Didot Monograph

Didot The Typographic Legacy of Firmin Didot

Molly Stallings

U Z R W Q J L O C F

P A DK TV E N X HM Y

V X

Didot The Typographic Legacy of Firmin Didot

Molly Stallings

Designed by Molly Stallings Published in the United States of America

University of Maryland, Baltimore County 1000 Hilltop Circle Baltimore, MD, 21250

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Introduction

The Didot Dynasty

Firmin Didot

13

14

06

Industrial Revolution

Typographical Styles

Baskerville Comparison

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08

09

Neoclassicism

External Qualities

Legacy

ido

Firmin Didot | 7

Introduction The most important French typographic, paper

the high contrast between thick and thin strokes,

making, and printing enterprise in Europe within the

hairline serifs with no bracketing, and vertical stress

eighteenth and nineteenth centuries belonged to

in rounded strokes. Because of Didot’s forward

the Didot Dynasty. Within this family, Firmin Didot

thinking in his design, his typeface is often believed

is considered to be the most prolific in terms of

to be the first modern typeface, and is the catalyst

typographic and printing industries. Firmin Didot

toward modern typography. The simple, strong,

was inspired by the typeface of Baskerville and

geometric qualities of Didot formed a strong

took his experiments in letterform to the extreme,

parallel with the contemporary painting style known

designing his first typeface in 1784. Didot utilized

as Neoclassicism. The typeface itself is a subtractive

the influence of Baskerville as well as his family’s

face that does away with unnecessary flourishes in

roman face. The typeface that he created was

order to stress its clear and direct structure. Didot

similar to that of Baskerville’s in that the typeface

created a roman face that was admired and even

consisted of clear, sharp designs, and obliterated

revered by neoclassic elite of France, yet also

most of the cursive elements from the characters.

was legible for the common individual. Within

Didot’s approach was unique, though, in that he

one typeface, it possessed a synergy that equally

approached his typeface as not merely a medium

represented the antiquity of neoclassical Europe

of communication, but as an object of art in and

and the modern age. The result of his diligence and

of itself. The typeface that resulted from Didot’s

precision, Didot created the first modern typeface,

craftsmanship is regarded to this day as being the

and it has been utilized since the nineteenth-century.

first modern typeface, and is the most recognizable and famous Didot typeface. It is well-known for

Firmin Didot | 8

Didot Dynasty The Didot Dynasty operated the most

contributed to the success of these

of the family were involved in some form

prominent typographic, printing, and

firms. These rapid industrial changes

of the book trade; all of the them being

paper making foundry in Europe. The

created a demand for printed media in

men of great importance and renown.

firm resided on the Esconnes River, just

Europe, and also positioned printing,

south of Paris, which had many notable

typographic, and paper making industries

factories within it. Like many of these

at the forefront of mass media.

1

2

The roots of the Didot Dynasty can be traced to Denis Diderot (Figure 1),

3

who acquired the right of bourgeois

establishments, the Didot enterprise was

in Paris during the second half of the

soon transformed by the introduction

The Didot family in particular made

of mass-production technology and

a transition from the privileged and

seventeenth century. His daughter

the dramatic expansion of French

traditional world of printing media to the

married Jan-Luc Nyon, and they had

paper production industries. The rise

more open, market-driven scene. There,

a son named Francois in 1689. It is

in the literacy rate, which served as the

they became the epitome of nineteenth

Francois who is officially recognized

catalyst for an increase in the demand

century French printing and publishing.

as having established the dynasty.

of reading material and literature, also

Much like a royal dynasty, the Didot

4

Dynasty passed down knowledge of the trade from generation to generation.Their innate sense of dedication, precision and talent also appeared to be a familial trait.

5

For almost two hundred years, the Didot Dynasty printed and published in Paris. At one point in time, at least seven members

1 Smith, Michael Stephen. The Emergence of Modern Business Enterprise in France: 1800-1930. Cambridge (Mass.): Harvard University Press, 2006. 247.

