These typefaces sought to imitate the formal hands found in the humanistic (renaissance) manuscripts of the time. These typefaces, rather round in opposition to the gothics of the Middle Ages.
Short and thick bracketed serifs
Slanted cross stroke on the lowercase ‘e’
Ascenders with slanted serifs
Low contrast between horizontals and verticals.
Examples: Centaur and Cloister.
Also called Aldine
Finer proportions than the humanists
Stronger contrast between downstroke and upstroke
The weight of the garaldes are distributed according to an oblique axis
Examples: Bembo, and Garamond.
Contrast between main and connecting strokes is marked even more than in the first two groups
Weight is distributed according to a quasi-vertical axis
Examples: Baskerville, and Times Roman.
A very strong contrast between full and connecting strokes (the connecting strokes being extremely fine)
The verticality of the characters
Unbracketed, hairline serifs
Shouts at you
Examples: Bodoni and Walbaum.
Also called mechanical, slab serif, or mécanes
Very low contrast
Rectangular slab serifs
Easier to read
Examples: Clarendon, and Egyptienne.
Combine all typefaces without serifs (called sans-serif, gothic, or grotesque)
Terminals of curves are usually horizontal
Frequently has a spurred “G” and an “R” with a curled leg
Examples: Grotesque and Headline.
Less stroke contrast
More regular design (less variation between characters)
Unlike the grotesque, they generally do not have a spurred “G”
Terminals of curves are usually slanted
Examples: Helvetica and Univers.
Sans serif faces constructed from simple geometric shapes, circles and/or rectangles.
The same curves and lines are often repeated throughout the letters, resulting in minimal differentiation between letters
Examples: Eurostile and Futura.
Relate to the earlier, classical hand written monumental Roman capitals and a lowercase similar in form to the Carolingian script.
The term “humanist” is being used here in combination with lineal to create a subcategory, and these typefaces only slightly resemble those in the humanist serif category
Slight stroke variation
Examples: Gill Sans and Optima.
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 containing a lowercase
Examples: Gothic and Trajan.
Evoke the formal penmanship or cursive writing
They seem to be written with a quill, and have a strong slope
The letters can often be connected to each other
Scripts are distinct from italic type
Examples: Shelley and Francesca.
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
Examples: Banco and Klang.
Characterized by pointed and angular forms
Modeled on late medieval hands written with a broad-nibbed pen
Examples: Fraktur and Old English.
Must include all vowels with accute accents
Uppercase and lowercase the same height
Example: Celtic and Tristram.