大约在20世纪之交，钢和铜版雕刻是制作名片、文具和正式公告最复杂、最昂贵的方法。在雕版印刷中，图像是在一块坚硬的平板上被切割或雕刻的。将油墨涂在板上，然后擦掉；仅在切割的区域留下陷在表面下方的墨水。当将纸张压在平板上时，油墨会从这些区域中被抽出并转移到纸张上。其结果是双重的：位于纸张表面上方的印刷，以及非常细腻的线条和形状的复制。

对于商务印刷和正式印刷，雕版印刷被认为是最好的。问题是，并不是每个人都能负担得起的。

在20世纪早期，铸造厂认为，如果他们能够为传统印刷生产出具有雕刻外观的字体，他们将能够满足那些被迫靠适度印刷预算的人的需求。雕刻师字体诞生了。Fredric Goudy的Copperplate Gothic是最受欢迎的作品之一。

Plate Gothic是针对数字技术更新的版本。它具有金属字体的所有魅力和感召力，并且非常适合当今的需求。

Around the turn of the twentieth-century, Steel and copper plate engraving was the most sophisticated and expensive method for producing business cards, stationery, and formal announcements. In engraved printing, the image is incised, or engraved into a hard, flat plate. Ink is applied to the plate, and then wiped off; leaving only the ink that is trapped below the surface in the incised areas. When the paper is pressed against the flat plate, the ink is drawn out of these areas and transferred to the paper. The results are twofold: printing which sits above the surface of the paper, and the reproduction very delicate lines and shapes.

For business and formal printing, engraved printing was, and is, considered the best. The problem is that not everybody can afford the best.

Type foundries, in the early 1900s, figured that if they could produce a typeface for traditional printing, which had appearance of engraving, they would be able to satisfy the needs of those forced to live with modest printing budgets. Engravers faces were born. Fredric Goudy’s Copperplate Gothic was one of the most popular.

Plate Gothic is a version of this style updated for digital technology. It has all the charm and charisma as the metal type and yet is perfect for today's needs.