Didone (typography)

The Classicist Antiqua is a signature class according to DIN 16518th


This document is the last document, whose name was named after the historical and cultural epoch in which it was made. The techniques with the fine lines of engraving and steel engraving are the characteristics of emerging technological age. Also as far as the publications is rethinking how after the Baroque now back to ancient times with its clean shapes. In the English -speaking world the name Didone is common place Classicist Antiqua, as well as in France Didones, in Holland and in Italy Didonen Bodoniani.


The Classicist Antiqua owes its form to the influences from France and Italy. In France, this font by Firmin Didot was designed in Italy was the most famous representatives of Giambattista Bodoni, Justus Erich Walbaum in Germany. With the Didot system, the typographical measurement system still used today was created with typographic point as the starting point, the Hermann Berthold in 1879 set as the standard measure exactly. Bodoni we owe the " manuals Typografico ," a type specimen book of 600 pages. This two-volume book is a collection of all the scriptures, ornaments and a sign of his roman and italic types as well as from all known characters in the world.

Known representatives

  • Bodoni ( Giambattista Bodoni 1760), drove the art of printing to perfection.
  • Didot ( Firmin Didot 1783), improved the Fournier system for Didot system.
  • Bell ( Richard Austin 1788)
  • Prill Witz ( Johann Carl Ludwig Prillwitz, April 12, 1790)
  • Unger ( Johann Friedrich Unger, 1790 )
  • Walbaum ( Justus Erich Walbaum, 1800 )
  • Tiemann (Walter Tiemann, 1923)
  • Centennial ( Adrian Frutiger 1986)
  • Nofret ( Gudrun Zapf-von Hesse 1986)
  • Kepler ( Robert Slimbach 1996)


The classical Antiqua is from writing with the pointed pen, which allows in any direction depending on the print different line thicknesses, embossed. Due to their high line width differences, the vertical shadow axis and the resulting vertical orientation of the characters form the writings exude elegance and static rest. Since, under this form, but suffers from the line guidance, these documents require increased line spacing, to guide the eye. Due to the high stroke contrast and the use of bright white paper is recommended not because the thin lines are outshone especially at small sizes. The very thin serifs lead usually without transition to the ground line, what they can be technically problematic, especially in the emerging in the second half of the 19th century newsprint serifs broke down often, leading to more robust later writings.