3 Smith, 258.

5 George, Albert Joseph, and Pierre Didot. The Didot family and the progress of printing: a brief review of the development and accomplishments of the House of Didot: with facsimile pages and translation of Épître sur les progrès de l’imprimerie, written by Pierre Didot, printed in 1784 in italic type designed by his younger brother, Firmin, & dedicated to their father, François-Ambroise Didot. Syracuse: Syracuse University Press, 1961.

4 Ibid.

6 Ibid.

2 Osterer, Heidrun, Philipp Stamm, and Adrian Frutiger.

Adrian Frutiger Typefaces: The Complete Works. Basel: Birkhäuser, 2014. 362.

7

6

Didot Dynasty | 9

Figure 1

Firmin Didot | 10

Francois Didot, or often referred to as

order of Louis XVI and his younger

‘Francois the Elder’, began his career as

brother, Charles X. As a result of Francois-

a bookseller before he started his own

Ambroise Didot’s reputation, Benjamin

printing workshop. His son, Francois-

Franklin sent his grandson to him to learn

Ambroise, achieved one of the Didot

punch cutting, which exemplifies just

9

family’s greatest honors. He was the first

how prolific the Didot Dynasty was— not

member of the family to give typefaces

just in France but internationally as well.

the classic ‘Didot’ appearance early in his typeface-creating career. He initially printed with classic Garamond types (Figure 2), creatd by Claude Garamond (Figure 3), but transitioned later and produced his own. The result was a light, transitional roman typeface that was utilized in 1782. The following year, this typeface was printed in three quarto editions of French classics. Francois8

Ambroise then became one of the most illustrious typographers and printers in France, epitomized when he began printing and publishing works by express

7 George, Albert Joseph, and Pierre Didot. The Didot family and the progress of printing: a brief review of the development and accomplishments of the House of Didot: with facsimile pages and translation of Épître sur les progrès de l’imprimerie, written by Pierre Didot, printed in 1784 in italic type designed by his younger brother, Firmin, & dedicated to their father, François-Ambroise Didot. Syracuse: Syracuse University Press, 1961. 5.

8 Macmillian, 73.

9 George, Joseph, Didot, 8.

9 George, Joseph, Didot, 8.

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Garamond Italic

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Figure 2

Didot Dynasty | 11

Garamond

Firmin Didot | 12

Firmin Didot Francois-Ambroise had two sons, Pierre and Firmin (Figure 4). Firmin Didot was born in 1764, 10

and throughout his early life he displayed great ability in the family business. As a young man, he inherited the Didot foundry when his father retired—despite the fact that he was the younger son. His brother on the other hand, designed large books with delicate illustrations. The books, which were very luxurious, were meant to be admired and appreciated not merely as works of literature, but also as objects of art. It was with these concepts in mind that Firmin Didot started his lengthy typographical career. During this time, Didot worked predominately with the letterpress upon which words were printed from movable metal type; each word was composed of individual pieces.

This was an arduous and laborious undertaking, as each typeface not only had to be designed but also required to be cut and punched out individually.

Figure 4

10 George, Joseph, Didot, 8.

11 Ibid.

11

Industrial Revolution | 13

Figure 5

Figure 6

Industrial Revolution The processes and later successes of

thousands of new typefaces both for

Firmin Didot were directly related to the

display and decorative purposes, which

impact of the Industrial Revolution in

resulted in a booming business for Didot.

available option prior to the Industrial Revolution. The steam powered printing 12

