Development of roman type

Nicolas Jenson began printing in Venice with his original roman font from 1470. Jensons design and the very similar roman types cut by Francesco Griffo ca. 1499 and Erhard Radolt ca. 1486 are acknowledged as the definitive and archetypal roman faces that set the pattern for the majority of western text faces that followed.The Jenson roman was an explicitly typographic letter designed on its own terms that declined to imitate the appearance of hand-lettering. Its effect is one of a unified cohesive whole, a seamless fusion of style with structure, and the successful convergence of the long progression of preceding letter styles. Jenson adapted the structural unity and component-based modular integration of Roman capitals to humanistic minuscule forms by masterful abstract stylization. The carefully-modelled serifs follow an artful logic of asymmetry. The ratio of extender lengths to letter bodies and the distance between lines results in balanced, harmonious body of type. Jenson also mirrors the ideal expressed in renaissance painting of carving up space (typographic white space) with figures (letters) to articulate the relationship between the two and make the white space dynamic.The name roman is customarily applied uncapitalized to distinguish early Jenson and Aldine-derived types from classical Roman letters of antiquity. Some parts of Europe call roman antiqua from its connection with the humanistic lettera antica ; medieval and old-style are also employed to indicate roman types dating from the late 15th century, especially those used by Aldus Manutius (Italian: Manuzio). Roman faces based on those of Speyer and Jenson are also called Venetian.

Italic type

The humanist spirit driving the Renaissance produced its own unique style of formal writing, known as cursiva humanistica. This slanted and rapidly written letter, evolved from humanistic minuscule and the remaining Gothic current cursive hands in Italy, served as the model for cursive or italic typefaces. As books printed with early roman types forced humanistic minuscule out of use, cursiva humanistica gained favor as a manuscript hand for the purpose of writing. The popularity of cursive writing itself may have created some demand for a type of this style. The more decisive catalyst was probably the printing of pocket editions of Latin classics by Aldus Manutius. The Aldino italic type, commissioned by Manutius and cut by Franceso Griffo in 1499, was a closely-spaced condensed type. Griffos punches are a delicate translation of the Italian cursive hand, featuring letters of irregular slant angle and uneven height and vertical position, with some connected pairs (ligatures), and unslanted small roman capitals the height of the lower case t. The fame of Aldus Manutius and his editions made the Griffo italic widely copied and influential, although it was not the finest of the pioneer italics. The Aldino style quickly became known as italic from its Italian origin. Around 1527 the Vatican chancellery scribe Ludovico Arrighi designed a superior italic type and had the punches cut by Lauticio di Bartolomeo dei Rotelli. The more modular structure of Arrighis italic and its few ligatures made it less a copy of the cursive hand than Griffos. Its slightly taller roman capitals, a gentler slant angle, taller ascenders and wider separation of lines gave the elegant effect of refined handwriting. Surviving examples of 16th century Italian books indicate the bulk of them were printed with italic types. By mid-century the popularity of italic types for sustained text setting began to decline until they were used only for in-line citations, block quotes, preliminary text, emphasis, and abbreviations. Italic types from the 20th century up to the present are much indebted to Arrighi and his influence on French designers. Swiss art historian Jakob Burckhardt described the classically-inspired Renaissance modello of dual case roman and cursive italic types as The model and ideal for the whole western world. Venetian pre-eminence in type design was brought to an end by the political and economic turmoil that concluded the Renaissance in Italy with the sack of Rome in 1527.

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