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This publication was written and designed by Abbie Giffin, Jacob Headid, and Michael Johnson.

Published Nov. 2014

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Table of ContentsA Note on the TypefaceIntroductionLouis SimoneauPhilippe GrandjeanRomain du RoiPierre Simon FournierWilliam CaslonFrancois-Ambroise DidotFirmin DidotHerman BertholdGeofroy ToryGeorge BickhamRobert CleeJohn PineLouis Rene LuceJohn BaskervilleGiambattista BodoniThe Age of ReasonNicolas RobertBibliography

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TypefaceBaskerville, a typeface designed in 1754, is most celebrated for its crisp edges, high con-trast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer.

“Having been an early admirer of the beauty of letters, I became insensibly desirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.”

—John Baskerville

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An Era of Typographic Geniuses

1700–1800’s

The Enlightenment was a period in history of western thought and culture spanning from the late seventeen hundreds through the eighteenth century. The period is char-acterized by dramatic revolutions in science, philosophy, society and politics. These many revolutions swept away the medieval world view and pioneered our modern western

world. The Enlightenment emphasized that the universe was composed of logical pat-terns that could be discovered by humans to better understand the world around them. The ideas challenged tradition, God, and the power of Kings, which sparked the American and French revolutions.

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Louis Simonneau (1645-1728) was a prolific French engraver, born in Orleans at the begin-ning of the Enlightenment. His contemporary Philippe Grandjean (1666-1714) was a type en-graver as well. When in 1692 King Louis XIV, the Sun King, decided that the French monar-chy needed their own typeface, the two of them were commissioned to work together on it. Si-monneau engraved the letterform designs and Grandjean cut the punches for the metal type.

Louis Simoneau

and Philippe

Grandjean

1645–17281666–1714

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Romain du Roi1692Called “Romain du Roi” (lit. Roman of the King, meaning the Roman alphabet), King Louis XIV’s typeface exemplifies Enlighten-ment ideals like logical order and rational de-sign. Before, typefaces evolved natrually from engraver to engraver. Romain du Roi was a complete break from Old Style typefaces. The result of careful planning and strict ad-herance to a grid. It also emphasised greater thick/thin contrast than had been seen be-fore, something that would heavily influence the creation of later transitional typefaces.

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Pierre Simon Fournier le Jeune was a type de-signer, type founder, and punch-cutter. He fa-vored the flourishing, natrual lines that were the hallmark of Rococo style. By the time he was 24 he opened his own type foundery, but it was his work to standardize type size that is his true leg-acy. In 1737 he published his first table of pro-portions, called the Fournier scale. The pouce (a now-obsolete measurment a little longer than an inch) was divided into 12 lines, which were each divided into six points.

Pierre Simon

Fournier1712–1768

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William Caslon

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1693–1766William Caslon was an Englishtype creator who ‘s typefaces are based on Dutch Old Style. He is remembered best for the clear-ness and legibility of his type. His titular typeface, Caslon, was an instant success in 1726 and for the next 60 years became the most widly used typeface in England.

In Xanadu did Kubla Khan/A stately plea-sure-dome decree:/Where Alph, the sacred river, ran/Through

caverns measureless to man/Down to a sunless sea./So twice five miles of fertile ground/With walls and towers were girdled round;/And there were gardens bright with sinuous rills,/Where blossomed many an incense-bearing tree;/And here were forests ancient as the hills,/

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Francois-Ambroise

Didot

In Xanadu did Kubla Khan/A stately plea-sure-dome decree:/Where Alph, the sacred river, ran/Through

caverns measureless to man/Down to a sunless sea./So twice five miles of fertile ground/With walls and towers were girdled round;/And there were gardens bright with sinuous rills,/Where blossomed many an incense-bearing tree;/And here were forests ancient as the hills,/En-

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Francois-Ambroise Didot was a partisan print-er and publisher who designed several Neoclassical romans and italics during his time. Father of Firmin Didot, Francois-Ambroise Didot was the founder of the Didot dynasty in printing and typography. Benjamin Franklin Bache, apprenticed to Didot by his grandfather Benjamin Franklin, described Francois-Am-broise as the best printer of all time.

1730–1804

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FirminDidot

FIRMIN DIDOTABCDEFGHIJKLMNOPGRSTUVWXYZabcdefghijklmnopqrstuvwxyzèéêëòó?!

