Linotype Didot Adrian Frutiger
Ramya Swaminathan
History.......................................... 3 Comparative Analysis.....................15
Usage............................................31 Examples in Use..........................45 Sources........................................51
History
He emphasized the significance of the Adrian Frutiger was born on the 24th He emphasized the Over the course beauty of his and readability Adrian Frutiger was of a typeface, of May, 1928 in a small Swiss Village significance of the career as a type designer, born on the 24th of becoming a tool of communication. He called Unterseen. He attended the beauty readability of he created almost May, 1928 in a small died on the 10th of and September, 2015. School of Applied Arts in Zurich. a typeface, becoming a 30 typefaces, some Swiss Village called He has been working throughout the Over the course of his career as a tool of communication. famous ones including Unterseen. He attended three stages of typesetting. He initially type designer, he created almost He died 10ththen of Egyptienne, Avernir, the School of Applied started working with on hotthe metal, 30 typefaces, some famous ones September, 2015. Univers, Frutiger, etc. Arts in Zurich. phototypesetting and lastly digital including Egyptienne, Avernir, typesetting. Univers, Frutiger, etc. 55
LINOTYPE DIDOT
“Moving typefaces to
electronic representation brought with it the jaggies and later the vectorization of the outlines. Given my sense of form, it was quite a painful experience.�
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FOUNDRY
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LINOTYPE DIDOT
Mergenthaler Linotype company The Mergenthaler Linotype Company was founded in 1886 by German-born American Ottomar Merganthaler who developed the Linotype machine. This machine was highly significant as it reduced cost and time in terms of printing process, overall increasing efficiency.
Fonts produced by Linotype
Helvetica Neue Bold Avenir Bold Futura Bold Optima Bold Palantino Bold 8
Original Didot (cut & casted by the Fermin Didot)
Fermin Didot Fermin Didot Fermin Didot Adrien Frutiger was inspired by Fermin Didot’s cut and casted DIDOT typeface. He wanted to newly interpret this typeface which was a very challenging task due hairlines and fat downstrokes which was why 9
to its highly contrasting ultrafine hairlines and fat downstrokes which was why it was created with hot metal. Hence, digitizing it made it more difficult.
LINOTYPE DIDOT
Linotype Didot (Digitized)
Linotype Didot Linotype Didot Linotype Didot Linotype Didot Linotype Didot 10
Didot Family tree Henri Didot (1765-1852)
Pierre François Didot (1732-1795)
(
François Didot
Saint-Léger Didot (1767-1829)
Didot le jeune
(1689-1757)
Firmin Didot (1765-1836) François-Ambroise Didot (1731-1804)
Pierre Didot (1761-1853)
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LINOTYPE DIDOT
Edouard Didot (1797-1825) The Didot Family had a significant reputation in France as they were publishers, printers and typefounders, writers and inventors. The were also the King’s printers at that time. These letters were cut and casted, and then used as printing business.
Ambroise-Firmin Didot (1790-1876)
Hyacinthe-Firmin Didot (1794-1880) Jules Didot (1794-1871)
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Didot Family tree Franรงois Didot was the founder and started off as a printing and bookselling business in 1713.
Franรงois-Ambroise Didot modifed the point system in terms of distinguishing type sizes which was used all around.
Pierre Franรงois Didot started a paper factory and was also a typefounder and publisher.
Henri Didot invented the Polymatype that printed over 200 pieces of type at once.
Didot le jeune followed the footsteps of his older brother Henri and became a typemaker/typesetter.
Pierre Didot took over the printing office after his father. His work was recognized at the Louvre.
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LINOTYPE DIDOT
Saint-Léger Didot invented a paper making machine.
Firmin Didot created the official Didot typeface which were cut and casted.
Ambroise-Firmin Didot took over the family business after his father’s death.
Hyacinthe-Firmin Didot took over the family business with his brother Ambroise their father’s death.
Edouard Didot effectively made translations of books, printed by Jules.
Jules Didot invented round edge initials.
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Comparative analysis
The intended use of the Linotype Didot Typeface as well as the original Didot typeface was to be used as a display/ delicate headline font.
