The Revival of Caslon Types, originally published by Rambler Press in 2013 and now offered under the Woodbank Press imprint, was the book that established the typographic character of the press. Printed through the courtesy of John Randle of Whittington Press, this limited edition volume brings together three important essays by Justin Howes devoted to the history, development, and revival of William Caslon’s typefaces.

William Caslon occupies a central place in the history of British printing. His roman types, first cut in the early eighteenth century, shaped the appearance of English books for generations and became inseparable from the visual culture of the Enlightenment. Admired for their balance, warmth, and exceptional readability, Caslon’s letterforms remained in use long after many contemporary designs had fallen out of fashion, securing a lasting place in the history of British bookmaking.

It was therefore fitting that the press began its fine press publishing journey with a book devoted to the typeface that helped define the visual language of British printing.

Justin Howes (1963–2005), one of the most distinguished modern scholars of British type history, devoted much of his career to the study of Caslon and his legacy. His scholarship combined archival precision with the practical understanding of a working typographer, making his writings invaluable to printers, historians, bibliographers, and collectors interested in printing history. The three essays collected in this volume, originally published in Matrix: The Review for Printers & Bibliophiles, remain among the most important modern studies of Caslon types. Published by Whittington Press, Matrix is widely regarded as one of the most respected journals devoted to fine printing, typography, and the book arts.

Particularly significant is Howes’s detailed examination of the original Caslon punches and matrices formerly preserved in the Stephenson Blake strong-room in Sheffield before their transfer to London’s Type Museum. His analysis of individual sizes, substitutions, and surviving evidence represents scholarship of exceptional depth and practical value. Few modern studies have contributed more to the understanding of Caslon’s enduring legacy.

The volume includes an introduction by John Randle, printer and co-founder of Whittington Press, whose influence on contemporary fine printing has been profound. It concludes with an afterword by Nicolas Barker, the distinguished bibliographer and long-time editor of The Book Collector, offering a thoughtful reflection on Howes’s life and scholarship.

This volume carries particular significance in the history of the press, as its production was made possible through the generosity and encouragement of John Randle, whose guidance helped shape its formative years. It stands not only as a study of Caslon and a tribute to Justin Howes, but also as a record of the continuity of private press traditions.

Published in octavo format, the book extends to 112 pages. The text is set in Caslon and printed on Fabriano Tiepolo pure cotton paper, a mould-made sheet whose soft surface and subtle texture complement the character of the type. The restrained page design and generous margins reflect the classical traditions of British private press printing.

The edition was limited to 75 numbered copies. Each volume is hand-bound in leather with printed paper boards, combining traditional craftsmanship with understated elegance. The physical form of the book was conceived as a tribute not only to Caslon’s achievement as a typefounder, but also to the enduring relationship between type, paper, and binding.

Issued in a strictly limited edition, this fine press book is intended for collectors of fine press books, private press books, bibliophiles, and readers interested in printing history and the legacy of William Caslon. More than a collection of essays, The Revival of Caslon Types reflects the principles that continue to define the press: classical typography, carefully chosen materials, and respect for the book as a crafted object.

Edition limited to 75 numbered copies. Octavo (112 pp.). Set in Caslon and printed on Fabriano Tiepolo pure cotton paper. Hand-bound in leather with printed paper boards. Originally published by Rambler Press, 2013. Now offered by Woodbank Press.