Reinterpreting a 1973 Classic
Ad Werner’s 1973 typeface Paperclip Contour stood out for its modular aesthetic but remained locked in its original format. It was a print-only artifact, limited by the lack of commercial availability and the absence of uppercase characters. Tor Weibull, co-founder of Kanon Foundry, discovered the design on a record sleeve for The Drifters’ 1974 release, Kissin’ in the Back Row of the Movies. He saw potential in its rhythmic, wire-like shapes but recognized the need for a modern update to make it functional for contemporary graphic design. The project reflects the foundry’s research-heavy methodology, which emphasizes historical investigation paired with technical execution.
Kanon Foundry has now released Clippy, a reinterpretation that addresses the limitations of the original design. The team filled in the iconic contour shapes and introduced a full set of uppercase letters. These changes provide designers with a complete toolkit rather than a specialty display font. The typeface is optimized for digital environments, with refinements to curves and diagonals that ensure legibility across various sizes. By blending historical inspiration with current variable font technology, the studio has transformed a static relic into a flexible system capable of 15 different styles.
Technical Evolution and Design Choices
The development process for Clippy relied on variable font technology to allow for fluid transitions between Retalic, Roman, and Italic masters. Weibull noted that the rounded nature of the letterforms invited a sense of play, leading the team to compare the font’s movement to a roly-poly toy. This inherent motion prompted the designers to create physical prototypes as part of their creative process. The typeface captures a specific kinetic energy, nodding to the metallic, twisting architecture of a simple paperclip.
Some glyphs required structural adjustments to maintain consistency throughout the system. The lowercase ‘j’, which previously presented spacing challenges due to its wide, sweeping hook, now features a straight, Futura-style tail. These modifications allow for better alignment and kerning. Weibull also drew inspiration from modular lettering masters like Herbert Bayer and the mechanical precision of CNC engraving. The result is a typeface that feels retro-futuristic, maintaining the spirit of the 1973 original while answering the demands of modern screen-based typography.
Industry Context and Future Impact
The release of Clippy highlights a wider trend in type design: the revival of overlooked mid-century modular systems. By moving beyond the constraints of the original Paperclip Contour, Kanon Foundry has demonstrated how designers can preserve typographic history while adding necessary functionality. The inclusion of alien-like symbols and unique character shapes gives the font a distinct visual signature. Designers looking for a balance between retro nostalgia and modern technical performance will likely gravitate toward this release.
Future work from Kanon Foundry continues to emphasize this marriage of historical inquiry and digital optimization. Their approach proves that even long-forgotten designs hold potential when subjected to fresh technical scrutiny. As screens become the primary medium for typography, projects like Clippy show how classic ideas are adapted for the future. Observers of the industry should watch how other foundries follow this path of digitizing and expanding rare 20th-century typefaces to meet current aesthetic needs.