didot - book design
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didotTypeface, Designer, Legacy
Komal Zehrah
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didotTypeface, Designer, Legacy
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didotTypeface, Designer, Legacy
Komal Zehrah
813202629
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LegacyAnalysisComparisonConclusionTimeline
Didot Legacyg
A FAMILY BUSINESSAmbroise-Firmin Didot has been credited
with the production of the original Didot
typeface, though its success is due largely
to the esteem and accomplishments of
the Didot household as a whole. The Didot
family had produced a legacy in the realm
of publishing and printing. Firmin’s father,
Francois-Ambroise had established himself
as a renowned printer in the 18th century,
and his father before him, Francois I, was
also a printer and had originally founded
the family publishing business in 1713. Fran-
cois’s father, Denis Didot, was a printer, too.1
The Didot dynasty of publishing and print-
ing is in fact believed to have dated back
to 1698, to a bookseller named Marie-Anne
Didot.2
FRANCOIS TO FIRMINFrancois II had revolutionized typography in
France by introducing reforms in the system
of typographical measurements, a version
of which is still in use today. He had become 1 Linda Whiteley. “Didot.” Grove Art Online. Oxford Art Online. Oxford University Press,
2 Roxane Jubert, Typography and Graphic Design, (Paris: Flammarion, 2006), 77-79.
3 Whiteley, Grove Art Online.
Figure 1Portrait of Firmin Didot, circa 1823. Anne-Louis Girodet Trioson
Didot | 9
Didot Family Tree
Didot | 10
Denis Didot
Francois-Ambroise Didot (Francois II)
Ambroise-Firmin Didot
Pierre Didot
Francois Didot (Francois I)
so reputable, that he was commissioned to
produce printwork for the king of France.4
Benjamin Franklin Bache, grandson of
Benjamin Franklin, was an apprentice to
Francoise II. According to Bache, he was
the best printer of his time.5
Francois II initiated what are said to be the
early versions of the Didone style typefaces.
The Didone typefaces all have the same
common characteristics: “horizontal and
linear unbracketed serifs, a large contrast
between thick and thin parts, and vertical
stress.” Firmin’s Didot typeface was most
definitely inspired by and derived from the
typeface designs of his father, particularly
the “troisieme manieres” (Fig. 2).6
The development of these typefaces was in
part helped by the improvement of paper
quality. Francois II, following the footsteps
of John Baskerville, experimented with
processes to make better paper and also
to improve the printing press. The paper he
ahpgFigure 2 Francois-Ambroise’s “troisieme manieres” (above) compared to Firmin Didot’s Didot typeface (below). Roxane Jubert
Didot | 11
4 Unger, Gerard. 2001. “The types of François-Ambroise Didot and Pierre-Louis Vafflard.” Quaerendo 31, no. 3: 165-191.
5 2013. “François Didot.” Columbia Electronic Encyclopedia, 6th Edition 1.
6 Unger, Quaerendo, 165-191.
developed allowed the more refined letters
of his typefaces to be seen more clearly.
Aside from his father, Firmin’s influences
for his typeface include Pierre-Louis Vafflard.
Vafflard was one of the punchcutters who
worked alongside Firmin’s father in the
printing business and he taught Firmin the
art of punchcutting.7 The main purpose
of developing the Didot typeface, was to
provide a typeface for his brother Pierre’s
book. The success of their book publishing
and selling business helped to bring success
to the typeface as well.
ROYAL RECOgNITIONFirmin enjoyed similar successes to his
father. Like his father, Firmin also made
endeavors to make advancements in print
technology. He was the first in France to
print books from stereotype plates. He had
obtained metal presses in 1810, which gave
more regularity in the print quality. He had
actually improved the process, and it allowed
him to make less expensive books. He also
worked for royalty, just as his father had. In
fact, Firmin became the printer to the king,
and the head of the royal foundry.8
Figure 3Punches based on the Ambroise type family, derived from Didone types found in the Imprimerie Nationale in France. Jean François Porchez
Didot | 12
7 Jubert, Typography and Graphic Design, 79.
8 2013. “François Didot.” Columbia Electronic Encyclopedia, 6th Edition.
