Didot - book design

Typeface, Designer, Legacy

didot Komal Zehrah

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didot Typeface, Designer, Legacy

Komal Zehrah

didot Typeface, Designer, Legacy

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Legacy Analysis Comparison Conclusion Timeline

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Didot Legacy

Didot | 9

A FAMILY BUSINESS Ambroise-Firmin Didot has been credited with the production of the original Didot typeface, though its success is due largely to the esteem and accomplishments of the Didot household as a whole. The Didot family had produced a legacy in the realm of publishing and printing. Firmin’s father, Francois-Ambroise had established himself as a renowned printer in the 18th century, and his father before him, Francois I, was also a printer and had originally founded the family publishing business in 1713. Francois’s father, Denis Didot, was a printer, too.1 The Didot dynasty of publishing and printing is in fact believed to have dated back to 1698, to a bookseller named Marie-Anne

Figure 1

Portrait of Firmin Didot, circa 1823. Anne-Louis Girodet Trioson

Didot.2

FRANCOIS TO FIRMIN Francois II had revolutionized typography in France by introducing reforms in the system of typographical measurements, a version of which is still in use today. He had become 1 Linda Whiteley. “Didot.” Grove Art Online. Oxford Art Online. Oxford University Press, 2 Roxane Jubert, Typography and Graphic Design, (Paris: Flammarion, 2006), 77-79.

3 Whiteley, Grove Art Online.

Didot | 10

Didot Family Tree Denis Didot

Francois Didot (Francois I)

Francois-Ambroise Didot (Francois II)

Pierre Didot

Ambroise-Firmin Didot

Didot | 11 so reputable, that he was commissioned to produce printwork for the king of France.4 Benjamin Franklin Bache, grandson of Benjamin Franklin, was an apprentice to Francoise II. According to Bache, he was the best printer of his time.5 Francois II initiated what are said to be the early versions of the Didone style typefaces.

The Didone typefaces all have the same common characteristics: “horizontal and linear unbracketed serifs, a large contrast between thick and thin parts, and vertical stress.” Firmin’s Didot typeface was most definitely inspired by and derived from the typeface designs of his father, particularly the “troisieme manieres” (Fig. 2).

6

The development of these typefaces was in part helped by the improvement of paper quality. Francois II, following the footsteps of John Baskerville, experimented with processes to make better paper and also

Figure 2

Francois-Ambroise’s “troisieme manieres” (above) compared to Firmin Didot’s Didot typeface (below). Roxane Jubert

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to improve the printing press. The paper he 4 Unger, Gerard. 2001. “The types of François-Ambroise Didot and Pierre-Louis Vafflard.” Quaerendo 31, no. 3: 165-191.

5 2013. “François Didot.” Columbia Electronic Encyclopedia, 6th Edition 1.

6 Unger, Quaerendo, 165-191.

Didot | 12 developed allowed the more refined letters

of developing the Didot typeface, was to

of his typefaces to be seen more clearly.

provide a typeface for his brother Pierre’s

Aside from his father, Firmin’s influences

book. The success of their book publishing

for his typeface include Pierre-Louis Vafflard.

and selling business helped to bring success

Vafflard was one of the punchcutters who

to the typeface as well.

worked alongside Firmin’s father in the printing business and he taught Firmin the

Royal Recognition

art of punchcutting. The main purpose

Firmin enjoyed similar successes to his

7

father. Like his father, Firmin also made endeavors to make advancements in print technology. He was the first in France to print books from stereotype plates. He had obtained metal presses in 1810, which gave more regularity in the print quality. He had actually improved the process, and it allowed him to make less expensive books. He also worked for royalty, just as his father had. In fact, Firmin became the printer to the king, and the head of the royal foundry.8

Figure 3

Punches based on the Ambroise type family, derived from Didone types found in the Imprimerie Nationale in France. Jean François Porchez

7 Jubert, Typography and Graphic Design, 79.

8 2013. “François Didot.” Columbia Electronic Encyclopedia, 6th Edition.

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Type Analysis

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Didot | 14

ABCDEFG HIJKLMN OPQRSTU VWXYZ

Didot | 15

abcdefg hijklmn opqrstu vwxyz

Didot | 16

TYPE ORIGINS Reinterpreted, revised, and replicated for centuries, Didot is a classic modern typeface that has withstood much criticism to continue to be widely successful. It has now become the typeface of many of the big names in the fashion industry known today. Gracing the covers of magazines such as Vogue and Harper’s Bazaar, as well as serving as the typeface choice for the Giorgio Armani logo, Didot and its derivatives are very commonly used typefaces.

Even in its early days it was widely used in Europe. Firmin Didot had produced the Didot typeface in Paris, France in the early 1780s. By the end of the 18th century, it was introduced in other European countries, and in Germany it became a widespread type and resulted in many imitations in the following century.1

Figure 1

A custom logo made for Vogue with slight variations to Didot typeface.

Terminal Design

1Roxane Jubert, Typography and Graphic Design, (Paris: Flammarion, 2006), 77-79.

