フォント製作集団エミグレのつくったフォントMrs.Eaves
フォント製作集団エミグレのつくったフォントMrs.Eavesは、バスカヴィルを基にしている。ミセス・イーヴスは住み込みのハウスキーパーだったが後にジョン・バスカヴィルと結婚し、印刷事業を営んだ。
EMIGRE FONTS of Sacramento, one of the pioneer American digital-type foundries, introduced different families of primitive bit-mapped (or pixelated) faces, and its magazine, Emigre, is a laboratory and launching pad for experimental digital typography. Paradoxically, the foundry's best-seller is an homage to a classic. Mrs. Eaves, designed by Zuzana Licko in 1996, was inspired by the typeface Baskerville, designed by the English founder John Baskerville (1706-75), who influenced the "modern" designs of Didot and Bodoni. "Since Baskerville is a neutral and well-known design," Ms. Licko explained, "it allowed me significant leeway in the interpretation, while retaining the familiarity of a classic." Mrs. Eaves, named after Sarah Eaves, the live-in housekeeper who became Baskerville's wife and later ran his printing business, does not exactly mimic Baskerville's basic model but is a bridge between old and new. It is popular for headlines, book titles and short texts and is particularly successful for setting poetry.
http://emigre.com/EF.php?fid=109
セザンヌはp22が製作したフォントでセザンヌの手書き文字を基にしている。ワインボトルやクッキーの缶に使われ、スターバックスも数年にわたって使っている。
CÉZANNE is the most popular font released by P22 of Buffalo. Designed by Michael Want in 1996, it derives from Cézanne's handwriting (rather than his signature, which was a bit different in style). The rationale, said P22's director, Richard Kegler, "was to fill a perceived void for natural writing, and its intentional roughness is very popular with the food industry." Its first large-scale commercial use came when the Advanta credit card company, one of the underwriters of the Philadelphia Museum's Cézanne exhibit in 1996, included it in mailings advertising the exhibit. It has since been spotted on wine bottles, hockey tickets, cookie tins, wrapping paper and cards, and Starbucks has used it for years. It's often set for faux manuscripts, too.
