25:
881:
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.
645:
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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
880:
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,
356:. 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
875:
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
661:
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
124:
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
408:, 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
750:, 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
108:
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
142:
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'.
897:
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,
482:
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
178:, 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
528:, 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
562:
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.
174:(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
502:, 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.
316:
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.
232:. 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
129:
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.
790:
524:
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
593:
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
463:
of the
Thibaudeau classification. The British Standard 1967 extended the category by breaking the group into 4 subcategories: Grotesque, Neo-Grotesque, Geometric, and Humanist.
105:, as British Standards Classification of Typefaces (BS 2961:1967), which is a very basic interpretation and adaptation/modification of the earlier Vox-ATypI classification.
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1219:
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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
889:
The Vox classifications can be used in combination. Notably, 'transitional' (and its synonym 'realist') and 'humanist' are used to distinguish between groups of
1894:
601:
is being used here in combination with lineal to create a subcategory, and these typefaces only slightly resemble those in the humanist serif category.
418:. This category includes both typefaces with bracketed serifs ('clarendons' or 'ionics') and typefaces with square or unbracketed serifs (egyptians).
839:
This heterogeneous family, not included in the original nine Vox groups, gathers (without distinction of style) all writing systems not based on the
117:, etc. Although the Vox-ATypI classification defines archetypes of typefaces, many typefaces can exhibit the characteristics of more than one class.
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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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801:, 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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236:, the Garaldes were the tool that supported the official fixing of grammar and orthography.
1990:
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Le sens 3 est dĂ» au fait que
Plantin a fondu ce caractère pour le roi d'Espagne Philippe II
422:
1236:
The
Designer's Lexicon: The Illustrated Dictionary of Design, Printing, and Computer Terms
281:, on the other hand to compete in quality with the different printers of Europe. The term
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1171:"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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893:(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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636:' categories, and are characterized by a suggestion of being hand-crafted.
289:, and derives from the Spanish for 'royal', because of a typeface cast by
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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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1031:(in French). Centre National de Ressources Textuelles et Lexicales.
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2015:
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created during the 15th century by Venetian printers, such as
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1095:"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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1963:
1908:
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Haralambous, Yannis; Scott Horne, Translated by P. (2007),
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304:, and other contemporary redesigns of traditional faces.
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1311:
1262:, Sebastopol, Calif.: O'Reilly Media, pp. 409–411,
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include typefaces which evoke the formal penmanship of
364:. The didones, in particular, made it possible for the
1257:
1213:, vol. 2961, British Standards Institution, 1967
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form part of this family. Scripts are distinct from
983:"New Approaches to the Classification of Typefaces"
950:"ATypI de-adopts Vox-ATypI typeface classification"
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1010:
1008:
1006:
1004:
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1000:
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906:may both be described as realist or transitional.
535:Examples of neo-grotesque lineal typeface include
2325:
451:, combine all typefaces without serifs (called '
1280:, London: Thames & Hudson, pp. 58–64,
993:
808:An example of a blackletter typeface family is
566:Examples of geometric lineal typefaces include
162:Venetian (also called humanist, humanistic, or
721:Examples of script typefaces include Shelley,
604:Examples of humanist lineal typefaces include
2269:Intellectual property protection of typefaces
1332:
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1811:
1278:The Thames & Hudson Manual of Typography
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296:Examples of transitional typefaces include
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1325:
1240:, San Francisco: Chronicle Books, p.
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919:
2295:Punctuation and other typographic symbols
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421:Examples of mechanical typefaces include
69:Learn how and when to remove this message
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99:Association Typographique Internationale
32:This article includes a list of general
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97:in 1954, it was adopted in 1962 by the
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761:Examples of graphic typefaces include
665:Examples of glyphic typefaces include
285:is unrelated to the artistic movement
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624:can be broken down into 'glyphic', '
18:
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530:History of typography, 20th century
224:, this group is named in homage to
16:Classification system for typefaces
13:
459:), all of which correspond to the
38:it lacks sufficient corresponding
14:
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520:, a neo-grotesque lineal typeface
93:into general classes. Devised by
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758:faces in this categorization.
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266:The transitional, realist, or
193:Examples of Venetians include
89:makes it possible to classify
1:
2264:History of Western typography
1296:Trésor de la langue française
1029:Trésor de la langue française
932:
870:
558:, a geometric lineal typeface
478:, a grotesque lineal typeface
293:for King Philip II of Spain.
239:Examples of Garaldes include
133:
2111:traditional point-size names
956:. 2021-04-27. Archived from
834:
824:Duibhlinn, a Gaelic typeface
589:, a humanist lineal typeface
546:
466:
375:Examples of Didones include
7:
1364:Canons of page construction
1232:Campbell, Alastair (2000),
1093:Greta, P (21 August 2017).
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10:
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273:the result of the wish of
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1521:Subscript and superscript
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655:The glyphic, incised, or
440:
416:Thibaudeau classification
362:Thibaudeau classification
320:
262:, a transitional typeface
101:(ATypI) and in 1967 as a
2279:Vox-ATypI classification
1409:Intentionally blank page
1160:Haralambous 2007, p. 411
909:
780:, a blackletter typeface
744:The graphic, manual, or
662:containing a lowercase.
398:Also called mechanical,
394:, a mechanistic typeface
186:during his reign of the
87:Vox-ATypI classification
1221:Typeface classification
53:more precise citations.
1812:
1276:McLean, Ruari (2000),
1128:McLean 2000, p. 62, 69
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1260:Fonts & Encodings
1227:, Friends of St Bride
1183:on November 19, 2010.
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180:Carolingian minuscule
158:, a Venetian typeface
154:
123:
2149:Typographic features
1151:McLean 2000, p.62-63
1099:Creative Market Blog
1014:Campbell 2000, p.173
740:, a graphic typeface
651:, a glyphic typeface
491:with a curled leg.
216:, a Garalde typeface
166:) include the first
2274:Technical lettering
2173:Typography in other
1914:Hanging punctuation
692:, a script typeface
366:First French Empire
338:, a Didone typeface
327:Didone (typography)
2237:Handwriting script
2164:Desktop publishing
2134:Character encoding
2127:Digital typography
1641:Horizontal aspects
1594:Visual distinction
1452:Widows and orphans
1193:McLean 2000, p. 64
1142:McLean 2000, p. 62
1119:McLean 2000, p. 60
826:
782:
742:
712:copperplate script
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671:Copperplate Gothic
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595:Carolingian script
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480:
476:Monotype Grotesque
396:
340:
291:Christophe Plantin
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2068:Typographic units
1986:For position only
1885:
1884:
1737:
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1269:978-0-596-10242-5
1210:British Standards
1101:. Creative Market
952:(Press release).
526:⟨G⟩
489:⟨R⟩
485:⟨G⟩
188:Holy Roman Empire
79:
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2311:
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2288:Related template
2220:Related articles
2021:Phototypesetting
1875:reverse-contrast
1860:Display typeface
1817:
1794:Blackletter type
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1687:Vertical aspects
1668:Sentence spacing
1478:Typeface anatomy
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1176:. Archived from
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1072:"Grotesque Sans"
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991:
990:
975:
969:
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966:
965:
946:
926:
923:
885:Name ambiguities
803:broad-nibbed pen
793:
749:
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660:
527:
490:
486:
455:', 'gothic', or
450:
413:
407:
271:
103:British Standard
74:
67:
63:
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49:this article by
40:inline citations
27:
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2006:Microtypography
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1745:classifications
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1404:Recto and verso
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176:the Middle Ages
168:Roman typefaces
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2209:National Fonts
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2259:Type foundry
2096:Metric units
2026:Punchcutting
2011:Movable type
1981:Font catalog
1941:Vertical bar
1678:Word spacing
1648:Figure space
1531:Text figures
1374:Even working
1295:
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1220:
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1189:
1178:the original
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1103:. Retrieved
1098:
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1076:. Retrieved
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962:. Retrieved
958:the original
894:
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786:blackletters
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279:the Garamond
278:
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251:Transitional
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107:
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65:
56:
37:
2254:Type design
2249:Style guide
2242:Calligraphy
2232:Handwriting
2046:Type design
1996:Lorem ipsum
1991:Letterpress
1951:Typesetting
1891:Punctuation
1855:Record type
1826:Gaelic type
1814:Schwabacher
1704:Body height
1569:Letter case
1437:Line length
829:Gaelic type
769:Blackletter
765:and Klang.
