Baskerville
revival
Baskerville revival
Baskerville revival
Basic principles of Baskerville
Baskerville 1754
Royal Editions
Foreword Accessible and easy tou use, this very handy reference book for young designers provides a visual record of typeface evolution since 1985 ans also has a section devoted to the modern classics of our age. Illustrations show the typefaces in use, sketches by the designers, first proofs, poster samples. What you see, you can also get: all the original fonts, plus new and revised versions from the last ten to hunderd years, are available for purchase. The book also highlights the significant relationship between classic an contemporary typography. I am a great fan of other professional ‘typographers’, such as the house painter, the carpenter and all those designing craftsmen who are almost impossible to pigeonhole. They produce an abundance of free, unconstrained applications; applications of an often very individual character and beaty, which determine our daily streetscape and therefore, also our world. Cees W. de Jong, Laren, 2009
Contents 5 Foreword 9 Master of typography 12 Writing master 19 21 23 23 33
Between Old-style & Modern The growing Transitional Proportions Serif Capitals Lower Case
45 Modern Proportions 46 ITC New Baskerville 47 Berthold Baskerville 48 Baskerville
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References 51 Colofon
The Master of typography
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Baskerville revival The master of typography
John Baskerville was born in Worcestershire, England in 1706. As a young man he was introduced to the art of letters while working as a master writing teacher and stone engraver. He later began a career in manufacturing, making japanned ware (a type of lacquered metalware popular at the time). He soon amassed great wealth and purchased an estate near Birmingham. Around 1751, Baskerville began experimenting with printing. Baskerville was a perfectionist, and as such he demanded complete control over the entire printing process. He designed and created type and layouts; improved the presses and inks; and developed new paper making techniques enabling the creation of smooth bright papers. Baskerville’s type was influenced by the works of Italian renaissance printers, like his English contemporary, William Caslon. But Baskerville refined their forms—creating type with more extreme contrast of thick and thin strokes. This gave his text great lightness and color. His letterforms were also wider and his italics showed his calligraphic mastery. Baskerville’s page layouts were spartan (especially compared to the ornate designs of French and Italian renaissance printers). Generally, they were completely typographic, allowing his letterforms to stand on their own. His designs stand as a pinnacle of transitional typography and as a prelude to the modern Didone design of later years. Baskerville’s work was widely dismissed during his time by British contemporaries as the work of an amateur. However, his influence on type and printing spread to Italy and France where Giovanni Battista Bodoni and the Didots furthered his ideas.
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Baskerville revival The master of typography
writing
masters In 1757, Baskerville published his first work, the Virgil, which was followed by some fifty other classics. In 1758, Baskerville became a printer to Cambridge University, where on July 4, 1763 he published his masterpiece, a folio Bible, which was printed using his own typeface, ink and paper. This was a monumental difference from the accepted practice of his time. For instance, the papermaking mould’s wires run parallel to each other to produce laid paper, but they are woven together into a fine wire mesh for wove paper. The originator of this new papermaking technique was James Whatman (1702-59)
from Kent, England but it was Baskerville who commercially introduced the new paper. The surface of wove paper was much smoother so it could receive a more gentle, “kiss” impression in Baskerville’s metal reinforced press, using his superior rich opaque black ink. Soon thereafter the usage of wove paper migrated from England to France and other European countries. From the 1760s the use of wove paper became the preference if not prerequisite to print the emerging new type designs of John Baskerville, Firmin Didot and Giambattista Bodoni. The use of heated copper cylinders to
Title page from Baskerville ‘s Virgil’s Bucolica
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Sample Baskerville inside page from Vigil’s Bucolica Georgia book I
Sample Baskerville inside page from Vigil’s Bucolica Aenies book I
give a crisp finish to the printed pages indicates the unusual effort he would make to achieve excellence in printing. He died January 8, 1775. From the viewpoint of type development, Baskerville’s typeface is classified as “transitional”, positioned between the typefaces of William Caslon (Old style); and Giambattista Bodoni and Firman Didot (Modern). Baskerville designed type with great delicacy and visual eloquence. In spite of being surrounded by the ostentatious onamental style of his generation, Baskerville chose simplicity and quiet refinement both in type design and in his printing. His tastefully composed pages of type have the elegant appeal of superior design. As a designer, Baskerville’s guiding principle is clarity and he permits nothing on his pages to interfere with the message. As a personal challenge, he wanted to improve the great typeface of William Caslon. Baskerville had no formal training as a printer or punch-cutter so he crossed the technically safe boundries and existing conventions of his peers without any hesitation and experimented to obtain the desired results. Although an excellent designer, he did not improve on the Caslon face, but it is historically accurate to say that he did create a new masterpiece in type design named baskerville.
