Masthead Introdeedby Dennis Balleyin 1982 ith aa Fes 2 anissue hich established che journal's graph Jetemplate),themasthead foraaFilesissetin ‘igCaslon,a display ype subsequently revived bbyMatthew Carterin 1994, and modelledona tmid-eghteenth-centuryspecimen fromthe Cason ype foundsy- When William Caslon bbegancuting punchesin thecaly 17205 there wasstila tendency in Britain o relyon imported ‘matrees.Caslontookthe fashionable Deh Ole Paces ashi model (ve continue the godt ollandatse inthe new body face), and scon the foundry developedan English styles wellas the rst sans-seifprinting ypecizea 1816) ‘which would become the standard model for much ofthe century Inthisissue ora les ‘wel maintained the Big Casion masthead ‘ape buthave madeslligature out ofthe wos, -acontextua, decorave form consistent with ‘other ypographle changes inside he journal, Boxy Text “Thenew bod face foraa Fess setin Arshem Blond (not quite light) andthe headings in Amlem Fine, refined, erisperand lighter or larger sles designed byFred Smeljersin 2002. ‘heauthors namesare set in them Fine alle ~thetype family memberwhich mostcleaely shows the infhuenceofeighteenthceneary alles producedbythe French punch-eutterPieere ‘Simon Fourier. Writing on Steljers Amher ‘ppefaces, andy Crewdson notes that like many ofthe most enduring modeen text ypefaes, Arnliemaddresses the past nan ineligent ay while mekinga contribationvery much ois ‘own time’ Smeijers eraf-centred approach to ‘ype design andthe techniques of making ype ‘byhand trough othe transition o designing Agta ypeare explored inhisbook. ‘Counterpunch 3996) Display ype ydisplayemean thecategor/oftype devised forhighlighting parcularwords and letters rather chan for continaows reading. Theinnovs- tions English puneh-eutters inthis category ‘ofleter form were fist develope inthe ei teenth and early nineteenth centurytomeetthe ‘demands ofcommerc,printand monumental Inseeptions. Many ofthe new nineteenth century deplay letter forms originated with sign ‘writes and architests-reversed ype on. black background work like stucco inlayson a Regency building; shadowed andshaded eters appear ashes relief architectural leering and per- haps theorgin ofa nineteenth: and ewentith- century sans srifletter forms canbe found in John Soane's architectural drawings from 1780. ‘Yerwithin the many novelvariantsofform, colourand contrast fund in Tuscan, sans seritsand Egyptians (the hree essential variants ‘within any peface there appeatsto bea shared e A Note on the Type John Morgan letter form—vehat James Mosely has alle ‘he inglish Vernacular Mosely, aslibrarian atthe St Bride's PrintingLibraryon Fleet Steet, expanded histhesisthat there was an unslt ‘conseiousvernacular tation inletter forms ‘which grew out of de letering used by sign writers and cuter of eghteenth-andnine- teenth century gravestones He called it Engtish ‘Vernacular because twas largely fee fom outside influences. IRs development, however, was interupted bythe broad-pen lettering of ward Johnston's ‘writingmanval and the establishmentofthe “Trajan Norm. The Architectural Room setup tthe South Kensington Museum in 185 (which survives inthe present vaa) provided a plaster astofthe Trajan column. The mueb-admieed {nseription on ts base eeame the model or inseriptional tering WR Leth, nis ‘sprincipal ofthe Cental school of Arsand Crafts hada copy made forhisstudentsand ‘with ithe ‘Trajan norm’ an inperial model, \wasestablished. Toooften thisledtoa dull, stereotyped classical leter(as used and encout- aged by municiplarchitets andy the Ministry lf Works on allpubliemonuments}andto the ddemiseofthe ft faces Fypptans,Tuscansand Crotesques in both publicleteringand ype founding. There have been revials-notablythe cay ninetsenth-century Egyptian pest the 2951 Festival ofetsin where Brish model (‘as trsh asancarly locomotive’ acording to Mosely) wasfeltmoretingthan te nlsed Classical Rom norm, ‘Ourplan forthisand ftureissuesof «ales Istoexploreand develop the English Vernacular indisply ypeswith Paul Bares (co~esigner ofthe new Guardian newspaper Egyptian body face) Thisisnotan atempeto produce pas tichehistrial ype familybutratherta continue toexplore the once vitalvarationson the theme ofthe tnglish Vernacularand see what newideas thiestimulates,Wehave begun quietly wlth aversionof Caslon foundry sansand allan. ‘Themuch-abused, so-called ‘taian'semi- ‘omamentalypeshownonthesepagesis‘an yyptian with horizontal stressandextra serfs reversed and joined tothe letter by point ‘crude expression ofan idea of perversity sccordingto NicoleteGrayin NinetenthCentury ‘Omamented typefaces, 1938-Unashamedlywe hhaveadded shadow, lendingthree-dimensional formtoperversiy. anenues 57