BODONI: The King of Printers

ORIGINS | 3

bodoni.

T H E

K I N G

O F

P R I N T E R S

ORIGINS | 3

KING OF PRINTERS O R I G I N S / C O M PA R I S O N S / C H A R A C T E R I S T I C S / L E G A C Y

A twenty-eight-year-old Bodoni was asked to take charge of the Stamperia Reale, the official press of Ferdinand, Duke of Parma. Bodoni accepted and became the private printer to the court. His initial design influence was Fournier le Jeune, whose foundry supplied type and ornaments to the Stamperia Reale after Bodoni took charge. The quality of Bodoni’s design and printing soon gained him an international reputation as the “Printer to the Kings and the King of Printers.”

In 1790, the Vatican invited Bodoni to Rome to establish a press for printing the classics there, but the Duke countered with the offer of an expanded facility and the privilege of printing for other clients.

Bodoni elected to remain in Parma.

GIAMBATTISTA BODONI (1740 –1813)

“Bodoni’s designs were radical enough to be considered new and different but not so different they became fad designs.”

BODONI ITALIC (48 PT)

ORIGINS OF THE TYPEFACE Bodoni was no revolutionary. The modern roman

Yet despite these influences, he was not a copyist.

style, which is attributed to him, did not, as many

A close examination reveals that Bodoni’s weight

would believe, spring forth as if by magic. While

transitions are more gradual and his serifs still

the letters he cut and the books he printed were

maintain a slight degree of bracketing. He followed

more refined and of exceptionally higher quality

Didot’s lead, carefully evaluating the designs of his

than most of the work originating before or during

great competitor, consciously remaining, however,

his lifetime, it would be difficult to classify any of

always just slightly behind the radical modernism

Bodoni’s efforts as fundamentally new.

of his contemporary.

When he was young, the work of John Baskerville

Perhaps this explains to some degree the longevity

served as his ideal. When he opened his first print-

of Bodoni’s type designs. They were radical enough

ing office for the Duke of Parma, Bodoni did so

to be considered new and different (to establish for

with type from Fournier. In later years, the work

Bodoni an important and influential place in current

of his great Parisian competitor, Francois Didot,

typographic circles), but not so different that they

influenced him dramatically.

became the 18th-century versions of fad designs.

classic classic

classic

BODONI MT REGULAR (109.5 PT)

DIDOT REGULAR (100 PT)

BASKERVILLE REGULAR (116.8 PT)

TYPE FAMILY COMPARISONS Bodoni, Baskerville, and Didot are now categorized

This is a comparison of a archetypal Old Style

as modern typefaces as they were the last phase to

typeface, Bembo, and Bodoni. Bembo is notably

represent an evolution of the Old Style types which

different in that the constrast between thick and thin

were pen-inspired. Moving away from the ‘human-

strokes is much lower, the serifs are cup-shaped,

istic’ expression of writing, these pioneers sought to

and the angle of the letters have oblique stress

create letter forms based on mathematical precision.

(as opposed to vertical).

2

2

1

1

3

3

BEMBO REGULAR

1

LOW CONTRAST BETWEEN THICK & THIN STROKES

BODONI REGULAR

1

HIGH CONTRAST BETWEEN THICK & THIN STROKES (EXTREME VARIATION IN THE STROKE WIDTH)

(LITTLE TO NO VARIATION IN THE STROKE WIDTH) 2

SERIFS ARE CUP-SHAPED

2

SERIFS ARE BRACKETED

3

AXIS OF LETTER HAS AN OBLIQUE STRESS

3

AXIS OF LETTER HAS A VERTICAL STRESS

O 1

Q O O Q 2

3

1

BODONI’S Q TAIL

2

DIDOT’S Q TAIL

3

BASKERVILLE’S Q TAILT)

COMPARISONS | 7

8 | COMPARISONS

At first glance, it may seem difficult to notice much difference between the three innovators’ approaches to type. However, a closer look reveals subtle, yet distinct, independent styles in designing the letter.

BODONI

THE BOWL

THE APEX

THE TERMINAL

THE SERIF

a t y A

a t y A DIDOT

BASKERVILLE

a t y A

ORIGINS | 3

TYPEFACE CHARACTERISTICS Beatrice Warde, an eminent typographic historian, in a famous essay, likened the perfect type to a crystal goblet. Her perfect type is transparent, or invisible, to the reader and allows the content to be enjoyed without coloration or distraction. Bodoni’s type is anything but a “crystal goblet.” Its hairline serifs, strong thick-and-thin stroke contrast, and abrupt weight changes cloud the reading process.

