B
B
B
B
B
B B
B
B B
B
B B
B
Bodoni&Co
B
Bodoni & Co
2
3
Š Jannik Dolferusc 2008
6
Introduction > p.10
Bodoni information > p12
Bodoni Designers > p18
Style-facts > p26
2 bodoni family’s > p36
Giambattista Bodoni Giambattista Bodoni (February 16, 1740 in Saluzzo – November 29, 1813 in Parma) was an Italian engraver, publisher, printer and typographer of high repute remembered for designing a typeface which is now called Bodoni. Giambattista Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce letterforms with very thin “hairlines�, standing in sharp contrast to the
thicker lines constituting the main stems of the characters. Bodoni was appointed printer to the court of Parma in 1768. Important folio editions by Bodoni are works by Horace (1791), Virgil (1793), and Homer (1808). The Bodoni Museum, named for the artisan, was opened in Parma in 1963.
11
Bodoni Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction. Bodoni admired the work of John Baskerville 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, above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwideacceptance among printers. Many digital versions of Bodoni suffer from a particular kind of legibility degradation known as “dazzle” caused by the alternating thick and thin strokes, particularly from the thin strokes being very thin at small point sizes. In Typographic Design: Form & Communication, the authors describe Bodoni’s uppercase R as a “dazzling contrast and vigorous proportions of modern-style typography. The thick-and-thin scotch rules echo and complement the thick-and-thin stroke weights.”
Revivals and variants
The Bodon story
There have been many revivals of the Bodoni typeface; ATF Bodoni and Bauer Bodoni are two of the more successful. ATF Bodoni was drawn by Morris Fuller Benton in 1907, and released by American Type Founders. The Bauer version was drawn by Henrich Jost in 1926. The Bauer version emphasizes the extreme contrast between hairline and main stroke. ATF captured the flavor of Bodoni’s original while emphasizing legibility rather than trying to push against the limits of printing technology. Other revivals include Bodoni Antiqua, Bodoni 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, TS Bodoni, and Filosofia by Zuzana Licko.
12
Digital Bodoni types Digital Bodonis typically suffer from a particular kind of legibility degradation. Personal computers generate different sizes of type from a single font of type outlines using mathematical scaling, while printers working with metal type use fonts whose designs have been subtly adjusted to provide optical compensation for improved legibility at specific sizes for example, opening up counters and expanding the character widths at small sizes. Typefaces like Bodoni tend to highlight these differences of technological application. Many digital revivals are based on designs adjusted for relatively large sizes, making the already thin hairlines very thin when scaled down. Some digital type designers are rediscovering the older lore of “optical scaling”, and subsequently turning out more sensible revivals aimed at pleasing human eyes. Zuzana Licko’s Filosofia has none of the problems of dazzle, and meets the test of text reversal even in smaller point sizes.
13
The Bodon story
THE AMERICAN TYPE DESIGNER Sumner Stone said, that “the types of the 19th century are rushing to meet us.” Some late -18th- century classics are also now coming within the gravitational pull of our own times, with the recent revivals of two families, Bulmer from Monotype Typography and ITC Bodoni, whose original styles date from the 1790s. Naming revivals with the original maker´s name, as in these two cases, can be seen as a way of honoring the original. But to the many users of fonts who have neither the time nor inclination to compare the subtle differences among fonts from different foundries, it doubtless appears that there are as many Bodonis and Garamonds as there are stars in the sky. The reasons why foundries over the years and across technologies wish to create their versions of classics using the original name are understandable from a commercial view, but there comes a point when a traditional name repeated willy-nilly by manufacturers causes confusion in the market and is eventually self-defeating. Nowhere is this more true than in the proliferation of Bodonis.
