Baskerville by Erin Son

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BASKERVILLE BOLD 55PT

Cold, handsome, narcissistic face. Green eyes and black eyes. BASKERVILLE ITALIC 65PT

“Think I’ll have my ﬆomach tucked.... I may be old, but I’m ﬆill desirable.” BASKERVILLE LIGHT 75PT

Paranoia of early withdrawal... Flesh dead, doughy, toneless.

BASKERVILLE REGULAR 320PT

BASKERVILLE REGULAR 12PT

The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time. As Baskerville’s typefaces were proprietary to him and sold to a French publisher after his death, some designs influenced by him were made by British punch cutters. The Fry Foundry of Bristol created a version, probably cut by their

typefounder Isaac Moore. Marketed in the twentieth century as “Fry’s Baskerville” or “Baskerville Old Face”, a digitisation based on the more delicate larger sizes is included with some Microsoft software. The crispness of Baskerville’s work seems to have unsettled, or perhaps provoked jealousy in his contemporaries, and some claimed the stark contrasts in his printing damaged the eyes. Baskerville was never particularly successful as a printer, being a printer of specialist and elite editions, something not helped by the erratic standard of editing in his books. Abroad, however, he was much admired, if not directly imitated, at least not his style of type design, notably by Pierre Simon Fournier, Giambattista Bodoni and Benjamin Franklin, who had started his career as a printer, who wrote him a letter praising his work.

His work was later admired in England by Thomas Frognall Dibdin, who wrote that ‘in his Italic letter...he stands unrivaled; such elegance, freedom and perfect symmetry being in vain to be looked for among the specimens of Aldus and Colinaeus. Baskerville was a truly original artist, he struck out a new method of printing in this country and may be considered as the founder of a luxuriant

style of typography at present so generally prevails; and which seems to have attained perfection in the neatness of Whittingham, the elegance of Bulmer and the splendour of Bensley.” Thomas Curson Hansard in 1825 seems to have had misgivings about his work, praising his achievement in some ways but also suggesting that he was a better printer than a type designer. On his death his widow Sarah eventually sold his material to a Paris literary society connected to Beaumarchais, placing them out of reach of British printing. A. F. Johnson however cautions that some perhaps over-patriotic British writers on type design have overestimated Baskerville’s influence on continental type design: “there seems to be no trace of a single Baskerville school outside Great Britain, except of course in the use of actual Baskerville types. There was a Baskerville period in typography proceeded if Baskerville had never printed. Even in England, where there was a Baskerville period in typography, the modern face came from the French, and not as a development from Baskerville.” Baskerville’s styles of type and printing proved influential for a brief transitional period in the late eighteenth and early nineteenth century, with printers and type designers.

BASKERVILLE LIGHT 18PT

BASKERVILLE REGULAR 18PT

BASKERVILLE BOLD 18PT

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BASKERVILLE LIGHT 8PT

BASKERVILLE REGULAR 8PT

BASKERVILLE BOLD 8PT

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called oldstyle typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time. As Baskerville’s typefaces were proprietary to him and sold to a French publisher after his death, some designs influenced by him were made by British punch cutters. The Fry

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon.Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did not exist in Baskerville’s time. As Baskerville’s typefaces were proprietary to him and sold to a French publisher after his death,

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals,

BASKERVILLE LIGHT 9PT

BASKERVILLE REGULAR 9PT

BASKERVILLE BOLD 9PT

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which

Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon. Compared to earlier designs popular in Britain, Baskerville increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form, influenced by the calligraphy Baskerville had learned and taught as a young man. Baskerville’s typefaces remain very popular in book design and there are many modern revivals, which often add features such as bold type which did

BASKERVILLE LIGHT 12PT

BASKERVILLE REGULAR 12PT

BASKERVILLE BOLD 12PT

BASKERVILLE ITALIC 30PT

When I say “the junk virus is public health problem number one of the world today,” I refer not just to the actual ill effects of opiates upon the individual’s health, but also to the hysteria that drug use often occasions in populaces who are prepared by the media and narcotics officials for a hysterical reaction. BASKERVILLE REGULAR 30PT

