Post on 22-Sep-2020
Typography Classification
Core Concepts: Typography Classification
■ 19C printers sought a means of classifying type to parallel art andhistory classification systems
■ type classification is determined by historic/technology trends
■ 20/21Century designers continue to design new typefaces based onhistorical characteristics (revivals)
■ any classification system must be widely recognized by professionalsforming a basis of shared understanding
Further Study
■ Planet Typography Familieshttp://www.planet-typography.com/manual/families.html
■ Adobehttp://www.adobe.com/browser/classifcations.htm
■ I Love Typography (Classification series in four parts)http://ilovetypography.com/2007/11/21/type-terminology-old-style/
http://ilovetypography.com/2007/11/21/type-terminology-humanist-2/
http://ilovetypography.com/2007/11/21/type-terminology-transitional-type//
http://ilovetypography.com/2008/05/30/a-brief-history-of-type-part-4/-transitional-type/
■ Typophilehttp://www.typophile.com
■ Wikipediahttp://en.wikipedia.org/wiki/VOX-ATypi-classification
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 1
Textbook: Thinking With Type: pages 13 – 33
Glossary C
Cap height
Capline
Capitals (caps)
Centre align
Centered
Chancery italic
Character
Character count
Character set
Character space
Chase
Clarendons
Closed up
Colour
Column
Compressed
Condensed
Contrast
Counter
Crossbar
Curly quotes
Cursive
Type Classification
Typefaces are classified into between eight and twelve categories/subcategories according to their particular characteristics. Given the everexpanding collection of typefaces, a precise taxonomy—one that allowsfor expansion, comprehensiveness, adaptability, correction is yet to bedevised.
During the 19C printers sought a means of classifying type to parallel artand history classification systems. Humanist typefaces take their formsfrom calligraphic styles and were born in the Renaissance period. Thosetypefaces in the Oldstyle, Transitional and Modern categories are lessorganic; more abstract in their shape. They come to us from the baroqueand Enlightenment periods.
As technology improved so, too, grew the finesse with which type formswere produced. It is possible to follow the development of typographythrough the emulation of handwriting, carved stone columns and increas-ingly dexterous machinery to the digital forms we have today.
Maximillien Vox proposed a classification system in 1954 adopted by theAssociation Typographique Internationale (ATypI) and widely used today.Several new category names were derived for the international audience(see sidebar).
The first four Vox categories are based upon historic forms. The subse-quent five categories are based upon their appearance after which a further three terms categorize those faces based on the processes or toolsthat shaped their visual design.
■ Humanist (Venetian)
■ Old Style (Geralde)
■ Transitional (Reales)
■ Modern (Didone)
■ Slab Serif (Egyptian)
■ Sans Serif (Lineales): Humanist, Geometric, Grotesque
■ Glyphic (Flare Serif)
■ Script, Italic, Chancery
■ Decorative/Ornamental
■ Blackletter
■ Hybrids/Other(eg Solex by Zuzana Licko, Sauna by Underware, and Beowulf byLettError)
The classifying of typefaces is fraught with inconsistency and confusing,overlapping terms: eg Gothic is used to identify Blackletter faces, but the
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 2
The Vox System
The Vox system created a few newnames for groupings for theinternational audience;
Geralde: GARamond/ALDus (Manutius)
Didone:DIDot/BodONI
*Texts on type vary in the descriptionof the type classification system. Somesystems distribute the typeface designsinto more sub groups than others.
Note, too, the names of the categoriesvary (for example, Humanist is oftenreferred to as Venetian as the designsoriginated in Italy).
A great many people have
never set eyes on a well-
formed typeface. — Jan Tschichold
term is also used to describe a sans serif face in the US; the class Didone,Modern and Bodoni are synonymous. Clarendon is a term for bracketedslab serif faces in general; Humanist describes serif faces designed from aVenetian model—and is also used to describe classic sans serif faces!
Revival type designs over the centuries—some faithful reconstructions andothers new designs—have evolved and multiplied as new technologies arose.
Many individuals have attempted to create a practical method for identi-fying and classifying type designs. However, designing type follows no setpattern or rulebook. Particularly true of the contemporary digital periodwe find ourselves in. Many new designs are combinations of two—ormore—styles. The Vox system (or an adaptation of it) remains the mostuseful.
