Behind the typefaces

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This is an introductory Journal to a series of Journals to come about the different type categories, the history and how to recognize these type classifications.


Choosing a typeface


At times it seems very hard to differentiate typefaces and recognize from which time, style and designer certain typefaces or elements from a typeface are reminiscent of. It seems an issue which should only regard type geeks, but that almost couldn't be further from the truth. Understanding type and its evolution is in my opinion important to the average Joe as well, but predominantly it's a must for every graphic designer or artist working with text.



To illustrate the importance of understanding typefaces and their evolution, let me give you a specific example. Let's say you—as a graphic designer—are being commissioned to design the layout for a CD album of compiled works by Johann Sebastian Bach (1685–1750) and it should have an authentic look. In this case it's very relevant from which era the music is. If you go by appearance and personal taste in selecting typefaces to use you will risk making a fool out of yourself if you know nothing about the typefaces. For example, you could select Jenson, which looks quite authentic but is actually a Venetian typeface cut in 1470; 215 years before Bach was even born. Obviously it's not quite as crazy to use a typeface from before Bach's time as it is to use one after his time, but historically speaking Jenson wouldn't have been used during the Baroque. Garamond is also too old but it's becoming more authentic already. William Caslon I (1692–1766) lived in the same era as Bach and cut the Caslon typeface which became hugely popular and virtually every book at the time was set in Caslon or in typefaces based on Caslon. So it would be very appropriate to use Caslon (any of the many digitized versions of Caslon, though Williams Caslon Text by William Berkson is probably the most authentic Caslon for body text size).

It's important to note though that it's not absolutely necessary to choose a typeface which is culturally and historically authentic to the project, but you have to know what there is to know about typefaces in order to make a conscious decision to choose a different kind of typeface. The choice of your typeface shouldn't be a happy accident, and selecting a typeface "because you like it" is never a good argument. Choose consciously.



Type classifications


Even if you understand the history and evolution of type, it's still quite complicated to categorize typefaces, as modern typefaces are designed based on the cumulative knowledge of many generations of type designers and very different styles; it tends to blur the boundaries between type classifications. Still, you can roughly categorize all typefaces which will simplify a lot of things, like selecting 2 typefaces to work together harmoniously.



The Vox-ATypI classification is in my opinion a good start. It's not a perfect system and it's even a little outdated, but I've been using it for years as it's a simple system which is easy to expand for personal reference. Another system I quite like is the Thibaudeau classification. It's a lot simpler and more general, but perhaps that's just what you need. We're going to look at both systems. Note though that I won't be going into much detail about each category as a series of articles is planned for each category—including pictures.




The Vox-ATypI classification


Classicals


The classicals are characterized by triangular serifs, oblique axis and low stroke contrast. In other classification systems, this group is often referred to as "oldstyle".


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Humanist/Venetian


Examples: Centaur, Roos, Brioso


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Garalde


Examples: Garamond, Caslon, Minion


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Transitional


Examples: Baskerville, Miller, Charter



Moderns


The moderns are characterized by a simple, functional feel that gained momentum during the industrial period.


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Didone


Examples: Didot, Bodoni, Filosofia


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Mechanistic


Examples: Rockwell, Clarendon, Museo Slab


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Lineal: Grotesque


Examples: Akzidenz Grotesk, Headline


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Lineal: Neo-Grotesque


Examples: Helvetica, Univers, DIN


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Lineal: Geometric


Examples: Futura, Eurostile, Nobel


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Lineal: Humanist


Examples: Gill Sans, Frutiger, Ideal Sans




Calligraphics


The Calligraphics are characterized by a suggestion of being hand-crafted.


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Glyphic


Examples: Trajan, Goudy Trajan, Aviano


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Script


Examples: Reklame Script, Gelato Script, Metroscript


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Blackletter


Examples: Burgundica, Old English, Givry





The Thibaudeau classification



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Elzévirs


This family contains typefaces with triangular serifs.


Examples: Garamond, Palatino, Lexicon



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Didots


This family groups typefaces with linear or hairline serifs. It generally corresponds to modern or Didone categories.


Examples: Didot, Bodoni, Baskerville



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Égyptiennes


This family contains slab serif typefaces, called Mechanistic in the Vox-ATypI classification.


Examples: Rockwell, Memphis



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Antiques


This is the sans serif family. In Vox-ATypI classification, this family corresponds to the Lineals.


Examples: Helvetica, Univers, Futura






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