485:, Miller and Richard, who had been in the forefront of modern face production, led the way to a new development by issuing specimens of a regularized old face which they named Old Style. The new class of old style types, of which this was the first, reverted to gradual shading and to oblique top-serifs, but retained vertical stress, and was a good deal thinner in stroke and larger on the body than the best of the old faces. Types of this kind became popular in the second half of the 19th century, without ousting modern faces. The Monotype machine was introduced to British printers in 1901; the first two type-faces cut for it in England were, first of all, a modern, cut in 1900, and, later in the same year, this old style, adapted from a popular design more recent than that of Miller and Richard….the design is rather thin and colourless; its use is now confined almost entirely to textbooks which make use of its considerable range of special sorts for foreign language composition…the letters are large on the body, light and open, and rather wide.
158:
146:
2059:
20:
189:
copy was their second best-selling typeface of all time in hot metal. Besides simple copies, it helped to create a genre of a wide range of loose revivals and adaptations of the Caslon design, visible in the wide-spreading arms of the T and the sharp half-arrow serifs on many letters. (Ronaldson Old
122:
and others have used the term "modernised old style" to describe the Miller & Richard designs to reduce ambiguity, although "Old Style" was the name under which Miller and
Richard sold it. It is sometimes classified as a "transitional" serif typeface (in the vein of typefaces of the eighteenth
102:
and the stress is vertical (the top of the round letters uniformly the thinnest part of the letter, rather than at a position of roughly eleven o'clock), reflecting changes in taste since the eighteenth century. The letters are rather wide and the italic is evenly, and rather strongly slanted. The
228:
in 1956 noted that it was still popular for niche uses due to an extensive character support accumulated over the years of its popularity. More positive reviews come from
Nesbitt, who describes it as "a light face, but well-designed throughout" and Macmillan, who describes Phemister's engraving
923:
763:
In this face the squared or angled shoulder of the m and n, and all other peculiarities of old-style, are strongly emphasized. Note the angled serifs of the lower-case, and the added angles given to many of the capitals...each character has a notable sharpness and
190:
Style by
Alexander Kay was another, as was Phemister's own later Franklin, created after he had emigrated to the United States.) Legros and Grant parodied the large number of copies of Old Style in their 1916 textbook on printing technology,
565:
Harrod's
Librarians' Glossary and Reference Book: A Directory of Over 10,200 Terms, Organizations, Projects and Acronyms in the Areas of Information Management, Library Science, Publishing and Archive Management
197:
Reviews of the aesthetic quality of Old Style in the mid-twentieth century were often low, despite its precise and careful design, and it declined in popularity. While recognising its practicality in his book
267:
in a different genre, known in the USA as the "Scotch" style. It has a 't' where the horizontal and vertical strokes make a right angle at top left. Monotype's Series 20 OId Style
Special is a loose Caslon
254:, intended as a corrective, overshot in the opposite direction. Some printers intending to copy his style used the "Old Style Antique" bolder version of Old Style for body text in order to imitate his work.
157:
145:
64:. It was a standard typeface in Britain for literary and prestigious printing in the second half of the nineteenth century and the early twentieth century, with many derivatives and copies released.
118:" printing types from around 1480–1750 (and relatively authentic copies of them) and the new "Old Style" face of Miller & Richard and its imitations, which appear rather different.
862:
A Sequel to An
Enquiry into the Nature of Certain Nineteenth Century Pamphlets by John Carter and Graham Pollard.; The Forgeries of H. Buxton Forman & T.J. Wise Re-examined
212:'s biographer William S. Peterson as "a pallid imitation of Caslon" and by Mosley as "bland". It generally went out of fashion in body text in favour of new designs such as
173:
Released at a time when Caslon type was coming back into fashion, Old Style became a standard typeface sold by many foundries. It was also copied by the new
661:
689:
The
Practice of Typography: A Treatise on the Processes of Type-making, the Point System, the Names, Sizes, Styles, and Prices of Plain Printing Types
759:
The
Practice of Typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and faces of Plain Printing Types
130:
is a descendant of a bolder version of the Old Style face, known in the nineteenth century as Old Style
Antique. ("Antique" in this case means a
98:
Like Caslon, Old Style has slanting top serifs and an avoidance of abrupt transitions of weight, but compared to Caslon it is much lighter in
1307:
86:
The exact date of Old Style's release is apparently uncertain as Miller & Richard published specimens erratically, but according to
134:-style design, with thicker build, emphatic serifs and possibly reduced stroke contrast, rather than an old-fashioned design.)
