328:
38:
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and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing a thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves."
336:
709:
457:
old-faced types ... and the infection has in some degree been caught by the sign-writer ... we have thus, on the one hand, a hard, an irregular and unfinished letter; and on the other, a graceful, symmetrical and highly finished letter ... there is some indication that this absurdity, like all fashions that have their birth in bad taste, is happily passing away, and the modern letter is again asserting its superiority. It has always been the case in the arts that, after periods of extravaganza and
637:
161:
478:
688:, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years. French designer Loïc Sander has suggested that the dazzle effect may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and may choose Didone fonts designed for headings. Many modern Didone digital revivals intended for professional printing, such as Parmagiano, ITC Bodoni and
292:
4057:
193:
461:, there has been a recurrence to sound taste. Positive retrogession is against nature and any tendency in this direction will most assuredly correct itself. The adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model the old
528:, he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality" As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving a white line in the centre of the thick strokes. He hoped this design,
183:
506:
797:
205:
375:', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively. Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of the fat face letter, and the pre-existing inline types with a line inside the type.
678:
The effective use of digital Didone typefaces poses unique challenges. While they can look very elegant due to their regular, rational design and fine strokes, a known effect on readers is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the
683:
of digital font has been described as particularly essential with Didone designs. Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility. Optical sizes were a
456:
It is ... marvellous to think that, after the much desiderated correction had been applied, an attempt should recently have been made to introduce these old irregular letters again to the public notice, for the vagaries of fashion have of late brought into use in the printing trade several kinds of
252:
in France towards a more extreme, precise design with intense precision and contrast, that could show off the increasingly refined printing and paper-making technologies of the period. (Lettering along these lines was already popular with calligraphers and copperplate engravers, but much printing in
443:
You ask me what kind of whim leads me to revive types of the sixteen century today.... I often have to reprint old poetry and this task invariably makes me oddly uneasy. I cannot recognise in my proofs the verses … our present day punches, which are so precise, so correct, so regularly aligned, so
501:
in the twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton
310:
has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and
311:
descenders grow longer, the letters crowd together; the normal mid nineteenth-century book is typographically dreary. The
Victorians lost the idea of good type to read." Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen".
287:
Didone typefaces came to dominate printing by the middle of the nineteenth century, although some "old style" faces continued to be sold and new ones developed by typefounders. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past.
765:
is notable as an extremely distant descendant of Didone typefaces. In
Georgia, the stroke contrast is greatly reduced and the bold made much bolder than normal in order for the design to render well on a low-resolution computer monitor, but the general letter shape and ball terminals of
399:, rejected austere, classical designs of type, ultimately in favour of gentler designs. Some of these were revivals of typefaces from between the Renaissance and the late eighteenth century such as revivals (with varying levels of faithfulness to the originals) of the work of
834:
had described them as 'typographic monstrosities'. Nonetheless, somewhat toned-down derivatives of this style persisted in popular use throughout the nineteenth century, and are commonly associated with 'wild west' printing on posters. They ultimately became part of the
319:, a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of the eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been."
599:
is inspired by later
American Didone designs, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for
804:
An eccentric method of reworking and parodying Didone typefaces has long been to invert the contrast, making the thin strokes thick and the thick strokes thin. First seen around 1821 in
Britain and occasionally revived since, these are often called
253:
western Europe up to the end of the eighteenth century used typefaces designed in the sixteenth century or relatively similar, conservative designs.) These trends were also accompanied by changes to page layout conventions and the abolition of the
305:
Many historians of printing have been critical of the later Didone faces popular in general-purpose printing of the nineteenth century, especially following the reaction of the twentieth century against
Victorian styles of art and design.
261:, speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling". Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated.
434:
An early example of the distaste some printers had for the modern type style was French printer Louis Perrin, who would eventually commission some new typeface designs on a traditional model. He wrote in 1855 (tr.
359:, the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces. These included the
778:, an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve a complementary, more balanced reading experience on paper.
481:
Custom typefaces of the
Kelmscott Press. Its medievalist approach and custom typefaces were imitated by many printers, publishers and typefounders in the late nineteenth century.
684:
natural requirement of printing technology at the time of Didone typefaces' first creation in metal type, since each size of metal type would be custom-cut, but declined as the
567:, deliberately created the system with the intention of producing an effect inspired by the "classic style" of nineteenth-century scientific printing with a family based on an
649:
547:(AtypI). The genre remains particularly popular for general-purpose use in the printing of Greek (the Didot family were among the first to set up a printing press in the
861:
Note that the classification of typefaces as "transitional" is somewhat nebulous. Eliason (2015) provides a modern assessment of the limitations of this classification.
1090:
Bodoni, Giambattista. Columbia
Electronic Encyclopedia, 6th Edition . January 2009:1-1. Available from: Academic Search Premier, Ipswich, MA. Accessed August 7, 2009.
529:
574:
Many newspapers were founded in the nineteenth century, and many newspaper typefaces have remained rooted in nineteenth-century models of type. Linotype's popular
391:
genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by the
383:
Didone fonts began to decline in popularity for general use, especially in the
English-speaking world, around the end of the nineteenth century. The rise of the
1128:
Cees W. De Jong, Alston W. Purvis, and
Friedrich Friedl. 2005. Creative Type: A Sourcebook of Classical and Contemporary Letterforms. Thames & Hudson. (223)
616:, inspired by labels on maps. Fat face typefaces remained popular for display use in the mid-twentieth century with new designs such as Monotype's Falstaff and
1198:
524:, an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about the lettering style. While he mentioned Bodoni in his book
517:. Kennerley is an example of the revival of 'old style' fonts that began to displace Didone type for much general use around the end of the nineteenth century.
