Klinik Slab Booklet 2016

Klinic Slab

S 160pt Bold with Small Caps

§§§§§§§§§§§§§§§§§§§§Bo all slab serifs are bold and eye-catching, which would explain their
Slab prevalence in advertising work.
However, the differences between the typefaces created sub-
§§§§§§§§§§§§§§§§§§§§SBlaobldM— categories within slab serif as four models: Clarendon, Neo-
§§§§§§§§§§§§§§§§§§§§SBlaobldM—eKdil grotesque, Italienne, and Typewriter—all based off of the Modern
§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§SBlaobSlBldMao—bSleBldMKado—SbilleuiBldnMKadmo—ibSilcleuiB—ldnMKadSmo—ibSKillcaleuiB—ldnlMKbadSmio—i—SbKnlilcLaleuiB—ldinMlKiKbadSmcgio—i—bSKnilllchLalSeuiiB—ldnintlKMKibadSlmcg—ioa—i—ibSKnilllchLcalSebuiiB—ldnintlKMiKbadSlmcSg—ioB—ai—iSbKnlillchlLcalSeubiiB—oaldinntlMKiKbadSlmbcSlg—ioB—ai—dbiSKnilllchlLcalSebuiMiB—oal—dinntlKMKibadSlmcbSlg—ioBa—i—dbieKnilllcKhlLcalSeubiMio—ad—dinntKlMiKbdlSlmcbSlg—iiiB—ai—dieKnunlillcKhlLcaSeubiMio—ad—iminntlKiKbldcSlmbcSl—igiiBai—dieuKnnill—lcKhlLScaSbuiMioa—d—iminntKlliblcSl—mcbSKla—iigiBaidienuKnll—cb style typeface. Clarendon is built off of the original typeface of the
same name from 1845. Clarendon typefaces are unique because
they are the most contradictory of the slab serif genre due to
having both bracketing and comparable contrast in size of the
serif. The Neo-grotesque model is the most common slab serif
typeface, following the rules of lacking bracketing and having
equal-weighted stems and serifs. Italienne model slab serifs have
a more dramatic effect with heavier serifs than stems, giving some
slab serifs a kind of Western appearance. Typewriter model slab
serifs are based on the fixed-width mechanics of the typewriter.
Because of how the typewriter functions, each character takes up
the same amount of space horizontally. Overall, people disregard
these differences since most changes in stroke weight go unnoticed.
“To many readers, slab serif type styles look like sans serif designs
with the simple addition of heavy (stroke weight) serifs.”
Slab serif typefaces give a bold impression of industrialization,
authority, and geometric-like in structure. With the right font and
tactical usage, slab serif can be one of the most versatile typefaces
one can use, escaping its borders as an advertisement-only
stereotype.

