892:
with the greater subtlety that has been introduced into sans serifs and slab serif designs, leading to a wider application of such types for text purposes." Dixon's conclusion is that these systems have remained unchanged since 1967, and thus many contemporary typefaces render these systems inadequate. Miguel
Catopodis, in the ATypI forum, proposed that the full 1962 Vox-AtypI classification needed to be uploaded and made more widely available, because the schema is still an easy resource for many students to understand how typefaces could be classified.
36:
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are the typical typefaces of the traditional period, particularly embodying the rational spirit of the
Enlightenment. Contrast between main and connecting strokes is marked even more than in the first two groups; weight is distributed now according to a quasi-vertical axis. The 'transitionals' were
891:
types, clarendons or ionics (that is bracketed slab serifs) and egyptians (that is square-ended, unbracketed slab serifs) are simply grouped together." Dixon challenges the prevalent focus on roman types as being dated, saying "distinctions between text and display are now increasingly irrelevant,
367:. These typefaces, dating from the end of the 18th and the beginning of the 19th century, make a very strong contrast between full and connecting strokes (the connecting strokes being extremely fine), the verticality of the characters and their unbracketed, hairline serifs. They correspond to the
886:
Catherine Dixon, in a 2002 paper, criticized both the Vox and
British Standard categories for favoring roman typefaces over display typefaces, which derives from early twentieth century design culture. As an example, Dixon notes that in these classification systems "'humanist' types are formally
672:
are typefaces which evoke the engraving or chiseling of characters in stone or metal, as opposed to calligraphic handwriting. They thus have small, triangular serifs or tapering downstrokes. There is usually a greater emphasis on the capital letters in glyphic typefaces, with some faces not
135:
Typographic parts of a glyph: 1) x-height; 2) ascender line; 3) apex; 4) baseline; 5) ascender; 6) crossbar; 7) stem; 8) serif; 9) leg; 10) bowl; 11) counter; 12) collar/link/neck; 13) loop; 14) ear; 15) tie; 16) horizontal bar; 17) arm; 18) vertical bar; 19) cap height; 20) descender
419:, the name of this group evokes the mechanical aspect of these typefaces, which coincide with the Industrial Revolution at the beginning of the 19th century. The principal characteristics of these typefaces are a very low contrast and rectangular slab serifs. They correspond to the
761:, are based on hand-drawn originals which are slowly written with either a brush, pen, pencil, or other writing instrument. These typefaces generally do not represent writing, and are not intended for body text, but instead display or headline purposes. Vox originally included the
119:
Vox proposed a nine-type classification which tends to group typefaces according to their main characteristics, often typical of a particular century (15th, 16th, 17th, 18th, 19th, 20th century), based on a number of formal criteria: downstroke and upstroke, forms of
153:
can be broken down into 'Venetian', 'Garalde', and 'Transitional' categories, and are characterized by triangular serifs, oblique axis, and low stroke contrast. In other classification systems, this group is often referred to as 'Oldstyle' or 'Old style'.
908:
omitted. The sans-serif realists have more constant line weight, while the sans-serif humanists have a varying line weight which harks back to
Carolingian minuscule. So, very different typefaces may be described by the same term: for example,
493:
Grotesque typefaces are sans serif typefaces that originate in the nineteenth century. There is some degree of contrast between thick and thin strokes. The terminals of curves are usually horizontal, and the typeface frequently has a spurred
189:, are characterized by short and thick bracketed serifs, a slanted cross stroke on the lowercase 'e', ascenders with slanted serifs, and a low contrast between horizontals and verticals. These typefaces are inspired in particular by the
539:, and the terminals of curves are usually slanted. Many neo-grotesque faces have a large degree of subtlety and variation of widths and weights to accommodate different means of production (Hot type, foundry type, phototypesetting, see
573:
Geometric typefaces are sans serif faces constructed from simple geometric shapes, circles or rectangles. The same curves and lines are often repeated throughout the letters, resulting in minimal differentiation between letters.
185:(hence the name 'Venetian'). These typefaces sought to imitate the formal hands found in the humanistic (renaissance) manuscripts of the time (humanist minuscule). These typefaces, rather round in opposition to the gothics of
513:, meaning "belonging to the cave" due to their simple geometric appearance. The term arose because of adverse comparisons that were drawn with the more ornate Modern Serif and Roman typefaces that were the norm at the time.
327:
can be broken down into Didone, Mechanistic, and Lineal categories, and are characterized by a simple, functional feel that gained momentum during the industrial period of the late 19th century and early 20th century.
