Contemporary revivals of Bodoni have focused almost entirely on the elegant, high contrast types that Giambattista Bodoni cut in the early 19th century. Caponi expands the notion of what Bodoni’s work was, drawing from typefaces cut during the early part of his career, where he was heavily in uenced by the Rococco style of the French printer and punchcutter Fournier. While the capitals predict his later, better known style, the lowercase has a unique character; inviting and organic, given life by subtle inconsistencies.

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