bodoni type book

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Bodoni&Co

Bodoni & Co

Introduction > p.10

Bodoni information > p12

Bodoni Designers > p18

Style-facts > p26

2 bodoni family’s > p36

Giambattista Bodoni

Giambattista Bodoni (February 16, 1740 in Saluzzo – November 29, 1813 in Parma) was an Italian engraver, publisher, printer and typog-rapher of high repute remembered for designing a typeface which is now called Bodoni. Giambattista Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce let-terforms with very thin “hairlines”, standing in sharp contrast to the

thicker lines constituting the main stems of the characters. Bodoni was appointed printer to the court of Parma in 1768. Important folio edi-tions by Bodoni are works by Horace (1791), Virgil (1793), and Homer (1808). The Bodoni Museum, named for the artisan, was opened in Parma in 1963.

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Bodoni

Bodoni is the name given to a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classi-fied as didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke con-trast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni’s typeface has a narrower underlying structure with flat, unbracketed serifs. The face has ex-treme contrast between thick and thin strokes, and an overall geomet-ric construction. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers, above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwideacceptance among printers. Many digital versions of Bodoni suffer from a particular kind of legibility degradation known as “dazzle” caused by the alternating thick and thin strokes, particularly from the thin strokes being very thin at small point sizes. In Typographic Design: Form & Communication, the authors describe Bodoni’s up-percase R as a “dazzling contrast and vigorous pro-portions of modern-style typography. The thick-and-thin scotch rules echo and complement the thick-and-thin stroke weights.”

Revivals and variants

There have been many revivals of the Bodoni type-face; ATF Bodoni and Bauer Bodoni are two of the more successful. ATF Bodoni was drawn by Morris Fuller Benton in 1907, and released by American Type Founders. The Bauer version was drawn by Henrich Jost in 1926. The Bauer version empha-sizes the extreme contrast between hairline and main stroke. ATF captured the flavor of Bodoni’s original while emphasizing leg-ibility rather than trying to push against the limits of printing technology. Other revivals include Bodoni Antiqua, Bodoni Bodoni Old Face, ITC Bodoni Seventy Two, ITC Bodoni Six, ITC Bodoni Twelve, Bodoni MT, LTC Bodoni 175, WTC Our Bodoni, Bodoni EF, Bodoni Classico, TS Bodoni, and Filosofia by Zuzana Licko.

Digital Bodoni types

Digital Bodonis typically suffer from a particular kind of legibility degradation. Personal computers generate different sizes of type from a single font of type outlines using mathematical scaling, while print-ers working with metal type use fonts whose designs have been subtly adjusted to provide optical compensation for improved legibility at specific sizes for example, opening up counters and expanding the character widths at small sizes. Typefaces like Bodoni tend to high-light these differences of technological application. Many digital re-vivals are based on designs adjusted for relatively large sizes, making the already thin hairlines very thin when scaled down. Some digital

type designers are rediscovering the older lore of “optical scaling”, and subsequently

turning out more sensible revivals aimed at pleasing human eyes.

Zuzana Licko’s Filosofia has none of the problems of dazzle, and meets the test of text reversal even in smaller point sizes.

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THE AMERICAN TYPE DESIGNER Sumner Stone said, that “the types of the 19th century are rushing to meet us.” Some late -18th- century classics are also now coming within the gravitational pull of our own times, with the recent revivals of two families, Bulmer from Monotype Typography and ITC Bodoni, whose original styles date from the 1790s.

Naming revivals with the original maker´s name, as in these two cases, can be seen as a way of honoring the original. But to the many users of fonts who have neither the time nor inclination to compare the subtle differences among fonts from different foundries, it doubtless appears that there are as many Bodonis and Garamonds as there are stars in the sky.

The reasons why foundries over the years and across technologies wish to create their versions of classics using the original name are under-standable from a commercial view, but there comes a point when a tra-ditional name repeated willy-nilly by manufacturers causes confusion in the market and is eventually self-defeating. Nowhere is this more true than in the proliferation of Bodonis.

