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