This Baskerville folio Bible was given to John Hathorn and his wife, Elizabeth Welling, in 1772, probably as a wedding present when they were married in Warwick, NY. John became a Colonel in the Militia of that town, led the Battle of Minisink, and later served in the first Congress of the United States, serving sixteen years, total. (Gayle Hathorne, Hathorne family archives.)
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Baskerville revival The master of typography
Preface page from Baskerville Bible Volume 2, New Testament.
Inside page from the Baskerville folio Bible with Hathorn familiy entries in pen script.
Clearly, Baskerville had focused his energies primarily on deluxe editions, publications that would surely guarantee his immortality. Which his magnificent 1757 Virgil and 1763 folio Bible certainly did. It is unquestionable that the greatest influence of Baskerville’s type design, book design, and superb printing skills were not manifested in England but in France, Italy and the Low Countries. The Baskerville types did not gain favor with the English printers which resulted in the decline of his fonts from the commercial market into relative typographical obscurity for more than 150 years. In every creative respect including applied research & development, paper and ink
technology, printing press innovations, type and book design, and precision printing Baskerville was years ahead of his time. At the end, it was not his envious and bickering compatriots but History that became the ultimate arbiter of his achievements. Based on overwhelming evidence, it is reasonable to conclude that John Baskerville had reached a level of excellence that few had ever equaled, or will ever equal, in the graphic arts.
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The title page from the Hathorn family's Baskerville folio Bible Volume 2, New Testament.
Between
Old-Style & Modern
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Baskerville revival Between old-style and modern
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The
rowing Baskerville is a “transitional� typeface, the term transitional became from the transitional period so named for its chronological position of development, which falls between the Garalde and Didone categories. Transitional typefaces were influenced by rationalist philosophy and Neoclasicism; these movements visually manifest themselves in types that have a vertical (or near vertical) axis, systematic construction and high stroke contrast like Baskerville. The transitional type was crisp, the paper smooth and pale they bridge the gap between old-style type (with its oblique stress and relatively low contrast) and modern type , with its vertical stress, high contrast and sharp finish. Baskerville’s roman is farly round and open, with a vertical stress but relatively low contrast. Jhon Baskerville started cutting and casting his own type some time around 1754. His work was mainly influenced by the lettering used by stonemasons, which the developed into the typefaces we regard as typically English today: The Claredons, Grtoesques and Egyptians, which also appeared elswhere with teh Industrial Revolution.
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Baskerville revival Between old-style and modern
Baskerville Lettering Event, BIAD, Birmingham City University.
The order for Holy Communion from the Baskerville folio .
This influence is apparent even in the English typeface par excellence, Caslon, which appeared in 1725. With its generous proportions, Baskerville at first appears not very different from its predecessors, but a closer look comparing it mainly with Caslon shows why Baskerville is known as the “Transitional Roman�. The difference between fine and bold strokes is more marked, the lower-case serifs are almost horizontal and the emphasis on the stroke widths almost vertical. Baskerville emphasized the importance of the blank space, just as the effect of the majestic austerity of the setting, which became an inspiration for Neo-classical typographers. He strove to remove everything which obstructs legibility, working without
ornaments and rules, neatly, and with large margins. He proceeded along these lines also when designing his new type face. His engraver John Handy was given the task to make the type face different from the then fashionable Caslon, which was a surprise for a certain part of typophiles of the period. The origins of his style, which is individual in type, are to be found in the earlier copy-books fo George Shelley and Jhon Clark. The rationalization of the stress of the circular sorts, which began in England with the writing-masters, is a significant innovation in the development of Baskerville’s typographical lettering.
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transitional
proprotions
In practice, many typefaces that are described as having classic proportions do not strictly conform to this theorical model. They have wider and norrower letterforms letterforms, but the widths are not exact divisions of a square. The disavantages of the classic system led to the creation of the new, ‘modern’ system at the time of Transitional and Didone development. Modern proportions are based on to contain the same amount of negative space. For example, the H is slightly narrower than the O, since its square counters are physically larger. Aditionally, with its emphasis on even colour, the modern system promotes readability (random changes in letter colour create lighter and darker ‘spots’ in running text that fatigue the reader’. In general, as one might expect, classic proportions ar use for Venetian and Geralde typefaces. Transitional typefaces vary; in some, the proportions are more uniform, but in others, the classic withds are clearly apparent.
