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The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones

The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the... GERARD UNGER The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones In two articles! Jeanne Veyrin-Forrer did pioneering work with her description of types cut at the initiative of the brothers Fran?ois-Ambroise (1730-1804) and Pierre-Fran?ois Didot (1732-93). She divided the work of Fran?ois-Ambroise, which was done between 1780 and 1785, into designs according to the 'premiere, deuxieme' and `troisieme maniere' (illus. 1-3). These types had already been rec- ognized as remarkable creations - particularly those of the 'troisieme maniere', a design which A.F. Johnson (1884-1972) suggested2 should be regarded as the first true 'Didone' or 'modern face',3 in that it had horizontal, linear and unbrack- eted serifs, a large contrast between thick and thin parts, and vertical stress. Ever since, the type has been regarded as the start of a fashion that impressed itself heavily upon international typography for over a century, and whose chief exponents were the Didot family and Giambattista Bodoni. When typecasting and composing machines were delivered with standard typefaces at the end of the nineteenth century, that one of these should be an ordinary 'modern face' was taken as a matter of course.4 Despite the attention http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Quaerendo Brill

The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones

Unger, Gerard
Quaerendo , Volume 31 (3): 165 – Jan 1, 2001
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Publisher
Brill
Copyright
© 2001 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0014-9527
eISSN
1570-0690
DOI
10.1163/157006901X00047
Publisher site
See Article on Publisher Site

Abstract

GERARD UNGER The types of François-Ambroise Didot and Pierre-Louis Vafflard. A further investigation into the origins of the Didones In two articles! Jeanne Veyrin-Forrer did pioneering work with her description of types cut at the initiative of the brothers Fran?ois-Ambroise (1730-1804) and Pierre-Fran?ois Didot (1732-93). She divided the work of Fran?ois-Ambroise, which was done between 1780 and 1785, into designs according to the 'premiere, deuxieme' and `troisieme maniere' (illus. 1-3). These types had already been rec- ognized as remarkable creations - particularly those of the 'troisieme maniere', a design which A.F. Johnson (1884-1972) suggested2 should be regarded as the first true 'Didone' or 'modern face',3 in that it had horizontal, linear and unbrack- eted serifs, a large contrast between thick and thin parts, and vertical stress. Ever since, the type has been regarded as the start of a fashion that impressed itself heavily upon international typography for over a century, and whose chief exponents were the Didot family and Giambattista Bodoni. When typecasting and composing machines were delivered with standard typefaces at the end of the nineteenth century, that one of these should be an ordinary 'modern face' was taken as a matter of course.4 Despite the attention

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Quaerendo – Brill

Published: Jan 1, 2001

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