Williams Caslon Text has been used by Boston Magazine for nearly a year for their text face. Soon the retail version will be out from Font Bureau, with a lot of additional kerning and some more Open Type goodness, such as a short descender option, swashes, and Central European characters.
My overriding goal in this revival of Caslon was to capture the legendary reading comfort of the metal Caslons at text sizes. I can't fully capture the look of the design on screen, because what looks slim at size in print looks chunky when blown up on the screen. I also wanted to capture the aesthetic of Caslon: warm, inviting, and authoritative at the same time. In particular the original metal Pica 2 of Caslon, and the best revivals, has a distinctive 'dark but open' look.
Here are some examples from the magazine. First, an intro spread for an article about college graduates coming out of college with no jobs, called Generation WTF:
They used my italic bigger than intended size, but because of the color and reverse, I was delighted with what they did.
Here is a typical narrow column, with Williams Caslon Text just doing its thing quietly. I was surprised how it works so small, 9.5/11 points. It's designed to work with relatively leading. Note the bold small caps as a section heading:
Here is a wide column, 10/11 points with Matthew Carter's Big Caslon at the top and Hoefler's Knockout--good company!
Here is a clever use of the regular small caps and bold italic, with color in the masthead. This is really tiny in real life: