![]() In the service of the design’s thin hairlines, we drew each of the family’s six styles in seven different “optical sizes,” each designed to be used at a different range of sizes, for a total of forty-two fonts. 206 of Molé le jeune as a historical model, and extended the scant material in Didot’s 1819 Spécimen des Caractereswith quite a bit of invention: italics designed to work at large sizes, a range of different weights, and the many characters that Didot’s workshop never made. From the Didot collection we chose the grosse sans pareille no. The brief was just the kind of challenge that Hoefler&Co loves: we were asked to create a typeface that works like no other, a Modern which - unlike the commercial cuts of Bodoni - would have hairline serifs, and maintain them over a range of sizes. We designed these faces in 1991, as part of the new Harper’s Bazaar that was being conceptualized by Liz Tilberis and Fabien Baron. It is these typefaces that HTF Didot revives. Didot was a member of the Parisian dynasty that dominated French typefounding for two centuries, and he’s remembered today as the namesake of a series of Neoclassical typefaces that exquisitely captured the Modern style. In the late eighteenth century the style was perfected, and became forever associated with two typographic giants: in Parma, Giambattista Bodoni (1740-1813), and in Paris, Firmin Didot (1764-1836). ![]() Modern typefaces, characterized by consistently horizontal stress, flat and unbracketed serifs, and a high contrast between thin and thick strokes, were the final step in typography’s two-hundred-year journey away from calligraphy. HTF Didot is in the permanent collection of the Museum of Modern Art in New York. Designed for Harper’s Bazaar, in whose pages the typeface first appeared in September 1992, HTF Didot was one of the first digital typefaces designed with a schedule of ‘optical sizes’ that preserve the fonts’ delicate hairlines at any size. A design in the ‘modern’ genus, whose rationality and precision suggests engineering rather than penmanship, HTF Didot pays homage to the French neoclassical typefounder Firmin Didot (1764–1836) whose work epitomizes the style. The HTF Didot typeface was designed by Jonathan Hoefler in 1991. True up at the end of each calendar month.Ĭreated for “one of the most dramatic magazine reinventions in history,” HTF Didot honors a heroic period in French typographic history. For campaigns where number impressions is unknown until the end of the campaign, you can If you know the number of impressions the campaign requires, that amount can be ordered before theĬampaign begins. Prices reflect this, making it much less expensive to use a Digital Ad license. Have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month. ![]() There are a few reasons, such as the Digital Ads EULA having terms that enable usage in digital ads and onĭigital advertisements also have different usage patterns compared to websites. HTML5 ads use webfonts, so why purchase a Digital Ads license rather than a Webfont license? May be shared with third parties who are working on your behalf to produce the ad creatives, however you ![]() We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. ![]() You can use this type of license to embed fonts into digital ads, such as ads built using HTML5. ![]()
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