Typeface Index: C

Cable (BB&S)

Barnhart Brothers & Spindler. Reviewed in The American Bookmaker Vol. 12, No. 1 (1891-04): 9-10.

Cadmus Title (Farmer)

Farmer, Little. Shown in The American Bookmaker Vol. 10, No. 2 (1890-02): i.

Calypso

Titling (i.e., uppercase only). By Roger Excoffon for Fonderie Olive in 1958. Copied by Typefounders, Inc. [of Phoenix] by 1967 as Dimension. Shown in Jaspert, Berry, Johnson. Encyclopedia of Typefaces. 4th ed. (1970, reprinted variously): 258.

Cancellaresca Milanese

2009 (digital precursor), 2011/2012 (metal). Designed by Russell Maret. Its companion roman is Gremolata. Private typeface.

Carnet du Bal

See Tuscan Outline

Carnival

See Tuscan Ombree. Not to be confused with Old Carnival.

Caslon Adbold Extended

Keystone. Shown: The Inland Printer. Vol. 53, No. 2 (May, 1914): after p. 208) .

Calson Old Style [No. 71] (ATF)

A renaming in 1897 by Bullen at ATF of what ATF had most recently called Old Style No. 71 (this was originally Old Style (Johnson)). {McGrew} See Caslon Oldstyle No. 471 (ATF) for its history in a single entry.

Caslon Oldstyle No. 471 (ATF No. 50)

Originally "Old Style" by the Johnson Type Foundry. Renamed Original Old Style by their successors, MSJ. MSJ series no. 71. Became ATF Old Style No. 71 after ATF amalgamation. Renamed Caslon Old Style by Bullen in 1897. Renumbered "471" ('4' for faces acquired from MSJ) in the circa 1930 numbering of ATF's faces.

In Stevens L. Watts' Kittypot Castings series of revivals, Original Old Style Italic ( Kittypot Casting No. 2), a face which originated in White's Type Foundry) is said to line with ATF Caslon Oldstyle No. 471. As one presumes that lining information at ATF was determined before production casting began, and as it is unlikely that ATF re-lined either face for Watts' castings, it is likely that at some point in the early 20th century both faces were re-lined to work together.

Caslon's Pica Samaritan (ca. 1734)

[TO DO: extract example from Reed] A pica font of matrices for the Samaritan alphabet, cut by Dummers for William Caslon I. Shown in Caslon's 1734 Specimen. { Reed, p. 345}

Caxton Bold (Marder, Luse)

Cut for Marder, Luse by Nicholas J. Werner. Shown in the Saxe/Johnston edition of Loy, p. 109.

Unique Celtic (MSJ)

MacKellar, Smiths and Jordan. Filed as Unique Celtic (MSJ) in the U section.

Centaur

Cut by Robert Wiebking to a design by Bruce Rogers.

Centaur was later given a companion italic, Arrighi, by Frederic Warde.

Chaucer

1891. Cut in Great Primer (approx. 18 point) by Edward Philip Prince for William Morris.

See also Troy, which is a pica (approx. 12 point) version of Chaucer.

Cheltenham Families

ATF, Mergenthaler, Lanston, Ludlow. As "Bodonia" (by ?; McGrew says "in Italy"), "Cheltonian" by Intertype, Chesterfield by Western Type Foundry [n.b., the Western Type Foundry was purchased by Barnhart Brothers and Spindler in 1918, but Cheltenham appears as Cheltenham in the 1925 BB&S catalog; BB&S had been owned by ATF since 1911), Craftsman by Hansen, and "Gloucester" by Monotype UK,

Original designs (Cheltenham Old Style and Cheltenham Italic (n.b., not "Cheltenham Old Style Italic")) by Bertram Grosvenor Goodhue with Ingalls Kimball (diretor of the Cheltenham Press), Morris Fuller Benton, and possibly Joseph W. Phinney.

Cheltonian

Intertype copy of Cheltenham. See entry for Cheltenham Families

Cherokee Typeface by Torvald Faegre

See entry for Faegre's Cherokee Typeface.

Chesterfield

Western Type Foundry copy of Cheltenham. See entry for Cheltenham Families

Circular Script (MSJ/ATF, Phoenix)

Designed and cut by William W. Jackson for MacKellar, Smiths & Joradn; patented 1883-10-02.

Circus

Revival by Typefounders, Inc. [of Phoenix] of a 19th century face listed at least as Bruce Ornamented No. 881 (1865), but also shown in earlier French specimens.

Cirrous

Cleveland Type Foundry, by 1885. Possibly related to Acadian No. 3 & No. 4

Claytonian

1964 copy by John S. Carroll of [FINISH LINKS; see McGrew]

Cloister Black

ATF No. 98. 1904. By Joseph W. Phinney (possibly with, or possibly entirely by Morris Fuller Benton) for ATF. Unrelated to Cloister (Old Style) Family.

Cloister (Old Style) Family

By Morris Fuller Benton for ATF. Unrelated to Cloister Black. [TO DO: add family, and Lanston copies]

Columbian Italic

A copy of Crayonette (Keystone) by H. W. Caslon & Co., Ltd.

Columbine

1964 copy by John S. Carroll of [FINISH LINKS; see McGrew]

Concave

Originally released in 1884 by Marder, Luse. Designer unknown (it is not mentioned in Loy).

Copperplate, Italic (Ihlenburg/MSJ, 1878)

See Italic Copperplate (MSJ)

Cordon

1963 adaptation by John S. Carroll of [FINISH LINKS; see McGrew] [also, not noted in McGrew, is Two Line Pica Ornamented by Farmer, Little in 1867. sheet 311 of the DjVU digitization]

Corinthian

Copy [date?] by John S. Carroll of [FINISH LINKS; see McGrew]

Also offered for hand setting by Acme Type Foundry in the late 1950s or early 1960s.

Craftsman

Hansen copy of Cheltenham. See entry for Cheltenham Families

Crayon

1886. By Hermann Ihlenburg for MacKellar, Smiths & Jordan.

Crayonette

This is a lovely face with obscure origins and a complex history of copying and recasting. The main discussion of its origins is in the Crayonette by Keystone Type Foundry section.

Crown

Barnhart Brothers & Spindler. Reviewed in The American Bookmaker Vol. 12, No. 5 (1891-05): 133-135, where it is said to be "the rimmed shaded of Farmer, Little & Co. of 1867, but even then old." A Rimmed Shade series is shown in the 1867 Farmer, Little & Co. specimen book (unpaginated, but on image 271 of the digitization of the Cornell University copy presented at The Internet Archive). However, that face resembles Crown only insofar as it is rimmed; Farmer, Little show quite a number of other rimmed faces in the same specimen.

Crystal

Farmer, Little & Co.. Reviewed in The American Bookmaker Vol. 12, No. 2 (1891-02): 36.

Cushing Old Style (Central)

Cut by Gustave F. Schroeder while at Central Type Foundry. Date unknown, but Schroeder was at Central from ca. 1881 to 1888 or 1889. Shown in the Saxe/Johnston edition of Loy, p. 75.

Custer Bold

Cut by Gustave F. Schroeder independently, for Western Type Foundry. Date unknown; Western was in existence from 1906 to 1918.

Schroeder's cutting of it is mentioned in Werner, N. J. An Address by N. J. Werner of St. Louis. St. Louis: [St. Louis Club of Printing House Craftsmen, 1931. , reprinted as "St. Louis in Type-Founding History" Share Your Knowledge Review, Vol. 22, No. 3 (January 1941): 21-26. It is not mentioned in Loy, in the Saxe/Johnston edition of Loy, or in Annenberg's Typographical Journey through the Inland Printer.

McGrew identifies Custer Bold as a Western Type Foundry face, and notes that it was renamed Bookman Bold by BB&S after they acquired Western.