The most challenging part of the design was to try to evoke this balance of classic and modern. I was also interested in trying to evoke Baskerville's middle place on a timeline, using the "." characters on the left and right sides. I loved how the right side of the ampersand sort of looked like a hand holding a dinner platter and I wanted to try to play with this idea in the design. I also really liked how well the "&" demonstrated the typographical features that characterize Baskerville. I really enjoyed trying to figure out how to make "&" the centerpiece of the design, and trying to show how Baskerville comes between and bridges classic and modern styles. The ampersand character (&) was the first thing that drew me to this typeface, and as I did my research and learned more about it, I realized that "&" communicated so much about Baskerville's history and design features. Baskerville Font Combinations & Free Alternatives Īnd here's my final project for the course, in which I try to take this text and turn it into a "typographic poster." Baskerville Old Face font family - Typography. How Typefaces Influence Perception and Persuasion | Advertising Florida. | Baskerville, John (1706–1775) | Oxford Dictionary of National Biography. | Baskerville Font Family Typeface Story. Baskerville reads as classic and trustworthy, but modern enough to still be stylish and always up to date. As a bridge between eras and styles, Baskerville’s connotations are dignified and elegant, without being overly stuffy. Notable uses include the 1758 edition of John Miltion’s Paradise Lost, the official word mark for Canada, and the Bang and Olufsen website. The typeface’s highly modulated strokes included thinner, more refined lines that were made to be carefully printed using quality ink and smooth paper to produce a crisp, high-contrast finish. The typeface was created as a part of John Baskerville’s larger goal to allow for higher quality approaches to industrial book printing. FeaturesĪ transitional serif typeface that is stylish, modern, and trustworthy.īaskerville is classified as a transitional serif that comes between “old-style” and “modern” typefaces. Baskerville’s design can be seen as a bridge between eras: balancing classic elegance with modern practicality. In the social and political world, Baskerville was made in the heart of the Age of Enlightenment and at the dawn of the Industrial Revolution - a time when scientific discoveries were driving significant commercial and industrial change. In the visual arts and architecture, Europe was moving from the ornate, asymmetrical designs of the Rococo, toward the Neoclassical style, which emphasized simplicity and symmetry. Baskerville was created at a time of transitions. He argues that Baskerville's.Designed in 1757 by John Baskerville in Birmingham, England.īaskerville was designed in 1757 in Birmingham, England, by its namesake, John Baskerville (1706-1775) and it was cut into metal for use in printing presses by John Handy. But he sees Baskerville's Greeks as part of a trend toward simplification in the eighteenth century, a design that is fully typographic in contrast to the calligraphically oriented Greeks that prevailed then. Leonidas explains that their negative reputation can be attributed to the classical bias of Robert Proctor and Victor Scholderer, who have most defined the attributes of a Greek typeface. Only three essays touch on those subjects and none directly, other than Gerry Leonidas' discussion of Baskerville's little-known Greek types, cut for the Oxford University Press in 1763. Drawn from the papers presented by both practitioners and academics at a 2013 conference organized by the Baskerville Society, the book covers the arc of Baskerville's life and his activities from writing master to japanner to printer.īaskerville's printing and the typography of his books do not feature prominently in the volume. The eleven essays in John Baskerville attempt to go beyond both the salacious aspects of Baskerville's life and the uncritical reverence attending his types and books to situate him and his work within the broader cultural context of eighteenth-century England. Sarah Eaves (housekeeper, mistress, and eventually wife), and the manner of his burial have all been entertaining subjects of discussion rivaling commentaries on the quality of his books and the merits of his types-criticized by contemporaries but now held in high esteem. His views on religion, his life with Mrs. John Baskerville (1707-1775) remains one of the most intriguing figures in printing history for his life as much as for his work. Liverpool: Liverpool University Press, 2017. Caroline Archer-Parre and Malcolm Dick, editors, John Baskerville: Art and Industry of the Enlightenment.
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