The same line has a totally different effect in a large or small area of white space. Here begins true design, the shaping of the graphic form.Įvery shape exists only in relation to the space around it.
1854 CASLON FONT FULL
A line need not be full out to the left but may be moved a little or a lot to the right. The sizes and weights of type used depend first and foremost on the contents, but almost always we have scope to choose a larger or smaller size or to alter the graphic appearance of some of the lines. As type today stands by itself, without the addition of ornament, we have become more sensitive to it not only as words and lines, but as part of the design of a page. The right placing of words and lines is as important as the creation of significant and effective contrasts, and is an integral part of it.
1854 CASLON FONT DOWNLOAD
What eighteenth-century printer's job case would be complete without a share of unexpected typographic variety?”įor more information about NotCaslon, download the free type specimen.Īll typography is an arrangement of elements in two dimensions. Several interesting touches, whether included by accident or design, make for great amusement: wrong font letters like a monoline L and x, a bold weight F, a ‘shoelace’ X, miscellaneous lower case letters throughout, and even a flopped roman A (with modifications). It seems most unlikely that this collection will be able to float alone, but it may find a place next to numerous time-tested typefaces, if for no reason other than its outstanding entertainment value. Sign painter and typeface designer John Downer adds the following: “Not Caslon, as the name implies, is surely one of the most comical and exuberant works of alphabet art that owes any (in this case, literally every) part of its being to swashy, 20th-century American, Caslon-inspired italics. The peculiar swashes and inconsistent italic letterforms are all pieces of Caslon Swash Italic broken press type, rearranged and spontaneously formed. The main influence for NotCaslon is New Orleans, with its 18th and 19th century French Quarter balconies, old cemetery crosses and Voudou veve designs. This collection of initials was created by illustrator Mark Andresen who rubbed down bits and pieces of dry transfer lettering: flakes, nicks, and all.
1854 CASLON FONT PDF
Nine Literary Types Printed Version PDF.Mrs Eaves & Mrs Eaves XL Printed Version PDF.
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