The Type of Fashion: BODONI

THE TYPE OF FASHION TIFFANY LAI

ONI

BODO

WHAT IS TYPOGRAPHY? THE VI足SUAL COM足PO足NENT OF THE WRIT足TEN WORD Typography is the art and technique of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading, adjusting the spaces between groups of letters and adjusting the space between pairs of letters. Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists and graffiti artists.

Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.

typogr

2 Bodoni: the type of fashion

A glyph is an element of writing. More precisely, a glyph is an individual mark on a written medium that contributes to the meaning of what is written. A grapheme is made up of one or more glyphs.

In typography, a typeface is a set of one or more fonts, in one or more sizes, designed with stylistic unity, each comprising a coordinated set of glyphs. A typeface usually comprises an alphabet of letters, numerals, and punctuation marks; it may also include ideograms and symbols, or consist entirely of them, such as mathematical or map-making symbols.

The term typeface is frequently confused with font; the two terms had more clearly differentiated meanings before the advent of desktop publishing. The distinction between font and typeface is that a font designates a specific member of a type family such as roman, boldface, or italic type, while typeface designates a consistent visual appearance or style which can be a family or related set of fonts.

A graphic designer is a professional within the graphic design and graphic arts industry who assembles together images, typography or motion graphics to create a piece of design. A graphic designer creates the graphics primarily for published, printed or electronic media, such as brochures and advertising. They are also sometimes responsible for typesetting, illustration, user interaces and web design.

A core responsibility of the designer’s job is to present information in a way that is both accessible and memorable.

raphy

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BRIEF HISTORY OF

TYPOGRAPHY

Typography is one of our oldest and least-appreciated arts. Despite having been in a state of constant flux since its inception in 1440 and decorating everything from web pages to billboards, most people take its existence seemingly for granted. To remedy that, we’re here giving a quick history of the art of typography – taking you through the highpoints, low points and key moments in the evolution of type:

3100 BC Before it all began, there was a time where humans were limited to just pictures and symbols in order to communicate with one and other. The Early Sumerians used pictographs in order to communicate with other members of their tribe. They drew on a clay tablet and used a wedge shaped tool.

1440 Gutenberg was responsible for being

the first to use the movable wooden type and printing press. Evidence of this would be the Gutenberg Bible, which was sold cheaply due to the effectiveness of the movable wooden type. Up to this day, Gutenberg’s movable type printing is known as the second most important invention.

1600 The first British Newspaper was released and German newspaper became widespread due to the great development in printing around Europe. Reading large material was no longer an issue.

1702 The first Daily Newspaper called

“Daily Courant” was released. Reading was still targeted towards the rich and wasn’t a widespread practice. Printing was still slightly expensive but writers such as Shakespeare were beginning to flourish. Technology was still weak in terms of printing but the first book still designed using Romaine Du Roi.

1737 Fournier Le Juene finally standardised the font sizes. Baskerville and Bodoni font were created.

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1798 Development of the first fully iron

pressed finally began. Also, a man known as Alois Senefelder invented printing with Lithography. Typefaces had developed a much better quality.

1919 Bauhaus was opened during the early

nineteenth century as a Fine Arts and Design school.

1975 Graphic Design was becoming more 1814 The first steam powered press was

invented. The steam machine had the power to produce 480 copies print per hour.

This shows how much typography was influencing printing industry.

1886 Industrial revolution had a strong

influence on typography. The development of Lithography into plates also took place.

A man known as Ottmar Mergenthaler invented the Linotype Machine and became one of the world’s leading book and newspaper manufacturers in the world.

recognised and typography was becoming more adjusted to computer and the latest technology.

1990 Digital Desktop publishing began

and the first Apple computer was released which encouraged the development of digital typography. Mental and Machine set type also began at this point which also encouraged digital printing.

1893 The first Monotype machine was also created followed by the start of a large type founding cooperation.

1900 More typefaces were designed and

printing was no longer much of an issue by this time. The early 1900s had grown more adjusted to printing and new typography designs as well as typefaces.

