{"id":20050,"date":"2010-09-04T03:20:37","date_gmt":"2010-09-04T10:20:37","guid":{"rendered":"http:\/\/mehallo.com\/blog\/?p=20050"},"modified":"2011-05-27T20:11:14","modified_gmt":"2011-05-28T03:11:14","slug":"caslon-today","status":"publish","type":"post","link":"http:\/\/mehallo.com\/blog\/archives\/20050","title":{"rendered":"More Caslon: Today"},"content":{"rendered":"

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What would William Caslon look like if he were working today?<\/em><\/p>\n

This is one of my favorite takes on Caslon (above) – editorial designed by Mark van Bronkhorst<\/a> and written by John D. Berry.<\/a> <\/p>\n

It’s the 1998 front and back cover of one of the final print issues<\/a> of Upper & Lower Case<\/em> 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.<\/p>\n

Inside U&lc<\/em> was an incredible promo<\/a> for the late Justin Howes’<\/a> historically accurate ITC Founders Caslon<\/a> – one of the most faithful updates ever digitized. <\/p>\n

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the u&lc influence<\/strong>
\nIn the 1970s and 80s, Upper & Lower Case: the International Journal of Typographics<\/em> was the<\/em> type bible for graphic designers. Editorial and design director Herb Lubalin<\/a> used the newsprint magazine to not only talk type, but expound on his views of how type should be used. <\/p>\n

‘Close but not touching’<\/em> was his take on how to set type. Not totally legible – and later condemned by the industry – his approach did allow text to take up less space on the page than usual. Art directors loved<\/em> this.<\/p>\n

Or as I like to put it: The 1970s looked like the 1970s because of Herb Lubalin.<\/em><\/p>\n

John D. Berry’s book, U&lc: Influencing Design & Typography,<\/a><\/em> shows the wonder of the magazine. And below, the ‘cuts’ of Caslon.<\/p>\n

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