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href="https://es.wikipedia.org/wiki/Didona_(tipograf%C3%ADa)" title="Didona (tipografía) – Spanish" lang="es" hreflang="es" data-title="Didona (tipografía)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Didone" title="Didone – French" lang="fr" hreflang="fr" data-title="Didone" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%94%94%EB%8F%88" title="디돈 – Korean" lang="ko" hreflang="ko" data-title="디돈" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Klasszicista_antikva" title="Klasszicista antikva – Hungarian" lang="hu" hreflang="hu" data-title="Klasszicista antikva" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Antykwa_klasycystyczna" title="Antykwa klasycystyczna – Polish" lang="pl" hreflang="pl" data-title="Antykwa klasycystyczna" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9D%D0%BE%D0%B2%D0%B0%D1%8F_%D0%B0%D0%BD%D1%82%D0%B8%D0%BA%D0%B2%D0%B0" title="Новая антиква – Russian" lang="ru" hreflang="ru" data-title="Новая антиква" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Didon" title="Didon – Swedish" lang="sv" hreflang="sv" data-title="Didon" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B8%94%E0%B8%B5%E0%B9%82%E0%B8%94%E0%B8%99%E0%B8%B5" title="ดีโดนี – Thai" lang="th" hreflang="th" data-title="ดีโดนี" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q693749#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> 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data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For the opera by Francesco Cavalli, see <a href="/wiki/Didone_(opera)" title="Didone (opera)">Didone (opera)</a>.</div> <div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Classification of serif typefaces</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Code_civil_des_Fran%C3%A7ais_(Firmin-Didot).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg/220px-Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg" decoding="async" width="220" height="367" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg/330px-Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg/440px-Code_civil_des_Fran%C3%A7ais_%28Firmin-Didot%29.jpg 2x" data-file-width="750" data-file-height="1250" /></a><figcaption>Didot's type in the <a href="/wiki/Napoleonic_Code" title="Napoleonic Code">Code civil des Français</a>, printed by the company of <a href="/wiki/Firmin_Didot" title="Firmin Didot">Firmin Didot</a> in 1804.</figcaption></figure> <p><b>Didone</b> (<span class="rt-commentedText nowrap"><span class="IPA nopopups noexcerpt" lang="en-fonipa"><a href="/wiki/Help:IPA/English" title="Help:IPA/English">/<span style="border-bottom:1px dotted"><span title="'d' in 'dye'">d</span><span title="/i/: 'y' in 'happy'">i</span><span title="/ˈ/: primary stress follows">ˈ</span><span title="'d' in 'dye'">d</span><span title="/oʊ/: 'o' in 'code'">oʊ</span><span title="'n' in 'nigh'">n</span><span title="/i/: 'y' in 'happy'">i</span></span>/</a></span></span>) is a genre of <a href="/wiki/Serif" title="Serif">serif</a> <a href="/wiki/Typeface" title="Typeface">typeface</a> that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by: </p> <ul><li>Narrow and unbracketed (hairline) <a href="/wiki/Serif" title="Serif">serifs</a>. (The serifs have a nearly constant width along their length.)</li> <li>Vertical orientation of weight axes. (The vertical strokes of letters are thick.)</li> <li>Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)</li> <li>Some stroke endings show <a href="/wiki/Ball_terminal" title="Ball terminal">ball terminals</a>. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)</li> <li>An unornamented, "modern" appearance.</li></ul> <p>The term "Didone" is a 1954 coinage, part of the <a href="/wiki/Vox-ATypI_classification" title="Vox-ATypI classification">Vox-ATypI classification</a> system. It amalgamates the surnames of the famous typefounders <a href="/wiki/Firmin_Didot" title="Firmin Didot">Firmin Didot</a> and <a href="/wiki/Giambattista_Bodoni" title="Giambattista Bodoni">Giambattista Bodoni</a>, whose efforts defined the style around the beginning of the nineteenth century.<sup id="cite_ref-BainesHaslam2005_1-0" class="reference"><a href="#cite_note-BainesHaslam2005-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The category was known in the period of its greatest popularity as <b>modern</b> or <b>modern face</b>, in contrast to <a href="/wiki/Serif#Old-style" title="Serif">"old-style" or "old-face"</a> designs, which date to the Renaissance period. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tleft"><div class="thumbinner multiimageinner" style="width:204px;max-width:204px"><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage"><span typeof="mw:File"><a href="/wiki/File:01_Human%C3%ADstica.svg" class="mw-file-description"><img alt="The typeface Centaur" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/01_Human%C3%ADstica.svg/200px-01_Human%C3%ADstica.svg.png" decoding="async" width="200" height="100" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/01_Human%C3%ADstica.svg/300px-01_Human%C3%ADstica.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9e/01_Human%C3%ADstica.svg/400px-01_Human%C3%ADstica.svg.png 2x" data-file-width="600" data-file-height="300" /></a></span></div><div class="thumbcaption text-align-left">The typeface <a href="/wiki/Centaur_(typeface)" title="Centaur (typeface)">Centaur</a>, 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. Below, <a href="/wiki/Bodoni" title="Bodoni">Bodoni</a>. The contrast has been increased and the axis of the contrast made vertical.</div></div></div><div class="trow"><div class="tsingle" style="width:202px;max-width:202px"><div class="thumbimage"><span typeof="mw:File"><a href="/wiki/File:04_Didona.svg" class="mw-file-description"><img alt="Bodoni" src="//upload.wikimedia.org/wikipedia/commons/thumb/6/64/04_Didona.svg/200px-04_Didona.svg.png" decoding="async" width="200" height="100" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/64/04_Didona.svg/300px-04_Didona.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/64/04_Didona.svg/400px-04_Didona.svg.png 2x" data-file-width="600" data-file-height="300" /></a></span></div></div></div></div></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Manuale-Tipografico1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Manuale-Tipografico1.jpg/220px-Manuale-Tipografico1.jpg" decoding="async" width="220" height="166" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/75/Manuale-Tipografico1.jpg/330px-Manuale-Tipografico1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/75/Manuale-Tipografico1.jpg/440px-Manuale-Tipografico1.jpg 2x" data-file-width="1398" data-file-height="1053" /></a><figcaption>Two pages from Bodoni's <i>Manuale Tipografico</i>, a posthumous showcase of his work and engraving by his wife.</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Feria_Sexta.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Feria_Sexta.jpg/220px-Feria_Sexta.jpg" decoding="async" width="220" height="349" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Feria_Sexta.jpg/330px-Feria_Sexta.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/a/a4/Feria_Sexta.jpg 2x" data-file-width="386" data-file-height="613" /></a><figcaption>Types by the <a href="/wiki/Amoretti_Brothers" title="Amoretti Brothers">Amoretti Brothers</a>.</figcaption></figure> <p>Didone types were developed by printers including <a href="/wiki/Firmin_Didot" title="Firmin Didot">Firmin Didot</a>, <a href="/wiki/Giambattista_Bodoni" title="Giambattista Bodoni">Giambattista Bodoni</a> and <a href="/wiki/Justus_Erich_Walbaum" title="Justus Erich Walbaum">Justus Erich Walbaum</a>, whose eponymous typefaces, <a href="/wiki/Bodoni" title="Bodoni">Bodoni</a>, <a href="/wiki/Didot_(typeface)" title="Didot (typeface)">Didot</a>, and <a href="/wiki/Walbaum_(typeface)" title="Walbaum (typeface)">Walbaum</a>, remain in use today.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-The_Didot_You_Didn't_Know_3-0" class="reference"><a href="#cite_note-The_Didot_You_Didn't_Know-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Their goals were to create more elegant designs of printed text, developing the work of <a href="/wiki/John_Baskerville" title="John Baskerville">John Baskerville</a> in <a href="/wiki/Birmingham" title="Birmingham">Birmingham</a> and <a href="/wiki/Pierre_Simon_Fournier" title="Pierre Simon Fournier">Fournier</a> 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.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> (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.<sup id="cite_ref-The_Evolution_of_the_Modern-Face_Roman_6-0" class="reference"><a href="#cite_note-The_Evolution_of_the_Modern-Face_Roman-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>) These trends were also accompanied by changes to page layout conventions and the abolition of the <a href="/wiki/Long_s" title="Long s">long s</a>.<sup id="cite_ref-Long_s_Mosley_7-0" class="reference"><a href="#cite_note-Long_s_Mosley-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Encyclopædia_Americana_-_Didot_8-0" class="reference"><a href="#cite_note-Encyclopædia_Americana_-_Didot-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Cees_W_2005_11-0" class="reference"><a href="#cite_note-Cees_W_2005-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Typefounder <a href="/wiki/Talbot_Baines_Reed" title="Talbot Baines Reed">Talbot Baines Reed</a>, speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling".<sup id="cite_ref-Old_and_New_Fashions_in_Typography_13-0" class="reference"><a href="#cite_note-Old_and_New_Fashions_in_Typography-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated. </p><p>In Britain and America, the lasting influence of <a href="/wiki/Baskerville" title="Baskerville">Baskerville</a> led to the creation of types such as the <a href="/wiki/Bell_(typeface)" title="Bell (typeface)">Bell</a>, <a href="/wiki/Bulmer_(typeface)" title="Bulmer (typeface)">Bulmer</a> and <a href="/wiki/Scotch_Roman" title="Scotch Roman">Scotch Roman</a> designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called <a href="/wiki/Serif#Transitional" title="Serif">transitional serif</a> designs.<sup id="cite_ref-Transitional_&_Modern_Type_Families_Phinney_14-0" class="reference"><a href="#cite_note-Transitional_&_Modern_Type_Families_Phinney-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>a<span class="cite-bracket">]</span></a></sup> Later developments of the latter class have been called Scotch Modern and show increasing Didone influence.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>Didone 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.<sup id="cite_ref-Recasting_Caslon_Old_Face_18-0" class="reference"><a href="#cite_note-Recasting_Caslon_Old_Face-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past.<sup id="cite_ref-Ovink_I_19-0" class="reference"><a href="#cite_note-Ovink_I-19"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Ovink_II_20-0" class="reference"><a href="#cite_note-Ovink_II-20"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Ovink_III_21-0" class="reference"><a href="#cite_note-Ovink_III-21"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Old-Face_Types_in_the_Victorian_Age_22-0" class="reference"><a href="#cite_note-Old-Face_Types_in_the_Victorian_Age-22"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Greatexpectations_vol1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Greatexpectations_vol1.jpg/220px-Greatexpectations_vol1.jpg" decoding="async" width="220" height="360" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Greatexpectations_vol1.jpg/330px-Greatexpectations_vol1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Greatexpectations_vol1.jpg/440px-Greatexpectations_vol1.jpg 2x" data-file-width="1739" data-file-height="2843" /></a><figcaption>The 1861 title page of <i><a href="/wiki/Great_Expectations" title="Great Expectations">Great Expectations</a></i> in the sharp, high-contrast Didone type of the period. Popular at the time, the style had disappeared almost completely by the middle of the twentieth century.</figcaption></figure> <p>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. <a href="/wiki/Nicolete_Gray" title="Nicolete Gray">Nicolete Gray</a> has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and descenders grow longer, the letters crowd together; the normal mid nineteenth-century book is typographically dreary. The Victorians lost the idea of good type to read."<sup id="cite_ref-Nineteenth-century_Ornamented_Typefaces_23-0" class="reference"><a href="#cite_note-Nineteenth-century_Ornamented_Typefaces-23"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen".<sup id="cite_ref-Review:_Jan_van_Krimpen,_A_Letter_to_Philip_Hofer_24-0" class="reference"><a href="#cite_note-Review:_Jan_van_Krimpen,_A_Letter_to_Philip_Hofer-24"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Stanley_Morison" title="Stanley Morison">Stanley Morison</a> of the printing equipment company <a href="/wiki/Monotype_Imaging" title="Monotype Imaging">Monotype</a>, a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of the eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been."<sup id="cite_ref-Type_Designs_of_the_Past_and_Present,_Part_4_25-0" class="reference"><a href="#cite_note-Type_Designs_of_the_Past_and_Present,_Part_4-25"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Type_Designs_of_the_Past_and_Present,_Part_3_26-0" class="reference"><a href="#cite_note-Type_Designs_of_the_Past_and_Present,_Part_3-26"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Display_derivatives">Display derivatives</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=2" title="Edit section: Display derivatives"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/220px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg" decoding="async" width="220" height="294" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/330px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/25/Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg/440px-Redford_%26_Robins_-_poster_-_Google_Art_Project.jpg 2x" data-file-width="2996" data-file-height="4001" /></a><figcaption>Fat face type on a poster. London, c. 1840s</figcaption></figure> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Ultra-bold_Didone,_Kinsley_1829.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/220px-Ultra-bold_Didone%2C_Kinsley_1829.jpg" decoding="async" width="220" height="141" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/330px-Ultra-bold_Didone%2C_Kinsley_1829.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Ultra-bold_Didone%2C_Kinsley_1829.jpg/440px-Ultra-bold_Didone%2C_Kinsley_1829.jpg 2x" data-file-width="1024" data-file-height="655" /></a><figcaption>An ultra-bold Didone "fat face" from the A.W. Kinsley & Co. foundry, <a href="/wiki/Albany,_New_York" title="Albany, New York">Albany</a>, 1829. Similar designs, more or less inspired by typefaces, were used on gravestones in the northern USA.<sup id="cite_ref-Shaw_New_England_Cemeteries_numbers_2_27-0" class="reference"><a href="#cite_note-Shaw_New_England_Cemeteries_numbers_2-27"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup></figcaption></figure> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Caslon_inline_Great_Primer_Columbia_specimen.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Caslon_inline_Great_Primer_Columbia_specimen.jpg/220px-Caslon_inline_Great_Primer_Columbia_specimen.jpg" decoding="async" width="220" height="83" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Caslon_inline_Great_Primer_Columbia_specimen.jpg/330px-Caslon_inline_Great_Primer_Columbia_specimen.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Caslon_inline_Great_Primer_Columbia_specimen.jpg/440px-Caslon_inline_Great_Primer_Columbia_specimen.jpg 2x" data-file-width="904" data-file-height="343" /></a><figcaption>A bold inline modern face in a specimen issued by William Caslon IV.