Bodoni

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uiopasdfghjklzwertyuiopasdfghjklzxcvbnmasdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopazxcvbnm qwertyuiopasdfghjklzxcvbnwertyuiopasdfghjklzxcvbnm htyuiopasdfvbdcnmtyuiopasdfghjklzxcvaaabnm qwertyuiopasdfghjklzxcastuypomsqertsbllsptyanldvbngjhsooammhflastrem hggahjdkhertyuiopalzxcvbnmqwertyuiopasdfghjklzxcvbnm eqwertyuiopasdfgjklzxcvbnmkoihnmuiopasdfghjklzxcvbnm ashlkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvsjhdnm restywertyuiopasdfghjklzxcvbnmqwertkllnkfiopasdfghjklzxcvbnm qwertyuasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm slkjwghkkqemnouiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnmwertyuiopadvopasdfghjklzxcvbnm operatuivejfasdjdkpezxcvbnmertyuiopasdfghjklzxcvbnm gqwndkwertyuiopasdfghjklnmyuiopasdfghjklzxcvbn\ertyuiopasdfghjklzxcvbuiopasdfghjnmqwertyuiopasdfghjklzxcvbnm uiopasdfghjklzwertyuiopasdfghjklzxcvbnmjklhasdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm xvmnbertyuioasdfghjklzxcvbnmqwertyuisdfghbmnotyipazxcjklzxcvbnm