Whose Bodoni? Oh, Your Bodoni! SINCE THE EARLY 20TH CENTURY, Bodoni faces from a variety of metal foundries have been a long-term success. In the UK during the 1950s, Vincent Steer published a regular analysis in Advertiser´s Weekly which showed the constant popularity of Bodoni as a generic family outperforming all other serif faces, including Times Roman. There are two problems with Bodoni. Firstly, although not everyone is enamored with it, everyone has an opinion. It´s similar to the way we British feel about our Royal family: if you are a pro-Bodoni monarchist then the face can do no wrong, but if you are a republican then the whole mystery and romance of Bodoni is just a subterfuge, which at best should be ignored and at worst needs to be done away with. The second difficulty surrounding Bodoni is one of proliferation: there are numerous siblings, third and fourth cousins, plus poor relations of doubtful parentage, cloaked under the protection of the Bodoni name, creating confusion and ultimately disenchantment.
The Bodon story
Not every Bodonified type designer is guilty of name-dropping. The late Aldo Novarese had a direct way of describing his own designs based on classical influences; he divides them into four categories, one classification being Bodoniennes; that is, influenced by, or in a contemporary style of, Bodoni. His design Fenice is a Bodonienne.
14
In search of the true Bodoni ALL FACES bearing the Bodoni name generally claim one thing in common; namely, that they are based upon and are a true interpretation of the sanctified original by Giambattista Bodoni. Up until now the widest gulf has been between Morris Fuller Benton´s design of the Bodoni family for American Type Founders in 1907 (which in turn was used as the model by a great number of foundries, including Monotype in the 1930s) and the Bauer Bodoni designed by Henrich Jost in 1926. The Bauer version is far more delicate, producing a different color at all sizes than other versions. Technically, both ATF/Monotype Bodoni and Bauer Bodoni are at fault in relation to the original. Both make a definite statement with their uncompromising and unbracketed serifs, and neither attempts to get close to the original italics, instead taking a little bit hereand a little bit there from Fournier and Didot models. Bauer Bodoni is unquestionably a beautiful and unique face in the modern classification, but if it claims descent from the 18th century Bodoni, it can only be as a bastard. To add more confusion to the Bodoni family tree, there are two versions from the Berthold foundry. Bodoni-Antiqua was started in 1930 via the ATF model and resurrected in the 1970s by Gunter Gerhard Lange for photo composition. This led to a lighter version, created by Karl Gerstner´s version, created by Karl Gerstner´s for the European identity of IBM in the late 1980´s. Gerstner´s version compounds and continues with the fatal unbracketed serifs. Berthold, describing the face´s cleanliness, states: “Bodoni-Antiqua”provides a particularly appropriate typographic appearance for “technology.”Not bad for an 18th-century face!
Bauer Bodoni
Bodoni Antiqua
The Bodon story
ATF Bodoni
15
The second Berthold Bodoni, called Bodoni Old Face (with no apologies for this contradiction in terms), was designed in 1983 by G.G. Lange, who claimed then, quite rightly, that a face closer to the authentic version could be developed. Lange´s version credits the littleknown Bodoni Modern designed by R.H. Middleton in the 1930s for the American Ludlow foundry, as Berthold´s Bodoni Old Face followed the same original sources (that is, samples of 18th-century Bodoni publications) as Middleton´s.
Love it or hate it, Bodoni’s here to stay Massimo Vignelli´s DISMISSAL of Emigrew as “a garbage pail of design”will be remembered long after his Bodoni for the World Typeface Corporation in 1989. Entitled WTC Our Bodoni, it is a nice enough reconstructed version along the lines of the ATF style, although lighter and with a more generous x-height, but it lacks subtlety or ingenuity compared to the 18th century original. Vignelli´s Bodoni is really a display face (and the rule is, a well-designed text face can be used for display, but not the other way around). Despite its shortcomings, Vignelli´s Bodoni was the most notable digital font using the name until 1994, when FontShop International launched FF Bodoni Classic, designed by Gert Weischer. Not surprisingly, the claim for FF Bodoni was that it was “intended to be the first truly authentic Bodoni, according to Bodoni´s specimens in the “Manuale Typographicum”(sic) complete with all imperfections.” The FF Bodoni family took Weischer approximately two years to complete and is genuinely one of the closest versions to the original Roman, with a variety of authentic Bodoni ornaments. The italic also represents true Bodoni letter shapes, but falls shy of the 18th-century italic angle, preferring the 20th century norm of II to I3 degrees instead of the 16 to 18 degrees for the period.
