DOCSLIB.ORG

Aldo Novarese Nasce a Pontestura Il 29 Giugno 1920

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aldo Novarese Nasce a Pontestura Il 29 Giugno 1920 BIBIOGRAFIA Aldo Novarese Nasce a Pontestura il 29 Giugno 1920. Artista a tutto tondo, si occupa, infatti, di pittura, fotografia e illustrazione, anche se il suo interesse si manifesta soprattutto nella realizzazione di caratteri tipografici. Si formò alla Scuola per artieri stampatori di Torino e alla Scuola Tipografica e di Arti Affini Giuseppe Vigliardi-Paravia di Torino (1931–1936) dove fu allievo di Alessandro Butti, di cui divenne collaboratore nello studio artistico della Società Nebiolo. Lo studio era stato fondato nel 1933 da Raffaello Bertieri, umanista e disegnatore di alfabeti, con il proposito di formare specialisti nella formazione del carattere, è qui che Aldo Novarese affinerà le sue capacità esprimendosi con estro e genialità. Finita la guerra e ritornato alla vita normale, per circa quarant’anni legherà il suo nome alla fonderia Nebiolo.Nel 1952 subentra a Butti come direttore di questo studio artistico. Negli anni cinquanta disegnerà il Garaldus, classico ed elegante carattere per testi editoriali, il Juliet, garbato corsivo inglese, il Recta, ricchissimo di variazioni seriali, carattere lineare per gli stampati commerciali, e poi “fantasie” come Slogan, Ritmo, Estro. Tenta ance di contrastare il successo del carattere svizzero “helvetica” disengnadone una versione italian, che ha chiamato “forma”. Del 1962 è l’Eurostile, con lo Stop il suo carattere più conosciuto, considerato ancora moderno e rappresentativo della cultura italiana, infatti è stato scelto da Pentagram (2006) per il logo dell’identità turistica della Sardegna. Questo font ha uno stile fortemente pittografico, tanto da essere considerato il meno tipografico tra tutti i caratteri da lui disegnati. Nel 1978 la fonderi chiude definitivamente, in quanto incapace di adeguarsi alla rivoluzione dela fotocomposizione e all’imminente diffusione delle tecnologie informatiche applicate alla realizzazione dei caratteri. Prosegue, comunque la sua carriera, come freelancer per i maggiori produttori mondiali di caratteri. Tra i caratteri disegnati in questi anni troviamo il “Novarese”, il “fenice”, “il symbol”, il “mixage” ecc.. Muore a Torino il 12 Settembre 1995. Tacquindo di Aldo Novarese, con alcunie lettere schizzate Rivista caratteri dell’azienda Nebiolo, progetto Italiano della metà del 20° secolo. Fornisce echi di moderno e di antico. Copertina di pieghevole promozionale Nebiolo con iniziali di caratteri di Aldo Novarese CLASSIFICAZIONE DEI CARATTERI Nel 1957 Novarese propose una classificazione degli stili dei caratteri tipografici ispirata a quella di Maximilien Vox del 1955. Attraverso i tratti terminali (del piede) si riconoscono i caratteri suddivisi in dieci distinte famiglie, secondo la caratterizzazione storica, estetica e del disegno. Lapidari si rifanno ai caratteri romani antichi. Hanno grazie triangolari che formano un angolo acuto con la linea di base. Medioevali chiamati anche gotici. Erano i caratteri tipici del periodo di Gutenberg, ma oggi di difficile lettura. Hanno estremità allungate caratterizzate da angoli accentuati. Le grazie sono definite “a punta di lancia rivolta verso il basso”. Veneziani derivano dai caratteri romani antichi, come i Lapidari, ma da questi si differenziano per l’estremità arrotondata delle grazie e per il piede dell’asta appena concavo. Transizionali hanno grazie orizzontali e sottili, terminano con un’asta la cui base ha andamento lineare. Il Times New Roman è un tipico esempio di carattere Transizionale. Bodoniani hanno un rapporto di spessore esasperato tra le aste. Hanno grazie che si uniscono con l’asta verticale della lettera, formando un evidente angolo retto. Scritti detti anche calligrafici. Imitano la scrittura a mano. Assumono pertanto caratteristiche assai eterogenee in relazione al tipo di strumento di scrittura che si imita. Possono essere suddivisi in calligrafici legati o non legati. Ornati sono caratteri con decorazioni. Formati generalmente dalle solo lettere maiuscole, utilizzati come capilettera. Egiziani sono riconoscibili per le grazie ad angolo retto. Lineari detti anche bastoni. Sono i caratteri di concezione più moderna, privi di grazie e spessori delle aste uniformi, al giorno d’oggi chiamati comunemente sans serif. Fantasie gruppo difficilmente classificabile, comprendente tutti i caratteri che non rientrano nelle precedenti categorie. Classificazione dei caratteri eseguita da Aldo Novarese Copertina dello specimen dello Stop Principali font disegnatia Aldo Novarese per la Nebiolo Presentazione del carattere “ritmo” ed “estro” Dettaglio della pagina della sezione “Microgramma” Dettaglio della pagina della sezione “Microgramma” Descrizione del carattere “Egizio” Fotografia dell’agenzia Nebiolo Copertina del catalogo dei caratteri dell’agenzia Nebiolo SITOGRAFIA http://www.aldonovarese.com/ http://tipografos.net/designers/novarese.html http://coopertypography.wordpress.com/2009/12/28/aldo-novarese/ http://www.linotype.com/742/aldonovarese.html http://en.wikipedia.org/wiki/Aldo_Novarese http://it.wikipedia.org/wiki/Aldo_Novarese Elisa Ghirardon | STC 4188 Corso di laurea in Scienze e Tecniche della Comunicazione grafica e multimediale. Mestre | A.A.2013 - 2014.
