Agnostic typographers and designers of little faith, please refrain). Although perhaps here the term ‘lapidary’ is appropriate, since the idea caught the author strolling through a cemetery. Fortunately, like a healing balm, Schultz will deploy here her original hypothesis, suspiciously unexplored, of how the Tuscan style would have been born from a mischievous interpretation of the stone inscriptions (wrongly) called lapidary. However, this decorative ubiquity, notorious and implausible, alarms many. The product of decorative ingenuity, Tuscan vernaculars dress the street signs of Mexico as much as the stained glass windows of Paris, the ‘fileteado porteño’ of Buenos Aires signs or the hulls of fishing boats in the Amazon waters. ![]() Those ornamental objects, delicate or extravagant, that inhabit streets and typographic catalogs of all times, without losing an iota of expressive force. This time she follows one of her personal fixations: the Tuscan letters. Tere Schultz delivers a new literary and typographic divertimento for passionate readers.
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