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Arial, sometimes marketed or displayed in software as Arial MT, is a sans-seriftypeface and set of computer fonts. Fonts from the Arial family are packaged with all versions of Microsoft Windows from Windows 3.1 onwards, some other Microsoftsoftware applications,^[2]Apple'smacOS^[3] and many PostScript 3 computer printers.^[4] The typeface was designed in 1982 by Robin Nicholas and Patricia Saunders, for Monotype Typography.^[5] It was created to be metrically identical to the popular typeface Helvetica, with all character widths identical, so that a document designed in Helvetica could be displayed and printed correctly without having to pay for a Helvetica license.

The Arial typeface comprises many styles: Regular, Italic, Medium, Medium Italic, Bold, Bold Italic, Black, Black Italic, Extra Bold, Extra Bold Italic, Light, Light Italic, Narrow, Narrow Italic, Narrow Bold, Narrow Bold Italic, Condensed, Light Condensed, Bold Condensed, and Extra Bold Condensed. The extended Arial type family includes more styles: Rounded (Light, Regular, Bold, Extra Bold); Monospaced (Regular, Oblique, Bold, Bold Oblique). Many of these have been issued in multiple font configurations with different degrees of language support. The most widely used and bundled Arial fonts are Arial Regular, Italic, Bold, and Bold Italic; the same styles of Arial Narrow; and Arial Black. More recently, Arial Rounded has also been widely bundled.

In Office 2007, Arial was replaced by Calibri as the default typeface in PowerPoint, Excel, Outlook, and WordPad.

• 2History
• 4Arial variants
• 5Monotype/Linotype retail versions

Design characteristics[edit]

Embedded in version 3.0 of the OpenType version of Arial is the following description of the typeface:

A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions.

In 2005, Robin Nicholas said, 'It was designed as a generic sans serif; almost a bland sans serif.'^[6][7]

Arial is a neo-grotesque typeface: a design based on the influence of nineteenth-century sans-serifs, but made more regular and even to be more suited to continuous body text and to form a cohesive family of fonts.

Apart from the need to match the character widths and approximate/general appearance of Helvetica, the letter shapes of Arial are also strongly influenced by Monotype's own Monotype Grotesque designs, released in or by the 1920s, with additional influence from 'New Grotesque', an abortive redesign from 1956.^{[8][9][10][11]} The designs of the R, G and r also resemble Gill Sans. The changes cause the typeface to nearly match LinotypeHelvetica in both proportion and weight (see figure), and perfectly match in width.^[12] Monotype executive Allan Haley observed, 'Arial was drawn more rounded than Helvetica, the curves softer and fuller and the counters more open. The ends of the strokes on letters such as c, e, g and s, rather than being cut off on the horizontal, are terminated at the more natural angle in relation to the stroke direction.'^[10]Matthew Carter, a consultant for IBM during its design process, described it as 'a Helvetica clone, based ostensibly on their Grots 215 and 216'.

The styling of Arabic glyphs comes from Times New Roman, which have more varied stroke widths than the Latin, Greek, Cyrillic glyphs found in the font. Arial Unicode MS uses monotone stroke widths on Arabic glyphs, similar to Tahoma.

The Cyrillic, Greek and Coptic Spacing Modifier Letters glyphs initially introduced in Arial Unicode MS, but later debuted in Arial version 5.00, have different appearances.

History[edit]

IBM debuted two printers for the in-office publishing market in 1982: the 240-DPI 3800-3 laserxerographic printer, and the 600-DPI 4250 electro-erosion laminate typesetter.^[13][14] Monotype was under contract to supply bitmap fonts for both printers.^[10][13] The fonts for the 4250, delivered to IBM in 1983,^[15] included Helvetica, which Monotype sub-licensed from Linotype.^[13] For the 3800-3, Monotype replaced Helvetica with Arial.^[13] The hand-drawn Arial artwork was completed in 1982 at Monotype by a 10-person team led by Robin Nicholas and Patricia Saunders^[6][16] and was digitized by Monotype at 240 DPI expressly for the 3800-3.^[17]

IBM named the font Sonoran Sans Serif due to licensing restrictions and the manufacturing facility's location (Tucson, Arizona, in the Sonoran Desert),^[10][18] and announced in early 1984 that the Sonoran Sans Serif family, 'a functional equivalent of Monotype Arial', would be available for licensed use in the 3800-3 by the fourth quarter of 1984. There were initially 14 point sizes, ranging from 6 to 36, and four style/weight combinations (Roman medium, Roman bold, italic medium, and italic bold), for a total of 56 fonts in the family. Each contained 238 graphic characters, providing support for eleven national languages: Danish, Dutch, English, Finnish, French, German, Italian, Norwegian, Portuguese, Spanish, and Swedish. Monotype and IBM later expanded the family to include 300-DPI bitmaps and characters for additional languages.

In 1989, Monotype produced PostScript Type 1 outline versions of several Monotype fonts,^[15] but an official PostScript version of Arial was not available until 1991.^{[citation needed]} In the meantime, a company called Birmy marketed a version of Arial in a Type 1-compatible format.^[12][19]

In 1990, Robin Nicholas, Patricia Saunders^[6][16] and Steve Matteson developed a TrueType outline version of Arial which was licensed to Microsoft.^[15][20][21]

In 1992, Microsoft chose Arial to be one of the four core TrueType fonts in Windows 3.1, announcing the font as an 'alternative to Helvetica'.^[15][16][22]Matthew Carter has noted that the deal was complex and included a bailout of Monotype, which was in financial difficulties, by Microsoft. Microsoft would later extensively fund the development of Arial as a font that supported many languages and scripts. Monotype employee Rod MacDonald noted:

As to the widespread notion that Microsoft did not want to pay licensing fees [for Helvetica], [Monotype director] Allan Haley has publicly stated, more than once, that the amount of money Microsoft paid over the years for the development of Arial could finance a small country.^[23]

Arial ultimately became one of several clones of PostScript standard fonts created by Monotype in collaboration with or sold to Microsoft around this time, including Century Gothic (a clone of ITC Avant Garde), Book Antiqua (Palatino) and Bookman Old Style (ITC Bookman).^[24][25][26]

TrueType/OpenType version history[edit]

Version 1.00 was supplied with Windows 3.1 and Windows for Workgroups 3.11. Only included Windows ANSI.

Version 1.77 was supplied with Windows NT 3.5.

Version 2.00 (United States) was supplied with Windows 95 to Windows ANSI.

Version 2.00 was supplied with Windows NT 4.0 and non-US editions of Windows 95 and included WGL4, but no euro sign.

Version 2.01 was the beta euro font update.

Version 2.45 was supplied with Windows 98 in the US, adding Z-caron and the euro.

Version 2.50 was supplied with Windows 98 outside the US, also accessible in the US by installing multilanguage support, including WGL4 and the euro.

Version 2.55 was supplied with the Final Windows 95 euro update that shipped on 4 November 1998, it also included WGL4.

Version 2.76 or later includes Hebrew (designed by Baruch Gorkin^[27]) and Arabic glyphs, with most of Arabic added on non-italic fonts. Also added were Vietnamese and Chinese Pinyin letters.

Version 2.82 added letters for Azeri (Latin and Cyrillic).

Version 2.95 added support for Thai.

Version 5.00 added support for Latin-C and Latin D, Phonetic Extensions, Greek Extended, Cyrillic Supplement, and completed Greek and Coptic, Latin Extended-B, IPA Extensions, and Latin Extended Additional and added new characters for the update to Unicode 5.0.

Version 5.06 added Unicode 5.1 support.

Version 6.80 added Unicode 6.1 support and extended Latin-C and Latin-D.

Version 6.98 added support for Latin-E and extended Latin-D and updated to Unicode 8.0.

Version 9.00 added support for Cyrillic Extended-B and C.

Distribution[edit]

TrueType editions of Arial have shipped as part of Microsoft Windows since the introduction of Windows 3.1 in 1992;^[22] Arial was the default font.^[1]

Since 1999, Microsoft Office has shipped with Arial Unicode MS, a version of Arial that includes many international characters from the Unicode standard. This version of the typeface is the most widely distributed pan-Unicode font.

Arial MT, a PostScript version of the Arial font family, was distributed with Acrobat Reader 4 and 5.

PostScript does not require support for a specific set of fonts, but Arial and Helvetica are among the 40 or so typeface families that PostScript Level 3 devices typically support.^[28][29]

macOS (at the time known as Mac OS X) was the first Mac OS version to include Arial; it was not included in classic Mac OS. The operating system ships with Arial, Arial Black, Arial Narrow, and Arial Rounded MT. However, the default macOS font for sans-serif/Swiss generic font family is Helvetica. The bundling of Arial with Windows and macOS has contributed to it being one of the most widely distributed and used typefaces in the world.

In 1996, Microsoft launched the Core fonts for the Web project to make a standard pack of fonts for the Internet. Arial in TrueType format was included in this project. The project allowed anyone to download and install these fonts for their own use (on end user's computers) without any fee. The project was terminated by Microsoft in August 2002, allegedly due to frequent EULA violations.^[30][31][32] For MS Windows, the core fonts for the web were provided as self-extracting executables (.exe); each included an embedded cabinet file, which can be extracted with appropriate software. For the Macintosh, the files were provided as BinHexedStuffIt archives (.sit.hqx). The latest font version that was available from Core fonts for the Web was 2.82, published in 2000. Later versions (such as version 3 or version 5 which include many new characters) were not available from this project. A Microsoft spokesman declared in 2002 that members of the open source community 'will have to find different sources for updated fonts. ... Although the EULA did not restrict the fonts to just Windows and Mac OS, they were only ever available as Windows .exe's and Mac archive files.'^[30] The chief technical officer of Opera Software cited the cancellation of the project as an example of Microsoft resisting interoperability.^[33]

Arial variants[edit]

The known variants of Arial include:

• Arial: Sometimes called Arial Regular to distinguish its width from Arial Narrow, it contains Arial (Roman text weight), Arial Italic, Arial Bold, Arial Bold Italic
• Arial Unicode MS^[34]
• Arial Black: Arial Black, Arial Black Italic. This weight is known for being particularly heavy. This is because the face was originally drawn as a bitmap, and to increase the weight, stroke widths for bold went from a single pixel width to two pixels in width, but only supports Latin, Greek and Cyrillic.
• Arial Narrow: Arial Narrow Regular, Arial Narrow Bold, Arial Narrow Italic, Arial Narrow Bold Italic. This family is a condensed version.

