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Topic: Francesco Griffo

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	typoGRAPHIC (Site not responding. Last check: 2007-10-09)
		Francesco Griffo, an Italian punchcutter who worked for the book publisher Aldus Manutius, was born in 1450.
		In 1501 Griffo designed and cut the first Italic typeface which was based on chancery style hand writing.
		All of Griffo's original punches are either lost or destroyed, however, some of his typefaces have been carefully reconstructed from the printed books in which they were used.
	www.rsub.com /typographic/timeline/griffo.html (79 words)

	Claude Garamond - Wikipedia
		Nimmt man die Arbeiten für seinen wichtigsten Kunden, den Drucker Robert Estienne, als Referenz, wird die Entwicklung aus der italienischen Antiqua deutlich sichtbar: die Minuskeln sind eine Verbesserung der Entwürfe Francesco Griffo (Polyphilus-Type), die Kursiven orientieren sich an den Alphabeten Lodovico Arrighi, die ebenso wie die Griffo-Schriften von Aldus Manutius verwendet wurden.
		Die 1540 erschienenen Antiqua und Kursiv basierten auf der Bembo von Francesco Griffo und blieben etwa 250 Jahre die führenden Schriften in Europa.
		Obwohl Claude Garamond einige sehr schöne Kursivschnitte entwarf, werden seine Romane oft mit Robert Granjons kursiven Schriften kombiniert.
	de.wikipedia.org /wiki/Claude_Garamond (246 words)

	Hypnerotomachia Poliphili - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-10-09)
		The typography is famous for its quality and clarity, in a typeface cut by Francesco Griffo.
		The book is illustrated with 174 exquisite woodcuts showing the scenery, architectural settings, and some of the characters Poliphilo encounters in his dreams.
		In the novel, an alternative theory of authorship is advanced, in which the author is a patrician Roman by the name of Francesco Colonna, rather than the Venetian monk.
	en.wikipedia.org /wiki/Hypnerotomachia_Poliphili (668 words)

	Francesco Griffo - Linotype Font Designer Gallery (Site not responding. Last check: 2007-10-09)
		Francesco Griffo (also Francesco da Bologna) — born 1450, died 1518 in Bologna, Italy — type founder, punch cutter, type designer.
		Bembo was cut by Francesco Griffo, Stanley Morison supervised the design of Bembo for the Monotype Corporation in 1929.
		Griffo Classico is based on the roman and italic types cut by Francesco Griffo at the end of the 15th century.
	www.linotype.com /7-407-7/francescogriffo.html (372 words)

	Artificial Hills
		Under each photograph, a text on the left printed in letterpress describes what each hill was and what it has become, while a rhyming poem on the right gives an amusing description of the nature and evolution of these various categories of hills, largely unnoticed by Bologna's inhabitants.
		Francesco of Bologna, more commonly known as Francesco Griffo, was the man responsible for cutting the first italic or sloped text in 1501.
		Just as cultures have incorporated and recycled the architecture of previous inhabitants, giving birth to one category of artificial hills, printers and type designers have always built on the work of others.
	www.angelalorenzartistsbooks.com /opere/hills.htm (888 words)

	CATERINA DA SIENA., Epistole Devotissime de Sancta Catharina da Siena... essendo state adunate insiemi...per il ... (Site not responding. Last check: 2007-10-09)
		The first book to contain Italic type, in which five words are printed on the full-page woodcut of St Catherine, and the first book in Italian to be printed by Aldo.
		His italic type, cut by Francesco Griffo, was first used for a complete text in his 1501 edition of Virgil.
		Although the colophon is dated 15 September, Aldo's dedicatory letter to Cardinal Francesco de Piccolomini is dated 19 September.
	www.polybiblio.com /preliber/J264.html (189 words)

	Lingua Franca - 22/07/00: Hypnerotomachia Poliphili
		The book is Hypnerotomachia Poliphili, by Francesco Colonna, translated into English, fully, for the first time, by Joscelyn Godwin, and published this year by Thames and Hudson, an old English firm known for their large and expensive art books.
		There was a man called Francesco Colonna; he was born in 1433, and went to Venice when he was 48 years old.
		Francesco Griffo was the type cutter for the Aldine Press.
	www.abc.net.au /rn/arts/ling/stories/s154206.htm (1716 words)

