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Adriano Etc is a contemporary slab serif typeface inspired by the original 1934 Olivetti logo. When Adriano Olivetti took the reins of the typewriter company from his father Camillo, he commissioned Bauhaus artist Xanti Schawinsky to draw the logo, outlining and setting the new art direction for the company.

The typeface project evolved from that initial inspiration. After long studies of the slab-serif typographic genre, we merged all the different subgroups of this vast family of styles such as Antique, Ionic, Egyptian, Clarendon, Typewriter, Italienne, Teutonic, Tuscan, Geometric, etc., into one definitive “pan-slab-serif” focusing on the low contrast and large flat slab serifs. We also infused some “Geometric Universal” Bauhaus features in reference and ode to the original Olivetti logo.

The result is this contemporary reinterpretation of the slab serif galaxy into a concise compilation of details, handpicked and selected from the many different genres and subgenres of this undefinable typographic universe.

For the capsule collection created by the French-American model and actress Camille Rowe, the fashion brand Reformation has used our font Giornale Etc for the communication and branding of this collaboration.

BAGEL magazine captures tennis’s increasing diversity, influence on fashion and participation in popular culture. It shows off the sport in a contemporary light — through great graphic design, photography, stories and style. BAGEL will cover everything from the grassroots to the professionals, tour statistics to fashion shoots and coaching tips to tennis trips. Join us for the journey!

London-based, globally-minded BAGEL comes to you from editor Stuart Brumfitt (Fantastic Man, GQ Style, The Face, i-D), creative director Arnaud Milliquet, LTA tennis coach Julian Cirrone and a team of talented contributors.

We contribute to the project by helping to craft their logo, and with our typefaces Diagraph and Diagraph Wide Etc, Zug Etc and offering our visuals from our image bank.

Logotype, monogram and custom typeface of 12 styles for the global identity of jewelry brand Pandora. This project was done in collaboration with creative director Thorbjørn Ankerstjerne and brand director Will Rust.

The typeface has been inspired by the work of British artist Percy John Delf Smith, and his “Civic and Memorial Lettering” book. Creating a timeless structure based on roman capital alphabet and adding tiny imperceptible serifs, almost chiseled on the counter space, to evoke the precious and infinitely precise work of jewelers.

ABC ARTWORK ETC Laurent Benner, IVSOM, 2022 being licensed by The Wire Magazine for The Wiretapper 61, on their issue 470 designed by Studio Ard. London, UK, 2023

In 2019, creative directors of Vogue Italia, Ferdinando Verderi and Enrico Pirondi commissioned a revisitation of Bodoni for the magazine. After several failed attempts to improve it, we soon realized that almost everything was done around this alphabet.

From the ashes of this defeating realization, we created Bodoni Sbagliato an irreverent project born from the need to desecrate and lighten up the imposing history and aura around the most Italian of typefaces. With a production process worthy of the “don’t do” pages of graphic design manuals, we began to apply a few typographic taboos: stretch, squeeze and slant. This trio of horrid moves gave birth to 9 styles (9 aberrations).

With the help of Chi-Long Trieu we applied a plug-in that could remix every word by picking and choosing a different letter from these styles, allowing any designer and editor at Condé Nast to type and see the words re-mix and change in real time.

The result is a ’90s looking typeface that randomly mixes and combines letters to generate always changing words with a cheekiness of arguable taste to mirror and wink at the homonymus famous drink.

What About Never is the home of Secondo, AM/PM, Valerie from the Galerie, Capracara and more. It’s a London-based Swiss-inspired, Italian-flavoured independent record label.

For their single and latest release of Valerie from the Galerie they used our very own Hekta Day and Night Etc, We are always happy to see a typeface being used when the music is such a banger!

When founder and creative Abigail Stern came to us, asking to create the visual identity of MATEK, we were thrilled to discover that we shared the same 100TB folder of retro ski references.

From that starting point it was easy to create a logotype and a symbol rooted in timelessness. For the tone of voice and typeface we pushed and revived a style of communication referencing the old ski resorts locations in the Alps from the early 1900s. At that time we were working on Zug Etc only as a single cut but soon thanks to this project we expanded and developed it into a full family of 7 styles.

Very Very Far Away ( \’ \’ ≠ .\ ) is a design & research studio based in Bow, East London. Founded by Sitraka Rakotoniaina and Andrew Friend, it specialises in building and prototyping object based interactions between users and systems, humans and machines, machines and non-humans.

The nature of this ever-changing, ever-evolving, identity-shifting studio, gave us the inspiration to generate a string of typed glyphs as an iconic symbol, reminding one of a string of code. Their identity constantly changes and adapts to the situation and collaborators, using and reinterpreting fonts to their own benefit, and transforming any visual language into their very own “Logo” simply by typing:

(backslash, apostrophe, backslash, apostrophe, not equal, full stop, backslash)

\’ \’ ≠ .\

Leisure Center is a platform in Yaletown, Vancouver, focusing on fashion, art, music, print, homeware, cosmetics, food and beverage. We created their logotype in collaboration with ATMA WORLD.


LL Catalogue is a contemporary update of a 19th century serif font of Scottish origin. Initially copied from an old edition of Gulliver’s Travels by designers M/M (Paris) in 2002, and first used for their redesign of French Vogue, it has since been redrawn from scratch and expanded, following research into its origins and history.

The typeface originated from a 1858 design by Alexander Phemister for renowned foundry Miller & Richard, with offices in Edinburgh and London. The technical possibilities and restrictions of the time determined the conspicuously upright and bold verticals of the letters as well as their almost clunky serifs. The extremely straight and robust typeface allowed for an accelerated printing process, more economical production, and more efficient mass distribution in the age of Manchester capitalism.

When Phemister emigrated to the US, he took his technique with him, and soon various versions of the original design flooded the market. Serving a growing population of European and American readers and a rising demand for novels and ‘news’, these fonts emerged as symptom of a new culture of mass education and entertainment.

In our digital age, the particularities of such historical letterforms appear both odd and unusually beautiful. To capture the original matrices, we had new hot metal types moulded, and our resultant prints provided the basis for a digital redrawing that honoured the imperfections and oddities of the metal original. At the same time, the transition to pixels allowed for a fastidious re-appraisal of the shapes and slight adjustments for optical improvement.

The designer created three different serif styles for the font, paying homage to some of the versions that spread following the original design’s success; we opted for the original one to be published at this point. We also added small caps, a generous selection of special glyphs and, finally, a bold and a light cut to the family, to make it more versatile. Like its historical predecessors, LL Catalogue is a jobbing font for large amounts of text. It is ideally suited for uses between 8 and 16 pt, providing both excellent readability and a distinctive character.

Designed by Nazareno Crea, 2008–2017, released by Lineto in 2019. Based on Alexander Phemister’s Old Style Antique No. 7 (Miller & Richard, 1858). Font engineering and mastering by Alphabet, Berlin.


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