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Caslon1734

William Caslon

aTYPESPECIMEN

KBY : VIOLEITA CHAIDY

// BATCH 17

BOOKBO

OKBY : VIOLEITA CHAIDY

// BATCH 17

WILLIAM

CASLON

C1692-1766 1564-1616

WILLIAM

SHAKESPEARES

1564-1616

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When in doubt ,

USE CASLON

KT

s

fAWhen in doubt ,

USE CASLON}KANN

MV

TALDBR

G

HISTORY of

CASLONT h e r i s e o f C a s l o n

Caslon is a group of seri f typefaces designed by Will iam Caslon I (1692–1766) in London. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradit ion of what is now called old-style seri f letter design, that produced letters with a relatively or-

ganic structure resembling handwrit ing with a pen.

HISTORY

CASLONT h e r i s e o f C a s l o n

Caslon is a group of seri f typefaces designed by Will iam Caslon I (1692–1766) in London. Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type. He worked in the tradit ion of what is now called old-style seri f letter design, that produced letters with a relatively or-

ganic structure resembling handwrit ing with a pen.

Caslon established a tradit ion of designing type in London , which had not been common, and so he was inf lu-enced by the imported Dutch Baroque typefaces that were popular in England at the time.

UNITEDK

Caslon established a tradit ion of designing type in London , which had not been common, and so he was inf lu-enced by the imported Dutch Baroque typefaces that were popular in England at the time.

DKINGDOM

But whe re fo r e do no t you a m igh t i e r wayMake war upon th i s b loody t y r an t , Time ?And fo r t i f y you r s e l f i n you r decayWi th means more b l e s s ed than my ba r r en rhyme?Now s t and you on the t op o f happy hour s ,And many ma iden ga rdens , y e t un se t ,Wi th v i r t uous w i sh wou ld b ea r you l i v i ng f l ower s ,Much l i k e r than you r pa in t ed coun te r f e i t :So shou ld the l i ne s o f l i f e tha t l i f e r epa i r ,Wh ich th i s , Time ’ s penc i l , o r my pup i l pen ,Ne i the r i n i nward wor th no r ou tward f a i r ,Can make you l i v e you r s e l f i n eye s o f men . To g i ve away you r s e l f , k eep s you r s e l f s t i l l , And you must liv e, drawn by your own sweet skill. Who will believe my verse in time to come,I f i t we re f i l l ed w i th you r mos t h i gh de se r t s ?I f I cou ld wr i t e the b eau ty o f you r eye s ,And in f r e sh numb er s numb er a l l you r g r ace s ,The age to come wou ld s ay ‘Th i s poe t l i e s ;Such heaven ly touche s ne ’e r t ouched ea r th l y f a ce s .’So shou ld my pape r s , y e l l owed w i th the i r age ,Be s co rned , l i k e o ld men o f l e s s t r u th than tongue ,And you r t r ue r i gh t s b e t e rmed a poe t ’ s r ageAnd s t r e t ched me t r e o f an an t i que song : Bu t we re some ch i l d o f you r s a l i v e tha t t ime , You shou ld l i v e tw i ce , i n i t , and i n my rhyme .

C

L O NA S

Caslon Two Black

Caslon CP

ACaslon Regular

“All that glisters is not gold.”



Caslon Book BE

Big Caslon



“Give every man thy ear, but few thy voice.”Adobe Caslon Pro Semibold Italic

Adobe Caslon Pro Bold

“Give every man thy ear, but few thy voice.”

“Give every man thy ear, but few thy voice.”Adobe Caslon Pro Bold Italic

“Give every man thy ear, but few thy voice.”Adobe Caslon Pro Regular

“Give every man thy ear, but few thy voice.”

Adobe Caslon Pro Semibold

Adobe Caslon

Adobe Caslon is a very popular

revival designed by Carol Twombly

A B C D E F G H I J K L M NO P Q R S T U V W X Y Z

a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 0

It is based on Caslon’s own specimen pages printed between 1734 and 1770

BIGCASLON

Big Caslon by Matthew Carter is

inspired by the three largest sizes of type

from the Caslon

foundry.These have a unique design with

dramatic stroke contrast, complementary to but unlike Caslon’s text faces; one may

mostly have been created by Joseph Moxon rather than Caslon.

1994

Let menot to the

marriage of truem i n d slove is not lovewhich alters w h e n

alteration findsor bends with theremover to remove

o ’ n o ! i t i san ever- f ixed

m a r kt h a tl o o k o nt e m p e s t sa n d i s n e v e rs h a k e ni t i s t h estar to everyw a n d e r i n gb a r kw h o s ew o r t h ’ su n k n o w n

h i s h e i g h tb e t a k e nL o v e ’ s n o t

T i m e ’ s f o o lthough rosy lipsa n d c h e e k s

within his bendingsickle’s compass comeL o v e a l t e r s n o t w i t h h i sb r i e f h o u r s o r w e e k s

but bears it out even to the edge of doomIf this be error and upon me provedI never writ , nor no man ever loved

a l t h o u g h

116t

ennos

THEMARRIAG

A l t h o u g h i n f o r m e r t i m e s t h i s s o n -n e t w a s a l m o s t u n i v e r s a l l y r e a d a s a p a e a n t o i d e a l a n d e t e r n a l l o v e , w i t h w h i c h a l l r e a d e r s c o u l d e a s i l y i d e n -t i f y , a d d i n g t h e i r o w n d r e a m o f p e r -f e c t i o n t o w h a t t h e y f o u n d w i t h i n i t ,

m o d e r n c r i t i c i s m m a k e s i t p o s s i b l e t o l o o k b e n e a t h t h e i d e a l i s m a n d t o s e e s o m e h i n t s o f a w o r l d w h i c h i s

p e r h a p s s l i g h t l y m o r e d i s t u r b e d t h a n t h e p o e t p r e t e n d s .

