‘Benguiat has frequently said he chose the number 224 because it was the address of the building where he did most of his work.’
Ed Benguiat couldn’t leave well enough alone. And in 1982, created one of the funkiest versions of Caslon ever – for ITC.
I love the swoops and the ear on top of the lowercase g.
What would William Caslon look like if he were working today?
This is one of my favorite takes on Caslon (above) – editorial designed by Mark van Bronkhorst and written by John D. Berry.
It’s the 1998 front and back cover of one of the final print issues of Upper & Lower Case magazine (and as you can see, my copy is a bit mussed up). William Caslon would be wearing a blue suit today, such is the nature of the biz.
Inside U&lc was an incredible promo for the late Justin Howes’ historically accurate ITC Founders Caslon – one of the most faithful updates ever digitized. [Read more →]
I’ve been a fan of the design work of Mark van Bronkhorst for years – and he’s just relaunched MVB fonts and fired up a new Twitter account.
And if you signup/subscribe/givehimyouremail, you’ll get cool things showing up in your inbox which will include a free copy of MVB Embarcadero Bold (a real font, worth 79 bucks) . . .
All you have to do is go here and do what it says.
Offer ends September 15, 2010.
Found via Delve
‘Moshun’s a fairly simple design – done in just two days in Illustrator and After Effects – that happens to leap, spiral, and shimmy into place.’
Moshun (pronounced Mo-shun, of course) was created by Dutch designer Jeroen Krielaars. Article (with much more detail) here.
‘Abbot Nicolaus Telegdi purchased the Vienna Jesuit press in 1577 and started to work immediately with its own worn typefaces. His first works were publications of his own speeches.’
Amondó Szegi’s take on Telegdi’s types are a well-worn set of fonts. With some kooky dingbats.
The Caslon family took type to much bolder heights in the 19th century. And a copy of their 1841 specimen book can be perused thanks to Google Books.
Go here.
Found via I love typography
It had to do with pizza.
Font Bureau’s Nick Sherman dropped by my hotel room at TypeCon in Los Angeles. He read on Twitter that I had pizza left over – and he’s a major pizza freak.
I thought I was a pizza freak, but I don’t even come close (video below).
Nick said he was up late working on something big.
Turns out this big thing is the launch of Webtype, a collaboration between Font Bureau, Ascender Corporation, Roger Black, Petr van Blokland and DevBridge. [Read more →]
‘I’m a Sexy Font’ poster, created by Obtenebratio
Back in the early 1990s, the Carol Twombly-drawn Adobe Caslon was one of the first font packages I ever purchased.
I’ve been in love with it ever since. I use it on just about everything – including this blog’s title, my own logotype. I’m a font designer myself, but still don’t consider my own letterforms to even come close to what was accomplished with this particular interpretation of Caslon. [Read more →]
‘How much should a revival of a typeface look like the original? Well, just as with performing an old song – an analogy Matthew Carter has made – there is something you have to like in the original in order want to revive it. And you can’t depart from the original too much, or you lose the charm of the old song that appealed to you in the first place.’
Over at I love typography, a look at William Berkson’s Caslon revival – and the work involved in such an endeavor. Read more here.
Available thru The Font Bureau.
‘A revival of classic eighteenth-century type by William Caslon, featuring shorter descenders, and higher contrast giving the face a more useful, modern quality.’
I was lucky enough to see the Replay type family in production. And a got to play with some of the beta versions; used one for a fashion logo.
Stefan Hattenbach has been working on this beautiful Caslon update for a few years now. And like all his fonts, there is brilliance in the details.
Replay is available exclusively through Veer.
“Caslon’ is an example of what became known in the commercial world of the 20th century as a ‘brand’: a family name that was not only widely recognised by customers but which stood as a guarantee of long-standing integrity.’
William Caslon’s types keep making a comeback.
One of the first revivals was made in the late 1800s by Chiswick Press, London.
Full story here.
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