• Arial Rounded: Arial Rounded Light, Arial Rounded Regular, Arial Rounded Medium, Arial Rounded Bold, Arial Rounded Extra Bold. The regular versions of the rounded glyphs can be found in Gulim, Microsoft's Korean font set. Originally only available in bold form as Arial Rounded MT Bold, extra fonts appeared as retail products. In Linotype's retail version, only Arial Rounded Regular supports WGL character set.
• Arial Special: Arial Special G1, Arial Special G2. They are included with Microsoft Encarta Virtual Globe 99, Expedia Streets and Trips 2000, MapPoint 2000.
• Arial Light, Arial Medium, Arial Extra Bold, Arial Light Condensed, Arial Condensed, Arial Medium Condensed, Arial Bold Condensed: These fonts first appeared in the Linotype online stores. The condensed fonts do not have italic counterparts.
• Arial Monospaced: In this monospaced variant, letters such as @, I (uppercase i), i, j, l (lowercase L), M, W are redesigned.

Arial Alternative[edit]

Arial Alternative Regular and Arial Alternative Symbol are standard fonts in Windows ME, and can also be found on Windows 95 and Windows XP installation discs, and on Microsoft's site.^[35] Both fonts are Symbol-encoded. These fonts emulate the monospaced font used in Minitel/Prestelteletext systems, but vectorized with Arial styling. The fonts are used by HyperTerminal.

Arial Alternative Regular contains only ASCII characters, while Arial Alternative Symbol contains only 2 × 3 semigraphics characters.

Code page variants[edit]

Arial Baltic, Arial CE, Arial Cyr, Arial Greek, Arial Tur are aliases created in the FontSubstitutes section of WIN.INI by Windows. These entries all point to the master font. When an alias font is specified, the font's character map contains different character set from the master font and the other alias fonts.

In addition, Monotype also sells Arial in reduced character sets, such as Arial CE, Arial WGL, Arial Cyrillic, Arial Greek, Arial Hebrew, Arial Thai.

Arial Unicode is a version supporting all characters assigned with Unicode 2.1 code points.

Arial Nova[edit]

Arial Nova's design is based on the 1982's Sonora Sans bitmapped fonts,^[36][37] which were in fact Arial renamed to avoid licensing issues. It was bundled with Windows 10, and is offered free of charge on Microsoft Store.^[38] It contains Regular, Bold and Light weights, corresponding italics and corresponding Condensed widths.

Monotype/Linotype retail versions[edit]

Arial[edit]

The TrueType core Arial fonts (Arial, Arial Bold, Arial Italic, Arial Bold Italic) support the same character sets as the version 2.76 fonts found in Internet Explorer 5/6, Windows 98/ME.

Version sold by Linotype includes Arial Rounded, Arial Monospaced, Arial Condensed, Arial Central European, Arial Central European Narrow, Arial Cyrillic, Arial Cyrillic Narrow, Arial Dual Greek, Arial Dual Greek Narrow, Arial SF, Arial Turkish, Arial Turkish Narrow.

In addition, Monotype also sells Arial in reduced character sets, such as Arial CE, Arial WGL, Arial Cyrillic, Arial Greek, Arial Hebrew, Arial Thai, Arial SF.

Arial WGL[edit]

It is a version that covers only the Windows Glyph List 4 (WGL4) characters. They are only sold in TrueType format.

The family includes Arial (regular, bold, italics), Arial Black, Arial Narrow (regular, bold, italics), Arial Rounded (regular, bold).

Ascender Corporation fonts[edit]

Ascender Corporation sells the font in Arial WGL family, as well as the Arial Unicode.

Arial in other font families[edit]

Arial glyphs are also used in fonts developed for non-Latin environments, including Arabic Transparent, BrowalliaUPC, Cordia New, CordiaUPC, Miriam, Miriam Transparent, Monotype Hei, Simplified Arabic.

Free alternatives[edit]

Arial is a proprietary typeface^[39] to which Monotype Imaging owns all rights, including software copyright and trademark rights (under U.S. copyright law, Monotype cannot legally copyright the shapes of the actual glyphs themselves).^[40] Its licensing terms prohibit derivative works and free redistribution.^{[41][42][43][44][45][46][47]}

There are some free softwaremetric-compatible fonts used as free Arial alternatives or used for Arial font substitution:

• Liberation Sans is a metrically equivalent font to Arial developed by Ascender Corp. and published by Red Hat in 2007, initially under the GPL license with some exceptions.^[48] Versions 2.00.0 onwards are published under SIL Open Font License.^[49] It is used in some GNU/Linux distributions as default font replacement for Arial.^[50] Liberation Sans Narrow is a metrically equivalent font to Arial Narrow contributed to Liberation fonts by Oracle in 2010,^[51] but is not included in 2.00.0.^[52] Google commissioned a variation named Arimo for Chrome OS.
• URW++ produced a version of Helvetica called Nimbus Sans L in 1987, and it was eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996.^[53][54][55] It is one of the Ghostscript fonts, free alternatives to 35 basic PostScript fonts (which include Helvetica).
• FreeSans, a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.^[39][56] It is one of free fonts developed in GNU FreeFont project, first published in 2002. It is used in some free software as Arial replacement or for Arial font substitution.
• TeX Gyre Heros, a free font descending from URW++ Nimbus Sans L, which in turn descends from Helvetica.^[57] It is one of free fonts developed by the Polish TeX Users Group (GUST), first published in 2007. It is licensed under the GUST Font License.

Uses[edit]

• SM used in City or Center since 2010, later in 2011 upgraded Capitalized after used in SM City San Pablo.

See also[edit]

• Category:Monotype typefaces – typefaces owned by or designed for Monotype Imaging

References[edit]

