. .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN TYPOGRAPHIC DESIGN
Ales sandr o Segalini, Depar t men t o f Visual Communic a t ion Design : h t t p://homes.ieu.edu.t r/asegalini CLASSIFICATIONS
Basic glossary of Typeface Anatomy
. .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN TYPOGRAPHIC DESIGN
Ales sandr o Segalini, Depar t men t o f Visual Communic a t ion Design : h t t p://homes.ieu.edu.t r/asegalini CLASSIFICATIONS
Maximilien Vox’s Typeface Classification, 1953
Typeface example
Typeface English
Typeface example English French Description
Description
Typeface example example EnglishEnglish French French French Description Description
Pastonchi Humanistic Humanistic
Pastonchi
PastonchiPastonchi HumanisticHumanistic Humanes Humanes characters. characters.characters.
FirstFirst roman
Humanes Humanes First roman First roman roman characters.
+ Aldus" "Garamond + Aldus"
"Garamond +
"Garamond"Garamond + Aldus"Aldus"
GaramondGaraldic
Garamond
GaramondGaramond Garaldic Garaldic
Garaldic Garaldes Garaldes Garaldes
Garaldes
16–17th century origins
16–17th
16–17th century origins
16–17th century origins century origins
Better Better thick/thin contrast.
thick/thin thick/thin
Better
Better thick/thin contrast. contrast. contrast.
BaskervilleTransitional Transitional
Baskerville
BaskervilleBaskervilleTransitionalTransitional Réales RéalesRéales
Réales Bridge
Bridge between Garaldic between Garaldic and and
BridgeBridge andbetween Garaldic
between Garaldic and
Didones. More More upright,
Didones.
Didones. More
Didones. More upright, upright, upright,
delineated contrast.
delineated contrast.
delineated contrast. delineated contrast.
Bodoni
Bodoni
Bodoni BodoniDidonic Didonic
Didonic Didonic Didones Didones Didones
Didones "Didot + Bodoni""Didot + Bodoni"
"Didot + Bodoni"+ Bodoni"
"Didot
High contrast between thick
High thick
High contrast between thick
High contrast between contrast between thick
and and and lines.
thin
and thin lines. thin lines. thin lines.
Giza
Giza
Giza Giza MechanisticMechanistic
MechanisticMécanes
Mechanistic Mécanes
Mécanes Mécanes Geometric and Industrial from andfrom fromfrom
Geometric and
GeometricGeometric Industrial
and Industrial Industrial
the 19th century.
the century.
the 19th century. the 19th19th century.
Egyptian-type faces. faces.
Egyptian-type
Egyptian-type faces. Egyptian-type faces.
Gill Sans Sans
Gill Lineal
Gill SansGill Sans Lineal
Lineal Lineal Linéales Linéales
Linéales Linéales Sans serif with uniform serifserif with uniform lines
SansSans with uniform lines of
Sans serif with uniform lines of
lines of
varying thicknesses:
varying thicknesses:
varying thicknesses: varying thicknesses:
bold weights. to bold weights.
Ultra bold weights.
Ultra
Ultra thin toUltra thin tothin thin to bold weights.
TrajanIncised
Trajan
TrajanTrajan IncisedIncised
Incised Incises Incises
IncisesIncises Resembles ResemblesResembles a Latin inscription
a LatinResembles ainscription.
a Latin
inscription. Latin inscription.
Titling Titling fonts, of devoid
fonts,
Titling fonts,
Titling fonts, devoid of devoiddevoid of of
lowercase.
lowercase. lowercase.lowercase.
Script Script
Script Script Scriptes Scriptes Scriptes
Scriptes Imitates
Imitates cursive writing. writing.
Imitates cursive writing. cursive writing.
Imitates cursive
Shelley Andante
Shelley Andante
Shelley
Shelley Andante Andante or maymay or mayor may not
not
Letters not
Letters mayLettersLetters maymay or may not
conjoin.
conjoin. conjoin. conjoin.
Evocative of hand-rendered
Evocative
Evocative of hand-rendered
Manuaires Manuaires Manuaires Evocative of hand-rendered of hand-rendered
Bolide
Bolide Bolide Bolide Manual Manual Manual
Manual Manuaires
letters. letters.
letters.letters.
