The Rhythm of the Glyph: A Deep Dive into Fernanda Cozzi’s "Tomasa"

Introduction: A Masterclass in Expressive Typography

In the ever-evolving landscape of digital type design, few fonts manage to capture the kinetic energy of human movement. When Argentinian designer Fernanda Cozzi—known professionally as Fercozzi—unveiled Tomasa, the design community was met with a typeface that defied conventional constraints.

As noted in a critical review by designer Álvaro Franca, Tomasa is a rarity: a typeface that manages to be wildly expressive while maintaining the structural integrity required for functional, professional use. It is a bold, uppercase-only display face that feels less like a static set of characters and more like a choreographed performance. This article explores the mechanics, cultural inspirations, and technical brilliance that make Tomasa a landmark achievement in contemporary typography.

The Genesis of Tomasa: A Chronology of Influence

The story of Tomasa is rooted in the vibrant cultural landscape of South America. To understand the typeface, one must understand the influence of perreo—a dance style synonymous with reggaeton and funk carioca.

The Cultural Catalyst

For those unfamiliar with the term, perreo is not merely a dance; it is a rhythmic physical expression characterized by deep, fluid, and often provocative movements. Fernanda Cozzi channeled this exact energy into the construction of her glyphs. She sought to capture the feeling of "getting down" or going hasta abajo—a common phrase in the genre—through the undulating curves and varying weights of the letterforms.

From Concept to Execution

The development of Tomasa was not a linear process. Cozzi challenged herself to create a typeface that pushed the boundaries of traditional serifs. By 2021, when the font began garnering significant international attention, it had already solidified its reputation as a "living" typeface. The collaboration with Tomorrow, which released a Cyrillic variant in 2020, further expanded the font’s global footprint, proving that its expressive nature was not limited to the Latin alphabet but could be adapted to diverse linguistic requirements.

Technical Anatomy: How Tomasa Functions as a System

One of the most common pitfalls for expressive display typefaces is a lack of usability. Designers often prioritize "flair" at the expense of versatility, leading to fonts that look good in a singular logo but fail in a layout. Tomasa avoids this trap through a sophisticated programmatic approach.

The Power of Alternates

At the heart of Tomasa lies a robust system of stylistic variants. Each letter features four distinct versions, ensuring that the rhythm of the text remains dynamic. By utilizing OpenType features, the font programmatically cycles through these variants. This clever automation prevents the visual monotony that often occurs when a designer overuses a specific character, ensuring that the "dance" of the letters feels fresh throughout a paragraph.

Structural Duality

The genius of Tomasa is its ability to blend contradictory elements. The font features:

• A mix of upper- and lowercase constructions: This creates a visual hierarchy that feels intuitive.
• Horizontal and vertical emphasis: The letters lean into their negative space, allowing the counters (the empty space inside a letter) to dictate the flow of the word.
• Sinuous curves vs. sharp serifs: The contrast between the soft, organic curves and the aggressive, sharp terminal points creates a tension that keeps the reader’s eye moving.

Beyond the Alphabet

Cozzi’s attention to detail extends far beyond the basic twenty-six letters. Tomasa is a comprehensive toolset:

• Broad Language Support: The inclusion of accented characters ensures that the typeface remains functional for Nordic and other European languages.
• Special Characters: The typeface includes two distinct designs for figures and the @ symbol, as well as three unique ampersands—a nod to the designer’s playful appreciation for typographic variety.
• Iconic Glyphs: Fans of the typeface frequently point to the section symbol (§), the hryvnia symbol (₴), and a charming trademark symbol that elegantly ligates with the stroke below it as standout features.

The Designer’s Perspective: Insights from Álvaro Franca

Álvaro Franca, a renowned type designer and graphic designer based in Rio de Janeiro, highlights the emotional impact of the font. "The first time I saw Tomasa, I was thunderstruck," he remarked. "I wish I could design like that!"

Franca’s analysis serves as a professional validation of Cozzi’s work. His observations on how Tomasa functions as a "system" provide context for why the font succeeds where others fail. He notes that the rhythm of the letterforms—moving up and down based on the placement of counters—is an intentional, masterful choice that forces the reader to engage with the text as an image as much as a linguistic medium.

Implications for Contemporary Typography

The success of Tomasa marks a shift in how we perceive display typefaces. It challenges the industry standard that expressive fonts should be relegated to niche or short-form use.

Bridging the Gap Between Art and Utility

Tomasa sits at the intersection of fine art lettering and rigid typeface engineering. Because it is so technically sound, it has found a home in editorial design, branding, and motion graphics. Designers no longer have to choose between a "functional" font and a "fun" font; Cozzi has provided both.

The Role of the Independent Foundry

As the library of the Fercozzi foundry continues to expand, Tomasa serves as its crown jewel. The typeface demonstrates the importance of independent design houses in driving innovation. Unlike large corporate foundries that often focus on safe, neutral, and highly readable sans-serifs, independent designers like Cozzi are taking risks that push the industry forward, proving that personality and character are not "bugs" in a font, but essential features.

Conclusion: A Career-Defining Achievement

Tomasa is more than just a collection of characters; it is a testament to the power of cultural influence in design. By translating the kinetic, rhythmic soul of perreo into a digital format, Fernanda Cozzi has created a tool that allows designers to inject passion and movement into their work.

For those who prioritize expressive type, Tomasa is an essential addition to their arsenal. It represents a crowning achievement in a career that is, by all accounts, still in its ascendancy. Whether used for a bold headline, an intricate editorial layout, or a motion graphic sequence, Tomasa guarantees one thing: it will never be ignored. It is a reminder that in the world of typography, the most successful designs are those that don’t just convey information, but convey a feeling.

About the Reviewer (Contextual Note)

This analysis draws upon the expert critique of Álvaro Franca, a type designer and lettering artist with a deep background in the field. Having studied at EINA in Barcelona and the Plantin Moretus Institute in Antwerp, Franca’s perspective provides a technical framework for understanding why Cozzi’s work resonates so deeply within the professional design community.