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Berton Voyage

Start from 39 ($ 47.8)
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Berton Roman

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Hey, Torquemada.

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The first known typefaces designed in Italy were the ones used in the 1465 print of “De Oratore” by Cicerone, commissioned by spanish cardinal Torquemada.

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Il merito di avere introdotta la stampa in Italia viene correntemente attribuito al cardinale spagnolo Giovanni Torquemada (anche chiamato Turrecremata), il quale invitò i tedeschi Conrad Sweynheym e Arnold Pannartz a recarsi a Subiaco. Ciò dovette avvenire intorno al 1463, e già due anni dopo fu stampato un De Oratore di Cicerone, seguito dal Lactantius del 29 ottobre di quell'anno. I caratteri nuovissimi, di bel disegno fra il gotico e il romano, di un tipo non assomigliante a nessun altro fino allora fuso in Germania, dovettero essere copiati da un qualche manoscritto. Dopo circa due anni, il 12 giugno 1467, gli stessi tipografi pubblicarono il De Civitate Dei di S. Agostino, in-folio piccolo, su due colonne, libro perfetto in ogni sua parte e di rara bellezza. Poi i due soci si trasferirono a Roma, dove probabilmente già si era stabilito Ulrich Han, che il 31 dicembre 1467 pubblica le Meditationes del cardinale Torquemada, ornate di rozze xilografie, le prime apparse in Italia. I bei caratteri adoperati a Subiaco non furono impiegati a Roma: la moda era per il carattere umanistico, largamente usato in gran numero di manoscritti esemplati specialmente per la corte Aragonese a Napoli; così i nuovi tipi furono perfettamente tondi e il primo saggio apparso le Epistolae di Cicerone, nel novembre 1467. Dal 1468 al 1473, Sweynheym e Pannartz pubblicarono una serie di quarantotto classici latini, tutti di formato in-folio, tirati quasi sempre in numero di 275 esemplari. Col 1473 i due soci si lasciarono; Pannartz continuò a stampare nella casa dei Massimo, e Sweynheym intraprese a incidere su metallo le 27 carte della Cosmographia di Tolomeo, lavoro interrotto per sua morte avvenuta nel 1476. Il Tolomeo fu terminato poi da Arnold Bucking e vide la luce il 10 ottobre 1478. (Fonte: Enciclopedia Treccani)

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creation year:
2017
about: This typeface - the third in the Zetafonts Signature artist-designed fonts - was hand drawn by italian illustrator Matteo Berton and lovingly digitized by Zetafonts to be used as main lettering font of the graphic novel "Voyage au Centre de la Terre" edited by La Pasteque, a lavishly illustrated re-telling   CONTINUE...
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ABOUT

This typeface - the third in the Zetafonts Signature artist-designed fonts - was hand drawn by italian illustrator Matteo Berton and lovingly digitized by Zetafonts to be used as main lettering font of the graphic novel "Voyage au Centre de la Terre" edited by La Pasteque, a lavishly illustrated re-telling of the classic Jules Verne tale.

Born to complement the artist unique digital painting style, the typeface follows the Didot proportions with handmade quirks and differences, made natural by the programmed randomization of three different sets of alphabetic glyphs, to give a consistent and realistic handmade look. The chalky, rough finish is designed mainly for small point text size, to give a natural appearence to small texts, captions and any time you need hand-written notes to look realistic, elegant and readable.

The typeface covers over seventy languages using latin alphabet, and includes also cyrillic glyphs for basic russian coverage. It comes in two weights, both with multiple character sets, alternating thanks to open type ligatures. 

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