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End User License Agreement

1.

This End User License Agreement (the “Agreement” “EULA,” “License,” “Agreement” or “License Agreement”) is a legal agreement between the Licensee (you) and Schwartzco, Inc., d/b/a Commercial Type (collectively, “Commercial Type”) and becomes a binding contract between you and Commercial Type when you access, install and/or use the Commercial Type Font Software (“Font Software” or “Fonts”). This Agreement governs the terms of use the Font Software and the design of the Fonts embodied therein (collectively, “Font Software”), for, among other uses, use in multi-use methods, large scale multi-user commercial uses, as well as simple uses such as individual desktop only uses. This License also controls the use and distribution of any media, electronic documentation, updates, add-ons, artwork, web services and/or the form of proprietary technology used to implement use of the Fonts as exists now or in the future. This Agreement becomes effective (a) when you “accept license agreement,” or when you open the electronic file in which the Font Software is contained. If you do not wish to enter into this Agreement, do not purchase, access, download and/or install or otherwise use the Font Software.

What this section means

Please read this document carefully, because you agree to its terms by installing the font software.

2.

(a) Upon payment in full, Commercial Type will grant you a non-exclusive, terminable License to the Font Software that accompanies this EULA. Use of the Font Software is limited to the specific uses permitted in your purchase receipt. All Commercial Type licenses are for use by the identified Licensee (You) only. Transfer or export or use of the Font Software by third parties is not permitted. For the purposes of this Agreement, “Font Software” shall be defined as the design of the Fonts together with the Font Software which, when used generates the typeface, typographic designs and, if included in the Font Software, ornaments or other designs. 

(b) The types of licenses offered by Commercial Type include, but are not limited to:

i. Use for Creation – Desktop. Under this license you are permitted to (1) Use fonts installed to a desktop computer for creating printed material or images; (2) embed the Fonts in non-editable documents. 
Such uses include internal documents, company letterhead, production of a newspaper, magazine, book or other paper publication, print advertising, broadcast advertising, film titles, social media posts, signage, packaging, and point of sale displays.

ii. Uses for Creation with Distribution Rights. Under this license, the Font Software is bundled with and distributed as part of the licensed uses and includes: (1) App License; (2) Web License; (3) ePub License; (4) Software Embedding License; (5) Device Embedding License; (6) Automated Document Production Server License; (7) Embedded Content License.

iii. Add-on or License Extensions. If the proper license extension is purchased, you are permitted to: (1) use the Font Software to produce merchandise for sale, including alphabet-themed products; (2) embed the Fonts in editable documents; (3) use the fonts in external third party platforms; (4) share the fonts with third parties doing work on behalf of Licensee.

iv. Use of the Font Software with Generative or other Artificial Intelligence (“AI”) services or in other AI programming is expressly prohibited.

PLEASE READ: To understand the terms and conditions associated with a particular type of license, review the Attachment to this agreement. The relevant terms and conditions in the attachment form a part of this agreement.

What this section means

This paragraph outlines what kind of usage is permitted with each kind of licensing that may be purchased. The receipt and license document delivered with the fonts will list what usage you are licensed for, and at what license levels (i.e. the number of users permitted by a desktop license, the number of domains and unique visitors per month permitted by a web license, etc.). Your user account on this website will also give a record of the licenses you have purchased and the usage permitted under each of them.

If you are uncertain whether a particular use is permitted under the license you have purchased, please contact us at info[at]commercialtype.com for assistance.

3.

FONT SOFTWARE DELIVERY. The Font Software will be transmitted, as necessary, to Licensee via Internet download for use on the computers and, if applicable, on the websites of Licensee in the (i) WOFF and WOFF2 Web Font formats; (ii) in the Open Type Format for Desktop use and; (iii) in TrueType Format for Application (“App”) uses as specified by the license purchased. Commercial hereby agrees to provide amended or updated Webfonts and/or Font Software, upon the request of Licensee, in the event generally accepted and commercially used software and/or Internet browser formats change in response to technology innovation.

What this section means

The fonts will be delivered in different formats depending on the license you have purchased.

4.

If you are a design consultancy, advertising agency or purchasing this license for use by or on behalf of such an entity, the ultimate end user should also purchase a license appropriate for their intended use of the Font Software. The license granted herein for personal use extends to temporary employees or independent contractors using the Font Software only so long as they are providing professional services expressly for the benefit of Licensee. 

What this section means

A license may not be shared by multiple companies (i.e. both a designer and his or her client). We make an exception for a freelancer working on behalf of a licensed client as an individual may use the fonts during the course of a project must purchase a separate license if they wish to use the fonts for other projects after the completion of the gig.

5.

Commercial Type, its successors, and assigns expressly retain all right and title in and to the Font Software together with the design of the Font embodied therein, together with any trademarks used in connection therewith. Except as may be otherwise expressly permitted herein, you agree not to copy the Font Software or create derivative works based upon the design of the Font or the Font Software. You hereby agree that the design of the Font and the Font Software are the exclusive property of Commercial Type and that the unauthorized use of the design of the Font or the Font Software is an infringement of Commercial Type’s exclusive rights and causing significant monetary harm. All rights not expressly granted herein are reserved to Commercial Type. Commercial Type’s rights and remedies in the event of an infringement shall be cumulative in nature.

What this section means

This license grants you the right to use our fonts and to make a copy of the files for backup purposes, but the fonts (both the software describing the design and the design itself) belong to us. You are not allowed to give copies to your friends, family or clients, and you may not modify the fonts without written permission from us.

6.

Except as may be otherwise expressly permitted herein, you may not alter or copy the Font Software, or the designs embodied therein in any manner whatsoever. Reformatting the Font Software into other formats for use in other operating systems is expressly prohibited. Upon payment of an additional fee and a separate written agreement Commercial Type may provide the Font Software in alternate and/or additional font formats, contact Commercial Type for a quotation. Altering or amending the embedding bits characteristics of the Font Software is expressly prohibited. The Font Software may not be used to create or distribute any electronic document in which the Font Software or any part thereof, is embedded in a manner or format that permits editing, alterations, enhancements, or modifications by the recipient of such document, unless a license that permits such use has been purchased. You may not knowingly transmit any electronic document or the Font Software to any party that intends or is likely to “hack,” edit, alter, enhance, or otherwise modify the Font Software or remove the Font Software from any document.

What this section means

You will need written permission from us before making any kind of modifications to a font which you have licensed from us, including renaming the font or converting it into a different format, in part because we aren’t able to support fonts we haven’t built and tested ourselves. Please contact us at info[at]commercialtype.com for more information.

7.

You may make one (1) back-up copy of Font Software for archival purposes only, and you agree to retain exclusive custody and control over any such copy. Upon termination of the Agreement, you must destroy the original and all copies of the Font Software. The unauthorized sharing, lending, renting, sale, or other unauthorized use or misuse of the back-up copy is a material breach of this Agreement and will result in the immediate termination of this License.

What this section means

You may make a copy of the font files for backup purposes, but you may not give, lend, or sell copies to your friends, family, clients or especially to strangers.

8.

If no other option exists, you may take a digitized copy of the Font Software used for a particular document, or Font Software embedded in an electronic document that is sent to a commercial printer or service bureau for use by the printer or service bureau for preparing the document, provided that the printer or service bureau represents that it shall destroy any and all copies of the Font Software upon completion of its work. Notwithstanding, you agree that the transmission of a “print/preview” pdf document is the first and preferred method of transmitting such documents to a service bureau or printer.

What this section means

If making a PDF is not an option, you may deliver a copy of the fonts to a service bureau or printer for final output. The service bureau must destroy the fonts when they are finished with the job.

9.

The designs embodied into the Font Software, the Font Software itself, and any trademarks associated therewith are the exclusive property of Commercial Type and their designers, where applicable, and are protected by the copyright and other intellectual property laws of the United States, by the copyright and design laws of other nations, and by other international treaties. Any copies that you are expressly permitted to make, pursuant to the Agreement, must contain the same copyright, trademark, and other proprietary notices that appear on or in the Font Software.

What this section means

This license grands you the right to use our fonts, but we retain ownership of both the font design and the font software.

10.

With the exception of subsetting webfonts, you agree not to create, assist in and/or cause the creation of modifications or additions to the Fonts or Font Software, including but not limited to: creating additional weights; creating additional or deleting existing characters; modifying existing characters; modifying font spacing and kerning; converting fonts to an alternate digital format, modify, adapt, translate, reverse engineer, decompile, disassemble, alter, or otherwise attempt to discover the source code of the Font Software without first obtaining written permission from Commercial Type. In the event that permission is given to you, the modifications must be used according to the terms and conditions of the License you purchased and all modifications and additions shall become and shall remain the sole and exclusive property of Commercial Type. You may not sell, lend, or otherwise transmit any modifications or additions to the Font Software to any third party. You agree that any webfonts not directly provided by Commercial Type, such as webfonts that have been subset by Licensee will be supported at Commercial Type’s sole discretion.

Other jurisdictions may provide for additional rights, and if applicable, you may reverse engineer or decompile the Font Software only to the extent that sufficient information is not available for the purpose of creating an interoperable software program (but only for such purpose and only to the extent that sufficient information is not provided by Commercial Type upon written request). All trademarks shall be used in accordance with accepted trademark practice, including identification of the trademark owner’s name. Use of the trademarks associated with the Font Software inures solely to the benefit of Commercial Type.

If you are unsure whether your use of the Font Software is specifically permitted under this Agreement, contact Commercial Type. All uses of Commercial Type Fonts require a license.

What this section means

You can subset webfonts licensed from us, but you will need written permission from us before making any other kind of modifications or additions to a font which you have licensed from us, or hiring anyone else to do so. We can only support the font files we provided, meaning that if you subset your own webfonts, we can’t support them. If you require modifications to a font, we can do the work for you quickly and at a reasonable cost. Please contact us at info[at]commercialtype.com for more information.

11.

Commercial Type Font Software is licensed for use by a specified number of users and for specified uses.

What this section means

This license is not limited to one geographical location; a company with multiple locations may share one font license for all employees so long as they are within the number of licensed users.

12.

Except as may be otherwise expressly provided for herein, you expressly agree not to rent, lease, sublicense, give, lend, or further distribute the Font Software. 

What this section means

You may not give or lend copies of the font files to anyone else, unless you transfer the license to the third party (along with a copy of this EULA and all other documentation that may have been included with the fonts) and destroy all copies of the font files in your possession, including backups.

13.

Commercial Type warrants that the Font Software will perform substantially in accordance with its documentation for ninety (90) days following delivery of the Font Software. To make a warranty claim, you must either return the Font Software to the location from which you obtained it together with a copy of your sales receipt or, if acquired on-line, contact the on-line provider with sufficient information regarding your acquisition of the Font Software to permit the confirmation of the effective date of this License. Schwartzco, Inc. and Commercial Type hereby EXPRESSLY DISCLAIMS ALL WARRANTIES, EXPRESS AND IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. COMMERCIAL TYPE DOES NOT WARRANT THAT THE OPERATION OF THE FONT SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT THE FONT SOFTWARE IS WITHOUT DEFECTS. UNDER NO CIRCUMSTANCES SHALL COMMERCIAL TYPE BE LIABLE TO YOU OR ANY OTHER PARTY, WHETHER IN CONTRACT OR TORT (INCLUDING NEGLIGENCE) OR OTHERWISE, FOR ANY SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING LOST PROFITS, SAVINGS OR BUSINESS INTERRUPTION AS A RESULT OF THE USE OF THE FONT SOFTWARE EVEN IF NOTIFIED IN ADVANCE OF SUCH POSSIBILITY. You hereby agree that your entire, exclusive, and cumulative liability and remedy shall be limited to the purchase price of this Font Software License. Under no circumstances shall Schwartzco, Inc.’s or Commercial Type’s liability to you exceed either the refunding of the cost of the Font Software License or replacement of the Font Software either of which shall be at Commercial Type’s sole discretion.

What this section means

The fonts will perform as promised in the documentation, and we will provide technical support within a reasonable timeframe, to the best of our ability. In the event of a refund, we cannot refund more than the purchase price for the license, and all copies of the fonts in your possession must be destroyed.

14.

OTHER LAW – CONSUMERS ONLY. Some jurisdictions do not allow the exclusion or limitation of incidental, consequential or special damages, implied warranties, or implied warranties as they relate to sales to consumers. ANY IMPLIED WARRANTY OR OTHER RIGHT CREATED BY LAW IS ONLY EFFECTIVE FOR THE NINETY (90) DAY WARRANTY PERIOD. THERE ARE NO WARRANTIES OR CONDITIONS OF ANY KIND AFTER THE NINETY (90) DAY WARRANTY PERIOD. To the extent permissible by law, you agree that all implied warranties are not to be effective for more than thirty (30) days.

What this section means

This paragraph is required by law and simply means that any warranty (explicit or implied) is limited.

15.

You expressly agree that this Agreement shall be governed by the laws of the State of New York, USA, as they apply to contracts entered into and wholly performed therein and without respect to its conflict of laws provisions or the conflict of laws provisions of any other jurisdiction. You expressly submit to the personal jurisdiction of the state and federal courts in the State of New York, USA, agree to waive any defenses arising out of the selection of jurisdiction or venue and further agree to service of process by mail. You hereby expressly agree that the application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded.

What this section means

Our main office is in New York City, so this agreement is governed by the laws of New York State.

16.

You acknowledge that you have read and understand this Agreement and that by using the software you agree to be bound by its terms and conditions. You further agree that it is the complete and exclusive statement of the agreement between Commercial Type and Licensee which supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. No variation of the terms of this Agreement or any different terms will be enforceable in the absence of an express written amendment, or consent, including a written express waiver of the affected terms of this Agreement. If any provision of this Agreement is declared by a court of competent jurisdiction to be invalid, void, or unenforceable, the remaining provisions of this Agreement shall continue in full force and effect, and the invalid provision shall be replaced by Commercial Type with a provision that effects the intent of the invalid provision. Commercial Type expressly reserves the right to amend or modify its License Agreements at any time and without prior notification.

