The release of Tomasa, a display typeface designed by the Argentinian typographer Fernanda Cozzi, represents a significant development in contemporary digital type design. First introduced as a standalone expressive project and subsequently expanded by the foundry Tomorrow in 2020 to include Cyrillic support, the typeface has garnered attention for its unconventional approach to character rhythm and motion. Unlike traditional display fonts that rely on static weight or geometric consistency, Tomasa functions as a kinetic system, utilizing OpenType features to simulate the fluidity of movement often associated with Latin American dance culture.
The Genesis of a Kinetic Design
The conceptual framework for Tomasa is rooted in the rhythmic and social dynamics of perreo, a dance style synonymous with reggaeton and funk carioca. Fernanda Cozzi, known professionally as Fercozzi, sought to translate the physical energy of this movement into the static medium of typography. The design process began with an exploration of how letterforms could occupy space differently, moving away from rigid baselines toward a more organic, undulating flow.
The project reached a critical milestone in early 2021 when its versatility as a functional display tool was fully recognized by the design community. While many expressive typefaces suffer from readability issues when deployed in complex layouts, Cozzi’s architecture relies on a programmed cycling of four stylistic variants for every character. This ensures that the visual rhythm—characterized by varying counter sizes and vertical shifts—remains dynamic without becoming repetitive or visually exhausting for the reader.
Technical Architecture and OpenType Integration
At the core of Tomasa’s utility is its sophisticated use of OpenType programming. For a typeface that focuses heavily on stylistic exuberance, the ability to maintain legibility is a technical challenge. Cozzi addressed this by implementing a pseudo-randomization algorithm that cycles through four distinct glyph variants for each uppercase letter. This prevents the "stacking" of identical shapes, which would otherwise disrupt the visual texture of a block of text.
The character set is remarkably comprehensive for a display-focused typeface. Beyond the standard Latin set, the inclusion of extended language support—including diacritics necessary for Nordic languages—demonstrates a commitment to global usability. The expansion into Cyrillic in 2020 by Tomorrow further cemented Tomasa’s position as a viable tool for international branding and editorial design.
Key technical features include:
- Glyph Variants: Four distinct versions of every uppercase letter to avoid pattern repetition.
- Ligature System: A curated set of ligatures that enhance connectivity between characters without sacrificing clarity.
- Symbol Support: Dual designs for numerical figures and the @ symbol, along with three distinct ampersand variants.
- Specialized Glyphs: Unique design treatments for the section symbol (§) and the hryvnia currency symbol (₴), alongside a trademark symbol that integrates with the baseline stroke.
Historical Context and Influence in Type Design
The emergence of Tomasa coincides with a broader shift in the typography industry toward "expressive functionality." Over the past decade, the democratization of typeface design software has allowed for an explosion of display fonts that prioritize personality over the neutrality that defined the early 2000s web-typography era.
Fernanda Cozzi’s work fits into a lineage of South American type design that frequently challenges the strictures of traditional European pedagogical models. By incorporating cultural identifiers—in this case, the visceral, rhythmic motion of perreo—Cozzi elevates the typeface from a mere utilitarian asset to a cultural artifact. This methodology reflects a growing trend among independent foundries to prioritize the designer’s specific cultural voice, a departure from the "universal" fonts that dominated the market for decades.
Broader Implications for the Design Industry
The success of Tomasa has implications for how designers evaluate and purchase display typography. In the commercial design sector, there is often a tension between the need for high-impact, expressive type and the constraints of technical performance. Tomasa demonstrates that these two goals are not mutually exclusive. By leveraging modern browser capabilities and advanced font engineering, Cozzi has created a bridge between fine-art lettering and high-performance digital software.
Furthermore, the expansion of the family to include non-Latin scripts suggests that the future of niche display typography lies in modular, extensible systems. For international brands seeking to maintain a consistent visual identity across different regions, the ability to port the "personality" of a typeface—its rhythm, its curves, and its kinetic energy—into other scripts like Cyrillic is a highly sought-after commodity.
Critical Reception and Professional Commentary
Industry experts have noted that the "unlikely" success of Tomasa lies in its balanced geometry. The typeface combines sharp serifs with sinuous, rounded curves, a juxtaposition that typically threatens the stability of a font family. However, by managing the horizontal and vertical emphasis of the counters, Cozzi has created a sense of visual equilibrium that holds the typeface together under scrutiny.
Alvaro Franca, a noted type designer and lettering artist, has observed that the typeface functions as a complete system rather than a collection of disparate, "noisy" letters. The efficacy of the design is most apparent when viewed in a paragraph-length setting, where the interaction between the varying stylistic variants creates a cohesive texture that mimics the cadence of speech or music.
Future Trajectory for Fercozzi
The evolution of the Tomasa project serves as a case study for the professional trajectory of young, independent designers. Since the release of Tomasa, Cozzi’s foundry has continued to produce work that emphasizes similar principles of movement and personality. The foundry’s commitment to growing its library suggests that Tomasa was not a singular success but rather an indication of a broader design philosophy.
As the industry moves toward increasingly automated design processes, the value of "humanized" digital tools—those that retain the evidence of the designer’s hand—continues to rise. Tomasa stands as a benchmark for this movement, proving that digital fonts can indeed capture the nuance and energy of human expression. Whether utilized in high-fashion editorial layouts, experimental web design, or contemporary branding, the typeface offers a masterclass in how to translate intangible cultural concepts into concrete, functional digital assets.
Conclusion
Tomasa is more than a display font; it is a synthesis of technical precision and cultural narrative. By successfully navigating the complexities of OpenType programming while maintaining the expressive, kinetic spirit of its inspirations, Fernanda Cozzi has provided the industry with a tool that is as intellectually interesting as it is visually arresting. As global design standards continue to evolve toward more localized and expressive identities, the legacy of Tomasa and the broader body of work from Fercozzi will likely serve as a foundational influence for the next generation of typeface designers. The ability to merge the technical requirements of a complex glyph system with the raw, emotional power of movement remains one of the most difficult feats in typography, and with Tomasa, Cozzi has undeniably achieved that synthesis.
