Glypha is a condensed adjustment to Frutiger’s slab serif, Serifa, released in 1967 after the basic forms of Univers. Its name, derived from “hieroglyph,” is meant to remind people of Egypt. Higher x-heights and oval-based curves increase legibility while giving the illusion of a narrower form that is useful for headlines/space-restricted projects. Glypha’s horizontal, square serifs and variant stroke widths appear forcibly engineered, but its numerous weights are a testament to its utility.

Eurostile, a square sans serif, is an amendment/extension of Novarese’s early typeface, Microgramma, with Alessandro Butti. The t and f crossbars extend to the right, and k/K’s diagonals do not touch their vertical, among other oddities. Its fluidity is reminiscent of modern architecture and 1960s rounded television screens, yet designers still rely on Eurostile to convey a rather overdetermined “contemporary” attitude. Digital versions lost the original form’s “super curve,” so Akira Kobayashi introduced a redrawn and expanded version with Eurostile Next LT Pro (2008).

ITC Cerigo, a vertical italic, merges 15th-century, calligraphy-inspired romans with the scribal, papal tradition of chancery scripts. Because Cerigo follows the precedents set by italics designed independent of roman typefaces, even Cerigo’s romans appear in motion. Its graceful, short ascenders/descenders contrast the sharp crossbars of capital E and F. Cuaz’s approach relied on the enduring strength of his idea for a typeface; he stored initial sketches for some time before deciding to pursue them.