![]() ![]() Vogue has been using Didot as the typeface for their cover title since 1955. ![]() Alexey Brodovitch implemented the usage of Didot in Cahiers d'Art and Harper's Bazaar. The Style Network used a bold weight of Didot in its on-air identity (in addition to the News Gothic font). Ī libre open source implementation of Didot including the Cyrillic and Greek alphabet was released under the name Theano Didot by the Russian historian Alexey Kryukov.Īn example of Firmin-Didot-style body text from the same book. Frutiger's Didot revival, which is bundled with macOS, was specifically intended for display use and not for body text, and adds in addition an even more delicate headline font. Hoefler's design anticipates the degradation of hairline in smaller point sizes by employing heavier weighted strokes in the smaller point sizes. )Īmong the most successful contemporary adaptations are the ones drawn by Adrian Frutiger for the Linotype foundry, and by Jonathan Hoefler for H&FJ. A revival has taken place in recent years but they are normally only offered in commercial fonts. (Optical sizes were a natural requirement of printing technology in the time of metal type, since each size of metal type would be custom-cut, but declined as digital fonts made printing the same font at any size possible. 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. For this reason, using a font adapted to the intended text size - optical sizing - has been described as particularly essential with Didone designs. While it can look very elegant due to the regular, rational design and fine strokes, a known effect on readers is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the other, much thinner strokes that define which letter is which. Several revivals of the Didot faces have been made, first for hot metal typesetting and then for phototype and digital versions.ĭigital use of Didot poses challenges. The Didot family were among the first to set up a printing press in the newly independent Greece, and typefaces in the style of Didot have remained popular in Greek since. The Didot family's development of a high contrast typeface with an increased stress is contemporary to similar faces developed by Giambattista Bodoni in Italy.ĭidot is described as neoclassical, and evocative of the Age of Enlightenment. The typeface takes inspiration from John Baskerville's experimentation with increasing stroke contrast and a more condensed armature. His edition of La Henriade by Voltaire in 1818 is considered his masterwork. His brother, Pierre Didot (1760–1853) used the types in printing. Firmin Didot (1764–1836) cut the letters, and cast them as type in Paris. The most famous Didot typefaces were developed in the period 1784–1811. The classification is known as modern, or Didone. ![]() The word/name Didot came from the famous French printing and type producing Didot family. ![]()
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