Giambattista Bodoni (/bəˈdoʊni/, Italian: [dʒambatˈtista boˈdoːni]; 16 February 1740 – 30 November 1813) was an Italian typographer, type-designer, compositor, printer, and publisher in Parma.

He first took the type-designs of Pierre Simon Fournier as his exemplars, but afterwards became an admirer of the more modelled types of John Baskerville; and he and Firmin Didot evolved a style of type called "Modern", in which the letters are cut in such a way as to produce a strong contrast between the thick and thin parts of their body. Bodoni designed many typefaces, each one in a large range of type sizes. He is even more admired as a compositor than as a type designer, as the large range of sizes which he cut enabled him to compose his pages with the greatest possible subtlety of spacing. Like Baskerville, he sets off his texts with wide margins and uses little or no illustrations or decorations.

Bodoni achieved an unprecedented level of technical refinement, allowing him to faithfully reproduce letterforms with very thin "hairlines", standing in sharp contrast to the thicker lines constituting the main stems of the characters. He became known for his designs of pseudoclassical typefaces and highly styled editions, some considered more apt "to be admired for typeface and layout, not to be studied or read". His printing reflected an aesthetic of plain, unadorned style, combined with purity of materials. This style attracted many admirers and imitators, surpassing the popularity of French typographers such as Philippe Grandjean and Pierre Simon Fournier. Bodoni has also had his share of detractors, including William Morris, who felt that his almost mechanical perfection seemed cold and inhumane.

There have been several modern revivals of his typefaces, all called Bodoni. They are often used as display faces.

Bodoni's birthplace is set in the foothills of the Cottian Alps, in what was then Kingdom of Sardinia, and is now Piedmont. He was the seventh child and fourth son of Francesco Agostino Bodoni and Paola Margherita Giolitti. His father and grandfather were both printers in Saluzzo, and as a child his toys were his grandfather's leftover punches and matrices. He learned the printing trade working at his father's side, and his gift for wood-engraving and printing was evident very early. So was his ambition and liveliness. At the age of 17 he decided to travel to Rome with the intention of securing fame and fortune as a printer. He left Saluzzo on 8 February 1758.

In Rome, Bodoni found work as an assistant compositor (typesetter) at the press of the Sacra Congregatio de Propaganda Fide (The Congregation for the Evangelization of Peoples), the missionary arm of the Vatican. He flourished under the careful supervision of Cardinal Giuseppe Spinelli, the prefect of the Propaganda Fide, and Costantino Ruggieri, the superintendent of the press. One of his first tasks was sorting and cleaning punches in a wide variety of Middle Eastern and Asian languages. Bodoni quickly demonstrated his gift for exotic languages and, as a

result, he was sent to study Hebrew and Arabic at “La Sapienza,” (Sapienza University of Rome). Bodoni soon became the press's compositor of foreign languages, and began to typeset books. Spinelli and Ruggieri were so delighted with his work on the "Pontificale Arabo-Copto" that they allowed him to add his name and birthplace to subsequent printings. He then began cutting his own punches.

After eight years at the Propaganda Fide press, Bodoni's remarkable skill was renowned, but he was ripe for change. Saddened by the death of Spinelli and Ruggieri's tragic suicide, and encouraged by British friends, he left Rome for England, a country which, under the influence of Baskerville whose books were much admired on the Continent, had become a leader in printing innovation. Bodoni's plan was summarily scotched by sickness; on his journey north, he succumbed to Tertian fever (malaria), and returned home to Saluzzo to recuperate.