Introduction to Graphic Design Lecture 2

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Type Classifications Introduction to Graphic Design Lecture 2

A typeface is a set of typographical symbols and characters. It’s the letters, numbers, and other characters such as diacritical marks that let us put words on paper or screen.

A font, on the other hand, is traditionally defined as a complete character set within a typeface, often of a particular size and style.

When most of us talk about “fonts”, we’re really talking about typefaces, or type families (which are groups of typefaces with related designs). Introduction to Graphic Design Lecture 2

Circular Std.

WEIGHTS / STYLES

Book 17.5 pt Book Italic 17.5 pt Medium 17.5 pt Medium Italic 17.5 pt Bold 17.5 pt Bold Italic 17.5 pt Black 17.5 pt Black Italic 17.5 pt Introduction to Graphic Design Lecture 2

Typographic classifications are both historical and reflect typographic anatomy. Basic Type Classifications serif / sans serif / script / decorative

Lyon Display Reg. serif

Circular Std. Med. sans serif

Snell Roundhand Blk. script

Hobeaux Rococeaux decorative Basic Type Classifications serif / sans serif

serif sans serif

Serif typefaces are called “serifs” in reference to the small lines that are attached to the main strokes of characters within the face. Typefaces in this category are also known as Roman and are most commonly used for large bodies of text.

Sans serif means “without serif” in French. The first sans serif typeface was issued in 1816, but these typefaces did not become popular until the early twentieth century. Sans serifs have a clean design and are legible for display, emphasis, and text. Basic Type Classifications script Brush

Script typefaces are made from joined and script unjoined letters to mimic the look of flowing Brush Script Standard Medium cursive handwriting made with a flexible brush or pen; often with varied strokes. Basic Type Classifications decorative

Decorative / novelty / ornamental typefaces are typefaces of unusual or unique designs Tim Burton ornamental typography that do not fit into any of the traditional type classifications.

Usually used only for a specific purpose and at large sizes; for example, for a movie poster. Historic Type Classifications blackletter

Blackletter typefaces (“broken types” or gebrochene Schriften, in German) are the first type that were cast in lead, most likely in Mainz, Germany.

The basic blackletter styles are Textura, Fraktur, Rotunda, and Schwabacher / Bastarda.

Although the first books produced (such as the Gutenberg Bible) were set in Textura blackletter, Schwabacher (c. 1480) and Fraktur styles (c. 1517) dominated German trade during the 16th century.

Textura became widely used in France and England. Historic Type Classifications blackletter

Rotunda types — the second oldest blackletter style — never really caught on as a book type in German-speaking lands, although 20th century calligraphers, as well as arts and crafts designers, have used it quite well for display purposes.

However, these rounder styles were popular during the Renaissance in Italy, Southern France, and Spain. Historic Type Classifications blackletter

A German Fraktur would be a poor choice for an English Pub, while almost any style could look right on a certificate, depending on its overall design.

Old English and Gotisch designs are further evolutions of the Textura idea.

Schwabacher is a style of Bastarda traditionally used in Germany.

Another Bastarda type, Civilité, was common in late 16th century printing in France.

Experimental blackletter typefaces are more recent interpretations of historic blackletter for uses such as heavy metal album art. Contemporary blackletter uses include The New York Times masthead and Reebok’s 2006 I Am What I Am campaign. Historic Type Classifications serif

serif classifications Historic Type Classifications serif

Grecian, Latin, Modern, Didone, Scotch Modern, Old Style, Antique, Dutch Old Style, Spanish Old Style, Venetian Old Style, Slab Serif, Clarendon, Egyptian, French Clarendon, Geometric Serif, Spur Serif, Transitional, Scotch Roman, Tuscan Historic Type Classifications serif

serif classifications THE TYPE CLASSIFICATION SYSTEM THE VOX-ATYPI CLASSIFICATION SYSTEM

Historic Type Classifications serif — Old Style / Humanist / Venetian CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

Also known as: Humanistic, Humanes, or Also known as: Aldine Also known as: Realist, Réales, or Baroque Venetian The garaldes are named after typeface In the mid 18th century, the printer and type Old Style / Humanist / Venetian Humanist typefaces represent the designer Claude Garamond and printer and designer John Baskerville established handwriting within renaissance publisher Aldus Manutius. In the mid 16th transitional typefaces. These typefaces take manuscripts. Humanes include the first century, under the rein of King Francis I, inspiration from both old style and The Old Style or Humanist serif typefaces developed Roman typefaces created by Venetian garaldes were used to support the official neoclassical type designs, and use printers (such as Nicolas Jenson) during grammar and orthography used across characteristics from both of these styles. in the 15th and 16th centuries. the 15th century. France. Baskerville’s developments with calendered paper and printing methods, opened up Characteristics: Characteristics: opportunities to create typefaces that Humanist typefaces represent the handwriting within • Low contrast between strokes • Stronger contrast between strokes maintained finer strokes and shapes. renaissance manuscripts. Humanes include the first • Heavy and short bracketed serifs • Slanted axis • Slanted serifs on ascenders • Finer proportions than those of the Characteristics: Roman typefaces created by Venetian printers (such • The lowercase ‘e’ features a diagonal Humanist category • Contrast is more distinctive as Nicolas Jenson) during the 15th century. cross stroke • Vertical axis on the strokes and inclined Examples include: axis for curved strokes Examples include: A Bembo, Garamond, Sabon • Bracketed serifs and slanted serifs on Centaur, Cloister, Jenson A ascenders Characteristics A Low contrast between strokes Examples include: Baskerville, Perpetua, Times New Roman hge Heavy and short bracketed serifs hge hge Slanted serifs on ascenders The lowercase ‘e’ features a diagonal cross stroke MODERN MODERN MODERN: LINEAR DIDONE MECHANISTIC GROTESQUE Examples: Garamond, Adobe Jenson, Centaur, and Goudy Old Style. Also known as: Modern Also known as: Mechanical, Slab Serif, or Originating in the 19th century, this category Mécanes contains early sans serifs, many of which First created in the late 18th century, become commercially popular. The grotesques didones are named after type-founders The design of mechanistic typefaces feature many awkward characteristics and Didot and Bodoni, masters of this style. coincides with the Industrial Revolution at quirks, including an odd distribution of line These typefaces provided the First French the start of the 19th century. This thicknesses on curved letterforms. A double Empire with a new letterforms. The mechanical style, with thick and rectangular story lowercase g, a spur on the uppercase G contrast between the thick and thin serifs became very popular at the time for and a curled leg on the uppercase R are also strokes are dramatic and the designs look display advertising. In the Thibaudeau common characteristics. completely different to any other typeface classification system these Mechanicals are that had come before. named Egyptiennes. Characteristics: • Noticeable contrast between thick an thin Characteristics: Characteristics: strokes • Very strong contrast between thick and • Low contrast between thick and thin • Vertical axis thin strokes strokes • The lowercase ‘g’ often is double story or • Vertical axis for curved strokes • Heavy strokes with rectangular thick serifs ‘bowl and loop’ • Very little to no bracketing on serifs • Very little or no bracketing on serifs • ‘R’ commonly has a curled leg and the ‘G’ A • Terminals often have “ball” shapes A usually has a spur A Examples include: Examples include: Clarendon, Egyptienne, Ionic No. 5, Rockwell Examples include: Bodoni, Didot, Walbaum hge Headline, Monotype 215, Monotype hge hge Grotesque, Grot no. 6

MODERN: LINEAR MODERN: LINEAR MODERN: LINEAR NEO-GROTESQUE GEOMETRIC HUMANIST

Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires

Glyphic typefaces are based on Scripts represent the formal By far the broadest type category, these engravings or chiselings of letterforms penmanship and cursive writing, as a typefaces are not intended to be used for within materials such as stone or metal. result they have strong sloping forms body copy but for display purposes. They Because of this, they have small and letterforms can often be connected often reflect a particular time, period or triangular shaped serifs or flared together. Included in this category are theme but can also be based on hand- terminals. These typefaces particularly typefaces that imitate copperplate drawn designs written with a wide range of focus on the uppercase characters, and scripts. writing instruments. many of which don’t contain any lowercase letters altogether. Characteristics: Examples include: • Appear to be written with a quill Banco, Klang Characteristics: • Strong slope • Minimal contrast between thick and • Letters can often be connected thin strokes together • Vertical axis for curved strokes • A tapering effect at the terminals or Examples include: triangular shaped serifs A Francesca, Mistral, Shelley A A Examples include: Albertus, Copperplate Gothic, Trajan hge hge hge

