Franco Grignani, back cover for Forma – typeface special issue – Società Nebiolo, Torino, 1969.Franco Grignani, cover for Forma – typeface special issue – Società Nebiolo, Torino, 1969.Remarkably, the designers’ team (the ‘ Dream Team‘) would remain active for over a decade (well after Novarese’s retirement) and it is worth noting that all of the designers agreed to undertake consultation on a voluntary basis over this extended period of time. This unique design process is documented in an issue of Nebiolo’s corporate magazine ‘Qui Nebiolo’ issue n° 10, 1969 (cover by Grignani), with many interventions by Grignani. It was not only the typeface that was under discussion but for the first time, there was also the debate on the structure in which to insert it. (N)ovarese meets the ‘Dream Team’, 1965: (M)unari, (I)liprandi, (N)egri, (T)ovaglia, (N)euburg, (O)riani, (G)rignani – ‘mint’ is the name for the stamping matrix and ‘mintnog’ is a mint cocktail… – illustration by Giorgio Cavallo The team included initially Franco Grignani and Pino Tovaglia, and soon after Giancarlo Iliprandi, Bruno Munari, Ilio Negri, Till Neuburg, and Luigi Oriani. A working group of first three, then eight prominent figures from Milan’s graphic design scene was set up to collaborate on new typefaces together with the advertising department. Thus, in May 1965 the foundry management set up a research committee of graphic designers to sit beside Aldo Novarese, director of Nebiolo’s ‘Studio Artistico’ since 1952. In the early 1960s, with rapid changes caused by the advancing technologies of photocomposition and offset printing, Nebiolo found itself in serious financial trouble, and in 1964 the ownership was taken over by the Italian bank IMI. The Nebiolo foundry of Turin, founded in 1852, was formerly the biggest type and printing equipment manufacturer in Italy. Some experimental typefaces īut let’s return to the mid-’60s in Italy… Franco Grignani, an experimental typeface.Magnetic was not an isolated example, Franco Grignani often created typefaces for pure experimentation, so that they could be an inspiration for future graphic uses: Now, however, it is not looking for balance, stability, but a field of visual stimuli in a continuous transformation that reinvigorates the possibility and quality of its sign from time to time.” Until a few years ago, modern graphic design was administered on modules, seeking order, harmony of composition, resulting in a static concept.
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Twenty years later, in 1984, he added: “In recent years there has been a flourishing of new alphabets no longer subject to the veto on the difficulty of reading because through our continuous experiences of new graphical elements, logos, signs, free graphic expressions, the eye has acquired a greater interpretative speed in reading. Franco Grignani, Pubblicità in Italia, 1965 įranco Grignani, as early as in 1964, drew the Magnetic font, inspired by the IBM numbers and printed with magnetic inks: “I was doubtful about its lack of legibility (although I had used them for the cover of ‘Pubblicità in Italia 1964-1965’) but in 1966 these characters were taken up in America, transferred to photocomposition and immediately applied to the futuristic titling of thousands of publications”.
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