495:
199:
303:
656:
231:
479:
271:
471:
215:. (At the time typeface names were often adjectives, often with little purpose to their name, although they may have been in this case reference to the "blocky", geometric structure of ancient architecture. There was limited separation between the name of typefaces and genres; if a font proved popular it would often be pirated and reissued by other foundries under the same name.)
383:
641:
38:
328:, which specialised in creating demand for new designs of display face, could argue "Who remembers the Clarendons" in its specimen book, and did not show them (aside from some numerals) in its 1,148 pages. In addition, the market of slab serifs was disrupted by the arrival of new "geometric" slab-serifs inspired by the sans-serifs of the period, such as
253:
used for bold type by the 1840s, but they were often quite lumpy in design and quite poorly matched to the body text face they were intended to complement. Mosley has written that "the
Clarendon type of the Besley foundry is indeed the first type actually designed as a 'related bold' – that is, made to harmonize in design and align with the
191:
509:, resulting in the production of the 'French Clarendon' type style, which had enlarged block serifs at top and bottom. This style is also traditionally associated with wild-west printing; it is commonly seen on circus posters and wanted notices in western movies. However, it was actually used in many parts of the world at the time.
487:
306:
Monotype Modern with three fonts inspired by this style of design. At the bottom, Haas
Clarendon shows reduced contrast and a wide, display-oriented structure. The text faces Century Schoolbook and especially Linotype Excelsior, a variant on Linotype Ionic, have text-oriented structures with narrower
266:
in the same style more effective than Besley's: " became the normal, but it was certainly not the first…in 1842 Caslon have an upper and in 1843 a lower case with the characteristics fully developed, but of a normal width…Besley's
Clarendon is much less pleasing, it has lost emphasis and confidence,
218:
Compared to
Figgins' "antique", the Clarendon design uses somewhat less emphatic serifs, which are bracketed rather than solid blocks, that widen as they reach the main stroke of the letter. Besley's design was not the first font with this style by at least three years, as typefaces labelled "Ionic"
995:
For the record, the
Clarendon type of the Besley foundry is indeed the first type actually designed as a 'related bold' – that is, made to harmonize in design and align with the roman types it was set with. It was registered in Britain in 1845...but the idea of a 'bold face' goes back much further.
164:
within a block of text. The
Clarendon design was immediately very popular and was rapidly copied by other foundries to become in effect an entire genre of type design. Clarendon fonts proved extremely popular in many parts of the world, in particular for display applications such as posters printed
252:
that had been used for centuries for this purpose, and in this it matches the quite condensed body text faces of the period. (The modern system of issuing typefaces in families with a companion bold of matched design did not develop until the twentieth century.) Slab serifs had already begun to be
1568:
The zeal that brought in reformed roman types and elegant sans serifs swept out the
Cheltenhams and Clarendons from many a progressive composing room, and one felt at the time that the reformation would be permanent. But the inevitable counter-reformation now shows that unprogressive printers who
1250:
The other kind of secondary type, the related bold face, is a twentieth-century creation. Although the use of bold type for emphasis in text began when display advertising became a feature of the family magazines of the mid-nineteenth century, the bold types themselves were
Clarendons, Ionics and
298:
With its growing popularity for display use, new versions often changed these proportions. By around 1874, the Fann Street
Foundry (now Reed and Fox) could offer in its specimen book Clarendon designs that were condensed, "thin-faced" (light weight), extended, "distended" (extra-wide) and shaded.
139:
on the 'a' and 'c'), but bolder and with less contrast in stroke weight. Clarendon designs generally have a structure with bracketed serifs, which become larger as they reach the main stroke of the letter. Mitja MiklavÄŤiÄŤ describes the basic features of
Clarendon designs (and ones labelled Ionic,
585:
The following terms have been used for Clarendons and related slab serifs. Common meanings have been added, but they have often not been consistently applied. Many modern writers as a result ignore them and prefer the term slab-serif, providing individual descriptions of the features of specific
549:
had described them as 'typographic monstrosities'. Derivatives of this style persisted, and the concept of very thick serifs ultimately merged with the Clarendon genre of type. The advantage of French-Clarendon type was that it allowed very large, eye-catching serifs while the letters remained
243:
Besley's original Clarendon design was quite compressed, unlike most later 'Clarendons' intended for display setting, which are often quite wide. One of the original target markets for Besley's Clarendon design was to act as a bold face within body text, providing a stronger
206:
Slab serif lettering and typefaces originated in Britain in the early nineteenth century, at a time of rapid development of new, bolder typefaces for posters and commercial printing. Probably the first slab-serif to appear in print was created by the foundry of
234:
Monotype Modern, a nineteenth-century text face, next to Haas Clarendon Bold, a display face. Both fonts show classic nineteenth-century design features, for instance on the 'Q', 'R', 'r', 'a' and 'c'. However, the Clarendon is much wider with a higher
181:
comments that "some of the best and most significant Clarendons are twentieth century designs" and highlights the Haas and Stempel foundry's bold, wide Clarendon display face as "a classic that for many people is the epitome of the Clarendon style."
996:
Before the launch of Clarendon type printers picked out words in slab-serifs or any other heavy type. In the 18th century they used 'English' or 'Old English' types, which is why they became known as 'black letter'. John Smith says in his
311:
The label "Ionic", originally also used for display faces, has become associated with typefaces with some Clarendon/slab-serif features but intended for body text, following the success of several faces with this name from first
257:
it was set with...Before the launch of Clarendon type printers picked out words in slab-serifs or any other heavy type." However, because of the Clarendon design's strong reputation for quality, it was rapidly copied. Historian
278:
Besley registered the typeface in 1845 under Britain's Ornamental Designs Act of 1842. The patent expired three years later, and other foundries quickly copied it. Besley was nonetheless successful in business, and became the
348:
A variety of Clarendon revivals have been made since the original design, often adapting the design to different widths and weights. The original Clarendon design, a quite condensed design, did not feature an
307:
letterforms and smaller serifs than the Clarendon, but they show reduced contrast and more open letterforms to increase legibility compared to the Modern, particularly visible on Excelsior's 'e', 'c' and 'a'.
557:
Because of their quirky, unusual design, lighter and hand-drawn versions of the style were popular for uses such as film posters in the 1950s and 60s. A variety of adaptations have been made of the style,
320:, extremely successful in newspaper printing). Millington notes that "Ionic became a distinct design in its own right" while Hoefler comments that it is now "chiefly associated with bracketed faces of the
148:
and slab serif model". Gray notes that nineteenth-century Ionic and Clarendon faces have "a definite differentiation between the thick and the thin strokes", unlike some other more geometric slab serifs.
599:- the first name used for slab-serifs, but in France often used for sans-serifs. Sometimes taken to mean slab-serifs in the nineteenth-century style with Didone letterforms and thick, square slab-serifs.
367:
Most hot metal typesetting companies offered some kind of slab serif; Linotype offered it duplexed to a Roman type so that it could be easily switched in for emphasis. The typeface was reworked by
434:, of Typodermic, released the Superclarendon family in 2007, using obliques instead of italics. A wide, display-oriented design with small caps and Greek and Cyrillic support, it is bundled with
3436:
445:, another typeface family based on Clarendon with italics added, was released in 2009. Intended to have less eccentric italics suitable for body text use, it was featured heavily in President
577:, it is a modernisation reminiscent of Clarendon revivals from the 1950s. It attempts to adapt the style to use in a much wider range of settings, going so far as to be usable for body text.
609:, the first made. Continued to be used as a name for "geometric" slab-serifs appearing in the twentieth century, and so several geometric slab-serifs had Egyptian-themed names, including
140:
often quite similar) as: "plain and sturdy nature, strong bracketed serifs, vertical stress, large x-height, short ascenders and descenders, typeface with little contrast" and supports
694:, not by a type foundry, and this 'Swindon Egyptian' differed in some aspects, most obviously the numerals used for the cabside numberplates. The typeface is currently used by
623:- in the nineteenth century used as a name for slab-serifs. In the twentieth century this term became used to mean text faces with some Clarendon-style features, because of an
371:, with a redesigned release as "New Clarendon" in 1960. Hermann Eidenbenz cut a version in 1953, issued by Haas and Stempel, and later, Linotype. Freeman Craw drew the
3404:
283:
in 1869. Theodore De Vinne, a printer who wrote several influential textbooks on typography in the late nineteenth century, wrote that its name was a reference to the
353:, and many early Clarendon designs, such as wood type headline faces, have capitals only with no lower-case letters, leaving many options for individual adaptation.
128:
Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design.
3462:
219:
had already appeared in this style (other typefaces would copy this name), but the Clarendon design was particularly popular and its name rapidly copied. Historian
360:
in 1906, who marketed a release named Consort, cutting some additional weights (a bold and italics) in the 1950s. The original materials were transferred to the
494:
3431:
3378:
3019:
2949:
2546:
520:
types of the period. It was created by inverting the contrast of these designs, making the thin strokes thick and the thick strokes thin. The result was a
545:
Intended as attention-grabbing novelty display designs rather than as serious choices for body text, within four years of their introduction the printer
1117:
3397:
3487:
340:
commented that "What seemed pestiferous thirty years ago is now regarded as rugged, virile and essential for an advertising agency's self-respect."
364:
collection when Stephenson Blake left the printing business in 1996. Designs for wood type copying Clarendon were made from the mid-1840s onwards.
2584:
2420:
1255:, a distinguished British journal of typography, could say, "The 'related bold' is a comparatively new phenomenon in the history of type cutting."
528:
because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble
881:
The Modern face would not have seemed so high in contrast in print at small sizes. (For specimen images of these faces in metal type, see Hutt.)
3233:
2811:
2128:
3228:
1337:
1310:
1089:
1062:
930:
727:
211:, and given the name "antique". Others rapidly appeared, using names such as "Ionic" and "Egyptian", which had also been used as a name for
2864:
1172:
3201:
695:
573:
A radically different approach has been that of Trilby by David Jonathan Ross, who has written on the history of the genre. Released by
198:
3426:
3373:
3365:
2831:
2334:
2044:
1711:
1493:
1000:(London, 1755). 'Black Letter … is sometimes used … to serve for matter which the Author would particularly enforce to the reader.'
116:
typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the
3482:
3034:
2884:
627:
of this name from Linotype - this followed from previous faces of the same name only slightly bolder than text proportions from
3082:
1025:
324:
model". A decline of interest in Clarendons for display use did, however, take place in the early twentieth century: by 1923,
316:(intended to be slightly bolder than contemporary expectations for body text proportions) and then Linotype (its 1922 release
3196:
2111:
1426:
3472:
3457:
3039:
2974:
2969:
2766:
559:
490:
A document printed in 1836, showing early 'Italian' type on the word 'proceedings'. Later versions were more toned-down.
550:
narrow, suiting the desire of poster-makers for condensed but very bold type. Fine printers were less impressed by it:
2413:
1515:
413:
in 1998. The Clarendon Text family, with italics inspired by Egizio, was released by Patrick Griffin of Canada Type.
3421:
3477:
3467:
3314:
3094:
2806:
2771:
2633:
780:
465:
3132:
3087:
2781:
2061:
974:
1905:
302:
295:), who he claimed immediately used it for dictionaries, although later authors have expressed doubt about this.
3153:
2964:
2849:
2816:
2791:
2736:
2731:
2669:
2664:
2598:
2564:
57:
2351:
442:
1128:
3148:
3127:
2954:
2786:
2776:
2711:
2684:
2623:
2574:
2487:
1509:
1418:
813:
292:
3160:
1582:
516:
type, predated Clarendon altogether. It began, possibly around 1821 in Britain, as a parody of the elegant
3175:
2989:
2869:
2796:
2761:
2751:
2746:
2674:
2638:
2618:
2406:
417:
376:
325:
1962:
1884:
1457:
Unger, Gerard (1 January 1981). "Experimental No. 223, a newspaper typeface, designed by W.A. Dwiggins".
