It has its basis in the physical world – via the original steel punches – and it has its final manifestation in the digital space. LoveFrom, Serif speaks perfectly to our collective approach and to our experience. It’s great to have a motivation of that gravity. Our name describes our motivation, which is to be in service of humanity. Jony Ive: Designers often talk about how we work, but not why. ![]() His approach is to say, ‘Let’s do it until there’s no more that can be done.’ LoveFrom, Serif evokes art and craftsmanship, values that Jony wanted to associate with LoveFrom. Baskerville's typeface was part of an ambitious project to create books of the greatest possible quality. The design shows the smooth, gleaming finish of his paper and minimal title pages. In professional typography, the term typeface is not interchangeable with the word font (originally fount in British English, and pronounced font), because. The serifs are slightly curved allowing the viewer’s eye to flow between each letter with ease. anatomy Q Baskerville is a known as a transitional typefaces due to its mixture of classical serifs and high contrast of strokes thicknesses from more modern typefaces. Baskerville has softer edges and curves that emulate a kinder, welcoming typeface. Baskerville's first publication, an edition of Virgil. anatomy Q Baskerville is a known as a transitional typefaces due to its mixture of classical serifs and high contrast of strokes thicknesses from more modern typefaces. You can obviously see that in his work for Apple. History The Folio Bible printed by Baskerville in 1763. Peter Saville: Jony has that obsessive mania for everything – he’s very particular. There’s always space, not necessarily to improve, but to refine something. Luxury is the wrong word, but we don’t often have this kind of opportunity in our line of work. Marc Newson: On a project like this, we can spend as much time as we want – we are the client. But it’s also something that either works or it doesn’t. I think pop culture in the 1980s turned a young generation on to type. I saw how it could be very evocative in creating a certain gravitas as well as a sense of cultural significance. Peter Saville: In a way, I made my contribution 40 years ago when I realised that typography triggers certain contextual and cultural associations. When you make things with love and care you express your gratitude to humanity, to our species. ![]() The tools we use as creatives tend to establish and reinforce the differences in our practice, not the similarities. Jony Ive: At its heart LoveFrom is about gathering together experts, people who are pre-eminent in their various fields. Work is also apace to design a complementary sans serif (no prizes for guessing the name), all part of Ive’s desire to give LoveFrom the ultimate bespoke tool kit. The modern revival of Baskerville’s designs began in the 1920s, thanks to the work of Bruce Rogers, and soon the major foundries all had their own Baskervilles.Another early, under the radar outing for LoveFrom, Serif was in a self-published memorial book for Richard Rogers’ final project at Château La Coste, a project undertaken to ‘honour a dear friend’, according to Ive. The perfection of his work seems to have unsettled his compatriot printers, and some claimed 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. The result was a brilliant series of original typefaces and splendid books appearing from 1754 to 1775.īaskerville lost a great deal of money in his printing ventures, and at one point asked for a government subsidy while he was printing his masterpiece, a Bible for the University of Cambridge. ![]() His quest for perfection meant his first complete book took until 1757 to produce, during which time he made major innovations in press construction (making a flatter, sturdier bed), printing ink (blacker, more even, and quicker-drying), papermaking (wove instead of laid), and of course letter design (which Handy cut to Baskerville’s designs). With capital from this, in 1750 he set up a printing business, hiring John Handy as punchcutter. Although in his lifetime he was underappreciated compared with his close contemporary William Caslon, he is now recognized as the other half of the duo that transformed English printing and type founding.Īfter first working as an accomplished writing master and headstone engraver in Birmingham, he found business success japanning (coating with black varnish) trays and snuff-boxes. English writing master, stonecutter, letter designer, typefounder and printer.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |