Optimo

Considered by some as an entire genre of type design, Clarendon has been revisited many times since its first appearance in 1845, resulting in the release of several adaptations and revivals—one of the most noted is Hermann Eidenbenz’s adaptation in the 1950s. Drawn by François Rappo, Clarendon Graphic is a remarkably innovative take on the style, bringing a new graphic identity to it and fulfilling its modernist potential.

Clarendon Graphic is a fluid, dynamic, and highly graphic typeface. Its lusty frame features a moderate stroke contrast, crowned by ball terminals and upturned tails. Lighter than earlier Egyptian type styles, Clarendon Graphic’s serifs are still prominent and characterized by their bracketed rectangular shape. Being the only Clarendon offering light styles, Clarendon Graphic works beautifully at both large and small sizes, as it has been specifically optimized for text. And, for the first time for a modern Clarendon, this typeface has two complete sets of italics: a slanted Roman and a true cursive italic.

Clarendon Graphic 20 styles

Hairline
Hairline Italic
Ultrathin
Ultrathin Italic
Ultralight
Ultralight Italic
Thin
Thin Italic
Light
Light Italic
Regular
Italic
Medium
Medium Italic
Semibold
Semibold Italic
Bold
Bold Italic
Black
Black Italic

Clarendon Graphic Stencil 6 styles

Stencil Ultrathin
Stencil Ultrathin Italic
Stencil Light
Stencil Light Italic
Stencil Semibold
Stencil Semibold Italic