The 2026 Letterforms Study Group letterpress workshop devoted to modern scripts has been cancelled. Plans for a letterpress workshop with master printer Richard Ardagh at the Tipoteca in the summer of 2027 are in the works and will be announced soon. Meanwhile, Riccardo De Franceschi and I will be at the Tipoteca this fall to continue our deep research into script types. If anyone would like to take part in this research project please contact me at: paulshaw@nyc.rr.com.

Fat Face G punch from Type Archived: A visual journey through typographic history by Richard Ardagh (London: Volume, 2015), p. 44. The punch comes from the Stephenson Blake Collection.

Richard Ardagh, the master printer for Tipoteca 2026, has written and designed a book richly documenting the history and demise of the Type Archive, Sue Shaw’s* valiant effort to preserve the physical history of British typefounding and wood type manufacture. His funding campaign was successful and the book is now available for purchase from Volume. Richard’s book is highly recommended for anyone interested in type, especially for those who wanto better understand pre-photo and digital methodologies of manufacturing type.

Sand cast Caslon type from Type Archived: A visual journey through typographic history by Richard Ardagh (London: Volume, 2015), p. 95. The sand cast type was created in 2004 from early 19th c. moulds in the Stephenson Blake Collection.

*no relation to Paul Shaw.

Josse Pickard setting wood type at the Tipoteca.

Letterforms Study Group at the Tipoteca 2026 (Moderni Interpretazione di Corsivo Inglese in Caratteri) [Modern Interpretations of Script in Type] is a follow-up to the successful letterpress workshop Letterforms Study Group at the Tipoteca 2025 (Corsivo Inglese in Caratteri). Josse Pickard was a participant in Tipoteca 2025. Here is what he has to say about that experience:

Tipoteca 2025 was an inspiring and eye-opening experience! Being immersed in Italy’s rich typographic history with Paul Shaw as our guide was incredibly rewarding. I learnt so much from studying the wood and metal type firsthand, exploring their forms, spacing, and printing nuances. The Tipoteca is an incredible institution, and having the opportunity to explore, directed by such passionate experts was a joy. The specimen book, despite the challenging production moments, is a beautiful object that I will treasure. To top this all off, the food (and Prosecco) were outstanding!

Tipoteca 2026 promises to be as rewarding as Tipoteca 2025. Instead of investigating traditional forms of script type (roundhand or corsivo inglese) in wood and metal it will explore modern interpretations of those forms. Participants (limited to a maximum of 8) will learn about the rich history of the roundhand and Italian scripts as practiced by English and European writing masters of the 17th and 18th centuries, the long history of efforts to convert those scripts into type, and the history of wood type in Italy. They will learn to set metal type and to print on both a Vandercook-style cylinder press and a traditional iron handpress. They will collaborate on the design and printing of a specimen book documenting the features of modern pointed-pen script typefaces in comparison to traditional ones. And when not designing, setting type, or printing, participants will have ample opportunities to enjoy the delicious food and wine (including Prosecco and spritzes) of the Veneto region of Italy.

Registration
To register for Tipoteca 2026 fill out the attached registration form below and send it to Paul Shaw at definitivedwiggins@gmail.com or 785 West End Avenue, New York, NY 10025 USA. A deposit of $300 is required to guarantee a place. The early bird price of $3700 ends May 1, 2026.

Tipoteca 2026 registration form

For more information contact paulshaw@nyc.rr.com.

Notice: As of March 15, 2026 this workshop has been cancelled.

Josse Pickard laying out his and Earl Kallemeyn’s spread showing the character set of the Stocchetti 004–006 wood type script.

Fluidum in wood. Image from pp. 65–66 of Alphabets of Wood by James Clough and Chiara Schattolin (Cornuda: Antiga Edizioni, 2014)

Riccardo De Franceschi enjoyed Tipoteca 2025 so much that as soon as the workshop was over he suggested we repeat the experience in 2026. His enthusiasm was infectious and thus he, Richard Ardagh, and myself are planning Tipoteca 2026, a letterpress workshop devoted to the continuing deep study of script typefaces, both in metal and in wood. Here are the details as of August 28, 2025:

Leaders
Tipoteca 2026 will be lead by Paul Shaw and Riccardo De Franceschi. Richard Ardagh of New North Press in London will be the master printer.

