DOCSLIB.ORG

TRACING BASKERVILLE John Baskerville (Source: Birmingham Museum); Virgil Aeneid with Expansive Margins and Fine Alignment, 1757 (Source: Typefaces for Books)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TRACING BASKERVILLE John Baskerville (Source: Birmingham Museum); Virgil Aeneid with Expansive Margins and Fine Alignment, 1757 (Source: Typefaces for Books) MiraCosta College / oceanside MAT 155 Graphic Design 2 : Typography Min Choi // Fall 2017 TRACING BASKERVILLE John Baskerville (Source: Birmingham Museum); Virgil Aeneid with expansive margins and fine alignment, 1757 (Source: Typefaces for Books) “Having been an early admirer of the beauty of letters, I became insensibly desirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.” — John Baskerville, preface to Milton, 1758 (Anatomy of a Typeface) http://idsgn.org/posts/know-your-type-baskerville/ ABOUT BASKERVILLE Baskerville is known as a Transitional typeface. Transitional refers to fonts that bridge the gap between the organic Old Style typefaces and the mechanical looking structure of the modern fonts. Characteristics of Transitional fonts include: A greater contrast between thick and thin strokes, wider, gracefully bracketed serifs with flat bases, larger x-height, vertical stress in rounded strokes, the height of capitals more closely matching that of ascenders, and the numerals and cap height are consistent.* John Baskerville was an English writing master, stonecutter, letter designer, typefounder and printer. Although in his lifetime he was un- derappreciated compared with his close contemporary William Caslon, he is now recognized as the other half of the duo that transformed English printing and type founding. After first working as an accomplished writing master and headstone engraver in Birmingham, he found business success japanning (coating with black varnish) trays and snuff-boxes. His quest for perfection meant his first complete book took until 1757 to produce, during which time he made major innovations in press construction (making a flatter, sturdier bed), printing ink (blacker, more even, and quicker-drying), papermaking (wove instead of laid), and of course letter design (which Handy cut to Baskerville’s designs). The result was a brilliant series of original typefaces and splendid books appearing from 1754 to 1775. The perfection of his work seems to have unsettled his compatriot printers, and some claimed his printing damaged the eyes! Abroad, however, he was much admired, notably by Fournier, Bodoni (who intended at one point to come to England to work under him), and Benjamin Franklin. The modern revival of Baskerville’s designs began in the 1920s, thanks to the work of Bruce Rogers, and soon the major foundries all had their own Baskervilles.** SUPPLIES tracing / layout paper, pencil, tape, rulers PRESENTATION > 8.5 x 11” size tracing paper: Please trace the handout (attached page 2) exactly as is, and fill in the letterforms. > Print out the cover page including your Name, Class Name, Assignment Title and Date, typed in the bottom right corner and taped neatly at the top. This cover sheet will protect from smudging. > Anything less than a professional presentation will not be accepted for grading. > No guidelines, smudges or eraser marks should be visible. DUE DATE: September 12, 2017 Turn in tracing of Baskerville at beginning of class Please note: Compared to the slightly gothic feel of Caslon, Baskerville is purely neoclassical; in it is seen the more geometric forms of that period’s architecture. See also Mrs Eaves, an interesting if mannered experiment in reviving Baskerville by mimicing the unpredictability of form found in letterpress text. * Source: A Typographic Workbook, Kate Clair ** Source: myfonts.com .
Load more

Recommended publications
  • Typography One Typeface Classification Why Classify?
    Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing.
    [Show full text]
  • Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
    Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine
    [Show full text]
  • Afgbaskerville (The Type Face)
    gfaBaskerville (the type face) xagfi {the type} {the man} abcdefghijklmn opqrstuvwxyz ABCDEFGHI JKLMNOPQR STUVWXYZ Having been an early admirer of the beauty of letters, I vertical stress relatively low contrast “became insensibly desirous of contributing to the perfection Baskerville is a transitional type of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true { old style type modern type proportion. oblique stress vertical stress —John Baskerville, preface to Milton, 1758 relatively low contrast high contrast (Anatomy of a Typeface) ” {looks} use of orthogonal lines use of orthogonal + curvy lines FHTt BDp use of curvy lines use of diagonal lines cOQ vwXZ In order to truely appreciate the quialities of Baskerville, one must understand the The Baskerville type is known for the crisp edges, high contrast and generous process of its creation. Being a printer, John Baskerville paid close attention to the proportions. Baskerville is categorized as a transitional typeface in between classical technology, creating his own intense black ink. He boiled fine linseed oil to a certain typefaces and the high contrast modern faces. density, dissolved rosin, and let it subside for months before using it. He also studied and invested in presses, resulting in the development of high standards for presses altogether. {anatomy} crossbar serif ear head serif ascender counter apex A a x g Q b q O spur x-height descender swash {characteristics} {1}g Q {2} A {3} {4}J {5}C {6}E {7}ea {1} tail on lower case g does not close {2} swash-like tail of Q {4} J well below baseline {3} high crossbar and pointed apex of A {5} top and bottom serifs on C {6} long lower arm of E {7} small counter of italic e compared to italic a {comparison} Bembo Baskerville Bembo Baskerville d The head serif of Baskerville is generally more horizontal than that of Bembo.
    [Show full text]
  • Type ID and History
    History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface
    [Show full text]
  • Vision Performance Institute
    Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.
    [Show full text]
  • 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]
  • Sans Protection: Typeface Design and Copyright in the Twenty-First Century
    Sans Protection: Typeface Design and Copyright in the Twenty-First Century By TRAVIS L. MANFREDI* If there is uncertainty or lack of clarity, it is not the fault of the letters, it is how they are put together. Yet these symbols can be transformed visually without any loss of their essential character. The changes reflect new societies, new technologies, new preferences, new functions; but within these changes the symbols are constant, always themselves.1 —Alan Bartram Introduction IT HAS BEEN THIRTY-TWO YEARS since copyright protection was explicitly withheld from typeface designs.2 Personal computers have since created both a new market for typeface designs and an easy way to copy them.3 This article examines whether the genesis of this new market coupled with other effects of the digitization of fonts4 suffi- ciently alters the rationale for denying copyright protection to type- face designs to justify an amendment to the Copyright Act. Part I of this article provides a brief history of typeface design and a primer on the basic features of typefaces. These features provide for * J.D. Candidate, University of San Francisco School of Law, 2011. 1. ALAN BARTRAM, TYPEFORMS: A HISTORY 125 (2007). 2. Eltra Corp. v. Ringer, 579 F.2d 294 (4th Cir. 1978). 3. Jacqueline D. Lipton, To © or Not to ©? Copyright and Innovation in the Digital Type- face Industry, 43 U.C. DAVIS L. REV. 143, 167–68 (2009). 4. Though the terms “font” and “typeface” are often used interchangeably, the im- portant distinction between the two is explained by Professor Lipton:
    [Show full text]