THE BY EUGENE P. PATTBERG This is a secon d of a series of articles based on talks given by the New York Type Directors Club. IntrodlICtion - Much has been written about the England the profound influence they exerted on e es student Qf Baskerville. An abundance of historical materia is a so h b ght to XVIII Century It is proposed to explore in thts space sorne .nfluenbut a few years r—- EnglMrdWilliam Caslon .ndi^, the radical departure from the traditional cah^raph^design by BasUer. graved" look of Baskerville reflects more, per a student q{ typographic design, ville of William Caslon's designs. ui c a* ced by the 1704 showing ZÜZ o—-Odern" face, .hose GOOD TYPE DESIGN AND EXECUTION CAME LATE TO ENGLAND; earliest examples were unattractive in design and more than a little crude in their exe- cution. What could be more natural, therefore, than to import typesConsequently, there was in a probability more Dutch type in England, up to 1720, than English. Dutch type founding was enjoy- ing a vast popularity, entirely justified by supertor design and more careful justifymg and fimshing than were currently available from English sources. Perbaps the most distinguished ot these Im ports—the Fell types—so called because imported between 1667-1672 by Dr. John Fell for the Ox ford University Press—inspired his agent, Mar shall, to remark, "I see in this printmg design we English must learn to use our own hands at last to cut letters as well as print with them." However. the rise of William Caslon (b. 1692 greatest name in English letter-founding, stopped the importation of Dutch types and so changed the hiStöry of English type-founding that following bis appearance on the typographic scene most types used were either cut by Caslon or were modeled on the design he made populär. John Baskerville who ras to become Caslon's successor in England s list Caslon Story COVER DESIGN, STORY LAYOUT BY HAU ZAMBONI w; 3 3

Print Magazine en | 1953 | | page 40