	Handsetting Type (Site not responding. Last check: 2007-10-09)
		The signature type at Gaspereau Press is Bembo, which we have in both roman and italic fonts in 12, 14, 18, 24 and 32 point sizes.
		Bembo roman is based on letters cut in Venice by Francesco Griffo in 1495.
		As Griffo's original type had no italic companion, Bembo italic is a revision of another sixteenth-century typeface designed by the Italian type designer Giovanni Tagliente.
	www.gaspereau.com /type.html (257 words)

	Francesco - Classical Net - Composers - Veracini (Site not responding. Last check: 2007-10-09)
		Francesco Petrarch, who he was, what he did, his writings, letters and poems.
		Nick Nick Francesco has been answering your computer questions for years now, on the radio, on television, and in the newspaper.
		The arrogant and eccentric Florentine, Francesco Maria Veracini, Francesco Maria Veracini was born into a musical family on the 1st February 1690 in the
	www.findnice.net /?q=francesco (282 words)

	Hypnerotomachia Poliphili - Wikipedia, the free encyclopedia
		The book was printed by Aldus Manutius in Venice in December 1499.
		The book has long been sought after as one of the most beautiful incunabula ever printed.
		A smaller format paperback edition was published in February 2005.
	en.wikipedia.org /wiki/Hypnerotomachia (668 words)

	Francesco Colonna: Hypnerotomachia Poliphili (Poliphilo's Dream about the Strife of Love) (23.73.1) \| Object Page \| ... (Site not responding. Last check: 2007-10-09)
		A specialist in the publication of Greek texts, Aldus was also famous for developing new formats, such as the small, handheld book, and new typefaces, such as the italic, the descendants of which are still in use today.
		The typeface used in the Hypnerotomachia Poliphili, based on ancient Roman inscriptions, was created by Aldus' type designer Francesco Griffo of Bologna especially for this book, which has long been admired for its harmonious marriage of text and image.
		The spare and elegant illustrations reveal a careful study of ancient art as well as an interest in the new science of one-point linear perspective.
	www.metmuseum.org /toah/hd/wdct/hod_23.73.1.htm (216 words)

	Francesco Griffo
		Francesco Griffo da Bologna started his career as a goldsmith, and later worked for the most important publisher of the day, the house of Aldus Manutius of Venice.
		He was the first modern type designer, in the sense that he devised types for the mechanical craft of printing and not for an alternative to hand-written manuscript.
		He disappeared from history after that and is thought to have been executed by hanging in 1518.
	www.identifont.com /show?6OZ (206 words)

	Week 3 Class Notes (Site not responding. Last check: 2007-10-09)
		Old Style began with the designs from the punchcutter Francesco Griffo, who worked for the famous Venetian scholar-printer Aldus Manutius during the 1490s.
		Griffo's designs evolved from earlier Italian type designs.
		His Old Style capitals were influenced by carved Roman capitals; lowercase letters were inspired by fifteenth-century humanistic writing styles, based on the earlier Carolingian minuscules.
	msp.sfsu.edu /instructors/rsellers/typeclass/09b.html (657 words)

	Bene Comune Simbolo e nome
		Si tratta del Griffo corsivo che fu disegnato nel 1503 appunto da Francesco Griffo per Ghershom Soncino.
		Griffo aveva lasciato la tipografia di Aldo Manuzio per recarsi a Fano presso il tipografo Soncino.
		Con questo carattere il Soncino stampò nel 1503 “le rime” del Petrarca, pubblicate con una dedica a Cesare Borgia in cui il tipografo si produsse, tralaltro, in una famosa diatriba circa l’originalità dei caratteri “aldini” ideati e creati dal Griffo.
	www.benecomune.it /simbolo.html (451 words)

	Occo (Site not responding. Last check: 2007-10-09)
		To make them more convenient than the large format editions of the day, he devised a small six by three and a half size.
		To fit more type on the page, he enlisted the skills of Francesco Griffo de Bologna, artist, goldsmith and type cutter.
		Griffo found he could place more on the page when he gave it a slant after the style of handwritten script.
	crusader.bac.edu /library/rarebooks/Occo.htm (212 words)