Serif Capitals The full development of modern serif typefaces is too complex to say that type design slowly moved away from callygraphic writing to become a system of shapes that are drawn an designed. In serif typefaces like transitional we seen for example the O of Baskerville more oval and upright , with both higher and lower constrast.The capital E is a logical letter to design after the O. In proportions teh E is always a nasrrow letter. In the classic system, the E is roughly the dimension of two stacked squares. In the modern system, the width of the E is based on even color.Because a rectangular form is visually larger and darker than a round form of equal height, the modern E is slightly thinner than the O. The vertical stem of the E is not as wide as the
maximum bowl width of the O. This adjustment is made for optical balance. Because the vertical stem is a consistent parallel stroke, it is physically and visually heavier than the variable stroke of a bowl. The horizontal arms of the E dot not require any adjustment in weight (the thin stroke is a consistent interval throughout the uuper case letters). The arms are of different sizes, so are the serifs: the bottom serif is the largest and the centre serif is the smallest. This variation in size improves the stability of the upper case E, since it creates extra weight in the base. The visual centre of the E is slightly higher than the mathematical mid-line. The C and O related characters, since the C can be roughly sketched by slicing an O. The placement of the vertical cut is of critical importance, since it affects the aperture as well as the overall width of the letter. The centre of the right bowl stroke as an outer limit. Because the C is a open side , it often appears light when compared to the O. Once the O is sliced, a vertical serif is added to the top of the bowl, this serif is larger than the serif on the uppermost arm of the E. The beak has a form of an unbracketed spur. The G like the C is finished at the top wiht a serif and an unbracketed spur and the length is thinner than right serif it has an alternate high throat (well above of the baseline). The shape of the G differs from the O in that the bottom curve is lower and thicker as it rises to the right and the bowl extends the baseline. The D is a combination of the E and a modified O. The stem of the D can be copied exactly from the E. However, the curves of the D and O are not exactly identical, since the D does not overshoot the capline or baseline. The D may also be more assymmetric; it maximum bowl weigth may be in a different position from that of the capital O. The
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Baskerville revival Between old-style and modern
Capital High (or Capline)
Vertical axis
Optical center Mathematical center
Baseline Extends 2% above capline and below baseline
Baskerville
OOOO Garamond Premier Pro
New Baserkerville
Bauer Bodoni
Clarendon
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Right arms
E
E
Angled serifs
Baskerville
Rounded corners
Berthold Baskerville Book (Regular)
New Baskerville ITC by BT
E Angled serifs
More distance between the two arms
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O C Baskerville revival Between old-style and modern
New Baserkerville
More oval bowl than the C
EC Baskerville
Upper serif larger than the lower serif and unbracked spur
CG
New Baserkerville
Baskerville
G
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Throat larger than the upper serif of th e C
Throat larger than the upper serif
Alternate throat position high (well above the baseline)
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Baskerville revival Between old-style and modern
Baskerville
DB LF
Lower teardrop larger than upper teardrop
Angled serifs
Baskerville
shape of the interior counter is particulary critical to the beauty of the letter. In the classic and modern proportional systems, the D is slightly narrower than the O (as a straight-sider letter, the D must be thinner to enclose equal negative space). The form of the B illustrates the rigidity of classic proportions -its difficult to condense or expand typefaces following this system. Essentially, the width of a classic B is limited by its semicircular shape; expansion is only possible if the waist is raised. As an double storied letters, the bottom lobe of the B must be larger than the upper lobe for optical balance (forms of equal dimensions appear inverted). The maxi-
mum weight in the bowl of the O; this prevents the more complex B from becoming too dark. The P and R are closely related to the B. However, there are subtle differences in the structure of these three letters. The bowl of the P is sized the upper and lower lobes of the B. However, the R bowl is usually smaller than the P bowl. The J is essentially a modified upper case i- a vertical stroke extended into a left facing curve. The length of the tail is longer and of course more dramatic and expressive. The tail of the J ends with a elliptical terminal. The Q is symply an O with a tail. The most common tail is a right facing curve - a shape
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PR HT
B P
Angled serifs
Crossbar higher than centre arm of F
that reinforces left-to-right reading motion. The tail flows of the Q from the lower right side of the bowl and it has a z-shape. The letter S can be created by combining two equal cirquels. But the bottom circle is enlarged to provide a more stable lower base and the tails are extended outward of the capline and baseline. The S has in the centre of the letter a vertical stress. The serifs of the S are ussually similar in shape to the beak serifs on the C and G. The V and A are essentially the same form inverted. The legs of both letters are usually symetrical in angle, but it is possible to widen the left or right side. The thick diagonals of the A
and V are drawn slightly thinner than the normal vertical stem thickness. The human eye favours horizontal movement; because diagonals have partial horizontal emphasis, they look wider than verticals of the same stroke weight. The U is a modern derivative of the V a round V was not seen until the Middle Ages, when uncial and semi-uncial style of callgraphy became popular. The uncial style rounded many letterforms, including the V and A. over time, the rounded version of the V became a distinct letter in its own right; it was used specifically to represent only the vowel sound. The U is asymetric, with heavy stem on the left and a thin stem on the right.
