“Modified Version” refers to any derivative made by adding to, deleting, or substituting-in part or in whole-any of the components of the Original Version, by changing formats or by porting the Font Software to a new environment. “Original Version” refers to the collection of Font Software components as distributed by the Copyright Holder(s). “Reserved Font Name” refers to any names specified as such after the copyright statement(s). This may include source files, build scripts and documentation.
“Font Software” refers to the set of files released by the Copyright Holder(s) under this license and clearly marked as such. The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. The fonts and derivatives, however, cannot be released under any other type of license.
The fonts, including any derivative works, can be bundled, embedded, redistributed and/or sold with any software provided that any reserved names are not used by derivative works. The OFL allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves.
The goals of the Open Font License (OFL) are to stimulate worldwide development of collaborative font projects, to support the font creation efforts of academic and linguistic communities, and to provide a free and open framework in which fonts may be shared and improved in partnership with others. SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 This license is copied below, and is also available with a FAQ at: Luin kept his design true to the original and Caslon Classico consists of two cuts with corresponding italic and small caps characters.Copyright (c) 2012, Impallari Type ( This Font Software is licensed under the SIL Open Font License, Version 1.1. Caslon Classico appeared in 1993 and was designed by Franco Luin, the designer of various interpretations of classic typefaces. Next to Baskerville, Caslon is known as the embodiment of the English Baroque-Antiqua and has gone through numerous new interpretations, meaning that every Caslon is slightly different. The overall impression which Caslon makes is serious, elegant and linear.
The serifs are finer and the axis of the curvature is almost or completely vertical. The characteristics of the earlier Renaissance typefaces are only barely detectable. The Caslon font was long known as the script of kings, although on the other side of the political spectrum, the Americans used it as well for their Declaration of Independence. His major influences were the Dutch designers Christoffel van Dijcks and Dirck Voskens. The Englishman William Caslon (1672-1766) first cut his typeface Caslon in 1725. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.
For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. In addition to the adjustment of spacing, there are also adjustments in the design. The kerning tables, as well, have been individualized for each of these type varieties. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. That of the Bodytypes is adjusted for readability. The most obvious differentiation can be found in the spacing. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions.