Didot Typographer poster and process package Typography 1 Francheska Guerrero
Jada Cash
o
C nt en t
1783
F I R M I N
D I D O T
2 Final visible grid 3 Written paper: Complete Paper 4 Paper paragraphs: Flush Left 8 pt. cap height, 9 pt. leading 4 Paper paragraphs: Flush Left 8 pt. cap height, 11 pt. leading 5 Paper paragraphs: Flush Left 8 pt. cap height, 13 pt. leading 5 Paper paragraphs: Flush Left, 8 pt. cap height, 15 pt. leading 6 Paper paragraphs: Flush Left, 8 pt. cap height, 17 pt. leading 6 Paper paragraphs: Flush Left, 8 pt. cap height, 19 pt. leading 7 Paper paragraphs: Flush Left, 9 pt. cap height, 11 pt. leading 7 Paper paragraphs: Flush Left, 9 pt. cap height, 13 pt. leading 8 Paper paragraphs: Flush Left, 9 pt. cap height, 15 pt. leading 8 Paper paragraphs: Flush Left, 9 pt. cap height, 17 pt. leading 9 Paper paragraphs: Flush Left, 9 pt. cap height, 19 pt. leading 9 Paper paragraphs: Flush Left, 9 pt. cap height, 21 pt. leading 10 Paper paragraphs: Flush Left, 9 pt. cap height, 23 pt. leading 10 Paper paragraphs: Flush Left, 9 pt. cap height, 25 pt. leading 11 Poster design 1 12 Poster design 2 13 Poster design 3 14 Final Poster design
Final visible grid
2
Typographic characters are carefully designed shapes
look unhurried, calm, and in control. They are generally not
incorporating type design tradition (Coueignoux 240). Typo-
suited to setting extended text, as the verticality of the letter
graphic characters are depended on the rules related to visual
forms interferes with the text’s horizontal rhythm.
appearance, and are also subjected to the design ideas of a
skilled character designer (Southhall 168). The first Didot type-
rather up and down. (“Didot”). When opening just about any
faces appeared in 1781, as was at the end of a long typographic
fashion magazine a person will spot a Didone. If it’s a premi-
continuum, which to the modern eyes at least, seems relatively
um brand, then it may well be brought to them on the back of
unvaried. Between Nicolas Jenson’s seminal humanist typeface
Bodoni or Didot (“Didot”). Brodovitch had used Didot while
of 1470 and the old styles of the early eighteenth century, there
working in Paris on Cahiers d’Art in the 1920s. In his reign as
is a 250-year period marked less by innovation than by a steady
art director of Harper’s Bazaar, Didot was the black blade that
improvement in the design of letters. As the center of Euro-
cut the white space of his layouts. The font became the signa-
pean printing moved north, fifteenth century Venetian types
ture of Harper’s Bazaar as well as Brodovitch’s own signature:
gave way to sixteenth century French models, which were in
he used the font for the identity of his influential Design Labo-
turn assimilated into the Dutch and English old styles of the
ratory at the New School. In the 1950s Bodoni (and its clown-
centuries to follow. Taken together, these types describe a slow
ishly bloated progeny Bodoni Poster) was used in many other
progression away from the alphabet’s calligraphic origins stress
‘design’ contexts. The cover of a 1950 Museum of Modern Art
angles shifting from generally diagonal to horizontal, bracketed
book, designed by Jack Dunbar, prominently displays its title,
serifs beginning to suggest the graver more than the pen, and
“What Is Modern Design?” in Bodoni, as if the question it asks
by the end of the seventeenth century, printing types began to
is answered by the typeface, rendered in stark white letters on
evidence a distinct and autonomous visual vocabulary. Gone are
a black background. (Miller et al.) Flash ahead to 1992 and the
the irrelevancies of calligraphy, replaced instead by the spurs,
Didone aesthetic is powerfully resuscitated in Fabien Baron’s
beaks, serifs and terminals of modern typography, a coherent
re-design of Harper’s Bazaar. Baron commissioned Jonathan
system of parts which hinted at the critical rationalism of the
Hoefler to create a new digital Didot, a kind of super-Didot,
Age of Reason (“Didot”).