<sup id="cite_ref-Caslon_Modern_inline_28-0" class="reference"><a href="#cite_note-Caslon_Modern_inline-28"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p>Driven by the increasing popularity of advertising, whether printed or custom <a href="/wiki/Lettering" title="Lettering">lettering</a>, the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces.<sup id="cite_ref-Nineteenth-century_Ornamented_Typefaces_23-1" class="reference"><a href="#cite_note-Nineteenth-century_Ornamented_Typefaces-23"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Scrambled_Eggs_&_Serifs_29-0" class="reference"><a href="#cite_note-Scrambled_Eggs_&_Serifs-29"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Twyman_30-0" class="reference"><a href="#cite_note-Twyman-30"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-The_nymph_and_the_grot:_the_revival_of_the_sanserif_letter_31-0" class="reference"><a href="#cite_note-The_nymph_and_the_grot:_the_revival_of_the_sanserif_letter-31"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-The_Nymph_and_the_Grot:_an_update_32-0" class="reference"><a href="#cite_note-The_Nymph_and_the_Grot:_an_update-32"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-English_Vernacular_Motif_33-0" class="reference"><a href="#cite_note-English_Vernacular_Motif-33"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-English_vernacular_(2006)_34-0" class="reference"><a href="#cite_note-English_vernacular_(2006)-34"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> These included the <a href="/wiki/Sans-serif" title="Sans-serif">sans-serif</a>, <a href="/wiki/Slab-serif" class="mw-redirect" title="Slab-serif">slab-serif</a> and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the <a href="/wiki/Roman_type" title="Roman type">roman type</a> form.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Didot_history_HFJ_36-0" class="reference"><a href="#cite_note-Didot_history_HFJ-36"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> Known as '<a href="/wiki/Fat_face" title="Fat face">fat faces</a>', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively.<sup id="cite_ref-Fat_faces_Phinney_37-0" class="reference"><a href="#cite_note-Fat_faces_Phinney-37"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-The_Story_of_Our_Friend,_the_Fat_Face_38-0" class="reference"><a href="#cite_note-The_Story_of_Our_Friend,_the_Fat_Face-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Shaw2017_39-0" class="reference"><a href="#cite_note-Shaw2017-39"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Typographically_Speaking:_The_Art_of_Matthew_Carter_40-0" class="reference"><a href="#cite_note-Typographically_Speaking:_The_Art_of_Matthew_Carter-40"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Fat_Faces:_Their_History,_Forms_and_Use_41-0" class="reference"><a href="#cite_note-Fat_Faces:_Their_History,_Forms_and_Use-41"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of the fat face letter, and the pre-existing inline types with a line inside the type.<sup id="cite_ref-The_Typefoundry_of_Vincent_Figgins,_1792-1836_42-0" class="reference"><a href="#cite_note-The_Typefoundry_of_Vincent_Figgins,_1792-1836-42"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Nineteenth-century_Ornamented_Typefaces_23-2" class="reference"><a href="#cite_note-Nineteenth-century_Ornamented_Typefaces-23"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Displacement">Displacement</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=3" title="Edit section: Displacement"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Didone fonts began to decline in popularity for general use, especially in the English-speaking world, around the end of the nineteenth century<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="According to whom (December 2023)">citation needed</span></a></i>]</sup>. The rise of the <a href="/wiki/Slab_serif" title="Slab serif">slab serif</a> and <a href="/wiki/Sans-serif" title="Sans-serif">sans-serif</a> genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by the <a href="/wiki/Arts_and_Crafts_movement" title="Arts and Crafts movement">Arts and Crafts movement</a> and antiquarian-minded printers such as <a href="/wiki/William_Morris" title="William Morris">William Morris</a>, rejected austere, classical designs of type, ultimately in favour of gentler designs.<sup id="cite_ref-Old-Face_Types_in_the_Victorian_Age_22-1" class="reference"><a href="#cite_note-Old-Face_Types_in_the_Victorian_Age-22"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Recasting_Caslon_Old_Face_18-1" class="reference"><a href="#cite_note-Recasting_Caslon_Old_Face-18"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Nicolas_Jenson" title="Nicolas Jenson">Nicolas Jenson</a>, <a href="/wiki/William_Caslon" title="William Caslon">William Caslon</a>'s "<a href="/wiki/Caslon" title="Caslon">Caslon</a>" typefaces and others such as <a href="/wiki/Bembo" title="Bembo">Bembo</a> and <a href="/wiki/Garamond" title="Garamond">Garamond</a>. Others such as "Old Styles" from <a href="/wiki/Miller_and_Richard" class="mw-redirect" title="Miller and Richard">Miller and Richard</a>, <a href="/wiki/Goudy_Old_Style" title="Goudy Old Style">Goudy Old Style</a> and <a href="/wiki/Imprint_(typeface)" title="Imprint (typeface)">Imprint</a> were new designs on the same pattern.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-Devroye_Perrin_44-0" class="reference"><a href="#cite_note-Devroye_Perrin-44"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Louize_-_typeface_review_45-0" class="reference"><a href="#cite_note-Louize_-_typeface_review-45"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> He wrote in 1855 (tr. <a href="/wiki/James_Mosley" title="James Mosley">James Mosley</a>): </p> <blockquote><p>You ask me what kind of whim leads me to revive types of the sixteen century today.... I 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 verses … our present day punches, which are so precise, so correct, so regularly aligned, so mathematically symmetrical ... no doubt have their merits, but I should prefer to see them kept for printing reports on the railway.<sup id="cite_ref-Typographically_Speaking:_The_Art_of_Matthew_Carter_40-1" class="reference"><a href="#cite_note-Typographically_Speaking:_The_Art_of_Matthew_Carter-40"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>A revival of interest in the old styles of letter in Britain around 1870 was, however, criticised by master <a href="/wiki/Sign_painting" title="Sign painting">signpainter</a> James Callingham in his contemporary textbook on the art: </p> <blockquote><p>It is ... marvellous to think that, after the much desiderated correction [to letters] had been applied, an attempt should recently have been made to introduce these old irregular letters again to the public notice, for the vagaries of fashion have of late brought into use in the printing trade several kinds of old-faced types ... and the infection has in some degree been caught by the sign-writer ... we have thus, on the one hand, a hard, an irregular and unfinished letter; and on the other, a graceful, symmetrical and highly finished letter ... there is some indication that this absurdity, like all fashions that have their birth in bad taste, is happily passing away, and the modern letter is again asserting its superiority. It has always been the case in the arts that, after periods of extravaganza and <i>bizzarerie</i>, there has been a recurrence to sound taste. Positive retrogession is against nature and any tendency in this direction will most assuredly correct itself. The adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model the old <a href="/wiki/Puffing_Billy_(locomotive)" title="Puffing Billy (locomotive)">"Puffing Billy"</a>, now so carefully preserved in the <a href="/wiki/Science_Museum_(London)" class="mw-redirect" title="Science Museum (London)">Patent Museum</a> at <a href="/wiki/South_Kensington" title="South Kensington">South Kensington</a>.