What this section means

Again, please read this document carefully, because you agree to its terms by installing the font software.

17.

The Agreement shall automatically terminate in the event You or any authorized user breaches any term or condition set forth herein. Notwithstanding any termination of this License, Commercial Type expressly reserves all other rights and remedies under equity or law. The Agreement may only be modified in a writing signed by an authorized officer of Commercial Type.

What this section means

If any of the terms in this agreement are broken, the license is no longer valid. We will notify you in writing if the EULA changes.

18.

You agree to be responsible for compliance with all laws, foreign and domestic relating to the control of exports or the transfer of technology. If you are purchasing this License for government use, or under a government contract, you agree to familiarize yourself with and follow any applicable rules and regulations relating to the purchase of a license to use software and the actual use thereof.

All inquiries and arrangements for returns, if any, may be sent via e-mail to info[at]commercialtype.com. The Commercial Type website is located at commercialtype.com.

©2023 Schwartzco, Inc. d/b/a Commercial Type. All Rights Reserved.

What this section means

You agree to follow the law and other applicable rules in your use of this font license.

19.

ATTACHMENT TO END USER LICENSE AGREEMENT

Your license may include these Types of Uses, if purchased. See the receipt and license document delivered with the font files for details. Some of these license types may not be purchased via this website.

Please contact info[at]commercialtype.com for details and pricing.

Creation with Distribution Licenses

  1. App License

    1. Allows for embedding in Applications or Apps using the iOS, Windows Mobile, and Android mobile operating system formats.

    2. License is per individual title, without restriction as to the type of OS.

  2. Web License

    1. Use the Font Software to style HTML and SVG documents using the CSS @font-face mechanism.

    2. Use in email permitted, with fonts served from licensee’s server.

    3. License covers a discrete number of domains, with unlimited subdomains permitted for each.

    4. License covers an aggregated total number of unique monthly visitors across all licensed domains.

    5. If the maximum number of allowed unique visitors is exceeded for three (3) consecutive months, the purchase of an additional license is required. Commercial reserves the right to inspect or monitor your usage.

    6. You shall make a reasonable attempt to prevent the use of any process that allows hot-linking, re-serving or re-directing access to and/or use of the Font Software by unlicensed parties. You agree to exercise commercially reasonable efforts to ensure that the Font Software is retained with the other assets associated with the licensed domains.

    7. For the purposes of clarity, the use of third party font hosting services is strictly prohibited and the Font Software should be stored and served from the same devices and location as the other software and assets associated with the licensed domains.

  3. ePub License

    1. For use of the font software to style text in ePubs, for use in any operating system or device in which embedded fonts are supported.

  4. Software/Video Game Embedding License

    1. For embedding the fonts in non-mobile desktop software for use in MacOS, Windows, Linux, etc.

    2. License is per individual title, without restriction as to the type of OS or Platform.

  5. Device Embedding License

    1. For embedding fonts in any type of electronic device.

    2. This License is granted only on a per device basis.

  6. Automated Document Production Server License

    1. This License permits installing the Fonts Software on a server that generates documents automatically, such as bank statements, credit card bills, investment fund prospectuses, among others. 

    2. For creating user-generated content using the fonts, such as logos or templated documents.

  7. Embedded Content License

    1. For content using the font, distributed through content aggregators or ad networks:

      1. HTML5-based advertising.

      2. Embedded content in services such as Facebook Instant, Google AMP, Apple News, etc.

    2. License is for a discrete number of impressions.

    3. For use where the Fonts are hosted on the creator’s server, or CDN.

  8.  Merchandise License

    1. For use in creating merchandise for sale, among others, on goods such as apparel, mugs, housewares in which a logotype or other text set in the typeface is the primary design element;

    2. Promotional items given away for free are covered by the standard desktop license and do not require a merchandise license;

    3. Packaging and point of purchase promotion is covered by desktop license;

    4. Electronic devices, third party software, etc. would require an Embedding license, not a merchandise license

  9. Document-Based Editable Embedding License

    1. PDF embedding is permitted in the standard Desktop License.

    2. This License permits changing the embedding setting from Print & Preview (default) to Editable Embedding, which allows a Font to be embedded in a document which can then be viewed, printed, and edited.

  10. External Platform License (for platform user)

    1. For use of the font on third party platforms and services.

    2. Examples:

      1. Font is loaded onto slides.com for licensee to make templated presentations.

      2. Font is used on website that automates production of business cards for licensee.

    3. Fonts are hosted on the third party server, or shared CDN. No further distribution is allowed.

    4. Content may only be produced/edited by the license holder (fonts cannot be used by the third-party platform or other users of the third-party-platform not authorized by licensee).

    5. Font must be removed from third-party platform upon discontinuation of the third-party services.

  11. Distribution License

    1. Allows for distribution of desktop fonts to a third party who needs to work with the fonts on licensee’s behalf. Subcontractor will receive a desktop license that limits usage to working with the licensing client, along with the standard EULA.

    2. License covers a discrete number of third parties doing work on behalf of licensee simultaneously.

What this section means

This attachment to the EULA details the usage permitted under each license type, some of which can be purchased on this website, and some of which can only be obtained by contacting us and working with our licensing department. Please contact info[at]commercialtype.com for assistance.

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Double Dutch: Copies of copies
in the making of Frame

Frame comes in four weights with matching italics in text and headline variants. It takes the Caslon model and remakes it with modern proportions and a focus on sharpness.

Frame is a contemporary serif typeface with a large x-height and compact extenders. Its relatively low contrast makes it well suited for both screen and print applications. Created for the cycling clothing brand Rapha,1 it has its origins in the seriffed faces of William Caslon I but follows the vertical proportions of Caslon Doric, a sans serif cut roughly a hundred years after Caslon died in the last quarter of the eighteenth century. The path towards Frame is more nuanced and circuitous than it might appear at first blush, winding through history, sport, technology, and back to history again.

Beginnings

Before William Caslon, the story goes, British typefounding was virtually nonexistent. Discerning printers turned to importing type from the Low Countries. In the early years of the eighteenth century, this typically meant typefaces cut by the masters of the previous century, such as Christoffel Van Dijck. Broadly speaking, these were ‘Dutch’2 in style: of increased x-height and narrowness, with reduced ascenders and descenders – although some were formally closer to typefaces from the earlier era of Garamond.3 The cost and time involved in obtaining type from abroad led printers to look for resources closer to home, and in William Caslon they found a promising candidate.

Originally from the Midlands,4 as a teenager Caslon moved to London, where he became a skilled engraver. This earned him the attention of a circle of printers who admired his handiwork.5 In the early 1720s, with the encouragement and financial support of printers like William Bowyer,6 Caslon started to experiment with typefounding. His first type appeared in 1725,7 completely fully formed as what we consider ‘Caslon’ type: well proportioned and spaced, with a friendly roundness. Unlike Baskerville, who trained as a writing master, it appears that Caslon had no specific education in letter making.

Pica Roman No. 1 and Pica Italick No. 1, cut by William Caslon before 1725, as shown in the facsimile of the Specimen of Printing Types by William Caslon (1766), Journal of the Printing Historical Society, No. 16, 1981/2.

