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 Headline is the group leader, the posh and self-confident cut of the family. Of all the other styles of the family it is the closest to Bodoni’s original designs and has the most contrast. It also features smaller bowls as well as delicate and subtly refined shapes. Its generous ascenders add elegance, and its narrow proportions balanced by round letterforms make it a space-saver. Parmigiano Headline is perfect for use at big type sizes without sacrificing the black and white rhythm within the line, a great choice for advertisement and magazine titles.
Headline’s frugality, delicacy and controlled width recall some of the display cuts in Bodoni’s 1818 Manuale Tipografico. Far from being a facsimile of any of Bodoni’s types, however, Headline is more of a synthesis of the key features to be seen in his bigger romans. It was specifically conceived for setting titles and headlines, and is not recommended for sizes smaller than 20 points.
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Borders & ornaments
Parmigiano contains also borders, arrows, and ornaments digitised from Bodoni’s Manuale Tipografico.
Cantillation marks are only used in the printing of biblical texts, and it is rare to find a typeface that supports the vowel and consonant modifications that correctly position the cantillation signs, enabling and guiding the chanting of liturgical texts. Parmigiano renders correctly cantillation marks required for biblical typesetting.
The Parmigiano family also features different cuts for use in specific point size ranges, called optical sizes. While Parmigiano Headline is perfect for use at big type sizes, text in smaller sizes requires different optical sizes. Parmigiano Text is softer, and is recommended for use in sizes of 10 points or larger; sizes smaller than 10 points are adeptly handled by Parmigiano Caption. Parmigiano Piccolo is wider and rougher, with reduced contrast, shorter ascenders and descenders, and strong serifs, ideal for practical typography and legibility in critical conditions.