Didot - Type Designer Poster by Mark Delboy

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Table of Contents 2

Final visible grid

Written paper: Complete Paper

Paper paragraphs: Flush Left 8 pt. cap height, 9 pt. leading

Paper paragraphs: Flush Left 8 pt. cap height, 11 pt. leading

Paper paragraphs: Flush Left 8 pt. cap height, 13 pt. leading

Paper paragraphs: Flush Left, 8 pt. cap height, 15 pt. leading

Paper paragraphs: Flush Left, 8 pt. cap height, 17 pt. leading

Paper paragraphs: Flush Left, 8 pt. cap height, 19 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 11 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 13 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 15 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 17 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 19 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 21 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 23 pt. leading

Paper paragraphs: Flush Left, 9 pt. cap height, 25 pt. leading

Poster design 1: Typographic Mode of Communication 1 and 2 - Legibility and Content Hierarchy

Poster design 2:Typographic Mode of Communication 2 and 3 - Content Hierarchy and Expression

Poster design 3: Typographic Mode of Communication 3 - Expression

Final Poster design

Final Grid Design

W N V DIDOT

The First Modern Typeface

Typography is fluid. There are letters which definitively derive from figura-

constructed so that the axis of the curves is vertical rather than inclined

tive origins (Miller). However, the majority of typography is, “content-free,

(Baines 51). The serifs of Didot are horizontal but do not contain brack-

a matter of style, history and functionality” (Miller). Typefaces are often

ets, which are curved connections between the stem and serif (161). The

employed for economic and product contexts. The Didot typeface has been

Didot typeface is one of the first cases of employing the modern concept

used amongst various fashion magazines and fashion brands over the years

of negative space by having the usage of high contrasts between strokes

(Miller). Although the aesthetics of modernity associated with the Didot

(Eskilson 22). The Didot typeface also introduced the modern concept of

typeface are typically credited to prior product contexts, they actually

maintaining a standard capital width so as to not disrupt consistency of

reside in design of the typeface.

lines of text (Eskilson 22). A disadvantage of the typeface is that the abrupt

stroke contrast makes the letters difficult to read in large bodies of text and

Firmin Didot was a French punchcutter, type founder and printer

from 1764-1836 (Haley 73). The Didot family foundry was involved in type

thus substantial leading is required (Baines 66). Evenso, the Didot typeface

design, printing, publishing and paper manufacturing during the late 18th

dominated printing until the late 19th century, when the Arts and Crafts

and early 19th centuries (Haley 73). At the start of the 18th century, there

movement shifted type to more humanist letterforms (Yau).

was period of transition in type from an angled to vertical axis of stroke

The Didot typeface made a comeback in the early 20th century in part

contrast (Yau). The Didot typeface, created in 1784, is considered the first

to its inherent modern and clean geometry (Yau). Americans’ borrowed

Modern typeface because it set the standard for stroke contrast, stress and

designers from the European Modernism movement of the 1920’s and 30’s

geometric structure (Eskilson 22). The Didot typeface became the prev-

(Yau). Alexey Brodovitch, a Russian photography, designer and instructor;

alent book type in France during the 19th century (Haley 73). While Didot

was hired as art director for American Fashion magazine Harper’s Bazaar

became the standard typeface for its time, prior typographical movements

from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his

heavily influenced Didot.

Modern approach to layout, photography and type (Yau). During Brodovitc’s

The aesthetic movement prior to the Didot typeface was Old Face,

which included Humanist, Aldine, and Dutch Taste typefaces (Baines 63).

tenure, he made the Didot the signature typeface of Harper Bazaar (Yau). There have been several subsequent reinterpretations of the Didot

Old Face is characterized by type with low to medium contrast and an axis

typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger

of curves that is inclined (63). However, Phillip Grandjean’s Romain du Roi

in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces in 1991

typeface in 1702 was the first roman typeface not to use an inclined axis

for a new concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion

of contrast (66). Although the transitions from thick to thin strokes were

magazines and brands that utilize the Didot typeface are Armani, Vogue,

gradual, the vertical emphasis made Romain du Roi an Early Continental

Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of

Modern face. In 1762, the Baskerville typeface was first used (Haley 11).

