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Soon after 1500, roman typefaces began to gain popularity north of the Alps for printing of Latin literature. Johann Froben of Basel, Switzerland set up his press in 1491, and by about 1519 (when he printed Erasmus’s famous edition of the Greek New Testament) he had established a set of standards for humanistic printing which were widely copied throughout the German-speaking world and also in Spain and, to a lesser extent in England. His principal type is wholly roman in the shape of the characters but retains an echo of gothic influence in the angled serifs and the way the thick and thin strokes are organized; it was coupled with mated sets of woodcut initials (often designed by distinguished artists) and with two larger sizes of uppercase letters for use in title pages and headings—Froben was the first to use such ‘display faces’ consistently, breaking away from the Italian tradition in which title pages and headings tended to be set in the same size as the main text. By using these large faces, Froben developed the title page as a fully organized artistic whole. Froben’s italic face is based on that of Aldus but more even and uniform in effect. These Swiss books are the first to have been designed in every detail as printed artifacts rather than as adaptations of manuscript technique.
After about 1550 this Swiss/German tradition was gradually overwhelmed by French influence. Towards the end of the century, the Wechel family of Frankfurt was producing fine books which used French typefaces in conjunction with heavy but resplendent woodcut ornaments to achieve a splendid page effect; but soon after 1600 there was a general, marked decline in the quality of both skill and materials, from which German printing did not recover until the twentieth century.

16TH CENTURY FRANCE

Typography was introduced to France by the German printers Martin Crantz, Michael Freyburger and Ulrich Gering, who set up a press in Paris in 1470, where they printed with an inferior copy of the Lactantius type. Gothic types dominated in France until the end of the 15th century, when they were gradually supplanted by roman designs. Jodocus Badius Ascensius (Josse Bade) in partnership with Henri Estienne established a press in Paris in 1503. Printing with undeveloped Roman and half-Gothic types, the French pair were too occupied meeting the demand for Humanistic and classical texts to design any original types of their own. French books nonetheless began to follow the format established by Italian printers, and Lyon and Paris became the new centers of activity.

De Colines, Estienne, and Augereau

After their 1494 invasion of Italy the French were greatly influenced by Renaissance culture, and later set about converting French culture from Gothic to neo-classical. The required phonetic and orthographic changes to French language hindered the evolution of type design in France until the late 1520s. At the end of this period roman types introduced by Robert Estienne, Simon de Colines and Antoine Augereau began a phase of type design with a distinctly French character. Robert