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TYPE ANATOMY
TYPE ANATOMY
jTITTLE
TYPE CLASSIFICATIONSerif Typefaces
TYPE CLASSIFICATION
Tt HUMANIST (a.k.a. “Old Style”)
- Modeled after the roman typefaces of 15th & 16th centuries
- Closely related to calligraphy and hand movement
CLASSIC HUMANIST TYPEFACES
SabonAdobe Garamond Pro Adobe Caslon Pro Adobe Jenson Pro
TYPE CLASSIFICATION
O O TRANSITIONAL- Modeled after engraved letterforms
of the 18th century - More abstract and less organic- Sharper serifs than Humanist faces- Higher contrast between thick & thin- More vertical axis / vertical stress
CLASSIC TRANSIT IONAL TYPEFACES
GeorgiaBaskerville Times New Roman
Humanist Type(Adobe Jenson)
Transitional Type(Baskerville)
TYPE CLASSIFICATION
O OHumanist Type(Adobe Jenson)
Transitional Type(Baskerville)
CLASSIC TRANSIT IONAL TYPEFACES
GeorgiaBaskerville Times New Roman
TRANSITIONAL- Modeled after engraved letterforms
of the 18th century - More abstract and less organic- Sharper serifs than Humanist faces- Higher contrast between thick & thin- More vertical axis / vertical stress
TYPE CLASSIFICATION
AAMODERN (a.k.a. “Didone typefaces”)
- Influenced by typefaces such as Bodoni and Didot in the late 18th and early 19th centuries
- Radically abstract and less organic- Thin, straight serifs- Sharper contrast from thick to thin strokes- Vertical axis / horizontal stress
Transitional Type(Baskerville)
Modern Type(Bodoni)
CLASSIC MODERN TYPEFACES
Modern No. 20DidotBodoni
TYPE CLASSIFICATION
AAMODERN- Influenced by the typefaces of Bodoni and
Didot in the late 18th and early 19th centuries- Radically abstract and less organic- Thin, straight serifs- Sharper contrast from thick to thin strokes- Vertical axis / horizontal stress
CLASSIC MODERN TYPEFACES
Modern No. 20
Transitional Type(Baskerville)
Modern Type(Bodoni)
DidotBodoni
TYPE CLASSIFICATION
Aa SLAB SERIF | EGYPTIAN- Introduced in 19th century for
use in advertising
- Heavy, slab-like serifs
COMMONLY USED SLAB SER IF TYPEFACES
Rockwell Clarendon Archer
American Typewriter
TYPE CLASSIFICATION:Sans Serif Typefaces
TYPE CLASSIFICATION
GgGROTESQUE SAN SERIF- Earliest sans serif typefaces, dating back to
the late 19th and early 20th centuries- Modeled from “Didone” typefaces- Limited variation of stroke widths- Often solid, bold design that is suitable for
editorial headlines- Most often have a spur on the capital “G”- Often have short descenders- Cap height and ascender height are usually
the same
CLASSIC GROTESQUE TYPEFACES
Akzidenz Grotesque Franklin Gothic News Gothic
TYPE CLASSIFICATION
b b HUMANIST SAN SERIF- Takes inspiration form traditional letterforms
such as Roman square capitals, serif fonts and calligraphy
- Has Humanist characteristics:- Small, tilting counter in lowercase “a”- Calligraphic variation in line weight
CLASSIC HUMANIST SAN SER IF TYPEFACES
Gill Sans
Humanist (Garamond)
Humanist San Serif (Myriad Pro)
Optima Trebuchet Frutiger Myriad Pro Verdana
TYPE CLASSIFICATION
GEOMETRIC- Originated in Germany in the 1920s- Popular for their clean, modern design- Letters are built around geometric
forms (for example, the letter “o” is generally a perfect circle)
- Considered the most modern sans serif typefaces, as a general rule
- Most commonly used for headings and small passages of text
- Least used for body copy
CLASSIC GEOMETRIC TYPEFACES
Futura Avenir Gotham ITC Avant Garde
oM
TYPE CLASSIFICATION
GEOMETRIC- Originated in Germany in the 1920s- Popular for their clean, modern design- Letters are built around geometric
forms (for example, the letter “o” is generally a perfect circle)
- Considered the most modern sans serif typefaces, as a general rule
- Most commonly used for headings and small passages of text
- Least used for body copy
CLASSIC GEOMETRIC TYPEFACES
Futura Avenir Gotham ITC Avant Garde
oM
Circle overlay
Futura overlay
p pTYPE CLASSIFICATION
NEO-GROTESQUE(a.k.a. Transitional sans serif)
- Began in the 1950s with the emergence of the International Typographic Style
- A direct evolution of grotesque type to create rational, neutral typefaces
- Characteristics similar to transitional serif letterforms:- More uniform / less calligraphic- Has more vertical axis than
Humanist sans serif typefaces- Usually appear as superfamilies- Commonly used for body text
CLASSIC NEO-GROTESQUE TYPEFACES
Helvetica
Grotesque(Franklin Gothic)
Neo-Grotesque(Helvetica)
Univers Arial MS Sans Serif Geneva
Helvetica is the most widely used font. Ever.