Theme
The workshop will focus on metal and wood script typefaces. As in 2025, we expect to analyze and document several typefaces and then design and print a specimen book to display our findings.

The typefaces will include Rosaria 030–032 and an unidentified metal script typeface—both of which we used in Tipoteca 2025, but did not fully document—along with metal and wood versions of Fluidum, a modern script designed by Alessandro Butti for Nebiolo, as well as several others yet to be determined.

The project will be a collaborative one with participants divided into teams as they were for Tipoteca 2025 and Legacy of Letters 2023. Each participant will finish the workshop with a printed (and hopefully bound) specimen book.

Participation
Participation is open to anyone with a serious interest in letterforms (letter carving, calligraphy, lettering, graffiti, typography, type design). No college degree or professional experience is required. We want people with enthusiasm, curiosity, and a willingness to work with others. The number of participants will be capped at 8.

Dates
October 4–11, 2026

Itinerary
October 4 Sunday—arrival day / Orientation

October 5 Monday—Tipoteca: museum tour / introduction to hand typesetting  /  visual history of formal script / project brief

October 6 Tuesday—Tipoteca: preliminary research and design of the selected metal and wood script typefaces / initial composition of specimen pages

October 7 Wednesday—Tipoteca: initial composition of cover, title page, captions, colophon, etc. of specimen book / initial printing of first color

October 8 Thursday—Tipoteca: continued composition of specimen pages / continued printing of first color / initial printing of second color

October 9 Friday—Tipoteca: proofing of cover, front matter and back matter / finish printing of second color

October 10 Saturday—Tipoteca: collation and binding of specimen book

October 11 Sunday—departure day

The schedule has six days at the Tipoteca, the longest stint we have had. The itinerary is what we hope to accomplish each day. It is subject to change. What is actually accomplished will depend on the difficulties presented by the typefaces and the skill and speed of the participants.

We are working on a bonus trip (at extra cost) to Modena to print with script wood type from the renowned collection of Luca Lattuga at the Officina Typo.

Locations
The Letterforms Study Group workshop will take place at the Tipoteca, a printing museum located in Cornuda, a small town an hour’s drive from Venice.

Lodging (included in the price) will once again be at the Villa Bolzonello in Cornuda. The villa is an agriturismo that makes Prosecco. It is a 40 to 45 minute leisurely walk from the Tipoteca. Bicycles will be available (at extra cost) for those who prefer to ride back and forth. Car service (at an extra cost) can be arranged for those who are unable to walk or ride a bicycle

Note: The weather in Cornuda in October is much cooler than in the summer. The average temperature is 64° F.

Pricing
We are fighting inflation and maintaining 2025 prices for 2026. These prices are guaranteed until April 30, 2026. They may go up after that as we finalize our costs. So, register early.

$3900—full price

Registration
To register for Tipoteca 2026 fill out the attached registration form below and send it to Paul Shaw at definitivedwiggins@gmail.com or 785 West End Avenue, New York, NY 10025 USA. A deposit of $300 is required to guarantee a place.

Tipoteca 2026 registration form

For more information contact paulshaw@nyc.rr.com.

Notice: As of March 15, 2026 this workshop has been cancelled.

Case containing two sizes (60 pt D and 48 pt D) of an unidentified script type in metal at the Tipoteca. Photograph by Paul Shaw 2025.

When the focus of the workshop pivoted from an exploration of Stocchetti 004–006 to a broader examination of roundhand scripts in type, it became essential to find a metal version for comparison to it and Rosaria 030–032, the other script wood type. Leonardo Facchin located a beautiful one in the Tipoteca’s collection labeled Graphic Script (1). However, when I looked up Graphic Script in the 4th edition of The Encyclopedia of Typefaces edited by W. Pincus Jaspert, W. Turner Berry and A. F. Johnson (London: Blandford Press, 1970), it didn’t match the typeface in the case. Most notably the Q and 8 were significantly different. Riccardo De Franceschi noted that the sorts had nicks on the back of the shank, instead of the front, a feature of French type (2). The notion that the fount is French is further supported by the presence of accented characters ç, â, ê, î, and ô (3).

The fount includes a long s, a finial t, and a separate entry stroke. None of these are especially unusual as other types such as Kunstler Schreibschrift have them. However, this unidentified type also contains a mysterious character which none of us in the workshop at the Tipoteca were able to identify. We couldn’t even agree on a description.

