1. Typeface Classification
Maximiliem Vox
Typeface Classification

2. Basic Type Forms
Humanist
Geralde
Transitional
Didone
Slab-serif

3. Lineale Type Forms Lineale Grotesque Lineale Neo-grotesque
Lineale Geometric
Lineale Humanist

4. Optional Type Forms Glyphic Script Blackletter Contemporary Unical
Monospaced

5. Humanist
The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modeled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types were introduced.

6. Humanist So what makes Humanist, Humanist?
What are its main characteristics?
1 Sloping cross-bar on the lowercase “e”;
2 Relatively small x-height;
3 Low contrast between “thick” and “thin” strokes (basically that means that there is little variation in the stroke width);
4 Dark color (not a reference to color in the traditional sense, but the overall lightness or darkness of the page). To get a better impression of a page’s color look at it through half-closed eyes.

7. Humanist

8. Humanist

9. Humanist
Examples of Typefaces that are part of the Humanist style
Berkeley Oldstyle, Jenson, Kennerly, Centaur, Stempel Schneidler, Verona, Lutetia, Jersey, Lynton, Horley Old Style

10. Garalde
The Garalde (or Old Style) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters. As a consequence the Old Style types are characterized by greater contrast between thick and thin strokes, and are generally speaking, sharper in appearance, more refined. You can see this, perhaps most notably in the serifs.

11. Garalde So what makes Humanist, Humanist?
What are its main characteristics?
1 Stress of the letterforms to a more perpendicular (upright) position.
2 Ascenders are more wedge shaped.
3 Adoption of a horizontal crossbar
4 first italic type in 1501: typeface designed on it’s own.
5 Cut the capitals slightly shorter than ascending letters such as b and d, and by slightly reducing the stroke weight of the capitals.

12. Garalde

13. Garalde

14. Garalde
Examples of Typefaces that are part of the Garalde style
Berling, Calisto, Goudy Old Style, Granjon, Janson, Palatino, Perpetua, Plantin, Sabon and Weiss

15. Transitional
Transitional fonts marked a significant departure from the former Old Style types and was much less influenced by handwritten letterforms. It’s no surprise that this same era should give birth to radically different types. The first book to use these types wasn’t published until a decade later in In fact the full set of 82 fonts wasn’t completed until half a century later in 1745.

16. Transitional So what makes Transitional, transitional?
What are its main characteristics?
1 Greater contrast between thick and thin (sub-) strokes:
2 Vertical or almost vertical stress in the bowls of lowercase letters.
3 Head serifs generally more horizontal
4 Modern-day revivals of these types vary in their ‘authenticity’ so newer styles many be different.

17. Transitional

18. Transitional

19. Transitional
Examples of Typefaces that are part of the Transitional style
Baskerville (many flavors), Bookman (Linotype), Cheltenham (ITC), Clearface (ITC), Fournier, Joanna, Slimbach (ITC)

20. Didone
The first Modern typeface is attributed to Frenchman Firmin Didot (son of François- Ambroise Didot), and first graced the printed page in His types were soon followed by the archetypal Didone from Bodoni. Bodoni [ ]) drew his influence from the Transitional style (with its flat, unbracketed serifs) and the types of John Baskerville (high contrast), for whom he showed great admiration.

21. Didone So what makes Didone, didone?
What are its main characteristics?
1. High and abrupt contrast between thick and thin strokes;
2. Abrupt (unbracketed) hairline (thin) serifs
3. Vertical axis
4. Horizontal stress
5. Small aperture

22. Didone

23. Didone

24. Didone

25. Didone
The Didone’s need lots of space (white space and inter-line space), so give them extra leading and  generous margins; and if you pair a Modern with another face, then make sure it’s not a fussy one

26. Didone
Examples of Typefaces that are part of the Didone style
ITC Fenice, ITC Zapf Book, Adobe New (pretty good for extended text), ITC Bodoni, and Günter Gerhard Lange’s Berthold Walbaum (a little wider set than your average Didone).