TypeAnalysissy
ABCDEFGH I J K L M NOPQRSTU
VWXYZ
Didot | 14
a b c d e f gh i j k l m no p q r s t uv w x y z
Didot | 15
TYPE ORIgINSReinterpreted, revised, and replicated for centuries, Didot is a classic modern typeface that
has withstood much criticism to continue to be widely successful. It has now become the
typeface of many of the big names in the fashion industry known today. Gracing the covers
of magazines such as Vogue and Harper’s Bazaar, as well as serving as the typeface choice
for the Giorgio Armani logo, Didot and its derivatives are very commonly used typefaces.
Even in its early days it was widely used in Europe. Firmin Didot had produced the Didot
typeface in Paris, France in the early 1780s. By the end of the 18th century, it was introduced
in other European countries, and in Germany it became a widespread type and resulted in
many imitations in the following century.1
Didot | 16
Figure 1A custom logo made for Vogue with slight variations to Didot typeface.Terminal Design
1Roxane Jubert, Typography and Graphic Design, (Paris: Flammarion,
2006), 77-79.
VISUAL ANALYSISCharacterized by its thin, hairline serifs
and the drastic variation between stroke
weights, Didot has a very neoclassical look.
Unlike many of the typefaces preceding it,
Didot had no bracketing (Fig.2), and had
vertical stress as opposed to the diagonal
stress of the calligraphic Old Styles (Fig.2).
It has the double-story lowercase a and
g and much of the lowercase letters were
created in consideration with each other.
The p and q are almost mirror reflections
of each other (Fig.4), as are the b and d.
Its uppercase H and M are narrower than
most of the book types that were used at
the time. Thus the Didot family had altered
quite a few of the standards for book types. 2
Though it is frequently compared to Bodoni,
the major differences between the two are
the lowercase a’s: the counter on Didot’s
p qo oA A
Figure 2Didot (left) with unbracketed, hairline serifsGoudy (right) with bracketed serifs
Figure 3Didot (left) with vertical stressGoudy (right) with diagonal stress
Figure 4Didot’s mirrored lowercase p is the same as its q
Didot | 17
2 W. Pincus Jaspert, W. Turner Berry, and A. F. Johnson, The Encyclopaedia of Type Faces, (London: Blandford Press, 1970), 69.
droops down, and the tails on the uppercase Q: Didot’s is swash-like whereas Bodoni’s is
much simpler and centered (Fig. 4).
CRITICAL ANALYSISCriticism of Didot lies mainly in the use of the hairline serifs and the extreme stroke weight
difference. “If some appreciated the alphabet’s grandeur…others saw its excessive rigor as
posing problems for readers…”3At smaller sizes, the thinner strokes become less visible.
Therefore, it is not used much in body text. However, it is very successful as a display face,
which is why it is so frequently utilized in titles, headings, and logos. The straight, thin
strokes give it elegance and make it stand out. Historian Alber Kapt states that Didot seems
“intellectual, sober, and cold, but when looked at more closely turns out to be witty and
delightful”.4
Figure 4Bodoni Q and a (leftt). Didot Q and a (right)
Didot | 18
3 Jubert, Typography and Graphic Design, 79.
4 Jubert, Typography and Graphic Design, 79.
“Alber Kapf, on Didot
Didot | 19
intellectual, sober, and cold, but when
looked at more closely, turns out to be witty
and delightful
Didot | 20
TypeComparison
rm
1 Bedoin, Laurence , Thierry Claerr, and Matthieu Cortat. Ministry of Culture and Communication, Garamond, Last modified 2011. http://www.garamond.culture.fr/en.