21ST CENTURY The use of type and its

design was firmly set of designers. Nowadays, the development in design and digital software have also maximised new typography trends.

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LEADING IN TYPOGRAPHY When working with a paragraph, or just more than one line of type, leading is the distance between the baselines in the paragraph. A baseline is the imaginary guideline that type sits on. The standard proportion of leading to type size is typically 120%. So if the type size is 10 point, then the most standard leading would be 12 point. Now, you can see the difference between leading 11, 12, 13 and 14.

The Toronto engraving firm Grip Limited was home to many of Canada’s premier designers and painters in the early years of the 20th century.

J.E.H. MacDonald, Arthur Lismer, Frederick H. Varley, Frank Johnston and Franklin Carmichael who met as employees of Grip, were also fine painters, soon to come together as members of the Group of Seven. MacDonald and Lismer both taught at the Ontario College of Art. Tom Thomson, another famous Canadian painter, was also a designer at Grip and a close a friend of MacDonald’s.

Adobe Garamond Pro 10/11 16 Pica Measure

The Toronto engraving firm Grip Limited was home to many of Canada’s premier designers and painters in the early years of the 20th century.

J.E.H. MacDonald, Arthur Lismer, Frederick H. Varley, Frank Johnston and Franklin Carmichael who met as employees of Grip, were also fine painters, soon to come together as members of the Group of Seven. MacDonald and Lismer both taught at the Ontario College of Art. Tom Thomson, another famous Canadian painter, was also a designer at Grip and a close a friend of MacDonald’s.

Adobe Garamond Pro 10/13 16 Pica Measure

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The Toronto engraving firm Grip Limited was home to many of Canada’s premier designers and painters in the early years of the 20th century.

J.E.H. MacDonald, Arthur Lismer, Frederick H. Varley, Frank Johnston and Franklin Carmichael who met as employees of Grip, were also fine painters, soon to come together as members of the Group of Seven. MacDonald and Lismer both taught at the Ontario College of Art. Tom Thomson, another famous Canadian painter, was also a designer at Grip and a close a friend of MacDonald’s.

Adobe Garamond Pro 10/12 16 Pica Measure

The Toronto engraving firm Grip Limited was home to many of Canada’s premier designers and painters in the early years of the 20th century.

J.E.H. MacDonald, Arthur Lismer, Frederick H. Varley, Frank Johnston and Franklin Carmichael who met as employees of Grip, were also fine painters, soon to come together as members of the Group of Seven. MacDonald and Lismer both taught at the Ontario College of Art. Tom Thomson, another famous Canadian painter, was also a designer at Grip and a close a friend of MacDonald’s.

Adobe Garamond Pro 10/14 16 Pica Measure

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Menu Design, October 2014, by Tiffany Lai

In this menu design, it has used manual kerning and leading in order to create an appropriate space to it.

The typeface used is Century Gothic, which is a modern geometric typeface. Century Gothic is a clean and rounded sans-serif font to give a modern look. It is strongly influenced by the font Futura. Century Gothic and other Futura - style typefaces tend to go well with Bodoni-style typefaces, which always give a modern and fashionable look.

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the type of fashion

BODONI “The letters don’t get their true delight, when done in haste & discomfort, nor merely done with diligence & pain, but first when they are created with love and passion.”

— Giambattista Bodoni

Giambattista Bodoni was born on 16 February 1740 at Saluzzo, Italy. He came from a printmaking background, his father and grandfather both being in that trade. As a boy, he learnt his art from his printer father, in addition to developing skill in the cutting of woodblocks. He first took the type-designs of Pierre Simon Fournier as his exemplars but afterwards became an admirer of the more modelled types of John Baskerville; and he and Firmin Didot evolved a style of type called ‘New Face’, in which the letters are cut in such a way as to produce a strong contrast between the thick and thin strokes. Bodoni designed many typefaces, each one in a large range of type sizes. He is even more admired as a compositor than as a type designer, as the large range of sizes which he cut enabled him to compose his pages with the greatest possible subtlety of spacing. Like Baskerville, he sets off his texts with wide margins and uses little or no illustrations or decorations.

