Open Baskerville font

Extended information

Open Baskerville is an open source project to create a digital revival of the famous ‘Baskerville’ typefaces. To be more exact, Open Baskerville is based upon Fry’s Baskerville, a Baskerville derivative created by Isaac Moore, a punchcutter who worked for John Baskerville

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James Puckett

Rob Mientjes

GNU GENERAL PUBLIC LICENSE
Version 3, 29 June 2007

Copyright (C) 2007 Free Software Foundation, Inc.
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END OF TERMS AND CONDITIONS

How to Apply These Terms to Your New Programs

If you develop a new program, and you want it to be of the greatest
possible use to the public, the best way to achieve this is to make it
free software which everyone can redistribute and change under these terms.

To do so, attach the following notices to the program. It is safest
to attach them to the start of each source file to most effectively
state the exclusion of warranty; and each file should have at least
the "copyright" line and a pointer to where the full notice is found.


Copyright (C)

This program is free software: you can redistribute it and/or modify
it under the terms of the GNU General Public License as published by
the Free Software Foundation, either version 3 of the License, or
(at your option) any later version.

This program is distributed in the hope that it will be useful,
but WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
GNU General Public License for more details.

You should have received a copy of the GNU General Public License
along with this program. If not, see .

Also add information on how to contact you by electronic and paper mail.

If the program does terminal interaction, make it output a short
notice like this when it starts in an interactive mode:

Copyright (C)
This program comes with ABSOLUTELY NO WARRANTY; for details type `show w'.
This is free software, and you are welcome to redistribute it
under certain conditions; type `show c' for details.

The hypothetical commands `show w' and `show c' should show the appropriate
parts of the General Public License. Of course, your program's commands
might be different; for a GUI interface, you would use an "about box".

You should also get your employer (if you work as a programmer) or school,
if any, to sign a "copyright disclaimer" for the program, if necessary.
For more information on this, and how to apply and follow the GNU GPL, see
.

The GNU General Public License does not permit incorporating your program
into proprietary programs. If your program is a subroutine library, you
may consider it more useful to permit linking proprietary applications with
the library. If this is what you want to do, use the GNU Lesser General
Public License instead of this License. But first, please read
.

OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL)
Version 1.1 - 26 February 2007
(See http://scripts.sil.org/OFL for updates)


1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL

1.1 Can I use the fonts in any publication, even embedded in the file?
Yes. You may use them like most other fonts, but unlike some fonts you may include an embedded subset of the fonts in your document. Such use does not require you to include this license or other files (listed in OFL condition 2), nor does it require any type of acknowledgement within the publication. Some mention of the font name within the publication information (such as in a colophon) is usually appreciated. If you wish to include the complete font as a separate file, you should distribute the full font package, including all existing acknowledgements, and comply with the OFL conditions. Of course, referencing or embedding an OFL font in any document does not change the license of the document itself. The requirement for fonts to remain under the OFL does not apply to any document created using the fonts and their derivatives. Similarly, creating any kind of graphic using a font under OFL does not make the resulting artwork subject to the OFL.

1.2 Can I make web pages using these fonts?
Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended.

1.3 Can I make the fonts available to others from my web site?
Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense).

1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions?
Yes! Fonts licensed under the OFL can be freely aggregated with software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are much more useful aggregated to than merged with existing software, possible incompatibility with existing software licenses is not a problem. You can also repackage the fonts and the accompanying components in a .rpm or .deb package and include them in distro CD/DVDs and online repositories.

1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free and open source software?
No. Only the portions based on the font software are required to be released under the OFL. The intent of the license is to allow aggregation or bundling with software under restricted licensing as well.

1.6 Can I include the fonts on a CD of freeware or commercial fonts?
Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself.

1.7 Can I sell a software package that includes these fonts?
Yes, you can do this with both the Original Version and a Modified Version. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, edutainment software, etc.

1.8 Why won't the OFL let me sell the fonts alone?
The intent is to keep people from making money by simply redistributing the fonts. The only people who ought to profit directly from the fonts should be the original authors, and those authors have kindly given up potential direct income to distribute their fonts under the OFL. Please honor and respect their contribution!

1.9 I've come across a font released under the OFL. How can I easily get more information about the Original Version? How can I know where it stands compared to the Original Version or other Modified Versions?
Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgment section. Please consider using the Original Versions of the fonts whenever possible.

1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement?
The intent is that the goodwill and reputation of the author(s) should not be used in a way that makes it sound like the original author(s) endorse or approve of a specific Modified Version or software bundle. For example, it would not be right to advertise a word processor by naming the author(s) in a listing of software features, or to promote a Modified Version on a web site by saying "designed by ...". However, it would be appropriate to acknowledge the author(s) if your software package has a list of people who deserve thanks. We realize that this can seem to be a gray area, but the standard used to judge an acknowledgement is that if the acknowledgement benefits the author(s) it is allowed, but if it primarily benefits other parties, or could reflect poorly on the author(s), then it is not.


