Of these, all, with three exceptions, are Caslon’s own handiwork, and represent the untiring industry of fourteen years.
The sheet is arranged in four columns, and displays 38 fonts: It is a well-documented historic artefact that Talbot Baines Reed (1887) described as follows: William Caslon I (1692 – 1766) reached the pinnacle of his creation when he published his specimen sheet in 1734 to advertise his foundry.
#ADOBE CASLON FONT SHEE PDF#
You can find the PDF version at the bottom of this post. Therefore, I made it my little side project to recreate the specimen sheet in Adobe Illustrator for high quality printing. And there is also the problem with optical distortion from the digitization process, as well as stains and inconsistent contrast. However, the resolution of the source file is too low for serious printing. I thought it would make a very decent and highly decorative poster. A Specimen by William Caslon, Letter-founder in Chiswell Street, LondonĪ while ago, I saw the famous specimen sheet that William Caslon distributed in 1734 on the subreddit for typography. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.A piece of typographic history recreated.Ī recreated version of 1734.
Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. The overall impression which Caslon makes is serious, elegant and linear. The serifs are finer and the axis of the curvature is almost or completely vertical. The characteristics of the earlier Renaissance typefaces are only barely detectable. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. In addition to the adjustment of spacing, there are also adjustments in the design. The kerning tables, as well, have been individualized for each of these type varieties. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. That of the Bodytypes is adjusted for readability. The most obvious differentiation can be found in the spacing. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions.
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