2079:
1153:
1126:
1099:
1072:
1045:
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966:
906:
840:
644:
573:
546:
409:
379:
263:
Monotype's "Series 46" "Old Style", with a quite different design is also based on a Miller & Richard typeface, but a
114:
The name "old style" is confusing, as it and "old face" have been used differently by different authors to refer to "true
870:
718:
1300:
331:
250:
found it and other typefaces of the period excessively light on the paper, although some have felt that his custom
1336:
471:
225:
108:
653:
182:
1698:
298:
2089:
2084:
1293:
23:
Miller & Richard's original specimen for their Old Style fonts, in a mock-traditional style with the
994:
208:
in 1935 as "a sort of diluted version of Caslon", by
Williamson as "rather thin and colourless", by
693:
915:
611:
1721:
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1116:
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399:
369:
174:
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958:
Edinburgh History of the Book in Scotland, Volume 4: Professionalism and Diversity 1880-2000
79:
from the 1720s, but with a modernised design. It was immediately very successful: the 1880s
71:
Alexander Phemister, were made in imitation of earlier styles of typeface, particularly the
1939:
1863:
1827:
1648:
1195:
1169:
898:
739:
28:
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8:
1949:
1839:
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264:
53:
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1914:
1712:
1668:
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1501:
1481:
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1380:
589:
151:
Old Style in a Miller & Richard specimen, showing its quite wide, light structure.
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1968:
1857:
1804:
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1415:
1331:
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Edinburgh History of the Book in Scotland, Volume 3: Ambition and Industry 1800-1880
2017:
1852:
1798:
1762:
1529:
1316:
891:
343:
200:
186:
178:
163:
Old Style Italic in a Miller & Richard specimen. The italic has a strong slant.
1275:
1630:
1591:
1564:
1552:
1386:
213:
205:
2039:
1973:
856:
662:"An excerpt from Nineteenth-Century American Designers & Engravers of Type"
247:
209:
76:
2073:
1883:
1780:
347:
1978:
1345:
1281:
Effra Press, showing Monotype Old Style series 2 & 151 and bold weights
294:
232:
Several digitisations are available, often of later hot metal adaptations.
119:
87:
68:
50:
989:
The Kelmscott Press: A History of William Morris's Typographical Adventure
507:
83:
describes its popularity as "unsurpassed in the annals of type-founding".
2045:
1421:
251:
217:
104:
1944:
1726:
1523:
1427:
1374:
131:
115:
99:
111:
describes it as "large on the body, light and open, and rather wide".
1663:
1495:
1285:
1280:
795:
57:
1403:
61:
46:
924:"Letterpress and Picture in the Literary Periodicals of the 1890s"
500:
An Enquiry into the Nature of Certain Nineteenth Century Pamphlets
418:
1833:
1037:
Decadent Enchantments: The Revival of Gregorian Chant at Solesmes
743:
1064:
No Art Without Craft: The Life of Theodore Low De Vinne, Printer
332:"Nineteenth-century reactions against the didone type model - I"
1889:
1464:
1409:
194:, by printing a poem with different lines in different copies.
72:
67:
The Old Style faces of Miller & Richard, reportedly cut by
24:
1983:
1934:
1877:
1511:
1431:
1091:
The Collected Letters of William Morris, Volume IV: 1893-1896
604:
221:
43:
19:
367:
289:
287:
285:
283:
123:
century such as Baskerville) due to these modernisations.
1188:
1023:. CUP Archive. 1959. pp. 11, 30. GGKEY:L0XRUJA9NW4.
466:
464:
462:
460:
458:
280:
1118:
Delphi Complete Works of William Morris (Illustrated)
828:
685:
455:
2062:
Dates are approximate only. Not all typefaces shown.
1214:
49:
cut from the mid-nineteenth century and sold by the
1240:
1141:
984:
769:
632:
1162:
1145:William and Henry Walters, the Reticent Collectors
1040:. University of California Press. pp. 27–35.
1033:
986:
950:
948:
890:
224:by the mid-twentieth century in Britain, although
954:
733:
534:
503:. Ardent Media. pp. 57–8. GGKEY:0Z3HKKTXT9E.