301:
in the sharp, high-contrast Didone type of the period. Popular at the time, the style had disappeared almost completely by the middle of the twentieth century.
712:
As "Didone" serif text faces were the norm throughout the nineteenth century, other fonts of the period and beyond were derived on them. In this picture, a
675:
a crisp, 'European' design of type may be considered appropriate. They are used more often for general-purpose body text, such as book printing, in Europe.
1833:
3642:
692:' Didot and Surveyor, have a range of optical sizes, but this is less common on default computer fonts. Among default Didone fonts on computer systems,
830:
Intended as attention-grabbing novelty display designs more than as serious choices for body text, within four years of their introduction the printer
170:, based on 1470s Venetian printing. The narrowest part of the stroke is at top left/bottom right, so the axis is diagonal and the contrast low. Below,
2254:
135:, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as
2396:
1077:
817:
because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble
1515:
1260:
578:
of the 1930s, for many years the model for most newspaper printing worldwide, remained based on this model but toughened-up to increase clarity.
1546:
870:
The specific
Clarendon face shown is actually the Haas Clarendon of the 1950s, but it is not too dissimilar to ones of the nineteenth century.
95:
that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by:
4016:
1580:
972:
444:
mathematically symmetrical ... no doubt have their merits, but I should prefer to see them kept for printing reports on the railway.
2193:
280:
designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called
2449:
582:' Bodoni typeface, introduced around 1907-1911, became hugely popular for news headlines. Writing in 2017, digital font designer
2177:
1899:
901:
3013:
3086:
2786:
109:
Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)
1147:
2593:
800:
A document printed in 1836, showing Didone (body text), 'Italian' (the word 'proceedings') and early sans-serif fonts.
2483:
2302:
1934:
1790:
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designs. Later developments of the latter class have been called Scotch Modern and show increasing Didone influence.
17:
2373:
1202:
1363:
1325:
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2140:
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240:, remain in use today. Their goals were to create more elegant designs of printed text, developing the work of
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2467:
1837:
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448:
A revival of interest in the old styles of letter in Britain around 1870 was, however, criticised by master
3896:
3858:
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1299:
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343:, 1829. Similar designs, more or less inspired by typefaces, were used on gravestones in the northern USA.
4042:
3111:
1224:
Eliason, Craig (October 2015). ""Transitional" Typefaces: The History of a Typefounding Classification".
551:). It also is often seen in mathematics, as the open-source standard mathematical typesetting programmes
2404:
1863:
3622:
3006:
1703:
791:
462:
1267:
739:, developed in Europe some years after their introduction. An example of this influence is the narrow
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1554:
1523:
1748:
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989:
966:
4026:
3843:
3514:
3451:
3156:
3079:
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689:
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392:
367:
and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the
327:
124:
936:
719:
is shown, with the standard nineteenth-century 'R' and 'Q' but bulked-up letterforms and boosted
588:
466:
1400:
Ovink, G.W. (1 January 1972). "Nineteenth-century reactions against the didone type model-III".
679:
other, much thinner strokes that define which letter is which. For this reason, using the right
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995:
579:
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1889:
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37:
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1922:
1782:
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designs because of the serifs becoming thick. In the 19th century, these designs were called
740:
728:
249:
3003:
The 'modern face' in France and Great Britain, 1781–1825: typography as an ideal of progress
2648:
1630:
3738:
3379:
3233:
1652:
Twyman, Michael. "The Bold Idea: The Use of Bold-looking Types in the Nineteenth Century".
836:
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225:
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1664:
8:
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4060:
4021:
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Typographia : an historical sketch of the origin and progress of the art of printing
2548:
1605:
625:
613:
596:
514:
221:
132:
116:. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
3043:
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1913:
1911:
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1930:
1895:
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897:
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Nonetheless, Didone designs have remained in use, and the genre is recognised on the
273:
209:
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3554:
3415:
3225:
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2720:
2032:
1923:"Reviving the Classics: Matthew Carter and the Interpretation of Historical Models"
1908:
1496:
1409:
1375:
1337:
1233:
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732:
716:
708:
671:, on which the paper retains the detail of their high contrast well, and for whose
575:
568:
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340:
316:
241:
233:
59:
3028:
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2426:
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513:, Goudy comments on the work of Baskerville and Bodoni in a book typeset with his
335:
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3838:
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3721:
3612:
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3151:
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Designing information : human factors and common sense in information design
2337:
2333:
1807:
1480:
731:, has been suggested as a major influence on many early sans-serif fonts such as
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560:
498:
424:
312:
269:
106:
Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
42:
988:
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3263:
3131:
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2080:
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521:
486:
404:
400:
396:
28:
2790:
1487:
Ovink, G. Willem (1973). "Review: Jan van Krimpen, A Letter to Philip Hofer".
636:
612:. Some later Didone families have focused on subgenres of the period, such as
592:
based on the nineteenth-century model because it "had to feel like the news."
355:
Driven by the increasing popularity of advertising, whether printed or custom
4075:
3748:
3716:
3706:
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2733:
1971:
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and digital composition, while modern typefaces along the same lines include
548:
533:
449:
307:
174:. The contrast has been increased and the axis of the contrast made vertical.
