It is a great face based on Futura, it was cut in three weights + slanted, condensd and shadow. If you wish (Mr. Lauri Johnsen?) I could post a scan later.
I am not sure Mr. Miles Davis, sincerely, I would like to. It has pleasant differentiations, and the Uc are Roman Capital proportions based -- moreover, Futura is a text face, and I see more Futura than Gill Sans in Semplicita'.
I don't think it's based on any particular face such as Futura. You can see bits of Erbar, Bernhard Gothic, Kabel, etc., in it, plus some unique features. No Gill. There were a lot of "mash-ups" in that era, as different type designers from different foundries from different countries did their own version of the look du jour, the geometric sans.
It would be like saying that all present day sans serif faces that are slightly squarish, semi-condensed and open-fitted, with a 4-letter name, are versions of Meta, forgetting other sources like Quay Sans, and the general lettering aesthetic of the day.
In Derren Wilson's www.iliveonyourvisits.com you can download an 'amateur fashion Recta'. Is someone working on Novarese's 'Garaldus', 'Magister' or Nebiolo's 'Forma'?
And now we have two "interpretations", one worse than the other, from Durotype and Canada Type.
Don’t know who was the "someone reputable" mentioned by Stephen, but I have been working very sporadically on a "philological" digital version for a few years, and I admit I am pretty disturbed by these bad quality "hacks", made without a care.
If you have to reinterpret and use something as a basis, Kris Sowersby’s Karbon is a serious effort, not these.
While I am at it, I just received FontShop's newsletter
In this statement:
«Aldo Novarese’s work for the Nebiolo Foundry in the 1930s led to several types that were rigid and modernist, but always designed the Italian way, with the hand and human proportion in mind. One such was Neon, the model from which Canada Type’s Patrick Griffin developed the Gala family.»
there are more errors than words. Very professional. :)
who was the "someone reputable" mentioned by Stephen
They never released their version because they couldn't get in touch with the rights holders or Novarese’s estate.
FontShop's newsletter
I didn't write this newsletter (nor have I since August 2010), but I imagine the errors come from the writer relying on the foundry's description. Care to make some corrections? I'm sure FontShop would oblige.
In the 30’s Aldo Novarese was in his teens. He had barely started at Nebiolo at the end of the 1930’s, if I remember correctly. Maybe he’s talking about Alessandro Butti instead? Neon is a design by Giulio Da Milano, it has nothing to do with Novarese.
Antonio has already made the corrections.
I add that Novarese never designed typefaces "rigid and modernist", and neither Butti, for what matters. The first efforts by Butti, dating from the 1920s, show a fascination with the sinuous forms of late-19th century letters, and he never designed anything "rigid".
The first works by Novarese should be the Etruria series, from 1939 onwards, if I recall correctly. Ah, Stephen, I hope if someone chooses the Canada Type "reinterpretation" of Semplicità, he will dig deep. I would not do it.
Claudio, would you care to explain why you think Semplicita Pro is a "bad quality hack"? It took me and Bill Troop almost three years to finish that family. Reputable veteran type designers and art directors served as consultants on its development. We have received nothing but kudos from people who have licensed it.
It's not a quality issue, but one of interpretation.
I suspect, by his use of the term "philological", that Claudio thinks that in updating the type (rather than producing an authentic revival) you have strayed too far from the original.
5 Jul 2004 — 9:24pm
Nope. Care to elaborate?
6 Jul 2004 — 2:26am
It is a great face based on Futura,
it was cut in three weights + slanted, condensd and shadow.
If you wish (Mr. Lauri Johnsen?) I could post a scan later.
6 Jul 2004 — 2:46am
'Semplicit
6 Jul 2004 — 2:47am
1930/1950.
6 Jul 2004 — 3:35am
Semplicita is nice, but I wouldn't want to read a novel set in it.
6 Jul 2004 — 3:39am
Sure, my friend.
'Semplicit
6 Jul 2004 — 3:52am
I am not sure Mr. Miles Davis, sincerely, I would like to.