Whose Bodoni? Oh, Your Bodoni!

SINCE THE EARLY 20TH CENTURY, Bodoni faces from a variety of metal foundries have been a long-term success. In the UK during the 1950s, Vincent Steer published a regular analysis in Advertiser´s Weekly which showed the constant popularity of Bodoni as a generic family outperforming all other serif faces, including Times Roman.

There are two problems with Bodoni. Firstly, although not everyone is enamored with it, everyone has an opinion. It´s similar to the way we British feel about our Royal family: if you are a pro-Bodoni monarchist then the face can do no wrong, but if you are a republican then the whole mystery and romance of Bodoni is just a subterfuge, which at best should be ignored and at worst needs to be done away with.

The second difficulty surrounding Bodoni is one of proliferation: there are numerous siblings, third and fourth cousins, plus poor relations of doubtful parentage, cloaked under the protection of the Bodoni name, creating confusion and ultimately disenchantment.

Not every Bodonified type designer is guilty of name-dropping. The late Aldo Novarese had a direct way of describing his own designs based on classical influences; he divides them into four categories, one classification being Bodoniennes; that is, influenced by, or in a con-temporary style of, Bodoni. His design Fenice is a Bodonienne.

In search of the true Bodoni

ALL FACES bearing the Bodoni name generally claim one thing in common; namely, that they are based upon and are a true interpretation of the sanctified original by Giambattista Bodoni.

Up until now the widest gulf has been between Morris Fuller Benton´s design of the Bodoni family for American Type Founders in 1907 (which in turn was used as the model by a great number of foundries, including Monotype in the 1930s) and the Bauer Bodoni designed by Henrich Jost in 1926. The Bauer version is far more delicate, producing a different color at all sizes than other versions.

Technically, both ATF/Monotype Bodoni and Bauer Bodoni are at fault in rela-tion to the original. Both make a definite statement with their uncompromising and unbracketed serifs, and neither attempts to get close to the original italics, instead taking a little bit hereand a little bit there from Fournier and Didot models. Bauer Bodoni is unquestionably a beautiful and unique face in the modern classification, but if it claims descent from the 18th cen-tury Bodoni, it can only be as a bastard.

To add more confusion to the Bodoni family tree, there are two versions from the Berthold foundry. Bodoni-Antiqua was started in 1930 via the ATF model and resurrected in the 1970s by Gunter Gerhard Lange for photo composition. This led to a lighter version, created by Karl Gerstner´s version, created by Karl Gerstner´s for the European identity of IBM in the late 1980´s. Gerstner´s ver-sion compounds and continues with the fatal unbracketed serifs. Berthold, de-scribing the face´s cleanliness, states: “Bodoni-Antiqua”provides a particularly appropriate typographic appearance for “technology.”Not bad for an 18th-century face!

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Bauer Bodoni

ATF Bodoni

Bodoni Antiquaf

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The second Berthold Bodoni, called Bodoni Old Face (with no apolo-gies for this contradiction in terms), was designed in 1983 by G.G. Lange, who claimed then, quite rightly, that a face closer to the au-thentic version could be developed. Lange´s version credits the little-known Bodoni Modern designed by R.H. Middleton in the 1930s for the American Ludlow foundry, as Berthold´s Bodoni Old Face followed the same original sources (that is, samples of 18th-century Bodoni publications) as Middleton´s.

Love it or hate it, Bodoni’s here to stay

Massimo Vignelli´s DISMISSAL of Emigrew as “a garbage pail of design”will be remembered long after his Bodoni for the World Typeface Corporation in 1989. Entitled WTC Our Bodoni, it is a nice enough reconstructed version along the lines of the ATF style, al-though lighter and with a more generous x-height, but it lacks subtlety or ingenuity compared to the 18th century original. Vignelli´s Bodoni is really a display face (and the rule is, a well-designed text face can be used for display, but not the other way around).

