most extensive family of fonts ever to have been inspired by Giambattista Bodoni. Parmigiano Piccolo may at first seem utterly foreign to Bodoni’s design principles, and its thick-set, ungraceful design might seem to belong to another family. Although it shares the same structure as the other cuts of the system, Parmigiano Piccolo is closer to the Scotch Roman models of the early 1800s, with their reduced contrast, shorter ascenders and descenders, and rather narrow proportions. And just as the Scotch Romans were the outcome of commercial considerations, Parmigiano Piccolo focuses on practicality and legibility. Although its features set it apart from the elegant refinement of the rest of the Parmigiano family, it is the one to trust in critical conditions. Thanks to its reduced contrast and strong serifs, it is the perfect choice when the texture of the paper or the quality of printing threaten your text, or when you are looking for a deliberate touch of roughness. Read more about the development of Parmigiano ▸
The idea most designers have of Giambattista Bodoni’s work is based on high-contrast display typefaces. The Parmigiano family, however, also features different cuts for use in specific point size ranges, an idea rooted in the history of typography and typical for Bodoni’s era. Typical adjustments for fonts to be used at smaller sizes include enlarged counters, shortened ascenders and descenders, thickened serifs, decreased contrast and wider letterspacing, making Parmigiano work optimally across all text sizes.
Each weight of Parmigiano Piccolo includes eight different kinds of numerals. Proportional old-style figures come as default figures in Parmigiano. It also, however, includes lining figures, tabular numerals (both lining and old-style), superior, and inferior numerals. For running text, old-style figures work best; for use in capital setting, use lining figures. When you take a licence for this font, you can choose your own default numeral variant.
- DesignRuben Tarumian (Armenian)Ilya Ruderman (Cyrillic)Irina Smirnova (Cyrillic)Akaki Razmadze (Georgian)Eirini Vlachou (Greek)Yanek Iontef (Hebrew)Riccardo Olocco (Latin)Jonathan Pierini (Latin)
- ContributorsIgino Marini (Armenian, Cyrillic, Georgian, Greek, Latin)
- EngineeringRoberto Arista (Armenian, Cyrillic, Georgian, Greek, Latin)
- Tajik (Cyrillic)
- Mordvin (Moksha)
- Azeri (Cyrillic)
- Mordvin (Erzya)
- Kildin Sami
- Greek (modern)
- Greek (classical)
- Irish Gaelic
- Sámi (Northern)
- Sámi (Inari)
- Sámi (Lule)
- Sámi (Southern)
- Azeri (Latin)
- Sanskrit transliteration
- Tagalog (Filipino)
- Crimean Tatar
- Somali (Latin)
- Ndebele (Northern)
- Ndebele (Southern)
- Arabic transliteration
- Seychelles Creole
- Tok Pisin
- Scottish Gaelic
- Old Norse
smcpMost Typotheque fonts implement the Small Caps feature. In Adobe applications you can replace lower case letters with small caps using the keyboard shortcut (⌘ + ⇧ + H), or the OpenType menu.
All Small Capitals
smcp, c2scThere are two methods of applying small capitals. The first one replaces only lower case letters with small caps. The second method, All Small Caps, also replaces capital letters with small caps. It also replaces regular quotation marks, exclamation points, question marks, slashes and usually also numerals with small caps variants.
Case Sensitive Forms
caseWhen the ‘change to caps’ function is applied from within an application (not when text is typed in caps) appropriate case-sensitive forms are automatically applied. Regular brackets, parenthesis, dashes and hyphens are replaced with their capital forms.
Circled numerals and arrows
dligThe discretionary ligature feature creates real arrows when you type the combination -> (right arrow), <- (left arrow), -^ (up arrow) or ^- (down arrow). It also creates enclosed numerals when you type numerals inside parenthesis, and inverse enclosed numerals when you type numerals inside brackets. Discretionary ligatures are off by default in Adobe applications.
ligaStandard ligatures are those which are designed to improve the readability of certain letter pairs. For example, when this feature is activated, typing ‘f’ and ‘i’ will automatically produce the ‘fi’ ligature. Using ligatures does not affect the spelling and hyphenation of your text in any way.
Proportional Old-style Figures
onum, pnumTypotheque fonts contain various styles of numerals within one font. Proportional Lining Figures come standard in all our headline and newspaper fonts. Their proportions are specifically designed to work well with capital letters (for example, in headlines). The proportional Old-style Figures feature changes standard figures to Old-style Figures which work well in running text, as they have the same proportions as lower case letters with their ascenders and descenders.
Tabular Lining Figures
lnum, tnumTabular figures are for use in tables where numerals need to be aligned vertically. Tabular figures are available as a OpenType feature and have a fixed width in all weights. Typotheque fonts include both Lining and Old-style Tabular figures.
Tabular Old-style Figures
onum, tnumTabular figures are for use in tables where numerals need to be aligned vertically. Tabular figures are available as a OpenType feature and have a fixed width in all weights. Typotheque fonts include both Lining and Old-style Tabular figures.
Vertically centered colon
caltThis stylistic set centers the colon. Same behaviour can be triggered by the Contextual Alternative feature, which is automatically applied when colon is followed by a lining numeral or a capital letter.
fracTypotheque OpenType fonts already include a number of pre-designed diagonal fractions. The fraction feature allows you to create other fractions quickly and easily.
supsReplaces all styles of figures (old style, tabular, lining) and letters with their superior alternates, which can be used for footnotes, formulas, etc. Superior characters are more legible than mathematically scaled characters, have a similar stroke weight, are spaced more generously, and better complement the rest of the text.
sinfReplaces all styles of figures (old style, tabular, lining) and letters with their inferior alternates, used primarily for mathematical or chemical notation. Inferior characters are more legible than mathematically scaled characters, have a similar stroke weight, are spaced more generously, and better complement the rest of the text
Bulgarian CyrillicBulgarian readers prefer to set text in a variation of Cyrillic that differs from the standard Cyrillic by using shapes of letters based on cursive handwriting, where letters are easier to tell apart. Typotheque fonts use standard Cyrillic forms as default, and Bulgarian Cyrillic is applied when the text is tagged as Bulgarian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.
Serbian & Macedonian CyrillicSerbian and Macedonian Cyrillic has different preferred shapes for some italic letters, which differ from the standard Cyrillic. Typotheque fonts use standard Cyrillic forms as default, and Serbian Cyrillic italic is applied when the text is tagged as Serbian Or Macedonian. When the Localised forms feature is not available, you can also apply the same forms by using a Stylistic Set.
ss01The standard lower-case d in Parmigiano has cursive form. This stylistic set replaces it by a printed form.
Higher numbers and currencies
ss02The standard set of numerals and currencies are lower than the capitals, optimised for continuous text use. This stylistic set replaces them by the variants matching the height of capitals.
Alternative Armenian հ
ss08Parmigiano includes two versions of the Armenian lower-case հ. The traditional version comes as a default, and modern variant can be activated by this stylistic set.
ss09Parmigiano includes two versions of the Armenian lower-case հ. The traditional version comes as a default, and modern variant can be activated by this stylistic set.
Short Hebrew ‘lamed’ and ‘ayin’
ss10Vertically compressed Hebrew letters lamed (ל) and ayin (ע) for more dense line-height and more space for Hebrew cantillation.
Wide Hebrew letters
jaltThis feature is intended to improve line justification by selecting wider Hebrew glyphs.
Lower numbers for Hebrew textDifferent height of the Hebrew letters requires a different height of the numerals too. When the text is language tegged, the correct height of numbers will be selected.