In type, Caslon cut the style in many sizes from approximately 96 down to 10 point. But which came first, lettering or type, is not clear. In its basic skeleton, it follows the British style, as suggested by the tail of the R and the shapes of the figures.ĭespite the strangeness of the form, it can be found in lettering, particularly on gravestones in the nineteenth century. The E and F generate more complicated shapes: the end serifs go from thin to a flat-ended thickness the S has a light spine with weight moved to the top and bottom, and at the end of the curves reverse triangular serifs extend outwards. The I is similarly weighted at the top and bottom with the stem transformed into a thin vertical stroke connecting the much heavier serifs. In style, it is the reverse of a flat-seriffed modern or fat face, so weight is distributed at the top and bottom of the O with the thick horizontal parts connected by thin verticals.
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