The Classification of Type “It must be admitted that the classification of printing types is a controversial subject and one upon which little amicable agreement may be expected.”
ALEXANDER LAWSON THE CLASSIFICATION OF TYPE The Classification of Type
CLASSIFICATION: Historical Movements
Renaissance Roman Letter Renaissance Italic Letter The Mannerist Letter The Baroque Letter AaBbCc AaBbCc BEMBO: MONOTOYPE BEMBO ITALIC: MONOTOYPE AaBbCcPOETICA: ROBERT SLIMBACH AaBbCcADOBE CASLON: CAROL TWOMBLY
Geometric Modernism The Neoclassical Letter The Romantic Letter The Realist Letter AaBbCc AaBbCc AaBbCc AaBbCc BODONI: GIAMBATTISTA BODONI BASKERVILLE: JOHN BASKERVILLE DIDOT: ADRIAN FRUTIGER AKZIDENZ GROTESK: BERTHOLD
Geometric Modernism Lyrical Modernism Postmodern Postmodern Geometric AaBbCc AaBbCc AaBbCc FUTURA: PAUL RENNER AaBbCcPALATINO: HERMANN ZAPF ESPRIT: JOVICA VELJOVIC OFFICINA: ZUZANA LICKO THE PARSONS INSTITUTE 68 Fifth Avenue 212 229 6825 FOR INFORMATION MAPPING New York, NY 10011 piim.newschool.edu
THE CLASSIFICATION OF TYPE The Classification of Type
SCRIPT FAT FACE MANUAIRE FRAKTUR SCRIPTS FORME QUE/ N TEXTURA ANTI 19TH CENTURY SOMME GOTH LINEALE CLARENDO IC HUMANIST
DISPLAY 25 Systems for Classifying Typography: FRACTURE SCHWABACHER GOTHIC DISPLAY BLACKLETTER BATARD ANTIQUE 18TH CENTURY / ANTIQ BLACKLETTER
INCISES UA LINEAL ORNAMENTALS GROTESK
MECANES SCRIPT
EGYPTIAN
SLAB ITALIC EGYPTIENNE ROMAN ROMANS 17TH CENTURY CONDENS VENETIAN OLD STYLE
PRECLASSICAL CLASSICAL ROMAN VERNACULAR ELZEVIR ED DIDONE ITALIENNE A Study in Naming Frequency GERALDE ITALIC MODERN REALE CLASSICAL 16TH CENTURY RENAISSANCE 25 SYSTEMS FOR ITALIAN DIDOT
REVERSED IONIC
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YPTIAN FRAKTUR TEXTUR OUTLINE TRANSITIONAL GAELIC
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CLASSICALS GOTHIC SCRIPT MICS. SLAB
HUMANIST MODERN MODERN
DIDONE CE RENAISSAN MODERNISED SANS SERIF TYPOGRAPHY: VENETIAN HUMANIST ROMAN TRIC GEOME jESSica gRiScti GOTHIC BOOK OLD F VARIANTS MODERNS
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DID NEO- TRANSISTIONAL MODERN FACE ERIF GROTESQUE GERALDS ONE a Study in Naming Frequency TRANSITIONALS NEO-GRO SLAB S
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DISPLAY DECORATIVE T SAMPLED SQUARE
NIS REALIST CUR TED
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HUMA SCRIPT CURSIVE ROTUNDA INDUSTRIAL/ VERNACULAR AL SCRIPTS UE PROCESSED GEOMETRIC GOTHIC MANIPULA ANTIQUE DINGBA OTESQ TIN LA RENAISSANCE ORNAMENT GEOMETRIC TS GRAPHIC MODERNIST NEO GR UE BASTARDA ESQ HUMANIST ORNAMENTAL PERIOD SANS SERIF TAYLOR CHILDERS DISPLAY GROT CALLIGRAPHIC
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TRANSITIONAL TRANS. KEYWORDS 1 DIDONE 9
SQUARE SERIF W TH
DON SLAB DI 20TH CEN E
Typeface Classification, type specimens, type DG TRANSITIONALS C PRIMER GROTESQUE E
MODERN MODERN YRICAL MODERNIST E NT L E
T LIBERTY LEBEN .
