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LINOTYPE
JANSON a baroque classic designed by the honorable Hungarian letter cutter, typeface designer, typographer and printer
MIKLĂ“SÂ KIS in 1685
KLM linotype version designed by hermann zapf, 1952
uppercase
ABCDEFGHIJKLM NOPQRSTUVWXYZ The name “Janson” is a misnomer, because the types of Miklós Kis were incorrectly attributed to an early Dutch typefounder and printer, Anton Janson, who also worked in Leipzig.
lowercase
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M
i klós Kis had a personal mission. He wanted to raise the cultural level of Hungarians through literary exposure. Unfortunately, Kis did not have any wealthy patrons or sponsors to help him in terms of finance. As a result, he struggled on his own using all the ingenuity he possessed. His life’s work can be divided between his work in Amsterdam (mostly in Latin) and his frustrating and difficult native Hungarian effort in Kolozsvár. In Amsterdam, in addition to his type design and
punch-cutting masterpieces, Kis produced works such as the Hungarian Bible (1685), the St. David Hymn Book (1686), and the New Testament (1687). In Kolozsvár, Miklós Kis produced books on a wide variety of subjects, such as multilingual Law, Mathematics, Bible Guides, popular Tragic-Comedies, household Cook Books, and many others. Kis was a scholar, typographer, punch-cutter, publisher but above all, he was a cultural visionary. He was a pursuer of beauty with his types and book printing.
Star of
» the Industrial era! « NAMED AFTER THE FAMOUS OXFORD PRESS
CLARENDON MADE IN ENGLAND EST 1845 BY
ROBERT BESLEY
Known as the first bold typeface designed to emphasize text with Roman Times fonts
1935
Typeface released by
MONOTYPE
1953
Modern incarnation by
HERMANN EIDENBENZ
WIDLY USED IN AMERICAN WANTED POSTERS
TIMELESS! COMMERCIAL! LEGIBLE! FUNCTIONAL! from a practical dictionary typeface to a celebrated pop culture symbol
THE VICTORIAN SLAB SERIF FOR MASS ADVERTISEMENT The most useful fonts that a printer can have in his office are the Clarendons: they make a striking word or line either in a hand bill or title page, and do not overwhelm the other lines. They have been made with great care, so that while they are distinct and striking, they possess a very graceful outline, avoid-
ing on one hand the clumsy inelegance of the Antique or Egyptian character, hitherto in use among printers, and on the other, the appearance of an ordinary Roman letter thickened by long use under the machine. —Printed in Fann Street Foundry's 1873 Type Specimen Book
POPULARITY & PIRACY After its initial release Clarendon became hugely popular, leading Besley to register the design under Britain's Ornamental Designs Act of 1842. Unfortunately, the patent expired three years later, with many competing foundries quickly copying its design once the hold was released. As a result, Besley used his own typeface and wrote a response, stating that piracy is the greatest sin within the manufacturing business.
VARIATIONS & USAGE Many variations of the typeface, including the popular French Clarendon, appeared in the second half of the nineteenth century. “The reason it was so widely copied is simple: 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,” says HiH Retrofonts. Becoming a popular wood type, Clarendon is also notable as a common choice on ‘WANTED’ signs of the old west. The typeface was released by Monotype in 1935, and reworked into its modern incarnation in 1953 by Hermann Eidenbenz.
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LIGHT
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It was also marketed by the Stephenson Blake foundry as Consort in the 1950s. Remaining a popular choice for over a century, many of today’s most recognized logotypes are based on the Clarendon style. Clarendon was also used in the United States on National Park traffic signs, until being recently replaced by NPS Rawlinson Roadway. Today most major foundries have their own digital version of Clarendon with dozens (if not hundreds) of other fonts influenced by the Clarendon style: Adobe’s Rosewood, Canada Type’s Clarendon Text, Parkinson’s Sutro, Font Bureau’s Belizio and Giza, to name a few.
ROMAN
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BOLD •
ABCDEGHI JKNOPQR STUWXYZ
by Designed os nrik de Ro Sjoerd He oijes in & Dick Do 35 1929 –19 s terdam for the Am dr y Type Foun eated by Revival cr ch s a n d Andrea Fu ijers of the Fred Sme e Librar y in Dutch Typ 1993
D U TC H AR Y R B I L E P TY
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d creative financial an ngthen the re st sterdam to m ed Creat gieterij A ween Letter et b s n o ti connec undry lin Type Fo and the Ber
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L K J I H CDEFG
TUV S R Q P O MN WX Y Z 56789 nsidDooijes co r o s o o R e Neither d chieve e a great a b to l e b o ered N of the came one e b it t e y t, e men types of th sans-serif g in ll se t s be tinuing rdam, con te s m A j ri Lettgiete -1960s. to the mid in ty ri la u in pop
terieterij Ams rg e tt e L , s e twenti apital In the late at deal of c re g a d te s ve old AG. dam had in y, H Ber th r d n u o F e nd yp financial a in Berlin T e th th o b y solidif en the two Seeking to ons betwe ti c e n n o c c Head, creative rij’s Ar tisti te s ie rg e tt Le urfoundries, ursue a rep p to d e id c e z-Grotesk de Roos, d ’s Akziden ld o th r e B f wly posing o up with ne p e e k ld u o at c typeface th tastes. developed
type design, in its restraint, should be only felt but not perceived by the reader. — Adrian Frutiger
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