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From Wikipedia, the free encyclopedia
ClassificationVox-ATypI: Didone
British: Didone
Bringhurstian: Romantic
Designer(s)Giambattista Bodoni
VariationsBerthold Bodoni Antiqua
LTC Bodoni 175
Linotype Bodoni
Bauer Bodoni
Shown hereITC Bodoni Seventy Two
Facsimile of lines from Dante's "La Vita Nuova" first published with Bodoni types by the Officina Bodoni in 1925. Actual font is the digital Bodoni Monotype published in 1999.

Bodoni (/bəˈdni/, Italian: [boˈdoːni]) is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since.[1][2] Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.[3]

When first released, Bodoni and other didone fonts were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts; since the mid-20th century, they are also known as Didone designs.[4]

Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This is very common when optical sizes of font intended for use at display sizes are printed at text size, at which point the hairline strokes can recede to being hard to see. Versions of Bodoni that are intended to be used at text size are "Bodoni Old Face", optimized for 9 points; ITC Bodoni 12 (for 12 points); and ITC Bodoni 6 (for 6 points).

Massimo Vignelli stated that "Bodoni is one of the most elegant typefaces ever designed."[5] In the English-speaking world, "modern" serif designs like Bodoni are most commonly used in headings and display uses and in upmarket magazine printing, which is often done on high-gloss paper that retains and sets off the crisp detail of the fine strokes. In Europe, they are more often used in body text.


The 1818 Manuale-Tipografico specimen manual of Bodoni's press, published after his death.

Bodoni admired the work of John Baskerville[6] 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,[7] above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.

Although to a modern audience Bodoni is best known as the name of a typeface, Bodoni was an expert printer who ran a prestigious printing-office under the patronage of the Duke of Parma, and the design of his type was permitted by and showcased the quality of his company's work in metal-casting, printing and of the paper made in Parma.[8] The hairline serifs and fine strokes reflected a high quality of casting, since on poor-quality printing equipment serifs had to be large to avoid wear snapping them.[9] The smooth finish of his paper allowed fine detail to be retained on the surface. Bodoni also took care in the composition of his printing, using hierarchy and borders to create an appearance of elegance, and his range of type sizes allowed him flexibility of composition.

Writing of meeting him in the year 1786, James Edward Smith said:

A very great curiosity in its way is the Parma printing-office, carried on under the direction of Mr. Bodoni, who has brought that art to a degree of perfection scarcely known before him. Nothing could exceed his civility in showing us numbers of the beautiful productions of his press...as well as the operations of casting and finishing the letters...his paper is all made at Parma. The manner in which Mr. Bodoni gives his works their beautiful smoothness, so that no impression of the letters is perceptible on either side, is the only part of his business that he keeps secret.[8]

The effective use of Bodoni in modern printing poses challenges common to all Didone designs. While it can look very elegant due to the 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 other, much thinner strokes that define which letter is which.[10][11][12] For this reason, using the right optical size of font has been described as particularly essential to achieve professional results.[13] 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.[14][15] Optical sizes were a natural requirement of printing technology at the time of Bodoni, who had to cut each size of type separately, but declined as the pantograph, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years as automated font development has become possible.[16][17] French designer Loïc Sander has suggested that the dazzle effect, common to all Didone designs, may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and where the fonts that are easily commercially available will tend to have been designed for headings.[18] Modern Bodoni revivals intended for professional use such as Parmagiano and ITC Bodoni have a range of optical sizes, but this is less common on default computer fonts.[18][19][20][21]

Foundry type revivals and variants[edit]

Comedia Nueva by Leandro Fernández de Moratín (published under the surename of Inarco Selenio). A title page printed by Bodoni, 1796
Proofs of page decorations from the Bodoni printing house

There have been many revivals of the Bodoni typeface; ATF Bodoni and Bauer Bodoni are two of the more successful.

