Chaparral Pro

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The quick brown fox jumps over the lazy dog

Adobe type designer Carol Twombly created Chaparral, the font combines the legibility of slab serif designs popularized in the 19th century with the grace of 16th-century roman book lettering.

The result is a versatile, hybrid slab-serif design, unlike “geometric” slab serif designs. “Roman” generally means “upright” when it comes to

type, the best of which (usually serif faces) we’ve read for centuries in books.

You can identify a slab serif due to the widths of the serif strokes (generally, when serifs are equal or greater in thickness to the normal stroke weight, you’ve got a slab). Conventional wisdom says to avoid hybrids; often, in trying to do multiple things, a hybrid will miss the mark at

everything. Chaparral is a wonderful exception to this rule. It combines the legibility of a nice roman serif with the distinctive authority of a slab serif, and does so with a grace that most typefaces can’t touch.

The key to Chaparral’s beauty is in its combina-tion of flowing curves and powerful angularity. Some slabs can feel a bit more beefy and boxy,

and can be very hard to work with especially in large sections of texts. However Chaparral works exceptionally well in running text, by varying the stroke widths only when necessary. Chaparral has varying letter proportions that give it an accessible and friendly appearance in all weights from light to bold.

The counter of Chapparral is wider than Times New Roman. It’s bowl is also a lot more conpressed as Times New Romans double story is taller.

The decender of Times New Roman is a lot taller than Chaparral, the brackets contrast eachother as Times New Romans are curved.

The leg of the Chaparral is a curved leg compared to Times New Roman that is straight. Both of the typefac-es have concave apex’s. The ascenders of both typefaces are a similar hieght.