He worked for a time in Rome as an apprentice in the Roman Catholic Church’s Propaganda Fide printing house. There, it was said, he impressed his superiors so much with his eagerness to learn, studiousness in mastery of ancient languages and types, and energy of effort, that he was allowed to place his own name on his first books, a Coptic Missal and a version of the Tibetan alphabet.

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In 1768, Giambattista Bodoni took over leadership of the ducal printers in Parma – the “Stamperia Reale”. His employer, Duke Ferdinand, had nothing less in mind than to accumulate the greatest wealth of Italy’s writings in his print shop.

During his work at the “Stamperia Reale”, Bodoni first oriented himself towards the fonts of Pierre Fournier of Paris; soon however he developed many of his own original type faces. Three years after beginning to work in Parma, Giambattista Bodoni produced his first font pattern book with the title “Saggio tipografivo di fregi e maiuscole”. In 1775, Bodoni printed the homage book “Epithalamia exoticis linguis reddita”, which was written in 25 languages.

In order to keep Giambattista Bodoni at his court, Duke Ferdinand allowed him to establish his own printing works in 1791 in his palace, in which for example an edition de luxe of Virgil and Torquato Tasso’s “La Gerusalemme liberata” were produced.

In 1806, Bodoni printed the Lord’s Prayer in 155 languages.

Giambattista Bodoni, also known as the “prince of typographers” and “printer of kings”, died in 1813 in Parma.

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. He became known for his designs of pseudoclassical typefaces and highly styled editions. His printing reflected an aesthetic of plain, unadorned style, combined with purity of materials.

This style attracted many admirers and imitators, surpassing the popularity of French typographers such as Philippe Grandjean and Pierre Simon Fournier.

Around 1800, Giambattista Bodoni developed a completely new kind of type which refrained from decorative padding and was conceived solely on the criteria of symmetry and proportionality. In this way, the classical font “Bodoni” emerged, a masterpiece of typography, which would be used untold times by other typesetters.

Portrait of Bodoni (c. 1805-1806),

by Giuseppe Lucatelli. Museo Glauco Lombardi.

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GIAMBATTISTA BODONI MANUALE TIPOGRAFICO (1818)

What was probably Giambattista Bodoni’s most important work, the “Manuale tipografico”, was published posthumously by his widow Margherita Dall’Aglio in 1818. Besides 142 fonts, it also included a collection of flowering ornamentals and geometric patterns.

Celebrated printer and type designer Giambattista Bodoni set the standard for printing the alphabet with his Manuale tipografico. The two-volume set — published posthumously in a limited edition of 250 — features 142 sets of roman and italic typefaces, a wide selection of borders, ornaments, symbols, and flowers, as well as Greek, Hebrew, Russian, Arabic, Phoenician, Armenian, Coptic, and Tibetan alphabets.

Bodoni (1740-1813) declared that well-designed type derived its beauty from four principles: uniformity of design, sharpness and neatness, good taste, and charm. His typefaces display an unprecedented degree of technical refinement, and epitomize purity and grace. The culmination of more than four decades of work, the Manuale tipografico represents one of history’s greatest typographical achievements. The Bodoni typeface is still widely used even today, both in digital media and in print.

In 1818, 5 years after his death, his wife Margherita Dall’Aglio published Il Manuale tipografico (The Manual of Typography), presenting 373 characters, 34 Greek and 48 Oriental or exotic ones. He was influenced by Fournier and Firmin Didot. The image on the right is the 1818 book.

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Manuale Tipografico (1818) Bodoni, Giambattista Bridwell Library, Southern Methodist University

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BODONI The style of Bodoni is modern. Not only the extreme contrast of thick and thin strokes is the distinguishing trait of this typeface, the geometric form with more circular rounded sides and more vertical stems are also the crucial components of this typeface. Consequently, these give a classic and fashionable feel to it. It is classic because of its traditional serif, and it is fashionable because of its geometric and light feel from the contrast.

