Bembo has been released in versions for phototypesetting and in several revivals as digital fonts by Monotype and other companies. Prominent users of Bembo have included Penguin Books, the Everyman's Library series, Oxford University Press, Cambridge University Press, the National Gallery, Yale University Press and Edward Tufte. Since its creation, Bembo has enjoyed continuing popularity as an attractive, legible book typeface. 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. It followed a previous more faithful revival of Manutius's work, Poliphilus, whose reputation it largely eclipsed. 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. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo. Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. It is a member of the " old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". For more information visit this page.Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. This typeface is also available within Office applications.
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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.
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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 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. The Bembo® design is an old-style humanist serif typeface originally cut by Francesco Griffo in 1495 and revived by Stanley Morison in 1929.