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Didone is a genre of serif typeface that emerged in the late 18th century and is particularly popular in Europe. It is characterized by: * Narrow and unbracketed (hairline) serifs. (The serifs have a constant width along their length.) * Vertical orientation of weight axes. (The vertical strokes of letters are thick.) * Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.) * Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.) * An unornamented, "modern" appearance. The category is also known as modern or modern face serif fonts, in contrast to old style serif designs, which date to the Renaissance period. ==History== Didone types were developed by printers including Firmin Didot, Giambattista Bodoni and Justus Erich Walbaum, whose eponymous typefaces, Bodoni, Didot, and Walbaum, remain in use today. Their goals were to create more elegant, classical designs of printed text, developing the work of John Baskerville in Birmingham and Fournier in France towards a more extreme, precise design with intense precision and contrast, showing off the increasingly refined printing and paper-making technologies of the period. These trends were also accompanied by changes to page layout conventions and the abolition of the long s.〔Bodoni, Giambattista. Columbia Electronic Encyclopedia, 6th Edition (online ). January 2009:1-1. Available from: Academic Search Premier, Ipswich, MA. Accessed August 7, 2009.〕〔Cees W. De Jong, Alston W. Purvis, and Friedrich Friedl. 2005. Creative Type: A Sourcebook of Classical and Contemporary Letterforms. Thames & Hudson. (223)〕 In Britain and America, the lasting influence of Baskerville led to the creation of types such as Bell and Scotch Roman designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called transitional serif designs. Later developments of this class have been called Scotch Modern and show increasing Didone influence. The nineteenth century also saw the arrival of bold type, first for headings, titles and posters, then for emphasis within body text, and while neither Didot nor Bodoni cut bold type for this latter use themselves, many Didone bold types were created by their successors. A particular development in this direction was the poster type genre known as 'fat faces', extremely bold designs intended for posters and signage. It matched the desire of advertisers for eye-catching new kinds of letters that were not merely enlarged forms of body text fonts. Didone fonts began to decline in popularity for general use around the end of the nineteenth century, with the rise of the slab serif and sans-serif genres and the growth of the Arts and Crafts movement. This trend rejected austere, classical designs of type, ultimately in favour of gentler designs such as Imprint, Bembo and Garamond, many of which were revivals of Renaissance typefaces.〔Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.〕 As an experiment in this period, Frederic Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving a white line in the centre of the thick strokes. He hoped this design, Goudy Open, would leave a lighter colour (density of ink) on the paper. Nonetheless, Didone designs have remained in use, and the genre is recognised on the VOX-ATypI classification system of typefaces and by the Association Typographique Internationale (AtypI).〔Campbell 2000, p.173〕 The genre remains very popular in the printing of Greek, as the Didot family were among the first to set up a printing press in the newly independent country, and in mathematics, in which Computer Modern is the popular default typeface of the mathematical typesetting programmes TeX and LaTeX.〔(【引用サイトリンク】url=http://www.greekfontsociety.gr/pages/en_typefaces19th.html )〕 The popular typeface family Century is inspired by the late Didone genre of Scotch Roman type, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for cold type and digital composition, while modern typefaces along the same lines include Filosofia and the open-source Computer Modern. Some revivals have focused on subgenres of the period, such as Surveyor, inspired by labels on maps, and Morris Fuller Benton's Ultra Bodoni and Matthew Carter's Elephant, reinterpretations of 'fat face' designs.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Didone (typography)」の詳細全文を読む スポンサード リンク
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