Baskerville
From Wikipedia, the free encyclopedia
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| Typeface | Baskerville |
|---|---|
| Category | serif |
| Classifications | Transitional serif |
| Designer(s) | John Baskerville |
| Foundry | Linotype |
| Variations | John Baskerville Mrs Eaves |
| Shown here | Baskerville Ten by František Štorm |
- For people named Baskerville, see Baskerville (surname).
Baskerville is a serif typeface designed in 1757 by John Baskerville (1706-1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.
The Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.
Baskerville's typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville's ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.
In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper.
The perfection of his work seems to have unsettled his contemporaries, and some claimed the stark contrasts in 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.
After falling out of use with the onset of the modern typefaces such as Bodoni, Baskerville was revived in 1917 by Bruce Rogers, for the Harvard University Press. In 1923, the typeface was also revived in England by Stanley Morison for the British Monotype Company as part of its program of revivals. Most recently, the Baskerville typeface was used as the basis for the Mrs Eaves typeface in 1996, designed by Zuzana Licko.
A modified version of Baskerville is prominently used in the Canadian government's corporate identity program – namely, in the 'Canada' wordmark.
[edit] References
- Meggs, Philip and Rob Carter. Typographic Specimens: The Great Typefaces. Van Nostrand Reinhold: 1993. ISBN 0-442-00758-2
- Meggs, Philip B. and Roy McKelvey. Revival of the Fittest. RC Publications, Inc.: 2000. ISBN 1-883915-08-2
- Updike, Daniel Berkley. Printing Types Their History, Forms and Use, Vol. II. Dover Publications, Inc.: 1937, 1980. ISBN 0-486-23929-2
