Oslo designed by Pietro Rigo Lange’
Oslo serif typeface created with Adobe Illustrator and Fontself
what is Oslo?
36 pt
Oslo is a typographic font born in the university of Bolzano in 2018. It’s been created using Adobe Illustrator and Fontself. The idea of Oslo born during the calligraphy workshop with Eva Poll where we start drawing by hand different types of characters. The assignment was to create a new font starting from our favourite one and for these reason oslo is an improvement of “berthold akzidenz grotesk”. The idea was to try to maintain the simplicity of the original font adding serifs and changing the angle and the thickness of the brush stroke. 20/24 pt
WHAT IS A FONT?
48 pt
ont, the first time I heard this word was thanks to my little passion for the calligraphy. For this reason I really enjoy the excursion to the “tipografia Cornuda” and the calligraphy workshop we made during the semester. 14/17 pt
In metal typesetting,a font was a particular size,weight and style
of a type face. Each font was a matched set of type, one piece (a “sort”) for each glyph, and a typeface consisting of a range of fonts that shared an overall design. In modern usage, with the advent of digital typography, “font” is frequently synonymous with “typeface”. Each style is in a separate “font file”,for instance, the typeface “Akzidenz” may include the fonts “Akzidenz grotesk”, “Akzidenz italic”,“Akzidenz bold” and “Akzidenz light” but the term “font” might be applied either to one of these alone or to the whole typeface. In both traditional type setting and modern usage, the word “font” refers to the delivery mechanism of the typeface 12/14 pt
In metal typesetting, a font was a par ticu lar size, weight and style of a type face. Each font was a matched set of type, one piece (a “sort”) for each glyph, and a typeface consist of a range of fonts that shared an overall de sign. In modern usage, with the advent of the digital typography, “font” is frequently synony mous with “typeface”. Each style is in a sepa rate “font file”,for instance, the typeface may include the fonts “Akzi denz grotesk” or “Akzidenz italic”, or bold” and “Akzidenz light” but the term “font” might be applied in either to one of these alone or to the whole typeface. 9/11 pt
In metal typesetting, a font was a particular size, weight and style of a typeface. Each font was a matched set of type, one piece (a “sort”) for each glyph, and a typeface consist of a range of fonts that shared an overall design. In modern usage, with the advent of the digital one typography, “font” is frequently synonymous with “typeface”. Each style is in a separate “font file”, for instance, the type face “Akzidenz” may include the fonts “Akzi denz grotesk”, “Akzidenz italic”, or bold” and “Akzidenz light” but the term “font” might be applied in either to one of these alone or to the whole typeface. In both traditional type setting and modern usage, it refers to the delivery mechanism of the typeface. 8/10 pt
ABCDEFGHIJKLM NOPQRSTUVWXYZ
40 pt
ABCDEFGHIJKL MNOPQRSTU VWXYZ 50 pt
UPPER CASES The upper cases of oslo like the lower cases are characterized by more than one serif. it has serifs with the function of un derline the angles of the steam like for example in the letter B, D, E or F. The other ones are used to show the straight steam and the stability of the letter. Another important feature, is the change of the brush thickness, used with the same logic of the lower cases.
abcdefghijklmnopq rstuvwxyz
48 pt
abcdefghijklmn opqrstuvwxyz
55 pt
LOWER CASES the lower cases of oslo are characterized by different types of serifs. The serif of the ascender is a mid serif unbracketed used in order to have a good reading flow and to wire the as cender terminals with the others letters. Another important feature is the change of the brush thickness, more thick in the mid part of letter and more thin in the final part, so near the terminals.
A series of visual conversations 10.00 Chao Siole Ong 12.00 April Greiman 14.00 Edward Tuffts
Graphic Dialogue main lecture theatre teatro romano of verona Lungadige Re teodorico To book email: P.rigolange@graphicdialogue.com
bracketed serif on the ascender terminals
90°
change of thikness to maintain the elegance of the font
change of roundess near the main steam
diagonal stress
straight steam to make understand the stability of the letter
oslo typographic font
1st semester of design & art fontspecimen assignment
LETTERS COMPARISON
elega Elegance? When I designed Oslo I thought about trying to do an elegant font with an elegant flow in order to change the features of the original font “akz idenz�. For these reason I tryed to create serifs, the ones explained before, that permit to read the letters in a more easy way. The serifs of oslo are bracketed serif ; the angle of the serif is 90 ° in contrast with the roundness of some letters like B or D. 18/21 pt
ance. The steam is straight and adding a different type of serifs I reach the sensation of stability of the letters with one steam like L or I. The most important feature used to obtain elegance, is the change of the thickness, created changing the angolation of the brush while I was designing oslo with adobe illustrator. for these reason I think that oslo suits perfectly for istance a booklet or a letter.
14/17 pt
WORKSHOP
DES IGN & ARTS FA CU LT Y RO OM F1.01
LUCA BAR CEL L ONA
Luca Barcellona is 34 years old. He has his own studio in M ilan, where he works as a freelance graphic designer and calligra pher. Letters are the main ingredient of his creations. He teaches calligraphy with the As sociazione Calligrafica Italiana and holds work shops in several Euro pean cities. The means of his work is to make the manual skill of an an cient art as writing and the languages and in struments of the digital era coexist. In 2003 he founded with Rae Mar tini and Marco Klefisch the collective Rebel Ink, with which he gives life to a live exhibition of cal ligraphy, writing and il lustration. In 2009 he has worked for the National Museum of Zurich, with calligraphist Klaus Peter Schaffel, to realize the faithful reproduction of big globe dated back to the 1569, using calligraphy with original materials (quill and natural inks). Among the brands that requested his lettering we can number Carhartt, Nike, Mondadori, Zoo York, Dolce&Gabbana, Sony BMG, Seat, Vol vo, Universal, Eni. Among his latest col lective exhibitions: “Oscuro Scrutare�, at the Patricia Armocida Gallery in Milan.
WORKSHOP
DES IGN & ARTS FA CU LT Y RO OM F1.01
LUCA BAR CEL L ONA
Luca Barcellona is 34 years old. He has his own studio in M ilan, where he works as a freelance graphic designer and calligra pher. Letters are the main ingredient of his creations. He teaches calligraphy with the As sociazione Calligrafica Italiana and holds work shops in several Euro pean cities. The means of his work is to make the manual skill of an an cient art as writing and the languages and in struments of the digital era coexist. In 2003 he founded with Rae Mar tini and Marco Klefisch the collective Rebel Ink, with which he gives life to a live exhibition of cal ligraphy, writing and il lustration. In 2009 he has worked for the National Museum of Zurich, with calligraphist Klaus Peter Schaffel, to realize the faithful reproduction of big globe dated back to the 1569, using calligraphy with original materials (quill and natural inks). Among the brands that requested his lettering we can number Carhartt, Nike, Mondadori, Zoo York, Dolce&Gabbana, Sony BMG, Seat, Vol vo, Universal, Eni. Among his latest col lective exhibitions: “Oscuro Scrutare�, at the Patricia Armocida Gallery in Milan.
thanks.
Faculty of Design and Art Free University of Bolzano - Bozen Typeface designed by Pietro Rigo Langè
WUP 18/19 Prof. Antonino Benincasa Gian Marco Favretto Maximilian Boiger
Calligraphy Workshop by Mag. Art. Eva PĂśll Font created with Illustrator & Fontself