Typebasics Classifications TDG

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GDPD graphic design | july 2005
efhi lt fi j l t
mnky k
vwx vwxy
za z
bdgjpru abdghmnpqru
coqs ceos
the basic strokes
abc
defgh
i j klm
nop
qrst
uvwxyz
abc
de f gh
i j kl m
nop
qr s t
uv wxy z
0123456789
, ; : . ! ?
~
, , <>( ) { } [ ]
&/*
@$
the typeface
hpf xh
s
e
r
i
f
c
r
o
s
s

b
a
r
s
t
r
o
k
e
d
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s
c
e
n
d
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r
c
o
u
n
t
e
r

f
o
r
m
l
o
o
p
t
e
r
m
i
n
a
l
c
o
u
n
t
e
r

f
o
r
m
a
s
c
e
n
d
e
r
c
o
u
n
t
e
r

f
o
r
m
c
a
p

h
e
i
g
h
t
x
-
h
e
i
g
h
t
a
s
c
e
n
d
e
r
d
e
s
c
e
n
d
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b
a
s
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l
i
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c
a
p

l
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e
the basic terminology
I
I
I
H H
H H
H
I
bracketed serif
hairline serif
slab serif
sans (no) serif
Adobe Caslon Pro
Bauer Bodoni Std
Frutiger Std 65 Bold
GoudyOlSt BT
ITC Lubalin Graph Std
the serif & (non) serifs
case
type face
posture
weight
width
ha ha
ha Ha
ha ha
HA ha Ha HA
HA ha ha
uppercase (capitals) lowercase (small)
frutiger goudy old style
upright italics
light roman bold black
condensed roman (normal) expanded
the variants
abc de f ghi j kl m
nopqr s t uv wxy z
ab c de f g h i j k l m
no pq r s t uv wxy z
abcdef ghi j kl m
nopqr s t uvwxyz
ab c de f g hi j kl m
no pqr s t uvwxy z
posture
Adobe Jenson Pro Regular
Adobe Jenson Pro Italics
weight
Adobe Jenson Pro Bold
Adobe Jenson Pro Bold Italic
46.light
italic
45.light 47.light
condensed
48.light
condensed
italic
49.light
ultra
condensed
39.ultra
light
ultra
condensed
56.italic 57.
condensed
58.
condensed
italic
59.ultra
condensed
55.roman 53.
expanded
66.bold
italic
67.bold
condensed
68.bold
condensed
italic
65.bold 63.bold
expanded
76.black
italic
75.black 73.black
expanded
83.ultra-
black
expanded
the UNIVERS type family
old styles
abcdefghijklmnopqrstuvwxyz
ABCDE.GHIJKLMNOPQRSTUVWXYZ
1234567890 ;:,./?><{}()!@#$%^&*
1234567890 ;:,./?><{}()!@#$%^&*
ABCDEFGHIJ KLMNOPQRSTUVWXYZ
1234567890 ;:,./?><{}()!@#$%^&*
Old Styles began with the designs of 15th century punchcutter,
Francesco Griffo who worked for the famous Venetian scholar-printer
Aldus Manutius. His capitals were inspired by the carved Roman
capitals, whereas the lowercase letters were inspired by the fifteenth
century humanist writing styles.
Old Styles letterforms have the weight stress of the rounded forms at
an angle, as in handwriting. The serifs are bracketed (that is, unified
with the stroke by a tapered curved line). Also the top serifs on the
lowercase letters are at an angle.
The contrast between the thick and the thin stroke is not much. The
height of the lowercase letters or the x-height, is small in relation to
the uppercase letters. They are friendly, warm, romantic, classical yet
often quirky.
Garamond
Old Styles
Abefgor
basic classification of typefaces
&
basic classification of typefaces serif
Caslon Antique
Century Schoolbook
oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporary Basic Typography 2002 | Tarun Deep Girdher | NID
transitional
1234567890 ;:,./?><{}()!@#$%^&*
1234567890 ;:,./?><{}()!@#$%^&*
Transitional faces are so called because they have characters that
show the transition from the old style to the modern faces that
emerged in the late 18th century.
Transitional faces tend to be more upright as compared to the old
style faces, with either a vertical or only a slightly inclined stress.
The contrast between the thick and the thin stroke is little more
pronounced. The height of the lowercase letters or the x-height, is
larger than the uppercase letters, as compared to that of the old
styles.
Although based on the humanist pen written script, they are more
rationalized, matter-of-fact even in terms of structure, design and
emotion.
Baskerville
Abefgor
Transitionals
&
Caslon
modern
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1234567890 ;:,./?><{}()!@#$%^&*
Late in the 18th century, typefaces termed modern evolved from the
transitional faces. These typefaces have extreme contrast between the
thick and the thin strokes. The thin strokes are almost reduced to
hairlines.
Modern faces tend to be upright as compared to the old style faces,
with a very vertical stress in the rounded characters. The serifs join
the vertical strokes at right angles without any brackets.
The uppercase width is more regularised, so the M and the W appear
to be a little condensed, while characters such as P, R and T appear to
be slightly more expanded. The height of the lowercase letters or the
x-height, is smaller than the uppercase letters, as that of the old
styles. They have a strong geometric quality projected by the rigorous
horizontal, vertical and circular forms.
Bauer Bodoni
Abef gor
Modern
&
Walbaum
slab serifs
1234567890 ;:,./?><{}()!@#$%^&*
1234567890 ;:,./?><{}()!@#$%^&*
ABCDEFGHIJKLMNOPQRSTUVWXYZ
1234567890 ;:,./?><{}()!@#$%^&*
The name says it all: these typefaces have heavy, square ended serifs,
