Post-modern typefaces - Caratteri post-moderni
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Cast by Nebiolo, 1962. This masterpiece created by the most prolific 20th-century Italian type designer, embodies the economic boom of the florid 1960s. Thanks to its clear and essential lines, Eurostile is not subject to the transience of fashions and has become a paradigm of modernity. In fact, it appears also in "2001: A Space Odyssey". Eurostile is the lowercase version of Alessandro Butti’s Microgramma. Novarese in 1967 designed Metropol, which takes inspiration from Eurostile and is characterized by greater thickness, compactness and vertical development. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Eurostile, Aldo Novarese per Nebiolo, 1962. Questo carattere, uno dei capolavori di Aldo Novarese, che fu il più prolifico creatore di caratteri del Novecento, rappresenta graficamente il miracolo economico italiano del dopoguerra, sfociato nei floridi anni Sessanta. Grazie alle sue linee nitide ed essenziali, nelle diverse versioni in cui è declinato l’Eurostile si sottrae alla caducità delle mode, essendo oramai un classico entrato nella memoria collettiva, tanto da figurare in molteplici impieghi nell’editoria e nella pubblicità, come anche nel film 2001: Odissea nello Spazio, paradigma di modernità. L’Eurostile utilizza le maiuscole del Microgramma di Alessandro Butti, cui Novarese aggiunse il minuscolo. Sulla base dell’Eurostile, Novarese nel 1967 crea il Metropol, caratterizzato da maggiore spessore, compattezza e sviluppo verticale. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
Eurostile, Aldo Novarese for Nebiolo, 1962.
This masterpiece created by the most prolific 20th-century Italian type designer, embodies the economic boom of the florid Sixties. Thanks to its clear and essential lines, Eurostile is not subject to the transience of fashions and has become a paradigm of modernity. In fact, it appears also in 2001: A Space Odyssey. Eurostile is the lowercase version of Alessandro Butti’s Microgramma. Novarese in 1967 designed Metropol, which takes inspiration from Eurostile and is characterized by greater thickness, compactness and vertical development. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Eurostile, Aldo Novarese per Nebiolo, 1962. Questo carattere, uno dei capolavori di Aldo Novarese, che fu il più prolifico creatore di caratteri del Novecento, rappresenta graficamente il miracolo economico italiano del dopoguerra, sfociato nei floridi anni Sessanta. Grazie alle sue linee nitide ed essenziali, nelle diverse versioni in cui è declinato l’Eurostile si sottrae alla caducità delle mode, essendo oramai un classico entrato nella memoria collettiva, tanto da figurare in molteplici impieghi nell’editoria e nella pubblicità, come anche nel film 2001: Odissea nello Spazio, paradigma di modernità. L’Eurostile utilizza le maiuscole del Microgramma di Alessandro Butti, cui Novarese aggiunse il minuscolo. Sulla base dell’Eurostile, Novarese nel 1967 crea il Metropol, caratterizzato da maggiore spessore, compattezza e sviluppo verticale. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on www.talloneeditoreshop.com. Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
Type inspired to Eurostile. This specimen is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/experimental-typography/40-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece. Sulla base dell’Eurostile, Novarese nel 1967 crea il Metropol, caratterizzato da maggiore spessore, compattezza e sviluppo verticale.
Italian and European typefaces. Second half of the 1950s.
Among them, some masterpieces of Italian design, such as Eurostile, Forma and Stop. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Caratteri post-moderni, prodotti in Italia e in Europa dalla seconda metà degli anni Cinquanta, tra cui alcuni capolavori della creatività italiana come l'Eurostile, il Forma, lo Stop della Fonderia Nebiolo. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/all-titles/44-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
Helvetica, Max Miedinger and Edward Hoffman, Haas Foundry, 1957.
The aim behind this new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of uses. The secret of its worldwide success lies in this formula. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Helvetica, Max Miedinger e Edward Hoffman per la Fonderia Haas, Münchenstein (Basilea), 1957. Nato con il nome "Neue Haas Grotesk", questo moderno lineare si declina in numerose serie (dalle più fini alle più nere) molto indovinate, che ne hanno decretato il grande duraturo successo. Lo scopo di questo nuovo design era di creare un carattere neutro di grande chiarezza, che non fosse portatore di un intrinseco significato nelle sue forme, in modo da potersi adattare alla più ampia varietà di impieghi. Proprio in questa scelta risiede il segreto della sua planetaria diffusione. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
Helvetica, Max Miedinger and Edward Hoffman, Haas Foundry, 1957.
