Firmin Didot (1764-1836), along with the Italian Giambattista Bodoni, helped create the style of what we know today as Modern or Neoclassical Typeface. These typefaces can be identified by their flat, hairline serifs, or end caps, and a high contrast between thick and thin lines. An important feature of modern Didot fonts is the ability for the hairline serifs to stay intact and maintain clarity no matter the size of the font.
In the late 1700s, the Didot family owned the most famous print shop in France and were the King’s official printers. The original typeface letters were cut and cast by Firmin and first used by his brother Pierre’s printing business. One of the earliest commercial uses of the type was in a now-famous edition of Voltaire’s “La Henriade” in 1818.
The Didot typeface as been revived many times throughout history; one of the most recent versions is HTF Didot. Hoefler&Co, who have designed fonts used by such companies as Twitter, Coca-Cola, and, Apple, was commissioned to design this family of Didot fonts in 1991 for the brand redesign Harper’s Bazaar, one of the leading fashion magazines.
An even more recognizable and iconic use of Didot typeface is in the Columbia Broadcasting System “CBS Eye” logo commissioned in 1962 by the newly appointed network Creative Director Lou Dorfsman and created by type designer Freeman Craw. In the 60s, Didot was used heavily in CBS’s commercial identity, from being used in signage to printed publications, and the eye logo remains an important part of their identity today.
Why do commercial entities like Bazaar and CBS decide to use these fonts as part of their branding, and how do Didot’s qualities represent how consumers perceive them?
Bianca Grohmann, part of the Concordia University Department of Marketing, states based on her research and the research of others that there is empirical evidence that type fonts can trigger different associations in consumers minds, such as cheapness, quality, elegance or luxury, importance. Some fonts even effect gender perception of a brand, whether it appears as a more “masculine” or “feminine” product in the viewer’s mind. Grohman asserts that consumers typically associate heavier typefaces with “strength and solidarity”, and those that are thinner with “finesse and delicacy.” This is a good indicator of why a fashion magazine like Bazaar might choose to be associated with a font like Didot. While CBS Television may not desire to be seen as luxurious like some fashion brands that use neoclassical typefaces, the CBS Didot type does take itself seriously, and successful communicates respectability and stature.
It's a Type Thing 
Sam, I really enjoyed reading your blog about the Didot type of font and its presence throughout history. I especially enjoyed your remark about some fonts appearing more masculine or feminine because I think this is a fascinating idea. How could a font look and feel that way? For me, I enjoy attention to details such as the more “dainty” font that looks more feminine versus heavier more “sturdy” looking fonts. The most direct way of this example that came to mind was the use of fonts for magazine titles. A magazine like Hemingway or Sports Illustrated utilize heavier fonts that are typically associated with male reader’s interests, while Good Housekeeping and Victoria’s Secret are displayed with elongated and narrow fonts. What a cool blog post!
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