face cut in 1557. Clearface series, designed with the help of his father, Linn Boyd Benton. Clearface (1907, Benton) Clearface Bold + Italic (Benton) Clearface Heavy + Italic (Benton) Clearface Italic (Benton) Clearface Gothic (1910, Benton) Cloister series Cloister Old Style (1913, Benton), based on the 1470 Venetian face of Nicolas Jenson. Cloister Italic (1913, Benton), based on the 1501 italic face of Aldus Manutius. Cloister Bold Condensed (1917, Benton) Cloister Initials (1918, Goudy) Cloister Cursive (1922, Benton) Cloister Lightface (1924, Benton) Cloister Lightface Italic (1925, Benton) Cloister Cursive Handtooled (1926, Benton), with Charles H. Becker. Cloister Black (1904, Benton), usually credited to Phinney, but many authorities give full credit to Benton. It is an adaptation of Priory Text, an 1870s version of William Caslon’s Caslon Text of 1734. Lower-case letters are identical with Phinney's earlier Flemish Black. Collier Old Style (1919, Goudy), a private type for Proctor & Collier, a Cincinnati advertising agency, matrices cut by Wiebking. Contact (1944, F. H. Riley) Commercial Script (1908, Benton) Copperplate series A continuation of a series originally cast by Marder, Luse, & Co. Copperplate Gothic Shaded (1912, Benton) Craw Clarendon (1955-60, Freeman Craw) Craw Modern (1958-64, Freeman Craw) Cromwell (1913, Benton), uses capital letters from Benton’s Cloister Old Style. Cushing (1897, Benton), design suggested by J. Stearns Cushing. (Cushing Antique was a Ludlow face.) Della Robbia series Della Robbia (Thomas Maitland Cleland) Della Robbia Light (1913, Benton) Devens Script (1898, Phinney) Dom series (1950, Peter Dombrezian) Dom Diagonal (1950, Dom) Dom Casual (1951, Dom) Dom Bold (1953, Dom) Dynamic Medium (1930, Benton) Eagle Bold (1934, Benton), a variant of Novel Gothic, designed for the National Recovery Administration, used on their Blue Eagle posters. Elmora (1968) Empire (1937, Benton), no lower-case. Engravers Bold (1902, also cast by Barnhart Brothers & Spindler, Benton) Engravers Old English (1906, Benton), based upon Caslon Text and designed in association with "Cowan" or perhaps Phinney. Engravers Old English Bold (1910, Benton) Engravers Shaded (1906, Benton) Lithographic Shaded (1914, Benton + W. F. Capitian), a half-shaded version of Engravers Shaded. Engravers Text (1930, Benton) Flemish Black (1902, Phinney) Franklin Gothic series, the patriarch of American sans-serif faces, named for Benjamin Franklin, America’s greatest printer. Franklin Gothic (1903, Benton) Franklin Gothic Condensed + Extra Condensed (1906, Benton) Franklin Gothic Italic (1910, Benton) Franklin Gothic Condensed Shaded (1912, Benton) Freehand (1917, Benton) Gallia (1927, Wadsworth A. Parker), some sources attribute this