BODONI

ahjdkh3ertyuiopalzxcvbnmqwertyuiopasdfghjklzxcvbn

2

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nm eqwertyuiopasdfgjklzxcvbnmkoihnmuiopasdfghjklzxcvbnm ashlkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvbnm kllnkfiopasdfghjklzxcvbnm qwertyuasdfghjklzxcvbnadfvmqwertyuiopasdfghjklzxcvbnm slkbnm qwertyuiopasdfghjklzxcvbnm jklzxcvbnmwhjyuotpertyuiopasdfghjklzxcvbnm operatuivejfasdjdkbnm gqwndkwertyuiopasdfghjklnmyuiopasdfghjklzxcvbnm ertyuiopasdfghzxcvbnm qpasdfghjklzxqwertyuiopasdfghjklzxcvbnm powmmnwertyuimoeppjklzertyuiopasdfghjkcvbnghdasfm pasdfghjklzxcvbnm uiopasdfghjklzwertyuiopasdfghjklzxcvbnmasdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopasdfghjklzxcvbnm klzxcvbnm qwertyuiopasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm tyupoajkfrrtyuiojklzxcvbqwertyuiopasdfghjklzxcvbnm opasdfghjklzxcvbnwertyuiopasdfbnmqwertyuiopasdfghjklzxcvbnm eqwertyuiopasdfgjklzxcvbnmkoihnmuiopasdfghjklzxcvbnm nm restywertyuiopasdfghjklzxcvbnmqwertkllnkfiopasdfghjklzxcvbnm qwertyuasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm kkqemnouiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnmwertyuiopadvopasdfghjklzxcvbnm vbnm gqwndkwertyuiopasdfghjklnmyuiopasdfghjklzxcvbn\ertyuiopasdfghjklzxcvbuiopasdfghjnmqwertyuiopasdfghjklzxcvbnm zwertyuiopasdfghjklzxcvbnmjklhasdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm ipazxcjklzxcvbnm qwpasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnm tyuportyuiojklzxcvbqwertyuiopasdfghjklzxerewcvbnm jklzxcvbpasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnmtywertyuiopasdfghjklzxcvbnmqwertkllnkfiopasdfghjkastbslzxcvbnm jm slkjwemnouiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm qwertyuiopasashkhjklzxcvbnmwertyuiopasdfghjklzxcvbnm nm gqwndkwertyuiopajklzxchgmoumljkmmqwresvbnm ertyuiopasghhhahkkpasdfghjklzxqwertaswetiycuiopasdfghjklzxcvbnm xcvbnm bqwddertyuiopasdfghjnmqwertyuiopasdfghjklzxcfffm uiopasdfghjklzwertyuiodsipasdfghjklzxcvbnmasdfghjklzxcvbnm djklzxcvwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjkslzxcvxvmnbertyuioasdfghjklzxcvbnmqwertyuisdfghjklzgjopxcvbnm wertyuiopasdfghjklzxcvbnm tyuportyuiojklzxcvbqwertyuiopasdfghjklzxcvbnm qwesdfghjklzxcvbnwertyuiopasdfghjklzxcvbnm knm ashlkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvbnm restywertyuiopasdfghjklzxcvbnmqwertkllnkfiopasdfghjklzxcvbnm dfghjklzxcvbnm slkjwemnouiopaspotuaivqdfghjklzxcvbnm qwertyuiopasdfguiopasdfghjklzxcvbnmwertyuiopasdfghjklzxcvbnm wndkwerzcsyuiopasdfghjklnmyuiopasdfghjklzxcvbnm pasdfghzxcvbnm qpasdfghjklzxqwertyuiopasdfggbnmA twenty-eight-year-old Bodoni was asked to take qwddertyuiopasdfghjnmqwertyuiopasdfghjklzxcvbnmcharge of the Stamperia Reale, the official press yuiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm pertyunm operatuivejfasdjdkrtyuiopasdfghjklzxcvbnmof Ferdinand, Duke of Parma. Bodoni accepted klnmyuiopasdfghjklzxcvbnm ertyuiopasdfghzxcvbnm powertyuimoeppjklzertyuiopasdfghjklzxcvbnghdasfmand became the private printer to the court. He fghjklzwertyuiopasdfghjklzxcvbnmasdfghjklzxcvbnm zxcvbnm qwertyuiopertyuioasdfghjklzxcvbnmqvbnmprinted official documents and publications desired yupoajkfrrtyuiojklzxcvbqwertyuiopasdfghjklzxcvbnm hjklzxcvaaabnmqwertyuiopasdfghjklzxcvbnghflastremby the Duke, in addition to projects conceived and jdkhertyuiopalzxcvbnmqwertyuiopasdfghjklzxcvbnm tyuiopasdfgjklzxcvbnmkoihnmuiopasdfghjklzxcvbnminitiated by Bodoni. His initial design influence was lkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvsjhdnm opasdfghjklzxcvbnmqwertkllnkfiopasdfghjklzxcvbnmFournier le Jeune, whose foundry supplied type wertyuasdfghjklzxcvbnmqwertyuiopasdfghjklzxcvbnmand ornaments to the Stamperia Reale after Bodoni ouiopasdfghjklzxcvbnm qwertyuiopasdfghjklzxcvbnm vopasdfghjklzxcvbnmghjklnmyuiopasdfghjklzxcvbnmtook charge. The quality of Bodoni’s design and hzxcvbnm qpasdfghjklzxqwertyuiopasdfghjklzxcvbnm mnwertyuimoeppjklzertyuiopasdfghjklzxcvbnghdasfmprinting, even though scholarship and proofreading wdgdertyuiopasdfghjnmqwertyuiopasdfghjklzxcvbnm sdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopazxcvbnmwere sometimes lacking, created a growing vbnm htyuiopasdfvbdcnmtyuiopasdfghjklzxcvaaabnm pomsqertsbllsptyanldvbngjhsooammhflastrejhgfdiiiiminternational reputation. In 1790, the Vatican jdkhertyuiopalzxcvbnmqwertyuiopasdfghjklzxcvbnm tyuiopasdfgjklzxcvbnmkoihnmuiopasdfghjklzxcvbnminvited Bodoni to Rome to establish a press for lkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvsjhdnm opasdfghjklzxcvbnmqwertkllnkfiopasdfghjklzxcvbnmprinting the classics there, but the Duke countered ghjklzxcvbnm slkjwghkkqemnouiopasdfghjklzxcvbnmwith and offer of expanded facility and a privilege pasdfghjklzxcvbnmwertyuiopadvopasdfghjklzxcvbnm gqwndkwertyuiopasdfghjklnmyuiopasdfghjklzxcvbn\of printing for other clients. Bodoni elected to hjklzxcvbuiopasdfghjnmqwertyuiopasdfghjklzxcvbnm zxcvbnm yuiopasdjklzxcvwertyuiopasdfghjklzxcvbnmremain in Parma. ghjklzxcvbnmqwertyuisdfghbmnotyipazxcjklzxcvbnm ghjklzxcvbnm tyuportyuiojklzxcvbqwertyuiopasdfghjklzxerewcvbnm qwertyuiopasdfghjklzxcvbnwertyuiopasdfghjklzxcvbnm fghjklzxcvbnmtywertyuiopasdfghjklzxcvbnmqwertkllnkfiopasdfghjkastbslzxcvbnm qwertyuasdfghjklzxcvbnmqwertyuiopasdf zxcvbnm qwertyuiopasashkhjklzxcvbnmwertyuiopasdfghjklzxcvbnm operatuivejfasdjdkpezxcvbnmertyuiopasdfghjklzxcvbnm qwertaswetiycui powmmnwertyuimoeppjklzertyuiopasdfghjklzxcvbnm bqwddertyuiopasdfghjnmqwertyuiopasdfghjklzxcvbnm zwertyuiodsipasdfghjklzxcvbnmasdfghjklzxcvbnm yuiopasdjklzxcvwertyuiopasdfghjklzxcvbnm qwertyuiopasdfghjkslzxcvbnm fghjklzgjopxcvbnm qwertyuiopasdfghjklzxcmqwertyuiopasdfghjklzxcvbnm tyuportyuiojklzxcvbqwertyuiopasdfghjklzxcvbnm tyuiopasdfvbnmtyuiopasdfghjklzxcvbnm qwertyuiopascvbnm ahjdknm ashlkhonfertaklzxcvbnmqwertyuiopasdfghjklzxcvbnm

Giambattista Bodoni

1

E

ABCDwxyz

2

Cap Height X-Height Baseline Descender Height

Bodoni created typefaces and typography to impress the eye. His designs were studied efforts meant to be seen as well as read. Few would deny that Bodoni’s typefaces are beautiful; unfortunately, few would say they are also easy to read. By current standards, his designs are, in fact, the antithesis of what an easily readable typeface should be. Had he known this fact, however, Bodoni would probably not have been very upset. 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.

ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdef ghijklm nopqrstuvwxyz 1234567890.?!(){}&=+%#* 3

M

Hairline Serif

Thick Strokes

Thin Strokes

4

a Ball Terminal

Vertical Stress

Small Aperture

Bodoni was one of the most prolific type designers and considered an arch-romantic. His hundreds of faces embrace considerable variety, and more than 25,000 of his punches are in the Bodoni Museum in Parma. The revivals issued in his name reflect only a tiny part of this legacy, and many are simply parodies of his ideas. The typical features of Bodoni revivals are abrupt hairline serifs, ball terminal, vertical axis, small aperture, high contrast and exaggerated modulation. The ITC Bodoni, digitized in 1994-95 under the direction of Sumner Stone, are the closest of all the revivals to Bodoni’s mature style. (There are three versions, based on 6, 12 and 72 pt originals.) Other favorites are the Bodoni cut

by Louis Hoell for the Bauer Foundry, Frankfurt, in 1924, and the Berthold Foundry version, produced in 1930. Both have been issued in digital form. Small caps and text figures are essential to all of these designs.

5

TheBodoni Family “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink “Bodoni would be an admirable letter for a death notice!”

- G. W. Ovink

6

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 commu- nication process; it is a design that demands attention.

If used carefully, Bodoni type can create typography that is exceptionally beautiful, even elegant, but not partic- ularly easy to read. If used poorly, Bodoni’s extreme weight contrast and vertical stress can cause a typographic effect, “dazzling,” which is visually uninviting and exceptionally disruptive to the reading process.

G 7

Bodoni vs. Baskerville Bodoni was no revolutionary. The modern roman style, which is attributed to him, did not, as many would believe, spring forth as if by magic. While the letters he cut and the books he printed were more refined and of exceptionally higher quality than most of the work originating before or during his lifetime, it would be difficult to classify any of Bodoni’s efforts as fundamentally new. When he was young, the work of John Baskerville served as his ideal; when he opened his first printing office for the Duke of Parma, Bodoni did so with type from Fournier. In later years, the work of his great Parisian competitor, Francois Didot, influenced him dramatically. Bodoni was always, in some manner, dependent on the work of other, bolder contemporaries.

8

Bodoni - Outline Baskerville - Solid

EQag Bodoni is more condensed

Bodoni has longer hairline serifs

The ball terminal on Bidoni is rounder

Baskerville does not have a link with the lowercase G

Baskerville has a more exaggerated tail on the uppercase Q

9

Bodoni - Outline Didot - Solid Bodoni has a less dramatic change in line weight

SPnr The head serif in Bodoni has a slight slope

Didot has a less exaggerated ball terminal

Didot has more curved brackets

10

Bodoni vs. Didot Yet despite these influences, he was not a copyist. A comparison of Bodoni’s type to Didot’s two designs that on the surface may appear virtually identical is a perfect example. There are distinct similarities in their work, and Bodoni surely studied Didot’s designs very carefully, but a close examination reveals that Bodoni’s weight transitions are more gradual and his serifs still maintain a slight degree of bracketing. There is even hint of “old style” in Bodoni’s work. He followed Didot’s lead, carefully evaluating the designs of his great competitor, consciously remaining, however, always just slightly behind the radical modernism of his contemporary.

Perhaps this explains to some degree the longevity of Bodoni’s type designs. They were radical enough to be considered new and different (to establish for Bodoni an important and influential place in current typographic circles), but not so different that they became the 18th-century versions of fad designs.

11

Bibliography 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)

Blandford Press; New York: Distributed in the U.S. by Sterling, 1983.

(SC: Z250 J36 1983)

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

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

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)

Haley, Allan. Typographic Milestones. New York: Van Nostrand Reinhold, 1992. (SC: Z250 A2 H18 1992 4o) Jaspert, W. Pincus. The Encyclopaedia of Typefaces. Poole, Dorset:

12

http://www.linotype.com http://www.fonts.com

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

-Giambattista Bodoni

13

This book was printed and designed by Elin Wojciechowski at Washington University for Typography I of Spring 2013. The fonts used are Bidoni MT, Didot, Baskerville MT, and Garamond.

This book was designed in Adobe InDesign CS6.

14

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