Congress the bill or resolution number of all bills and resolutions set for public printing is set in Cheltenham. Tom Bodkin, assistant managing editor and design director of the Times, engaged typeface designer Matthew Carter to create multiple weights and a heavily condensed width of Cheltenham to replace most of the Latin Extra Condensed face in use, as well as Bookman and a variant of Century Bold. Previously, Cheltenham was only one of several types including a sans-serif in a Victorian looking mix of headline faces. In 2003, The New York Times introduced a more unified Cheltenham typographic palette for its headline use in the print edition. Monotype offers its version under the name Gloucester.
Other versions are available from Tilde, Font Bureau, URW++, Scangraphic Digital Type Collection, and Elsner+Flake. The ITC version is also available from Linotype, Monotype, and Adobe Systems, along with ITC Cheltenham Handtooled, a 1993 version with highlight, designed by Ed Benguiat. The original face has been digitized by the current owner, Kingsley/ATF and is sold by Bitstream Inc.
The family includes 4 weights and 2 width each, with complementary italics. It features a larger x-height and improved italic details. The popularity of Cheltenham continued strong right in the cold type era, and it was offered by various manufacturers under the following names: Ī cold type variant ITC Cheltenham, was also designed by Tony Stan for the International Typeface Corporation, in 1975.
Berthold called their version Sorbonne (1905). English Monotype called their version Gloucester. Stephenson Blake called their version Winchester. Keystone Type Foundry called their version Lowell (1905, Charles W. Inland Type Foundry called their version Kenilworth (1904). Hansen Type Foundry called their version Craftsman. Western Type Foundry called their version Chesterfield. Intertype called their version Cheltonian. Cheltenham Wide Italic ( Sol Hess, Monotype). Linotype, Monotype, and Ludlow all produced their own Cheltenham under that name and with almost as many variations as ATF. Venetian (1911, Morris Fuller Benton) was originally called Cheltenham #2, but its resemlance to the original face was only slight. Cheltenham Medium Condensed + Cheltenham Medium Expanded (1913, Morris Fuller Benton). Cheltenham Bold Shaded + Cheltenham Bold Italic Shaded + Cheltenham Extra Bold Shaded (1912, Morris Fuller Benton). Cheltenham Medium Italic + Cheltenham Extra Bold (1910, Morris Fuller Benton). Cheltenham Oldstyle Condensed + Cheltenham Medium (1909, Morris Fuller Benton). 
Cheltenham Inline Extended (1907, Morris Fuller Benton). Cheltenham Inline + Cheltenham Inline Extra Condensed'. Cheltenham Bold Extra Condensed + Cheltenham Bold Extended (1906, Morris Fuller Benton). Cheltenham Bold Italic + Cheltenham Bold Condensed Italic + Cheltenham Wide + Cheltenham Bold Outline (1905, Morris Fuller Benton). Cheltenham Bold Condensed (1904, Morris Fuller Benton). Cheltenham Bold (1903, Morris Fuller Benton). Cheltenham (1903, Bertram Goodhue, Ingalls Kimball, Morris Fuller Benton and/or Joseph W. The following versions were available in foundry type: The overwhelming popularity of the face for display purposes lasted until the advent of the geometric sans-serif typefaces of the 1930s. Originally intended as a text face, "Chelt" became hugely successful as the "king of the display faces." Part of the face's huge popularity is because, as it has elements of both an old style and transitional face, a Cheltenham headline complements virtually any body type. Ĭheltenham is not based on a single historical model, and shows influences of the Arts and Crafts Movement. Later the basic face was spun out into an extensive type family by Morris Fuller Benton. The face was patented by Kimball in 1904. Cheltenham bold font free trial#
Trial cuttings were made as early as 1899 but the face was not complete until 1902. These drawings were then turned over to Morris Fuller Benton at American Type Founders (ATF) who developed it into a final design. The original drawings were known as Boston Old Style and were made about 14" high. Cheltenham is a typeface for display use designed in 1896 by architect Bertram Goodhue and Ingalls Kimball, director of the Cheltenham Press.
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