These elusive books are important in the history of typography as the earliest printed in chancery italic designed by Arrighi, copied by Blado and others, forming a school of italic types quite distinct from the tradition that begins with the Aldine Virgil in 1501. Trissino worked with Arrighi to develop alternate typographic characters, which appear in the famous font in which this book is printed. Provenance: acquired from Chiswick's bookshop, 1974.įIRST EDITION of one of Trissino's scarce pamphlets printed by Arrighi in 1524-25. Italic type with some Greek characters representing certain Italian vocables. Rome: Lodovico degl'Arrighi, October 1524.Ĥ o (199 x 143 mm).
Oratione del Trissino Al Serenissino Principe di Venetia. After the basic shapes looked good, I did a lot of clean-up.I worked quite roughly and quickly at this stage. Each character was different, and I tried a wide range of different interpolation quantities. Sometimes I just took parts of an interpolated glyph to replace what I’d drawn by hand other times I used the entire interpolated character. Now I started playing with interpolations to create a third font.The resulting italic looked rather gawky and didn’t have as much ‘family resemblance’ to the roman as I would have liked. The manually-created font was tweaked considerably as I experimented with what looked good.The benefit of having the same number/order of nodes was that I could freely interpolate between the two versions, as I shall explain. If I did need to add one occasionally, I had to add a corresponding node to the auto-generated version. Now, making a copy of the auto-generated italic, I used this to digitise my hand-drawn version, by manually dragging nodes into their correct location, without adding or removing any nodes.At this stage I also tried to simplify the nodes so they were in sensible places. The resulting italic was about as bad as you might expect from an auto-generated font, and needed a lot of clean-up, especially to get the serifs looking right. I created an automatic version of italic from the existing roman font, using FontForge’s Element> Style> Italic, and choosing the same styles of serif etc.I hand-drew all the lower-case letters taking Francesco Griffo’s italic as inspiration, and trying to incorporate something of the feel of Centaur.Arrighi is very nice, but quite different. When designing the Coelacanth typeface, my remake of Bruce Roger’s Centaur, I created the italics from scratch because I didn’t feel that Arrighi, the italic normally used with Centaur, really matches the roman. Facebook Two italics and their interpolation
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