Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville

in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick

and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being

too perfect, stark, and difficult to read. Licko noticed that subsequent revivals of Baskerville had continued along the same path of perfection,

using as a model the qualities of the lead type itself, not the printed spec-imens. Upon studying books printed by Baskerville at the Bancroft Li-

brary in Berkeley, Licko decided to base her design on the printed sam-ples which were heavier and had more character due to the imprint of

lead type into paper and the resulting ink spread. She reduced the con-trast while retaining the overall openness and lightness of Baskerville by

giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width.

There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W is somewhat

narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly

Mrs Eaves

A BC DE FG H I J K L MNOP QR S T U V W X Y Z

abcde fgh ijk l mnopqr s t u v w x y z

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02UNIVERSIDADE FEDERAL DE GOIÁSDESIGN GRÁFICO: TIPOGRAFIALUANA MAGALHÃES E THALES ALVES

— [ mrs eaves roman — 20 point ] —

A B C D E F G H J K L M N O P QR S T U V W X Y Z Ç 0 1 2 3 4 5 6 7 8 9

a b c d e f g h i j k l m n o p q r s t u vw x y z ç . ,:;’ ” * < >! ? $ % & { } ( )

— [ mrs eaves bold — 20 point ] —

A BCDEFGH JK LMNOPQR STU V W X Y ZÇ012345 6 789ab c d e f g h i j k lmnopqr s t u vw x y z ç . , : ; ’ ” *< >!? $%& { } ( )

— [ mrs eaves italic — 20 point ] —

A B C D E F G H J K L M N O P QR S T U V W X Y Z Ç 0 1 2 3 4 5 6 7 8 9

a b c d e f g h i j k l m n o p q r s t u vw x y z ç . , : ;’ ” * < > ! ? $ % & { } ( )

03

12 The quick brown fox jumps over the lazy dog. 1234567890

18 The quick brown fox jumps over the lazy dog. 1234567890

36 The quick brown fox jumps over

48 The quick brown fox ju60 The quick brown72 The quick bro

04

05

O contraste atrai o olhar humano, mas não o basta

para que qualquer texto, título, letterign prenda o

expectador e renda-lhe bons sentimentos.

A elegância também é necessária utilizando um

fluxo leve, que flutua como os versos de um soneto,

versátil e sútil. Assim a Mrs Eaves, elegante e fluida

com curvas feminas - sem que perca a irreverência

contrastante das clássicas fontes transicionais

britânicas - que prendem a todos os olhares.

Descrição

06

Zuzana Licko nasceu em 1961 em Bratislava,

Tchecoslováquia e imigrou para os EUA em 1968.

Graduou-se em Comunicação Gráfica, em 1984,

pela Universidade da Califórnia.

Nesse mesmo ano, ela e seu marido fundaram a

Emigre, inicialmente Emigre Magazine, aclamada

criticamente quando a mesma incorporou as fontes

digitais desenvolvidas por Licko criadas com a

primeira geração de computadores Macintosh. Essa

visibilidade de suas fontes na revista Emigre levou a

construção da Emigre Fonts.

Autor

07

Originalmente desenvolvida em 1996, Mrs Eaves

foi a primeira tentativa de Zuzana Licko de reviver

uma fonte tradicional. Ela foi desenhada a partir da

Baskerville, famosa fonte transicional desenvolvida

em 1757 por John Baskerville, em Birmingham,

Inglaterra. Mrs Eaves traz o nome da governanta de

Baskerville, Sarah Eaves, com quem posteriormente

casou-se.

História

08

O contraste presente na fonte de John fora o

que mais atraiu críticas em sua época, a grande

diferença de peso entre hastes e serifas também

chamaram a atenção de Licko. Após estudos de

diversos impressos, Licko baseou seu design em

uma modulação mais densa resultante do processo

de impressão - diferente do desenho da letra em

“s”, o que ocasionou numa redução do contraste,

embora mantendo o espacejamento e claridadeda

Baskerville.

09

Mrs Eaves trata-se de uma fonte serifada com

modulação média e alto contraste, ainda que este

tenha sido amenizado em relação a sua fonte inspi-

radora, a Baskerville. Para tal, foram feitos alguns

ajustes, onde a caixa baixa recebeu uma proporção

maior na quadratina e a altura de x reduzida em

relação à linha de caixa alta. Consequentemente,

Mrs Eaves aparenta ter a caixa baixa um ponto

menor em relação a maioria das fontes.

Análise Sintática

10

Eixo vertical;

Serifa curva e terminal lágrima;

O loop no g em caixa baixa não se fecha;

Capitular Q caudau;

Capitular J possui descendente;

Contra-forma do itálico menor em relação às outras;

Barra alta e ápice agudo na capitular A;

Serifas presente na capitular C;

W e w não possuem barra no meio;

Braço inferior da capitular E maior em relação aos outros;

Perna das capitulares R e K maiores em relação as outras;

Braço da capitular T bastante largo.

Morfologia

11

Detalhes do Mrs Eaves type specimen booklet,

Peter Koch, Berkeley, Califórnia, 1996.

12

Capa de livro (esquerda)

LEVIATHAN or, The Whale

Philip Hoare,2008

Marca (direita)

WordPress

13

Fundo de capa de CD

Radiohead - Hail to the Thief, 2003

Originally designed in 1996, Mrs Eaves was Zuzana Licko’s first attempt at the design of a traditional typeface. It was styled after Baskerville, the famous transitional serif typeface designed in 1757 by John Baskerville

in Birmingham, England. Mrs Eaves was named after Baskerville’s live in housekeeper, Sarah Eaves, whom he later married. One of Baskerville’s intents was to develop typefaces that pushed the contrast between thick

and thin strokes, partially to show off the new printing and paper making techniques of his time. As a result his types were often criticized for being

too perfect, stark, and difficult to read. Licko noticed that subsequent revivals of Baskerville had continued along the same path of perfection,

using as a model the qualities of the lead type itself, not the printed spec-imens. Upon studying books printed by Baskerville at the Bancroft Li-

brary in Berkeley, Licko decided to base her design on the printed sam-ples which were heavier and had more character due to the imprint of

lead type into paper and the resulting ink spread. She reduced the con-trast while retaining the overall openness and lightness of Baskerville by

giving the lower case characters a wider proportion. She then reduced the x-height relative to the cap height to avoid increasing the set width.

There is something unique about Mrs Eaves and it’s difficult to define. Its individual characters are at times awkward looking—the W is somewhat

narrow, the L uncommonly wide, the flare of the strokes leading into the serifs unusually pronounced. Taken individually, at first sight some of the characters don’t seem to fit together. The spacing is generally too loose for large bodies of text, it sort of rambles along. Yet when used in the right circumstance it imparts a very particular feel that sets it clearly