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GEOMETRIC CONTEMPORARY HUMANIST SANS Types which are deconstructed to their simplest Types which begin to mix characteristics of geometric forms. Attributes include: Grotesque and Humanist types. Attributes include: • adherence to geometric shapes • open counters with shortened terminals A ‘PERIODIC TABLE’ OF TYPES • little or no modulation in stroke weight • increased contrast in stroke weight • increased variation in proportion The purpose of this chart is to aid in the selection of appropriate typefaces and give a general sense of how typefaces GEOMETRIC • round dots and punctuation work together. Evaluating and categorizing typefaces is an extraordinarily subjective exercise. There are over a half dozen accepted classification schemes for over #$,$$$ typefaces in commercial use so there will, no doubt, be contrary GROTESQUE HUMANIST SANS examples to the ones given. Types designed with a sense of industrial utility. Types which begin to approximate the calligrapher’s Attributes include: humanist bookhand. Attributes include: In the case of music or art, selections that are very similar, but not quite the same, will cause dissonance. Similarly, two different • little or no modulation in stroke weight • increased contrast in stroke weight sans serif designs in the same document will clash. Conversely, selections which are too dissimilar will also become dissonant. • terminals tend to be long and nearly close off counters • flared stems evoke the swelling of a broad pen nib The color key above each serif classification refers to the color-coded sans serif classifications. For example, a contemporary • little variation in horizontal proportion • terminals are short and counters are open humanist type design (green) is well-suited for pairing with most serifed typefaces. The geometric sans serif fonts are more • large x-height • increased variation in horizontal proportion likely to complement slab serifs and clarendon serif designs. • square dots and punctuation • less emphasis on vertical axis All types are set at %&pt so there is a natural variation in apparent size in each sample. This poster was designed by Steve Matteson (RIT '())), Type Director for Ascender Corporation and printed at Rochester Institute of Technology in #$$*. hamburgefonstivMonotype Grotesque GROTESQUE ITALIAN OLD STYLE FRENCH OLD STYLE DUTCH OLD STYLE TRANSITIONAL MODERN CLARENDON SERIF SLAB SERIF Adobe Garamond Times New Roman Century Schoolbook ITC Lubalin hamburgefonstiv Centaur hamburgefonstiv hamburgefonstiv Janson hamburgefonstiv hamburgefonstiv Didot hamburgefonstiv hamburgefonstiv Verdana hamburgefonstiv ITC Galliard hamburgefonstiv Cheltenham Serifa Adobe Caslon Goudy Modern Bauer Bodoni hamburgefonstiv hamburgefonstiv Adobe Jenson hamburgefonstiv hamburgefonstiv hamburgefonstiv Candida hamburgefonstiv ITC Garamond Caslon 540 Century Old Style hamburgefonstiv Monotype Baskerville hamburgefonstiv hamburgefonstiv ITC Fenice ^WcXkh][\edij_lJhk[iZ[bb hamburgefonstiv hamburgefonstiv Hoefler Text ITC Bookman Chaparral hamburgefonstiv Trump Perpetua hamburgefonstiv hamburgefonstiv hamburgefonstiv Della Robia hamburgefonstiv hamburgefonstiv Types having the characteristics of those developed by Bodoni and his contemporaries. Attributes may include: Cochin Types which have the characteristics of those developed • flat, thin un-bracketed serifs Electra hamburgefonstiv HUMANIST CONTEMPORARY Cambria hamburgefonstiv Bulmer hamburgefonstiv hamburgefonstiv Berkeley Old Style in England & Holland after the Italian Renaissance. hamburgefonstiv • extreme thick/thin contrast Attributes may include: • extreme vertical stress on round shapes ß4HESIS HAMBURGEFONSTIV Having the characteristics of types with unbracketed serifs. hamburgefonstiv Palatino • flat, slightly bracketed serifs • mostly flat serifs on ascenders Having the characteristics of types developed for legibility or Georgia Attributes may include: hamburgefonstiv Italia • increased thick/thin contrast hamburgefonstiv for newspapers. Attributes may include: • thick serifs with no transition or ‘bracket’. • nearly vertical stress on round shapes • thick bracketed serifs Bembo • relatively low thick/thin contrast Types which have the characteristics of those developed hamburgefonstiv • wedged serifs on ascenders • relatively low thick/thin contrast Caledonia • extreme vertical stress on round shapes during the Italian Renaissance. Attributes may include: hamburgefonstiv • extreme vertical stress on round shapes • mostly flat serifs on ascenders • slanted crossbar on e • mostly flat serifs on ascenders Minion • large x-height • low contrast of thick/thin hamburgefonstiv • large x-height Lucida Bright • concave serif shape hamburgefonstiv • wedge serifs on ascenders Types which have the characteristics of those developed in • extreme angled stress on round shapes France after the Italian Renaissance. Attributes may include: Types that have the characteristics which bridge the gap • flat crossbar on e between Old Style and Modern. Attributes may include: • increased thick/thin contrast HUMANIST • flat, thin and bracketed serifs B Ascender Corporation • thin bracketed serifs • increased thick/thin contrast • concave serif shape • mostly vertical stress on round shapes Suite ##+ | #+ Northwest Point Blvd. | Elk Grove Village, IL &$$$* | ascendercorp.com • wedge serifs on ascenders • nearly flat serifs on ascenders Copyright © #$$+, #$$* Ascender Corporation. All rights reserved. • some angled stress on round shapes All typeface names are trademarks or registered trademarks of their respective owners. • small counters on a and e The ‘Periodic table’ of Types, Steve Matteson, Ascender Corporation 2007.

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