2 ABOUT MODIFYING OFL LICENSED FONTS

2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change?
You are allowed to change anything, as long as such changes do not violate the terms of the license. In other words, you are not allowed to remove the copyright statement(s) from the font, but you could add additional information into it that covers your contribution.

2.2 I have a font that needs a few extra glyphs - can I take them from an OFL licensed font and copy them into mine?
Yes, but if you distribute that font to others it must be under the OFL, and include the information mentioned in condition 2 of the license.

2.3 Can I charge people for my additional work? In other words, if I add a bunch of special glyphs and/or OpenType/Graphite code, can I sell the enhanced font?
Not by itself. Derivative fonts must be released under the OFL and cannot be sold by themselves. It is permitted, however, to include them in a larger software package (such as text editors, office suites or operating systems), even if the larger package is sold. In that case, you are strongly encouraged, but not required, to also make that derived font easily and freely available outside of the larger package.

2.4 Can I pay someone to enhance the fonts for my use and distribution?
Yes. This is a good way to fund the further development of the fonts. Keep in mind, however, that if the font is distributed to others it must be under the OFL. You won't be able to recover your investment by exclusively selling the font, but you will be making a valuable contribution to the community. Please remember how you have benefitted from the contributions of others.

2.5 I need to make substantial revisions to the font to make it work with my program. It will be a lot of work, and a big investment, and I want to be sure that it can only be distributed with my program. Can I restrict its use?
No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way. This is intended to ensure that all released improvements to the fonts become available to everyone. But you will likely get an edge over competitors by being the first to distribute a bundle with the enhancements. Again, please remember how you have benefitted from the contributions of others.

2.6 Do I have to make any derivative fonts (including source files, build scripts, documentation, etc.) publicly available?
No, but please do share your improvements with others. You may find that you receive more than what you gave in return.

2.7 Why can't I use the Reserved Font Name(s) in my derivative font names? I'd like people to know where the design came from.
The best way to acknowledge the source of the design is to thank the original authors and any other contributors in the files that are distributed with your revised font (although no acknowledgement is required). The FONTLOG is a natural place to do this. Reserved Font Name(s) ensure that the only fonts that have the original names are the unmodified Original Versions. This allows designers to maintain artistic integrity while allowing collaboration to happen. It eliminates potential confusion and name conflicts. When choosing a name be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. Keep in mind that the Copyright Holder(s) can allow a specific trusted partner to use Reserved Font Name(s) through a separate written agreement.

2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name?
Yes, the requirement to change the visible name used to differentiate the font from others applies to the font menu name and other mechanisms to specify a font in a document. It would be fine, for example, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement; see section 2.7). Users who install derivatives ("Modified Versions") on their systems should not see any of the original names ("Reserved Font Names") in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake a font for another and so expect features only another derivative or the Original Version can actually offer. Ultimately, creating name conflicts will cause many problems for the users as well as for the designer of both the Original and Modified versions, so please think ahead and find a good name for your own derivative. Font substitution systems like fontconfig, or application-level font fallback configuration within OpenOffice.org or Scribus, will also get very confused if the name of the font they are configured to substitute to actually refers to another physical font on the user's hard drive. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. The substitution mechanism itself is outside the scope of the license. Users can always manually change a font reference in a document or set up some kind of substitution at a higher level but at the lower level the fonts themselves have to respect the Reserved Font Name(s) requirement to prevent ambiguity. If a substitution is currently active the user should be aware of it.

2.9 Am I not allowed to use any part of the Reserved Font Names?
You may not use the words of the font names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if "Foobar" was a Reserved Font Name, you would be allowed to use "Foo" or "bar", although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute.

2.10 So what should I, as an author, identify as Reserved Font Names?
Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called "Foobar Sans" would declare "Foobar" as a Reserved Font Name, but not "Sans", as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River".

2.11 Do I, as an author, have to identify any Reserved Font Names?
No, but we strongly encourage you to do so. This is to avoid confusion between your work and Modified versions. You may, however, give certain trusted parties the right to use any of your Reserved Font Names through separate written agreements. For example, even if "Foobar" is a RFN, you could write up an agreement to give company "XYZ" the right to distribute a modified version with a name that includes "Foobar". This allows for freedom without confusion.

2.12 Are any names (such as the main font name) reserved by default?
No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s).

2.13 What is this FONTLOG thing exactly?
It has three purposes: 1) to provide basic information on the font to users and other developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge the authors and other contributors. Please use it! See below for details on how changes should be noted.

2.14 Am I required to update the FONTLOG?
No, but users, designers and other developers might get very frustrated at you if you don't! People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them.


3 ABOUT THE FONTLOG

The FONTLOG can take a variety of formats, but should include these four sections:

3.1 FONTLOG for
This file provides detailed information on the font software. This information should be distributed along with the fonts and any derivative works.

3.2 Basic Font Information
(Here is where you would describe the purpose and brief specifications for the font project, and where users can find more detailed documentation. It can also include references to how changes can be contributed back to the Original Version. You may also wish to include a short guide to the design, or a reference to such a document.)

3.3 ChangeLog
(This should list both major and minor changes, most recent first. Here are some examples:)

7 February 2007 (Pat Johnson) Version 1.3
- Added Greek and Cyrillic glyphs
- Released as ""

7 March 2006 (Fred Foobar) Version 1.2
- Tweaked contextual behaviours
- Released as ""

1 Feb 2005 (Jane Doe) Version 1.1
- Improved build script performance and verbosity
- Extended the smart code documentation
- Corrected minor typos in the documentation
- Fixed position of combining inverted breve below (U+032F)
- Added OpenType/Graphite smart code for Armenian
- Added Armenian glyphs (U+0531 -> U+0587)
- Released as ""

1 Jan 2005 (Joe Smith) Version 1.0
- Initial release of font ""

3.4 Acknowledgements
(Here is where contributors can be acknowledged.

If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D). This list is sorted by last name in alphabetical order.)

N: Jane Doe
E: [email protected]
W: http://art.university.edu/projects/fonts
D: Contributor - Armenian glyphs and code

N: Fred Foobar
E: [email protected]
W: http://foobar.org
D: Contributor - misc Graphite fixes

N: Pat Johnson
E: [email protected]
W: http://pat.fontstudio.org
D: Designer - Greek & Cyrillic glyphs based on Roman design

N: Tom Parker
E: [email protected]
W: http://www.company.com/tom/projects/fonts
D: Engineer - original smart font code

N: Joe Smith
E: [email protected]
W: http://joe.fontstudio.org
D: Designer - original Roman glyphs

(Original authors can also include information here about their organization.)


4 ABOUT MAKING CONTRIBUTIONS

4.1 Why should I contribute my changes back to the original authors?
It would benefit many people if you contributed back to what you've received. Providing your contributions and improvements to the fonts and other components (data files, source code, build scripts, documentation, etc.) could be a tremendous help and would encourage others to contribute as well and 'give back', which means you will have an opportunity to benefit from other people's contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute.

4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions?
Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes (the use of smart source revision control systems like subversion, svk or bzr is a good idea). Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting.

4.3 How can I financially support the development of OFL fonts?
It is likely that most authors of OFL fonts would accept financial contributions - contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version.


5 ABOUT THE LICENSE

5.1 I see that this is version 1.1 of the license. Will there be later changes?
Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/OFL.

5.2 Can I use the SIL Open Font License for my own fonts?
Yes! We heartily encourage anyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. Some additional information about using the OFL is included at the end of this FAQ.

5.3 Does this license restrict the rights of the Copyright Holder(s)?
No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a 'basic' version of their font under the OFL, but sell a restricted 'enhanced' version. Only the Copyright Holder(s) can do this.

5.4 Is the OFL a contract or a license?
The OFL is a license and not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license.

5.5 How about translating the license and the FAQ into other languages?
SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and this FAQ better in their own language. Making the license very clear and readable is a key goal of the OFL.

If you are an experienced translator, you are very welcome to help by translating the OFL and its FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL - as the author and steward of the license for the community at large - does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems.

We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines:

- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial:

"This is an unofficial translation of the SIL Open Font License into $language. It was not published by SIL International, and does not legally state the distribution terms for fonts that use the OFL. A release under the OFL is only valid when using the original English text.

However, we recognize that this unofficial translation will help users and designers not familiar with English to understand the SIL OFL better and make it easier to use and release font families under this collaborative font design model. We encourage designers who consider releasing their creation under the OFL to read the FAQ in their own language if it is available.

Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ."

- keep your unofficial translation current and update it at our request if needed, for example if there is any ambiguity which could lead to confusion.

If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you.


6 ABOUT SIL INTERNATIONAL

6.1 Who is SIL International and what does it do?
SIL International is a worldwide faith-based education and development organization (NGO) that studies, documents, and assists in developing the world's lesser-known languages through literacy, linguistics, translation, and other academic disciplines. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background. SIL's members and volunteers share a Christian commitment.

6.2 What does this have to do with font licensing?
The ability to read, write, type and publish in one's own language is one of the most critical needs for millions of people around the world. This requires fonts that are widely available and support lesser-known languages. SIL develops - and encourages others to develop - a complete stack of writing systems implementation components available under open licenses. This open stack includes input methods, smart fonts, smart rendering libraries and smart applications. There has been a need for a common open license that is specifically applicable to fonts and related software (a crucial component of this stack) so SIL developed the SIL Open Font License with the help of the FLOSS community.