The magnificence of Caslon at large sizes, and the models for Matthew Carter’s Big Caslon. Five Line and Four Line Pica, cut by William Caslon (uppercase ca. 1734, lowercase ca.1763), as shown in the facsimile of the Specimen of Printing Types by William Caslon (1766), Journal of the Printing Historical Society, No. 16, 1981/2.

Originally from the Midlands,8 as a teenager Caslon moved to London, where he became a skilled engraver. This earned him the attention of a circle of printers who admired his handiwork.9In the early 1720s, with the encouragement and financial support of printers like William Bowyer,10Caslon started to experiment with typefounding. His first type appeared in 1725,11completely fully formed as what we consider ‘Caslon’ type: well proportioned and spaced, with a friendly roundness. Unlike Baskerville, who trained as a writing master, it appears that Caslon had no specific education in letter making. 

His ‘experiment’ proved a success; over his lifetime he built a prosperous business, and his foundry became the most renowned in Britain and in the United States.12Aside from the first decades of the nineteenth century, his faces remained in constant production for nearly three hundred years, until the beginning of the twenty-first century. Few other type makers can claim such longevity, nor the cultural significance that the Caslon name projected. Yet it would be hard to describe Caslon as an innovator: his faces broadly follow the Aldine tradition that dates back to the late fifteenth century.

Caslon in the United States, shown in the specimen of Marder, Luse & Co. (Chicago: Chicago Type Foundry, 1881). From circuitousroot.com.

The original faces of Vincent Figgins were cut in the late eighteenth century and reappeared in the middle of the nineteenth century. Shown in Specimen of Plain & Ornamental Types from the Foundry of V. and J. Figgins (1858). British Library.

From The Diary of Lady Willoughby, Chiswick Press, 1844. 
Set in Caslon’s Great Primer, originally cut in 1734. From the Graphic Design and Typography Special Collection, University of Amsterdam Library.

Caslon used in a playbill in 1848. Caslon had not begun widely recasting the type at this point, so presumably this type had survived at a printer. The text suggests Caslon was chosen for its ‘Olden Days’ style. British Library.

Caslon in the United States, shown in the specimen of Marder, Luse & Co. (Chicago: Chicago Type Foundry, 1881). From circuitousroot.com.

The original faces of Vincent Figgins were cut in the late eighteenth century and reappeared in the middle of the nineteenth century. Shown in Specimen of Plain & Ornamental Types from the Foundry of V. and J. Figgins (1858). British Library.

From The Diary of Lady Willoughby, Chiswick Press, 1844. 
Set in Caslon’s Great Primer, originally cut in 1734. From the Graphic Design and Typography Special Collection, University of Amsterdam Library.

Caslon used in a playbill in 1848. Caslon had not begun widely recasting the type at this point, so presumably this type had survived at a printer. The text suggests Caslon was chosen for its ‘Olden Days’ style. British Library.

The importance of spacing: the top and third examples from the 1766 specimen are tightly spaced, which seems entirely appropriate given the narrowness of form. Virtually the same letters in the second and forth line are loosely spaced in the versions from the 1895 specimen. The lighter impression diminishes the dynamic quality of the original.

Great Primer Old Face Italic, respaced, and the newly cut swash letters (apart from the traditional Q). Shown in Specimens of Printing Types and Illustrated Printing Materials, H. W. Caslon & Co., London, 1895.

The Caslon revival as shown in Specimen of Printing Types, H. W. Caslon & Co., London, ca. 1860s. The ct ligatures and long s suggest an ‘ancient’ quality.

An early showing of the revived Caslon (ca.1860s) and the same (1895) after recutting. The differences are small but noticable; the lowercase a for example in the second line now has a smaller tail, a straightened back, a less stiff upper curve, and a smaller ball. The latter feels more regularised, but perhaps blander. Left: Specimen of Printing Types, H. W. Caslon & Co., London, ca. 1860s. Right: Specimens of Printing Types and Illustrated Printing Materials, H. W. Caslon & Co., London, 1895.

The importance of spacing: the top and third examples from the 1766 specimen are tightly spaced, which seems entirely appropriate given the narrowness of form. Virtually the same letters in the second and forth line are loosely spaced in the versions from the 1895 specimen. The lighter impression diminishes the dynamic quality of the original.

Great Primer Old Face Italic, respaced, and the newly cut swash letters (apart from the traditional Q). Shown in Specimens of Printing Types and Illustrated Printing Materials, H. W. Caslon & Co., London, 1895.

The Caslon revival as shown in Specimen of Printing Types, H. W. Caslon & Co., London, ca. 1860s. The ct ligatures and long s suggest an ‘ancient’ quality.

An early showing of the revived Caslon (ca.1860s) and the same (1895) after recutting. The differences are small but noticable; the lowercase a for example in the second line now has a smaller tail, a straightened back, a less stiff upper curve, and a smaller ball. The latter feels more regularised, but perhaps blander. Left: Specimen of Printing Types, H. W. Caslon & Co., London, ca. 1860s. Right: Specimens of Printing Types and Illustrated Printing Materials, H. W. Caslon & Co., London, 1895.

So why was Caslon so successful? What makes ‘Caslon’ to this day such an enduring style? And what exactly is the Caslon style?

The last specimen issued by the Caslon foundry during Caslon the Elder’s life shows much of what he cut, as well as the work of his son William Caslon II and others such as Joseph Moxon. The typefaces’ style varies depending on the size, from the sharpness of the largest size, with its large x-height,13 which served as a model for Matthew Carter’s Big Caslon; through to the text sizes, which have a softness and comfortableness revived in Carol Twombly’s Adobe Caslon. None would seem out of place in the specimens published by typefounders in the Low Countries, but they lack a certain artistic quality (the italics in text lack the verve and flair of, say, Granjon). They are not new, but they gently modify a style with conviction and confidence. They are ‘Dutch’ faces made in London, and thus they became ‘English’ faces. When we think about what English type might constitute, Caslon often springs to mind.14

Caslon clearly had an eye for making type and was a confident founder; these are well-made typefaces. The engraving of the Caslon foundry made during this period tells us another important thing: although Caslon cut the letters, he did not cast them. He may have commented on issues of spacing, but it is likely that these decisions were mainly the work of others, and the spacing of Caslon’s faces is almost universally excellent. But Caslon’s qualities were not unique. By the end of the eighteenth century, several foundries producing excellent old-style, transitional, and modern-style faces had sprung up around the British Isles.15– yet Caslon is the name we all remember, and Caslon the typeface we most closely associate with British typefounding.16

Caslon Bold and Caslon Bold Condensed as shown in an American Type Founders specimen from the 1950s. Produced by the Inland Foundry, 1907–1917. St Bride Library, London.

Swiss precision: close enough to the original to be virtually indistinguishable, but recut after the recut by Caslon to remove even more of its eccentricities. Haas Caslon, cut in the 1930s.

Caslon, Caslon, Caslon. So many variants, as shown in Photo-Lettering’s One Line Manual of Styles, New York, 1971.

