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 infused also 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.

Boulevard is an homage to Ed Ruscha’s typeface Boy Scout Utility Modern, used by the artist for the majority of his artworks. Through a large study of these works, we have redrawn a typeface maintaining all the proportional irregularities and intuitive non-typographical letter-shapes that Ruscha drew, then expanded into a family of 8 weights. The name is also a reference to the city of Los Angeles and the city's roads so frequently depicted in Ruscha's work. The Outline family variation expands the project further into a revival of US vernacular letterforms of the 1970s. It has a tall x-height and is very functional at tiny sizes for screen usage while maintaining its charm at large display sizes.

Boulevard is an homage to Ed Ruscha’s typeface Boy Scout Utility Modern, used by the artist for the majority of his artworks. Through a large study of these works, we have redrawn a typeface maintaining all the proportional irregularities and intuitive non-typographical letter-shapes that Ruscha drew, then expanded into a family of 8 weights. The name is also a reference to the city of Los Angeles and the city's roads so frequently depicted in Ruscha's work. The Outline family variation expands the project further into a revival of US vernacular letterforms of the 1970s. It has a tall x-height and is very functional at tiny sizes for screen usage while maintaining its charm at large display sizes.

Cabina was inspired by the inscription “TELEPHONE” on the K2 & K3 red telephone box (or telephone kiosk) designed by Sir Giles Gilbert Scott, which are found in the streets of the United Kingdom, Malta, Bermuda and Gibraltar. The neoclassic geometry of the letterforms is combined with small sharp wedge serifs, giving this font a look that merges sans serif modernism with a humanist twist.

Diagraph mimics the rudimentary look of Computer Aided Design (C.A.D.) typefaces. During its creation, all the mathematically generated aberrations have been kept in the design to enhance its digital look. The hybrid aesthetic issued from this mix is intentionally irregular to create a sans serif family of 9 weights with variability at hand.

Edificio is a typeface inspired by the façade engraving of the Waldorf Astoria Hotel building in New York City, initially drawn by architects Schultze & Weaver directly on the historic elevations. The architects have intentionally or intuitively subverted the art-deco monumental letterforms to give more room to geometric and modernist design. In the same spirit, Edificio possesses anachronistic and contemporary characteristics, creating a hybrid look that could be defined as something like “deco-modernist." We have expanded this “façade inscription” into a single cut font with an extended latin character set.

Giornale is inspired by the alternative interpretations and aberrations of classic Roman serif fonts used in Italy in the 1970s, mainly on newspapers, magazines, and political posters. For this project we reversed the typical process and instead of drawing from historical references, we used a series of vernacular interpretations as the source to redraw a single cut display font. The word "giornale" simply means newspaper in Italian. This typeface has a retro look, condensed proportions and is well-suited for headlines and quotes. A small but unique family is in the works.

Hekta is a personal, experimental project of Arnaud Milliquet (ATMA World) and Nazareno Crea. This typeface provides a variation of styles in two weights. Every letter has its own respective alternate, sometimes inverting the contrast of thickness, sometimes reinventing its shape. The name derives from the Greek prefix "hekatón" (a hundred), hinting to the methodology applied in the design of this typeface where units of a hundred are alternatively subtracted or added to a fixed stroke to generate one design or its opposite.

Perforat is a typeface inspired by hardboard pegboard and perforated hardwood boards. This typeface doesn't have any spacing so every letter connects to the other, creating unique word strips. It is functional at very small sizes and experimental and playful at large scale. Designed by Jacob Grönbech Jensen and Nazareno Crea, Perforat is a small family of two: regular and wide, with the italics styles in the works.

Zug is inspired by Alex Stocker's lettering drawings which appeared on: Lettera 1, published by Arthur Niggli (1954). This typeface merges soft outline curves and straight angled counterforms, alternating with the use of incredibly angular sharp diagonals. It was renamed after the city of Zug in Switzerland, where the former artist and designer lived and worked his whole life. The project expanded into a range of weights from Thin to Extra Bold. A custom version of Zug Light has been used for the logo of MATEK Technical Performance Intimates and the brand uses the font family for its visual identity.