FancyTYPE CLASSIFICATION
SCRIPT- Very fluid letterforms that are based
upon handwriting- Two classifications: formal and casual- Not commonly used by professional
graphic designers due to legibility issues in certain letterforms
- Can be used for very elegant and elevated typographical designs
- Unsuitable for body copy
COMMONLY USED SCRIPT TYPEFACES
Snell Roundhand Edwardian Script ITC Mistral Segoe Script
TYPE CLASSIFICATION:Non-classic Typefaces
Papyrus was used for
Avatar
TYPE CLASSIFICATION
DISPLAY- Most likely the broadest category of
typefaces that includes the most variation- Unsuitable for body copy- Can be best used in headlines or short
copy that needs to demand attention- Can be informal, formal, and evoke any
kind of tone and mood.- Less used by professional graphic
designers due to their ambiguity
COMMONLY USED DISPLAY TYPEFACES (CAUTION: DO NOT USE)
Hobo Std Comic Sans MS Papyrus Rosewood Std
Q[];,./1234567890-=
TYPE CLASSIFICATION
DINGBATS- These are specialty typefaces that consist
of symbols and ornaments instead of letters.
- Oftentimes, dingbats are created around a certain theme (holidays, seasons, interests, etc.)
COMMONLY USED DINGBATS TYPEFACES
Wingdings Jellodings
TYPE FAMILIES
The roman form is typically conceived as the parent of a type family.
TYPE FAMILY
The italic form, which is based on cursive writing, is used to create emphasis.
SMALL CAPS ARE DESIGNED TO INTEGRATE WITH A LINE OF TEXT.
Bold (and semibold) typefaces are used for emphasis within a hierarchy.
Bold (and semibold) typefaces each need an italic version, too.
- Theromanformisalsocalledplainorregular.Itisthestandard,uprightversionofatypeface.
- Theitalicformoftenemploysshapesandstrokesthataredistinctfromitsromancounterpart.
- Smallcapsareslightlytallerthanthex-heightoflowercaseletters.
- Sanseriftypefacesoftenincludeabroadrangeofweights(thin,bold,black,etc.).
- Boldandsemibold needitalicversionsincasethecopyneedsfurtheremphasiswithintheboldertypeset.
The Adobe Garamond Pro family (from top to bottom): Regular, Italic, Small Caps, Bold and Bold Italic
SUPERFAMILY
Some type superfamilies include up to 50+ various styles and weights.
Helvetica Nueue Regular
Helvetica Nueue Italic
Helvetica Nueue Medium
Helvetica Nueue Medium Italic
Helvetica Nueue Bold
Helvetica Nueue Bold Italic
Helvetica Nueue Condensed Bold
Helvetica Nueue Condensed Black
Helvetica Nueue Ultra Light
Helvetica Nueue Ultra Light Italic
Helvetica Nueue Thin
Helvetica Nueue Thin Italic
Helvetica Nueue Light
Helvetica Nueue Light Italic