113:
3033:
1925:. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.).
1538:
1507:
1500:
1413:
1379:
1341:
976:. Vol. 4 (11th ed.). Cambridge University Press. pp. 111–112.
477:
4006:
3886:
3773:
3758:
3728:
3688:
3671:
3425:
3395:
3369:
3278:
3121:
3103:
2295:
The Changing Newspaper: typographic trends in Britain and America 1622-1972
1918:
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917:
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751:
fold up to become vertical, similar to what is seen on Didone serif fonts.
662:
564:
436:
277:
217:
128:
46:
2853:
2804:
2006:
1955:
1953:
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A mixture of regular-weight and bolder Didot-style types (proclamation of
281:
4001:
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3989:
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3793:
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3698:
3638:
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3573:
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2941:, National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
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2002:
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Roman writing, although this may be a coincidence. They were also called
696:
on Windows is oriented towards body text use, while the Didot revival on
490:
339:
An ultra-bold Didone "fat face" from the A.W. Kinsley & Co. foundry,
291:
265:
3054:
1857:
1855:
839:
genre of slab-serif typefaces, and these later designs are often called
680:
3974:
3788:
3678:
3531:
3524:
3501:
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3420:
3374:
3331:
3326:
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3136:
3095:
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1950:
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810:
685:
494:
388:
384:
368:
364:
360:
245:
192:
144:
2500:
2169:
Language Culture Type: International Type Design in the Age of Unicode
1425:
1423:
160:
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3238:
3166:
2388:
2221:"Remarks to Celebrate the Publication of Computers & Typesetting"
1852:
1569:
1161:
1159:
1003:
736:
601:
356:
2144:
827:, an equally inauthentic term applied to slab serifs of the period.
489:'s Kelmscott Press, which commissioned new custom fonts such as his
351:
A bold inline modern face in a specimen issued by William Caslon IV.
3939:
3798:
3617:
3490:
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3301:
3253:
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1678:. London: Friends of the St Bride Printing Library. pp. 1–19.
1420:
720:
416:
372:
92:
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designs are preserved. He also developed the Scotch Roman revival
727:
The shape of nineteenth-century Didone designs, with their narrow
3763:
3549:
3400:
3311:
3243:
3179:
3048:
of Bodoni's types (1818, published posthumously by his wife), at
1692:
1364:"Nineteenth-century reactions against the didone type model - II"
700:
was specifically intended for display use and not for body text.
2751:
2050:
1992:
Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.
1978:
Mosley, James. "The Typefoundry of Vincent Figgins, 1792-1836".
1326:"Nineteenth-century reactions against the didone type model - I"
3666:
3283:
505:
408:
254:
229:
171:
127:
system. It amalgamates the surnames of the famous typefounders
103:. (The serifs have a nearly constant width along their length.)
1061:
796:
204:
200:, a posthumous showcase of his work and engraving by his wife.
3509:
3248:
3216:
3064:
3055:
Specimen of Printing Types by Vincent Figgins, Letter Founder
2132:
1055:
556:
544:
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printers imitated his model, and while some printers such as
412:
100:
89:
1929:. Princeton Architectural Press. pp. 35–6, 61, 84, 90.
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182:
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3711:
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1622:
697:
648:
485:
One influential example in the late nineteenth century was
80:
74:
65:
1676:
The Nymph and the Grot: the Revival of the Sanserif Letter
1581:"By the Numbers no. 2—Fat Faces in New England Cemeteries"
452:
James Callingham in his contemporary textbook on the art:
2962:
2297:(1. publ. ed.). London: Fraser. pp. 100–2 etc.
1740:
1285:
552:
2594:"Book Review: Size-specific Adjustments to Type Designs"
2074:
2072:
2070:
2024:
1721:
920:(1985). "Didot: an honoured name in French typography".
889:
595:
Among popular faces in modern use, the typeface family
2419:
2283:
2143:. Gerry Leonidas/University of Reading. Archived from
2085:. New York: Mitchell Kennerley. pp. 34–5 & 40
1836:. Graphic Design and Publishing Centre. Archived from
1201:. Graphic Design and Publishing Centre. Archived from
743:
of these designs, in which strokes on letters such as
3029:
Computer Modern release, for general use (select otf)
2067:
774:
for print use. Given these unusual design decisions,
77:
2845:
2616:
2614:
2362:
1891:
Revival Type: Digital Typefaces Inspired by the Past
1598:
661:
In print, Didone fonts are often used on high-gloss
71:
62:
1963:(1970). "Fat Faces: Their History, Forms and Use".
1927:
Typographically Speaking: The Art of Matthew Carter
216:Didone types were developed by printers including
68:
1774:
1013:(1930). "The Evolution of the Modern-Face Roman".
2901:The Practice of Typography, Plain Printing Types,
2666:
2611:
2311:
1825:
1799:
264:In Britain and America, the lasting influence of
123:The term "Didone" is a 1954 coinage, part of the
4073:
2825:
2819:
2255:"Commemorative lecture of the Kyoto Prize, 1996"
2246:
2123:
2568:
1140:Adrian Frutiger – Typefaces: The Complete Works
1138:Osterer, Heidrun; Stamm, Philipp (8 May 2014).
883:
493:on medieval and early Renaissance models. Many
147:designs, which date to the Renaissance period.
