• It
Sign in Get Pulp Pulp 27
Pulp
Sign in Get Pulp Pulp 27
Pulp
  • Inspiration82
  • Stories80
  • News163
  • Pulp Archive
  • Materials Index
  • About Pulp
  • Tell Us
  • Sign in
  • Get Pulp
  • Pulp 27
  • It
Browse Themes
Corporate communicationDigital printingGraphic designIllustrationInterviewsLabelLarge formatPackagingPeople & PaperPhotographyPrintingPublishingSustainabilityInspirationStoriesNews
Pulp

Log-In

Please enter your credentials to access all Pulp contents.

Forgot your password?

New to Pulp? Register for free

New to Pulp?

Register for free to have full access to our content.

Register

Terre di Cleta.

3 min minutes
News

Legends and lore

Numeroquattro draw inspiration from Greek myths and Italian traditions for oil and wine labels
Graphic designLabelPrinting

Terre di Cleta.

La Lepre e la Luna.

Founded by Lorenzo Richiardi in 2001, Numeroquattro is a studio with a growing interest in package design. Collaborating with olive oil producer Tenute Quattro, the studio’s labels for Terre di Cleta were inspired by a tale from Greek mythology that relates to Calabria, where the olive grove stands.

Legend states that Cleta, a nurse, journeyed by sea to recover the body of Amazonian queen Penthesilea, killed by Achilles during the Trojan War. When the vessel was shipwrecked on the Calabrian shores, Cleta founded the city that bears her name.

For the Terre di Cleta label, the mix of overlapping materials creates a tactile mix of matte, foiled and glossy finishes. Richiardi says: ‘The three-dimensional approach aims to recreate the terrain’s slopes and its olive groves, just as one would see when looking towards the horizon.’ The label, made of Tintoretto Gesso Greaseproof, was used for its ‘anti-fingerprint treatment, ensuring the label remains intact during use’.

A similar approach was used on labels for Italian winery La Lepre e la Luna [The Hare and the Moon], named after a Japanese legend. This floral technique was connected to the Italian tradition of planting a rose in close proximity to each row in the vineyard to help prevent nutrient deficiencies and plant diseases. Because roses are more vulnerable to these issues, they can alert the winemakers to potential problems.

For Numeroquattro, ‘it wasn’t enough to simply draw the flower’, so they hand-glued genuine stabilised rose petals, making each bottle unique. Cotone Bianco WS Barrier was chosen because ‘it can perfectly resist moisture’.

In both projects – Terre di Cleta and La Lepre e la Luna – the product name features on the hot-stamped neck labels.

Terre di Cleta label.
Terre di Cleta label.
Terre di Cleta label.
La Lepre e la Luna labels.
La Lepre e la Luna labels.

Papers:
Tintoretto Gesso Greaseproof
Cotone Bianco WS Barrier

numeroquattro.com

numeroquattro.com/progetto-grafico-etichette-vini-la-lepre-e-la-luna

numeroquattro.com/progetto-grafico-etichette-vino-terre-di-vita

lalepreelaluna.it

Numeroquattro Studio Instagram

Featured Materials

Tintoretto

The uncoated natural papers in the Tintoretto range are made from pure ecological ECF cellulose, FSC™ certified, and felt-marked. Also available in self-adhesive version.

Cotone

The Cotone range includes treefree papers with a precious felt-marked texture a different nuances including black pulp-dyed versions, which make it one of the must-have self-adhesive papers preferred by label designers all over the world.

Related articles

Inspiration 10/05/2022

Circular pioneers

A book about the fashion industry tells the sustainability story in its production. By Pulp editors
Digital printingGraphic designPublishingSustainability
Stories 07/06/2022

People and paper: Giancarlo Iliprandi

John L Walters interviews Milanese designer Giancarlo Iliprandi, whose career is celebrated in a new book
Graphic designInterviewsPublishing
News 15/06/2023

Storytelling giants of print

Umberto Giovannini’s book conjures up a ‘travel map of printmaking’
Graphic designPrintingPublishing
Inspiration 10/06/2022

Book of Bob

This lavish book of photos by Daniel Kramer captures the young Bob Dylan in the period when he turned music upside down. By Martin Colyer
Graphic designPhotographyPrinting
Pulp © 2025
Fedrigoni
Fedrigoni
COOKIE POLICY PRIVACY POLICY ACCESSIBILITY STATEMENT
Pulp © 2025