These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. The curved strokes are more circular in shape, and the characters became more regular. Ĭompared to earlier designs popular in Britain, Baskerville 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. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. ![]() (2012).Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Architecture Library, University of Minnesota. Studio Couture Detroit, Detroit, Michigan. Language and the City nationally juried exhibit. (2013).Įach go hide inside me: Black Baskerville remixed. ![]() Meditations on Emancipation nationally juried exhibit. It is case bound in Japanese binding cloth with boards front, back and spine, and the accordian signature tips in to the back cover. ![]() As an accordian structure, the book’s 18 pages open to over ten feet all pages are hinged with archival-grade linen tape. These glyphs spell out words related to the book’s themes.īlack Baskerville is limited to an edition of four handmade books, trim-sized 11.5 x 7 x 1". The ‘bigrams’ (letter pairs) are created from a font of Baskerville Bold Italic lowercase, and machined into end-grain maple blocks for letterpress printing. The photos and text are inkjet printed onto archival Arches paper using a Canon MP640R at 9600 dpi setting. Enabled by site visits and original documentation, the Baskervilles will reunite.īlack Baskerville is a limited edition artist’s book researched, designed, photographed and written by Steven McCarthy.Įach main page of Black Baskerville has an image related to John Baskerville’s life butted against an image from the Virginia Baskervilles explanatory texts caption the photos. Through visual research into these dual Baskervilles – the eminent typographer and the slave plantation – I plan to create designs that will tell the story of two places and times, a convergence of forgotten history and distinctive typography. She descended from African slaves on a Mecklenburg County, Virginia plantation owned by generations of Baskervilles. My mother’s maiden name is Baskerville, but there is not yet a known relationship. ![]() The redesign and naming strategy give voice to what was once history’s marginalia. In 1996, Emigre’s Zuzana Licko, a pioneer of digital typography, re-interpreted the font as Mrs Eaves – named after Baskerville’s lover Sarah Eaves. He enjoyed the support of Ben Franklin in the face of criticism over his type design’s contrasting strokes, which some claimed could “hurt the eye.” Eventually the printer for the Cambridge University Press, he has since been appreciated by countless readers who have read texts in his enduring typeface Baskerville.Īlthough viewed as a classic, bookish typeface, Baskerville continues to inspire. John Baskerville is known to historians of design as an 18th century English printer and typographer. Black Baskerville began as this original project proposal, titled Healing the Eye: The Two Types of Baskerville:
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