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Didot
Didone is a genre of serif typeface that emerged in the late 18th century
and is particularly popular in Europe. It is characterized by:
Contents [hide]
D D R R F E
1 H2 i 3 U4 e4 e5 e6 ur 7 x
i s s r. v f th t
s p a i 1 e e er e
t l g v r r re r
o a e a s e a n
r c t e n di a
y e i - c n l
m v c e g li
e e o s n
n s n k
t t s
r
a
s
t
s
t
y
l
e
s
History[edit]
Didot's type in the Code civil des Franais, printed by the company of Firmin Didot
in 1804.
The typeface Centaur, 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.
Bodoni. The contrast has been increased and the axis of the contrast made
vertical.
Didone types were developed by printers including Firmin Didot,
Giambattista Bodoni and Justus Erich Walbaum, whose eponymous
typefaces, Bodoni, Didot, and Walbaum, remain in use today. Their
goals were to create more elegant, classical designs of printed text,
developing the work of John Baskerville in Birmingham and Fournier 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.[1][2](This type of lettering was
already popular with calligraphers and copperplate engravers, but much
printing in western Europe up to the end of the eighteenth century used
typefaces designed in the sixteenth century or a relatively similar design.
[3]
) These trends were also accompanied by changes to page layout
conventions and the abolition of the long s.[4][5][6][7][8][9] Historian Talbot
Baines Reed called the style "trim, sleek, gentlemanly, somewhat
dazzling".[10]
An ultra-bold Didone typeface from the A.W. Kinsley & Co. foundry, 1829.
The nineteenth century also saw the arrival of bold type, first for
headings, titles and posters, then for emphasis within body text, and
while neither Didot nor Bodoni cut bold type for this latter use
themselves, many Didone-style bold types were created by their
successors.[14][15] A particular development in this direction was the
poster type genre known as 'fat faces', extremely bold designs intended
for posters and signage made by typefounders such as Vincent Figgins.
[16][17]
It matched the desire of advertisers for eye-catching new kinds of
letters that were not merely enlarged forms of body text fonts.[18]
While printers often used Didone typefaces, some "old style" faces
continued to be sold and new ones developed by typefounders.[19] From
around the 1840s onwards, interest began to develop among artisanal
printers in the typefaces of the past.[20][21][22][23]
A revival of interest in the old styles of letter in Britain around 1870 was
criticised by master signpainter James Callingham in his contemporary
textbook on the art:
The 1861 title page of Great Expectations in the sharp, high-contrast Didone type
of the period. Popular at the time, the style disappeared almost completely by the
middle of the twentieth century.
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 slab serif and sans-serif genres displaced Didone type
from much display use, while the revival of interest in "old-style" designs
reduced its use in body text. This trend, influenced by the Arts and
Crafts movement, rejected austere, classical designs of type, ultimately
in favour of gentler designs.[23][19] 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 Nicolas Jenson, William Caslon's "Caslon"
typefaces and others such as Bembo and Garamond. Others such as
"Old Styles" from Miller and Richard, Goudy Old Style and Imprint were
new designs on the same pattern.[26]
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.[27][28] He wrote in
1855:
You ask me what kind of whim leads me to revive types of the sixteen
century todayI often have to reprint old poetry [from the sixteenth
century] and this task invariably makes me oddly uneasy. I cannot
recognise in my proofs the versesour present day punches, which are
so precise, so correct, so regularly aligned, so mathematically
symmetricalno doubt have their merits, but I should prefer to see them
kept for printing reports on the railway.[29]
Didone type (among other styles) makes up the body text of this French
newspaper, printed in 1890.
In print, Didone fonts are often used on high-gloss magazine paper for
magazines such as Harper's Bazaar, on which the paper retains the
detail of their high contrast well, and for whose image a crisp, 'European'
design of type may be considered appropriate.[35] They are used more
often for general-purpose body text, such as book printing, in Europe.
A document printed in 1836, showing Didone (body text), 'Italian' (the word
'proceedings') and early sans-serif fonts.
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.[52][53] First seen around 1821 in Britain and
occasionally revived since, these are often called reverse-contrast fonts.
They effectively become slab serif designs because of the serifs
becoming thick. In the 19th century, these designs were called Italian
because of their exotic appearance, but this name is problematic since
the designs have no clear connection with Italy; they do slightly
resemble capitalis rustica Roman writing, although this may be a
coincidence. They were also called Egyptian, an equally inauthentic term
applied to slab serifs of the period.[54][55]