Bodoni admired the work of
John Baskerville and studied in detail the designs of French type founders
Pierre Simon Fournier and
Firmin Didot. Although he drew inspiration from the work of these designers, above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers. Although to a modern audience Bodoni is best known as the name of a typeface, Bodoni was an expert printer who ran a prestigious printing-office under the patronage of the Duke of Parma, and the design of his type was permitted by and showcased the quality of his company's work in metal-casting, printing and of the paper made in Parma. The hairline serifs and fine strokes reflected a high quality of casting, since on poor-quality printing equipment serifs had to be large to avoid wear snapping them. The smooth finish of his paper allowed fine detail to be retained on the surface. Bodoni also took care in the composition of his printing, using hierarchy and borders to create an appearance of elegance, and his range of type sizes allowed him flexibility of composition. Writing of meeting him in 1786,
James Edward Smith said: A very great curiosity in its way is the Parma printing-office, carried on under the direction of Mr. Bodoni, who has brought that art to a degree of perfection scarcely known before him. Nothing could exceed his civility in showing us numbers of the beautiful productions of his press...as well as the operations of casting and finishing the letters...his paper is all made at Parma. The manner in which Mr. Bodoni gives his works their beautiful smoothness, so that no impression of the letters is perceptible on either side, is the only part of his business that he keeps secret. For this reason, using the right
optical size of font has been described as particularly essential to achieve professional results. Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility. Optical sizes were a natural requirement of printing technology at the time of Bodoni, who had to cut each size of type separately, but declined as the
pantograph, phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years as automated font development has become possible. French designer Loïc Sander has suggested that the dazzle effect, common to all Didone designs, may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and where the fonts that are easily commercially available will tend to have been designed for headings. Modern Bodoni revivals intended for professional use such as Parmigiano and ITC Bodoni have a range of optical sizes, but this is less common on default computer fonts. ==Reception==