Originally produced by the Berthold foundry in 1977, Fenice was designed by Aldo Novarese and licensed by International Typeface Corporation in 1980. With its large x-height and condensed proportions and spiky vertical terminals, ITC Fenice is a contemporary interpretation of the crisp moderns produced by Bodoni and Didot.
ITC Symbol was designed by Aldo Novarese for the International Typeface Corporation in 1984.
Press Gothic is a revival of Aldo Novarese’s Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake’s Impact (designed by Goeffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch'n'squeezing of the 1970s.
Augustea was designed by Alessandro Butti and Aldo Novarese. This font is based on the classic proportions of Capitalis, which dates back to the first century AD during the reign of Augustus. It should be set with a widely spaced bias. Augustea is distinguished by its balanced, classic and majestic image. Letters with a stone cut, inscriptional effect and no lower-case characters.
P22 Slogan is a non-connecting script font that captures the essence of the lettering used in 1950s European advertising. Bold strokes of this brush-drawn face make this design a great choice for both retro design and contemporary work.
Stretto (Italian for narrow) is a revival and expansion of an Aldo Novarese font called Sintex, done for VGC in 1973.
Italian type design master Aldo Novarese was not famous for making calligraphic designs, nor had he any interest in them. He is much better known for his text faces, and quite innovative sans serif and decorative designs which became the definition of what we now know as techno and modern.
Justifiably, Augustea Open is one of the best-loved classical, monumental letterforms that feature a stone cut, inscriptional effect. Its stately appearance has sustained an unrivalled level of popularity since Aldo Novarese and Alessandro Butti designed it for the Italian Nebiolo Typefoundry in 1951.
Augustea Open looks superb when set with a widely spaced bias.
Estro was originally designed by Aldo Novarese in 1961 for the foundry Nebiolo.
Estro may be classified a combination of Egyptienne and script.
Ralph M. Unger redrew and digitized this font in 2003. His work is based on artwork taken from old font catalogs.
The typeface Garaldus was presented in 1956 by Italian designer Aldo Novarese, inspired by Venetian tradition of the sixteenth century: the font name derives from Claude Garamond and Aldus Manutius. A peculiarity of this font is to change appearance, acquiring a form a more or less angular, depending on the size of the text and the way in which it is printed.