Released in 1898, almost 50 years before Helvetica, Akzidenz Grotesk was part of a wave of overtly 'commercial' typefaces, intended for use in advertising and promotional materials to communicate, persuade and ultimately sell, rather than to decorate, or make reading easier.įollowing the grotesque sans-serif tradition that Futura bucked against with its geometric approach, Akzidenz Grotesk became one of the leading exponents of late-19th century German typography. Peignot (God rest his soul) & Son foundry in Paris, where it went under the name Le Moreau-le-Jeune. Upon closer inspection we can smell the rat: this particular design originated at the G. But Helvetica follows in the footsteps of Akzidenz Grotesk, the sans-serif family originally released by the Berlin-based Berthold Type Foundry. Compared to Caslon’s Inline, Caslon Openface features many totally different letterforms and has a much smaller x-height. Known for timeless elegance and effortless readability across large passages of text, the Caslon typeface family briefly fell out of popularity during the early 19th century, but recovered and now lends 300 years of gravitas to books, journal articles. From 1725 through to 1730 three books printed by William Bower used roman and italic fonts cut by Caslon. Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.Love it or hate it, Helvetica has become the typeface that defined an entire generation of graphic designers that embraced mid-20th century Swiss design principles, otherwise known as the International Typographic Style. Like Futura, Caslon was ahead of its time in London, at least drawing on imported Dutch Baroque typefaces for inspiration. Considered the first original English typeface, it shares many characteristics of the Dutch Baroque type fonts of the era, and may be a variation on the Dutch Fell type fonts cut by Voskens or Van Dyck at that time. 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. Old-style type has characteristics of wedged serifs, greater contrast between thin and thick strokes, upright stress, and horizontal crossbars. In addition to the adjustment of spacing, there are also adjustments in the design. Caslon was one of the last 'Old-style' typefaces before 'Transitional' typefaces were designed. 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.