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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.
This list of samples of serif typefaces details standard serif fonts used in printing, classical typesetting and ... Clarendon Designer: Robert Besley Class: Slab serif :
American Type Founders was the largest producer of foundry type in the world, not only of in-house designs, but also from designs that came from merged firms. Many of its designs were created or adapted by Morris Fuller Benton, his father Linn, Joseph W. Phinney or Frederic Goudy.
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 ...
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.
A "modern" or Didone font of the nineteenth century with three derivatives. 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 letterforms and smaller serifs than the Clarendon, but they show reduced contrast and ...
Slab serifs form a large and varied genre. Some such as Memphis and Rockwell have a geometric design with minimal variation in stroke width: they are sometimes described as sans-serif fonts with added serifs. Others such as those of the Clarendon genre have a structure more like most other serif fonts, though with larger and more obvious serifs.
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.