The classical Clarendon form originating in England in 1845 as polished by Edouard Hoffmann and Hermann Eidenbenz at Haas a little over a century later. Haas’ revival of this typeface in 1953 precipitated the revivals that follow.

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Clarendon Text is a contemporary remake of the truly classic slab serif typeface with a distinctively clear and legible visibility. It is a widely usable text type suited equally well to advertising, books, publications, and a wide range of corporate literature where large amounts of reading matter call for distinction and style without sacrificing readability.

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Besley Clarendon is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon represents a significant change from the slab-serif Antiques and Egyptians that had become so popular in the prior three decades. Like Caslon’s Ionic of 1844, it brackets the serifs and strongly differentiates between the thick and thin strokes. Besley Clarendon is also what today is considered a condensed face, as a comparison to the various contemporary Clarendons will show.

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A square-serif type is called a slab serif or Egyptian, but when the serif is bracketed (the curved linking stroke between the stem and the square serif), the type is sometimes referred to as a Clarendon. Originated in England by the Fann St. Foundry in 1845, these types are named for the Clarendon Press in Oxford. Clarendon was originally designed as a heavier complement to ordinary serif designs, and is used frequently in dictionaries and headline applications.

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A revival of one of the popular wooden type fonts of the 19th century, suitable for display.

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Another variation of the many Clarendons created in the 19th century
and there are probably more out there.

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Zapatista is derived from a typeface that I designed in 1998 but never released. It is a playful slab serif with a texture that is sometimes subtle and reminiscent of the irregularities of letterpress printing.

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The eight-part Belizio series updates the first Font Bureau typeface.

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Gold Fever is a revival of the old classic Caxtonian font originaly designed in the mid to late 1800s.

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An Industrial Revolution cast iron plaque from Bristol Temple Meads Station serves as inspiration for this antique font. The plaque commemorates the design contribution of Isambard Kingdom Brunel, who in March 1833 at 27 was appointed chief engineer of the Great Western Railway, the line that links London to Bristol. This helped established Brunel as one of the world’s leading engineers. Impressive achievements along the route include viaducts at Hanwell and Chippenham, Maidenhead Bridge, Box Tunnel and Bristol Temple Meads Station.

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Sutro is based on the square serif types of the mid-nineteenth century, considerably updated with many contemporary touches.

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Superclarendon is an homage to the original 19^th Century Clarendon. Superclarendon includes 4 weights, italics & old-style numerals.

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A heavy one.

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Designed by Konrad F. Bauer and Walter Baum, Impressum was released by the Bauer foundry in 1962.

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Linotype commissioned Adrian Frutiger to design a special face in celebration of its 100th anniversary in 1986. The resulting serif design is slightly compact, the weight is sturdy with fairly high contrast between thicks and thins. With its clean, unobtrusive appearance, Linotype Centennial is an excellent choice for book and periodical texts, newspapers, magazines, newsletters, and books.

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All typewriter types are rounded and especially American Typewriter has an almost too-slick appearance.

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If a text is set in a good Egyptienne, we can observe a kind of sparkle in the lines. Egyptiennes are cheerful type faces, possibly due to the fact that they developed simultaneously with sans-serif faces. The design principle of a sign from the first half of the 19th century does not have such firm and long-established roots as for example, the Renaissance Roman type face; it is, therefore, much more prone to mistakes which are symptoms of a “decline”.

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Akimoto is a fat slab typeface.

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Hickory is the revival of an old unnamed font dating back to 1852 and was sold through a few different type foundries including Bruce, MacKellar Smiths & Jordan and James Conner’s Sons.

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Colin Brignall, type director of Letraset, designed the short-serifed Aachen Bold in 1969 to fill the need for a contemporary, heavy Egyptian letterform; Egyptians are nineteenth-century designs characterized by their slab serifs.

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Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells.

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Based on the Stephenson Blake design.

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A linear slab serif design consisting of fifteen styles. The design has a large x-height with short descenders and ascenders. Antique Central requires subjective text and display kerning and compensation.

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Type that preserves the over- and under-inked textures of true old-fashioned wood faces, now available without ink on your fingers straight from your keyboard.

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Designed by Alan Meeks under the art direction of Colin Brignall as a medium weight complement to the highly successful Aachen Bold. Categorized as a slab serif Egyptian, it has the unmistakable Aachen pedigree. Because of its less weighty features, it can be used in much smaller display sizes. To maximize the full potential of this typeface, letter and word spacing should be very tight.

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Country Western is a revival of the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells.

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Willow is an Adobe Originals typeface designed in 1990 by Joy Redick for the Adobe Wood Type series.

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Now, don’t get all bowed up when yer next project’s needin’ a font that’s all cattywampus and walking on a slant. When ya gets a hankering for a heap o’ characters with a bucketload of sass, I hear tell Zalderdash may be just up yer creek. This slab serif font sends a purdy how’do to Clarendon but I reckon it’s sprightlier than a chicken a’runnin’ from the axeman at dinnertime. Zalderdash is one frollicksome fella. Give him a holler and, sure as shootin’, he’ll show up every time. Whee doggies!

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The typeface was designed at the Polygraphmash type design bureau in 1949-61 (project manager Elena Tsaregorodtseva).

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Korinna first appeared in 1904, introduced by the Berthold foundry into the Art Nouveau period of full-bodied proportions and unusual character shapes.

