![]() ![]() Nicolete Gray has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 18 are charming neat, rational and witty. 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. Popular at the time, the style had disappeared almost completely by the middle of the twentieth century. The 1861 title page of Great Expectations in the sharp, high-contrast Didone type of the period. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past. ĭidone 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. Later developments of the latter class have been called Scotch Modern and show increasing Didone influence. In Britain and America, the lasting influence of Baskerville led to the creation of types such as the Bell, Bulmer and Scotch Roman designs, in the same spirit as Didone fonts from the continent but less geometric these like Baskerville's type are often called transitional serif designs. Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated. Typefounder Talbot Baines Reed, speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling". ) These trends were also accompanied by changes to page layout conventions and the abolition of the long s. (Lettering along these lines 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 relatively similar, conservative designs. Their goals were to create more elegant 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. The category was known in the period of its greatest popularity as modern or modern face, in contrast to "old-style" or "old-face" designs, which date to the Renaissance period.ĭidone 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. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) Some stroke endings show ball terminals.(Horizontal parts of letters are thin in comparison to the vertical parts.) Strong contrast between thick and thin lines. ![]() (The vertical strokes of letters are thick.) (The serifs have a nearly constant width along their length.) Narrow and unbracketed (hairline) serifs.Didot's type in the Code civil des Français, printed by the company of Firmin Didot in 1804.ĭidone ( / d i ˈ d oʊ n i/) is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. ![]()
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