Even though this typeface has been digitized for the sake of readability, it is still very minute in detail that its only intended use is for headlines.
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LINOTYPE DIDOT
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LINOTYPE DIDOT
linotype linotype linotype linotype linotype
HEADLINE
ROMAN
ITALIC
BOLD
BOLD ITALIC
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LINOTYPE DIDOT
Aa Ff Kk Pp Uu
Bb Gg Ll Qq Vv
Cc Dd Ee Hh Ii Jj Mm NnOo Rr Ss Tt Ww Xx Yy Zz
The modern Roman typefaces evolved from handwritten serifs to straight, horizontal hairlines with a distint contrast in the strokes. Looking at the Didot typeface, there have been mixed
opinions on its attractiveness. Some say that it is fragile and is one of the most attractive roman typefaces. Others say that its fragility reduces its opportunity to be used in printing.
NUMERALS
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LINOTYPE DIDOT
BASELINE
BASELINE
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Lining Figures
CAP HEIGHT
01234LINOTYPE 56789 DIDOT CAP HEIGHT
BASELINE
Lining Figures are a particular type of numerals that line up with the capital letters both on the baseline as well as by the cap height.
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Also known as:
modern cap
aligning
LINOTYPE DIDOT
Old Style text
Old Style text, on the other hand are numerals created for the purpose of lowercase characters, matching their x-heights.
Also known as:
lowercase
non-lining
text
hanging
01234 linotype 56789 didot ASCENDER
X- HEIGHT
BASELINE
X- HEIGHT
BASELINE
DECENDER
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Lining Figures
taller, for cap-height
Old Style text
stretched curve before horizontal release thinner stroke
longer diagonal stem
taller stem
oval shaped, elongated height
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thinner stroke
no serif
circular shaped
LINOTYPE DIDOT
Lining Figures and Old Style texts also consist of modified versions. Not all of them look the same even though they are used for cap-heights and x-heights.
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ligatures Ligatures are created by combing two letters together to create a single glyph.
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LINOTYPE DIDOT
curvilinear, asymmetrical eye in the bold italic ligature
the letter “a” has a different form when it is italicized that makes it flow better with the “e”
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Usage
Typographic Anatomy large tittle, far from the body
vertical stress
Vertical Stress in the Didot Headline weight Axial grids work in multiple ways and a significant aspect is the vertical stress of a typeface. This shows the contrasting thickness of the strokes as it reaches the center of its stress.
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LINOTYPE DIDOT
upper stroke is shorter than the lower stroke scalloped terminal ascender
large eye
decender
Closed Counterspace Roman
Headline
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Roman
Headline
Bold tittle size
height
The stroke variations in the letter “i� consist of different serif weights as well as varied stem lengths. As the height of the stem increases, the weight of the font gets slimmer. The tittles also have a different distance from the body thicknesses respective of the weight.
serif length
LINOTYPE DIDOT
There is a distinct difference between the three weights that are demonstrated above. Bold has a relatively thicker stroke comparing Roman which is the thinnest of all. Headline being in between Bold and Roman brings a more sophisticated look through its tall stem and relatively neutral terminal.
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Didot Italics
Linotype Didot Bold Italic Linotype Didot Italic The italics of the Didot typeface consist of two weights - bold italic and bold. There is a strict contrast between the stem of the letter “D” and its stroke width. The terminals of “k” and “f” are more rounded in the bolded version.
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LINOTYPE DIDOT
BOLD
BOLD ITALIC
Pointed vertex
Flat vertex
small counter, thinner stroke
large counter, thicker stroke
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serif
tail
vertical stress
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diagonal stress
LINOTYPE DIDOT
large terminal
small terminal
no serif
tail
serif
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Readability Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit, - Et une Table alphabétique des matieres du Code, et du supplément.
