Overture Fine Light

Overture Fine Light Adagio

Overture Fine Light Allegro

Overture Fine Light Andante

Overture Fine Regular

Overture Fine Regular Adagio

Overture Fine Regular Allegro

Overture Fine Regular Andante

Overture Fine Bold

Overture Fine Bold Adagio

Overture Fine Bold Allegro

Overture Fine Bold Andante

Overture Fine Family

For what feels like eons ago, I released a typeface in the spirit of Bodoni, with less contrast and a more compact footprint. Its name was Donatora. It took some chances, had less than desirable numerals, and I was proud of it—especially since I had only been designing typefaces for a couple of years. A few months later, an Emigre magazine crossed my path, and I discovered Filosofia by Zuzana Licko for the first time (remember, there was a time before social media when we didn’t know the minute something new dropped). I was floored and embarrassed at what I had created. Hers was a masterpiece, quirky and clean, adherent to the idea of Giambattista Bodoni’s masterwork but wholly new. In my eyes, this latest type experiment of Donatora was an abject failure, and I removed it from circulation as fast as I could. One, because it couldn’t compare to the work of someone I genuinely admired; and two, because I couldn't live with the comparisons of such a sophomoric attempt. I did promise myself I would try again, later.

Later came 24 years, um, later. I did feel I had an attempt in me left for a unique take on Bodoni. I started with the Donatora failure; it became the iterative onion skin that I would draw upon to reimagine the good ideas and avoid the bad ones, to be honest. I went back often to review the Manuale Tipografico. As the new typeface evolved, one thing continued to stick out to me: Bodoni’s flexibility with the various italics drawn. So many variations, so many angles, so many use cases. For me, I struggled to settle on just one and ultimately took inspiration from 3 different italic variations at 8, 12, and 16 degrees. Each had its own speed to them. It was that connotation I set for the speed of the italics that ultimately influenced the name of the typeface, Overture. Each weight and optical size would be accompanied with three italics, at three speeds: Adagio, Andante, and Allegro. An homage of sorts to my love of classical music. As a unique bit of trivia, I almost exclusively listened to pieces by Debussy while working on this typeface—a fitting accompaniment, in my opinion.

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