the Didot’s modernity aesthetics to articulate a similar aesthetic in

Unlike the Romain du Roi typeface, the Baskerville typeface has high con-

their products.

trast between strokes (Yau). Since Baskerville is considered a link between

the Old Face and Modern Face typefaces, thus Baskerville is identified as a

of the Didot typeface representing modernity was accidental. Firmin Didot

The influences on the Didot typeface were purposeful while the result

Transitional typeface (Yau). Admiration for the English Baskerville typeface

had specific rational and aesthetic designs that went into the Didot type-

spread to France and would lead to an emergence of the later continental

face. However, the concept that the Didot typeface represented a modernity

modern faces such as Didot (Yau). Although the Old face and Transitional

typeface was constructed after Firmin Didot had completed his design. So

typefaces inspired the Didot typeface, the technology of the time period

the aspects of modernity that Didot represents are inherent within the type

also had a great influence on Didot’s design.

itself. While an individual look at a typeface and recall aspects associated

The typographic technology used in the Firmin Didot’s time period

with a product context, such as femininity or fashion; those aspects were

was hand punchcutting and movable metal type (Baines 92). Firmin Didot

originally derived from the design of the typeface. Thus a product context

designed and cut the punches that would later become the final metal

cannot takeaway the clean beauty associated with the Didot typeface.

type for printing (92). Letters were then printed onto paper via metal type impressions (92). In line with the Age of Enlightenment’s exaltation of science, Modern typeface designers would use a compass and ruler during the development of their typeface (Eskilson 23). Didot’s delicate design demands exacting presswork and high-quality paper to achieve desired effect (Baines 66). When Firmin Didot designed the Didot typeface in 1784, the Didot foundry was using woven paper and an improved printing press, which allowed for the fine details of hairline strokes and serifs to be produced (Macmillan 74). While the technology of Firmin Didot’s time period greatly influenced the Didot typeface, the cultural context also inspired Didot’s design.

The Didot typeface was developed towards the end of the Age of

Enlightenment. The Age of Enlightenment is a time period in the western history of thought and culture from the 17th century through the 18th century (Bristow). The Age of Enlightenment is characterized by revolutions in science, philosophy and culture; where the old medieval philosophies where exchanged for modern philosophies (Bristow). The Enlightenment ideals of freedom and equality for all are centered upon human reason (Bristow). By 1787, the ideals of the Age of Enlightenment culminate in the French Revolution. Thus during Didot’s lifetime, France is characterized by a violent upheaval of the traditional aristocratic political and religious orders (Bristow). Neoclassical painting coincided with the 18th century Age of Enlightenment. Neoclassical painting imitated Renaissance structural styles but strove to simplify those structures to achieve conceptual abstraction (Eskilson 22). The clean, precise and abstract geometric structure of the Didot typeface parallels neoclassical painting and the Age of the Enlightenment philosophies (Eskilson 22).

Firmin Didot created the Didot typeface during a search for a cleaner

and efficient aesthetic letterform (Haley 161). Didot achieved his desired aesthetic by using high contrast between thick and thin elements (161). The high contrasts in the Didot typeface strokes are characteristic of

Works Cited Baines, Phil, and Andrew Haslam. Type & Typography. New York:

Watson Guptill Media, 2005. Print.

Bristow, William. “Enlightenment.” Stanford University. Stanford

University, 20 Aug. 2010. Web. 29 Sept. 2014. <http://plato.

stanford.edu/entries/enlightenment/>.

Coles, Stephen. “Linotype Didot.” Typedia. N.p., 02 Oct. 2009. Web.

01 Oct. 2014. <http://typedia.com/explore/typeface/lino

type-didot/>.

“Didot Fonts.” Hoefler & Co. N.p., n.d. Web. 02 Oct. 2014. <http://

www.typography.com/fonts/didot/overview/>.

Eskilson, Stephen. Graphic Design a History. London: Laurence

King, 2012. Print.

Haley, Allan. Typography, Referenced: A Comprehensive Visual

Guide to the Language, History, and Practice of Typogra

phy. Beverly, MA.: Rockport, 2012. Print.

