About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 62. Chapters: Akzidenz-Grotesk, Albertus (typeface), Aldus (typeface), Algerian (virtual typeface), Allegro (typeface), American Typewriter, Antique Olive, Archer (typeface), Artcraft (typeface), Aster (typeface), Astur (typeface), Auriol (typeface), Banco (typeface), Bank Gothic, Baskerville, Bell (typeface), Bell Gothic, Benton Sans, Bodoni, Broadway (typeface), Bulmer (typeface), Caledonia (typeface), Cartier (typeface), Caslon, Caslon Antique, Centaur (typeface), Century Type Family, Cheltenham (typeface), City (typeface), Clarendon (typeface), Clearface, Cooper Black, Copperplate Gothic, Delphian (typeface), Eagle (typeface), Egyptienne (typeface), Erbar (typeface), Eurostile, FF Meta, Folio (typeface), Franklin Gothic, Futura (typeface), Garamond, Gotham (typeface), Goudy Old Style, Hess Old Style, Hobo (typeface), Interstate (typeface), ITC Avant Garde, ITC Benguiat, Janson, Kabel (typeface), Kuenstler Script, Lo-Type, Microgramma (typeface), Minion (typeface), Mistral (typeface), Neuland, Nobel (typeface), Open Sans, Palatino, Peignot (typeface), Porson (typeface), Scotch Roman, Skeleton Antique, Souvenir (typeface), Surveyor (typeface), Tower (typeface), Univers, Windsor (typeface). Excerpt: Caslon is a group of serif typefaces designed by William Caslon I (1692 1766), and various revivals thereof. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterized by short ascenders and descenders, bracketed serifs, moderately high contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon's italics have a rhythmic calligraphic stroke. Characters A, V, and W have an acute slant. The italic p, Q, v, w, and z all have a suggestion of a swash. Caslon's earliest design dates to 1722. Caslon is cited as the first original typeface of English origin. Type historians Stanley Morison and Alfred F. Johnson, a scientist who worked at the British Museum, point out the close similarity of Caslon's design to the Dutch Fell types cut by Voskens and other type cut by the Dutchman Van Dyck. The earliest information about William Caslon as punch-cutter and typefounders is in The two next authors fully based their writings on the three publications previously mentioned. The first founts cut by William Caslon were: There is much uncertainty about the first roman and italic Latin characters cut by Caslon himself, and the literature on this is partly incorrect. Nicols writes: "he (Caslon) cut the beautiful fount of English which is used in printing Selden's Works 1726. Nicols describes this character as far superior over comtemporary Dutch founts used in English books at this period. Rowe More does not give any comment on this. Dutch founts were in use by several printers in England at that time. The Oxford University Press used the "Fell-types," character cut by the Dutch typefounder Voskens. The Cambridge University Press had received in January 1698 some 52 series of alphabets from Holland, all cut by Van Dyck. But even before that in 1697 thay used the Text-sized roman and italic of Van Dyck in an edition of Gratulatio Cantabrigiences. Character of Van Dyck and Voskens is fo
