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.

Some digital versions of Bodoni are said to be hard to read due to "dazzle" caused by the alternating thick and thin strokes, particularly as the thin strokes are very thin at small point sizes. This is very common when optical sizes of font intended for use at display sizes are printed at text size, at which point the hairline strokes can recede to being hard to see. Versions of Bodoni that are intended to be used at text size are "Bodoni Old Face"

There have been many revivals of the Bodoni typeface; ATF Bodoni and Bauer Bodoni are two of the more successful.

Bodoni series created in 1909,was the first American release to be a direct revival of Bodoni's work. All variants were designed by who captured the flavour of Bodoni's original while emphasizing legibility rather than trying to push against the limits of printing technology. This revival is regarded as "the first accurate revival of a historical face for general printing and design applications" However, some details were less based on Bodoni than on the work of his French contemporary Firmin Didot, for example a 't' with a flat rather than slanted top.

Bodoni (1909)

Bodoni Italic (1910)

Bodoni Book (1910)

Bodoni Book Italic (1911)

Bodoni Bold + Italic (1911)

Bodoni Bold Shaded (1912)

Bodoni Shaded Initials (1914)

Card Bodoni (1915)

Card Bodoni Bold (1917)

Bodoni Open (1918)

Bodoni Book Expanded (1924)

Ultra Bodoni + italic (1928)

Bodoni Bold Condensed (1933)

Ultra Bodoni Condensed + extra condensed (1933)

Engravers Bodoni (1933), designed in 1926.

Bodoni #175 + italic (1911)

Bodoni #375 + italic (1930), based on the Benton version.

Recut Bodoni Bold + italic

Bodoni Bold Condensed (1934)