Basic Anatomy of Type:
Typographic Classification: Cole, S. (2013). The Geometry of Type. Thames & Hudson.
Humanist:
- Serif:
- close ties to calligraphy
- gradually modulating strokes from thick to thin
- constant stress angle
- bracketed, asymmetrical serifs
- consistant
- e.g; Garamond
- San serif:
- calligraphic in structure
- open apertures
- round, dynamic open forms
- low to moderate contrast
- e.g. Cronos
- Slab:
- Minimal contrast
- unbracketed serifs
- rectangular serifs
- less stroke contrast than san serif
- wedged serifs
- e.g; PMN Caecilia
Non-Humanist Sans:
- minimal stroke contrast
- open apertures
- large x-height
- dynamic structure
- usually more square than other humanist typefaces
- e.g; FF Meta
Transitional:
- Serif:
- variable stress angles, less consistant
- higher stroke contrast
- bracketed serifs
- bulbous terminals
- regular in proportion, shape and apertures slightly smaller
- e.g; Baskerville
Rational Serif:
- strong, vertical contrast between stems and hairlines
- constructed typeface rather than written
- symmetrical serifs, can be bracketed
- ball terminals
- upturned tails
- e.g; Didot
Contemporary Serif:
- large apetures
- heavy wedge serifs
- simplified details
- larger x-height and lower stroke contrast when compared to traditional typefaces
- e.g; Neue Swift
Grotesque
- Sans:
- Closed apertures, stroked turn slightly inwards
- moderate vertical contrast
- regular proportions
- static forms based on oval, closed apertures
- Slab:
- heavy, bracketed serifs
- ball terminals
- upturned tail
- closed terminals
- attention grabbing
- can be decorative
- usually very bold
- e.g; Clarendon
- rationalised extensions of Grotesque style
- little stroke contrast
- horizontal terminals
- closed apertures
- work better at large sizes, good display fonts
- e.g; Neue Helvetica
Geometric Slab:
- geometrically square or round
- rectangular serifs
- unbracketed serifs
- minimal stroke contrast, only visible at junctions
- e.g; Neutraface Slab
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