THE ITALIAN FAÇADEPUBLIC TYPOGRAPHY

PUBLIC TYPOGRAPHYSTEPHANIE ROCHE

THE ITALIAN FAÇADE

TABLE OF CONTENTS

VISUAL HISTORY OF TYPE

VERNACULAR COMMUNITY

MISPLACED TYPOGRAPHY

MODERN ELEMENTS

ch. 01

ch. 02

ch. 03

ch. 04

t first glance when walking through an Italian city such as Venice, the combination of archi-

tecture, textures and type give the impression of taking a step back in time. The carved lettering shows the

craftsmanship of a previous time. Then as one continues winding through the city, vernacular typography be-

comes more prevalent on restaurants and homes suggesting a true sense of community and closeness. The next

turn reveals the spray painted graffiti of modern times on a building constructed hundreds of years ago. The

stark contrast creates tension and feels out of place. Meanwhile, modern signage weaves into the cultured scenery

more seamlessly. The bright colors and modern typefaces compliment the scenery rather than deface it. These

four main types of lettering collaborate to create the modern day Italian façade.

aINTRO

The vernacular

manner of

naming allyways

on Burano island

outside Venice.

1VISUAL HISTORY OF TYPE

A classical

style building

on the outside

of a Piazza in

Bologna, Italy.

treets of Rome and Venice are lined with carved typography. These older buildings are labeled

in a customary manner one would expect to see in Italy. In these cases the type is not meant to overshadow the

architecture, but rather accentuate it. There is nothing loud about this type, but the craftsmanship is evident when

examining the often serif typefaces. When considering these typefaces were carved by hand their impact is even

The carved manner of the lettering

on this building in Bologna echoes

the history of Italy and where

these cities resonate from. Their

combination with sculptural elements

also gives them a classical feeling.

s

09[Lettering] convey an impression,

as well as to spell out words;

also it is part of a whole,

and must be related to the function

and design of that whole. G ra y

Different classical manners of type

around Italy—from carved

type to mosaic and etched type. The

carved type shows the Italian

roots of typography in general.

more prominent. As Baines mentions in his essay on naming places, “the essential dynamic between utility and

expression allows for lettering to say something more about the spaces and places around us.” These letters tell a

lot about the history of typography and the people of Italy. Carved type is indicative of Italian history and where

these cities came from. The type is a visual reminder of where these cities began. In most carved type cases, the

11

wwwWhile in Rome for a few days, I visited the Colosseum and the

Forum directly across from the massive structure. The photos

on this page all come from within the Forum. The ruins within

the Forum are surrounded by beautiful gardens and sculptural

works. The combination of type with sculptural elements cre-

ates an interesting dynamic. The carved serif typefaces suit

the classical sculptures they are paired with. Surrounding the

type with the beauty of the sculptures and flower gardens,

gives the type a sense of place and purpose.

While in Rome for a few days,

13

Carved type and sculptural

elements seem to go hand in hand

when it comes to the classical

elements of Italy. Both of these

examples come from the Forum in

Rome. The element upon which the

letters are carved also affects their

presence. On the marble, the lettering

becomes secondary to the sculpture.

A couple clock towers (left in Venice

and right in Bologna) showing the

use of classical roman numerals.

forms are classical serifs, as those were prevalent in earlier centuries when these buildings were constructed. They

show off the true craftsmanship it took to individually carve out each letter. The typefaces reflect the refined man-

ner people perceive of these cities. Classical elements such as roman numerals are also prevalent in Italian

cities as shown in these images of clocks in public spaces. These elements work well with their surroundings.

17[informs] the way

we identify, and to some

degree, respond to the

places and spaces we visit.

Ba i n e s

2VERNACULAR COMMUNITY

A look down the

canal towards

Rivarosa

Ristorante on

Burano island.

hile carved type works to deliver the history of Italy, the vernacular type commonly

found on restaurants and homes reminds visitors of the sense of family and community in these cities. The nature

of these types is inviting and warm. Often against a bright backdrop, these typefaces demand attention and serve

purposes of not only naming, but also adorning these buildings. This type exploration suggests a family-owned

A close up of the Rivarosa type and

ornamentation on Burano island.