Unusual characters in the unidentified metal script typeface at the Tipoteca. The orange ink highlights the finial t, long s, and entry stroke (top line from left to right); and the mysterious superior sort (bottom line). Photograph by Paul Shaw 2025.

Superior letters and unidentified character (in vermilion) from the unidentified script metal typeface at the Tipoteca. Photograph by Paul Shaw.

The script type is cast on an angled body with descenders that extend beyond the body, which I refer to as vertical kerning. The kerns have supports to prevent breakage. (4) The lowercase letters have “hooks” to reduce slippage when a lock-up is tightened. Spacing material is also angle-bodied with triangular pieces for the beginning and end of lines.

Two sorts (u and f) from the 60 pt D size of the unidentified script metal type showing their “hooks.” The kern of the f descender is also visible. Photograph by Paul Shaw 2025.

Several letters of the unidentified metal script type assembled (“Joseph”). The “hooks”—see especially the upper right side of h—are visible. Photograph by Paul Shaw 2025.

Side view of sort for f showing descender kern. Photograph by Paul Shaw 2025.

Section title from the specimen book set in the unidentified metal script type. The vertical kerning is evident with the g in “Congiunzione”; and the p and z in “Spaziatura”. All three letters have descenders supported by rules below. Photograph by PaulShaw 2025.

Notes
1. The Tipoteca acquired the type from Tipografia Marone in Biella.
2. See The Practice of Typography: A Treatise on the Processes of Type-making, the Point System, The Names, Sizes, Styles and Prices of Plain Printing Types by Theodore Low De Vinne (New York: The Century Co., 1900), p. 31.
3. Those accented characters can also be found in some non-French scripts such as Stempel’s Kunstler Schreibschrift.
4. This is not the first typeface to have vertical kerning with “buttressed” supports. That was probably the Penman Script series issued by the Bruce foundry in the 1870s. See “Mechanical Devices in Type” by Carl Schraubstadler in The Inland Printer vol. VI, no. 3 (December 1888), p. 206.

Danielle Facchin, recently retired Tipoteca technician, looking at the finished Corsivo Inglese specimen book while Henri-Paul Bronsard looks on. Richard Ardagh is in the background. Photograph by Paul Shaw 2025.

Colophon
Binding design and book format by Richard Ardagh. Design concept and direction by Paul Shaw. Title page design and interior typography by Paul Shaw (with help from Riccardo De Franceschi, Earl Kallemeyn, and Lucio Botteselle). Typesetting by Earl Kallemeyn, Yasmin Rodriguez, Henri-Paul Bronsard, Josse Pickard, and Gabriella Miyares. Design and typography of fold-out pages by Earl Kallemeyn and Josse Pickard; Henri-Paul Bronsard and Gabriella Miyares; Janet Elliott and Yasmin Rodriguez; and Riccardo De Franceschi and Erin Roche. Translation help from Sandro Berra. Paper donated by Fedrigoni. Printing on the hand press by Richard Ardagh; printing on the cylinder presses by Lucio Botteselle, Earl Kallemeyn, Josse Pickard, Riccardo De Franceschi, and Erin Roche.

Edition of 25 copies.

To page through—and unfold—the completed Corsivo Inglese specimen book produced during the workshop at the Tipoteca click on the link below. The PDF is downloadable.

Corsivo Inglese specimen book

For additional photographs of the finished book see Richard Ardagh’s Instagram account.

Letterforms Study Group: Corsivo Inglese in Caratteri—Addendum 1: Stocchetti 004–006

Assembly of Rosaria 030–032 by Erin Roche showing the absence of vertically kerned letters. Photograph by Paul Shaw 2025.

Rosaria 030–032’s character set is more complete than that of Stocchetti 004–006. The only missing capital is K and the lowercase is complete. There are figures and the punctuation includes parens alongside a period, comma, colon, exclamation point, and question mark. The body is angled and the fount includes triangular end spaces, but no word spaces. The lowercase letters have tiny “hooks” that help in locking them up. For a similar reason, some of the capitals have bodies that have been truncated at the bottom. The only letter that has been kerned by Rosaria or a previous owner is an n that has been shortened.

Lowercase m and h from Rosaria 030–032 placed on their sides to make their “hooks” more visible. Photograph by Paul Shaw 2025.

