Eckmannpsych doesn’t have an italic. Sure, one could slant it; the amorphous design would easily withstand some distortion. But that would be dull. What Thomas Colligan did in this jacket design is way better: combine it with another hot face of horizontal contrast. Temeraire Italienne echoes the modulation with heavy tops and bottoms, and also has the upward-pointing exit strokes found in Eckmannpsych’s M and N with their minuscule construction. What the italic omits in wobbliness, it makes up for in dynamism – typeface pairing at its best.