Summarises his early work: 'Caslon's pica.was based very closely indeed on a pica roman and italic that appears on the specimen sheet of the widow of the Amsterdam printer Dirck Voskens, c.1695, and which Bowyer had used for some years. As British printers had little success or experience of making their own types, they were forced to use equipment bought from the Netherlands, or France, and Caslon's types are therefore clearly influenced by the popular Dutch typefaces of his period. Caslon would later follow this practice himself, according to Nichols teaching his son his methods privately while locked in a room where nobody could watch them. Punchcutting was a difficult technique and many of the techniques used were kept secret by punchcutters or passed on from father to son. According to printer and historian, the main source on Caslon's life, the accuracy of his work came to the attention of prominent London printers, who advanced him money to carve for printing, first for exotic languages and then as his reputation developed for the Latin alphabet. Caslon began his career in London as an apprentice engraver of ornamental designs on firearms and other metalwork. Some of the types shown were not cut by Caslon, most notably the French Canon roman (probably cut by ). William Berkson, designer of a revival of Caslon, describes Caslon in body text as 'comfortable and inviting'. Modern Caslon revivals also often add features such as a matching and 'lining' numbers at the height of capital letters, neither of which were used in Caslon's time. Many revivals exist, with varying faithfulness to Caslon's original design. Caslon's typefaces were popular in his lifetime and beyond, and after a brief period of eclipse in the early nineteenth century returned to popularity, particularly for setting printed body text and books. The italic 'J' has a crossbar and a rotated casting was used by Caslon in many sizes on his specimens to form the. The Q, T v, w, and z all have in the original design, something not all revivals follow.
In, Caslon's h folds inwards and the A is sharply slanted. However, Caslon created subtly different designs of letter at different sizes, with increasing levels of fine detail and sharp contrast in stroke weight at larger sizes.Ĭaslon's larger-size roman fonts have two serifs on the 'C', while his smaller-size versions have one half-arrow serif only at top right. And are relatively short and the level of stroke contrast is modest in body text sizes. The 'W' has three terminals at the top and the 'b' has a small tapered stroke ending at bottom left. The letterforms of Caslon's include an 'A' with a concave hollow at top left and a 'G' without a downwards-pointing spur at bottom right. His typefaces established a strong reputation for their quality and their attractive appearance, suitable for extended passages of text. American Type Design and.Ĭaslon established a tradition of engraving type in London, which previously had not been common, and so he was influenced by the imported typefaces that were popular in England at the time. One could argue that the sans serif typeface existed as far back as ancient times-by their means. If the lower case of Caslon’s Egyptian appears. The difficulty was purely one of design - they were in. He worked in the tradition of what is now called serif letter design, that produced letters with a relatively organic structure resembling with a. Caslon worked as an of, the masters used to stamp the moulds or used to cast metal type. 1692–1766) in London, or inspired by his work. Caslon Caslon Type Foundry Variations many Shown here Adobe Caslon by Caslon is the name given to designed by (c.
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