typography blog: four

Font Classifications
_ Old Style: characterized by a diagonal stress (the thinnest parts of letters are at an angle rather than at the top and bottom), subtle differences between thick and thin lines (low line contrast), and excellent readability

• Garamond, Janson, Bembo, Palatino, Goudy Old Style

_ Transitional: sharper serifs, more vertical axis, differences between thick and thin stroke weights more defined

• Baskerville, Times New Roman, Cambria, Georgia, Bookman

_ Modern: characterized by extreme contrast between thick and thin lines. Modern typefaces have a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy.

• Bodoni, Walbaum, Didot, Computer Modern, Vertrina

_ Slab Serif: usually have little if any contrast between thick and thin lines. Serifs tend to be as thick as the vertical lines themselves and usually have no bracket. Slab serif fonts have a bold, rectangular appearance and sometimes have fixed widths, meaning that all characters occupy the same amount of horizontal space (like a typewriter).

• Clarendon, Rockwell, Courier, Egyptienne, Playbill

_ Sans Serif: oes not have the small features called serifs at the end of strokes, more used for headlines than body texts, helps guide the eye along a line of text

• Gill Sans, Helvetica, Futura, Arial, Tahoma

_ Script:  based upon the varied and often fluid stroke created by handwriting. They are organized into highly regular formal types similar to cursive writing and looser, more casual scripts.

• Kuenstler Script, Snell Roundhand, Brush Script, Kaufmann, Mistral

_ Blackletter: script used throughout western europe from approximately 1150 to well into the 17th century, heavy, not easy to read

• Airam, Albert Betenbuch, Amador, Anasdair, Archangel Body

_ Grunge: 

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_ Monospaced

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_ Undeclared

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My font: Clarendon

_ Serif
_ Robert Besley
_ 1845
_ Slab-serif
_ Black, Bold, Bold Condensed, Condensed, Extra Bold, Heavy, Light, Medium, Regular, Roman