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Gill Sans is one of the more popular sans serif typefaces. The letterforms are made more approachable through features like variable stroke widths. Humanistic sans serifs sought to retain some of the influence that natural handwriting had on the letterforms of earlier typefaces. Futura is the most notable Geometric sans serif.įutura has become heavily associated with Wes Anderson films. Their ultra-modern shapes do sacrifice legibility at smaller sizes, however. They have letterforms based on simple geometric shapes - most notably the circular ‘O’ shapes - and are very modern. Geometric sans serifs, like the Modern serifs, took the style to the edge. Rounding out the sans serif typefaces are the Geometric and Humanistic styles. Helvetica and Arial are both examples of Neo-Grotesque sans serifs. These typefaces were designed to be more legible than their earlier counterparts and generally have much plainer designs. Later in the 1900s, after the Grotesques came to the Neo-Grotesque sans serif typefaces. They were called “grotesque” due to their rejection of the more “elegant” serif design elements. These early sans serif typefaces were called grotesque or gothic fonts and included typefaces like Franklin Gothic. While serifs were the first typefaces to evolve after the original blackletters, sans serif typefaces largely came on to the design scene in the early 20th century. They’re sometimes thought of as typewriter fonts but were used much more extensively throughout the 20th century. Slab serif typefaces include Rockwell and Clarendon, among others. They have little contrast between strokes and most are unbracketed. With the advent of mechanization (e.g the Steam Press, 1814), and other important innovations in printing technology, as well as a new wave in advertising with advertisers reaching for a bold type that really asserted its presence, they were designed in part to withstand much more industrial printing processes. Slab serifs are the final evolution of the serif style. They have extreme contrast between strokes and no brackets on their serifs. These Modern serifs include fonts like Didot and Bodoni. The natural evolution of the trends present in Transitional serif typefaces became known as the Modern serifs during the 1800s. These typefaces had high stroke contrast and were more upright than their Old Style predecessors. The successors to the Old Style serifs were called Transitional serifs, which made their first appearance in the 1700s. This style includes Garamond and Goudy Old Style. Emerging in the 1500s, the first serifs were Old Style serifs.
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Serifs include slight projections that finish off the strokes of their letterforms (called serifs, where the style gets its name). The New York Times logo is a classic, ubiquitous example of blackletter type, as are many other popular newspaper titles.Īfter blackletter came the first serif typefaces. These early typefaces were reminiscent of handwritten calligraphy. The oldest typefaces were called blackletter, and date back to the 1400s.
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(This kind of information can generally be found in the commercial descriptions of the various fonts.) History of Typeface Styles Different typefaces are more legible than others at small sizes, while others are more suitable for larger type. Not all serif and sans serif typefaces are equally suitable for both body and headline copy. Monospaced typefaces are generally used for displaying code, though they can also be used for body and headline copy, and were originally used on typewriters. There are five basic classifications of typefaces: serif, sans serif, script, monospaced, and display.Īs a general rule, serif and sans serif typefaces are used for either body copy or headlines (including titles, logos, etc.), while script and display typefaces are only used for headlines. Taking time to learn about typographical elements can help any designer improve their craft and create superior finished projects. Great typography can elevate a design from “good” to “amazing,” while bad typography (or worse - illegible type) can make even the “best” designs unusable. Possibly with the exception of color, the typeface styles used in a design have a greater impact on the way a user perceives that design than virtually any other individual design element. Virtually all designers, from brand designers to UI designers to dedicated typography designers, can benefit from expanding their knowledge of typography and the classification of typefaces.