3304:
3180:
3072:
3029:
2994:
2934:
2929:
2924:
2914:
2909:
2899:
2894:
2889:
2874:
2859:
2854:
2844:
2839:
2821:
2701:
2659:
2628:
2516:
2498:
847:
687:
683:
675:
659:
648:
551:
546:
245:
1533:
202:
Clarendon in a Fann Street Foundry specimen book c. 1874, showing its use for emphasis within body text
655:
3344:
3274:
3165:
3077:
3062:
3024:
3014:
3004:
2999:
2984:
2979:
2944:
2919:
2904:
2879:
2801:
2721:
2696:
2643:
2613:
2463:
2443:
861:
809:
767:
368:
280:
2248:
230:
135:
popular in the nineteenth century for body text (for instance showing an 'R' with a curled leg, and
3299:
3170:
3044:
3009:
2959:
2939:
2756:
2726:
2706:
2689:
2679:
2135:
1385:
803:
628:
517:
513:
313:
156:
and printing over the previous thirty-five years before the original Clarendon's release, both for
132:
117:
86:
505:
In the late nineteenth century the basic Clarendon face was radically altered by foundries in the
3259:
3067:
2741:
2716:
1302:
891:
763:
753:
610:
425:
333:
321:
91:
1111:
1109:
1107:
1105:
1103:
1101:
1569:
held on to their old-fashioned repertoire were doing the right thing, if for the wrong reasons.
1176:
2330:
2223:
2107:
2040:
1707:
1489:
1422:
1333:
1327:
1306:
1251:
Antiques quite unrelated to the old styles and moderns used for the text. As late as 1938 the
1085:
1058:
1052:
926:
920:
786:
614:
530:
174:
2301:
1079:
605:- mostly used for slab-serifs generally, although first used by the Caslon Foundry in naming
524:
design because of the serifs becoming thick. (In the 19th century, these designs were called
3339:
3309:
2579:
1466:
1294:
1252:
1219:
725:
A custom variation of the typeface is used to display dollar amounts and other lettering on
624:
478:
394:
357:
329:
178:
157:
946:
Twyman, Michael. "The Bold Idea: The Use of Bold-looking Types in the Nineteenth Century".
270:
3334:
2478:
2473:
2458:
2356:
1863:
1795:
699:
686:. A heavy bold Clarendon variant was used for the cast brass locomotive nameplates of the
664:
606:
563:
284:
208:
2104:
Typographia : an historical sketch of the origin and progress of the art of printing
1684:
1268:
890:
Ovink suggests, however, that the inspiration for the Linotype Ionics may have been more
1727:
534:
Roman writing, but this may be a coincidence. For similar reasons they were also called
3329:
3289:
3254:
2569:
2559:
2536:
2508:
2448:
1295:
263:
2160:
1988:
386:
The italic of Egizio, intended to complement the pre-existing Clarendon design concept
336:. However, a revival of interest did appear after the war both in America and Europe:
3451:
3319:
3294:
3264:
3223:
1559:
1379:
836:
719:
691:
672:
506:
453:
390:
337:
259:
224:
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136:
121:
74:
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1663:
1029:
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2493:
2429:
1769:
1357:
1241:
970:
679:
446:
220:
125:
81:
1638:
2378:
1728:"Monotype Craw Clarendon type specimen broadsheet | Flickr - Photo Sharing!"
1051:
Reader in Applied Linguistics Vivian Cook; Vivian Cook; Des Ryan (15 July 2016).
2483:
829:
819:
574:
431:
421:
416:
Volta, sold as Fortune in the U.S., a modern view of Clarendon, was designed by
406:
361:
350:
317:
249:
69:
17:
1173:"2004 Friends of St Bride conference proceedings: How wood type tamed the west"
470:
2531:
1410:
796:
771:
521:
382:
254:
212:
145:
113:
62:
1923:
3284:
2521:
2468:
2453:
1470:
823:
640:
499:
166:
1748:
711:
542:, Egyptian being an equally arbitrary name for slab serifs of the period.)
2200:
2014:
1837:
593:- often particularly used to refer to slab-serifs with 'bracketed' serifs.
223:
suggests that an inspiration for these designs may have been the style of
131:
Clarendon has a bold, solid structure, similar in letter structure to the
3279:
1951:, National Composition Association, Arlington, Virginia, 1983, pp. 20-21.
1816:
1197:
1151:
1149:
236:
161:
45:
567:
486:
299:
Revivals continued in the twentieth century, particularly in the 1950s.
843:
982:
740:
Versions of Clarendon can be seen in the logotypes of brands such as:
482:
French Clarendon wood type at the Hamilton Wood Type Museum, Wisconsin
37:
3349:
1488:(1st ed.). New Castle, Del. : Oak Knoll Press pp. 80, 53.
715:
288:
190:
2179:
2084:
2082:
975:"Comments on Typophile thread "Where do bold typefaces come from?""
3324:
3249:
757:
749:
654:
639:
493:
485:
477:
469:
435:
402:
398:
381:
301:
269:
229:
197:
189:
50:
2398:
1118:"Three chapters in the development of clarendon/ionic typefaces"
790:
745:
452:
Besley* from Indestructible Type is an open-source revival with
2402:
1514:. Elizabeth, New Jersey: American Type Founders. 1923. p.
554:
commented in 1902 that "To be hated, it needs but to be seen."
239:, and contrast between thick and thin strokes has been reduced.
1527:
1525:
405:. The design included matching italics. David Berlow, of the
1864:"Superclarendon - Webfont & Desktop font « MyFonts"
1796:"Clarendon Text - Webfont & Desktop font « MyFonts"
1381:
Selections from the Specimen Book of the Fann Street Foundry
1351:
1349:
3437:
Comparison of traffic signs in English-speaking territories
1081:
Fifty Typefaces That Changed the World: Design Museum Fifty
722:' numbering, and on trams for displaying the route number.
