At initially glimpse, the upper case letters of Austin Antique look quite like Figgins Antique. But, upon assessment, one will keep in mind that the Austin face is much darker. In basic, the letters created and cut by Richard Austin have fatter strokes, larger serifs and smaller sized counters-- more metal and less daytime.
The facility was that the darker the letter, the more attention an ad using the typeface would receive. In old pictures of London and Paris one may see walls crowded with posters and "costs"-- contending for the attention of the passerby. Morris and Updike aside, the early 19th century marked the start of a commercial along with commercial revolution. Patterns of commerce were changing. With brand-new methods of marketing came the requirement for brand-new typefaces to support the new techniques. Foundries discovered the display screen types were really successful and contended most energetically and artistically for the trade. There was a lot of trial-and-error. Some ideas disappeared. Others, like the Antiques or Egyptians, were fine-tuned and established. From them came the Clarendons that were to prove both popular and long enduring-- because they worked. Their job was to offer items, not please the aesthetic perceptiveness of the critics. They did their job well.
Austin Antique has a full Western European character set, plus the following ligatures: ct, st, fi, fl, ff, ffi and ffl. Tabular numbers. Remarkably legible.
Font Family: Austin Antique
Tags: 1800s, bold, commercial, decorative, display, english, heavy, letterpress, retro, revival, slab, slab serif, vintage