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

Also known as: Gothic script, Gothic Also known as: Irish character, Irish type, This category includes all non-latin minuscule, or Textura or Gaelic script typefaces (regardless of style) for example; Greek, Cyrillic, Hebrew, Based on the medieval scribe hands Used as early as the 16th Century, these Arabic, Chinese, etc. As the Vox type written with broad-nibbed pens, typefaces originated from Irish insular classification system is very Latin blackletter types were first used by scripts found on medieval manuscripts. based, non-latin types are very Gutenberg. They were used to print Gaelic type was used for mainly setting underrepresented. As a result, it is body text until eventually Humanist body text and was used throughout worth taking some time to discover the typefaces took over with the invention Ireland before falling out of favour in the other writing systems and their of movable type in the early 20th mid 20th Century. In modern times, typographic designs and Century. Gaelic type is used for decorative considerations. purposes, commonly found on pub Examples include: signs, greeting cards and display Fracktur, Schwabacher, Textur advertising. Examples include: あ Ceanannas, Corcaigh, Doire, Duibhlinn A Ahge hge lisagarnerdesign.co.uk Historic Type Classifications serif — Old Style / Humanist / Venetian

Garamond specimen THE TYPE CLASSIFICATION SYSTEM THE VOX-ATYPI CLASSIFICATION SYSTEM

Historic Type Classifications serif — Transitional CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

Also known as: Humanistic, Humanes, or Also known as: Aldine Also known as: Realist, Réales, or Baroque Venetian The garaldes are named after typeface In the mid 18th century, the printer and type Humanist typefaces represent the designer ClaudeTransitional Garamond and printer and designer John Baskerville established handwriting within renaissance publisher Aldus Manutius. In the mid 16th transitional typefaces. These typefaces take manuscripts. Humanes include the first century, under the rein of King Francis I, inspiration from both old style and Roman typefaces created by Venetian garaldes were usedTransitional to support the serif official typefaces were established in the neoclassical type designs, and use printers (such as Nicolas Jenson) during grammar and orthography used across characteristics from both of these styles. the 15th century. France. mid 18th century by printer and type designer John Baskerville’s developments with calendered Baskerville. These typefaces take inspiration from paper and printing methods, opened up Characteristics: Characteristics: opportunities to create typefaces that • Low contrast between strokes • Stronger contrastboth between old style strokes and neoclassical type designs, and maintained finer strokes and shapes. • Heavy and short bracketed serifs • Slanted axis use characteristics from both of these styles. • Slanted serifs on ascenders • Finer proportions than those of the Characteristics: • The lowercase ‘e’ features a diagonal Humanist categoryTypefaces in this category are beautifully suited for • Contrast is more distinctive cross stroke • Vertical axis on the strokes and inclined Examples include:text because of their regularity and precision. axis for curved strokes Examples include: A Bembo, Garamond, Sabon • Bracketed serifs and slanted serifs on Centaur, Cloister, Jenson A ascenders A Characteristics The axis of the round characters is vertical or less Examples include: Baskerville, Perpetua, Times New Roman hge hge inclined than earlier faceshge The s is slightly pronounced Serifs are thin, flat, and bracketed MODERN MODERN MODERN: LINEAR Contrast is more distinctive DIDONE MECHANISTIC GROTESQUE Examples: Times New Roman, Baskerville, Also known as: Modern Also known as: Mechanical,Caslon, Slab Georgia, Serif, or Bookman, and Perpetua. Originating in the 19th century, this category Mécanes contains early sans serifs, many of which First created in the late 18th century, become commercially popular. The grotesques didones are named after type-founders The design of mechanistic typefaces feature many awkward characteristics and Didot and Bodoni, masters of this style. coincides with the Industrial Revolution at quirks, including an odd distribution of line These typefaces provided the First French the start of the 19th century. This thicknesses on curved letterforms. A double Empire with a new letterforms. The mechanical style, with thick and rectangular story lowercase g, a spur on the uppercase G contrast between the thick and thin serifs became very popular at the time for and a curled leg on the uppercase R are also strokes are dramatic and the designs look display advertising. In the Thibaudeau common characteristics. completely different to any other typeface classification system these Mechanicals are that had come before. named Egyptiennes. Characteristics: • Noticeable contrast between thick an thin Characteristics: Characteristics: strokes • Very strong contrast between thick and • Low contrast between thick and thin • Vertical axis thin strokes strokes • The lowercase ‘g’ often is double story or • Vertical axis for curved strokes • Heavy strokes with rectangular thick serifs ‘bowl and loop’ • Very little to no bracketing on serifs • Very little or no bracketing on serifs • ‘R’ commonly has a curled leg and the ‘G’ A • Terminals often have “ball” shapes A usually has a spur A Examples include: Examples include: Clarendon, Egyptienne, Ionic No. 5, Rockwell Examples include: Bodoni, Didot, Walbaum hge Headline, Monotype 215, Monotype hge hge Grotesque, Grot no. 6

