Description
Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville's wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventually becoming his wife after the death of her first husband, Mr. Eaves. Mrs Eaves is a revival of the types of English printer and punchcutter John Baskerville, and is related to contemporary Baskerville typefaces.
Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old style model. Identifying characters, similar to Baskerville's types, are the lowercase g with its open lower counter and swashlike ear. Both the roman and italic uppercase Q have a flowing swashlike tail. The uppercase C has serifs at top and bottom; there is no serif at the apex of the central junction in uppercase W; and the uppercase G has a sharp spur suggesting a vestigial serif.
Licko's revival is less academic than some, basing as many of its details on contemporary methods of reproduction: the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices, and on-screen display. The overall stroke weight of Mrs Eaves is considerably heavier than most other revivals, countering the often anemic reproduction of smaller point sizes in other digital revivals of Baskerville, and restoring some of the feeling of letterpress printing's unpredictability.
Issue 38, The Authentic Issue, saw the first extensive use of Mrs Eaves in Emigre Magazine.
Licko's selection of the name Mrs Eaves reveals an interesting story. Like his types, John Baskerville was, himself, a controversial character. He hired Sarah Eaves as his housekeeper. Eventually her husband Richard abandoned her and their five children, and Mrs Eaves became Baskerville's mistress and eventual helpmate with typesetting and printing. She married Baskerville within a month of her estranged husband's death. Selection of the name Mrs Eaves honors one of the forgotten women in the history of typography.
In an interview featured in Eye (No. 43, Vol. 11, Spring 2002), Licko explained why she thought Mrs Eaves was a successful typeface:
| “ | I think Mrs Eaves was a mix of just enough tradition with an updated twist. It’s familiar enough to be friendly, yet different enough to be interesting. Due to its relatively wide proportions, as compared with the original Baskerville, it’s useful for giving presence to small amounts of text such as poetry, or for elegant headlines and for use in print ads. It makes the reader slow down a bit and contemplate the message. | ” |
Read more about this topic: Mrs Eaves
Famous quotes containing the word description:
“I was here first introduced to Joe.... He was a good-looking Indian, twenty-four years old, apparently of unmixed blood, short and stout, with a broad face and reddish complexion, and eyes, methinks, narrower and more turned up at the outer corners than ours, answering to the description of his race. Besides his underclothing, he wore a red flannel shirt, woolen pants, and a black Kossuth hat, the ordinary dress of the lumberman, and, to a considerable extent, of the Penobscot Indian.”
—Henry David Thoreau (1817–1862)
“It [Egypt] has more wonders in it than any other country in the world and provides more works that defy description than any other place.”
—Herodotus (c. 484–424 B.C.)
“Why does philosophy use concepts and why does faith use symbols if both try to express the same ultimate? The answer, of course, is that the relation to the ultimate is not the same in each case. The philosophical relation is in principle a detached description of the basic structure in which the ultimate manifests itself. The relation of faith is in principle an involved expression of concern about the meaning of the ultimate for the faithful.”
—Paul Tillich (1886–1965)