Tag Archives: reading

Francesco Griffo

Francesco Griffo

Manutius got type-design-superstar Francesco Griffo to cut type for his lowercase/minuscule Greek letters. Greek minuscules had been developed by the monks in those old scriptoria to save some space on the page. Griffo redesigned them as italics so they would take even less space. He did the same for Hebrew and Roman lowercase. When you look at the examples in the links below, you’ll see that the capital letters are still in their old form—only the lowercase letters are italic.

A page of the polyglot Bible. Looks like only the Greek got lowercase italics. Why are there blank spaces at the top-left of columns 2 & 3 but top-right of the first column? http://www.griffoggl.com/en/biografia/

I give some links below here and yesterday’s post to Griffo’s beautiful work. One of my favs is the polyglot Bible: 3 columns on every page in Hebrew, Greek and Latin. The guy was cutting those tiny letters in steel by hand and they’re perfect. Really, go look. Griffo’s designs for italic type are beautiful—and they’re useful. Italics take less space on a page, so books can be smaller and less expensive. Manutius was selling a ton of books thanks to Griffo’s italics. Here’s the ugly part: Manutius didn’t want any other publisher to have Griffo’s italic type. In 1502 Manutius went to the Senate of the Venetian Republic who granted him a 10-year protection—only Manutius could use Griffo’s italic type designs. I’m not talking about the physical metal type—I mean the design, the creative idea, the ‘intellectual property.’ So Griffo didn’t own his italics anymore, because he couldn’t sell them to anyone else. He should have been able to make a fortune from them, but Manutius owned ‘em. Welcome to the 1500s graphic design business, Francesco. Disappointed and disgusted, Griffo left Venice soon after that.

http://www.griffoggl.com/en/biografia/
http://www.griffoggl.com/en/corsivi/

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Aldus Manutius

Aldus Manutius

The brains behind all this innovation was one guy: Aldo Manutio, or Aldus Manutius in Latin. Latin & Greek weren’t completely abandoned by the early book publishers. Manutius was a scholar who spoke several languages and made it his mission to use his printing press to publish some beautiful editions of the classics (Hebrew, Greek & Latin lit)—while keeping his books affordable enough that the college crowd could afford them.



Manutius built a reputation for accurate translations. He was a meticulous editor. And though his books were produced inexpensively, they are gorgeous to look at. Either he or a designer on his payroll composed pages using classic mathematical proportions that Pythagorus, the ancient Greek mathematician, dreamed up (more about that soon). Scholarly writers/translators started coming to Manutius because they knew they could trust him with their work.

The dolphin & anchor image is Manutius’ colophon, or printer’s mark.

Here are links so you can looks at these books:

https://www.khanacademy.org/humanities/renaissance-reformation/early-renaissance1/venice-early-ren/a/aldo-manuzio-aldus-manutius-inventor-of-the-modern-book
https://rarebooks.library.nd.edu/exhibits/durand/italian/manutio.html
https://en.wikipedia.org/wiki/Aldus_Manutius
For only $8,800 clams you can own a first edition from the Aldine Press: https://www.raptisrarebooks.com/product-tag/aldine-press-first-edition/

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…And we pass the savings on to you, our customer

The story so far: books were shooting out of the printing presses; they cost way less than hand-written manuscripts; they’re written in vernacular languages (that everybody spoke) rather than Latin (that hardly anybody spoke); the presses were located in Venice, Italy where people were making fat stacks of lire by trading with Asia and could afford fripperies like books.


Even so, merchants weren’t about to blow a month of profits on a thirty-nine-pound 14” by 17” three-volume copy of Dante’s Commedia even if it were cheaper than a manuscript. Beside costing a fortune, who’d want to lug it around?

Press sheet, folio, quarto, octavo.

So the Venetian printers came up with new ways to make books less expensive and more portable. First, they made books smaller so they’d need less paper. They folded a press sheet once (folio), twice (quarto), and again (octavo) until they got small, easy-to-carry pocket-sized books. Next, they made type skinnier so more words would fit on a page—it was called italic. Skinnier type means fewer pages/less paper. What else? You know how paperback books are cheaper than hardcover books? How about no-cover books? Venetian printers sold you a book as a package of loose leaves! There were book binders who would sew them up into a codex if you liked.

I’m kidding! This is just a joke! It’s likely these leaves were F&Gs—’folded & gathered’ into 16-page signatures. https://www.printindustry.com/Newsletters/Newsletter-194.aspx

http://gallery.lib.umn.edu/exhibits/show/celebratingvenice/printing

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Most Serene!

Okay, maybe not so serene. I did this image a while back for a Pittsburgh Public Theater production of an old commedia dell’arte play.

Venice, Italy was the place to be if you were in the printing business in the late 1400s—like Silicon Valley, California is today for the software industry. I was looking for reasons why everybody moved there, like religious persecution or something, but it looks like printers were attracted to Venice rather than driven there. Who can blame them? She’s an enchanting city. The locals call her la Serenissima—the Most Serene. Since the Middle Ages Venice had been a powerful trading port with her own navy. Venice was the western end of that network of overland and sea routes known as the Silk Road. Trade goods and wealth from all over Europe were exchanged for trade goods and wealth from all over Asia. All that bustling trade produced a rich merchant class with extra soldi to spend on luxury items, like books.

