Italian type designer Aldo Novarese (1920–1995) is closely associated with Società Nebiolo: he started working at the Turin-based foundry at the age of 16, became their artistic director in 1952 (as successor of Alessandro Butti) and worked on numerous famous releases, most notably Eurostile.

When Nebiolo’s type design activities drew to a close in the 1970s, Novarese had to explore new outlets for his designs. He found them in Berthold, ITC, VGC, and Italian Letraset competitor Reber R41, among others. One of the typefaces published with Reber 41 was Stadio. To some extent, the bold and wide display face with horizontal contrast can be regarded as a streamlined and serifless revisitation of his Estro from 1961. According to Zetafonts, Novarese drew Stadio in 1974. The same design was released in 1978 with VGC, a phototype company based in Florida, under the name Global.

Around 1976, Stadio was used for Croatia Film’s poster for Prizori iz bračnog života, written and directed by Ingmar Bergman. Originally known in Swedish as Scener ur ett äktenskap, the drama from 1973 is known in English under the title Scenes from a Marriage.

There are various digital interpretations of Stadio / Global. See the typeface page for details.

Czechoslovak movie poster for Ingmar Bergman’s Persona starring Bibi Andersson and Liv Ullmann, 23″×32.5″.

The chosen typefaces both are related to Georg Trump. The title is set in his Trump-Gravur, an outlined and shaded display companion to Trump-Mediäval, in the tradition of baroque designs like Rosart Ombré from 1759. Trump-Gravur was first cast by the Weber foundry in Stuttgart, Germany in 1960. In the same year, Czechoslovak foundry Grafotechna issued a condensed grotesque named Pražské kamenné which is here used to set the small line of text. According to Canada Type, this design by Stanislav Maršo was a reworking of Trump’s Signum (Weber, 1955). Their Trump Gothic (2005) is “a reconception of ideas” from both Signum and Pražské kamenné.

Terry Posters credits Miroslav Němeček with the design. Posteritati additionally mentions Jaroslav Osecký.