Figure 1Etching of Claude Garamont by artist William Sharp. Cornell University Library
Didot | 21
CLAUDE gARAMONTFrench typography went through periods
of rise and decline as technology and
politics brought swift changes to the
design industry. The Didots were credited
as being highly influential in generating
much of the positive revolutions in type
and printing in France in the 18th century.
However, even before them, Claude
Garamont had helped bring an earlier
revival for French typography in the 16th
century. Similar to the Didots, Garamont
also came from a family of printers, as both
his mother and father’s side of the family
had many printers and punch-cutters.1
FIRMIN & CLAUDEThe typefaces of Didot and Garamond are
among the type designers that have been
credited with restoring the glory of French
typography. Both designers had enjoyed
much success and critical acclaim for their
work. Also, both created typefaces that
spurred many imitations and variations,
Didot | 22
u
Didot | 23
2 Philip B. Meggs, Meggs’ History of Graphic Design, (Hoboken: John Wiley & Sons, 2012), 114.
3 Bedoin et al., Garamond, 2011
due to the amount of popularity they
garnered. Garamont’s type designs were
so well known and appreciated for their
legibility and beauty, that for about two
hundred years, other typographers merely
refined or altered his types rather than
creating novelty types.2 Didot experienced
similar achievements with his typeface, as it
is still widely used today, over two hundred
years later. Though both types originated
in France and had similar success stories,
they vary in their individual designs.
FROM OLD STYLE TO MODERNGaramond is categorized as an Old-Style
type, with the original Garamond typefaces
having been produced in the mid 1500s.3
These were in the style of Roman humanist
types, derived from Italy, but perfected by
typographers in France.
While other type designers at his time and
before him merely reproduced hand-written
manuscripts, Garamont had created letters
that could be independently considered as
types. For about two centuries after they
were made, his typefaces
continued to flourish and to
influence typographers. It was
in fact in the late 1700’s that
Firmin Didot produced his
typeface. If Garamond was
revolutionizing humanist type,
Firmin took it to a greater
level, by creating one of the
first Modern typefaces.
Figure 2Examples of common characteristics of some of the main type styles, illustrating their evolution over the years. (left) Matthew Chan
“And while other type designers at his time and before him
merely reproduced hand-written manuscripts, Garamont had created letters that could be
independently considered as types.”
Figure 3Garamond (bottom).Didot (top).
Didot | 24
ANATOMY OF THE TwO TYPESGaramond and other Old Style types are known for their low stroke contrast, whereas Didot
is a typeface that exhibits extreme contrast between thick and thin strokes. Garamond’s
letters exhibit angled strokes, whereas Didot’s seem to all be very straight and most are
perpendicular (Fig. 3a). While Didot has vertical stress, there is diagonal stress on Garamond’s
letters (Fig 3b). Angled strokes and diagonal stress are some of the distinguishing traits of
Old Style and humanist typefaces, which had characteristics of handwritten text. As type
designers diverged from emulating handwriting, they experimented with less of this diagonal
stress, and the Didone typefaces set the trend of vertical stress. Though they both have
similar x-heights, it varies among some letters in Garamond due to the angled serifs (Fig 3c).
As typefaces shifted from Old Style to Transitional to Modern, the x-heights started to get
larger as well. Though both are serif types, many of the letters in Garamond have
TypophilicTypophilic
c.
c.
b.
b.
a.
a.
Figure 4Garamond (left) with triangular serifs.Didot (right) with hairline serifs.
Figure 5Garamond (left).Didot (right).
a.
Didot | 25
db db
ADVANTAgES AND USAgEThe characteristics of both typefaces give them their own individual appeal, and contribute
to their advantages, but also their disadvantages. Garamond is largely used as type for body
text, since it is very legible and was created with the intent for being used as such. The
letterforms are very open and round, and that helps to make them very readable. Didot on
the other hand, is difficult to read as body text, especially at smaller font sizes. This is due to
the extremely contrasted strokes and the hairlines serifs. Therefore, it is best to use a greater
amount of leading for Didot. It is generally used purely as display type for these same reasons,
and it has flourished as a stylish display, while Garamond is commonly found in books.