CALLIGRAPHIC
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CASUAL systems, typeface taxonomy, typography E
TRANSITIONAL EGYPTIAN NCI -
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CURSIVE NG EGYPTIAN FAT FACE SANS SERIF FORMAL BRUSH HANDWRITING SANS SERIF GEOMETRIC 20TH CENT HUMANIST ROMAN ROT BLACKLETTER TOPICAL T UN CRIP . DA S TITLING GROTESQUE R HUMANISTIC SCRIPT FREE HAND SANS
DISPLAY
N R E ORATIVE/ MOD TEXTURA E MODERN DEC DECORATED CURSIV DISPLAY BLACKLETTE GEOMETRIC SANS SERIF SANS SERIF
TRANSITIONAL GEOMETRI OLD STYLE OLD OLD STYLE VEN LATE ETIAN GEOMETRIC C BOOK OLD FACE 20TH CENT. SERIF SERIF . SLAB SERIF CONT GROTESQUE TRANSI E ITALIAN MP TIONAL IONAL CONTEMP ORARY SERIF SLAB SERIF TRANSITIONAL TRANSIT CENT. T HUMANI OLD STYLE MODERN Y IT 19TH ALIC
CLARENDON DERN
GROTESQUE MO TRANSIT OLD ST pROjEct DatE FRENCH ST TRANSITIONAL EARL October 2012–January 2013 HUMANIS YLE GLYPHIC DUTCH MODERN I
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SPENCERIAN BRUSH DECORATIVE & EXOTIC/ INLINE DISPLAY DISPLAY FREEFORM STENCIL
MONOLINE IVE HANDWRITTE T OLD STYLE FORMAL PE HISTORICAL
CAPITALS SANS SERIF DECORA SCRIPT HAND TOOL N ITER TEXTURA BLACKLETTER/ TYPEWR SWASH ED SCRIPT SCRIPT & BRUSH BROKEN
EXPERIMENTAL DECORATIVE & DISPLAY ROTUND
A DISPLAY COMPUTER A BLACKLETTER L abStRact RELAT ED
TECHNO BLACKLETTER TIN SCHWABACHER BLACKLETTER OLD STYLE VENETIAN
SANS SERIF SCRIPT FRAKTURA SERIF TRANSITIONAL SANS SERIF D SANS SERIF GARALDE UNICAL MODERN SLAB SERIF OLD FACE
SLAB TRANSITI LATIN MONOSPACE EGYPTIAN GLYPHIC SLAB DIDONE ON MODERN AL
Varying typeforms for the Western printing process have HUMANIST MODERN SERIF TRANSITIONAL SANS SERIF
GEOMETRIC MODERN GROTESQUE been concurrently designed since the invention of the NEO-GROTES. printing press c1450. Even though the variation of styles Figure: A visual overview of 25 typographic classifications have expanded in number with fairly good documentation, and even though the process has been essentially evolu- and animals. In the typographic world, a shared standardized tionary, the design community has yet to develop a system of classification is lacking. Typographers and type comprehensive system of classification. Many attempts scholars have attempted to create proper systems of organi- have been made to standardize but no naming system has zation for decades. These systems date back to at least been successful to the point of its general adaption. This 1899, when Theodore Low DeVinne published a typo- paper analyses 25 typeface classification systems published graphic classification system in his book, The Practice in the last century, ranging from typographic greats like of Typography. With the invention of the printing press, Theodore Low De Vinne and Maximilien Vox and culmi- photo reproduction, and post script fonts, printing became nating with contemporary type and design scholars such more efficient and typographic practice became more as Ellen Lupton and Robert Bringhurst. Each system widespread. Today the typographic world is cluttered with (despite its original visual organization or lack thereof) examples along many design approaches; a logical way is presented through a color-coded pie chart. The color to name the group to which any particular design is codes reference three main branches of type design: Serif, challenging. One style can have two, even three names, Sans Serif, and Topical (Topical is the term used by all meaning essentially the same exact thing. Typographers Bevington/Chong to reference a subdivision of non-text who create systems often have a difficult time deciding faces). In our concluding demonstration we use this term which name to chose. Sometimes, they chose both. “Topical,” to replace “Display.” By examining a wide cross Major problem occurs in topical and display classifica- section of naming taxonomies, we observe those names tions. With so many styles of topical typefaces all obtaining that have prevailed, those that failed, and those that such specific differences, it is often hard to classify them deserve renewed support in the hierarchy of typeface into larger groups. While some create an abundance of classes. We see the useful, and the daring, as they are classifications for such typefaces, others ignore the problem removed or affixed to the typographic lexicon. Each name, completely. Ignoring these “topical” designs leaves a large from all the systems, within our wider categories of Serif, number of type styles unaccounted for, or relegated into Sans Serif, and Topical are collected into a series of master the “others” category. Through the examination of the diagrams. From these a final, suggested master classifica- history of typographic classification, it may be possible to tion—our cumulative research effort is presented. We create a unified taxonomy using a consistent naming logic. submit this master as a suggested industry standard. The final visual in this paper displays such unified logic; it, in turn, is constructed from a series of seven composite intRODuctiOn displays. These seven composites are organized according A taxonomy may be defined as the study classification. to the findings from the twenty five examples that preceed. Without scientific classifications in biology, there would (Note: we capitalize classes when they are specified as classes be no consistent professional jargon, and scientists would within any particular system, and do not capitalize when be far less effectively communicative when studying plants they are noted but not included in that particular system.)