MODERN: LINEAR MODERN: LINEAR MODERN: LINEAR NEO-GROTESQUE GEOMETRIC HUMANIST

Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

Examples: Didot, Bodoni, and Walbaum. NEO-GROTESQUE GEOMETRIC HUMANIST Also known as: Transitionals Geometric typefaces are created with an Humanist typefaces are not inspired by the equal or almost equal stroke width and are Grotesque faces of the 19th Century but Based on the earlier grotesque designed using simple geometric forms, by earlier classical letterforms. The typefaces, the neo-grotesques which are repeated and used throughout uppercase of humanist typefaces relate to category contains some of the most the design. As a result, geometric Roman inscriptional letters and the famous sans serif designs. Developing typefaces are less readable and letters are characteristics of the lowercase are similar on the grotesque designs, the harder to differentiate from one another. to those of Carolingian script. Because of letterforms are much more refined and this, humanist typefaces are said to be the simplified. There is less variation in Characteristics: most legible and readable of all the sans stroke weight and the lowercase g is • Little to no contrast between the serif classifications. now a single story. vertical and horizontal strokes • Character shapes are influenced by Characteristics: Characteristics: geometric forms • Noticeable contrast between strokes • Less variation between thick and thin • Proportions and characteristics match strokes than in Grotesques Examples include: serif typefaces and are influenced by • Single story lowercase g Avenir, ITC Bauhaus, Eurostile, Futura, calligraphic forms • No spur on the uppercase G Harmonia Sans A Examples include: A Examples include: Gill Sans, Optima, Tahoma Bell Gothic, DIN 1451, Helvetica, Univers hgeA hge hge CALLIGRAPHIC CALLIGRAPHIC CALLIGRAPHIC GLYPHIC SCRIPT GRAPHIC

Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

Also known as: Modern Also known as: Mechanical, Slab Serif, or Originating in the 19th century, this category Mécanes contains early sans serifs, many of which First created inSlab the late Serif 18th century, / Square Serif / Egyptian become commercially popular. The grotesques didones are named after type-founders The design of mechanistic typefaces feature many awkward characteristics and Didot and Bodoni, masters of this style. coincides with the Industrial Revolution at quirks, including an odd distribution of line These typefacesSlab provided serif the typefaces First French were born out of the mid-1800s the start of the 19th century. This thicknesses on curved letterforms. A double Empire with a newIndustrial letterforms. Revolution The as a result of the increased use mechanical style, with thick and rectangular story lowercase g, a spur on the uppercase G contrast between the thick and thin serifs became very popular at the time for and a curled leg on the uppercase R are also strokes are dramaticof posters, and the designs billboards, look and other forms of advertising. display advertising. In the Thibaudeau common characteristics. completely differentTheir tostrong, any other square typeface finishing strokes are extremely classification system these Mechanicals are that had come before. named Egyptiennes. Characteristics: effective for commanding viewers’ attention. • Noticeable contrast between thick an thin Characteristics: Characteristics: strokes • Very strong contrast between thick and • Low contrast between thick and thin • Vertical axis thin strokesCharacteristics strokes • The lowercase ‘g’ often is double story or • Vertical axis Shortfor curved block strokes or square serifs that are generally as thick • Heavy strokes with rectangular thick serifs ‘bowl and loop’ • Very little to no bracketing on serifs • Very little or no bracketing on serifs • ‘R’ commonly has a curled leg and the ‘G’ A • Terminals oftenas thehave “ball”rest shapesof the character A usually has a spur A Examples include: Examples include: Clarendon, Egyptienne, Ionic No. 5, Rockwell Examples include: Bodoni, Didot,They Walbaum are usually not as legible at small sizes as serif, hge Headline, Monotype 215, Monotype hge hge Grotesque, Grot no. 6 or even sans serif, typefaces.

