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. Caslon'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. 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. 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. He worked in the tradition of what is now called serif letter design, that produced letters with a relatively organic structure resembling with a.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. 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. Caslon Old Face is a typeface with.įor other uses, see. Williams Caslon and Big Caslon (italics only, in the Font.
With varying faithfulness to Caslon's original design.
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