Giambattista Bodoni created this modern typeface in 1790 which served as the structural model for Sol Hess’s faithful rendition. Hess made necessary adjustments for mechanical typesetting on Lanston’s Monotype composition system.

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"Always intrigued by Bodoni’s original work, I was set out—back in 2000—to examine his work and study Manuale Tipografico, one of the greatest specimen books ever printed. Issued in 1818 at Parma, Italy by Bodoni’s widow, the two-volume work shows an impressive array of 142 roman alphabets and some foreign ones such as Greek and Cyrillic.

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Giambattista Bodoni of Parma, Italy, designed and cut his typefaces at the end of the eighteenth century. The Bodoni types were the culmination of nearly 300 years of evolution in roman type design, in which fine hairlines contrast sharply with bolder stems, and serifs are often unbracketed. Bodoni is recognized by its high contrast between thick and thin strokes, pure vertical stress, and hairline serifs. This particular version of Bodoni was first created by Morris Fuller Benton for American Type Founders between 1908 and 1915. It brings elegance and sparkle to any graphic image, including headlines, text, and logos.

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An elegant take on Bodoni, with its subtle flared serifs that give it a very beautiful distinguished look.

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Firmin Didot cut the first modern face about 1784 in Paris; Giambattista Bodoni followed prolifically on his heels; his punches and matrices survive in Parma. Bauer has produced the most faithful and delicate contemporary version of his types.

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A new take on the classic font Bodoni, revealing the structural elements of the font, and adding a little sparkle with a pseudo-stencil treatment. The font is named in honor of its original designer and also the undisputed king of the two-chord song.

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Norberto, a CastleType original, is based on a Russian design from the late 19th century that in turn appears to be based on Bodoni. However, Norberto is a much warmer design than most Bodonis, with many soft touches such as very gentle curves from the serif at the top of B, D, P, and R; a jaunty cap on the ‘A’ (and Cyrillic ‘El’, ‘De’, etc); charmingly quaint numerals; hairline accents, and other subtleties that make it a wonderful addition to the Modern typefaces.

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Here’s a new take on an old favorite, the Lubalin-Carnase classic Fat Face.

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An ultra heavy redesigned Bodoni look, extremely powerful but yet very elegant.

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Here’s a fresh take on a classic, Caslon Black Swash. Big, bold and beautiful, it’s a natural choice for distinctive and attractive headlines.

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The Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes.

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The Ingeborg family was designed with the intent of producing a readable modern face. Its roots might well be historic, but its approach is very contemporary.

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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This family was inspired mainly (Normal and Italic style ) by a Didot pattern font used in Rennes (France, Britanny) by Cousin-Danelle, printers, for Antiquités historiques et monumentales ‡ visiter de Montfort ‡ Corseul, par Dinan... Saint Malo... etc. an historic guidebook for journey through a part of (French) Britanny 1820, and many other books.

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Spumoni is Garret Boge’s revival of Free Roman, designed by Ross George, and shown in the 1952 edition of the Speedball Text Book.

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Morris Fuller Benton started the Bodoni revival with this version for ATF in the early years of the 20th century. We consider it the first accurate revival of a historical face for general use. Sturdy and a little mechanical in the 19th century tradition, this is the Bodoni series familiar to us all.

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Günter Gerhard Lange extensively researched and analyzed numerous original Bodoni prints when creating Berthold Bodoni Old Face. As with all of Lange’s typefaces, he adapted this new Bodoni to meet the demands of today’s composing and printing technology.

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The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony.

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Dionisio, a CastleType original, takes its inspiration from one of the overlooked treasures of the CastleType library: Ransahoff. The latter is extremely condensed and very elegant. I particularly like its hairline slab serifs and cross-bars. I decided to use it as a starting point for a new design, but to make the proportions more classic and to make it more sensuous with gentler curves and bracketed cross-bar serifs.

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This Bodoni-like font sets out to slightly square off rounded shapes, adding a very slight curve to the join from the square serif and stem, and minimizing and softening the pronounced bulbs found in Bodoni. There are hints of Walbaum and Melior but the overall effect is a more subtle, and interesting letterform that is friendly, fresh and contemporary.

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Based on the original Stephenson Blake design, circa 1950.

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Royal Romain was commissioned by the most famous king of France, Louis XIV the Sun King. A group of “Scientists” set off to work on the task of producing the ultimate font for the king of all kings. After years of elaborations Philippe Grandjean then started to cut the final punches for the “Imprimerie Royale” and finished his part of the work with the fonts first appearance in the magnificent Médailles sur les principaux énvenémens du règne de Louis-le-Grand (1702). The complete set of 21 sizes of roman and italic letters was finished by Grandjean’s successor Jean Alexandre and completed by Louis Luce in 1745.