6.3 How can I contact SIL?
Our main web site is: http://www.sil.org/
Our site about complex scripts is: http://scripts.sil.org/
Information about this license (including contact email information) is at: http://scripts.sil.org/OFL


7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS

If you want to release your fonts under the OFL, you only need to do the following:

7.1 Put your copyright and reserved font names information in the beginning of the main OFL file.
7.2 Put your copyright and the OFL references in your various font files (such as in the copyright, license and description fields) and in your other components (build scripts, glyph databases, documentation, rendering samples, etc).
7.3 Write an initial FONTLOG for your font and include it in the release package.
7.4 Include the OFL in your release package.
7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package.
7.6 If you wish, you can use the OFL Graphics on your web page.



That's all. If you have any more questions please get in touch with us.

Copyright (c) 2008, James Puckett (http://www.dunwichtype.com/),
Copyright (c) 2009, Rob Mientjes (http://robmientjes.nl/),
with Reserved Font Name Open Baskerville.

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
-----------------------------------------------------------

PREAMBLE
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.

The OFL allows the licensed fonts to be used, studied, modified and
redistributed freely as long as they are not sold by themselves. The
fonts, including any derivative works, can be bundled, embedded,
redistributed and/or sold with any software provided that any reserved
names are not used by derivative works. The fonts and derivatives,
however, cannot be released under any other type of license. The
requirement for fonts to remain under this license does not apply
to any document created using the fonts or their derivatives.

DEFINITIONS
"Font Software" refers to the set of files released by the Copyright
Holder(s) under this license and clearly marked as such. This may
include source files, build scripts and documentation.

"Reserved Font Name" refers to any names specified as such after the
copyright statement(s).

"Original Version" refers to the collection of Font Software components as
distributed by the Copyright Holder(s).

"Modified Version" refers to any derivative made by adding to, deleting,
or substituting -- in part or in whole -- any of the components of the
Original Version, by changing formats or by porting the Font Software to a
new environment.

"Author" refers to any designer, engineer, programmer, technical
writer or other person who contributed to the Font Software.

PERMISSION & CONDITIONS
Permission is hereby granted, free of charge, to any person obtaining
a copy of the Font Software, to use, study, copy, merge, embed, modify,
redistribute, and sell modified and unmodified copies of the Font
Software, subject to the following conditions:

1) Neither the Font Software nor any of its individual components,
in Original or Modified Versions, may be sold by itself.

2) Original or Modified Versions of the Font Software may be bundled,
redistributed and/or sold with any software, provided that each copy
contains the above copyright notice and this license. These can be
included either as stand-alone text files, human-readable headers or
in the appropriate machine-readable metadata fields within text or
binary files as long as those fields can be easily viewed by the user.

3) No Modified Version of the Font Software may use the Reserved Font
Name(s) unless explicit written permission is granted by the corresponding
Copyright Holder. This restriction only applies to the primary font name as
presented to the users.

4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
Software shall not be used to promote, endorse or advertise any
Modified Version, except to acknowledge the contribution(s) of the
Copyright Holder(s) and the Author(s) or with their explicit written
permission.

5) The Font Software, modified or unmodified, in part or in whole,
must be distributed entirely under this license, and must not be
distributed under any other license. The requirement for fonts to
remain under this license does not apply to any document created
using the Font Software.

TERMINATION
This license becomes null and void if any of the above conditions are
not met.

DISCLAIMER
THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
OTHER DEALINGS IN THE FONT SOFTWARE.

Welcome to the Open Baskerville project.

Open Baskerville is an open source project to create a digital revival of the
famous ‘Baskerville’ typefaces. To be more exact, Open Baskerville is based
upon Fry’s Baskerville, a Baskerville derivative created by Isaac Moore, a
punchcutter who worked for John Baskerville.

The general information page for this project can be found at:
http://klepas.org/openbaskerville

The issue tracker and message threads can be found at:
http://openbaskerville.lighthouseapp.com

The source code repository can be found at:
https://github.com/klepas/open-baskerville

## About the Font Files ##

The UFO folders contain font source files. These are the files you edit if you
want to contribute back to the project. You can not directly install UFO’s on
your system—for that you need OTF files. You can generate the OTF files from the
UFO either with a font editing program or by running the 'rake' command.
Alternatively, you can download pre-built font files from the project website.

FontForge supports UFO natively, as will the upcoming version of Fontlab. For
Fontlab 5 you need to install the RoboFab scripting library. The RoboFab site
provides detailed instructions: http://www.robofab.org

## License ##

The Open Baskerville font files are dual-licensed under the GNU GPL version 3 (GNU
General Public License) and the SIL Open Font License (OFL). See 'COPYING-
GPLv3.txt' and 'COPYING-OFL.txt' respectively. There is also a FAQ on the OFL (see
'COPYING-OFL-FAQ.txt').

