Fat face

File:Redford & Robins - poster - Google Art Project.jpg

File:Man of the World Young Hussar 1808.jpg

File:Wedi Crywdro… 1818.jpg

Great changes took place in the style of printed letters available from type foundries in the hundred years after 1750. At the beginning of this period, fonts in Latin-alphabet printing were predominantly intended for book printing. The modern concept of text faces having companion bold fonts did not exist, although some titling capitals were quite bold; if a bolder effect was intended blackletter might be used.{{cite web|last1=Mosley|first1=James|author-link1=James Mosley|title=Comments on Typophile thread "Where do bold typefaces come from?"|url=http://www.typophile.com/node/31036|website=Typophile|access-date=16 December 2016|quote=John Smith says in his Printer’s grammar (London, 1755). ‘Black Letter … is sometimes used … to serve for matter which the Author would particularly enforce to the reader.’|archive-url=https://web.archive.org/web/20161220175431/http://www.typophile.com/node/31036|archive-date=20 December 2016|url-status=dead}}

From the arrival of roman type around 1475 to the late eighteenth century, relatively little development in letter design took place, as most fonts of the period were intended for body text, and they stayed relatively similar in design, generally ignoring local styles of lettering or newer "pointed-pen" styles of calligraphy.{{cite web |last1=Lane|first1=John A.|author-link1=John A. Lane|last2=Lommen|first2=Mathieu|title=John Lane & Mathieu Lommen: ATypI Amsterdam Presentation |url=https://www.youtube.com/watch?v=M5BSbtBEop8 |website=YouTube |publisher=ATypI |access-date=12 July 2019}}{{efn|This was not the only way in which fonts could appear different, however: differences in x-height, spacing, condensation and colour on the page can make body text fonts look different in design even if individual letters are not that different.}}

File:Elephant vs Bodoni.png

Starting in the late seventeenth century, typefounders developed what are now called transitional and then Didone types. These typefaces had daringly slender horizontals and serif details, catching up to the steely calligraphy and copperplate engraving styles of the period, that could show off the increasingly high quality of paper and printing technology of the period.{{cite book |last1= Meggs |first1= Philip B. |last2= Purvis |first2= Alston W. |name-list-style= amp |chapter= Graphic Design and the Industrial Revolution |title= History of Graphic Design |location= Hoboken, NJ |publisher= Wiley |year= 2006 |page= 122}}{{cite book | last1=Sutton|first1= James | last2 = Sutton|first2= Alan |name-list-style= amp | title=An Atlas of Typeforms | publisher=Wordsworth Editions | year=1988 | page=59 | isbn=1-85326-911-5 | url=https://openlibrary.org/b/OL22453920M}}{{sfn|Mosley|1993|p=8}} In addition, Didone typefaces had a strictly vertical stress: without exception, the vertical lines were thicker than the horizontals, creating a much more geometric and modular design.{{efn|Didone types were at the time called 'modern' for their sophisticated image; the name has fallen from use as they have become less common in body text from around the end of the nineteenth century.}}{{cite web|last1=Phinney|first1=Thomas|title=Transitional & Modern Type Families|url=http://www.graphic-design.com/typography/design/transitional-modern-type-families|website=Graphic Design & Publishing Center|access-date=30 October 2015}}{{cite web|last1=Hoefler|first1=Jonathan|title=Didot History|url=http://www.typography.com/fonts/didot/history/|publisher=Hoefler & Frere-Jones|access-date=11 August 2015}}