Italian Word of the Day: Soldi (money)

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Nicolas Jenson

Nicolas Jenson

The mechanized printing press and movable type were such radically different new technologies that printers had to soothe and reassure their customers by making their books’ text look like old-fashioned calligraphy. The metal letters mimicked the way letters are created by a pen or brush. It would take a bit of time before a typefounder said, “Oh, the heck with it” and finally designed a typeface that was meant to be printed on a printing press. No more phony hey-this-looks-like-it-just-rolled-out-of-the-scriptorium fancy-pants calligraphy.

That happened in ad 1470 and the type designer was Nicolas Jenson (zhen-SŌN). He was a Frenchman living in Italy.

Here’s a site with his beautiful type designs. You can download the typeface and there’s even a box where you can keystroke in your name or a phrase and see what it looks like a la Jenson. https://www.dafont.com/1470jenson.font

You can get Jenson’s font from these guys, too. Image credit: https://fontmeme.com/fonts/1470-jenson-font/

Jenson’s type design is inspired by old Roman majuscules for the capital letters. His lowercase letters are sorta-kinda inspired by uncial minuscules (notice Jenson’s lowercase u doesn’t look like a v). We’ll be calling capital letters ‘uppercase’ and little letters ‘lowercase’ now because that’s where they are kept in a job drawer.

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This isn’t what I’m used to


When digital watches first came out, some of them had a digitally-animated fake-analogue display. That style of watch had images of hour- and minute-hands that appeared to sweep around its face. People weren’t ready to read numbers to know the time. They needed a few years to get used to the new way of doing things.

Back when we were talking about Johannes Gutenberg and William Caxton, you could see that they tried to make their books look like they were hand-written by a bunch of scribes.

A rare sighting of scribes in the field

What is the collective noun for scribes? Best answer wins a sketch. https://readable.com/blog/a-murder-of-crows-and-other-odd-collective-nouns/

https://www.watchuseek.com/threads/watches-with-a-digital-display-that-mimic-the-hour-hands-of-a-non-digital-analogue-watch.4744371/

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Baby books


Books from these early days are called incunabula. I love this word. Incunabulum is the singular form. It’s a Latin word that literally means ‘swaddling clothes,’ what they used to wrap newborn babies in. Think of a baby in a cradle or a crib. I think the swaddling clothes or the cradle are supposed to be the early printing business. The baby is the book. Book production in its infancy. Incunabula were the cradle of book-printing, like the Tigris-Euphrates valley is the cradle of Western Civilization, or Olduvai Gorge is the cradle of human evolution, or Massachusetts is the cradle of marshmallow and peanut butter sandwiches.
https://www.merriam-webster.com/dictionary/incunabulum
https://www.worldwidewords.org/weirdwords/ww-inc1.htm
Do they still make this stuff? https://en.wikipedia.org/wiki/Fluffernutter
Here is a timeline of early printing: https://www.prepressure.com/printing/history/1400-1499
https://www.ndl.go.jp/incunabula/e/chapter3/index.html

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Folios and quartos



Back in the early days of printing and paper manufacturing, there weren’t standard sizes yet. On the other hand, they did have standard names for a book’s format:
A press sheet folded in half was called a folio. You get 2 leaves or 4 pages.
If you folded the press sheet again, you get a quarto—4 leaves or 8 pages. It’s half as big as a folio.
If you folded the press sheet one more time, you get an octavo—8 leaves or 16 pages. It’s one-fourth as big as a folio.


Of course you can keep folding, at least until you get so many pages the paper won’t bend anymore. These formats get called duodecimo, sextodecimo, octodecimo…

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Pages & leaves

No, not that kind of a leaf

A page is one side of a piece of paper in a book.
A leaf is a piece of paper in a book. It has 2 sides; that’s 2 pages. There’s an old, old saying: to “turn over a new leaf.” It means you’re putting your bad old past behind you and starting fresh with a better attitude. It’s like your life is a book.

I turned over a new leaf a few years ago. To be honest, I turned over a new leaf a bunch of times. This last leaf I hope I got right.

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Format

So those early vernacular writers shaped their languages. In a similar way, the early printers and paper manufacturers shaped what we think of as a book. How big is a book? How many pages? How do you organize the information printed inside?

When this book gets printed it will be about 9” x 12”. It will have 32 pages plus the cover. Thirty-two is the usual number of pages for a kids’ book. Why? Because of the size of the press sheet—the piece of paper that gets run through a modern 4-color printing press. You can fit 8 pages onto each side of a press sheet. Two sides equal 16 pages. Sixteen is too few pages to tell a story, so kids’ books are 2 of these press sheets—32 pages total. There will be a title page and a page for copyright/dedication and other information. The rest will be lousy gags and badly-drawn cartoons and history. This is called the format of a book.

https://writersrumpus.com/2013/09/24/why-thirty-two-pages/

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