Didot | 17

VISUAL ANALYSIS Characterized by its thin, hairline serifs and the drastic variation between stroke weights, Didot has a very neoclassical look.

Unlike many of the typefaces preceding it, Didot had no bracketing (Fig.2), and had vertical stress as opposed to the diagonal stress of the calligraphic Old Styles (Fig.2).

It has the double-story lowercase a and g and much of the lowercase letters were created in consideration with each other.

The p and q are almost mirror reflections of each other (Fig.4), as are the b and d.

Its uppercase H and M are narrower than most of the book types that were used at the time. Thus the Didot family had altered quite a few of the standards for book types. 2 Though it is frequently compared to Bodoni, the major differences between the two are the lowercase a’s: the counter on Didot’s

AA

oo pq

Figure 2

Didot (left) with unbracketed, hairline serifs Goudy (right) with bracketed serifs

Figure 3

Didot (left) with vertical stress Goudy (right) with diagonal stress

Figure 4

Didot’s mirrored lowercase p is the same as its q

2 W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson, The Encyclopaedia of Type Faces, (London: Blandford Press, 1970), 69.

Didot | 18 droops down, and the tails on the uppercase Q: Didot’s is swash-like whereas Bodoni’s is much simpler and centered (Fig. 4).

CRITICAL ANALYSIS Criticism of Didot lies mainly in the use of the hairline serifs and the extreme stroke weight difference. “If some appreciated the alphabet’s grandeur…others saw its excessive rigor as posing problems for readers…”3At smaller sizes, the thinner strokes become less visible.

Therefore, it is not used much in body text. However, it is very successful as a display face, which is why it is so frequently utilized in titles, headings, and logos. The straight, thin strokes give it elegance and make it stand out. Historian Alber Kapt states that Didot seems “intellectual, sober, and cold, but when looked at more closely turns out to be witty and delightful”.4

Figure 4

Bodoni Q and a (leftt). Didot Q and a (right)

3 Jubert, Typography and Graphic Design, 79.

4 Jubert, Typography and Graphic Design, 79.

Didot | 19

“

intellectual, sober, and cold, but when looked at more closely, turns out to be witty and delightful Alber Kapf, on Didot

Didot | 20

Type Comparison

Didot | 21

CLAUDE GARAMONT French typography went through periods of rise and decline as technology and politics brought swift changes to the design industry. The Didots were credited as being highly influential in generating much of the positive revolutions in type and printing in France in the 18th century.

However, even before them, Claude Garamont had helped bring an earlier revival for French typography in the 16th century. Similar to the Didots, Garamont also came from a family of printers, as both his mother and father’s side of the family had many printers and punch-cutters.1

FIRMIN & CLAUDE The typefaces of Didot and Garamond are among the type designers that have been

Figure 1

Etching of Claude Garamont by artist William Sharp.

Cornell University Library

credited with restoring the glory of French typography. Both designers had enjoyed much success and critical acclaim for their work. Also, both created typefaces that spurred many imitations and variations, 1 Bedoin, Laurence , Thierry Claerr, and Matthieu Cortat. Ministry of Culture and Communication, Garamond, Last modified 2011. http://www.garamond.culture.fr/en.

Didot | 22

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Didot | 23

due to the amount of popularity they

FROM OLD STYLE TO MODERN

garnered. Garamont’s type designs were

Garamond is categorized as an Old-Style

so well known and appreciated for their

type, with the original Garamond typefaces

legibility and beauty, that for about two

having been produced in the mid 1500s.3

hundred years, other typographers merely

These were in the style of Roman humanist

refined or altered his types rather than

types, derived from Italy, but perfected by

creating novelty types. Didot experienced

typographers in France.

similar achievements with his typeface, as it

While other type designers at his time and

is still widely used today, over two hundred

before him merely reproduced hand-written

years later. Though both types originated

manuscripts, Garamont had created letters

in France and had similar success stories,

that could be independently considered as

they vary in their individual designs.

types. For about two centuries after they

2

“And while other type designers at his time and before him merely reproduced hand-written manuscripts, Garamont had created letters that could be independently considered as types.”

Figure 2

Examples of common characteristics of some of the main type styles, illustrating their evolution over the years. (left) Matthew Chan

were made, his typefaces continued to flourish and to influence typographers. It was in fact in the late 1700’s that Firmin Didot produced his typeface. If Garamond was revolutionizing humanist type, Firmin took it to a greater level, by creating one of the first Modern typefaces.

2 Philip B. Meggs, Meggs’ History of Graphic Design, (Hoboken: John Wiley & Sons, 2012), 114.

3 Bedoin et al., Garamond, 2011

Didot | 24

Anatomy of the two types Garamond and other Old Style types are known for their low stroke contrast, whereas Didot is a typeface that exhibits extreme contrast between thick and thin strokes. Garamond’s letters exhibit angled strokes, whereas Didot’s seem to all be very straight and most are perpendicular (Fig. 3a). While Didot has vertical stress, there is diagonal stress on Garamond’s letters (Fig 3b). Angled strokes and diagonal stress are some of the distinguishing traits of Old Style and humanist typefaces, which had characteristics of handwritten text. As type designers diverged from emulating handwriting, they experimented with less of this diagonal stress, and the Didone typefaces set the trend of vertical stress. Though they both have similar x-heights, it varies among some letters in Garamond due to the angled serifs (Fig 3c).