Vadstenakursive Black Letter
Vadstenakursive Black
Vadstenakursive Black LetterBlack Letter Letter Fractures
Vadstenakursive Fractures Fractures
Fractures Gothic" " "Fraktur" "Fraktur" faces.
"Gothic" or""Fraktur"orGothic" orfaces. faces.
"Gothic" or "Fraktur"
faces.
Used in Germany. Germany.
Used particularly in Germany.
Used in
Used particularly particularlyparticularly in Germany
¤Бксцч (Tatlin Cyrillic) Cyrillic)
¤Бксцч (Tatlin Non-Latins Non-Latins
¤Бксцч (Tatlin Cyrillic) ¤Бксцч (Tatlin Cyrillic) Non-LatinsNon-Latins Non-LatinesNon-Latines Typeface that uses uses a non-Latin
Typeface that non-Latin
Typeface
Non-LatinesTypeface that uses a non-Latin athat uses a non-Lat
Non-Latines
alphabet.
alphabet. alphabet. alphabet.
Times(Times Greek) (Times (Times Greek)
Greek Greek
Times
Times GreekTimes GreekGreek)(Times Greek)
T Y P Ogr aphy ,
T Y P OgrRaphyF,C A O O E
.
N VI
.
N VER I
M A X I M I L I E I Z M O X UC LIA S S IS I T Y T I F N C O N O M I C S F A C U L T Y O F F I N E A R T S A N D D E S I G N TYPOGRAPHIC DESIGN
M A X I M I Ogr aphy ,C A T I O N
T Y P Ogr aphyF,
P
Ales sandr o Segalini, Depar t men t o f Visual Communic a t ion Design : h t t p://homes.ieu.edu.t r/asegalini
TAYI M I L I E N V O X C L A S S I F I C A T I O N
LIEN VOX CLASSI I
CLASSIFICATIONS
M X
T Y P Ogr aphy ,
MAXIMILIEN VOX CLASSIFICATION
Humanistic Antique Roman Transitional
‘Vox ı3’ Typeface Classification & Historical SynopsisTransitional
MAXIMILIEN VOX CLASSIFICATION
Humanistic Antique Roman
Humanistic Antique Roman Transitional
Humanistic Antique Roman Transitional
Humanistic Antique Roman Transitional
Egyptian Modern Roman New Transitional
Egyptian Modern Roman New Transitional
Egyptian Modern Roman New Transitional
Egyptian Modern Roman New Transitional
Egyptian Modern Roman New Transitional
Linear Grotesque Linear Neogrotesque Linear Geometric
Linear Grotesque Linear Neogrotesque Linear Geometric
Linear Grotesque Linear Neogrotesque Linear Geometric
Linear Grotesque Linear Neogrotesque Linear Geometric
Linear Grotesque Linear Neogrotesque Linear Geometric
Linear Humanistic Stone Carved Calligraphic
Linear Humanistic Stone Carved Calligraphic
Linear Humanistic Stone Carved Calligraphic
Linear Humanistic Stone Carved Calligraphic
Linear Humanistic Stone Carved Calligraphic
Stylized
Stylized
Stylized
Stylized
Stylized
. .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN TYPOGRAPHIC DESIGN
Ales sandr o Segalini, Depar t men t o f Visual Communic a t ion Design : h t t p://homes.ieu.edu.t r/asegalini CLASSIFICATIONS
Aldo Novarese’s Typeface Classification, 1957
. .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN TYPOGRAPHIC DESIGN
Ales sandr o Segalini, Depar t men t o f Visual Communic a t ion Design : h t t p://homes.ieu.edu.t r/asegalini CLASSIFICATIONS
Robert Bringhurst’s Typeface Historical Synopsis, 1997
Renaissance Baroque
14-16 centuries 17-18 centuries
Neoclassic Romantic
mid 18 century late 18 century
Realist Modernist, Geometric
late 19 century beginning 20 century
Modernist, Lyric Postmodern
20 century mid 20 century