Some contemporary typeface designs defy even the most thorough typeclassification system. This may be because the letter forms do not havesufficient identifiable characteristics or those that they do have cross cate-gories. These faces may be composed of some classical features or bemade up of digital media—or both.
These faces are designed for specialty use so one could consider them“display faces.” They should not typically be used for text settings as theirunfamiliarity slow reading considerably. They often provoke intense dis-cussion and debate and are a medium of spirited play and experimentation.
Examples include hybrid designs such as Fudoni, by Max Kisman andProrotype by Jonathan Barnbrook
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 3
An Historical Overview
Renaissance: 15th & 16th centuries
Baroque: 17th century
Neoclassical: 18th century
Romantic:18th & 19th centuries
Realist:19th & early 20th centuries
Geometric Modernist:20th century
Lyrical Modernist:20th century
Postmodernist:Late 20th century
A COMPARISON OF TYPOGRAPHY CLASSIFICATION SYSTEMS
Vox British US French German Other
Medieves Blackletter Text — Gebrochene Schriften Gothic
Garaldes Old face Old Style Elzevir Antiqua —
Lineales Sans serif Gothic Antique Grotesk Grotesque
Mécanes Slab serif — Egyptienne Egyptienne —
Stempel SchneidlerABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
Berkeley Old StyleABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
■ Humanist (Venetian) derived from 15th century Italian humanisthandwriting/calligraphic form
■ first group of Roman typefaces (evolved after Gutenberg’s invention of movable type)
■ flourished in Italy during the 1460s and 1470s
■ revived by William Morris and the private press movement
Characteristics
■ poor and gradual contrast between thick/thin strokes
■ oblique stress
■ slanted bar on the lowercase e; descending cap J tail
■ slanted ascender foot serifs on lowercase letters
■ caps and ascenders same height
■ serifs heavy and steeply sloped
■ the set of the letters is generally wide
■ type is heavy in weight and appearance
Examples include:
Berkeley Old Style, Centaur, Cloister, Deepdene, Golden, Jenson, Kennerley,Stempel Schneidler
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 4
OeThJeA
CaslonABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz 1234567890
PalatinoABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz�1234567890
■ Old Style (Garalde) first cut by Francesco Griffo for De Aetna(published by Aldus Manutius, 1495) the basis for all Roman types castin the 16th and 17th centuries and early 18th century (Italy, France,England and the Netherlands)
■ displays some of the same characteristics as humanist typefaces, butthe pen-formed shapes are more refined
■ the first italic typestyles were created in 1501: Aldine Italic (AldinePress, Aldus Manutius) they were compressed, sloping faces, quitecalligraphic, to save space on the page
■ 17th century punchcutters took the French Old Style models andenlarged the x-height and increased the contrast between thethick/thin strokes
Characteristics
■ sharply cut, economical faces
■ slanted stress
■ medium weight and contrast between thick/thin strokes
■ lowercase letters have oblique ascenders and foot serifs
■ bracketed serifs, lighter than Humanist faces
■ horizontal crossbar on the lowercase e
■ caps are usually shorter than lowercase letters
Examples include:
Bembo, Caslon, Galliard, Stempel Garamond, Goudy Old Style, Janson,Lucida, Minion, Palatino, Plantin, Sabon, Times, Trump
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 5
OeThAQK
ClearfaceABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Stone SerifABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
■ Transitional (Reales) Roman du Roi, the first new face in 200 years,cut by Phillipe Grandjean in 1692
■ possess characteristics of both the Old Style and the Modern faces
■ 18th century greater precision of the copperplate engraver’s tool andthe availability of smoother paper allowed for finer letter strokes, serifs
■ a move away from the calligraphic style
■ in the 1750s, John Baskerville creates one of the most significant facesof the period, more light and refined than previous designs
■ late 18th century: Baskerville’s faces were supplanted by the emergingfaces of Didot and Bodoni, but they were rediscovered in the early partof the 20th century by many foundries
Characteristics
■ stress is vertical or nearly so
■ medium to high contrast between thick/thin strokes
■ serifs of lowercase ascenders are slightly slanted or sometimes horizontal and foot serifs are nearly horizontal
■ serifs are sharp and bracketed
Examples include:
Bookman, Candida, Century Schoolbook, Clearface, Cochin, Melior, Mrs. Eaves, Popple Pontifex, Slimbach, Stone
