Job:03171 Title:Typography Referenced (Rockport)
Page: 98
068-121 03171.indd 98 9/22/11 4:55 PM
Typography, Referenced
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 98
Aldo Novarese
Italian, –
Typefaces: Athenaeum (1945), Patrizia (1950),
Augustea, Fluidum (1951), Microgramma (1952),
Fontanesi (1954), Egizio, Juliet, Ritmo (1955),
Garaldus (1956), Slogan (1957), Belizio, Recta (1958),
Estro (1961), Eurostile, Square 721 (1962),
Formal 436 (1966), Metropol (1967), Stop (1971),
Sprint (1974), Geometric 885 (1976), Lapidar (1977),
Fenice, Justus Fraktur, Novarese (1980),
Colossalis, Symbol (1984), Mixage (1985), Arbiter (1989),
Central, Nadianne (1998), Press Gothic (2007)
Aldo Novarese was one of the modern era’s most prolifi c
type designers. Born in Italy in , he attended the
Turin School of Printing, where he studied woodcarving,
etching, and lithography. Following a brief period working
as a graphic arts teacher, he joined the Nebiolo type
foundry, where he ultimately became the foundry’s art
director in .
He collaborated with Alessandro Butti on many
of his early typeface designs. These include Augustea
and Microgramma, which, with the addition of its
lowercase (332), became Eurostile in . The Garamond-
based (162) Garaldus takes its name from a category
in the Vox system of type classifi cation. In , Novarese
designed the type that bears his name, Novarese, for
the Haas foundry. Novarese is also well known as the
author of Alfabeta, a book about the origins and evolution
of typefaces in history.
Paul Renner
German, –
Typefaces: Futura (1927), Plak (1928),
Renner Grotesk (1936), Ballade (1937),
Renner Antiqua (1939)
Paul Renner was a German typographer, graphic designer,
and teacher best known as the designer of Futura (174), a
groundbreaking typographic landmark of modernist form
still popular today.
During the 1920s (20) and 1930s (21), he was a
prominent member of the Deutscher Werkbund (German
Work Federation) while creating his fi rst book designs
for various Munich-based publishers. As an author,
he fashioned a new set of guidelines for balanced book
design in his books Typografi e als Kunst (translated
“Typography as Art”) and Die Kunst der Typographie
(translated as “The Art of Typography”).
Renner established the Meisterschule fur Deutchlands
Buchdrucher (Advanced School of German Bookprinting)
in Munich and recruited fellow type designers Georg
Trump and Jan Tschichold (105) to teach there. In ,
Tschichold was removed from his post and interned by
the Nazis for “subversive typography,” and four years later,
in , Renner himself was forced to resign.
Futura, 1927 Advertisement, 1927
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