Discover legacy content from FontShop.com, preserved for your reference.

Baskerville Alternatives | FontShop
Please update your browser. Why?

Baskerville Alternatives

See also: Maybe

Noah Nazir
B
Last edited July 10, 2018

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well.The Linotype portfolio offers many versions of this design: ITC New Baskerville® was designed by John Quaranda in 1978. Baskerville Cyrillic was designed by the Linotype Design Studio. Baskerville Greek was designed by Matthew Carter in 1978. Baskerville™ Classico was designed by Franko Luin in 1995.

replay
bureaucratic
Palace explodes diced chicken

Check also: babe /headings

John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several... Read More

winter
abstractions
Dog pawprints on your clothes

Check also: Maybe

Jan Tschichold designed Sabon™ in 1964, and it was produced jointly by three foundries: D. Stempel AG, Linotype and Monotype. This was in... Read More

replay
hypothenuses
Do not annoy by playing golf

Arial was designed for Monotype in 1982 by Robin Nicholas and Patricia Saunders. A contemporary sans serif design, Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes... Read More

winter
abstractions
Houston, we have a problem

This exclusive Monotype design by Cynthia Hollandsworth is named after a popular executive, Don Wile of Agfa Compugraphic as a gift on his retirement.Agfa Wile is a classic Old Style font with wedge-shaped serifs and open proportions, and is suitable for both text and display uses. Agfa Wile's capital letters are influenced by inscriptional forms.

always
illustrative
Slaughter is the best medicine

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

winter
bureaucratic
Chicken rude and unreasonable

ITC New Winchester is a revival of a typeface that never really had a first release. The original Winchester was an experimental design created by the American type designer W.A. Dwiggins in 1944. Dwiggins was interested in improving the legibility of the English language by reducing the number of ascenders and descenders; to do this, he gave Winchester very short descenders and created uncial... Read More

chalet
conceptional
Humor is reason gone bad

ITC Galliard font is a work of Matthew Carter and a contemporary adaptation of Robert Granjon's 16th century design. "The result was not a literal copy of any one of Granjon's faces, more a reinterpretation of his style," says Carter. ITC Galliard font captures the vitality of Granjon's work in a graceful, modern typeface. eText fonts - the optimum of on-screen text qualityWith our new eText... Read More

jungle
fiddlesticks
Stay hungry, stay foolish

Kis Classico™ is named after the Hungarian monk Miklós Kis who traveled to Amsterdam at the end of the seventeenth century to learn the art of printing. Amsterdam was a center of printing and punchcutting, and Kis cut his own type there in about 1685. For centuries, Kis's type was wrongly attributed to Anton Janson, a Dutch punchcutter who worked in Leipzig in the seventeenth century. Most... Read More

rocket
ultraviolets
Misery loves bacon and cheese

Chaparral is the work of type designer Carol Twombly and combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th century roman book lettering. The result is a versatile, hybrid slab-serif design. Unlike "geometric" slab serif designs, Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light... Read More

grapes
illustrative
Funny is an attitude

ITC Legacy® was designed by American Ronald Arnholm, who was first inspired to develop the typeface when he was a graduate student at Yale. In a type history class, he studied the 1470 book by Eusebius that was printed in the roman type of Nicolas Jenson. Arnholm worked for years to create his own interpretation of the Jenson roman, and he succeeded in capturing much of its beauty and... Read More

rocket
japanophilia
Hell: one way in and no way out

Granjon™ was designed by George W. Jones for the English branch of Linotype in 1928. The bold weight was added by American Chauncey H. Griffith in 1930. For his model, Jones used a type cut by Claude Garamond that was used in a book printed by the Parisian Jean Poupy in 1592. Because several other Garamonds were on the market in the 1920s, Jones decided to name his type Granjon. Many of the... Read More

jungle
fiddlesticks
Green ecology limitless magnificence

Released by the Compugraphic Corporation in 1979, the Garth Graphic font family is based on a design by John Matt from the 1960's, reworked by Renee LeWinter and Constance Blanchard. Garth Graphic was named after Bill Garth, a founder of Compugraphic. A fairly strong old style face suitable for text setting; the heavier weights and condensed forms are most used for display work.

jungle
guitarfishes
Please carefully bang head

Mark Jamra based the design for Jamille on the forms of the 18th century Modern Face fonts of Didot and Bodoni, but was also influenced by the work of artists like Adrian Frutiger, who reworked such fonts to adapt to the demands of modern technology. A very legible font, Jamille will give text a classic, elegant feel.

