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Pangram Pangram Foundry’s PP Lettra Mono is a monospaced serif with two roots: the classic look of serif typewriters and the precise classifications of botanical illustration. For its launch, Brescia and Amsterdam-based took on the art and creative direction of the full campaign, built as a narrative across four seasons. Among the vast array of visuals is a key image that sets the type into heirloom lace and embroidered linen, the wordmark stitched and pressed into the cloth. It pairs a hand-worked cloth and a monospaced serif that are made in much the same way. “Lace, therefore, became the perfect surface for PP Lettra: delicate and ornamental, yet built through repetition, rhythm and precision,” the studio explains.

“We didn’t see it simply as a mechanical or typewriter-inspired typeface, but as something that also belonged to a more archival, instructional and botanical visual world,” the studio notes. A tension of “very heavy vertical strokes balanced by finer horizontals, always held in perfect equilibrium” was already present in the letterforms, and the campaign keeps it.

The four seasons concept became the spine of the project, each with its own tone and palette but sharing the same methods. “One element alone remains constant throughout the campaign: the ‘@’ symbol resting in the meadow, but it evolves with the passing of seasons, becoming the trait d’union of the campaign,” the studio details.

Summer has a playing-card set, designed for the launch from a purpose-built visual language: a custom monogram, ornamental linework and suit symbols made from crosses and asterisks, all bathed in the warm light of a slow afternoon. “The central symbol was particularly appreciated by Pangram Pangram and was later incorporated into the typeface itself, almost like a seal,” the studio reveals, the mark recurring across every season.

Elsewhere, an editorial poster looks like a broadsheet of running text, showing how the typeface performs at length. “Set in paragraphs, the typeface creates a remarkable visual density, almost becoming a typographic texture,” the studio adds, treating the text as a graphic surface as much as something to read. In that poster, “we used the density of the composition to gradually reveal, through colour, the silhouette of a garden gnome” – like an unexpected figure drawn out of the type.

The campaign combined scanning, print, 3D, code, editorial layout and visual effects – analogue and digital tools informing one another. “Code, in particular, allowed us to generate variations, systems and behaviours that would have been much more difficult to achieve through a purely traditional approach,” the studio notes. Beneath the surface sit literary references: the letters between Virginia Woolf and Vita Sackville-West, Italo Calvino’s Il Barone Rampante and Lana Del Rey’s Summertime Sadness. All are seeded as “quiet clues, shaping the atmosphere of the campaign without ever announcing themselves explicitly.” “What ultimately held such an extensive campaign together was the structure of the four seasons, conceived as both a narrative framework and a progressive marketing campaign,” the studio concludes.