Europe (Figure 5). The rise of cities and

machine was first introduced in France at the Didot’s enterprise in 1816. Naturally,

the increasing populations within them

This period was noted for its many

the Didot’s typographic, printing, and

stimulated an escalation of mass culture,

inventions that benefited factories and

paper making establishment flourished

including art and literature. The Industrial

businesses alike. One of these inventions

with this new and incredibly helpful

Revolution also created a demand for

is commonly referred to as the steam

technology, which allowed them to

basic mass media and advertising on

press (Figure 6), which greatly enhanced

generate even more business than they

a scale that had not been witnessed in

the possibilities for production of printed

had previously. By 1830, these machines 13

previous eras. The Industrial Revolution

material, in which Didot and his family

were installed in twenty-two French

itself resulted in a dramatic transformation

specialized. This mechanism could produce

paper mills, including the Didot mill, and

in typography and a large variety of new

over 1,000 pages of text per hour and

Paris became the center of printing and

and innovative typefaces. Typographers

millions of pages per week. It could

publishing in the nineteenth century.

like Didot responded to the demands of

also generate paper continuously, and

the modern urban culture and created

not ‘sheet-by-sheet’, which was the only

12 E skilson, Stephen. Graphic Design: A New History. New Haven, CT: Yale University Press, 2012.

13 Ibid.

14 Smith, 258.

14

Firmin Didot | 14

Typographical Styles Prior to the the Industrial Revolution, the French typographic and printing industries were largely acknowledged to be a fine art, and were not available to a wide audience.

Literature was produced predominately for an aristocratic and elite group, and did not consider ordinary individuals. The books that were distributed were marketed toward the privileged who were adept in the classics of antiquity. This elite group controlled the direction of literature, and wanted the external qualities of a book to be fundamentally similar to its content (Figure 7). Therefore, they put an importance not only upon the composition of the book, but its binding and typography as well.

15

Old Style

A

Bembo

Figure 7

The external qualities of a book were believed to be just as importent as its content to the Neoclassistic elite.

15 G eorge, Joseph, Didot, 8.

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A

Style' pre-dates the Industrial Revolution.16 The typefaces consistent with this style were originally inspired by carved Roman capitals and were based on fifteenth-century manuscripts (Figure 8). These faces were usually identified by oblique cross-strokes on the lowercase 'e', along with angular stresses and serifs.

This tradition was prevalent throughout the typographic industry for many years. It was replaced by 'Transitional' style typography in the eighteenth-century (Figure 9). Those in this interim period, including John Baskerville, designed typefaces to have greater contrast between thick and thin strokes, with a more horizontal stress within the letterforms.17 By the end of the century, printers and typographers like Firmin Didot hurried to perfect Baskerville’s designs and create a new, modern typeface.18

Baskerville

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16 Hart, Dana. “Firmin-Didot: A French Legacy.” The Metro politan Museum of Art, i.e. The Met Museum. June 10, 2015.

Accessed February 12, 2017. http://www.metmuseum.org/blogs/ in-circulation/2015/firmin-didot.

17 Ellison, Andy. The Complete Guide to Digital Type: Creative Use of Typography in the Digital Arts. London: Laurence King Publishing, 2006. 14.

Figure 9

18 Hart, Dana.

Typographical Styles | 15

Transitional

The typographic tradition known as 'Old

Firmin Didot | 16

Baskerville Comparison Firmin Didot was aware of the traditional

Didot also introduced the technique of

typographic styles of the period, but

regularizing the width of capital letters

designed his particular typeface to be

so they did not disrupt the consistency

much more unique and revolutionary.

of a line of text with too many different

Didot was inspired by typographers like

sizes. For example, Didot condensed wide

Baskerville and experimented with their

letters such as ‘M’, while also expanding

creations. Didot designed and constructed

narrow letters such as ‘T’ (Figure 11),

his first typeface in 1784 at the young

which created a bolder block of text.23

age of twenty years old. He utilized

In doing this, Didot created a typeface

the influence of Baskerville as well as his

that increased legibility and consistency

family’s roman face in order to create

in printed media. He also eliminated

19

this typeface that is well-known today

ligatures between letters, such as the

(Figure 10).20 The face that he created

‘ST’, which had been common in the

was similar to that of Baskerville’s in that

‘Old Style’ of typography and printing,

it consisted of clear, sharp designs, and

which brought the Didot typeface into

obliterated the cursive elements from the

the forefront of the Modern era.24

characters. Didot’s approach was unique in that he approached his typeface, not merely a medium of communication, but as an object of art in and of itself, much like his brother’s approach to book design.

22 Ibid.

19 H art, Dana.

23 Ibid.

20 George, Joseph, Didot, 13.

24 Ibid.

Figure 10 Baskerville Compairison | 17

Figure 11

Baskerville

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Didot

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Firmin Didot | 18

Neoclassicism The simple, strong, geometric qualities of Didot was comparable to the contemporary painting style known as Neoclassicism.

25

Neoclassical art revived the linear style of the Renaissance, and also simplified forms to create an abstract appearance (Figure 12).

It was so popular in the nineteenth-century because this era relished law, order, and thoroughness in design. Didot derived the reductive and precise elements of his Didot typeface directly from Neoclassicism. The 26

typeface itself is a subtractive face that does away with unnecessary decoration in order to stress its clear structure. It was produced to resemble that of the ‘Old Style’, but is cut back and thus emphasizes functionality instead.27 In this way, every element of each letter is absolutely essential. The typeface with its thin lines, symmetry, consistency, and mathematically-calculated design thus perfectly reflects the eighteenth-century attitude in its legibility and clarity, which appealed to the neoclassical elite in France.

28

Figure 12 25 G eorge, Joseph, Didot,13.

26 Ibid.

27 Ibid.

28 Ibid.

Napoleon Crossing the Alps is an example of French Neoclassicism.

The typeface that resulted from Didot’s

and was the catalyst toward modern typography.

craftsmanship is regarded in the current era as

The Didot typeface is also considered to be the

being the first aesthetically ‘modern’ typeface,

most influential modern face, because it set

and is the most recognizable and famous Didot

the standard for contrast, stress, white space,

typeface. It is acclaimed primarily for the high

and geometric structure. It is also accredited

contrast between thick and thin strokes, hairline

to be the most beautiful Didot typeface due

serifs with no bracketing, and vertical stress

to its immaculate cut, open text appearance,

in rounded strokes (Figure 13). It also was

and the stark contrast between the fine

designed and engraved by Didot in order to

hairlines and the weight of the thicker strokes.

Neoclassicism | 19

External Qualities

solve the major design problem: how to produce an italic typeface that accompanied a standard roman type without clashing with it. Due to Didot’s forward-thinking design, his typeface is often believed to be the first modern typeface,

Didot

Figure 13

32 Osterer, Heidrun, Philipp Stamm, and Adrian Frutiger, 362.

33 Ovink.

29 G eorge, Joseph, Didot,13.

34 George, Joseph, Didot, 13.

30 Hart, Dana.

35 Ibid, 12.

31 Elkison, 23.

36 Osterer, Heidrun, Philipp Stamm, and Adrian Frutiger, 362.

The Didot typeface features a high contrast between thick and thin strokes, hairline serifs with no brackets, and vertical stress in rounded strokes.

Firmin Didot | 20

Didot | 9-point A BCDEFGHIJK LMNOPQRSTU V W XYZ abcdefghijklmnopqrstuvwxyz 1234567890

Didot | 12-point ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Didot | 15-point ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

Didot | 18-point ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

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Didot Bold

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Didot Italic

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Firmin Didot | 21

Didot

A B C D J K LM R S T U

E FGHI N O P Q V WXYZ

Firmin Didot | 24

External Qualities After Didot released his new typeface in 1784, his contemporaries relished his creation and it completely dominated the typographic scene. The overwhelming opinion of the Didot typeface was that it clearly reflected the antiquity that the elite of neoclassical Europe admired, yet

Univers

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it was also a symbolic reproduction of the modern age, all within one typeface.