12/14 Book

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§Slabserif,previouslycalled“squareserif”then“Egyptian”a erMBo—d—mdnntKlMlKibaldcSl—mcbSKla—iigioBa—i—dbiSenuKnill—lcKblhLScalSeKubilMiBo—adl—imdinintKlMliKbadlcSlL—mcbSaKln—igiiloB—ai—dibeKnunilil—lciKblhLSclianSeKbuilMigo—ad—imdcinnitlMKliKbdlcSlh—LimbcSaKln—igiilB—aci—iSdeuKninlitl—licKbhlLSciaSneKubilMi—go—adl—SimcinintKlMlKibldacShl—LimcbSKlan—giiliBlaci—iSdeuKbnniliatl—licKblhLScianSeKubilM—igo—adl—bSimcinintKlliBbdlcaShlL—imcbSKlan—giiliBlaci—dSieKbuMnniliato—liKcblhLScianSKbulMi—go—adl—SibmclinitlKliBblcaSlh—LiemdcbSKlan—iiglilBac—SideuMKbninlatdol—iKbhl—LSciaSnKbMli—go—adl—bSimcliinitlKliBblcahl—LiedcubSKlan—igililKBac—SideuMKbnniatodl—iKblh—LmSciaSnKbMl—igoadll—bSimcliinitilKliBblcahlL—ieudcbSnlKan—igi—lilKBacdiSebuMnniatdo—liKblh—LmSiciSnKbMil—goadlcl—SibmcKliinitiliBlachl—LieudcbSlKnan—ig—lilKBaScidSelMbuniatdo—iKbhl—mSiciSniKb—lMlgoadlcl—bSimcKnliaitilBlachl—LiedubSnlKan—i—liKBblaScSdelMbuniatod—iKbl—mSi—ciinKblM—gloadlcl—LbSimKcnliaiilBlachL—iedubSnlKanKi—liBlKibScidSenbMluigtado—iKbl—mSci—iinKlM—glloadlclh—LSibmKcnilaiiilBlach—LiSedbunlKanniK—ltiliKbScidSenlMbuig—tado—iKlb—mSci—iiniK—lMlgladlchl—LbcSimKcnlaiiiilBlach—LiSedbunKanniKl—tiKiblSciSSenlMbuig—taod—Kbli—mSci—iiinKl—BglladlclhlLcbimSKcnlaiiiilBalachL—iSedubnKannioKl—tiliKbScibSSnbMluig—atdo—Kibl—mScil—iiniKl—BgllalcllhLidcbSmKcnlaiiMiilBalach—LiSedbunKannoK—ltibliK—ScibSSlMbnig—atdo—lib—mScil—iieniKl—BgllalclhlLbcdiSKcnlaiiMiiKlBadach—LiSedbunKannoKl—tiKbl—ScibSSlMbi—gatldolbi—mSci—liieiniKl—BgllalclhlLbcdSnKcnlaiiMiiKlBadahLSideubnannoKl—tlKib—iScibSSbMliig—adltocilb—mcil—iieniuiK—BgllalcllhLdcbScnKnaliMiiKBadSahLmSidebunnoK—ltblKi—iScibSSlMbliig—altdcoli—mcil—iaeniui—Bgll—alclhlLbdcSKnnlaiMiiKbBadSahmiSdebunnoK—tilK—biSc—ibSKlMblig—altdcol—mci—laBiieuiB—l—lalclhLbdScKnnlaiKMliiKbaBdSmSodeubnnioK—tilK—biS—ibSKnlMlig—ladlocllL—mcil—aiieuiiBll—adlclhLdbciKnnalniKlMiiKibadSmcSdeubngin—Ko—tKib—iSi—biSKnlMli—gldlclhL—mcicl—aiSeiuiiBll—alclhLdcniKnKaintMlKiiiKbadSlmcSSeubn—ginKo—tKi—baiS—iibSKnllli—gldlchlLmiccil—aiSiebuiiBl—lalcnlhLdcniKnaintKMliiiKbadSlmcSSub—ngnioKi—tBi—baiSi—biSKnclilg—llclhlLmcicl—aiSeibuiiBlol—aaclhLdcnKinantKlSMiKibadSlmSScbbl—ginKo—tBiba—iSil—dbiSKnllig—llcllhaLccl—aiSeiubiiMBlola—al—hLdcnKinbantMlKiKibadS—lmSbScbl—ginKotBi—baii—idbSeKnlligL—llchllLccl—aiKSiebuiiMBoa—ldal—hLSdcnininKMltiKbiadSlgmScbSbl—giinloKtBil—aii—dibSeiuKnhilg—alKlclhlLcclnaSiebuiiMBol—adal—hmdtcnibnKlMtiKibadlSli—mSScbbl—giiniotB—aci—diSbenuKnliB——lKlcllhLclaSieubiMiBoa—adl—SimdcninMtoKlKibadlSclmbScbl—iigiolB—ail—idbSenuKnali—lKlchlLSdclaSebuiMiBo—adl—bimdninKMtllKbia—dlcSl—mcbSla—giiioB—ai—dibMenuKnil—lKlbclhLSclaSebuiMiKoa—d—imdninKMtllKibdlcSlL—emScbla—giiilB—ai—dienKunilid—llKciblhLScnaSeubiMgioa—d—iminintKllKibdlScihlL—umbSclag—iiiBcai—idenuKnlit—lKlcibhlmLScaSbuiM—gioa—dS—imninKtllbilcSlh—LmcbSla—gi—iliBaia—ideunKnlt—lbKiclhLScaSbMi—gboa—d—KiminKtlliblcShlLScbla
§§§§§§§§§§§§§§§§§§§§that, is one of the most popular genres of seriffed le erforms in

use during the past 200 years. It first emerged in 1817 in England,
a time when William Caslon IV was minimizing serifs while other

§§§§§§§§§§§§§§§§§§§§typefounders were increasing their weights instead. The first
copies of Vincent Figgins’ “Antique” specimen were developed in
1815 and 1817, the first specimens of slab serif type. Meanwhile

§§§§§§§§§§§§§§§§§§§§in the early 19th century, there was a rising interest in Egyptian
artifacts in Europe and North America. Figgins’ “Antique,” as
consequence, inspired other typefounders to produce slab serifs

§§§§§§§§§§§§§§§§§§§§basedoffofFiggins’work,leadingthegenretoeventuallyadoptthe
term “Egyptian.” It is possible that the new title was due to the bold
serifs’ similarity to the base and capital to the Egyptian columns

§§§§§§§§§§§§§§§§§§§§in conjunction with the reputation of the Egyptian artifacts. Slab
serifs began to become common in use during the 19th century
with the production of Clarendon. This typeface was made in 1845

§§§§§§§§§§§§§§§§§§§§by R. Besley & Co, The Fan Street Foundry. Its bold characteristics
served as a general purpose headline and display typeface, which
in turn helped it gain popularity for use in advertising.