<sup id="cite_ref-Sign_Writing_and_Glass_Embossing_46-0" class="reference"><a href="#cite_note-Sign_Writing_and_Glass_Embossing-46"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup></p></blockquote> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Kelmscott_Press_Typefaces.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Kelmscott_Press_Typefaces.jpg/220px-Kelmscott_Press_Typefaces.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Kelmscott_Press_Typefaces.jpg/330px-Kelmscott_Press_Typefaces.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Kelmscott_Press_Typefaces.jpg/440px-Kelmscott_Press_Typefaces.jpg 2x" data-file-width="471" data-file-height="628" /></a><figcaption>Custom typefaces of the Kelmscott Press. Its medievalist approach and custom typefaces were imitated by many printers, publishers and typefounders in the late nineteenth century.</figcaption></figure> <p>One influential example in the late nineteenth century was <a href="/wiki/William_Morris" title="William Morris">William Morris</a>'s Kelmscott Press, which commissioned new custom fonts such as his <a href="/wiki/Golden_Type" title="Golden Type">Golden Type</a> on medieval and early Renaissance models. Many <a href="/wiki/Fine_press" title="Fine press">fine press</a> printers imitated his model, and while some printers such as <a href="/wiki/Stanley_Morison" title="Stanley Morison">Stanley Morison</a> in the twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing a thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves."<sup id="cite_ref-Old_and_New_Fashions_in_Typography_13-1" class="reference"><a href="#cite_note-Old_and_New_Fashions_in_Typography-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Goudy_Bodoni.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Goudy_Bodoni.jpg/220px-Goudy_Bodoni.jpg" decoding="async" width="220" height="297" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Goudy_Bodoni.jpg/330px-Goudy_Bodoni.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Goudy_Bodoni.jpg/440px-Goudy_Bodoni.jpg 2x" data-file-width="2634" data-file-height="3560" /></a><figcaption>In <i>Elements of Lettering</i>, Goudy comments on the work of Baskerville and Bodoni in a book typeset with his <a href="/wiki/Kennerley_Old_Style" title="Kennerley Old Style">Kennerley Old Style</a>. Kennerley is an example of the revival of 'old style' fonts that began to displace Didone type for much general use around the end of the nineteenth century.<sup id="cite_ref-Elements_of_Lettering_47-0" class="reference"><a href="#cite_note-Elements_of_Lettering-47"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p><a href="/wiki/Frederic_Goudy" title="Frederic Goudy">Frederic Goudy</a>, an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about the lettering style. While he mentioned Bodoni in his book <i>Elements of Lettering</i>, he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages [had] the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality"<sup id="cite_ref-Elements_of_Lettering_47-1" class="reference"><a href="#cite_note-Elements_of_Lettering-47"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving a white line in the centre of the thick strokes. He hoped this design, <a href="/wiki/List_of_typefaces_designed_by_Frederic_Goudy#1915_to_1926:_Cut_by_ATF" title="List of typefaces designed by Frederic Goudy">Goudy Open</a>, would leave a lighter <a href="/wiki/Typography#Color" title="Typography">colour</a> (density of ink) on the paper.<sup id="cite_ref-Elements_of_Lettering_47-2" class="reference"><a href="#cite_note-Elements_of_Lettering-47"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-LTC_Goudy_Open_48-0" class="reference"><a href="#cite_note-LTC_Goudy_Open-48"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>Nonetheless, Didone designs have remained in use, and the genre is recognised on the <a href="/wiki/VOX-ATypI_classification" class="mw-redirect" title="VOX-ATypI classification">VOX-ATypI classification</a> system of typefaces and by the <a href="/wiki/ATypI" title="ATypI">Association Typographique Internationale</a> (AtypI).<sup id="cite_ref-designersLexicon_49-0" class="reference"><a href="#cite_note-designersLexicon-49"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> The genre remains particularly popular for general-purpose use in the printing of Greek (the Didot family were among the first to set up a printing press in the <a href="/wiki/Modern_Greece" class="mw-redirect" title="Modern Greece">newly independent country</a>).<sup id="cite_ref-A_primer_on_Greek_type_design_50-0" class="reference"><a href="#cite_note-A_primer_on_Greek_type_design-50"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> It also is often seen in mathematics, as the open-source standard mathematical typesetting programmes <a href="/wiki/TeX" title="TeX">TeX</a> and <a href="/wiki/LaTeX" title="LaTeX">LaTeX</a> use the <a href="/wiki/Computer_Modern" title="Computer Modern">Computer Modern</a> family as default. The system's creator, <a href="/wiki/Donald_Knuth" title="Donald Knuth">Donald Knuth</a>, deliberately created the system with the intention of producing an effect inspired by the "classic style" of nineteenth-century scientific printing with a family based on an <a href="/wiki/Monotype_Imaging" title="Monotype Imaging">American Monotype Company</a> Modern face.<sup id="cite_ref-Berry2002_51-0" class="reference"><a href="#cite_note-Berry2002-51"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-GFS_Didot_52-0" class="reference"><a href="#cite_note-GFS_Didot-52"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Remarks_to_Celebrate_the_Publication_of_Computers_&_Typesetting_53-0" class="reference"><a href="#cite_note-Remarks_to_Celebrate_the_Publication_of_Computers_&_Typesetting-53"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Knuth_Kyoto_1996_54-0" class="reference"><a href="#cite_note-Knuth_Kyoto_1996-54"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>Many newspapers were founded in the nineteenth century, and many newspaper typefaces have remained rooted in nineteenth-century models of type. Linotype's popular <a href="/wiki/Legibility_Group" title="Legibility Group">Legibility Group</a> of the 1930s, for many years the model for most newspaper printing worldwide, remained based on this model but toughened-up to increase clarity.<sup id="cite_ref-The_Changing_Newspaper_55-0" class="reference"><a href="#cite_note-The_Changing_Newspaper-55"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Letters_of_Credit_56-0" class="reference"><a href="#cite_note-Letters_of_Credit-56"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> <a href="/wiki/American_Type_Founders" title="American Type Founders">American Type Founders</a>' Bodoni typeface, introduced around 1907-1911, became hugely popular for news headlines.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> Writing in 2017, digital font designer <a href="/wiki/Tobias_Frere-Jones" title="Tobias Frere-Jones">Tobias Frere-Jones</a> wrote that he had kept his font design for <i><a href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">The Wall Street Journal</a></i> based on the nineteenth-century model because it "had to feel like the news."<sup id="cite_ref-Frere-Jones_Exchange_59-0" class="reference"><a href="#cite_note-Frere-Jones_Exchange-59"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> </p><p>Among popular faces in modern use, the typeface family <a href="/wiki/Century_type_family" title="Century type family">Century</a> is inspired by later American Didone designs, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for <a href="/wiki/Cold_type" class="mw-redirect" title="Cold type">cold type</a> and digital composition, while modern typefaces along the same lines include <a href="/wiki/Zuzana_Licko#Filosofia" title="Zuzana Licko">Filosofia</a> and the open-source <a href="/wiki/Computer_Modern" title="Computer Modern">Computer Modern</a>. Some later Didone families have focused on subgenres of the period, such as <a href="/wiki/Surveyor_(typeface)" title="Surveyor (typeface)">Surveyor</a>, inspired by labels on maps. Fat face typefaces remained popular for display use in the mid-twentieth century with new designs such as Monotype's Falstaff and <a href="/wiki/Morris_Fuller_Benton" title="Morris Fuller Benton">Morris Fuller Benton</a>'s Ultra Bodoni; <a href="/wiki/Matthew_Carter" title="Matthew Carter">Matthew Carter</a>'s <a href="/wiki/Elephant_(typeface)" class="mw-redirect" title="Elephant (typeface)">Elephant</a> is a more recent version.