with or without brackets. Most popular in the early 19th century, these
were used for larger print runs and for larger sizes, primarily as
display type.
The height of the lowercase letters or the x-height, is large in
comparision to the uppercase letters, making it a very functional type
for use in smaller size as well. They have uniform thickness of the
strokes and the serifs.
Lubalin Graph Md BT
Abefgor
Slab Serif
&
Glytus
Bookman
grotesque | neo grotesque
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1234567890 ;:,./?><{}()!@#$%^&*
1234567890 ;:,./?><{}()!@#$%^&*
The sans serifs appeared at the beginning of the last century. They are
bulky, without any serifs, with the strokes having a fair amount of
contrast. There is a squared-off crudeness to the curves.
They are mostly condensed with the height of the lowercase letters or
the x-height, quite large in comparision to the uppercase letters,
making it a very functional type for use in smaller size as well. The
neo-grotesque faces have less contrast between the strokes, showing
more characteristics of been designed rather than inspired from pen-
drawn letterforms.
The c of the neo-grotesque faces tends to be more open than the
grotesque ones and the g doesnt have the lower bowl.
Franklin Gothic Md
Abefgor
Grotesque
basic classification of typefaces sans serif
&
News Gothic
Helvetica
geometric
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1234567890 ;:,./><{}()!@#$%^&*
1234567890 ;:,./><{}()!@#$%^&*
The sans serifs faces that follow the rule of being constructed from
geometric shapes. The stroke widths tend to be constant throughout.
The height of the lowercase letters or the x-height, is small in
comparision to the uppercase letters, very similar to the modern
faces. The O tends to be a perfect circle, on which other characters
such as Q, D, C are based.
Futura Md BT
Abefgor
Geometric
&
Avant Garde Md BT
Kabel Bk BT
humanist
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1234567890 ;:,./><{}()!@#$%^&*
These typefaces do not follow the nineteenth century sans serif
precedents and take inspiration from the roman inscriptions and the
humanist hand written lower case of the 14th century.
They have some contrast in the weight of the strokes. The stress is
invariably vertical, though the lowercase letters are fairly large in
comparision to the capital letters.
Gill Sans
Abefgor
Humanist
&
Opus / Optima / Zapf humanst
Frutiger roman
glyphic
1234567890 ;:,./<{}()!@#$%^&*
1234567890 ;:,./><{}()!@#$%^&*
1234567890 ;:,./<{}()!@#$%^&*
Instead of the calligraphic base, these faces suggestmore that they
are chiselled than hand written. They refer back to inscriptional texts
rather than the effect of pen on paper, often taking inspiration from
roman stonework.
The characters seem to be fairly uniform in terms of width. Sharply
cut, large triangular serifs are often used. In some cases, the serifs are
less of serifs and more of flared ending of the terminals. Invariably,
the x-height is large in relation to the capitals
They have some contrast in the weight of the strokes. The stress is
invariably vertical, though the lowercase letters are fairly large in
comparision to the capital letters.
Albertus
Abefgor
Glyphic
basic classification of typefaces others
&
Friz Quadrata
Copper goth Bd BT
script
1234567890 ;:,./<{}()!@#$%^&*
..+....:...,,.:..
ocJ++:``.+:`.
...:. >{}(,_=s.
ABCDEFGHIJKLMNOPQRS
TUVWXYZ 1234567890 ;:,./<{}()!@#$%^&*
A wide group of typefacesthat is drawn together around the idea that
the typeface is an imitation of handwriting.
Some of the faces are based on calligraphic pen style and are quite
regular in their structure with a clear influence of the quill pen,
whereas others are more spontaenous drwaing inspiration from the
brush strokes.
Staccato 222 BT / Mistral
Abefgor
Script
&
Typo Upright
English 111 Vevace
oldstyles | transitionals | moderns | slab serifs | grotesque | geometric | humanist | glyphic | script | decorative | contemporary Basic Typography 2002 | Tarun Deep Girdher
decorative
1234567890 ;:,./<{}!@#$%^&*
1234567890 ;:,./><{}()!@#$%^&*
1234567890 ;:,./><{}()!@#$%^&*
Decorative Typefaces, also referred to as Display typefaces, are not
designed for legibility and readability, but rather for their ability to
attract attention.
They are mostly used for specific purposes such as corporate logos,
signs, advertisements, headlines in publications, multimedia or video
and movie titles.
Like script typefaces, they defy any rigid classification
Davida
Abefgor
decorative
&
Bremen Bd BT
Steamer
Contemporary
contemporary
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1234567890 ;:,./><{}()!@#$%^&*
1234567890 ;:,./><{}()!@#$%^&*
Contemporary Typefaces, are a very recent trend which again defy any
rigid classification which was widely accepted till the 1980s.
These typefaces are usually mutilated forms of some older typefaces,
done primarily with the use of computers.
Anklepants
Abefgor
&
Attic
Astigma
thank you . . .
corporate identity + branding } stereotypes . 10 august 2005 tarun deep girdher . faculty - graphic design
national institute of design . ahmedabad

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