90:and Morris it first appears in an 1860 specimen.
2071:
961:. Edinburgh University Press. pp. 122–149.
368:E. C. Bigmore; C. W. H. Wyman (28 August 2014).
1067:. David R. Godine Publisher. pp. 116–140.
980:
978:
945:
888:
822:
639:. David R. Godine Publisher. pp. 262–280.
361:
1114:
1094:. Princeton University Press. pp. 39–40.
1087:
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884:
882:
706:
404:. Edinburgh University Press. pp. 27–30.
1301:
855:
561:
555:
530:
528:
1135:
1054:
1027:
975:
865:. London: Scolar Press. pp. 72, 76–78.
582:
993:. University of California Press. pp.
879:
519:Type Designs: Their History and Development
496:
2058:
1308:
1294:
1108:
1081:
626:
525:
478:. Oxford University Press. pp. 97–8.
470:
393:
391:
374:. Cambridge University Press. p. 42.
1142:William R. Johnston (22 September 1999).
804:"Discursions of a Retired Printer, No. 3"
761:. New York: The Century Co. p. 202.
713:. Yale University Press. pp. 146–7.
679:
490:
397:
325:
323:
321:
319:
756:
18:
801:
541:. Courier Corporation. pp. 13–15.
513:
424:
388:
229:technique as "of the highest quality".
2072:
1315:
955:David Finkelstein (23 November 2007).
931:Modern Humanities Research Association
538:The History and Technique of Lettering
316:
1289:
1034:Katherine Bergeron (10 August 1998).
430:"Old-Face Types in the Victorian Age"
329:
1121:. Delphi Classics. pp. 6551–2.
734:Whittington Press (14 April 2016).
633:Alexander S. Lawson (January 1990).
107:type of the mid-eighteenth century.
42:, was the name given to a series of
1731:Palace and Dorchester Script (1938)
1368:(1911) and Italian Old Style (1919)
1020:A Psychological Study of Typography
921:
736:"Sales chart of Monotype die cases"
659:
216:or more authentic revivals such as
13:
1246:
293:
14:
2101:
1269:
835:. Рипол Классик. pp. 117–8.
2057:
829:L.A. Legros; J.C. Grant (1916).
660:Loy, William (28 January 2011).
156:
144:
1115:William Morris (13 June 2015).
1088:William Morris (14 July 2014).
1011:
889:Stanley Morison (7 June 1973).
849:
832:Typographical Printing-Surfaces
750:
727:
700:
612:"Bookman Old Style - Microsoft"
562:Ray Prytherch (15 April 2016).
257:
241:
192:Typographical Printing Surfaces
686:Theodore Low De Vinne (1899).
398:Bill Bell (23 November 2007).
1:
1148:. JHU Press. pp. 105–7.
933:. Yearbook of English Studies
568:. Routledge. pp. 504–5.
274:
2080:Transitional serif typefaces
985:William S. Peterson (1991).
692:. Century Company. pp.
7:
757:De Vinne, Theodore (1902).
299:"Recasting Caslon Old Face"
10:
2106:
1597:Zarotto/Mardersteig (1932)
535:Alexander Nesbitt (1998).
371:A Bibliography of Printing
168:
137:
2055:
2026:
2007:
1958:
1924:
1901:
1820:
1752:
1738:
1539:
1396:
1358:
1324:
521:. Grafton. pp. 85–7.
93:
16:Series of serif typefaces
1342:French Round Face (1906)
1276:Whittington Press sample
897:. CUP Archive. pp.
859:; Collins, John (1983).
710:An A-Z of Type Designers
235:
81:Bibliography of Printing
1652:(for the Greynog Press)
1061:Irene Tichenor (2005).
707:Neil Macmillan (2006).
348:10.1163/157006971x00301
38:, later referred to as
1222:"Linotype Old Style 7"
476:Methods of Book Design
204:, it was described by
103:two-way Q recalls the
32:
1684:(for R & R Clark)
777:"Ronaldson Old Style"
636:Anatomy of a Typeface
175:hot metal typesetting
22:
1627:Felix Titling (1934)
590:"Monotype Old Style"
497:John Carter (1967).
330:Ovink, G.W. (1971).