177:. A revival of interest took place in the post-war period:
124:, a partner in the foundry, and was originally engraved by
1486:
Stephenson Blake: the last of the Old English Typefounders
1511:
1923 American Type Founders Specimen Book & Catalogue
194:
Antique by Vincent Figgins, one of the first slab serifs
160:
on signage, architectural lettering and posters and for
1817:"Volta® EF - Webfont & Desktop font « MyFonts"
274:
Clarendon-style type on the body text of an 1890 poster
1664:"Hermann Eidenbenz - Linotype Font Designer Gallery"
1054:
The Routledge Handbook of the English Writing System
375:
family, a once popular American version released by
3414:
3389:
3358:
3242:
3216:
3189:
3141:
3120:
3055:
2830:
2652:
2606:
2597:
2545:
2507:
2436:
1405:
1403:
1020:
1018:
1016:
1014:
1012:
1010:
1008:
152:Slab serif typefaces had become popular in British
99:
80:
68:
56:
44:
379:in 1955, with light, bold and condensed variants.
2090:The Practice of Typography, Plain Printing Types,
1704:American Metal Typefaces of the Twentieth Century
3405:Traffic Signs Regulations and General Directions
1326:E. C. Bigmore; C. W. H. Wyman (28 August 2014).
965:
963:
961:
144:'s description of them as a "cross between the
120:. The original Clarendon design is credited to
1332:. Cambridge University Press. pp. 245–7.
846:, such as Sanbe (either in company logo or on
356:The original Clarendon became the property of
169:. They are therefore commonly associated with
2414:
2329:. Oxford Publishing Company. pp. 12–13.
925:. David R. Godine Publisher. pp. 314–5.
262:considered the earlier "Ionic" face from the
8:
3432:Comparison of MUTCD-influenced traffic signs
1293:Haralambous, Yannis; P. Scott Horne (2007).
914:
912:
910:
498:French Clarendon type on a 1914 poster from
30:
1028:. Hoefler & Frere-Jones. Archived from
2603:
2504:
2421:
2407:
2399:
948:Journal of the Printing Historical Society
783:, a programming language developed in 1966
36:
3398:Manual on Uniform Traffic Control Devices
1947:Provan, Archie, and Alexander S. Lawson,
449:'s 2012 campaign website advertisements.
227:capitals used by copper-plate engravers.
1417:(2. ed., reprinted. ed.). London :
864:font that is quite similar to Clarendon.
570:'s Zirkus and Bitstream's P. T. Barnum.
2585:Direction, position, or indication sign
2092:The Century Co., N.Y.C., 1902, p. 333.
1158:Nineteenth-century Ornamented Typefaces
906:
874:
777:Ă„lvsbyhus, a Swedish house manufacturer
704:Miejskie Przedsiębiorstwo Komunikacyjne
3463:Typefaces and fonts introduced in 1845
3234:Traffic light control and coordination
2037:The Golden Thread The Story of Writing
29:
3229:Variations in traffic light operation
1706:. Oak Knoll Books. pp. 110–111.
7:
2062:"Beauty and Ugliness in Type design"
919:Alexander S. Lawson (January 1990).
690:. This was however drawn within the
671:Craw Clarendon Bold was used by the
3202:Traffic signs in post-Soviet states
1078:John L Walters (2 September 2013).
2060:Bilak, Peter (25 September 2012).
1906:"Ad with Vice President Joe Biden"
1749:"Font Bureau Fonts | Belizio"
514:reverse-contrast or reverse-stress
25:
3427:Comparison of European road signs
1685:"Identifont - Monotype Clarendon"
1125:MA Thesis (University of Reading)
842:Some pharmaceutical companies in
267:and gains only in plausibility."
2039:. New York: Atlantic Books Ltd.
1885:"Sentinel Fonts | H&FJ"
806:, an American online publication
3488:Road signs in the United States
2102:Hansard, Thomas Carson (2003).
1583:"The materials of typefounding"
3422:Comparison of Asian road signs
2129:"Backasswards! (presentation)"
1637:Heller, Steven (21 May 2013).
832:, a financial services company
562:'s Playbill and more recently
1:
2379:"Montagu Slab - Google Fonts"
2350:Pang, Kevin (March 6, 2008).
2224:"Slab Happy: Trilby Reviewed"
2222:Shaw, Paul (5 October 2010).
1963:"Fontlists: reverse contrast"
1949:100 Type Histories (volume 1)
1819:. New.myfonts.com. 2001-07-25
1622:"A Clarendon from Monotype".
1538:Commercial Art & Industry
1534:"Type Tactics: The Egyptians"
1384:. Aldersgate Street, London:
1220:"Scrambled Eggs & Serifs"
1175:. Stbride.org. Archived from
2300:Yaffa, Joshua (2007-08-12).
2249:"My favourite fonts of 2009"
1358:"Know your type: Clarendon"
1084:. Octopus. pp. 41–44.
682:, but has been replaced by
512:The concept, now called as
474:French Clarendon type (top)
393:drew the Egizio family for
3504:
3315:Polish road signs typeface
2327:Nameplates of the Big Four
1624:Book Design and Production
1532:Horn, Frederic A. (1936).
1329:A Bibliography of Printing
1057:. Routledge. p. 443.
625:influential body text face
466:Reverse-contrast typefaces
463:
3359:International conventions
1866:. Myfonts.com. 2007-10-11
1798:. Myfonts.com. 2007-07-18
1198:"Old West Reward Posters"
1116:MiklavÄŤiÄŤ, Mitja (2006).
443:Hoefler & Frere-Jones
35:
3040:Gaelic-speaking Scotland
2565:Prohibitory traffic sign
2547:Vienna Convention Groups
2325:Burridge, Frank (1975).
