24:
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was moved to call it "an
Edwardian shocker...few faces, the monstrosities apart, have more departures from normal letter design–strokes curved when they should be straight, blobs substituted for serifs...counters misshapen, horizontal strokes made diagonal. The Extra-Bold...is less offensive, since
317:
was revived in 1997 by Steve
Jackaman, and while lacking the original's italic, it includes not only the original "handtooled" version, but also "open", "engraved" and "solid" versions, the last functioning essentially as a higher-contrast display variant of
270:, letters are slightly narrower, and certain eccentricities unique to individual weights, such as the open-looped "g" in the Roman, are eliminated in favor of a unified design throughout all four weights. Other
173:. The bold was drawn first, in 1905, but the regular weight was the first to be released. Six variants were released between 1907 and 1911, and the design has frequently been rereleased and revived since.
426:, who expanded the typeface to four weights: light, medium, bold, and extra bold. Italics were included, but stayed in photo-negative film format until recently. The latest version of
161:, for instance in the tilted 'e' and blobby, organic design, but not particularly based on any past period of type design and with a mixture of cursive and structured features.
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242:. It was popular for newspaper headlines for many years, although by the mid-twentieth century it had declined in popularity: British newspaper designer
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had considerable popularity and was either licensed or copied by all the makers of mechanical composition machines, including
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McGrew, Mac, "American Metal
Typefaces of the Twentieth Century," Oak Knoll Books, New Castle Delaware, 1993,
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208:
96:
231:
not only cast it as foundry type, but also made an open face version in 1925 that was sold under the names
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in 1979, adding a black weight for a total of four weights with italics. Compared to ATF's original
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158:
628:
407:
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8:
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31:
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43:
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458:. Two weights of Victor Caruso's version, demi bold and bold, are available from
402:. The typeface has a very organic and friendly appearance. It was designed by
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571:
443:
325:
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410:. It was made in only one weight and was never expanded into a family.
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Clearface is a warm, curving design, showing the influence of the
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467:
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the thickening-up does something to conceal the basic defects."
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36:
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published a reinterpreted digitisation, Family, in 2023.
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has five weights: light, roman, medium, bold, and black.
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Clearface was released following Benton's preparation of
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Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson.
462:. A slightly altered version of the family, called
442:family include five weights and are available from
398:is a sans-serif with only a distant resemblance to
602:American Metal Typefaces of the Twentieth Century
636:
549:
413:
685:International Typeface Corporation typefaces
560:. Oxford University Press. pp. 100–103.
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680:Typefaces designed by Morris Fuller Benton
22:
670:Typefaces and fonts introduced in 1907
637:
599:
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146:with the collaboration of his father
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493:"Searching for Morris Fuller Benton"
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331:
277:
199:
13:
538:Blandford Press Lts.: 1953, 1983.
418:A Cold Type knock-off was made at
14:
696:
622:
650:American Type Founders typefaces
555:
604:. Oak Knoll Books. p. 93.
536:The Encyclopedia of Type Faces.
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528:
511:
301:. Other versions are made by
274:versions were also available.
1:
477:
164:
7:
576:"Family Design Information"
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660:Photocomposition typefaces
414:Phototypesetting versions
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377:
365:
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341:
251:Phototypesetting versions
122:
86:
78:
70:
58:
42:
30:
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189:Clearface Heavy + Italic
159:Arts and Crafts movement
184:Clearface Bold + Italic
438:Digital copies of the
408:American Type Founders
372:American Type Founders
152:American Type Founders
65:American Type Founders
655:Letterpress typefaces
491:Shen, Juliet (2006).
289:is available through
236:Clearface Handtooled,
600:McGrew, Mac (1986).
470:, is available from
404:Morris Fuller Benton
360:Morris Fuller Benton
144:Morris Fuller Benton
88:Re-issuing foundries
49:Morris Fuller Benton
464:Clear Gothic Serial
338:
18:
336:
258:was redesigned by
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675:Display typefaces
665:Digital typefaces
580:Klim Type Foundry
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171:Century Old Style
130:
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629:Release brochure
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558:Newspaper Design
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466:, complete with
440:Clearface Gothic
434:Digital versions
428:Clearface Gothic
396:Clearface Gothic
339:
337:Clearface Gothic
335:
332:Clearface Gothic
278:Digital versions
229:Stephenson Blake
221:British Monotype
200:Hot metal copies
194:Clearface Italic
148:Linn Boyd Benton
109:British Monotype
93:Stephenson Blake
53:Linn Boyd Benton
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15:
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320:Clearface Heavy
283:Victor Caruso's
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233:Clearface Open,
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623:External links
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572:Sowersby, Kris
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546:, pp. 50 + 72.
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556:Hutt, Allen.
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544:0-7137-1347-X
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386:Date released
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326:Kris Sowersby
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287:ITC Clearface
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583:. Retrieved
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501:. Retrieved
497:Type Culture
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439:
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406:and cast by
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378:Date created
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303:Elsner+Flake
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142:designed by
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71:Date created
472:Myfonts.com
355:Designer(s)
82:1907 - 1911
44:Designer(s)
639:Categories
478:References
348:Sans Serif
244:Allen Hutt
123:Shown here
400:Clearface
291:Bitstream
285:version,
272:cold type
268:Clearface
256:Clearface
213:Intertype
205:Clearface
178:Clearface
165:Clearface
154:in 1907.
133:Clearface
105:Intertype
17:Clearface
585:19 March
503:13 April
460:FontShop
452:Monotype
448:Linotype
343:Category
307:Monotype
299:Linotype
217:Monotype
209:Linotype
140:typeface
101:Monotype
97:Linotype
32:Category
499:: 27–35
468:italics
367:Foundry
315:Dominus
240:Dominus
60:Foundry
608:
542:
521:
454:, and
309:, and
225:Ludlow
223:, and
180:(1907)
113:Ludlow
631:, ATF
456:URW++
444:Adobe
311:URW++
295:Adobe
137:serif
135:is a
37:Serif
606:ISBN
587:2023
540:ISBN
519:ISBN
505:2018
389:1910
381:1908
297:and
262:for
238:and
74:1905
422:by
420:ITC
264:ITC
227:.
117:ITC
641::
578:.
574:.
495:.
474:.
450:,
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614:.
589:.
507:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
