Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now Regular Pack
Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights.
When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily.
Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica.
Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation.
Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.
Writing system:
Language Supported:
Features
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a&Stylistic Set 1
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rangerStylistic Set 2
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GARQOStylistic Set 3
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QUEERStylistic Set 4
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sagaceStylistic Set 5
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QKADCStylistic Set 8
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12/23Fractions
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1o2aOrdinals
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12360Proportional Figures
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12360Oldstyle Figures
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1234Tabular Figures
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H123Denominators
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H123Subscript
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H123Superscript
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H123Scientific Inferiors
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H123Numerators
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120Slashed Zero
Variable Typefaces
Etrusco Now Variable
Variable fonts are only available with the full family package (and might not be supported by all software)
European languages
The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.
The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary. The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.