safety
hypothenuses
Beware the hobby that eats

Claude Garamond (ca. 1480-1561) cut types for the Parisian scholar-printer Robert Estienne in the first part of the sixteenth century, basing his romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches... Read More

brandy
zygapophysis
Mobile phone replenishing gets stuck

Linotype Syntax™ Serif is the serif typeface that complements Linotype Syntax, both created by Swiss type designer Hans Eduard Meier in 2000. With this new design, Meier has at last given shape and structure to the invisible muse that inspired him in the 1950s when he conceived his monoline sans serif based on humanist or Oldstyle letterforms. The calm legibility of this workhorse text family... Read More

vortex
abstractions
One step ahead to civilization

Sierra™ was designed in 1989 by Kris Holmes, who also worked on the design for Lucida. The typeface is an antiqua with a high x-height and generous, open counters. Many curves of the letters are almost right angles, which was particularly suited to the Digiset machines from Dr. Ing. Rudolf Hell, Kiel. The forms of Sierra with their flowing stroke contrast and half serifs have a calligraphic... Read More

jungle
bureaucratic
Let us do the birds friend

FF Parango is based on a typeface Xavier Dupré designed during his studies at the Scriptorium of Toulouse, a revisiting of past work. Loosely based on the proportions of the greatest of French Renaissance faces, those cut by Claude Garamond, Dupré’s personal interpretation explores the French style “with its alternating narrow and wide letters.” Using soft angles and low stroke contrast, it... Read More

SG Caslon SB William Caslon Elsner+Flake
safety
microphysics
Mind the static electricity

Designed by Alex Rütten, Ginkgo is a stylish text typeface. It works well for setting extended passages of text at small sizes thanks to its open counters, generous character widths, and clear and unique letterforms. On top of that, the handling of details such as in the serifs, cross bars, and terminals are wonderful to appreciate when used at large point sizes as well. Gingko received a... Read More

vortex
fiddlesticks
Beware of explosive dogs

Méridien™ was developed in the mid-1950s, and released by the French foundry Deberny & Peignot in 1957. After studying a typeface from the sixteenth century, the Swiss designer Adrian Frutiger was inspired to create an alphabet without any completely straight strokes, and he hoped the reader of a text set in this typeface would feel as though wandering through a forest. The designer of more... Read More

jungle
illustrative
Today is under construction

Diotima Classic is a total upheaval for the 21st century of Gudrun Zapf von Hesse's mid-20th-century Diotima, one of the most beautiful types ever cast in metal. Its roots lay in a calligraphic sheet written by Gudrun Zapf von Hesse. The text was the "Hyperion to Diotima" by Friedrich Hölderlin; Diotima is the name of a Greek priestess in Plato's dialogue about love. In the philosopher's... Read More

mystic
fiddlesticks
With lactic acid juice flavor

ITC Golden Cockerel font is based on designs created by Eric Gill in 1929 for the Gold Cockerel Press in England. These elegant and meticulously crafted typefaces were inspired by and modeled on Gill's skills of stone carving, calligraphy and wood engraving. The typeface family includes ITC Golden Cockerel Roman, Italic, Titling, and Initials and Ornaments.

John Baskerville and John Quaranda
ITC 1706
Claude Garamond, Jan Tschichold and Akaki Razmadze
Linotype 1499
Robin Nicholas and Patricia Saunders
Monotype 1982
Cynthia Hollandsworth Batty
Monotype 1998
Claude Garamond and Robert Slimbach
Adobe 1499
Claude Garamond and D. Stempel AG
Linotype 1499
Jim Spiece and William Addison Dwiggins
ITC 1944
Morris Fuller Benton and Thomas Maitland Cleland
Elsner+Flake 1917
Matthew Carter
ITC 1978
Franko Luin and Nicholas (Miklós) Tótfalusi Kis
Linotype 1650
Carol Twombly
Adobe 2000
Ronald Arnholm
ITC 1992
Claude Garamond and George W. Jones
Linotype 1499
Constance Blanchard, John Matt and Renee LeWinter
Monotype 1979
Francesco Simoncini
Bitstream 1965
Mark Jamra
ITC 1988
Claude Garamond and Tony Stan
ITC 1499
Éric de Berranger
Monotype 1999
Jean Jannon
Elsner+Flake 1671
Jean Jannon
Elsner+Flake 1671
Isaac Moore, John Baskerville and Edmund Fry
Elsner+Flake 1757
Hans Eduard Meier
Linotype 2000
Kris Holmes
Linotype 1989
Xavier Dupré
FontFont 2001
William Caslon
Elsner+Flake
Claude Garamond
Bitstream
Alex Rütten
Linotype 2008
Adrian Frutiger
Linotype 1957
Akira Kobayashi and Gudrun Zapf-von Hesse
Linotype 2008
Adrian Williams
Elsner+Flake
Rudolf Ruzicka
Bitstream
John Baskerville
Bitstream
Dave Farey, Eric Gill, Justin Howes, Richard Dawson and William Caslon
ITC 1929