## Contribute back ##

We welcome contributions! You can check out the issue tracker to see what we are
currently working on. We manage contributions through Git, a version control
system, and GitHub. If you are new to working with a versioning system, our
project website offers an explanation of the process.

## Thanks ##

Thanks!

____

Designers:

James Puckett

Rob Mientjes

____

Changelog:

commit 631ac1c598a42c292d91923af71bccbf28bd86f3
Author: Simon Pascal Klein
Date: Mon Feb 9 01:14:44 2009 +1100

Initial commit of work by James Puckett

commit 918714fa9d95e2da24d7aeac7756c3f77cfbd502
Author: Rob Mientjes
Date: Sun Feb 22 12:52:17 2009 +0100

Added OE-ligature

commit 54679eb517ee2b919ef3256744d4b4061e40181e
Author: Rob Mientjes
Date: Sun Feb 22 13:23:13 2009 +0100

Sloppy sloppy me, I forgot to add the.glif; here we go.

commit 5dfd4f51f8fcc05beb5f078415787785562b3f50
Author: Rob Mientjes
Date: Sun Feb 22 14:25:22 2009 +0100

Sterling added

commit db9167457db0dce74413a2dc3164371bebba38d2
Author: Rob Mientjes
Date: Sun Feb 22 14:48:58 2009 +0100

First idea for an at-sign. I prefer the two-storey a for the at, if only
because it's funnier; not yet optimised, but the shape stands well, works in
lowercase context; needs a bit of balancing, but I'm on it for now

commit 723b1ca2ffc9488fe57c8b6758debc5699af43f5
Author: Rob Mientjes
Date: Sun Feb 22 15:26:18 2009 +0100

ae ligature added; @ refined; sterling slightly modified

commit 97add6539aa0ed9cbf6649aeffd24d572094213e
Author: Rob Mientjes
Date: Sun Feb 22 15:56:06 2009 +0100

ae ligature modified, small updates to OE, @ and £

commit e69f685d9fc745bdcb823621da0be889ce5b499c
Author: Rob Mientjes
Date: Sun Feb 22 15:57:16 2009 +0100

AUTHORS modified; I added myself in an explosion of egotism

commit 0301b8576af151a8eec7403918b12993b0961b7b
Author: Rob Mientjes
Date: Sun Feb 22 19:26:37 2009 +0100

oe ligature added

commit e3a911bb69548cb34ee5558d5ab049cb98194983
Author: Rob Mientjes
Date: Sun Feb 22 20:41:03 2009 +0100

Updated and added ae, thorn, Thorn, ordfeminine, Euro

commit 8839b46b9b0f46f29ac60775bca16a6a84476b6e
Author: Rob Mientjes
Date: Sun Feb 22 20:58:26 2009 +0100

Added AE ligature

commit 7c8c1e26823b33ad1160d70721b795f14a25187e
Author: Rob Mientjes
Date: Sun Feb 22 21:19:43 2009 +0100

Eszett added, AE refined

commit ac2efa6440466a9aafe9d75d708aba9a568832e1
Author: Rob Mientjes
Date: Tue Feb 24 11:45:12 2009 +0100

Created ij-ligature and the inverted question mark; refined @ and c spacing

commit fc2d84660efdc07d4f172fe7ef0077cd4cc5c99e
Author: Rob Mientjes
Date: Tue Feb 24 11:53:41 2009 +0100

Y-dieresis generated, hyphen traced

commit 18d98e04391aa3229b12e2c5eb4039ab80f48e80
Author: Rob Mientjes
Date: Tue Feb 24 12:13:04 2009 +0100

Asterisk added, kerning modified

commit e7d848003e1a3bd41a2a73998c5460a6393240ff
Author: Rob Mientjes
Date: Tue Feb 24 12:16:48 2009 +0100

ij fixed

commit 2c1981ea6d956987dab64f574fe2740dd69a53fb
Author: Rob Mientjes
Date: Tue Feb 24 12:17:24 2009 +0100

ß fixed

commit d23f8bbe6d55966c54014df2f56ec3a230cd71c4
Author: Rob Mientjes
Date: Tue Feb 24 12:42:03 2009 +0100

Interrobang added

commit 61d47ab8f5bad4de2f519d4def43abae9451be63
Author: Rob Mientjes
Date: Tue Feb 24 12:51:33 2009 +0100

Tilde added

commit 8f1be2a39247c9eb72b869bccdb30812ccc41cac
Author: Rob Mientjes
Date: Tue Feb 24 13:02:58 2009 +0100