A major development of the early nineteenth century was the arrival of the printed poster and increasing use of printing for publicity and advertising material. This presumably caused a desire to make eye-catching new types of letters available for printing.{{cite book|author=David Raizman|title=History of Modern Design: Graphics and Products Since the Industrial Revolution|url=https://books.google.com/books?id=J_NcHIW-zt8C&pg=PA40|year=2003|publisher=Laurence King Publishing|isbn=978-1-85669-348-6|pages=40–3}}{{cite book|last1=Eskilson|first1=Stephen J.|title=Graphic Design: A New History|date=2007|publisher=Yale University Press|location=New Haven|isbn=9780300120110|page=[https://archive.org/details/graphicdesignnew00eski/page/25 25]|url-access=registration|url=https://archive.org/details/graphicdesignnew00eski/page/25}}{{cite web|last1=Frere-Jones|first1=Tobias|author-link=Tobias Frere-Jones|title=Scrambled Eggs & Serifs|url=http://www.frerejones.com/blog/scrambled-eggs-and-serifs/|publisher=Frere-Jones Type|access-date=23 October 2015}}{{cite book|author=John Lewis|title=Typography: Design and Practice|url=https://books.google.com/books?id=e5MkzETNcsgC&pg=PA13|date=April 2007|publisher=Jeremy Mills Publishing|isbn=978-1-905217-45-8|pages=13–17}} Large typefaces clearly intended for poster use began to appear in London in the second half of the eighteenth century, introduced by the typefounders Thomas Cottrell and by William Caslon II by 1764,{{sfn|Wolpe|1964|pp=59-62}} although casting large metal type in sand for book titles was used for centuries before that.{{sfn|Mosley|1990|pp=9-10}}{{cite journal |last1=Howes |first1=Justin|author-link=Justin Howes|title=Caslon's Patagonian |journal=Matrix |date=2004 |volume=24 |pages=61–71}} Caslon's were apparently marketed for use by stagecoach services, with lists of towns on the specimen sheets.{{sfn|Wolpe|1964|p=63}} Although influenced by a textbook on architectural lettering, they still remained similar to magnified body text forms, rather than a new departure, although they did establish one precedent later followed by both fat face typefaces and modern face types generally, that numerals were at a fixed height rather than the old text figures of variable height.{{sfn|Wolpe|1964|p=62}}{{efn|Caslon II's numerals, like many early examines of modern "lining" figures, are slightly below cap height.}}

The term "fat face" itself is older than the modern genre. Meaning typefaces bolder than normal weight (but only slightly, by modern standards) it was used in 1683 by Joseph Moxon as "a broad-stemmed letter".{{sfn|Morlighem|2020|p=6}} Reference books on printing from the nineteenth century also used it to refer to new Didone typefaces that were bolder than before but still intended for printing body text or poetry.{{sfn|Morlighem|2020|pp=6-7}}

File:Robert Thorne ten lines pica typeface.jpg

According to Mosley, "the growth [of fat face letters] from existing models can be continuously traced. There is a clear parallel to it in contemporary architectural lettering...in printing types its fatness was steadily increased".{{sfn|Mosley|1993|p=10}}{{efn|Writers on the history of printing have discussed the increasing boldness of fat face-style types in the early nineteenth century as a transition from bold designs to truly fat typefaces, although it is not clear that nineteenth-century printers made any distinction. According to Alfred F. Johnson, bold typefaces begin to appear in the 1800s with the more extreme fat face types appearing on advertisements for the state lottery from around 1810.{{sfn|Johnson|1970|p=410}} The Fry Foundry's French Canon No. 2 of around 1806 has been described as a "semi-fat face";{{cite web |last1=Coles |first1=Stephen |title=Ornamented Types Introduction and Prospectus |url=https://fontsinuse.com/uses/12698/ornamented-types-introduction-and-prospectus |website=Fonts in Use |date=7 May 2016 |access-date=26 May 2020}} in the opinion of Paul Barnes the letterforms in Thorne's specimen of 1803 are not yet true fat faces, only bold. Nicolete Gray in her book Nineteenth Century Ornamented Typefaces describes the Fry Foundry's as an early paradigm but not quite the "fully developed fat face": "a superb, wide, generous letter, magnificently roman, but with a good deal less of order and more of pomp than Trajan's classic. It is the same style as the best English architectural lettering{{nbsp}}... it is not a modern face{{nbsp}}... this noble letter is merely transitional; by 1815 it has entirely disappeared from the specimen books. It is replaced by the fully developed fat face."{{sfn|Gray|1977|p=14}}}}

File:William Caslon IV Five Lines Pica No. 2 Italic.jpg was common in roundhand calligraphy.{{cite web |last1=Berry |first1=John |title=A History: English round hand and 'The Universal Penman' |url=https://blog.typekit.com/alternate/a-history-english-round-hand-and-the-universal-penman/ |website=Typekit |date=3 February 2016 |publisher=Adobe Systems |access-date=19 May 2020}}{{cite web|last1=Shaw|first1=Paul|author-link=Paul Shaw (design historian)|title=Flawed Typefaces|url=https://www.paulshawletterdesign.com/2011/05/flawed-typefaces/|website=Print magazine|access-date=20 May 2020}}]]

