The oldest classification
system is due to Thibaudeau in the beginning the 20th century.
The typefaces are classified according the form of their serifs.
Four different cases can be in fact easily identified:
Elzeveir
|
Didot
|
Egyptian
|
Antique
|
Triangular serifs.
|
Horizontal and thin serifs.
|
Weight of serifs identical as the strike.
|
Sans serifs.
|
Palatino
|
Bodoni
|
Glypha
|
Optima
|
Garald
& Transitional
|
Didone
|
Mechanistic
|
Lineal
|
It is also possible
to classify the roman typefaces on an historical base. The Garaldes
are based on drawings of the XVth and XVIth centuries, the
Reales on drawings of the XVIIth and XVIIIth, the Didones on drawings
of the XVIIIth and XIXth and finally the Mecanes on drawings of
the XIXth.
Garald
|
Transitional
|
Didone
|
Mechanistic
|
Lowercase height is smaller compared with
capitals.
|
Lowercase height is bigger than for Garalds.
|
Lowercase height is small compared with
capitals.
|
Lowercase height is bigger than for Garalds.
|
Bembo
|
Times
|
Walbaum
|
Clarendon
|
Relatively uniform stroke widths.
|
Greater varia- tion between the vertical
and horizontal stress.
|
Strong contrast between thick and thin
stroke.
|
Little contrast between thick and thin
stroke.
|
Garamond
|
Charter
|
Modern 216
|
Bookman
|
The axe of the letters is oblique.
|
The axe of the letters is slightly oblique.
|
The axe of the letters is vertical.
|
The axe of the letters is vertical.
|
Galliard
|
Baskerville
|
URW Antiqua
|
Century
|
Sans serif typefaces
used today are all born in the 20th century. The contrast between
thick and thin strokes of these types is often small. Moreover,
the lack of serifs makes them less legible. Anyway, on a typographical
point of view, they are the incarnation of modern typogaphy and
are also widely used.
Classical
|
Humanist
|
Geometric
|
Light contrast between thick and thin
stroke.
|
Contrast between thick and thin stroke
similar as it is for the roman types.
|
No contrast between thick and thin stroke.
|
Letter Gothic
|
Gill Sans
|
Avant Garde
|
Large x-height.
|
Classical x-height (cf roman typfaces).
|
Large x-height.
|
Franklin Gothic
|
Optima
|
Futura
|
Uniform design.
|
The ’g’ is often closed. Letters are closed
from their roman counterparts.
|
The ’a’ is often designed as a loop. Letters
are inspired by geometry.
|
Helvetica
|
Syntax
|
Avant Garde
|
This category usually
applies to any typeface not fitting into any of the previous categories.
They are not very legible but are unique and highly distinctive.
American Uncial
|
Uncial:
typefaces inspired by the calligraphic writings of the 5th
century in which capital and minuscule letters are mixed. |
Fette Fraktur
|
Fraktur:
typefaces inspired by the calligraphic writings of the Middle-Age.
Not very legible for long texts. |
Vivante
|
Script:
calligraphic writing, not always very legible. |
Arnold Boecklin
|
Art
Nouveau: Inspired by the modern style (end of the
19th, beginning of the 20th). |
Stop
|
Futurist:
typefaces created in the 60’s-70’s, inspired by the Science
Fiction movement. |
Caslon Antique
|
Pop
art/Grunge: contemporary distorted typefaces. |
VAG Rounded
|
Novelty:
Unclassified typefaces. |
Zapf Dingbats
|
Dingbats:
Symbols typeface. |