Eth added, tilde, atilde and ntilde and otilde added aside from the ascii
tilde

commit 525ee701b8ed4406723c527edc110c2168515fa6
Author: Rob Mientjes
Date: Wed Feb 25 19:52:18 2009 +0100

asciitilde refined, better Eth, better asterisk; new are the bullet and
periodcentered [sic]

commit 50519591a6d47a206621cbaf887bae0d2313f62c
Author: Rob Mientjes
Date: Wed Feb 25 20:06:43 2009 +0100

Generated a few more characters

commit 23e56aff39115dd9c3ba926ce2fa79b96ef3bfa6
Author: Rob Mientjes
Date: Wed Feb 25 22:49:50 2009 +0100

First shot at an eth

commit 82996315af3a17e4c9e46570c2c4c86a7cbe2495
Author: Rob Mientjes
Date: Wed Feb 25 22:57:03 2009 +0100

Now with the ring, so also Aring and aring, which makes the font now
Norwegian- and Swedish-complete, if I'm correct

commit caf5678c72e9b77b6d9e984a015e32d67adfce5d
Author: Rob Mientjes
Date: Wed Feb 25 23:01:26 2009 +0100

Slashed o's

commit 73f7e8585582be6fe2c32ee5beed3f257f75f8bb
Author: Rob Mientjes
Date: Wed Feb 25 23:23:19 2009 +0100

First attempt at a percent sign

commit 021f0c11718ecc8ba38424dce333158cb2f06e51
Author: Rob Mientjes
Date: Wed Feb 25 23:28:54 2009 +0100

Percent is thicker now; ß same, more in balance in text

commit 4843e90ac8f5e093bd8e60507d116b43c32deb6d
Author: Rob Mientjes
Date: Wed Feb 25 23:44:28 2009 +0100

Added asciicircum, for good measure

commit 5a6ee94e5d158e15a7a6f5f2719b13e188e97379
Author: Rob Mientjes
Date: Sat Feb 28 14:44:30 2009 +0100

ß and a proper long-s-t-ligature now, also a proper long s, the perthousand
sign and the copyright sign, sitting delightfully on the baseline

commit d6abf9758be6140bb5a68b53e3517157273633f8
Author: Rob Mientjes
Date: Sat Feb 28 14:46:21 2009 +0100

Eh, copyright sign slightly better, was too light in context; still needs
hanging figures to be fully sensible

commit cacd08761fef023028ab5f0983a5fd797c5a23eb
Author: Rob Mientjes
Date: Sat Feb 28 14:53:38 2009 +0100

Equal and multiply added; they're meant to be geometric, so they're easy to
do, but they still have to fit well

commit c7b579a6b8482041390a24cd2f1225d973b3e2a3
Author: Rob Mientjes
Date: Sat Feb 28 14:56:10 2009 +0100

Add me up buttercup

commit f90dac58a023b10f81e68264ccb57ba14414a5a1
Author: Rob Mientjes
Date: Sat Feb 28 15:09:20 2009 +0100

percent, perthousand better, eth better, ß better (now in line with long s)

commit 0fb263088e8be8b79eca07ff8be9d89e7888252a
Author: Rob Mientjes
Date: Sat Feb 28 15:15:40 2009 +0100

Looking at some areas of critique; it should be noted that, as a frame of
reference, the Fry's specimen that we have is horribly incomplete for the 21st
century, and so there is more the spirit than the direct tracing in many of
the new characters

commit 31dea6b5d0a873501cec428fbda23cd2a9eb9fb4
Author: Rob Mientjes
Date: Sat Feb 28 15:18:52 2009 +0100

More work on Thorn, cent and sterling

commit c5b3322fb49baa3104363ca98546c684d940c0ef
Author: Rob Mientjes
Date: Sat Feb 28 15:26:02 2009 +0100

@ and ß edited once more;

commit 635a46aed5a5249c6e51001ea62eb5809ac1f52f
Author: Rob Mientjes
Date: Sat Feb 28 16:10:50 2009 +0100

Æ edited, smarter negative space in the A and a more balance crossbar in the
E

commit 461fde6c8f14a3ce6a0f7f6116a242e90c7db504
Author: Rob Mientjes
Date: Sat Feb 28 16:12:10 2009 +0100

Whoops, forgot the spacing; smarter now

commit 242e6eb148f13c80532d0bdfc34628ab5de46c61
Author: Simon Pascal Klein
Date: Thu Mar 5 20:12:42 2009 +1100

Pulling in Rob’s new changes and additions.

commit 058dfbca09c968330b006e30796be668980c8ace
Merge: 242e6eb 461fde6
Author: Simon Pascal Klein
Date: Thu Mar 5 20:14:50 2009 +1100

Merge branch 'master' of git://github.com/rbmntjs/open-baskerville

commit 3da580676842b62e0164b534a77df7baeb298cd9
Author: Rob Mientjes
Date: Thu Apr 30 23:33:47 2009 +0800

longs_t modified slightly, much more decent curve now

Signed-off-by: Simon Pascal Klein

commit 9f1c0acd6b350722ac133f466a2c9932dc7c644e
Author: codingisacopingstrategy
Date: Mon Dec 13 19:21:33 2010 +0100

Updated font name in metadata to Open Baskerville

The font menu name in the OS is not based
on the file name, but on the font metadata.