  • ATF's Bodoni series created in 1909,[22] was the first American release to be a direct revival of Bodoni's work.[1] All variants were designed by Morris Fuller Benton who captured the flavour of Bodoni's original while emphasizing legibility rather than trying to push against the limits of printing technology. This revival is regarded as "the first accurate revival of a historical face for general printing and design applications".[23] However, some details were less based on Bodoni than on the work of his French contemporary Firmin Didot, for example a 't' with a flat rather than slanted top.[24]
  • Bodoni (1909)
  • Bodoni Italic (1910)
  • Bodoni Book (1910)
  • Bodoni Book Italic (1911)
  • Bodoni Bold + Italic (1911)
  • Bodoni Bold Shaded (1912)
  • Bodoni Shaded Initials (1914)
  • Card Bodoni (1915)
  • Card Bodoni Bold (1917)
  • Bodoni Open (1918)
  • Bodoni Book Expanded (1924)
  • Ultra Bodoni + italic (1928)
  • Bodoni Bold Condensed (1933)
  • Ultra Bodoni Condensed + extra condensed (1933)
  • Engravers Bodoni (1933), designed in 1926.
  • Monotype:
    • Bodoni #175 + italic (1911)
    • Bodoni #375 + italic (1930), based on the Benton version.
    • Recut Bodoni Bold + italic
    • Bodoni Bold Condensed (Sol Hess, 1934)
  • Ludlow:
    • Bodoni Light + italic (Robert Wiebking, 1923)
    • True-Cut Bodoni + italic (Wiebking, 1923), based on actual specimens at the Newberry Library.
    • Bodoni Bold + italic (Wiebking, 1930)
    • Bodoni Modern + italic (R. Hunter Middleton, 1936), probably the most faithful recutting.
  • Damon Type Foundry offered a Bodoni under the name Bartlet.
  • Linotype and Intertype also produced matrices for machine composition that were somewhat narrower than the foundry type versions.[25]
  • Haas Type Foundry produced a version which was then licensed to D. Stempel AG, Amsterdam Type Foundry, and Berthold.[26]
  • The Bauer Type Foundry version was drawn by Heinrich Jost in 1926. The Bauer version emphasizes the extreme contrast between hairline and main stroke. The series included the following weights:
    • Bodoni Roman
    • Bodoni Title
    • Bodoni Bold
    • Bodoni Italic
    • Bodoni Italic Bold[27]

    Cold type versions[edit]

    American Type Founder's Ultra Bodoni font in metal type. A derivative of their Bodoni family, the design is not directly based on Bodoni's own work but was very popular in advertising.

    As it had been a standard type for many years, Bodoni was widely available in cold type. Alphatype, Autologic, Berthold, Compugraphic, Dymo, Harris, Mergenthaler, MGD Graphic Systems, and Varityper, Hell AG, Monotype, all sold the face under the name Bodoni, while Graphic Systems Inc. offered the face as Brunswick and Star/Photon called their version BodoniStar.[28]

    Digital versions[edit]

    Digital revivals include Bodoni Antiqua, 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, and TS Bodoni. Zuzana Licko's Filosofia is considered by some to be a revival of Bodoni, but it is a highly personal, stylish, and stylized spinoff, rather than a revival. Although intended to be usable at text sizes, it represents the early period of the designer's career when interletter spacing was yet to be conquered, so has found use primarily in advertising. A particularly carefully optically-sized Bodoni is Sumner Stone's ITC version in three sizes (6 point, 12 point, 72 point). Another important Bodoni optimized for book printing (9 point) is Günther Gerhard Lange's "Bodoni Old Face" from the Berthold library. Most other versions are best used at display sizes. [citation needed]

    Poster Bodoni[edit]

    Poster Bodoni is a variant created for posters, designed by Chauncey H. Griffith in 1929.[29]


    Bodoni is used in the Zara wordmark


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    3. ^ Arntson, A. (1988). Graphic design basics. New York: Holt, Rinehart, and Winston, p.92.
    4. ^ "Type Classifications". Fonts.com.
    5. ^ "Interview with Massimo Vignelli". Design Observer.
    6. ^ Loxley, S. (2004). Type. London: I.B. Tauris, p.63.
    7. ^ http://www.designmylife.org/wp-content/uploads/2011/02/bodonitypespecimen.pdf Archived 2016-11-07 at the Wayback Machine
    8. ^ a b Smith, James Edward (1793). A Sketch of a Tour on the Continent, in the Years 1786 and 1787. London: printed for the author , by J. Davis; sold by B . and J. White. pp. 36–38. Retrieved 11 August 2015.
    9. ^ Hansard, Thomas Curson (1825). Typographia, an Historical Sketch of the Origin and Progress of the Art of Printing. p. 370. Retrieved 12 August 2015.
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    12. ^ Katz, Joel (2012). Designing information : human factors and common sense in information design. Hoboken, NJ: Wiley. p. 140. ISBN 9781118420096.
    13. ^ Coles, Stephen. "Trianon review". Identifont. Retrieved 10 August 2015.
    14. ^ "HFJ Didot". Hoefler & Frere-Jones. Retrieved 10 August 2015.
    15. ^ Sowersby, Kris (22 January 2008). "Why Bembo Sucks". Retrieved 30 June 2015.
    16. ^ Ahrens and Mugikura. "Size-specific Adjustments to Type Designs". Just Another Foundry. Retrieved 21 November 2014.
    17. ^ Coles, Stephen. "Book Review: Size-specific Adjustments to Type Designs". Typographica. Retrieved 21 November 2014.
    18. ^ a b Sander, Loïc. "Parmigiano review". Typographica. Retrieved 10 August 2015.
    19. ^ Twemlow, Alice. "Forensic Types". Eye Magazine. Retrieved 6 October 2014.
    20. ^ "Surveyor overview". Hoefler & Frere-Jones. Retrieved 11 August 2015.
    21. ^ McNaughton, Melanie (December 2010). "Martha Stewart's Graphic Design for Living". Bridgewater Review. Retrieved 7 October 2014.
    22. ^ "Morris Fuller Benton - Font Designer of Bodoni, Broadway, Garamond".
    23. ^ Clair, K. and Busic-Snyder, C. (2005). A typographic workbook. Hoboken, N.J.: Wiley, p.272.
    24. ^ Mosley, James. "The Trieste leaf: a Bodoni forgery?". Type Foundry (blog). Retrieved 26 March 2016. Bodoni never used the flat-topped letter t (a French innovation) that was added to the ATF typeface.
    25. ^ MacGrew, Mac, American Metal Typefaces of the Twentieth Century, Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4, p. 45.
    26. ^ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X, p. 25.
    27. ^ Specimen Book of Bauer Types (second edition), Bauer Type Foundry, Inc., New York City, c. 1938, pp. E2 – E10.
    28. ^ Lawson, Alexander, Archie Provan, and Frank Romano, Primer Metal Typeface Identification, National Composition Association, Arlington, Virginia, 1976, pp. 34 – 35.
    29. ^ Clair, K. and Busic-Snyder, C. (2005). A typographic workbook. Hoboken, N.J.: Wiley, p.273
    30. ^ "Posters, Signposting & Calendars". Linotype.com. Retrieved 2013-04-15.
    31. ^ "Behind the Redesign: Washington Post". Poynter. Archived from the original on 2015-02-14.
    32. ^ "Hughes, Collected Works, preface, p. v". Powells.com. Retrieved 2013-04-15.
    33. ^ "Nirvana Font". Font Meme.
    34. ^ "Logo My Way".


    • Carter, Rob, Ben Day, and Philip Meggs. Typographic Design: Form and Communication. John Wiley & Sons, Inc: 1993. ISBN 0-471-28430-0.
    • Dodd, Robin. From Gutenberg to Opentype. Hartley & Marks Publishers, Inc.: 2006. ISBN 0-88179-210-1.
    • Friedl, Friedrich, Nicholas Ott, and Bernard Ott. Typography: an Encyclopedia Survey of Type Design and Techniques Throughout History. Black Dog & Leventhal Publishers, Inc: 1998. ISBN 1-57912-023-7 .
    • Frey, David. X-Height FontHaus's Online Magazine. DsgnHaus, Inc. 2006.
    • Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0-87923-333-4.
    • Nesbitt, Alexander The History and Technique of Lettering Dover Publications: 1975. ISBN 0-486-20427-8

    External links[edit]