Baskerville revisited

More than a house, a font can host our mind. Idsgn presents the story of Baskerville in its newest edition of their series.

Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface. (…) Baskerville is categorized as a transitional typeface in-between classical typefaces and the high contrast modern faces. At the time that John Baskerville decided to switch from owning a japanning business to a type foundry, Phillipe Grandjean’s exclusive Romain du Roi for Louis XIV had circulated and been copied in Europe. The mathematically-drawn characters felt cold, and prompted Baskerville to create a softer typeface with rounded bracketed serifs and a vertical axis.

& :
Is this your type ? (@TypOL), on behalf of Idsgn’s Know-your-type series : Cheltenham | Gill Sans | Clarendon | Gotham | Futura | Verlag | Din.
iLT’s own selection from 2009 | Overall category on Types&Fonts (@TypOL).

New-Old Font Caslon

Caslon is a very high legible font for books (« une belle police de labeur« , JNM). Picking from one meadow to another, TypOL harvests here a discussion about authenticity and renovation be it ancient music, painting or architecture : long live, Caslon !

The interest is twofold to the least : for the typo-nerds (at whom iLoveTypography aims) and for the history-inclined mind -sometimes both present in one body-.

Later edit – The second part of the post on Caslon (@iLT) is as readable.

& :
Caslon examples (Google Images).
TypoGrapho + Music + Architecture (@WebOL).

Missing seeds in some apples

The iPad from Apple shall save the business sectors of editing-press-whatever-written, shalln’t it ? There is a bit less than meets the eye. Claimed to be gorgeous a device (hardware-wise, in other terms), the publishing capabilities might lag behind yet.

The missing gaps, by FontFeed. In short : « good typography« .
About Apple & Typography, by Khoi Vinh (@Subtraction).
Wired apps just a paper tiger, by iA.
First impressions, by Idsgn.
– (…)

But the future is not written yet (never will be in full).

& :
TypoGrapho | IT (@WebOL).

Webbed fonts

Fonts on the web are getting more and more refined, at least tools are being developed for using them in a more extended way. Here is the latest news, courtesy of Idsgn :

– An open source web font directory (Google), seemingly in cooperation with TypeKit. Web Fonts (Monotype), adding-up classics like Frutiger, Universe and so many more.
– In addition, to be reviewed : FontDeck,

& :
Typo-ubiquity on web | Typography for the Web | Typophile websites | Typographie + Toile (@TypOL).

Ben Kuper on the dots

Benjamin Kuperberg has excellent ears and eyes, and wonderful hands in-between. Put broadly, he is a creator in multimedia age. His reshuffled website leans on reconfiguration of dots, right on time as music practice might teach the good way. The Lab is his workshop (better named than the now mundane blog).

Let’s presume that he could be earmarked by Fubiz in the future. Maybe that he would even come across the ZKM in Karlsruhe, Germany (Zentrum für Kunst und Medientechnologie, or Center for Art and Media).

& :
–  Fubiz | TypoGrapho (@WebOL).

Typo-ubiquity on web

Listen to Erik Spiekermann, calling for the typographic freedom for the web. The claim is sound, and it may be within click- (or haptic) reach.

At last web designers are no longer reliant on the established system fonts such as Times and Arial which are installed on all computers. Typographic emergency solutions using Flash or similar technology will also now become a thing of the past. The new typographic freedom is just as important for designers as it is for businesses, who will now want to distinguish themselves on the Web. (…)

It sounds like a dream, what TypeKit offers : the same font layout on whatever platform. Among other examples, Calluna and Museo created by Jos Buivenga (exljbris) are now available for display ; to know more about him & them just browse what iLT published from his interview, what he said at the 33pt Symposium in 2009 as well as his MyFonts interview.

& :
Calluna | Museo (@exljbris).
Webbed fonts | Typography for the Web | Typophile websites | Typographie + Toile (@TypOL).

Graphics collection

Fubiz may be the best review site to discover graphical creation in a broad scope of domains. The realms are : Photography, Advertising, Print, Typography, Street Art, Product Design, Architecture, Internet, Fashion.

Since May 2005, the Fubiz site is centered on the subjects of the graphic world, the urban culture, the products tendencies and numerical arts. A baseline Daily off proportions inspiration, a version available in 2 languages with nine galleries, a collaboratif (sic) space and new uses.

Need a teaser ? Few examples among so many are the BBC Radio Campaign, The Oistrich.

Fubiz existe également en français.

& :
– Posts on Video Art by ArtOL.
TypoGrapho, Architecture by WebOL.

(Merci à JNM, à BK).

Gutenberg in fonts

Gutenberg may hang quite high on the technical heritage tree, the cast movable types being almost over. There are even good, and often bad, reasons to discuss the future of Codex. But the need of typography is not void. From much farther than 15th Century, the necessity to make the language visible -in an altered version of Ellen Lupton’s motto- keeps being of paramount importance.

iLoveTypography discusses the legacy of Gutenberg :

Large or small, letters seem to inhabit their own universe. Re-arrangeable in any combination, they can spell out all conceivable messages, be they poetic, bureaucratic, or anything in between. But sometimes a text is just about its letters themselves, not an object to be read, but one to be looked at. Type specimens have taken various forms over the centuries, from posters to postcards and from primers to pamphlets. In fact, this web ‘page’ that you are reading now is also a type specimen, at least of some sort. In our digital age, creating type specimens has become easier than ever before. But what did our predecessors do 100 years ago, or even 500 years ago? (…)

& :
– @WebOL : Books (Livres) | Ellen Lupton | Typo for the WebAncient printing | Type + Paper + Ink.
– Furthermore, all articles by TypOL.
– Invitation to read Dan Reynolds, aka TypeOff, the very author of the iLT’s post where the thread was reeled from.