triangular serifs (Fig. 4a). Didot, however,
has thin, hairline serifs (Fig. 4b). Another
aspect of Garamond’s letters is that each
has its own individual characteristics,
whereas Didot’s seem to be based off one
another. Looking at the d and b it is very
apparent that Didot’s are almost mirrored
off each other, whereas Garamond’s are
designed differently (Fig. 4). One defining
characteristic of Garamont’s typefaces is
the narrow lowercase a. On the otherhand,
Didot’s a has an elegant teardrop shaped
counter, complementary to the teardrop
terminal on the a as well (Fig. 5).
a ab.
Didot | 26
Conclusion
c s
Figure 1Didot used on the cover of Vanity Fair’s commemorative book. Luke Hayman
Figure 2Didot featured on the cover of the February 2013 issue of Turkey’s Harper’s Bazaar. Koray Birand
Didot | 27
IMPACTFrequenting the covers of fashion magazines
and logos, Didot has established itself as
a sophisticated and elegant typeface. Its
slender serifs, contrasted with the bold
teardrop terminals give it a distinctive look,
one that is memorable and makes it easy
to distinguish from other typefaces. Its
delicate strokes are juxtaposed with its
thick strokes, and this particular feature has
been adapted into much of the typefaces
used in the fashion industry. This stylish
aspect of the typeface became quite a
trend in the later part of 20th century,
but Didot has transcended the ephemeral
bounds of trends, and has established a
more indelible presence in the world of type.
MODERN VERSIONSIt has been altered and imitated and
refined numerous times since its initial
production by Firmin Didot. In 1991, Adrian
Frutiger refined the type, and even handled
some of the flaws it had. At smaller point
Figure 3CBS logo utilizing a Didot variant. Erik Thayer
Figure 4Variation of Didot created by Jonathan Hoefler. Hoefler & Co
Figure 5Variation of Didot created by Adrian Frutiget. Monotype GmbH
Didot | 28
sizes, the thin strokes of the type seem to disappear on the page. This effect was called
“dazzle”, so Frutiger increased the stroke width at smaller point sizes to resolve this issue
in his typeface Linotype Didot.1 Hoefler and Frere-Jones also recreated the type with similar
adjustments around the same time as Frutiger, and called it HTF Didot.2 Both Linotype Didot
and HTF Didot are frequently used today, mainly to give and old-fashioned look to books
and magazines. What was once considered modern and novel has now become vintage, but
still retaining its elegance and appeal.
1 Monotype GmbH. “Type Gallery – Linotype Didot.” Linotype Type Gal-lery. http://www.linotype.com/171/linotypedidot.html
2 Hoefler & Co. “Didot Fonts.” Didot Fonts. http://www.typography.com/fonts/didot/overview/
Timeline
Ti
1530
1689
1713
1730
1754
1764
1784
1788
1789
1804
1814
1827
1836
1943
1991
1992
1701-1789Age of Enlightenment
1789-1799French Revolution
1500
1700
1600
1800
1900
2000
Claude Garamont published his first typeface
Francois Didot born in Paris, France; merchant and the grandfather of Firmin Didot.
Francois Didot opened a bookstore, À la Bible d’or
Francois-Ambroise Didot born in Paris, France. Father of Firmin Didot; printer type and designer.
Francois Didot received printer’s charter from the king
Firmin Didot was born in Paris France.
Firmin Didot developed the original Didot typeface
Francois-Ambroise was appointed printer to the clergy
Francois-Ambroise retired, and Firmin took over his father’s business
Napoleon became the Emperor of France
Napoleon appointed Firmin as the Director of the Imperial Foundry
Firmin Didot gave up business.
Firmin Didot passed away at the age of 72.
A custom designed Didot graced the cover of Vogue magazine as the official Vogue logo
Jonathan Hoefler developed HTF Didot
Adrian Frutiger developed Linotype Didot
16th, 17th Centuries
18th Century
19th Century
20th Century