54:Miller & Richard
40:modernised old style
1911:News Plantin (1979)
1468:(1926, private use)
265:"modern" serif font
2090:Linotype typefaces
2085:Monotype typefaces
1449:Goudy Heavy (1925)
1371:Forum Title (1911)
1351:Goudy Light (1908)
1253:Typefoundry (blog)
810:. pp. 817–822
808:The Inland Printer
515:Johnson, Alfred F.
426:Johnson, Alfred F.
33:
2067:
2066:
2034:Classic Grotesque
1893:(general release)
1808:(general release)
1699:Twentieth Century
1438:Italian Old Style
1196:"Bruce Old Style"
1155:978-0-8018-6040-9
1128:978-1-910630-92-1
1101:978-1-4008-6424-9
1074:978-1-56792-286-8
1047:978-0-520-91961-7
1004:978-0-520-06138-5
968:978-0-7486-2884-1
908:978-0-521-09786-4
842:978-5-87232-330-3
646:978-0-87923-333-4
575:978-1-317-12361-3
548:978-0-486-40281-9
437:Monotype Recorder
411:978-0-7486-2881-0
381:978-1-108-07433-9
128:Bookman Old Style
2097:
2061:
2060:
1994:Strayhorn (1995)
1965:Ellington (1990)
1868:Albertina (1964)
1847:(public release)
1795:Mercurius (1957)
1792:Castellar (1957)
1763:Festival Titling
1709:Van Dijck (1937)
1635:Van Dijck (1935)
1492:Pastonchi (1928)
1455:Horley Old Style
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922:Dowling, Linda.
919:
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896:
893:A Tally of Types
886:
877:
876:
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846:
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820:
819:
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802:Quadrat (1906).
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472:Williamson, Hugh
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201:A Tally of Types
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75:typeface cut by
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1991:Columbus (1992)
1954:
1920:
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1759:Condensa (1951)
1748:
1734:
1693:(for J.M. Dent)
1631:Tempest Titling
1600:Monoline Script
1592:Times New Roman
1553:Ashley Crawford
1535:
1440:(Goudy, 1924/7)
1392:
1387:Caslon Old Face
1354:
1348:(1907 and 1920)
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1247:Mosley, James.
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226:Hugh Williamson
214:Times New Roman
206:Stanley Morison
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109:Hugh Williamson
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1478:Othello (1928)
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1270:External links
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1249:"Scotch Roman"
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742:) – via
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1979:Book Antiqua
1892:
1874:New Berolina
1846:
1807:
1777:Klang (1955)
1692:
1683:
1651:
1645:Grock (1935)
1639:
1467:
1346:Scotch Roman
1256:. Retrieved
1252:
1242:
1230:. Retrieved
1225:
1216:
1204:. Retrieved
1199:
1190:
1178:. Retrieved
1173:
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935:. Retrieved
930:
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812:. Retrieved
807:
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785:. Retrieved
780:
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669:. Retrieved
665:
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616:. Retrieved
606:
594:. Retrieved
584:
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479:
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445:. Retrieved
440:
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370:
363:
351:. Retrieved
342:(2): 18–31.
339:
335:
306:. Retrieved
303:Type Foundry
302:
259:
243:
231:
199:
196:
191:
172:
125:
120:Walter Tracy
113:
97:
88:James Mosley
85:
80:
66:
51:type foundry
39:
35:
34:
27:and archaic
2046:Joanna Sans
2036:(2012/2016)
1722:Sachsenwald
1588:Littleworth
1559:Braggadocio
1422:Baskerville
1202:. Bitstream
1170:"Old Style"
937:10 February
787:27 November
618:26 February
614:. Microsoft
596:26 February
443:(242): 5–14
353:20 February
268:adaptation.
252:Golden Type
218:Baskerville
105:Baskerville
69:punchcutter
2074:Categories
2000:Gill Facia
1988:Carré Noir
1727:Haarlemmer
1570:Leysbourne
1524:Goudy Sans
1472:Bernard MT
1428:Poliphilus
1258:9 February
1232:9 February
1228:. Linotype
1206:9 February
1180:9 February
1176:. Monotype
764:clearness.