And now I will unlock my Word Hoard.... ‘I do fear it much. Nay, nothing shall stem the rising tide. I can’t stem him, boys. Sauve qui peut. I tell you when I leave the Wise Man I don’t even feel like a human. He converting my live orgones into dead bullshit.’ BASKERVILLE BOLD 30PT

He stood there in elongated court room shadow, his face torn like a broken film by lusts and hungers of larval organs stirring in the tentative ectoplasmic flesh of junk kick flesh that fades at the first silent touch of junk.

Invisible

Queer BASKERVILLE LIGHT 130PT

junk BASKERVILLE ITALIC 160PT

flesh BASKERVILLE SEMIBOLD 210PT

BASKERVILLE BOLD 320PT

< BASKERVILLE LIGHT 700PT

Naked Lunch

BASKERVILLE BOLD 12PT

“So this elegant faggot comes to New York from Cunt Lick, Texas, and he is the most piss elegant fag of them all. He is taken up by old women of the type batten on young fags, toothless old predators too weak and too slow to run down other prey. Old moth-eaten tigress shit sure turn into a fag eater.... So this citizen, being an arty and crafty fag, begins making costume jewelry and jewelry sets. Every rich old gash in Greater New York wants he should do her sets, and he is making money, 21, El Morocco, Stork, but no time for sex, and all the time worrying about his rep..., He begins playing the horses, supposed to be something manly about gambling God knows why, and he figures it will build him up to be seen at the track. Not many fags play the horses, and those that play lose more than the others, they are lousy gamblers plunge in a losing streak and hedge when they win... which being the pattern of their lives.... Now every child knows there is one law of gambling: winning and losing come in streaks. Plunge when you win, fold when you lose. (I once knew a fag dip into the till -- not the whole two thousand at once on the nose win or Sing Sing. Not our Gertie... Oh no a deuce at a time...) “So he loses and loses and lose some more. One day he is about to put a rock in a set when the obvious occur. ‘Of course, I’ll replace it later.’ Famous last words. So all that winter, one after the other, the diamonds, emeralds, pearls, rubies and star sapphires of the haut monde go in hock and replaced by queer replicas.... “So the opening night of the Met this old hag appear as she thinks

BASKERVILLE LIGHT 12PT

resplendent in her diamond tiara. So this other old whore approach and say, ‘Oh, Miggles, you’re so smart... to leave the real ones at home.... I mean we’re simply mad to go around tempting fate.’ “‘You’re mistaken, my dear. These are real.’ “‘Oh but Miggles dahling, they’re not.... I mean ask your jeweler.... Well just ask anybody. Haaaaaa.’ “So a Sabbath is hastily called. (Lucy Bradshinkel, look to thy emeralds.) All these old witches examining their rocks like a citizen find leprosy on himself. “‘My chicken blood ruby!’ “‘My black oopalls!’ Old bitch marry so many times so many gooks and spics she don’t know her accent from her ass.... “ ‘My stah sahphire!’ shriek a poule de luxe. ‘Oh it’s all so awful’ “‘I mean they are strictly from Woolworth’s....’ “‘There’s only one thing to do. I’m going to call the police,’ says a strong-minded, outspoken old thing; and she clump across the floor on her low heels and calls the fuzz.” “Well, the faggot draws a deuce; and in the box he meets this cat who is some species of cheap hustler, and love sets in or at least a facsimile thereof convince the parties inna first and second parts. As continuity would have it, they are sprung at the same time more or less and take up residence in a flat on the Lower East Side. ...And cook in and both are working legit modest jobs. ...So Brad and Jim know happiness for the first time. “Enter the powers of evil.... Lucy Bradshinkel has come to say all is forgiven She has faith in Brad and wants to set him up in a studio. Of course, he will have to move to the East Sixties.... ‘This place is impossible, dahling; and your friend...’

William Burroughs

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