When in Doubt Use Caslon

Total Page:16

File Type:pdf, Size:1020Kb

When in Doubt Use Caslon abcdefghijkl mnopqrstuvwxyz ABCDEFGHIJKL MNOPQR STUVWXYZ 1234567890 “When in doubt use Caslon” The story of William Caslon and John Baskerville &and their transitional typefaces abcdefghijkl mnopqrstuvwxyz ABCDEFGHIJKL MNOPQR STUVWXYZQ 1234567890 HUMANIST OR VENETIAN STYLE ABC 123 Trajan Pro GARALDE OR OLD STYLE TYPEFACES ABC 123 Adobe Garamond Pro TRANSITIONAL TYPEFACES ABC 123 Baskerville ABCAdobe Caslon Pro123 William Caslon, 1692–1766 John Baskerville, 1706–1775 Caslon Born in Cradley, Worcestershire 1692 Gun lock engraver Bookbinder’s tool cutter Caslon specimen sheet The type he created, bearing his last name, followeed the Dutch and French designs of the day (the old styles) but was considered groundbreaking because of its superior legibility. The quality of his punch-cutting and engraving were suberb. The shapes of his letters echoed the aesthetics of his engravings on gun locks. He paid attention to the relationships between the letters (the kerning) on the page with an eye for detail not seen in Britain at that time. The popularity of Caslon’s letters was even felt on our shores here in America where it was used by most printers. In fact, it was so popular that even into the 20th century the old saying in print shops was, “When in doubt, use Caslon.” In Williamsburgh, VA they have a working printing press where they produce a daily newspaper. These are, of course, actors recreating a piece of history but they are very very accurate. The type they used back then, and the type they are most likely using now, is Caslon. Colonial Williamsburg, Virginia Printing house, Williamsburg, Virginia “Caslon Antique” Dunlap broadside Because of it’s popularity Caslon played an important role in revolutionary America. On July 4, 1776, when the American Continental Congress ratified their Declaration they were faced with the problem of spreading the word of this up-to-then secret document. Somebody, I would like to think perhaps Thomas Jefferson himself, secreted the text a few blocks to the print shop of John Dunlop, who spent the night setting the declaration into lead type. He printed 200 copies, now referred to as “The Dunlop Broadside,” the first reproduction of those famous words. With these printed copies in hand, they could get the text around the colonies, since there would have been no other way to distribute the information at the time. This page was printed and distributed quickly and therefore has no signatures on it. Handwritten Declaration of Independence The second, most famous version, the one written in hand, is usually regarded as THE Declaration of Independence and it is displayed at the National Archives in Washington D.C. Here is an interesting note for those interested in calligraphy: By July 9, 1776 all 13 colonies had now signified their approval of the Declaration. On July 19, therefore, Congress ordered that the Declaration be “fairly engrossed on parchment . and be signed by every member of Congress.” Engrossing Engrossing is the process of preparing an official document in a large, clear hand. Timothy Matlack, engrosser of the Declaration of Independence Goddard broadside A second printing of the Declaration was commissioned by congress in January 1777, again, of course, in Caslon. Mary Katherine Goddard, a publisher and the first American postmistress, printed this second copy. “The Goddard Broadside” which contains a list of all the signers. Dunlap broadside Goddard broadside Here lies William Caslon, RIP 1766 Caslon in the world today Big Caslon, designed by Matthew Carter in 1994 Baskerville Born in the village of Wolverly, near Kidderminster in Worcestershire 1706 Japanning Baskerville, designed in 1757 Baskerville Virgil collection Baskerville’s transitional serif typeface designed was in 1757. His design was inspired by his own calligraphy, and letters engraved in metal and stone. He published his first work, a collection of Virgil, which was followed by some fifty other classics including Milton’s Paradise Lost. Baskerville Paradise Lost Baskerville “Small Pica” specimen sheet Baskerville’s typeface and type style • introduced wide margins and leading • the typeface was part of a larger series of experiments to improve legibility • Another goal was to improve upon the types of William Caslon. • He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered • He shifted the axis of rounded letters to a more vertical position. • The curved strokes are more circular in shape • The characters became more regular. Increased contrast between thick and thin strokes CGaramond CBaskerville Sharper serifs Garamond Baskerville Shifting the axis to the center ooo Trajan Garamond Baskerville Curved strokes became more rounded Curved Strokes Baskerville improved printing inks and paper Baskerville edition of the Bible Baskerville edition of the Book of Common