Despite its shortcomings, Vignelli´s Bodoni was the most notable digital font using the name until 1994, when FontShop International launched FF Bodoni Classic, designed by Gert Weischer. Not surpris-ingly, the claim for FF Bodoni was that it was “intended to be the first truly authentic Bodoni, according to Bodoni´s specimens in the “Manuale Typographicum”(sic) complete with all imperfections.”

The FF Bodoni family took Weischer approximately two years to complete and is genuinely one of the closest versions to the original Roman, with a variety of authentic Bodoni ornaments. The italic also represents true Bodoni letter shapes, but falls shy of the 18th-century italic angle, preferring the 20th century norm of II to I3 degrees in-stead of the 16 to 18 degrees for the period.

The face includes some delightful eccentricities, particularly the ball serif on the diagonal of the capital R. which is clearly represent-ed in Bodoni’s originals, but overlooked, deliberately or otherwise, by all subsequent interpreters until FF Bodoni. Authenticity is also displayed in certain italic lower case letters (the v, w, x and y, for ex-ample) in which the italic design precludes the normal diagonal. As in Bodoni´s original, these letters are sensitively curved, whereas a number of Bodoni interpretations ignore this detail in favor of a hybrid Didot solution.

Unfortunately for FF Bodoni Classic, but happily for Bodoni fans, less than six months later ITC released their version of Bodoni. In fairness, ITC had been preparing its family for over three years and the faces might have been released sooner if ITC had not decided to create three

distinct cuts of the face for specific size ranges-72-point, 12-point and 6-point-initially in book and bold weights with accompanying italics.

ITC Bodoni is a much warmer and more humanistic design than pre-vious interpretations, retaining Bodoni´s original characteristics and leaving out the hard geometry injected by most of the other foundries. Similarly to FF Bodoni Classic, ITC´s version also includes the balled capital R and a sensitive solution to the lower-case italic diagonals, but this time the angles of the italics are more adventurous at the dis-play sizes. Jim Parkinson designed the “s”for the lower-case italics, and is delighted with the controversy that it has provoked. ITC Bodoni also has a set of Bodoni ornaments and flowers which are different from those included with FF Bodoni Classic, but equally authentic to Bodoni.

Sumner Stone art-directed the design team for ITC Bodoni, which included Holly Goldsmith and Jim Parkinson. Recently, Sumner has continued with the ITC Bodoni range, adding a sumptuous series of 72-point swash capitals for the italics in both weights, as well as de-veloping a selection of one hundred ornaments from the great variety in the original Bodoni sources.

Of all the Bodoni faces created over the years, these latest two, FF Bodoni Classic and ITC Bodoni, come closed to deserving the use of the name by means of their diligent research and interpretive design. Even so, there are bound to be other adaptations of Bodoni in the coming years. It would be a fitting tribute if a future version could be named for the wife of Giambattista, who published his complete works, the Manuale Tipografico, in 1818, five years after his death. Without Margherita DallÓAglio´s devotion to her husband´s craft and memory, it is doubtful whether there would have been this rich source of refer-ence that continues to inspire generations of type designers and typog-raphers.END

DAVE FAREY admits to having had alter-ego bouts of Giambattista Bodoni. Oz Cooper and Eric Gill. At the moment, he has a tingling feel-ing of Robert Hunter Middleton coming on. Farey´s Bodoni period de-veloped crab-wise through a revival of the Torino family from the Italian Nebiolo foundry, and then by assisting Gerry Giampa to inject new life into Sol Hess´s Lanston Type Bodoni family, including the Fournier numerals. Richard Dawson and Dave Farey, at Panache Typography in London, have created more than two hundred digital fonts for the com-mercial market and commissioned client use. Farey recently completed the first digital revival of Aries, a typeface by Eric Gill.