The Bodon story
The face includes some delightful eccentricities, particularly the ball serif on the diagonal of the capital R. which is clearly represented in Bodoni’s originals, but overlooked, deliberately or otherwise, by all subsequent interpreters until FF Bodoni. Authenticity is also displayed in certain italic lower case letters (the v, w, x and y, for example) in which the italic design precludes the normal diagonal. As in Bodoni´s original, these letters are sensitively curved, whereas a number of Bodoni interpretations ignore this detail in favor of a hybrid Didot solution.
16
Unfortunately for FF Bodoni Classic, but happily for Bodoni fans, less than six months later ITC released their version of Bodoni. In fairness, ITC had been preparing its family for over three years and the faces might have been released sooner if ITC had not decided to create three
distinct cuts of the face for specific size ranges-72-point, 12-point and 6-point-initially in book and bold weights with accompanying italics. ITC Bodoni is a much warmer and more humanistic design than previous interpretations, retaining Bodoni´s original characteristics and leaving out the hard geometry injected by most of the other foundries. Similarly to FF Bodoni Classic, ITC´s version also includes the balled capital R and a sensitive solution to the lower-case italic diagonals, but this time the angles of the italics are more adventurous at the display sizes. Jim Parkinson designed the “s”for the lower-case italics, and is delighted with the controversy that it has provoked. ITC Bodoni also has a set of Bodoni ornaments and flowers which are different from those included with FF Bodoni Classic, but equally authentic to Bodoni. Sumner Stone art-directed the design team for ITC Bodoni, which included Holly Goldsmith and Jim Parkinson. Recently, Sumner has continued with the ITC Bodoni range, adding a sumptuous series of 72-point swash capitals for the italics in both weights, as well as developing a selection of one hundred ornaments from the great variety in the original Bodoni sources. Of all the Bodoni faces created over the years, these latest two, FF Bodoni Classic and ITC Bodoni, come closed to deserving the use of the name by means of their diligent research and interpretive design. Even so, there are bound to be other adaptations of Bodoni in the coming years. It would be a fitting tribute if a future version could be named for the wife of Giambattista, who published his complete works, the Manuale Tipografico, in 1818, five years after his death. Without Margherita DallÓAglio´s devotion to her husband´s craft and memory, it is doubtful whether there would have been this rich source of reference that continues to inspire generations of type designers and typographers.END DAVE FAREY admits to having had alter-ego bouts of Giambattista Bodoni. Oz Cooper and Eric Gill. At the moment, he has a tingling feeling of Robert Hunter Middleton coming on. Farey´s Bodoni period developed crab-wise through a revival of the Torino family from the Italian Nebiolo foundry, and then by assisting Gerry Giampa to inject new life into Sol Hess´s Lanston Type Bodoni family, including the Fournier numerals. Richard Dawson and Dave Farey, at Panache Typography in London, have created more than two hundred digital fonts for the commercial market and commissioned client use. Farey recently completed the first digital revival of Aries, a typeface by Eric Gill.