Load more

Recommended publications
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Design One Project Three Introduced March 21. Due April 11. Typeface
    Design One Project Three Introduced March 21. Due April 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used or the evolving fashion of design. Type designers often have imagery in mind while they are designing faces. Eurostile, designed by Aldo Novarese in 1962, was inpsired by images of the 60s Italian streetcar windows and televisions. An analogy is a similarity in some respect between thngs that are otherwise dissimilar. Type is not a picture but the letter o of Eurostile shares a strong visual relationship with the window of a streetcar. And more importantly, it’s design reflects the modernism of the 1960s. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer.
    [Show full text]
  • Type Classifications Are Useful, but the Common Ones Are Not
    Indra Kupferschmid Veröffentlicht am:31. MÄRZ 2012 http://kupferschrift.de/cms/2012/03/on-classifications/ This is an article I wrote for the publication accompanying the conference Research in Graphic Design at the Academy of Fine Arts Kattowice where I gave a talk on the subject in January 2012. Please excuse the lack of illustrations. I will try to add some later, but usually those are empty promises as you can see in other posts on this site.Reading time ca. 16 minutes Type classifications are useful, but the common ones are not t is a recurring phenomenon that we tend to sort what comes in large amounts, to be able to grasp it, for quicker reference, and to find it again more easily. Once Iorganized you don’t have to look at everything all the time but only consult the parts of your current interest. The vast world of type is a prime case. Grouping typefaces also breaks down the process of identifying them into a less challenging task. Any categorization covers three aspects: 1. sorting into groups (this is what scholars and historians do, also type manufacturers), 2. referencing (educating) and 3. “taking out” or finding (this is what the user usually does). The aspect of finding a typeface though is crucial to many more people, every day, than the act of classifying them. You sort your CDs once and then only look at the respective shelf when you want to listen to Jazz for example. This is why I think a (more) useful classification is one that helps the user to find and select typefaces and which is structured accordingly.
    [Show full text]
  • „Bitstream“ Fonts
    Key to the „Bitstream“ Fonts The history of typefaces is the history of forgeries. One of the greatest forgers of the 20th century was Matthew Carter. The Bitstream website (http://www.myfonts.com) describes him as follows: Matthew Carter of United Kingdom. Born: 1937 Son of Harry Carter, Royal Designer for Industry, contemporary British type designer and ultimate craftsman, trained as a punchcutter at Enschedé by Paul Rädisch, responsible for Crosfield's typographic program in the early 1960s, Mergenthaler Linotype's house designer 1965-1981. Carter co-founded Bitstream with Mike Parker in 1981. In 1991 he left Bitstream to form Carter & Cone with Cherie Cone. In 1997 he was awarded the TDC Medal, the award from the Type Directors Club presented to those „who have made significant contributions to the life, art, and craft of typography“. Carter’s „significant contribution to the life, art, and craft of typography“ consisted of forging the Linotype typeface collection. Carter can be characterized as a split personality. On the one hand, he has designed several original typefaces. On the other hand, he has forged hundreds of fonts. The following lists reveal that ca. 90% of the „Bitstream“ fonts are forgeries of the fonts contained in the catalog „LinoTypeCollection 1987“ („Mergenthaler Type Library“), i.e. the „Bitstream“ fonts are „nefarious evil knock-off clones“ (Bruno Steinert) of fonts sold by Linotype in the mid-1980s.1 „L“ in the following lists denotes that the font is contained in the „LinoTypeCollection 1987“. In the mid-1980s, the Linotype library comprised hundreds of typefaces with a total of 1700 fonts.