§§§§§§§§§§§§§§§§§§§§Slab serifs are classified under serifs, and typically have thick,
“block-like” serifs, usually unbracketed, and are o en thicker than

§§§§§§§§§§§§§§§§§§§§the strokes in the typeface. Because of these features, slab serif
fonts are not usually used for prolonged reading purposes. Slab
serif fonts can have slight variations, such as the shape of the

§§§§§§§§§§§§§§§§§§§§serif terminal (angular, blunt, or rounded) or the serif thickness
§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§comparedtothestemsofthecharacters. Despitetheirdifferences,

"4 weights ÀÁÂÃÄÅĀĂĄÆǼ Ç Ć Ĉ Ċ
Matching Italics ČĎĐĒĔĖĘĚÈÉÊËĜĞĠ
2 sets of figures ĢĤĦÌÍÎÏĨĪĬĮİĴĶĹĻĽĿŁ
 &alts" ÑŃŅŇŊÒÓÔÕÖØǾŌŎ
ŐŒŔŖŘŚŜŞŠȘŢŤŦÙÚÛ
Ligatures Ü Ũ Ū Ŭ Ů Ű ŲŴÝŶŸŹ Ż Ž Þ

"Awarm & versatile slab serif Łąñģüåġĕş

with distin ive details, à á â ã ä å ą æǽ
çćĉċðďđèéêëēĕėęěĝ
a comprehensive character set
ğ ġ ģ ĥħìíîïĩīĭįıĵķ
many OpenType features. ĺļľŀłñńņňʼnŋòóôõöøō
ŏőǿœþŕŗřśŝşšșţťŧùú
    " ûüũūŭůűųŵý ÿŷźżžß

fffi fl ffiffl Designed by Joe Prince,
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Klinic Slab is heavily influenced by
fffi fl 18/24 Light and Italic modern geometry and simple forms.
fffi fl
ffiffl Klinic Slab
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fffi fl "In 4 weights (and italics), the
18/24 Book and Italic 8 font Klinic Slab family is one
fffi fl of our most comprehensive
fffi fl ffiffl releases to date. A contemporary,
ffiffl versatile Slab Serif, Klinic is a work
st horse that marries personality
18/24 Medium and Italic and ."
24pt Medium
ffiffl —The Lost Type Co-Op
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24pt Book 18/24 Bold and Italic

st stst

24pt Light st

24pt Medium Italic

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24pt Book Italic

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24pt Light Italic

SERIF BAR BOWL 110 Bold

wizard quickly
28 Bold

jinxed the gnomes
22 Bold

ASCENDERbHefEoIrGeHtThey SvTaEpMorizedC.OUNTER

18 Bold

CAP HEIGHT !#%& @?*#
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30/36 Bold

Aa Bb Cc Dd Ee Ff Gg Hh Ii ASCENDER HEIGHT STEM COUNTER
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz

24/28 Bold

Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt USuERVIFv WwBAXRx YyBZOWz L

24/28 Bold and Italic

Klinic Slab Bold

Aa Bb Cc Dd Ee Ff Gg Hh Ii Who
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz packed 90Medium
60 Medium
24/28 Light
five dozen old
Aa Bb Cc Dd Ee Ff Gg Hh Ii 30 Medium
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz quart jugs in my box?

24/28 Light and Italic 18 Medium

Klinic Slab Light !#%& @?*#
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30/36 Medium

Aa Bb Cc Dd Ee Ff Gg Hh Ii quick fox 115 Light
Jj Kk Ll Mm Nn Oo Pp Qq 48 Light
Rr Ss Tt Uu Vv Ww Xx Yy Zz jumps nightly 33 Light
28 Light
24/28 Medium above a wizard.

Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz

24/28 Medium and Italic

Klinic Slab Medium !#%& @?*#
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30/36 Light

Aa Bb Cc Dd Ee Ff Gg Hh Ii dwarves 115 Book
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz heckle my 52 Book
42 Book
24/28Book top quiz of jinx. 28 Book

Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy Zz

24/28 Book and Italic

Klinic Slab Book !#%& @?*#
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30/36 Book