17
The Bodon story
“Designers”
Giovanni Battista
Charles PEIGNOT
Bodoni was one of the first to cut a modern face, that is, a typeface which has hairline serifs at right angles to the uprights, vertical stress and abrupt contrast between thick and thin strokes. He took French types, such as those of Fournier and the Didots, as his model. Bodoni was, in his day, the bestknown printer in Europe. Bodoni was born in Turin in 1740, the son of a printer. At 18 he became a compositor at the press of the Vatican’s Propaganda Fide in Rome, and at 28 was made director of the press of the Duke of Parma. His early types are based on those of Pierre Simon Fournier, whose work he admired, but he experimented with these letter forms to create his own. The roman letter he cut in 1798 is what we generally mean by a Bodoni. The contrast of light and shade in his types can produce a sparkling effect on the page. The books he printed reveal a taste for large sizes of type, generous use of white space and few ornaments. In addition to his romans, he also produced a great many script types. Bodoni set out his principles of typography (although stated in vague terms) in his Manuale Tipografico. This book was completed by his wife, who published it in 1818, five years after his death. In 1963 the Bodoni Museum opened in Parma.
Charles Peignot, a grandson of the founder, entered the family typefounding business, Peignot & Cie., in 1919. Four years later the company merged with Girard rt Cie. (the name of the De Berny foundry from 1914) and became known as Deberny rt Peignot. Within a few years Charles Peignot began to demonstrate the skill that was to make the Deberny & Peignot foundry famed throughout the world. He broadened the range of faces and commissioned leading contemporary artists and designers to create new ones. Faces such as Cassandre’s Acier Noir, Bifur and Peignot were produced in the 1920S and 1930S and were rewarded with early success. In 1927 Peignot founded Arts It Metiers Graphiques, the forward-looking and influential periodical. After World War 2 , Peignot played an important role in the development and marketing of the new Lumitype photosetting equipment (known in the USA as Photon). Debernyrt Peignot acquired the European rights for this equipment and made discs and typefaces for it. In 1952 Peignot brought in the Swiss designer Adrian Frutiger, then at the beginning of his career as an art director and type designer. The association was a very successful one and amongst the many new typefaces created in this period were Meridien and Univers. Charles Peignot helped found the Association Typographique Internationale (ATypI) and became its first president in 1957.
-- detail from a four-page printed extract of a book printed by Bodoni.
Bodoni Variations & Designers
Heinrich JOST
20
Heinrich Jost, although best known as the art director (1923-48) of the Bauer type foundry in Frankfurt, also designed Fraktur for Monotype and Jost Medieval for Ludwig rt Mayer. Jost was the son of a bookbinder, who trained as a bookseller and later studied book production at the Kunstgewerbeschule in Munich under Paul Renner and Emil Preetorius. After leaving, he worked for a daily paper and various Munich publishers before being invited to Bauer by George Hartmann. Beton, Bauer Bodoni and Atrax were created for Bauer, with Beton.
-- cover of Bauer specimen
-- type specimen Peignot & Cie
Francois-Ambroise Franrcois-Ambroise was the son of the founder Franrcois Didot (b.1689 in Paris), who was a bookseller before he started his own printing works. Franrcois-Ambroise worked there with his brother Pierre-Franr;ois until 1789, when the latter left to set up a printing office of his own, and later a paper mill. Inspired by Baskerville in England, Pierre-Franrcois was to use this mill to produce the first French wove paper. Both men enjoyed royal patronage: Franr;oisAmbroise was printer to the comte d’Artois, later to become Charles X, whilst his brother Pierre was printer to the comte de Provence, later to become Louis XVIII. As a result of Franr;ois-Ambroise Didot’s reputation, Benjamin Franklin sent his grandson to him to learn punch-cutting. Franr;ois-Ambroise was also the director of the Imprimerie Nationale and in this capacity he revised Fournier’s point system. His name survives in the continental Didot point. Franr;ois-Ambroise Didot initially printed with Garamond types but later began to produce his own. The exact date for this change is uncertain, but 1775 has been put forward by DB Updike, amongst others. Certainly a new Didot type, a light transitional roman, was in use in 1782 and was used the following year in three quarto editions of French classics. Firmin Didot took over the foundry when his father retired in 1789.
to the Institut Francais and in 1814, royal printer. He retired in 1827, leaving his sons AmbroiseFirmin and Hyacinth to continue the business. Previous page: St Matthew’s Gospel in type cut by Firmin Didot 1793.
