Baskerville Original 13 styles
Storm Type Foundry
Try Free/ 1 hour Desktop
Rent Single Style €5.75/month
Complete €36.75/month Desktop & Web
Back to the roots of book typography. Until 1999 the story of this type face ended with mediocre digital versions, which did not get at the root of its inspiration. Our pursuit of this paramount body type face of the 20th century began in Nové Hrady Castle, the place where a part of the depository of old prints of the National Museum Library is kept, in the summer of 1999. Thanks to the understanding of the librarian Petr Mašek we were allowed to study and photograph four rare volumes from Baskerville’s printing office, dating from about 1760. We selected as the most successful models for the digitalization of this type face its Roman and italics in the size of about today’s 14 points, which Baskerville used for the printing, among other things, of his folio Bible in 1763 and Vergil’s works in Latin in 1757. These were large-size, stately prints on paper smoothed out by hot copper calender rollers. When composing the pages, Baskerville emphasized the importance of the blank space, just as the effect of the majestic austerity of the setting, which became an inspiration for Neo-classical typographers. He strove to remove everything which obstructs legibility, working without ornaments and rules, neatly, and with large margins. He proceeded along these lines also when designing his new type face. His punchcutter John Handy was given the task to make the type face different from the then fashionable Caslon, which was a surprise for a certain part of typophiles of the period. Baskerville perhaps anticipated certain elements known from Bodoni and Didot, which is why nowadays everybody calls it a “transitory” phenomenon. A detailed evaluation of Baskerville's heritage, however, remains a task for historians. Our analytical transcription enhances rather the artistic and visual qualities of his type face.
Foundry Storm Type Foundry
Designers František Štorm
More Info stormtype.com