![]() Normally, fontspec should be able to find the font by one of these names, but it doesn’t always work. Decades later, type designers Firmin Didot and Giambattista Bodoni would look to Baskerville’s work with reverence when leading typography from the. Will give you a big dump that includes compatiblename: Libre BaskervilleĪnd a number of others. In 1758 Franklin met Baskerville and subsequently returned to the United States with a handful of Baskerville type, quickly adapting it as a standard for federal government publishing. So, luaotfload-tool -find "Libre Baskerville" -i If you tell luaotfload-tool to display font information and not just the filename, it will give you all the font’s internal names. “Now I write them in Baskerville.I can load the package 'librebaskerville' but I can't seem to refer to it in commands that take the name of a font. In an interview with Fast Company, Morris says of the Paper, “The typography is just wonderful: it’s a book about Baskerville, printed in Baskerville, that looks like it could have been published by John Baskerville, during his life.”Īnd how have the results of the experiment influenced his own communication? “I used to write all of my manuscripts in Bembo,” Morris says. All of the typography in the volume, save for the illustrations of the original quiz in different fonts, appears in Baskerville. Pentagram redesigned and expanded the infographics that originally appeared with the essay on the Times website, and also fleshed out Baskerville’s story with historical visuals. Its design is highly readable and elegant, making it a. The font is known for its high contrast between thick and thin strokes, tall ascenders and descenders, and curved serifs. It is a transitional typeface, combining elements of both Old Style and modern typefaces. The Pentagram Paper is fully illustrated with charts and diagrams supporting Morris’s investigation. Baskerville is a classic serif typeface designed in 1757 by John Baskerville. In the essay, Morris explores the genesis of the typeface, the history of John Baskerville and his quest to perfect “letter-founding.” (Taken from a version of the Holy Bible printed by Baskerville, the title of Morris’s essay, "Hear All Ye People Hearken, O Earth," is intended as a playful wake-up call that people should pay closer attention to typefaces.) The passage in Baskerville engendered the most agreeable response among optimists, signaling its believability. Morris and his co-researchers Benjamin Berman and David Dunning tabulated the results and compared them across typefaces. Approximately 45,000 people responded in case you’re wondering, about 61 percent of participants were optimists who agreed with statement, while 31 percent were pessimists. Unknowingly, the participants read the passage in one of six randomly assigned typefaces––Baskerville, Computer Modern, Georgia, Helvetica, Comic Sans and Trebuchet. The initial online quiz was built around a passage from a book by David Deutsch that declares “we live in an era of unprecedented safety.” After reading the passage, respondents were asked if they agreed or disagreed with the statement. Could typefaces be one of them? Could the mere selection of a typeface influence us to believe one thing rather than another? Could typefaces work some unseen magic? Or malefaction?” ![]() In a new introduction for the Paper, Morris writes: “We all know that we are influenced in many, many ways-many of which we remain blissfully unaware. Morris regularly contributes to the Times Opinionator blog, and had the idea to use the platform and its wide readership to pursue a new line of inquiry: How does typography shape the way we see the truth? Pentagram previously collaborated with Morris on the design of two of his books, Believing Is Seeing (2011), in which he examines several famous contentious photographs to determine how what we see is affected by what we believe, and A Wilderness of Error (2012), an exhaustive investigation into one of America’s most notorious murder cases. Morris's work is characterized by a relentless search for the truth. Designed by Pentagram, the book republishes the two-part Times essay in which Morris revealed the results of his test, and is set almost entirely in the typeface that he determined to be most trustworthy: Baskerville. This experiment is the focus of Pentagram Papers 44: Hear, All Ye People: Hearken, O Earth. Without really understanding its purpose, over 45,000 people responded to the quiz, which purported to address the question "Are You an Optimist or a Pessimist?" Morris's real goal, however, was to determine whether the choice of typeface had any effect on a message's believability. ![]() Do typefaces matter? In July 2012, the filmmaker and author Errol Morris published a short and rather enigmatic quiz on the website of The New York Times.
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