-- poster for Museum of Printing, Lyon, 1998
-- Ditot type specimen
The Didot family dominated the French book world in the late 18th and early 19th centuries. The most important family member as far as type design is concerned was Firmin Didot, the founder ‘s grandson, who is generally agreed to have produced the first modern face in 1784. As a result, Didot roman types became standard book types in France during the 19th century and are still in use today. In 1783 Firmin Didot, son of FranrcoisAmbroise, took over from his father’S previous punch-cutter, Pierre-Louis Wafflard. In 1784 he produced the first modern face,
characterized by thin serifs, a marked vertical stress and abrupt shading from thick strokes to thin. By this time the Didots were using wove paper and an improved printing press, allowing the fine details of such type to be reproduced. Firmin took over the foundry when his father retired in 1789, and continued the production of new types. He favoured neo-classical designs with increasingly fine hair serifs. In 1811 Firmin was made printer -- Didot type specimen
Bodoni Variations & Designers
Firmin DIDOT
21
Bodoni Variations & Designers
22
Gunter Gerhard LANGE
Herbert BAYER
As artistic director of H Berthold AG, Gunter Gerhard Lange was responsible for the company’s entire typeface development programme from 1961 until 1990. His meticulous attention to detail helped create the Berthold type library’s unsurpassed reputation for quality and integrity of production. As well as designing new typefaces, Lange supervised Berthold revivals of several classic faces, including AkzidenzGrotesk, Bodoni, Caslon, Garamond, Baskerville and Walbaum. A calligraphic influence shows itself in some of his early designs for Berthold. Derby and Boulevard are both script types, as are Champion and EI Greco. His 1954 Solemnis is an uncial and was part of the revival of such forms begun by Victor Hammer. Born in Frankfurt in 1921, he studied calligraphy, type design and the graphic arts at the Akademie fur Graphische Kunste und Buchgewerbe in Leipzig from 1941 to 1945, where his tutors included Georg Belwe. During his period at the Akademie he became assistant to Walter Tiemann. After 1945 he freelanced as a painter and graphic designer before moving to Berlin in 1949. where he undertook further studies in painting and drawing at the Hochschule fur Bildende Kiinste. His career with Berthold commenced in 1950. when he was employed as an artistic freelance. After becoming artistic director in 1960 he was appointed to the main board in 1971. As an ambassador for Berthold he was a charismatic figure. captivating international audiences of designers with his talks on type trends. He retired from the company in 1990 but continued to lecture and teach typography and design. Lange renewed his association with the Berthold name in 2000 by becoming artistic consultant to Berthold Types Ltd of Chicago. legal successors of H Berthold AG. for whom he designed Whittingham. his rendition of a typeface used in the mid-19th century by Charles Whittingham of the Chiswick Press.
Through his work at the Dessau Bauhaus as head of the workshop of graphic design and printing from 1925 to 1928 and his later, more illustrative work in the USA, Herbert Bayer was one of the most influential figures in 20th-century graphic design. He arrived at the Weimar Bauhaus in 1921 as a student, having worked in an architect’s office for two years. As a student his work was heavily influenced by Moholy Nagy and De Stijl. As a teacher he transformed the Bauhaus: out went lithographs and woodcuts, in came movable type and mechanical presses; out went serifs, black-letter and capital letters, in came sans-serif lower-case: asymmetric, simple and direct. What is thought of as ‘Bauhaus typography’ comesfrom these years. Both his typeface designs reflect these beliefs and a strict adherence to geometric principles; they are rigorous in application and stark in appearance. Bayer left the Bauhaus in 1928 and moved to Berlin. In 1938 he fled from the Nazis to the USA, becoming an inspiration for post-war American designers.