Prayer Ben Franklin 1760: Baskerville’s friend Benjamin Franklin wrote to him about a trick he played on a “connoisseur” of type. Franklin was an industrious printer around Fleet Street who championed the use of the Baskerville fonts. One day, he met a man, a published author and “connoisseur” of type who said, “[using Baskerville] would be a means of blinding all of the readers of the nation, for the strokes of the letters are too thin and narrow, hurt the eye, and readers could never read a line of text without pain.” Ben Franklin tried to support Baskerville against these charges but the man was set in his thoughts against the typeface. So Ben Franklin played a trick on him. He gave this man a specimen of type and said it was set in Baskerville. The man said again that the type hurt his eyes, and that he detected “a painful disproportion” in the letters. Franklin then revealed that the type specimen was, in fact, set in Caslon! EbitassendiBaskerville omnimpo ribus, sunt ommodit vernatur? Quia dolupti omn imilitasi dis num coOtaerum simo ip sae volum idem volore adi doleste cta nimet veliquiam sim intio. Everes ut et, quos aut occaecu llitior estotas sanimolessum nitatat ibusam ad etur, nobis ellorum rem quo min repe rro tempore alia corrorro odi intion porerio dolo cusam cuptasita si volor erum fuga. Et alitat magnatum susda voloratemod quasi beatem ut veria cus am quate ilibust, que nima ducitat quatem quias ea auta esenihicil elignam quist, offictus es solorep ere rion cus. Rum adi bearuptatem. CASLON Ebitassendi omnimpo ribus, sunt ommodit vernatur? Quia dolupti omn imilitasi dis num coOtaerum simo ip sae volum idem volore adi doleste cta nimet veliquiam sim intio. Everes ut et, quos aut occaecu llitior estotas sanimolessum nitatat ibusam ad etur, nobis ellorum rem quo min repe rro tempore alia corrorro odi intion porerio dolo cusam cuptasita si volor erum fuga. Et alitat magnatum susda voloratemod quasi beatem ut veria cus am quate ilibust, que nima ducitat quatem quias ea auta esenihicil elignam quist, offictus es solorep ere rion cus. Rum adi bearuptatem. Ben Franklin Printer Franklin had a long history in printing. He started off as an apprentice to a printer in Boston then moved to Philadelphia to apprentice again until he was able to set up his own business in 1728. His earliest printing jobs were for legal documents and religious works. In the mid 1700s, not only were there newspapers, like we talked about before, but Ben Franklin was the first to propose a monthly magazine for the American colonies called, The General Magazine and Historical Chronicle, Franklin’s General Magazine survived for six issues. Sarah Baskerville née Eaves* At the age of 16 she married Richard Eaves with whom she bore 5 children before he deserted her. She was then working as John Baskerville’s live-in housekeeper and later became his lover. Sarah’s husband, Richard Eaves, it turned out, would not grant her a divorce, and the only way that she could legally marry Baskerville was upon her husband’s death. When Richard Eaves died in 1764, Sarah was free to marry Baskerville. * This is not really Sarah Baskerville, I could not find a single picture of her but this comes close, I particularly like that this woman is holding a printed piece of paper. At any rate, living with a married woman for sixteen years, the jealousy of his peers, being an atheist, and his total disregard for convention earned him scorn that would last well after his death. This is said to be one of the reasons The Hound of the Baskervilles and the character William Baskerville from The Name of the Rose were named for him. RIP John Baskerville, 1775 Industry and Genius, 1990, by David Patten Baskerville House It wasn’t until the 1920s that Baskerville finally won the attention he had always merited. The American classical typographer Bruce Rogers (designer of the Centaur typeface, among others) was in large part behind the modern revival of Baskerville’s typefaces. Now, dozens of type foundries have their own versions and derivatives. Baskerville today The New York Times, August 8, 2012, Errol Morris Gold has an atomic number of 79. Pyrite is gold. Watson and Crick discovered the structure of DNA. Galileo discovered Jupiter’s moons. On August 8th, 2012 The New York Times published a research study by Errol Morris The premise was to show people sentences, some true, some not but each one was set in a different typeface. These sentences were part of a test and you had to choose which statement was true and which were false. There was no mention of the different typefaces. Only one person taking the test picked up on the different fonts and posted a comment. Morris’ test showed that the use of the Baskerville font increased the likelihood of the reader agreeing with a statement by 1.5% as compared to the average of five other fonts, including Comic Sans which had the most negative influence on agreement of the six.
Recommended publications
  • Library of Birmingham Archives & Collections
    Library of Birmingham Archives & Collections John Baskerville of Birmingham, printer 1706 John Baskerville born 1737 Kept a school in the Bull Ring where he taught writing and book-keeping, and carved monumental inscriptions at Birmingham 1740 Started business at Moor Street as a japanner 1750 Began to occupy himself with type-founding 1757 After experimenting for several years, he produced a type with which he was satisfied 1758 Produced his Milton Elected printer to Cambridge University for ten years 1760 First printed his edition of the Prayer Book 1763 Printed his edition of the Bible 1770 A Quarto Horace 1772-3 A famous series of quarto editions of Latin authors 1775 John Baskerville died 1779 His printing plant purchased by Beaumarchaise “He had the reputation of being the finest printer of modern times, though the opinion of contemporary experts was somewhat unfavourable to his type.” The Concise Dictionary of National Biography, from earliest times to 1985, Volume I: A-F, Oxford University Press, 1992. “His principal trade was in japanned goods. An immigrant from Worcestershire, starting with very little capital, he began in Birmingham as a stone-cutter, was then a writing master and set up as a manufacturer of japanned goods in Moor Street in 1740. From 1745 his home was a fine house on what was then the fringe of the town, at Easy Hill [i.e. Baskerville House], and from there he directed his factory for japanned ‘tea tables, waiters, and trays’ and his printing business. Among his innovations was the introduction of papier-mâché into this country.
    [Show full text]
  • Bibliographica (Issue 3)
    Bibliographica (Issue 3) Item Type Newsletter (Paginated) Authors Henry, John G.; Schanilec, Gaylord; Hardesty, Skye Citation Bibliographica (Issue 3) 2005-07, Download date 26/09/2021 12:16:22 Link to Item http://hdl.handle.net/10150/106505 Issue Number 3 Summer 2005 biBIblBiLIoOGgRrAPapHhICAic a Cedar Creek Press collection of text sizes in Caslon, Garamond, Euse- bius, and Goudy Oldstyle. By John G. Henry Henry’s journey has taken him through high school, Cedar Creek Press has produced a variety of printed a B.A. from the University of Iowa with majors in materials since its inception in 1967. What started English & Journalism, an M.S. degree in Printing entirely as a hobby venture by a high school student Technology from the Rochester Institute of Tech- and a single press has expanded to fill a 25’ x 50’ nology, and many other practical learning experiences. workshop. The reason for being of Cedar Creek Cedar Creek Press has published many books of Press has always been the printer’s enjoyment of Poetry by primarily Midwestern poets. Mostly first the letterpress process. books for the authors, the editions have been small, Proprietor John G. Henry spent many hours poring but have given a published voice to many fine poets. over the catalogs of the Kelsey Company, making The emphasis of the publishing has been to produce his wish-list and saving his allowance for purchase nicely-designed and produced books at a reasonable of a basic set of printing equipment. One day Henry price. saw an advertisement in the local classifieds for an Recent ventures have been in the world of miniature entire print shop for $50.