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Firmin Didot, son of François-Ambroise Didot was the inventor of stereotypography, which entirely changed the book trade. Firmin Didot was the first to engrave slips of so-called “English” and round hand-writing. Along with Giambattista Bodoni of Italy, Firmin Didot is credited with designing and establishing the use of the “Modern” classi-fication of typefaces. The types that Didot used are characterized by extreme contrast in thick strokes and thin strokes, by the use of hairline serifs and by the vertical stress of the letters.

1764–1836

Firmin Didot Statue , facade of the Hôtel de Ville, Paris

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HermannBerthold

Hermann Berthold founded the H. Berthold typefoundry in 1858 in Berlin. By 1918 the foundry has become the largest in the world, creating high-quality typefaces. Berthold con-tinuly developed typesetting equipment, and by the 1950’s the foundry had invented the first photosypesetting machine, the Diatype.Then, in the 1960’s, Berthold introduced the Diatron-ic, the first key-controlled phototypesetting ma-chine for mass production.

1831–1904

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GeofroyTory

Geofroy Tory was one of the most influential printer in Paris during the first third of the sixteenth century. He illustrated how to draw letters with geometrical form, and how their proportions related to the human body. Tory was a publisher, printer, author, and engraver who was credited for pioneering the Renasis-sance style of book decoation, as well as the roman letter. Tory was appointed impimeur du roi (“printer to the king”) by Francis I in 1530.

Tory, Geoffroy, approximately 1480-approximately 1533, “Champ Fleury, Segond Livre, Feuil XXI recto,” ColumbiaUniversity Libraries Online Exhibitions, accessed November 4, 2014.

Excerpt from Champfleury by Geoffroy Tory from Letter and Image. by Massin. Studio Vista, London, 1970. University Libraries Online Exhibitions, accessed November 4, 2014.

1480–1533

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GeorgeBickham

George Bickham was an English author, en-graver, and writing master. He is best known for his engraving in The Universal Penman, which is a collection of writings that lead the way for English Round Hand script in the eighteenth century. The Universal Penman displayed examples from 25 London writing masters of the time, and became the most popular piece of text used by writing masters to instruct their students.

1684–1758

Photo: George Bickham the Elder, by George Bickham the Younger, 1741

Photo of paper: Page 209 and 29 of The Universal Pen-man. An example of Bickham's lettering and engraving skills.

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Robert Clee

Robert Clee was an English engraver. He created typefaces as well as trade cards. Trade cards are the 18th century equiva-lent of a modern day business card. Like Fournier le Jeune, he was a follower of Rococo style, and the curved lines, elab-orate decoration, and fine detail of said style can be seen in both his visual work and his textual compositions.

Mid 1800’s

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John Pine

John Pine was an English engraver. designer and cartographer often noted for his contribution to the Augustan style and Newtonian scientific model that thrived during British Enlighten-ment. In 1773 John began to work on an edition of the works of Horace, which was condsidered a masterpiece of 18th century book art. Pine engraved hundred of pages contatining both text and illustrations.

1690–1756

‘A chart shewing the several Places of Action between the English and Spanish Fleets, with the places where several of the Spanish ships were destroyed in their return to Spain, North about the British Islands’

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Louis Rene LuceLouis Rene Luce was a French type designer and punch cutter. From the years 1740–1770 he de-signed a series of typeface that narrow and con-densed accompanied by extremely sharp serifs. Luce designed a large series of letterpress bor-ders, ornaments, trophies, and other illustrations of impressive variety with much emphasis on ex-cellent printing quality.

1695–1174

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John Baskerville

John Baskerville is most known for his type de-signs. His typefaces were greatly admired by Ben-jamin Franklin , a printer and fellow member of the Royal Society of Arts who took the designs back to the newly created United States, where he adopted Baskerville’s typefaces for use in most federal government publishing. John’s work was heavily criticized at the time by competitors , but since the 1920’s there have been several revivals of his work mostly called ‘Baskerville’.

1706–1705

In Xanadu did Kubla Khan/A stately plea-sure-dome decree:/Where Alph, the sacred river, ran/Through

caverns measureless to man/Down to a sunless sea./So twice five miles of fertile ground/With walls and towers were girdled round;/And there were gardens bright with sinuous rills,/Where blossomed many an incense-bearing tree;/And here were for-ests ancient as the hills,/Enfolding sunny

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GiambatistaBodoni

Often referred to as the king of printers as a result of his Manuel Typografico which was a compilation of his lifes work, which was published after his death . Bodoni designed a variety of typefaces, ranging in type sizes. Giambatatista is greatly rec-ognized for his role as a compositor, and his great use of subtle line spacing. Much like Baskerville he sets off his texts with wide margins and uses very little illustrations or decorations. There have been several revivals of his typefaces all called ‘Bodoni’.

