Magari from Sudtipos has roots in both the German and Italian print traditions. Magari’s antecedents are alluded to on the pages of H. Berthold AG’s type catalogues, circa 1900 to 1913, or perhaps in Berlin’s William Gronau Foundry, circa 1890s. Prague’s Gottlieb Haase Söhne also lightly shades the background. But of course it’s the classic Italian influence that lends Magari a buoyant mood founded on tradition’s strength.

Italy’s deep influence on typography is reflected in the taxonomy: Latin, Roman, Italic. Magari is an homage to both the style and nomenclature of Italian type. The term Magari is an Italian expression applicable to a multitude of positive things, which aptly summarizes Sudtipos’s intent. Magari the word implies the outcomes one desires most, optimism, future success. Magari the print follows suit.

Beyond the phrase, Magari’s Italian side suggests Art Nouveau types where serifs were sensualized with unrestrained curves. That classic flair has turned out to be future-proof, especially when rolled into modern composite designs like Magari. The result is that Magari can introduce products and concepts that are new while allowing the reader to pass through with their signals of comfort, familiarity, and “established” completely intact. This is a direct consequence of the skill and intuition that characterize everything Sudtipos does.