drawn in extremely large sizes that allowed the type to be set
in enormous display sizes while still retaining its razor-thin
Didot is classified as a Serif, also known for being
The letters don’t lead our eyes across the page, but
one of the most dramatic serif typeface and is often used for
lines. He applied the same spirit to his advertising and brand
magazines; often explored in fashion magazines. Didot typefaces
work with Valentino and Calvin Klein, and, more recently, his
is named after the famous French printing and type producing
art direction for a book on Balenciaga. (Miller et al.). Linotype
family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique. Firmin Didot was born in a Parisian dynasty that dominated French type founding for two centuries. His
Didot was designed by Adrian Frutiger for digital technology in 1992, Linotype Didot retains all of the features that make Didot types superior for book work and other text use; like Bodoni, its delicate lines are enhanced in display it uses.
family owned their own printing firm, which was called the House of Didot. Firmin Didot created the first modern Roman
Work Cited
typeface in 1784, and he is remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the
“A History of Graphic Design: Chapter 54: A History of Typeface.” A History of Graphic
Modern style. He also created the typeface Ambroise, which is
Design: Chapter 54: A History of Typeface. http://guity-novin.blogspot.com/2012/03/history-
a contemporary interpretation of various typefaces belonging to Didot’s late style, conceived circa 1830, including the original
of-type-face.html. 14 Oct. 2015.
“Hoefler & Co.” Didot Fonts. http://www.typography.com/. 14 Oct. 2015.
forms of g, y, &; and to a lesser extent, k. (“A History of Graphic Design”). The types that Didot used are characterized by
R. Southall, “Metafont in the Rockies: the Colorado Typemaking Project,” Electronic Publish-
extreme contrast in thick strokes and thin strokes, by the use of
ing, Artistic Imaging, and Digital Typography, R.D. Hersch, J. André, and H. Brown, eds.,
hairline serifs and by the vertical stress of the letters. Many fonts
LNCS 1375, Springer-Verlag, 1998, pp. 167-180
today are available based on Firmin Didot’s typefaces. These include Linotype Didot and HTF Didot. In the second half of the 19th century, it was normal to find fat Didots in several widths in the catalogues of French type foundries, mostly alphabets of capitals only. The narrow versions were widely used for heavy
Ph. Coueignoux, “Character Generation by Computer”, Computer Graphics and Image Processing, vol. 16, 1981, pp. 240-269
Hoefler & Co.” Didot Fonts: History. http://www.typography.comfonts/didot/overview/. 14 Oct. 2015.
titlings in theatre posters. These same typefaces continued to be offered by French foundries such as Deberny and Peignot until
“Eye Magazine.” Eye Magazine. http://www.eyemagazine.com/feature/article/through-thick-
the demise of the last type foundries in France at the end of the
and-think-fashion-and-type 14 Oct. 2015.
1960s. (“A History of Graphic Design”). Around 1800, the Didot family owned the most important print shop and font foundry in France. Pierre Didot, the printer, published a document with
“Font Designer – Firmin Didot.” Firmin Didot. http://www.linotype.com/370/firmindidot. html. 14 Oct. 2015.
the typefaces of his brother, Firmin Didot, the typeface designer.
“Didot.” - Desktop Font: MyFonts. https://www.myfonts.com/fonts/adobe/linotype-didot/. 14
The printing company still exists under the name Firmin Didot,
Oct. 2015.