As typefaces shifted from Old Style to Transitional to Modern, the x-heights started to get larger as well. Though both are serif types, many of the letters in Garamond have

Typophilic b.

a.

Typophilic b.

c.

a.

Figure 3

Garamond (bottom).

Didot (top).

c.

Didot | 25 triangular serifs (Fig. 4a). Didot, however, has thin, hairline serifs (Fig. 4b). Another aspect of Garamond’s letters is that each has its own individual characteristics, whereas Didot’s seem to be based off one another. Looking at the d and b it is very apparent that Didot’s are almost mirrored off each other, whereas Garamond’s are designed differently (Fig. 4). One defining characteristic of Garamont’s typefaces is the narrow lowercase a. On the otherhand, Didot’s a has an elegant teardrop shaped counter, complementary to the teardrop terminal on the a as well (Fig. 5).

db db a.

b.

aa

Figure 4

Garamond (left) with triangular serifs.

Didot (right) with hairline serifs.

Figure 5

Garamond (left).

Didot (right).

ADVANTAGES AND USAGE The characteristics of both typefaces give them their own individual appeal, and contribute to their advantages, but also their disadvantages. Garamond is largely used as type for body text, since it is very legible and was created with the intent for being used as such. The letterforms are very open and round, and that helps to make them very readable. Didot on the other hand, is difficult to read as body text, especially at smaller font sizes. This is due to the extremely contrasted strokes and the hairlines serifs. Therefore, it is best to use a greater amount of leading for Didot. It is generally used purely as display type for these same reasons, and it has flourished as a stylish display, while Garamond is commonly found in books.

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Didot | 26

Conclusion

Didot | 27

IMPACT Frequenting the covers of fashion magazines and logos, Didot has established itself as a sophisticated and elegant typeface. Its slender serifs, contrasted with the bold teardrop terminals give it a distinctive look, one that is memorable and makes it easy to distinguish from other typefaces. Its delicate strokes are juxtaposed with its thick strokes, and this particular feature has been adapted into much of the typefaces used in the fashion industry. This stylish aspect of the typeface became quite a trend in the later part of 20th century, but Didot has transcended the ephemeral bounds of trends, and has established a

Figure 1

Didot used on the cover of Vanity Fair’s commemorative book.

Luke Hayman

more indelible presence in the world of type.

MODERN VERSIONS It has been altered and imitated and refined numerous times since its initial production by Firmin Didot. In 1991, Adrian Frutiger refined the type, and even handled some of the flaws it had. At smaller point

Figure 2

Didot featured on the cover of the February 2013 issue of Turkey’s Harper’s Bazaar. Koray Birand

Didot | 28 sizes, the thin strokes of the type seem to disappear on the page. This effect was called “dazzle”, so Frutiger increased the stroke width at smaller point sizes to resolve this issue in his typeface Linotype Didot.1 Hoefler and Frere-Jones also recreated the type with similar adjustments around the same time as Frutiger, and called it HTF Didot.2 Both Linotype Didot and HTF Didot are frequently used today, mainly to give and old-fashioned look to books and magazines. What was once considered modern and novel has now become vintage, but still retaining its elegance and appeal.

Figure 4

Variation of Didot created by Jonathan Hoefler. Hoefler & Co

Figure 5

Variation of Didot created by Adrian Frutiget. Monotype GmbH

Figure 3

CBS logo utilizing a Didot variant. Erik Thayer

1 Monotype GmbH. “Type Gallery – Linotype Didot.” Linotype Type Gallery. http://www.linotype.com/171/linotypedidot.html 2 Hoefler & Co. “Didot Fonts.” Didot Fonts. http://www.typography.com/ fonts/didot/overview/

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Timeline

1500 1530

Claude Garamont published his first typeface

1689

Francois Didot born in Paris, France; merchant and the grandfather of Firmin Didot.

1713

Francois Didot opened a bookstore, À la Bible d’or

1730

Francois-Ambroise Didot born in Paris, France. Father of Firmin Didot; printer type and designer.

1754

Francois Didot received printer’s charter from the king

1764

Firmin Didot was born in Paris France.

1784

Firmin Didot developed the original Didot typeface

1788

Francois-Ambroise was appointed printer to the clergy

1789

Francois-Ambroise retired, and Firmin took over his father’s business

1804

Napoleon became the Emperor of France

1814

Napoleon appointed Firmin as the Director of the Imperial Foundry

1827

Firmin Didot gave up business.

1836

Firmin Didot passed away at the age of 72.

1943

A custom designed Didot graced the cover of Vogue magazine as the official Vogue logo

1991

Jonathan Hoefler developed HTF Didot

1992

Adrian Frutiger developed Linotype Didot

1600 1700

1800

1900

2000

1701-1789 Age of Enlightenment

1789-1799 French Revolution

16 , 17 Centuries th

th

18 Century th

19 Century th

20 Century th