243:. In general, the Garaldes have finer proportions than the Venetians, and a stronger contrast between downstroke and upstroke. The weights of the Garaldes are distributed according to an oblique axis. In France, under
140:
On April 27, 2021, ATypI announced that they had de-adopted the system and that they were establishing a working group building towards a new, larger system incorporating the different scripts of the world.
535:
Neo-grotesque typefaces are derived from the earlier grotesque faces, but generally have less stroke contrast and a more regular design. Unlike the grotesque, they generally do not have a spurred
604:
Humanist typefaces, instead of deriving from the 19th century grotesque faces, relate to the earlier, classical handwritten monumental Roman capitals and a lowercase similar in form to the
801:
474:
of the
Thibaudeau classification. The British Standard 1967 extended the category by breaking the group into 4 subcategories: Grotesque, Neo-Grotesque, Geometric, and Humanist.
1905:
116:, as British Standards Classification of Typefaces (BS 2961:1967), which is a very basic interpretation and adaptation/modification of the earlier Vox-ATypI classification.
960:
1230:
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distinguished from 'garalde', even though the formal differences are very subtle and such a distinction is only appropriate for very few types. But large numbers of
900:
The Vox classifications can be used in combination. Notably, 'transitional' (and its synonym 'realist') and 'humanist' are used to distinguish between groups of
2279:
612:
is being used here in combination with lineal to create a subcategory, and these typefaces only slightly resemble those in the humanist serif category.
429:. This category includes both typefaces with bracketed serifs ('clarendons' or 'ionics') and typefaces with square or unbracketed serifs (egyptians).
850:
This heterogeneous family, not included in the original nine Vox groups, gathers (without distinction of style) all writing systems not based on the
128:, etc. Although the Vox-ATypI classification defines archetypes of typefaces, many typefaces can exhibit the characteristics of more than one class.
964:
795:
The original Vox classification contained the above nine groups. ATypI added two more classifications, the blackletters and the Non-Latins. The
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writing. They seem to be written with a quill and have a strong slope. The letters can often be connected to each other. Typefaces imitating
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812:, which Vox included in the graphics, are characterized by pointed and angular forms, and are modeled on late medieval hands written with a
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The common typographic term 'old style' does not differentiate between
Venetian and Garalde typefaces.
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Dixon, Catherine (2002), "Twentieth
Century Graphic Communication: Technology, Society and Culture",
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was added to the classification at the AGM of the Dublin meeting of ATypI, on 12 September 2010.
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Le sens 3 est dĂ» au fait que
Plantin a fondu ce caractère pour le roi d'Espagne Philippe II
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The
Designer's Lexicon: The Illustrated Dictionary of Design, Printing, and Computer Terms
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292:, on the other hand to compete in quality with the different printers of Europe. The term
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1182:"Annual General Meeting - Meeting Minutes - Dublin, Ireland Sunday, September 12, 2010"
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The
British Printer (Reprinted for the United States House Committee on the Judiciary)
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Examples of grotesque lineal typeface include Headline, Monotype 215, and Grot no. 6.
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2011:
1979:
1969:
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904:(also called 'lineal', 'Gothic', or 'grotesque') typefaces, sometimes with the term
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to employ typefaces very different from the typefaces used by the kings from the
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647:' categories, and are characterized by a suggestion of being hand-crafted.
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to invent new typographical forms, on the one hand to find a successor of
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The Didones or 'modern' typefaces draw their name from the typefounders
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1042:(in French). Centre National de Ressources Textuelles et Lexicales.
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created during the 15th century by Venetian printers, such as
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1327:
1106:"What Are Grotesque Fonts? History, Inspiration and Examples"
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etc. English printers traditionally called these 'exotics'.
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According to Monotype, the term "grotesque" originates from
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Haralambous, Yannis; Scott Horne, Translated by P. (2007),
315:, and other contemporary redesigns of traditional faces.
1322:
1273:, Sebastopol, Calif.: O'Reilly Media, pp. 409–411,
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include typefaces which evoke the formal penmanship of
375:. The didones, in particular, made it possible for the
1224:, vol. 2961, British Standards Institution, 1967
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form part of this family. Scripts are distinct from
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994:"New Approaches to the Classification of Typefaces"
961:"ATypI de-adopts Vox-ATypI typeface classification"
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917:may both be described as realist or transitional.
546:Examples of neo-grotesque lineal typeface include
462:, combine all typefaces without serifs (called '
1291:, London: Thames & Hudson, pp. 58–64,
819:An example of a blackletter typeface family is
577:Examples of geometric lineal typefaces include
173:Venetian (also called humanist, humanistic, or
732:Examples of script typefaces include Shelley,
615:Examples of humanist lineal typefaces include
2280:Intellectual property protection of typefaces
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1289:The Thames & Hudson Manual of Typography
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307:Examples of transitional typefaces include
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1251:, San Francisco: Chronicle Books, p.