Societe Nouvelle. (Font Designer). In 1797, it was granted a patent for his developments in the field of stereotype printing. His typefaces were used in his brother, Pierre Didot’s “Editions du Louvre”, series. In 1812, he was made director of the Imprimerie Impériale type foundry. Later, in 1823, one of his tragedies is performed at the Théâtre de l’Odeon. (“Font Designer”) Didot’s good qualities include the vertical axis coupled with strong horizontal stress which furnishes them with the stiffness of toy soldiers on parade. They are elegant, and like all things elegant,
Essay: Firman Didot
3
Flush Left 8 pt. cap height, 9 pt. leading
Flush Left 8 pt. cap height, 11 pt. leading
The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”). Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”). Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
4
Flush Left 8 pt. cap height, 13 pt. leading
Flush Left 8 pt. cap height, 15 pt. leading
The first Didot typefaces appeared in 1781, as was at the end of a
The first Didot typefaces appeared in 1781, as was at the end of a
long typographic continuum, which to the modern eyes at least,
long typographic continuum, which to the modern eyes at least,
seems relatively unvaried. Between Nicolas Jenson’s seminal
seems relatively unvaried. Between Nicolas Jenson’s seminal
humanist typeface of 1470 and the old styles of the early eighteenth
humanist typeface of 1470 and the old styles of the early eighteenth
century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types
century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of
gave way to sixteenth century French models, which were in turn
European printing moved north, fifteenth century Venetian types
assimilated into the Dutch and English old styles of the centuries
gave way to sixteenth century French models, which were in turn
to follow. Taken together, these types describe a slow progression
assimilated into the Dutch and English old styles of the centuries
away from the alphabet’s calligraphic origins stress angles shifting
to follow. Taken together, these types describe a slow progression
from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies
away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the
of calligraphy, replaced instead by the spurs, beaks, serifs and
seventeenth century, printing types began to evidence a distinct
terminals of modern typography, a coherent system of parts which
and autonomous visual vocabulary. Gone are the irrelevancies
hinted at the critical rationalism of the Age of Reason (“Didot”).
of calligraphy, replaced instead by the spurs, beaks, serifs and
Didot is classified as a Serif, also known for being one of the most
terminals of modern typography, a coherent system of parts which
dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and
hinted at the critical rationalism of the Age of Reason (“Didot”). Didot is classified as a Serif, also known for being one of the most
abrupt contrast between thick and thin strokes, abrupt hairline
dramatic serif typeface and is often used for magazines; often
serifs (thin), vertical axis, horizontal stress, and small aperture are
explored in fashion magazines. Didot typefaces is named after
known characteristics that make the typeface Didot so unique.
the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline
The letters don’t lead our eyes across the page, but rather up and
serifs (thin), vertical axis, horizontal stress, and small aperture are
down. (“Didot”). When opening just about any fashion maga-
known characteristics that make the typeface Didot so unique.
zine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion maga-
Bazaar, Didot was the black blade that cut the white space of his
zine a person will spot a Didone. If it’s a premium brand, then
layouts. The font became the signature of Harper’s Bazaar as well
it may well be brought to them on the back of Bodoni or Didot
as Brodovitch’s own signature: he used the font for the identity
(“Didot”). Brodovitch had used Didot while working in Paris on
of his influential Design Laboratory at the New School. In the
Cahiers d’Art in the 1920s. In his reign as art director of Harper’s
1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently
Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well
displays its title, “What Is Modern Design?” in Bodoni, as if the
as Brodovitch’s own signature: he used the font for the identity
question it asks is answered by the typeface, rendered in stark
of his influential Design Laboratory at the New School. In the
white letters on a black background. (Miller et al.)
