#nicolas jenson

[rossodimarte]

Hexameron, Biblia Latina, Nicolas Jenson, 1480 ca.

[muspeccoll]

#TypographyTuesday: Although best known for his roman types, Nicolas Jenson also used gothic types, especially for works of theology.⠀ ⠀ 

Incipit tabula cap[itu]lo[rum] libri [contra] ge[n]tiles b[ea]ti Thome de Aquino. [Venice] : [Nicolas Jenson], [1480] BX1749 .T38 1480

[duardius]

jenson’s rotunda

first illustrated is a setting of alfred forbes johnson’s statement regarding nicolas jenson’s rotundas, from his Type Designs [3rd ed., andre deutsch, london, 166, p17]. johnson capitalised Rotunda but not roman: for systematic capitalisation & to improve setting color i have set both lower-case. set in bruce roger’s centaur, roger’s neo-venetian homage to jenson. for more on centaur vide ‹livius andronicus›. line finisher is digital reissue of monotype’s recutting of «Granjon’s flower on Bourgeois» (1558) [cf. hendrik d. l. vervliet, Granjon’s flowers, oak knoll press, new castle (del), 2016, p61].

second illustration is facsimile of the final page from the Super Tertio Sententiarum of john duns scouts [johannis de colonia & nicolai iençon, venice, 1481]; plate 17 in theodore low de vinne’s Notable Printers of Italy during the Fifteenth Century  [the grolier club, new york, 1910, p77]. the page is set in one of jenson’s small rotundas & concludes with colophon¹ & jenson’s device. «The type of the text is a Black-letter on 10 point body that may be accepted as a design approved by Jenson even if all punches were not cut by his own hand.» [ibid., p76]. the third illustration shows enlarged section of composition. i am amazed that there has been no digital revival of a jenson rotunda!

¹ translation given by de vinne: «Printed at Venice by the order and at the expense of John of Cologne, Nicolas Jenson & Company. In the year of our Lord fourteen hundred and eighty one. To God the praise.» [A Treatise on Title-pages, the century co., new york, 1902, p24].

[rhysoca]

Riccardo Olocco - The success of Jenson’s roman type

This is a video of a short lecture by Riccardo Olocco, an academic engaged in the study of typography, with a specific interest in that of Nicolas Jenson. The lecture talks about the forms of Jenson’s letters in comparison with other Roman typefaces of the time and makes the case that Jenson’s influence on subsequent typographical design, makes him one of the most important cultural figures of the Renaissance.

[rhysoca]

Nicolas Jenson and the success of his roman type

A close look at the earliest types cut in Venice shows that Jenson is one of the most important characters in the history of typography

While researching Nicolas Jenson for exercise one, I found this article that looks at Jenson’s Roman typeface, developed in Venice in around 1470. The article was useful in terms of developing my understanding of how a typeface is formed, providing a detailed analysis of Jenson’s work, comparing his type with that of other craftsmen working at the same time. The article adopts and almost forensic approach to analysing the type, looking closely at various printed documents to provide examples of Jenson’s typeface in use.

[rhysoca]

How a Frenchman Who Lived Nearly 600 Years Ago Created One of the World’s Great Typefaces

How a Frenchman Who Lived Nearly 600 Years Ago Created One of the World’s Great Typefaces

While carrying out research on Nicolas Jenson’s pioneering work in creating a Roman typeface, I came across this article which contains a concise explanation of the genesis of Jenson’s typeface - a combination of C9th century Carolingian minuscule and Roman capitals. The article also explains why Jenson’s typeface has remained popular and has been used as the template for later humanist typefaces.

[lacasadelbuey]

Algunas líneas en la romana original de Jenson (Venecia 1470). Más información en este art´ículo de unos tipos duros: https://www.unostiposduros.com/nicolas-jenson-y-el-exito-de-su-romana/

[3wings]

The Creation of the World, 1476 

Nicolas Jenson: Latin Bible