2088:De Vinne, Theodore Low,
1639:"The Faces of Clarendon"
1484:Millington, Roy (2002).
696:Public Transport Company
409:, released a revival as
133:"modern" serif typefaces
3483:Public domain typefaces
2575:Special regulation sign
1910:barackobama.com/latinos
1471:10.1163/157006981X00274
1419:Oxford University Press
1156:Gray, Nicolete (1976).
766:, the premium class on
293:Oxford University Press
2865:Bosnia and Herzegovina
2178:Ross, David Jonathan.
2127:Ross, David Jonathan.
2035:Clayton, Ewan (2013).
1987:Barnes & Schwarz.
1444:The Changing Newspaper
1026:"Sentinel's Ancestors"
744:Japanese corporations
703:
692:Swindon drawing office
668:
652:
502:
491:
483:
475:
418:Konrad Friedrich Bauer
387:
377:American Type Founders
326:American Type Founders
308:
275:
240:
203:
195:
3305:NPS Rawlinson Roadway
2532:Give Way / Yield sign
2517:Priority to the right
2499:Variable-message sign
2464:Driver location signs
2302:"The Road to Clarity"
2106:. Bristol: Thoemmes.
1297:Fonts & Encodings
1218:Frere-Jones, Tobias.
922:Anatomy of a Typeface
848:prescription medicine
800:, a Spanish newspaper
718:) as the typeface of
688:Great Western Railway
684:NPS Rawlinson Roadway
676:National Park Service
660:Great Western Railway
658:
649:National Park Service
643:
547:Thomas Curson Hansard
497:
489:
481:
473:
385:
305:
273:
233:
201:
193:
3473:Government typefaces
3458:Slab serif typefaces
2812:United Arab Emirates
2444:Advisory speed limit
2141:on 10 September 2015
1730:. Flickr. 2012-12-01
1702:McGrew, Mac (1986).
1442:Hutt, Allen (1972).
1301:. O'Reilly. p.
1134:on November 25, 2011
862:free and open-source
629:Miller & Richard
314:Miller & Richard
281:Lord Mayor of London
1928:Indestructible Type
1609:Monotype Newsletter
1562:. "Two Egyptians".
985:on 20 December 2016
645:Craw Clarendon Bold
603:Egyptian/Egyptienne
118:Fann Street Foundry
92:Show all characters
32:
27:Slab serif typeface
3390:National standards
2352:"Meet the 'Wheel'"
2306:The New York Times
1356:Challand, Skylar.
1222:. Frere-Jones Type
1032:on 17 January 2014
892:Century Schoolbook
860:Montagu Slab is a
835:The official 1961
669:
653:
503:
492:
484:
476:
426:Bauer Type Foundry
388:
309:
276:
241:
204:
196:
3478:Display typefaces
3468:Digital typefaces
3445:
3444:
3212:
3211:
2593:
2592:
2274:Papazian, Hrant.
2255:. 20 January 2010
2253:i love typography
2066:I love typography
1607:"New Clarendon".
1446:. pp. 101–2.
1421:. pp. 54–8.
1339:978-1-108-07433-9
1312:978-0-596-10242-5
1253:Monotype Recorder
1248:. pp. 65–6.
1246:Letters of Credit
1200:. Wildwestweb.net
1171:Dennis Ichiyama.
1091:978-1-84091-649-2
1064:978-1-317-36581-5
998:Printer's grammar
932:978-0-87923-333-4
540:Reversed Egyptian
531:capitalis rustica
175:American Old West
112:is the name of a
107:
106:
95:
16:(Redirected from
3495:
3340:Trafikkalfabetet
3190:Former countries
2604:
2580:Information sign
2505:
2423:
2416:
2409:
2400:
2394:
2393:
2391:
2389:
2383:fonts.google.com
2375:
2369:
2368:
2366:
2364:
2347:
2341:
2340:
2322:
2316:
2315:
2313:
2312:
2297:
2291:
2290:
2288:
2286:
2271:
2265:
2264:
2262:
2260:
2245:
2239:
2238:
2236:
2234:
2219:
2213:
2212:
2210:
2208:
2197:
2191:
2190:
2188:
2186:
2175:
2169:
2168:
2157:
2151:
2150:
2148:
2146:
2140:
2134:. Archived from
2133:
2124:
2118:
2117:
2099:
2093:
2086:
2077:
2076:
2074:
2072:
2057:
2051:
2050:
2032:
2026:
2025:
2023:
2021:
2010:
2004:
2003:
2001:
1999:
1984:
1978:
1977:
1975:
1973:
1958:
1952:
1945:
1939:
1938:
1936:
1934:
1920:
1914:
1913:
1902:
1896:
1895:
1893:
1892:
1887:. Typography.com
1881:
1875:
1874:
1872:
1871:
1860:
1854:
1853:
1851:
1849:
1834:
1828:
1827:
1825:
1824:
1813:
1807:
1806:
1804:
1803:
1792:
1786:
1785:
1783:
1781:
1766:
1760:
1759:
1757:
1756:
1751:. Fontbureau.com
1745:
1739:
1738:
1736:
1735:
1724:
1718:
1717:
1699:
1693:
1692:
1681:
1675:
1674:
1672:
1671:
1660:
1654:
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1634:
1628:
1627:
1619:
1613:
1612:
1604:
1598:
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1578:
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1529:
1520:
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1506:
1500:
1499:
1481:
1475:
1474:
1454:
1448:
1447:
1439:
1433:
1432:
1415:Newspaper Design
1407:
1398:
1397:
1395:
1393:
1376:
1370:
1369:
1367:
1365:
1353:
1344:
1343:
1323:
1317:
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1300:
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1206:
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1194:
1188:
1187:
1185:
1184:
1168:
1162:
1161:
1153:
1144:
1143:
1141:
1139:
1133:
1127:. Archived from
1122:
1113:
1096:
1095:
1075:
1069:
1068:
1048:
1042:
1041:
1039:
1037:
1022:
1003:
1002:
992:
990:
981:. Archived from
967:
956:
955:
943:
937:
936:
916:
895:
888:
882:
879:
728:Wheel of Fortune
607:their sans-serif
460:French Clarendon
358:Stephenson Blake
179:Jonathan Hoefler
89:
40:
33:
21:
18:French Clarendon
3503:
3502:
3498:
3497:
3496:
3494:
3493:
3492:
3448:
3447:
3446:
3441:
3410:
3385:
3354:
3238:
3208:
3185:
3137:
3116:
3051:
2975:North Macedonia
2826:
2648:
2589:
2541:
2503:
2479:Regulatory sign
2474:One-way traffic
2432:
2427:
2397:
2387:
2385:
2377:
2376:
2372:
2362:
2360:
2357:Chicago Tribune
2349:
2348:
2344:
2337:
2324:
2323:
2319:
2310:
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2299:
2298:
2294:
2284:
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2273:
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2258:
2256:
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2232:
2230:
2221:
2220:
2216:
2206:
2204:
2199:
2198:
2194:
2184:
2182:
2180:"BACKASSWARDS!"