	The Bembo 500th Anniversary Page
		Griffo created many innovative type designs that are still admired for their beauty and readability.
		Their collaboration broke up over a copyright dispute, primarily over the ownership of the cursive type face that Griffo developed under the direction of Aldus.
		Although Aldus even had a papal decree to protect this style of alphabet, it was as difficult then as it is now to protect a typeface design.
	www.kevinsteele.com /021996_bembo.html (801 words)

	homer (Site not responding. Last check: 2007-10-09)
		The italic designed by Francesco Griffo of Bologna for Aldus Manutius was first used extensively in Aldus's octavo edition of the works of Virgil that appeared in April 1501.
		Aldus commissioned this font for his new series of classical texts, text he had stripped of commentary and put in a convenient, small format, which he called "portable books in the nature of manuals." Intended for the scholar, they were priced accordingly.
		Aldus's acknowledgment of Griffo in his forward to the 1501 edition of Virgil can be translated as: "Aldus, who gave punch-cut current script to the Greeks, now, as you see, gives as much to the Latins, by the fabulous hands of Francis of Bologna."
	www.columbia.edu /cu/lweb/data/indiv/rare/type-exhibit/2rvi/homer.htm (204 words)

	Scholarly andTechnical Publications
		He specialized at first in the publication of Greek classics, and then adopted a program of publishing carefully prepared texts of classical Greek and Latin authors in portable inexpensive editions, such as this 1509 edition of the Roman poet Horace.
		For these compact editions, Aldus pioneered the use of the italic typeface designed for him by Francesco Griffo as a companion to his Roman type.
		Badius received his scholarly training in Italy before joining the Trechsel printing firm in Lyon in the early 1490s, where he was responsible for editing humanist and church texts.
	www.brynmawr.edu /library/exhibits/BooksPrinters/technical.html (626 words)

	Aldus
		Der Stempelschneider Francesco Griffo schuf für ihn griechische Typen, die dem Geschmack der gelehrten Leser und den technischen Erfordernissen entsprachen.
		Die lateinische Typographie bereicherte Griffo durch eine Kursive, die sich ebenfalls an der Handschrift humanistischer Gelehrter orientierte, dabei jedoch klar und lesbar war.
		Mit Griffos Kursive, die das hervorstechendste Merkmal der lateinischen und italienischen Aldinen wurde, traf der Drucker den Geschmack der wohlhabenden, ästhetisch sensiblen Bildungselite, die er vor allem im Blick hatte.
	www.uni-mannheim.de /mateo/desbillons/aldus.html (1014 words)

	Foam Train fonts: historical people in type
		The design is based on type cut by Francesco Griffo for the Aldine Press of Aldus Manutius, and first used in Bembo’s work De Aetna in 1495/96.
		Giovanni Madersteigs’s Griffo type is an exacting replica of one of Griffo’s fonts.
		His typefaces were all designed and cut by the brilliant Francesco Griffo, a punchcutter who created the first roman type cut from study of classical Roman capitals.
	www.owlsoup.com /foamtrain/people.html (2477 words)

	Linotype Fonts: Griffo Classico font (Site not responding. Last check: 2007-10-09)
		Griffo Classico is based on the roman and italic types cut by Francesco Griffo for the Venetian printer and publisher Aldo Manuzio at the end of the 15th century.
		The roman is from 1495, the first book using his italics was printed in 1501.
		Francesco Griffo had no italic uppercase characters, in my version they are italicized.
	www.paratype.com /fstore/lfont-749_Griffo+Classico.htm (57 words)

	Monotype: Bembo (Site not responding. Last check: 2007-10-09)
		The type used for the text was a new design commissioned by Aldus and cut by Francesco Griffo, a goldsmith turned punch-cutter.
		Griffo’s design was lighter and more harmonious in weight than earlier romans.
		Text set in the face was also more inviting and easier to read than previous designs.
	www.agfamonotype.co.uk /Library/HiddenGems.asp?show=bembo (443 words)

	Apollonius.Net - Lowry Part Eight
		So if Aldus succeeded in setting standards for his own century, then we have to admit that those standards are now discarded: if he supplied a model for the fine roman printing of a later age, then he did so largely by accident.
		And even in the first years of the sixteenth century, the division of credit between Aldus as designer and Francesco Griffo as caster was a matter for dispute.
		It is certainly clear that Aldus gained an emotional hold over the scholars of his time which his predecessors had never tried to establish and which his successors, in a more difficult age, were unable to reproduce.
	www.apollonius.net /lowry08e.html (4307 words)

	eye \| review
		There are many good reasons why the names of Aldus Manutius (1450-1515) and Francesco Griffo (1450-1518) are revered by typophiles.
		In one respect it seems too good to be true, but there is too much for it to be mere co-incidence and it should prompt much further study of the period.
		The book also re-affirms the status of Manutius and Griffo, showing just what they achieved with one size of a single typeface to create beautiful and articulate pages.
	www.eyemagazine.com /review.php?id=110&rid=520&set=579 (242 words)