The painted shadow on the type

helps the letters to pop off of the

wall. The stark white helps create

contrast with the pastel building.

w

21[Vernacular type is] unfinished,

un-professionally created and

hand-done signs and handbills

that comprise a great part of our

everyday visual experience. To sh

Hand painted naming of the

walkways on the island of Burano.

Due to their painted nature, the

letters being to fade and can even

become difficult to read.

business. It makes restaurants or businesses, and ultimately the town, seem more intimate and casual—a place for

the locals that has been around for a while and is not going anywhere anytime soon. Often these faces begin to

fade, only adding to their character. The message becomes secondary often to the mere presence and style of the

hand-made type. Vernacular typography, as Tosh recites, means “unfinished, un-professionally (not done by a paid,

23

The three photos above show

handmade signs by way of mosaic

and stone. To the right is some

ghost type in Florence, Italy. The

fading type shows these places have

been around for a while.

27

essential dynamic between

utility and expression

allows for lettering to say

something more about the

spaces and places around us. Ba i n e s

“trained” graphic designer) created and hand-done signs and handbills that comprise a great part of our everyday

visual experience.” These instances are specific and labeling, however also playful and inviting. They serve many

purposes. Perfection in typography (such as in carved type) can become boring and monotonous, while vernacular

type engages an audience and is particular to a specific place and time.

iii29

along Italian walkways and

on the family style restaurants. The majority of Italy already

feels very warm and opening. The vernacular type only adds

to those comforting feelings. These signs are inviting, put-

ting visitors at ease to feel welcome and a part of the tight-

knit community. Especially on the island of Burano was this

vernacular type evident. Against the bright backdrop of the

buildings, the hand painted signs and mosaic house numbers

feel very much in place and a part of the scenery. Vernacular

type has a way of reassuring visitors and making them feel

welcome in a foreign land.

A hand painted sign

showing directions to a specific

location in Venice. The white

background helps the sign stand out

from the brick wall.

I first noticed the abundance of vernacular type

3MISPLACED TYPOGRAPHY

Looking through

a little window

along the street to

an underground

canal in Bologna.

he presence of graffiti in Italy is numerous and difficult to qualitatively judge. While some use it

as an artistic expression that is often beautiful, others seem to use it as a means of destruction or devalue. It is

strange to be walking by buildings constructed hundreds of years ago and suddenly see spray painted type staining

the walls. When one considers the broad definition of graffiti as “any inscription on any surface, usually public

Various forms of graffiti around

a famous little window on the via

Piella in Bologna. People from

all around the world leave little

messages on and around the window

itself, as well as traditional graffiti.

t

33Look at them for what they

are and see the beauty and ‘real’

expressiveness of the idea. To sh

buildings or walls,” the practice can be traced back to the Roman Empire and ancient ruins in Pompeii. Knowing

the history of graffiti provides more of a context to today’s graffiti, but is it the same? The practice of graffiti art

reveals more about the Italian people mentality. Many natives consider graffiti as a form of urban art rather than

vandalism, as it is seen in the United States. This practice gives these Italian cities yet another layer of character.

37

Graffiti shows up on all different

types of surfaces in Italy. These red

benches in Venice pop from the brick

and stone background, not only

because of their bright hue but also

the graffiti they are adorned with.

Visual respresentation of

the spoken word. To sh

Italians appear more open and accepting of various art forms. Because their history involves so much culture in

the arts, perhaps they are more willing to accept such a basic art form as graffiti. As demonstrated in these photos

of graffiti found around various cities of Italy (such as Bologna, Venice and Parma), there is a wide degree of tal-

ent showcased—from clean and polished works to simply signatures on a wall.

39

Graffiti in Italy ranges from sten-

ciled and planned out to messages

scribbled on walls as individuals

pass through an area.

aaaThe graffiti across Italy ranges

from spray painted to stenciled and

glued, as well as signs hung up on

sculptural elements of the cities.

As I was traveling around Italy for a month, I found the combination of graffiti on traditional, sometimes historical, structures most striking. As I was

walking through the Forum, the ruins just outside the Colosseum, I saw beautiful fields of poppies as well as brick and stone structures elegantly

crumbling. And then I would turn the corner and find a passageway completely covered with graffiti. For one, I was amazed security measures did not

deter people from making their mark. I was also a little sad that someone felt the need to stain this picturesque scenery with miscellaneous type.