The aim behind this new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of uses. The secret of its worldwide success lies in this formula. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Helvetica, Max Miedinger e Edward Hoffman per la Fonderia Haas, Münchenstein (Basilea), 1957. Nato con il nome "Neue Haas Grotesk", questo moderno lineare si declina in numerose serie (dalle più fini alle più nere) molto indovinate, che ne hanno decretato il grande duraturo successo. Lo scopo di questo nuovo design era di creare un carattere neutro di grande chiarezza, che non fosse portatore di un intrinseco significato nelle sue forme, in modo da potersi adattare alla più ampia varietà di impieghi. Proprio in questa scelta risiede il segreto della sua planetaria diffusione. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
Helvetica, Max Miedinger and Edward Hoffman, Haas Foundry, 1957.
The aim behind this new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of uses. The secret of its worldwide success lies in this formula. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Helvetica, Max Miedinger e Edward Hoffman per la Fonderia Haas, Münchenstein (Basilea), 1957. Nato con il nome "Neue Haas Grotesk", questo moderno lineare si declina in numerose serie (dalle più fini alle più nere) molto indovinate, che ne hanno decretato il grande duraturo successo. Lo scopo di questo nuovo design era di creare un carattere neutro di grande chiarezza, che non fosse portatore di un intrinseco significato nelle sue forme, in modo da potersi adattare alla più ampia varietà di impieghi. Proprio in questa scelta risiede il segreto della sua planetaria diffusione. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/experimental-typography/40-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
Forma light, Nebiolo, 1965-68.
In a period when photocomposition began to replace traditional foundry types, the Nebiolo society put up a team of designers (Giancarlo Iliprandi, Bruno Munari, Franco Grignani, Ilio Negri, Till Neuburg, Luigi Oriani and Pino Tovaglia) with the aim to create, under the guidance of Aldo Novarese, a sans serif type which, thanks to its impersonality, could lend itself to a variety of uses. In a photograph shot in Turin during a meeting, the expression on Aldo Novarese's face clearly shows how much he disliked this 'invasion' of designers, that, however talented they might be, still were perfect strangers to the world of type foundry. “G”, “R” and “a” are available in two versions. Both the two “R” are shown in the image. Any partial or total reproduction is forbidden without the written consent of Alberto Tallone Editore. © Photos Ottavio Atti - Archive of Styles® Carattere Forma chiarissimo, Nebiolo, 1965-68. In un periodo in cui la fotocomposizione iniziava a sostituirsi ai tradizionali caratteri di cassa, la società Nebiolo diede vita a un carattere lineare che grazie alla propria impersonalità potesse prestarsi agli usi più diversi. In questa ricerca, furono affiancati ad Aldo Novarese Giancarlo Iliprandi, Bruno Munari, Franco Grignani, Ilio Negri, Till Neuburg, Luigi Oriani e Pino Tovaglia. In una instantanea scattata a Torino durante una riunione, l’espressione di Aldo Novarese è eloquente sul gradimento dell’ ‘invasione’ di grafici, pur molto valenti, ma estranei al complesso mondo della fonderia dei caratteri. Il Forma poteva avere la G, la R e la ‘a’ in due versioni. Nell’immagine sono presenti entrambe le R, mentre la G e la ‘a’ sono quelle nella seconda opzione. Qualsiasi riproduzione è interdetta, se priva dell'autorizzazione scritta dell'Editore. © Photos Ottavio Atti – Archivio degli Stili®
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/experimental-typography/40-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/all-titles/55-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/all-titles/49-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.
This is part of a portfolio of 64 collectible specimens entitled “Masterpieces of type design for advertising”, for sale online on http://www.talloneeditoreshop.com/tallone/en/experimental-typography/40-masterpieces-of-type-design-for-advertising.html Each specimen (12x15cm) is printed letterpress from handset foundry types on fine heavy paper. Created by the greatest type designers and cast between the 1900’s and 1970’s by the most notable foundries, these original types each represent the pinnacle of 20th-century aesthetics. Especially suited for advertising, they span from art nouveau to post-modern styles. Layouts and colors have been individually designed so as to convey the epoch and the mood of each masterpiece.