Caslon 471 as shown in an American Type Founders specimen from the 1950s. ATF were successors to Laurence Johnson, a typefounder from Philadelphia, who had obtained this Caslon from the foundry in London. It is unclear whether it was matrices, or strikes. He called the face ‘Old Style’. St Bride Library, London.

Caslon 540 as shown in an American Type Founders specimen from the 1950s. This is 471 with shortened descenders. St Bride Library, London.

New Caslon as shown in an American Type Founders specimen from the 1950s. This was a completely new design by the Inland foundry, St. Louis, in 1905. St Bride Library, London.

Caslon Bold and Caslon Bold Condensed as shown in an American Type Founders specimen from the 1950s. Produced by the Inland Foundry, 1907–1917. St Bride Library, London.

Swiss precision: close enough to the original to be virtually indistinguishable, but recut after the recut by Caslon to remove even more of its eccentricities. Haas Caslon, cut in the 1930s.

Caslon, Caslon, Caslon. So many variants, as shown in Photo-Lettering’s One Line Manual of Styles, New York, 1971.

Caslon 471 as shown in an American Type Founders specimen from the 1950s. ATF were successors to Laurence Johnson, a typefounder from Philadelphia, who had obtained this Caslon from the foundry in London. It is unclear whether it was matrices, or strikes. He called the face ‘Old Style’. St Bride Library, London.

Towards the middle of the century, the style of letter started changing with Baskerville’s innovations, which were often copied and admired – so much so that the third William Caslon, who by then had set up his own foundry, showed not only faces of his grandfather, but also the transitional style in his 1796 specimen. By the end of the century, Caslon’s faces had disappeared from sight, replaced by what we have come to call the Modern style. Importantly, though, Caslon’s descendants decided not to (or perhaps simply forgot to) dispose of the punches and matrices, and although they were then considered out of fashion and ‘antique’, these very qualities would later prompt their resurgence. 

The reappearance of Caslon might be seen as the first major revival, not just of a style of type, but of the original type itself. In 1844, Charles Whittingham of the Chiswick Press produced The Diary of Lady Willoughby, a fictional work set during the reign of Charles I in the seventeenth century. The book’s design is a pastiche of that period, and Whittingham chose the faces of Caslon I to replicate it. He could have chosen another face from another foundry, but one unlikely to have the same prestige as Caslon. It would be wrong to imagine that these types replaced the Modern style, but gradually the faces attracted an audience until the Caslon foundry again began to offer them in their specimens.17 Perhaps one reason the faces found renewed popularity was that they had a weight of character and low contrast missing in the increasingly sparkly Moderns. Or perhaps it was the Victorian obsession with the past, the search for a mythical time before the industrial – William Morris, for example, used Caslon before he had his own designs cut. On the papers of the nineteenth century, Caslon’s faces lose some of the quality of the original showings: the spread of ink is lessened so they appear less dense in colour, and their inconsistencies become more apparent.

The Victorians couldn’t resist tidying up the originators’ designs, so we get the Caslon foundry recutting much of Caslon the Elder’s work, and the addition of characters such as italic swash capitals never cut before. And thus a copy of Dutch letters became a copy of a copy of Dutch letters. To most the changes were probably not noticeable, and the foundry clearly felt some pride in this, but something had been lost – compare the spacing, for example. By this point Caslon was, of course, no longer solely a British phenomenon; a French branch of the foundry existed18and Caslon’s typefaces appeared in American founders’ specimens.19The transatlantic trade in type was copious, and as soon as Caslon reissued the original, it seemed almost inevitable that it would eventually make its way to the United States. 

‘Caslon’ became a byword for what typefaces used to look like. If someone wanted an authentic old face, Caslon was the most readily available; and if someone wanted to copy an old face, Caslon was probably the most visible. And so a legend was born: something that had lasted must be a classic, and therefore must be reliable. ‘If in doubt, set in Caslon’ became de rigueur. This made Caslon an ideal face for advertising where trust and belief were of paramount importance. The Declaration of Independence20 was set mainly in Caslon’s types,21suggesting that to make the document believable Jefferson and his fellow drafters deliberately chose Caslon – even though the reality is probably that this was simply what was at hand. Caslon, a face from the Old World, became the voice of freedom in the New World. And George Bernard Shaw specifically requested that his books be set in Caslon; before personal computers, how many authors could recognise different typefaces, much less specify one?

And so we see that the definition of what constitutes the Caslon style has repeatedly shifted over time. At first, for readers of English, it was a visual shorthand for continental (specifically Dutch) quality. Then, it became a visual shorthand for being the voice of the English language, both in the mother country and in the wider world. And finally, it became a fuzzy visual shorthand for something that came from another time, but was distinctly English (and everything that connoted) rather than being continental. 

Copies, copies, copies

Throughout the twentieth century, the copy was copied again and again. And the copies of the copy were copied. And those in turn were copied. In 1915, Monotype issued a hot-metal version of Caslon so accurate that George Bernard Shaw didn’t notice the difference. And in the 1940s, Haas made a version: a Swiss Caslon. In America, the copies proliferated, often differentiated by numbers (471, 540, and so on). With the advent of photolettering, countless Caslons appeared; nearly a hundred named Caslons appear in Photo-Lettering, Inc.’s specimens. Some had only the barest hint of Caslon I – had the new designers ever even seen his work? This suggests that adding Caslon as a name was an imprimatur of quality and commercial success. But even though these typefaces shared the Caslon name, they didn’t share much of the original’s DNA. In the eye of the typical user of type, ‘Caslon’ represented a broad swath of styles, but had a hint of being made before one’s grandparents’ grandparents. Thus Caslon became reified as a style, much in the same way that people talk of styles of domestic architecture.

When the original foundry disappeared in 1937, the material from the eighteenth and nineteenth centuries was rescued by one of Caslon’s rivals, Stephenson Blake,22and so until the end of the metal type era, Caslon Old Face was still available. If a printer wanted to produce something intimating genuine heritage, they simply had to use Caslon, the great survivor.

Caslon reset in the digital age

Big Caslon by Matthew Carter, 1994, is based on the largest sizes of Caslon (capitals cut before 1734, lower case added later before 1763) and became the default for headline use of Caslon.

Big Caslon Italic by Matthew Carter, 2004 mimics Caslon’s brilliantly closely spaced and narrow italic exemplified by the French Cannon cut by William Caslon I, cut before 1734.

Adobe Caslon designed by Carol Twombly released in 1990 captures much of Caslon I text types and its quintessential spirit and warmth. One key difference is the size of capitals, which are more prominent in the revival. Here compared to English Roman No.2 and Italick, cut by Caslon before 1734.

Big Caslon by Matthew Carter, 1994, is based on the largest sizes of Caslon (capitals cut before 1734, lower case added later before 1763) and became the default for headline use of Caslon.

Big Caslon Italic by Matthew Carter, 2004 mimics Caslon’s brilliantly closely spaced and narrow italic exemplified by the French Cannon cut by William Caslon I, cut before 1734.

