![bembo typeface history bembo typeface history](https://alchetron.com/cdn/bembo-69892d63-3096-4dd6-911c-b2ccffed1f7-resize-750.png)
All typographic features of the legacy Yale fonts, including old-style figures, ligatures, and Web small caps, are now folded into the four new OpenType files. Perhaps the primary advantage of the OpenType format is that it consolidates the Yale typeface family, which originally included nearly 30 fonts and more than 60 other related files, into just four conventionally named font files: YaleNew Roman, Italic, Bold, and Bold Italic. These files improve upon the legacy PostScript Type 1 fonts that we have used for the past decade. In August 2014, Carter & Cone delivered a new set of Yale typeface files in OpenType format.
BEMBO TYPEFACE HISTORY PROFESSIONAL
Available free of charge to all members of the university community for Yale-related work only, the Yale typeface supports the work of professional designers, administrators, faculty, and students. htm.The Yale typeface, called “Yale”-designed by School of Art faculty member Matthew Carter for use in the university’s print and digital publications-reflects Yale’s history of typographic excellence and serves as a handsome and ubiquitous element of the university’s contemporary graphic identity. To summarize the classical typeface has undergone 500 years of change and constantly adapted itself to the changing dynamics in the printing industry without losing its inherent design characteristics. It has also heavily influenced Garamond family of typefaces, which are now known as ‘Old Style’. Bembo has maintained its appeal through the generation as compared to other historical typefaces such as Gutenberg typeface, which are no longer in use. The legibility and classical look of this typeface makes it highly suitable for books. The distinguishing characteristics of the Bembo typeface lend a consistency to the text irrespective of the color and texture used for printing. To cater to the demands of modern digital printing needs, semi bold and extra bold weights were incorporated into Bembo.
![bembo typeface history bembo typeface history](https://s1.nyt.com/timesmachine/pages/1/1982/03/28/023849_360W.png)
Keeping with their tradition of preserving classical typefaces, Monotype introduced a digitalized version of Bembo typeface in the 1980s by leveraging its original metal revival of the 1920s.
![bembo typeface history bembo typeface history](https://www.fonts.com/cdn-cgi/image/format=auto/https://cdnimg.fonts.net/CatalogImages/23/146458.png)
Initially the revived typeface was called “Poliphilus” but the name Bembo gained more acceptance.
![bembo typeface history bembo typeface history](https://images.squarespace-cdn.com/content/v1/572980798a65e2651189cd40/1494868138693-YRDTX3N2UDK45FOI69F3/Bembo+Mockup+final+6.jpg)
Morrison based the revival largely on the text Hypnerotomachia Poliphili by Francesco Colonna, which was typeset by Griffo. The Bembo typeface was revived in the 1920s by the Monotype corporation, which made use of the original books and specimen material as a foundation using the original typeface by Francesco Griffo as a reference. Stanley Morrison of Monotype corporation launched a program to rediscover the historical typefaces to use it in modern day printing. The oblique stress emphasized in the typeface lends it a classical elegance, while the angled serifs enhance the aesthetics. The creator of Bembo has ensured minimal variation in the weights between thin and thick strokes. The design of Bembo typeface is rendered unique due to the following characteristics. On gaining widespread popularity, italicized upper case characters in keeping with the characteristics of Bembo were added to the typeface. Initially Bembo typeface consisted of lower case characters only and upper case characters were borrowed from other typefaces. Bembo typeface emerged as the most modern one developed in the century. The Aldine roman typeface is now known as the Bembo typeface. The unique characteristics of this typeface made it widely popular and came to be known as the Aldine roman typeface. Manutius used this new typeface for printing a small piece of work commissioned by Pietro Bembo. This typeface when used for printing not only had an aesthetic appeal but also lent itself to a greater clarity of reading, which set it apart from earlier Roman typefaces. As a result he created the first italic typeface that incorporated an element of elegance. The calligraphic characteristics like slants and curves influenced Griffo to a large extent and these influences were assimilated into the typefaces he developed. Francesco Griffo was a goldsmith turned typeface cutter who worked on the design of the important typefaces used by Aldus Manutius. The typefaces that were used by him were created by Francesco Griffo. Aldus Manutius was an accomplished printer in Venice known for printing scholarly articles.