Parmigiano Sans

About

Parmigiano Sans is loosely inspired by Bodoni, and raises the question of how to apply Bodoni’s design sensibilities to a typeface he would never have designed. Parmigiano Sans owes a design debt to early 19th-century grotesques.

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Parmigiano Sans Family Overview
  • Light
    Light
  • Regular
    Regular
  • Medium
    Medium
  • Bold
    Bold
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Amsterdam
RegularBuy
Bengaluru
MediumBuy
Copenhagen
BoldBuy
Damascus
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In its most general sense, the term ‘world' refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a 'plurality of worlds'. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as 'the totality of all space and time; all that is, has been, and will be'. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the 'horizon of all horizons'. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.
RegularBuy
In its most general sense, the term ‘world' refers to the totality of entities, to the whole of reality or to everything that is. The nature of the world has been conceptualized differently in different fields. Some conceptions see the world as unique while others talk of a 'plurality of worlds'. Some treat the world as one simple object while others analyze the world as a complex made up of many parts. In scientific cosmology the world or universe is commonly defined as 'the totality of all space and time; all that is, has been, and will be'. Theories of modality, on the other hand, talk of possible worlds as complete and consistent ways how things could have been. Phenomenology, starting from the horizon of co-given objects present in the periphery of every experience, defines the world as the biggest horizon or the 'horizon of all horizons'. In philosophy of mind, the world is commonly contrasted with the mind as that which is represented by the mind. Theology conceptualizes the world in relation to God, for example, as God’s creation, as identical to God or as the two being interdependent. In religions, there is often a tendency to downgrade the material or sensory world in favor of a spiritual world to be sought through religious practice. A comprehensive representation of the world and our place in it, as is commonly found in religions, is known as a worldview. Cosmogony is the field that studies the origin or creation of the world while eschatology refers to the science or doctrine of the last things or of the end of the world.

Design Concept

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. The idea of a sans serif to accompany a roman inspired by Bodoni raises the question of how to apply Bodoni’s design sensibilities to a typeface he would never have designed. Parmigiano Sans owes a design debt to early 19th-century grotesques such as William Thorowgood’s Seven Line Grotesque (1834), which were characterised by pronounced contrasts between thick and thin strokes, brusque terminations and an overall roundness of the letters. While these features are quite obvious in the bolder cuts of Parmigiano Sans, the lighter weights show less contrast and the Light cut is almost monolinear.

Parmigiano Sans, Design Concept

Bodoni without serifs

Parmigiano Sans was designed to strike a balance between the primitiveness of the early grotesques and a less eccentric and normalised structure. Although the proportions and the weights of Parmigiano Sans are based on Parmigiano Text, thanks to the fine crafting of details it gains a unique personality which makes it suitable for a wide range of uses. Parmigiano Sans’ sturdy and no-nonsense qualities are ideal for texts in small sizes. When used in progressively bigger sizes its details gain prominence, which, in combination with its narrow proportions, makes it a good choice for headlines.

Parmigiano Sans, Bodoni without serifs

Numeral Styles

Each weight of Parmigiano Sans includes eight different kinds of numerals. Proportional old-style figures come as default figures in Parmigiano Sans. It also, however, includes lining figures, tabular numerals (both lining and old-style), superior, inferior, circled and circled inverted 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.

Parmigiano Sans, numeral styles

  • Released2014

Hebrew

  • Hebrew

Latin

  • English
  • Comorian
  • Luba-Kasai
  • Marquesan
  • Danish
  • Dutch
  • Italian
  • Haitian
  • Estonian
  • German
  • Friulian
  • Galician
  • French
  • Finnish
  • Fijian
  • Frisian
  • Luxemburgish
  • Spanish
  • Swahili
  • Breton
  • Bislama
  • Basque
  • Afar
  • Afrikaans
  • Zulu
  • Tetum
  • Portuguese
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  • Catalan
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  • Slovak
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  • Maltese
  • Albanian
  • Indonesian
  • Irish Gaelic
  • Latvian
  • Lithuanian
  • Slovene
  • Rhaeto-Romanic
  • Hungarian
  • Sorbian
  • Kurdish
  • Hawaiian
  • Esperanto
  • Welsh
  • Sámi (Northern)
  • Faroese
  • Greenlandic
  • Icelandic
  • Croatian
  • Romanian
  • Romani
  • Turkish
  • Bosnian
  • Phonetics
  • Sámi (Inari)
  • Sámi (Lule)
  • Sámi (Southern)
  • Vietnamese
  • Azeri (Latin)
  • Interlingua
  • Sanskrit transliteration
  • Malay
  • Māori
  • Turkmen
  • Uzbek
  • Tagalog (Filipino)
  • Malagasy
  • Crimean Tatar
  • Guaraní
  • Kashubian
  • Xhosa
  • Silesian
  • Cornish
  • Manx
  • Oromo
  • Somali (Latin)
  • Aymara
  • Ganda
  • Ido
  • Javanese
  • Gikuyu
  • Kinyarwanda
  • Kirundi
  • Kongo
  • Kwanyama
  • Nauruan
  • Navajo
  • Ndebele (Northern)
  • Ndebele (Southern)
  • Quechua
  • Samoan
  • Shona
  • Sotho
  • Sundanese
  • Tahitian
  • Tongan
  • Tsonga
  • Tswana
  • Twi
  • Wolof
  • Yoruba
  • Cheyenne
  • Chichewa
  • Kiribati
  • Swati
  • Pinyin
  • Arabic transliteration
  • Ladin
  • Igbo
  • Karelian
  • Veps
  • Chamorro
  • Marshallese
  • Montenegrin
  • Náhuatl
  • Norfuk
  • Occitan
  • Papiamento
  • Pedi
  • Sardinian
  • Seychelles Creole
  • Tok Pisin
  • Tuvalu
  • Aromanian
  • Ga
  • Gagauz
  • Ulithian
  • Venda
  • Chokwe
  • Chuukese
  • Kituba
  • Lingala
  • Maninka
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  • Umbundu
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  • Gwich’in
  • Scottish Gaelic
  • Tokelauan
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  • Cofán
  • Pictograms
  • Norn
  • Romaji
  • Old Norse
  • Chiquitano
  • Araona
  • Cavineña
  • Ayoreo

  • Ha
    Ha

    Small Caps

    smcp

    Most 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.
  • Ha
    Ha

    All Small Capitals

    smcp, c2sc

    There 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.
  • (H:
    (H:

    Case Sensitive Forms

    case

    When 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.
  • (1)
    (1)

    Circled numerals and arrows

    dlig

    The 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.
  • fi
    fi

    Standard Ligatures

    liga

    Standard 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.
  • 19
    19

    Proportional Old-style Figures

    onum, pnum

    Typotheque 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.
  • 19
    19

    Tabular Lining Figures

    lnum, tnum

    Tabular 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.
  • 19
    19

    Tabular Old-style Figures

    onum, tnum

    Tabular 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.
  • 2/9
    2/9

    Arbitrary Fractions

    frac

    Typotheque OpenType fonts already include a number of pre-designed diagonal fractions. The fraction feature allows you to create other fractions quickly and easily.
  • H1
    H1

    Superiors

    sups

    Replaces 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.
  • H1
    H1

    Inferiors

    sinf

    Replaces 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