Major changes to the face of typography came with the Industrial Revolution. For more than three centuries, typography and printing had been firmly tied to book publishing and its refined aesthetics. In the early 1800s, the printing industry veered off in a new direction. New print media appealing to the masses—newspapers, magazines, and all forms of advertising—were emerging as a dominant force, calling for a new style of type design compatible with mass production and consumer tastes. Print journalism necessitated types that were both readable and boldly eye-catching. Slab Serifs, also known as Egyptian typefaces, quickly became the flavor of the day.

A more evolved form of Egyptian was Clarendon, designed by Robert Besley for London’s Fann Street Foundry in 1845. It was intended as a bold display companion to text faces for commercial printing. This design, named for the Clarendon Press in Oxford, had the strong presence of the typical Egyptian, but was more refined, with greater contrast between thick and thin strokes and its trademark bracketed serifs. Its instant success spurred multiple foundries to issue their own variants, and an entire sub-classification of Slab Serifs was named after the typeface. Clarendon’s popularity continued, and Edouard Hoffmann and Hermann Eidenbenz at Haas revived the typeface in 1953. A variety of Clarendons have been issued since then, with added weights and styles making this design suitable for both text and display applications.

PACKAGING Client CasCioppo Brothers Studio Turnstyle Designer Madeleine Eiche Principal Typefaces Trade Gothic, Clarendon Bold, Century Gothic, and Helvetica Neue

POSTER Client New Dance Horizons Studio Bradbury Branding and Design Principal Typeface Clarendon

BOOK COVER Client Pan Macmillan Studio Jawa and Midwich Designers Simon Dovar and Nils Davey Principal Typeface Clarendon (hand rendered)

STATIONERY SYSTEM Client DILU Studio Evenson Design Group Designer Mark Sojka Creative Director Stan Evenson Principal Typeface Clarendon

POSTER Client Modest Mouse Studio The Small Stakes Designer Jason Munn Principal Typeface Clarendon

POSTER Client Bottletree Studio TEN Designer Roy Burns Principal Typefaces Clarendon and FF Trixie

BOOK SPREAD Client Virgin Entertainment Studio konnectDesign Designers David Whitcraft and Caroline Plasencia Creative Director Karen Knecht Principal Typefaces Clarendon, Mrs Eaves, Helvetica Inserat, and Futura

STATIONERY SYSTEM Client Curt Williams Wood Fabrication Studio Seedoubleyou Design Designer Chuck Williams Principal Typefaces Gotham, Clarendon, Agency Gothic, and Alternate Gothic

MUSIC PACKAGING Client 4AD Records Studio v23 Designer Timothy O’Donnell Art Director Vaughan Oliver Photographer Dominic Davies Principal Typeface Clarendon

BOOK COVER AND SPREAD Client IPSCO Inc. Studio Bradbury Branding and Design Principal Typefaces Clarendon and Copperplate

POSTER Client Olga Koumoundouros Designer Jessica Fleischmann Principal Typeface Clarendon Screenprinted poster created for a CalArts (California Institute of the Arts) graduate student’s art exhibit/performance. The poster is printed on tent fabric, as a tent suspended in a canyon figured prominently in the show.