Relevant bibliographies by topics / Baskerville type

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Academic literature on the topic 'Baskerville type'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Baskerville type"

1

Sanditha, Agus Yuda Renanda, and I. Gusti Ayu Gede Sosiowati. "Borrowing in The Novel The Hound of The Baskervilleand Its Translation." Humanis 24, no. 2 (May 28, 2020): 129. http://dx.doi.org/10.24843/jh.2020.v24.i02.p03.

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This study is aimed to find out the types of Borrowing that is used in translation of the novel The Hound of the Baskerville and the dominant type of borrowing in used. The data were taken from a novel entitled “The Hound of The Baskervilles” by Sir Arthur Conan Doyle and its translation in Indonesia by Dina Begum. This study used library method to collected the data from the novel. To analyse the data, this study usedqualitative method. As for analysis of data presentation, this study used formal and in-formal method. The finding showed there are two type of borrowing used in the novelthey are Pure Borrowing and Naturalized Borrowing.The dominant type of borrowing is Naturalized Borrowing with 138data.
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2

Beier, Sofie. "The Design Process Seen Through the Eyes of a Type Designer." Artifact 3, no. 4 (July 16, 2015): 8. http://dx.doi.org/10.14434/artifact.v3i4.6199.

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Through a historical overview of the influence designing had on the early days of printing, the paper finds the English printer and typefounder John Baskerville (1706-1775) to be the first real known type designer. Based on this assumption, the paper presents a model for how a contemporary design process is carried out, and reflects upon the relationship between this and the way Baskerville might have worked in the development of his historical innovating typeface style.
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3

Williams, John N., and Eric WK Tsang. "Classifying Generalization: Paradigm War or abuse of Terminology?" Journal of Information Technology 30, no. 1 (March 2015): 18–29. http://dx.doi.org/10.1057/jit.2014.32.

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Lee and Baskerville (2003) attempted to clarify the concept of generalization and classify it into four types. In Tsang and Williams (2012) we objected to their account of generalization as well as their classification and offered repairs. Then we proposed a classification of induction, within which we distinguished five types of generalization. In their (2012) rejoinder, they argue that their classification is compatible with ours, claiming that theirs offers a ‘new language.’ Insofar as we resist this ‘new language’ and insofar as they think that our position commits us to positivism and the rejection of interpretivism, they conclude both that our classification is more restrictive than theirs and also that we embrace ‘paradigmatic domination.’ Lee and Baskerville's classification of generalization is based on a distinction between theoretical and empirical statements. Accordingly we will first clarify the terms ‘theoretical statement’ and ‘empirical statement.’ We note that they find no fault with our classification of induction, we restate our main objections to their classification that remain unanswered and we show that their classification of generalizing is in fact incompatible with ours. We argue that their account of generalization retains fatal flaws, which means it should not be relied upon. We demonstrate that our classification is not committed to any paradigm and so we do not embrace ‘paradigmatic domination.’
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Books on the topic "Baskerville type"

1

Baskerville, John. Some correspondence concerning the making of printing type / by John Baskerville of Birmingham. Zurich: The Hand Press, 1991.

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2

Conan, Doyle Arthur. Le chien des Baskerville. Paris: Hachette Livre, 2004.

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3

Conan, Doyle Arthur. Le chien des Baskerville. Paris: Livre de Poche, 1990.

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4

Conan, Doyle Arthur. Der Hund von Baskerville. [Germany]: Loewe, 1987.

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5

Conan, Doyle Arthur. Le chien des Baskerville. Paris: France loisirs, 1994.

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6

Conan, Doyle Arthur. Le chien des Baskerville. [Paris]: Hachette jeunesse, 1994.

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7

Conan, Doyle Arthur. Il cane dei Baskerville. Milan: Rizzoli, 1992.

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8

Conan, Doyle Arthur. Der Hund von Baskerville: Kriminalroman. Frankfurt/M: Ullstein, 1992.

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9

Conan, Doyle Arthur. Une aventure de Sherlock Holmes: Le Chien des Baskerville. Paris: Librio, 2004.

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10

Bixler, Michael. Miscellaneous Monotype borders and ornaments: Including specimens of Bembo, Dante, Walbaum, van Dijck, Joanna, Garamond, Centaur, Ehrhardt, Fournier, Bell, Baskerville, Poliphilus, Gill Sans, and Univers. Skaneateles, New York: At the press & letterfoundry of Michael and Winifred Bixler, 1995.

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Book chapters on the topic "Baskerville type"

1

Killeen, Martin. "After the ‘Perfect Book’." In John Baskerville, 185–205. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.003.0011.

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This chapter examines the history of publications printed in Baskerville type by English printers other than John Baskerville himself. During Baskerville’s lifetime, his foreman Robert Martin was the only printer to use the type when he assumed temporary management of the press at Easy Hill between 1767 and 1771. Following Baskerville’s death in 1775, his widow Sarah used it to print two books herself, whilst several other Birmingham printers (Robert Martin again, Christopher Earl, Thomas Chapman, James Bridgwater, the bookselling partnership of Pearson and Rollason and James Smith who published in Newcastle-under-Lyme) published a range of books during the next two decades with Baskerville founts obtained from an auction. Some doubtful or unattributed publications in Baskerville type are noted and discussed as well as some London publications printed in the fraudulent ‘Fry’s Baskerville’ font.
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2

Clayton, Ewan. "John Baskerville the Writing Master." In John Baskerville, 113–32. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.003.0007.

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Baskerville was, originally, both a teacher of writing and a carver of headstones, the main evidence for his skills is a slate that hangs in the Library of Birmingham advertising Baskerville’s services in writing and letter-carving. In the archives there are also examples of Baskerville’s handwriting, which survive in letters to friends and acquaintances. These letters have previously been examined simply for the light they shed on his relationships and business. Baskerville’s hand, however, has neither been scrutinised for its style nor assessed in regard to his typeface. This chapter considers both Baskerville’s handwriting and his lettering and presents the evidence for his relationship with the writing masters of the seventeenth and eighteenth centuries. In doing so, it sheds new light on the antecedents of Baskerville’s typeface and demonstrates, in particular, how his handwriting influenced the design of his printing type.
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3

"The maverick tendency: the type and strange afterlife of John Baskerville." In Type. I.B.Tauris, 2004. http://dx.doi.org/10.5040/9780755621910.ch-004.

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Archer-Parré, Caroline, and Malcolm Dick. "Introduction." In John Baskerville, 1–8. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.003.0001.

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BASKERVILLE, with its well-considered ‘proportions and design, its methods of thickening or thinning parts of a letter, and its sharper and more horizontal treatment of serifs’,1 is one of the world’s most widely used, enduring and influential typefaces. It was created by John Baskerville (1707–75), a printer, entrepreneur and artist who changed the course of type design and made eighteenth-century Birmingham a town without typographic equal....
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5

Leonidas, Gerry. "A Reappraisal of Baskerville’s Greek Types." In John Baskerville, 133–50. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.003.0008.

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This chapter discusses the design of John Baskerville’s Greek typeface, and places it in a context of continuity and innovation in Greek typeface design. It reviews the influences on its style in terms of the typefaces considered good models at the time, and the pressures on new styles at the time of its making. The chapter reviews the response to Baskerville’s typeface by historians, other typeface designers, and commentators, and attempts to shed light on its negative reception. It identifies the elements of innovation in Baskerville’s Greek typeface, and concludes with a re-evaluation of his contribution to Greek typeface design.
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