The evolution of roman capitals during the first centuries of Christianity was marked by the appearance of ligatures, the conjunction of two, three, or four letters joined together or combined. They met the need to carve longer inscriptions in a given space while maintaining a consistent balance for each line, sometimes to the detriment of legibility when their use became widespread: the text was thereby transformed into a sophisticated visual mesh, to the great delight of paleographers in search of decryption work. Migrating from stone to parchment, ligatures took many shapes according to the style of writing, and proliferated in both upper and lower case typographies. Some ligatures, passed down to posterity, are still discreetly operative in digital type families, whereas other ligatures provide their essential leitmotif.
The series of ligatures included in Infini, honoring its debt to the lapidary tradition and bringing it back into play, makes it possible to maximize the graphic value of a name, title or logotype, and to rhythmize headings and paragraphs in the most diverse layouts. This series constitutes a sample that can be readily extended to cover every possible combination – this being one infinite side of Infini.