Latin

Regular

Parmigiano Text Variable

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.

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 Caption is designed for setting secondary texts such as captions and footnotes, guaranteeing superb readability and consistent quality in print at sizes smaller than 10 points, completing the Parmigiano family and making it perfect for work with complex texts in several sizes. <a href="https://www.typotheque.com/articles/parmigiano/">Read more about the development of Parmigiano ▸</a>

Design Concept

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.

Parmigiano font family, Optical sizes

Optical Sizes

Each weight of Parmigiano 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.

Parmigiano Caption, numeral styles

Numeral Styles

Armenian

Cyrillic

Abaza

Adyghe

Altai

Avar

Azeri (Cyrillic)

Azeri (Latin)

Balkar

Bashkir

Belarusian

Bosnian

Bulgarian

Buryat

Chechen

Chuvash

Crimean Tatar

Dargin

Dungan

Evenki

Gagauz

Ingush

Kabardian

Kalmyk

Karakalpak

Kazakh

Khakas

Kirghyz

Komi

Koryak

Kumyk

Lezgian

Macedonian

Manci

Mansi

Mari

Mongolian

Montenegrin

Mordvin (Erzya)

Mordvin (Moksha)

Muslim Tat, Latin

Nanai

Nenets

Nogai

Ossetic

Romanian

Russian

Rusyn 

Selkup

Serbian

Shor

Tabasaran

Tajik (Cyrillic)

Talysh, Latin

Tatar

Tsakhur

Turkmen

Tuva

Tuvan

Udmurt

Uighur

Uzbek

Western Mari

Yakut

Georgian

Greek

Greek (modern)

Hebrew

Judeo-Persian

Ladino

Yiddish

Abua

Achinese

Achuar-Shiwiar

Acoli

Adara

Afar

Afrikaans

Alago

Albanian

Alekano

Aleut

Anaang

Ao Naga

Arabic, Chadian Spoken

Aragonese

Aromanian

Asturian

Awak

Aymara

Baka

Balinese

Banda, West Central

Bangwinji

Bapuku

Basque

Batak Toba

Bedawiyet

Bekwarra

Bemba

Bena

Bench

Benga

Bikol

Bilen

Bini

Bislama

Bokobaru

Bube

Buginese

C’Lela

Cahungwarya

Catalan

Cebuano

Chamorro

Chichewa

Chickasaw

Chiduruma

Chiga

Chimborazo Highland Quichua

Chokwe

Chuukese

Colognian

Comorian

Cornish

Corsican

Crioulo, Upper Guinea

Croatian

Czech

Danish

Dawro

Delaware

Dikaka

Dutch

Ebira

Efik

Ekajuk

Ekpeye

Emai-Iuleha-Ora

Embu

English

Esan

Esperanto

Estonian

Ezaa

Faroese

Fijian

Filipino

Finnish

French

Frisian

Friulian

Fuliiru

Galician

Gamo

Ganda

Gbaya (Sudan)

German

Gheg Albanian

Gikuyu

Gofa

Gourmanchéma

Greenlandic

Gusii

Gwich’in

Gyele

Design

Contributors

Engineering

Released

Con il sostantivo mondo si usa designare la totalità della dimensione in cui vivono gli esseri umani, comprendente tutti i suoi abitanti animati e inanimati, inteso anche come il loro luogo primigenio in senso cosmologico e filosofico, distinto dagli altri pianeti ed oggetti materiali o metafisici che costellano l’Universo. Si distingue dal concetto di Terra che ricopre invece il significato di mera entità fisica. In un contesto metafisico, esso può anche fare riferimento a ogni ambito, insieme o sfera globale in sé compiuta, esistente nella realtà o nell’universo. La definizione di mondo nella lingua italiana proviene dall’espressione latina locus mundus nella sua accezione di «luogo pulito, chiaro, visibile» (cioè «mondato»), ovvero quella porzione della Terra, ma anche del cielo, illuminata dalla luce e quindi visibile, identificabile e riconoscibile dall’essere umano. Ma in tale definizione è implicito in aggiunta anche il valore di «ornamento» e di «elegante» inteso come il luogo ordinato dove regna la bellezza, insito anche nel greco kósmos con significato di «ordine, ornamento, bellezza», contrapposto al chàos e che rimanda al pensiero pitagorico ellenistico.

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.

Small caps

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.

All small capitals

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.

Case-sensitive forms

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.

Circled numerals and arrows

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.

Standard ligatures

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.

Proportional old-style figures

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.

Tabular lining figures

Tabular old-style figures

To avoid confusion between a zero and a capital O, a slashed zero glyph is available in most Typotheque fonts. It is activated by an OpenType feature.

Slashed zero

In addition to the slashed zero, to avoid a possible confusion between a zero and a capital O, a zero with a dot is available in most Typotheque fonts. It is activated by the Stylistic Set.

Dotted zero

Parmigiano Caption is not a direct revival of Bodoni’s 1818 Manuale Tipografico, but rather a contemporary interpretation of a typeface. It has superb readability and consistent quality in print at sizes smaller than 10 points.

Parmigiano Caption