The back of lowercase h from Rosaria 030–032. Photograph by Paul Shaw 2025.

Richard Ardagh holding a Rosaria 030–032 G. Note the truncated corner. Photograph by Paul Shaw 2025.

The wood is in very good shape. A few letters are chipped, but none are broken and there are no worm holes.

“Shelley” detail from composition by Henri-Paul Bronsard and Gabriella Miyares. Note the chipped y. Photograph by Paul Shaw 2025.

Rosaria 030–032s letters are more competent and consistent than those of Stocchetti 004–006. The J is unusually exuberant; the ampersand lacks strong stroke contrast, making it appear anemic; the figures are very nice, especially the curvaceous 2 and the descending 7;

Several characters from Rosaria 030–032. Note the weak ampersand at right. Photograph by Paul Shaw 2025.

Several figures from Rosaria 030–032. Photograph by Paul Shaw 2025.

Rosaria 030 drawer. (The Tipoteca drawers often include multiple typefaces from a single source.) Photograph by Paul Shaw 2025.

Rosaria 031 drawer. Photograph by Paul Shaw 2025.

Rosaria 032 drawer. Photograph by Paul Shaw 2025.

Letterforms Study Group: Corsivo Inglese in Caratteri—Addendum 3: Unidentified Metal Script Type

Detail of spacing material of Stocchetti 004–006. Note the worm holes in accented letters above (e.g. the leftmost ó and the middle í). Photograph by Paul Shaw 2025.

The fount is a script wood type, 10 ciceros high (approximately 1.67 inches). It is of unknown origin, but probably dates from the 19th century, and appears to have been hand cut. Numerous characters have worm holes. The body is angled and the font includes angled word spacing material and triangular spaces for beginning and ending lines. It is notable for having ascenders and descenders (as well as ! and ?) that extend beyond the body, allowing vertical kerning from line to line. They are supported by shoulders that, in the lowercase only, slope down from the x-height and slope down below the baseline. The capitals do not have sloped shoulders.

Detail (left) of lowercase letters of Stocchetti 004–006 showing sloped shoulders. The inconsistency of the degree of slope of the shoulders is a further indication that the fount was hand-cut. Photograph by Paul Shaw 2025.

Detail of lowercase fount of Stocchetti 004–006. Note the overhanging ascenders of d and f and the overhanging descenders of f and g. Also two es have been kerned vertically by hand. Photograph by Paul Shaw 2025.

Left side view of Stocchetti 004–006 lowercase letters (p and v) kerned vertically. Photograph by Riccardo De Franceschi 2025.

Right side view of Stocchetti 004-006 lowercase letters (p and v) kerned vertically. Photograph by Riccardo De Franceschi 2025.

Characters from Stocchetti 004–006. Note the lack of shoulders on the capitals. Photograph by Riccardo De Franceschi 2025.

Ampersand and punctuation from Stocchetti 004–006. Note the overhanging question mark and exclamation point. Also, the ampersand is a later addition to the fount, made from a different wood. Photograph by Paul Shaw 2025.

Several characters in the fount are later additions. Their wood is different in color and some (e.g. B) are more crudely designed. The B and & also have a mysterious pattern of overlapping stamped circles. Is this a trace of their manufacturing process?

Comparison of characters (A, B, and C) in Stocchetti 004–006 made from different wood. Photograph by Riccardo De Franceschi 2025.

Detail of capitals in Stocchetti 004–006 with A and B as later additions to the fount. Photograph by Paul Shaw 2025.

Several capitals (F, I, J, N, and S) have been kerned laterally by hand. And two es have been kerned vertically by hand. These are interventions made by a previous owner of the fount and not by its manufacturer.

Detail of capitals of Stocchetti 004–006 showing hand-kerned F, I, and S. Photograph by Paul Shaw 2025.

Physically, Stocchetti 004–006 is a fascinating typeface. Printed, it is very disappointing. While many of the capitals are very graceful, the curved portions of the lowercase letters are stiff. The latter (especially b, d, and p) look as if someone used parallel angled guidelines in cutting the curves. The bowl of the e is too large while the loop of the f feels too small. The t has a crossbar only on the right side of the stem, presumably to aid tight spacing. The liveliness of the z‘s curves is lovely, but feels out of place. There are subtle variations in several letters that support the view that the fount was hand-cut. See a, c, r, s, and v. The lowercase is missing j, k, w, x, and y. None of these are letters needed in the Italian language.

