Gray notes that nineteenth-century Ionic and Clarendon faces have "a definite differentiation between the thick and the thin strokes", unlike some other more geometric slab-serifs. Mitja Miklavčič describes the basic features of Clarendon designs (and ones labelled Ionic, often quite similar) as: "plain and sturdy nature, strong bracketed serifs, vertical stress, large x-height, short ascenders and descenders, typeface with little contrast" and supports Nicolete Gray's description of them as a "cross between the roman and slab serif model". Clarendon designs generally have a structure with bracketed serifs, which become larger as they reach the main stroke of the letter. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design.Ĭlarendons have a bold, solid structure, similar in letter structure to the "modern" serif typefaces popular in the nineteenth century for body text (for instance showing an 'R' with a curled leg and ball terminals on the 'a' and 'c'), but bolder and with less contrast in stroke weight. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by punchcutter Benjamin Fox, who may also have contributed to its design. (or Thorowgood and Besley) of London, a letter foundry often known as the Fann Street Foundry. Clarendon is the name of a slab-serif typeface that was released in 1845 by Thorowgood and Co.
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