PIIM IS A RESEARCH AND DEVELOPMENT © 2013 PARSONS JOURNAL FOR FACILITY AT THE NEW SCHOOL INFORMATION MAPPING AND PARSONS INSTITUTE FOR INFORMATION MAPPING 25 systems for classifying typography: a study in naming frequency taylor childers, jessica griscti, and liberty leben blackletter: A collective count of all blackletter classifications. BROKEN The outer circles document UNICAL the usage of the term throughout the 25 classifi- BASTARDA
cation systems studied. HYBRIDA
ANTIQUA
GOTHIC
TEXTURA
SCHWABACHER
ROTUNDA
FRAKTURA
resolved: The collective THE CLASSIFICATION OF TYPE The Classification of Type
results of the authors’ investi- SCHWABACHER gations composed into a final TEXTURA taxonomic model for Typeface FRAKTURA ROTUNDA classification. The three areas GROTESQUE KLET GRAPHIC distribute typographic forms BLAC TER THE RESULT: 25 Systems for over nineteen final classes. FORMAL Classifying Typography: This model respects the full NEO-GROTESQUE S a Study in Naming Frequency C TOPICAL R range of naming conventions I P T HANDWRITTEN The three areas distribute typographic forms over without chasing Topicals down SANS into subcategories that are too GEOMETRIC nineteen final classes. This model respects the full range of naming conventions without chasing Top- E VENETIAN granular, while respecting the L Y icals down into subcategories that are too granular, SERIF T S necessary sub-categories in while respecting the necessary sub-categories in HUMANIST D L S other groups. It is felt that a very high level of speci- L O GERALDE other groups. It is felt that A B ficity is achieved with this model without becoming SE a very high level of specificity RIF overtly caught-up-up in unnecessary jargon.
TRANSISTIONAL is achieved with this model UNIFORM REVIVAL without becoming overtly MODERN caught-up-up in unnecessary ITALIENNE jargon. It is therefore more CLARENDON usual than over-simplified orders and viable for extensive typeface class naming uses.
PARSONS JOURNAL FOR INFORMATION MAPPING © 2013 PARSONS JOURNAL FOR vOLUME v ISSUE 1, wINTER 2013 INFORMATION MAPPING AND PARSONS [PAGE 19] INSTITUTE FOR INFORMATION MAPPING For the purposes of ART120 THE CLASSIFICATION OF TYPE For the Purposes of ART120
CLASSIFICATION: Physical Attributes
SERIF SANS SERIF SCRIPT DISPLAY Old Style Grotesque Formal Transitional Neo-Grotesque Casual Modern Humanist Glyphic Geometric Slab
WATCH A VIDEO > THE CLASSIFICATION OF TYPE For the Purposes of ART120
CLASSIFICATION: Serif Typefaces
OLD STYLE TRANSITIONAL MODERN Old Style typefaces feature a strong, Transitional typefaces have sharper Modern typefaces have the strongest diagonal stress with moderate contrast serifs and a more vertical axis than old contrast between thick and thin lines. The in the stroke weight. The serifs are style typefaces. There is moderate serifs are hairline thin and unbracketed. bracketed and the top of the ascender contrast in the weight of the stroke is often angled. and bracketed serifs.
GLYPHIC SLAB SERIF Inspired by characters carved into stone These typefaces feature heavy, often or metal, these typefaces have triangular rectangular serifs with little to no serifs and the strokes are commonly bracketing. There is little contrast in the tapered. weight of the stroke and usually have a tall x-height. THE CLASSIFICATION OF TYPE For the Purposes of ART120
CLASSIFICATION: Sans Serif Typefaces
GROTESQUE NEO-GROTESQUE Introduced in the 19th century, these are The 1950’s introduced these typefaces the first sans serif typefaces and with minimal stroke variation, a wide inherited many of the traits of their serif proportion, and a tall x-height. They are predecessors. There is slight variation often comprised of a large family of in the width of the strokes. varying weights and widths.
HUMANIST GEOMETRIC These typefaces rely on organic stroke As the name implies, these typefaces are that references hand-written manuscripts mechanically drawn using geometric and the proportions of the roman letter- shapes as their underlying structure. forms. They often have an italic rather There is a uniformity amongst the than an oblique. letterforms. THE CLASSIFICATION OF TYPE For the Purposes of ART120
CLASSIFICATION: Script Typefaces
FORMAL CASUAL Derived from formal calligraphic writing Also mimicking hand-writing, these styles, these scripts often have strokes typefaces suggest informality. Sometimes that connect one character to the next. quickly drawn, other times suggesting the use of a brush. THE CLASSIFICATION OF TYPE For the Purposes of ART120
CLASSIFICATION: Miscellaneous Typefaces
BLACKLETTER DISPLAY MONOSPACE Based on early manuscript writing These typefaces are intended for use Reminiscent of typewriters, each letter- of Western Europe, elaborate strokes at large sizes and often embody a form is assigned the same width. with high contrast of thick and thin strong character. Not to be used to set identity these typefaces. body copy. Italic & Oblique THE CLASSIFICATION OF TYPE Italic & Oblique
ITALIC & OBLIQUE
Italic Oblique
ITALIC OBLIQUE Italics are comprised of entirely different Oblique typefaces are structurally similar to their letterforms than their non-italic counterparts and non-oblique versions. The letters slant but are embody a calligraphic character. otherwise very similar.