Griffo later produced a number of Latin, or roman fonts, mostly notably for an essay De Aetna, by the Italian scholar Pietro Bembo-for whom the design was named. Note: Griffo was the first independent type cutter. Aldus commissioned Francesco Griffo to cut the punches. His early concentration was on Greek literature which necessitated a new Greek metal design. " Cloister Oldstyle" (1926) (Shown in a digital version in the graphic reading "Old Style" above right)Īnd Robert Slimbach's digital Jenson for Adobe (1996).įifteen years after Jenson's death a Venetian publisher, Aldus Manutius (1449–1515), ran a scholarly printing concern that introduced a number of typographic innovations. Jenson's highly legible and evenly colored typeface, based upon Humanistic scripts, has been reinterpreted through the centuries by numerous type designers, most notably Ĭentaur (1914) (shown in Roger's outline sketch above) his early training gave him even greater sensitivities to the sculptural nature of type.the letters Jenson employed were capitals, often beautiful capitals that could summon the spirit of Rome.*
![bembo typeface history bembo typeface history](https://ilovetypography.com/img/2008/01/stress.gif)
Beyond his time he has remained an inspiration. "Jenson was a success in his own time, both artistically and financially. (See an example 1470 edition of Eusebius, De Evangelica Praeparatione.) The influence of the pen can be seen in the odd weight and placement of the dot over the i as well as the diamond shape of the colon. Jenson, a Frenchman, first traveled to Germany to learn punchcutting but moved on to Italy where he created his own version of roman types. Working separately from but concurrently with the de Spira brothers, Nicholas Jenson is popularly thought to have made the final definitive break from blackletter style towards a fully evolved roman letterform.
![bembo typeface history bembo typeface history](https://www.prepressure.com/images/Hypnerotomachia-Poliphili-trophy-Roman-arms.jpg)
Master Punchcutter /Type Designers of the Italian Renaissance Generally speaking it is a later, more refined development of Old Style. Garalde, a sub category of Old Style, merges the names Garamond and Aldus Manutius. Now when you select typefaces you will find Old Style referenced under many names, including Antiqua, Ancient, Renaissance, Venetian or Garalde. Although historically connected to this period, a type face designed today with the same features will be classified as Old Style. Sturdy line stroke weights were necessary to hold up to the limitations of the early printing process, including uneven pressure from a screw press and rough printing surfaces.įont designs that follow these characteristics fall under a general heading of Old Style. purely roman forms that are directly recognizable as such even by modern standards." 4Īlthough sculpted by punchcutting, early metal type still carried the diagonal stress and line weights of the wide nib pen. The type used by de Speyers had extraordinary clarity. "The first book printed in Venice was Epistolae ad familiares by Cicero, (1469 )printed by Johann de Speyer. Johann's death in their first year negated the contract. The credit is given to Johann de Speyer and his brother Wendelin who were awarded an exclusive 5 year contract to establish the city's first printing press. Venice was the location of the first fully Humanistic letterform to be cast as metal type.
![bembo typeface history bembo typeface history](https://0901.static.prezi.com/preview/v2/rdo65okj7xorsotaymipkud4op6jc3sachvcdoaizecfr3dnitcq_3_0.png)
By 1489 more than 50 printers were established in the city.
![bembo typeface history bembo typeface history](https://i.pinimg.com/originals/44/41/ca/4441ca03566a48c3d3b17560a4c981c3.jpg)
Venice, a wealthy sea trading community, in near proximity to the potential book markets of four major university towns, became one of the most influential printing centers of the Renaissance. His designs were influenced by the calligraphic style of the Italian Humanists-yet still retained influences from the Gothic- hybrid or semi-humanistic form.īy 1467 the pair moved to Rome where, based in the DeMassimi Palace, continued printing with increasingly more Humanistic influences until 1473. Sweynheim, an engraver, was most likely the punchcutter. Two German print refuges were Conrad Sweynheym and Conrad Pannartz, (thought to have been associated with Gutenberg's business partner, Schoeffler) who set up the first press in Italy at the Benedictine Monastery of Subiaco. There they fashioned their work to follow the Renaissance movement and the Humanistic handwriting influences. When the German printing capital, Mainz, was sacked in 1462 many printers fled to new locations, most to Italy. The Italian Renaissance Influence on Metal Type