Eurostile is one of the most important designs from the Italian font designer Aldo Novarese. It was originally produced in 1962 by the Nebiolo foundry as a more complete version of the earlier Microgramma, a caps-only font designed by Novarese and A. Butti.
H. Berthold released this Aldo Novarese design in 1984.
Colossalis has slightly condensed character widths with flattened outer contours. Novarese designed this slab serif with a striking bold look, making it very useful for attention-grabbing headlines and advertising.
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.
Italian designer Aldo Novarese first created Egizio in 1955. Egizio is a Clarendon-style typeface, based on type fashions that were especially common in Britain during the 19th Century. This font is a popular choice for newspaper headlines.
Aldo Novarese designed this typeface for Switzerlands Haas foundry, and the International Typeface Corporation licensed it in 1980.
ITC Symbol was designed by Aldo Novarese for the International Typeface Corporation in 1984.
The eight-part Belizio series updates the first Font Bureau typeface.
David Berlow’s family is based on Aldo Novarese’s Egizio, designed in 1955 for Nebiolo. It was first prompted by the popularity of Haas Clarendon designed by Hoffmann and Eidenbenz, an impeccably Swiss revival of the traditional English letterform.
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.
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.
Stretto (Italian for narrow) is a revival and expansion of an Aldo Novarese font called Sintex, done for VGC in 1973.
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.
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.
Augustea was designed by Alessandro Butti and Aldo Novarese and is one of the most popular classical, monumental letterforms featureing a stone cut effect. 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.
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.
New Eurostile! A redesigned Eurostile font, Astor font, was created inspired of one of most used fonts in the world. Idea was to make new, contemporary design of old Eurostile font which was created 1962. by designer Aldo Novarese.
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.
When Aldo Novarese designed his “tipo inglese” Juliet typeface, he had a simple objective in mind: Reduce the inclination angle of the traditional 18th and 19th centuries English script in order to make the punchcutter’s job easier and the resulting metal type more durable.
Recta was one of Aldo Novarese’s earliest contributions to the massive surge of the European sans serif genre that was booming in the middle of the 20th century. Initially published just one year after Neue Haas Grotesk came out of Switzerland and Univers out of France, and at a time when Akzidenz Grotesk and DIN were riding high in Germany and Gill Sans was making waves in Great Britain, it was intended to compete with all of those foundry faces, and later came to be known as the “Italian Helvetica”. It maintains traditional simplicity as its high point of functionality, while showing minimal infusion of humanistic traits. It shows that the construct of the grotesk does not have to be rigid, and can indeed have a touch of Italian flair.