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■ ■W IMHOF. ■ ■■■■ --- PAPALE Quousq; tandem abutere, Catilina, SALUZZO BODONI'S largest textface, the Papale, shown here in its roman version. From the Manuale Tipografico (Parma, 1818). Everyone is skeptical, but remarkably, it works SUMNER STONE (right) and Allan Haley prepare to photograph steel punches from Bodoni's original collection for reference in designing ITC Bodoni. reprinted in 1964 for a modern audience in a beautiful facsimile edition by Franco Maria Ricci, the publisher of FMR magazine, and a native son of Parma. After a brief tour of the Museo Bodoniana we immerse ourselves in the type. The steel punches are remarkable pieces of sculpture, each one carefully stored in its own special compartment in a wooden case. We are going to make at least three different varieties of the type: a very small size, a text size, and a display version for very large type. The model for the largest size of the roman is an easy decision. It clearly has to be Bodoni's largest size, the Papale, the Pope's type. Choosing models for the smaller sizes is more complex. We look at specimens printed on the delicate vellum pages of an original Manuale to try to match the type in the book to the specimen. Finally, we agree on using the Filosofia Bassano for the small size. We photograph punches. We photograph books. We reluctantly leave, piled high with journals and other publications from the Museo Bodoniana thanks to the good graces of our diligent host, Luigi Pelizzoni. WE RETURN HOME TO THE United States and begin to draw. The romans are first. Holly Gold- smith starts on the small size, which requires a good deal of interpreta- 12 FT LOSOFIA Quousque tandem abutere, Catilina, patientiit nostril ? quamdiu etiam furor isle tuns nos eludes? quem ad finem sese effrenata jactabit audacia ? nihitne to nocturnum prmsidium Palatii, nihil urbis nihil timor populi, nihil concursus bonorum omnium, nihil hic munitissimus habendi senatus locus, nihil horum ora vultusque raoverunt ? Patere tua consilia non sentis? constrictam jam omnium horum eonscientia teneri conjurationem tuam non vides? Quid proxima, quid superiore nocte egeris, ubi fueris , quos convocaveris , quid consiliiceperis, quern nostram ignorare arbitraris? 0 tempora, o mores! Senatus laze intelligit , consul videt: hic tamen vivit. Vivit? MARCUS TULLIUS CICERO ARPINATEN. EATINAE ELOQUENTIAE PATER AC PRINCEpS. `91 BASSANO BODONI cut to variants in the body size known as Filosofia. This specimen was used as a model for the small size of ITC Bodoni. From the Manuale Tipografico, Parma, r8:8.
tion. Holly's task is to preserve the feeling and the gesture of the original letters sculpted at size on a bar of steel. This has to be done with- out making the type a photo-realistic interpre- tation showing every bump and lump from the enlargements of printed letters. Janice Prescott Fishman begins working on the large size based on the Papale. Here the challenge is different. We want to capture the Papale's engraved ele- gance. In both the small and large sizes care is taken not to introduce oversimplified geome- try into the characters— a common practice in making previous Bodoni revivals. Shortly after return- ing from Parma, we real- ize that we would need more opportunities to HOLLY GOLDSMITH created the small size of ITC Bodoni roman by enlarging tiny samples of Bodoni's original metal types. ITC Bodoni: A Size-Sensitive Design This new digital typeface release emulates the master type designer's attention to detail. FROM THE TIME MOVABLE type was invented by Gutenberg until metal type was replaced by phototype, punch cutters painstakingly created each weight of a font of type with design and proportional changes in mind. As a result, each size of a given typeface was usually slightly different in design and proportion from the next size up or down. When comparing fonts at extreme ends of the size spectrum, the overall differences could be quite dramatic. These adjustments were necessary to ensure optimum readability of the font. In a serif typeface, for example, the thin parts of a character were designed proportionally heavier for small sizes than for large sizes. If they were kept the same weight, the contrast between thick and thin would be too great, causing an effect called "dazzling:' which makes text diffi- cult to read. When metal typesetting was replaced by phototype in the 196os, most manufacturers of phototype fonts did not take the time and effort necessary to produce sizesensitive typeface designs. This practice has spilled over into digital fonts, so that the number of fonts that have been created to be size-sensitive can be counted on one hand. Giambattista Bodoni was a master at creating fonts that took the best advantage of their size. Not only did he create different designs for each point size, he also produced a range of fonts for text composi- tion which had smaller than half-point size changes—each version subtly BODONI created d ifferent designs for each point size, so the differences with- in one typeface could be dramatic. look at and photograph the Manuale. David Pankow, curator for the Cary Collection of printing history at Rochester Institute of Technology, is gra- cious enough to lend us one of the Cary's two original copies of Manuale which we then use extensively for further reference. Having prepared some trial characters for the small and large sizes of the roman, we now come to a critical stage in the project. Can we get the computer to make the text size by interpolation from the large and the small versions, or will we draw the text size as well? Every- one is skeptical about the success of the interpolation. The two sets of drawings seem so different. Remarkably, it works. After some experimenting we produce a text size which has not only the right weight but also different from the next size up or down. To the left is a showing of an "a" in one of Bodoni's smallest fonts, compared to one of his largest. The differences are obvious. Unfortunately, none of the modern revivals of Bodoni's work took into account his mastery of size-sensitive designs—until now. With the release of ITC Bodoni, finally there is a range of fonts that begins to do justice to Bodoni's genius. Allan Haley The computer created new fonts by 'averaging' 4711 all and large sizes
Page 1 and 2: INTERNATIONAL TYPEFACE CORPORATIO'
Page 3 and 4: ITC Bodoni Family (see article on p
Page 5 and 6: Art Parts is losing its yip on real
Page 8 and 9: ITC BODONITM NOTES FROM PARMA by Su
Page 10 and 11: A HEBREW alphabet from Pel Solenne
Page 14 and 15: a distinct Bodoni flavor—a flavor
Page 16 and 17: ITC BODONI SEVENTY-TWO BOOK 48/5 6
Page 18 and 19: ITC BODONI TWELVE BOOK, BOOK ITALIC
Page 20 and 21: ALL IMAGES © 1994. JAMES WASSERMAN
Page 22 and 23: The Egyptian Book of the Dead, prop
Page 24 and 25: Colin Brignall London, England I'm
Page 26 and 27: Behind every typeface are two disti
Page 28 and 29: CAROL TWOMBLEY Palo Alto, Californi
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