Macmillan, Neil. An A-Z of Type Designers. New Haven, CT: Yale UP,

2006. Print.

Miller, Abbott. “Through Thick and Thin: Fashion and Type.” Eye

Magazine. N.p., 2007. Web. 30 Sept. 2014. <http://www.

eyemagazine.com/feature/article/through-thick-and

-think-fashion-and-type>.

Qi, Adam. “Modern Typeface - Didot.” Modern Typeface - Didot.

N.p., 30th Jan. 2013. Web. 03 Oct. 2014. <http://adamqi.

blogspot.com/2013/01/modern-typeface-didot.html>.

Yau, Cheryl. “Know Your Type: Baskerville.” Idsgn. N.p., 26 Oct.

2010. Web. 29 Sept. 2014. <http://idsgn.org/posts/know-

your-type-baskerville/>.

the modern style (161). The Didot typeface has been described as appearing, “…‘designed’ rather than ‘drawn’ (Baines 66). The Didot letters are

Paper Paragraph

W N V

8 pt. cap height with 9 pt. leading

Firmin Didot was a French punchcutter, type founder and printer from 1764-1836 (Haley 73). The Didot family foundry was involved in type design, printing, publishing and paper manufacturing during the late 18th and early 19th centuries (Haley 73). At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast (Yau). The Didot typeface, created in 1784, is considered the first Modern typeface because it set the standard for stroke contrast, stress and geometric structure (Eskilson 22). The Didot typeface became the prevalent book type in France during the 19th century (Haley 73). The Didot typeface made a comeback in the early 20th century in part to its inherent modern and clean geometry (Yau). Americans’ borrowed designers from the European Modernism movement of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, photography and type (Yau). During Brodovitc’s tenure, he made the Didot the signature typeface of Harper Bazaar (Yau). There have been several subsequent reinterpretations of the Didot typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion magazines and brands that utilize the Didot typeface are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 8/9, 8/11

8 pt. cap height with 11 pt. leading

W N V

8 pt. cap height with 13 pt. leading

8 pt. cap height with 15 pt. leading

Firmin Didot was a French punchcutter, type founder and printer from

1764-1836 (Haley 73). The Didot family foundry was involved in type

1764-1836 (Haley 73). The Didot family foundry was involved in type design,

design, printing, publishing and paper manufacturing during the late 18th and early 19th centuries (Haley 73). At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast (Yau). The Didot typeface, created in 1784, is considered

printing, publishing and paper manufacturing during the late 18th and early 19th centuries (Haley 73). At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast (Yau).

the first Modern typeface because it set the standard for stroke contrast,

The Didot typeface, created in 1784, is considered the first Modern typeface

stress and geometric structure (Eskilson 22). The Didot typeface became

because it set the standard for stroke contrast, stress and geometric struc-

the prevalent book type in France during the 19th century (Haley 73).

ture (Eskilson 22). The Didot typeface became the prevalent book type in

France during the 19th century (Haley 73).

The Didot typeface made a comeback in the early 20th century in part

to its inherent modern and clean geometry (Yau). Americans’ borrowed designers from the European Modernism movement of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor;

The Didot typeface made a comeback in the early 20th century in part

to its inherent modern and clean geometry (Yau). Americans’ borrowed

was hired as art director for American Fashion magazine Harper’s Bazaar

designers from the European Modernism movement of the 1920’s and 30’s

from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern

(Yau). Alexey Brodovitch, a Russian photography, designer and instructor;

approach to layout, photography and type (Yau). During Brodovitc’s

was hired as art director for American Fashion magazine Harper’s Bazaar

tenure, he made the Didot the signature typeface of Harper Bazaar (Yau).

from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his

There have been several subsequent reinterpretations of the Didot typeface.