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You might call this a Bodoni Ornate font that Bodoni never made, close examination of this old 1800s font and it’s plain to see that the top half of the letters is very Bodoni in appearance.

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This is almost a necessity if you are doing reproductions of mid-19th century posters and playbills.

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Parma is a typewriter style face with the form and elegance of a Bodoni. Functional beauty was the aim of mating the two ideas in one type, creating a utilitarian type with graceful features unlike most typewriter faces which have a mechanical feel. This avoids that inelegant, klugey appearance and makes it possible to have an attractive italic version.

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A Bold new re cut of Bodoni, designed with a more contemporary look.

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The Filosofia Regular family is designed for text applications. It is somewhat rugged with reduced contrast to withstand the reduction to text sizes.

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Designed by R.H. Middleton for Ludlow, circa 1930. Digitally engineered by Steve Jackaman.

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Inspired by a Russian book about Moskow’s plan to take over the world, this font was generated to give digital prints the taste of handlettering. No kerning, just careful spacing.

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Typographer and graphic designer Pavel Teimer (1935-1970) designed a modern serif roman with italics in 1967. For the drawing of Teimer he found inspiration in the types of Walbaum and Didot, rather than Bodoni. He re-evaluated these archetypes in an individual way, adjusting both height and width proportions and modifying details in the strokes, thus effectively breaking away from the historical models he used as a starting point. Teimer’s antiqua has less contrast; the overall construction of the characters is softer and more lively. The proportions of the italics are rather wide, making them stand out by their calm and measured rhythm. This was defined by the purpose of the typeface, as it was to be utilised for two-character matrices. The long serifs are a typical feature noticeable throughout the complete family of fonts. In 1967, a full set of basic glyphs, numerals and diacritics of Teimer’s antiqua was submitted to the Czechoslovak Grafotechna type foundry. However, the face was never cast.
At the beginning of 2005 we decided to rehabilitate this hidden gem of Czech typography. We used the booklet "Teimer’s antiqua - a design of modern type roman and italics", written by Jan Solpera and Kl‡ra Kv’zov‡ in 1992, as a template for digitisation. The specimen contains an elementary set of roman and italics, including numerals and ampersands. After studying the specimen, we decided to make certain adjustments to the construction of the character shapes. We slightly corrected the proportions of the typeface, cut and broadened the serifs, and slightly strengthened the hair strokes. In the upper case we made some significant changes in the end serifs of round strokes in C, G and S, and the J was redrawn from the scratch. The top diagonal arm of the K was made to connect with the vertical stem, while the tail of Q has received a more expressive tail. The stronger hairlines are yet more apparent in the lower case, which is why we needed to further intervene in the construction of the actual character shapes. The drawing of the f is new, with more tension at the top of the character, and the overall shape of the g is better balanced. We also added an ear to the j, and curves in the r have become more fluent.
To emphasise the compact character of the family, the lining numerals were thoroughly redrawn, with the finials being replaced by vertical serifs. The original character of the numerals was preserved in the new set of old-style figures.

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A revival of “Gras Vibert”, a French fat face originally cast by the Didot typefoundry in Paris. It was cut in 1840 by Vibert, an engraver employed by the foundry.

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This compact low contrast display face in the spirit of Giambattista Bodoni’s original roman type teams familiar elements of classical design with the warmth of human presence to impart an intuitive sense of connection between subject and reader.

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Designed by R.H. Middleton for Ludlow, circa 1930. Digitally engineered by Steve Jackaman.

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Fraktura and Fraktura Plus is a set of classical Fraktur (Blackletter) in a modern interpretation. The two fonts differ in the amount of embellishments and can and should be mixed. I only sell the pair, but for a fair price.

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A great looking twist on Bodoni. Its high contrast and condensed look make a great headline face.

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Working as a photographer for Lamborghini Automobili was the high point of my photographic career, creating a 21st century version of Bodoni Ornamental is definitly a milestone in my typographic career.

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LaBodoni is my newly designed Bodoni.

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Giambattista Bodoni (1740–1813) was called the King of Printers and the Bodoni font owes its creation in 1767 to his masterful cutting techniques. Predecessors in a similar style were the typefaces of Pierre Simon Fournier (1712–1768) and the Didot family (1689-1836).

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