James Puckett's working title for his revival
of Fry's Baskerville was Large Frys.

commit cd330b60ce0163674bf0e9f7c92a8a76e59cb99b
Author: codingisacopingstrategy
Date: Sun Dec 19 14:08:48 2010 +0100

Cleaning the UFO

By roundtripping through Area51.
- Floats that want to be ints become ints
- Widthname 'normal' normalised to a field value from the
Opentype OS/2 table usWeightClass 'Medium (Normal)'
- Placeholders for PostScript hinting data

commit 327997f588842bb88a6adb49388f8d8044cc90b7
Author: codingisacopingstrategy
Date: Sun Dec 19 23:46:26 2010 +0100

Converted (through Area51) the UFO from v1 format to v2

-Extra Opentype metadata fields in fontinfo.plist
-PostScript Hint information now moved to fontinfo.plist
-OpenType features in their own file

commit b71fe6c292197b2ff287311a2d5d99d8a05f38ff
Author: codingisacopingstrategy
Date: Mon Dec 20 00:17:31 2010 +0100

Commented out OpenType features that reference unimplemented glyphs

The font contains features to substitute numerals with oldstyle variants. The
AFDKO compiler chokes on these features because said glyphs (one.oldstyle etc)
aren’t present.

Please reenable when glyphs have been drawn!

Also added a dummy language system to appease compiler warnings; though this
shouldn’t be necessary, cf
http://www.adobe.com/devnet/opentype/afdko/topic_feature_file_syntax.html#4.b.i

To compile the fonts I am now using Tal Leming’s Area51 (1.0.2) which uses
the
UFO2FDK package to wrap the Adobe Font Development Kit for Opentype (2.5). The
latter is proprietary (though free of charge), and doesn’t run on Linux.

Ideally, we would compile with FontForge, but there are pending bugs:
http://openbaskerville.lighthouseapp.com/projects/24633-open-
baskerville/tickets/3

commit 4c1270915d8b78e72d44e1cdebc6215a32588e56
Author: codingisacopingstrategy
Date: Sun Feb 6 03:25:40 2011 +0100

Remove stray carons, fixes #3, line height

We had problems with excessive line-height in FontForge generated OTF’s. Big
thanks to Khaled Hosney: he pointed out in a discussion on fontforge-devel
that some of the characters had accents way above their normal positions. This
was causing the seemingly superfluous linespace.

The problem manifests itself in alternate versions of the Scaron, scaron,
Zcaron and zcaron glyphs. They were removed.

bug: http://openbaskerville.lighthouseapp.com/projects/24633/tickets/3
-excessive-line-height#ticket-3-5
discussion: http://sourceforge.net/mailarchive/forum.php?thread_name=6D03471D-
AADA-4071-837C-12F060810309%40authoritism.net&forum_name=fontforge-devel

commit f37be0ccbd5511cc2589a585794b8fe6cf79a089
Author: codingisacopingstrategy
Date: Sun Feb 6 09:00:22 2011 +0100

Remove other extraneous accented glyps

For accented glyphs as acute.glif there exist alternative versions
aacute_001.glif, acute_002.glif.

The versions without the suffix are the ones mapped to a unicode point, and
the ones actually used by applications. The alternative versions differ in
their exact placement of the accent.

Since having multiple variants is confusing, I’m deleting them. If you want,
you could look at these glyphs in the history and see if their accent
positions look better than those in the standard glyphs. If so, you can copy
over the coordinates to the standard glyphs.

commit 3cd3c6b05a67ccb36b2a7d6f4aafa4064b8220e7
Author: codingisacopingstrategy
Date: Tue Mar 8 02:33:49 2011 +0100

♪ Build-scripts and a Rakefile

Now you can compile a font! Works with both FontForge and the Adobe Font
Development Kit for OpenType. The former is what we aim for as our main
compiler, as the latter is closed-source, but to have both is great for
testing the UFO spec.

Run ''rake'' to generate the font. ''rake diagnostics'' will give you an
overview of your current build environment and advise you how to proceed if it
can’t find the right build tools.

