Penn College Graphic Design

PCT GD Style Guide - Type Classification

Type Classification

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While there are a number of type classification systems in use currently, the Penn College Graphic Design department uses the The Vox-ATypI system to organize and identify type. The system was developed by Maximilien Vox in 1954 and adopted in 1962 by the Association Typographique Internationale. The system groups typefaces according to their main characteristics, including but not limited to, serifs, stroke axis, x-height, and stroke weight. Categories often define type forms according to their historical period as printing improvements directly influenced the design of type.

Humanist

Humanist typefaces were inspired by Roman formal hand-lettering and the Carolingian minuscule. Humanist type opposed the ornamentation of Gutenberg's black letter and mimics the stoke of a broad nib pen and 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

Characteristics:

  • Caps and ascenders same height

  • Small counters

  • Jointed or crossed

  • Calligraphic inflection descending tail

  • Deep descenders/high ascenders

  • Low x-height

  • Angled bar on the lower case e

  • Heavy serifs

  • Pronounced inclined stress

  • Oblique serifs on lowercase and foot

Examples: Adobe Jenson, ITC Golden, Centaur, Californian

Garalde “Old Style”

Named in honor of type designer Claude Garamond and printer Aldus Manutius, Geralde typefaces began moving away from the influences of the broad nibbed pen, towards the sensibility and refinement of the punch cutter.

Characteristics:

  • Slanted stress   

  • Medium x-height

  • Medium contrast between thick and thin strokes

  • Oblique ascender and foot seifs

  • Bracketed serifs that are lighter than humanist

  • Horizontal cross bar of the lower case e

Examples: Adobe Garamond, Sabon, Bembo, Galliard, Palatino, Adobe Caslon

Transitional

The name “transitional” refers to the transition from Garalde to Didone or “modern” letterforms. Transitional letterforms are based on geometric structure, moving away from the calligraphic angle of previous styles, and are nearly vertical. Consistent stroke width and serifs are hallmarks of this style.

Characteristics:

  • High contrast

  • The stress is nearly vertical

  • Medium to high contrast between thick and thin

  • Slightly slanted serifs

  • Serifs are sharp and bracketed

Examples: Baskerville, Fournier, Bulmer, Mrs Eaves

Didone “Modern”

The term Didone comes from the names of type founders Firmin Didot and Giambattista Bodoni. Didones are characterized by a pronounced contrast in stroke weight, completely vertical stress, and thin unbracketed serifs. Didones lack legibility when used for body copy and work best at large sizes as display type,

Characteristics:

  • Delicate hairline strokes more pronounced

  • Vertical stress

  • Abrupt contrast between thick and thin

  • The ascender and foot serifs of the lower case letters are horizontal

  • Narrow set width

Examples: Bodoni, Didot, Walbaum, Scotch Roman, New Caledonia, Filosofia

Slab Serif “Egyptian”

The name references the blocky thick rectangular serifs that define this type style. Slab Serifs were originally created as display type to attract attention in advertising, broadsides, packaging, posters and large-scale media during the Industrial Revolution.

Characteristics:

  • Little or no contrast in the thickness of the letter stokes

  • The set is generally wide

  • The serifs are usually of the same thickness as the stem

  • Most have unbracketed square serifs with the exception of Clarendons

  • The lower case g is often single story

  • Large x height

  • Short descenders

Examples: Clarendon, Joanna, Scala, Rockwell

Grotesque “Gothic”

The Grotesque category covers the early sans serif typefaces, specifically those designed in the 19th century.

Characteristics:

  • No serif

  • Some contrast in the thickness of the letter strokes

  • Thinning strokes at junctions

  • Slight squareness  to the curves

  • Large x-height

  • Short ascenders/descenders

  • Wide set

Examples: News Gothic, Akzidenz Grotesk, Franklin Gothic, Knockout

Humanist Sans

Humanist refers to letters based on a classical model with a strong calligraphic influence. Uppercase letters are derived from Roman capitals and lowercase letters from Humanist handwriting. These typefaces pair well with Humanist serif faces as they share a common lineage that is evident in their characteristics.

Characteristics:

  • Slight contrast

  • Classical proportions to capital letters

  • Medium x-height

  • Equal length cross strokes

  • Vertical outer strokes

  • Wide lower bowl

Examples: Gill Sans, Syntax, Fruitiger, Biss

Neo-Grotesque

Based on earlier grotesque typefaces, Neo-Grotesque are designed with simplicity in mind, and typically offer many variations of weights and widths. Neo-Grotesque faces are often associated with the Swiss/International Typographic Style.Created with an emphasis on neutrality, they were extraordinarily popular among the Modernists.

Characteristics:

  • Little variation of stroke width

  • Slightly condensed form

  • High x-height

  • Minimal contrast

Examples: Helvetica, Univers, Bell Centennial, Meta

Geometric Sans

Sans serif faces constructed from repeating simple geometric shapes such as circles, squares and triangles. Geometric typefaces have removed all historical associations and influences from their design.

Characteristics:

  • Circular counters

  • No contrast

  • Geometric construction

  • Wide set

Examples: Futura, Kabel, Bernhard Gothic, Eurostile

Sources:

Hill, Will. The Complete Typographer: A Manual for Designing with Type. Pearson Prentice Hall, 2010.

“A Guide to Type Styles.” Monotype, Monotype, 12 Aug. 2022, www.monotype.com/resources/guide-type-styles.