2492:
2097:
1995:
1547:"Type Designs of the Past and Present, Part 3"
1516:"Type Designs of the Past and Present, Part 4"
1124:
1122:
4017:Intellectual property protection of typefaces
3080:
2165:
1607:Untitled specimen issued by William Caslon IV
3559:
2697:"Martha Stewart's Graphic Design for Living"
1781:. New Haven: Yale University Press. p.
1728:Mosley, James (1963). "English Vernacular".
1137:
1076:: CS1 maint: multiple names: authors list (
1029:
2996:Giambattista Bodoni: His Life and His World
2571:"Size-specific Adjustments to Type Designs"
1119:
922:Bulletin of the Printing Historical Society
896:. Laurence King Publishing. pp. 50–5.
586:wrote that he had kept his font design for
331:Fat face type on a poster. London, c. 1840s
3087:
3073:
3057:- the specimen book of London typefounder
2721:My Type Design Philosophy by Martin Majoor
2694:
2056:
1654:Journal of the Printing Historical Society
781:
4043:Punctuation and other typographic symbols
2937:Provan, Archie, and Alexander S. Lawson,
2518:
2186:
2159:
1894:. Yale University Press. pp. 121–2.
1887:
1393:
1199:"Transitional & Modern Type Families"
563:family as default. The system's creator,
268:led to the creation of types such as the
1881:
1772:
1355:
960:
795:
707:
647:
635:
545:Association Typographique Internationale
504:
476:
395:and antiquarian-minded printers such as
346:
334:
326:
290:
203:
191:
36:
27:For the opera by Francesco Cavalli, see
3005:(thesis, University of Reading, 2014),
2912:
2903:The Century Co., N.Y.C., 1902, p. 333.
2731:
2397:"Type Tactics No. 4: Heavy Roman Types"
2368:
1959:
1864:"The Story of Our Friend, the Fat Face"
1861:
1628:
1544:
1513:
1474:Nineteenth-century Ornamented Typefaces
1429:
1317:
1223:
1062:Wigglesworth, Bradford, Lieber (1830).
1009:
14:
4074:
2757:
1917:
1727:
1670:
1645:
431:were new designs on the same pattern.
322:
3068:
2784:
2695:McNaughton, Melanie (December 2010).
2218:
2078:
1965:Selected Essays on Books and Printing
1862:Kennard, Jennifer (6 February 2014).
1486:
1435:"Old-Face Types in the Victorian Age"
1399:
1361:
1323:
986:
916:
119:An unornamented, "modern" appearance.
3016:. Boston, Society of Printers. 1916.
2968:
2876:"Beauty and Ugliness in Type design"
2546:
2473:
2394:
2289:
2196:. Greek Font Society. Archived from
2138:
1471:
1168:"Old and New Fashions in Typography"
1165:
1099:
465:, now so carefully preserved in the
2851:
2646:
2478:. Hoboken, NJ: Wiley. p. 140.
2447:
2001:
1831:
1805:
1777:Graphic design : a new history
1704:"The Nymph and the Grot: an Update"
1196:
890:Phil Baines; Andrew Haslam (2005).
419:. Others such as "Old Styles" from
24:
2988:
2620:
2030:
1977:
1746:
1698:
1651:
1294:
1142:. Walter de Gruyter. p. 362.
1035:
652:A Didot-style font on the logo of
315:of the printing equipment company
99:Narrow and unbracketed (hairline)
25:
4098:
3022:
2873:
2591:
2498:
2317:
2252:
1258:
987:Rines, George Edwin, ed. (1920).
934:
34:Classification of serif typefaces
4056:
4055:
2374:"Decompiled and Remixed History"
2350:
2060:Sign Writing and Glass Embossing
1575:
181:
159:
58:
2944:
2931:
2913:Hansard, Thomas Carson (2003).
2906:
2893:
2797:
2778:
2725:
2714:
2688:
2640:
2585:
2562:
2540:
2441:
2344:
2326:
2141:"A primer on Greek type design"
1986:
1766:
1252:
1131:
1100:Shaw, Paul (10 February 2011).
1093:
864:
855:
809:fonts. They effectively become
543:system of typefaces and by the
536:(density of ink) on the paper.
411:" typefaces and others such as
378:
3094:
3014:"Giambattista Bodoni of Parma"
1172:Journal of the Society of Arts
1084:
1064:Encyclopædia Americana - Didot
980:
954:
910:
703:
642:William III of the Netherlands
13:
1:
4012:History of Western typography
2939:100 Type Histories (volume 1)
2401:Commercial Art & Industry
1773:Eskilson, Stephen J. (2007).
1631:"Scrambled Eggs & Serifs"
877:
228:, whose eponymous typefaces,
3859:traditional point-size names
1166:Reed, Talbot Baines (1890).
990:"Bodoni, Giambattista"
967:"Bodoni, Giambattista"
735:and its derivatives such as
45:, printed by the company of
7:
3112:Canons of page construction
2971:"Know your type: Clarendon"
2676:. Hoefler & Frere-Jones
2528:. Hoefler & Frere-Jones
2429:. Hoefler & Frere-Jones
2166:John D. Berry, ed. (2002).
1749:"English vernacular (2006)"
1300:"Recasting Caslon Old Face"
1266:. Shinntype. Archived from
1023:10.1093/library/s4-XI.3.353
937:"The Didot You Didn't Know"
10:
4103:
2760:"Matthew Carter interview"
2395:Horn, Frederick A (1936).
2129:Campbell 2000, p. 173
2057:Callingham, James (1871).
2033:"Louize - typeface review"
792:reverse-contrast typefaces
785:
628:is a more recent version.
