An Introduction to the History of Printing Types: An Illustrated Summary of the Main Stages in the Development of Type Design from 1440 up to the Present Day: An Aid to Type Face Identification

By Geoffrey Dowding | Go to book overview

Clarendon

The first Clarendon, a modified Egyptian style of letter, was registeed by W. Thorowgood and Co. of the Fann Street Letter Foundry in 1845.1 No sooner had the copyright period of three years (with which the letter was invested) expired, 'than the trade was inundated with all sorts of Piracies and Imitation . . . . . 'We have seen that the earliest Ionic were bold display types, but if Besley's rather rough letter was somewhat compressed, a comparison of weights show scarcely, if any, differentiation between if and the earliest Ionic. While our contemporary Ionic are no longer bold display faces but are designed in the main as news paper text faces, i.e. normally weighted types for continuous reading, the Clarendons have remained dark-faced types & their main field of employment has been for distinguishing words in work of reference. Such has been their popularity for this kind of work that Clarendon has been synonym for bold or dark-face types--to many old-establish printers it is generic name for bold compositionsized faces. The feature noted, which marked Besley's Clarendon from its predecessors, the Ionics, though not a characteristic of all nineteenth century Clarendons is one which marks contemporary versions of the types also. They are, in the main, so what condenses faces.

Clarendon is now classed as 'an Egyptian with more differentiation of color and rather lighter serifs than the original model. Some letters follow the roman model rather than what we now think of as Egyptian,

____________________
1
'There had been types of similar designed before Besley's, which went under the name of Ionic.' A History of the Old English Letter Foundries. T. B. Reed.

-195-

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An Introduction to the History of Printing Types: An Illustrated Summary of the Main Stages in the Development of Type Design from 1440 up to the Present Day: An Aid to Type Face Identification
Table of contents

Table of contents

  • Title Page iii
  • Acknowledgements ix
  • Preface xiii
  • Contents xv
  • List of Illustrations xvii
  • Introduction xxi
  • Part One the Book Types I 3
  • Gothic 5
  • Roman Venetian 19
  • Roman Old Face 31
  • The Italics 43
  • The Intermediate1 or Transitional Romans 59
  • The Modern-Face Romans 75
  • The Modernized Italics 87
  • Old Style 97
  • Twentieth- Century Types 101
  • Part Two the Display Types 109
  • II 109
  • Latin or Renaissance Scripts 127
  • Decorated 145
  • Shaded 155
  • Fat Face 161
  • Antique or Egyptian 169
  • Shadowed or Three-Dimensional1 175
  • Sans Serif 179
  • Reversed or Cameo 183
  • Ionic 187
  • Outline or Open 191
  • Clarendon 195
  • Calligraphic 199
  • Stencil 203
  • Typewriter 205
  • Miscellaneous Display Types 207
  • Notes on the Illustrations 209
  • Appendix I 264
  • Appendix II Serifs 267
  • Bibliography 269
  • Index 273
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