If you want more control you can use tools/ufo2otf.py which provides a command
line interface: you can choose input and output files, and which compiler to
use.

commit 8aaf5c54eb0c88cdbdfe2411e5f7396a88d0ab89
Author: codingisacopingstrategy
Date: Tue Mar 8 22:24:12 2011 +0100

This is probably a Unix sin

But I really feel like these extensionless files are a bad idea for usability.
They look odd in Windows explorer, and they break Quicklook on Mac.

An extension ‘txt’ also informs novice users about the role of these
files:
they are not programming code, they are primarily meant to be read.

commit b5cc6c0fb49ccbae3333394980be429ecbdd85c2
Author: codingisacopingstrategy
Date: Wed Mar 9 16:42:19 2011 +0100

Programatically generate FONTLOG.txt

Via ''rake fontlog''

The FONTLOG is SIL’s concept of a chancelog for a font. When doing a
release,
we generate one automatically based on AUTHORS.txt, README.txt and the
repository history.

commit 37ff9c051dcf32ac320325d26f5a9563cb98eccf
Author: codingisacopingstrategy
Date: Sat Mar 12 19:35:23 2011 +0100

Update README and OFL, embed in font

Provide a Robofab based script to embed the contents of README.txt and
COPYING-OFL.txt into the relevant sections of the UFO. Apply it.

commit 7b05c6ff347a62075969b6400fb6d8b4dae25ef7
Author: codingisacopingstrategy
Date: Tue Mar 15 13:24:42 2011 +0100

Added version number and other metadata

We’ll not be using UFO’s versionMinor and versionMajor,
which will stay set at 1.1,
we’ll rely on openTypeNameVersion. Rationale available here:

http://openbaskerville.lighthouseapp.com/projects/24633-open-
baskerville/tickets/5-version-numbers

commit 5a3eb8282ce6ad5372a727a3976d5f78d8fa9611
Author: codingisacopingstrategy
Date: Wed Mar 16 20:34:53 2011 +0100

'rake install' installs the font

Or rather, any otf file found in the folder. I had to remove generating
OpenBaskerville.otf as a dependency, since it can conflict with the upcoming
'generate release' task. I should probably look into rake namespacing.

In the metadata, removed entries related to FOND resources, I am not sure if
they are actually useful, and they could cause conflicts when installing
multiple Open Baskervilles.

commit 939f078870987826d6f3456a39ff2a6c6885e7a7
Author: codingisacopingstrategy
Date: Wed Mar 16 21:00:54 2011 +0100

'rake release' creates font with generated version number ♫

When a designer uses a font, it is critical that she or he can identify the
particular version unambigously. We also want to make sure that designers can
use our development snapshots. That’s why for every commit there needs to be
a
potential version number. We could, theoretically, use git hashes as
identifiers. However, they look cryptic to end users, and they don’t provide
information about the chronology of versions.

Taking cues from the semver.org spec, our version number takes a form X.Y.Z.,
where X is the major version, Y the minor version, and Z the patch version.
Minor versions have a defined set of goals, and get tagged in Git, we started
with 0.0.0 and we are now working towards 0.1.0.

Our patch versions, are built from the source tree after each commit. So from
the first commit after 0.1.0 we can build 0.1.1.

To do a release, we use the ''git describe'' command to tell us the last tag
and the number of commits since that tag, whereupon we base a version number
that we bake into the ufo and thus into the generated font.

Welcome to the Open Baskerville project.

Open Baskerville is an open source project to create a digital revival of the famous ‘Baskerville’ typefaces. To be more exact, Open Baskerville is based upon Fry’s Baskerville, a Baskerville derivative created by Isaac Moore, a punchcutter who worked for John Baskerville.

The general information page for this project can be found at:
http://klepas.org/openbaskerville

The issue tracker and message threads can be found at:
http://openbaskerville.lighthouseapp.com

The source code repository can be found at:
https://github.com/klepas/open-baskerville

## About the Font Files ##

The UFO folders contain font source files. These are the files you edit if you want to contribute back to the project. You can not directly install UFO’s on your system—for that you need OTF files. You can generate the OTF files from the UFO either with a font editing program or by running the 'rake' command. Alternatively, you can download pre-built font files from the project website.

FontForge supports UFO natively, as will the upcoming version of Fontlab. For Fontlab 5 you need to install the RoboFab scripting library. The RoboFab site provides detailed instructions: http://www.robofab.org

## License ##

The Open Baskerville font files are dual-licensed under the GNU GPL version 3 (GNU General Public License) and the SIL Open Font License (OFL). See 'COPYING-GPLv3.txt' and 'COPYING-OFL.txt' respectively. There is also a FAQ on the OFL (see 'COPYING-OFL-FAQ.txt').

## Contribute back ##

We welcome contributions! You can check out the issue tracker to see what we are currently working on. We manage contributions through Git, a version control system, and GitHub. If you are new to working with a versioning system, our project website offers an explanation of the process.

## Thanks ##

Thanks!