1740–1830

In Xanadu did Kubla Khan/A stately plea-sure-dome decree:/Where Alph, the sacred river, ran/Through caverns mea-

sureless to man/Down to a sunless sea./So twice five miles of fertile ground/With walls and towers were girdled round;/And there were gardens bright with sinuous rills,/Where

blossomed many an incense-bearing tree;/And here were forests ancient as the hills,/Enfolding sunny spots

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The Age of Reason

1685–1816

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In central Europe, the 18th century was known as the Age of Reason, or the Age of Enlightenment. Starting in France, but spreading as far as the Americas, the Age of Reason championed logic and rational thought. Discourse opened on the relationships between man, nature, and God. The idea of a civilization structured by tradition and faith was questioned, even rejected, as intellectuals sought to improve society through rational change.

The Enlightenment emphasized that the universe was composed of logical patterns and principles that could be discovered by humans and used to better understand and interact with the world around them. Enlightenment ideas challenged tradition, God, and the power of Kings. They di-rectly sparked the American and French revolu-tions and their influences can be seen in the Bill of Rights and the Declaration of Independence.

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In 1799, Nicolas-Louis Robert invented the pa-permaking machine. Robert was a clerk at a French publishing company run by the Didot family. He was promoted and began to oversee the workers, vatmen, couchers, and laymen who toiled to make currency paper for the Ministry of Finance. Annoyed by the constant arguing of the laborers, he was inspired to look for a mechanical solution to the paper making process. The ma-chine could produce nearly 20 feet of paper per minute, although it was somewhat inferior quality.

Nicolas Robert1761–1828

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Bibliography–Cover Pageshttp://luc.devroye.org/LouisSimonneau-RomainDuRoi-1704.pnghttp://www.prospectmagazine.co.uk/wp-content/up-loads/2013/05/EnlightenmentENC_1-NA5_600px.jpeg

–Louis Simoneau, Philippe Grandjean Boardley, John. “HISTORY OF TYPOGRAPHY: TRANSITIONAL.” I Love Typography. Ilovetypography.com, 17 Jan. 2008. Web. 9 Nov. 2014. <http://ilovetypogra-phy.com/2008/01/17/type-terms-transitional-type/>.Image 1: http://www.forumrarebooks.com/application/up-load/forum/bimages/3463_1.jpg

–Romain Du Roi Meggs, Philip, and Alston Purvis. “An Epoch of Typographic Genius.” Meggs’ History of Graphic Design. 3rd ed. John Wiley & Sons, 2008. 108-109. Print.Image 2: http://luc.devroye.org/oh/IakovChernikhov.jpgImage 3: http://historyoftype2010.wikispaces.com/file/view/Romain.png/260792056/Romain.png –Pierre Simon Fournier Meggs, Philip. “Rococo Graphic Design.” Encyclo-pedia Britannica. 5 Mar. 2014. Web. 9 Nov. 2014. <http://www.britannica.com/EBchecked/topic/1032864/graphic-de-sign/242763/Rococo-graphic-design#ref845308>.Image 4: http://luc.devroye.org/PierreSimonFournier-Por-trait-1748.pngImage 5: http://upload.wikimedia.org/wikipedia/com-mons/c/cb/FournierScale144pts.jpg

–William Caslon “Great Designer: William Caslon.” Great Designers of the World. Wordpress.com, 21 July 2009. Web. 9 Nov. 2014. <http://greatdesigners.wordpress.com/2009/07/21/great-de-signer-william-caslon/>.Image 6: http://images.npg.org.uk/800_800/5/6/mw56456.