Two contemporary sources concurred that fat face letters were popularised by the typefounder Robert Thorne.{{sfn|Johnson|1970|p=409}} He had been an apprentice to Thomas Cottrell,{{sfn|Hansard|1825|p=360}} who pioneered large-size poster types, before setting up his own company, often called the Fann Street Foundry, in North London.{{sfn|Hansard|1825|p=360}} According to Thomas Curson Hansard (1825), "the extremely bold and fat letter, now prevalent in job-printing, owes its introduction principally to Mr. Thorne, a spirited and successful letter-founder" and according to William Savage (1822) he "has been principally instrumental in the revolution that has taken place in Posting Bills by the introduction of fat types."{{sfn|Hansard|1825|p=360}}{{sfn|Savage|1822|p=72}} Unfortunately, few typeface specimen books from the period or from his foundry survive, making it difficult to confirm this; in addition, typeface specimens of the time generally make no comments at all on the types shown.{{cite web |last1=Barnes |first1=Paul |author-link1=Paul Barnes (designer) |title=Isambard: read the story |url=https://commercialclassics.com/catalogue/isambard |publisher=Commercial Type |access-date=16 May 2020}}{{cite web |last1=Macmillan |first1=David |title=Reading Metal Type Specimens |url=https://www.circuitousroot.com/artifice/letters/press/heretics-guide/reading-metal-type-specimens/index.html |website=Circuitous Root |access-date=9 August 2023 |quote=It is always a good idea to remember that these metal type specimens are not academic treatises on the aesthetics of typefaces - they're selling fonts of type or of matrices.}}{{cite web |last1=Sowersby |first1=Kris |author1-link=Kris Sowersby |title=Family design information |url=https://klim.co.nz/blog/family-design-information/ |publisher=Klim Type Foundry |access-date=9 August 2023 |language=en |date=18 January 2023 |quote=Writing about typefaces is a relatively recent act. We rarely know what typefaces designers thought about their own work, or their rationale for making them.}}{{sfn|Mosley|1958|p=32}} From his study of specimen books, Sébastien Morlighem does not believe that the escalating trend was entirely driven by Thorne: "a lesser-known, yet decisive, contribution came from the Caslon foundry"{{sfn|Morlighem|2020|p=9}} and that "it is more accurate to see that several people – punchcutters, founders, printers, publishers – were involved in its development and popularisation".{{sfn|Morlighem|2020|p=22}}

As to the clients for these types, Mosley writes that "it is tempting to see" the lottery agent Thomas Bish as a force behind them: there were two Thomas Bishes, a father and son who were famous lottery promoters, who were well known for brash, startling advertising.{{efn|There were two Thomas Bishes, father and son. Both have been extensively discussed in literature on the history of advertising; see following sources.{{cite book |last1=Strachan |first1=John |title=Advertising and Satirical Culture in the Romantic Period |date=2007 |publisher=Cambridge University Press |isbn=978-0-521-88214-9 |pages=162–203 |chapter='Publicity to a lottery is certainly necessary': Thomas Bish and the culture of gambling}}{{cite web |last1=Short |first1=Gill |title=The Art of Advertising: an exhibition in waiting |url=http://blogs.bodleian.ox.ac.uk/jjcoll/tag/lotteries/ |publisher=Bodleian Library |access-date=26 May 2020}}{{cite web |last1=Hicks |first1=Gary |title=The First Adman: Thomas Bish and the Birth of Modern Advertising |url=https://www.victoriansecrets.co.uk/the-first-adman-thomas-bish-and-the-birth-of-modern-advertising/ |website=Victorian Secrets |access-date=26 May 2020}}}} Mosley highlights as significant a fat face in a later specimen book simply showcased with the single specimen word "Bish",{{efn|Specifically, the Caslon foundry specimen of 1830, reprinted in 1841.{{cite book |title=Specimen of Printing Types by Henry Caslon |date=1841 |publisher=London |url=https://books.google.com/books?id=LVsJAAAAQAAJ&pg=PP31 |access-date=14 September 2021}}}} and notes that Bish posters began with "heavy roman lettering engraved on wood, for which fat-face types were substituted as they became available".{{sfn|Mosley|1993|p=10}}

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File:Abolition of Slavery The Glorious 1st of August 1838.jpg

File:Ultra-bold Didone, Kinsley 1829.jpg, 1829. The counters have been reduced to abrupt, tiny slits.]]

Fat faces rapidly became popular. Whereas early poster types and titling capitals were generally only upright, fat faces were made in roman and in italics. Swash capitals for A M N V W Y were quite common; the sample text "VANWAYMAN" was used as a sample text by the Caslon type foundry to showcase them.{{cite book |title=Specimen of Printing Types |date=1821 |publisher=Caslon & Catherwood/Henry Caslon |url=https://archive.org/details/19505_20211124 |access-date=31 December 2021}}{{efn|It also appears in the White Foundry of New York specimen book of 1831{{cite book |last1=White |first1=E. |title=Specimen of modern and light face printing types and ornaments |date=1831 |location=New York |url=https://books.google.com/books?id=A3FZaoAIkWEC&pg=PP59 |access-date=15 September 2021}} and the Caslon foundry specimen book of 1841.}} They were also made down into quite small sizes.