-- Arena and Bodoni Old Face specimens for Berthold
John Fell
-- Bauhaus type specimen
-- details of Fell’s 3-lines Pica roman
Dr Fell was bishop of Oxford, dean of Christ Church and vice-chancellor of Oxford University. Between 1670 and 1672 he imported types, punches and matrices, which were bought in Holland on his behalf by Thomas Marshall. These included some Granjon types and some supplied by van Dijck. With three others (and for an annual payment of £200) he took over the management of Oxford University Press in 1672. In 1676 he set up a typefoundry attached to the press and, after employing Dutch type-cutter Peter Walpergen, published a specimen sheet in 1693. The types cast from his collection, known as the Fell types, became neglected until their revival by C H 0 Daniel at his private press from 1877 onwards. In 1915 Francis Meynell persuaded the controller of Oxford University Press to let him have two cases of Fell type, with which Meynell and Stanley Morison printed two books.
Justus Erich WALBAUM Justus Erich Walbaum was a German punchcutter who had his own letter foundry, first based in Goslar and later in Weimar. His faces were neo-classical, derived from the Didot roman. Walbaum, the son of a clergyman, was born in Steinbach, near Brunswick. He was apprenticed to a confectioner and reputedly taught himself engraving by making his own confectionary moulds, using chisels he had made from sword blades. When he was free to leave the pastry shop he got a job engraving music types for the Brunswick firm of Spehr. Walbaum purchased the typefoundry of Ernst Wilhelm Kircher in Goslar in 1793. In 1802, just before Goslar was incorporated into Prussia, Walbaum left for Weimar. The foundry he set up there was extremely successful and the types he cut, modelled closely on those of Firmin Didot, were much admired. In 1836 Walbaum sold the business to F A Brockhaus in Leipzig - in 1918 many of his matrices were purchased by H Berthold AG in Berlin. Walbaum was introduced into England in 1925 by the Curwen Press, which had purchased the types from Berthold. The Monotype Corporation issued Walbaum in 1933. Under the direction of Gunter Gerhard Lange, Berthold issued Walbaum Buch and Walbaum Standard between 1975 and 1979
-- Monotype Walbaum specimen
Morris Fuller Benton is accredited with being the most prolific type designer in American history, with an ” output twice as great as that of Frederic Goudy (although in fairness Goudy did not start his career until a later age). The fact that Benton’s father worked at the foundry until an advanced age did in all probability place an added strain on the younger man, but seems not to have diminished his remarkable output. A factor in his relative anonymity was his position as an in-house designer, but it was a position that suited his retiring character: when pressed he would put his successes down to ‘Lady Luck’. Benton has been credited with inventing the
concept of the type family and although this is not the case he did do his best work expanding faces into families and adapting existing type styles for ATE Between 1900 and 1928 he designed 18 variations on Century, including the popular Century Schoolbook. Morris Benton also worked closely with his contemporary at ATF, Henry Lewis Bullen, collector of the company’s famous library and mentor of type publicist and scholar Beatrice Warde. -- Franklin Gothic types from ATF specimen book, 1923
Bodoni Variations & Designers
Morris Fuller BENTON
23
Freeman CRAW As well as being an important contributor to typeface design, Freeman Craw has also been a major figure in the creation of complete visual identity programmes for some of the world’s leading companies. As vicepresident and art director of Tri-Arts Press, he was responsible for the complete graphic control of some of the most impressive printed material in America. Craw’s early typefaces were created for ATF, most famously Ad Lib, designed in 1961, which drew on nineteenth-century wood lettering and the crude shapes of paper cut-outs, but from the 1970S his designs were primarily associated with photocomposition. He designed the proprietary CBS Didot and CBS Sans types, and in 1988 was awarded the TDC Medal for his contribution to typography. -- ATF specimens, early 1960s