Due to the combination between neoclassicism, antiquity, and modernity, France considered the Didot typeface to be the epitome of French Typography.

Adrian Frutiger (Figure 14), the creator of Univers and Avenir (Figure 15) typefaces, remarked on Didot (Figure 16):

Avenir

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29 G eorge, Joseph, Didot,13.

30 Hart, Dana.

31 Elkison, 23.

32 Osterer, Heidrun, Philipp Stamm, and Adrian Frutiger, 362.

Figure 14

Right: Adrian Frutiger studying his typeface, Avenir.

Figure 16

Right: Adrian Frutiger remarks on the Didot typeface

Adrian Frutiger

Introduction | 25

In the development of the Latin typeface, the classical antigua and above all, the later forms of the alphabet cut by Firmin Didot stand out as the most remarkable formal innovations‌Didot consciously moved the stroke direction away from the skewed impact of the broad pen, by building the up and downstrokes, the serifs and the junctures on a clear horizontal-vertical grid. This tendency towards a strongly objective means of letter construction exactly mirrored the zeitgeist of the revolution that was gathering momentum at the end of the 18th century.� Today, the legacy of Firmin Didot can be seen in his modern typeface, Didot.

Firmin Didot | 26

Impact

Figure 17

Johann Unger developed a more legible version of ‘Fraktur’ inspired by the modernity and clarity of the Didot typeface.

Since its creation, many typographers have created typefaces inspired by the Didot type family, and these interpretations pay tribute to the impact that Didot had on the world of typography. German Printer Johann 37

Friedrich Unger who lived from 1753-1804 reacted to the increase of Roman forms in Europe and created a combination of this style with that of the traditional German ‘Fraktur’ typeface. The result he achieved was known as ‘Unger-Fraktur’ (Figure 17) which utilized the geometric clarity of Didot and the aesthetic of Fraktur.

38

In Italy, Giambattista Bodoni of Parma (Figure 18) was another typographer who was influenced by the career of Didot. His beautiful roman typeface named ‘Bodoni’ (Figure 19) further defined the Modern style in the nineteenth-century. According to typographic analysts, Bodoni adopted many of the innovations of Didot, but the typeface itself is less adventurous.

37 H art, Dana.

38 Elkison, 23.

39 Ibid.

39

Figure 18

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Bodoni

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A RT

Figure 19

Firmin Didot | 27

Didot

Firmin Didot | 28

Figure 20

Stereotypography greatly enhanced the efficiency of Didot’s printing establishment. He was able to produce larger runs of book editions much cheaper and quicker.

Not only was Firmin Didot a renown

and also popularized editions of literature in

typographer, printer, and paper maker, but he

French, English and Italian. Because printers

was also a litterateur. He coined the name for

were able to produce a larger number of

stereo-typography, or “stereotyping”, which

editions less expensively, the process of

refers to the metal printing plate created for

stereo-typography changed the book trade

the actual printing of pages (Figure 20). This

dramatically. Didot utilized this process at his

process allowed for printers to print larger

type foundry and printing and paper making

runs of editions more effectively and cheaply.40

complex, which allowed him to refine the

Stereotypography was applied to the printing

print quality of his high-contrast typeface and

process of Callet’s Tables de Logarithmes

make it even more appealing to the eye.41

42 M acmillian, 73.

41 George, Joseph, Didot, 10.

Firmin Didot | 29

Figure 21

The Didot roman typeface became a standard book type in France during the nineteenth-century, and is still in use today. Not only was the face widely 42

utilized in France, but is also in the modern era in many different forms of media. For example, the use of Didot is most iconic on the covers of magazines such as Elle, Vanity Fair, Vogue, and Harper’s Bazaar. It is also currently employed in the logotype for CBS. (Figure 21). When the typeface is used, it bestows a sense of dignity, intelligence, and elegance— much like it had when Firmin Didot first created it in 1784.