1. ^ ^abcMcNeil, Paul (9 November 2017). The Visual History of Type(print). London: Laurence King. p. 446–447. ISBN9781780679761. OCLC1004655550.
2. ^Microsoft Corporation. 'Arial – Products that supply this font'. Retrieved 31 January 2010.
3. ^Apple Inc. 'Mac OS X 10.5: Fonts list'. Archived from the original on 20 January 2010. Retrieved 31 January 2010.
4. ^'Adobe PostScript 3 fonts'(PDF). Archived(PDF) from the original on 5 June 2011. Retrieved 4 May 2011.
5. ^Nicholas, Robin. 'Two minutes with Robin Nicholas'. Metacafe. Retrieved 1 July 2015.
6. ^ ^abc'Twenty/20'(PDF). MacUser. 8 July 2005. Archived from the original(PDF) on 4 March 2009.
7. ^Clark, Joe. 'Upload of Macuser'. Flickr. Retrieved 1 July 2015.
8. ^Shaw, Paul. 'Arial Addendum no. 3'. Blue Pencil. Retrieved 1 July 2015.
9. ^Shaw (& Nicholas). 'Arial addendum no. 4'. Blue Pencil. Retrieved 1 July 2015.
10. ^ ^abcdHaley, Allan (May – June 2007). 'Is Arial Dead Yet?'. Step Inside Design. Archived from the original on 19 July 2011. Retrieved 11 May 2011.
11. ^'Type Designer Showcase: Robin Nicholas – Arial'. Monotype Imaging. Archived from the original on 14 July 2011. Retrieved 10 May 2011.
12. ^ ^abSimonson, Mark. 'The Scourge of Arial'. Archived from the original on 25 May 2011. Retrieved 11 May 2011.
13. ^ ^abcdBoag, Andrew (14 October 1996). 'Have you ever thought about the LaserWriter fonts and how you got them?'. Typo-L (Mailing list). Retrieved 9 May 2011. 'Monotype's first contract for the IBM 4250 included [...] Helvetica (sub-licensed from Lino) [...] When it came to the 3800 laser printer I think IBM wanted a functional equivalent to Helvetica to save on the licensing wrangles, and this is when the Arial bitmaps were first created. But IBM named all the fonts in the machine after rivers in Colorado (!) so it was initially called Sonoran Sans.' Boag is a former Monotype employee.
14. ^The 4250 prototype debuted at Drupa in 1982, but the production model 4250/II wasn't on the market until 1984.
15. ^ ^abcdWallis, Lawrence W. 'About Us: The Monotype Chronicles'. Monotype Imaging. Archived from the original on 26 July 2011. Retrieved 11 May 2011. 1983 [...] Monotype supplied IBM with digital fonts for its 600 dpi 4250 Printer operating on the principle of electro-erosion of the coated surface of a laminated substrate. [...] 1989 – Monotype issued first fonts in the PostScript Type 1 format containing ‘hinted’ refinements under license from Adobe Systems. [...] 1990 – Monotype Typography licensed to Microsoft a set of 13 core fonts in the TrueType format for use in the Windows and OS/2 environments. It was an association that burgeoned further with release of additional TrueType font packages in 1992 and afterwards.
16. ^ ^abcRobin Nicholas bio at Ascender Corporation by Monotype Imaging website [blacklisted, so direct link not available] '[Robin Nicholas] in 1982 developed a sans serif typeface for bitmap font laser printers which was later developed, with Patricia Saunders, into the Arial typeface family – chosen by Microsoft as a core font for Windows 3.1 (and subsequent versions)'
17. ^'IBM Typographic Fonts for IBM 3800 Printing Subsystem Model 3 [announcement letter 284-040]'. 7 February 1984. The fonts, designed for use with the IBM 3800 Printing Subsystem Model 3, consist of proportionally spaced, digitized, alphabetic character, and other forms in sizes ranging from 4 to 36 points (approximately 1/18-inch to 1/2-inch) in height. Each character pattern is printed at a density of 240 × 240 dots (pels) per square inch. Letter forms were digitized by The Monotype Corporation, Limited, from original artwork. The digitization was done at 240 × 240 dots (pels) per square inch expressly for the IBM 3800 Printing Subsystem Model 3.
18. ^A Guide to Understanding AFP Fonts(PDF), International Business Machines Corporation, 30 December 1999, retrieved 10 May 2011, The Sonoran font products were created to provide AFP customers with two of the most popular typefaces: Times New Roman and Arial (Monotype's equivalent of Helvetica). Due to licensing requirements in place at the time, the type family names used for the IBM-supplied versions of these fonts were changed from Times New Roman to Sonoran Serif and from Arial to Sonoran Sans Serif. These 240 dpi-only fonts were extensively hand-edited. Since the characters in the fonts were not derived from common databases, there is no linear progression of character size as point size increases, a requirement for migration to outline fonts. [...] Since the linearity issue cannot be resolved (each character in each point size is unique and not linearly related to the same character in any other point size) there will be no outline font support for the Sonoran fonts and the migration path will stop at 300-pel..
19. ^Fenton, Erfert (1989), The Macintosh Font Book (1 ed.), Peachpit Press (Verification needed; Google Books search result only shows that Arial is mentioned.)
20. ^'Steve Matteson'. MyFonts.com (Bitstream Inc.). Retrieved 11 May 2011.
21. ^Steve Matteson bio at Ascender Corporation by Monotype Imaging website [blacklisted, so direct link not available] 'In 1990 Steve was hired by Monotype Typography as a contractor to aid in the production of Microsoft’s first TrueType fonts.'
22. ^ ^ab'New features in Windows 3.1'. Microsoft. 16 November 2006. Retrieved 8 March 2008. Windows 3.1 includes the new TrueType scalable-font technology…Four TrueType scalable-font families will ship with all copies of Windows 3.1: Arial (alternative to Helvetica), Times New Roman, Courier, and Symbol.
23. ^McDonald, Rob. 'Some history about Arial'. Paul Shaw Letter Design. Retrieved 22 May 2015.
24. ^Downer, John. 'Call It What It Is'. Emigre. Retrieved 20 March 2016.
25. ^Simonson, Mark. 'Monotype's Other Arials'. Mark Simonson Studio. Retrieved 14 July 2015.
26. ^Gavin Ambrose; Paul Harris (1 November 2006). The Fundamentals of Typography. AVA Publishing. p. 145. ISBN978-2-940373-45-1.
27. ^http://luc.devroye.org/fonts-32904.html
28. ^Adobe Systems Incorporated, PostScript Language Reference Supplement, Adobe PostScript 3, Version 3010 and 3011 Product SupplementArchived 3 June 2006 at the Wayback Machine, Appendix D, 30 August 1999. Retrieved 29 April 2006.
29. ^Adobe Systems Incorporated, The Adobe PostScript 3 Font Set. Retrieved 29 April 2006.
30. ^ ^abMark Hachman (14 August 2002). 'Microsoft Withdraws Free Web Fonts'. ExtremeTech. Archived from the original on 17 April 2010. Retrieved 13 April 2010.
31. ^Jesse Burgheimer (13 August 2002). 'Microsoft Cuts the Line to Web Core Fonts'. archive.org. Archived from the original on 11 January 2008. Retrieved 13 April 2010.
32. ^'Microsoft Cuts the Line to Web Core Fonts'. 13 August 2002. Archived from the original on 13 March 2008. Retrieved 4 August 2008.
33. ^'Opera to MS: Get real about interoperability, Mr Gates – Opera CTO Hakon Lie responds to Bill's clarion call'. 11 February 2005. Archived from the original on 25 May 2010. Retrieved 2 July 2010.
34. ^'Arial Unicode MS'. Archived from the original on 8 January 2010. Retrieved 15 January 2010.
35. ^'Knowledge base', Support, Microsoft, archived from the original on 4 June 2012
36. ^'Background Story'. Arial Nova. Linotype. Retrieved 2 March 2018.
37. ^'Typeface Story'. Arial Nova. Fonts.com.
38. ^'Get Arial Nova'. Microsoft Store. Microsoft. Retrieved 2 March 2018.
39. ^ ^ab'GNU FreeFont – Why do we need free outline UCS fonts?'. 4 October 2009. Archived from the original on 16 June 2010. Retrieved 2 July 2010.
40. ^Copyright registrations for the TrueType 'computer programs': Arial Roman, Arial Bold, Arial Italic, and Arial Bold Italic.
41. ^'Monotype Imaging, Inc. – End User License Agreement'. Archived from the original on 17 July 2010. Retrieved 2 July 2010.
42. ^'Monotype Imaging – Licensing Options'. Archived from the original on 4 July 2010. Retrieved 2 July 2010.
43. ^'Microsoft Typography – Arial'. Archived from the original on 25 July 2010. Retrieved 2 July 2010.
44. ^Microsoft. 'Core fonts for the Web – End-User License Agreement for Microsoft Software'. Retrieved 13 April 2010.
45. ^Microsoft (28 December 2001). 'TrueType core fonts for the Web EULA'. Retrieved 13 April 2010.
46. ^Microsoft (12 October 2001). 'TrueType core fonts for the Web FAQ'. Archived from the original on 29 March 2010. Retrieved 13 April 2010.
47. ^Microsoft (25 July 2002). 'TrueType core fonts for the Web FAQ'. Retrieved 13 April 2010.
48. ^LiberationFontLicense – License Agreement and Limited Product Warranty, Liberation Font Software, retrieved 19 December 2012
49. ^LICENSE - liberation-fonts, retrieved 19 December 2012^{[permanent dead link]}
50. ^Mandriva Linux 2008 Release Tour, archived from the original on 19 June 2010, retrieved 4 April 2010, integrated into Mandriva Linux 2008
51. ^'OpenOffice.org 3.3 New Features'.
52. ^Liberation Fonts, Fedora
53. ^Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts., archived from the original on 23 October 2002, retrieved 6 May 2010
54. ^Finally! Good-quality free (GPL) basic-35 PostScript Type 1 fonts.(TXT), retrieved 6 May 2010
55. ^'Fonts and TeX'. 19 December 2009. Retrieved 6 May 2010.
56. ^'GNU FreeFont – Design notes'. 4 October 2009. Archived from the original on 15 June 2010. Retrieved 2 July 2010.
57. ^'TeX Gyre Heros — GUST Web Presence'. Retrieved 19 December 2018.

External links[edit]

• Microsoft Typography: Arial, Arial Black, Arial Narrow, Arial Rounded MT, Arial Special G1/G2, Arial Narrow Special G1/G2, Arial Unicode MS
• Linotype/Monotype Arial families: Arial, Arial WGL, Arial Arabic, Arial Nova, Arial OS, Arial Unicode

Bembo is a seriftypeface created by the British branch of the Monotype Corporation in 1928-9 and most commonly used for body text. 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'. Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. 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.

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 Manutius's 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 Everyman's 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.

• 1History
• 4Related fonts
• 5Timeline
• 7Digitisations and derivatives

History[edit]

The regular (roman) style of Bembo is based on Griffo's typeface for Manutius.^[1][2][3] 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.^[4]

Manutius at first printed works only in Greek. His first printing in the Latin alphabet, in February 1496 (1495 by the Venetian calendar), was a book entitled Petri Bembi de Aetna Angelum Chabrielem liber. This book, usually now called De Aetna, was a short 60-page text about a journey to 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.^[5][6][7]

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 Griffo's 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.^[5][8] Modern font designer Robert Slimbach has described Griffo's work as a breakthrough leading to an 'ideal balance of beauty and functionality', as earlier has Harry Carter.^[9][10] The type is sometimes known as the 'Aldine roman' after Manutius' name.^[11]

In France, his work inspired many French printers and punchcutters such as Robert Estienne and Claude Garamond from 1530 onwards, even though the typeface of De Aetna with its original capitals was apparently used in only about twelve books between 1496 and 1499.^[11][12][13] Historian Beatrice Warde suggested in the 1920s that its influence may have been due to the high quality of printing shown in the original De Aetna volume, perhaps created as a small pilot project.^[5]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.^[11][a] In 1499, Griffo recut the capitals, changing the appearance of the typeface slightly. This version was used to print Manutius' famous illustrated volume Hypnerotomachia Poliphili.^[15][16][17]

Griffo's roman typeface, with several replacements of the capitals, continued to be used by Manutius's company until the 1550s, when a refresh of its equipment brought in French typefaces which had been created by Garamond, Pierre Haultin and Robert Granjon under its influence.^[18]UCLA curators, who maintain a large collection of Manutius's printing, have described this as a 'wholesale change ... the press followed precedent; popular in France, [these] types rapidly spread over western Europe'.^[15] 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.^{[19][20][21][22]} They returned to popularity later in the century, with the arrival of the Arts and Crafts movement.^[23]

In 1500, Manutius released the first books printed using italic type, again designed by Griffo.^[24] 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.^{[25][26][27][28]}

Italic[edit]

Bembo's 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 1524, after the time of Manutius and Griffo, with engravings and some text set in an italic typeface presumably based on his calligraphy.^{[29][30][31][b]} (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.^[32][33][34]) It too was imitated in France, with imitations appearing from 1528 onwards.^[13] 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.^[13]

Monotype history[edit]

Monotype Bembo is one of the most famous revivals of the Aldine typeface of 1495. 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.^[35][36][37] 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.^[38][39][40] 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.^[c] He described the Aldine roman as 'inspired not by writing, but by engraving; not script but sculpture.'^[41][42] His friend printer Giovanni Mardersteig similarly suggested the appeal of the Aldine face in his commentary that 'Griffo...rid himself of the influence of the characteristic round forms of letters written with a pen; he developed instead a more narrow and it might be said a more modern form, which was better suited to [engraving]...whereas Jenson's 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.'^[14]

Bembo's development took place following a series of breakthroughs in printing technology which had occurred over the last fifty years without breaking from the use of metal type. Pantograph engraving had allowed punches to be precisely machined from large plan drawings. This gave a cleaner result than historic typefaces whose master punches had been hand-carved out of steel at the exact size of the desired letter. It also allowed rapid development of a large range of sizes.^[43][44] In addition, hand printing had been superseded by the hot metal typesetting systems of the period, of which Monotype's was one of the most popular (in competition with that of Linotype's). Both allowed metal type to be quickly cast under the control of a keyboard, eliminating the need to manually cast metal type and slot it into place into a printing press. With no need to keep type in stock, just the matrices used as moulds to cast the type, printers could use a wider range of fonts and there was increasing demand for varied typefaces.^[45] Artistically, meanwhile, the preference for using mechanical, geometric Didone and “modernised old style” fonts introduced in the nineteenth century was being displaced by a revival of interest in 'true old style' serif fonts developed before this, a change that has proved to be lasting.^[46][47][48] At the same time, hot metal typesetting had imposed new restrictions: in Monotype's system (while less restrictive than Linotype's), in order to mechanically count the number of characters that could be fitted on a line, letters could only be certain widths, and care was needed to produce letters that looked harmonious in spite of this.^[48]

Morison was interested in the history of the 15th century Italian printing, and had discussed the topic with his correspondent, the printer Giovanni Mardersteig, in correspondence with whom he wrote a series of letters discussing Bembo's development.^[49][50][51] He also discussed the project in his letters with the Poet Laureate Robert Bridges, who had some interest in printing.^[d] For the project Morison bought a copy of De Aetna which he then sold to Monotype as a model.^[12]