Since Bodoni has an extreme contrast between the thick and thin parts of their body, it has been often used as a display face, such as newspapers, magazines, billboards and brandings, which creates a clean and high-ended style for the layout.

It is often used for fashion industries because of its high-ended class with a modern twist. It is stylistic enough to make an impression to audience’s eyes.

When you grab any fashion magazines, you may easily spot the use of Bodoni

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today...

on the cover. Fashion magazines such as Vogue, Harper’s Bazaar, Elle, W Magazines and Toronto Life Fashion, utilize Bodoni as their title of the magazines. It cooperates with the magazines. It cooperates with the theme of fashion very well, which gives a modern feel to it. Other modern typefaces are used with the choice of Bodoni as well, for example, Century Gothic and Futura.

We can often see these combinations as it works nicely together to give an aesthetic and modern style.

Not only fashion magazines, but also Bodoni is used in many categories that are related to the field of fashion. For example, the famous cosmetic brands Revlon had used Bodoni as the older version of their word mark. It gives a retro and fashionable style to the brand name. Many fashion brands use Bodoni in their word mark as well, for instance, Giorgio Armani, Ralph Lauren, Zara, Guerlain as well as Elizabeth Arden. These brands are all classified as stylish and high-end brands.

Bodoni is heavily used in the fashion world, such as Vogue Magazines, Toronto Life Fashion Magazines and W Magazines.

The Cover of Vogue Magazines in 1955

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An Inner Page of Fashion Magazines Canada, October 2012, Photographed by Gabor Jurina

Here are more examples of Bodoni used today. Bodoni is a standard typeface in the fashion world. It is not only used in fashion magazines, but it also used in fashion brand.

Bodoni is a popular choice among fashion labels.

Bodoni is used in other aspects that are not related to the field of fashion. For example, it is used in Mamma Mia’s poster. It gives a classy and fashionable tone to the poster and the entire movie.

Bodoni is one of the two typesets that is used by Hilton Hotels for restaurant or bar menu content as well. For example, Hilton Garden Inn is a modified version of Bodoni Berthold BQ-Medium.

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Bodoni is a popular and inspirational typeface. There are different typefaces that are inspired

by Bodoni. They do have some similar features, such as the extreme thick and thin strokes. Some are made to a more cursive Bodoni, while some are altered to a more condensed Bodoni.

At medium-small sizes, Bodoni still works honestly in its regular version, but it loses its letterforms’ characteristic shapes with the bold version; here, the stem strokes become thicker while the hairline strokes stay practically the same, accentuating even more a contrast that is already at the borderline between legibility and illegibility

We therefore realize that the use of Bodoni requires a careful, meaningful attention. If we do not spend enough time trying to figure out how to lay out a text using this typeface, we risk losing that sensation of pleasant old fashion document for a simply ugly, old looking type. Size, spacing, kerning and leading are then important elements to balance in order to obtain a satisfying result.

No doubt that Bodoni is one of the most beautiful typefaces ever made. Although it was created in the 1798, his glamour and charming aspect makes it an easy solution when communicating elegance is essential.

Citation “Bodoni: a Typeface for (almost) any Occasion” - Gianluca Teti http://www.gianlucateti.com/bodoni-a-typeface-for-almost-any-occasion/ “Defining Typography” - Word Press http://typography540.wordpress.com/definitions/ “Giambattista Bodoni” - Art Directory http://www.giambattista-bodoni.com/ “Giambattista Bodoni” - Wikipedia http://en.wikipedia.org/wiki/Giambattista_Bodoni It’s History (Typography Timeline) http://esthertakinola.blogspot.ca/2011/12/its-history-typography-timeline.html “The Birth of the Legendary Typeface” - Taschen http://www.taschen.com/pages/en/catalogue/design/all/05059/facts.bodoni_manual_of_typography_manuale_ tipografico_1818.htm

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