Then, however, I could also qualify the graffiti art in some senses when I would consider these places as canvases themselves. It is difficult to draw

the line between unnecessary distractions and artistic expression.

As I was traveling around Italy for a month,

41

4MODERN ELEMENTS

The descriptive

black type on

yellow used with

the vaporetto

system in Venice.

nother common element becoming more prevalent is modern day signage. Everything

from wayfinding information to banners advertising art shows. These modern faces serve very particular

and specific purposes of getting one’s attention and keeping it. Most of the time these are important messages

that need to be communicated in a clear and concise manner. These signs function to communicate a

The vaporetto waterway system in

Venice has clear, easy-to-read type.

It is important to be able to read

the stops quickly. The black against

yellow creates a strong contrast.

a

45[Modern signage is] simultaneously open

and closed, vague and specific,

ostensibly neutral and yet loaded with

connotations and stylistic mannerisms. L up t on

The main purpose of modern

signage is to stand out against the

classical architecture. These signs use

strong colors and clean sans serif

typefaces to create that contrast and

communicate a clear message.

fff47

the effects of modern typefaces and type treatments on the classical surroundings. This type

treatment is not as abundant as others, however it is one of the most effective in terms of standing out against this cultured background. I noticed

this type mostly as I visited various museums across Northern Italy. Museums, as well as others, would use modern signage to advertise various

exhibits. I was probably more interested in the effect of the signs hanging from these classically constructed buildings rather than the messages

they shared, however in the mere fact they were meant to draw my attention, the signs were successful. This seemed to be the most effective way

to grab my attention and force me to consider what the purpose of these signs was.

Finally, in my exploration of type in Italy, I studied

message quickly. They are especially successful against the traditional Italian backdrop because of the contrast

created. Often their purpose is to communicate to both residents and outsiders; therefore they must break verbal

barriers and become more visual. These signs use visual cues of color, pattern, and straightforward lettering to

transcend these barriers. As Ellen Lupton suggests, these signs are “simultaneously open and closed, vague and

49

These storefronts in Venice and

Florence aim to pull focus from

their surroundings in order to

grab the attention of walkerbys.

specific, ostensibly neutral and yet loaded with connotations and stylistic mannerisms.” The use of modern type

also encourages interaction from the public. Hotel signs are trying to draw in people looking for a room, museum

banners are trying to gain visitors and advertisements can almost be seen as blank canvases. The H&M ad featured

in the vaporetto systems of Venice inspired someone to put their touch on the work.

51

Above, advertisements are meant to

grab viewers attention and

this sign does so in more than one

way. The type is an accent to the

image in this case. Also pictured on

these pages, hotel signage is mainly

three-deminsional and pops off

of their antique architecture.

Combining these four main type practices of carved, vernacular, graffiti and modern signage, one begins to get

a feel for not only today’s type story of Italy, but also the Italian people as a whole. They revel in tradition and

culture, while also remaining open to the changing of times. They are community-minded and warm and inviting.

As the culture grows, so does the expression of type within the cities.

tttCREDITS

This book was typeset in Din and Garamond. It was designed in Adobe In-Design and the photos were edited in Adobe Photoshop. These photos were shot with a Panasonic DMC-ZS3 camera.

I would like to thank Kacie Eberhart and Alyssa Bastien for sharing some of their images with me. Baines (Naming Places and Defining Spaces), Tosh (Vernacular Type), and Meyers (The Value of the Narrative in the Educa-tion of a Typographer) for sharing some of their words with me. Professor Andrea Herstowski and Professor Linda Sampson-Talleur for sharing their knowledge on a study abroad trip to Northern Italy with me. My parents, Tim and Saundra Roche, for sharing their love and money for this trip with me. And finally, Professor Patrick Dooley for sharing his critiques and thoughts on this book with me.

Sources:Baines, Phil and Catherine Dixon. “Signs Lettering in the Environment. “Lon-don: Lawrence King Pub., 2008. Web.

Meyers, Chris. “The Value of the Narrative in the Education of a Typogra-pher.” Tbe Education of a Typographer. Ed. Steven Heller. 2004.

Tosh, Paul. “The Uncultured Word: Vernacular Typography and Image.” 2007.