Modern approach to layout, photography and type (Yau). During Brodovitc’s

Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion magazines

tenure, he made the Didot the signature typeface of Harper Bazaar(Yau). There have been several subsequent reinterpretations of the Didot typeface.

and brands that utilize the Didot typeface are Armani, Vogue, Burberry,

Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991

and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s

(Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a new

modernity aesthetics to articulate a similar aesthetic in their products.

concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion magazines and brands that utilize the Didot typeface are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 8/13, 8/15

W N V

8 pt. cap height with 17 pt. leading

8 pt. cap height with 19 pt. leading

Firmin Didot was a French punchcutter, type founder and printer from

1764-1836 (Haley 73). The Didot family foundry was involved in type design,

printing, publishing and paper manufacturing during the late 18th and

early 19th centuries (Haley 73). At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast (Yau). The Didot typeface, created in 1784, is considered the first Modern typeface because it set the standard for stroke contrast, stress and geometric structure (Eskilson 22). The Didot typeface became the prevalent book

type in France during the 19th century (Haley 73).

ric structure (Eskilson 22). The Didot typeface became the prevalent book

type in France during the 19th century (Haley 73).

The Didot typeface made a comeback in the early 20th century in part

to its inherent modern and clean geometry (Yau). Americans’ borrowed

designers from the European Modernism movement of the 1920’s and 30’s

to its inherent modern and clean geometry (Yau). Americans’ borrowed

(Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, photography and type (Yau). During Brodovitc’s tenure, he made the Didot the signature typeface of Harper Bazaar (Yau).

The Didot typeface made a comeback in the early 20th century in part

designers from the European Modernism movement of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his

There have been several subsequent reinterpretations of the Didot type-

Modern approach to layout, photography and type (Yau). During Brodovitc’s

face. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in

tenure, he made the Didot the signature typeface of Harper Bazaar (Yau).

1991 (Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a

There have been several subsequent reinterpretations of the Didot typeface.

new concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion mag-

Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991

azines and brands that utilize the Didot typeface are Armani, Vogue, Burberry,

(Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a new

and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 8/17, 8/19

W N V

9 pt. cap height with 11 pt. leading

Paper Paragraph 9/11, 9/13

9 pt. cap height with 13 pt. leading

W N V

9 pt. cap height with 15 pt. leading

9 pt. cap height with 17 pt. leading

Firmin Didot was a French punchcutter, type founder and printer

from 1764-1836 (Haley 73). The Didot family foundry was involved

in type design, printing, publishing and paper manufacturing

set the standard for stroke contrast, stress and geometric structure

created in 1784, is considered the first Modern typeface because it

(Eskilson 22). The Didot typeface became the prevalent book type

set the standard for stroke contrast, stress and geometric structure

in France during the 19th century (Haley 73).

(Eskilson 22). The Didot typeface became the prevalent book type

in France during the 19th century (Haley 73).

The Didot typeface made a comeback in the early 20th century

in part to its inherent modern and clean geometry (Yau). Americans’ borrowed designers from the European Modernism movement of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch

The Didot typeface made a comeback in the early 20th century

was selected in order to apply his Modern approach to layout, pho-

designer and instructor; was hired as art director for American

tography and type (Yau). During Brodovitc’s tenure, he made the

Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch

Didot the signature typeface of Harper Bazaar (Yau). There have

was selected in order to apply his Modern approach to layout, pho-

been several subsequent reinterpretations of the Didot typeface.

tography and type (Yau). During Brodovitc’s tenure, he made the

Didot the signature typeface of Harper Bazaar (Yau). There have been several subsequent reinterpretations of the Didot typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger

face are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion

in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces

industry has taken advantage of the Didot’s modernity aesthetics to

in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.).

articulate a similar aesthetic in their products.

Current fashion magazines and brands that utilize the Didot typeface are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 9/15, 9/17

W N V

9 pt. cap height with 19 pt. leading

9 pt. cap height with 21 pt. leading

Firmin Didot was a French punchcutter, type founder and printer

from 1764-1836 (Haley 73). The Didot family foundry was involved

in type design, printing, publishing and paper manufacturing

during the late 18th and early 19th centuries (Haley 73). At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast (Yau). The Didot typeface, created in 1784, is considered the first Modern typeface because it set the standard for stroke contrast, stress and geometric structure (Eskilson 22). The Didot typeface became the prevalent book type

in France during the 19th century (Haley 73).

(Eskilson 22). The Didot typeface became the prevalent book type

in France during the 19th century (Haley 73).

