Nowadays, lots of designers still employ this Old Style serif in their works. Whether it’s for your digital portfolio or a book cover, you can’t go wrong with using Caslon. And why not? With its beautiful curves and rich history, there’s no other serif that’s as dependable. There’s a popular saying among type setters: ‘when in doubt, use Caslon’. The result is organic letters that bear close resemblance to the beloved serif of kings. Twombly designed them by studying specimen pages printed by William Caslon between 17. In 1990, type designer Carol Twombly created a Caslon revival called Adobe Caslon, which was more suited to digital needs. Soon, they also became famous outside of England, making their way to the New World, just in time for the signing of the Declaration of Independence. The Caslon fonts were used extensively by people from all ranks, particularly in political arenas.
His works gained fame because of their attractiveness and functionality. A notable English punchcutter, he designed many typefaces during this time, until his death in 1766. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.Fonts 5,805 Fonts History of the Caslon FontĬaslon in essence refers to Old Style serifs originally created by William Caslon in 1722. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. The overall impression which Caslon makes is serious, elegant and linear. The serifs are finer and the axis of the curvature is almost or completely vertical.
The characteristics of the earlier Renaissance typefaces are only barely detectable. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes.
For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. In addition to the adjustment of spacing, there are also adjustments in the design. The kerning tables, as well, have been individualized for each of these type varieties. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. That of the Bodytypes is adjusted for readability. The most obvious differentiation can be found in the spacing.
One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions.
0 kommentar(er)