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 6
OgrCWQK
FeniceABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
BodoniABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
■ Modern (Didone) 1784: Francois Ambroise Didot’s Roman is the firstModern face
■ 1787: Giambattista cuts Bodoni type family
■ 1800: good cut of Bodoni by Justus Walbaum in Germany
■ Bulmer and Bill mix Old Style and Modern characteristics
■ further improvements in tools, paper and ink allow for finer nuances in type
Characteristics
■ stress is vertical
■ abrupt contrast between thick/thin strokes
■ hairline, horizontal serifs are often bracketed and concave
■ circular or elliptical drop in some terminals
■ crossed or jointed w
Examples include:
Acanthus, Bodoni, Caledonia, Didot, Fairfield, Fenice, Kepler, Primer,Scotch Roman, Torino, Walbaum, Zapf Book
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 7
HETA gWQfraj
LubalinABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
ClarendonABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
■ Slab Serif (Egyptian, Mecanes) c 1817, developed as display facesfor advertising
■ initially designed as caps only, lowercase appeared in the last half ofthe 19th century
■ during the 1920s and 1930s, a new collection of slab serif faces werereleased as a spinoff from the Geometric Sans Serif faces
■ mid-1800s: a subgroup of slab serif faces were designed calledClarendons
■ 1950s: the development of expanded slab serifs
Characteristics
■ vertical stress
■ low thick/thin contrast or heavy monoline and mechanical structure
■ bracketed or unbracketed serifs
■ most have unbracketed square serifs except the Clarendons
■ the lowercase g is often a single story
■ short descenders
■ a large x-height is common
Examples include:
Aachen, American Typewriter, Beton, Clarendon, Glypha, Lubalin,Officina, Rockwell, Scala, Serifa
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 8
OETHarfpgQ
FrutigerABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
UniversABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
■ Sans Serif (Grotesques, Lineals) broadly divided into threecategories: Grotesques, Geometrics, Humanists
■ these early display faces denoted modernity, though the simple formsdate back to Hellenic architecture
■ 1822: William Thorowgood issued a heavy Gothic face with a crudelowercase
■ 1876: the first Sans Serif face, uppercase only, (confusingly calledCaslon Egyptian) appeared in the Caslon Foundry type specimen book
■ 1958 Max Miedinger designed Helvetica, the most used Sans Serif faceof all time (based on Akzidenz Grotesk) It was originally called Neue Haas Grotesk.
■ the Grotesque and humanist styles are the most readable (somevariation in stroke width)
Characteristics
■ no serifs, some contrast in the thickness of the letter forms at junctions
■ curves are slightly squared off
■ cap R usually has a curled leg
■ cap G often has a spur (eg, Franklin and Trade Gothic)
Examples include:
Folio, Franklin Gothic, Frutiger, Grotesk, Gotham, Helvetica, News Gothic,Trade Gothic, Univers
Emily Carr University of Art + DesignContinuing Studies
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Notes © 2004 – 2019 Linda Coe Type Classification 9
ABCagrWkdit
FuturaABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
kabelABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
■ Sans Serif (Geometrics) a direct result of the modern art movementin Europe and the Bauhaus in Germany (1930s through the 1950s)
■ Monoline display typefaces
■ 1925, Herbert Bayer’s Universal became the iconic German sans ideal
■ geometric sans also include those type designs based on a squaremodel eg Eurostile
■ unsatisfactory for extensive use in text settings (the circular “holes”and similarity of letter form make reading fatiguing)
Characteristics
■ simply constructed from straight lines, arcs and circles
■ no thick/thin contrast
■ the lowercase a and g are usually a single storey
■ large x-height
Examples include:
Avant Garde, Avenir, Bauhaus, Eurostyle, Futura, Kabel, Metro
Emily Carr University of Art + DesignIntroduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe Type Classification 10
ABCagrWkdit
Gill SansABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Stone SansABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz1234567890
■ Sans Serif (Humanists) based on the classical proportion of Romaninscriptional caps and the lowercase design of 15th and 16th centuryHumanist type
■ humanist sans are informed by historical dialogue between typedesign, letter cutting and sign writing
■ 1916: Edward Johnston’s sans serif face based on classic Romanlettering broke new ground when it was used for the LondonUnderground identity
Characteristics
■ some contrast in the thickness of the letter strokes
