Wide Is Beautiful

Carl Shank • March 15, 2025

Wide Is Beautiful  What makes a typeface beautiful? Aesthetically pleasing fonts or typefaces have differing qualities that make them suitable and beautiful in different contexts and uses. I have chosen six (6) wide or "extended" font faces to highlight the inherent beauty and usability of such type. The samples chosen range from well used Adobe fonts to a specialty antique wide font CARE Typography crafted from an old fashioned type book published by Frederick Nelson Phillips, Inc of New York back in 1945.

Blackoak. Blackoak is an Adobe font face designed by Joy Redick from Adobe Originals. Blackoak has been adapted from proofs of wood type from the collection at the Smithsonian Institution, has slab serifs and extremely wide letterforms. Used sparingly, Blackoak makes an arresting display type.


The  Adobe Originals program started in 1989 as an in-house type foundry at Adobe, brought together to create original typefaces of exemplary design quality, technical fidelity, and aesthetic longevity. Today the Type team's mission is to make sophisticated and even experimental typefaces that explore the possibilities of design and technology. Typefaces released as Adobe Originals are the result of years of work and study, regarded as industry standards for the ambition and quality of their development.



Federal. Designed by Erik van Blokland. From LettError. Instantly recognizable as the voice of a nation, Federal Regular is an amalgam of massive triangular serifs and curvaceous counters. An asset to all documentation whether analog or digital, the high-contrast letters are a proclamation of fiduciary responsibility. In type we trust.


HWT Roman Extended. Designed by Jim Lyles, Miranda Roth, and William Hamilton Page. From Hamilton Wood Type Collection. HWT Roman Extended Fatface is credited to Robert Thorne just after 1800 in England, is considered to be the first type style designed specifically for display, rather than for book work.


English punchcutter and typefounder (1754-1820, North London), designer of the first fat typefaces, founder of the Fann Street Foundry in 1794 and active until his death in 1820, when his foundry was sold to William Thorowgood a few months after his death. Designer of one of the first fat didone typefaces, Thorowgood (1809), and of Thorne Shaded (1820; Thorne Shaded was part of the Reed foundry material, had defective matrices, so Stephenson&Blake had it recut by Karl Gomer in 1938-1940). As metal typeface, Thorowgood was featured in 1953 by Stephenson and Blake. 


Quoting from the typophile wiki: In 1794 Robert Thorne purchased the foundry of Thomas Cottrell, a former employee of the original William Caslon, which had been founded in 1757 when Cottrell and Joseph Jackson were fired in a wage dispute. By 1798 Thorne had replaced all of Cottrell's types with his own designs and in 1801 was the first type founder to begin showing the fat typeface types. He went on to design many popular display typefaces. He also moved the foundry to Fann St. renaming it the Fann Street Foundry. Upon Thorne's death in 1820 the foundry was purchased at auction by William Thorowgood using money he had won in a lottery though he was never involved in the type founding business. Subsequently many of the types identified as Thorowgood's are actually the designs of Robert Thorne. Author of Specimen of Printing types (1794, 1803, 1814). (Information from https://luc.devroye.org/fonts-24776.html)



Hamilton Wood Type Collection, established in 2012, is a joint venture between P22 Type Foundry and the Hamilton Wood Type & Printing Museum. The founding goal was to safeguard a typographic era and make classic wood type designs available as digital fonts for modern audiences.

This historical collection of serif revivals, sans reinterpretations, decorative embellishments, script reclamations, and original chromatic designs is stunningly relevant and usable for any imaginative design practice.


Maldrone. Designed by Barbara Lind. From Adobe Originals.

Madrone is an Adobe Originals typeface designed by Barbara Lind in 1991. Madrone was digitized from proofs of the wood type collection in the National Museum of American History in the Smithsonian Institution in Washington, D.C. A fat face roman, Madrone is typical of popular early nineteenth-century styles. Fat face types are characterized by their squatness and extreme letter width; one familiar version of this design is Bodoni Ultra Bold. Madrone is eye-catching for display uses in advertising and packaging.


Postino. Designed by Tim Donaldson. From Adobe Originals.

Tim Donaldson, creator of Banshee and Coriander, brings us Postino - a quirky display type modeled roughly on the typewriter face, Courier. Sturdy yet playful, Postino is aptly named by the Italian word for postman or courier. Skimming through a back issue of Visible Language (a journal about written language), Tim was taken aback by the robust beauty of an emboldened Courier typeface. The book designer had used the face to make "cheeky little headlines and they looked superb." Tim decided the world needed a typeface like this but one that "poked its tongue out" even a bit more, while still wearing its functional clothes. After doodling for some time, Postino and its Italic companion worked their way into being on Tim's computer screen. Not-entirely-serious headlines, CD covers, children's books, and advertising copy are all excellent uses for punchy Postino. U.S. Patent Design 415,518.


