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.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

Besley Clarendon ML is our version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. Besley Clarendon ML represents a significant change from the slab-serif Antiques & 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. Robert Besley’s Clarendon was so popular that many foundries quickly copied it, a fact that caused him to complain vigorously. The reason it was so widely copied is simple ó it was extremely useful. It provided the attention-getting boldness to highlight a word or phrase, yet at the same time was compact and easier to read than the fat faces and antiques of the period. It wasn't until sixty years later that the concept of a typeface family of different weights was developed with DeVinne and Cheltenham. Until then, Clarendon served as everyone’s all-purpose bold face. It can be used for ads, flyers, headers or even short text. Don't leave home without it. Besley Clarendon ML includes the following features: 1. Glyphs for the 1250 Central Europe, the 1252 Turkish and the 1257 Baltic Code Pages. Added glyphs to complete standard 1252 Western Europe Code Page. Special glyphs relocated and assigned Unicode codepoints, some in Private Use area. Total of 353 glyphs. 158 kerning pairs. 2. OpenType GSUB layout features: pnum, salt, liga, dlig, hist and ornm. 3. Inclusion of tabular (std) and proportional (opt) numbers. 4. Kreska-accented letters.

One of the many Clarendon font designs, this one based in part on the Craw Clarendon design.

With a hint of flair and some nice update touches, Shenandoah Clarendon is a beautiful and modernized revival of the traditional Clarendon font. Adding new glyphs and measurements into the mix, it's sure to add a distinctive touch to your works!

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many.

A revival of one of the popular wooden type fonts of the 19th century; suitable for text.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Since the release of these fonts most typefaces in the Scangraphic Type Collection appear in two versions. One is designed specifically for headline typesetting (SH: Scangraphic Headline Types) and one specifically for text typesetting (SB Scangraphic Bodytypes). The most obvious differentiation can be found in the spacing. That of the Bodytypes is adjusted for readability. That of the Headline Types is decidedly more narrow in order to do justice to the requirements of headline typesetting. The kerning tables, as well, have been individualized for each of these type varieties. In addition to the adjustment of spacing, there are also adjustments in the design. For the Bodytypes, fine spaces were created which prevented the smear effect on acute angles in small typesizes. For a number of Bodytypes, hairlines and serifs were thickened or the whole typeface was adjusted to meet the optical requirements for setting type in small sizes. For the German lower-case diacritical marks, all Headline Types complements contain alternative integrated accents which allow the compact setting of lower-case headlines.

Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. This current design is a somewhat condensed version of the font.

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.

One of the classic Clarendon fonts, always useful, originally created in the 19th century.

French Clarendon Bold, a display text type.

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

A revival of one of the popular American Clarendon wooden types of the 19th century.

Clarendon Rough is suitable for display and text. Its large x-height provides excellent legibility at small point sizes. Clarendon Rough is extended, aged to perfection, iconic, rugged, distressed, direct, and suitable for packaging, restaurant use, websites, magazines, lively headlines.

The Vernacular trilogy was designed by Swiss designer Hans-Jürg Hunziker, who had worked for Adrian Frutiger in Paris for many years. Based on the concept of a transitional Linear Antiqua, he has developed a colorful bouquet of typefaces that contain the entire spectrum of typefaces for book design and corporate identity. Thanks to his "Swiss school" and his outstanding skills, he has succeeded in giving the typefaces a particularly noble and sympathetic expression. In addition to the Sans family, there is a Serif family and a Clarendon family, each of which, including the separately drawn italics, is equipped with 12 font weights that are finely tuned to one another. Each of the 3 font styles develops its own character, but thanks to a concept that brings the different font styles closer together, they also work well together and complement each other perfectly. Sans and Clarendon have a vertical axis and similar endings in contrast to the Serif, which has a traditional diagonal axis and horizontal endings. The straight stems and the proportions are used as an element to stress the closeness of the typeface-trilogy. They thus share a comon feature. All fonts contain tabular and proportional figures as well as old style figures. Small caps and small cap figures are also available in all fonts. In addition, some fonts have alternative characters available via style set, such as «g», which can be used to further vary the typeface. Vernacular offers all the options for well-kept typesetting for print and web - for small and large orders.

