ITC Bodoni Six

Designed by Giambattista Bodoni, Janice Fishman, Holly Goldsmith, Jim Parkinson and Sumner Stone. Published by ITC in 1790 as part of the ITC Bodoni (ITC) Super Family.

Starts at $45.00 for a single style and is available for:
Book
Book Italic
Bold
Bold Italic
120
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
70
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
40
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
25
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
18
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
12
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
120
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
70
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
40
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
25
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
18
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.
12
Zyklisches Jodeln ist in Bayern versuchsweise erlaubt. Österreich und Südtirol zeigen auch Interesse an der Therapie.

ITC Bodoni Six supports 113 different languages such as Spanish, English, Portuguese, German and French in Latin scripts. (Please note that not all languages are available for all formats.)

View all 113 languages

Wienerbrød
Birinç
Leitão à Bairrada
Köttbullar
Poronkäristys
Tambëloriz
Surströmming

Languages

Please note that not all languages are available for all formats.

Common Languages

  • Spanish
  • English
  • Portuguese
  • German
  • French

Latin

  • A
  • Afrikaans
  • Albanian
  • Aragonese
  • Arumanian
  • Arvanitika (Latin)
  • Asturian
  • B
  • Baraba Tatar
  • Basque
  • Bats (Latin)
  • Belarusian (Latin)
  • Bislama
  • Bosnian (Latin)
  • Breton
  • C
  • Catalan
  • Chamorro
  • Chichewa
  • Cook Islands Maori
  • Crimean Tatar (Latin)
  • Croatian
  • Czech
  • D
  • Danish
  • Dutch
  • E
  • English
  • Esperanto
  • Estonian
  • F
  • Faroese
  • Finnish
  • Franco-Provencal
  • French
  • Frisian
  • Frisian, East
  • Frisian, North
  • Frisian, West
  • Friulian
  • G
  • Gagauz (Latin)
  • Galician
  • German
  • Greenlandic
  • Greenlandic (pre-1973)
  • H
  • Hawaiian
  • Hungarian
  • I
  • Icelandic
  • Indonesian
  • Interlingua
  • Irish
  • Istro-Romanian
  • Italian
  • J
  • Juhuri (Latin)
  • K
  • Karaim (Latin)
  • Kashubian
  • Kazan Tatar (Latin)
  • Kurdish (Latin)
  • Kurmanji
  • L
  • Ladin
  • Ladino (Latin)
  • Latin
  • Latvian
  • Lithuanian
  • Low German
  • Luxembourgian
  • M
  • Malagasy
  • Malay (Latin)
  • Maltese
  • Manx Gaelic
  • Maori
  • Marshallese
  • Moldavian (Latin)
  • N
  • Norwegian, Bokmål
  • Norwegian, Nynorsk
  • O
  • Occitan
  • P
  • Pilipino (Tagalog)
  • Polish
  • Portuguese
  • Portunhol
  • R
  • Rhaeto-Romance
  • Romani (Latin)
  • Romanian
  • Romansch
  • S
  • Sami, Inari
  • Sami, Lule
  • Sami, Northern
  • Sami, Southern
  • Sami, Ume
  • Samoan
  • Sardinian
  • Scottish Gaelic
  • Serbian (Latin)
  • Slovak
  • Slovenian
  • Somali
  • Sorbian, Lower
  • Sorbian, Upper
  • Sotho, Northern
  • Sotho, Southern
  • Spanish
  • Swedish
  • T
  • Tahitian
  • Tongan
  • Tsakhur (Latin)
  • Tsez (Latin)
  • Tsonga
  • Tswana
  • Turkish
  • U
  • Ubykh
  • V
  • Vepsian
  • Våmhusmål
  • W
  • Walloon
  • Welsh
  • Wolof
  • X
  • Xhosa
  • Y
  • Yapese
  • Z
  • Zulu
  • Ä
  • Älvdalska
Lining Figures
167 167
Oldstyle Figures
167 167
Proportional Figures
167 167
Superscript
167 167
Tabular Figures
167 167
Fractions
135/167 135/167
Replaces figures separated by a slash with 'common' (diagonal) fractions.
Small Capitals From Capitals
CAPS CAPS
Small Capitals
Small Small
Case-Sensitive Forms
(H-o) (H-o)
Shifts punctuation up to a position that works better with all-caps text.
Standard Ligatures
flfi flfi
Replaces a sequence of glyphs with a ligature. Active by default.
Ordinals
1a2o 1a2o
Replaces characters with ordinal forms for use after figures.
Whatever you can do or dream you can, begin it. Boldness has genius power and magic in it …
— Johann Wolfgang Goethe
Punctuation
Uppercase
Lowercase
Modifiers
Ligatures
Currency
Symbols
Decimal
Other
Mathematical Operators
Superscripts and Subscripts
Number Forms
Miscellaneous
Letterlike
Geometric Shapes
Lowercase
Uppercase
Uppercase
Lowercase

Giambattista Bodoni (1740-1813) was called the King of Printers; he was a prolific type designer, a masterful engraver of punches and the most widely admired printer of his time. His books and typefaces were created during the 45 years he was the director of the fine press and publishing house of the Duke of Parma in Italy. He produced the best of what are known as "modern" style types, basing them on the finest writing of his time. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress, fine hairlines contrasted by bold main strokes, and very subtle, almost non-existent bracketing of sharply defined hairline serifs. Bodoni saw this style as beautiful and harmonious-the natural result of writing done with a well-cut pen, and the look was fashionable and admired. Other punchcutters, such as the Didot family (1689-1853) in France, and J. E. Walbaum (1768-1839) in Germany made their own versions of the modern faces. Even though some nineteenth century critics turned up their noses and called such types shattering and chilly, today the Bodoni moderns are seen in much the same light as they were in his own time. When used with care, the Bodoni types are both romantic and elegant, with a presence that adds tasteful sparkle to headlines and advertising.ITC Bodoni™ was designed by a team of four Americans, after studying Bodoni's steel punches at the Museo Bodoniana in Parma, Italy. They also referred to specimens from the "Manuale Tipografico," a monumental collection of Bodoni's work published by his widow in 1818. The designers sought to do a revival that reflected the subtleties of Bodoni's actual work. They produced three size-specific versions; ITC Bodoni Six for captions and footnotes, ITC Bodoni Twelve for text settings, and ITC Bodoni Seventytwo - a display design modeled on Bodoni's 72-point Papale design. ITC Bodoni includes regular, bold, italics, Old style Figures, small caps, and italic swash fonts. Sumner Stone created the ornaments based on those found in the "Manuale Tipografico." These lovely dingbats can be used as Bodoni did, to separate sections of text or simply accent a page layout or graphic design.

ITC Bodoni Six has 4 Styles