1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
5
Flush Left 8 pt. cap height, 17 pt. leading
Flush Left 8 pt. cap height, 19 pt. leading
The first Didot typefaces appeared in 1781, as was at the end of a
The first Didot typefaces appeared in 1781, as was at the end of a
long typographic continuum, which to the modern eyes at least,
long typographic continuum, which to the modern eyes at least,
seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types
seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of
gave way to sixteenth century French models, which were in turn
European printing moved north, fifteenth century Venetian types
assimilated into the Dutch and English old styles of the centuries
gave way to sixteenth century French models, which were in turn
to follow. Taken together, these types describe a slow progression
assimilated into the Dutch and English old styles of the centuries
away from the alphabet’s calligraphic origins stress angles shifting
to follow. Taken together, these types describe a slow progression
from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which
away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies
hinted at the critical rationalism of the Age of Reason (“Didot”).
of calligraphy, replaced instead by the spurs, beaks, serifs and
Didot is classified as a Serif, also known for being one of the most
terminals of modern typography, a coherent system of parts which
dramatic serif typeface and is often used for magazines; often
hinted at the critical rationalism of the Age of Reason (“Didot”).
explored in fashion magazines. Didot typefaces is named after
Didot is classified as a Serif, also known for being one of the most
the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion maga-
serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
zine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on
of his influential Design Laboratory at the New School. In the
Cahiers d’Art in the 1920s. In his reign as art director of Harper’s
1950s Bodoni (and its clownishly bloated progeny Bodoni Poster)
Bazaar, Didot was the black blade that cut the white space of his
was used in many other ‘design’ contexts. The cover of a 1950 Mu-
layouts. The font became the signature of Harper’s Bazaar as well
seum of Modern Art book, designed by Jack Dunbar, prominently
as Brodovitch’s own signature: he used the font for the identity
displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
6
Flush Left 9 pt. cap height, 11 pt. leading
Flush Left 9 pt. cap height, 13 pt. leading
The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”).Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”).Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
7
Flush Left 9 pt. cap height, 15 pt. leading
Flush Left 9 pt. cap height, 17 pt. leading
The first Didot typefaces appeared in 1781, as was at
The first Didot typefaces appeared in 1781, as was at
the end of a long typographic continuum, which to the
the end of a long typographic continuum, which to the
modern eyes at least, seems relatively unvaried. Between
modern eyes at least, seems relatively unvaried. Between
Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of
Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady
European printing moved north, fifteenth century Vene-
improvement in the design of letters. As the center of
tian types gave way to sixteenth century French models,
European printing moved north, fifteenth century Vene-
which were in turn assimilated into the Dutch and English
tian types gave way to sixteenth century French models,
old styles of the centuries to follow. Taken together, these
which were in turn assimilated into the Dutch and English
types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of
old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from general-
the seventeenth century, printing types began to evidence
ly diagonal to horizontal, bracketed serifs beginning to
a distinct and autonomous visual vocabulary. Gone are the
suggest the graver more than the pen, and by the end of
irrelevancies of calligraphy, replaced instead by the spurs,
the seventeenth century, printing types began to evidence
beaks, serifs and terminals of modern typography, a coher-
a distinct and autonomous visual vocabulary. Gone are the
ent system of parts which hinted at the critical rationalism
irrelevancies of calligraphy, replaced instead by the spurs,
of the Age of Reason (“Didot”).Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the
beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”).Didot is classified as a
famous French printing and type producing family. High
Serif, also known for being one of the most dramatic serif
and abrupt contrast between thick and thin strokes, abrupt
typeface and is often used for magazines; often explored
hairline serifs (thin), vertical axis, horizontal stress, and
in fashion magazines. Didot typefaces is named after the
small aperture are known characteristics that make the
famous French printing and type producing family. High
typeface Didot so unique. The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had
and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique. The letters don’t lead our eyes across the page, but rather
used Didot while working in Paris on Cahiers d’Art in
up and down. (“Didot”). When opening just about any
the 1920s. In his reign as art director of Harper’s Bazaar,
fashion magazine a person will spot a Didone. If it’s a
Didot was the black blade that cut the white space of his
premium brand, then it may well be brought to them on
layouts. The font became the signature of Harper’s Bazaar
the back of Bodoni or Didot (“Didot”). Brodovitch had
as well as Brodovitch’s own signature: he used the font
used Didot while working in Paris on Cahiers d’Art in
for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern
the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar
Art book, designed by Jack Dunbar, prominently displays
as well as Brodovitch’s own signature: he used the font
its title, “What Is Modern Design?” in Bodoni, as if the
for the identity of his influential Design Laboratory at
question it asks is answered by the typeface, rendered in
the New School. In the 1950s Bodoni (and its clownishly
stark white letters on a black background. (Miller et al.)
bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
8
Flush Left 9 pt. cap height, 19 pt. leading
Flush Left 9 pt. cap height, 21 pt. leading
The first Didot typefaces appeared in 1781, as was at
The first Didot typefaces appeared in 1781, as was at
the end of a long typographic continuum, which to the
the end of a long typographic continuum, which to the
modern eyes at least, seems relatively unvaried. Between
modern eyes at least, seems relatively unvaried. Between
Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models,
Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Vene-
which were in turn assimilated into the Dutch and English
tian types gave way to sixteenth century French models,
old styles of the centuries to follow. Taken together, these
which were in turn assimilated into the Dutch and English
types describe a slow progression away from the alphabet’s
old styles of the centuries to follow. Taken together, these
calligraphic origins stress angles shifting from general-
types describe a slow progression away from the alphabet’s
ly diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coher-
calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the
ent system of parts which hinted at the critical rationalism
irrelevancies of calligraphy, replaced instead by the spurs,
of the Age of Reason (“Didot”).Didot is classified as a
beaks, serifs and terminals of modern typography, a coher-
Serif, also known for being one of the most dramatic serif
ent system of parts which hinted at the critical rationalism
typeface and is often used for magazines; often explored
of the Age of Reason (“Didot”).Didot is classified as a
in fashion magazines. Didot typefaces is named after the
Serif, also known for being one of the most dramatic serif
famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the
The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any
typeface Didot so unique.
fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on
The letters don’t lead our eyes across the page, but rather
the back of Bodoni or Didot (“Didot”). Brodovitch had
up and down. (“Didot”). When opening just about any
used Didot while working in Paris on Cahiers d’Art in
fashion magazine a person will spot a Didone. If it’s a
the 1920s. In his reign as art director of Harper’s Bazaar,
premium brand, then it may well be brought to them on
Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other
the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar
‘design’ contexts. The cover of a 1950 Museum of Modern
as well as Brodovitch’s own signature: he used the font
Art book, designed by Jack Dunbar, prominently displays
for the identity of his influential Design Laboratory at
its title, “What Is Modern Design?” in Bodoni, as if the
the New School. In the 1950s Bodoni (and its clownishly
question it asks is answered by the typeface, rendered in
bloated progeny Bodoni Poster) was used in many other
stark white letters on a black background. (Miller et al.)
‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
9
Flush Left 9 pt. cap height, 23 pt. leading
Flush Left 9 pt. cap height, 25 pt. leading
The first Didot typefaces appeared in 1781, as was at
The first Didot typefaces appeared in 1781, as was at
the end of a long typographic continuum, which to the
the end of a long typographic continuum, which to the
modern eyes at least, seems relatively unvaried. Between
modern eyes at least, seems relatively unvaried. Between
Nicolas Jenson’s seminal humanist typeface of 1470 and
Nicolas Jenson’s seminal humanist typeface of 1470 and
the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of
the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of
European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s
European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these
calligraphic origins stress angles shifting from general-
types describe a slow progression away from the alphabet’s
ly diagonal to horizontal, bracketed serifs beginning to
calligraphic origins stress angles shifting from general-
suggest the graver more than the pen, and by the end of
ly diagonal to horizontal, bracketed serifs beginning to
the seventeenth century, printing types began to evidence a
suggest the graver more than the pen, and by the end of
distinct and autonomous visual vocabulary. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick
the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Didot typefaces is named after the famous French printing and type
and thin strokes, abrupt hairline serifs (thin), vertical axis, producing family. High and abrupt contrast between thick horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known character-
The letters don’t lead our eyes across the page, but rather
istics that make the typeface Didot so unique.
