Figure [61] shows the capital, small letter and italic forms of a type based on old Venetian models, cut by William Caslon in the early part of the eighteenth century, and ever
since known by his name. This face has comparatively recently been revived by modern type-founders; and though this revival has provided us with a text letter far superior to the forms previously in use, the modern imitation falls short of the beauty of Caslon's original, as may be seen by comparing the letters shown in [61], which are reproduced from Caslon's specimen-book, issued by him about the middle of the eighteenth century, with the type used in printing this volume, which is a good modern "Caslon."
Figures [62] to [67] show some newly devised type faces, all designed by artists of reputation. Figure [62] illustrates a fount called the "Montaigne" which has been recently completed by Mr. Bruce Rogers for the Riverside Press, Cambridge, Mass., and cut under his immediate direction, with especial insistance upon an unmechanical treatment of serifs, etc. As a result the "Montaigne" is, for type, remarkable in its artistic freedom, and its forms are well worthy the study of the designer. Both its capitals and small letters suggest the purity of the Italian Renaissance shapes. The letters space rather farther apart than in most types, and the result makes for legibility. Although several other modern faces of type have been designed on much the same lines, notably one for The Dove's Press in England, the "Montaigne" seems the best of them all, because of its freedom, and its absolute divorce from the overdone, exaggerated, heavy-faced effects of the Morris styles of type.
Mr. De Vinne of the De Vinne Press, New York City, has introduced a new type called the "Renner", [63], which was originally cut for some of the Grolier Club's publications. The letters were first photographed from a selected page of Renner's "Quadrigesimale," then
carefully studied and redrawn before the punches were cut. Mr. De Vinne has added small capitals and italics to the fount, as well as dotted letters to serve as substitutes for the italic for those who prefer them. The "Renner" type would have been more effective on a larger body; but for commercial usefulness it is generally deemed expedient to employ as small a body as the face of a type will allow. Mr. De Vinne notes, in this connection, that all the important types of the early printers were large, and that a fount designed to-day with regard only to its artistic effectiveness would be cast upon a large body and be of good size.
Mr. Bertram G. Goodhue has designed two founts of Roman type, and is now at work on a Blackletter face. His first fount, cut for Mr. D. B. Updike, of the Merrymount Press, Boston, and known as the "Merrymount," is shown in [64]. Intended for large pages and rough paper it necessarily shows to disadvantage in the example given, where the blackness and weight of the letters makes them seem clumsy, despite the refinement of their forms.