2177:
2176:
2172:
2159:
2158:
2154:
2144:
2142:
2138:
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2126:
2125:
2121:
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2100:
2096:
2087:
2080:
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2068:
2059:
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2054:
2047:
2034:
2033:
2029:
2019:
2017:
2012:
2011:
2007:
1997:
1995:
1986:
1985:
1981:
1971:
1969:
1960:
1959:
1955:
1946:
1942:
1932:
1930:
1922:
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1917:
1904:
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1657:
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1636:
1635:
1631:
1621:
1620:
1616:
1606:
1605:
1601:
1591:
1589:
1581:Mosley, James.
1580:
1579:
1575:
1558:
1557:
1553:
1543:
1541:
1531:
1530:
1523:
1508:
1507:
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1483:
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1436:
1429:
1409:
1408:
1401:
1391:
1389:
1378:
1377:
1373:
1363:
1361:
1355:
1354:
1347:
1340:
1325:
1324:
1320:
1313:
1292:
1291:
1287:
1277:
1275:
1269:"Job Clarendon"
1267:Reynolds, Dan.
1266:
1265:
1261:
1240:
1239:
1235:
1225:
1223:
1217:
1216:
1212:
1203:
1201:
1196:
1195:
1191:
1182:
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1165:
1155:
1154:
1147:
1137:
1135:
1131:
1120:
1115:
1114:
1099:
1092:
1077:
1076:
1072:
1065:
1050:
1049:
1045:
1035:
1033:
1024:
1023:
1006:
988:
986:
969:
968:
959:
945:
944:
940:
933:
918:
917:
908:
904:
899:
898:
889:
885:
880:
876:
871:
857:
789:, a channel on
738:
638:
583:
564:Adrian Frutiger
468:
462:
441:Sentinel, from
346:
285:Clarendon Press
209:Vincent Figgins
188:
28:
23:
22:
15:
12:
11:
5:
3501:
3499:
3491:
3490:
3485:
3480:
3475:
3470:
3465:
3460:
3450:
3449:
3443:
3442:
3440:
3439:
3434:
3429:
3424:
3418:
3416:
3412:
3411:
3409:
3408:
3402:
3393:
3391:
3387:
3386:
3384:
3383:
3382:
3381:
3376:
3368:
3362:
3360:
3356:
3355:
3353:
3352:
3347:
3342:
3337:
3332:
3327:
3322:
3317:
3312:
3307:
3302:
3297:
3292:
3290:Highway Gothic
3287:
3282:
3277:
3272:
3267:
3262:
3257:
3255:ASTRA-Frutiger
3252:
3246:
3244:
3240:
3239:
3237:
3236:
3231:
3226:
3220:
3218:
3214:
3213:
3210:
3209:
3207:
3206:
3205:
3204:
3193:
3191:
3187:
3186:
3184:
3183:
3178:
3173:
3168:
3163:
3158:
3157:
3156:
3145:
3143:
3139:
3138:
3136:
3135:
3130:
3124:
3122:
3118:
3117:
3115:
3114:
3113:
3112:
3109:
3106:
3103:
3100:
3092:
3091:
3090:
3080:
3075:
3070:
3065:
3059:
3057:
3053:
3052:
3050:
3049:
3048:
3047:
3042:
3035:United Kingdom
3032:
3027:
3022:
3017:
3012:
3007:
3002:
2997:
2992:
2987:
2982:
2977:
2972:
2967:
2962:
2957:
2952:
2947:
2942:
2937:
2932:
2927:
2922:
2917:
2912:
2907:
2902:
2897:
2892:
2887:
2885:Czech Republic
2882:
2877:
2872:
2867:
2862:
2857:
2852:
2847:
2842:
2836:
2834:
2828:
2827:
2825:
2824:
2819:
2814:
2809:
2804:
2799:
2794:
2789:
2784:
2779:
2774:
2769:
2764:
2759:
2754:
2749:
2744:
2739:
2734:
2729:
2724:
2719:
2714:
2709:
2704:
2699:
2694:
2693:
2692:
2687:
2677:
2672:
2667:
2662:
2656:
2654:
2650:
2649:
2647:
2646:
2641:
2636:
2631:
2626:
2621:
2616:
2610:
2608:
2601:
2595:
2594:
2591:
2590:
2588:
2587:
2582:
2577:
2572:
2570:Mandatory sign
2567:
2562:
2560:Priority signs
2557:
2551:
2549:
2543:
2542:
2540:
2539:
2537:Filter in turn
2534:
2529:
2519:
2513:
2511:
2509:Priority signs
2502:
2501:
2496:
2491:
2481:
2476:
2471:
2466:
2461:
2456:
2451:
2449:Bilingual sign
2446:
2440:
2438:
2434:
2433:
2428:
2426:
2425:
2418:
2411:
2403:
2396:
2395:
2370:
2342:
2335:
2317:
2292:
2266:
2240:
2214:
2192:
2170:
2152:
2119:
2112:
2094:
2078:
2052:
2045:
2027:
2015:"Henry Caslon"
2013:Devroye, Luc.