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“Designers”

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Giovanni Battista

Bodoni was one of the first to cut a modern face, that is, a typeface which has hairline serifs at right angles to the uprights, verti-cal stress and abrupt contrast between thick and thin strokes. He took French types, such as those of Fournier and the Didots, as his model. Bodoni was, in his day, the best-known printer in Europe. Bodoni was born in Turin in 1740, the son of a printer. At 18 he became a compositor at the press of the Vatican’s Propaganda Fide in Rome, and at 28 was made director of the press of the Duke of Parma. His early types are based on those of Pierre Simon Fournier, whose work he ad-mired, but he experimented with these letter forms to create his own. The roman letter he cut in 1798 is what we generally mean by a Bodoni. The contrast of light and shade in his types can produce a sparkling effect on the page. The books he printed reveal a taste for large sizes of type, generous use of white space and few ornaments. In addition to his romans, he also produced a great many script types. Bodoni set out his principles of typog-raphy (although stated in vague terms) in his Manuale Tipografico. This book was com-pleted by his wife, who published it in 1818, five years after his death. In 1963 the Bodoni Museum opened in Parma.

Heinrich JOST

Heinrich Jost, although bestknown as the art director (1923-48) of the Bauer type foundry in Frankfurt, also designed Fraktur for Monotype and Jost Medieval for Ludwig rt Mayer. Jost was the son of a bookbinder, who trained as a book-seller and later studied book production at the Kunstgewerbeschule in Munich under Paul Renner and Emil Preetorius. After leaving, he worked for a daily paper and various Munich publishers before being invited to Bauer by George Hartmann. Beton, Bauer Bodoni and Atrax were created for Bauer, with Beton.

Charles PEIGNOT

Charles Peignot, a grandson of the founder, entered the family typefounding business, Peignot & Cie., in 1919. Four years later the company merged with Girard rt Cie. (the name of the De Berny foundry from 1914) and became known as Deberny rt Peignot. Within a few years Charles Peignot began to demon-strate the skill that was to make the Deberny & Peignot foundry famed throughout the world. He broadened the range of faces and commissioned leading contemporary artists and designers to create new ones. Faces such as Cassandre’s Acier Noir, Bifur and Peignot were produced in the 1920S and 1930S and were rewarded with early success. In 1927 Peignot founded Arts It Metiers Graphiques, the forward-looking and influential periodical. After World War 2 , Peignot played an impor-tant role in the development and marketing of the new Lumitype photosetting equipment (known in the USA as Photon). Debernyrt Peignot acquired the European rights for this equipment and made discs and typefaces for it. In 1952 Peignot brought in the Swiss designer Adrian Frutiger, then at the begin-ning of his career as an art director and type designer. The association was a very success-ful one and amongst the many new typefaces created in this period were Meridien and Univers. Charles Peignot helped found the Association Typographique Internationale (ATypI) and became its first president in 1957.

- detail from a four-page printed extract of a book printed by Bodoni.

- cover of Bauer specimen - type specimen Peignot & Cie

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Francois-Ambroise

Franrcois-Ambroise was the son of the found-er Franrcois Didot (b.1689 in Paris), who was a bookseller before he started his own print-ing works. Franrcois-Ambroise worked there with his brother Pierre-Franr;ois until 1789, when the latter left to set up a printing office of his own, and later a paper mill. Inspired by Baskerville in England, Pierre-Franrcois was to use this mill to produce the first French wove paper. Both men enjoyed royal patron-age: Franr;oisAmbroise was printer to the comte d’Artois, later to become Charles X, whilst his brother Pierre was printer to the comte de Provence, later to become Louis XVIII. As a result of Franr;ois-Ambroise Didot’s reputation, Benjamin Franklin sent his grandson to him to learn punch-cutting. Franr;ois-Ambroise was also the director of the Imprimerie Nationale and in this capac-ity he revised Fournier’s point system. His name survives in the continental Didot point. Franr;ois-Ambroise Didot initially printed with Garamond types but later began to pro-duce his own. The exact date for this change is uncertain, but 1775 has been put forward by DB Updike, amongst others. Certainly a new Didot type, a light transitional roman, was in use in 1782 and was used the follow-ing year in three quarto editions of French classics. Firmin Didot took over the foundry when his father retired in 1789.