File:Caslon 1841 specimen Canon No. 2 fat face typeface.jpg specimen uses "VANWAYMAN" as a sample text for its swash capitals.]]

Fat faces were also used in the US, where they were used on gravestones.{{cite web |last1=Shaw |first1=Paul |author-link1=Paul Shaw (design historian) |title=By the Numbers no. 2—Fat Faces in New England Cemeteries |url=https://www.paulshawletterdesign.com/2018/08/by-the-numbers-no-2-fat-faces-in-new-england-cemeteries/ |website=Paul Shaw Letter Design |access-date=13 May 2020}}{{cite web |last1=Shields |first1=David |title=A History of 'Aetna' Typefaces |url=https://etna.marksimonson.com/history/ |website=Mark Simonson |access-date=2 February 2021}} In the United States Barnhurst and Nerone comment that fat face newspaper nameplates were in fashion in the 1810s; later they were often replaced by blackletter.{{cite book|first1=Kevin G. |last1=Barnhurst|first2=John |last2=Nerone|title=The Form of News: A History|url=https://books.google.com/books?id=AIvtqbVJCAAC&pg=PA55|date=1 April 2002|publisher=Guilford Press|isbn=978-1-57230-791-9|pages=54–58}}

Mosley has particularly praised those of Vincent Figgins' foundry (digitised by Matthew Carter as Elephant, above): "exaggeration puts a huge strain on the designer if the result is to retain any coherence at all. Whoever cut the fat-faces of Vincent Figgins{{nbsp}}... handled the problems with what can only be described as elegance."{{sfn|Mosley|2003|pp=35-36}} New varieties were added by type foundries, including condensed, wide and contra-italic versions.{{cite web |last1=De Baerdemaeker |first1=Jo |title=Lean Back: The Evolution of Reverse Italics |url=https://www.youtube.com/watch?v=X_beT0ao-CE |website=YouTube |publisher=ATypI |access-date=19 May 2021}}{{cite web |last1=De Baerdemaeker |first1=Jo |title=Lean back: the evolution of reverse italics |url=https://www.studiotype.be/research/reverseitalics |website=studio type |access-date=19 July 2021}} Other display typefaces also proliferated following their lead; reverse-contrast typefaces, introduced by 1821, may be seen as an inversion of the style.{{cite journal|last1=Shields|first1=David|title=A Short History of the Italian|journal=Ultrabold: The Journal of St Bride Library|date=2008|issue=4|url=http://www.woodtyperesearch.com/short-history-of-the-italian/|pages=22–27}}{{cite book|last1=Tracy|first1=Walter|title=Letters of Credit: A View of Type Design|date=2003|publisher=David R. Godine|location=Boston|isbn=9781567922400}}

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| image1 = Austin Foundry 1838 12 Lines Ornamented, No. 4.jpg

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| alt2 = An ornamented typeface with vines and grapes on a stippled background.

| caption2 = Two decorated types from the 1838 specimen book of the Austin Letter Foundry{{cite book |title=The Specimen Book of Types Cast at the Austin Foundry by Wood & Sharwoods |date=1838 |location=London |url=https://books.google.com/books?id=tZSwzg6-nnsC |access-date=12 July 2020|last1=Foundry |first1=Austin Letter }}{{efn|A very similar design to the first type was issued in the 1841 specimen of George F. Nesbitt, this time as chromatic multi-layer wood type with multiple types for multicoloured printing.{{cite web |last1=Shields |first1=David |title=George Fash Nesbitt was born 214 years ago on January 13, 1809...Nesbitt’s 1841 wood type specimen catalog remains the first know example showing chromatics. The Butler Library at Columbia University holds the only known surviving copy of the 1841 catalog. |url=https://www.instagram.com/p/CnZvgwzrcGr/ |website=Instagram |access-date=9 June 2023}}}}