752:blackletter
716:italic type
630:blackletter
597:. The term
431:Ionic No. 5
411:Egyptiennes
383:Mechanistic
298:Baskerville
184:Charlemagne
51:introducing
2334:Typography
2227:Penmanship
2199:East Asian
2041:Type color
1974:monospaced
1931:Interpunct
1924:minus sign
1848:Specialist
1784:Sans-serif
1777:slab serif
1754:Roman type
1709:Cap height
1673:Thin space
1632:Whitespace
1584:Title case
1579:Snake case
1574:Small caps
1559:Camel case
1491:Diacritics
1399:Pull quote
1394:Pagination
1389:Paper size
1348:Typography
1074:. Monotype
1049:Dixon 2002
964:2021-12-18
933:References
895:sans-serif
891:sans-serif
878:slab serif
871:Criticisms
453:sans-serif
427:Egyptienne
400:slab serif
140:classicals
134:Classicals
83:typography
34:references
1724:Overshoot
1719:Mean line
1714:Descender
1627:Underline
1469:Character
1447:Runaround
1427:Alignment
1419:Paragraph
835:Non-Latin
791:‹See Tfd›
747:manuaires
606:Gill Sans
587:Gill Sans
547:Geometric
537:Helvetica
518:Helvetica
500:grottesco
467:Grotesque
457:grotesque
423:Clarendon
275:Louis XIV
91:typefaces
59:June 2017
2328:Category
2313:Category
2192:PT Fonts
2187:Cyrillic
2051:Typeface
1969:computer
1870:fat face
1743:Typeface
1729:x-height
1699:Baseline
1694:Ascender
1554:All caps
1516:Rotation
1511:Ligature
1506:Ink trap
1105:16 March
1078:16 March
981:(1960).
904:DIN 1451
849:Cyrillic
703:scriptes
667:Albertus
632:', and '
599:humanist
578:Humanist
461:Antiques
448:linéales
435:Rockwell
392:Rockwell
245:Garamond
214:Garamond
199:Cloister
147:Venetian
115:x-height
2139:Hinting
2016:Pangram
1834:Insular
1807:Rotunda
1802:Fraktur
1767:Antiqua
1653:Kerning
1622:Oblique
1617:Italics
1564:Initial
1496:Dingbat
1486:Counter
1432:Leading
1201:Sources
1061:BS 2961
1025:"réale"
861:Chinese
810:Fraktur
799:fraktur
729:Graphic
723:Mistral
708:cursive
698:scripts
690:Mistral
640:Glyphic
541:Univers
496:Italian
487:and an
405:mécanes
360:of the
314:moderns
308:Moderns
287:realism
283:realist
205:Garalde
195:Centaur
164:humanes
156:Centaur
125:height.
47:improve
2182:Arabic
2081:Cicero
1919:Hyphen
1904:Bullet
1865:script
1839:Uncial
1772:Didone
1536:Tittle
1379:Margin
1369:Column
1284:
1266:
1248:
865:Korean
857:Arabic
853:Hebrew
816:Gaelic
795:German
756:uncial
681:Script
675:Trajan
673:, and
658:incise
649:Trajan
634:Gaelic
626:script
610:Optima
572:Futura
556:Futura
441:Lineal
433:, and
377:Bodoni
336:Bodoni
321:Didone
269:réales
260:Bulmer
222:Aldine
111:serifs
85:, the
36:, but
2106:Point
2076:Agate
1936:Space
1762:Serif
1663:Pitch
1526:Swash
1501:Glyph
1442:River
1312:ATypI
1225:(PDF)
1181:(PDF)
1174:(PDF)
910:Notes
845:Greek
763:Banco
738:Banco
402:, or
358:Didot
241:Bembo
2204:Thai
2118:Twip
2101:Pica
2056:list
2036:Sort
1964:Font
1909:Dash
1895:List
1607:Bold
1457:runt
1356:Page
1282:ISBN
1264:ISBN
1246:ISBN
1107:2021
1080:2021
902:and
754:and
696:The
620:The
608:and
570:and
539:and
532:).
353:doni
349:and
312:The
243:and
228:and
197:and
138:The
1242:173
788:or
700:or
414:of
347:dot
81:In
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2091:En
2086:Em
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300:,
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1893:(
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1109:.
1082:.
989:.
967:.
72:)
66:(
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57:(
43:.
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