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Chara�ers at
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
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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
[3]
a
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
[4]
[5]
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 @©®™ ¶§*‡†
()����\|¦/⁄ !�?¿…:;. ·�•�“”‘’‚„
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ÀÁÂÃÄĀĂÅǺĄǼĆĈČĊÇĎĐÈÉÊĚËĒĔĖĘĜĞĠĢ
ĤĦÌÍÎĨÏĪĬİĮĴĶĹĽĻŁŃŇŅÕÖŌŎŐØǾŔŘŊÞŚŜŠŞȘ
ŖŤŢŦÙÚÛŨÜŪŬŮŰŲẀ
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þðŕŗřśŝšşșťţŧẁẃŵẅỳýŷÿźžż����
CHATSWORTH REGULAR open type features
ffffiflffl�������� [ligatures]
st ct [discretionary ligatures]
ABCDEFGHIJKLMNOPQRSTUVWXYZ [small caps]
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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]
[6]
CHATSWORTH TITLING character set
ABCDEFGHIJKLMNOPQRSTUVWXYZ
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€$£¢ƒ¥&&� ¶§*‡†\|¦/⁄()[]{}!¡?¿
ÀÁÂÃÄĀĂÅǺĄǼĆĈČĊÇĎĐÈÉÊĚËĒĔĖĘ
ĜĞĠĢĤĦÌÍÎĨÏĪĬİĮĴĶĹĽĻŁŃŇŅÕÖŌŎŐØ
ǾŔŘŊÞŚŜŠŞȘŖŤŢŦÙÚÛŨÜŪŬŮŰŲẀ
abcd [ornaments: duke/oldduke/duchess/oldduchess]
[7]
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
[8]
[9]
“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
[ 10 ]
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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