|Original sketches of Cheltenham by Bertram Goodhue (Source: Anatomy of a Typeface)|
If you have even seen a copy of The New York Times, you have seen an example of a Cheltenham typeface. Originally designed in 1896 by Bertram Goodhue, an architect, and Ingalls Kimball, the director of the Cheltenham Press, the typeface went through some changes before it appeared as we know it. The initial drawings were known as Boston Old Style, a huge font with letters 14″ high, before being turned over to the American Type Founders, where Morris Fuller Benton worked it into a final design. His cuttings, which were made as early as 1899, went through a series of trials before being completed in 1902.
Though Cheltenham was originally intended to be used for text, it became renowned as a display face. Throughout the early 20th century, Cheltenham remained immensely popular, with 21 variations cut by Benton by 1915 and 23 produced by 1918. Cheltenham was among the first typefaces to be released as a complete type ‘family’, which helped it gain popularity, as its many variations gave it a great versatility.
|The Cheltenham family, 1918. Via Know Your Type|
Cheltenham (nicknamed “Chelt” by typesetters) gained great prominence when it was adopted by The New York Times in 1906. While the face became less fashionable in the 1930s, when it began to be seen as too old-fashioned, the original Cheltenham typeface remained in use by the Times for nearly a century, and was only recently replaced with a modified version in 2003. Created by type designer Matthew Carter, their proprietary update of the typeface is known as “Times Cheltenham”.
The Center for Book Arts has many different sizes and styles from the Cheltenham family. Whether you want to create your own newspaper, or a novel of your work, Cheltenham is a sleek, versatile, and straightforward way to get your message across.
Can’t get enough Tuesday Typefaces? Be sure to join us this Wednesday for the first of a series of three lectures on the history, practice, and future of type design, here at the Center for Book Arts:
History of Art Series: Typography
Wednesday, February 8th , 6:30pm
A discussion of Letterpress and Leaves of Grass. With Barbara Henry, artist, printer, and typographer. Barbara was, for over 20 years, Curator of Bowne & Co., Stationers and her work is in many libraries and special collections. One of Barbara’s particular fields of interest is Nineteenth Century type design. Join us for an exploration of nineteenth century printing, type history and contemporary applications.
$10 suggested donation/ $5 members
More information (on this and future events) along with direction on how to get to the Center for Book Arts can be found on our website: http://www.centerforbookarts.org/
Have any stories about your favorite (or least favorite) typeface? Want to give us suggestions or comments? Comment on this post, email us at email@example.com, visit us on Facebook (/centerforbookarts) or follow us on Twitter (@center4bookarts). Can’t wait to see you there!