Romain Du Roi Font Free9/15/2020
The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings.As a servant in a clergymans house, it was his employer that discovered his penmanship talents and sent him to learn writing.
Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface. ![]() The mathematically-drawn characters felt cold, and prompted Baskerville to create a softer typeface with rounded bracketed serifs and a vertical axis. 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. Baskerville grew out of an ongoing experimentation with printing technology. John Baskerville developed his own method of working, resulting in beautifully bright woven paper and darker inks. He created an intense black ink color through the tedious process of boiling fine linseed oil to a certain thickness, dissolving rosin, allowing months for it to subside and finally grinding it before use. As printers would not willingly reveal the methods within their print shops, Baskerville followed other printers closely and made the same purchases as them in hopes of setting up the same press. This routine resulted in the development of higher standards for presses altogether. The wooden platens were usually covered with thick tympanum which helped to absorb pressure and reduce type depth, however, Baskervilles press used thin tympanum around the metal and the platens were even heated before using them. It was the combination of the contrasting cut in his letterforms, the process of printing, the gloss of his paper and the intensity of his inks that made each print so refined. Admiration for the English typeface in France and Italy spread, and Baskervilles high contrast letterforms evolved into an emergence of modern faces such as Didot and Bodoni. To recreate the same open and light feeling that Baskerville had, Licko used a small x-height in relation to the cap-height and high contrast within the strokes. Baskerville was popular for its calligraphy influence and swashes, and Licko incorporated a lot of ligatures into Mrs. Eaves to mimic this style. In an interview in 2002, Licko expressed that the revival of classical typefaces such as Baskerville required scrutiny that later influenced her ideas for letterforms in fonts such as Tarzana and Solex. Today it remains one of the most popular and classic typefaces for print, for its legibility and refined beauty. She is currently a graduate student in Design Criticism at the School of Visual Arts in New York. We like to talk about graphic design, branding, typography, and sometimes we might post a video or two. ![]()
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