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CHATSWORTH featuring CHATSWORTH REGULAR, TITLING and ITALIC New fonts designed specifically for use in publications for Chatsworth house and garden in Bakewell, Derbyshire

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abcde fghijk lmnop qrstuv wxy&z CHATSWORTH REGULAR at 105pt

THE HOUSE, GARDEN, FARMYARD � ADVENTURE PLAYGROUND AT CHATSWORTH, DERBYSHIRE FROM THE DUKE OF DEVONSHIRE ‘My family and I are delighted to welcome you today. All of us lucky enough to live and work here gain enormous pleasure from Chatsworth, and we do all that we can to share this enjoyment with you. Everyone, young and old, is welcome in the house; together with its collection, our home is the heart of this estate, and I hope you will all take the opportunity to discover its many extraordinary rooms and treasures, and the human stories that make up its history. Outside, the beautiful garden, the waterworks and the farmyard and adventure playground offer unlimited space, variety and entertainment. We all hope you have a very enjoyable day.’ §HOUSE ¶Royal rooms… Among more than 25 magnificent rooms, you will see the opulent 300 year old state apartments, created for the 1st Duke to host royal visits, the Great Dining Room in which Princess (later Queen) Victoria had her first grown up dinner and the Sculpture Gallery which featured in the recent film of Pride and Prejudice. ¶Fascinating art and curiosities… The treasures on view span 4000 years of art and culture, from Ancient Egypt to the present day; there are also intriguing curiosities from a trompe l’œil painted violin, a giant marble foot and royal thrones, to historic guns, miniature silver furniture and a lace cravat carved in wood. ¶Meet a Duke and his family… Our new displays in the house tell the story of the life of the 11th Duke, the man who saved Chatsworth in the 20th century. Includes a free audio tour, with a very moving commentary from his family and friends. ¶Fourteen Freuds and other modern work… Don’t miss the chance to see fourteen works by Lucian Freud, as well as modern cera-mics, a new painting by Sean Scully, and contemporary sculptures by Allen Jones, Nicola Hicks and Anthony Caro. §GARDEN ¶Water and space… From the 24 steps of the 300 year old water cascade to the huge Emperor fountain, there are many beautiful and unexpected ponds and streams, waterfalls and fountains. The gravity-fed waterworks play every day, subject to rainfall. Discover quiet parts of the garden, with a fascinating history, unusual trees and breathtaking views.

¶Full of surprises… wander along more than 5 miles of paths, explore the coal tunnel, walk under giant rocks, try not to get wet under the willow tree fountain, find the rooms made of plants in the cottage garden, stimulate your senses in the sensory garden, and don’t get lost in the maze. ¶Modern sculpture outside… From 8 September to 27 October, more than 20 spectacular monumental sculptures are on display in the garden, including work by Antony Gormley, Dale Chihuly and James Turrell. Many of these sculptures are already on view in August — please enjoy but do not touch. §FARMYARD ¶Meet the animals… Every day there are opportunities to meet some of the animals and to learn about their upkeep. There is a daily milking demonstration, with commentary, animal handling sessions, and regular extra activities and demonstrations. Café and shop. ¶Let off steam… The woodland adventure playground offers unrivalled space and variety for children of different ages to play. The spiral slides, aerial walkways and towers challenge older children, while younger ones play with water, sand, climbing frames, slides and mini trampolines. ¶Good food for all tastes… Head for the stables, where you will find a wide range of hot and cold home made food at the Carriage house restaurant (220 seats, open at 10.15am) and the Jean-Pierre Bar (130 seats, open at 11am, reserved for adults). §THE FARM SHOP, selling the best of estate, local and national produce, is well sign-posted only 1½ miles from Chatsworth.

CHATSWORTH TITLING at 18pt/28pt CHATSWORTH REGULAR at 8pt/11.5pt and 6/8pt

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A new font for the Chatsworth House Trust