With every new technology – Monotype, Linotype, phototypesetting, digital setting – Caslon made the leap into the next era. As fashions changed, so Caslon changed in style. What would Caslon the Elder make of the Caslon incarnations from the seventies and eighties? With the dawn of desktop publishing, Adobe (like Monotype and Linotype before it) sought the credibility of making ‘serious’ type, both new designs and revivals that would draw on the scholarship and knowledge gained in the twentieth century. Adobe Caslon, designed by Carol Twombly in the late eighties, drew upon three primary sources: the 1738, 1786, and 1924 specimens, so both the original and the later modified types. Modelled on the smaller text sizes, Adobe Caslon’s robustness made it ideal for text setting, a trait that held it in good stead in the age of 300 dpi laser printers. In style, the Adobe version has the warmth and gentle elegance of its precursors while retaining many of the slight eccentricities of the originals. Cleverly marketed by Adobe with well-considered specimens like Adobe Garamond and Trajan, the new Caslon quickly became a hit. This is a copy of a copy of Dutch type (and, if you include the nineteenth century recut, a copy of a copy of a copy), transported into the digital age in the glowing sunshine of California.

On the other side of the United States, Matthew Carter worked on a face called Chiswell (after the street where the Caslon foundry stood until the beginning of the twentieth century), which eventually became Big Caslon. Inspired by Derek Birdsall’s and Alan Kitching’s use of Caslon’s largest sizes, Big Caslon has a sharpness and dynamism that make it a perfect companion to the softness of Adobe Caslon. Like much of Carter’s work, it displays the genius of appearing to be an authentic recreation of the original while being completely appropriate for contemporary use. And like Adobe Caslon, Big Caslon became a near-instant success, appearing in unexpected places like Stockholm New and Wallpaper*. Later on, it was bundled with Apple’s MacOS operating system. Here we have an Englishman making a copy of a copy of Dutch type in Boston. Big Caslon and Adobe Caslon offer the designer an excellent snapshot of William Caslon I’s work. If no one got fired for using Caslon, probably no one got fired for using these two faces. 

Despite the existence of these two excellent faces, new designs linked to Caslon continued to appear with great regularity across the globe. Each in turn remakes the copy in different places, each with different priorities. Some return to the original sources, some rely on copies of these, and some emerge from just a memory of Caslon. Some examples:

    Founders Caslon by Justin Howes in England  
    Williams Caslon by William Berkson in the United States  
    King’s Caslon by Dalton Maag in England  
    William by Maria Doreuli and Typotheque in Russia and the Netherlands  
    Dover by Tiny Type Co. in Norway  
    English 1766 by A2 in England

With each design, the idea and definition of Caslon become wider and more diverse. None of these typefaces diminish the original; all broaden its possibilities.

Perhaps the most interesting journey is that of Canela, one of our own releases by Miguel Reyes: a twenty-first-century interpretation of an eighteenth-century British interpretation of Dutch types, made by a Mexican designer educated in the Netherlands and working in the United States. Its similarity with the Caslon model is only revealed when the two typefaces are placed side by side; otherwise, Canela appears to be nothing other than an elegant contrasted sans serif typeface with flaring.

Frame 

Frame is a copy of a copy of Dutch types, made in London by a Midlander (just like Caslon). As a designer, I have always had an ambivalent relationship with Caslon. His types, which still resided in drawers when I was at university, were worn, with all the sparkle gone – fit if you wanted an antique feel, but seemingly from a time and place far away. In part, this was a prejudice against the way I often saw Caslon and its favoured status in private presses, which I then associated with a design conservatism. Gradually, over the course of my career, I have used digital revivals23and have grown to appreciate Caslon, but have never felt the need to revisit it: Big Caslon and Adobe Caslon seemed to say almost everything that needed to be said about Caslon’s style. 

Much of Commercial Classics draws upon the work of later Caslons and the output of the foundry in the nineteenth century, in part because so much remains at St Bride Library, including the punches. Amongst them, some (often unaltered) are by the master himself, including his first roman from 1725 – but I must confess to a distinct lack of curiosity to see his work in the flesh. When I made Marian in 2010, Caslon did not appear; the face of Nikolas Kis represented the ‘Dutch’ style in Marian 1680, and I also turned to Caslon’s contemporaries Fleischmann (Marian 1740), Fournier (Marian 1742), and of course Baskerville (Marian 1757).

Cycling and type

Cycling and type design are natural allies. Both are highly repetitive activities, whether we’re talking about pedalling or spacing and kerning the same forms again and again. At the professional level, both require dedication and long hours to achieve good results. Often this excellence is pursued on an individual basis. The traditional heartlands of cycling – the Low Countries, France, and Italy – were also centres of printing and typography. Both have a close relationship to their history and legend; just as a type aficionado might know that Claude Garamond created the definitive form of the Renaissance roman, a cycling enthusiast will recall Eddy Merckx’s seventeenth-stage victory at the Tour de France in 1969. These historical moments become the cornerstones against which we measure other achievements.

Professional cycling has always had a close relationship with journalism, newspapers, and the wider media. The three major national stage races – the Tour de France (L’Auto, 1903), the Giro d’Italia (La Gazzetta dello Sport, 1909); and the Vuelta Espana (Informaciones, 1935) – were all initially set up by newspapers to boost circulation, and the press in turn promoted and documented these events.24 Many races like the classic Omloop Het Nieuwsblad (originally Omloop Het Volk) were started by newspapers, and others such as Paris-Roubaix relied on the support of newspapers. From the earliest days of the professional sport, letters and typography were everywhere – on the bikes themselves, on the riders’ jerseys, on the numbers on the backs, on the banners at the start and finish. And just as the clothes, hairstyles, and cars all date the scene, so does the typography. 

As a design-led company, Rapha has always been conscious of the relationship between typography and cycling. In style, the company’s original logo and tracked-out Trade Gothic deliberately evoke a golden moment: 1950s France.25The name itself recalls both Saint Raphaël, a French aperitif, and the cyclist Raphaël Géminiani.26 But rather than a slavish copy, it’s just enough to give a warm recollection of a glorious past, whether real or fiction.

Updating the palette

For many years, Rapha had a simple typographic approach: a condensed sans, Trade Gothic, matched with a serif, which in recent years was Adobe Caslon. The company planned to relaunch its website in 2019, with a development of the existing palette rather than a wholesale change. Some elements worked; others less so. In the case of Adobe Caslon, though the face had a serious but warm aesthethic, in headlines it was uneconomical.27 A propensity to use italic was not based on an aesthetic choice, nor on its effectiveness as a tool for emphasis, but rather on the italic’s narrowness compared to the roman. The lack of economy derives from Adobe Caslon’s relatively small x-height and its generous ascenders and descenders. This led me to wonder if you could make a new Caslon that would work for text and headlines, but be more economical in setting. Are the relatively long ascenders and descenders in Adobe Caslon an intrinsic part of what a Caslon might be? Could a new design appear close enough to Caslon to most who would see it, but still differ significantly enough to make the process worthwhile?

