Type Prejudices

Font classification:

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Different systematic approaches exist for classification of typefaces. A historic approach seems most reasonable, even though modern designs may be difficult to assort. But there are disputable cases in every systematics.

Old style

The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond. EX. Sabon

Transitional-

More abstract and less organic. These typefaces have sharper serifs and a more vertical axis than humanist letters. EX. Baskerville, Times New Roman, perpetua

Modern

The typefaces designed by Giambattista Bodoni in the late eighteenth and early nineteenth centuries are radically abstract. Note the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.EX. Bodoni, Didot, Bernhard Modern Roman

Slab Serif Numerous bold and decorative typefaces were introduced in the nineteenth century for use in advertising. Egyptian fonts have heavy, slab-like serifs. EX. Clarendon. Ziggurat

Sans Serif

Sans-serif typefaces became common in the twentieth century.Has humanist characteristics. Note the small, lilting counter in the letter a , and the calligraphic variations in line weight. EX. Gill Sans, Franklin Gothic, Futura

Script-

Script typefaces run a wide gamut of characteristics. They can be divided by their subjective. EX. Bello, Sinclair, French Script.

Blackletter

This style has been used for more than 600 years. It originated from the handcrafted work of scribes dating as far back as the 19th C France, Italy and Germany. It remains one of the most used and versatile typographic choices and it has enjoyed modern-day revivals by some of the industry’s most celebrated type designers. EX. Textura and Franktur

Grunge

Scratchy typefaces, jarring aesthetic and philosophy that contrasts with the conventions of classic typography. They have the visual vernacular to create new designs. EX. Turbo ripped, Fallen Thyme, dead history

Monospaced

Typewriter-like, all letters conform to a specific physical width, resulting in letterforms that must expand or condense to make the best use of the allotted space. They are also referred to as nonproportional in contrast to typical proportional typefaces. They are spaced perfectly evenly, creating nicely aligned colomns of text. EX. Courier, Orator, OCR A

Undeclared

Typefaces that cannot be clearly defined serif vs san serif. EX. Optima, Copperplate Gothic