The fount contains only one of each capital letter, minus D, Q, and W. The A and B are later additions. The latter is particularly clumsy and the K, R, U, V, and Y are stiff in a manner similar to the lowercase letters. The F appears to be tipping over and loop of the S is overly large. The J is beautiful but looks like a T.* The discrepancies in the design of the capitals reinforce the notion that the fount was hand-cut.

Stocchetti 004-006 has no figures and only limited punctuation (period, comma, semicolon, colon, question mark, exclamation point, and hyphen). The ampersand appears to be a later addition.

Proof of capitals A to N of Stocchetti 004–006. Printed by Richard Ardagh. Photograph by Paul Shaw 2025.

Proof of capitals O to Z of Stocchetti 004–006. Printed by Richard Ardagh. Photograph by Paul Shaw 2025.

Proof of lowercase a to q of Stocchetti 004–006. Printed by Richard Ardagh. Photograph by Paul Shaw 2025.

Proof of lowercase r to z, punctuation, and accented characters of Stocchetti 004-006. (The changing angle of the accent marks reflects the varying body widths of the letters.) Printed by Richard Ardagh. Photograph by Paul Shaw 2025.

*There is the possibility that the J really is a T that has been misidentified by both Stocchetti and the Tipoteca. It could be an alternate form or an addition from another wood type fount. The latter theory seems more plausible given the lack of a lowercase j in the fount.

A final note: I would like to thank Silvio Antiga, the prime mover behind the Tipoteca, for allowing myself, Richard Ardagh, and the participants of the Letterforms Study Group, to examine Stocchetti 004–006 in detail. The typeface is indeed unique and thus irreplaceable, as Silvio stressed in his conversation with Richard and myself. Being able to print from it—even on a limited basis—was a privilege.

Letterforms Study Group: Corsivo Inglese in Caratteri—Addendum 2: Rosaria 030–032

Letterpress workshop with Richard Ardagh

This was the last day of the workshop. It was originally scheduled to be a day devoted solely to binding the specimen book, but pages that had been printed on the hand presses the day before were not yet dry, and there were still pages to be printed on the cylinder presses. So, the day became a mix of activities: composing type, printing, dissing type, cleaning up—and binding.

Earl Kallemeyn and Richard Ardagh removing a print of the second page of the Stocchetti 004–006 character set from the tympan. Photograph by Paul Shaw 2025.

Earl and Josse’s second page—showing half of the Stocchetti 004–006 character set—still needed to be printed. Fortunately, we were able to do all of the remaining printing on the cylinder presses—and for the first few hours of the morning we had the assistance of Lucio Botteselle. The title page typography was fine-tuned by him, Riccardo, Earl, and myself. Once Lucio left, Riccardo and Erin completed the printing that he had begun. Earl and Josse printed the section titles.

Lucio Botteselle adjusting the type for the introduction. Photograph by Paul Shaw 2025.

Riccardo De Franceschi fine-tuning the title page typography. Photograph by Paul Shaw 2025.

Once Richard had completed printing Earl and Josse’s second page, he gave a short talk on how he had built up the make-ready for the Stocchetti 004–006 type. It was unfortunate that we had not been able to see the process from beginning to end instead of in reverse, but it was still very instructive. It showed why, advised by Sandro Berra, I had chosen Richard as the master printer for this workshop—and why Silvio Antiga entrusted him alone with the care of this irreplaceable wood type.

Richard Ardagh showing the various pieces of paper he used in the make-ready for the Stocchetti 004–006 type. Photograph by Paul Shaw 2025.

Detail of the make-ready for the Stocchetti 004–006 type using several layers of paper. Photograph by Paul Shaw 2025.

After lunch we finally began the binding session. Prior to the workshop Richard had made a test binding of the specimen book and also prepared a set of instructions on how to do the Japanese-style binding he had chosen. With the latter in hand, the pressure to bind the full edition of the specimen book was relieved. Our goal was to collate all of the sheets and have at least one copy bound so that we could watch Richard carry out each stage of the binding process. That we achieved.

Richard Ardagh preparing to explain the binding structure for the specimen book. Photograph by Riccardo De Franceschi 2025.