<sup id="cite_ref-The_Story_of_Our_Friend,_the_Fat_Face_38-1" class="reference"><a href="#cite_note-The_Story_of_Our_Friend,_the_Fat_Face-38"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Type_Tactics_No._4:_Heavy_Roman_Types_60-0" class="reference"><a href="#cite_note-Type_Tactics_No._4:_Heavy_Roman_Types-60"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Fat_Faces:_Their_History,_Forms_and_Use_41-1" class="reference"><a href="#cite_note-Fat_Faces:_Their_History,_Forms_and_Use-41"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Usage">Usage</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=4" title="Edit section: Usage"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Proclamation_of_William_III.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Proclamation_of_William_III.jpg/220px-Proclamation_of_William_III.jpg" decoding="async" width="220" height="269" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Proclamation_of_William_III.jpg/330px-Proclamation_of_William_III.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/72/Proclamation_of_William_III.jpg/440px-Proclamation_of_William_III.jpg 2x" data-file-width="1500" data-file-height="1834" /></a><figcaption>A mixture of regular-weight and bolder Didot-style types (proclamation of <a href="/wiki/William_III_of_the_Netherlands" title="William III of the Netherlands">William III of the Netherlands</a>, 1849)</figcaption></figure> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Vogue_SM.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/b/bb/Vogue_SM.jpg" decoding="async" width="218" height="285" class="mw-file-element" data-file-width="218" data-file-height="285" /></a><figcaption>A Didot-style font on the logo of <a href="/wiki/British_Vogue" title="British Vogue"><i>Vogue UK</i></a></figcaption></figure> <p>In print, Didone fonts are often used on high-gloss <a href="/wiki/Coated_paper" title="Coated paper">magazine paper</a> for magazines such as <i><a href="/wiki/Harper%27s_Bazaar" title="Harper's Bazaar">Harper's Bazaar</a></i>, on which the paper retains the detail of their high contrast well, and for whose <a href="/wiki/Corporate_identity" title="Corporate identity">image</a> a crisp, 'European' design of type may be considered appropriate.<sup id="cite_ref-HFJ_Didot_introduction_61-0" class="reference"><a href="#cite_note-HFJ_Didot_introduction-61"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> They are used more often for general-purpose body text, such as book printing, in Europe. </p><p>The effective use of digital Didone typefaces poses unique challenges. While they can look very elegant due to their 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.<sup id="cite_ref-Cees_W_2005_11-1" class="reference"><a href="#cite_note-Cees_W_2005-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Designing_information_:_human_factors_and_common_sense_in_information_design_63-0" class="reference"><a href="#cite_note-Designing_information_:_human_factors_and_common_sense_in_information_design-63"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> For this reason, using the right <a href="/wiki/Font#Optical_size" title="Font">optical size</a> of digital font has been described as particularly essential with Didone designs.<sup id="cite_ref-Trianon_review_64-0" class="reference"><a href="#cite_note-Trianon_review-64"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-HFJ_Didot_65-0" class="reference"><a href="#cite_note-HFJ_Didot-65"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> Optical sizes were a natural requirement of printing technology at the time of Didone typefaces' first creation in metal type, since each size of metal type would be custom-cut, but declined as the <a href="/wiki/Pantograph" title="Pantograph">pantograph</a>, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> French designer Loïc Sander has suggested that the dazzle effect may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and may choose Didone fonts designed for headings.<sup id="cite_ref-Parmigiano_review_69-0" class="reference"><a href="#cite_note-Parmigiano_review-69"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> Many modern Didone digital revivals intended for professional printing, such as Parmagiano, ITC Bodoni and <a href="/wiki/Hoefler_%26_Frere-Jones" class="mw-redirect" title="Hoefler & Frere-Jones">Hoefler & Frere-Jones</a>' Didot and Surveyor, have a range of optical sizes, but this is less common on default computer fonts.<sup id="cite_ref-Parmigiano_review_69-1" class="reference"><a href="#cite_note-Parmigiano_review-69"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Surveyor_overview_71-0" class="reference"><a href="#cite_note-Surveyor_overview-71"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> Among default Didone fonts on computer systems, <a href="/wiki/Century_Schoolbook" class="mw-redirect" title="Century Schoolbook">Century Schoolbook</a> on Windows is oriented towards body text use, while the Didot revival on <a href="/wiki/OS_X" class="mw-redirect" title="OS X">OS X</a> was specifically intended for display use and not for body text. </p> <div class="mw-heading mw-heading2"><h2 id="Derivatives">Derivatives</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=5" title="Edit section: Derivatives"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Clarendon_comparison_with_Modern.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Clarendon_comparison_with_Modern.png/220px-Clarendon_comparison_with_Modern.png" decoding="async" width="220" height="72" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/Clarendon_comparison_with_Modern.png/330px-Clarendon_comparison_with_Modern.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/23/Clarendon_comparison_with_Modern.png/440px-Clarendon_comparison_with_Modern.png 2x" data-file-width="24860" data-file-height="8139" /></a><figcaption>As "Didone" serif text faces were the norm throughout the nineteenth century, other fonts of the period and beyond were derived on them. In this picture, a <a href="/wiki/Clarendon_(typeface)" title="Clarendon (typeface)">Clarendon</a> <a href="/wiki/Display_typeface" title="Display typeface">display typeface</a> is shown, with the standard nineteenth-century 'R' and 'Q' but bulked-up letterforms and boosted <a href="/wiki/X-height" title="X-height">x-height</a> for display printing.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>b<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p>The shape of nineteenth-century Didone designs, with their narrow <a href="/wiki/Aperture_(typography)" class="mw-redirect" title="Aperture (typography)">apertures</a>, has been suggested as a major influence on many early sans-serif fonts such as <a href="/wiki/Akzidenz-Grotesk" title="Akzidenz-Grotesk">Akzidenz-Grotesk</a> and its derivatives such as <a href="/wiki/Helvetica" title="Helvetica">Helvetica</a>, developed in Europe some years after their introduction.<sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> An example of this influence is the narrow <a href="/wiki/Aperture_(typography)" class="mw-redirect" title="Aperture (typography)">apertures</a> of these designs, in which strokes on letters such as <i>a</i> and <i>c</i> fold up to become vertical, similar to what is seen on Didone serif fonts.<sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Matthew_Carter" title="Matthew Carter">Matthew Carter</a>'s <a href="/wiki/Scotch_Roman" title="Scotch Roman">Scotch Roman</a>-inspired computer font <a href="/wiki/Georgia_(typeface)" title="Georgia (typeface)">Georgia</a> is notable as an extremely distant descendant of Didone typefaces. In Georgia, the stroke contrast is greatly reduced and the bold made much bolder than normal in order for the design to render well on a low-resolution computer monitor, but the general letter shape and ball terminals of <a href="/wiki/Scotch_Roman" title="Scotch Roman">Scotch Roman</a> designs are preserved. He also developed the Scotch Roman revival <a href="/wiki/Miller_(typeface)" title="Miller (typeface)">Miller</a> for print use.<sup id="cite_ref-Matthew_Carter_MyFonts_interview_76-0" class="reference"><a href="#cite_note-Matthew_Carter_MyFonts_interview-76"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup> Given these unusual design decisions, <a href="/wiki/Matthew_Butterick" title="Matthew Butterick">Matthew Butterick</a>, an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve a complementary, more balanced reading experience on paper.<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Reverse-contrast_styles">Reverse-contrast styles</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=6" title="Edit section: Reverse-contrast styles"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Clarendon_(typeface)#French_Clarendon" title="Clarendon (typeface)">French Clarendon type</a> and <a href="/wiki/Reverse-contrast_typefaces" title="Reverse-contrast typefaces">reverse-contrast typefaces</a></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Bilde-frost.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Bilde-frost.jpg/220px-Bilde-frost.jpg" decoding="async" width="220" height="319" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Bilde-frost.jpg/330px-Bilde-frost.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/5/5d/Bilde-frost.jpg 2x" data-file-width="414" data-file-height="600" /></a><figcaption>A document printed in 1836, showing Didone (body text), 'Italian' (the word 'proceedings') and early sans-serif fonts.</figcaption></figure> <p>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.<sup id="cite_ref-Type_Tuesday_Eye_79-0" class="reference"><a href="#cite_note-Type_Tuesday_Eye-79"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Henry_Caslon_Devroye_80-0" class="reference"><a href="#cite_note-Henry_Caslon_Devroye-80"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> First seen around 1821 in Britain and occasionally revived since, these are often called <i>reverse-contrast</i> fonts. They effectively become <a href="/wiki/Slab_serif" title="Slab serif">slab serif</a> designs because of the serifs becoming thick. In the 19th century, these designs were called <i>Italian</i> because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble <i><a href="/wiki/Capitalis_rustica" class="mw-redirect" title="Capitalis rustica">capitalis rustica</a></i> Roman writing, although this may be a coincidence. They were also called <i>Egyptian</i>, an equally inauthentic term applied to slab serifs of the period.<sup id="cite_ref-Beauty_and_Ugliness_in_Type_design_81-0" class="reference"><a href="#cite_note-Beauty_and_Ugliness_in_Type_design-81"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> </p><p>Intended as attention-grabbing novelty display designs more than as serious choices for body text, within four years of their introduction the printer <a href="/wiki/Thomas_Curson_Hansard" title="Thomas Curson Hansard">Thomas Curson Hansard</a> had described them as 'typographic monstrosities'.<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> Nonetheless, somewhat toned-down derivatives of this style persisted in popular use throughout the nineteenth century, and are commonly associated with 'wild west' printing on posters.<sup id="cite_ref-84" class="reference"><a href="#cite_note-84"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-85" class="reference"><a href="#cite_note-85"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> They ultimately became part of the <a href="/wiki/Clarendon_(typeface)" title="Clarendon (typeface)">Clarendon</a> genre of slab-serif typefaces, and these later designs are often called <i><a href="/wiki/Clarendon_(typeface)#French_Clarendon" title="Clarendon (typeface)">French Clarendon</a></i> designs.<sup id="cite_ref-Know_your_type:_Clarendon_86-0" class="reference"><a href="#cite_note-Know_your_type:_Clarendon-86"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup> </p> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=7" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Note that the classification of typefaces as "transitional" is somewhat nebulous. Eliason (2015) provides a modern assessment of the limitations of this classification.<sup id="cite_ref-Transitional_Typefaces:_The_History_of_a_Typefounding_Classification_15-0" class="reference"><a href="#cite_note-Transitional_Typefaces:_The_History_of_a_Typefounding_Classification-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">The specific Clarendon face shown is actually the Haas Clarendon of the 1950s, but it is not too dissimilar to ones of the nineteenth century.</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=8" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-BainesHaslam2005-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-BainesHaslam2005_1-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFPhil_BainesAndrew_Haslam2005" class="citation book cs1">Phil Baines; Andrew Haslam (2005). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=rs6gyb2hPF4C&pg=PA50"><i>Type & Typography</i></a>. Laurence King Publishing. pp. 50–5. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85669-437-7" title="Special:BookSources/978-1-85669-437-7"><bdi>978-1-85669-437-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Type+%26+Typography&rft.pages=50-5&rft.pub=Laurence+King+Publishing&rft.date=2005&rft.isbn=978-1-85669-437-7&rft.au=Phil+Baines&rft.au=Andrew+Haslam&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Drs6gyb2hPF4C%26pg%3DPA50&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTracy1985" class="citation journal cs1"><a href="/wiki/Walter_Tracy" title="Walter Tracy">Tracy, Walter</a> (1985). "Didot: an honoured name in French typography". <i>Bulletin of the Printing Historical Society</i> (14): 160–166.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Bulletin+of+the+Printing+Historical+Society&rft.atitle=Didot%3A+an+honoured+name+in+French+typography&rft.issue=14&rft.pages=160-166&rft.date=1985&rft.aulast=Tracy&rft.aufirst=Walter&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span></span> </li> <li id="cite_note-The_Didot_You_Didn't_Know-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-The_Didot_You_Didn't_Know_3-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFColes" class="citation web cs1">Coles, Stephen. <a rel="nofollow" class="external text" href="http://typographica.org/on-typography/the-didot-you-didnt-know">"The Didot You Didn't Know"</a>. <i>Typographica</i><span class="reference-accessdate">. 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Retrieved <span class="nowrap">10 August</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=I+love+typography&rft.atitle=Beauty+and+Ugliness+in+Type+design&rft.aulast=Bilak&rft.aufirst=Peter&rft_id=http%3A%2F%2Filovetypography.com%2F2012%2F09%2F25%2Fbeauty-and-ugliness-in-type-font-design%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span></span> </li> <li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text">De Vinne, Theodore Low, <i>The Practice of Typography, Plain Printing Types,</i> The Century Co., N.Y.C., 1902, p. 333.</span> </li> <li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHansard2003" class="citation book cs1">Hansard, Thomas Carson (2003). <i>Typographia : an historical sketch of the origin and progress of the art of printing</i>. 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Lawson, <i>100 Type Histories (volume 1)</i>, National Composition Association, Arlington, Virginia, 1983, pp. 20-21.</span> </li> <li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.myfonts.com/fonts/bitstream/p-t-barnum/">"P.T. Barnum"</a>. <i>MyFonts</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=MyFonts&rft.atitle=P.T.