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Besides simple typefaces, variants were designed with patterns and decorations. These extended from simple inline designs to artwork such as flowers and harvest themes. Decorated fat face typefaces were cut in wood and reproduced by dabbing, or stereotype, a technique in which the wooden pattern is driven into molten metal just at the point of solidifying.{{Cite web|last1=Mosley|first1=James|title=Dabbing, abklatschen, clichage...|url=http://typefoundry.blogspot.co.uk/2006/01/dabbing-abklatschen-clichage.html|website=Type Foundry (blog)|access-date=5 October 2017|archive-date=14 November 2017|archive-url=https://web.archive.org/web/20171114190417/http://typefoundry.blogspot.co.uk/2006/01/dabbing-abklatschen-clichage.html|url-status=live}}{{cite web |last1=Bergel |first1=Giles |title=Printing cliches |url=http://www.printing-machine.org/notes/2016/6/4/printing-cliches |website=Printing Machine |access-date=25 July 2021}}{{sfn|Mosley|1990|pp=9-10}}{{sfn|Mosley|1993}}

One type foundry particularly known for decorated designs was the London foundry of Louis John Pouchée, active from 1818{{efn|But possibly slightly earlier.{{sfn|Mosley|1993}}}} to 1830.{{sfn|Mosley|1993}} Pouchée was a Freemason, and some of his foundry's types were inspired by Masonic emblems. Many of his wooden patterns are preserved.{{cite web|title=Ornamented types: a prospectus|url=http://imimprimit.com/wp-content/uploads/Prospectus-all-cropped-small.pdf|publisher=imimprimit|access-date=12 December 2015|url-status=dead|archive-url=https://web.archive.org/web/20151222083754/http://imimprimit.com/wp-content/uploads/Prospectus-all-cropped-small.pdf|archive-date=22 December 2015|df=dmy-all}}{{cite web|last1=Daines|first1=Mike|title=Pouchee's lost alphabets|url=http://www.eyemagazine.com/feature/article/pouchees-lost-alphabets|website=Eye Magazine|access-date=12 March 2016}}{{cite web |title=Ornamented Types |url=https://oa.letterformarchive.org/item?workID=lfa_antiquarianfacsimile_0008 |publisher=Letterform Archive |access-date=17 September 2021}}{{efn|Some websites have assumed that Pouchée engraved these faces himself. This is unlikely to be correct as he was not an engraver but a businessman, he was the owner of a restaurant and then a coal merchant before he became a typefounder. The blocks do not have any engravers' names on them; Mosley assumes that they are the work of multiple engravers based on the mixture of styles and notes that a few similar hand-carved wooden types have come to light in England from other sources.{{sfn|Mosley|1993}}}} While very striking, it is not clear that these types were much used: John Dreyfus reported that "the late Ellic Howe, a printing historian and a Freemason, failed to discover any piece of printing on which Pouchée's Masonic types were used". He suggested that the fine detail of Pouchée's ornamented letters was not practical for job printing work at the time and that some of the designs were too large for playbills and handbills, their likely market.{{cite journal |last1=Dreyfus |first1=John |title=Book Reviews: Ornamented Types |journal=Bulletin of the Printing Historical Society |pages=28–30}} Ultimately large metal types were only briefly used, as they were soon replaced by routed and pantograph-engraved wood display type, which was much lighter and cheaper.{{sfn|Mosley|1993}}{{cite web |last1=Shields |first1=David |title=What Is Wood Type? |url=https://woodtype.org/pages/what-is-wood-type |publisher=Hamilton Wood Type and Printing Museum |access-date=26 August 2021}}

Bold lettering also appears on copperplate engraving, such as engraved maps of the period. Digital font designer Andy Clymer reports finding on engraved maps that it was more common for bold lettering to be decorated, leaving spaces not engraved out, than it was to be solid black: "whenever things would get heavier, they would often just get more ornamented…not filled in solid [but] with some kind of ornamentation or decoration."{{cite web |last1=Clymer |first1=Andy |title=Designing Obsidian with Andy Clymer |url=https://vimeo.com/124062807 |website=Vimeo |date=3 April 2015 |publisher=Cooper Union |access-date=22 May 2020}} This is seen in A Specimen of the Print Hands, an internal specimen of lettering styles used by the Ordnance Survey in the early nineteenth century, in which the boldest lettering is decorated.{{cite web |last1=Mosley |first1=James |title=Working Letters – an affectionate view of the vernacular |url=https://letterexchange.org/archive |publisher=Letter Exchange |access-date=11 May 2023}}{{cite web |title=A Specimen of the Print Hands, for the Instruction of the Cadets, in the Corps of Royal Military Surveyors and Draftsmen, Engraved by desire of Lieutenant General Mann, Inspector General of Fortifications. |url=https://maps.nls.uk/view/128076858 |publisher=National Library of Scotland/Ordnance Survey |access-date=22 May 2020}}

