![]() ![]() I haven’t yet seen Pentagram’s book in person, but it looks like a fun piece. All other digital Baskervilles have only one size, often traced from the face of some mid-range size, making it too feeble for text yet lacking the elegance of a titling face. ![]() These “ optical sizes” emulate the physical design compensations of metal type, allowing headlines to be delicate and showy, while body text is open, sturdy, and readable. The family has two size-specific masters: “120” for large type, “10” for small. Baskerville’s original type: František Štorm’s Baskerville Original. I was very pleased to see that Bierut and Svendsen added some authenticity by using the only digital Baskerville that comes anywhere close to Mr. To Morris’ credit, once you get past the triviality of the experiment, his essay tells a fascinating and humanizing tale of the man behind the 18th-century typeface, John Baskerville. Pentagram partner and long-time Morris collaborator Michael Bierut put together the typographically exquisite monograph, with with the help of designer Jessica Svendsen.” “The results of Morris’s experiment were published online in a two-part essay called Hear, All Ye People Hearken, O Earth! and have now been put into print, as the 44th edition of the Pentagram Papers, the monograph that the design firm Pentagram sends to an exclusive list of individuals each year. Oh well, at least Pentagram made something handsome out of this pile of poop: Um, but Bembo was not even part of your test! What if Bembo is really the most trustworthy of all?! I used to write all of my manuscripts in Bembo. “Oh yes, I’m drinking my own Kool-Aid now. Only Georgia and Helvetica were any competition at all - the others being very poorly drawn, much less readable, not intended for long texts, or all of the above.Ĭo.Design concludes their Morris interview with this question: “have the results of your Baskerville experiment changed the typefaces you use?” It’s not so surprising Baskerville performed best among this bunch. Why those six? Your guess is as good as mine.” It could have been more, but we picked six. “I’d like to say there’s something that really went into it, that was scientific, and I wanted a combination of serif and sans serif fonts, so we picked three of each. The typefaces selected for the test were Baskerville, Computer Modern, Georgia, Helvetica, Comic Sans and Trebuchet. What disappointed me most was the weak methodology behind the experiment. As much as I love to see typography leak into the mainstream media, I found this search for the most truthworthy typeface to be especially untrustworthy, despite coming from a man whose work I otherwise respect. Baskerville … was statistically more likely to influence the minds of readers.Īs one might expect, the results of Morris’s experiment got a lot of attention from both inside and outside the design world. Simply put, are some typefaces more believable than others? The answer is yes. But in reality, Morris was trying to find out if the typeface a statement was written in had any impact on a reader’s willingness to agree with that statement. The test allegedly measured whether or not readers were optimists or pessimists. With the collusion of the New York Times, he asked 45,000 readers to take an online test. In 2013, acclaimed filmmaker and author Errol Morris ran a bold experiment. These are the most common typefaces in the database, but there are many more.Haas Inserat-Grotesk / Neue Aurora VIII (49).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 result was a typeface that reflected Baskerville's ideals of perfection, where he chose simplicity and quiet refinement. Baskerville's typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. These changes created a greater consistency in size and form. The curved strokes are more circular in shape, and the characters became more regular. 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 Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the newer styles of Giambattista Bodoni & Firmin Didot. Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville in Birmingham, England. ![]()
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