Although made for small screen imaging, the Cavolini™ family has the personality and strength to be practical for everything from print packaging to website navigation. While created for a specific use, the design is also ideally suited to many interactive and print applications. Drawn by Carl Crossgrove, Cavolini is a family of several designs, giving print and interactive designers breadth of choice for creating emphasis, hierarchy, and typographic diversity in normal and space-restricted environments. It has all the charm and immediacy of handwriting, and adds to this the design traits necessary for high levels of typographic clarity.
A large x-height, open character spacing, clearly defined apertures, and easily differentiated forms provide, for high levels of legibility and readability at small sizes. In addition, a large character set enables the setting of most Western European and many Eastern European languages, including Cyrillic and Greek.
Cavolini’s large x-height, open character spacing, clearly defined apertures, and easily differentiated forms enable high levels of legibility and readability at small sizes. The family’s multiple designs of roman, bold and italic in regular and condensed proportions also enable breadth of choice for creating emphasis, hierarchy, and typographic diversity in a wide variety of environments. The design enjoys a generous x-height, while informal strokes, a natural finish, and wide proportions, give Cavolini a casual and relaxed affability. Small screen legibility is also enhanced through generous character spacing. Cavolini takes advantage of a quality in handwriting that is not normally obvious: a meandering, unstructured stress. Diagonals, verticals, crossbars (whichever letterform component is likely to be written emphatically in an organic and fast way) is likely to be slightly thicker, while there is very little stroke contrast overall.
Obsessed with letters since he learned to read at the age of two, Crossgrove’s early fascination showed up as chalk drawn alphabets on his parent’s driveway and giant letters cut from paper. During his youth, Crossgrove dabbled in display lettering and was influenced by comic books, record album covers and the Art Nouveau resurgence of the 1970s. As he grew older, he discovered classical type designs and lettering, deepening his typographic interests. Today, Crossgrove is a senior designer in the Monotype Studio. A variety of typefaces, ranging from the Reliq™, Origami™ and Beorcana designs, to the Mundo Sans™ and Burlingame™ families are the result of Crossgrove’s talent and skill. His work for Monotype also often takes him into the realm of non-Latin scripts and font production
While Cavolini was developed for low resolution use, it has the personality and strength to be an excellent choice for everything from packaging to correspondence – just about anywhere a casual mien is desired. Cavolini will also thrive at small sizes in digital environments as far ranging as vehicle interfaces and wearables.
A large character set enables the setting of most Western European and many Eastern European languages, including Cyrillic and Greek – and adds to the family’s broad range of uses.