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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.
Most contemporary revivals of Giambattista Bodoni’s work have focused almost entirely on the elegant, high-contrast types that he cut in the early part of the nineteenth century. Caponi expands the notion of what Bodoni’s work was. Though it draws a bit on his later work, particularly in the uppercase, Paul Barnes and Christian Schwartz decided to take as their primary reference the typefaces Bodoni cut during the early years of his career, when he had been greatly influenced by the Rococco style of the French printer and punchcutter Pierre Simon Fournier.
The three families of Caponi each play a different role while complementing each other. Though lower contrast than other contemporary Bodoni revivals, Caponi Display follows Bodoni’s approach to weight and contrast, with long, elegant ascenders and descenders. As a traditional Modern with relatively high contrast, it is ideal for headline typography. Caponi Slab, on the other hand, is low contrast throughout, culminating in a punchy Black weight, useful for large and expressive display typography, while also being robust enough for subheads, pull quotes, and other small display uses. Caponi Display and Caponi Slab are similar in their lightest weights, but as the two families get heavier, they depart quickly into two very different approaches to weight and contrast. Caponi Text is a more faithful interpretation of Bodoni’s early work, capturing the unexpected warmth of his romans and the quirks of the italics, with mismatched terminal shapes and subtly varying serifs.
Caponi was designed by Paul Barnes and Christian Schwartz for a subtle tweak of Entertainment Weekly on the occasion of the magazine's 20th anniversary. Commissioned by (and named for) design director Amid Capeci, Caponi is based very loosely on some of Giambattista Bodoni's earliest types, which were in turn influenced by Pierre Simon Fournier's work. Drawn primarily for headlines and display use, Caponi transforms from a medium-contrast Modern in the lighter weights to a chunky slab in the heaviest weights, providing the magazine with a wide range of possibilities for mood and tone – helpful when an article about the latest action blockbuster is followed by the latest news from the world of Miley Cyrus.