671:3 February
592:. Fontshop
482:: In 1852
447:3 February
275:References
187:Monotype's
177:companies
132:slab serif
1940:Footlight
1864:Traveller
1664:Gill Kayo
1649:Gwendolin
1618:Colmcille
1532:(c. 1929)
1496:Gill Sans
1452:Engravers
1337:Old Style
1319:typefaces
814:10 August
666:Oak Knoll
336:Quaerendo
116:old-style
58:Edinburgh
47:typefaces
36:Old Style
29:ligatures
2014:Neo Sans
1950:Cantoria
1845:Fontana
1840:Octavian
1769:Spectrum
1704:Ehrhardt
1677:(1935-9)
1675:Albertus
1638:Fontana
1613:Rockwell
1582:Falstaff
1518:Deepdene
1487:Perpetua
1444:Fournier
1416:Garamond
1404:Garamont
1366:Veronese
1317:Monotype
517:(1959).
474:(1956).
428:(1931).
308:1 August
183:Linotype
179:Monotype
62:Scotland
1945:Calisto
1915:Calvert
1871:Cartier
1834:Univers
1774:Angelus
1713:Pegasus
1669:Romulus
1658:Emerson
1624:Menhart
1604:Walbaum
1573:Placard
1547:Lutetia
1506:Arrighi
1502:Centaur
1482:Lutetia
1381:Plantin
1375:Imprint
1226:MyFonts
1200:MyFonts
1174:MyFonts
781:MyFonts
744:Twitter
169:History
138:Gallery
2048:(2015)
2042:(2013)
1997:Cachet
1969:Amasis
1917:(1979)
1890:Barbou
1886:(1967)
1880:(1967)
1860:(1962)
1858:Apollo
1849:(1961)
1842:(1961)
1836:(1961)
1830:(1960)
1810:(1958)
1805:Joanna
1801:(1957)
1783:(1956)
1771:(1955)
1765:(1951)
1715:(1937)
1706:(1937)
1695:(1937)
1690:Joanna
1686:(1937)
1681:Bulmer
1671:(1936)
1660:(1936)
1654:(1935)
1642:(1935)
1615:(1934)
1606:(1933)
1594:(1932)
1585:Inflex
1579:Script
1567:(1931)
1561:(1930)
1555:(1930)
1549:(1930)
1526:(1929)
1520:(1929)
1514:(1929)
1508:(1929)
1489:(1928)
1475:Gallia
1465:Barbou
1461:(1926)
1446:(1925)
1434:(1923)
1424:(1923)
1418:(1922)
1412:(1921)
1410:Bodoni
1406:(1921)
1389:(1915)
1383:(1913)
1377:(1912)
1339:(1900)
1332:Modern
1152:
1125:
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1001:
965:
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869:
839:
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643:
572:
545:
408:
378:
100:colour
94:Design
73:Caslon
25:long s
2027:2010s
2018:Slate
2008:2000s
1984:Curlz
1959:1990s
1935:Arial
1925:1980s
1902:1970s
1878:Sabon
1853:Forte
1821:1960s
1799:Dante
1786:Swing
1753:1950s
1739:1940s
1621:Runic
1540:1930s
1530:Solus
1512:Bembo
1504:with
1432:Blado
1397:1920s
1359:1910s
1325:1900s
927:(PDF)
901:–18.
740:Tweet
433:(PDF)
236:Notes
222:Bembo
56:, of
44:serif
1576:Kino
1565:Bell
1430:and
1260:2017
1234:2017
1208:2017
1182:2017
1150:ISBN
1123:ISBN
1096:ISBN
1069:ISBN
1042:ISBN
999:ISBN
963:ISBN
939:2017
903:ISBN
867:ISBN
837:ISBN
816:2017
789:2015
715:ISBN
673:2017
641:ISBN
620:2017
598:2017
570:ISBN
543:ISBN
449:2017
406:ISBN
376:ISBN
355:2016
310:2015
220:and
181:and
2040:SST
696:–4.
694:191
344:doi
185:.
60:in
2076::
1251:.
1224:.
1198:.
1172:.
995:25
977:^
947:^
929:.
899:16
881:^
806:.
779:.
664:.
527:^
457:^
441:30
439:.
435:.
390:^
338:.
334:.
318:^
301:.
297:.
282:^
1309:e
1302:t
1295:v
1262:.
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1184:.
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1104:.
1077:.
1050:.
1007:.
971:.
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791:.
746:.
738:(
723:.
675:.
649:.
622:.
600:.
578:.
551:.
451:.
414:.
384:.
357:.
346::
340:1
312:.
31:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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