Bembo's technical production followed Monotype's standard method of the period. The characters were drawn on paper in large plan diagrams by the highly experienced drawing office team, led and trained by American engineer Frank Hinman Pierpont and Fritz Stelzer, both of whom Monotype had recruited from the German printing industry. The drawing staff who executed the design was disproportionately female and in many cases recruited from the local area and the nearby Reigate art school.^[52] From these drawings, Benton-pantographs were used to machine metal punches to stamp matrices.^[53] It was Monotype's standard practice at the time to first engrave a limited number of characters and print proofs from them to test overall balance of colour on the page, before completing the remaining characters.^[53]

Monotype's publicity team described the final italic as 'fine, tranquil' in a 1931 showing, emphasising their desire to avoid a design that seemed too eccentric.^[54] It was, however, not the only design considered. Morison initially commissioned from the calligrapher Alfred Fairbank a nearly upright italic design based on the work of Arrighi, and considered using it as Bembo's companion italic before deciding it was too eccentric for this purpose.^[30] Monotype ultimately created a more conventional design influenced by Tagliente's typeface and sold Fairbank's design as Bembo Condensed Italic.^[55][56][57] It was digitised as 'Fairbank' in 2003, and sold independently of Monotype's Bembo digitisations.^{[58][59][60][61]} Morison conceded in his memoir that the Fairbank design 'looked its best when given sole possession of the page'.^[30] Fairbank later complained that he had not been told that his italic was intended to be a complementary design, and that he would have designed it differently if he had been.^[62][63]

As was normal in metal type fonts of the period from Monotype and other companies, the font was drawn differently at different sizes by modifying Griffo's original single-size design, a quite large letter at an approximate size of 15 points.^[48] The changes made were looser spacing, higher x-height (taller lower-case letters) and a more solid colour of impression at smaller sizes, and a finer, more graceful and tightly spaced design at large sizes.^[48][e]

Characteristics[edit]

Among Bembo's more distinctive characteristics, the capital 'Q''s tail starts from the glyph's centre, the uppercase 'J' has a slight hook and the sides of the 'M' splay outwards slightly. The 'A' has a flat top. Many lowercase letters show subtle, sinuous curves; the termination of the arm of both the r and the e flare slightly upward and outward.^[47] The lowercase 'c' and 'e' push slightly forwards. Characters 'h', 'm', and 'n' are not quite vertical on their right-hand stems, with a subtle curve towards the left going down the stroke.^[f] In italic, the k has an elegantly curved stroke in the lower-right and descenders on the p, q and y end with a flat horizontal stroke.^[66] In the 1950s, Monotype noted that its features included: 'serifs fine slab, fine-bracketed and in l.c. prolonged to right along baseline.'^[67] This meant that many of the serifs (especially the horizontals, for example on the W) are fine lines of quite uniform width, rather than forming an obvious curve leading into the main form of the letter. The ascenders reach above the cap height.^[68]

In metal type, Bembo includes two capital 'R's, one with a long, extended leg following Griffo's original engraving, and another with a more tucked-in leg for body text if a printer preferred it.^[69]

Bembo does not attempt to strictly copy all the features of Renaissance printing, instead blending them with a twentieth-century sensibility and the expectations of contemporary design. An eccentricity of Griffo's first De Aetna capitals was an asymmetrical M that does not seem to have a serif at top right. So odd it has been suggested it may have been the result of faulty casting of type, it was nonetheless often copied in French imitations by Garamond and his contemporaries.^[13] The final release of Monotype's revival did not follow this, although it was available by special order.^[h] Monotype also did not copy the curving capital Y used by Manutius in the tradition of the Greek letter upsilon which had been used in some versions of Poliphilus and Blado, although not in the digitisation of Poliphilus.^{[72][73][74][i]} Nesbitt has described the capitals as 'a composite design in the spirit of [Griffo's] type'.^[75] Historian James Mosley reports that other changes from the earliest versions were reduction in the weight of the capitals and alteration of the 'G' by adding the conventional right-hand serif, and widening the 'e', and suggests that the numerals of Bembo were based on those Monotype had already developed for the typeface Plantin.^[76][12]

In the italic, the expansive ascenders of Tagliente's type were shortened and the curl to the right replaced with more conventional serifs. Monotype also cut italic capitals sloped to match the lower-case, whereas in the Renaissance italics were used with upright capital letters in the Roman inscriptional tradition. The bold (Monotype's invention, since Griffo and his contemporaries did not use bold type) is extremely solid, providing a very clear contrast to the regular styles, and Monotype also added lining (upper-case height) figures as well as the text figures (at lower-case height) used in the fifteenth and sixteenth centuries.^[77]

Book designer Elizabeth Friedländer drew some rarely-seen swash capitals for Bembo for capital introductions to Churchill's history of the second world war.^[78][79]

Related fonts[edit]

Poliphilus and Blado[edit]

Monotype had already designed two other types inspired by the same period of Italian printing and calligraphy, the roman Poliphilus and italic Blado (both 1923).^[81][82][83] Made more eccentric and irregular than the sleek lines of Bembo to evoke the feel of antique printing, these remained in Monotype's catalogue and have been digitised, but are much less known today.^{[73][84][85][86][87]} Bembo can therefore be seen as an iteration of a preexisting design concept towards mass market appeal, taking the basic idea of the Griffo design and (unlike Poliphilus) updating its appearance to match the more sophisticated printing possible by the 1920s. Bembo's original working name was 'Poliphilus Modernised'.^[76][81]

Poliphilus is named after the book Hypnerotomachia Poliphili, one of Manutius's most famous books in the Latin alphabet, which was printed with the same roman as De Aetna but recut capitals; it was made for the Medici Society, who planned to create an English translation.^[15][88][22] Blado is named after the printer Antonio Blado, a colleague of Arrighi.^[30][89] Morison preferred Bembo's roman and was somewhat dismissive of Poliphilus.^[81] Unlike Bembo, both in metal featured a Greek-influenced Y with a curving head, as in the original.^[16][73]

Centaur[edit]

Monotype licensed and released the font Centaur around the same time as Bembo. It was drawn by the American book designer Bruce Rogers.^[90] Its roman is based on a slightly earlier period of Italian renaissance printing than Bembo, the work of Nicolas Jenson in Venice around 1470 (the so-called Venetian style). Like Bembo, its italic (by Frederic Warde) comes from the 1520s, being again loosely based on the work of Arrighi from around 1520.^[91][92][93] Compared to Bembo it is somewhat lighter in structure, something particularly true in its digital facsimile.^[94][j] Penguin often used it for headings and titles of 'classic' editions, particularly its capitals and italic; its lower-case does not so effectively harmonise with Bembo due to the different letter shapes such as the tilted 'e'.^[95][96]

Griffo and Dante[edit]

Although Bembo went on to dominate British book printing in the twentieth century, in the words of John Dreyfus 'Morison was not entirely satisfied by the way Griffo's roman had been recut', feeling that 'the real charm of the original had not been brought out in the mechanical recutting'.^[14] His friend printer Giovanni Mardersteig made two attempts at designing an alternative revival for use in his fine printing house, the Officina Bodoni, first in discussion with Morison and cut by hand by punchcutter Charles Malin, who some years later had also cut a version of Perpetua for Morison. This more delicate 'Griffo' revival (1929) was used in handprinting and not developed for use outside Mardersteig's company.^[14]

In the 1940s, Mardersteig developed plans for a second design, Dante, which was again cut by Malin slowly from 1946 onwards but taken also up by Monotype.^[14] Monotype Dante Series 592, Dante Semi Bold Series 682 and Dante Titling Series 612, were only produced in Didot-sizes. It was a more eccentric revival of the Aldine face than Bembo, it did not attract as much popularity.^[48]

Titling fonts[edit]

Monotype created several titling designs based on Renaissance printing that could be considered complementary to Bembo: Bembo Titling (based directly on Bembo's capitals, but more delicate to suit a larger text size) and the more geometric Felix Titling in 1934, inspired by humanist capitals drawn by Felice Feliciano in 1463.^[97][98] In the hot metal type era Monotype also issued a titling version of Centaur, which was often used by Penguin; Monotype's digitisations of Centaur do not include it.^[99]

Timeline[edit]

The Renaissance[edit]

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• 1496 Griffo's roman
• 1501 Griffo's italic; development of italic type follows over the next fifty years.
• 1515 Death of Manutius.^[100]
• 1518 Death of Griffo.^[101]
• 1520s Tagliente publishes in Venice, Ludovico Vicentino degli Arrighi in Rome (possibly also Venice). Both are former calligraphers who publish writing manuals.
• 1522–25 Tagliente publishes a writing manual The True Art of Excellent Writing, as does Arrighi, La Operina... around the same time.^{[29][102][103][k]} Arrighi's friend Gian Giorgio Trissino writes of Arrighi that 'in calligraphy he has surpassed all other men of our age so [he now does] in print all that was formerly done with the pen, in his beautiful types he has gone beyond all other printers.'^[31] His contemporary Antonio Blado publishes in Rome in an italic apparently derived from Arrighi's work.
• 1527 War in central Italy. Arrighi disappears from history; he may have been killed in the Sack of Rome.^[31][106]
• 1528 Tagliente dies in Venice.^[103]
• 1535 Blado appointed printer to the papacy and remains in this role until his death in 1567.^[107][108]
• 1530s–1550s France becomes a centre of the typefounding industry under the influence of the work of Manutius and others. French typefaces replace old Italian designs at the Aldine Press in Venice.^[15] Tradition that italic capitals should slope like the lower case established.^[109]

20th Century[edit]

• 1910s The italic calligraphy style of the Italian renaissance is revived by calligraphers including Edward Johnston and Alfred Fairbank.^[30]
• 1923 Monotype releases Monotype series 119, an italic based on the work of Arrighi and Antonio Blado, and Poliphilus Monotype series 170, a roman based on the work of Griffo.
• 1926 Edward Johnston develops a font based on his italic calligraphy, but it remains obscure.^[30]
• 1926Frederic Warde creates an italic based on the work of Arrighi. Monotype series 252 It is now almost always used as the companion italic of the font Centaur, but initially had an independent existence.^[30]
• 1928–29 Monotype develops and releases Bembo, Monotype series 270 based on the work of Griffo but much smoother in texture. After considering releasing an italic by Fairbank-based the work of Arrighi, Monotype abandons the idea, making Bembo's default italic on the Tagliente model.^[30] Hot metal matrices for Fairbank's italic or 'Bembo Condensed Italic' Monotype series 294 were only made in 4 sizes: 10pt, 12pt, 13pt and 16pt.
• 1929 Monotype releases Centaur and the Warde italic as a matching set.^[90]
• 1960s Monotype releases Bembo for phototypesetting.^[110] Other companies also release versions.^[111][112]

