- What Is Typography? 5:45
- Review: What is Typography? 5 questions
- How Typography Affects the User Experience 3:43
- Typography Terminology 6:47
- Review: Terminology 5 questions
- Different Types of Type 8:11
- Review: Different Types of Type 5 questions
- Print vs. Digital 5:49
- Review: Print vs. The Web 5 questions
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Different Types of Type
8:11Type comes in many different shapes and sizes, each with its own voice and personality. We’ll explore a few typefaces along with their letterforms to see the genres recognized today.
Now, let's look at the different
classifications or types of typefaces.
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You might be wondering
why is this important?
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Can't I just find something I like and
use it?
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Well, I'm glad you asked.
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Knowing different type genres will
help you choose a proper typeface for
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the products at hand.
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And make you a better designer.
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For instance, if you're working with
a client who wants the mood of their
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site to convey eloquence,
you need to know what classes or
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styles of typefaces
lean towards that bent.
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Or if you're designing a site that's
heavily influenced by a certain
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time period, you should utilize
a typeface that would have
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been appropriate to genres at that time.
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As I mentioned earlier,
typefaces have a mood or personality.
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The way the characters look
conveys a message to the reader.
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Knowing these genres will help up
us see how our type is talking and
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what makes it distinct.
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So without further ado, let's dive in.
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Type has been classified in different
ways over the years, but for
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simplicity's sake,
we'll look at three major genres.
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Serif, sans-serifs, and scripts,
along with their sub-genres.
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Up first, we'll look at serif typefaces.
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Like we learned from out terminology,
typefaces can have serifs on their
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letter forms, and
this would place them in the serif genre.
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Simple enough, but within this genre,
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we have a number of nuances that will set
apart different serifs into sub-genres.
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The sub-genres we'll be
covering are Humanist,
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Old Style, Transitional, Didone, and Slab.
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After the invention of the printing
press in 1450, logically,
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the creation of typefaces
shortly followed.
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Humanist typefaces arose
around the 1460s and
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1470s with strong calligraphic influence.
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Printers were creating typefaces based
on the strokes of a pen when drawing
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letter forms.
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They tend to have diagonal stress,
lower stroke contrast, and
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a relatively small x-height.
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Serifs are not as refined.
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These are not as common today, but
some examples are Jansen, Kennerley,
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and Centaur.
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Old Style came about next in
the latter part of the 15th century.
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The letter forms were getting
more refined as type and
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less influenced by calligraphy.
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We see less diagnose stress happening, and
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the serifs have also changed
to be more wedge-like.
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Some examples include Goudy Old Style,
Palatino, Perpetua, and Plantin.
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This brings us to the 18th century where
we see transitional typefaces on the rise.
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The trend of decreasing
calligraphic flow continues.
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And here, we have vertical stress,
thinner and flatter serifs,
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along with exaggerated contrast
between thicks and thins.
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Some examples include Baskerville,
Bookman, and Clearface ITC.
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Next, we have Didone typefaces
arriving in the late 18th century.
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The influence of the pen is
really nowhere to be found.
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The serifs have become even thinner
without any sign of bracketing.
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Contrast is taken to the extreme
with thick verticals and
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ultra thin horizontals.
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You might regard these typefaces as
reminiscent of the high fashion culture.
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They work great at large sizes with ample
amounts of white spaces around them.
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But as body copy at small sizes,
their serifs and
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horizontals can quickly get lost.
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Some examples include Bodoni and Didot.
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Now, we'll head in the opposite
direction with Slab serifs that
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have extremely thick slab-like serifs and
low contrast.
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These came about in the early 19th
century and were heavily used for
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headlines and advertising because of
their bold look-at-me appearance.
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Most of these are utilized at large sizes,
but
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a few have been known to also
work well in small text sizes.
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Some examples of these include Rockwell,
Clarendon, and Egyptienne.
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Next, let's move into
the new genre of Sans-serifs.
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These typefaces do not have
serifs on their letter forms or
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literally are without serifs.
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We'll look at Grotesque, Neo-grotesque,
Humanist, and Geometrics.
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In the late 19th century,
we see the rise of Grotesque sans-serifs.
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Though we see sans-serifs
as completely normal today,
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don't forget that there wasn't much of
a reference for them when they came about.
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The design of an earlier one,
Akzidenz-Grotesk,
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has actually been theorized
to be derived from Didone
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because the typefaces have similar metrics
when the serifs from Didone are removed.
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As we'll see in other genres,
sans-serifs are typically low contrast.
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Some examples of grotesque
also include Franklin Gothic.
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The Neo-grotesque then arises,
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refining some of the peculiarities
in early Grotesques.
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These are some of the more
common sans-serif typefaces, and
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Helvetica fits right in there.
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Although there is a desire for
simplicity here,
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these aren't always great candidates for
body copy because of simplicity and
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similarity in letter forms can often
affect legibility at small sizes.
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Other examples include Univers.
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Next, we have Humanists Sans,
not to be confused with Humanist serifs.
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And these get back to some calligraphic
roots with greater variations
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in line widths.
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These are often the most legible
of the sans-serif bunch.
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Hence, their popular use
as a website body copy.
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So you may be wondering
why are they more legible?
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First, the modulation of
the line thickness creates
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distinct character shapes.
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This makes it easier to distinguish,
so it's easier to recognize words.
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Second, Humanist letter forms
have wide apertures which, for
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example, helps us to avoid
confusing a lowercase e as an o.
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Examples of Humanist serifs include
Tahoma, Gill Sans, and Frutiger.
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Next, we have our Geometrics,
which are quite popular today.
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As the name implies,
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their letter forms are based on geometric
shapes like circles and squares.
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Examples include Futura,
Bank Gothic, and Gotham.
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Now, we'll move into our
final genre of scripts,
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which are typefaces based on handwriting.
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We'll subset this genre into formal and
casual scripts.
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Formal scripts are based on letter forms
from writing masters in the 17th and
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18th centuries.
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They have some contrast between thick and
thin as they were inspired by
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the way a quill or
nimble pen would handle the letter forms.
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They tend to be more elegant, and
work well for events like weddings today.
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Casual scripts are a bit freer and,
well, casual.
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They tend to be a more lighthearted or
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easygoing than their serious,
eloquent counterparts.
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The contrast can range from low to
high depending on the typeface.
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They were often inspired
by the way a brush or
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marker would handle the letter forms.
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All right, that was a lot to cover.
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I hope it helps you get to
know type a little better so
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we can make smarter choices down the road.
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Also, think about if
there is a certain genre
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that you naturally gravitate towards.
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In the next video, we'll look at
designing for print versus digital.
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