The challenge was to design a font to reflect the ‘voice’ of Chatsworth, a stately home in Derbyshire owned and occupied by the Duke and Duchess of Devonshire. It needed to be traditional, formal and undeniably English; beautiful and elegant; practical and legible. And it needed to have some slightly distinctive, unusual and ‘off the wall’ qualities that could lend its forms to the voices of the generations of individuals who have helped to shape Chatsworth over the centuries. _ Three centuries of rich British typographic heritage from Caslon (1692–1766) to Carter (1948–) made defining a specifically English type a difficult task. The period of history that most fitted the bill, I decided, was the first half of the nineteenth century. My type needed to look reminiscent of a powerful empire; something that could have been cast in metal during the height of the industrial age when much formal communication was written in copperplate with the swelling and tapering lines of a steel nib. Although this is often considered by type historians as a rather stolid and less innovative time I hoped to create something more lively and useable than the some the existing digital versions of the historical masters. The historical perpective provided me with an ‘envelope’ of forms on which to draw: serifs should be bracketed and symmetrical, ‘ball’ terminals (or at least fairly round), strokes were straight and economical, curves made with little or no angle of stress. Though restricting, such a tight brief was useful in the sense that it gave me the ability to make or reject decisions on the grounds of whether they ‘fitted in the envelope’. It ‘short-cutted’ the process of designing type, ‘designing type involves a billion possibilities. Once you make your first decision–serif or sans, say–half a billion decision remain, and so on. Old style or new, until finally you’re down to ten thousand questions.’

Archive material from the Devonshire collection CHATSWORTH REGULAR at 645pt

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Caslon, c.1734 Baskerville, c.1750 Bell, c.1790 Miller, c.1813

David Berlow at Font Bureau, (talking about Mathew Carter in the New Yorker, 2005)

CHATSWORTH REGULAR character set

CHATSWORTH ITALIC character set

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ½ ¼ ¾ % ‰ ªº Æ � æ œ fi fl ß & & �¢¥£€ƒ @©®™ ¶§*‡† ()����\|¦/⁄ !�?¿…:;. ·�•�“”‘’‚„ #‹›«» ÷+×±=− -–_—~̀´˜ˆ�˘˚ˇ��¨�¯��˝�̧¸˛ ÀÁÂÃÄĀĂÅǺĄǼĆĈČĊÇĎĐÈÉÊĚËĒĔĖĘĜĞĠĢ ĤĦÌÍÎĨÏĪĬİĮĴĶĹĽĻŁŃŇŅÕÖŌŎŐØǾŔŘŊÞŚŜŠŞȘ ŖŤŢŦÙÚÛŨÜŪŬŮŰŲẀ àáäāãăåǻąăâèëėēěĕęìíıîĩïīĭįģłĺľļńňņŋòóôõǿöōŏőø þðŕŗřśŝšşșťţŧẁẃŵẅỳýŷÿźžż����

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ½ ¼ ¾ % ‰ ªº Æ � æ œ fi fl ß & & �¢¥£€ƒ @©®™ ¶§*‡† ()����\|¦/⁄ !�?¿…:;. ·�•�“”‘’‚„ #‹›«» ÷+×±=− -–_—~̀´˜ˆ�˘˚ˇ��¨�¯��˝�̧¸˛ ÀÁÂÃÄĀĂÅǺĄǼĆĈČĊÇĎĐÈÉÊĚËĒĔĖĘĜĞĠĢ ĤĦÌÍÎĨÏĪĬİĮĴĶĹĽĻŁŃŇŅÕÖŌŎŐØǾŔŘŊÞŚŜŠŞȘ ŖŤŢŦÙÚÛŨÜŪŬŮŰŲẀ àáäāãăåǻąăâèëėēěĕęìíıîĩïīĭįģłĺľļńňņŋòóôõǿöōŏőø þðŕŗřśŝšşșťţŧẁẃŵẅỳýŷÿźžż����

CHATSWORTH REGULAR open type features

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ABCDEFGHIJKLMNOPQRSTUVWXYZ [small caps] ���������������������������������� ��������������������������������������� �������������������� ffffiflffl�������� [ligatures] st ct www [discretionary ligatures] 0 [slashed zero] 1234567890 [tabular old style numerals] �����6���� [lining numerals] ���������� [tabular lining numerals] 12345678901234567890 [numerators and denominators]

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CHATSWORTH TITLING character set

ABCDEFGHIJKLMNOPQRSTUVWXYZ …:;. ·“”‘’‚„‹›«» -–—_˛̧¸˛`´ˆˇ˜¨¯˘˚˝˙ ��0123456789 ºª ¼½¾%‰ €$£¢ƒ¥&&� ¶§*‡†\|¦/⁄()[]{}!¡?¿ ÀÁÂÃÄĀĂÅǺĄǼĆĈČĊÇĎĐÈÉÊĚËĒĔĖĘ ĜĞĠĢĤĦÌÍÎĨÏĪĬİĮĴĶĹĽĻŁŃŇŅÕÖŌŎŐØ ǾŔŘŊÞŚŜŠŞȘŖŤŢŦÙÚÛŨÜŪŬŮŰŲẀ abcd [ornaments: duke/oldduke/duchess/oldduchess]

