L’Arte dei rumori (The art of noises)
Contributed by Paul Bailey on Jan 11th, 2014. Artwork published in
.
Source: thedailyomnivore.net License: All Rights Reserved.
Luigi Russolo’s 1916 Futurist manifesto L’Arte dei rumori cover (above) and as featured in Alfabeta n.43, December 1982 (below). I would like to identify the name of the typefaces used on the cover and interior pages of this work.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
Supplement to Alfabeta n.43, December 1982. Photo by Paul Bailey. License: All Rights Reserved.
9 Comments on “L’Arte dei rumori (The art of noises)”
The typeface at the top of the cover and headlines of interior pages is quite similar to Schelter-Antiqua (assumed to be one of the sources for Souvenir). Can we get a confirmation from someone with a Schelter & Giesecke specimen? Here is the uppercase in a lighter weight:
It’s safe to say that headlines are in Schelter Antiqua. Here are scanned excerpts from a specimen. Nike has some pictures, too.
Thank you both very much. It’s great to put a name to the face, so to speak. Are you aware of any digital typefaces that are derived from Schelter Antiqua other than these?
Also any further thoughts on the type used for the title text on the cover?
According to Hans Reichardt, Schelter Antiqua was available from various Italian foundries under different names: Società Nebiolo had the Bold (Halbfett) as Viterbo, Gallico had a Serie Furina, and Pierallini a Serie Venezia.
No, I know of no digital version of Schelter Antiqua. The list you linked to contains digitizations of various other typefaces by the Schelter & Giesecke foundry, but the closest thing to the typeface in question is Souvenir, which is not very close, of course.
Putting a name to the title typeface will be difficult, I’m afraid. It is probably wood type, which is less documented than metal type. Some heavy-handed grotesque. Keep in mind that this is from a time when brand names for typefaces just started to evolve. Chances are that its name is simply a generic “Grotesk” (or whatever the Italian equivalent was back then), maybe suffixed by a number or size identifier.
Florian – thank you very much for your help with this. Whilst I imagined much of what you mentioned may be the case, I couldn’t be sure. If I find any further clarification, I’ll be sure to send it your way.
Florian to the rescue, as always!
Rumori is a typeface designed by Paul McNeil
www.muirmcneil.com/journal/
“Using the titling shown on the cover of the 1916 edition of Russolo’s manifesto, the challenge was to construct a complete alphabet from only ten reference characters.”
Rumori is now available from the Type Brut foundry.
Oliver Weiss made a digital revival of Schelter-Antiqua. A first weight was released in December 2020 as part of Walden Font Co.’s Art Nouveau Print Shop Vol. 1.