The letterforms of Caslon's roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur at bottom right. The sides of the "M" are straight.[10] The "W" has three terminals at the top and the "b" has a small tapered stroke ending at bottom left.[10] The "a" has a slight ball terminal.[11] Ascenders and descenders are relatively short and the level of stroke contrast is modest in body text sizes. In italic, Caslon's "h" folds inwards and the "A" is sharply slanted.[10] The "Q", "T", "v", "w" and "z" all have flourishes or swashes in the original design, something not all revivals follow.[10] The italic "J" has a crossbar, and a rotated casting was used by Caslon in many sizes on his specimens to form the pound sign.[3] However, Caslon created different designs of letters at different sizes: his larger sizes follow the lead of a type he sold cut in the previous century by Joseph Moxon, with more fine detail and sharper contrast in stroke weight, in the "Dutch taste" style.[12] 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.
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. Many revivals exist, with varying faithfulness to Caslon's original design.[13] Modern Caslon revivals also often add features such as a matching boldface and "lining" numbers at the height of capital letters, neither of which were used in Caslon's time.[14][a] William Berkson, designer of a revival of Caslon, describes Caslon in body text as "comfortable and inviting".[15]
big caslon bold font 21
Besides regular text fonts, Caslon cut blackletter or "Gothic" types, which were also printed on his specimen. These could be used for purposes such as title pages, emphasis and drop caps.[35] Bold type did not exist in Caslon's time, although some of his larger-size fonts are quite bold.[14]
Fine printing presses, notably the Chiswick Press, bought original Caslon type from the Caslon foundry; copies of these matrices were also made by electrotyping.[45] From the 1860s new types began to appear in a style similar to Caslon's, starting from Miller & Richard's Modernised Old Style of c. 1860.[49] (Bookman Old Style is a descendant of this typeface, but made bolder with a boosted x-height very unlike the original Caslon.[49]) The Caslon foundry covertly replaced some sizes with new, cleaner versions that could be machine-cast and cut new swash capitals.[45]
In the United States, "Caslon" became almost a genre, with numerous new designs unconnected to the original, with modifications such as shortened descenders to fit American common line, or lining figures, or bold and condensed designs, many foundries creating (or, in many cases, pirating) versions.[50] By the 1920s, American Type Founders offered a large range of styles, some numbered rather than named.[51] The hot metal typesetting companies Linotype, Monotype, Intertype and Ludlow, which sold machines that cast type under the control of a keyboard, brought out their own Caslon releases.
A slighter bolder version of Caslon 540, released by American Type Founders in 1905.[71] Digital revivals of Caslon 3 (also called Caslon Bold) are sold by Bitstream, [65] Linotype, [66] and ParaType.[67] The ParaType version has Cyrillic glyphs.
Caslon 223 and 224 were phototypesetting families designed by Ed Benguiat of Lubalin, Smith, Carnase and then ITC. Like many ITC families, they have an aggressive, advertising-oriented bold structure, not closely related to Caslon's original work.[59] 223 was the first version (named for LSC's street number), a companion version with more body text-oriented proportions followed sequentially numbered 224.[59]
Adobe Caslon is a very popular revival designed by Carol Twombly.[81][13] It is based on Caslon's own specimen pages printed between 1734 and 1770[82] and is a member of the Adobe Originals programme. It added many features now standard in high-quality digital fonts, such as small caps, old style figures, swash letters, ligatures, alternate letters, fractions, subscripts and superscripts, and matching ornaments.[83][84]
Big Caslon by Matthew Carter is inspired by the "funkiness" of the three largest sizes of type from the Caslon foundry. These have a unique design with dramatic stroke contrast, complementary but very different from Caslon's text faces; one was apparently originally created by Joseph Moxon rather than Caslon.[17][4] The typeface is intended for use at 18pt and above.[87][88] The standard weight is bundled with Apple's macOS operating system in a release including small caps and alternates such as the long s. Initially published by his company Carter & Cone, in 2014 Carter revisited the design adding bold and black designs with matching italics, and republished it through Font Bureau.[89][f] It is used by Boston magazine and the Harvard Crimson.[92]
LTC Caslon is a digitisation of the Lanston Type Company's 14-point size Caslon 337 of 1915, in turn a revival of the original Caslon types.[93][94] This family include fonts in regular and bold weights, with fractions, ligatures, small caps (regular and regular italic only), swashes (regular italic weight only), and Central European characters.[95] A notable feature is that like some hot metal releases of Caslon, two separate options for descenders are provided for all styles: long descenders (creating a more elegant designs) or short (allowing tighter linespacing).
Released by Font Bureau, it includes bold and bold italic designs, and a complete feature set across all weights, including bold small caps and swash italic alternates as well as optional shorter descenders and a "modernist" italic option to turn off swashes on lower-case letters and reduce the slant on the "A" for a more spare appearance.[52][g] It is currently used in Boston magazine and by Foreign Affairs.
Caslon Old Face is a typeface with multiple optical sizes, including 8, 10, 12, 14, 18, 22, 24, 30, 36, 42, 48, 60, 72, 96 points. Each font has small capitals, long esses and swash characters. The 96 point font came in roman only and without small capitals. Caslon Old Face was released in July 2001.
An exuberant parody of Caslon italics created by Mark Andresen, this 1995 Emigre font was created by blending together samples of Caslon from "bits and pieces of dry transfer lettering: flakes, nicks, and all".[112][113][114]
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