The new Clarendon BT Pro typeface family features 450 glyphs in each font with expanded support for Central and Eastern European languages, and enhanced OpenType features including ligatures, diagonal fractions, superscript/subscripts and Case-Sensitive Forms. Clarendon BT is an updated revival of the square serif (also called Ionic or Egyptienne styles) with bracketed serifs, ball terminals and high xheights. These attributes give Clarendon BT a timeless appearance for a wide range of contemporary uses from websites, ads, publications and signage.

One of the classic display types of the 19th century, an Egyptian with bracketed serifs. There are many variants of this face and its uses are many, this a modified version lacking the teardrop or ball terminals on a, c, f, g, j, r, f, y.

By overwhelming popular demand, this is the wide display companion to Canada Type's Clarendon Text family. It comes in ten styles: regular, medium, bold, with small caps and oldstyle Figures counterparts, as well as stencil and sketch versions of the regular and the bold. All the fonts come equipped with superscripts/numerators, denominators, and scientific inferiors. The OpenType fonts also contain automatic fractions and class-based kerning. The Clarendon Wide fonts are available in all popular formats. Language support includes Western, Central and Eastern European character sets, as well as Baltic, Esperanto, Maltese, Turkish, and Celtic/Welsh languages.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

Clarendon Paint offers a gritty twist on a classic font style (Clarendon). It was completely hand painted which makes the font an organic centerpiece to any of your grungy design applications.

Wood Clarendon JNL is based on Hamilton Clarendon Condensed (circa 1899) and is available in both regular and oblique versions. The design of this typeface retains many of the charming (but slight) design irregularities often found within pantograph-cut wood type from the 1800s through the early 1900s.

One of a variety of Clarendon Types.

The first Clarendon was introduced in 1845 by R. Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual.

French Clarendon Expanded, a display text type.

One of a variety of Craw Clarendon Types.

French Clarendon was an extremely popular wood type font. Characters are heavy and condensed with bracketed serifs, which measure approximately 1/4 to 1/3 the height of the letter. Dozens of decorative wood type designs have been created based on French Clarendon. It was marketed as a wood letter by William H. Page & Company in 1865.

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

The first Clarendon was introduced in 1845 by R Besley & Co, The Fan Street Foundry, as a general purpose bold for use in conjunction with other faces in works such as dictionaries. In some respects, Clarendon can be regarded as a refined version of the Egyptian style and as such can be used for text settings, although headline and display work is more usual. Clarendon is a trademark of Linotype GmbH registered in the U.S. Patent and Trademark Office and may be registered in certain other jurisdictions.

a revival of a classic wood type font...

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

A rounded version of Albiona, a contemporary slab-serif which revisits aspects of Robert Besley’s classic Clarendon. Originally named after the Clarendon Press in Oxford, the type family was subsequently extended by Stephenson Blake in the 1950s. Albiona adds the inwardly-curved stroke terminals of the same foundry’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting.

A contemporary slab-serif which revisits aspects of Robert Besley’s all-time classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. The original design was subsequently extended by Sheffield foundry Stephenson Blake in the 1950s into a widely-used, robust workhorse family. Albiona uses the inwardly curved stroke terminals of the same foundry’s Grotesque series, while rationalising or removing entirely Clarendon’s ball serifs, flicked tails and other eccentricities to make it more functional in contemporary settings. The family consists of five weights plus italics and a stencil, and includes oldstyle and tabular numerals. Its clean readable style suits both text and headline setting.

Albiona Inked is a vintage distressed version of Albiona that evokes the urgency of teletext printers, typewriter ribbons and authentic hot-metal type on rougher paper. A contemporary slab-serif, it revisits aspects of Robert Besley’s classic Clarendon, designed around 1842 for Thorowgood and Co. and named after the Clarendon Press in Oxford. Subsequently extended by Stephenson Blake in the 1950s, Albiona adds the inwardly-curved stroke terminals of the same foundry ’s Grotesque series, and includes italics and old-style and tabular numerals. The original Clarendon’s ball serifs and calligraphic eccentricities have been rationalised and streamlined for functional contemporary uses. The family consists of five weights plus italics and a stencil, and its clean readable style is perfect for both extended text as well as headline setting. A rounded “soft” version is also available.

One of the original Clarendon types, an English design, here derived from a specimen taken from an American foundry, no identifying marks. With a tall x-height, wide version, unlike more traditional Clarendons, not a square serif but bracketed. Unique to this Clarendon are the rounded openings at the points where the horizontal and vertical stems meet in the capital B, D, P and R, not common in other Clarendons.

Mix of Blackletter and Clarendon.

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