In a parallel universe, I chose a reverse contrast typeface for this project. Unfortunately, not in this one. But they still have so much relevance to this project—for their truly grotesque (and I don’t mean sans-serif) attributes. I mean, c’mon. They’re insane looking.
Klim’s Maelstrom is perhaps the craziest, Typotheque’s Karloff Negative is a little less so but has a lowercase (!). It also has a pretty dope rationale and explanation for what reverse-contrast (known as Italian faces) bring to mind for most people: “At the start we looked at the high-contrast Didone typefaces which are considered by many as some of the most beautiful in existence, and the eccentric ‘Italian’, reversed-contrast typeface was designed to deliberately attract readers’ attention by defying their expectations. No other style in the history of typography has provoked such negative reactions as the Italian.”
Come ON! Negative reactions! High contrast between positive and negative! Calling this project’s name. Oh, and I found an actual in-use sample of an Italian IN ONE OF MY GRANDFATHER’S DOCUMENTS. That one most closely resembles Caslon’s Italian, which Paul Barnes did a revival of. Unfortunately, that’s not available right now. Anyway, all of this just more to document some basic research of my own. For what it’s worth there are some quality free one(s) out there (here). And I don’t find them ugly. Anyone who does should look at what Jessica Svendsen did with Maelstrom and try saying that again :)