The Clifton is a reinterpretation of the Athenian typeface that was distributed around 1896 by the British Type Foundry. It is also close to the Fantail typeface proposed by the American Type Founders. This typeface, with its inverted contrast compensates for the finesse of its stems through its imposing serifs that draw a black dot in the letter, thus providing a particular sparkle to a composition. Less contrasted than the drawing of reference and with its very important x-height, the Clifton has been designed as a body text typeface.
The italic is not a simple slanting of the roman but has its own design, very slender and mobile. It has nonetheless been designed as a duo, marking the difference and allowing for a strong contrast with the roman within a text.
Its style, located somewhere between Italians and Westerns, gives this typeface the American flavour of the latter but with a rawer touch, as if it had come straight from the Bayou. As a tip of the hat to this reference, its name pays tribute to musician Clifton Chenier, father of Zydeco, the style of black music from French Louisiana of the nineteen thirties.

Tifo takes its inspiration from the lettering that can be found on the banners brandished by the most fervent tifosi (supporters) during football matches.
Emerging in Italian stadiums in the early days of the Years of Lead, these supporters showed their support for their favorite team using banners, chants, and smoke bombs.
Initiated by Roman Tronchin in 2021 as part of the ECAL’s Master’s degree in Type Design, the Tifo typeface comes in five styles: Roma, Venezia, Bologna, Palermo, and Milano.

Romain Tronchin developed this typeface by carefully examining tifosi fanzines from the 1970s and 1980s, with each variant corresponding to a different style of lettering.
Some “oddities” visible in these vernacular sources–which could rightly be considered as typographic errors–were intentionally conserved. They provide Tifo with a singular and authentic character that is part of a long-standing tradition of typically Italian public lettering.

The five styles of Tifo share the same underlying frame, but each one “wears its own colors”!
With a geometrical construction, and a design reduced to elementary forms, the Roma (with square counterforms), Venezia (with its rectangular outlines and circular counterforms), Bologna (outline), and Palermo (stencil) styles are four versions clearly intended for titling, designed to be used in large sizes.
The Milano style, whose design is closest to the type family’s frame, is a polyvalent version that can be adapted for use as both titling and running text.

All of the styles share the same proportions, thus allowing graphic designers to easily combine the five versions in their compositions.