Reception[edit]

Bembo has been very popular in book publishing, particularly in Britain. It was also recommended by HMSO in its style guide for outsourced printing jobs.^[114]Cambridge University Press's history describes Bembo as one of its most commonly used typefaces; Morison was closely connected to Cambridge and his personal archive (as well as much of Monotype's) went to the university after his death.^[115][116]

Among reviews of typefaces, writing in the anthology Typographic Specimens: The Great Typefaces, Jeff Price commented that Bembo became noted for its ability to 'provide a text that is extremely consistent in colour', helping it to 'remain one of the most popular book types since its release'.^[117] Modern font designer Nick Shinn has also commented, 'Bembo has a sleek magnificence, born of high-precision technology at the service of accomplished production skills, which honours the spirit of the original, and an exotic grace of line which humbles most new designs made more ostensibly for the new technology.'^[118]Oxford University Press editor John Bell also borrowed the name for his set of comic verse lampooning publishing, Mutiny on the Bembo.^{[119][120][121]}

Digitisations and derivatives[edit]

Monotype digitisations[edit]

Monotype has released two separate digitisations named Bembo and more recently Bembo Book, as well as the more slender caps-only display font Bembo Titling and the alternate italic design Fairbank.^[122][123] Bembo Book is considered to be superior by being thicker and more suitable for body text, as well as for offering the alternate shorter R for better-spaced body text.^{[69][124][125]}

Monotype's original, early digitisation of Bembo was widely seen as unsuccessful.^[126][127] Two main problems have been cited with it: being digitised from drawings, it was much lighter in type colour than the original metal type which gained weight through ink spread, much reduced on modern printing equipment.^[128] In addition, the digital Bembo was based on the 9 pt metal drawings, creating a font with different proportions to the metal type in the point sizes at which Bembo was most often used in books; Sebastian Carter has pointed particularly to the 'M' being drawn too wide.^{[113][129][88]} This made the proportions of the digital font appear wrong, failing to match the subtlety of the metal type and phototypesetting release, which was released in three different optical sizes for different print sizes.^{[110][130][131][132][l][134]} Future Monotype executive Akira Kobayashi commented:

'I got into a slight panic. None of the letters looked like Bembo! For a moment I froze in front of the computer, thinking about writing a letter of complaint to the company for sending us the wrong font. After a while I checked the Bembo Italic and I slowly began to realise that the fonts were Bembo. I calmed down enough to recall that the typeface was originally designed for metal type, and most of the specimens and texts I saw were set in metal type in text size. That was why the images of the characters did not overlap. I knew that a metal typeface was cut or designed separately for each size, but a film composition or digital face is a kind of compromise having proportions designed for reduction and enlargement. I was overwhelmed to see the huge gap. Then I looked into the types used in Western offset-litho prints to see the digital Bembo types in use ... the types that were originally designed for hot-metal often looked too light and feeble ... Bembo Book is more or less what I expected.'^[133]

While Bembo Book is considered the superior digitisation, the original continues to offer the advantages of two extra weights (semi- and extra-bold) and infant styles with simplified a and g characters resembling handwriting; its lighter appearance may also be of use on printing equipment with greater ink spread. Cross-licensing has meant that it is sold by a range of vendors, often at very low prices. As an example of this, Fontsite obtained the rights to resell a derivative of the original digitisation, using the alternative name Borgia and Bergamo, upgrading it by additional OpenType features such as small capitals and historical alternative characters.^[135] Neither version includes digitisations of the larger size versions of Bembo, which had a more delicate and elegant design.^[113]

Other Griffo-inspired fonts[edit]

A major professional competitor to Bembo is Agmena, created by Jovica Veljović and released by Linotype in 2014.^[136][137] Intended as a unified serif design supporting Roman, Greek and a range of Cyrillic alphabets such as Serbian, it features a more calligraphic italic than Bembo with swash capitals and support for Greek ligatures.^{[138][139][140]}

A looser interpretation of the Griffo designs is Iowan Old Style, designed by John Downer and also released by Bitstream. With a larger x-height (taller lower-case letters) than the print-oriented Bembo and influences of signpainting (Downer's former profession), it was intended to be particularly clear for reading at distance, in displays and in signage.^[141] It is a default font in Apple's iBooks application.^{[142][143][144]}

Not explicitly influenced by Bembo but also influenced by Griffo is Minion by Slimbach.^[145] Released by Adobe, a 2008 survey ranked it as one of the most popular typefaces used in modern fine printing.^[146][147]

Besides designs with similar inspiration, a number of unofficial releases and digitisations of Bembo have been made in the phototypesetting and digital periods, reflecting the lack of effective intellectual property protection for typefaces.^{[148][149][150]} Several unofficial versions were released during the phototypesetting period under alternate names; for example one unofficial phototypesetting version was named 'Biretta' after the hat worn by Roman Catholic clergy, and another by Erhard Kaiser was created for the East German printing concern Typoart, outside the reach of Western intellectual property laws.^{[111][112][151][152]} In the digital period, Rubicon created a version named 'Bentley' intended for small sizes and Bitstream made a version under the name of 'Aldine 401'.^{[153][154][155]} Its licensee ParaType later created a set of Cyrillic characters for this in 2008.^[156] The name 'Bembo' remains a Monotype trademark and may not be used to describe such clones.^[157]

Free and open-source fonts[edit]

Two open-source designs based on Bembo are Cardo and ET Book. The Cardo fonts, developed by David J. Perry for use in classical scholarship and also including Greek and Hebrew, are freely available under the SIL Open Font License.^[158] Unimpressed by the first Bembo digitisation, statistician and designer Edward Tufte commissioned an alternative digitisation for his books in a limited range of styles and languages, sometimes called 'ET Bembo'. He released it publicly as an open-source font named 'ET Book' in September 2015.^[159]

Privately used fonts[edit]

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Heathrow and other British airports used a highly divergent adaptation of Bembo for many years. Designed by Shelley Winters and named BAA Bembo or BAA Sign, it was very bold with a high x-height.^[160][161]

The National Gallery in London used Bembo, then its corporate font, as a plan for the carving of its name into its frontage.^[162][163]

The Yale face, developed by Matthew Carter as a corporate font for Yale University, is based on Griffo's work; Yale commissioned a custom font from Carter, a member of the university faculty, after being dissatisfied with digital versions of Bembo.^[164] Carter commented on the design that 'John Gambell, the Yale University printer who initiated and ran the project, also liked the idea of an Aldine face ... Monotype Bembo had been used for University printing at an earlier time, so there was a useful precedent.'^[165] It is available exclusively to 'Yale students, employees, and authorized contractors for use in Yale publications and communications. It may not be used for personal or business purposes, and it may not be distributed to non-Yale personnel.'^[166]

In the pre-digital period, IBM offered Aldine, a font inspired by Bembo, as a font for the IBM Composer. This was an ultra-premium electric golfball typewriter system, intended for producing copy to be photographically enlarged for small-scale printing projects, or for high-quality office documents.^[167][168] Ultimately the system proved a transitional product, as it was displaced by cheaper phototypesetting, and then in the 1980s by word processors and general-purpose computers.^[169]

See also[edit]

Notes[edit]

1. ^An alternative suggestion has been made by printer and type designer Giovanni Mardersteig, who suggested that the use of a limited number of alternative forms was intended to suggest the writing of a scribe.^[14]
2. ^This is a shortened form of the full title.^[32]
3. ^As noted above, it is now accepted that the 'Aldine roman was the key influence on new French renaissance typefaces of the 1530s cut by artisans including Claude Garamond and therefore on almost all typefaces created since. Morison and his collaborator at Monotype Beatrice Warde were crucial promoters of this conclusion.^[38]
4. ^Two late publications of Bridges would be set in Monotype typefaces reviving Italian renaissance printing as a result of this interest. Bridges' poem The Tapestry had been printed in Arrighi and The Testament of Beauty was printed to a design by Morison in Bembo italic.
5. ^As an example of how this scaling was carried out, experienced Linotype designer Chauncey Griffith commented some years later that in a type he was working on for newspapers, the 6 point size was not half as wide as the 12 point size but about 71% the width.^[64]
6. ^In the digital period, Monotype designer Steve Matteson has noted that this characteristic is problematic for onscreen display on low-resolution screens.^[65]
7. ^For this image, the quite delicate 'Bergamo' digitisation of Bembo from Fontsite is used for the heading, and the open-source ET Book for the body text. Monotype's Bembo Book digitisation is one of the few digital releases to include both styles.
8. ^An example specimen showing the alternative 'M' is the Neon Type Division catalogue of 1962.^[70] It was used in a British Museum exhibition catalogue.^[71][12]
9. ^A more muted form of it is used in Hermann Zapf's Palatino.^[69]
10. ^Unlike Bembo, Centaur's first rather spindly digitisation was never augmented with a more text-oriented one, possibly because it is particularly commonly used in titles anyway.
11. ^Arrighi's book had a complex publication history apparently involving a dispute between Arrighi and his publisher, making its dating and printing location(s) both somewhat involved.^[104][105]
12. ^Many early typeface digitisations now look too light even when they were digitised from the original metal type drawings. The type was made lighter than the desired appearance on paper to take account of the fact that the ink would spread as it soaked into the paper. However, modern printing methods show less ink spread than metal type.^[133]

References[edit]

