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[...] Bistecca is a condensed serif font.Highly readeable, it was created for headlines, captions and stylish text blocks.

Bistecca • 1 styles

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Panforte Serif

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Panforte Serif • 6 styles

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These typefaces are rooted in the Dutch baroque and transitional traditions of the eighteenth century, when punchcutters like Johann Michael Fleischmann (Enschedé, active 1720s–1760s) and Jacques-François Rosart (working in Brussels and Haarlem in the mid-1700s) shaped a distinctive national style. Their types combined the elegance of French models with the sturdiness and pragmatism of Dutch design, producing letterforms with sharp contrast, crisp details, dynamic italics, and refined yet practical proportions. The revival tradition begins with DTL Fleischmann and Fleischman BT, which reinterpreted Johann Fleischmann’s vigorous types for modern use, and with Le Rosart (Lukas Schneider, Plantin Institute, 2014–15), a thorough academic revival of Rosart’s romans, italics, and ornaments, expanded into full text and display families with italics, optical sizes, and even blackletter (Le Rosart Textura). These projects brought back the variety and richness of eighteenth-century Dutch typography, complete with Rosart’s ornamental and symbolic repertoire, now digitized as DTL Rosart Ornaments and extended in projects like Rosart and Fleisch Hi Res with astrology, alchemy, and seasonal pictograms. In parallel, more contemporary reinterpretations emerged: Mercury (Hoefler & Co., 2003) and Farnham (Christian Schwartz, 1990s) translate the Rosart/Fleischmann DNA into robust, high-performance news faces, optimized for small sizes and high-speed printing. U.S. commissions like Expresso (Feliciano, 2000s) and Fenway Banner adapted the style for editorial branding. Haarlem (Edition Studio) and Genath revive other eighteenth-century Dutch masters like Johann Rudolf Genath, continuing the Baroque–Transitional thread. Recent experiments push the style into new expressive domains: Epicene Text and Display reinterpret Rosart through a contemporary lens, exploring sharp contrast and flamboyant italics; Stockmar, PoW Garnier, and MD Lórien show how the baroque serif can be adapted for modern publishing or branding. Simona (1996), designed for the Italian winery Querciabella, uses baroque influences for luxury branding, while Garvis and TradaSerif companions like Rutherford extend the lineage to corporate and book typography. Across centuries, from Fleischmann’s Enschedé types (mid-1700s) to Rosart’s Antwerp and Haarlem specimens (1760s–70s), through modern editorial revivals (Mercury, Farnham, Expresso) and academic reconstructions (Le Rosart, Haarlem, Genath), these fonts show the continuity and adaptability of Dutch transitional design. They combine historical depth, ornamental richness, and editorial reliability, equally at home in scholarly editions, magazines, corporate branding, or luxury packaging.

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