150:
26:
4051:
4035:
3967:
3920:
3874:
3814:
3697:
3637:
3595:
3572:
3540:
3500:
3489:
3434:
3388:
3340:
3292:
3269:Subscript and superscript
3224:
3215:
3165:
3102:
2450:"Reviving Caslon, Part 2"
2403:: 242–245. Archived from
1812:Hoefler & Frere-Jones
1545:Morison, Stanley (1937).
1514:Morison, Stanley (1937).
1066:. Carey, Lea & Carey.
690:Hoefler & Frere-Jones
569:American Monotype Company
549:newly independent country
145:"old-style" or "old-face"
112:Some stroke endings show
4027:Vox-ATypI classification
3157:Intentionally blank page
2899:De Vinne, Theodore Low,
2427:"HFJ Didot introduction"
2172:. ATypI. pp. 82–4.
2079:Goudy, Frederic (1922).
1888:Paul Shaw (April 2017).
848:
761:-inspired computer font
631:
541:VOX-ATypI classification
532:, would leave a lighter
393:Arts and Crafts movement
196:Two pages from Bodoni's
125:Vox-ATypI classification
3039:Period specimen books:
2322:. pp. 82, 194–195.
2011:Type Design Information
1585:Paul Shaw Letter Design
1553:: 17–81. Archived from
1522:: 61–81. Archived from
1501:10.1163/157006973X00237
1472:Gray, Nicolete (1976).
1414:10.1163/157006972X00229
1380:10.1163/157006971x00239
1342:10.1163/157006971x00301
973:Encyclopædia Britannica
782:Reverse-contrast styles
589:The Wall Street Journal
295:The 1861 title page of
43:Code civil des Français
4087:Didone serif typefaces
3560:
2826:Barnes & Schwarz.
2573:. Just Another Foundry
2219:Knuth, Donald (1986).
1102:"Overlooked Typefaces"
1017:. s4-XI (3): 353–377.
996:Encyclopedia Americana
801:
724:
665:for magazines such as
658:
645:
580:American Type Founders
518:
482:
475:
446:
352:
344:
332:
302:
213:
201:
50:
3001:Sébastien Morlighem,
2917:. Bristol: Thoemmes.
2569:Ahrens and Mugikura.
2082:Elements of Lettering
1629:Frere-Jones, Tobias.
893:Type & Typography
832:Thomas Curson Hansard
799:
788:French Clarendon type
723:for display printing.
711:
651:
639:
526:Elements of Lettering
511:Elements of Lettering
508:
480:
454:
441:
350:
338:
330:
294:
207:
195:
40:
3897:Typographic features
3034:Libre Bodoni release
2785:Butterick, Matthew.
1362:Ovink, G.W. (1971).
1324:Ovink, G.W. (1971).
1238:10.1162/DESI_a_00349
618:Morris Fuller Benton
608:and the open-source
226:Justus Erich Walbaum
41:Didot's type in the
4022:Technical lettering
3921:Typography in other
3662:Hanging punctuation
3045:Manuale Tipografico
2732:Spiekermann, Erik.
2674:"Surveyor overview"
2623:"Parmigiano review"
2474:Katz, Joel (2012).
2370:Frere-Jones, Tobias
2358:. pp. 109–115.
1967:. pp. 409–415.
1806:Hoefler, Jonathan.
1753:Type Foundry (blog)
1273:on 25 February 2021
515:Kennerley Old Style
323:Display derivatives
222:Giambattista Bodoni
198:Manuale Tipografico
133:Giambattista Bodoni
3985:Handwriting script
3912:Desktop publishing
3882:Character encoding
3875:Digital typography
3389:Horizontal aspects
3342:Visual distinction
3200:Widows and orphans
2969:Challand, Skylar.
2701:Bridgewater Review
2448:Berkson, William.
2376:. Frere-Jones Type
2271:on 27 January 2018
1961:Johnson, Alfred F.
1633:. Frere-Jones Type
1205:on 19 October 2015
802:
725:
694:Century Schoolbook
659:
646:
584:Tobias Frere-Jones
519:
483:
421:Miller and Richard
353:
345:
333:
303:
298:Great Expectations
282:transitional serif
259:Talbot Baines Reed
214:
202:
51:
4069:
4068:
3816:Typographic units
3734:For position only
3633:
3632:
3485:
3484:
2880:I love typography
2758:Middendorp, Jan.
2734:"Helvetica Sucks"
2549:"Why Bembo Sucks"
2454:I Love Typography
2320:Letters of Credit
2179:978-1-932026-01-6
2147:on 4 January 2017
2139:Leonidas, Gerry.
1901:978-0-300-21929-6
1840:on 9 October 2015
1832:Phinney, Thomas.
1610:. London. c. 1814
1442:Monotype Recorder
1197:Phinney, Thomas.
