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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 ...
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.
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.
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.
He created Clarendon in 1845, the first typeface registered under the Ornamental Designs Act 1842, and retired from the business in 1861, becoming Lord Mayor of London in 1869. [4] [2] [5] In 1842, Charles Reed co-founded the firm of Tyler & Reed, printers and typefounders. He became a partner in the Fann Street Foundry in 1861 (which after ...