Firmin DIDOT

The Didot family dominated the French book world in the late 18th and early 19th centu-ries. The most important family member as far as type design is concerned was Firmin Didot, the founder ‘s grandson, who is gener-ally agreed to have produced the first modern face in 1784. As a result, Didot roman types became standard book types in France during the 19th century and are still in use today. In 1783 Firmin Didot, son of Franrcois-Ambroise, took over from his father’S previ-ous punch-cutter, Pierre-Louis Wafflard. In 1784 he produced the first modern face,

characterized by thin serifs, a marked vertical stress and abrupt shading from thick strokes to thin. By this time the Didots were using wove paper and an improved printing press, allowing the fine details of such type to be reproduced. Firmin took over the foundry when his father retired in 1789, and contin-ued the production of new types. He favoured neo-classical designs with increasingly fine hair serifs. In 1811 Firmin was made printer

to the Institut Francais and in 1814, royal printer. He retired in 1827, leaving his sons AmbroiseFirmin and Hyacinth to continue the business. Previous page: St Matthew’s Gospel in type cut by Firmin Didot 1793.

- poster for Museum of Printing, Lyon, 1998

- Didot type specimen

- Ditot type specimen

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Gunter Gerhard LANGE

As artistic director of H Berthold AG, Gunter Gerhard Lange was responsible for the compa-ny’s entire typeface development programme from 1961 until 1990. His meticulous atten-tion to detail helped create the Berthold type library’s unsurpassed reputation for quality and integrity of production. As well as design-ing new typefaces, Lange supervised Berthold revivals of several classic faces, including AkzidenzGrotesk, Bodoni, Caslon, Garamond, Baskerville and Walbaum. A calligraphic influence shows itself in some of his early designs for Berthold. Derby and Boulevard are both script types, as are Champion and EI Greco. His 1954 Solemnis is an uncial and was part of the revival of such forms begun by Victor Hammer. Born in Frankfurt in 1921, he studied calligraphy, type design and the graphic arts at the Akademie fur Graphische Kunste und Buchgewerbe in Leipzig from 1941 to 1945, where his tutors included Georg Belwe. During his period at the Akademie he became assistant to Walter Tiemann. After 1945 he freelanced as a painter and graphic designer before moving to Berlin in 1949. where he undertook further studies in painting and drawing at the Hochschule fur Bildende Kiinste. His career with Berthold commenced in 1950. when he was employed as an artistic freelance. After becoming artistic director in 1960 he was appointed to the main board in 1971. As an ambassador for Berthold he was a charismatic figure. captivating international audiences of designers with his talks on type trends. He retired from the company in 1990 but continued to lecture and teach typography and design. Lange renewed his association with the Berthold name in 2000 by becoming artistic consultant to Berthold Types Ltd of Chicago. legal successors of H Berthold AG. for whom he designed Whittingham. his rendi-tion of a typeface used in the mid-19th cen-tury by Charles Whittingham of the Chiswick Press.

Herbert BAYER

Through his work at the Dessau Bauhaus as head of the workshop of graphic design and printing from 1925 to 1928 and his later, more illustrative work in the USA, Herbert Bayer was one of the most influential figures in 20th-century graphic design. He arrived at the Weimar Bauhaus in 1921 as a student, having worked in an architect’s office for two years. As a student his work was heavily in-fluenced by Moholy Nagy and De Stijl. As a teacher he transformed the Bauhaus: out went lithographs and woodcuts, in came mov-able type and mechanical presses; out went serifs, black-letter and capital letters, in came sans-serif lower-case: asymmetric, simple and direct. What is thought of as ‘Bauhaus typography’ comesfrom these years. Both his typeface designs reflect these beliefs and a strict adherence to geometric principles; they are rigorous in application and stark in ap-pearance. Bayer left the Bauhaus in 1928 and moved to Berlin. In 1938 he fled from the Nazis to the USA, becoming an inspiration for post-war American designers.

John Fell

Dr Fell was bishop of Oxford, dean of Christ Church and vice-chancellor of Oxford University. Between 1670 and 1672 he import-ed types, punches and matrices, which were bought in Holland on his behalf by Thomas Marshall. These included some Granjon types and some supplied by van Dijck. With three others (and for an annual payment of £200) he took over the management of Oxford University Press in 1672. In 1676 he set up a typefound-ry attached to the press and, after employing Dutch type-cutter Peter Walpergen, published a specimen sheet in 1693. The types cast from his collection, known as the Fell types, became neglected until their revival by C H 0 Daniel at his private press from 1877 onwards. In 1915 Francis Meynell persuaded the control-ler of Oxford University Press to let him have two cases of Fell type, with which Meynell and Stanley Morison printed two books.

- Bauhaus type specimen

- Arena and Bodoni Old Face specimens for Berthold

- details of Fell’s 3-lines Pica roman

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Justus Erich WALBAUM

Justus Erich Walbaum was a German punch-cutter who had his own letter foundry, first based in Goslar and later in Weimar. His faces were neo-classical, derived from the Didot roman. Walbaum, the son of a clergy-man, was born in Steinbach, near Brunswick. He was apprenticed to a confectioner and reputedly taught himself engraving by making his own confectionary moulds, using chisels he had made from sword blades. When he was free to leave the pastry shop he got a job engraving music types for the Brunswick firm of Spehr. Walbaum purchased the typefoundry of Ernst Wilhelm Kircher in Goslar in 1793. In 1802, just before Goslar was incorpo-rated into Prussia, Walbaum left for Weimar. The foundry he set up there was extremely successful and the types he cut, modelled closely on those of Firmin Didot, were much admired. In 1836 Walbaum sold the business to F A Brockhaus in Leipzig - in 1918 many of his matrices were purchased by H Berthold AG in Berlin. Walbaum was introduced into England in 1925 by the Curwen Press, which had purchased the types from Berthold. The Monotype Corporation issued Walbaum in 1933. Under the direction of Gunter Gerhard Lange, Berthold issued Walbaum Buch and Walbaum Standard between 1975 and 1979

Morris Fuller BENTON

Morris Fuller Benton is accredited with being the most prolific type designer in American history, with an ” output twice as great as that of Frederic Goudy (although in fairness Goudy did not start his career until a later age). The fact that Benton’s father worked at the foundry until an advanced age did in all probability place an added strain on the younger man, but seems not to have dimin-ished his remarkable output. A factor in his relative anonymity was his position as an in-house designer, but it was a position that suited his retiring character: when pressed he would put his successes down to ‘Lady Luck’. Benton has been credited with inventing the

concept of the type family and although this is not the case he did do his best work expand-ing faces into families and adapting existing type styles for ATE Between 1900 and 1928 he designed 18 variations on Century, includ-ing the popular Century Schoolbook. Morris Benton also worked closely with his contem-porary at ATF, Henry Lewis Bullen, collector of the company’s famous library and mentor of type publicist and scholar Beatrice Warde.

- Monotype Walbaum specimen

- Franklin Gothic types from ATF specimen book, 1923

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Freeman CRAW

As well as being an important contributor to typeface design, Freeman Craw has also been a major figure in the creation of complete visual identity programmes for some of the world’s leading companies. As vicepresident and art director of Tri-Arts Press, he was re-sponsible for the complete graphic control of some of the most impressive printed material in America. Craw’s early typefaces were cre-ated for ATF, most famously Ad Lib, designed in 1961, which drew on nineteenth-century wood lettering and the crude shapes of paper cut-outs, but from the 1970S his designs were primarily associated with photocomposition. He designed the proprietary CBS Didot and CBS Sans types, and in 1988 was awarded the TDC Medal for his contribution to typography.