+Barnum&rft_id=https%3A%2F%2Fwww.myfonts.com%2Ffonts%2Fbitstream%2Fp-t-barnum%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span></span> </li> <li id="cite_note-Know_your_type:_Clarendon-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-Know_your_type:_Clarendon_86-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFChalland" class="citation web cs1">Challand, Skylar. <a rel="nofollow" class="external text" href="http://idsgn.org/posts/know-your-type-clarendon/">"Know your type: Clarendon"</a>. IDSGN<span class="reference-accessdate">. Retrieved <span class="nowrap">13 August</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Know+your+type%3A+Clarendon&rft.pub=IDSGN&rft.aulast=Challand&rft.aufirst=Skylar&rft_id=http%3A%2F%2Fidsgn.org%2Fposts%2Fknow-your-type-clarendon%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=9" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Valerie Lester, <i>Giambattista Bodoni: His Life and His World</i> (2015)</li> <li>Sébastien Morlighem, <i>The 'modern face' in France and Great Britain, 1781–1825: typography as an ideal of progress</i> (thesis, University of Reading, 2014), <a rel="nofollow" class="external text" href="https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.651303">download link</a></li> <li>T. M. Cleland, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://archive.org/stream/giambattistabodo00clelrich/giambattistabodo00clelrich_djvu.txt">"Giambattista Bodoni of Parma"</a>. Boston, Society of Printers. 1916.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Giambattista+Bodoni+of+Parma&rft.pub=Boston%2C+Society+of+Printers&rft.date=1916&rft_id=https%3A%2F%2Farchive.org%2Fstream%2Fgiambattistabodo00clelrich%2Fgiambattistabodo00clelrich_djvu.txt&rfr_id=info%3Asid%2Fen.wikipedia.org%3ADidone+%28typography%29" class="Z3988"></span> (1916)</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Didone_(typography)&action=edit&section=10" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://cm-unicode.sourceforge.net/download.html">Computer Modern release, for general use (select otf)</a></li> <li><a rel="nofollow" class="external text" href="https://github.com/impallari/Libre-Bodoni">Libre Bodoni release</a></li></ul> <p>Period specimen books: </p> <ul><li><a rel="nofollow" class="external text" href="http://www.rarebookroom.org/Control/bodtip/index.html"><i>Manuale Tipografico</i></a> of Bodoni's types (1818, published posthumously by his wife), at <a href="/wiki/Rare_Book_Room" title="Rare Book Room">Rare Book Room</a></li> <li><a rel="nofollow" class="external text" href="https://archive.org/details/b2874231x">Specimen of Printing Types by Vincent Figgins, Letter Founder</a> - the specimen book of London typefounder <a href="/wiki/Vincent_Figgins" title="Vincent Figgins">Vincent Figgins</a>, 1834</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output 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(typography)">Column</a></li> <li><a href="/wiki/Even_working" title="Even working">Even working</a></li> <li><a href="/wiki/Margin_(typography)" title="Margin (typography)">Margin</a></li> <li><a href="/wiki/Page_numbering" title="Page numbering">Page numbering</a></li> <li><a href="/wiki/Paper_size" title="Paper size">Paper size</a></li> <li><a href="/wiki/Pagination" title="Pagination">Pagination</a></li> <li><a href="/wiki/Pull_quote" title="Pull quote">Pull quote</a></li> <li><a href="/wiki/Recto_and_verso" title="Recto and verso">Recto and verso</a></li> <li><a href="/wiki/Intentionally_blank_page" title="Intentionally blank page">Intentionally blank page</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Paragraph" title="Paragraph">Paragraph</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Typographic_alignment" title="Typographic alignment">Alignment</a></li> <li><a href="/wiki/Leading" title="Leading">Leading</a></li> <li><a href="/wiki/Line_length" title="Line length">Line length</a></li> <li><a href="/wiki/River_(typography)" title="River (typography)">River</a></li> <li><a href="/wiki/Runaround_(typography)" title="Runaround (typography)">Runaround</a></li> <li><a href="/wiki/Widows_and_orphans" title="Widows and orphans">Widows and orphans</a> <ul><li><a href="/wiki/Runt_(typography)" class="mw-redirect" title="Runt (typography)">runt</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Glyph" title="Glyph">Character</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Typeface_anatomy" title="Typeface anatomy">Typeface anatomy</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Counter_(typography)" title="Counter (typography)">Counter</a></li> <li><a href="/wiki/Diacritic" title="Diacritic">Diacritics</a></li> <li><a href="/wiki/Dingbat" title="Dingbat">Dingbat</a></li> <li><a href="/wiki/Glyph" title="Glyph">Glyph</a></li> <li><a href="/wiki/Ink_trap" title="Ink trap">Ink trap</a></li> <li><a href="/wiki/Ligature_(writing)" title="Ligature (writing)">Ligature</a></li> <li><a href="/wiki/Rotated_letter" title="Rotated letter">Rotation</a></li> <li><a href="/wiki/Subscript_and_superscript" title="Subscript and superscript">Subscript and superscript</a></li> <li><a href="/wiki/Swash_(typography)" title="Swash (typography)">Swash</a></li> <li><a href="/wiki/Text_figures" title="Text figures">Text figures</a></li> <li><a href="/wiki/Tittle" title="Tittle">Tittle</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Capitalization" title="Capitalization">Capitalization</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/All_caps" title="All caps">All caps</a></li> <li><a href="/wiki/Camel_case" title="Camel case">Camel case</a></li> <li><a href="/wiki/Initial" title="Initial">Initial</a></li> <li><a href="/wiki/Letter_case" title="Letter case">Letter case</a></li> <li><a href="/wiki/Small_caps" title="Small caps">Small caps</a></li> <li><a href="/wiki/Snake_case" title="Snake case">Snake case</a></li> <li><a href="/wiki/Title_case" title="Title case">Title case</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Emphasis_(typography)" title="Emphasis (typography)">Visual distinction</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Blackboard_bold" title="Blackboard bold">Blackboard bold</a></li> <li><a href="/wiki/Emphasis_(typography)" title="Emphasis (typography)">Bold</a></li> <li><a href="/wiki/Color_printing" title="Color printing">Color printing</a></li> <li><a href="/wiki/Italic_type" title="Italic type">Italics</a></li> <li><a href="/wiki/Oblique_type" title="Oblique type">Oblique</a></li> <li><a href="/wiki/Underscore" title="Underscore">Underline</a></li> <li><a href="/wiki/Whitespace_character" title="Whitespace character">Whitespace</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Horizontal aspects</th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Figure_space" title="Figure space">Figure space</a></li> <li><a href="/wiki/Kerning" title="Kerning">Kerning</a></li> <li><a href="/wiki/Letter-spacing" class="mw-redirect" title="Letter-spacing">Letter-spacing</a></li> <li><a href="/wiki/Pitch_(typewriter)" title="Pitch (typewriter)">Pitch</a></li> <li><a href="/wiki/Sentence_spacing" title="Sentence spacing">Sentence spacing</a></li> <li><a href="/wiki/Thin_space" title="Thin space">Thin space</a></li> <li><a href="/wiki/Word_spacing" title="Word spacing">Word spacing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Vertical aspects</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ascender_(typography)" title="Ascender (typography)">Ascender</a></li> <li><a href="/wiki/Baseline_(typography)" title="Baseline (typography)">Baseline</a></li> <li><a href="/wiki/Body_height_(typography)" title="Body height (typography)">Body height</a></li> <li><a href="/wiki/Cap_height" title="Cap height">Cap height</a></li> <li><a href="/wiki/Descender" title="Descender">Descender</a></li> <li><a href="/wiki/Mean_line" title="Mean line">Mean line</a></li> <li><a href="/wiki/Overshoot_(typography)" title="Overshoot (typography)">Overshoot</a></li> <li><a href="/wiki/X-height" title="X-height">x-height</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typeface" title="Typeface">Typeface<br /> classifications</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Roman_type" title="Roman type">Roman type</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Serif" title="Serif">Serif</a> <ul><li><a href="/wiki/Antiqua_(typeface_class)" title="Antiqua (typeface class)">Antiqua</a></li> <li><a class="mw-selflink selflink">Didone</a></li> <li><a href="/wiki/Slab_serif" title="Slab serif">slab serif</a></li></ul></li> <li><a href="/wiki/Sans-serif" title="Sans-serif">Sans-serif</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Blackletter" title="Blackletter">Blackletter type</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Fraktur" title="Fraktur">Fraktur</a></li> <li><a href="/wiki/Rotunda_(script)" title="Rotunda (script)">Rotunda</a></li> <li><span title="German-language text"><i lang="de"><a href="/wiki/Schwabacher" title="Schwabacher">Schwabacher</a></i></span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em"><a href="/wiki/Gaelic_type" title="Gaelic type">Gaelic type</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Insular_script" title="Insular script">Insular</a></li> <li><a href="/wiki/Uncial_script" title="Uncial script">Uncial</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:9em">Specialist</th><td class="navbox-list-with-group navbox-list navbox-odd" style="padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Record_type" title="Record type">Record type</a></li> <li><a href="/wiki/Display_typeface" title="Display typeface">Display typeface</a> <ul><li><a href="/wiki/Script_typeface" title="Script typeface">script</a></li> <li><a href="/wiki/Fat_face" title="Fat face">fat face</a></li> <li><a href="/wiki/Reverse-contrast_typefaces" title="Reverse-contrast typefaces">reverse-contrast</a></li></ul></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Punctuation" title="Punctuation">Punctuation</a> (<a href="/wiki/List_of_typographical_symbols_and_punctuation_marks" title="List of typographical symbols and punctuation marks">List</a>)</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bullet_(typography)" title="Bullet (typography)">Bullet</a></li> <li><a href="/wiki/Dash" title="Dash">Dash</a></li> <li><a href="/wiki/Hanging_punctuation" title="Hanging punctuation">Hanging punctuation</a></li> <li><a href="/wiki/Hyphen" title="Hyphen">Hyphen</a> <ul><li><a href="/wiki/Hyphen-minus" title="Hyphen-minus">minus sign</a></li></ul></li> <li><a href="/wiki/Interpunct" title="Interpunct">Interpunct</a></li> <li><a href="/wiki/Space_(punctuation)" title="Space (punctuation)">Space</a></li> <li><a href="/wiki/Vertical_bar" title="Vertical bar">Vertical bar</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typesetting" title="Typesetting">Typesetting</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Etaoin_shrdlu" title="Etaoin shrdlu">Etaoin shrdlu</a></li> <li><a href="/wiki/Font" title="Font">Font</a> <ul><li><a href="/wiki/Computer_font" title="Computer font">computer</a></li> <li><a href="/wiki/Monospaced_font" title="Monospaced font">monospaced</a></li></ul></li> <li><a href="/wiki/Font_catalog" title="Font catalog">Font catalog</a></li> <li><a href="/wiki/For_position_only" title="For position only">For position only</a></li> <li><a href="/wiki/Letterpress_printing" title="Letterpress printing">Letterpress</a></li> <li><a href="/wiki/Lorem_ipsum" title="Lorem ipsum">Lorem ipsum</a></li> <li><a href="/wiki/Microprinting" title="Microprinting">Microprinting</a></li> <li><a href="/wiki/Microtypography" title="Microtypography">Microtypography</a></li> <li><a href="/wiki/Movable_type" title="Movable type">Movable type</a></li> <li><a href="/wiki/Pangram" title="Pangram">Pangram</a></li> <li><a href="/wiki/Phototypesetting" title="Phototypesetting">Phototypesetting</a></li> <li><a href="/wiki/Punchcutting" title="Punchcutting">Punchcutting</a></li> <li><a href="/wiki/Reversing_type" title="Reversing type">Reversing type</a></li> <li><a href="/wiki/Sort_(typesetting)" title="Sort (typesetting)">Sort</a></li> <li><a href="/wiki/Type_color" title="Type color">Type color</a></li> <li><a href="/wiki/Type_design" title="Type design">Type design</a></li> <li><a href="/wiki/Typeface" title="Typeface">Typeface</a> <ul><li><a href="/wiki/List_of_typefaces" title="List of typefaces">list</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Typographic_unit" title="Typographic unit">Typographic units</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Agate_(typography)" title="Agate (typography)">Agate</a></li> <li><a href="/wiki/Cicero_(typography)" title="Cicero (typography)">Cicero</a></li> <li><a href="/wiki/Em_(typography)" title="Em (typography)">Em</a></li> <li><a href="/wiki/En_(typography)" title="En (typography)">En</a></li> <li><a href="/wiki/Metric_typographic_units" title="Metric typographic units">Metric units</a></li> <li><a href="/wiki/Pica_(typography)" title="Pica (typography)">Pica</a></li> <li><a href="/wiki/Point_(typography)" title="Point (typography)">Point</a> <ul><li><a href="/wiki/Traditional_point-size_names" title="Traditional point-size names">traditional point-size names</a></li></ul></li> <li><a href="/wiki/Twip" title="Twip">Twip</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Digital typography</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Character_encoding" title="Character encoding">Character encoding</a></li> <li><a href="/wiki/Font_hinting" title="Font hinting">Hinting</a></li> <li><a href="/wiki/Font_rasterization" title="Font rasterization">Rasterization</a></li> <li><a href="/wiki/List_of_typographic_features" title="List of typographic features">Typographic features</a></li> <li><a href="/wiki/Web_typography" title="Web typography">Web typography</a></li> <li><a href="/wiki/B%C3%A9zier_curve#Fonts" title="Bézier curve">Bézier curves</a></li> <li><a href="/wiki/Desktop_publishing" title="Desktop publishing">Desktop publishing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Typography in other<br />writing systems</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Arabic_typography" title="Arabic typography">Arabic</a></li> <li><a href="/wiki/Cyrillic_typography" class="mw-redirect" title="Cyrillic typography">Cyrillic</a> <ul><li><a href="/wiki/PT_Fonts" title="PT Fonts">PT Fonts</a></li></ul></li> <li><a href="/wiki/East_Asian_typography" title="East Asian typography">East Asian</a></li> <li><a href="/wiki/Thai_typography" title="Thai typography">Thai</a> <ul><li><a href="/wiki/National_Fonts" title="National Fonts">National Fonts</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Penmanship" title="Penmanship">Penmanship</a> <ul><li><a href="/wiki/Handwriting" title="Handwriting">Handwriting</a></li> <li><a href="/wiki/Handwriting_script" title="Handwriting script">Handwriting script</a></li> <li><a href="/wiki/Calligraphy" title="Calligraphy">Calligraphy</a></li></ul></li> <li><a href="/wiki/Style_guide" title="Style guide">Style guide</a></li> <li><a href="/wiki/Type_design" title="Type design">Type design</a></li> <li><a href="/wiki/Type_foundry" title="Type foundry">Type foundry</a></li> <li><a href="/wiki/History_of_Western_typography" title="History of Western typography">History of Western typography</a></li> <li><a href="/wiki/Intellectual_property_protection_of_typefaces" title="Intellectual property protection of typefaces">Intellectual property protection of typefaces</a></li> <li><a href="/wiki/Technical_lettering" title="Technical lettering">Technical lettering</a></li> <li><a href="/wiki/Vox-ATypI_classification" title="Vox-ATypI classification">Vox-ATypI classification</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related template</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Template:Navbox_punctuation" title="Template:Navbox punctuation">Punctuation and 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