Giambattista Bodoni in the context of Museo Glauco Lombardi

Bodoni (/bəˈdoʊni/, Italian: [boˈdoːni]) is the name given to the serif typefaces first designed by Giambattista Bodoni (1740–1813) in the late eighteenth century and frequently revived since. Bodoni's typefaces are classified as Didone or modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville—increased stroke contrast reflecting developing printing technology and a more vertical axis—but he took them to a more extreme conclusion. Bodoni had a long career and his designs changed and varied, ending with a typeface of a slightly condensed underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.

When first released, Bodoni and other didone fonts were called classical designs because of their rational structure. However, these fonts were not updated versions of Roman or Renaissance letter styles, but new designs. They came to be called 'modern' serif fonts; since the mid-20th century, they are also known as Didone designs.

Didone (/diˈdoʊni/) is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by:

• Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.)
• Vertical orientation of weight axes. (The vertical strokes of letters are thick.)
• Strong contrast between thick and thin lines. (Horizontal parts of letters are thin in comparison to the vertical parts.)
• Some stroke endings show ball terminals. (Many lines end in a teardrop or circle shape, rather than a plain wedge-shaped serif.)
• An unornamented, "modern" appearance.

The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates the surnames of the famous typefounders Firmin Didot and Giambattista Bodoni, whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern or modern face, in contrast to "old-style" or "old-face" designs, which date to the Renaissance period.