William THOROWGOOD

After Robert Thorne’s death in 1820, his Fann Street Foundry was put up for auction and was purchased by William Thorowgood with the proceeds, it was said, of a lucky draw in a state lottery. Thorowgood came from Staffordshire and had no previous connection with typefounding. Despite this disadvantage he very quickly established himself. Within a few months he brought out his first specimen book, which for the most part consisted of the stock as Robert Thorne left it. During the next seven years he introduced greek, hebrew and Russian faces as well as three frakturs . In 1828 Thorowgood purchased the Fry foundry

- ATF specimens, early 1960s

- Thorowgood type 1820

- ATF specimens, early 1960s

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Zuzana LICKO

Zuzana Licko, born in Bratislava in the former Czechoslovakia, emigrated to the USA in 1968. She graduated in graphic commu-nication from the University of California at Berkeley in 1984. An early introduction to computers through her biomathemati-cian father led to Licko pioneering digital type design with the Macintosh computer. Her early type designs appeared in Emigre magazine, published by the Emigre design company, which she formed with husband and fellow designer Rudy VanderLans after leav-ing college. The Modula Serif Bold (Original 1986 design) Oilginal Modula Bold with diagonal serif Right : The Remixed Modula Round San. success and influence of the mag-azine created a demand for these types, which resulted in the setting up of Emigre Fonts in 1985 to market those and others by a new generation of digital type designers. Licko’s work evolved as technology improved. Early bitmap solutions for lowresolution output were followed by high-quality new designs and sensitive revivals of the work of Bodoni (Filosofia) and Baskerville (Mrs Eaves). Zuzana Licko’s design output continues to be a major influence on typographic communica-tion worldwide.

- Base poster from Emigre, no.37, 1996

- detail from Emigre broadsheet, 1995

“Style-facts”

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Extreme contrasts between thick and thin

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Unbracketed, hairline serifs

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Circular teardrop shaped terminal

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“Family’s”Bodoni standard and bauer bodoni examples

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Bodoni standard

Bodoni std book

Bodoni std roman

ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890

abcdefghijklmnopqrstuvwxyz1234567890



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Bauer Bodoni italic

Bauer Bodoni roman

Bauer Bodoni



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Bodoni std italic

Bodoni std bold





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Bauer Bodoni bold italic

Bauer Bodoni





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Bauer Bodoni black

Bauer Bodoni black italic

Bauer Bodoni





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Bodoni stdposter compress

Bodoni std boldcondensed

ABCDEFGHIJKLMNOPQRSTUVWXYZ1234567890abcdefghijklmnopqrstuvwxyz1234567890


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Bauer Bodoni black italic

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Bronnen en beeldcredits

• Various images found on google. http://www.google.com• Wikipedia. http://nl.wikipedia.org• Ambrose,Harris. (2005) Typography “the arrangement, style and appaerance of type and typefaces”• Neil Macmillan. (2006) An a-z of type designers• Typophile (2008) various forum discussions. http://typophile.com• Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. John Wiley & Sons, Inc: 1993. Dodd, Robin. • From Gutenberg to Opentype. Hartley & Marks Publishers, Friedl, Friedrich, Nicholas Ott, and Bernard Ott. Typography: an Encyclopedia • Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers, Inc: 1998.• Frey, David. X-Height FontHaus’ Online Magazine. DsgnHaus, Inc. 2006.• Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990.• Nesbitt, Alexander The History and Technique of Lettering Dover Publications: 1975.

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bodoni type book

Documents

itc bodoni

bauer bodoni

bodoni bodoni old face

ts bodoni

bodoni classico

bodoni ef

bodoni mt

bodoni antiqua