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The New Clarendons in 2020--2021

A curated list published by "Proof&Co" in March 2021. They preface the list by writing that Clarendons are the cicadas of the type world---emerging every 20 years or so to have their day in the sun, then fade back into memory and myth. The types listed here are the stewards of the Clarendon legacy, incubating the genre for the time when they're called up to swarm and take over again.

• NN Colroy (Marc Droz for Nouvelle Noire, 2014). Colroy is a Clarendon's Clarendon, if that makes any sense, There's something about hte unapologetic nature of the letterforms, the way the serifs stem out just far enough, the way the ball terminals aren't mincing any words, and the way the horizontal stress feels both mathematically and optically correct. The additional symbols and signage glyphs seems to hint at a desired use, which I don't mind. And the alternates are where the veil of propriety drops a little bit to be almost coy. Colroy is a well dressed party goer who impresses with charm and a sharp cuff at first impression, then lets the hair down after a little conversation and gives the whole room a little permission to have fun.
• Caslon Ionic (2019, Paul Barnes & Greg Gazdowicz for Commerical Classics). I cite Proof & Co: Caslon Ionic is perhaps the most true-to-form Clarendon in this list. [...] In case you were looking for some additional slabbiness, Commercial has packaged Antique No. 6 alongside the family---a proto-Clarendon, if you will. Personally, I love how straight ahead Caslon Ionic is. It is the Clarendon I would design if I were into it all.
• Temeraire (2018, Quentin Schmerber for Type Together). Proof & Co: It's a slab that got into the Clarendon club with a fake ID. [...] Temeraire's weight contrast makes it feel like something from a past decade. Its deep valleys where stems split and arms spin off give it an interesting quirk. Its horizontally chamfered terminals and squared off proportions again make it feel like it is older than it is. But, the regular weight has such swashy swagger, the curved sides to letters like l, I, and H give it a younger, more groovy appearance.
• LD Moderne Slab (2018, Kai Buschl for Lazy Dog Foundry). Proof & Co write: LD Moderne Slab is a tidy and classic take on the Clarendon style, with its more square proportions, Its proud and definitive features, and its well heeled serifs. It's clean, it's neat, it's rather nicely put together---in other words, it's a serious study in subtlety. If you set a line of it in open white space, stand back and let the letters breathe, it suddenly takes on a prestigious and stately vibe, and that's a result of the million tiny little things going on in its design that you wouldn't otherwise note but are working hard to express a modern refinement. I like LD Moderne Slab because its an unexpectedly elevated and quiet offering in a field of louder personalities.
• Firelli (2020, Teddy Derkert for Typejockeys). Proof & Co: Firelli seems like it has got the kind of personality I'd take out for a Negroni in the park and then head back to their place and listen to cool records for a while. [...] I am not sure what in the design is speaking into that impression, but perhaps it has something to do with the un-geometric joins, un-anxious descenders and ball terminals, and un-complicated simplicity of form.
• Pulpo (Felix Braden for Flood Fonts).
• Belizio (1987-1988, David Berlow for Font Bureau). This is based on Aldo Novarese's Egizio, designed in 1955 for Nebiolo.
• Eames Century Modern (2009-2010, Erik van Blokland for House Industries), Proof & Co writes: Eames Century Modern is an evocative, expressive, and endearing expression of the Clarendon spirit. Its fun flippy terminals in the a and R, the way it carries its weight with brazen high-contrast gusto, and the way the corners energetically pierce outwards give Eames a charm and life unlike any other. It has got big counters and strong opinions. It can be beautiful and elegant, or wacky and performative. [...] If it's historical whimsy you're looking for, look no further. If it's a little something extra for a buttoned-down client, Eames is your choice. If it's straight-ahead, no nonsense corporate communications you're looking for, keep scrolling because Eames is here to have a good time.
• CoFo Robert (2012-2018, Liza Rasskazova for Contrast Type Foundry).
• Sentinel (1999, Jonathan Hoefler for Hoefler&Co).

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