Type classification made easy with these sixteen groups of type styles.
by Allan Haley
Oct/Nov 2005
Most typefaces can be divided into three
basic groups: those with serifs, those
without serifs, and scripts. Many more
definitive classification systems have been
developed—some with over a hundred
different categories.
A classification system can be helpful
for identifying and combining various
typefaces. While three categories—four, if
you include otherwise-unclassifi able ornamental
styles as a separate category—may
not be adequate, a list with hundreds of
categories tends to become self-defeating.
Sixteen groups of type styles are presented
here … larger systems would be subdivisions
of these 16.
Serif
Old Style
• Weight stress is at around 8 and 2 o’clock.
• Contrast in stroke weight is not dramatic.
• Hairlines tend to be on the heavy side.
Some versions have a diagonal cross stroke
of the lowercase e.
• Serifs are bracketed; head serifs are angled.
Transitional
• Axis of curve strokes generally has a vertical
stress.
• Weight contrast is more pronounced than
in old style designs.
• Serifs are bracketed; head serifs are oblique.
Neoclassical & Didone
• Contrast between thick and thin strokes is
abrupt and dramatic.
• The axis of curved strokes is vertical with
little or no bracketing.
• Often, stroke terminals are “ball” shapes.
Neoclassical and Didone Typefaces: Arepo,
Bodoni (shown), Fenice, Modern No. 216, Walbaum
Slab
• These typefaces have very heavy serifs with
no—or very little—bracketing.
• Generally, changes in stroke weight are
imperceptible.
Glyphic
• Contrast in stroke weight is at a minimum.
• The axis of curved strokes is usually vertical.
• Triangular-shaped serif design.
Glyphic Typefaces: Albertus, Cartier Book,
Élan, Friz Quadrata, Quorum (shown)
Sans Serif
Grotesque (sometimes called
“19th Century Grotesque”)
• Obvious contrast in stroke weight.
• Slight “squared” quality to curves.
• Many designs have the “bowl and
loop” lowercase g.
Grotesque Typefaces: Bureau Grotesque, Franklin Gothic, Helvetica,
News Gothic, Univers (shown)
Square
• A definite squaring of normally
curved strokes.
• Often the typeface is condensed.
Square Sans Typefaces: Cachet
(shown), Eurostile, Felbridge, Neo Sans, Phenix American, Smart Sans
Geometric
• Simple geometric shapes.
• Strokes have the appearance of
being strict monolines.
• Character shapes are made up of
seemingly perfect geometric forms.
Geometric Sans Typefaces: Avant Garde Gothic, Avenir, Bauhaus, Futura, Kabel (shown)
Humanistic
• Based on the proportions of Roman
inscriptional letters.
• Contrast in stroke weight is apparent.
• Strong calligraphic infl uence.
Humanistic Sans Typefaces: Frutiger, Gill Sans, Goudy Sans, Mentor Sans,
Stone Humanistic (shown)
Script
Formal
• Typefaces derived from 17th-century
formal writing styles.
• Many characters have strokes that
join them to other letters.
