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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 SANS SERIF BLACKLETTER SCRIPT SHADOWED A ROTUNDA E LINEALE INCISED/ G SCRIPT GLYPHIC YPTIAN FRAKTUR TEXTUR OUTLINE TRANSITIONAL GAELIC GRAPHIC ROTUNDA FAT FACE SCHWABACHER TAYLOR CHILDERS CLARENDON HANDWRITTEN CLASSIFYING MANUAL/ CHER GLYPHIC GRAPHIC SHADED CALLIGRAPHIC TEXTURA SCRIPT GERA STENCIL GRAPHIC SCHWABA LDE E CALLIGRAPHICS DECORATED DISPLAY AC BLACKLETTER OLD F SCRIPT HUMANIST BLACKLETTER GLYPHIC HYBRIDA FRAKTUR 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 ANTIQUA ITALIC ACE SERIF OT LINEALS R SERIF A ND U VINCENTIO GEOMETRIC GE MECHANIST FRENCH HUMANIST R TA BAS DIDONES ALDE ROMAN ALDINE GROTESQ. D R IC TEXTURA TRANSITIONAL A 20TH CENT. GROTESK IAN HUMANIST VENET TRANSISIONAL T. OLD STYLE E FAC OLD DID NEO- TRANSISTIONAL MODERN FACE ERIF GROTESQUE GERALDS ONE a Study in Naming Frequency TRANSITIONALS NEO-GRO SLAB S DIDONE GROTESQUE NIST HUMA ECHANISTIC LIBERTY LEBEN M DISPLAY DECORATIVE T SAMPLED SQUARE NIS REALIST CUR TED GOTHIC VILINEAR 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 SCRIPT PROBLEMS VENETIAN T I BLACKLETTER ALIC TEXT R GOTHIC O BLACKLETTER GLYPHIC M A HUMANIST ALDINE GEOMETRIC SANS SERIF N OLD STYLE T EGYPTIAN I SLAB SER C HUMANIST VENETIAN SANS IF C TCH CLARENDON ROMAN GEOMETRI SERIF DU JESSICA GRISCTI OLD STYLE SSICAL CLAR IC SERIF GERALDE GOTH ENDON ALDIN CLA E S F POST MODERN TRANSITIONALS AL MODERN A NEO T F REVIV NEO CLAR. FRENCH ACE NEO GROTES. 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 NG I NC E R REF T CLARENDON ME- I STYLE- REFR ACE L REFREN P CASUAL systems, typeface taxonomy, typography E TRANSITIONAL EGYPTIAN NCI - CI G N 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 ONAL SLAB/SQUARE N OUTLINE 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
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