Design Concept
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 Text has a delicacy which contrasts with the Piccolo version and it is more solid than the Headline cut. Highly versatile, it is an ideal choice for setting magazines, books or any other long texts whose contents need to be easily accessible. Designed for smooth readability, its sharp and elegant letterforms make for a comfortable, relaxed reading experience, while its thin, horizontal serifs, vertical axes and the round terminations on certain lowercase letters give it a thoroughly contemporary feel.
Compared with the continuous text typefaces cut by Bodoni himself, Parmigiano Text has a higher contrast and a less eccentric structure. While it retains a certain distinction, eye-catching details more suited for display purposes have been softened in order to offer a more neutral effect, making it the easiest to use of the Parmigiano fonts. It is recommended for use in sizes 10 points or larger; sizes smaller than 10 points are adeptly handled by Parmigiano Caption, which was designed for this purpose.
Read more about development of Parmigiano▸
OpenType features
Like all Typotheque fonts, Parmigiano includes Small Caps in all styles. Additionally, Parmigiano includes a wealth of other advanced OpenType features. For more information please see the PDF instructions, or the Features section.
Numerals
All weights of Parmigiano include nine different kinds of numerals. Proportional Lining figures come as default figures in Parmigiano. It also, however, includes Old-style figures, Tabular numerals (both lining and OsF), Small Caps figures, superior, inferior, circled and circled inverted numerals (selectable via OpenType features), and slighly taller Lining figures that match the heigh of Capitals.
Author
The Parmigiano Type Family family was published in 2014, designed by Riccardo Olocco and Jonathan Pierini. The Cyrillic version was designed by Ilya Ruderman and Irina Smirnova. The Greek version was designed by Irene Vlachou, in 2015.
