1450's: Early Typographers

Between the mid-15th and early 18th centuries, typography underwent a transformative evolution, driven by the invention of the printing press and the need for fully developed typefaces, moving away from a job-specific approach to letter design. One of the earliest pioneers, Nicholas Jenson , created the first full Roman typeface, which was notable for its humanistic qualities and readability. Around the same time, Aldus Manutius revolutionized printing, with his punch cutter, Francesco Griffo , developing the first italic typeface—a space-saving style mimicking handwritten script, allowing books to be produced in more compact formats.

The Italian Renaissance of typography heavily influenced French printing, marking a period of rapid advancements. Renowned French printers like Robert Estienne, Simone de Colines, and Geofroy Tory elevated the quality of printing during this time. Claude Garamond , who apprenticed under de Colines and Estienne, became the first to commercially produce and sell typefaces, moving type design further away from calligraphy. His designs, later refined by Jean Jannon, were so similar that Jannon’s work was mistakenly attributed to Garamond well into the 20th century.

Printers of the era showcased their typefaces in specimen books, with Pierre Simon Fournier producing one of the most influential. Fournier documented the intricacies of book publishing, punch cutting, and typography, and also introduced a type measurement system. This system was later refined into the point-based system by Fran?ois Didot , whose son, Firmin Didot, contributed to the development of modern Roman typefaces. Firmin’s designs featured high-contrast strokes and hairline serifs, a style shared with Giambattista Bodon i, another key figure in typography. Bodoni refined and chronicled the art of metal type production, establishing four guiding principles for beautiful typography: uniformity, neatness, good taste, and charm.

In England, during the 18th century, William Caslon worked to break the nation’s reliance on Dutch typefaces. His designs, rooted in classical Roman styles, became the standard for British printing and were widely used across the expanding British Empire. Caslon’s typefaces even became the norm in American printing for many years. Meanwhile, John Baskerville , an English businessman, designed type inspired by engraving rather than handwriting, creating a transitional style that bridged the gap between classical and modern Roman typefaces. Baskerville’s work laid the foundation for the sleek, precise typography that followed in later centuries.

References and more information:

• Type: The Secret History of Letters