Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.[3]
Berthold Bodoni Antiqua LTC Bodoni 175 Linotype Bodoni Bauer Bodoni Filosofia
Shown here
ITC Bodoni Seventy Two
Facsimile of lines from Dante's "La Vita Nuova" first published with Bodoni types by the Officina Bodoni in 1925. Actual font is the digital Bodoni Monotype published in 1999.
When first released, Bodoni and other didone fonts were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts; since the mid-20th century, they are also known as Didone designs.[4]
Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This is very common when optical sizes of font intended for use at display sizes are printed at text size, at which point the hairline strokes can recede to being hard to see. Versions of Bodoni that are intended to be used at text size are "Bodoni Old Face", optimized for 9 points; ITC Bodoni 12 (for 12 points); and ITC Bodoni 6 (for 6 points).
Massimo Vignelli stated that "Bodoni is one of the most elegant typefaces ever designed."[5] In the English-speaking world, "modern" serif designs like Bodoni are most commonly used in headings and display uses and in upmarket magazine printing, which is often done on high-gloss paper that retains and sets off the crisp detail of the fine strokes. In Europe, they are more often used in body text.
The 1818 Manuale-Tipografico specimen manual of Bodoni's press, published after his death.
Bodoni admired the work of John Baskerville[6] and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers,[7] above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.
Although to a modern audience Bodoni is best known as the name of a typeface, Bodoni was an expert printer who ran a prestigious printing-office under the patronage of the Duke of Parma, and the design of his type was permitted by and showcased the quality of his company's work in metal-casting, printing and of the paper made in Parma.[8] The hairline serifs and fine strokes reflected a high quality of casting, since on poor-quality printing equipment serifs had to be large to avoid wear snapping them.[9] The smooth finish of his paper allowed fine detail to be retained on the surface. Bodoni also took care in the composition of his printing, using hierarchy and borders to create an appearance of elegance, and his range of type sizes allowed him flexibility of composition.
A very great curiosity in its way is the Parma printing-office, carried on under the direction of Mr. Bodoni, who has brought that art to a degree of perfection scarcely known before him. Nothing could exceed his civility in showing us numbers of the beautiful productions of his press...as well as the operations of casting and finishing the letters...his paper is all made at Parma. The manner in which Mr. Bodoni gives his works their beautiful smoothness, so that no impression of the letters is perceptible on either side, is the only part of his business that he keeps secret.[8]
The effective use of Bodoni in modern printing poses challenges common to all Didone designs. While it can look very elegant due to the regular, rational design and fine strokes, a known effect on readers is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the other, much thinner strokes that define which letter is which.[10][11][12] For this reason, using the right optical size of font has been described as particularly essential to achieve professional results.[13] Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility.[14][15] Optical sizes were a natural requirement of printing technology at the time of Bodoni, who had to cut each size of type separately, but declined as the pantograph, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years as automated font development has become possible.[16][17] French designer Loïc Sander has suggested that the dazzle effect, common to all Didone designs, may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and where the fonts that are easily commercially available will tend to have been designed for headings.[18] Modern Bodoni revivals intended for professional use such as Parmagiano and ITC Bodoni have a range of optical sizes, but this is less common on default computer fonts.[18][19][20][21]
Foundry type revivals and variants
Comedia Nueva by Leandro Fernández de Moratín (published under the surename of Inarco Selenio). A title page printed by Bodoni, 1796
Proofs of page decorations from the Bodoni printing house
There have been many revivals of the Bodoni typeface; ATF Bodoni and Bauer Bodoni are two of the more successful.
ATF'sBodoni series created in 1909,[22] was the first American release to be a direct revival of Bodoni's work.[1] All variants were designed by Morris Fuller Benton who captured the flavour of Bodoni's original while emphasizing legibility rather than trying to push against the limits of printing technology. This revival is regarded as "the first accurate revival of a historical face for general printing and design applications".[23] However, some details were less based on Bodoni than on the work of his French contemporary Firmin Didot, for example a 't' with a flat rather than slanted top.[24]
The Bauer Type Foundry version was drawn by Heinrich Jost in 1926. The Bauer version emphasizes the extreme contrast between hairline and main stroke. The series included the following weights:
American Type Founder's Ultra Bodoni font in metal type. A derivative of their Bodoni family, the design is not directly based on Bodoni's own work but was very popular in advertising.