	ATYPI ROMA CULTIVATED IMPRECISION
		The font 'Ritratti' is a copy of a font designed and cut by Francesco Griffo at the press of Aldus Manutius in Venice in imitation of handwriting.
		It was created for a group of three documentary films by Carlo Mazzacurati and Marco Paolini on three of the greatest living writers of the Veneto region of Italy, Mario Rigoni Stern, Andrea Zanzotto and Luigi Meneghello.
		The thread running through these two different projects is the formal graphic basis underlying a surface treatment which emphasizes both the imperfections and imprecisions of some of the old printed pages and the less strict family resemblance among letters designed freely by hand.
	www.bellelettere.it /buffaatypi/buffaatypi1.html (141 words)

	Families of Type (Site not responding. Last check: 2007-10-09)
		Aldus’ most important type, designed by Francesco Griffo, was created for a 60 page essay by Cardinal Pietro Bembo, in 1495.
		This type, patterned after the official cursive hand of scholars and professionals, called cancellaresca, was designed at an angle, carried a distinct flavor of handwriting, and featured smaller character widths.
		A twentieth century revival of the Venetian types, Bembo is a copy of the Aldine Roman typeface cut by Francesco Griffo.
	graphicdesign.sfcc.spokane.cc.wa.us /tutorials/process/type_basics/type_families.htm (1696 words)

	Blogger: Email Post to a Friend
		The original woodcut designs have been associated with Andrea Mantegna although they also have been associated with the work of Fra Giocondo, Vittore Carpaccio, Gentile Bellini and Benedetto Bordon.
		This book uses a Roman typeface produced by Francesco Griffo, who also designed the italic type used later in editions of the Latin classics printed at the Aldine Press.
		Griffo's lower-case font is considered to be the most modern of 15th century type.
	www.blogger.com /email-post.g?blogID=6927765&postID=111321618088617307 (272 words)

	the loud bassoon online zine - a brief history of garamond, with artistic license
		He studied the work of those who came before him, like Francesco Griffo de Bologna and Aldus Manutius.
		Claude was greatly influenced by the roman types that the Italians had used to produce classic literature.
		He was renowned for cutting a roman type based on a font produced for Aldus by Griffo.
	www.loudbassoon.com /language/garamond_history.html (926 words)

	ATYPI ROMA CULTIVATED IMPRECISION
		I had the idea of using as a model the italic type of a certain publishing house in Venice - that of Aldus Manutius.
		The italic typeface of Aldus, designed and cut by Francesco Griffo in imitation of handwriting, saw its first extensive use in Aldus’s edition of the Roman poet Virgil published in April 1501.
		This was the very first italic typeface, and although initially Aldus had a monopoly on it in Venetian territory it was immediately copied or used as a model for derivative fonts by printers elsewhere.
	www.bellelettere.it /buffaatypi/buffaatypi4.html (164 words)

	UCLA Special Collections / Exhibitions / Legibility & migration
		In 1500, therefore, he had his typefounders make a font of this new type from the punches cut by Francesco Griffo, of Bologna, a goldsmith then resident in Venice, and thus introduced into printingthe letter form which has ever since been called italic.
		"After a rather abrupt end to their relations, the engraver of the Aldine italic, Francesco Griffo, soon found himself in hostile competition with his former collaborator.
		They are always calligraphic, never cramped; their long ascenders and descenders invest his page with a spacious, elegant look....
	www.library.ucla.edu /libraries/special/scweb/italex.htm (4855 words)

	Veer: Products: Type: Adobe: Bembo Std 1
		Bembo was modeled on typefaces cut by Francesco Griffo for Aldus Manutius’ printing of De Aetna in 1495 in Venice, a book by classicist Pietro Bembo about his visit to Mount Etna.
		Griffo’s design is considered one of the first of the old style typefaces, which include Garamond, that were used as staple text types in Europe for 200 years.
		Stanley Morison supervised the design of Bembo for the Monotype Corporation in 1929.
	www.fontscape.com /link?7TW+FK+ADT0003370 (174 words)

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