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2306:Punctuation and other typographic symbols
432:Examples of mechanical typefaces include
80:Learn how and when to remove this message
965:Association Typographique Internationale
110:Association Typographique Internationale
43:This article includes a list of general
1149:
1147:
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926:
108:in 1954, it was adopted in 1962 by the
772:Examples of graphic typefaces include
676:Examples of glyphic typefaces include
296:is unrelated to the artistic movement
7:
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1066:
635:can be broken down into 'glyphic', '
541:History of typography, 20th century
235:, this group is named in homage to
27:Classification system for typefaces
470:), all of which correspond to the
49:it lacks sufficient corresponding
25:
531:, a neo-grotesque lineal typeface
104:into general classes. Devised by
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2318:
34:
769:faces in this categorization.
277:The transitional, realist, or
204:Examples of Venetians include
100:makes it possible to classify
1:
2275:History of Western typography
1307:Trésor de la langue française
1040:Trésor de la langue française
569:, a geometric lineal typeface
489:, a grotesque lineal typeface
304:for King Philip II of Spain.
250:Examples of Garaldes include
2122:traditional point-size names
967:. 2021-04-27. Archived from
835:Duibhlinn, a Gaelic typeface
600:, a humanist lineal typeface
386:Examples of Didones include
1375:Canons of page construction
1243:Campbell, Alastair (2000),
1104:Greta, P (21 August 2017).
2361:
335:
284:the result of the wish of
2314:
1532:Subscript and superscript
666:The glyphic, incised, or
427:Thibaudeau classification
373:Thibaudeau classification
273:, a transitional typeface
112:(ATypI) and in 1967 as a
2290:Vox-ATypI classification
1420:Intentionally blank page
1171:Haralambous 2007, p. 411
791:, a blackletter typeface
755:The graphic, manual, or
673:containing a lowercase.
409:Also called mechanical,
405:, a mechanistic typeface
197:during his reign of the
98:Vox-ATypI classification
1232:Typeface classification
64:more precise citations.
1823:
1287:McLean, Ruari (2000),
1139:McLean 2000, p. 62, 69
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1271:Fonts & Encodings
1238:, Friends of St Bride
1194:on November 19, 2010.
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191:Carolingian minuscule
169:, a Venetian typeface
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2160:Typographic features
1162:McLean 2000, p.62-63
1110:Creative Market Blog
1025:Campbell 2000, p.173
751:, a graphic typeface
662:, a glyphic typeface
502:with a curled leg.
227:, a Garalde typeface
177:) include the first
2285:Technical lettering
2184:Typography in other
1925:Hanging punctuation
703:, a script typeface
377:First French Empire
349:, a Didone typeface
338:Didone (typography)
2248:Handwriting script
2175:Desktop publishing
2145:Character encoding
2138:Digital typography
1652:Horizontal aspects
1605:Visual distinction
1463:Widows and orphans
1204:McLean 2000, p. 64
1153:McLean 2000, p. 62
1130:McLean 2000, p. 60
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723:copperplate script
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682:Copperplate Gothic
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606:Carolingian script
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487:Monotype Grotesque
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302:Christophe Plantin
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2079:Typographic units
1997:For position only
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1280:978-0-596-10242-5
1221:British Standards
1112:. Creative Market
963:(Press release).
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496:⟨G⟩
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16:(Redirected from
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2299:Related template
2231:Related articles
2032:Phototypesetting
1886:reverse-contrast
1871:Display typeface
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1805:Blackletter type
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1698:Vertical aspects
1679:Sentence spacing
1489:Typeface anatomy
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896:Name ambiguities
814:broad-nibbed pen
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466:', 'gothic', or
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114:British Standard
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179:Roman typefaces
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2220:National Fonts
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2165:Web typography
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971:on 2021-05-27
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2270:Type foundry
2107:Metric units
2037:Punchcutting
2022:Movable type
1992:Font catalog
1952:Vertical bar
1689:Word spacing
1659:Figure space
1542:Text figures
1385:Even working
1306:
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1189:the original
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1114:. Retrieved
1109:
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1087:. Retrieved
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984:
973:. Retrieved
969:the original
905:
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797:blackletters
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293:
290:the Garamond
289:
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262:Transitional
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232:
231:Also called
230:
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118:
97:
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67:
48:
2265:Type design
2260:Style guide
2253:Calligraphy
2243:Handwriting
2057:Type design
2007:Lorem ipsum
2002:Letterpress
1962:Typesetting
1902:Punctuation
1866:Record type
1837:Gaelic type
1825:Schwabacher
1715:Body height
1580:Letter case
1448:Line length
840:Gaelic type
780:Blackletter
776:and Klang.