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • Typestyle Chart.Pub
    TYPESTYLE CHART This is an abbreviated list of the typestyles available from 2/90. ADA fonts are designated with either one or two asterisks. Those with two asterisks comply with ANSI A.117.1 standards for enhanced readability of tactile signage elements. Use typestyle abbreviations in parentheses when placing an order. For additional fonts not on this list, contact Customer Service at 800.777.4310. Albertus (ALC) Commercial Script Connected (CSC) Americana Bold (ABC) *Compacta Bold®2 (CBL) Anglaise Fine Point (AFP) Engineering Standard (ESC) *Antique Olive Nord (AON) *ITC Eras Medium®2 (EMC) *Avant Extra Bold (AXB) *Eurostile Bold (EBC) **Avant Garde (AGM) *Eurostile Bold Extended (EBE) *BemboTM1 (BEC) **Folio Light (FLC) Berling Italic (BIC) *Franklin Gothic (FGC) Bodoni Bold (BBC) *Franklin Gothic Extra Condensed (FGE) Breeze Script Connecting (BSC) ITC Friz Quadrata®2 (FQC) Caslon Adbold (CAC) **Frutiger 55 (F55) Caslon Bold Condensed (CBO) Full Block (FBC) Century Bold (CBC) *Futura Medium (FMC) Charter Oak (COC) ITC Garamond Bold®2 (GBC) City Medium (CME) Garth GraphicTM3 (GGC) Clarendon Medium (CMC) **Gill SansTM1 (GSC) TYPESTYLE CHART (CON’T) Goudy Bold (GBO) *Optima Semi Bold (OSB) Goudy Extra Bold (GEB) Palatino (PAC) *Helvetica Bold (HBO) Palatino Italic (PAI) *Helvetica Bold Condensed (HBC) Radiant Bold Condensed (RBC) *Helvetica Medium (HMC) Rockwell BoldTM1 (RBO) **Helvetica Regular (HRC) Rockwell MediumTM1 (RMC) Highway Gothic B (HGC) Sabon Bold (SBC) ITC Isbell Bold®2 (IBC) *Standard Extended Medium (SEM) Jenson Medium (JMC) Stencil Gothic (SGC) Kestral Connected (KCC) Times Bold (TBC) Koloss (KOC) Time New Roman (TNR) Lectura Bold (LBC) *Transport Heavy (THC) Marker (MAC) Univers 57 (UN5) Melior Semi Bold (MSB) *Univers 65 (UNC) *Monument Block (MBC) *Univers 67 (UN6) Narrow Full Block (NFB) *V.A.G.
    [Show full text]
  • History of Moveable Type
    History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing.
    [Show full text]
  • INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
    INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
    [Show full text]
  • The Anatomy of Type the ANATOMY of TYPE
    The Anatomy of Type THE ANATOMY OF TYPE Stem Bars Serifs Leg Cap Height X Height Baseline Ascender Line X Height Descender Line Bowl Counter Ascender Shoulder Descender THE ANATOMY OF TYPE Mrs. Eaves Bembo Baskerville All of the above typefaces are set at 60 pt. You can see that each of the typefaces has a different X-Height and Cap Height. This will make each typeface read a bit differently and require each be set individually for optimal legibility. Typographic Terminology TYPOGRAPHIC TERMINOLOGY Font/Weight Adobe Garamond Pro Regular Adobe Garamond Pro Italic Adobe Garamond Pro Bold Adobe Garamond Pro Bold Italic The above is an example of a typeface. It is a family called a typeface while the members of the family are of different weights of the same typeface. This is a referred to as fonts. small family with only four weights. The family is TYPOGRAPHIC TERMINOLOGY Some typefaces have a much more extensive family of fonts. Above is a screen grab of the available fonts for Bembo. TYPOGRAPHIC TERMINOLOGY Ligatures fl ffl fi ffi Th fj ffjctst A ligature occurs where two or more characters are called “contextual forms” where the specific shape joined as a single glyph. Ligatures usually replace of a letter depends on context such as surrounding consecutive characters sharing common compo- letters. nents and are part of a more general class of glyphs TYPOGRAPHIC TERMINOLOGY Type Size Adobe Caslon Pro 6 pt. Adobe Caslon Pro 10 pt. Adobe Caslon Pro 14 pt. Adobe Caslon Pro 18 pt. Adobe Caslon Pro 24 pt.