In the first place it is important to see that the sonnet belongs in this place, sandwiched between three which discuss the philosophical question of how love deceives both eye and mind and judgement, and is then followed by four others which attempt to excuse the poet’s own

unfaithfulness and betrayal of the beloved. Set in such a context it does of course make it appear even more like a battered sea-mark which nevetheless rises above the

waves of destruction, for it confronts all the vicissitudes that have aff l icted the course of the love described in these sonnets, and declares that, in the final analysis,

they are of no account.

SONNET 116WILLIAM SHAKESPEARE

E

In addition, despite the idealism, there is an undercurrent of subversion which perme-ates all. It is ironic that a poem as famous

as this should be seized on by the establish-ment as a declaration of their view of what

love should be. Does the establishment view take account of the fact that this is a love

poem written by a man to another man, and that the one impediment to their marriage is precisely that, for no church of the time, or scarcely even today, permits a man to

marry a man?

SONNET 116WILLIAM SHAKESPEARE

E ofTRUEMINDS

In addition, despite the idealism, there is an undercurrent of subversion which perme-ates all. It is ironic that a poem as famous

as this should be seized on by the establish-ment as a declaration of their view of what

love should be. Does the establishment view take account of the fact that this is a love

poem written by a man to another man, and that the one impediment to their marriage is precisely that, for no church of the time, or scarcely even today, permits a man to

marry a man?

It is useless to object that Shakespeare is here talking of the marriage of true minds, for the language inevitably draws us

to the Christain marriage service and its accompanying cere-monies, and that is a ceremony designed specif ically to marry

two people, not two abstract Platonic ideals which have decid-ed to be wed. It is almost as if the exclamation ‘Oh No!’ in the second quatrain is a recognition of this one great impediment that overhangs all others ‘and all alone stands hugely politic’.

(SB notes that the exclamation presents, among other things, ‘a logically incidental example of a suitable prefatory exclamation

introducing an impediment volunteered by a parishioner re-sponding to the injunction in the marriage service’).

M I

N D

Acropped apex of

‘A’

Elong serifs onmiddle arm

of ‘E’

C ‘C’ has double serif

J

QJ JJ J

“Stars, hide your fires ; Let not light see your black & deep

desires.”

- MACBETH (ACT 1 SCENE 4)

FromThat thereby

might never dieBut as the riper should

b y t i m e d e c e a s eHis tender heir might bearhis memory but thou contracted

t h i n e o w n b r i g h t e y e sw i t h s e l f - s u b s t a n t i a l f u e lM a k i n g a f a m i n e w h e r e

T h y s e l f t h y f o e to thy sweet self toocruel ; Thou that art now theworld’s fresh

o r n a m e n tAnd only herald

to the gaudy springWithin thine own bud

b u r i e s t t h y c o n t e n tA n d , t e n d e r c h u r l

mak ’ s t was te in n iggard ingPity the world, or else this glutton be

To eat the world’s due, by the grave and thee.Th o u t h a t now the wor ld ’ s f r e sh

ornament ; And only herald to the gaudy springWithin thine own bud

b u r i e s t t h y c o n t e n t

a r t

andtender

churlmaks’twastein nig

gardingp i t y

sonne

t no1

i

1

SONNET 1

L long arm on‘L’

Zbottom arm longer on

‘Z’

k ‘k’ has a largeloop

c narrow ‘c’has low stress

ehigh horizontalcrossbar

of ‘e’

T ‘T’ has loweringserifs on its

arms

“Look like the innocent flower, but be

the serpent under ‘t.”

-MACBETH (ACT 1, SCENE 5)

VWVV

V

V

V

V

V

V

V

WW WW

WW

italic ‘V’, ’W’, ’A’ may appear to be falling over

WW

italic ‘V’, ’W’, ’A’ may appear to be falling over

AA AAAA AA

"The typographical epitome of the English baroque."

— Robert Bringhurst

T1 2 3 4 5 6 7 8 9 0 ! # * @ ?

S

?

!

&&&&&

The f i n e s t ampe r s and

&

&

&

The f i n e s t ampe r s and

&&

&& &

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J JGAMR RTN NHE

JSE

PL

KI

LTOW

R

L

L

F

K

H

L

Shall I compare thee to a summer’s day? ;Thou art more lovely and more temperate: Rough winds do shake the darling buds of May ; And summer’s lease hath all too short a date:

Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed,And every fair from fair sometime declines, By chance, or nature’s changing

course untrimmed:But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st,

Nor shall death brag thou wander’st in his shade,When in eternal lines to time thou grow’st So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.

Shall I compare thee to a summer’s day? ;Thou art more lovely and more temperate: Rough winds do shake the darling buds of May ; And summer’s lease hath all too short a date:

Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed,And every fair from fair sometime declines, By chance, or nature’s changing

course untrimmed:But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st,

Nor shall death brag thou wander’st in his shade,When in eternal lines to time thou grow’st So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.

SONNET 18

Shall i compare thee to a summer’s day?

a type specimen book

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