New types of display type proliferated in the late nineteenth century.{{sfn|Gray|1977}} In 1863, printer H. Morgan in Madras wrote that fat-face letter "is seldom used now".{{cite book|first=H.|last=Morgan|title=A Dictionary of Terms used in Printing|url=https://books.google.com/books?id=s2hZAAAAcAAJ&pg=PA40|year=1863|page=40}} In 1901 the influential American printer Theodore Low De Vinne criticised the style as "an object lesson of absurdity".{{cite journal |last1=De Vinne |first1=Theodore |title=Fads in Printing |journal=The American Printer |date=1901 |volume=31 |issue=5 |pages=326–327 |url=https://books.google.com/books?id=7WU-AQAAMAAJ |access-date=12 October 2020}}

The term "fat face" continued to be used for bolder types, not just for the ultra-bold poster types. In 1893 William B. MacKellar of the major American type foundry MacKellar, Smiths, & Jordan showed a wide body text face described as a fat face in discussing pay scales for compositors.{{cite journal |last1=MacKellar |first1=William B. |title=The MacKellar Movable Unit System for measuring type composition |journal=The Inland Printer |date=1893 |pages=409–411 |url=https://books.google.com/books?id=XBUhAQAAMAAJ&pg=PA409 |access-date=12 October 2020}}

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File:'off the Ration' Exhibition - Regents Park Zoo Art.IWMPST8106.jpg-Him, an example of the revival of fat faces in graphic design around this time. The "f"s are "non-kerning", a style that only became popular from the middle of the nineteenth century.{{cite web |last1=Mosley |first1=James |title=Type held in the hand |url=http://typefoundry.blogspot.com/2012/01/type-held-in-hand.html |website=Type Foundry |access-date=12 October 2020}}]]

Fat faces returned to some popularity in the twentieth century, in the UK as part of the Victoriana style promoted by John Betjeman and others in the 1930s.{{cite book|first=Alex|last=Seago|title=Burning the Box of Beautiful Things: The Development of a Postmodern Sensibility|url=https://books.google.com/books?id=aWmOefA671sC&pg=PA54|year=1995|publisher=Oxford University Press|isbn=978-0-19-817405-9|pages=54–57}}{{sfn|Johnson|1970}}{{sfn|Rennie|2001|p=110}}{{efn|Name used for convenience: fat faces were introduced long before Victoria came to the throne in 1837; their presumed architect, Robert Thorne, died when she was less than a year old.{{sfn|Gray|1977|p=16}}}} Fat face types sold as metal type in the twentieth century included:

• Ultra Bodoni by Morris Fuller Benton at American Type Founders.{{cite web|title=Ultra Bodoni|url=http://www.myfonts.com/fonts/woodentypefonts/bodoni-ultra/|website=MyFonts|access-date=4 March 2016}}{{cite web|last1=Cost|first1=Patricia|title=A Reply to Rick von Holdt|url=https://morrisbenton.com/2015/03/28/a-reply-to-rick-von-holdt/|publisher=MorrisBenton.com|access-date=2 January 2017}}
• Falstaff by Monotype{{cite web|title=Falstaff|url=http://www.myfonts.com/fonts/mti/falstaff/|website=MyFonts|publisher=Monotype|access-date=4 March 2016}}
• Normande by Berthold{{cite web|title=Bitstream Normande|url=http://www.myfonts.com/fonts/bitstream/normande/|website=MyFonts|publisher=Bitstream|access-date=4 March 2016}}
• Thorowgood by Linotype.{{cite web|title=Thorowgood|url=https://www.myfonts.com/fonts/linotype/thorowgood/|website=MyFonts|publisher=Linotype|access-date=4 March 2016}}

Digital-period fat face types include:

• Elephant/Big Figgins by Matthew Carter (1992, in 1998 rereleased under the second name in an expanded family){{cite web|title=Elephant - Microsoft|url=https://www.microsoft.com/typography/fonts/family.aspx?FID=94|publisher=Microsoft|access-date=4 March 2016}}{{cite book|title=Step-by-step Graphics|url=https://books.google.com/books?id=gLxUAAAAMAAJ|year=1993|publisher=Dynamic Graphics, Incorporated|page=46}}{{cite web|title=Elephant|url=http://fontsinuse.com/typefaces/32401/elephant-carter-and-cone|website=Fonts In Use|access-date=4 March 2016}}{{cite web |title=Matthew Carter - Designing Britain |url=http://design.designmuseum.org/design/matthew-carter |website=Design Museum |access-date=22 February 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160227122914/http://design.designmuseum.org/design/matthew-carter |archive-date=27 February 2016 }}{{cite web|title=New Faces in Washington|url=http://www.fontbureau.com/blog/new-faces-in-washington/|website=Font Bureau|access-date=24 November 2015}}{{cite web|last1=Coles|first1=Stephen|title=Washington Post 2012 "Q" Covers|url=http://fontsinuse.com/uses/3666/washington-post-2012-q-covers|website=Fonts In Use|date=7 April 2013 |access-date=4 March 2016}}{{cite web|last1=Carter|first1=Matthew|last2=Spiekermann|first2=Erik|title=Reputations: Matthew Carter|url=http://www.eyemagazine.com/feature/article/reputations-matthew-carter|website=Eye Magazine|access-date=22 February 2016}}{{cite web|title=AIGA Medalist: Matthew Carter|url=http://www.aiga.org/medalist-matthewcarter/|publisher=AIGA|access-date=6 March 2016}}
• Surveyor, designed by Hoefler & Frere-Jones,{{cite web |last1=Wilson |first1=Doug |title=Designing Surveyor |url=https://frerejones.com/blog/designing-surveyor |publisher=Frere-Jones Type |access-date=4 July 2023}}{{cite web |last1=de Wilde |first1=Barbara |title=Martha Stewart Living |url=https://barbaradewilde.com/Martha-Stewart-Living |website=Barbara de Wilde |access-date=4 July 2023}} and later display companion Obsidian{{cite web |last1=Hohenadel |first1=Kristin |title=A Typeface Designer's Illustrated Tour of How to Create a Font |url=https://slate.com/human-interest/2015/02/obsidian-by-jonathan-hoefler-and-andy-clymer-of-hoefler-co-is-a-contemporary-font-with-roots-in-the-industrial-revolution.html |website=Slate |date=2 February 2015 |access-date=17 September 2021}}
• Brunel and Isambard by Paul Barnes with Christian Schwartz.{{cite web|title=Brunel|url=http://fontsinuse.com/typefaces/102/brunel-fat-face|website=Fonts In Use|access-date=4 March 2016}} (Although not a fat face, topping out in a bold weight, Barnes' Chiswick is inspired by vernacular letterforms preceding them, with a wide range of alternates based on lettering of the period.{{cite web |title=New Release: Chiswick by Paul Barnes |url=https://commercialtype.com/news/new_release_chiswick_by_paul_barnes |publisher=Commercial Type |access-date=12 October 2020}}{{cite web |title=Chiswick: A Vernacular Typeface with Paul Barnes |url=https://vimeo.com/211337005 |website=Vimeo |publisher=Cooper Union |access-date=12 October 2020}}{{cite web |last1=Davis |first1=Mark |title=Quirky, Vernacular, and British: Chiswick |url=https://typemag.squarespace.com/home/2017/3/24/paul-barnes-presents-chiswick |website=Type |access-date=12 October 2020}}{{cite web |last1=Bradley |first1=Graham |title=Chiswick |url=https://typographica.org/typeface-reviews/chiswick/ |website=Typographica |access-date=12 October 2020}})

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{{refbegin|30em|indent=yes}}