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A new font for the Chatswort House Trust continued How to make this type elegant within the traditional framework was more challenging. It felt like a contradiction: to be of the period, the shapes needed to be regular, tightly controlled and symmetrical. Yet Chatsworth houses some the world’s most famous art and dynamic sculpture; a freer stroke might convey a greater sense of beauty, elegance and balance. The problem was resolved by keeping the serifs and verticals very regulated and allowing more calligraphic free-flowing shapes to influence the terminals and some of the horizontals. I ‘uncurled’ the ball terminals and let the joins become quite deep which made the shape of the counters appear to bounce. This was enhanced by adding ‘flicks’ or outstrokes on the bottom of some of the letters (the a,d,c,u,k,R and K). _ I was now satisfied that the type was both traditional and expressive. My third criteria was that it was appropriate for a thriving business-like estate that generates a lot of printed information for their visitors. It needed to look beautiful at large sizes (on signage) and hold reasonable legibility at 6pt (in captions). I made the serifs relatively chunky with only a small degree of contrast between the thick and thin strokes. The x-height was large and the ascenders and descenders short. The numerals and small caps were slightly larger than most book faces as I wanted them to be easy to use for the dates and times that are vital to much of Chatsworth’s communication. CHATSWORTH TITLING CAPS were added as a finer version of the caps for use in the logo and when the namestyle was used at larger sizes. _ The last thought was that as a brand type, Chatsworth needed to have a distinctive and recognisable quality that would distinguish it from other typefaces. Some off-beat details were introduced: a curly kink on the tail of the k, K, R and Q and a rather pronounced and especially lively ‘ear’ to the lower case g.

ROAST PHEASANT OR GROUSE WITH TRIMMINGS [serves 6] cdcdcdcdcdcdcdcdcdcdcdcdcdcdc There is a tradition at Chatsworth of serving roast pheasant or grouse with several different trimmings. Of these, the corn pudding, the bread sauce, the fired crumbs and the apples and chestnuts can be made in advance and reheated. We recycle many of the leftovers; we serve corn pudding cold with meat and salads, we use the bread sauce to make horseradish sauce by adding cream, freshly grated horseradish and English mustard. 3 × 750g/1lb 10 oz hen pheasants (with wish bones removed for ease of carving) or 6 x 350g/12¾oz grouse 110g/4oz clarified butter 110g/4½floz red wine 570ml/1¼ pint brown chicken stock or game stock flaked sea salt freshly ground black pepper TO ROAST THE BIRDS: Preheat the oven to 180C/350F/gas 4. Smear each bird with clarified butter and season with salt and pepper inside and out. place the birds on their backs in a roasting tin, leaving a gap of 5cm/2in between each. Roast pheasant for about 35 minutes and grouse for 20 minutes basting them regularly. Remove from the oven and set aside to rest for at least 30 minutes. Set the roasting tin over a gentle heat and allow the juices and sediments to settle and colour without burning. Drain off the fat, reserving it for future use. Add the red wine and brown stock to the juices in the tray and simmer for a few minutes. Correct the seasoning and pass the gravy through a fine strainer into a pan.

From the Chatsworth cookery book, 2003 set in CHATSWORTH REGULAR at 9pt/12pt

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“Can we do away with: women who want to join men’s clubs, Cypressus Leylanndii, bits of paper that fall out of magazines and lately, bits of paper which fall out of those bits of paper, people who say (and write) ‘talking with’ when they mean ‘to’, flowers in fireplaces, magpies, writing paper with the address on the bottom, or worse, the American trick of putting the address on the back of the envelope which you throw away and them have to retrieve, female weather forecasters, drivers who slow down to go over cattle grids, hotel coathangers, Canada geese, ‘partners’, liquid soap machines where the thing you press to get the stuff out is invisible, sparrow hawks, audience participation, punning newspaper headlines and locked gates. And can we bring back: scythes, sharps and middlings, invalid Bovril, brogues, mourning, silence, housewives, telegrams, spring cleaning, snow in January instead of at lambing time, nurses in uniform, muffins, the 1662 prayer book, pinafores for little boys, fish shops, Bud Flanagan, Ethel Merman and Elvis Presley?”

From the Counting my chickens and other home thoughts, Duchess of Devonshire, 2001 set in CHATSWORTH REGULAR at 9pt/12pt CHATSWORTH REGULAR at 13pt/18pt

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ABCDE FGHIJ KLMN OPQRS TUVW XY�Z CHATSWORTH TITLING at 110pt

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I am grateful to the inspiring and supportive teaching staff at the Department of Typography & Graphic Communication at The University of Reading and the especially loyal and open-minded marketing people at Chatsworth House Trust. ©Sara Chapman, The letter g, 2006

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