William THOROWGOOD After Robert Thorne’s death in 1820, his Fann Street Foundry was put up for auction and was purchased by William Thorowgood with the proceeds, it was said, of a lucky draw in a state lottery. Thorowgood came from Staffordshire and had no previous connection with typefounding. Despite this disadvantage he very quickly established himself. Within a few months he brought out his first specimen book, which for the most part consisted of the stock as Robert Thorne left it. During the next seven years he introduced greek, hebrew and Russian faces as well as three frakturs . In 1828 Thorowgood purchased the Fry foundry
Bodoni Variations & Designers
-- Thorowgood type 1820
24
-- ATF specimens, early 1960s
Zuzana LICKO Zuzana Licko, born in Bratislava in the former Czechoslovakia, emigrated to the USA in 1968. She graduated in graphic communication from the University of California at Berkeley in 1984. An early introduction to computers through her biomathematician father led to Licko pioneering digital type design with the Macintosh computer. Her early type designs appeared in Emigre magazine, published by the Emigre design company, which she formed with husband and fellow designer Rudy VanderLans after leaving college. The Modula Serif Bold (Original 1986 design) Oilginal Modula Bold with diagonal serif Right : The Remixed Modula Round San. success and influence of the magazine created a demand for these types, which resulted in the setting up of Emigre Fonts in 1985 to market those and others by a new generation of digital type designers. Licko’s work evolved as technology improved. Early bitmap solutions for lowresolution output were followed by high-quality new designs and sensitive revivals of the work of Bodoni (Filosofia) and Baskerville (Mrs Eaves). Zuzana Licko’s design output continues to be a major influence on typographic communication worldwide.
-- Base poster from Emigre, no.37, 1996
Bodoni Variations & Designers
-- detail from Emigre broadsheet, 1995
25
“Style-facts”
Style-facts
Extreme contrasts between thick and thin
28
29
Style-facts
Style-facts
Unbracketed, hairline serifs
30
31
Style-facts
Style-facts
Circular teardrop shaped terminal
32
33
Style-facts
Style-facts
Counters are oval shaped and flat on the side
34
35
Style-facts
“Family’s” Bodoni standard and bauer bodoni examples
Bodoni standard
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bodoni std book
abcdefghijklmnopqrstuvwxyz 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Family
Bodoni std roman
38
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bauer Bodoni italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Family
Bauer Bodoni roman
39
Bodoni standard
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bodoni std italic
abcdefghijklmnopqrstuvwxyz 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Family
Bodoni std bold
40
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bauer Bodoni bold italic
Family
abcdefghijklmnopqrstuvwxyz 1234567890
41
Bodoni standard
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bodoni std poster
abcdefghijklmnopqrstuvwxyz 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Family
Bodoni std bold
42
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni black
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Bauer Bodoni black italic
Family
abcdefghijklmnopqrstuvwxyz 1234567890
43
Bodoni standard
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Bodoni std poster compress
abcdefghijklmnopqrstuvwxyz 1234567890
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
Family
Bodoni std bold condensed
44
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz 1234567890
Bauer Bodoni bold condensed
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Bauer Bodoni black italic
Family
abcdefghijklmnopqrstuvwxyz 1234567890
45
Bronnen en beeldcredits • • • • • • • • • • •
Various images found on google. http://www.google.com Wikipedia. http://nl.wikipedia.org Ambrose,Harris. (2005) Typography “the arrangement, style and appaerance of type and typefaces” Neil Macmillan. (2006) An a-z of type designers Typophile (2008) various forum discussions. http://typophile.com Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. John Wiley & Sons, Inc: 1993. Dodd, Robin. From Gutenberg to Opentype. Hartley & Marks Publishers, Friedl, Friedrich, Nicholas Ott, and Bernard Ott. Typography: an Encyclopedia Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers, Inc: 1998. Frey, David. X-Height FontHaus’ Online Magazine. DsgnHaus, Inc. 2006. Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. Nesbitt, Alexander The History and Technique of Lettering Dover Publications: 1975.
B
B
B
B
B
B B
B
B B
B
B
B
B
B