ABC Bodoni

A B C

odoni

2

MKSOZDLPXNFUJYB VGIAMBATTISTAWRD QBODONIPLDZUSKNL DWSNCTHIPEMQAGM Giambattista Bodoni was born in 1740 in Saluzzo, Italy and came from a printing family. When he was eighteen, he went to Rome to study under Abbate Ruffierei in the Vatican polyglot press of the Sacred Congregation for the Propagation of the Faith. In 1768 Bodoni was asked to assume management of the Royal Press in Parma, Italy. He accepted and became the private printer of Duke Ferdinand. His initial design influence was Pierre Simon Fournier whose foundry supplied type and ornaments to the Royal Press after Bodoni took charge. Bodoni used Fournier’s letters for early works published in Parma, but he gradually replaced them with his own imitations and eventually developed his own style. He printed official documents and publications desired by the Duke along with projects conceived and initiated by Bodoni. Though sometimes lacking scholarship and proofreading, the quality of his design and printing created a growing international reputation. In 1790 the Vatican invited Bodoni to establish a press for printing the classics in Rome, but the

< Left A portrait of Bodoni in oil on canvas by Andrea Appiani

Duke countered with an offer of expanded facilities and more independence in order to keep Bodoni in his court. Bodoni elected to remain in Parma.1 With the privilege to print for other clients, he produced fine editions of the writings of Horace and Virgil in 1791 and 1793 respectively. In 1806 he printed the Lord’s Prayer in one hundred fifty-five languages and in 1808 Homer’s Illiad. Bodoni is probably best known for his Inventory of Types made in 1788 a collection of two hundred ninety-one roman and italic typefaces with samples of Russian, Greek, and other languages.

“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

Right > Inventory of Types made in 1788 by Bodoni

3

XJMLUZQKCPONHGV RHISTORYVAFSTXBL YGHNUPCKQZOLMJW JBXISFIVNMLEYADP Giambattista Bodoni was no revolutionary.

The letters he cut and the books he printed were more refined and of higher quality than most of the work originating before and during his lifetime, but his efforts were not fundamentally new. When he was young, the work of John Baskerville served as his ideal. He began work at the Royal Press in Parma with Pierre Simon Fournier’s type.

Later the work of his great Parisian competitor Francois Didot dramatically influenced him. Bodoni was always in some manner dependent on the work of other bolder contemporaries.

Despite these influences, he was not a copyist. At first glance Bodoni’s type and Didot’s designs appear virtually identical. Bodoni surely studied Didot’s designs very carefully and followed his lead. But a close examination reveals that Bodoni’s weight transitions are more gradual and his serifs still maintain a slight degree of bracketing. Perhaps this explains the longevity of his designs.

They were radical enough to be considered new and to establish him an important and influential place in typography but not so different that they became the 18th century versions of fad designs.2

3

Bodoni was first designed by Giambattista Bodoni in the late eighteenth century, and it has been frequently revived since. American Type Founders revived the typeface with a version designed by Morris Fuller in 1909.

It was followed by subsequent versions from 1910 to 1926 to make a family of fifteen font variations on the original design. Bodoni has a long history of interpretations by many design houses. A good example of the typeface’s capabilities is Chauncey H. Griffin’s Poster Bodoni which was used in neon signs and most recognizably in the poster for the Mama Mia! play and movie.

In advertising Bodoni has been used in many logos including the CK for Calvin Klein, Giorgio Armani, and Elizabeth Arden because of its classic style. In magazine publication Harper’s Bazzar uses the typeface as its basic text font. So variations of Bodoni have appeared in many places in media and entertainment.

^ Above The cover of Harper’s BAZAAR Australia April 2016 issue

^ Above A poster for the “Mamma Mia!” musical that uses Chauncey H. Griffin’s Poster Bodoni ^

^

A T-shirt for Calvin Klein’s denimwear line with the CK logo Below

The logo for Armani Exchange, a line under Giorgio Armani offering more accssible street chic fashion Below

45

HKOFBDYSQZTUMNX LFEATURESVIWRLDS PNMUTLGSYDBFOKQ TDLRWAVETGCIJPXF Giambattista Bodoni created typefaces and typography to impress the eye. Few would deny that his typefaces are beautiful, but few would say they are also easy to read.

By current standards his designs are the antithesis of what an easily readable typeface should be. If Bodoni knew this fact, he would probably not have been very upset.

His goal was not to create typography to be appreciated by the masses. His printing exercises and books were large regal efforts meant to be looked upon and appreciated as works of art rather than as mere pieces of communication.

Bodoni is a serif typeface. Small lines are attached to strokes of letters and symbols.

