classification

type+ anatomy

anatomyletterform

a A G v p fiH t i Q f g x R

ascent line

stem or main stroke

cap line

crossbar

serif

apex

vertexspur

ligature

adobe garamond pro

tailleg

loop or bowl

crossbar

aperture

dot shoulder

ear

link

throat

diagonal

counter

juncture or joint

bowlterminal

mean line

baseline

descent line

x-height

descender

ascender

cap height

Roman

SMALL CAPSItalic

x-height

x-height

x-height

cap height

cap height

cap height

minion pro

0123456789

x-height

x-height

cap height

cap height

lining figures

non-lining (old style) figures

adobe jenson pro

0123456789

H H

HH

stem

fillet

terminal

bracketed serif

hairline serif

slab serif

bracket

adobe garamond pro

didot

caecilia

opticalcompensation

EOAVfutura

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

Xthin stroke offset to give illusion of unbroken line

didot

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.

typeclassification

Old StyleTransitionalModernSlab SerifSans SerifDisplay

Blackletterbembo

baskerville

bodoni

clarendon

univers

cooper black

textura

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

BlackletterTexturaFraktur

c. 1150

c. 1493

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

Old StyleBemboCaslonCentaurGaramondJenson

c. 1495

1720–66

1912–14

c. 1469

c. 1561

cap height less than ascender height

stress axis as much as 23° from vertical

highcrossbar

geralde: horizontal crossbarvenetian: angled crossbar

designed by

may bebruce rogersbetween 1912 + 1914,

the mostbeautifultypefaceof all time.

centaur,

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

TransitionalBaskervilleMrs EavesBellPerpetua

c. 1750

1996

1788

1929

larger x-height

cap height equal to ascender height stress axis 2° to 4°

from vertical

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

ModernBodoniDidot

1765–1813

1799–1811

cap height equal to ascender height

vertical stress axis

set one of his booksentirely inbodoni.

chuck klosterman

it is unreadable.

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

Slab SerifCaeciliaClarendonRockwellMelior

1991

1845

1934

1952

cap height equal to ascender height vertical

stress axis

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 Serifgrotesque

Sans SerifAkzidenz GroteskFranklin GothicHelvetica NeueTrade GothicUnivers

1896

1957/1983

1902

1948

1957

grotesque

vertical stress axis

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 Serifgeometric

Sans SerifFuturaAvenirFF DINGotham

1988

1936/1995

2000

1926–27

geometric

vertical stress axis

will neveryouuse futura againafter yougraduate.

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 Serifhumanist

Sans SerifFrutigerGill SansJohnstonOptima

1975

1916

1926

1952–55

humanist

vertical stress axis

you will neveruse gill sans againafter yougraduate...

creative directorunless your

in which caseyou will usenothingelse.ever.

is british,

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

DisplayCooper Black

NeuropolHoboVTC BAD VISION

BIFUR1921

2003

1910

2008

1929

a displaytypeface can be

use with caution.

a dangerousweapon.

christopher09/2011

moorehead