NIUCO: logo e palette by Ilaria Iacoviello

02 NIUCO logo e palette

FONDERIE_Linotype Linotype carries on more than 125 year old heritage of great typographic history. Famous names like Linotype-Hell AG, D. Stempel AG, Haas’sche Schriftgießerei and Deberny & Peignot are the roots of Linotype. Ottmar Mergenthaler made his mark in history as the inventor of the type setting machine. Mergenthaler’s breakthrough soon became known as the Linotype. Quickly adopted by major newspapers around the world, the Linotype machine initiated a new freedom in the creation of everything from newspapers to books, from advertisements to a wide range of literature. The Linotype library grew to become one of the most well esteemed font libraries worldwide with typefaces such as Helvetica, Univers, and Frutiger and it is being continuously expanded with award-winning new designs.

ISTITUZIONALITÀ NIUCO

FONDERIE_TypeTogether TypeTogether was created in 2006 by type designers Veronika Burian and José Scaglione. Veronika Burian and José Scaglione met at the University of Reading whilst completing their MAs in Type Design, launching the independent type foundry TypeTogether . This is where the greatest challenges are faced: creating typefaces that perform well in continuous reading, that also have a high degree of personality. The aesthetic and functional efficiency of TT’s fonts are accompanied by excellence in technical performance. This is achieved using the latest font software, creating cross-platform Opentype fonts with extended character sets including: broader language support and all kinds of typographic refinements, such as small caps, ligatures and multiple numeral sets.

INNOVAZIONE NIUCO

LINOTYPE_Garamond Premiere family Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued a specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. In 1621, sixty years after Garamond's death, the French printer Jean Jannon (1580-1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon's types disappeared from use for about two hundred years, but were re-discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon's types were used to print a history of printing in France, which brought new attention to French typography and the "Garamond" types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon's types, and others on the original Garamond types. Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513-1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. Garamond Pemiere Pro was designed by Robert Slimbach, and released in 2005.

NIUCO

LINOTYPE_Garamond premiere family Vedere specimen allegato ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890 1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890 1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890 1234567890

NIUCO

LINOTYPE_Garamond premiere family_perchĂŠ e dove usarlo?

1. istituzionalitĂ font istituzionale, che mescola tradizione con modernitĂ essendo stato ridisegnato nel 2005

2. comunicazione cartacea presenta diversi pesi che permettono di usarlo in qualunque forma dai poster, ai testi a correre

3. glifi Ossia presenza di caratteri aggiuntivi che lo rendono versatile rispetto alle altre versioni NIUCO

TYPE TOGETHER_LFT ETICA LFT Etica, the-moralist-typefamily-project, was born at the end of 2000, but its development is ongoing, overcoming many hurdles and diversions. The starting point for the designers at Leftloft were the common "cold" grotesk sans serifs, ubiquitous and often badly applied in their everyday visual environment. The challenge was to obtain the same force, versatility and colour, but with a much warmer feel. The resulting design has soft strokes, open counters and terminals; aesthetically resting somewhere between a grotesque and humanist sans serif. It successfully combines masculine force with female delicacy. LFT Eticaâ&#x20AC;&#x2122;s wide range of styles, 16 fonts, together with a large character set and OpenType features, such as 4 sets of numerals, fractions, several stylistic alternates and a set of arrows and dingbats, allows for a vast variety of applications, be they editorial or corporate. The four core styles of LFT Etica, have been manually hinted for better screen rendering and cross-platform consistency. The full family is available at our webfont service partners TYPEKIT FONTDECK - WEBINK or contact us for self-hosting @font-face.

NIUCO

TYPE TOGETHER_LFT ETICA Vedere specimen allegato ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

1234567890

NIUCO

TYPETOGETHER_LFT ETICA_perché e dove usarlo?

1. istituzionalità + innovazione una font nuova, ma comunque istituzionale

2. web + logo presenta diversi pesi e ne è permesso l’utilizzo su eventuale sito web

3. font italiana Realizzata dallo studio LEFTLOFT, uno dei più importanti a Milano, crea un legame con il design italiano attuale NIUCO

TYPETOGETHER_LFT ETICA_dove è già stato usato? The Czech political party "Lidem", liberal Democrats, is using LFT Etica, by Leftloft, as main font in their visual identity. The redesign has been done by Prague based Lemon Design. The webfonts are served via Webink. ALTRI ESEMPI http://www.type-together.com/index.php?action=portal/showByItm&itmId=7933&id_section=146

NIUCO

02 NIUCO palette colori

PALETTE_01

professionalità collaborazione creatività capitale NIUCO

PALETTE_02

professionalità collaborazione creatività capitale NIUCO

PALETTE_03

professionalità collaborazione creatività capitale NIUCO

PALETTE_04

professionalità collaborazione creatività capitale NIUCO

PALETTE_altre_proposte

NIUCO

02 NIUCO proposta 01

PROPOSTA_01

CREA VALORE

da AZIENDE TIPOGRAMMA PITTOGRAMMA (edifici) NIUCO

PROPOSTA 01

niuco

niuco NIUCO

niuco

PROPOSTA_02

4 valori associati a 4 colori allâ&#x20AC;&#x2122;interno di una forma TRIANGOLO che simboleggia la nuova azienda ristrutturata SIMBOLO ASTRATTO

NIUCO

PROPOSTA_02

niu co

NIUCO

PROPOSTA_02_UTILIZZO NEL LOGOTIPO

NIUCO

PROPOSTA_02_Altre palette

niu co

NIUCO

PROPOSTA_02_Altre palette

NIUCO

PROPOSTA_02_Altre palette

niu co

NIUCO

PROPOSTA_02_Altre palette

NIUCO

PROPOSTA_02_Altre palette

niu co

NIUCO

PROPOSTA_02_Altre palette

NIUCO

PROPOSTA_03

Lavorare insieme NIUCO diventa una GUIDA rappresentata attraverso BUSSOLA LANTERNA

NIUCO

PROPOSTA_03_LANTERNA

NIUCO

PROPOSTA_03_LANTERNA

NIUCO

PROPOSTA_03_LANTERNA

NIUCO

PROPOSTA_03_LANTERNA

NIUCO

PROPOSTA_03_BUSSOLA

niuco niuco

NIUCO

PROPOSTA_03_BUSSOLA

niuco niuco

NIUCO

PROPOSTA_03_BUSSOLA

niuco niuco

NIUCO

PROPOSTA_03_BUSSOLA

niuco niuco

NIUCO

PROPOSTA_04

Associare ad ogni VALORE

SIMBOLO ASTRATTO professionalità collaborazione creatività capitale NIUCO

PROPOSTA_04

N I U C O NIUCO

02 NIUCO conclusioni

CONCLUSIONI

proposta 01 molto concreta, permette una connessione più semplice e immediata tra NIUCO e il mondo delle aziende

proposta 02 proposta versatile, secondo me la più istituzionale, può essere utilizzata attraverso il simbolo (triangolo) o nella sua forma estesa come scritta. Riassume in maniera astratta i valori che vanno a comporre il triangolo simbolo dell’azienda ristrutturata

proposta 03 NIUCO rappresentata come una guida che si distingue dal “rumore” fatto da aziende simili e accompagna le aziende nel processo di ristrutturazione

proposta 04 Valori resi estremamente in modo astratta, forse di più difficile comprensione. Si può ipotizzare di utilizzare i singoli simboli all’interno della comunicazione generale

NIUCO

02 NIUCO logo e palette