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Alta California became designer steve mehallo’s "vector-based artist’s response" to the early Apple Macintosh bitmapped font San Francisco. Alta California was developed using “sampled” wood type and letters from numerous historical sources.

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We have created this family from the numerous derivatives in use for newspapers since the middle of 1800s to the 1970s, inspired from the well known Clarendon.

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In 1924 Morris Fuller Benton designed for ATF a new variation on his father’s design, Century Oldstyle. Century Schoolbook has become a synonym for readability.

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Where Modern is too fragile and Century too boring, Hercules comes with its elegant forms and, at the same time, with sufficient firmness to be usable for longer texts. In its heavy, bold designs it approaches Falstaff, while in the light ones it has some features which are taken over from Didot or from Modern. The text designs have been corrected for small sizes. The range of its use is, therefore, quite extensive - from dictionaries and technical literature through magazines to art posters and advertising materials.

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Oxeran & Oxeran Z (outlined) are a pair of dirty fonts in OpenType or Windows TrueType format. The OpenType format includes custom letter pairs or autoligs which, in OpenType savvy applications, are automatically substituted as you type for an extra-raunchy look.

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Designed by Les Usherwood. Digitally engineered by Paul Hickson. Les never released this completed typeface before his untimely death in 1983.

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Academy was designed circa 1910 at the Berthold type foundry (St.-Petersburg).

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We have created this family as a complement to 1906 French News since the two types family where comonly in use in the same publications, as well for Newspapers as popular books, calendars and almanacs or posters.

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A classic example of a narrow 19th century ‘egyptian’ style font.

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Created as a Headline Face Alons Antique works amazingly well as a text face.

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The typeface was designed at the Polygraphmash type foundry in 1951-53 (designers Lev Malanov, Elena Tzaregorodceva) based on the typeface Excelsior, 1936 based on the typeface Excelcior of the Mergenthaler Linotype, 1931 (designer Chauncey H. Griffith).

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From M.F. Benton 1917 and DTP types Limited 1992.

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The Lucida Math fonts, designed by Kris Holmes and Charles Bigelow, complement the Lucida text fonts for mathematical and technical documents.

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We have created this family inspired from the hand-drawn letters used from the late 1800s until beginning of 1900s for notices, advertising, posters and also early comic titles.

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CA Coronado is a headline typeface. With an extra bunch of characters also suitable for use in Poland or Romania.

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An inline shadowed Clarendon designed in 1973 for VGC by Ernst Volker.

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Gerry Powell’s stencil version of Clarendon designed for ATF in 1938.

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There were many typeface designs based on Clarendon letterforms seen in type catalogs from 1866 to 1875.

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Mayville JNL is a re-drawing of an all-caps Clarendon Wood Type font from the 1800s.

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The Mailart Rubberstamp font was inspired by rubberstamped envelopes and artworks by Mailartists Jonathan Stangroom, H. R. Fricker and Flea Art, and the typeface Clarendon Condensed.

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This would be a Clarendon if it weren't for the cute serifs, which set it apart.

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Cloverdale JNL is another addition to Jeff Levine’s revivals of classic wood type fonts from the 1800s.

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Why do we need a new Clarendon?

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Stratham is vigorous sans-serif inspired by the slab serif Clarendon.

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Country Western Script is a new font based on the classic William Page font known as Clarendon Ornamented originally designed in 1859 and again in 1877 by Vanderburgh & Wells.

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This is based on a mid-Victorian Connor’s foundry font originally known as Manhattan.

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The Bruce Foundry in New York gave this Italian Clarendon the catchy name of Ornamented No. 1529.

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This idea of “wrong way weights” was originally called French Clarendon by the Americans, Italienne by the French, and American by the Italians. Sounds like nobody wanted to own up to it.

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Cape Rock is foremost an impressive display font.

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Here’s a wide, very light version of the widely known font P. T. Barnum (or French Clarendon, if you prefer). We have used this to good effect as secondary lines on old fashioned stationery.

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The definitive monoline Egyptian, Weiss’ Memphis of 1928, was devoutly industrial in its effect and set the tone for those that followed, right up to Lubalin Graph. More recently, TheSerif and Silica are humanist in form, with complex, asymmetric curved strokes in the lower case. Unique among monoline slab serif types, Bodoni Egyptian has a simple, neo-classical form and proportion, and strict detailing that is antique, not machine-age.

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Pokerface is an industrious mixed-case display font devised on the theme of playing cards, designed by Jim Ford.

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Gutta Percha is a font for golfers. It takers its name from a hard, resilient natural substance that comes from the sap of trees grown in southeast Asia and which was used for the hard core of golf balls well into the twentieth century, when it was gradually replaced with synthetic material. It therefore seemed an appropriate name for a font using the image of a golfer of the 1920s.

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What if the Ramones had been fontdesigners, would the result have looked like this? Probably not.

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The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon’s Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816).

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“More is better” may have been the motto of Richard Austin of Austin and Son’s Imperial Letter-Foundry on Worship Street at Finsbury Square in London when he designed and cut his Antique typeface. The year it was created is uncertain, but it is known to have appeared in a specimen book produced in 1827.

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The first slab serif fonts appeared at the beginning of industrialization in Great Britain in 1820. Clarendon and Ionic became the names for this new development in England, known as English Egyptienne elsewhere in Europe. Clarendon is also the name of a particular font of this style, which, thanks to its clear, objective and timeless forms, never lost its contemporary feel. In small point sizes Clarendon is still a legible font and in larger print, its individual style attracts attention.

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