Big Caslon Bold Font

[Achill Baldwin]

Isuspect that back in Garamond/Caslon's time there would not have been any bold version of their type, even though modern Garamond and Caslon fonts tend to include bold variants. But I have failed to find out whether this is true or when having a bold variant in typography (for the purpose of emphasis within text) came into being.

As KMSTR states, the idea of a "bold" typeface has its own channel of history. A blackletter in contrast to a Roman font would certainly appear bold, and chunky lettering goes back much further than either of those styles.

According to this and this, bold typeface developed historically different from roman and italic. Emphasis (variance in blackness) was was achieved by letter-spacing. To actually achieve "bold", one would have to replace fonts. So maybe your research should focus on mixing typefaces.

Can't seem to find an easy way to contact Adobe. I am trying to use Adobe Caslon Pro font. I install it via Creative Cloud. The semibold version does not appear at all in my list of available fonts in Word. The Regular font is not the same spacing in Word as it appears in Illustrator where everything works perfectly well. I have not had a problem before with fonts from CC when using with Office 365 until now. Can anyone advise as I've found it impossible to find a way to contact with the Adobe Help team via my account...

2. Unlike Word processors, bold is not an available option when editing text in Nitro. For example, if you are using Calibri and you want to make a section bold, you have to swap to the 'Calibri-Bold' font. To do this, click on the Edit tool, then select the text. The format tab will appear and here you can change the font type using the dropdown menu. Kindly refer to the screenshot attached.

Thanks for your help, but I downloaded the latest build as you suggested, and unfortunately, the Montserrat fonts still do not appear. I ran a Support Tools Report and see the fonts that I want at the bottom of the fonts list (see below),

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Caslon worked as an engraver of punches, the masters used to stamp the moulds or matrices used to cast metal type.[1][2][3] He worked in the tradition of what is now called old-style serif letter design, that produced letters with a relatively organic structure resembling handwriting with a pen. Caslon established a tradition of engraving type in London, which previously had not been common, and was influenced by the imported Dutch Baroque typefaces that were popular in England at the time.[4][5][6][7] His typefaces established a strong reputation for their quality and their attractive appearance, suitable for extended passages of text.[8][9]

The letterforms of Caslon's roman, or upright type include an "A" with a concave hollow at top left and a "G" without a downwards-pointing spur at bottom right. The sides of the "M" are straight.[10] The "W" has three terminals at the top and the "b" has a small tapered stroke ending at bottom left.[10] The "a" has a slight ball terminal.[11] Ascenders and descenders are relatively short and the level of stroke contrast is modest in body text sizes. In italic, Caslon's "h" folds inwards and the "A" is sharply slanted.[10] The "Q", "T", "v", "w" and "z" all have flourishes or swashes in the original design, something not all revivals follow.[10] The italic "J" has a crossbar, and a rotated casting was used by Caslon in many sizes on his specimens to form the pound sign.[3] However, Caslon created different designs of letters at different sizes: his larger sizes follow the lead of a type he sold cut in the previous century by Joseph Moxon, with more fine detail and sharper contrast in stroke weight, in the "Dutch taste" style.[12] Caslon's larger-size roman fonts have two serifs on the "C", while his smaller-size versions have one half-arrow serif only at top right.

Caslon's typefaces were popular in his lifetime and beyond, and after a brief period of eclipse in the early nineteenth century returned to popularity, particularly for setting printed body text and books. Many revivals exist, with varying faithfulness to Caslon's original design.[13] Modern Caslon revivals also often add features such as a matching boldface and "lining" numbers at the height of capital letters, neither of which were used in Caslon's time.[14][a] William Berkson, designer of a revival of Caslon, describes Caslon in body text as "comfortable and inviting".[15]

Caslon's type rapidly built up a reputation for workmanship, being described by Henry Newman in 1733 as "the work of that Artist who seems to aspire to outvying all the Workmen in his way in Europe, so that our Printers send no more to Holland for the Elzevir and other Letters which they formerly valued themselves much."[4][29][c] Mosley describes Caslon's Long Primer No. 1 type as "type with generous proportions and it was normally cast with letter-spacing that was not too tight, characteristics that are needed in types on a small body. And yet it is so soundly made that words that are set in it keep their shape and are comfortably readable...It is a type that works best in the narrow measure of a two-column page or in quite modest octavos."[31] Caslon sold a French Canon face he did not engrave that may to have been the work of Joseph Moxon with some modifications, and his larger-size faces follow this high-contrast model.[17] He publicised his type through contributing a specimen sheet to Chambers' Cyclopedia, which has often been cut out by antiquarian book dealers and sold separately.[16]

