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[2] => Barnum
[titolo1] => Barnum
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[8] => <p>Introduced in 1845 by Thorowgood and Co. of London, <strong>Clarendon</strong> became an instant classic typeface thanks to its robust structure, bold slab serifs and distinctive letterforms. Bridging the gap between traditional serif fonts and the emerging demand for attention-grabbing, bold typefaces in advertising and signage, Clarendon typefaces quickly spread across continents, becoming synonymous with the American Old West and iconic "wanted" posters. In this tradition-steeped lineage, <strong>Zetafonts</strong> introduces <strong>Barnum</strong>, designed by <strong>Cosimo Lorenzo Pancini</strong> as an homage to Clarendon's historical significance.</p>
<p>Subtle design innovations rejuvenate this classic model: serifless versions of pivotal characters (C,G,S) add a contemporary flair, emphasizing a departure from tradition with a brutalist approach, while a dynamic weight axis allows <strong>Barnum</strong> to adapt its letterform to the boldness of the cut. The heavy weights follow a display-oriented design, commanding attention, while, the lighter weights embrace classic transitional proportions, allowing for a pleasant and easy reading experience.</p>
<p>Rooted in Clarendon's rich heritage, <strong>Barnum</strong> combines the enduring appeal of nineteenth century slab serif romans with innovative tweaks that cater to the demands of contemporary graphic designers. In reinventing a modern classic, <strong>Barnum</strong> seamlessly adapts to diverse design contexts while evoking the typographic feeling of something that is familiar and new at the same time.</p>
[desc1] => <p>Introduced in 1845 by Thorowgood and Co. of London, <strong>Clarendon</strong> became an instant classic typeface thanks to its robust structure, bold slab serifs and distinctive letterforms. Bridging the gap between traditional serif fonts and the emerging demand for attention-grabbing, bold typefaces in advertising and signage, Clarendon typefaces quickly spread across continents, becoming synonymous with the American Old West and iconic "wanted" posters. In this tradition-steeped lineage, <strong>Zetafonts</strong> introduces <strong>Barnum</strong>, designed by <strong>Cosimo Lorenzo Pancini</strong> as an homage to Clarendon's historical significance.</p>
<p>Subtle design innovations rejuvenate this classic model: serifless versions of pivotal characters (C,G,S) add a contemporary flair, emphasizing a departure from tradition with a brutalist approach, while a dynamic weight axis allows <strong>Barnum</strong> to adapt its letterform to the boldness of the cut. The heavy weights follow a display-oriented design, commanding attention, while, the lighter weights embrace classic transitional proportions, allowing for a pleasant and easy reading experience.</p>
<p>Rooted in Clarendon's rich heritage, <strong>Barnum</strong> combines the enduring appeal of nineteenth century slab serif romans with innovative tweaks that cater to the demands of contemporary graphic designers. In reinventing a modern classic, <strong>Barnum</strong> seamlessly adapts to diverse design contexts while evoking the typographic feeling of something that is familiar and new at the same time.</p>
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[40] => <p>Barnum pays homage to Clarendon, the 1845 classic by Thorowgood and Co. of London. Rooted in the enduring appeal of nineteenth-century slab serif romans and embracing their robust structure and bold slab serifs, Barnum emphasizes a departure from tradition with a subtle brutalist approach in selected letterforms, mixing contemporary flair and timeless elegance.</p>
[dato1] => <p>Barnum pays homage to Clarendon, the 1845 classic by Thorowgood and Co. of London. Rooted in the enduring appeal of nineteenth-century slab serif romans and embracing their robust structure and bold slab serifs, Barnum emphasizes a departure from tradition with a subtle brutalist approach in selected letterforms, mixing contemporary flair and timeless elegance.</p>
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[42] => Cosimo Lorenzo Pancini
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[72] => History of Clarendon
[dato33] => History of Clarendon
[73] => From Besley's Bold Vision to Modern Revivals: The Enduring Legacy of Clarendon Typeface
[dato34] => From Besley's Bold Vision to Modern Revivals: The Enduring Legacy of Clarendon Typeface
[74] => The Clarendon typeface from the Besley foundry marked a groundbreaking shift in typography. It was the pioneer of the 'related bold' concept, aligning seamlessly with regular weight fonts, a departure from the prevalent use of slab-serifs or heavy typefaces. Despite its rapid replication due to its stellar reputation, historian Nicolete Gray found the earlier Caslon Foundry's "Ionic" face more aesthetically pleasing, lacking in Besley's compressed Clarendon.
Besley officially registered Clarendon in 1845 under Britain's Ornamental Designs Act, but within three years, other foundries mimicked it. Besley's success extended beyond typography; he became London's Lord Mayor in 1869. Theodore De Vinne claimed Clarendon's name tied to Oxford's Clarendon Press, though doubts emerged later.
As Clarendon gained popularity, its proportions underwent changes. By 1874, Fann Street Foundry, later Reed and Fox, offered varied Clarendon designs – condensed, thin-faced, extended, distended, and shaded. Revivals persisted into the 20th century, notably in the 1950s.
Additionally, the term 'Ionic' evolved, associated with typefaces blending Clarendon features for body text. Miller & Richard and Linotype introduced successful typefaces like Ionic No. 5, bridging past styles with modern needs. Despite a decline in the early 1900s due to geometric slab-serifs' rise, Clarendon's charm resurged post-World War II. Vivian Ridler noted the once-dismissed Clarendons now symbolized ruggedness and were essential for advertising agencies.
[dato35] => The Clarendon typeface from the Besley foundry marked a groundbreaking shift in typography. It was the pioneer of the 'related bold' concept, aligning seamlessly with regular weight fonts, a departure from the prevalent use of slab-serifs or heavy typefaces. Despite its rapid replication due to its stellar reputation, historian Nicolete Gray found the earlier Caslon Foundry's "Ionic" face more aesthetically pleasing, lacking in Besley's compressed Clarendon.
Besley officially registered Clarendon in 1845 under Britain's Ornamental Designs Act, but within three years, other foundries mimicked it. Besley's success extended beyond typography; he became London's Lord Mayor in 1869. Theodore De Vinne claimed Clarendon's name tied to Oxford's Clarendon Press, though doubts emerged later.
As Clarendon gained popularity, its proportions underwent changes. By 1874, Fann Street Foundry, later Reed and Fox, offered varied Clarendon designs – condensed, thin-faced, extended, distended, and shaded. Revivals persisted into the 20th century, notably in the 1950s.
Additionally, the term 'Ionic' evolved, associated with typefaces blending Clarendon features for body text. Miller & Richard and Linotype introduced successful typefaces like Ionic No. 5, bridging past styles with modern needs. Despite a decline in the early 1900s due to geometric slab-serifs' rise, Clarendon's charm resurged post-World War II. Vivian Ridler noted the once-dismissed Clarendons now symbolized ruggedness and were essential for advertising agencies.
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