Typefaces based on his work include Monotype Poliphilus roman, Bembo Book roman, Bembo Titling, Morris Fuller Benton's Cloister Old Style italic, Jack Yan's JY Aetna roman, Bitstream Aldine 401 roman, and Franko Luin's Griffo Classico roman and italic. He set his first print in another cursive font that he had cut himself. Griffo's typefaces have been very influential. 1725 English William Caslon with the Caslon typeface. 1600 Dutch Christoffel van Dijck and Miklós Kis with the Ehrhardt typeface. 1540 French Claude Garamond, Robert Granjon and Jean Jannon with the Garamond and Jannon typefaces. In 1516 Griffo opened his own printing house in Bologna. 1495 Italian Aldus Manutius and Francesco Griffo with the Bembo typeface.
A year later he cut his second Italics for Petrarch edition of the printer Gershom (Girolamo) Soncino, the 1503 appeared in Fano in competition with the epochal issue of Manutius (1501), and in the dedication of the printer Cesare Borgia with The invention of italics for Francesco Griffo, linked to the name of Manutius, claimed. In 1502 Griffo and Manutius parted in a dispute. Presumably, commercial goals also played a role in the success of the italics, because this narrower typeface made better use of the paper format possible. This first italic type in Latin letters was used for a Virgil edition published by Manutius. ġ501 developed Griffo after the pattern of a pontifical clerical script ( humanist italics ) an italic style, the appearance of a cursive imitated, but did not have the disadvantage of poor readability and difficult feasibility in the sentence. Griffo also created an Antiqua for the novel Hypnerotomachia Poliphili (published 1499), which was reprinted as Poliphilus in 1923 as a copy by Monotype. In 1930 it was republished by Monotype under the name Bembo. In February 1496 Griffo first developed an Antiqua typeface for the essay De Aetna by the Italian scholar Pietro Bembo, which soon became very popular: the De Aetna type. In 1495 a five-volume Aristotle edition was published by Aldus Manutius in a Greek italic cut by Griffo. These fonts - although very popular with the learned public - were not very reader-friendly and made work difficult for the typesetters. From 1495 onwards, Francesco Griffo worked for Aldus Manutius, for whom he initially produced Greek letters that, with their intertwined lines, imitated the handwriting of Greek scholars.