Designing Frame

Several design decisions allowed me to find the freedom to make Frame. The first was where the typeface would appear – it would primarily be a digital face living online, and the softness inherent in Adobe Caslon, which suggests the effect of letterpress squash, would be unnecessary. In text, that softness would be virtually unnoticeable. Any sharpness I added would be subliminal, yet would give the type a more modern appearance in larger sizes. But the decisive moment came when Jack Saunders, the design director at Rapha, chose Caslon Doric to replace Trade Gothic. He then asked if the serif face could match the proportions of the Doric, in particular the cap and x-height. This made me think of Publico, a serif face Christian Schwartz and I made to match the proportions of the original Helvetica. In a sense I was making a truer ‘Dutch’ version of Caslon.28

Great Primer (later 18pt), roman and italic. Cut by William Caslon I, Great Primer first appears in 1728 and is perhaps Caslon at his closest to the Dutch. It’s sharper in style than the models used for Adobe Caslon. As shown in A Specimen of Printing Types by William Caslon, Letter-Founder to his Majesty, 1785. St Bride Library.

Returning to the specimen of 1766,29 I looked through the many sizes of Caslon, noting those that inspired Big Caslon, and those that inspired Adobe Caslon, principally the largest text sizes and the smaller display sizes. Several were the work of others – Moxon and William Caslon II, though over time historians have come to view them as part of the Caslon canon. One in particular caught my attention: the Great Primer, which was later cast at both 16 and 18 point. As one of the earliest William Caslon I faces cut in 1734, Great Primer seems to be the most Dutch of all the text faces, retaining the sharpness and grittiness that attracted me to the masters of the seventeenth century. Grittiness is a quality that is hardly regarded in professional cycling – the tradition of the strong, able to ride at the front into the headwind whatever the conditions. These attributes are especially valued in the low countries and in the classic races like Paris-Roubaix and the Tour of Flanders.

Simplification 

If Frame diverges most noticeably from the original is in its proportions, in its details it aims for simplification. This is not only because at text sizes many details become lost, but also because I wanted to return a sharpness to the design. (A similar approach is followed in Darby Serif, a reductionist transitional.) In several of Caslon’s faces, the serif structure in the lowercase is almost a simple flat line with little or no tapering. So the serifs in Frame’s lowercase have a gentle straight flaring of the stroke, and the serif itself is a shallow, almost flat angle stroke, ending in an angled terminal. In the capitals, the stroke flares before meeting an angled corner and then a tapering stroke. The balls are rounded on the outside, but flat on the inside, subtly shifting between sweetness (roundness) and sharpness (angularity) – without the other, neither is fully appreciated. In the text design, the contrast is deliberately low (almost matching Adobe Caslon). Certain characters are drawn not from Caslon, but directly from the Dutch style: see the lack of top and bottom serifs on the C, G, and S, for example. By rescaling the proportions, the capitals that are quite prominent in Caslon and Adobe Caslon leave less of an impact on the overall colour of the page in Frame. 

Angles and widths

Caslon’s italics show a variety of styles; the largest sizes are narrow in width and have a shallow angle with tight spacing. The text sizes vary often in angle from steep (Great Primer) to something gentler (Pica), and in width they go from wide (Great Primer) to narrow (Pica, echoing Adobe Caslon). Caslon’s italics maintain a steadier rhythm than earlier models such as Granjon. They are less dramatic, with fewer changes in angle and width throughout the face; where Granjon’s italics seem to steal the show from the roman, Caslon’s assume a much more subservient role. Frame has the regularity of Caslon’s faces, with an angle and width between his smaller sizes and Great Primer.

As with the roman, the details of the italic are reductionist in style; the capitals follow exactly the same simple serif structure. In the lowercase, the upper and lower tails reach the main strokes in a sharp and obvious point, while on the exterior they have a subtle, barely noticeable point. The balls of the c, f, g, and r are round on the exterior, but have flat interiors that join the main stroke with a sharp point.

Some of the characters have been simplified: see the h with its lack of inward ball terminal, which maintains the rhythm of the n and m; and the v and w that are gently curved, rather than having rounded bowls with head stroke and ball.

The swash letters that appear in Caslon specimens from the latter nineteenth century, as well as in many modern Caslon revivals, are not original (bar the J and Q); they were added only in the nineteenth century. They have a different flavour from the corresponding eighteenth-century letters and lack the confidence and majesty of those made by Granjon in the sixteenth century. In Frame, the swashes are reserved to just a few letters – A, B, D, E, G, J, K, M, N, P, Q, and R – rather than to every capital letter and multiple lowercase forms, including terminal letters. In style they are informed by the drama of Granjon, but tempered by the calmer qualities of the lowercase. 

Overall, the italic attempts to capture the spirit and energy of Caslon’s original, but with a measured quality and regularity needed for legibility. And although the roman addressed many of Rapha’s concerns about economy, the italic remains a popular choice for headlines, where its simple understated elegance draws readers’ attention without dazzling them. 

Larger and bolder

In the age of Caslon, every size of type was cut individually. Most readers would hardly notice how the design changed between sizes. Adobe Caslon and Big Caslon are based on one punch cutter’s vision, but a side-by-side comparison shows that they are different in style. They diverge not only in their degree of contrast, but also in the width and proportion of the lettershapes and in spacing – yet both are accepted as one and the same: Caslon. Only when type stopped being cut by hand did it gain the greater consistency of design we expect today; even though manufacturers usually had separate designs for a range of sizes (Monotype typically had three designs, one for text, one for smaller headline use, and one for large headlines), they would to most eyes be homogenous. In the case of Frame, the headline variants are closer to the modern approach. The design is effectively the same as the text, with increased contrast and tighter spacing designed for use at a specific range of sizes. Though the headline version has greater sharpness, it is not of a dazzling style like a hairline Modern.

Today we understand that one typeface design can have many multiples – not just in size, but also in weight. For Caslon, this possibility had yet to be fully grasped and understood. Heavier serif letters existed, but they had yet to become what we would identify as truly bold. For a denser (and therefore heavier) form, the blackletter would offer weight, but the concept of bold variants of a regular weighted roman was yet to be discovered. Only in the nineteenth century did this come to fruition, not only within the dramatic bold and fat-face display faces of the early part of the century, but also with heavier text faces, such as the Ionic and Clarendon styles of the middle of the century. This in turn became truly codified once the concept of the family of type such as Cheltenham and Century Schoolbook became the standard, and printers became accustomed to bold variants of a style. So Frame had no eighteenth-century model to follow; rather it needed to imagine one. In this it had to retain the intentions of the regular weight while dealing with the challenges of gaining boldness. So as weight increases, the thicks and thins also gain, but not at the same rate, which would simply be like adding stroke uniformly (the so-called ‘dipping in chocolate’ effect). And as weight is gained, the x-height increases to avoid the letters becoming wider and wider. Thus the small number of weights: four reflects both the needs of the client and the suitability of the style to accommodate more, whilst remaining true to the original design. Any need for greater weight for Rapha could be accommodated by using Caslon Doric.

Frame continues the rich tradition in type of copying, or covering another designer’s work, which was more than likely already a copy of something else in the beginning. So we have multiple copies of copies made in different places, in different times, by different designers. With each copy hopefully something new appears, while retaining some quality of the original. What that quality is depends on the person making the copy. In the case of Frame, part of what makes it what it is is the proportions taken from Caslon Doric, which in turn makes it more ‘Dutch’. It appreciates its history, just as cycling as a sport respects past glories without being held ransom to what came before as technology continues to evolve. Frame simplifies the Caslon model, but preserves enough of it to still be part of the Caslon tradition.

