MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY

MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY

The objective of this article is to explore the visual identity of Modern Face Roman (Didones) font in relation to the historical and theoretical evolution of typography, assessing why it has been the subject of such disparate evaluations in different typographical theories and reconsidering certain...

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Hoofdauteur: Carrere González, Alberto
Formaat: Online
Taal:spa
Gepubliceerd in: Universidad Diego Portales 2017
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spelling oai:ojs.revista180.cl:article-3912017-12-22T21:31:27Z MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY LAS LETRAS ROMANAS MODERNAS (DIDONAS): SU IDENTIDAD VISUAL EN EL DEVENIR TIPOGRÁFICO Carrere González, Alberto typography didone; graphic design; typographic reformism; modern face roman; typography diseño gráfico, tipografía didona; diseño gráfico; reformismo tipográfico; romana moderna; tipografía The objective of this article is to explore the visual identity of Modern Face Roman (Didones) font in relation to the historical and theoretical evolution of typography, assessing why it has been the subject of such disparate evaluations in different typographical theories and reconsidering certain elements of those theories. With this aim, this article analyses the history of this typeface, opinions about it and the context in which it arose, as well as its formal and technical characteristics.The conclusion drawn is that the forms of this font, arising in the late eighteenth century out of a quest informed by rationalism and the Enlightenment, together with incipient industrial systemisation, were central to the functional, theoretical, and historical evolution of Western typography, with its duality of headlines and body text. Hence itsambivalent character (traditional, modern, classical, romantic) and the criticisms later made of it by the reform movement, which in the twentieth century extended its position on book design to the very heart of typographic theory. El objetivo de este artículo es indagar en la identidad visual de las letras romanas modernas (didonas) en relación con el devenir histórico y teórico de la tipografía, averiguando por qué han recibido valoraciones tan dispares por algunas teorías tipográficas, y reconsiderar algunas claves de dichas teorías. Para ello se ha estudiado su historia, las opiniones acerca de ellas y el contexto en el que surgen, así como sus características formales y técnicas.Se concluye que sus formas de finales del siglo XVIII, nacidas de una búsqueda racional e ilustrada, junto con la incipiente sistematización industrial, están en el eje de la evolución funcional, teórica e histórica de la tipografía occidental, con la dualidad de textos para lectura o para titulares. De ahí su carácter ambivalente (tradicionales, modernas, clásicas, románticas) o las críticas posteriores del movimiento reformista, que extendió en el siglo XX su posición sobre el diseño de libros al centro de la teoría tipográfica. Universidad Diego Portales 2017-12-22 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/391 10.32995/rev180.Num-40.(2017).art-391 Revista 180; Núm. 40 (2017) Revista 180; Núm. 40 (2017) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/391/346 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/238 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/239 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/240 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/241 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/242 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/243 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/244 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/245 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/391/246 Copyright (c) 2017 Revista 180 https://creativecommons.org/licenses/by/4.0
institution Universidad Diego Portales
collection OJS
language spa
format Online
author Carrere González, Alberto
spellingShingle Carrere González, Alberto
MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
author_facet Carrere González, Alberto
author_sort Carrere González, Alberto
title MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
title_short MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
title_full MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
title_fullStr MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
title_full_unstemmed MODERN FACE ROMAN (DIDONE) FONT: ITS VISUAL IDENTITY IN THE EVOLUTION OF TYPOGRAPHY
title_sort modern face roman (didone) font: its visual identity in the evolution of typography
description The objective of this article is to explore the visual identity of Modern Face Roman (Didones) font in relation to the historical and theoretical evolution of typography, assessing why it has been the subject of such disparate evaluations in different typographical theories and reconsidering certain elements of those theories. With this aim, this article analyses the history of this typeface, opinions about it and the context in which it arose, as well as its formal and technical characteristics.The conclusion drawn is that the forms of this font, arising in the late eighteenth century out of a quest informed by rationalism and the Enlightenment, together with incipient industrial systemisation, were central to the functional, theoretical, and historical evolution of Western typography, with its duality of headlines and body text. Hence itsambivalent character (traditional, modern, classical, romantic) and the criticisms later made of it by the reform movement, which in the twentieth century extended its position on book design to the very heart of typographic theory.
publisher Universidad Diego Portales
publishDate 2017
url https://www.revista180.udp.cl/index.php/revista180/article/view/391
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