    [Show full text]
  • Caslon Doric Collection Specimen
    Caslon Doric Collection Caslon Doric takes the concept of the large, planned sans family of the 20th century, and projects it onto forms from the previous century. Based on multiple sans forms from the Caslon foundry, Caslon Doric mixes consistency while maintaining the individuality of the sources. This gives the Doric character, yet also gives it the functionality of the latter planned sans families. DESIGNED BY PUBLISHED FEATURES (VARIES BY FAMILY) PAUL BARNES 2019 PROPORTIONAL/TABULAR LINING FIGURES TIM RIPPER FRACTIONS (PREBUILT & ARBITRARY) 78 STYLES SUPERSCRIPT/SUBSCRIPT 5 FAMILIES SMALL CAPS (ROMAN) STYLISTIC ALTERNATES Commercial Classics commercialclassics.com Caslon Doric Collection 2 of 85 CASLON DORIC CASLON DORIC CASLON DORIC CASLON DORIC CASLON DORIC EXTENDED WIDE CONDENSED CONDENSED TEXT HAIRLINE HAIRLINE HAIRLINE HAIRLINE Caslon Caslon Caslon Caslon Doric Doric Doric Doric THIN THIN THIN THIN THIN Caslon Caslon Caslon Caslon Caslon Doric Doric Doric Doric Doric LIGHT LIGHT LIGHT LIGHT LIGHT Caslon Caslon Caslon Caslon Caslon Doric Doric Doric Doric Doric REGULAR REGULAR REGULAR REGULAR REGULAR Caslon Caslon Caslon Caslon Caslon Doric Doric Doric Doric Doric REGULAR NO. 2 REGULAR NO. 2 REGULAR NO. 2 Caslon Caslon Caslon Doric Doric Doric MEDIUM MEDIUM MEDIUM MEDIUM MEDIUM Caslon Caslon Caslon Caslon Caslon Doric Doric Doric Doric Doric SEMIBOLD SEMIBOLD SEMIBOLD SEMIBOLD SEMIBOLD Caslon Caslon Caslon Caslon Caslon Doric Doric Doric Doric Doric BOLD BOLD BOLD BOLD BOLD Caslon Caslon Caslon Caslon Caslon Doric Doric Doric
    [Show full text]
  • The Skillful Use of Typography
    Written by Gary Gnidovic and Greg Breeding The Skillful Use Of Typography A publication of Magazine Training International. What’s inside Why typography decisions are important 2 Classification of type 4 Principles for good typography 9 Selecting and using a text font 14 Other typographic elements 23 Share your thoughts with #MTIebook Chapter 1 Why typography decisions are important Aaron Burns, an influential designer and founder of the International Typeface Corporation (ITC), once said, “In typography, function is of major importance, form is secondary, and fashion [trend] is almost meaningless.” Although this may sound like an extreme view, it holds a great deal of truth. If we choose to work well with our type, concentrating on its purpose, appropriateness, and legibility, our magazines will begin to take on an air of authenticity and integrity. Rather than blindly following stylistic trends in typography, intelligent, careful attention to detail will pave the way for a more expressive, creative approach. THE SKILLFUL USE OF TYPOGRAPHY 2 Share your thoughts with #MTIebook The skillful use of type in magazine design is an area where, even with limited resources, we can do a great deal to enhance the look and feel of our publications. The creative application of a couple of well-chosen font families is often preferable to a CD containing “600 Cool Fonts for Every Purpose.” This e-book will offer some principles that will help establish a firm foundation on which to build the visual approach to your magazine. THE SKILLFUL USE OF TYPOGRAPHY Chapter 1 3 Share your thoughts with #MTIebook Chapter 2 Classifications of type There are two major classifications of type: serif and sans-serif.
