SIL Open Font License v1.10
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Copyright 2018 Baskerwille project authors (firstname.lastname@example.org)
This Font Software is licensed under the SIL Open Font License, Version 1.1.
This license is copied below, and is also available with a FAQ at: http://scripts.sil.org/OFL
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others.
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Notes from Fontsquirrel about the heritage of this font:
The license for this font is the SIL OFL license. This license does not allow us to redistribute derivative versions of the font without wholesale name changes inside and out of the font. Until we figure out a reasonable method of delivering these to you and complying with the license, you will have to use the Webfont Generator yourself on these, renaming the fonts appropriately.
If you are the designer of this font, and this was an unintended consequence of using the OFL license, contact us and give us permission to allow webfont conversions. Thanks!
Baskervville Regular | 663 Glyphs
Baskervville Italic | 507 Glyphs
Baskervville is a revival of Jacob’s revival of Baskerville’s typeface. It was distributed by Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a “Caractères dans le genre Baskerwille” i.e “Baskerwille fonts alike” — with a w instead of a v.
The particularity of Jacob’s Baskerwille is that the roman is very closed to Baskerville’s typefaces while the italic is closer to Didot’s typefaces. The workshop aimed to digitalized Jacob’s font in order to testify to his work which creates a transition between transitional and modern styles.
The sources showed obvious mistakes due to the difficulty of producing and printing types in the 19th century. We didn’t want to parody an historical typeface which would have reproduced irregularities from the paper, the ink nor the machine. So we tried to be true to what we thought was Jacob’s purposes while using contemporary tools. However, we wanted to be able to use the font and for that matter, we corrected some letter-shapes and proportions. We also had to guess the design of missing letters.
We kept that unusual w, which is basically twice a v, and make it the identity of Jacob’s font since the mistake was already made. But is it? Jacob’s Baskerwille is a strange double of Baskerville’s typefaces; a “clone” which looks alike but which is not as achieved as its master. So we found interesting that elementary duplication of the letter v — which signals, in a way, the counterfeiting.
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