Digital revivals include Bodoni Antiqua, Bodoni Old Face, ITC Bodoni Seventy Two, ITC Bodoni Six, ITC Bodoni Twelve, Bodoni MT, LTC Bodoni 175, WTC Our Bodoni, Bodoni EF, Bodoni Classico, and TS Bodoni. Zuzana Licko's Filosofia is considered by some to be a revival of Bodoni, but it is a highly personal, stylish, and stylized spinoff, rather than a revival. Although intended to be usable at text sizes, it represents the early period of the designer's career when interletter spacing was yet to be conquered, so has found use primarily in advertising. A particularly carefully optically-sized Bodoni is Sumner Stone's ITC version in three sizes (6 point, 12 point, 72 point). Another important Bodoni optimized for book printing (9 point) is Günther Gerhard Lange's "Bodoni Old Face" from the Berthold library. Most other versions are best used at display sizes.[citation needed]
Bodoni is used in the logos for luxury brands Calvin Klein and Zara
A variation of Bodoni designed by Matthew Carter, called "Stilson" (originally "Postoni" during its period of exclusivity), is the primary headline font for The Washington Post newspaper.[31]
^ abSmith, James Edward (1793). A Sketch of a Tour on the Continent, in the Years 1786 and 1787. London: printed for the author , by J. Davis; sold by B . and J. White. pp. 36–38. Retrieved 11 August 2015.
^Hansard, Thomas Curson (1825). Typographia, an Historical Sketch of the Origin and Progress of the Art of Printing. p. 370. Retrieved 12 August 2015.
^Berkson, William (November 2010). "Reviving Caslon, Part 2". I Love Typography. Retrieved 21 September 2014.
^Cees W. De Jong, Alston W. Purvis, and Friedrich Friedl. 2005. Creative Type: A Sourcebook of Classical and Contemporary Letterforms. Thames & Hudson. (223)
^Katz, Joel (2012). Designing information : human factors and common sense in information design. Hoboken, NJ: Wiley. p. 140. ISBN9781118420096.
^Coles, Stephen. "Trianon review". Identifont. Retrieved 10 August 2015.
^"HFJ Didot". Hoefler & Frere-Jones. Retrieved 10 August 2015.
^Sowersby, Kris (22 January 2008). "Why Bembo Sucks". Retrieved 30 June 2015.
^Ahrens and Mugikura. "Size-specific Adjustments to Type Designs". Just Another Foundry. Retrieved 21 November 2014.
^Coles, Stephen. "Book Review: Size-specific Adjustments to Type Designs". Typographica. Retrieved 21 November 2014.
^ abSander, Loïc. "Parmigiano review". Typographica. Retrieved 10 August 2015.
^Twemlow, Alice. "Forensic Types". Eye Magazine. Retrieved 6 October 2014.
^"Surveyor overview". Hoefler & Frere-Jones. Retrieved 11 August 2015.
^McNaughton, Melanie (December 2010). "Martha Stewart's Graphic Design for Living". Bridgewater Review. Retrieved 7 October 2014.
^"Morris Fuller Benton - Font Designer of Bodoni, Broadway, Garamond".
^Clair, K. and Busic-Snyder, C. (2005). A typographic workbook. Hoboken, N.J.: Wiley, p.272.
^Mosley, James. "The Trieste leaf: a Bodoni forgery?". Type Foundry (blog). Retrieved 26 March 2016. Bodoni never used the flat-topped letter t (a French innovation) that was added to the ATF typeface.
^MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN0-938768-34-4, p. 45.
^Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN0-7137-1347-X, p. 25.
^Specimen Book of Bauer Types (second edition), Bauer Type Foundry, Inc., New York City, c. 1938, pp. E2 – E10.
^Lawson, Alexander, Archie Provan, and Frank Romano, Primer Metal Typeface Identification,National Composition Association, Arlington, Virginia, 1976, pp. 34 – 35.
^Clair, K. and Busic-Snyder, C. (2005). A typographic workbook. Hoboken, N.J.: Wiley, p.273
^. Poynter. Archived from the original on 2015-02-14.
^"Hughes, Collected Works, preface, p. v". Powells.com. Retrieved 2013-04-15.
References
Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. John Wiley & Sons, Inc: 1993. ISBN0-471-28430-0.
Dodd, Robin. From Gutenberg to Opentype. Hartley & Marks Publishers, Inc.: 2006. ISBN0-88179-210-1.
Friedl, Friedrich, Nicholas Ott, and Bernard Ott. Typography: an Encyclopedia Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers, Inc: 1998. ISBN1-57912-023-7 .
Frey, David. X-Height FontHaus's Online Magazine. DsgnHaus, Inc. 2006.
Nesbitt, Alexander The History and Technique of Lettering Dover Publications: 1975. ISBN0-486-20427-8
External links
Wikimedia Commons has media related to Bodoni.
