![]() An exception is Univers, designed by Swiss typographer Adrian Frutiger, in 1957. Small capitals and non-lining numerals (formerly only in serif fonts) appear in the sans-serif versions of Thesis, Scala Pro and other contemporary superfamilies. Sans-serif families often feature many more weights and sizes (e.g., thin, light, black, compressed and condensed).Ī superfamily comprises dozens of related fonts in multiple weights and/or widths, often with both sans-serif and serif versions. A traditional roman book face typically has a small family, an intimate group that comprises roman, italic, small caps, and possibly bold and semibold (each with an italic variant) styles. The concept was formalized in the early 20th century to include styles such as bold, semibold and small caps. ![]() In the 16th century, printers began organizing roman and italic typefaces into matched type families. © Daniel Skrok and Interaction Design Foundation, CC BY-SA 3.0 Characteristics of Display Typefaces:Īre distinctive, eye-catching and original 1 Display: Eclat, 2 Display: Bauhaus, 3 Display: Lobster. They are typically suited for large point sizes and primarily used for display.ĭisplay (decorative) type classification. 1 Black Letter: Linotext, 2 Calligraphic: Mackinac 1895, 3 Handwriting: P22 FLW Midway.Īre narrow with straight lines and angular curvesĪre replications of calligraphic styles of writing (formal)ĭisplay typefaces, also known as decorative, are a broad category of typefaces that do not fit into the preceding classifications. Scripts can be classified as Black Letter, Calligraphic and Handwriting. Script typefaces have a natural, handwritten feel. © Daniel Skrok and Interaction Design Foundation, CC BY-SA 3.0 Script ![]() 1 Monospace: Source Code Mono, 2 Monospace: Courier, 3 Monospace: Space Mono. Have vertical stress and circular round formsĪ typeface that displays all characters with the same width is known as Monospace. Have a medium contrast between thick and thin strokes © Daniel Skrok and Interaction Design Foundation, CC BY-SA 3.0 Characteristics of Sans Serif Typefaces: 1 Transitional: Gill Sans, 2 Humanist: Helvetica, 3 Geometric: Futura. Have a high contrast between thick and thin strokesĪre heavy serifs with subtle differences between the stroke weightĪ typeface without serifs is called a sans serif typeface, from the French word “sans” that means "without." Sans serifs can be classified as Transitional, Humanist and Geometric. Have slanted serifs on lower-case ascenders Have a low contrast between thick and thin strokes © Daniel Skrok and Interaction Design Foundation, CC BY-SA 3.0 Characteristics of Serif Typefaces: 1 Old-Style: Garamond, 2 Transitional: Baskerville, 3 Modern: Bodoni, 4 Slab: Clarendon. Serifs can be classified as Old-Style, Transitional, Modern and Slab. A typeface with serifs is called a serif typeface. (Some notable characteristics appear below each subsection.) SerifĪ serif is a stroke added to the beginning or end of one of the main strokes of a letter. ![]() There are five basic type classifications, each showing unique forms in the anatomy of type. These three main groups correspond roughly to the Renaissance, Baroque and Enlightenment periods in art and literature, and modern designers have progressed with new styles based on historic characteristics. Humanist letterforms are closely related to calligraphy and hand movement, while transitional and modern typefaces are less organic. Type classifications are a basic system for classifying typefaces devised in the 19th century. The multitude of available fonts are variations of weights within typefaces, and the vast array of styles we can select have a long heritage. For example, the Chiller font helps cast an atmosphere for the users of a horror-themed movie poster. We choose fonts that accentuate and match the spirit of our messages. As designers, we select typefaces (a grouping of fonts including bold, regular and light) to match the context and make easy-to-read and pleasing text for users. ![]()
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