• {{cite book |last1=Bartram |first1=Alan |author-link=Alan Bartram (design writer) |title=The English Lettering Tradition from 1700 to the present day |date=1986 |publisher=Lund Humphries |isbn=9780853315124 |url=https://archive.org/details/englishlettering0000bart |edition=1st }}
• {{cite book|last1=Gray|first1=Nicolete|author-link=Nicolete Gray|title=Nineteenth Century Ornamented Typefaces|date=1977}}
• {{cite book|last=Hansard|first=Thomas Curson|author-link=Thomas Curson Hansard|title=Typographia: an Historical Sketch of the Origin and Progress of the Art of Printing: With Practical Directions for Conducting Every Department in an Office: with a Description of Stereotype and Lithography. Illustrated by Engravings, Biographical Notices, and Portraits|url=https://books.google.com/books?id=vfK3BGlbxVkC&pg=PT360|year=1825|publisher=Baldwin, Cradock, and Joy}}
• {{cite book|last1=Johnson |first1=Alfred F. |author-link1=Alfred F. Johnson |title=Selected essays on books and printing |date=1970 |publisher=Van Gendt & Co |isbn=9789063000165 |pages=409–415 |chapter=Fat Faces: Their History, Forms and Use (1947)}}
• {{cite book |last1=Lewis |first1=John |author-link=John Lewis (typographer) |title=Printed Ephemera: the changing uses of type and letterforms in English and American printing |date=1962 |publisher=W. S. Cowell |url=https://archive.org/details/trent_0116404139556 |location=Ipswich }}
• {{cite thesis|type=PhD|last1=Morlighem|first1=Sébastien|date=2014|title=The 'modern face' in France and Great Britain, 1781-1825: typography as an ideal of progress|publisher=University of Reading|url=https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.651303|access-date=28 September 2022|archive-date=28 September 2022|archive-url=https://web.archive.org/web/20220928203353/https://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.651303|url-status=dead}}
• {{cite book|last1=Morlighem|first1=Sébastien|title=Robert Thorne and the Introduction of the 'modern' fat face|url=https://www.poem-editions.com/products/thorne|publisher=Poem|date=2020}}
• {{cite web |last1=Morlighem |first1=Sébastien |title=Dusting Latin Type History #1 on the Origin of Bold and Fat Faces with Sébastien Morlighem |url=https://vimeo.com/516485231 |website=Vimeo |publisher=Type@Cooper |access-date=13 May 2021 |date=2021 }}
• {{cite journal|last1=Mosley|first1=James|author-link=James Mosley|date=1958|title=The Typefoundry of Vincent Figgins, 1792-1836|journal=Motif|issue=1|pages=29–36}}
• {{cite journal|last1=Mosley|first1=James|title=English Vernacular|journal=Motif|date=1963|volume=11|pages=3–56}}
• {{cite journal|last1=Mosley|first1=James|title= Nineteenth-century decorated types at Oxford|journal=Journal of the Printing Historical Society|date=1966|pages=1–35}}
• {{cite book|last1=Mosley |first1=James |title=British Type Specimens before 1831: a hand-list |date=1984 |publisher=Oxford Bibliographical Society, Bodleian Library in association with the Dept. of Typography & Graphic Communication, University of Reading |isbn=9780901420114}}
• {{cite book|editor-first=James|editor-last=Mosley|title=A Specimen of Printing Types & Various Ornaments 1796: Reproduced Together with the Sale Catalogue of the British Letter-Foundry 1797|year=1990|publisher=Printing Historical Society|quote=Big types had been cast in sand, using wooden patterns, for some centuries [by 1750] but there is evidence that English typefounders only began to make big letters for posters and other commercial printing towards 1770, when Thomas Cottrell made his 'Proscription or Posting letter of great bulk and dimension' and William Caslon II cast his 'Patagonian' or 'Proscription letters'.|url=https://archive.org/details/bub_gb_xpzgAAAAMAAJ/page/n50|pages=5–12}}
• {{cite book|last1=Mosley|first1=James|title=Ornamented types: twenty-three alphabets from the foundry of Louis John Poucheé|publisher=I.M. Imprimit in association with the St. Bride Printing Library|date=1993}}
• {{cite book|last1=Mosley|first1=James|chapter=Reviving the Classics: Matthew Carter and the Interpretation of Historical Models|editor1-last=Mosley|editor1-first=James|editor2-last=Re|editor2-first=Margaret|editor3-last=Drucker|editor3-first=Johanna|editor4-last=Carter|editor4-first=Matthew|title=Typographically Speaking: The Art of Matthew Carter|date=2003|publisher=Princeton Architectural Press|isbn=9781568984278|pages=35–6, 61, 84, 90|chapter-url=https://books.google.com/books?id=WqXd_w4S4SsC&pg=PA35|access-date=30 January 2016}}
• {{cite journal |last1=Rennie |first1=Paul |title=Fat Faces All Around: Lettering and the Festival Style |journal=Twentieth Century Architecture |date=2001 |volume=5 |pages=109–115 |url=http://www.rennart.co.uk/website.pdfs/festivaltypography.pdf |access-date=26 May 2020 }}
• {{cite book |last1=Savage |first1=William |author-link=William Savage (printer) |title=Practical Hints on Decorative Printing |date=1822 |location=London |page=72 |url=https://archive.org/details/McGillLibrary-rbsc_hints-decorative-printing_colgate9S28P731823-17631/page/n119/mode/2up }}
• {{cite book |last1=Wolpe |first1=Berthold |author-link1=Berthold Wolpe |title=Alphabet |date=1964 |pages=57–72 |chapter=Caslon Architectural: On the origin and design of the large letters cut and cast by William Caslon II}}
• {{cite book|last1=Wolpe|first1=Berthold|author-link=Berthold Wolpe|title=Vincent Figgins: Type specimens, 1801 and 1815|date=1967|publisher=Printing Historical Society|location=London}}

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{{Typography terms}}

Category:Didone serif typefaces

Category:1810s in London

Category:Display typefaces

Category:1800s introductions