Giambattista Bodoni

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Bodoni, Giambattista

(jämbät-tē`stä bōdō`nē), 1740–1813, Italian printer b. Piedmont. He was the son of a printer and worked for a time at the press of the Vatican. Under the patronage of the duke of Parma, he produced stately quartos and folios with impressive title pages and luxurious margins. With BaskervilleBaskerville, John
, 1706–75, English designer of type and printer. He and Caslon were the two great type designers of the 18th cent. in England. He began his work as printer and publisher in 1757 and in 1758 became printer to the Univ. of Cambridge.
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 in England and the DidotDidot, François
, 1689–1757, Parisian printer. The son of a printer, Denis Didot, he was the first of the family to win fame in his craft. His son, François Ambroise Didot,
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 family in France, Bodoni was a leader in originating pseudoclassical typefaces. These were distinguished from the "old style" of CaslonCaslon, William
, 1692–1766, English type designer, b. Worcestershire. He worked first in London as an engraver of gunlocks, then set up his own foundry in 1716. The merits of Caslon's types were rediscovered after a brief eclipse in the popularity of John Baskerville's
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 by emphasizing the contrast of light and heavy lines and by long, level serifs. Bodoni's most notable publications include folio editions of Horace (1791), Vergil (1793), The Divine Comedy (1795), and Homer (1808). His coldly elegant books were frankly made to be admired for typeface and layout, not to be studied or read. He was apparently indifferent to the quality of the text he printed and to editing and proofreading. William Morris considered Bodoni's mechanical perfection in typography the ultimate example of modern ugliness.
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Con el patrocinio de Azara se iba a imprimir en la Imprenta Real de Parma, dirigida por el mas genial tipografo de la epoca, el piamontes Giovambattista Bodoni. Los meses de junio y julio son de ansiosa espera hasta que, a finales de agosto de 1786, le comunican desde Parma que la reimpresion esta en marcha sin interrupcion (54).
"Well," he then said, "you know, of course, that Ed Bodoni is a radical feminist."
Two of the projects for which Mardersteig needed a very special woodcutter such as Kredel were the Il Ninfale Fiesolano, printed at the Officina Bodoni in 1940 (OB 46), for which the artist was asked to replicate the work of Bartolomeo di Giovanni (from the end of the fourteenth century), and later in the 1960s for Das Madchen von Andros, printed first in the German edition of September 1971 (OB 102), followed by Italian and English editions in the same year.
This has been a running complaint about Bodoni, including by De Vinne.
Rosa Necchi: Il carteggio fra Giambattista Bodoni e Carlo Denina 1777-1812 (2003).
In the end, the masthead was changed from an all-caps Bodoni bold to a caps-and-lower- case Times bold, and the headline font was switched from Century Schoolbook to the Geneva family.
Bodoni's punches and matrices were bought in 1840 by the state of Parma for permanent preservation in the Biblioteca Palatina as a memorial to their creator, and when during the early twentieth century Giovanni Mardersteig wished to print from Bodoni's types, a commercial typefoundry in Florence found no difficulty in casting from these matrices, like any others, and they are still in good order.
There were only four titles produced, but they included the Henry Cary translation of Plato's Crito, printed by Hans Mardersteig at the Officina Bodoni, and the delightful edition of Alfred de Musset's short playFantasio, printed at Enschede in Haarlem.
Los elogios se repetian en la traduccion al italiano por Francesco Milizia, impresa en 1784 en Parma por Bodoni, "tipografo di Sua Maesta Cattolica", una obra "che tanto onora quel suo regno" (EL, 1784, VIII, p.
The pangerish information was printed in gray, 12-point Comic Sans or Bodoni fonts.
The menu looks French and is delicately typeset in a softly spaced Bodoni. These are some of the words which appear on its two densely printed pages: "crackling," "plaice," "kid," "blue cheese," "cumin," "profiterole," "Jerusalem artichoke," "tart," "bouillabaisse," "squid," "roe," "date," "brisket," "rillettes," and "minke." To all this and more, the customers can point and have it prepared, with knowledge and flair, by the chef and his helpers before I or Vanessa, for example, bring out the dishes and the guests raise it to their mouths bit by bit.
He thus spends time chastising me for not discussing Poliphilus, Bembo, Centaur (which he debatably declares to be "the best revival of Jenson to date"), Barbou, the history of Bodoni's evolution as a punchcutter, and other topics that are beyond the scope of my book and the space available to me.