42 M acmillian, 73.

Impact | 30

After a prolific career in typography,

printing were concerned. After making

printing, literature, and paper-making,

the transition from the traditional ‘Old

Firmin Didot relinquished his vast firm to

Style’ typeface traditions, Didot created

his sons. By this time, the part he played

a roman face that was admired and even

in the Didot Dynasty caused the firm to be

revered by neoclassic elite of France, yet

one of the most prominent typographic

also was legible for the common individual.

and printing establishments in the world.

43

Within one typeface, it possessed a

Toward the final chapter of his career, his

synergy that equally represented the

manufactory was a place of pilgrimage

antiquity of neoclassical Europe and the

for many printers. For a change of pace,

modern age. The result of his diligence

Didot then became printer to the Institut

and precision, Didot created the first

de France, sat as deputy for l’Eure and

modern typeface, and it has been

was also the director of the Impirie Imprial

utilized since the nineteenth-century.

Typefoundry. In his honor, the French 44

people erected a statue of Firmin Didot at the Hotel de Ville in Paris (Figure 22).

The Didot Dynasty was the most prolific typographic, paper making, and printing enterprise in eighteenth and nineteenth century France. Within the family, Firmin Didot established a reputation for himself as the most successful of his family and contemporaries as far as type design and

43 “ Hoefler & Co.” 44 George, Joseph, Didot, 10.

In honor of Didot, a statue of his likeness was erected at the Hotel de Ville in Paris.

Introduction | 31

Figure 22

Firmin Didot | 32

Bibliography

Ellison, Andy. The Complete Guide to Digital Type: Creative Use of Typography in the Digital Arts. London: Laurence King Publishing, 2006.

Eskilson, Stephen. Graphic Design: A New History. New Haven, CT: Yale University Press, 2012.

“Firmin Didot.” History of Graphic Design. 2017. Accessed February 12, 2017. http://www.historygraphicdesign. com/a-graphic-renaissance/an-epoch-of-typographic-genius/76-firmin-didot.

George, Albert Joseph, and Pierre Didot. The Didot family and the progress of printing: a brief review of the development and accomplishments of the House of Didot: with facsimile pages and translation of Épître sur les progrès de l’imprimerie, written by Pierre Didot, printed in 1784 in italic type designed by his younger brother, Firmin, & dedicated to their father, François-Ambroise Didot. Syracuse: Syracuse University Press, 1961.

Hart, Dana. “Firmin-Didot: A French Legacy.” The Metropolitan Museum of Art, i.e. The Met Museum. June 10, 2015. Accessed February 12, 2017. http://www.metmuseum.org/blogs/in-circulation/2015/firmin-didot.

“Hoefler & Co.” Didot Fonts: History | Hoefler & Co. Accessed February 12, 2017. https://www.typography.com/fonts/didot/history/.

Macmillian, Neil. An A to Z of Type Designers. London: KING LAURENCE PUBLIS, 2006.

Osterer, Heidrun, Philipp Stamm, and Adrian Frutiger. Adrian Frutiger Typefaces: The Complete Works. Basel: Birkhäuser, 2014.

Ovink, G.w. “Nineteenth-century reactions against the didone type model - I.” Quaerendo 1, no. 2 (1971): 18-31. doi:10.1163/157006971x00301.

Smith, Michael Stephen. The Emergence of Modern Business Enterprise in France: 1800-1930. Cambridge (Mass.): Harvard University Press, 2006.

Colophon

The body text is set in 8.5-point Avenir 45 Book.

The figures are set in 8.5-point Avenir 45 Book Bold.

The footnotes are set in 6.5-point Avenir 45 Book.

B G

The main headings are set in 17-point Didot Bold.

A E

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P A DK TV E N HM Y

Molly Stallings The Typographical Legacy of Firmin Didot

Art 430 | Peggy Re | Spring 2017 University of Maryland, Baltimore County An Undergraduate Capstone Project