■ lowercase a and g are usually a double storey
■ medium to large x-height
Examples include:
Bliss, Gill Sans, Legacy, Lucida Sans, Myriad, Optima, Rotis, Syntax, StoneSans, Quay Sans
Emily Carr University of Art + DesignIntroduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe� Type Classification 11
ABCagrMTeB
AlbertusABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1234567890
Copperplate
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
■ Glyphic (Flare Serif or Inscriptional) based on the classical design of carved inscriptions and letter cutting
■ German Glyphics are personified by Albertus designed by BertholdWolpe
■ because these designs were based on inscriptions, several faces havecaps only
Characteristics
■ chisled forms
■ sharp terminals or serifs
■ strong interplay between positive and negative form
■ waisted stems
■ angled finials
Examples include:
Albertus, Copperplate, Friz Quadrata, Lithos, Mez, Legacy, Rusticana,Sophia, Trajan
Emily Carr University of Art + DesignIntroduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe
JJJSSSabc
IIITTTMN
CaflischABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz 1234567890
StuyvesantABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz 1234567890■ Script, Italic, Chancery dates back to the origins of written copy
■ based on handwriting styles, but without the irregularity ofhandwriting
■ these italic forms are distinct from the italics that accompany Romandesigns as they are based on continuous text
■ Chancery faces originated as a formal mode of writing; it is now anunlinked script italic design
■ used primarily in sign painting and in advertising display or forinvitations (do not set in all caps!)
■ many styles available: formal, casual
■ formal styles often have small x-heights while casual styles have largex-heights
Examples include:
Caflisch, Brush Script, Commercial Script, Cloister, Dakota, Linoscript,Poetica, Snell Roundhand, Ex Ponto, Zapfino
Emily Carr University of Art + DesignIntroduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe Type Classification 13
ABC
agr
Miss
Type
Alleycat BopABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
WhimseyABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
■ Decorative/Ornamental used primarily in advertising display or forinvitations and specialty items
■ distinguished by their “strong” personalities: casual, ornate, whimsicalor silly
■ best used at larger sizes, ofttimes difficult to kern
■ sometimes decorative faces have uppercase only
■ most are not designed for body copy, most are not set in all caps
Examples include:
Arnold Boecklin, Broadway, Carbarga Cursive, Critter, Flash, Paisley,Playbill, Scala Jewel
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe
ABC
BookMZ
The
Emily Carr University of Art + DesignContinuing Studies
Type Classification 14
Lucida BlackletterABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890
Blackmoor LetterABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1234567890
■ Blackletter designed after the look of hand scribed type, Humanistfaces soon overtook this style of type
■ four distinct forms: Textura: Gutenberg Bible, close set, vertical, stroke weight wider thancounters
Rotunda:
Cut by printers in Switzerland and Italy
Bastarda/Schwabacher:
arose in Bohemia, Germany, Switzerland after 1480 and for MartinLuther’s bible, 1522
Fraktur: in common use as High German language evolved, 1493 – 1522
■ first half of the 20th century: politicized in Germany through its use asnational identity
■ distinctive regional differences (Old English, German Fraktur)
■ used primarily in advertising display or for invitations and specialtyitems, religious and archaic period contexts
■ most best used at large sizes, do not set in all caps
Examples include:
Blackmoor Letter, Clairvaux, Duc de Berry, Fette Fraktur, Johannes G,Lucida Blackletter, Old English, Goudy Text
JewelSlickabc
IoveTheType
Introduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe
Emily Carr University of Art + DesignContinuing Studies
Type Classification 15
Rotis Semi SansABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890
The MixABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz1234567890
■ Hybrid designs took hold in the late 80s but have always existed inmore traditional forms
■ based on combining either two distinct typeface or glyphcharacteristics
■ used primarily in contemporary communications for non-mainstreampublications
■ many styles available: formal, casual (many classified as decorative)
Examples include:
Rotis Semi Serif, Rotis Semi Sans, The Mix, Solex, Beowolf, Sauna,Prorotype, Fudoni
Emily Carr University of Art + DesignIntroduction to Typography Instructor: Linda Coe, BDes, FGDC
Student Course Notes © 2004 – 2019 Linda Coe Type Classification 16