Bodoni also defines the Didone or modern classification of serif typefaces. Giambattista Bodoni conceived the typeface on the criteria of less decoration, symmetry, and proportionality. The design of Bodoni has a bold look with contrasting strokes. Vertical strokes are thick, while horizontal ones are thin. The serifs are consistent in size and height. Some strokes end in a ball terminal rather than a hairline serif. The unbracketed serifs and even geometric style has made this typeface popular and seen in many different typesetting situations. It is particularly well suited for logos and titles. While the fine strokes and regular rational design can look elegant, the thick verticals can draw a readerâ&#x20AC;&#x2122;s attention and cause him or her to struggle to concentrate on the much thinner strokes that define which letter is which. For that reason, using the right font size is particularly essential to achieving professional results, so if Bodoni is being used as text

5

a sturdier version should be selected. One with thicker thin strokes and serifs will result in less stroke contrast. And more space between letters than in display versions will increase legibility.

The eminent typographic historian Beatrice Warde likened the perfect type to a crystal goblet in a famous essay. Her perfect type is transparent or invisible to the reader and allows the content to be enjoyed without coloration or distraction. Bodoni is anything but a crystal goblet. Its hairline serifs, strong thick-and-thin stroke contrast, and abrupt weight changes hinder the reading process.

If used carefully, Bodoni can create typography that is exceptionally beautiful but not particularly easy to read. If used poorly, Bodoniâ&#x20AC;&#x2122;s extreme weight contrast and vertical stress can cause a typographic effect called dazzle which is visually uninviting and exceptionally disruptive to the reading process.3 Bodoni is no quiet servant to the communication process; it is a design that demands attention.

serifs on top and bottom arms

General Typography Terms an imaginary line drawn from top to bottom of a character dividing it into left and right sides Axis:

the invisible line characters of a typeface sit on Baseline:

a curved stroke that encloses an area of negative space Bowl:

Counter:

the negative space enclosed by

a bowl the difference between the thick and the thin strokes within a character Contrast:

Hairline:

the thin stroke of a serif typeface

a short line attached to or extending from the open ends of a character Serif:

the height of the main body of a lowercase letter X-height:

large ball terminal

strong thick-and-thin stroke contrast

W W Garamond

serifs connect

Baskerville

W Didot

^ Above hairline serif

How the middle strokes of “W” interact is different for each typeface. Bodoni’s criss cross like Garamond’s, but the serifs of the first three strokes connect. Baskerville’s middle strokes simply flow into each other and don’t have serifs. For Didot a hairline is attached to the side of a stroke with serifs.

vertical axis

hook slightly below baseline abrupt weight change

6

BJNYCQUVHDSOWKC FCOMPARISONSTLAZ GKWUSDHVOQCYNJH ZILTSNRBIMEXCADG Unlike Bodoni, Old-style Garamond has bracketed serifs. They are soft and round, and sometimes there is a dent or scoop.

The tall ascenders of Garamond’s lowercase have flag-shaped serifs. Garamond has oblique stress and medium contrast giving it a sense of fluidity while Bodoni has more of a sense of consistency. Transitional Baskerville and Bodoni refrain from decorative padding. Both exhibit high contrast for a dramatic feel. Baskerville is marked by round bracketing, crisp edges, and generous proportions. Bodoni’s uppercase is a little more condensed. The term Didone is a combination of Didot and Bodoni the two most characteristic typefaces of this classification of serif typefaces. Didones are characterized by extreme weight contrast, vertical stress, and serifs with little or no bracketing. Didot and Bodoni share a common problem. The conversion to digital resulted in an effect called dazzle in which the thin lines disappear at small point sizes, so legibility is dependent on font size.

XX ^ Above

Bodoni

Didot

Bodoni and Didot have larger x-heights, but Bodoni’s is slightly smaller than Didot’s. X-height is a factor in readability. Typefaces with large x-heights have short ascenders and descenders and less white space between lines. They look darker, heavier, and crowded and are harder to read.

The tail of “Q” is unique to each typeface. A feature of Bodoni’s “Q” is the tail centered under the counter. From the counter, the axis can be drawn and the angle of stess measured. Bodoni and Didot have narrower counters and vertical stress while Garamond and Baskerville have rounder counters and slight diagonal stress. ^

7

Below

Q Q Q Q Bodoni

Garamond

Baskerville

Didot

Bodoni

Garamond

Baskerville

^ Above The bowl of “b” exhibits the change in thickness of curved strokes characteristic of each typeface.

Bodoni and Didot show greater change. And how Bodoni’s bowl connects to the stem makes the counter look round on the left but flat on the right while Garamond’s and Baskerville’s do the opposite. In addition, the foot is the part of the stem that rests on the baseline. Garamond’s and Didot’s are pointed rather than matching the serif of the ascender.

Didot

Bodoni

The ascender of “b” has been enlarged to compare of the serifs of each typeface. Bodoni and Didot have unbracketed hairline serifs. But Didot’s is thinner, and the top of Bodoni’s curves up. Garamond and Baskerville have bracketed wedge serifs, but the edge of Garamond’s is more curvy. ^

Garamond

Below Baskerville

Didot

9

44 55 99 Bodoni

9

Didot

< Left All of Bodoni’s numbers sit on the baseline while Didot’s 4, 7, and 9 fall below. Bodoni’s 4 has serifs.

Didot’s has a gap and a stroke that really grows in thickness moving upwards.

< Left All of Bodoni’s numbers are a little smaller than Didot’s except 1 and 2. The flag or the horizontal stroke of 5 is linear in Bodoni and like a swoosh in Didot. Bodoni’s 5 ends in a characteristic large ball terminal while Didot’s ends in a teardrop shape.

< Left The terminal of Bodoni’s 9 doesn’t end in anything while Didot’s ends in a teardrop shape. And like Didot’s 4, it’s 9 falls below the baseline.

KK ^ Above

Bodoni

Baskerville

The arm and leg of Bodoni’s “K” are not attached to the stem like Baskerville’s.

Right > The eye and terminal of “e” are unique to each typeface. Bodoni’s and Didot’s eyes are taller while Garamond’s and Baskerville’s are wider. Garamond’s eye does not have a flat bottom. Bodoni’s terminal goes up the highest, and Garamond’s is the only one to go out instead of up.

e e e e Bodoni

Garamond

Baskerville

Didot

10

^ Above

Bodoni

Baskerville

Bodoni’s double-story “g” has a closed loop while Baskerville’s has an open loop.

< Left The leg of “R” is unique to each typeface. Bodoni and Didot have a double-curved leg which exhibits the typeface’s characteristic change in thickness for curved strokes. Bodoni’s is thicker than Didot’s.

Garamond’s leg is linear while Baskerville’s has a slight curve.

Garamond

Bodoni

Baskerville

11

Didot

a Right >

The aperture or partially-enclosed upper part of a double-story “a” is different for each typeface depending on the curve of the arch. Bodoni’s arch starts with a characteristic large ball terminal. Its bowl is attached to the stem through a horizontal joint. Its counter has a seed shape. And its foot turns slightly up.

aaa Bodoni

Garamond

Baskerville

Didot

12

NOTES

References 1 Philip B. Meggs, A History of Graphic Design (New York: Van Nostrand Reinhold, 1992), 124.

2 Alexander S. Lawson, Anatomy of a Typeface (Boston: D.R. Godine, 1990), 46, 48.

3 Alexander S. Lawson, Anatomy of a Typeface (Boston: D.R. Godine, 1990), 46, 49, 50.

Bibliography Haley, Allan. Typographic Milestones.

New York: Van Nostrand Reinhold, 1992.

(SC: Z250 A2 H18 1992 4o) Lawson, Alexander S. Anatomy of a Typeface. Boston: D.R. Godine, 1990.

(SC: Z250 L34 1990) Bringhurst, Robert. The Elements of Typographic Style. Vancouver: Hartley and Marks,1997.

(A&A: Z246 B745 1996 and Vault) Jaspert, W. Pincus. The Encyclopaedia of Typefaces. Poole, Dorset: Blandford Press; New York: Distributed in the U.S. by Sterling, 1983.

(SC: Z250 J36 1983) Cleland, T. M. Giambattista Bodoni of Parma. Boston: Society of Printers, 1916.

(SC: Z232 B66 C5)

13

Revival of the Fittest: Digital Versions of Classic Typefaces, essays by Carolyn Annand ... [et al.]; edited by Philip B. Meggs and Roy McKelvey, New York: RC Publications, 2000.

(A&A: Z250.R45 2000) Bodoni, Giambattista. Manuale Tipografico, 1788. Facsimile a cura de Giovanni Mardersteig, Verona: Editiones Officinae Bodoni, 1968.

(SC: Z232 B66 1788a 4o) Bodoni, Giambattista. Preface to the Manuale Tipografico of 1818, translated

by H. V. Marrot, London: Lion & Unicorn Press, 1953.

(SC: Z232 B66 1953) http://www.giambattista-bodoni.com/ http://www.britannica.com/biography/ Giambattista-Bodoni http://www.fonts.com/font/linotype/ bodoni

Colophon This book was created by Nancy Fang, a candidate for a BFA in Communication Design at the Sam Fox School of Design & Visual Arts, for Typography I in the spring of 2016. This book is set in Bodoni MT

L

and Futura (T1).

“Plenty of white space and generous line spacing, and don’t make the type size too miserly. Then you will be assured of a product fit for a king.”

– Giambattista Bodoni

Y

http://ilovetypography. com/2008/05/30/a-brief-history-of-typepart-4/ http://gravitateonline.com/marketing-101/design-learning-center/typography-design/classic-typefaces/

T G

MKSOZDLPXNFUJYB VGAQMEPIHTCNSWR XJMLUZQKCPONHGV RDIYELMNVAFSTXK HKOFBDYSQZTUMNX LXPJACGTEVIWRLDS BJNYCQUVHDSOWKC FDICXIMEBRNSTLAZ QYJOFRXPLDZUSKN DWSNCTHIPEMQAGM YCDNUPGKQZOLMJW BXTSFIVMLKEYADP PNMUTLGSYDBFOKQ TDLRWAVETGCIJPXF GKWUSDHVOQCYNJH ZILTSNRBIMEXCADG

XY Z 16