–Francois Ambroise Didot “Francis Didot. The Columbia Electronic Encyclope-dia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved. 06 Nov. 2014.Image 7: http://www.100besteschriften.de/bilder/045/firmin_didot_www.jpg

–Firmin DidotImage 8: http://luc.devroye.org/FirminDidot.jpgImage 9: http://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Hotel_de_ville_paris095.jpg/250px-Hotel_de_ville_paris095.jpg

–Hermann Berthold Bringhurst, Robert. The Elements of Typographic Style. 3rd ed. Heartley & Marks. 333-358. Print.Image 10: http://upload.wikimedia.org/wikipedia/de/thum-b/9/9a/Hermann_Berthold.jpg/220px-Hermann_Berthold.jpgImage 11: H. Berthold AG, Schriftsetzerei, Photo : Barbara Calendar

–Geofroy Tory Tory, Geoffroy, approximately 1480-approximate-ly 1533, “Champ Fleury, Segond Livre, Feuil XXI recto,” Columbia University Libraries Online Exhibitions, accessed November 4, 2014. Tory, Geoffroy, approx. 1480-1533, Excerpt “Champ Fleury” Letter and Image. by Massin. Studio Vista, London, 1970. University Libraries Online Exhibitions, accessed No-vember 4, 2014.“Geoffroy Tory”. Encyclopædia Britannica. Encyclopædia Britannica. Encyclopædia Britannica Inc., 2014. Web. 06 Nov. 2014Image 12:Tory, Geoffroy, approximately 1480-approximately 1533,

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“Champ Fleury, Segond Livre, Feuil XXI recto,” Columbia University Libraries Online Exhibitions, accessed November 4, 2014.Image 13: http://farm8.staticflickr.com/7167/6771067481_5e8053f941_o.jpg

–George Bickhamimage 14: Photo: George Bickham the Elder, by George Bick-ham the Younger, 1741image 15: http://upload.wikimedia.org/wikipedia/com-mons/8/81/Bickham-ABC.pngimage 16: http://www.usask.ca/english/barbauld/images/gbickham_penmansadvice.jpg

–Robert Cleeimage 17: http://media-3.web.britannica.com/eb-me-dia/86/73186-004-8778B765.jpgimage 18: http://www.britishmuseum.org/collectionimages/AN00054/AN00054417_001_l.jpgw

–John PineThe Editors of Encyclopædia Britannica. “John Pine (English Engraver).” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 09 Nov. 2014.Image 19: http://images.arcadja.com/macardell_james-mcar-dell__john_pine~OM5b8300~10108_20071220_14629_661E.jpgImage 20: http://www.raremaps.com/maps/medium/0568.jpg

–Louis Rene Luce“Unsupported Browser.” Inkling. N.p., n.d. Web. 09 Nov. 2014.Image 21: http://seminaldesign.com/HistoryofVC/Images/8.gifImage 22: http://luc.devroye.org/GertWiescher-RoyalRo-main-2005-after-PhilippeGrandjean+JeanAlexandre+Louis-Luce-RomainDuRoi-1745.gif

–John BaskervilleJong, Cees W. De, Alston W. Purvis, and Friedrich Friedl. Cre-ative Type: A Sourcebook of Classicism and Contemporary Letterforms. London: Thames & Hudson, 2005. Print.Yau, Cheryl. “Know Your Type: Baskerville.” Idsgn: A Design Blog. 26 Oct. 2010. Web. 10 Nov. 2014.image 23: http://image.linotype.com/cms/portrait_d11918i70.jpg

–Giambatista BadoniJong, Cees W. De, Alston W. Purvis, and Friedrich Friedl. Cre-ative Type: A Sourcebook of Classicism and Contemporary Letterforms. London: Thames & Hudson, 2005. Print.image 24: http://upload.wikimedia.org/wikipedia/com-mons/5/55/Giambattista_Bodoni_by_Giuseppe_Lucatelli.jpg

– The EnlightenmentOutram, Dorinda. “What Is Enlightenment?” The Enlighten-ment. 3rd ed. New York: Cambridge UP, 2013. 1-9. Print.“Enlightenment.” History.com. A E Networks, 1 Jan. 2009. Web. 9 Nov. 2014.Image 25: http://churchandstate.org.uk/wordpressRM/wp-content/uploads/2013/08/lede_art_pinker_1.jpgImage 26: http://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/David_-_Portrait_of_Monsieur_Lavoisier_and_His_Wife.jpg/800px-David_-_Portrait_of_Monsieur_Lavoisi-er_and_His_Wife.jpg

– Nicolas-Louis RobertNorman, Jeremy. “The First Papermaking Machine.” Jeremy Norman’s HistoryofInformation.com. Jeremy Norman & Co., Inc., 9 Nov. 2014. Web. 9 Nov. 2014. <http://www.historyof-information.com/expanded.php?id=500>.Image 27: https://multimediaman.files.wordpress.com/2012/09/fourdrinierandrobert.jpgImage 28: https://multimediaman.files.wordpress.com/2012/09/fourdrinierandrobert.jpg

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