Libre Bodoni release
January 21, 2023
bodoni, other, uses, disambiguation, this, article, multiple, issues, please, help, improve, discuss, these, issues, talk, page, learn, when, remove, these, template, messages, this, article, includes, list, general, references, lacks, sufficient, correspondin. For other uses see Bodoni disambiguation This article has multiple issues Please help improve it or discuss these issues on the talk page Learn how and when to remove these template messages This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations November 2013 Learn how and when to remove this template message This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Bodoni news newspapers books scholar JSTOR January 2014 Learn how and when to remove this template message Learn how and when to remove this template message Bodoni is the name given to the serif typefaces first designed by Giambattista Bodoni 1740 1813 in the late eighteenth century and frequently revived since 1 2 Bodoni s typefaces are classified as Didone or modern Bodoni followed the ideas of John Baskerville as found in the printing type Baskerville increased stroke contrast reflecting developing printing technology and a more vertical axis but he took them to a more extreme conclusion Bodoni had a long career and his designs changed and varied ending with a typeface of a slightly condensed underlying structure with flat unbracketed serifs extreme contrast between thick and thin strokes and an overall geometric construction 3 BodoniCategorySerifClassificationVox ATypI DidoneBritish DidoneBringhurstian RomanticDesigner s Giambattista BodoniVariationsBerthold Bodoni AntiquaLTC Bodoni 175Linotype BodoniBauer BodoniFilosofiaShown hereITC Bodoni Seventy TwoFacsimile of lines from Dante s La Vita Nuova first published with Bodoni types by the Officina Bodoni in 1925 Actual font is the digital Bodoni Monotype published in 1999 When first released Bodoni and other didone fonts were called classical designs because of their rational structure However these fonts were not updated versions of Roman or Renaissance letter styles but new designs They came to be called modern serif fonts since the mid 20th century they are also known as Didone designs 4 Some digital versions of Bodoni are said to be hard to read due to dazzle caused by the alternating thick and thin strokes particularly as the thin strokes are very thin at small point sizes This is very common when optical sizes of font intended for use at display sizes are printed at text size at which point the hairline strokes can recede to being hard to see Versions of Bodoni that are intended to be used at text size are Bodoni Old Face optimized for 9 points ITC Bodoni 12 for 12 points and ITC Bodoni 6 for 6 points Massimo Vignelli stated that Bodoni is one of the most elegant typefaces ever designed 5 In the English speaking world modern serif designs like Bodoni are most commonly used in headings and display uses and in upmarket magazine printing which is often done on high gloss paper that retains and sets off the crisp detail of the fine strokes In Europe they are more often used in body text Contents 1 Inspiration 2 Foundry type revivals and variants 3 Cold type versions 4 Digital versions 5 Poster Bodoni 6 Applications 7 Notes 8 References 9 External linksInspiration Edit The 1818 Manuale Tipografico specimen manual of Bodoni s press published after his death Bodoni admired the work of John Baskerville 6 and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot Although he drew inspiration from the work of these designers 7 above all from Didot no doubt Bodoni found his own style for his typefaces which deservedly gained worldwide acceptance among printers Although to a modern audience Bodoni is best known as the name of a typeface Bodoni was an expert printer who ran a prestigious printing office under the patronage of the Duke of Parma and the design of his type was permitted by and showcased the quality of his company s work in metal casting printing and of the paper made in Parma 8 The hairline serifs and fine strokes reflected a high quality of casting since on poor quality printing equipment serifs had to be large to avoid wear snapping them 9 The smooth finish of his paper allowed fine detail to be retained on the surface Bodoni also took care in the composition of his printing using hierarchy and borders to create an appearance of elegance and his range of type sizes allowed him flexibility of composition Writing of meeting him in the year 1786 James Edward Smith said A very great curiosity in its way is the Parma printing office carried on under the direction of Mr Bodoni who has brought that art to a degree of perfection scarcely known before him Nothing could exceed his civility in showing us numbers of the beautiful productions of his press as well as the operations of casting and finishing the letters his paper is all made at Parma The manner in which Mr Bodoni gives his works their beautiful smoothness so that no impression of the letters is perceptible on either side is the only part of his business that he keeps secret 8 The effective use of Bodoni in modern printing poses challenges common to all Didone designs While it can look very elegant due to the regular rational design and fine strokes a known effect on readers is dazzle where the thick verticals draw the reader s attention and cause them to struggle to concentrate on the other much thinner strokes that define which letter is which 10 11 12 For this reason using the right optical size of font has been described as particularly essential to achieve professional results 13 Fonts to be used at text sizes will be sturdier designs with thicker thin strokes and serifs less stroke contrast and more space between letters than on display designs to increase legibility 14 15 Optical sizes were a natural requirement of printing technology at the time of Bodoni who had to cut each size of type separately but declined as the pantograph phototypesetting and digital fonts made printing the same font at any size simpler a revival has taken place in recent years as automated font development has become possible 16 17 French designer Loic Sander has suggested that the dazzle effect common to all Didone designs may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and where the fonts that are easily commercially available will tend to have been designed for headings 18 Modern Bodoni revivals intended for professional use such as Parmagiano and ITC Bodoni have a range of optical sizes but this is less common on default computer fonts 18 19 20 21 Foundry type revivals and variants Edit Comedia Nueva by Leandro Fernandez de Moratin published under the surename of Inarco Selenio A title page printed by Bodoni 1796 Proofs of page decorations from the Bodoni printing house There have been many revivals of the Bodoni typeface ATF Bodoni and Bauer Bodoni are two of the more successful ATF s Bodoni series created in 1909 22 was the first American release to be a direct revival of Bodoni s work 1 All variants were designed by Morris Fuller Benton who captured the flavour of Bodoni s original while emphasizing legibility rather than trying to push against the limits of printing technology This revival is regarded as the first accurate revival of a historical face for general printing and design applications 23 However some details were less based on Bodoni than on the work of his French contemporary Firmin Didot for example a t with a flat rather than slanted top 24 Bodoni 1909 Bodoni Italic 1910 Bodoni Book 1910 Bodoni Book Italic 1911 Bodoni Bold Italic 1911 Bodoni Bold Shaded 1912 Bodoni Shaded Initials 1914 Card Bodoni 1915 Card Bodoni Bold 1917 Bodoni Open 1918 Bodoni Book Expanded 1924 Ultra Bodoni italic 1928 Bodoni Bold Condensed 1933 Ultra Bodoni Condensed extra condensed 1933 Engravers Bodoni 1933 designed in 1926 Monotype Bodoni 175 italic 1911 Bodoni 375 italic 1930 based on the Benton version Recut Bodoni Bold italic Bodoni Bold Condensed Sol Hess 1934 Ludlow Bodoni Light italic Robert Wiebking 1923 True Cut Bodoni italic Wiebking 1923 based on actual specimens at the Newberry Library Bodoni Bold italic Wiebking 1930 Bodoni Modern italic R Hunter Middleton 1936 probably the most faithful recutting Damon Type Foundry offered a Bodoni under the name Bartlet Linotype and Intertype also produced matrices for machine composition that were somewhat narrower than the foundry type versions 25 Haas Type Foundry produced a version which was then licensed to D Stempel AG Amsterdam Type Foundry and Berthold 26 The Bauer Type Foundry version was drawn by Heinrich Jost in 1926 The Bauer version emphasizes the extreme contrast between hairline and main stroke The series included the following weights Bodoni Roman Bodoni Title Bodoni Bold Bodoni Italic Bodoni Italic Bold 27 Cold type versions Edit American Type Founder s Ultra Bodoni font in metal type A derivative of their Bodoni family the design is not directly based on Bodoni s own work but was very popular in advertising As it had been a standard type for many years Bodoni was widely available in cold type Alphatype Autologic Berthold Compugraphic Dymo Harris Mergenthaler MGD Graphic Systems and Varityper Hell AG Monotype all sold the face under the name Bodoni while Graphic Systems Inc offered the face as Brunswick and Star Photon called their version BodoniStar 28 Digital versions EditDigital revivals include Bodoni Antiqua Bodoni Old Face ITC Bodoni Seventy Two ITC Bodoni Six ITC Bodoni Twelve Bodoni MT LTC Bodoni 175 WTC Our Bodoni Bodoni EF Bodoni Classico and TS Bodoni Zuzana Licko s Filosofia is considered by some to be a revival of Bodoni but it is a highly personal stylish and stylized spinoff rather than a revival