Antique Wide. Antique Wide is one of the historic fonts advertised by Frederick Nelson Phillips in his Old Fashioned Type Book (1945). CARE Typography has digitized this face as part of its ongoing mission to bring to light typefaces that have long since been forgotten or unused but played an important role in text and advertising pieces in days past. This is a serif "fat" face with shortened verticals, a full face with numerals and minuscules.


This website offers a number of rediscovered and digitized faces from pen and hand written type faces of the past. You are invited to check us out and order any number of these faces for your own use in today's world.

Successful Layout & Design

By Carl Shank April 7, 2026
The King James Bible (KJV), commissioned by King James 1 in 1604 and published in 1611, has been a profound Bible translation and masterpiece of beauty through the ages. It has been one of the most influential English translations of the Bible. Its history combines politics, religion, and literary achievement in early modern England. It has an elevated, poetic style that influenced many later writers. It has been prized for its literary beauty, historical continuity and memorability in public reading and worship (ChatGPT).
By Carl Shank April 6, 2026
Responding to AI and Digital Babylon H. Carl Shank April 4, 2026 Austin Gravley, a former Social Media Manager of The Gospel Coalition, and now the Director of Youth Ministry at Redeemer Christian Church in Amarillo, TX, is writing a book on AI and the digital revolution taking place. He compares this Digital Babylon and its captivity and its exiles to Christians living under the overwhelming influence of an active anti-Christian developing AI. Piecing together his comments with those of many others on the advancing scene of AI on our lives, several themes come to mind. First, AI is not God. While there are some in the Silicon Valley who might wish or see AI as a unifying, ontological force that can shape or rule our lives — the Super Machine —others remind us that this is only technology. And as advanced as AI is and becomes, God is still sovereignly in control of it and our lives. Jason Thacker, professor of philosophy and ethics at Southern Seminary and Boyce College, writes — “We must engage these issues, rather than respond after their effects are widely felt. But we don’t have to face today or tomorrow with fear. God is sovereign and his Word is sufficient for every good work, so we are able to walk with confidence as we apply his Word to these challenges with wisdom and guided by his Spirit.” ( The Age of AI: Artificial Intelligence and the Future of Humanity , Zondervan, 2020) A recent storm that darkened my community and scuttled Internet services reminded me of that. Even AI data centers, growing to over 3,000 in 2025 nationwide, are not immune to power disruptions and total blackouts. AI pundits may claim to have control procedures to keep the Internet and AI running cannot promise it to be so. We need to keep this in mind in the Digital Babylon age, as was needed to be kept in mind by Israel in the Babylonian Empire age in biblical times. Babylon went through many iterations, but will be defeated by God at the end of the day, as noted in Revelation. Digital Babylon will experience the same demise. This is not prediction, just Bible truth. We as believers need to hold on to such truth. Second, AI is still technology. Indeed, advanced and advancing technology, but not human. Matthew Schultz in a recent mereorthodoxy.com article notes— “Technology has existed since the Garden and is an integral component of our cultural mandate. We should also remember that one of the core distinctions between the Creator and his creatures is that we never create matter but merely (!) rearrange it. This becomes clear whether we consider an ancient farmer in Mesopotamia irrigating a plot of soil, a medieval peasant in Northumbria weaving a basket from flax, or a young musician in London taking the raw outputs of machine sound, adjusting its pitch, volume, and length, and incorporating it into a DAW loop. While there are all sorts of important distinctions and qualifications between pre- and post-industrial craft, there is no metaphysical distance between the two.” ( Artificial Intelligence Is A Technology , Feb. 26, 2026). AI may be the harbinger of a new Industrial Age, but though changes will be major and sometimes severe, the human side of the equation cannot be discounted or counted out. Part of my retired status as a pastor and theologian is that of a typographer restoring old type faces and doing a deep dive into the history of type. Two historical typographical truths stand out. Although the Renaissance age brought movable type from Gutenberg and others into the machine age, the typographical flair of those ancient scribes with pen-drawn exquisite type remained a stylistic standard. The second note is that with the Industrial Age, while affecting the quantity and speed of type development and printing, master type craftsmen rebelled against machine driven type for more organic typefaces. This was seen, for instance, in the type movement spawned by William Morris (1834–1896). William Morris was an Arts & Crafts designer who founded the Kelmscott Press (1891), reviving hand craftsmanship in printing. His work influenced the twentieth century private press and type revival