903:978-1-85669-437-7
820:capitalis rustica
776:Matthew Butterick
620:'s Ultra Bodoni;
210:Amoretti Brothers
143:, in contrast to
18:Modern (typeface)
16:(Redirected from
4094:
4059:
4058:
4036:Related template
3968:Related articles
3769:Phototypesetting
3623:reverse-contrast
3608:Display typeface
3565:
3542:Blackletter type
3498:
3497:
3435:Vertical aspects
3416:Sentence spacing
3226:Typeface anatomy
3222:
3221:
3089:
3082:
3075:
3066:
3065:
3017:
2994:Valerie Lester,
2983:
2982:
2980:
2978:
2966:
2960:
2959:
2948:
2942:
2935:
2929:
2928:
2910:
2904:
2897:
2891:
2890:
2888:
2886:
2871:
2865:
2864:
2862:
2860:
2849:
2843:
2842:
2840:
2838:
2823:
2817:
2816:
2814:
2812:
2801:
2795:
2794:
2789:. Archived from
2782:
2776:
2775:
2773:
2771:
2755:
2749:
2748:
2746:
2744:
2738:Spiekermann blog
2729:
2723:
2718:
2712:
2711:
2709:
2707:
2692:
2686:
2685:
2683:
2681:
2670:
2664:
2663:
2661:
2659:
2649:"Forensic Types"
2647:Twemlow, Alice.
2644:
2638:
2637:
2635:
2633:
2618:
2609:
2608:
2606:
2604:
2592:Coles, Stephen.
2589:
2583:
2582:
2580:
2578:
2566:
2560:
2559:
2557:
2555:
2547:Sowersby, Kris.
2544:
2538:
2537:
2535:
2533:
2522:
2516:
2515:
2513:
2511:
2501:"Trianon review"
2499:Coles, Stephen.
2496:
2490:
2489:
2471:
2465:
2464:
2462:
2460:
2445:
2439:
2438:
2436:
2434:
2423:
2417:
2416:
2414:
2412:
2392:
2386:
2385:
2383:
2381:
2366:
2360:
2359:
2356:Newspaper Design
2348:
2342:
2341:
2330:
2324:
2323:
2315:
2309:
2308:
2287:
2281:
2280:
2278:
2276:
2270:
2264:. Archived from
2259:
2250:
2244:
2243:
2241:
2239:
2225:
2216:
2210:
2209:
2207:
2205:
2190:
2184:
2183:
2163:
2157:
2156:
2154:
2152:
2136:
2130:
2127:
2121:
2120:
2118:
2116:
2105:"LTC Goudy Open"
2101:
2095:
2094:
2092:
2090:
2076:
2065:
2064:
2054:
2048:
2047:
2045:
2043:
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2019:
2017:
1999:
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1803:
1797:
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1780:
1770:
1764:
1763:
1761:
1759:
1744:
1738:
1737:
1725:
1719:
1718:
1716:
1714:
1708:Typefoundry blog
1696:
1690:
1689:
1668:
1662:
1661:
1649:
1643:
1642:
1640:
1638:
1626:
1620:
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1573:
1567:
1566:
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1562:
1542:
1536:
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1511:
1505:
1504:
1484:
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1455:
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1388:
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1321:
1315:
1314:
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1292:
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1278:
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1221:
1215:
1214:
1212:
1210:
1194:
1188:
1187:
1185:
1183:
1163:
1154:
1153:
1135:
1129:
1126:
1117:
1116:
1114:
1112:
1097:
1091:
1088:
1082:
1081:
1075:
1067:
1059:
1053:
1052:
1050:
1048:
1033:
1027:
1026:
1007:
1001:
1000:
992:
984:
978:
977:
969:
958:
952:
951:
949:
947:
935:Coles, Stephen.
932:
926:
925:
914:
908:
907:
887:
871:
868:
862:
859:
842:French Clarendon
807:reverse-contrast
733:Akzidenz-Grotesk
717:display typeface
576:Legibility Group
471:South Kensington
371:form. Known as '
242:John Baskerville
185:
163:
88:) is a genre of
87:
86:
83:
82:
79:
76:
73:
70:
67:
64:
21:
4102:
4101:
4097:
4096:
4095:
4093:
4092:
4091:
4072:
4071:
4070:
4065:
4047:
4031:
3963:
3923:writing systems
3922:
3916:
3870:
3810:
3754:Microtypography
3693:
3629:
3591:
3568:
3536:
3493:classifications
3492:
3481:
3430:
3384:
3350:Blackboard bold
3336:
3288:
3211:
3161:
3152:Recto and verso
3098:
3093:
3059:Vincent Figgins
3025:
3012:
3011:T. M. Cleland,
2991:
2989:Further reading
2986:
2976:
2974:
2967:
2963:
2950:
2949:
2945:
2936:
2932:
2925:
2911:
2907:
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2846:
2836:
2834:
2824:
2820:
2810:
2808:
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2802:
2798:
2783:
2779:
2769:
2767:
2756:
2752:
2742:
2740:
2730:
2726:
2719:
2715:
2705:
2703:
2693:
2689:
2679:
2677:
2672:
2671:
2667:
2657:
2655:
2645:
2641:
2631:
2629:
2619:
2612:
2602:
2600:
2590:
2586:
2576:
2574:
2567:
2563:
2553:
2551:
2545:
2541:
2531:
2529:
2524:
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2519:
2509:
2507:
2497:
2493:
2486:
2472:
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2458:
2456:
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2442:
2432:
2430:
2425:
2424:
2420:
2410:
2408:
2393:
2389:
2379:
2377:
2367:
2363:
2349:
2345:
2338:Museo Bodoniano
2332:
2331:
2327:
2318:Tracy, Walter.
2316:
2312:
2305:
2288:
2284:
2274:
2272:
2268:
2257:
2253:Knuth, Donald.
2251:
2247:
2237:
2235:
2223:
2217:
2213:
2203:
2201:
2200:on 2 March 2016
2192:
2191:
2187:
2180:
2164:
2160:
2150:
2148:
2137:
2133:
2128:
2124:
2114:
2112:
2103:
2102:
2098:
2088:
2086:
2077:
2068:
2055:
2051:
2041:
2039:
2031:Savoie, Alice.
2029:
2025:
2015:
2013:
2000:
1996:
1991:
1987:
1976:
1972:
1958:
1951:
1941:
1939:
1937:
1916:
1909:
1902:
1886:
1882:
1872:
1870:
1860:
1853:
1843:
1841:
1830:
1826:
1816:
1814:
1808:"Didot history"
1804:
1800:
1793:
1771:
1767:
1757:
1755:
1747:Mosley, James.
1745:
1741:
1726:
1722:
1712:
1710:
1697:
1693:
1686:
1669:
1665:
1650:
1646:
1636:
1634:
1627:
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1461:
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1449:
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1394:
1384:
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1360:
1356:
1346:
1344:
1322:
1318:
1308:
1306:
1293:
1286:
1276:
1274:
1270:
1263:
1257:
1253:
1222:
1218:
1208:
1206:
1195:
1191:
1181:
1179:
1164:
1157:
1150:
1136:
1132:
1127:
1120:
1110:
1108:
1098:
1094:
1089:
1085:
1069:
1068:
1060:
1056:
1046:
1044:
1036:Mosley, James.
1034:
1030:
1008:
1004:
985:
981:
959:
955:
945:
943:
933:
929:
915:
911:
904:
888:
884:
880:
875:
874:
869:
865:
860:
856:
851:
794:
784:
706:
668:Harper's Bazaar
634:
610:Computer Modern
561:Computer Modern
499:Stanley Morison
463:"Puffing Billy"
425:Goudy Old Style
381:
325:
313:Stanley Morison
190:
189:
188:
187:
186:
177:
176:
175:
164:
153:
61:
57:
35:
32:
23:
22:
15:
12:
11:
5:
4100:
4090:
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4084:
4067:
4066:
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4063:
4052:
4049:
4048:
4046:
4045:
4039:
4037:
4033:
4032:
4030:
4029:
4024:
4019:
4014:
4009:
4004:
3999:
3994:
3993:
3992:
3987:
3982:
3971:
3969:
3965:
3964:
3962:
3961:
3960:
3959:
3957:National Fonts
3949:
3944:
3943:
3942:
3932:
3926:
3924:
3918:
3917:
3915:
3914:
3909:
3904:
3902:Web typography
3899:
3894:
3889:
3884:
3878:
3876:
3872:
3871:
3869:
3868:
3863:
3862:
3861:
3851:
3846:
3841:
3836:
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3826:
3820:
3818:
3812:
3811:
3809:
3808:
3807:
3806:
3796:
3791:
3786:
3781:
3779:Reversing type
3776:
3771:
3766:
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3736:
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3726:
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3527:
3522:
3517:
3506:
3504:
3495:
3487:
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3483:
3482:
3480:
3479:
3474:
3469:
3464:
3459:
3454:
3449:
3444:
3438:
3436:
3432:
3431:
3429:
3428:
3423:
3418:
3413:
3408:
3406:Letter-spacing
3403:
3398:
3392:
3390:
3386:
3385:
3383:
3382:
3377:
3372:
3367:
3362:
3360:Color printing
3357:
3352:
3346:
3344:
3338:
3337:
3335:
3334:
3329:
3324:
3319:
3314:
3309:
3304:
3298:
3296:
3294:Capitalization
3290:
3289:
3287:
3286:
3281:
3276:
3271:
3266:
3261:
3256:
3251:
3246:
3241:
3236:
3230:
3228:
3219:
3213:
3212:
3210:
3209:
3208:
3207:
3197:
3192:
3187:
3182:
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2854:"Henry Caslon"
2852:Devroye, Luc.
2844:
2828:"Type Tuesday"
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2796:
2793:on 2015-06-23.
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2952:"P.T. Barnum"
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2407:on 2018-09-06
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1919:Mosley, James
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1526:on 2021-07-24
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1259:Shinn, Nick.
1255:
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19:
4007:Type foundry
3844:Metric units
3774:Punchcutting
3759:Movable type
3729:Font catalog
3689:Vertical bar
3519:
3426:Word spacing
3396:Figure space
3279:Text figures
3122:Even working
3044:
3038:
3002:
2995:
2975:. Retrieved
2964:
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2946:
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2933:
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2895:
2883:. Retrieved
2879:
2869:
2857:. Retrieved
2847:
2835:. Retrieved
2831:
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2809:. Retrieved
2799:
2791:the original
2780:
2768:. Retrieved
2763:
2753:
2741:. Retrieved
2737:
2727:
2716:
2704:. Retrieved
2700:
2690:
2678:. Retrieved
2668:
2656:. Retrieved
2653:Eye Magazine
2652:
2642:
2630:. Retrieved
2627:Typographica
2626:
2601:. Retrieved
2598:Typographica
2597:
2587:
2575:. Retrieved
2564:
2552:. Retrieved
2542:
2530:. Retrieved
2520:
2508:. Retrieved
2504:
2494:
2475:
2469:
2459:21 September
2457:. Retrieved
2453:
2443:
2431:. Retrieved
2421:
2409:. Retrieved
2405:the original
2400:
2390:
2378:. Retrieved
2364:
2355:
2346:
2334:"ATF Bodoni"
2328:
2319:
2313:
2294:
2285:
2273:. Retrieved
2266:the original
2248:
2238:24 September
2236:. Retrieved
2231:
2227:
2214:
2202:. Retrieved
2198:the original
2188:
2168:
2161:
2149:. Retrieved
2145:the original
2134:
2125:
2113:. Retrieved
2108:
2099:
2087:. Retrieved
2081:
2059:
2052:
2040:. Retrieved
2037:Typographica
2036:
2026:
2014:. Retrieved
2010:
2003:Devroye, Luc
1997:
1988:
1979:
1973:
1964:
1940:. Retrieved
1926:
1890:
1883:
1871:. Retrieved
1868:Fonts in Use
1867:
1842:. Retrieved
1838:the original
1827:
1815:. Retrieved
1811:
1801:
1776:
1768:
1756:. Retrieved
1752:
1742:
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1729:
1723:
1711:. Retrieved
1707:
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1635:. Retrieved
1624:
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1606:
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1588:. Retrieved
1584:
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1555:the original
1550:
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1524:the original
1519:
1509:
1492:
1488:
1482:
1473:
1450:. Retrieved
1445:
1441:
1405:
1401:
1395:
1383:. Retrieved
1371:
1367:
1357:
1345:. Retrieved
1336:(2): 18–31.