1. ^Barker, Nicolas (1992). Aldus Manutius and the Development of Greek Script & Type in the Fifteenth Century (2nd ed.). New York: Fordham University Press. pp. 43–55. ISBN978-0-8232-1247-7. Retrieved 28 December 2015.
2. ^Angerhofer, Paul J.; Maxwell, Mary Ann Addy; Maxwell, Robert L. In aedibus Aldi: the Legacy of Aldus Manutius and his Press. Provo, Utah: Brigham Young University. Retrieved 26 June 2016.
3. ^Barker, Nicolas (1989). Aldus Manutius: Mercantile Empire of the Intellect. Los Angeles: UCLA. Retrieved 26 June 2016.
4. ^Baines, Phil; Haslam, Andrew (2005). Type and Typography. Laurence King Publishing. pp. 92–5. ISBN978-1-85669-437-7.
5. ^ ^abcWarde, Beatrice (1926). 'The 'Garamond' Types:Sixteenth & Seventeenth Century Sources Considered'. The Fleuron: 131–179.
6. ^Kidwell, Carol (2004). Pietro Bembo: Lover, Linguist, Cardinal. Montreal: McGill-Queen's University Press. pp. 13–20 etc. ISBN978-0-7735-7192-1. Retrieved 11 January 2016.
7. ^Morris, Roderick Conway. 'A Rare Look at the Life of a Renaissance Man'. The New York Times. Retrieved 14 May 2016.
8. ^Boardley, John. 'The First Roman Fonts'. i love typography. Retrieved 4 May 2016.
9. ^Slimbach; Twardoch; Sousa; Slye (2007). Arno Pro(PDF). San Jose: Adobe Systems. Retrieved 14 August 2015.
10. ^Carter, Harry (1969). A View of Early Typography up to about 1600 (Second edition (2002) ed.). London: Hyphen Press. pp. 72–4. ISBN0-907259-21-9. De Aetna was decisive in shaping the printers' alphabet. The small letters are very well made to conform with the genuinely antique capitals by emphasis on long straight strokes and fine serifs and to harmonise in curvature with them. The strokes are thinner than those of Jenson and his school...the letters look narrower than Jenson's, but are in fact a little wider because the short ones are bigger, and the effect of narrowness makes the face suitable for octavo pages...this Roman of Aldus is distinguishable from other faces of the time by the level cross-stroke in 'e' and the absence of top serifs from the insides of the vertical strokes of 'M', following the model of Feliciano. We have come to regard his small 'e' as an improvement on previous practice.
11. ^ ^abcBarker, Nicolas (1974). 'The Aldine Roman in Paris, 1530–1534'. Library. s5-XXIX: 5–20. doi:10.1093/library/s5-XXIX.1.5.
12. ^ ^abcdMosley, James (2006). 'Garamond, Griffo and Others: The Price of Celebrity'. Bibiologia. Retrieved 3 December 2015.
13. ^ ^abcdVervliet, Hendrik D.L. (2008). The palaeotypography of the French Renaissance. Selected papers on sixteenth-century typefaces. 2 vols. Leiden: Koninklijke Brill NV. pp. 90–91. ISBN978-90-04-16982-1.
14. ^ ^abcdeDreyfus, John. 'Giovanni Mardersteig's Work As A Type Designer'. Into Print.
15. ^ ^abcdThe Aldine Press: catalogue of the Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles : incorporating works recorded elsewhere. Berkeley [u.a.]: Univ. of California Press. 2001. pp. 22–25. ISBN978-0-520-22993-8.
16. ^ ^abColonna, Francesco (1499). Hypnerotomachia Poliphili. Venice: Aldine Press. Retrieved 11 January 2016.
17. ^Aldo Manuzio (Aldus Manutius): Oxford Bibliographies Online Research Guide. Oxford University Press. 2010. pp. 9–10. ISBN978-0-19-980945-5.
18. ^Fletcher, H. George (1995). In Praise of Aldus Manutius: a quincentenary exhibition (exhibition catalogue). Pierpont Morgan Library/UCLA. p. 18. Retrieved 26 June 2016.
19. ^Devroye, Luc. 'Louis Perrin'. Type Design Information. Retrieved 20 February 2016.
20. ^Ovink, G.W. (1971). 'Nineteenth-century reactions against the didone type model – I'. Quaerendo. 1 (2): 18–31. doi:10.1163/157006971x00301. Retrieved 20 February 2016.
21. ^Ovink, G.W. (1971). 'Nineteenth-century reactions against the didone type model – II'. Quaerendo. 1 (4): 282–301. doi:10.1163/157006971x00239. Retrieved 20 February 2016.
22. ^ ^abMosley, James (2003). 'Reviving the Classics: Matthew Carter and the Interpretation of Historical Models'. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. pp. 31–34. ISBN978-1-56898-427-8. Retrieved 30 January 2016.
23. ^Johnson, A. F. (1931). 'Old-face Types in the Victorian Age'(PDF). Monotype Recorder. 30 (242): 5–14. Retrieved 11 January 2016.
24. ^Bornstein, George (2005). 'The Book as Artefact'. In Hansen, Anna Mette (ed.). The book as artefact, text and border. Amsterdam [u.a.]: Rodopi. pp. 151, 162. ISBN978-90-420-1888-4. Retrieved 11 January 2016.
25. ^Vervliet, Hendrik D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces. BRILL. pp. 287–289. ISBN90-04-16982-2.
26. ^Oxford University Press (1 June 2010). Aldo Manuzio (Aldus Manutius): Oxford Bibliographies Online Research Guide. Oxford University Press, USA. pp. 10–11. ISBN978-0-19-980945-5.
27. ^Berthold Louis Ullman, The origin and development of humanistic script, Rome, 1960, p. 77
28. ^Kaufmann, Ueli. 'The design and spread of Froben's early Italics'. Department of Typography & Graphic Communication. University of Reading. Retrieved 5 April 2017.
29. ^ ^abTagliente, Giovanni Antonio (1524). Lo presente libro insegna la vera arte de lo excellente scriuere de diuerse varie sorti de litere le quali se fano per geometrica ragione & con la presente opera ognuno le potra stampare e impochi giorni per lo amaistramento, ragione, & essempli, come qui sequente vederai. Venice. Retrieved 28 December 2015.
30. ^ ^abcdefghMorison, Stanley (1973). A Tally of Types (New with additions by several hands ed.). Cambridge: Cambridge University Press. pp. 41–60. ISBN978-0-521-09786-4.
31. ^ ^abcMorison, Stanley; Johnson, Alfred (2009). '3: The Chancery Types of Italy and France'. In McKitterick, David John (ed.). Selected essays on the history of letter-forms in manuscript and print (Paperback reissue, digitally printed version. ed.). Cambridge: Cambridge University Press. pp. 30–45. ISBN978-0-521-18316-1. Retrieved 28 December 2015.
32. ^ ^abMoulton, Ian Frederick (2014-04-16). Love in Print in the Sixteenth Century. Macmillan. pp. 119–125. ISBN978-1-137-40504-3. Retrieved 28 December 2015.
33. ^Moulton, Ian Frederick (2009). 'Chapter 6: Sex, Love and Sixteenth-Century Print Culture'. In Dimmock, Matthew; Hadfield, Andrew (eds.). Literature and popular culture in early modern England. Farnham, England: Ashgate. pp. 99–100. ISBN978-0-7546-6580-9.
34. ^Calabresi, Bianca (2008). Hackel, Heidi; Kelly, Catherine (eds.). Reading women literacy, authorship, and culture in the Atlantic world, 1500–1800. Philadelphia: University of Pennsylvania Press. pp. 97–99. ISBN978-0-8122-0598-5. Retrieved 28 December 2015.
35. ^Dreyfus, John (1995). Into Print: Selected Writings on Printing History, Typography and Book Production. Boston: David R. Godine. pp. 151–155. ISBN978-1-56792-045-1.
36. ^'Bembo'. The Dolphin. Limited Editions Club. 2: 25–26. 1935.
37. ^Lawson, Alexander S. 'Stanley Morison: Significant Historian (obituary)'. The Alexander S. Lawson Archive. Archived from the original on 27 May 2016. Retrieved 14 May 2016. During the 20th century two typographic historians have achieved notable stature and will be long remembered. The first of these, Daniel Berkeley Updike of Boston, died in 1940. The second, Stanley Morison, died at his home in London on October 11, 1967. He was 78 years of age ... During the 1920s when there was slight interest in the production of new 'book' types, the Monotype firm—with Morison's guidance—embarked upon a program of classic type revivals which resulted in the cutting of such faces as Garamond, Bembo, Poliphilus, Baskerville, Bell, and Fournier. These types remain in demand and are among the best of the historic revivals.
38. ^ ^abAmert, Kay (April 2008). 'Stanley Morison's Aldine Hypothesis Revisited'. Design Issues. 24 (2): 53–71. doi:10.1162/desi.2008.24.2.53.
39. ^Morison, Stanley (1943). 'Early Humanistic Script And The First Roman Type'. The Library. s4-XXIV (1–2): 1–29. doi:10.1093/library/s4-XXIV.1-2.1.
40. ^Olocco, Riccardo. 'Nicolas Jenson and the success of his roman type'. Medium. University of Reading. Retrieved 7 May 2017.
41. ^Lawson, Alexander S. 'Letter to the Editor'. The New York Times. Retrieved 14 May 2016.
42. ^Clough, Victor. 'O and Bembo'. Newspaper World and Advertising Review.
43. ^Morison, Stanley. 'Printing the Times'. Eye. Retrieved 28 July 2015.
44. ^'Monotype matrices and moulds in the making'(PDF). Monotype Recorder. 40 (3). 1956.
45. ^Badaracco, Claire (1991). 'Innovative Industrial Design and Modern Public Culture: The Monotype Corporation, 1922–1932'(PDF). Business & Economic History. Business History Conference. 20 (second series): 226–233. Retrieved 19 December 2015.
46. ^Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.
47. ^ ^ab'Facts about Bembo'(PDF). Monotype Recorder. 32 (1): 15.
48. ^ ^abcdeBigelow, Charles (1981). 'Technology and the aesthetics of type'. The Seybold Report. 10 (24): 3–16. ISSN0364-5517.
49. ^Lawson, Alexander S. 'A Few Comments on the Life of Mardersteig, Part 1'. The Alexander S. Lawson Archive. Archived from the original on 27 May 2016. Retrieved 14 May 2016.
50. ^Lawson, Alexander S. 'A Few Comments on the Life of Mardersteig, Part 2'. The Alexander S. Lawson Archive. Retrieved 14 May 2016.
51. ^Stanley Morison: A Portrait. London: British Museum. 1971. pp. 22, 30–31.
52. ^Rhatigan, Dan. 'Time and Times again'. Monotype. Retrieved 28 July 2015.
53. ^ ^abRhatigan, Daniel (September 2014). 'Gill Sans after Gill'(PDF). Forum (28): 3–7. Retrieved 26 December 2015.
54. ^'Monotype Bembo advertisement'(PDF). Monotype Recorder. 30 (242): 20. 1931. Retrieved 11 January 2016. A roman lower case which seems to many critics to represent the finest Old Face design ever cut; classic capitals and small caps[;] a fine, tranquil italic and a notable series of Display Capitals combine to make Bembo an excellent investment for the wise printer
55. ^Bixler, M & W. 'Bembo Condensed Italic specimen'. Retrieved 30 June 2015.
56. ^Lawson, Alexander (1990). Anatomy of a typeface (1st ed.). Boston: Godine. pp. 74–83. ISBN978-0-87923-333-4.
57. ^Parker, Mike. 'A history of type'. Font Bureau.
58. ^'Fairbank'. Monotype. Retrieved 30 June 2015.
59. ^'Fairbank'. MyFonts. Monotype.
60. ^'Fairbanks Italic specimen'(PDF). Monotype. Archived from the original(PDF) on 11 June 2016. Retrieved 14 May 2016.
61. ^'Alfred Fairbank'(PDF). Klingspor Museum. Retrieved 14 May 2016.
62. ^Osley, A.S. (1965). Calligraphy and paleography: essays presented to Alfred Fairbank on his 70th birthday. Faber & Faber. p. 18. His only contribution to type design has been the so-called Narrow Bembo Italic ... it was conceived as an italic type to be used entirely in its own right and not in any way related to Monotype Bembo, which Fairbank had not seen.
63. ^'Former Chairmen'. The Society of Scribes and Illuminators. Retrieved 14 May 2016. At the instance of Stanley Morison, he [Fairbank] designed in 1928 the elegant compact typeface known as Narrow Bembo, a title he detested.
64. ^Tracy, Walter. Letters of Credit. pp. 53–4.
65. ^Matteson, Steve. 'Type Q&A: Steve Matteson from Monotype'. Typecast. Monotype. Retrieved 27 March 2016. I had hoped to create a good screen version of the Bembo Book typeface, a beautiful and very popular design for book publishing. I was unhappy with my attempts to reconcile some of its unique qualities in the screen version and decided not to release it until it was really working well. One particular characteristic is the lowercase n, which has a slight bow in the right stem – as opposed to a straight side. Finding a workable solution would have delayed the general release so I'll get back to it in the future.
66. ^'Facts about Bembo'(PDF). Monotype Recorder. 32 (1): 10–11, 15. 1933. Retrieved 20 September 2015.
67. ^Hardwig, Florian. 'How And Why Type Faces Differ – Detail I'. Flickr. Retrieved 30 June 2015.
68. ^'Bembo Book: PDF specimen'(PDF). Monotype. Archived from the original(PDF) on 9 June 2016. Retrieved 14 May 2016.
69. ^ ^abcShaw, Paul. 'Flawed Typefaces'. Print magazine. Retrieved 30 June 2015.
70. ^Type Specimens by Neon Type Division. Chicago: Typefounders of Chicago. 1962. p. 54.
71. ^Barker, Nicolas (1972). Stanley Morison. p. 279.
72. ^Bixler, M&W. 'Poliphilus'. Michael & Winifred Bixler.
73. ^ ^abc'Poliphilus specimen'. Flickr. Retrieved 9 December 2015.
74. ^'The Type Faces used in this Journal'(PDF). Monotype Recorder. 28 (232): 4, 25. 1929. Retrieved 11 January 2016.
75. ^Nesbitt, Alexander (1998). The history and technique of lettering. Mineola, N.Y.: Dover Publications. p. 196. ISBN978-0-486-40281-9.
76. ^ ^abMosley, James (2001). 'Review: A Tally of Types'. Journal of the Printing History Society. 3, new series: 63–67. The surviving records of the progress of some of the classic typefaces demonstrate that their exemplary final quality was due to a relentless willingness on the part of 'the works' to make and remake the punches over and over again until the result was satisfactory. The progression of series 270 from the weak Poliphilus Modernised to the familiar Bembo is an object lesson in the success of this technique. That it was [engineering manager Frank] Pierpont himself who was central to this drive for quality is made abundantly clear by the abrupt changes that are seen after his retirement in 1937.
77. ^Haley, Allan. 'Bold type in text'. Monotype. Retrieved 11 August 2015.
78. ^Fox, Patrick. 'New Borders: The Working Life of Elizabeth Friedlander (review)'. Fine Press Book Association. Retrieved 30 April 2017.
79. ^Leland, Mary. 'Inspired by a true sense of history'. The Irish Times. Retrieved 30 April 2017.
80. ^Vervliet, Hendrik (2005). 'Early Paris Italics: 1515–1545'. Journal of the Printing Historical Society (8): 5–55.
81. ^ ^abcMosley, James (2003). 'Reviving the Classics: Matthew Carter and the Interpretation of Historical Models'. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. pp. 31–34. ISBN978-1-56898-427-8. Retrieved 30 January 2016. In 1923 [Monotype engineer Frank] Pierpont made a version of the type of the Hypnerotomachia Poliphili printed by Aldus in 1499 for a publisher who planned to produce an English translation which in the end never materialised. The result is an astonishingly close recreation of the original type ... Monotype has a page from the Hypnerotomachia reset in the new type, which is almost indistinguishable from the original. Morison scornfully wrote of Pierpont's 'pathetic' pride in the achievement. This, in Monotype's terms, was a rough' revival, staying faithful to all the distortions caused by the ink-squeeze and damaged letters of the printed page ... Monotype's Bembo, originally named 'Poliphilus Modernised', is the 'smooth' version of the same type in the form used a few years earlier by Aldus in the De Aetna of Pietro Bembo, a usage of which Morison mistakenly believed himself to be the discoverer. The Monotype classics dominated the typographical landscape in which Matthew Carter [and I] grew up ... in Britain, at any rate, they were so ubiquitous that, while their excellent quality was undeniable, it was possible to be bored by them and to begin to rebel against the bland good taste that they represented.
82. ^'Poliphilus and Blado'. The Chestnut Press. Retrieved 30 June 2015.
83. ^'Bembo'. Chestnut Press. Retrieved 30 June 2015.
84. ^'Scalable Fonts'. PC Mag. 24 September 1991.
85. ^'Poliphilus Pro'. Monotype. Retrieved 30 June 2015.
86. ^'Blado'. MyFonts. Retrieved 16 September 2015.
87. ^'Poliphilus'. MyFonts. Retrieved 16 September 2015.
88. ^ ^abSlinn, Judy; Carter, Sebastian; Southall, Richard. History of the Monotype Corporation. p. 215 etc.
89. ^'Monotype Blado poster'. Flickr. Retrieved 8 December 2015.
90. ^ ^ab'Facts about Centaur'(PDF). Monotype Recorder. 32 (1): 20–21. 1933. Retrieved 20 September 2015.
91. ^Friedl, Ott, and Stein, Typography: an Encyclopedic Survey of Type Design and Techniques Throughout History. Black Dog & Levinthal Publishers: 1998. ISBN1-57912-023-7, pp. 540–41.
92. ^Alexander S. Lawson, Anatomy of a Typeface David R. Godine: 1990. ISBN978-0-87923-333-4, pp. 92–93.
93. ^'The Fifty Best Books exhibition'(PDF). Monotype Recorder. 29: 6–11. September 1930. Retrieved 19 September 2015.
94. ^'Centaur & Arrighi'. Chestnut Press. Retrieved 28 December 2015.
95. ^Shaw, Paul. 'Book Review: Type Revivals'. Blue Pencil. Retrieved 19 September 2015.
96. ^Doubleday, Richard (October 2015). 'Jan Tschichold at Penguin Books: A Resurgance [sic] of Classical Book Design'(PDF). MX Design Conference 2015. Universidad Iberoamericana. Retrieved 19 February 2016.
97. ^Strizver, Ilene (2010). Type rules! The designer's guide to professional typography (3rd ed.). Hoboken, NJ: Wiley. ISBN978-0-470-63755-5.
98. ^'Felix Titling'. MyFonts. Retrieved 16 September 2015.
99. ^'Centaur'. MyFonts. Monotype. Retrieved 5 May 2016.
100. ^'Aldus Manutius the elder'. Encyclopædia Britannica. Retrieved 14 May 2016.
101. ^Alastair Campbell; Alistair Dabbs (1 February 2014). Pocket Essentials: Typography: The History and Principles of the Art. Octopus Books. p. 44. ISBN978-1-78157-155-2.
102. ^Arrighi, Ludovico Vicentino degli (1524). La operina di Ludouico Vicentino, da imparare di scriuere littera cancellarescha. Rome/Venice?. Retrieved 28 December 2015.
103. ^ ^abClayton, Ewan (2013). The Golden Thread: the story of writing. Counterpoint. pp. 128–151. ISBN978-1-61902-350-5.
104. ^Goldberg, Jonathan (1990). Writing matter: from the hands of the English Renaissance. Stanford University Press. pp. 70–75. ISBN978-0-8047-1958-2. Retrieved 28 December 2015.
105. ^Witcombe, Christopher L.C.E. (2004). Copyright in the Renaissance: prints and the privilegio in sixteenth-century Venice and Rome. Leiden: Brill. pp. 285–286. ISBN978-90-04-13748-6. Retrieved 28 December 2015.
106. ^Novoa, James Nelson (2011). Zinguer, Ilana (ed.). Hebraic Aspects of the Renaissance: Sources and Encounters. Leiden: Brill. pp. 65–77. ISBN978-90-04-21255-8. Retrieved 28 December 2015.
107. ^'Antonio Blado'. Vassar College Libraries. Vassar College. Retrieved 14 May 2016.
108. ^Ilana Zinguer; Abraham Melamed; Zur Shalev (25 August 2011). Hebraic Aspects of the Renaissance: Sources and Encounters. BRILL. pp. 68–9. ISBN90-04-21255-8.
109. ^Dearden, James (1973). Encyclopedia of Library and Information Science: Claude Garamond. New York u.a.: Dekker. pp. 196–199. ISBN978-0-8247-2109-1. Retrieved 11 December 2015.
110. ^ ^ab'The design of faces for 'Monophoto' film matrices'(PDF). Monotype Recorder. 42 (2): 15–23. 1961. Retrieved 3 January 2016.
111. ^ ^abRaposo, Tânia; Hardwig, Florian. 'Always now by Section 25'. Fonts In Use. Retrieved 15 April 2016.
112. ^ ^abFrank O'Hara (1995). The Collected Poems of Frank O'Hara. University of California Press. p. 592. ISBN978-0-520-20166-8.
113. ^ ^abc'Bembo Book'. Monotype. Retrieved 19 April 2015.
114. ^David Finkelstein; Alistair McCleery (23 November 2007). The Edinburgh History of the Book in Scotland, Volume 4: Professionalism and Diversity 1880–2000. Edinburgh University Press. p. 128. ISBN978-0-7486-2884-1.
115. ^McKitterick, David (2004). A history of Cambridge University Press (1. publ. ed.). Cambridge: Cambridge University Press. pp. 245, 286, 367. ISBN978-0-521-30803-8. Retrieved 13 July 2015.
116. ^Robinson, C.D.; Smith, N.A. 'Monotype Material in the University Library, Cambridge'(PDF). Cambridge University Library. Archived from the original(PDF) on 1 July 2017. Retrieved 14 May 2016.
117. ^Price, Jeff (1993). Meggs, Philip; Carter, Rob (eds.). Typographic specimens: the great typefaces. New York: VNR. pp. 40–50. ISBN978-0-471-28429-1. Retrieved 11 January 2016.
118. ^Shinn, Nick. 'Lacunae'(PDF). Codex. Retrieved 1 July 2015.
119. ^'Mutiny on the Bembo by John Bell, Perpetua Press'. Fonts In Use. Retrieved 11 September 2016.
120. ^Bell, Alan; Hardyment, Christina. 'John Bell: Quietly persuasive OUP editor'. The Independent. Retrieved 11 September 2016.
121. ^Bell, John (1984). Mutiny on the Bembo. Perpetua Press.
122. ^'Bembo'. MyFonts. Retrieved 19 April 2015.
123. ^'Bembo Titling'. MyFonts. Monotype. Retrieved 19 April 2015.
124. ^Butterick, Matthew. 'Bembo Book'. Typography for Lawyers (archived). Archived from the original on April 7, 2015. Retrieved 13 April 2016.
125. ^'Bembo Book'. Monotype. Retrieved 30 June 2015.
126. ^Haley, Allan. 'Dancing with the Dead'(PDF). Communication Arts. Retrieved 14 May 2016. The problem, however, was that no allowances were made for the way the 9-point type looked when inked and printed. The resulting phototype and first digital fonts produced a Bembo that was much less robust than the original metal versions.
127. ^Christensen, Thomas. 'Bembo'. Typehead Chronicles. Retrieved 17 June 2018.
128. ^Richard Hendel (15 June 2013). Aspects of Contemporary Book Design. University of Iowa Press. pp. 251–252. ISBN978-1-60938-175-2.
129. ^Murthy, Vaishnavi; Nicholas, Robin. 'Research report on Bembo Book Typeface'. Issuu. University of Reading (MA thesis). Retrieved 17 June 2018. [Quoting a personal communication from Monotype type designer Robin Nicholas]: We had been aware for many years that the digital version of Bembo…had limited use as a book face due to its rather thin appearance. This version had in fact started as a phototypesetting font, the artwork being scanned for digital use. This version was based on hot metal 8/9 point drawings and while some thickening of serifs and hairlines had been carried out, no overall weight increase was applied to make full allowance for the change in setting and printing technologies happening at the time. Knowing the shortcomings of the existing font it was clear that a new ‘cut’ of Bembo would be well received. The basis for the new version was the set of hot metal drawings for the 10–14 point size range.
130. ^Loxley, Simon (31 March 2006). Type: The Secret History of Letters. I.B.Tauris. pp. 124, 134, 185, 238. ISBN978-0-85773-017-6.
131. ^Jackson, Brandon. 'The Yale Type'. The New Journal. Yale University. Retrieved 30 June 2015.
132. ^Sowersby, Kris. 'Why Bembo Sucks'. Retrieved 30 June 2015.
133. ^ ^abKobayashi, Akira. 'Akira Kobayashi on FF Clifford'. FontFeed. Retrieved 1 July 2015.
134. ^Tracy, Walter (2003). Letters of Credit: a view of type design. Boston: David R. Godine. pp. 50–8. ISBN978-1-56792-240-0.
135. ^'Borgia Pro'. FontSpring. Retrieved 19 April 2015.
136. ^Haley, Allan. 'Agmena, a new book type from Jovica Veljovic'. fonts.com. Monotype. Retrieved 22 September 2015.
137. ^'Agmena'. MyFonts. Linotype. Retrieved 22 September 2015.
138. ^'Interview with Jovica Veljović'. Linotype. Retrieved 22 September 2015.
139. ^Shaw, Paul. 'Agmena Marks the Triumphant Return of Jovica Veljovic to the Realm of Text Typefaces'. Print magazine. Retrieved 22 September 2015.
140. ^Jamra & Berkson. 'Agmena (Typographica review)'. Typographica. Retrieved 22 September 2015.
141. ^'Alastair Johnston interviews John Downer'(PDF). Alastair Johnston. Retrieved 21 February 2016.
142. ^'Iowan Old Style'. Identifont. Retrieved 2 August 2015.
143. ^Butterick, Matthew. 'Iowan Old Style'. Typography for Lawyers. Archived from the original on January 16, 2015. Retrieved 2 August 2015.
144. ^Berry, John. 'An American Typeface Comes of Age'. dot creative. Retrieved 2 August 2015.
145. ^'Minion'. Typekit. Adobe. Retrieved 2 July 2015.
146. ^Coles, Stephen. 'Top Ten Typefaces Used by Book Design Winners'. FontFeed (archived). Archived from the original on 28 February 2012. Retrieved 2 July 2015.
147. ^Butterick, Matthew. 'Minion'. Typography for Lawyers. Archived from the original on May 1, 2015. Retrieved 15 August 2015.
148. ^Copyright, Designs and Patents Act 1988 (c. 48), § 54 (England)
149. ^Copyright and Related Rights Act, 2000 (Ireland), §§ 84–85. Accessed January 31, 2013.
150. ^Raustiala, Kal; Sprigman, Christopher (15 August 2012). The Knockoff Economy: How Imitation Sparks Innovation. Oxford University Press. pp. 130–135. ISBN978-0-19-991176-9.
151. ^'Erhard Kaiser'(PDF). Klingspor Museum. Retrieved 14 May 2016.
152. ^Devroye, Luc. 'Westcott & Thomson, Inc. for Fotosetter or Fototronic composition'. Type Design Information. Retrieved 14 May 2016.
153. ^'Rubicon Fonts'. Rubicon Software. Retrieved 14 May 2016.
154. ^Devroye, Luc. 'Rubicon Computer Labs'. Type Design Information Page. Retrieved 14 May 2016.
155. ^Möller, K.T. Kristian. 'KM InPectore'. .T. Kristian Möller Typography. Retrieved 14 May 2016.
156. ^'Aldine 401'. ParaType. Retrieved 13 April 2016. Cyrillic version was developed by Isabella Chaeva and released by ParaType in 2008.
157. ^'BEMBO - Trademark Details'. Justia. Retrieved 5 May 2016.
158. ^Perry, David (April 20, 2011). 'The Cardo Font'. Retrieved July 2, 2013.
159. ^Tufte, Edward. 'ET Book'. EdwardTufte.com. Retrieved 25 September 2015.
160. ^Coles & Kupferschmidt. 'BAA Bembo'. Flickr. Retrieved 14 August 2015.
161. ^James R. Harding; et al. (2011). Wayfinding and signing guidelines for airport terminals and landside. Washington, D.C.: Transportation Research Board. p. 136. ISBN978-0-309-21346-2.
162. ^Mosley, James. 'The National Gallery's new inscription: a very English blunder'. Type Foundry. Retrieved 30 January 2016.
163. ^'National Gallery'. Incisive Letterwork. Retrieved 13 April 2016. In 2004 and 2005 the National Gallery was undergoing building and refurbishment work. Incisive Letterwork was awarded the contract to design and carve the lettering for the project. The National Gallery's house style, used for signage and graphics is Bembo and we were asked to use this as a starting point for our design. Faced with this task we referred back to the original Bembo type designed by Aldus Manutius and cut by Francesco Griffo in the 1490s. The challenge was to design letters which would look good as large cut forms, for instance along the frieze of the portico, but also at a much smaller and massed scale as on the donor plaques for the entrance hall. The width of the original face was retained in the new design but the thins were thickened and the serifs turned into small slab serifs. As the lettering is asked to do a variety of different jobs we designed 3 related versions of the basic alphabet. The widest and largest version is used in the newly carved name on the portico above the main entrance. The proportion of the frieze, long and narrow, means that the letters need to be fairly wide and widely spaced. The letter height could only be 400mm yet the words THE NATIONAL GALLERY needed to fill a substantial part of the 18 metre long portico ... the carving and gilding took 3 weeks ... The main entrance hall features plaques, 24 Portland stone slabs in all, carved with the names of donors to the Gallery from the years 1826 to 2002. We designed a narrower version of the Bembo face for these. Legibility required the largest cap height possible for the letters and a height of 33mm was made possible by narrowing the original design. This also had the effect of making the mass of lettering into a pleasing yet readable abstract pattern. All the people who helped with this part are mentioned below. For the Getty entrance and the Annenberg Court we used the letter width most closely related to Manutius's original typeface.
164. ^'A brief history of the Yale typeface'. Yale University Printer. Retrieved 13 April 2016.
165. ^Shaw, Paul. 'An Interview with Matthew Carter'. Print Magazine. Retrieved 13 April 2016.
166. ^'Introducing the Yale Typeface: Font Download'. Yale University. Retrieved July 2, 2013.
167. ^Swiss Foundation Type and Typography (2009). Osterer, Heidrun; Stamm, Philipp (eds.). Adrian Frutiger typefaces: the complete works (English ed.). Basel: Birkhäuser. p. 192. ISBN978-3-7643-8581-1.
168. ^Harry Danks (1979). The Viola D'amore. Theodore Front Music. p. 4. ISBN978-0-900998-16-4.
169. ^McEldowney, Dennis (1 October 2013). A Press Achieved: the Emergence of Auckland University Press, 1927–1972. Auckland University Press. pp. 102–5. ISBN978-1-86940-671-4.

• Meggs, Philip B. and McKelvey, Roy.Revival of the Fittest: Digital Versions of Classic Typefaces. RC Publications: 2000. ISBN1-883915-08-2
• Meggs, Philip B. History of Graphic Design. John Wiley & Sons, Inc.: 1998. ISBN0-470-04265-6

External links[edit]

• Specimen of Bembo in hot metal type (3 pages)
• Bembo type specimen from 1950 (Danish)
• Swamp Press specimen - with many other Monotype faces and images
• Research Report on Bembo (Vaishnavi Murthy, University of Reading; MA thesis)
• Digital scan of De Aetna (Internet Archive, via Biblioteca Nazionale Centrale di Firenze)
• Five Hundred Years of Bembo - Kevin Steele bibliography
• Who Was Francesco da Bologna? – Anthony Panizzi, 1858. An article on 'Francesco da Bologna' from before modern research. Notable as an article on his reputation in the nineteenth century, at a time when old-style serif fonts had apparently been superseded by the Didone types of the eighteenth and nineteenth centuries.