movements. Lettering became a vehicle for breaking convention. Led by figures such as Morris, there was a decided reaction against industrialization, seeing machine-made goods as dehumanizing and ugly. Handcraftmanship, honesty in materials and utility fused with beauty made up much of what was called the Arts & Crafts Movement. That movement was rooted in medieval guild ideals and morality in design. (For an expanded history of type development, see “Advances in Typography: A Historical Sketch — Three Parts” in the blogs by CARE Typography, www.caretypography.com , Nov. 8, 2025, Nov. 18, 2025 and Nov. 20, 2025) Third, AI affects everyone everywhere. Austin Gravely, a former Social Media Manager of The Gospel Coalition, raises and answers the query — “’So what?’, you may think. ‘I’m not an Internet technician. I’m not a fan of AI. I’m not planning to change how I use the Internet. Why does any of this matter to me?’ To put it bluntly: you are naive if you think these disruptions won’t directly affect you, or indirectly affect you through the effect they will have on others. If the iPhone, social media, and AI have taught us anything, it is that you are impacted by these events regardless of whether you participate in them or not.” ( The State of the Internet: 2026 , mereorthodoxy.com, March 30, 2026) He goes on to say — “A changing Internet will change you. It will change you in ways you can see and in ways you can’t. It will change those you live with, work with, play with, build with, and fight with. It will change what is possible, probable, permissible, and prohibited in your life, your vocation, your church, your neighborhood, and any other physical space the Internet touches.” I recall my 99 year old mother who passed away a couple of years ago in a nursing facility. She was one of those survivors of the Great Depression and World War Two who dismissed the first moon landing and had her flat screen TV removed from her room for fear the government was watching. She lasted for nine years in the same private room in a modern nursing center. She was attended by doctors and nurses and staff who used AI on their computers and other care devices. She even had a modern digital phone removed from her room and refused to learn it. While she personally rebelled against her AI driven machine age, she could not escape those who used such technology for her care. We cannot isolate ourselves from AI and its advancing development, no matter how isolated we try to be. Fourth, AI can be either a blessing or a curse. Again, Matthew Schultz notes — “Our task is not to develop a unique theology of AI but to catechize our members into a people who can wield this technology without becoming captive to its internal logic. Like alcohol, artificial intelligence will become a test of character, a dangerous good that divides the foolish from the wise.” He says “Yet the greatest danger is both more pervasive and less obvious: AI is much more likely to be deployed as a multiplicative layer that allows ever more efficient micro-targeting of digital services and physical products by industries that already profit from compulsive behavior. The advent of hyper-personalized, real-time engagement strategies will require legislative safeguards, especially if AI leads to video advertisements generated in real time for an exhaustively mapped individual profile.” We must seek to “humanize” AI and employ it “humanly.” We must resist the phenomenological bent toward unbelief in AI development and pressures. We must once again learn to think critically and pervasively and biblically about AI. Our young people must be taught prescriptive critical thinking practices, rather than unwittingly and ignorantly giving in to what their phones and computers spit out. Church and ministry pastors must pastor rather than let AI bots plan, prepare and even give their sermons. We must learn to smartly negotiate with the “Magnificent Seven”— Apple, Microsoft, Alphabet, Amazon, Meta, Nvidia and Tesla — rather than blindly following their lead. Convenience and speed must not be allowed to overtake and overcome careful, sustained and critical thinking and acting. “To give language to this change, we must take the best of Christian thinking regarding the social and political imaginary and apply it to the economic imaginary of life under the glowing shores of Digital Babylon, and that kind of work cannot be done with quick hot takes. It will take slow, deep, and thoughtful meditation to apply the riches of Christian thought to making sense of the companies that got us here and where they are taking us.” (Austin Gravley, The State of The Internet: 2026 ) I am both excited and wary of AI. I have learned to be much more cautious about social media and the videos and photos and information they give. Much of it has been and is being AI produced and tweaked. Spammers use AI technology to wrest thousands of dollars from unsuspecting senior citizens. Schools are requiring students to turn off their cell phones or “bag” them until after school hours because of the insidious nature of AI generated stuff. I value more and more of a face-to-face approach in teaching and learning and mentoring others. And we must adopt a state of “believing is seeing” rather than a non-Christian scientifically sanctioned “seeing is believing” approach to truth and justice.
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