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LTC Deepdene Italic Pro
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Designed by Frederic W. Goudy, Colin Kahn

Published by Lanston Type Co.

Available Formats

OpenType

This font is available in the following packages (best values are at the top):

LTC Deepdene Set 2 fonts | $69.95
LTC Deepdene Italic Pro 1 font | $49.95
  • Specimen
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  • LTC Deepdene Italic Pro

  • Display Sample Text Sample Character Set

    LTC Deepdene Italic ProLTC Deepdene Italic ProLTC Deepdene Italic ProLTC Deepdene Italic ProLTC Deepdene Italic ProLTC Deepdene Italic Pro
    LTC Deepdene Italic ProLTC Deepdene Italic Pro
    OpenType Features Hover over a feature to learn more. Click a feature to filter Character Set view.
    1. Show All Characters
    2. Access All Alternates
      This feature makes all variations of a selected character accessible. This serves several purposes: An application may not support the feature by which the desired glyph would normally be accessed; the user may need a glyph outside the context supported by the normal substitution, or the user may not know what feature produces the desired glyph. Since many-to-one substitutions are not covered, ligatures would not appear in this table unless they were variant forms of another ligature.
    3. Case-Sensitive Forms
      Shifts various punctuation marks up to a position that works better with all-capital sequences or sets of lining figures; also changes oldstyle figures to lining figures. By default, glyphs in a text face are designed to work with lowercase characters. Some characters should be shifted vertically to fit the higher visual center of all-capital or lining text. Also, lining figures are the same height (or close to it) as capitals, and fit much better with all-capital text.
    4. Capital Spacing
      Globally adjusts inter-glyph spacing for all-capital text. Most typefaces contain capitals and lowercase characters, and the capitals are positioned to work with the lowercase. When capitals are used for words, they need more space between them for legibility and esthetics. This feature would not apply to monospaced designs. Of course the user may want to override this behavior in order to do more pronounced letterspacing for esthetic reasons.
    5. Historical Forms
      Some letterforms were in common use in the past, but appear anachronistic today. The best-known example is the long form of s; others would include the old Fraktur k. Some fonts include the historical forms as alternates, so they can be used for a 'period' effect. This feature replaces the default (current) forms with the historical alternates. While some ligatures are also used for historical effect, this feature deals only with single characters.
    6. Historical Ligatures
      Some ligatures were in common use in the past, but appear anachronistic today. Some fonts include the historical forms as alternates, so they can be used for a 'period' effect. This feature replaces the default (current) forms with the historical alternates.
    7. Kerning
      Adjusts amount of space between glyphs, generally to provide optically consistent spacing between glyphs. Although a well-designed typeface has consistent inter-glyph spacing overall, some glyph combinations require adjustment for improved legibility. Besides standard adjustment in the horizontal direction, this feature can supply size-dependent kerning data via device tables, "cross-stream" kerning in the Y text direction, and adjustment of glyph placement independent of the advance adjustment. Note that this feature may apply to runs of more than two glyphs, and would not be used in monospaced fonts. Also note that this feature does not apply to text set vertically.
    8. Standard Ligatures
      Replaces a sequence of glyphs with a single glyph which is preferred for typographic purposes. This feature covers the ligatures which the designer/manufacturer judges should be used in normal conditions.
    9. Localized Forms
    10. Oldstyle Figures
      This feature changes selected figures from the default lining style to oldstyle form.
    11. Stylistic Alternates
      Many fonts contain alternate glyph designs for a purely esthetic effect; these don't always fit into a clear category like swash or historical. As in the case of swash glyphs, there may be more than one alternate form. This feature replaces the default forms with the stylistic alternates.
    12. Small Capitals
      This feature turns lowercase characters into small capitals. This corresponds to the common SC font layout. It is generally used for display lines set in Large & small caps, such as titles. Forms related to small capitals, such as oldstyle figures, may be included.
    13. Stylistic Set 1
      In addition to, or instead of, stylistic alternatives of individual glyphs (see 'salt' feature), some fonts may contain sets of stylistic variant glyphs corresponding to portions of the character set, e.g. multiple variants for lowercase letters in a Latin font. Glyphs in stylistic sets may be designed to harmonise visually, interract in particular ways, or otherwise work together. Examples of fonts including stylistic sets are Zapfino Linotype and Adobe's Poetica. Individual features numbered sequentially with the tag name convention 'ss01' 'ss02' 'ss03' . 'ss20' provide a mechanism for glyphs in these sets to be associated via GSUB lookup indexes to default forms and to each other, and for users to select from available stylistic sets.
    14. Stylistic Set 2
    15. Swash
      This feature replaces default character glyphs with corresponding swash glyphs. Note that there may be more than one swash alternate for a given character.
    All glyphs (255 of 573 glyphs) Pages:  1  2  3  [Next »]
     
    character set
    Pages:  1  2  3  [Next »]

Submit an example of LTC Deepdene Italic Pro in use. We'll post the most interesting images here with a credit and link.

Trademark, P22 Type Foundry Inc.
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Font #114227