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Nicolas Jenson, 1470. A new standard of excellence was established with wider letterforms, lighter tone, and a more
even texture of black strokes on the white ground.
Wednesday, February 10, 16
Trademarks are words, symbols, or a combination of the two used to identify a business or product.
Wednesday, February 10, 16
Society of Venetian Printers, 1481; Laurentius de Rubeis, 1482; Pere Miguel, 1494.
The orb and cross motif, found in ancient Egypt, came to symbolize that “God shall reign over Earth.”
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Title page for Calendarium, 1476. The verse identifies the title and author, while the date and printer’s names appear below.All ornamentation was now done on press.
Wednesday, February 10, 16
Page from Calendarium, 1476The grid of rules brings order and legibility to this record of past and future eclipses.
Wednesday, February 10, 16
Page from Calendarium, 1476The two top circles are printed on heavy paper, cut out, and mounted over the larger woodcut with tape and a string. This may be the first
“die-cut” and manual “tip-in” graphic material in a printed book.Wednesday, February 10, 16
Euclid’s Geometriae elementa, 1482wide border brackets the text, fine line drawings visually define Euclid’s terms.
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The wide left margin is maintained throughout the book for explanatory diagrams, two sizes of initial letters denote sections and subsections.
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Giovanni and Alberto Alvise, title page from Ars Moriendi (The Art of Dying), 1478.The vocabulary of graphic design possibilities was expanded by the design and casting of metal decorative ornaments, or dingbats, that could be composed as part of the page of type.
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Manuscript book, undated with hand-drawn illustrations in brown ink and pen
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Later printed version of the same book, 1472. Detail and quality are lost in the technical translation from original manuscript to printed book
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Wednesday, February 10, 16
Trademark for the Aldine Press, a dolphin and anchor,1500
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Aldus Manutius, from Pietro Bembo’s De Aetna, 1495-96. As the model for Garamond in the sixteenth century,
this typeface became the prototype for two centuries of European typographic design.
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Aldus Manutius, 1499. Illustrations done in classic Venetian style. Tone and weight are harmonious with texture of the text
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Aldus Manutius, page from Vergil’s Opera, 1501.
This is a smaller, more economical size, like a “pocket book.”One of the first books using Griffo’s new italic type.
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Wednesday, February 10, 16
The energy of the era passes to France where two talented
graphic artists emerge.Claude Garamond (1480-1561)and Geoffrey Tory (1480-1533)
create type and book designs that set the standard for 200 years.
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Claude Garamond was the first type designer
to work independently of printing firms
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Geoffrey Tory,pages from the book, Les Heures de Jean Lallement, 1506
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One in a series of capitals, c. 1526, engraved for Robert Estienne’s press. This brought color and elegance to the page.
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Pages from Hours of Our Excellent Virgin Mary, 1541borders filled with animal and plant motifs.
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Geoffrey Tory,construction of the perfect letter Q, from Champ Fleury, 1529
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Geoffrey Tory, pictorial alphabet from Champ Fleury, 1529
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Robert Estienne, page from Biography of Twelve Early Milanese, 1549, using Garamond’s roman fonts and Geoffrey Tory’s intials
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Wednesday, February 10, 16