Baskerville revival Between old-style and modern
A V
A V
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Crossbar below midline
Counter of V wider than counter A
The letter X is surprisingly diffucult letter to design. When two contrasting diagonal lines are crossed, the thin stroke appears to shift upward, the degree of shift depends on contrast and angle. The W is actually a double V ligature. In the joined version the centre serif has been eliminated and the difference of width between the diagonal stems are pronounced. The M may be constructed from a condensed V and two supporting legs The legs may be either vertical or diagonal strokes, the legs are vertical and the first stem is thin and the last stem is thick. The K is an expressive letter that adds character to an alphabet. It has been constructed with double junction. The arm meets the stem well below the midline.
V A Outside serifs shorter than inside serifs
Vertex width based on thin stroke
Baskerville
Wide Apex
Crossbar unbracketed to diagonal stems
JX 33
W Centre serifs removed
Asymetrical counter
Elliptical terminal
Leg shifted downward
Base wider than the top
New Baskerville
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Q
Baskerville revival Between old-style and modern
Baskerville
New Baskerville
Berthold Baskerville Book
V M K E Double Juntion K. Upper arm bowed
Lower inferior triangle larger than upper interior triangle upper Z serif extends past cpaline
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Lower Case
The structure of lower case letters is more complexer than the serif capitals there are branched letters ( the n, h, m, u and r) and vertical letters (the i, j, f, t and l). The lower case letters do ccnform to the principle of even colour. For example, the n is slightly narrower than the o, since its straight-side counter is physically larger.Note that the lower case letters are always lighter than their upper case counterparts. Heavier capitals help to emphasize the beginning of new senteces and proper names. The degree of emphasis between cases varies, but in general early typestyles heve greater colour differences than later designs. In Baskerville’s fonts the colour difference between the upper and lower cases is extreme. Some typographers believe that these highli pronounced differences may have been a technical correction rather than an aesthetic prefernce. In the early years of printing, excess ink often built up inside and around letters in text blocks. This build-up was more problematic for the lower case, since their counters and apertures were, of course, smaller. To compensate for this failing, type designers may have decided to even colour bym disproportionately increasing the weight of the capital letters. The o and l are simple but critical letters in the lower case. The stem of of the l sets the maximum stroke width for all variable width componentes. In keeping with the principle of reduced colour, lower case serifs must be drawn smaller than those in the upper case. Note that the upper serif on the lower case l is a new case design element unique to the lower case. The lower case o is merely a shorter version of the capital letter. Its proportion, axis and general shape are essentially the same as in the upper case. Note that the lower case o extends below the baseline and above the x-height. If the o is not expanded, it will appear smaller than other lower case letters of the same height.
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Baskerville revival Between old-style and modern
Octovo Eight Five Zero Publishing Baskerville
The lower case are drawn lighter than the upper case; this gives capitalized words subtle emphasis in text.
The d,q,b and p share the same basic anantommy: they each havea bowl and vertical stem. However, they cannot be contructed by simply overlapping an o with a l - the letters are not rotated and mirrored images of one another. Each letter has sepecific structural elements . The b and q have small pointed suprs, while the d has foot serif. Furthermore, descender length may vary from ascender height (the d and b are often taller than the q and p). Despite these differences, however the combination letters do share a common problem: congestion at the join of the bowl and stem. Although the e and c are related to the o, the bowls of all three letters are not identical. The issue is colour- open sides reduce the density of the e and c. To darken the e, we narrow overall width. The c requires even more reduction than the e, since its open side is larger. The lower case e has two unique features: the eye and the crossbar. The eye of the e is not always symetrical; it may be wider on the left where it joins the
bowl. The e and c both have a heavy upper half, their bowl weights must be increased for proper counterbalance. The bowl weights is greatest in the e, because it opposes a full upper crossbar. The e and c also differ from the lower case o in their bowl endings - both letters have tails. The n, m, h and u are related set of branched forms. Then n is the most important letter in the group, since its shape is the basis for the remaining glyphs. First the n should match the colour of the lower case o. Next the shoulder of the n must be given an appropriate weight. The arch is thinnest at the left, as it departs from the initial vertical stem. The h is a wider version of the n with an ascender. The m also derived form the n. First, the original n is condensed, then the condensed n is doubled and joined. The u is the last form reduced form created from the n. To design the u, the n is first turned upside down; then the bowl is redrawn lower at the left and higher at the right. Like the n, the lower case r is a branched letter.
