![]() This typeface is also available within Office applications. License Microsoft fonts for enterprises, web developers, for hardware & software redistribution or server installations.– ĭigitized data copyright The Monotype Corporation 1991-1995. The Bembo typeface is inherently easy to read and therefore is an excellent book font and has proved itself time and time again. In more modern settings it has a place in movie and book titling, as well as representational texts. The Bembo font family lives on as tribute to the superlative typographical efforts of Stanley Morison.īiblical scholars, linguists, medievalists and classicists have all found use for the Bembo font family. Morison was influential in a number of areas of typography, pioneering the creation of a large number of typefaces for Monotype. He also consulted for the London Times newspaper, creating the typeface Times New Roman® in a successful effort to improve the paper’s readability. ![]() Morison, a well-respected English typographer, was a typographic consultant to the Monotype Corporation. ![]() Morison’s Bembo design was released for typesetting in 1929, whose redesign was the result of adapting the Bembo typeface to the machine composition and typesetting requirements of the day. Notably, the ascenders of the lowercase lettering are taller than the uppercase also the c is slanted forwards and there is a returned curve on the final stem of the m, n and h. The calligraphic style that the serifs pronounce imparts a warm human feel to the typeface. In fact, the characteristics of many other well known typefaces such as Garamond® and Times® Roman can be traced back to the Bembo typeface. The resulting typeface which was a departure from the common pen-drawn calligraphy of the day, and looked more similar to the style of the roman typefaces we are familiar with today. In many ways, of course, De Aetna’s relevance to the familiar narrative of Bembo’s controversial life choice in favoring an existence devoted to scholarship and social advancement within the world of the secular and papal courts is as self-evident as it is unsurprising. In the case of the Bembo typeface, Griffo could not have known how important in the history of typeface design his new cut would be. A punchcutter was a very skilled job and the their interpretation of a typeface design would be what was eventually printed typeface designers had little input into the punchcutter’s work once their design had passed out of their hands. ![]() The Bembo typeface was cut by Francesco Griffo, a Venetian goldsmith who had become a punchcutter and worked for revered printer Aldus Manutius.īeing a punchcutter meant that Griffo spent his days punching out the shape of a typeface into steel. The typeface originally used to publish Pietro Bembo’s book “De Aetna”, a book about Bembo’s visit to Mount Etna. The Bembo design was named after notable the Venetian poet, Cardinal and literary theorist of the 16th century Pietro Bembo. The original Morison typeface contained only four weights and no italics. Oxford/New York: Oxford University Press.The Bembo® design is an old-style humanist serif typeface originally cut by Francesco Griffo in 1495 and revived by Stanley Morison in 1929. Pietro Bembo on Aetna: The ascent of a venetian humanist. Marsilio Ficino, Pietro Bembo, Baldassarre Castiglione: Philosophical, aesthetic, and political approaches in Renaissance platonism. Rome: Istituto della Enciclopedia italiana. In Dizionario biografico degli italiani, vol. La Quarta corona: Pietro Bembo e la codificazione dell’italiano scritto. New Haven/CT-London: Yale University Press. Pietro Bembo and the intellectual pleasures of a renaissance writer and art collector. Montreal/Kingston: McGill-Queen’s University Press. Daniel Javitch and Baldesar Castiglione, 377–388. Renaissance philosophy and book IV of Il Cortegiano. Bernardo Bembo umanista e politico veneziano. Pietro Bembo e l’invenzione del Rinascimento. Beltramini, Guido, Davide Gasparotto, and Adolfo Tura.
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