[2] Licko's design also most closely resembles Bodoni's Filosofia 3 (Siena)—one of his many versions, as each size was cut with slight adjustments to accommodate the effects of the letterpress printing process.

In a 2002 interview with Rhonda Rubenstein for Eye magazine, Licko explains her interest in traditional typefaces after becoming known for designing radical fonts: My interest in reviving the classics (which began in 1995) was sparked by two factors: the sophistication of personal computer technology, and Emigre magazine’s shift towards theory and the subsequent need for text faces to set large bodies of text.

[3] Filosofia's release in 1996 did not only signify a new chapter in Zuzana's experimentation (turning toward traditional typefaces); it also generated an unexpected collaboration.

[1] The war was sparked by an interview in a 1991 issue of Print magazine, in which Vignelli criticized Emigre Font's postmodern designs.

[1] In 2019, a Filosofia spin-off was created as part of the branding program for Parma, Italy—the city where Bodoni established his private press in 1791.