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xl I oO ascender extends beyond the capline
Ascender
x-height
Baskerville
o overshoots xheight and baseline
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dq hn
Baskerville revival Between old-style and modern
Spur cuts into stem
Angled foot serif cuts into stem
Baskerville
ascender extends beyond the capline
ascender extends beyond the x-height
Baskerville
bp mu Extra thin at joins
Blunted point
ascender extends beyond the x-height
second arch slightly deeper than first arch
u serifs point left
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Baskerville revival Between old-style and modern
However, the arch of the r differs from the n; it has a lower vertrex and thus a larger notch. The r is a letter that colours unevenly, since the open space beneath the branch leaves a lighter spot. Drawing the r at a narrow width helps to increase its density; a sizeble terminal also helps to partially fill the gap. The a is a difficult character. Even though the letter is quite narrow - even more condensed than the n it has a complex combination of bowl and arch. Note that the arch of the a has been drawn in harmony to the bowl. The a is most stable when the bottom half is wider then the top. Typically, the terminal of the a and c match in style. The stem of the e ends in either a corved tail. The lower case s is simply a shorter version of
the upper case letter and subtly expanded and the beak is angle. The lower case g is one of the most beatiful letters in the alphabet. The double storied form is rich with single and compound curves, creating a complex shape that is free and organic, yet structured and intelligent. It is these contrasting qualities that give the g its unique and expressive personality. The lower loop of the g has a initial horizontal stroke and its open with a terminal. The final element is the ear, the is curved similar like the r. The i and j are two of the simplest letters. The stem of the i is merely a short version of the lower case L, while the j is an i with a descending hook. The dots on the i and j are circular and slightly offset to left. The hook of the j is similar as the upper case J.
ec oo e bowl is thicker at base than o
c bowl is thicker at base than o
e tail past lower serif
c tail is shorter than the lower serif
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ear
upper glow is beyond the x-heigh
link
g g g
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Baskerville revival Between old-style and modern
a a arch is weighted but less than n
z
The f and t are related, since both have crossbar that intersect their vertical stem. Both crossbar are assymetric (the right side is longer than the left) their lengths and heights mary vary. Like the a, the stem of the t is finished with a curved tail. For efficient letterspacing, this tail should align near the outer edge of the upper crossbar. The lower case v, w and y are set of closely related letters. As in the upper case, the v is the primary building block: the w is made from two condensed v forms, while the y is made from the v and a descening tail. The lower case v and w are simply shorter versions of the capital letters. The tail of the y ends with a terminal element. The terminal evens colour by adding weight
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wvy upper and lower case w have similar construction (no centre serrif)
Upper and lower case V have similar angles
y vertex higher than v vertex
Ss
Angle of lower case serif differs from upper case
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Baskerville revival Between old-style and modern
capline
crossbar of the f and t aligned to the x-heigh
ft Hook extends slightly past crossbar
Xx
Similar angles on the upper and lower case x
ij k
Smalle waist in lower case
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Dots are more shifted to right
to the lighter, right-hand side of the letter. The lower case k has n ascending stem. However, the diagonal assembly of arm and leg has the same options as before: a single or double junction, joined to the stem or separated by a gap. The lower case x and z vary little from their upper case counterparts. Note tha the angles of the x and z are not always identical to those of their upper case counterparts; depending on the x-height, the proportions of the lower case may be narrower or wider.
Modern proportions
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Baskerville revival Between old-style and modern
ITC New Baskerville
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50
Baskerville revival Between old-style and modern
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References Hand job: a catalogue of type Perry, Michael New typographic design Fawcett-Jong Roger / Jury David Handwritten: expressive lettering in digital age Heller Steven / Illic Mirto Designing type Karen Cheng Creative type Cees W. de Jong Alston W. Purvis Friederich Friedl www.stormtype.com www.wikipedia.org www.lynotype.com www.baskervilleproject.com www.fonts.com www.ilovetypography.com www.myfonts.com
Eerste druk: 2008 Š2009 Jeison Malagon
Gepubliceerd door: Royal Editions Vanderkinderestraat, 213, 1180 Ukkel (BelgiĂŤ)
Afwerking: Piet Drossens
Omslagontwerp: Jeison Malagon C.
Typografie omslag: Jeison Malagon C.