    [Show full text]
  • The Social Network the Font Eurostile® Typeface Is Still an Iconic, Contem Eurostile® Typeface Is Still an Iconic, Eurostile, Was Introduced in 1962
    ì íîïðñòó ôõöøù Xx YyZz Uu VvWw Pp QqRrSsTt Ll MmNnOo Ff GgHhIiJjKk Aa BbCcDdEe À ÁÂÃÄÅ ÆÇÈÉ á âãäåæ ç èéêë Ê ËÌÍÎÏÐÑ ÒÓÔÕ ˛ ˜ ˝ – — ‘ ’ ‚“ ”„ † ‡ ¯ ° ± ²³´ µ¶· ¸¹º» Ö ØÙÚÛÜ ÝÞßà • … ‰ ‹ › ⁄ ™ − fi fl ¤ ¥° ¦ §¨©ª«¬ ® ¼ ½ ¾¿ ƒˆ ˇ ˘˙˚ ú ûüý ×þÿıŁłŒ œ Šš ŸŽž¡÷¢ £ Eurostile About the Designer and Linotype: The day Ottmar Mergenthaler demonstrated the first linecasting machine to the New York Tribune in 1886, About Eurostile: Whitelaw Reid, the editor, was delighted: “Ottmar,” he Designed in early 1950s as a modern in- said, “you’ve cast a line of type!” The editor’s words terpretation of sans serif letterforms, the formed the basis for the company label, and marked the Eurostile Medium Eurostile® typeface is still an iconic, contem- beginning of Linotype’s success story. Four years later, porary design. First drawn as a cap-only face the ingenious inventor founded the Mergenthaler Linotype by Alessandro Butti, with help from his young Company. With more than 100 years of successful busi- assistant, Aldo Novarese for the Nebiolo ness to its credit, Linotype operates today as a wholly type foundry, this all-cap (or titling) typeface owned subsidiary of Monotype Imaging Holdings. became the Microgramma™ design. Linotype GmbH provides superior quality typographic Although intended for short lines of display products and services to brand managers, designers, copy, Microgramma was popular for the publishers, IT administrators and product developers. better part of 10 years before Novarese Home to legendary typefaces including the Helvetica®, decided to add the missing lower case to the Frutiger® and Univers® families, Linotype provides trusted, typeface. The completed design, renamed global design expertise and is committed to serving the design community.
    [Show full text]
  • ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C N Dsplay
    UPPER AND LOWER CASE THE INTERNATIONAL JOURNAL OF GRAPHIC DESIGN AND DIGITAL MEDIA PUBLISHED BY INTERNATIONAL TYPEFACE CORPORATION VOLUME 24, NUMBER 2, FALL 1997 $5.00 US, $9.90 AUD, .£4.95 *********************5-D IGIT 54117 ITC C 127 P 426 0543251 50 0 GREG DUNDIS GREG DUNDIS DESIGN & PROD 1801 HAYES ST APT 6 SAN FRANCISCO CA 94117-1250 I T C n Dsplay. i A resource t h a t w i I I last f o nleash your creativity with the ITC On Display CD ROM. This limited edition, unlocked CD ROM contains the entire ITC Fontek Now for the first and last time, over 375 unmatched display faces from Display Library. ITC On Display the ITC® Fontek® Library are offered together on an unlocked CD Rom. has been created to provide Here's just a sampling: graphic designers with unparal- ITC A;tiftearnim leled access to typefaces that are known for their timeless Ai•ctlefgh;jkinioripv-zsfi4wxyz beauty and exceptional quality. 12-345 4 77.90!@#$%Abc()?/ Now you can design with PX-G Zfackactireim confidence, knowing that you have at your fingertips over 375 a Eccrefilii ijkimon cpyrz otuutacyz display typefaces in TrueType 12,4,5678y o .1 ® #4%; " 1 * ? / and Type 1 formats for both 11C Macintosh and Windows. The hiejg- hij%iikon.fr,ffr.2.14A),eg2 cost for this invaluable tool is $2,999. A limited number of ( 1234 5- ‘7cr9 ./@ rl 7 CDs have been produced. So when they're gone, they're gone. 1"6114 0 Tm AbC -6 fl i [ hi 11/4/1 011f:IGKA_Stk4t4 X ITC On Display.