Compared to the more delicate, stylised and experimental "transitional" typefaces gaining ground in mainland Europe during Caslon's life, notably the romain du roi type of the previous century, the work of Pierre-Simon Fournier in Paris, Fleischmann in Amsterdam and the Baskerville type of John Baskerville in Birmingham that appeared towards the end of Caslon's career, Caslon's type was quite conservative. Johnson notes that his 1764 specimen "might have been produced a hundred years earlier".[32] Stanley Morison described Caslon's type as "a happy archaism".[33]

Besides regular text fonts, Caslon cut blackletter or "Gothic" types, which were also printed on his specimen. These could be used for purposes such as title pages, emphasis and drop caps.[35] Bold type did not exist in Caslon's time, although some of his larger-size fonts are quite bold.[14]

One criticism of some Caslon-style typefaces has been a concern that the capitals are too thick in design and stand out too much, making for an uneven colour on the page. Printer and typeface designer Frederic Goudy was a critic: "the strong contrast between the over-black stems of the capitals and the light weight stems in the lower-case...makes a 'spotty' page". He cited dissatisfaction with the style as an incentive for becoming more involved in type design around 1911, when he created Kennerley Old Style as an alternative.[36]

Caslon's types fell out of interest in the late eighteenth century, to some extent first due to the arrival of "transitional"-style typefaces like Baskerville and then more significantly with the growing popularity of "Didone" or modern designs in Britain, under the influence of the quality of printing achieved by printers such as Bodoni.[39][18][d] His Caslon foundry remained in business at Chiswell Street, London, but began to sell alternative and additional designs.[40][41] His grandson, William Caslon III, broke away from the family to establish a competitor foundry at Salisbury Square, by buying up the company of the late Joseph Jackson.[42] Justin Howes suggests that there may have been some attempt to update some of Caslon's types towards the newer style starting before 1816, noting that Caslon type cast by the 1840s included "a handful of sorts, Q, [an open-form italic] h, ſh, Q, T and Y, which would have been unfamiliar to Caslon, and which may have been cut at the end of the eighteenth century in a modest attempt to bring Old Face up to date. The h, ſh and T are to be seen [in a book from] 1816, large parts of which appear to have been printed from well-worn standing type."[3]

At the commencement of the 18th century the native talent of the founders was so little prized by the printers of the metropolis, that they were in the habit of importing founts from Holland, ...and the printers of the present day might still have been driven to the inconvenience of importation had not a genius, in the person of William Caslon, arisen to rescue his country from the disgrace of typographical inferiority.[43]

Interest in eighteenth-century printing returned in the nineteenth century with the rise of the arts and crafts movement, and Caslon's types returned to popularity in books and fine printing among companies such as the Chiswick Press, as well as display use in situations such as advertising.[45][46][47][48]

Fine printing presses, notably the Chiswick Press, bought original Caslon type from the Caslon foundry; copies of these matrices were also made by electrotyping.[45] From the 1860s new types began to appear in a style similar to Caslon's, starting from Miller & Richard's Modernised Old Style of c. 1860.[49] (Bookman Old Style is a descendant of this typeface, but made bolder with a boosted x-height very unlike the original Caslon.[49]) The Caslon foundry covertly replaced some sizes with new, cleaner versions that could be machine-cast and cut new swash capitals.[45]

In the United States, "Caslon" became almost a genre, with numerous new designs unconnected to the original, with modifications such as shortened descenders to fit American common line, or lining figures, or bold and condensed designs, many foundries creating (or, in many cases, pirating) versions.[50] By the 1920s, American Type Founders offered a large range of styles, some numbered rather than named.[51] The hot metal typesetting companies Linotype, Monotype, Intertype and Ludlow, which sold machines that cast type under the control of a keyboard, brought out their own Caslon releases.

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