763:blackletter
727:italic type
641:blackletter
608:. The term
442:Ionic No. 5
422:Egyptiennes
394:Mechanistic
309:Baskerville
195:Charlemagne
62:introducing
2345:Typography
2238:Penmanship
2210:East Asian
2052:Type color
1985:monospaced
1942:Interpunct
1935:minus sign
1859:Specialist
1795:Sans-serif
1788:slab serif
1765:Roman type
1720:Cap height
1684:Thin space
1643:Whitespace
1595:Title case
1590:Snake case
1585:Small caps
1570:Camel case
1502:Diacritics
1410:Pull quote
1405:Pagination
1400:Paper size
1359:Typography
1085:. Monotype
1060:Dixon 2002
975:2021-12-18
944:References
906:sans-serif
902:sans-serif
889:slab serif
882:Criticisms
464:sans-serif
438:Egyptienne
411:slab serif
151:classicals
145:Classicals
94:typography
45:references
1735:Overshoot
1730:Mean line
1725:Descender
1638:Underline
1480:Character
1458:Runaround
1438:Alignment
1430:Paragraph
846:Non-Latin
802:‹See Tfd›
758:manuaires
617:Gill Sans
598:Gill Sans
558:Geometric
548:Helvetica
529:Helvetica
511:grottesco
478:Grotesque
468:grotesque
434:Clarendon
286:Louis XIV
102:typefaces
70:June 2017
2339:Category
2324:Category
2203:PT Fonts
2198:Cyrillic
2062:Typeface
1980:computer
1881:fat face
1754:Typeface
1740:x-height
1710:Baseline
1705:Ascender
1565:All caps
1527:Rotation
1522:Ligature
1517:Ink trap
1116:16 March
1089:16 March
992:(1960).
915:DIN 1451
860:Cyrillic
714:scriptes
678:Albertus
643:', and '
610:humanist
589:Humanist
472:Antiques
459:linéales
446:Rockwell
403:Rockwell
256:Garamond
225:Garamond
210:Cloister
158:Venetian
126:x-height
2150:Hinting
2027:Pangram
1845:Insular
1818:Rotunda
1813:Fraktur
1778:Antiqua
1664:Kerning
1633:Oblique
1628:Italics
1575:Initial
1507:Dingbat
1497:Counter
1443:Leading
1212:Sources
1072:BS 2961
1036:"réale"
872:Chinese
821:Fraktur
810:fraktur
740:Graphic
734:Mistral
719:cursive
709:scripts
701:Mistral
651:Glyphic
552:Univers
507:Italian
498:and an
416:mécanes
371:of the
325:moderns
319:Moderns
298:realism
294:realist
216:Garalde
206:Centaur
175:humanes
167:Centaur
136:height.
58:improve
18:Garalde
2193:Arabic
2092:Cicero
1930:Hyphen
1915:Bullet
1876:script
1850:Uncial
1783:Didone
1547:Tittle
1390:Margin
1380:Column
1295:
1277:
1259:
876:Korean
868:Arabic
864:Hebrew
827:Gaelic
806:German
767:uncial
692:Script
686:Trajan
684:, and
669:incise
660:Trajan
645:Gaelic
637:script
621:Optima
583:Futura
567:Futura
452:Lineal
444:, and
388:Bodoni
347:Bodoni
332:Didone
280:réales
271:Bulmer
233:Aldine
122:serifs
96:, the
47:, but
2117:Point
2087:Agate
1947:Space
1773:Serif
1674:Pitch
1537:Swash
1512:Glyph
1453:River
1323:ATypI
1236:(PDF)
1192:(PDF)
1185:(PDF)
921:Notes
856:Greek
774:Banco
749:Banco
413:, or
369:Didot
252:Bembo
2215:Thai
2129:Twip
2112:Pica
2067:list
2047:Sort
1975:Font
1920:Dash
1906:List
1618:Bold
1468:runt
1367:Page
1293:ISBN
1275:ISBN
1257:ISBN
1118:2021
1091:2021
913:and
765:and
707:The
631:The
619:and
581:and
550:and
543:).
364:doni
360:and
323:The
254:and
239:and
208:and
149:The
1253:173
799:or
711:or
425:of
358:dot
92:In
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2102:En
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362:Bo
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212:.
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1904:(
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1120:.
1093:.
1000:.
978:.
83:)
77:(
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20:)
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