up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a
The letters don’t lead our eyes across the page, but rather
premium brand, then it may well be brought to them on
up and down. (“Didot”). When opening just about any
the back of Bodoni or Didot (“Didot”). Brodovitch had
fashion magazine a person will spot a Didone. If it’s a
used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his
premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in
layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other
the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font
‘design’ contexts. The cover of a 1950 Museum of Modern
for the identity of his influential Design Laboratory at
Art book, designed by Jack Dunbar, prominently displays
the New School. In the 1950s Bodoni (and its clownishly
its title, “What Is Modern Design?” in Bodoni, as if the
bloated progeny Bodoni Poster) was used in many other
question it asks is answered by the typeface, rendered in
‘design’ contexts. The cover of a 1950 Museum of Modern
stark white letters on a black background. (Miller et al.)
Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.)
Paper paragraphs
10
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The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”).Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
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The first Didot typefaces appeared in 1781, as was at the end of a long typographic continuum, which to the modern eyes at least, seems relatively unvaried. Between Nicolas Jenson’s seminal humanist typeface of 1470 and the old styles of the early eighteenth century, there is a 250-year period marked less by innovation than by a steady improvement in the design of letters. As the center of European printing moved north, fifteenth century Venetian types gave way to sixteenth century French models, which were in turn assimilated into the Dutch and English old styles of the centuries to follow. Taken together, these types describe a slow progression away from the alphabet’s calligraphic origins stress angles shifting from generally diagonal to horizontal, bracketed serifs beginning to suggest the graver more than the pen, and by the end of the seventeenth century, printing types began to evidence a distinct and autonomous visual vocabulary. Gone are the irrelevancies of calligraphy, replaced instead by the spurs, beaks, serifs and terminals of modern typography, a coherent system of parts which hinted at the critical rationalism of the Age of Reason (“Didot”).Didot is classified as a Serif, also known for being one of the most dramatic serif typeface and is often used for magazines; often explored in fashion magazines. Didot typefaces is named after the famous French printing and type producing family. High and abrupt contrast between thick and thin strokes, abrupt hairline serifs (thin), vertical axis, horizontal stress, and small aperture are known characteristics that make the typeface Didot so unique.
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The letters don’t lead our eyes across the page, but rather up and down. (“Didot”). When opening just about any fashion magazine a person will spot a Didone. If it’s a premium brand, then it may well be brought to them on the back of Bodoni or Didot (“Didot”). Brodovitch had used Didot while working in Paris on Cahiers d’Art in the 1920s. In his reign as art director of Harper’s Bazaar, Didot was the black blade that cut the white space of his layouts. The font became the signature of Harper’s Bazaar as well as Brodovitch’s own signature: he used the font for the identity of his influential Design Laboratory at the New School. In the 1950s Bodoni (and its clownishly bloated progeny Bodoni Poster) was used in many other ‘design’ contexts. The cover of a 1950 Museum of Modern Art book, designed by Jack Dunbar, prominently displays its title, “What Is Modern Design?” in Bodoni, as if the question it asks is answered by the typeface, rendered in stark white letters on a black background. (Miller et al.) Flash ahead to 1992 and the Didone aesthetic is powerfully resuscitated in Fabien Baron’s re-design of Harper’s Bazaar. Baron commissioned Jonathan Hoefler to create a new digital Didot, a kind of super-Didot, drawn in extremely large sizes that allowed the type to be set in enormous display sizes while still retaining its razor-thin lines. He applied the same spirit to his advertising and brand work with Valentino and Calvin Klein, and, more recently, his art direction for a book on Balenciaga. (Miller et al.). Linotype Didot was designed by Adrian Frutiger for digital technology in 1992, Linotype Didot retains all of the features that make Didot types superior for book work and other text use; like Bodoni, its delicate lines are enhanced in display it uses.
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