Mrs Eaves

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Mrs Eaves_table_infobox_0

CategoryMrs Eaves_header_cell_0_0_0 SerifMrs Eaves_cell_0_0_1
ClassificationMrs Eaves_header_cell_0_1_0 TransitionalMrs Eaves_cell_0_1_1
Designer(s)Mrs Eaves_header_cell_0_2_0 Zuzana Licko

John Baskerville John HandyMrs Eaves_cell_0_2_1

FoundryMrs Eaves_header_cell_0_3_0 EmigreMrs Eaves_cell_0_3_1
VariationsMrs Eaves_header_cell_0_4_0 Mrs Eaves XL, Mr EavesMrs Eaves_cell_0_4_1

Mrs Eaves is a transitional serif typeface designed by Zuzana Licko in 1996. Mrs Eaves_sentence_0

It is a variant of Baskerville, which was designed in Birmingham, England, in the 1750s. Mrs Eaves_sentence_1

Mrs Eaves adapts Baskerville for use in display contexts, such as headings and book blurbs, through the use of a low x-height and a range of unusual combined characters or ligatures. Mrs Eaves_sentence_2

Mrs Eaves was released by Emigre, a type foundry run by Licko and husband Rudy VanderLans, and has been joined by an 'XL' version for body text, as well as Mr Eaves, a sans-serif companion. Mrs Eaves_sentence_3

Description Mrs Eaves_section_0

Mrs Eaves is named after Sarah Eaves, the woman who became John Baskerville's wife. Mrs Eaves_sentence_4

Like his typefaces, John Baskerville was, himself, a controversial character. Mrs Eaves_sentence_5

As Baskerville was setting up his printing and type business, he hired Sarah Eaves as his live-in 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. Mrs Eaves_sentence_6

She married Baskerville within a month of her estranged husband's death. Mrs Eaves_sentence_7

Selection of the name Mrs Eaves honors one of the forgotten women in the history of typography. Mrs Eaves_sentence_8

Stylistically, Mrs Eaves is a revival of the Baskerville typefaces cut for Baskerville by John Handy. Mrs Eaves_sentence_9

Like Baskerville, Mrs Eaves has a near vertical stress, departing from the old style model. Mrs Eaves_sentence_10

Identifying characters, similar to Baskerville's types, are the lowercase g with its open lower counter and swashlike ear. Mrs Eaves_sentence_11

Both the roman and italic uppercase Q have a flowing swashlike tail. Mrs Eaves_sentence_12

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. Mrs Eaves_sentence_13

Licko's design is unorthodox and not a pure revival. Mrs Eaves_sentence_14

In creating it, she was influenced by how it would be printed by contrast to printing in Baskerville's time: considering the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices and on-screen display. Mrs Eaves_sentence_15

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. Mrs Eaves_sentence_16

To compensate for this and create a brighter-looking page, Licko lowered the x-height, reducing the amount of space taken up by ink on the page. Mrs Eaves_sentence_17

Issue 38, The Authentic Issue, saw the first extensive use of Mrs Eaves in Emigre Magazine. Mrs Eaves_sentence_18

In an interview featured in Eye (No. Mrs Eaves_sentence_19 43, Vol. 11, Spring 2002), Licko explained why she thought Mrs Eaves was a successful typeface: Mrs Eaves_sentence_20

Derivatives Mrs Eaves_section_1

Several derivatives of Mrs Eaves have been released. Mrs Eaves_sentence_21

These include Mrs Eaves XL (2009), a tighter derivative with a higher x-height intended for body text, and Mr Eaves and Mr Eaves XL, a sans-serif design similar to Johnston and Gill Sans. Mrs Eaves_sentence_22

Mrs Eaves XL was intended to provide a solution to a common criticism of Mrs Eaves' original release: its very loose and uneven spacing, which makes Mrs Eaves unsuitable for body text. Mrs Eaves_sentence_23

Emigre noted themselves that "The spacing is generally too loose for large bodies of text, it sort of rambles along ... Economy of space was not one of the goals behind the original Mrs Eaves design." Mrs Eaves_sentence_24

Mr Eaves was released in both regular and XL designs, matching the original Mrs Eaves and Mrs Eaves XL. Mrs Eaves_sentence_25

Both heights were released in two widths: regular and narrow, and in two styles: Sans, a humanist design closest to the original serif model, and a more simplified Modern design resembling geometric sans-serif fonts like Futura. Mrs Eaves_sentence_26

Ligatures Mrs Eaves_section_2

Mrs Eaves is particularly well known for its range of ligatures, ranging from the common to the fanciful and including intertwined and swash designs. Mrs Eaves_sentence_27

Ligatures in all variants of Mrs Eaves include the standard fi, ffi, and fl ligatures, as well as the classic eighteenth-century ct and st ligatures and others with no historical precedent. Mrs Eaves_sentence_28

These have been released in a variety of formats: originally ligatures were released in separate expert set fonts; more recently they are issued as stylistic alternates using the OpenType format. Mrs Eaves_sentence_29

A Just Ligatures variant is available in roman and italic. Mrs Eaves_sentence_30

The OpenType format fonts also contain all 213 ligatures. Mrs Eaves_sentence_31

Identifying characteristics Mrs Eaves_section_3

Mrs Eaves_unordered_list_0

  • Tail on lowercase g does not closeMrs Eaves_item_0_0
  • Swash-like tail of QMrs Eaves_item_0_1
  • small counter of italic e compared to italic aMrs Eaves_item_0_2
  • J well below baselineMrs Eaves_item_0_3
  • High crossbar and pointed apex of AMrs Eaves_item_0_4
  • Top and bottom serifs on CMrs Eaves_item_0_5
  • W and w have no middle strokeMrs Eaves_item_0_6
  • Long lower arm of EMrs Eaves_item_0_7
  • Many versions feature a calligraphic JMrs Eaves_item_0_8
  • T has wide armsMrs Eaves_item_0_9

Prominent uses Mrs Eaves_section_4

The WordPress logotype is set in Mrs Eaves. Mrs Eaves_sentence_32

It is also used for the titles (but not author names) on the covers and spines of the current Penguin Classics from Penguin Books. Mrs Eaves_sentence_33

Blacktree's Quicksilver wordmark uses Mrs Eaves. Mrs Eaves_sentence_34

Roman and petite caps. Mrs Eaves_sentence_35

Bowdoin College uses Mrs Eaves in the college wordmark and in many other official materials. Mrs Eaves_sentence_36

Logo of Mandate Pictures. Mrs Eaves_sentence_37

Radiohead's 2003 album Hail to the Thief prominently used Mrs Eaves in its related artwork. Mrs Eaves_sentence_38

NBC's For Love or Money. Mrs Eaves_sentence_39

The body text from the published Browne Review. Mrs Eaves_sentence_40

Coldplay uses the font currently in their logo along with any other promotional artwork related to their 2015 album A Head Full Of Dreams. Mrs Eaves_sentence_41

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Eaves.