Bauer Vs. 72

BBBauer vs. 72

BAUER BODONI VS. BODONI 72A TYPE COMPARISON BOOK

Michael Rich, editor

Maryland Institute College of Art, Baltimore

Bodoni is a series of serif typefaces first designed by Giam-battista Bodoni (1740–1813) in 1798. The typeface is clas-sified as Didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly con-densed, upper case, but taking them to a more extreme con-clusion. Bodoni had a long career and his designs evolved and differed, ending with a typeface of narrower underly-ing structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. Bauer Bodoni was originally released in 1926 from the Bauer Type Foundry in Frankfurt. It was designed by Heinrich Jost, who was the artistic director of the found-ry from 1923 until 1948, and punchcut by Louis Hoell. The forms are closely related to the original Bodoni typefaces, and are considered to be more delicate and graceful than many other Bodoni interpretations. Long admired by typog-raphers as the crème de la crème of available Bodoni display types, this version looks especially fine at large sizes and will make a stately presence in any sumptuous magazine, lavish book, or dignified website.

BODONI

Bauer Bodoni Roman 12 pt

g754 Points

GIAMBATTISTA

GIAMBATTISTA

GIAMBATTISTA

GIAMBATTISTA

GIAMBATTISTA

GIAMBATTISTA

GIAMBATTISTA

Bauer Bodoni 36 pt

Bauer Bodoni 30 pt

Bauer Bodoni 24 pt

Bauer Bodoni 18 pt

Bauer Bodoni 14 pt

Bauer Bodoni 12 pt

Bauer Bodoni 10 pt

BODONI

BODONI

BODONI

BODONI

BODONI

BODONI

BODONI

Bodoni SvtyTwo 36 pt








A B C D E F G H J K L M N O P Q R

S T U V W X Y Z a b c d e f g h i j k

l m n o p q r s t u v w x y z & 1 2 3 4

5 6 7 8 9 0

Bauer Bodoni Italic 20 pt

A B C D E F G H I J K L M N O P Q

R S T U V W X Y Z a b c d e f g h i j k

l m n o p q r s t u v w x y z 0 1 2 3 4

5 6 7 8 9

Bodoni 72 Book 20 pt


R S T U V W X Y Z a b c d e f g h i j

k l m n o p q r s t u v w x y z & 1 2 3

4 5 6 7 8 9 0

Bodoni 72 Book Ita 20 pt


R S T U V W X Y Z a b c d e f g h i j

k l m n o p q r s t u v w x y z & 1 2 3

4 5 6 7 8 9 0

THE FATHEROFMODERN TYPE

Bauer Bodoni Italic 68 pt

Italic

15/24

Typography (from the Greek words π (ty-

pos) = form and (graphy) = writing) is the

art and technique of arranging type in order

to make language visible. The arrangement

of type involves the selection of typefaces,

point size, line length, leading (line spac-

ing), adjusting the spaces between groups

of letters (tracking) and adjusting the space

between pairs of letters (kerning). Type de-

sign is a closely related craft, which some

consider distinct and others a part of ty-

pography; most typographers do not design

typefaces, and some type designers do not

consider themselves typographers. In mod-

ern times, typography has been put into mo-

tion in film, television and online broadcasts

to add emotion to mass communication.

!@#$

%^&*Bauer Bodoni 112 pt

!@#$

%^&*Bodoni SvtyTwo 112 pt

VERSUSVERSUS

I like Bauer Bodoni.It has an elegant look which is aesthetically pleasing

72On the other hand is not as pleasing.

Serifs and tails which do not coincide with Bodoni’s format

PERHAPS IT SHOULDN’T BE CALLED BODONI

“Everything is designed. Few things are designed well.”


Legibility is primarily the concern of the typeface designer, to ensure that each indi-vidual character or glyph is unambiguous and distinguishable from all other characters in the font. Legibility is also in part the concern of the typographer to select a typeface with appropriate clarity of design for the intended use at the intended size. Readability is also primarily the concern of the typographer or information designer. It is the intended result of the complete process of presentation of tex-tual material in order to communicate mean-ing as unambiguously as possible. A reader should be assisted in navigating around the information with ease, by optimal inter-letter, inter-word and particularly inter-line spac-ing, coupled with appropriate line length and position on the page and choice of the text ar-chitecture of titles, folios, and reference links.

Bodoni SvtyTwo Book 21 pt

ABCDEFG H I

Roman 112/134

In a traditional manual printing (letterpress) house the word font would refer to a com-plete set of metal type that would be used to typeset an entire page. Unlike a digital type-face it would not include a single definition of each character, but commonly used charac-ters (such as vowels and periods) would have more physical type-pieces included. A font when bought new would often be sold as (for example in a Roman alphabet) 12 pt. 14A 34a, meaning that it would be a size 12-point font containing 14 uppercase ‘A’s, and 34 lowercase ‘A’s. The rest of the characters would be pro-vided in quantities appropriate for the distri-bution of letters in that language. Some met-

SIMPLICITY

Bodoni SvtyTwo Book 60 pt

§1 2 3 4 5

Bodoni SvtyTwo Book Ita 70 pt

§6 7 8 9 0

Bauer Bodoni Section Glyph

BODONIGIAMBATTISTA

HEINRICHJOST1926

JANICEFISHMANSUMNER

STONE

1995

BAUER BODONI

JANICEFISHMANSUMNER

STONE

1995

BODONI SVTYTWO

Bauer Vs. 72

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