type_classification
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This document provides an overview of type anatomy and classification. It begins with definitions of common typeface anatomy terms like x-height, ascender, cap height, and serifs. It then discusses the main classifications of type including Old Style, Transitional, Modern, Slab Serif, Sans Serif, and Display. For each classification it provides examples of historic typefaces that helped define the category as well as key distinguishing features. The document aims to concisely summarize the essential terminology and categories related to typeface design and anatomy.
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type_classification
- 3. aAG vpfi Hti QfgxR ascent line stem or main stroke cap line crossbar serif apex vertex spur ligature adobe garamond pro tail leg loop or bowl crossbar aperture dot shoulder ear link throat diagonal counter juncture or joint bowl terminal mean line baseline descent line x-height descender ascender cap height
- 4. Roman SMALL CAPS Italic x-height x-height x-height cap height cap height cap height minion pro
- 5. 0123456789 x-height x-height cap height cap height lining figures non-lining (old style) figures adobe jenson pro 0123456789
- 6. H H H H stem fillet terminal bracketed serif hairline serif slab serif bracket adobe garamond pro didot caecilia
- 8. EOAV futura middle cross bar shorter than top + bottom bars curved forms extend below baseline + above cap line diagonal strokes narrow toward the apex + vertex apex + vertex extend beyond cap line + baseline
- 9. X thin stroke offset to give illusion of unbroken line didot
- 10. EA EA EA EA univers univers 45 light univers 55 roman univers 65 bold univers 75 black To preserve the integrity of the size and shape of letterforms as the weight of a face increases, changes must be made to prevent counterforms from filling in
- 12. Old Style Transitional Modern Slab Serif Sans Serif Display Blackletter bembo baskerville bodoni clarendon univers cooper black textura
- 13. By current standards, this style of type is not a classified form Highly decorative, gothic style appears heavy on the page Based on early written forms but designed to accommodate full character positions with moveable type The Gutenberg Bible—the first book produced with moveable type—was set with Blackletter BLACKLETTER T Y P E C L A S S I F I C A T I O N
- 15. Developed by Renaissance designers who refined archaic letterforms Characterized by: • Roman proportion • contrasting stroke weight which references right-hand drawn letters • oblique axis in curved forms • relatively short x-height OLD STYLE T Y P E C L A S S I F I C A T I O N
- 16. Old Style Bembo Caslon Centaur Garamond Jenson c. 1495 1720–66 1912–14 c. 1469 c. 1561 cap height less than ascender height stress axis as much as 23° from vertical high crossbar garalde: horizontal crossbar venetian: angled crossbar
- 17. DESIGNED BY MAY BE BRUCE ROGERS BETWEEN 1912 + 1914, THE MOST BEAUTIFUL TYPEFACE OF ALL TIME. CENTAUR,
- 18. Evolved out of the old style faces Changes in structure include: • stroke contrast that is less derivative of the pen or brush • contrast becomes rhythmic and distinct • greater x-height • move toward upright axis • greater serif definition TRANSITIONAL T Y P E C L A S S I F I C A T I O N
- 19. Transitional Baskerville Mrs Eaves Bell Perpetua c. 1750 1996 1788 1929 larger x-height cap height equal to ascender height stress axis 2° to 4° from vertical
- 20. Radical departure from hand-drawn origins Stroke contrast is extreme—thin strokes are reduced to hairline Serifs are typically unbracketed hairline strokes Axis is always vertical More consistency in letter width First developed by Giambattista Bodoni (1740–1813), and Firmin Didot (1764–1836) MODERN T Y P E C L A S S I F I C A T I O N
- 21. Modern Bodoni Didot 1765–1813 1799–1811 cap height equal to ascender height vertical stress axis
- 22. SET ONE OF HIS BOOKS ENTIRELY IN BODONI. CHUCK KLOSTERMAN IT IS UNREADABLE.
- 23. Also known as Egyptian typefaces Became popular after Napoleon invaded Egypt Also influenced by the use of wood-block typesetting in the American mid-west Characterized by heavy, usually unbracketed serifs and minimal stroke contrast; serifs and stems typically share the same weight SLAB SERIF T Y P E C L A S S I F I C A T I O N
- 24. Slab Serif Caecilia Clarendon Rockwell Melior 1991 1845 1934 1952 cap height equal to ascender height vertical stress axis
- 25. First appeared in 1816 (Caslon Type Specimen) Originally set in uppercase for display type and became known as grotesques Characterized by a lack of serifs; stroke weight is more uniform; the axis is upright SANS SERIF T Y P E C L A S S I F I C A T I O N GROTESQUE
- 26. Sans Serif Akzidenz Grotesk Franklin Gothic Helvetica Neue Trade Gothic Univers 1896 1957/1983 1902 1948 1957 grotesque vertical stress axis
- 27. Early 20th century Influenced by design movements such as Art Deco and Bauhaus Form is simplified to pure geometric shapes; vertical axis, little or no stroke contrast SANS SERIF T Y P E C L A S S I F I C A T I O N GEOMETRIC
- 28. Sans Serif Futura Avenir FF DIN Gotham 1988 1936/1995 2000 1926–27 geometric vertical stress axis
- 29. WILL NEVER YOU USE FUTURA AGAIN AFTER YOU GRADUATE.
- 30. More organic in appearance and origin Stroke weight is based on optical equivalence rather than pure geometry or right-handed stroke contrast Humanist faces tend to be very legible SANS SERIF T Y P E C L A S S I F I C A T I O N HUMANIST
- 31. Sans Serif Frutiger Gill Sans Johnston Optima 1975 1916 1926 1952–55 humanist vertical stress axis
- 32. YOU WILL NEVER USE GILL SANS AGAIN AFTER YOU GRADUATE...
- 33. CREATIVE DIRECTOR UNLESS YOUR IN WHICH CASE YOU WILL USE NOTHING ELSE. EVER. IS BRITISH,
- 34. Decorative typefaces that do not fit in elsewhere Generally used at large sizes In most cases, very difficult to read at body text sizes and quantities DISPLAY T Y P E C L A S S I F I C A T I O N
- 35. Display Cooper Black Neuropol Hobo VTC BAD VISION BIFUR 1921 2003 1910 2008 1929
- 36. A DISPLAY TYPEFACE CAN BE USE WITH CAUTION. A DANGEROUS WEAPON.