It has pleasant differentiations, and the Uc are Roman Capital
proportions based -- moreover, Futura is a text face, and I see
more Futura than Gill Sans in Semplicita'.
6 Jul 2004 — 3:59am
Here is 'Semplicit
6 Jul 2004 — 4:24am
Great prof. Fabrizio Serra!
My scan from Pellitteri's Atlante Tipologico
would have been big time less crispy.
Thank you.
6 Jul 2004 — 7:50am
I don't think it's based on any particular face such as Futura.
You can see bits of Erbar, Bernhard Gothic, Kabel, etc., in it, plus some unique features.
No Gill.
There were a lot of "mash-ups" in that era, as different type designers from different foundries from different countries did their own version of the look du jour, the geometric sans.
It would be like saying that all present day sans serif faces that are slightly squarish, semi-condensed and open-fitted, with a 4-letter name, are versions of Meta, forgetting other sources like Quay Sans, and the general lettering aesthetic of the day.
6 Jul 2004 — 4:22pm
Is this font available in digital?
6 Jul 2004 — 4:27pm
No.
Are you in a hurry? Can you wait three years? :-)
6 Jul 2004 — 4:50pm
Who did publish Novarese's Recta, Mr. Stephen Coles?
6 Jul 2004 — 10:12pm
In Derren Wilson's www.iliveonyourvisits.com you can download an 'amateur fashion Recta'.
Is someone working on Novarese's 'Garaldus', 'Magister' or Nebiolo's 'Forma'?
6 Jul 2004 — 4:37pm
I would not be surprised if more than one designer is working
on a digitization right now. That was the story with Nebiolo's Recta.
6 Jul 2004 — 9:01pm
Not published yet, but someone reputable is working on it.
27 Aug 2011 — 3:06am
And now we have two "interpretations", one worse than the other, from Durotype and Canada Type.
Don’t know who was the "someone reputable" mentioned by Stephen, but I have been working very sporadically on a "philological" digital version for a few years, and I admit I am pretty disturbed by these bad quality "hacks", made without a care.
If you have to reinterpret and use something as a basis, Kris Sowersby’s Karbon is a serious effort, not these.
While I am at it, I just received FontShop's newsletter
In this statement:
«Aldo Novarese’s work for the Nebiolo Foundry in the 1930s led to several types that were rigid and modernist, but always designed the Italian way, with the hand and human proportion in mind. One such was Neon, the model from which Canada Type’s Patrick Griffin developed the Gala family.»
there are more errors than words. Very professional. :)
29 Aug 2011 — 6:22pm
They never released their version because they couldn't get in touch with the rights holders or Novarese’s estate.
I didn't write this newsletter (nor have I since August 2010), but I imagine the errors come from the writer relying on the foundry's description. Care to make some corrections? I'm sure FontShop would oblige.
29 Aug 2011 — 8:00pm
In the 30’s Aldo Novarese was in his teens. He had barely started at Nebiolo at the end of the 1930’s, if I remember correctly. Maybe he’s talking about Alessandro Butti instead? Neon is a design by Giulio Da Milano, it has nothing to do with Novarese.
16 Nov 2011 — 12:15pm
Antonio has already made the corrections.
I add that Novarese never designed typefaces "rigid and modernist", and neither Butti, for what matters. The first efforts by Butti, dating from the 1920s, show a fascination with the sinuous forms of late-19th century letters, and he never designed anything "rigid".
The first works by Novarese should be the Etruria series, from 1939 onwards, if I recall correctly. Ah, Stephen, I hope if someone chooses the Canada Type "reinterpretation" of Semplicità, he will dig deep. I would not do it.
18 Nov 2011 — 9:18am
Claudio, would you care to explain why you think Semplicita Pro is a "bad quality hack"? It took me and Bill Troop almost three years to finish that family. Reputable veteran type designers and art directors served as consultants on its development. We have received nothing but kudos from people who have licensed it.
Help me understand your perspective please.
18 Nov 2011 — 11:22am
It's not a quality issue, but one of interpretation.
I suspect, by his use of the term "philological", that Claudio thinks that in updating the type (rather than producing an authentic revival) you have strayed too far from the original.