R41 Divulga Regular

R41 Divulga

R41 Elite Medium

R41 Elite

R41 Equator Regular

R41 Equator

R41 Magister Regular

R41 Magister

R41 Metropol Regular

R41 Metropol

R41 Orbital Regular

R41 Orbital

R41 Alfabeta Variable

R41 Alfabeta

R41 Barnum Regular

R41 Barnum

R41 Clerville Regular

R41 Clerville

R41 Dattilo Regular

R41 Dattilo

R41 Unipol Regular

R41 Unipol

R41 Gotico Regular

R41 Gotico

R41 Stop Regular

R41 Stop

R41 Recta Regular

R41 Recta

R41 Proclam Regular

R41 Proclam

R41 Etoile Regular

R41 Etoile

R41 Olympia Variable

R41 Olympia

R41 Popera Regular

R41 Popera

R41 Nova Gotica Regular

R41 Nova Gotica

R41 Estro Regular

R41 Estro

R41 Inglesi Allungati Regular

R41 Inglesi Allungati

R41 Ritmo Regular

R41 Ritmo

R41 Eurostile Regular

R41 Eurostile

R41 Eurostile Extended Regular

R41 Eurostile Extended

R41 Eurostile Condensed Regular

R41 Eurostile Condensed

R41 Orlando Regular

R41 Orlando

R41 Donatello Regular

R41 Donatello

R41 Monza Light

R41 Monza

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All the most iconic fonts from the legendary Nebiolo Foundry in Turin, designed by Aldo Novarese, digitized on the basis of their original design and completely authentic.

I was born in Temperley, in the province of Buenos Aires (Argentina) in 1979 and grew up in Alejandro Korn, a small urban center on the outskirts of the capital. I graduated as a graphic designer at the University of Buenos Aires (UBA) and after graduation, I collaborated for a short period as assistant to the graphic design chair of the architect Guillermo González Ruiz, the most important graphic designer and teacher in Argentina.In 2002 I moved to Italy, to Treviso, and started working in the communication studio Design Associati, first as a collaborator and later as a partner. I deal with the development of editorial and visual identity projects for companies and my passion for art, graphics, and lettering has led me to explore new communication tools. The fruit of this research is the development of original typographical characters and the new project area that I have called &quot;editorial branding&quot;, an innovative way of creating identity through editorial projects of great care, strength, and refinement. On this path, I collaborated with Italian institutions and museums, including the Salce Museum in Treviso. In parallel with my activity as a graphic designer, I have collaborated/published various graphics magazines and books.

Ariel Brandolini

A linear example of a black type suitable for close-up markings where reading efficiency and elegance in contrast are required. Designed by the Italian type designer Aldo Novarese for Reber R41, Divulga does not go unnoticed: very narrow eyes, very thin temples accompanied by exceptionally black temples give this typeface a unique personality. It finds a slight resemblance, though certainly not a derivation, in the fonts of the Bauhaus school, with which it shares a sense of cleanliness, clarity and geometry. It has very high visibility, making it ideal for headlines and slogans and other very specific uses. If you want to raise the tone of your voice, safe in the knowledge that you never lose elegance and originality.

Divulga

Elite is part of the family of so-called &quot;written&quot; characters, i.e. not obtained from a geometric framework but with means - brushes - that allow greater imagination and freedom. It is an italics that can be combined with all characters that are not written or Gothic. Created by Aldo Novarese in 1969 for Fonderia Nebiolo in Turin, it is an elegant font that is read with pleasure and used with ease. As far as the letters are detached, the optical sensation of calligraphic continuity remains intact. Excessive contrast between threads and rods has been avoided to ensure long runs. The design is deliberately simple, so as not to condition the character to ephemeral fashions. Born to last over time, Elite is ideal for all those jobs in which too classic and severe characters can be replaced by lively but also sober writing (business cards, writing paper, various announcements, invitations, greetings, invitations , covers, title pages, etc.)

Elite

Equator provides a strong graphic effect thanks to the centered lines, with great smoothness and optical connection between the letters. The striking display style is suitable for brands, titles, and other original compositions.

Equator

A modern Roman-transitional font from Nebiolo: stylistically close to the Romans, but with a series of expedients that make it perfect for contemporary use. Thanks to painstaking work on chiaroscuro, graces and the relationship between letters, Novarese succeeded in combining aesthetic expression with functionality, creating a classic but highly readable font that is versatile and suitable for all types of printing. Released by Nebiolo in 1966, this small masterpiece of synthesis immediately found wide use in communication and advertising, proving to be a comprehensive response to the ever more pressing need to combine form and function in graphics and design.

Magister

The modern, graphic prestige version of the old wooden &#x27;stick&#x27; typefaces used for posters in the last century. In the compact &#x27;black&#x27; round series, this typeface finds wide applications for headlines, slogans, short announcements and takes on greater peremptoriness if white fields are left around it. Metropol has the voice of skyscrapers, of traffic, of the city that never sleeps. A true dive into modernity, with an unfailing reference to the origins that is the unmistakable mark of Novarese&#x27;s modus operandi - in his presentation, in fact, he defines it as a &#x27;textura of our time&#x27;, a revisitation in a contemporary key of the main family of characters of Gothic writing. Taken from Eurostile, it is the declared result of the designer&#x27;s collaboration with a team of graphic designers who have been supervising the StudioNebiolo&#x27;s Artistic Studio with the aim of relaunching the corporate image. Advertisements and headlines in newspapers and magazines are fascinated by this t ypeface, which, from the height of its form, was created specifically to be heard.

Metropol

Belonging to the neoclassical, Bodonian style, Orbital is a contemporary expression of a classical form. Suitable for applications where new sensations are required in reading through stable and decorative forms. A Bodonian in interstellar space: Orbital, born in 1987, is an unprecedented character. Close to the Helvetica family but softer, it presents the hallmarks of careful craftsmanship in its design and stencil details. Precisely because of this distinctly modern attitude with a classic hint, we could say that of the entire collection it is the one that most reveals Novarese&#x27;s spirit and hand. The particularly high body height gives it a good clarity of reading. Particular and intelligent, it lends itself to all-round use, from headline to body copy. Reber offers it in regular, bold, italic and bold italic. Because inspiration is never subject to gravity.

Orbital

typeface from R41

This display face issued in 1910 embodies a style in vogue during “La Belle Epoque,” a time when the floral style was supreme in all art’s fields. This very condensed type is still in use today, not not only for its design but also for the advantages of its narrow dimensions. It has been used in famous Italian newspapers and is part of the Italian visual history, announcing events such as the First World War I, the sinking of Titanic and the first intercontinental flight.

Clerville is an homage to the fervid Italian comic book period of the 1960s, known for its vibrant calligraphy and lettering aesthetic. This typeface takes inspiration from icons such as Diabolik and other works from that decade, characterized by bold and dynamic strokes. Energetic and elegant, Clerville captures the essence of stylized calligraphy typical of that period when adventure, horror and intrigue were woven into every vignette, with letter is carefully drawn to reflect that distinctive lettering.

Like others before him, Novarese formulated a classification of fonts, dividing them into ten families, including the Egyptians. Graceful and thick, the Egyptian, or slab serif, was born at the end of the nineteenth century and is perfect for advertising, which began to develop precisely at that time. Dattilo was designed from this matrix: a revival of the classic typewriter in a contemporary key, in line with the growing success of modern sans serifs without betraying their original elegance.

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Typeface development

R41

The Aldo Novarese Collection