Frame replaced Adobe Caslon as Rapha’s primary brand typeface.

Fournier coined the disparaging term ‘Dutch style’ to describe the development, beginning in the Low Countries in the sixteenth century, of narrower faces with increased x-height and reduced ascenders and descenders. The innovation allowed more words to a page and was purely financially driven.

An example might be the Fell Types given to the Oxford University Press in the latter part of the seventeenth century, a mix of types including faces by Garamond, Granjon, Hautlin, and Van Dijck.

Caslon was born in Cradley (then a parish of Halesowen) in the county of Worcestershire – a mere ten miles from Wolverley, where his great rival Baskerville was born. The Midlands was also one of the centres of cycling manufacturing in the nineteenth century, starting thirty miles east, in Coventry. A few manufacturers, such as Reynolds Technology and Brooks Saddles, are still in business today.

In its collections, the Royal Armouries Museum shows a flintlock muzzle-loading musketoon dated 1715, engraved with Caslon’s name. He had been employed as a lock engraver by the Board of Ordinance at the Tower of London.

James Mosley, ‘Caslon, William, the Elder (1692–1766), Typefounder,’ in Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), https://doi.org/10.1093/ref:odnb/4857.

A roman and italic cut in the pica size; the punches are at St Bride Library, London. See James Mosley’s introduction to the facsimile of the Specimen of Printing Types by William Caslon, 1766, Journal of the Printing Historical Society, No. 16, 1981/2.

Caslon was born in Cradley (then a parish of Halesowen) in the county of Worcestershire – a mere ten miles from Wolverley, where his great rival Baskerville was born. The Midlands was also one of the centres of cycling manufacturing in the nineteenth century, starting thirty miles east, in Coventry. A few manufacturers, such as Reynolds Technology and Brooks Saddles, are still in business today.
In its collections, the Royal Armouries Museum shows a flintlock muzzle-loading musketoon dated 1715, engraved with Caslon’s name. He had been employed as a lock engraver by the Board of Ordinance at the Tower of London. James Mosley, ‘The Early career of William Caslon’,Journal of the Printing Historical Society, No. 3, 1967.
James Mosley, ‘Caslon, William, the Elder (1692–1766), Typefounder,’ inOxford Dictionary of National Biography(Oxford: Oxford University Press, 2004) 
A roman and italic cut in the pica size; the punches for the roman are at St Bride Library, London. See James Mosley’s introduction to the facsimile of theSpecimen of Printing Types by William Caslon, 1766,Journal of the Printing Historical Society, No. 16, 1981/2 
In Anecdotes of Bowyer (1782), John Nicols wrote ‘he arrived to that perfection, as not only to free us from the necessity of importing types from Holland, but in the beauty and elegance of those madly him so surpassed the best productions of foreign artificers, that his types have not unfrequently been exported to the continent’. Mosley, 1981, suggests that dominance in the UK and export to the USA were the extent of his success.

The proportions are similar to those of Van den Keere’s largest types.

Other examples might be Baskerville or, more recently, Gill Sans.

During the eighteenth century, Caslon was joined by the following:

Alexander Wilson, Glasgow, 1742

John Baskerville, Birmingham, 1752

Thomas Cottrell, whose foundry was in turn taken over by Robert Thorne and later William Thorowgood, and renamed the Fann Street Foundry, London, 1757

Joseph Jackson, the former foreman of the Caslon foundry, whose foundry was taken over by William Caslon III and then William Caslon IV, London, 1763

Joseph Fry, Bristol, 1764

Vincent Figgins, London, 1792

Caslon’s fame had spread across the Channel to the most celebrated of contemporary writers on type: Pierre-Simon Fournier le Jeune in his Manuel typographique. But despite lavishing praise on Baskerville, who would exert a profound influence on the continent, Fournier appears to have thought less highly of Caslon, writing elsewhere: ‘Only one thing hinders the advance of Printing in England – the bad taste of [Caslon’s] types, especially the italics, which are absolutely absurd’. See Harry Carter, trans., Fournier on Typefounding (London: Soncino Press, 1930). Set in Monotype Caslon.

Caslon was not alone in showing ‘ancient’ fonts in the second half of the nineteenth century; Figgins and Marr began showing their own faces from the eighteenth century.

See, for example, Épreuves des caractères de la Fonderie Caslon (Paris: Fonderie Caslon, 1920). Digitised version from the Bibliothèques spécialisées et patrimoniales de la ville de Paris.

James Mosley dates this to 1856 and the Boston Type Foundry; see Mosley, ‘Recasting Caslon Old Face’, 4 January, 2009. The 1860 specimen shows several sizes, as well as many other designs from Britain.

See for example A Specimen of Isaiah Thomas’s Printing Types (Worcester, MA: 1785). The title page proclaims: ‘Chiefly manufactured by that great artist, William Caslon, Esq; of London’.

See Nick Sherman, ‘The Dunlap Broadside,’ Fonts In Use, 5 July, 2012, and Allan Haley, Typographic Milestones (Hoboken, NJ: John Wiley & Sons, 1992).
What Stephenson Blake couldn’t commercially use was sold as scrap, or acquired by Monotype. A plan was hatched that the material could be used to make new Monotype faces, but as the war intervened, little came of this idea. In turn this was given to the Oxford University Press, and then to St Bride Library. And so forty boxes of punches cut by Caslon I and II survive, not just of roman and italic, but also of Greek, Hebrew, Gothick, Coptick, Aethiopick, Etruscan, Armenian, blackletter, and musical symbols, amongst others.

As typographic adviser to Wallpaper*, I encouraged Tony Chambers (then the creative director) to use Big Caslon and its as-yet-unreleased italic companion. And later Big Caslon became the prime identity of Schirmer Mosel, a literary publisher in Munich.

And, of course, images of professional cyclists stuffing newspapers down their jerseys for insulation as they crest a mountain pass also come to mind.

Trade Gothic was matched with several serif fonts: Sabon, Clarendon, and eventually Adobe Caslon. The choice of Adobe Caslon perhaps had to do with its ready availability: Adobe started bundling it with its Creative Suite in 2003.

‘The Original Rapha’, The Inner Ring, 16 May, 2012, https://inrng.com/2012/05/original-rapha-history.

Of course, additional economy comes from having full control over your own custom font, as opposed to having to wrangle licensing issues.

 ‘Dutch type’ still refers to types made in the Netherlands. Some of the most celebrated are the serif typefaces of Gerard Unger, in particular Hollander, Swift, and Gulliver. These are contemporary Dutch variants of the Dutch style, but in the twentieth century the increased x-height and shortened extenders became more pronounced; to English speakers today, the phrase ‘Dutch style’ refers to a style of even greater economy that reflects the development of specific newspaper faces in the nineteenth and twentieth centuries. One can only imagine what Fournier would have thought.

See the facsimile of the Specimen of Printing Types by William Caslon, 1766, Journal of the Printing Historical Society, No. 16, 1981/2.

Written by Paul Barnes