Although intended to be usable at text sizes it represents the early period of the designer s career when interletter spacing was yet to be conquered so has found use primarily in advertising A particularly carefully optically sized Bodoni is Sumner Stone s ITC version in three sizes 6 point 12 point 72 point Another important Bodoni optimized for book printing 9 point is Gunther Gerhard Lange s Bodoni Old Face from the Berthold library Most other versions are best used at display sizes citation needed Poster Bodoni EditPoster Bodoni is a variant created for posters designed by Chauncey H Griffith in 1929 29 Applications EditPoster Bodoni is used in Mamma Mia posters 30 Bodoni is used in the logos for luxury brands Calvin Klein and Zara A variation of Bodoni designed by Matthew Carter called Stilson originally Postoni during its period of exclusivity is the primary headline font for The Washington Post newspaper 31 Bodoni was the favorite typeset of Ted Hughes UK Poet Laureate 1984 1998 32 Notes Edit a b Lawson Alexander 1990 Anatomy of a Typeface 1st ed Boston Godine pp 196 208 ISBN 9780879233334 Bodoni Fonts com Arntson A 1988 Graphic design basics New York Holt Rinehart and Winston p 92 Type Classifications Fonts com Interview with Massimo Vignelli Design Observer Loxley S 2004 Type London I B Tauris p 63 http www designmylife org wp content uploads 2011 02 bodonitypespecimen pdf Archived 2016 11 07 at the Wayback Machine a b Smith James Edward 1793 A Sketch of a Tour on the Continent in the Years 1786 and 1787 London printed for the author by J Davis sold by B and J White pp 36 38 Retrieved 11 August 2015 Hansard Thomas Curson 1825 Typographia an Historical Sketch of the Origin and Progress of the Art of Printing p 370 Retrieved 12 August 2015 Berkson William November 2010 Reviving Caslon Part 2 I Love Typography Retrieved 21 September 2014 Cees W De Jong Alston W Purvis and Friedrich Friedl 2005 Creative Type A Sourcebook of Classical and Contemporary Letterforms Thames amp Hudson 223 Katz Joel 2012 Designing information human factors and common sense in information design Hoboken NJ Wiley p 140 ISBN 9781118420096 Coles Stephen Trianon review Identifont Retrieved 10 August 2015 HFJ Didot Hoefler amp Frere Jones Retrieved 10 August 2015 Sowersby Kris 22 January 2008 Why Bembo Sucks Retrieved 30 June 2015 Ahrens and Mugikura Size specific Adjustments to Type Designs Just Another Foundry Retrieved 21 November 2014 Coles Stephen Book Review Size specific Adjustments to Type Designs Typographica Retrieved 21 November 2014 a b Sander Loic Parmigiano review Typographica Retrieved 10 August 2015 Twemlow Alice Forensic Types Eye Magazine Retrieved 6 October 2014 Surveyor overview Hoefler amp Frere Jones Retrieved 11 August 2015 McNaughton Melanie December 2010 Martha Stewart s Graphic Design for Living Bridgewater Review Retrieved 7 October 2014 Morris Fuller Benton Font Designer of Bodoni Broadway Garamond Clair K and Busic Snyder C 2005 A typographic workbook Hoboken N J Wiley p 272 Mosley James The Trieste leaf a Bodoni forgery Type Foundry blog Retrieved 26 March 2016 Bodoni never used the flat topped letter t a French innovation that was added to the ATF typeface MacGrew Mac American Metal Typefaces of the Twentieth Century Oak Knoll Books New Castle Delaware 1993 ISBN 0 938768 34 4 p 45 Jaspert W Pincus W Turner Berry and A F Johnson The Encyclopedia of Type Faces Blandford Press Lts 1953 1983 ISBN 0 7137 1347 X p 25 Specimen Book of Bauer Types second edition Bauer Type Foundry Inc New York City c 1938 pp E2 E10 Lawson Alexander Archie Provan and Frank Romano Primer Metal Typeface Identification National Composition Association Arlington Virginia 1976 pp 34 35 Clair K and Busic Snyder C 2005 A typographic workbook Hoboken N J Wiley p 273 Posters Signposting amp Calendars Linotype com Retrieved 2013 04 15 Behind the Redesign Washington Post Poynter Archived from the original on 2015 02 14 Hughes Collected Works preface p v Powells com Retrieved 2013 04 15 References EditCarter Rob Ben Day and Philip Meggs Typographic Design Form and Communication John Wiley amp Sons Inc 1993 ISBN 0 471 28430 0 Dodd Robin From Gutenberg to Opentype Hartley amp Marks Publishers Inc 2006 ISBN 0 88179 210 1 Friedl Friedrich Nicholas Ott and Bernard Ott Typography an Encyclopedia Survey of Type Design and Techniques Throughout History Black Dog amp Leventhal Publishers Inc 1998 ISBN 1 57912 023 7 Frey David X Height FontHaus s Online Magazine DsgnHaus Inc 2006 Lawson Alexander S Anatomy of a Typeface Godine 1990 ISBN 978 0 87923 333 4 Nesbitt Alexander The History and Technique of Lettering Dover Publications 1975 ISBN 0 486 20427 8External links Edit Wikimedia Commons has media related to Bodoni Libre Bodoni release Retrieved from https en wikipedia org w index php title Bodoni amp oldid 1134771033, wikipedia, wiki, book, books, library,
