type

linicSLAB

Specimen

1.

2.

3.

4.

Background

italics

5.

6.

7.

8.

Bold Font

Distinctive Details

Ligatures & Glyphs

Numerals

Eye of Horus

Book Font

Ampersands

CONTENTS

9.

Since its inception, the typographic genre has remained largely in use across the board, and with increasingly refined type designs the range of applications the typefaces can be eectively applied to have expanded significantly. The most pervasive modern slab serifs include the typefaces Clarendon and Rockwell, which were introduced nearly 100 years apart from one another. New additions to the category are introduced regularly, and occasionally one will aain critical acceptance and find its way into widespread usage. Such is the case with Klinic Slab. Klinic Slab was designed for the Lost Type Co-op foundry by Joe Prince and released in 2013. The Lost Type co-op is popular modern type foundry that is based on a pay-what-you-want principle meaning that the user enters the amount of money they wish to pay to download a typeface. The Lost Type Co-op project started as a collaboration between graphic designer Riley Cran and Art Director Dan Gneiding. Usually, as is the case with Klinic Slab, a typeface can be downloaded for free if the user chooses to pay $0, but the font will have an embedded license permiing only personal and student usage of the typeface. A commercial license can be obtained for a minimum purchase of $45 for most typefaces. The typeface oerings have been well received and received a remarkable amount of serious usage in the short 2 years since its creation. Typefaces released by the foundry have been used by major brands such as Nike, Disney, and President Obamas campaign collateral. Joe Prince is a graphic designer who specializes in logo, identity, and custom typeface design. He has created multiple typefaces for the Lost Type Co-op, most of which have been rather successful. Klinic Slab started, as most of Princes typefaces have, as a drawing of a single leerform he posted on the design networking website dribbble. He was then approached by the Lost Type Co-Op about the possibility of expanding the drawing into a full typeface.

7 8BACKGROUND

1

A B C D E F G H I J K L N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

1 2 3 4 5 6 7 8 9 0{[(!@#$%^&*)]}

Bold 20pt.

2

Distinctive characteristics of Klinic Slab include the one-sided slab serif on the apex of the capital A, and the tangential gap between the leg and stem of both the capital and lower-case Ks. In the Italic fonts, the lowercase k also features an interesting connecting stroke between the leg and the stem. KA

kk3

8 9

Ligatures andalternative glyphs

4

NUM3RALS

123456789012345678901234567890

12345678901234567890

1234567890

4The numerals are distinctive in their suprsingly humanist, yet still unified, styling for a slab-serif typeface. Overall, Klinic Slab is an extremely usable typeface and a distinctive addition to the resurgence of the Slab Serif in contemporary design.5

Humanist yet distinctivelyegyptian slab...

6Among the first predecessors to modern slab-serif typefaces were the various wooden typefaces produced for advertising in the early 1800s. The introduction of the router allowed for wooden type to be produced at gigantic sizes previously untouched by movable type because of the inability of lead type to be produced at such scales. The massive type sizes were essential for the aention-grabbing advertising. The design of these wooden typefaces became increasingly extravagant, and the serif evolved from its origin as the finish to a calligraphic stroke to independent geometric elements that could be adjusted and transformed to change the function and identity of the entire typeface. Among of the highly ornamental serif designs, such as the Tuscans, were the typefaces colloquially referred to as Egyptians, which are characterized by their large yet simple geometric slab serifs. It is from these typefaces that the category known as the modern slab serif is derived.

Eye of Horus

fj

D

}

7A B C D E F G H I J K L N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z1 2 3 4 5 6 7 8 9 0{[(!@#$%^&*)]}

The full Klinic Slab typeface family consists of 8 fonts in 4 weights, a regular and an Italic for each. With weights ranging from light to bold, it is an extremely versatile typeface capable of producing a variety of feelings across applications. The heavy slab serifs of the bold weights scale down to almost humanist flourishes on the lighter weights, making the typeface consistently usable for both display/headline elements as well as text type. The typeface comes in a book weight as well, which is optimized to be the best possible value for text. With Klinic Slab available as a web font and the recent push to use slab serifs as body text on the web, the Klinic Slab Book is becoming especially prevalent.

BOOK19pt.

Ampersands

8

light Bold

9italics

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

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 Zz12345678901234567890

{[(!@#$%^&*)]}{[(!@#$%^&*)]}

Klinic Slab Designed by Joe PrinceReleased by the Lost Type Co-Op 2013Specimen Booklet and Poster Design by Dylan Devine 2013Printed on Mohawk Loop Smooth Sage 80lb cover & 70lb textTypeface availabe www.losype.com

coveralt.aispread1.aispread2.aispread3.aispread4.aispread5.aispread6.ailastpage.aiback cover.ai