i s i r o s t h i m e p y t g o a q i c e p s k j v k o o b d n m e p y r o f x z u t i a u g n b e m n o l s a t c 4 2 2 m o u g
A
TYPEFACE originally invented by
WILLIAM CASLON
1725 1983
300pt, Black Weight
42pt, Black Weight
22pt, Medium Weight Italic
24pt, Black Weight
in
110pt, Black Weight
HOWE V ER , I T H A S A L S O B E E N
14pt, Bold Weight, Italic
reinvented by designers such as
16pt, Book Weight, Italic
ED BENGUIAT
32pt, Black Weight, C100
in
3
110pt, Black Weight
THIS IS CASLON AS COPY. Caslon is a serif font, created by William Caslon in 1725. The font was inspired by Dutch Baroque types, which were used in England before Caslon’s creation. His work inspired many other typefaces including Baskerville and is considered the progenitor of the typeface classifications Transitional (which includes Baskerville) and Modern (which includes Didot and Bodoni). The original Caslon was immediately very popular and published many important documents including the United States Declaration of Independence. Since being digitised, there are many variants of Caslon owned by many foundries. Adobe Caslon is the digital standard and is used for the
body
copy
in
The
New
Yorker.
This
booklets
typographic
con-
tent considers only one version of this font – ITC Caslon No. 224. ITC Caslon No. 224 was created in 1983 for the International Typeface Corporation (ITC) by Ed Banguiat. It is a redesign of Caslon’s original typeface, however it was created as the copy font extension of ITC Caslon No. 223. The highly altered proportions of each letter make it noticeably different from the original, however it maintains many of the same
huge characteristics of Caslon and is overall more legible as a copy typeface.
BUT COPY AIN’T NO FUN.
It acts beautifully as a display face, as well as a copy face. Take advantage of the way it looks when it’s really
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and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting. and there are enough variants for every kind of type setting.
27pt, Black Italic
27pt, Bold Italic
27pt, Regular Italic
27pt, Book Italic
27pt, Black
27pt, Bold
27pt, Regular
27pt, Book
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caslon has a voice.
it could speak over anything
Ac i q f wt Qg *
Concave apex of the capital A.
Rounded serif of the c.
Swash style curves of italic i.
Inverted terminal of the descenders.
Rounded serif and bleed allowance of f.
Swash life serifs and counters of the w.
Pointed terminal with concave apex of the t.
Tail of the Q descends left to right.
Ear of g rises from the middle.
Middle of asterisk is not joined.
! & ? ] * { £ “ @ 10
Book Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ! ? & £ ¢ @ * % # ( ) { }
Medium A a B b C c D d E e Ff Gg H h Ii Jj Kk L l Mm Nn O o P p Q q R r S s Tt Uu Vv W w X x Y y Z z 1 2 3 4 5 6 7 8 9 0 ! ? & £ ¢ @ * % # ( ) { }
Bold Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ! ? & £ ¢ @ * % # ( ) { }
Black Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ! ? & £ ¢ @ * % # ( ) { }
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