7/8.4pts
Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit 10/12pts
Contenant le texte du Code civil ; Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit, 18/21.6pts
Contenant le texte du Code civil ; - Le Tableau des distances ; 30/36pts
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LINOTYPE DIDOT
Leading Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit 12/14.4pts
Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit
12/18pts
Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit
12/24pts
Contenant le texte du Code civil ; - Le Tableau des distances ; Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit,
12/30pts
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DIDOT LT BOLD GEORGIA BOLD
TYPEFACE PAIRINGS
DIDOT LT HEADLINE HELVETICA REGULAR
DIDOT LT BOLD JOSEFIN SLAB BOLD
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LINOTYPE DIDOT
Complementary The quick brown fox jumps over the lazy dog. The quick brown fox jumps over the lazy dog.
Contrasting The quick brown fox jumps over the lazy dog. The quick brown fox jumps over the lazy dog.
Incompatible The quick brown fox jumps over the lazy dog. The quick brown fox jumps over the lazy dog.
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Examples in Use
The text on the right is a recreation of the Napoleonic Code. This was typesetted and printed by the Didot Family during the 18th and 19th century.
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LINOTYPE DIDOT
CODE CIVIL DES FRANÇAIS SUIVI L’EXPOSÉ DES MOTIFS, sur chaque loi, présenté par les Orateurs du Gouvernment ; - Des rapports faits au tribunat au nom de la Commission de Législation ; - Des OPINIONS ÉMISES dans le cour de la discussion; - Des DISCOURS prononcÉs au corps lÉgislatif par les Orateurs du Tribunat ; Et d’une ATable analytique et raisonnés des maitieres tant du Code que des discours.
T O M M E P R E M I E R. Contenant le texte du Code civil ; - Le Tableau des distances ; - Les lois transitoires; - Les lois, sur les changement de Noms, sur l’Organisation du Notariat, sur les Ecoles de Droit, - Et une Table alphabétique des matieres du Code, et du supplément.
A PARIS,
CHEZ FIRMIN DIDOT, LIBRAIRE,
prononE Et fondeur en caracteres d’imprimerie, rue de thionville, n 116 et 1850.
AN XII. - 1804. 48
As the original Didot typeface was used as headlines in publications, there are various other modifications of the Didot typeface that is used lives up to its
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history and continues to be used as a headline for magazines such as Vogue, Elle Magazine, Harper’s Bazaar. It is also used for the CBS logo.
LINOTYPE DIDOT
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Sources
LINOTYPE DIDOT
Alexander, Lawson. Printing Types; an Introduction. Boston, Beacon Press, 1971. “Brands of the World™ an All Creative World Site.” Brands of the World™ | Download Vector Logos and Logotypes, www.brandsoftheworld.com/. Coles, Stephen. The Anatomy of Type: A Graphic Guide to 100 Typefaces. Harper Design, 2013. Delamarre, Louis. “Didot.” The Catholic Encyclopedia. Vol. 4. New York: Robert Appleton Company, 1908. 11 Nov. 2019 Flask, Dominic. Adrian Frutiger : Design Is History, www.designishistory.com/1940/ adrian-frutiger/ “Photos of Cindy Crawford.” Bashny.net, bashny.net/t/en/93137. “Harper’s Bazaar U.S. May 2019 Cover (Harper’s Bazaar U.S.).” MODELS.com, models.com/work/harpers-bazaar-us-harpers-bazaar-us-may-2019-cover. Hlavsa Oldřich. A Book of Type and Design. Tudor Publishing Co., 1960. Lewis, John. Typography, Basic Principles: Influences and Trends since the 19th Century. Rinehold Pub. Corp., 1968. “Linotype - Fonts.com.” Fonts.com, www.fonts.com/font/linotype. Monotype GmbH, info@linotype.com. “Font Designer – Adrian Frutiger.” Adrian Frutiger Remembered - Linotype Font Designer Gallery, www.linotype.com/72034866/adrianfrutigerremembered.html. Osterer, Hein, et al. Adrian Frutiger – Typefaces : The Complete Works. Birkhäuser, 2014. “Ottmar Mergenthaler.” Britannica Academic, Encyclopædia Britannica, 10 Feb. 2010. The Editors of Encyclopaedia Britannica. “Didot Family.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 1 June 2018, www.britannica.com/topic/Didot-family. Woodham, Jonathan. “Frutiger, Adrian.” A Dictionary of Modern Design. : Oxford University Press, , 2016. Oxford Reference. Date Accessed 11 Nov. 2019
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