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Chapter 4

GCM 230 Chapter Notes - Chapter 4: Typesetting, Birmingham Set, Typography


Department
Graphic Communications
Course Code
GCM 230
Professor
Gillian Mothersill
Chapter
4

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GCM 230
Readings
Baskerville & Typography as an Art Form
“oe ritis elieed Baskerille’s type desigs ere bad for the eyes
First trained as a writing master and stone engraver at the age of 19 in
Birmingham
Set up a printing press at age of 44
The puhes of Baskerille’s typefae ere ut y Joh Hady
757: Baskerille’s first prited ook as a Lati olue of Virgil
Baskerville wanted to improve the printing press:
o Greater precision
o Subtler impressions
o Printing more delicate types
o Improved quality of printing ink
o Special woven paper
o Method for smoother paper
o Passing printed sheets between heated copper plates
Baskerille’s typefoudry as eetually sold to Pierre Beauahais, a
playwright, after his death
Beaumachais wanted to printed the works of the French philosopher
Voltaire
Baskerille’s 75 puhes ere preseted to Caridge Uiersity Press
in England in 1953
Baskerville printed bibles for the Cambridge University Press
The Psalter was printed by Baskerville for the Cambridge University press in
1760
Baskerville’s Typeface
A transitional typeface
Full, open, and generous
Influenced by copperplate engravers of his period
The tail of the apital Q has a tail that tuks uder the folloig letter
Oious ope outer for g
Crossar of e is high aoe the eter
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