HiH Firmin Didot was developed by Firmin Didot and released by HiH. HiH Firmin Didot consists of 1 design. p > Prior to Bodoni, there was Didot. With the publication by Francois Ambroise Didot of Paris in 1784 of his prospectus for Tasso's La Gerusalemme Liberata, the rococo typographical style of Fournier de Jeune was replaced with a spartan, neo-classical style that John Baskerville originated. The typeface Didot used for this work was of Didot's own production and is considered by both G. Dowding and P. Meggs to be the very first modern face. 3 years later on, Bodoni of Parma is using a very similar face.

Just as Bodoni's typeface evolved gradually, so did that of the Didot family. The oldest kid of Francois Ambroise Didot, Pierre, ran the printing workplace; and Firmin ran the typefoundry. Pierre utilized the flattened, wove paper, again originated by Baskerville, to allow a more accurate impression and permit the usage of more fragile letterforms. Firmin made the most of the enhanced paper by additional refining the typeface introduced by his dad. The printing of Racine's Oeuvres in 1801 (seen in our gallery image # 2) reveals the symbiotic results of their efforts, especially in the marked increase in the sharpness of the serifs when compared to their owns works of only six years earlier. It has been suggested that one factor Bodoni achieved greater popularity than Didot is the thinner hairlines of Didot were more delicate when cast in metal type and thus more expensive for printers to utilize than Bodoni. This stopped to be an issue with the development of phototypesetting, unlocking for a renewed interest in the work of the Didot family and specifically that of Firmin Didot.

Although more refinements in the Didot typeface were to come (especially the lower case 'g' revealed in 1819), we have actually selected 1801 as the small basis for our presentation of HiH Firmin Didot. We like the thick-thin circumflex that changed the evenly-stroked version of 1795, possible only with the flatter wove paper. We like the uncommon coat-hanger cedilla. We like the natural, leaf-like tail of the 'Q.' We like the weird, little number '2' and the incredibly assertive '4.' And we like the unique and wonderful awkwardness of the double-v (w). Please keep in mind that we have provided alternative variations of the upper and lower case w that are somewhat more conventional than the original designs.

Personally, I find the moderns (typically called Didones) hard on the eyes in extended blocks of text. That does not stop me from enjoying their cold, crisp clearness. They represent the Age of Reason and the power of male's intellect, while reflecting also its limitations. In the title pages set by Bodoni, Bulmer and Didot, I see the spare charm of a winter landscape. That interest a New Englander like myself. Another element that appeals to me is setting a page in HiH Firmin Didot and viewing individuals attempt to figure out what typeface it is. It looks a lot like Bodoni, however it isn't!

Font Family: HiH Firmin Didot

Tags: 1800s, classic, didone, display, elegant, fashion, formal, french, modern, retro, revival, serif, vintage