2005:
1989:"Type Tuesday"
1979:
1961:Peters, Yves.
1953:
1940:
1915:
1897:
1876:
1855:
1829:
1808:
1787:
1761:
1740:
1719:
1712:
1694:
1689:identifont.com
1676:
1666:. Linotype.com
1655:
1629:
1614:
1599:
1573:
1560:Ridler, Vivian
1551:
1521:
1501:
1494:
1476:
1465:(4): 302–324.
1449:
1434:
1427:
1399:
1386:Reed & Fox
1371:
1345:
1338:
1318:
1311:
1285:
1273:Fontstand News
1259:
1233:
1210:
1189:
1163:
1145:
1097:
1090:
1070:
1063:
1043:
1004:
957:
938:
931:
905:
903:
900:
897:
896:
883:
873:
872:
870:
867:
866:
865:
856:
853:
852:
851:
840:
833:
827:
822:, an American
817:
814:pharmaceutical
807:
801:
793:
784:
778:
775:
760:
737:
734:
720:fleet vehicles
706:, abbreviated
637:
634:
633:
632:
618:
600:
594:
582:
579:
560:Robert Harling
461:
458:
373:Craw Clarendon
345:
342:
264:Caslon Foundry
187:
184:
171:wanted posters
137:ball terminals
105:
104:
101:
97:
96:
84:
78:
77:
72:
66:
65:
60:
58:Classification
54:
53:
48:
42:
41:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3500:
3489:
3486:
3484:
3481:
3479:
3476:
3474:
3471:
3469:
3466:
3464:
3461:
3459:
3456:
3455:
3453:
3438:
3435:
3433:
3430:
3428:
3425:
3423:
3420:
3419:
3417:
3413:
3406:
3403:
3400:
3399:
3395:
3394:
3392:
3388:
3380:
3377:
3375:
3372:
3371:
3369:
3367:
3364:
3363:
3361:
3357:
3351:
3348:
3346:
3343:
3341:
3338:
3336:
3333:
3331:
3328:
3326:
3323:
3321:
3320:Rail Alphabet
3318:
3316:
3313:
3311:
3308:
3306:
3303:
3301:
3298:
3296:
3295:LLM Lettering
3293:
3291:
3288:
3286:
3283:
3281:
3278:
3276:
3273:
3271:
3268:
3266:
3263:
3261:
3258:
3256:
3253:
3251:
3248:
3247:
3245:
3241:
3235:
3232:
3230:
3227:
3225:
3224:Traffic light
3222:
3221:
3219:
3215:
3203:
3200:
3199:
3198:
3195:
3194:
3192:
3188:
3182:
3179:
3177:
3174:
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3169:
3167:
3164:
3162:
3159:
3155:
3152:
3151:
3150:
3147:
3146:
3144:
3142:South America
3140:
3134:
3131:
3129:
3126:
3125:
3123:
3119:
3110:
3107:
3104:
3101:
3098:
3097:
3096:
3093:
3089:
3086:
3085:
3084:
3083:United States
3081:
3079:
3076:
3074:
3071:
3069:
3066:
3064:
3061:
3060:
3058:
3056:North America
3054:
3046:
3043:
3041:
3038:
3037:
3036:
3033:
3031:
3028:
3026:
3023:
3021:
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3008:
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3001:
2998:
2996:
2993:
2991:
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2981:
2978:
2976:
2973:
2971:
2968:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2950:Liechtenstein
2948:
2946:
2943:
2941:
2938:
2936:
2933:
2931:
2928:
2926:
2923:
2921:
2918:
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2823:
2820:
2818:
2815:
2813:
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2800:
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2733:
2730:
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2715:
2713:
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2609:
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2583:
2581:
2578:
2576:
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2203:. Font Bureau
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2161:"P.T. Barnum"
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2046:9781782390343
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2016:
2009:
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1994:
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1983:
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1968:
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1626:: 42–3. 1961.
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1242:Tracy, Walter
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1179:on 2013-11-11
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855:Related fonts
854:
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837:Marvel Comics
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680:traffic signs
677:
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667:
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665:Bradley Manor
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507:United States
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338:Vivian Ridler
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291:(now part of
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142:Nicolete Gray
138:
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122:Robert Besley
119:
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100:Date released
98:
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75:Robert Besley
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3197:Soviet Union
3154:Buenos Aires
2807:Turkmenistan
2772:Saudi Arabia
2634:South Africa
2555:Warning sign
2494:Tourist sign
2386:. Retrieved
2382:
2373:
2361:. Retrieved
2355:
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2326:
2320:
2309:. Retrieved
2305:
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2280:Typographica
2279:
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2252:
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2231:. Retrieved
2227:
2217:
2205:. Retrieved
2195:
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2136:the original
2122:
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2008:
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1992:
1982:
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1966:
1956:
1948:
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1933:18 September
1931:. Retrieved
1927:
1918:
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1587:Type Foundry
1586:
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1542:. Retrieved
1537:
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1177:the original
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1129:the original
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1030:the original
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983:the original
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447:Barack Obama
440:
430:
415:
410:
389:
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347:
310:
297:
277:
242:
225:handlettered
221:James Mosley
217:
205:
151:
130:
109:
108:
3415:Comparisons
3133:New Zealand
3102:El Salvador
3088:Puerto Rico
3020:Switzerland
2970:Netherlands
2782:South Korea
2767:Philippines
2484:Speed limit
1838:"URW Volta"
1770:"Aldogizio"
1411:Hutt, Allen
989:16 December
830:Wells Fargo
820:Three Twins
770:trains (Ex.
