Already from his early years in Rome, Nuvolo flanked his production of unique works with work for other artists, first as studio assistant to Edgardo Mannucci and later to Ettore Colla, whose collaboration dates back to 1950. From these works, mainly tempera grassa paintings on canvas, came the association and friendship with the sculptor Colla who, in 1954, proposed him to take care of the silk-screen reproduction of the covers of the magazine “Arti Visive”, which he directed with Emilio Villa.

In 1955, Nuvolo was commissioned to follow the printing phases of Burri and Villa’s artist book 17 variazioni su temi proposti per una pura ideologia fonetica, reproduced at the School of Graphic Arts in Città di Castello.

In the mid-1960s, at the same time as he moved away from the galleries and the art market, Nuvolo opened his own silkscreen printing atelier: “Studio Nuvolo”in Via Lungotevere [degli] Artigiani 10. From 1964 to 1976, he produced silkscreens almost exclusively for the painter Corrado Cagli, who commissioned him to reproduce unique works and limited editions. During these years, he was also responsible for printing the covers of the magazine “Carte Segrete”, designing and reproducing advertising leaflets and brochures for Galleria Piattelli, as well as various monographs and art catalogues. In 1968, he began working with Accademia Editrice, which led to the publication of three catalogues for the “Opere uniche” series, directed by Bruno Di Bitonto: Corrado Maltese (ed.), Cancelli delle Fosse Ardeatine (Mirko 1968); Enrico Crispolti (ed.), Crocifissione (Guttuso 1970); Fortunato Bellonzi (ed.), La battaglia di San Martino (Cagli 1971).

From 1978 to 1981, he founded the brand Esperienza Grafica – for the production of screen-printed multiples – together with Bruno Di Bitonto, as head of publishing, and Bruno Corà, as art director; they produced works for Guttuso, Mastroianni, Turcato and Rotella over the four years.

Nuvolo continued to reproduce works in silkscreen for other artists in his workshop in Rome until 1984, when he returned to live permanently in Città di Castello and where, on behalf of his sons, he opened “Multiplo Serigrafico”, active until the early 1990s.

His last collaboration, as fate would have it, was with fellow citizen Alberto Burri for the limited edition reproduction of the Sestante tables from 1987 to 1989.

« It is “serigraphy” in the true sense of the word, that is, serigraphy as typographic art, as graphic art. And in fact they are all works by artist friends with whom I have collaborated on the reproduction or production of serious art objects in limited quantities, usually fifty or one hundred copies as graphic art runs. […] It was very interesting from all points of view, from the point of view of curiosity, of making things that are always different, made by different hands, therefore trying to redo the gesture of another colleague. But also because it was a maturation, this coming and going always together with these characters who were not the last to arrive, on the contrary, they were the first to arrive. Also because I, a little presumptuously, always placed conditions on these friends [which they] accepted precisely because they were friends. I never made bon a tirer, that is, I never made an exam copy for the author who had to sign and approve the runs.»

(Nuvolo, 1993)