Bodoni is no quiet servant to the communication process; it is a design that demands attention.

legacy 3

2

5

1

1

ABRUPT HAIRLINE SERIFS

2

SMALL APERTURE

3

BALL TERMINAL

4

VERTICAL AXIS

5

HIGH CONTRAST BETWEEN THICK & THIN

4

2 | ORIGINS 10 | CHARACTERISTICS1

ABC D E F GH I J KL A

B

C

D

E

F

G

H

I

J

K

L

BODONI REGULAR (100 & 10 PT)

Bodoni created typefaces and typography to

is a strong contrast between thick and thin strokes.

impress the eye. If used carefully, Bodoni type can

At small point sizes, the thin strokes begin to

create typography that is exceptionally beautiful,

appear hair-like. Thus Bodoni is not an ideal type-

even elegant, but not particularly easy to read.

face for Internet use at small point sizes. However

If used poorly, Bodoni’s extreme weight contrast

since Bodoni created his typeface to be used for

and vertical stress can cause a typographic effect,

Royal Documents, he obviously did not anticipate

“dazzling.” Dazzling effects occur when there

it would one day be used by us mere mortals.

CHARACTERISTICS | 11

Though it’s functionality as a sensible typeface for

in order to show the subtle differences between

lengthy copy has been questioned, this has not

their forms. They have been ‘optically scaled’ in

stopped many typographers from seeking to revital-

order to appear visually pleasing at their relative

ize the Bodoni typeface. While many revivals have

intended point size. The contrast between stroke

been criticized for their lack of authenticity as well

width decreases as the scale decreases (and vice

as readability, a few have enjoyed success.

versa) in order to preserve readability.

The ITC Bodoni, digitized in 1994–95 under the

Other favorites are the Bodoni cut by Louis Hoell

direction of Sumner Stone, are the closest of all the

for the Bauer Foundry, Frankfurt, in 1924, and the

revivials to Bodoni’s mature style. (There are three

Berthold Foundry version, produced in 1930. Both

versions, based on 6, 12, and 72 pt originals.)

have been issued in digital form. Small caps and

The three ‘a’s’ depicted below are the same size

text figures are essential to all of these designs.

ITC BODONI (6 PT)

ITC BODONI (12 PT)

ITC BODONI (72 PT)

BAUER BODONI

BERTHOLD BODONI

BODONI’S LEGACY Bodoni created typefaces and typography to impress the eye. He was an artist. His designs were studied efforts meant to be seen as well as read. His goal was not to create typography to be appreciated by the masses. His books and other printing exercises were large regal efforts meant to be looked upon and appreciated as works of art, rather than as mere pieces of communication.

Bodoni has been used in numerous applications such as on Beyonce’s album cover released in 2011. High fashion retailers have historically used Bodoni to represent elegance and beauty. Vogue magazine has been using the Bodoni typeface since the 40s. Other brands such as Armani Exchange and Calvin Klein incorporate other fonts of the Bodoni typeface family or pair with other typeface families to create contrast.

2 | ORIGINS

“The letters don’t get their true delight, when done in haste & discomfort, nor merely done with diligence & pain, but first when they are created with love and passion.”

GIAMBATTISTA BODONI (1740 –1813)

BIBLIOGRAPHY

REFERENCES

Haley, Allan. Typographic Milestones. New York: Van Nostrand Reinhold, 1992. (SC: Z250 A2 H18 1992 4o)

1 Philip B. Meggs, A History of Graphic Design (New York: Van Nostrand Reinhold, 1992), 124.

Lawson, Alexander S. Anatomy of a Typeface. Boston: D.R. Godine, 1990. (SC: Z250 L34 1990)

2 Alexander S. Lawson, Anatomy of a Typeface (Boston: D.R. Godine, 1990), 46, 48.

Bringhurst, Robert. The Elements of Typographic Style. Vancouver: Hartley and Marks,1997. (A&A: Z246 B745 1996 and Vault)

3 Alexander S. Lawson, Anatomy of a Typeface (Boston: D.R. Godine, 1990), 46, 49, 50.

Jaspert, W. Pincus. The Encyclopaedia of Typefaces. Poole, Dorset: Blandford Press; New York: Distributed in the U.S. by Sterling, 1983. (SC: Z250 J36 1983)

4 Robert Bringhurst, The Elements of Typographic Style (Point Roberts, WA: Hartley & Marks, 1992), 217, 218.

Cleland, T. M. Giambattista Bodoni of Parma. Boston: Society of Printers, 1916. (SC: Z232 B66 C5) Revival of the Fittest: Digital Versions of Classic Typefaces, essays

by Carolyn Annand ... [et al.]; edited by Philip B. Meggs and Roy McKelvey, New York: RC Publications, 2000. (A&A: Z250.R45 2000) Bodoni, Giambattista. Manuale Tipografico, 1788. Facsimile a cura de Giovanni Mardersteig, Verona: Editiones Officinae Bodoni, 1968. (SC: Z232 B66 1788a 4o) Bodoni, Giambattista. Preface to the Manuale Tipografico of 1818, translated by H. V. Marrot, London: Lion & Unicorn Press, 1953.

(SC: Z232 B66 1953) http://www.linotype.com http://www.fonts.com

2 | ORIGINS

Cliodhna Dill Washington University in St. Louis Typography I: Spring 2015 Bodoni Speciman Book