History of graphic design Learn with flashcards, games, and more for free. Bembo is a serif typeface created by the British branch of the Monotype Corporation in 19289 and most commonly used for body text. It is a member of the oldstyle. Condensed Typeface Design Program' title='Condensed Typeface Design Program' />Bembo Wikipedia. For the Italian poet, humanist, cardinal, and literary theorist, see Pietro Bembo. Bembo is a seriftypeface created by the British branch of the Monotype Corporation in 1. It is a member of the old style of serif fonts, with its regular or roman style based on a design cut around 1. Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the Aldine roman. Bembo is named for Manutiuss first publication with it, a small 1. Frontage-Condensed-Free-Demo-prev02-580x1024.png' alt='Condensed Typeface Design Program' title='Condensed Typeface Design Program' />Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1. Manutius and Griffo. Monotype created Bembo during a period of renewed interest in the printing of the Italian Renaissance, under the influence of Monotype executive and printing historian Stanley Morison. It followed a previous more faithful revival of Manutiuss work, Poliphilus, whose reputation it largely eclipsed. Monotype also created a second, much more eccentric italic for it to the design of calligrapher Alfred Fairbank, which also did not receive the same attention as the normal version of Bembo. Since its creation, Bembo has enjoyed continuing popularity as an attractive, legible book typeface. Prominent users of Bembo have included Penguin Books, the Everymans Library series, Oxford University Press, Cambridge University Press, the National Gallery, Yale University Press and Edward Tufte. Bembo has been released in versions for phototypesetting and in several revivals as digital fonts by Monotype and other companies. Historyedit. A page spread from De Aetna, the model for Bembo. Text sample from De Aetna. Giovanni Antonio Taglientes 1. Bembos italic. This section is engraved as a simulation of Taglientes handwriting other parts were set in a typeface of similar design. The regular roman style of Bembo is based on Griffos typeface for Manutius. Epson L800 Printer Driver For Windows Xp Free Download here. Griffo, sometimes called Francesco da Bologna of Bologna, was an engraver who created designs by cutting punches in steel. These were used as a master to stamp matrices, the moulds used to cast metal type. Manutius at first printed works only in Greek. His first printing in the Latin alphabet, in February 1. Venetian calendar, was a book entitled Petri Bembi de Aetna Angelum Chabrielem liber. This book, usually now called De Aetna, was a short 6. Mount Etna, written by the young Italian humanist poet Pietro Bembo, who would later become a Cardinal, secretary to Pope Leo X and lover of Lucrezia Borgia. Griffo was the one of the first punchcutters to fully express the character of the humanist hand that contemporaries preferred for manuscripts of classics and literary texts, in distinction to the book hand humanists dismissed as a gothic hand or the everyday chancery hand. One of the main characteristics that distinguished Griffos work from most of the earlier Venetian tradition of roman type by Nicolas Jenson and others is the now normal horizontal cross stroke of the e, a letterform which Manutius popularised. Modern font designer Robert Slimbach has described Griffos work as a breakthrough leading to an ideal balance of beauty and functionality, as earlier has Harry Carter. The type is sometimes known as the Aldine roman after Manutius name. In France, his work inspired many French printers and punchcutters such as Robert Estienne and Claude Garamond from 1. De Aetna with its original capitals was apparently used in only about twelve books between 1. Historian Beatrice Warde suggested in the 1. De Aetna volume, perhaps created as a small pilot project. De Aetna was printed using a mixture of alternate characters, perhaps as an experiment, which included a lower case p in the same style as the capital letter with a flat top. In 1. 49. 9, Griffo recut the capitals, changing the appearance of the typeface slightly. This version was used to print Manutius famous illustrated volume Hypnerotomachia Poliphili. Griffos roman typeface, with several replacements of the capitals, continued to be used by Manutiuss company until the 1. French typefaces which had been created by Garamond, Pierre Haultin and Robert Granjon under its influence. UCLA curators, who maintain a large collection of Manutiuss printing, have described this as a wholesale change . France, these types rapidly spread over western Europe. Ultimately, old style fonts like all of these fell out of use with the arrival of the much more geometric Didone types of the eighteenth and nineteenth centuries. They returned to popularity later in the century, with the arrival of the Arts and Crafts movement. In 1. 50. 0, Manutius released the first books printed using italic type, again designed by Griffo. This was originally not intended as a complementary design, as is used today, but rather as an alternative, more informal typeface suitable for small volumes. Bembos italic is not based directly on the work of Griffo, but on the work of calligrapher and handwriting teacher Giovanni Antonio Tagliente sometimes written Giovannantonio. He published a writing manual, The True Art of Excellent Writing, in Venice in 1. Manutius and Griffo, with engravings and some text set in an italic typeface presumably based on his calligraphy. Tagliente did not only publish on handwriting, but also self help guides on learning to read, arithmetic, embroidery and a book of model love letters. It too was imitated in France, with imitations appearing from 1. Another influential italic type created around this time was that of Ludovico Vicentino degli Arrighi, also a calligrapher who became involved in printing. His almost upright italic design was also imitated in France and would also become influential to twentieth century font designs. Monotype historyeditBembo showing its diagonal axis strokes are thinnest to the left of top centre, simulating handwriting done by the right hand and e with a level stroke. Below is Monotypes contemporary design Centaur, based on a slightly earlier style of printing from the 1. Both designs show classic old style features, including top serifs with a moderate downward slope. Monotype Bembo is one of the most famous revivals of the Aldine typeface of 1. It was created under the influence of Monotype executive and printing historian Stanley Morison by the design team at the Monotype factory in Salfords, Surrey, south of London. While most printers of the Arts and Crafts movement of the previous sixty years had been more interested in the slightly earlier typefaces of Nicolas Jenson, Morison greatly admired Aldus Manutius typeface above others of the period. The main reasons for his admiration were the balance of the letter construction, such as the evenness of the e with a level cross stroke and the way the capitals were made slightly lower than the ascenders of the tallest lower case letters. He described the Aldine roman as inspired not by writing, but by engraving not script but sculpture. His friend printer Giovanni Mardersteig similarly suggested the appeal of the Aldine face in his commentary that Griffo. Jensons style made a strong appeal to the sense of beauty prevalent in the period of Art Nouveau, today our taste in architecture and typography inclines towards simpler and more disciplined forms.