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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 x-height, and contrast between thick and thin strokes has been reduced.
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This was known as "French Clarendon" type. [54] [55] The advantage of French Clarendon type was that it allowed very large, eye-catching serifs while the letters remained narrow, suiting the desire of poster-makers for condensed but very bold type. [56] French Clarendon designs were often created in wood type, used for large-print letters on ...
Download QR code; Print/export ... Clarendon Designer: Robert Besley Class: Slab serif : ... Roman (vector font included with Windows 3.1)
Bold type did not arrive until the nineteenth century, and at first fonts did not have matching bold weights; instead a generic bold, sometimes a Clarendon or other kind of slab-serif, would be swapped in. [19] In some books printed before bold type existed, emphasis could be shown by switching to blackletter.
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Both fonts consist of only capital letters with rounded edges and thick main strokes, much like a Clarendon typeface, except with breaks in the face to give it the appearance of the stenciled alphabets used on boxes and crates. [1] Powell's exploration of Stencil became very popular over time and is still used today.