    [Show full text]
  • A Database of Typeface Classification Systems Anthony Kllc Di Pietro
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1999 A Database of typeface classification systems Anthony Kllc Di Pietro Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Di Pietro, Anthony Kllc, "A Database of typeface classification systems" (1999). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. School of Printing Management and Sciences Rochester Institute of Technology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Masters Thesis of Anthony C. Kllc Di Pietro With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation / J dJte Thesis Committee: Thesis Advisor GrJduJte ProgrJm CoordinJtor Director Copyright 1999 Anthony C. Kile Di Pietro A Database of Typeface Classification Systems by Anthony C. Kile Di Pietro May 1999 A thesis project submitted in partial fulfillment of the requirements for the degree of Masters of Science in the School of Printing Management and Sciences in the College of Imaging Arts and Sciences of the Rochester Institute of Technology Thesis Advisor-Professor Archie Provan I, Anthony C. Kile Di Pietro, wish to be contacted for requests for reproduction of this thesis, either whole or in part. My permanent e-mail address is: [email protected] Acknowledgements The author would like to acknowledge the following people for their assistance throughout the research and development of this thesis.
    [Show full text]
  • 20Th Century Type Designers
    . IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN Alessandro Segalini, Dept. of Communication Design: alessandro.segalini @ ieu.edu.tr — homes.ieu.edu.tr/~asegalini TYPOGRAPHIC DESIGN 2oth century Type Designers Frederic W. Goudy (1865-1947) Frederic W. Goudy (1865-1947) Goudy was the oldest, one of the most prolific and dedicated of the great innovative type designers Bruce Rogers (1870-1957) of the last century, his remained fonts place him among the handful of designers who have changed the look of the types we read. Born in Bloomington, Illinois, at the age of 24 moved to Chicago and began a series of clerking jobs, then set up a freelance lettering artist for a number of stores, and later Rudolf Koch (1876-1934) got a teaching position at the Frank Holme School of illustration as a lettering tutor. He was him- self becoming increasingly fired by craft ideals. Commisioned by the America Lanston Monotype William Addison Dwiggins (1880-1956) designed the typeface called 38-E after his early designs Camelot, Pabst, Village, Copperplate Gothic, Kennerly and Forum titling. On 1945 ATF cut and produced the face designed on 1915 now known as Goudy Old Style. Goudy had a native American immunity to the austere European view on typogra- Eric Gill (1882-1940) phy; his types are individual, always recognisable. Stanley Morison (1889-1967) Bruce Rogers (1870-1957) Rogers was a book designer whose attention to the minutiæ of his work led him occasionally to the Giovanni Mardersteig (1892-1977) design of type, at the point that his major achievement in this field, Centaur, has been described by Prof.
    [Show full text]
  • An Investigation Into the Growing Popularity of Script Typefaces and the Technical Means by Which They Are Created Today Yacotzin Alva
    Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 5-1-1997 An Investigation into the growing popularity of script typefaces and the technical means by which they are created today Yacotzin Alva Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Alva, Yacotzin, "An Investigation into the growing popularity of script typefaces and the technical means by which they are created today" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute ofTechnology SCHOOL OF PRINTING MANAGEMENT AND SCIENCES An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today. A thesis project submitted in partial fulfillment of the requirements for the degree of Master of Science in the School of Printing Management and Sciences of the College of Imaging Arts and Sciences of the Rochester Institute ofTechnology Yacotzin Alva Thesis Advisor: David Pankow Technical Advisor: Archibald Provan Rochester, New York School of Printing Management and Sciences Rochester Institute ofTechnology Rochester, New York Certificate ofApproval Master's Thesis This is to certify that the Master's Thesis of Yacotzin Alva With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation of May, I997 Thesis Committee: David Pankow Thesis Advisor Marie Freckleton Graduate Pro am Coordinator Director or,Designate An Investigation into the Growing Popularity of Script Typefaces and the Technical Means by which They are Created Today.
    [Show full text]
  • A Discussion with Claudio Beccari, Texie and Book Lover
    i \eutypon21" | 2009/1/23 | 13:53 | page 15 | #19 i i i Εὔτυπon, τεῦχος 21 — >Okt¸brioc/October 2008 15 A discussion with Claudio Beccari, TEXie and book lover Dimitrios Filippou Kato Gatzea GR-373 00 Agria Volos Greece E-mail: dfilipp at hotmail dot com Claudio Beccari is a well-known TEXie. He has contributed enormously in the expansion of TEX outside the English-speaking world, particularly in the creation of tools for typesetting Latin-based languages with TEX. But most likely, Claudio is known for his fonts for typesetting Greek text. His cb font bundle has become the de facto standard for typesetting Greek text. Recently, the cb fonts were released in Type1 format, as described in Claudio's own paper in this issue of Eutypon. In summer 2008, Claudio announced that he was retiring from the position he held at Politecnico di Torino. On that occasion, we asked him for a web interview. Claudio gladly accepted to answer our questions. Eutypon (Dimitrios Filippou): Dear Claudio, you are one of the most faith- ful TEXnicians and one of the most prolific METAFONT users. Your work on Greek fonts is well known and extremely appreciated by the TEX community. However, few know you as a professor at Politecnico di Torino. Could you please tell us a bit about yourself outside TEX, about your life, your career and your achievements? Claudio Beccari: I got my Master's Degree in Electronics Engineering in 1963. I immediately entered as a researcher in Network Theory at Politecnico di Torino and I got the Libera Docenza degree in 1971 (this degree is a sort of professorship degree; it does not exist anymore today).
    [Show full text]
  • Aldo Novarese Geboren Am 29
    Aldo Novarese Geboren am 29. Juni 1920 in Pontestura, gestorben am 16. September 1995 in Turin. Besucht von 1931 bis 1933 die Scuola Artieri Stampatori (eine berufsbildende Mittelschule) in Turin, wo er Holzschnitt, Kupfer- stich und Lithographie lernt. Danach an der Scuola Tipografica Guiseppe Vigliardi Paravia, wo er in Abendkursen seit 1935 Alessandro Butti zum Lehrer hat. 1936 Graphischer Zeichner in der Schriftgießerei Nebiolo, deren künstlerischer Leiter er 1952 wird. Von 1950 bis 1958 nebenamtlich an der Scuola Vigliardi Paravia als Lehrer für graphi- sches Zeichnen tätig. http://www.aldonovarese.com Alfabeta Reber Americane Iniziali Custom Font Arbiter Light 1989 H. Berthold AG Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Arbiter Light Italic 1989 H. Berthold AG Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 http://www.klingspor-museum.de Arbiter 1989 H. Berthold AG Linotype Arbiter Italic 1989 H. Berthold AG Linotype Arbiter Medium 1989 H. Berthold AG Linotype Arbiter Medium Italic 1989 H. Berthold AG Linotype Arbiter Bold 1989 H. Berthold AG Linotype Arbiter Bold Italic 1989 H. Berthold AG Linotype 1978 VGC 1978 VGC Athenaeum Initials Negativ Società Nebiolo Linotype ABCDEFGHIJKLMNOPQ RSTUVWXYZ Athenaeum Initials Positiv Società Nebiolo Linotype mit Alessandro Butti ABCDEFGHIJKLMNOPQ RSTUVWXYZ 1951 Società Nebiolo AUGUSTEA OPEN 1951 Società Nebiolo Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Nova Augustea 1964 Società Nebiolo Augustea und Augustea Open mit Alessandro Butti Tygra Basilar Haas Basilar nero Haas 1974 VGC G. B. Bodoni nero stretto 1958 Società Nebiolo 1998 Monotype Linotype 1998 Monotype Linotype http://www.klingspor-museum.de Cigno 1954 Società Nebiolo Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Colossalis 1984 H. Berthold AG Linotype ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Colossalis Medium 1984 H.
    [Show full text]