Explaining the selections, which included six more of Carter’s typefaces. It was one of the 23 typefaces acquired by MoMA in 2011. Years later, Boston magazine was redesigned by Patrick Mitchell using early versions of FB Big Caslon, paired with our own Williams Caslon Text, by William Berkson.īig Caslon is in rare company. The distinctive serif, with its new verve, did not go unnoticed. In 2003, Paul Barnes redesigned Wallpaper magazine using Big Caslon and for that Carter drew an italic with swashes. There are a number of swash ligatures that resolve cumbersome combinations, employed by default when ligatures are on. The fashionable swashes, set in Bold Italic. It’s really a general purpose display face.” In the words of Carter himself, “It’s been around long enough to have been used on book jackets, in fashion magazines, advertising, and posters. Long bundled with Apple’s OS X, this display serif has befriended many designers. Typographers who can sense the richness that Carter’s design offers will succeed by trusting these fonts. But not for superficial gain, no, Big Caslon is still at its best in careful hands. These new weights enhance its force, and amplify that dear eccentricity. “Forceful and a touch eccentric”-that’s how the 1994 Big Caslon specimen described the faces that inspired Carter’s design. They each have italics, small caps, and plenty of striking alternates. Now it is a fully-featured OpenType family, simultaneously available as webfonts, in three weights (Regular, Bold, and Black). In 1994, Big Caslon was released as a single style, with separate fonts for small caps, expert and alternate characters. FB Big Caslon adds six new styles to Matthew Carter’s familiar and beloved typeface.
0 kommentar(er)
