The first sketches for the FF Clifford typeface were done in 1994. These drew inspiration from Alexander Wilson’s Long Primer Roman type, which was used to set an edition of Pliny the Younger’s “Opera,” printed by the Foulis brothers in 1751. The Italic is loosely based on Joseph Fry and Sons’ Pica Italic No. 3, from their 1785 specimen. These Roman and Italic designs combine to create FF Clifford Nine. Though carefully studying the metal types as models, the face was not intended to be a faithful reproduction. In fact, Akira Kobayashi created FF Clifford specifically for contemporary digital use. At the same time, he did want to maintain the optically corrected size variations commonly used in the days of metal typesetting, so that the various optical sizes would function well as a text face in a variety of settings. Two additional versions make this possible: FF Clifford Eighteen and FF Clifford Six. The former has more stroke contrast, narrower letter forms and a tighter fit; the latter is bolder and wider with sturdier hairlines and serifs and a looser fit. Each of the three FF Clifford variations were drawn separately. Overall, the characters of FF Clifford Eighteen are more lyrical, and the characters of FF Clifford Six more simplified than those of FF Clifford Nine. But the size indication is merely a recommendation; FF Clifford can and should be used as the user wishes, or as printing conditions require. FF Clifford includes a wide variety of ligatures, alternate forms and a collection of 18th century borders and ornaments. The Clifford family won a first prize in the text face category as well as Best of Show at the First U&lc Type Design Competition in 1998. FF Clifford also received a Certificate of Excellence in Type Design by the TDC judges in 2000.