1333:
1329:
1319:
1307:. Retrieved
1304:Type Foundry
1303:
1275:. Retrieved
1268:the original
1254:
1232:(4): 30–43.
1229:
1225:
1219:
1207:. Retrieved
1203:the original
1192:
1182:17 September
1180:. Retrieved
1175:
1171:
1139:
1133:
1109:. Retrieved
1105:
1095:
1086:
1063:
1057:
1045:. Retrieved
1042:Type Foundry
1041:
1031:
1014:
1005:
994:
982:
971:
956:
944:. Retrieved
941:Typographica
940:
930:
921:
912:
892:
885:
866:
857:
840:
829:
824:
818:
814:
806:
803:
768:Scotch Roman
759:Scotch Roman
753:
748:
744:
726:
681:optical size
677:
666:
660:
654:
594:
587:
573:
565:Donald Knuth
538:
525:
520:
510:
484:
458:
455:
447:
442:
437:James Mosley
433:
382:
379:Displacement
354:
304:
296:
286:
278:Scotch Roman
263:
218:Firmin Didot
215:
197:
140:
136:
129:Firmin Didot
122:
53:
52:
47:Firmin Didot
4002:Type design
3997:Style guide
3990:Calligraphy
3980:Handwriting
3794:Type design
3744:Lorem ipsum
3739:Letterpress
3699:Typesetting
3639:Punctuation
3603:Record type
3574:Gaelic type
3562:Schwabacher
3452:Body height
3317:Letter case
3185:Line length
2603:21 November
2577:21 November
2526:"HFJ Didot"
2411:5 September
2352:Hutt, Allen
2291:Hutt, Allen
2262:Kyoto Prize
2194:"GFS Didot"
2089:3 September
2042:20 February
2016:20 February
1982:(1): 29–36.
1834:"Fat faces"
1713:12 December
1448:(242): 5–15
1385:20 February
1347:20 February
1015:The Library
704:Derivatives
491:Golden Type
450:signpainter
266:Baskerville
141:modern face
4082:Typography
4076:Categories
3975:Penmanship
3947:East Asian
3789:Type color
3722:monospaced
3679:Interpunct
3672:minus sign
3596:Specialist
3532:Sans-serif
3525:slab serif
3502:Roman type
3457:Cap height
3421:Thin space
3380:Whitespace
3332:Title case
3327:Snake case
3322:Small caps
3307:Camel case
3239:Diacritics
3147:Pull quote
3142:Pagination
3137:Paper size
3096:Typography
2924:1843713659
2766:. Monotype
2505:Identifont
2380:13 October
1942:30 January
1758:21 October
1660:(107–143).
1637:23 October
1577:Shaw, Paul
1452:14 October
946:29 October
878:References
811:slab serif
786:See also:
686:pantograph
530:Goudy Open
495:fine press
459:bizzarerie
389:sans-serif
385:slab serif
369:roman type
365:slab-serif
361:sans-serif
246:Birmingham
3472:Overshoot
3467:Mean line
3462:Descender
3375:Underline
3217:Character
3195:Runaround
3175:Alignment
3167:Paragraph
2977:13 August
2885:10 August
2859:10 August
2837:10 August
2706:7 October
2680:11 August
2658:6 October
2632:10 August
2532:10 August
2510:10 August
2433:10 August
2275:18 August
2234:(2): 95–8
2204:10 August
2115:26 August
2111:. Myfonts
1873:11 August
1844:10 August
1817:11 August
1489:Quaerendo
1402:Quaerendo
1368:Quaerendo
1330:Quaerendo
1277:11 August
1209:10 August
1178:: 527–538
1072:cite book
1047:11 August
845:designs.
837:Clarendon
741:apertures
737:Helvetica
729:apertures
714:Clarendon
606:Filosofia
602:cold type
373:fat faces
357:lettering
4061:Category
3940:PT Fonts
3935:Cyrillic
3799:Typeface
3717:computer
3618:fat face
3491:Typeface
3477:x-height
3447:Baseline
3442:Ascender
3302:All caps
3264:Rotation
3259:Ligature
3254:Ink trap
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2787:"Miller"
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1674:(1999).
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1246:57569313
1038:"Long s"
825:Egyptian
721:x-height
655:Vogue UK
626:Elephant
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3180:Leading
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2660:2014
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2091:2015
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