Richard Ardagh explaining how to trim the printed sheets for binding. Photograph by Paul Shaw 2025.

Richard Ardagh showing how to clamp the sheets before sewing. Photograph by Paul Shaw 2025.

Participants posing with pre-collated sheets. From left to right: Richard Ardagh, Janet Elliott, Gabriella Miyares, Erin Roche, Riccardo De Franceschi, Earl Kallemeyn, Josse Pickard, and Henri-Paul Bronsard. Not shown Yasmin Rodriguez. Photograph by Paul Shaw 2025.

Collating the sheets. From left to right: Henri-Paul Bronsard, Josse Pickard, Earl Kallemeyn, and Riccardo De Franceschi. Photograph by Paul Shaw 2025.

Stack of collated (but unbound) specimen books. Photograph by Richard Ardagh 2025.

At the end of the day we celebrated the collation of the specimen books and the end of the workshop with a farewell dinner at Osteria Santa Margherita in Ciano del Montello where we had the restaurant entirely to ourselves

Farewell dinner at Osteria Santa Margherita in Ciano del Montello. Visible are Julian, Breanna Parolini, Dana Kadison, Earl Kallemeyn, Henri-Paul Bronsard, Gabriella Miyares, and Riccardo De Franceschi. Out of camera range are Josse Pickard, Erin Roche, Yasmin Rodriguez, Richard Ardagh, and Paul Shaw. Photograph by Paul Shaw 2025.

Letterforms Study Group: Corsivo Inglese in Caratteri—The Specimen Book

Letterpress workshop with Richard Ardagh

This was the busiest day of the workshop. I wrote the introduction and colophon texts and the section titles in Italian (with significant help from Sandro Berra and Riccardo De Franceschi); and designed the title page. Earl set the title page; Yasmin set the introduction with help from her partner Breanna Parolini; Henri set the colophon; and Josse set most of the section titles. The typography of all of these texts was refined by Lucio Botteselle. Printing of these pages was begun by Earl, Josse, Riccardo, and Erin—and completed the next day.

The black run of Riccardo and Erin’s two pages had to be printed on both of the hand presses since they involved the two wood types of varying height. The orange run for the unidentified metal script type and the guidelines on both pages was printed on a cylinder press. Yasmin’s rules were also printed in orange using a cylinder press. One of the hand presses was used for Earl and Josse’s two pages displaying the Stocchetti 004–006 character set; and also for Henri and Gabriella’s page diagramming the Stocchetti spacing system. In both instances Richard hand-inked the type so that he could print both black and orange in one pass.

Richard Ardagh locking up the composition showing the Stocchetti 004–006 spacing system. Note the use of hand-cut cardboard spacing material (foreground right). Design by Henri-Paul Bronsard and Gabriella Miyares. Photograph by Paul Shaw 2025.

Lucio Botteselle checking the position of rules on Yasmin Rodriguez’s Rosaria 030–032 page. Photograph by Paul Shaw 2025.

Richard Ardagh inking “George Bic?ham”, the black run of Riccardo De Franceschi and Erin Roche’s second page. (The ? was used because the Stocchetti 004–006 font lacks a k.) Photograph by Paul Shaw 2025.

Richard Ardagh setting up Josse Pickard and Earl Kallemeyn’s composition for the first page showing the Stocchetti 004–006 character set. Photograph by Paul Shaw 2025.

Earl Kallemeyn spacing one line of the title page. Photograph by Paul Shaw 2025.

Lucio Botteselle and Riccardo De Franceschi discuss the imposition of the section titles. Looking on are Gabriella Miyares and Breanna Pariolini. Photograph by Paul Shaw 2025.

Yasmin Rodriguez setting the introduction. Photograph by Paul Shaw 2025.

Drying of the sheets printed on the hand presses was a worry of Richard’s from the start. The problem was exacerbated by the change in plan of the project which increased the amount of orange ink. Many of the hand-press printed sheets never properly dried, even after pouncing with resin. Consequently, the completed specimen book has offset on some pages.

Sandro Berra and Yasmin Rodriguez pouncing sheets. Photograph by Paul Shaw 2025.

Riccardo De Franceschi and Richard Ardagh discussing the “Bickham” page before the final printing with the Stocchetti 004–006 type. Photograph by Paul Shaw 2025.

Letterforms Study Group: Corsivo Inglese in Caratteri—6. Cornuda