The Didot typeface made a comeback in the early 20th century

in part to its inherent modern and clean geometry (Yau). Americans’

borrowed designers from the European Modernism movement of

part to its inherent modern and clean geometry (Yau). Americans’

the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, photography and type (Yau). During Brodovitc’s tenure, he made the Didot the signature typeface of Harper Bazaar (Yau). There have

The Didot typeface made a comeback in the early 20th century in

borrowed designers from the European Modernism movement of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography, designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, pho-

been several subsequent reinterpretations of the Didot typeface.

tography and type (Yau). During Brodovitc’s tenure, he made the

Linotype Didot is a family of 12 weights drawn by Adrian Frutiger

Didot the signature typeface of Harper Bazaar (Yau). There have

in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces

been several subsequent reinterpretations of the Didot typeface.

in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.).

Linotype Didot is a family of 12 weights drawn by Adrian Frutiger

Current fashion magazines and brands that utilize the Didot typeface

in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces

are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion magazines and brands that utilize the Didot typeface are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 9/19, 9/21

W N V

9 pt. cap height with 23 pt. leading

9 pt. cap height with 25 pt. leading

Firmin Didot was a French punchcutter, type founder and printer

from 1764-1836 (Haley 73). The Didot family foundry was involved

in type design, printing, publishing and paper manufacturing

created in 1784, is considered the first Modern typeface because it set the standard for stroke contrast, stress and geometric structure (Eskilson 22). The Didot typeface became the prevalent book type in France during the 19th century (Haley 73).

The Didot typeface made a comeback in the early 20th century

in part to its inherent modern and clean geometry (Yau). Americans’

borrowed designers from the European Modernism movement

in part to its inherent modern and clean geometry (Yau). Americans’

of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography,

borrowed designers from the European Modernism movement

designer and instructor; was hired as art director for American

of the 1920’s and 30’s (Yau). Alexey Brodovitch, a Russian photography,

Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, photography and type (Yau). During Brodovitc’s tenure, he made the Didot the signature typeface of Harper Bazaar (Yau). There have

The Didot typeface made a comeback in the early 20th century

designer and instructor; was hired as art director for American Fashion magazine Harper’s Bazaar from 1934 to 1958 (Yau). Brodovitch was selected in order to apply his Modern approach to layout, photography and type (Yau). During Brodovitc’s tenure, he made the Didot the

been several subsequent reinterpretations of the Didot typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991 (Cole). Hoefler & Co. would design HTF Didot typefaces in 1991 for a new concept of Harper Bazaar (“Didot Fonts,” n.d.).

signature typeface of Harper Bazaar (Yau). There have been several subsequent reinterpretations of the Didot typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991 (Cole).

Current fashion magazines and brands that utilize the Didot type-

Hoefler & Co. would design HTF Didot typefaces in 1991 for a new

face are Armani, Vogue, Burberry, and Elle (Qui). Thus the fashion

concept of Harper Bazaar (“Didot Fonts,” n.d.). Current fashion

industry has taken advantage of the Didot’s modernity aesthetics to

magazines and brands that utilize the Didot typeface are Armani,

articulate a similar aesthetic in their products.

Vogue, Burberry, and Elle (Qui). Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

Paper Paragraph 9/23, 9/25

“‘Designed’ Rather Than ‘Drawn’”

DIDOT With a vertical axis of the curves, high contrasts between strokes and standard capital widths.

Firmin Didot was a French punchcutter, type founder and printer from 1764-1836. The Didot family foundry was involved in type design, printing, publishing and paper manufacturing during the late 18th and early 19th centuries. At the start of the 18th century, there was period of transition in type from an angled to vertical axis of stroke contrast. The Didot typeface, created in 1784, is considered the first Modern typeface because it set the standard for stroke contrast, stress and geometric structure. The Didot typeface became the prevalent book type in France during the 19th century.

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FIRMIN DIDOT(1764-1836)

There have been several subsequent reinterpretations of the Didot typeface. Linotype Didot is a family of 12 weights drawn by Adrian Frutiger in 1991. Hoefler & Co. would design HTF Didot typefaces in 1991 for a new concept of Harper Bazaar. Current fashion magazines and brands that utilize the Didot typeface are Armani, Vogue, Burberry, and Elle. Thus the fashion industry has taken advantage of the Didot’s modernity aesthetics to articulate a similar aesthetic in their products.

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