MODERN: LINEARExamples: Rockwell, Memphis. MODERN: LINEAR MODERN: LINEAR NEO-GROTESQUE GEOMETRIC HUMANIST

Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

sans serif classifications THE TYPE CLASSIFICATION SYSTEM THE VOX-ATYPI CLASSIFICATION SYSTEM

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

Also known as: Modern Also known as: Mechanical, Slab Serif, or Originating in the 19th century, this category Mécanes contains early sans serifs, many of which First created in the late 18th century, become commercially popular. The grotesques didones are named after type-founders The design of mechanisticGrotesque typefaces feature many awkward characteristics and Didot and Bodoni, masters of this style. coincides with the Industrial Revolution at quirks, including an odd distribution of line These typefaces provided the First French the start of the 19th century. This thicknesses on curved letterforms. A double Empire with a new letterforms. The mechanical style, withGrotesque thick and rectangular sans serif typefaces originated in the story lowercase g, a spur on the uppercase G contrast between the thick and thin serifs became very popular at the time for 19th century. This category contains early sans serifs, and a curled leg on the uppercase R are also strokes are dramatic and the designs look display advertising. In the Thibaudeau common characteristics. completely different to any other typeface classification systemmany these of Mechanicals which become are commercially popular. that had come before. named Egyptiennes. Characteristics: • Noticeable contrast between thick an thin Characteristics: Characteristics: Characteristics strokes • Very strong contrast between thick and • Low contrast between thick and thin • Vertical axis thin strokes strokes The grotesques feature many awkward characteristics • The lowercase ‘g’ often is double story or • Vertical axis for curved strokes • Heavy strokes withand rectangular quirks, thickincluding serifs an odd distribution of line ‘bowl and loop’ • Very little to no bracketing on serifs • Very little or no bracketing on serifs • ‘R’ commonly has a curled leg and the ‘G’ A thicknesses on curved letterforms. • Terminals often have “ball” shapes A usually has a spur A Examples include: Contrast between thick and thin strokes Examples include: Clarendon, Egyptienne, Ionic No. 5, Rockwell Examples include: Bodoni, Didot, Walbaum Vertical axis hge Headline, Monotype 215, Monotype hge hge Grotesque, Grot no. 6 The lowercase g often is double story R commonly has a curled leg G usually has a spur MODERN: LINEAR MODERN: LINEAR MODERN: LINEAR NEO-GROTESQUE GEOMETRICExamples: Headline, Monotype 215, Monotype HUMANIST Grotesque, Grot no. 6 Also known as: Transitionals Geometric typefaces are created with an Humanist typefaces are not inspired by the equal or almost equal stroke width and are Grotesque faces of the 19th Century but Based on the earlier grotesque designed using simple geometric forms, by earlier classical letterforms. The typefaces, the neo-grotesques which are repeated and used throughout uppercase of humanist typefaces relate to category contains some of the most the design. As a result, geometric Roman inscriptional letters and the famous sans serif designs. Developing typefaces are less readable and letters are characteristics of the lowercase are similar on the grotesque designs, the harder to differentiate from one another. to those of Carolingian script. Because of letterforms are much more refined and this, humanist typefaces are said to be the simplified. There is less variation in Characteristics: most legible and readable of all the sans stroke weight and the lowercase g is • Little to no contrast between the serif classifications. now a single story. vertical and horizontal strokes • Character shapes are influenced by Characteristics: Characteristics: geometric forms • Noticeable contrast between strokes • Less variation between thick and thin • Proportions and characteristics match strokes than in Grotesques Examples include: serif typefaces and are influenced by • Single story lowercase g Avenir, ITC Bauhaus, Eurostile, Futura, calligraphic forms • No spur on the uppercase G Harmonia Sans A Examples include: A Examples include: Gill Sans, Optima, Tahoma Bell Gothic, DIN 1451, Helvetica, Univers hgeA hge hge CALLIGRAPHIC CALLIGRAPHIC CALLIGRAPHIC GLYPHIC SCRIPT GRAPHIC

Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

MODERN MODERN MODERN: LINEAR DIDONE MECHANISTIC GROTESQUE

Historic Type Classifications sans serif — Neo-Grotesque MODERN: LINEAR MODERN: LINEAR MODERN: LINEAR NEO-GROTESQUE GEOMETRIC HUMANIST

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

MODERN MODERN MODERN: LINEAR DIDONE MECHANISTIC GROTESQUE

Historic Type Classifications MODERN: LINEAR MODERN: LINEARsans serif — Humanist MODERN: LINEAR NEO-GROTESQUE GEOMETRIC HUMANIST

Also known as: Transitionals Geometric typefaces are created with an Humanist typefaces are not inspired by the equal or almost equal stroke width and are Grotesque faces of the 19th Century but Based on the earlier grotesque designed using simple geometric forms, by earlier classical letterforms. The typefaces, the neo-grotesques which are repeated and used throughout uppercase of humanist typefaces relate to category contains some of the most the design. As aHumanist result, geometric Roman inscriptional letters and the famous sans serif designs. Developing typefaces are less readable and letters are characteristics of the lowercase are similar on the grotesque designs, the harder to differentiate from one another. to those of Carolingian script. Because of letterforms are much more refined and Humanist sans serif typefaces are not inspired by the this, humanist typefaces are said to be the simplified. There is less variation in Characteristics:Grotesque faces of the 19th Century but by earlier most legible and readable of all the sans stroke weight and the lowercase g is • Little to no contrast between the serif classifications. now a single story. vertical and horizontalclassical strokes letterforms. Humanist typefaces are said to • Character shapesbe the are influencedmost legible by and readable of all the sans Characteristics: Characteristics: geometric forms • Noticeable contrast between strokes • Less variation between thick and thin serif classifications. • Proportions and characteristics match strokes than in Grotesques Examples include: serif typefaces and are influenced by • Single story lowercase g Avenir, ITC Bauhaus, Eurostile, Futura, calligraphic forms • No spur on the uppercase G Harmonia SansCharacteristics Have proportions that wereA modeled on old style Examples include: A Examples include: Gill Sans, Optima, Tahoma Bell Gothic, DIN 1451, Helvetica, typefaces, open strokes and a slightly higher contrast Univers A in strokes in comparison tohge other sans-serif typefaces. hge hge These are more calligraphic than other sans-serif CALLIGRAPHIC CALLIGRAPHICtypefaces, meaning they have a greater variation in CALLIGRAPHIC line widths. GLYPHIC SCRIPT GRAPHIC Examples: Gill Sans, Frutiger, Tahoma, Verdana, Also known as: Incised, or Incise Also known as: Scriptes Also known as: Manual, or Manuaires Optima, and Lucide Grande. Glyphic typefaces are based on Scripts represent the formal By far the broadest type category, these engravings or chiselings of letterforms penmanship and cursive writing, as a typefaces are not intended to be used for within materials such as stone or metal. result they have strong sloping forms body copy but for display purposes. They Because of this, they have small and letterforms can often be connected often reflect a particular time, period or triangular shaped serifs or flared together. Included in this category are theme but can also be based on hand- terminals. These typefaces particularly typefaces that imitate copperplate drawn designs written with a wide range of focus on the uppercase characters, and scripts. writing instruments. many of which don’t contain any lowercase letters altogether. Characteristics: Examples include: • Appear to be written with a quill Banco, Klang Characteristics: • Strong slope • Minimal contrast between thick and • Letters can often be connected thin strokes together • Vertical axis for curved strokes • A tapering effect at the terminals or Examples include: triangular shaped serifs A Francesca, Mistral, Shelley A A Examples include: Albertus, Copperplate Gothic, Trajan hge hge hge

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN

CLASSICAL CLASSICAL CLASSICAL HUMANIST GARALDE TRANSITIONAL

MODERN MODERN MODERN: LINEAR DIDONE MECHANISTIC GROTESQUE

GLYPHICExamples: Avenir, ITC Bauhaus, Eurostile, Futura, SCRIPT GRAPHIC

Also known as: Incised,and Harmonia or Incise Sans. Also known as: Scriptes Also known as: Manual, or Manuaires

CALLIGRAPHIC CALLIGRAPHIC OTHER BLACKLETTER GAELIC NON LATIN