    [Show full text]
  • Georgia Vs Bodoni Y Y Y Y
    Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y.
    [Show full text]
  • Library of Birmingham Supplement
    © Christian Richters www.libraryofbirmingham.com Published by History West Midlands www.historywm.com THE NEW LIBRARY OF BIRMINGHAM he £188.8 million Library of Birmingham stands on Centenary Square, at the heart of Birmingham; an area of the city not far from New Street Station which is currently undergoing major refurbishment. It has been built on the site Tof a former car park and is joined with the neighbouring Birmingham Repertory Theatre. Dutch architects Mecanoo designed the building, the award-winning support services and construction company Carillion was the principal contractor, and Capita Symonds was the project manager. © Simon Hadley The new library has ten levels: nine above ground and one lower Brian Gambles, Project Director, Library of Birmingham ground floor. The first to eighth floors of the building are wrapped by an intricate metal façade, reflecting the gasometers, tunnels, canals irmingham has always been a city that and viaducts which fuelled Birmingham’s industrial growth. has valued libraries and the city’s Central Library, built in 1974, was one Highlights of the new building include a studio theatre seating of the biggest in Europe and 300 people, a performance area and children’s spaces, two outdoor garden terraces, an outdoor amphitheatre in Centenary Bwelcomed a huge number of visitors through its doors every day - children and adults reading Square, and a panoramic viewing gallery offering stunning views for pleasure, as well as students and adults from one of the highest points in the city. hungry to learn. A 'Golden Box' of secure archive storage occupies two levels of the The new Library of Birmingham is taking library building, within which the city’s internationally significant collection services to a whole new level, redefining what a of archives, photography and rare books is housed.
    [Show full text]
  • Forms and Levels of Expertness: Interpreting Accounts of Typeface Design
    Published by AU Press, Canada Journal of Research Practice Journal of Research Practice Volume 11, Issue 2, Article M9, 2015 Main Article: Forms and Levels of Expertness: Interpreting Accounts of Typeface Design Michael Harkins School of Art and Design University of Portsmouth, UNITED KINGDOM [email protected] Abstract This article responds to problems arising from defining the notion of “expert” with respect to the subject of text typeface design. What and who is a type design expert? The author has identified that in both contemporary and historical contexts, paucity exists in relation to recorded knowledge regarding the processes of designing text typefaces. Accounts of knowledge of the practice of text typeface design differ in their perspectives relating to what may be deemed expertness. In attempting to explain or rationalize differences in perspectives of such accounts of practice, the problem of describing expertness arose. In terms of degrees of expertise relative to accounts of subject knowledge in text typeface design, the author developed the concept of “vicinage” in order to explore how we render expertness within research enquiry. This concept has the potential to focus future research in the area of defining expertise in typeface design and more generally beyond this field. Index Terms: typeface design; metal type; digital type; insider perspective; outsider perspective; emic and etic; level of expertness Suggested Citation: Harkins, M. (2015). Forms and levels of expertness: Interpreting accounts of typeface design. Journal of Research Practice, 11(2), Article M9. Retrieved from http://jrp.icaap.org/index.php/jrp/article/view/499/426 1. Introduction Often seen as set within the subject domain of typography, typeface or type design is a specialist area that concentrates on the designing of letterforms, characters, or glyphs conceived to work in relation to one another within specific sets.
    [Show full text]