662:locomotive
636:Appearances
581:Terminology
575:Font Bureau
432:Ray Larabie
422:Walter Baum
407:Font Bureau
362:Type Museum
318:Ionic No. 5
255:roman types
250:italic type
213:sans-serifs
158:display use
126:punchcutter
87:Fann Street
70:Designer(s)
3452:Categories
3379:Road signs
3265:Caractères
3099:Costa Rica
2965:Montenegro
2850:Azerbaijan
2817:Uzbekistan
2792:Tajikistan
2737:Kyrgyzstan
2732:Kazakhstan
2670:Bangladesh
2665:Azerbaijan
2599:By country
2488:by country
2311:2010-04-30
2285:19 October
2113:1843713659
1891:2013-11-11
1870:2013-11-11
1823:2013-11-11
1802:2013-11-11
1776:. TeGeType
1755:2013-11-11
1734:2013-11-11
1670:2013-11-11
1428:0192129368
1226:23 October
1204:2013-11-11
1183:2013-11-11
954:(107–143).
902:References
772:Shinkansen
647:on a U.S.
522:slab serif
464:See also:
456:versions.
186:Background
114:slab serif
63:Slab serif
3345:Transport
3285:Helvetica
3275:Clearview
3270:Clarendon
3243:Typefaces
3149:Argentina
3128:Australia
3111:Nicaragua
3105:Guatemala
2955:Lithuania
2787:Sri Lanka
2777:Singapore
2712:Indonesia
2685:Hong Kong
2624:Mauritius
2522:Stop sign
2469:Logo sign
2454:Crossbuck
2388:29 August
2276:"Mønster"
2259:15 August
2233:15 August
2207:13 August
2185:15 August
2145:15 August
2071:10 August
2020:10 August
1998:10 August
1972:15 August
1924:"Besley*"
1848:14 August
1780:14 August
1648:30 August
1592:14 August
1459:Quaerendo
1388:. c. 1874
1364:13 August
1138:14 August
1036:14 August
979:Typophile
824:ice cream
804:Pitchfork
764:Green Car
591:Clarendon
586:designs.
500:Ljubljana
428:in 1955.
248:than the
167:wood type
154:lettering
110:Clarendon
31:Clarendon
3300:Motorway
3280:DIN 1451
3176:Colombia
3108:Honduras
2990:Portugal
2870:Bulgaria
2797:Thailand
2762:Pakistan
2752:Mongolia
2747:Malaysia
2675:Cambodia
2639:Tanzania
2619:Botswana
2363:June 29,
2201:"Trilby"
1967:Fontshop
1566:: 82–3.
1544:26 April
1413:(1971).
1392:26 April
850:package)
736:In logos
536:Egyptian
424:for the
369:Monotype
344:Revivals
246:emphasis
237:x-height
173:and the
162:emphasis
46:Category
3374:Traffic
3370:Vienna
3260:Austria
3181:Ecuador
3161:Bolivia
3121:Oceania
3073:Jamaica
3030:Ukraine
2995:Romania
2935:Ireland
2930:Iceland
2925:Hungary
2915:Germany
2910:Georgia
2900:Finland
2895:Estonia
2890:Denmark
2875:Croatia
2860:Belgium
2855:Belarus
2845:Austria
2840:Armenia
2822:Vietnam
2702:Georgia
2660:Armenia
2629:Namibia
2526:all way
2165:MyFonts
1842:MyFonts
1774:MyFonts
1611:. 1960.
1540:: 20–27
1360:. IDSGN
844:Bandung
826:company
816:company
810:Ranbaxy
797:El PaĂs
732:wheel.
611:Memphis
597:Antique
552:DeVinne
526:Italian
411:Belizio
395:Nebiolo
334:Memphis
322:Century
82:Foundry
3366:Geneva
3350:Tratex
3217:Lights
3166:Brazil
3078:Mexico
3063:Canada
3025:Turkey
3015:Sweden
3005:Serbia
3000:Russia
2985:Poland
2980:Norway
2945:Latvia
2920:Greece
2905:France
2880:Cyprus
2832:Europe
2802:Turkey
2722:Israel
2697:Cyprus
2644:Uganda
2614:Angola
2607:Africa
2333:
2110:
2043:
1710:
1492:
1425:
1336:
1309:
1088:
1061:
929:
756:, and
754:Tamiya
716:Poland
712:Poznań
700:Polish
615:Karnak
518:Didone
351:italic
289:Oxford
3325:Rotis
3310:Panno
3250:Arial
3171:Chile
3045:Wales
3010:Spain
2960:Malta
2940:Italy
2757:Nepal
2727:Japan
2707:India
2690:Macau
2680:China
2437:Signs
2228:Print
2139:(PDF)
2132:(PDF)
1844:. URW
1643:Print
1564:Motif
1132:(PDF)
1121:(PDF)
869:Notes
758:Onkyo
750:Honda
710:) in
621:Ionic
568:URW++
436:macOS
403:Italy
399:Turin
397:, in
330:Beton
165:with
146:roman
51:Serif
3407:(UK)
3401:(US)
3335:Tern
3095:SICA
3068:Cuba
2742:Laos
2717:Iran
2653:Asia
2390:2024
2365:2019
2331:ISBN
2287:2015
2261:2015
2235:2015
2209:2015
2187:2015
2147:2015
2108:ISBN
2073:2015
2041:ISBN
2022:2015
2000:2015
1974:2015
1935:2021
1850:2015
1782:2015
1708:ISBN
1650:2017
1594:2015
1546:2017
1490:ISBN
1423:ISBN
1394:2017
1366:2015
1334:ISBN
1307:ISBN
1280:2022
1228:2015
1140:2015
1086:ISBN
1059:ISBN
1038:2015
991:2016
927:ISBN
839:logo
791:UKTV
787:Dave
746:Sony
651:sign
420:and
332:and
103:1845
3330:SNV
1993:Eye
1467:doi
1303:397
781:APL
708:MPK
678:on
538:or
287:in
3454::
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
