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5-1-1999
A Database of typeface classification systems Anthony Kllc Di Pietro
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School of Printing Management and Sciences Rochester Institute of Technology Rochester, New York
Certificate of Approval
Master's Thesis
This is to certify that the Masters Thesis of
Anthony C. Kllc Di Pietro
With a major in Graphic Arts Publishing has been approved by the Thesis Committee as satisfactory for the thesis requirement for the Master of Science degree at the convocation /
J
dJte
Thesis Committee:
Thesis Advisor
GrJduJte ProgrJm CoordinJtor
Director
Copyright 1999
Anthony
C. Kile Di Pietro
A Database
of
Typeface Classification Systems
by Anthony
C. Kile Di Pietro
May
A thesis
degree
of
project submitted
Masters
in the College
of
of
in
Science in
Imaging Arts
partial
the
and
1999
fulfillment
School
Sciences
of
of the requirements
Printing
of the
Management
Rochester Institute
Thesis Advisor-Professor Archie Provan
for the
and
of
Sciences
Technology
I, Anthony C. Kile Di Pietro, thesis,
either whole or
in
wish
part.
to
be
contacted
My permanent
[email protected]
for
requests
e-mail address
for
is:
reproduction of this
Acknowledgements
The
author would
the research and
like
to
acknowledge
development
Professor Archie Provan
of
of
the School of
of the
Professor David Pankow
the
The Di Pietro
and
Kile
of
of
the
following
people
for
assistance throughout
their
this thesis.
Professor Marie Freckleton
Professor Frank Romano
the
School
School
Printing
of
of
School
Management
Printing
Printing
of
Printing
Management
Management
Sciences.
and
and
Sciences.
and
Management
Sciences.
and
families, especially Kathleen Di Pietro, for her
Sciences.
in
assistance
compiling data.
Mary
Jane Ireland
Kennerley
And
type
duties
the Lanston
Type Co. Ltd., for the inclusion
of
the
Goudy Thirty
and
families.
most of all,
and patience
at
my very dearest
during
than were
this
her due
long
thanks to
period of
during the
Kimberly
Kllc-Di Pietro for her
production, and
for her
assumption of
two-year course of this thesis.
iii
love,
support,
many
more
Table
of
Contents
V1
Abstract
vn
Endnotes for Abstract
Chapter
1
a
Introduction
Endnotes for Chapter
Chapter
3
1
2
Background
and
4
Significance
Endnotes for Chapter
7
2
Chapter 3
Review
of
8
Literature
Endnotes for Chapter 3
11
Chapter 4
12
Hypothesis
Chapter 5
J3
Methodology Chapter 6
16
Results
Chapter 7
Summary
and
Conclusions
17
18
Bibliography iv
Appendices
Appendix A: Typeface Classification Systems Used
Appendix B: Classification System Not Used
21
47
Illustrations
Sample Screens from
the
Typology Database
52
Abstract
Since the turn
tem
not
of
typeface
been
in use,
styles
to
specifics
this century, there
classification.1
a serious effort
The
are
of
purpose of
and
to
aid
each of
bring them
an
the user
as well as
is
to
database
the
grouping
fields
has been incorporated
typographers
has its
for comparison,
identify
pros and
cons, there
and
in
the sub classes of type
the user to
listing
input identification
of
typefaces,
glyph and style
to those
in
the
designers,
as
both
vi
has
those classification systems which
to compile a
to aid
a succinct sys
cross-reference and analysis.
which maps
allows
develop
systems which meet specified criteria.
This database may be significant,
marketing,
these systems
together
a series of predetermined
and
numerous attempts to
illustrative database
Additionally,
names, characteristics,
gy list to
While
this thesis project
develop
each other.
into
to
have been
field
of
digital
alternate
A terminolo
identification.
type creation and
an educational and reference
tool.
Endnotes for Abstract
1
.
Gordon Atkins ARCA MSIA, The Classification of Printing Types England: Apple Barrel Press, 1975,) Introduction.
vii
(Oadby Leicester,
Chapter 1
Introduction
When the
and
to
be
a need
for
substitutions and
were plummeting.
not pressing.
digital
in
the
early
any kind,) it
Fortunately method
for
Annex-A is
the
and
for
that there
aside
is
the
digital
new
classification systems
had
interest,
issue
of
became involved in
(referring
a clear need
to that
of
long been
in
font
substitution was
publishing,
and more
copying fonts for distribu
tor digital font
substitution.
typefaces at the machine
type classification system,
has been
enable
to arise.
and substitution of
and
To
afford, the standards of type
International Standards Organization has already
also a comprehensive
era.
adapted
to
include
proposed a
level. The
incorporating
such
writing
all
iso 9541
historical
scripts as
Arabic,
Han.
One
of
two or
the problems
more
arising from
individuals
classification system.
Confusion
naming issues
grouping
styles of western
began
type
spread, there
the 1980's the
as more and more people
seems
the
part of
define
to
"explosion"
almost anyone could
technology
a rush
the
typeface classification standard
Certainly
and
1980's, there was
digital front-end. As
type was produced, problems
tion of
when
the
late
the
document format integrity,
However,
Copyright
Greek
at
the advent of
and with
place,
a
hit in
explosion
publishing
typographic parameters
appeared
font
desktop
Up
are
working
until now,
can and will arise.
the
Fonts
lack
with
of a standard classification system occurs
type and are each
there were no standards
will
be
incorrectly
familiar
in place,
with a
different
or even proposed.
substituted, type
families
and stvles
will
be
misused,
standards of
and
typography
will continue
to
degrade in
quality are, typographically speaking, lower
quality.
than
they
In fact,
the accepted
were twenty-five
years prior.
Ifa
other, those individuals
could
be
developed
reference system was
for
avoided, and
improving
the
type,
specifically
more
cal/historical
ability
to
begin
could
the
information
map
and understand
cross-referencing
can
be
the
the various
classification systems
to each
reach a common understanding, much confusion
beginner, learning
discern
the
to
to
could
type
be
accelerated with a
and
typography.
The
tool geared at
classification of
of classification systems and related typographi
foundation
of this education and common
understanding.
It is
a subject where
still controversy.
beginning at
there are areas of general agreement and others where there
Systems have been devised
the start of this
century.1
and proposed
by
individuals
over a period
is
Endnotes for Chapter 1
1.
Gordon Atkins ARCA MSIA, The Classification of Printing Types England: Apple Barrel Press, 1975,) Introduction.
(Oadby Leicester,
Chapter 2 Background
Classification systems,
They
century.
were
previously stated, have been in
as
chiefly
used
by
those
working
by
Lawson,
a classification system which addressed
type enthusiasts
and print
classification)"1
seemed
makes a point
by
in his
to
textbook
be
Printing
can
and engineers
I. B. Liebermann
with
the inevitable
result
nine main categories,
for
any
.
.
[of]
a
to the
need
very
for
the
tity.
From the
oped
to
groups.
a classification
has
Style
of the
identify
on the
for
Lawson
a rational method
direc
compositors, printers, art
to classify
letterforms."2
"every
face
conceivable
primary divisions
two
classes and a
to
be
is
hundred
the
as obvious in
taught
Winter
nineteenth
by
printing
some people and
diverse
and
styles."1
or more
of 1971 addressed
as
it is in
learnt
by
botany
others,
in style and numerous
century the range of type
specific groups of
in
quan
designs devel
English-speaking
designs
and
apply
names to
America.) Venetian
Jenson type. The
those
world, the principal groups of text
Old Face (Old Style in America,) Transitional, Modern
(Modernized Old Style in
faces based
exists
own.
the type-founders and the writers of trade manuals
Until recently, in the
types were called:
his
novice:
such an extent that
found it necessary to
create
complex system with
into thirty
(to
a systematic approach
the need
attempted
of the subject are
beginning
to
the case of Alexander
multiple styles of
"materials"
the
for
from the Visible Language in
other subject which
and where
in
some, as
bibliographer,
hand,
subdivided
an article
classification
The or
.
further
Walter Tracy, in
the need
on the other
type, (typographers, designers, etc.,)
need
.
.
the turn of this
regular use since
enough reason
work with
quickly
"the
Types that ".
students,
which everyone concerned
tors,
logical
a
with
historians. For
and also
type
Significance
and
and
was sometimes used to
main groups of
display
Old
describe
types were named
Script, Sans-serif, in
occasional
It is
not a stretch of
system would solve
system
works,
many font
preparing for
of
Typology
Database.
Egyptian
the
typographers,
easy way
The
and
iso 9541
which are
in
Antique,
imagination
graphic
to
see
However,
conflicts.
designers,
Blackletter (under
with
Annex-A is
still
in
how
without a guide
They
the process of
In fact,
a seamless
houses
pre-press
the substitution system.
upon ratification of iso 9541 parts 1-7.
tems
or
various
aliases)
use.4
can now
digital font
to
how
or
substitution
why
such a
and printers would
be better
implementation
have
the
prepared with
and will
be in
no
effect
there are over seven other classification sys
use, some more than others.
(This
causes much
disagreement
over what
"style"
of
type one
Previously, under one root, so
Additionally, teristics of
a
is referring to.)
there
had
not
been
a serious effort to
bring
these classification systems
that a user might examine all the classification systems at once.
there was
typeface
not an
interface
which
had
the
which would allow a user access
flexibility to a
define
to
database
of
specific charac
matching
criteria
for
comparison and analysis.
A database
compare all of the
of classifications systems seemed
pre-existing
systems
in
an
easy to
to
be
use
a
logical
step.
interface. Such
One
a
which would
database
eventually be incorporated
as a
front
tion, font
font
substitution one combined and effective process.
replacement and
end
to the substitution system,
making font
could
classifica
The
the graphic
of great
average user would
designer,
this
designer
need
to
work
for
provide such a
cance of such an
for
a
and pre-press
system,
classification
undertaking
key
in
or alternate typeface.
user can ascertain what
The
Database
is
of
key
to
either way.
house
But for the typographer,
it
or commercial printer,
is
apparent,
however, it is
to provide an
would
nothing has to be
conventions.
the
By looking
In
desired
re-learned.
at all
the
thus
resulting in
a
The
be
the
intent
By
signifi
of classification
has
flexibili
the
decisive
classification systems at
importance to typeface
have
database
addition, the user
style,
not
alternative solution.
a user can now access a
define
classifications systems which
are
rather
systems,
naming
specific characteristics
desired
but
is obvious
systems which provide alternate
to
very little
comprehensive classification
comparing the existing
ty
affected
impact.
The
of
type
be
search
once, the
classification.
far been incorporated into
listed in Appendix A The Typeface Classification Systems,
of
the
Typology
this thesis.
Endnotes for Chapter 2
1.
Alexander S. Lawson
with
Beacon Press, 1971, 1990,)
2.
Alexander S. Lawson
with
Beacon Press, 1971, 1990,)
3.
Dwight Agner,
Printing
Types (Boston, Massachusetts:
Printing
Types (Boston, Massachusetts:
55-
Dwight Agner,
59.
Gordon Atkins ARCA MSIA, The Classification of Printing Types
England: Apple Barrel Press, 1975J
33.
Classification,"
4.
Walter Tracy, "Type Design
(Oadby Leicester,
Visible Language v,
1
(Winter
1971): 59-60.
Chapter 3 Review
In
this thesis
some ways,
method of
its design. Most
ers, or on conventions
tion systems) point.
Gordon Atkins is
work
dent
more
already will
be
completed
able
other systems were
the specifics
to make
pertinent,
at
people
up their
the
outlined
by
own mind,
based
were
there are
better
even
century."1
than the
He
least partially
best
reaching
It
presents
but adding
on oth
prove a
say ".
we
have and
.
but
now,
.
by
individ
The future
with
the
A.F. Johnson, the
stu
an accurate
them
has
the advantage of
all at
once, not
knowledge
to that
the
classifica
and proposed
cover part of or the entire spectrum of
others.
the
necessary to
goes on to
like [Daniel Berkeley] Updike plus
at
in
areas of general agreement and
Systems have been devised
various classification systems
attempting to
classification systems
and embellished when
the start of this
possibly
by
existing
in industry. The designers (of
a subject where
to follow the subject,
Comparing
uses
agreed upon
still controversy.
alphabets,
to the
the classification systems
"It is
writes:
Literature
bears similarity
what was
beginning
uals over a period
bring
of
generally
borrowed
others where there
will
project
of
hindsight. Where
type, this
system
only allowing the
user
of type classification at
the same time.
While
not
listed
as one of
the Type Classification
Merriman's ATA Type Comparison Book is
styles, such as the
written
in
the
many
days
varieties of serif
of photo
of work
in the
foundry
produced which
groupings of
typesetting,
an excellent source
In the
for
the comparison
faces for
general composition.
and was
distributed freely. It is
type, providing
type.
Systems in this thesis, Frank
not
only
type specimens,
among
This book
an
but
was
important
piece
notes on which
editors own words, the text makes the
"...
compari-
son and
identification (of type) relatively
Daniel
invaluable
It does
Berkeley for
reference
Updike's text,
anyone
history,
we put a
in
.
.the
wholly amusing
interested in the
the
study
process
development
Printing
if it is
to
from be
survey
He
of type.
remembering
a
fresh
point of view
"It's
to say,
of
.
.
.
a good
points out that no
and
our
relearning
will
the system of
explaining his
satisfy
all
research was
international Lypc
thing
to
.
Those
value of
beside
know
.
.
no
study is
any detailed
the mark or
about
for
a
Systematic
outlines several of
the
own classification system.
demands
done using
considera
ingredients
Approach7
the
it
is
find; but
destructive."
nomenclature and measurement
the need
ever a
who seek will
the names and relative proportions of
about
understood
the
will seem either
diverse. Perhaps sifying types is obviously
Major
study
in
of
early
today."
use
to type,
and
and
the
"The methodology
of clas
too much to expect that a system will
made on
be
it."s
several encyclopedic
texts,
in
classification systems
Industrial Standard, including the Vox System, the British
mention
developed that
an
of printing, type and typography.
a serious training.
Types: An Introduction he
this thesis,
to
types
of
type-metal;
Alexander Lawson
not
Use, is
and
provide an enormous amount of
by
our typographic concerns,
goes on
ancient and modern
in
serious
reader skeptical of results and critical of
Mr. Updike
his book
history
Updike does
basis for any
tion of type-forms, such a
types and the
Types-Their History, Forms
true perspective on the type of today/
.
to the
is
which
matter where we are at
ATypI,
Printing
not provide a classification system.
factual information,
used
effortless."3
including Rooklcdge's
Finder, American Metal Typefaces of the Twentieth Century,
and
the
Encyclopaedia of Typefaces. Rookledge's International Type Finder,
Rookledge
particular
provides a unique if not
typeface
is, but for
typefaces to provide
of
fonts is actually very
for
specimens within
clear and
this
thesis, it
the
database
labor
typeface showings
the project,
the
but
in
will
of
love
publication.
in fact
ornamentals
methodical, alphabetic way,
data
on
"virtually
McGrew, is
This text
remain one of
continuation of work on
torical
Mac
by
the database
for ascertaining
typeface showings.
the same with the serifs
the most
was not used
in
together
what can
designed
as well as some
It's
organization of
a natural time
called a
American
complete collection of
the main sources for
metal typeface
for comparing
only be
until near the end of
historical information for
has been
completed.
Mac McGrew lists the specimens, designers,
every
tool
what a
and sans serifs.
extensively
once the thesis
Gordon
in the database
American Metal Typefaces of the Twentieth Century, in
comprehensive
and
was used as a
some of the types
concise, putting
doing
progression, as well as
cumbersome method
purpose of
alternate names
the actual scanned
based
the
slightly
Christopher Perfect
by
or produced
In
a
very
and pertinent
his
in America in the
century.""
twentieth
The Encyclopaedia of Typefaces
Typology
extensively throughout the design
Database. The Encyclopaedia contains, among
last century
that were
Jaspert thoroughly
what year
was used
produced
covered such
in England
details
the types were released
Encyclopaedia of
Typefaces,
in,
organizes
as
and
Europe. The
things, many types
authors
designers names,
the
as well as
the type
other
providing
by
where
of
Berry, Johnson
they
were
good specimens of the
definitive
of the
the
and
from, type.
and
The
type style.
10
Endnotes for Chapter 3
1
.
Gordon Atkins ARCA MSIA, The Classification of Printing Types
(Oadby Leicester,
England: Apple Barrel Press, 1975,) Introduction.
2.
Gordon Atkins ARCA MSIA, The Classification of Printing Types
(Oadby Leicester,
England: Apple Barrel Press, 1975,) Introduction.
3.
Frank Merriman, A.T.A. Type Comparison Book (U.S.A.:
America, Inc., 4.
Daniel
1965'
Daniel
Berkeley Updike, Printing
Types-Their History, Forms,
Daniel
Berkeley Updike, Printing
7.
Alexander S. Lawson,
Press, 8.
Use-A
1951)
and
University Press,
Use-A
Study
In
In
Study
In
xl.
Use-A
1951)
Study
xxxv.
Printing
Types: An Introduction (Boston, Massachusetts: Beacon
Printing
Types: An Introduction (Boston, Massachusetts: Beacon
1971) 33.
Alexander S. Lawson,
Press, 1971)
9.
of
1951) xl.
and
University Press,
Types-Their History, Forms,
Survivals (Cambridge, Massachusetts: Harvard
and
University Press,
Berkeley Updike, Printing Types-Their History, Forms,
Survivals (Cambridge, Massachusetts: Harvard
6.
Typographers
Introduction.
Survivals (Cambridge, Massachusetts: Harvard
5.
Advertising
41.
Mac McGrew, American Metal Typefaces of the Twentieth Century, (New Castle,
Delaware: Oak Knoll Press, 1993)
viii.
11
Chapter 4
Hypothesis
A database
ing
type
iso 9541
or similar system could
classification systems.
Annex
The database
A,
a system
could
The
be designed
the intended
augmented
typeface showings and technical
facilitate
the cross-referencing of
classification systems could
designed for
be further
to
by
be
purpose of
providing
referenced against
digital font
additional
exist
the
substitution.
information
such as
details.
12
Chapter 5
Methodology
In
font
anticipation of a
cation system
clearly
database
comprehend
knowledge
tion.
find
Users
out
typeface
systems
of
would aid
the many
The database
ous
substitution computer
should
true or
will
fields
that the
The
alternate name.
be displayed
database
was
involved in working
tolerant of the novice,
thought that a font
with
type so that
but designed for
they
classifi
could
those with a previ
are provided with words and graphics
will either enter parameters
its
it
subtleties and variations of type.
be
type. Data
those
program,
to search
At the
for,
to
aid
or the name of a particular
choice,
as well as where that typeface
all characteristics of
fits into
the various
the
in
selec
face to
found
classification
explores.
characteristics which
have been built into
the
Typology
Database (when
possible) are:
Design (when appropriate)
a.
Typeface Designer
and
Year
c.
Country
Origin
and
Type Foundry (when appropriate)
e.
Alternate Name (when appropriate)
f.
Key
g.
of
of
Characteristics
Brief Historical Background
h. Type
style classification under:
a. iso 9541
b. Alternate Classification Systems
13
The
access
with
database has been designed
information
the
trouble
proposed
quickly
relatively little
they
what
need, and
In this section,
trouble.
base for its intended
purpose of:
beginning
a
"user"
a
Experienced
background knowledge
of
type and
background knowledge
of
type and typography.
The existing typeface
other.
The
iso 9541
The database is
images
key identifying
of
the use of the
others
database
an
possibly
eliminate
beginner
have
to
able
no
navigate
using the data
means someone with a
relatively little
have been
systems
mapped
or no
to each
database. The database has been built
have been
to
mapped to the standard.
primary
grouping
X-axis. The
characteristics relative
and
be
as someone
versus someone with
follows. The
it along
following
versus
the
standard of
structured as
with
user should
is defined
grouping
systems, and all of them
Annex-A,
the
typography
classification or
Annex-A is the
compare classification
experienced user should
typeface classification system comparison; typeface sub
and character recognition.
stitution;
An
with minimal prompting.
finding
and structured such that anyone can
display
to the typeface.
the potential
for
system
is the
could also
The images
iso 9541
feature
will
facilitate
confusion with regards
to
typographic terminology.
Typeface terminology
glyph.
They
have full
will
be
be displayed along
comprehension.
search a user could
The
will
take
user enters
An
used
to
identify
the
distinct
and separate parts of each
with graphic representations so
example
to
explain
the
different
the novice user will
approaches
to a typeface
follows.
into the
main screen of
the
database
"enter"
field. When
the
key
is
pressed, the screen will
display
Bold,"
"Goudy
in the
"Typeface"
the major classification systems
14
and
how they
Bold
will
each
classify the
be displayed, both graphically
Additionally, for
font. The
that
typeface.
a user could enter
search would
display
Also,
the
defining
primary
characteristics of
Goudy
and verbally.
the name of
a
font
an alternate name
which
for
is
an alternate name used
Goudy
Bold. When
possible,
alternate names are provided.
In summation, the database a.
An
exemplar
(Some
It
thesis
is
Cross-map
c.
Defining
by
be
is
stated at
possible
for
each iso 9541
only
place
group, (when
holders
at
available).
this time.)
of classification systems.
Characteristics for typefaces, (when
no means meant
such a system
typeface
categories are
b.
should
will provide:
this point that the
to
be
database
comprehensive.
to create, as
It
will
well as relevant and
available).
created
for
the purposes of this
function primarily
to show that
important.
15
Chapter 6 Results
The
Database
Typology
each portion of
The
m eant
be
to
mncction with
database
the
Typology viewed
can
the
database
Database
only in
to
built
each
are
printed
printed,
of topical
listed in Appendix B
to
be
used
form, however
can
be
a
visually
in its
as a separate
portion of
the thesis,
database from the
other, and that will
because
was
built.
Typology
allow either or
Partly
to facilitate the
there was not, prior to
form, making
which
printouts
of this thesis.
native,
from
prints
digital form. It
the
database
powerful combination.
both
to
which
is not
used
in
Portions
typefaces,
alterations
to the
it's
con-
of the
type-
the mam
focus
of
grow or
be
a third
altered while
database,
the thesis,
are relational
maintaining
the iso 9541 Annex A
completion of
the other
databases,
and
any English
copies of
the Annex
A in digital
creation,
original
is
Database. These databases
the two databases. Additionally, consistency between
database
interest. Sample
customized reports of specific
including
database
possibilities of a
histories.
The cross-referencing
was
demonstrate the
is meant
digital database
be easily
styles, and type
to
Type Classification Systems
would cross-reference
from
was created
document time consuming
and
low
partly
quality.
16
Chapter 7
Summary and
The
body of work
objective of this
sification cross-reference
Annex A.
could
be
By
made
The
designed
the
cross
for
referencing type the
final
facilitate
to
to grow
larger
a
further
the
potential
for
Another
implemented
substitution
ratification of the iso 9541
database
by
area
the
of
proof
to the iso 9541
interest,
a case
Annex A.
demonstrate
that a
this
of type classification
breadth is
database
not meant to
systems,
could
not
be
to
be completed,
that these classification systems can
typeface samples, this
historical data
tor
interested
and
can
defining
that could
be
be done
characteristics
rather
it is
into
little disagreement. The
for
each specimen show
the
the
database, making it
the classification of types.
explored is
The
be cross-referenced,
tool as well.
the potential
W3C Committee into cascading
and perhaps even
with
parties will continue to work on
other studies
to occur on the web.
implementation,
typeface clas
as more and more specimens are added.
that
a source of reference
being paid
of a
classification systems of current topical
a powerful reference and educational
Hie hope is
functionality
with particular attention
cross-referencing
addition of
additions of
the
"complete"
the
The database itself is
and with
demonstrate
scope of this thesis project was to
database. Indeed,
meant
database,
was to
Conclusions
Typology
displayed
style
Database
for
the iso 9541 Annex A to
sheets,
could
allowing
be
used
to
automatic
facilitate
be
font
this
as a reference web site.
17
Bibliography
is
Bibliography Apicella, Vincent F, Joanna V. Pomeranz
and
Nancy
G. Wiatt. The Concise Guide
Identification. New York, New York: Tab Books,
to
Type
1975.
Atkins, Gordon. The Classification of Printing Types. Oadby Leicester, England: Apple Barrel
Press,
Bauermeister, Benjamin.
1975.
A Manual of Comparative Typography-The PANOSE System.
New York, New York: Van Nostrand Reinhold Company,
Berry, W. Turner, A.F. Johnson
and
W.P. Jaspert. The Encyclopaedia of Type Faces. New York,
Toronto, London: Pitman Publishing Corporation, Biggs, John R. An Approach
198S.
1962.
London, England: Blandford Press,
to Type.
Brady, Philip. Using Type Right. Cincinnati, Ohio: F&W Publications,
1949.
1988.
Bringhurst, Robert. The Elements of Typographic Style. Point Roberts, Washington:
Hartley
& Marks, 1992, 1996,
De Vinne, Theodore L. The Roman Theo. L. De Vinne &
Co.,
1997.
Italic
and
Printing
Types. New York, New York:
1891.
Dowding, Geoffrey. The History of Printing Types. Clerkenwell London EC1, England: Wace & Company Ltd.., 1961. Frazier, J.L. Type Lore J. L. Frazier,
Heller, Steven
and
-
Popular Fonts of Today, Their Origin
on
the Edge: Type In the Digital Age. New
New York: Van Nostrand Reinhold,
Printing
Beacon Press,
Lawson, Alexander S
Use. Chicago, Illinois:
1925.
Anne Fink. Faces
Lawson, Alexander S.
and
Types: An Introduction. Boston, Massachusetts:
1971.
with
Dwight Agner.
Massachusetts: Beacon
Press,
Lawson, Alexander S., Archie Provan Identification.
York,
1997.
Printing
Types: An Introduction. Boston,
1971.
and
Frank J. Romano. Primer of Typeface
Arlington, Virginia: National Composition Association,
1976.
19
McGrew, Mac. American Metal Typefaces of the Twentieth Century. New Castle, Oak Knoll Books, 1993. Merriman, Frank. A.T.A. Type Comparison Book. U.S.A.: Advertising Association of America, Inc., 1965. Provan, Archibald D.
1961.
Proposed Systems
Rochester Institute
of
Technology,
of
Typographers
Typeface Classifications. B.S. thesis,
School
of
Printing.
Thibadeau, F. La Lettre d'hnprimerie. Paris, France: Au Bureau de l'Edition, Tracy, Walter. "Type Design Winter
Classification."
Delaware:
1903.
Visible Language, (Volume V, Number 1,
1971): 59-66.
Updike, Daniel Berkeley. Printing Types-Their History, Forms and Use-A Study In Survivals. Cambridge, Massachusetts: Harvard University Press, 1951. Will-Harris, Daniel. Type Style; How
to choose and use type on a personal
Berkeley, California: Peachpit Press,
computer.
1990.
20
Appendix A
Typeface Classification Systems Used
21
Appendix A
THE DE VINNE SYSTEM Developed
by
New York,
1900.
Theodore Low De Vinne,
The Roman Form Old Style
of
published
by
The
Century Company,
Type
and
Modern Face.
Modernized Old-Style Modern Faces
Fat
of
face;
Roman Letter
Modern Bold-face; Scotch-face; Condensed French-face;
Compressed-face; Round-faces; Fight faces,
etc.
Italic Types
Old-Style italic; Modernized Old-style italic; Inclined Roman. Fat Face
or
Title-Types
Early Fat-lace; style
Modern Fat-face; Condensed Titles; Expanded Titles;
Old-
Titles.
Black-Letter
Pointed Black
and
Round Black; German
Schwabacher; American
styles of
styles of
Black; Saxon
and
Black-Letter; Fraktur
and
Anglo-Black.
Gothic
Condensed; Lining Gothic; Eccentric Gothic; Inclined Gothics. Antique Types
Runic
Old-Style
and
and
Celtic
Celtic
and
Italian,
also
known
as
Egyptian.
Doric Antiques
and
Runics; Latin Antique; Clarendon.
22
THE VOX SYSTEM Developed
by Maxinulien Vox, France,
1954.
1 Humanes
Roman type derived from
the
humanist
manuscript
hand
of the
fifteenth
century.
2 Garaldes
French types developed
during
the
sixteenth
century, e.g.
Garamond.
3 Reales
Eighteenth century types,
e.g.
Baskerville.
4 Didones
Late
century types,
eighteenth
e.g.
Didot
and
Bodoni.
5 Incises
Types
first
modeled after
and second
century letterforms.
6 Lineales Symmetries
or
Sans
Serif
originally
called
Simplices.
7 Mecanes
Types
exemplified
by
square serifs, e.g.
Clarendon, Egyptian,
slab
serifs,
etc.
8 Scriptes Scripts
or types
based
on
writing
styles produced
by
brush
or pen.
9 Manuaires Twentieth century types designed
sarily
imitating
the
on the pantograph machine, not neces
past.
23
THEATYPI SYSTEM Association Typographique Internationale, Paris,
1961.
1 Humane
Fifteenth century
romans.
2 Garalde
Sixteenth century French
types.
3 Reale
Transitional types. 4 Didone
Modern types
such as
Bodoni.
5 Mecane
Square
serifs.
6 Lineale Sans
serifs.
7 Incise
Types
with wedge-shaped serifs.
8 Scripte Cursive types based
on
handwriting.
9 Manuaire
Display
types.
10 Fractura
Blackletters, originating in
northern
European
designs, pre-dating the invention
of moveable type.
24
THE DIN SCHRIFTEN SYSTEM
Developed
by Hermann Zapfi
1959.
1 Roman 1.1 Renaissance 1.11
Early
1.12 Late 1.13 Modern 1.2 Baroque 1.21 Dutch 1.22 English
1.23 French 1.24 Modern
1.3 Neo-Classic 1.31
Early
1.32 Late 1.33 Newspaper 1.34 Modern 1.4 Free Roman 1.41 Jugenstil 1.42 Serifless 1.43 Individual form
1.5 Linear
1.51
Early
1.52 Modern
1.6 Block Roman
5
1.61
Early
1.62 Late
1.63 Modern 1.64 Typewriter 1.7 Script
1.71 Broad 1.72
pen
Flexible,
1.73 Strokes 1.74 Brush
pointed pen
of equal
thickness
script
2 Black Letter 2.1 Textura 2.2 Rotunda 2.3 Schwabacher 2.4 Fraktur 2.5 Kurrent 3 Non-roman Characters 3.1 Greek
3.2 Cyrillic
3.3 Hebrew 3.4 Arabic 3.5 Others
26
THE NOVARESE SYSTEM Classificazion Dei Caratteria, LI estetico, Aldo
Novarese,
carattere: sintesi
stonca, classificazione, accomento
1957, Italy.
1 Veneziani Venetian types originating in the
15th century.
2 Elziviri
Renaissance types. Shown in the development
used
by
of 18c. and 17c. types
the Elzevirs.
3 Transizionali
Typefaces inspired
by
the
Remain
on
Roi
1693-1755.
Fournier, Baskerville.
4 Bodoniani
Typefaces
with
strong
vertical stress as
by
Bodoni
and
Didot.
5 Egizani
Egyptian types. Slab Serif letterforms. 6 Lineari All linear
forms;
the Sans Serifs from
19c. onward.
7 Lapidari
The
engrave effect of
the chisel
based
on
Inscriptional Capitals
including
Latins. 8 Scritti Various forms based
on
handwriting.
9 Fantasie
Fancy types. Mainly
from late
19c. and
Art Nouveau Movement.
10 Medioevall All forms
of
Gothic Blackletter letter.
27
11 Ornati All types
bearing
applied
decorative
ornament.
Although conforming to the Vox system, Novarese has cation
bered o
terminal stroke forces under nine
of serif and o to
Sans
produced an
headings,
interesting classifi
printed
below,
num
8.
serifs
1 Grotesques
and
ordinary
2 Modified monoline, 3 Differential
monoline sans serifs
sans serifs
sans serifs
4 Sans
serifs with
5 Sans
serifs with cuneiform main strokes
the terminations of the
main strokes cut
obliquely
I Rectangular Forms 1 Unbracketed
2 Bracketed 3 Slab
slab serifs
slab serifs
serifs connected to
the
main strokes
by
an oblique
line
rather
like
wedge-shaped serifs
4 Trapezoidal
5 Prominent
slab serifs
slab
serifs, thicker than the main strokes
2 Angular Forms 1 Symmetrical, 2 Strokes
slender wedge-shaped serifs
and serifs of cuneiform
design
3 Mono-angular forms 4 Strokes
with
slightly
angular terminations
28
3 Curvilinear Forms 1 Irregular
curvilinear serifs
2 Symmetrical
curvilinear serifs
3 Round, bulbous 4 Mixed-line
serifs
5 Concavo-convex
6 Cuneiform
serifs
serifs
strokes and curvilinear serifs
4 Graduated Forms 1 Bracketed
or graduated serifs
2 Short bracketed 3 Fine,
long bracketed
4 Cuneiform 5
serifs
Contrasting
serifs
strokes and
Short,
serifs
Forms
1 Unbracketed hairline 2
bracketed
unbracketed
serifs
hairline
(Modern) serifs
(Modern)
3 Unbracketed hairline serifs, very thick 4 Unbracketed hairline serifs,
(lighter
variant of
Fat
5 Unbracketed hairline
main strokes
(Fat Face)
medium weight main strokes
Face) serifs and cuneiform main strokes
6 Scripts Scripts
1
pencil
2
pen scripts
3 brush 4
scripts
charcoal scripts.
29
7 Black Letters 1 Textura 2 Schwabacher 3 Lettre Batarde (pointed black 4 Feye-humanistica (semi
letter)
black)
8 Ornamental Letters 1 Flourished, filigree letters
2 Ornate letters (floral 3 Ornamental letters
designs,
similar
to
etc.)
an architectural style
30
BRITISH STANDARD Typeface Nomenclature
2961
Classification,
and
1958.
1 Humanist
Formerly known
as
Venetian. Derived from
means of an obliquely-held
broad
15c.
Minuscule
written
by
pen.
2 Garalde
In the Aldine
and
Garamond
tradition.
Formerly called
Old Face
and
Old Style. 3 Transitional
Influenced
by
letterforms
from Garalde
transition
of the copperplate engraver.
to
Didone,
having
Regarded
characteristics of
as
both.
4 Didone
Typefaces developed
by
Didot
and
Bodoni.
Formerly
called
Modern.
5 Slab Serif
Typefaces
with
heavy,
square-ended
serifs,
with or without
brackets.
6 Lineale
Sans Serifs
which can
be divided into four
groups
Grotesque;
Neo-
Grotesque; Geometric; Humanist. 7 Glyphic
Typefaces
which are chiselled rather than calligraphic
in form.
8 Script
Typefaces
that
imitate
cursive writing.
9 Graphic
Typefaces
written,
whose characters suggest
including Black
that
they have been drawn
rather
than
Letter faces.
31
THE JOHNSON SYSTEM Developed
F. Johnson, 1932, England.
by A.
The historian A. F Johnson of the British Museum, Department of Printed Books,
first
suggested a
title to account for those roman
group
had been generally
convenience
classified with
'Old
faces of the
style'.
He
1900's,
named this
for
which
group
who
20th
century Romans. His
has,
1934
system
Published in his
apart from
important. It is that
dent,
are
all the
reason
terminology
of scholarship,
mental picture
detailed in his book is
of the as
their
style referred
etc.
No
History
and
Development,
another aspect almost as
is that with which
familiar; Gothic, Venetian, Old Face
immediate
tem
the obvious
book; Type Design,
typographers, printers,
stu
confusion is created and an
to comes to
mind.
His
classification sys
follows:
1 Gothic Types
2 Roman
The Venetian
and
Old-face group
3 Modern Face Roman 4 Old-Face
in
the Victorian
Age
5 Italic Old-Face
6 Italic in the 18th century 7 Script Types
8
Early Advertising
Types
Fat-Face, Sans
serif, Egyptian
32
THE LAWSON SYSTEM
by Alexander S.
Developed
Lawson,
1959,
Boston.
1 Blackletter
2 Oldstyle
a.
Venetian
b. Aldine-French c.
Dutch-English
3 Transitional
a.
Direct line
b.
Legibility
c.
Contemporary
4 Modern 5 Square Serif
6 Sans Serif 7 Script-Cursive
8 Display-Decorative
33
SOL HESS Developed
by Sol Hess,
1956, United
States.
1 Roman
a.
Oldstyle
b. Modern 2 Sans Serif 3 Antique 4 Gothic 5 Title
6 Italic
34
THIBADEAU Developed
by F. Thibadeau,
1903,
Paris, France.
L'Antique L'Egyptienne Egyptienne Anglaise Les Italiennes
Le Romain Elzevir Les Latines Les Monumentales
Les De Vinne Les Helleniques Le Romain Didot Classique Didot
35
BRINGHURST Devoloped
by Robert Bringhurst,
1992, England.
Renaissance Baroque Neoclassical Romantic Realist
Geometric Modernist Lyrical Modernist
Postmodernist
'
36
!
ISO
9541
Uncials
1.0
Single Alphabet
1.1
Blackletters
3.0
3.1
Formal
1.1.1
Sans Serif
3.1.1
Sans Serif
1.1.2
Serif
3.1.2
Serif
3.1.3 Sans
Duplex Alphabet
1.2
1.2.1
Sans Serif
1.2.2
Serif
3.1.4
3.2
Serif, Engraved
Serif, Engraved
Round
style
3.2.1
Sans Serif
3.2.2
Serif
Inscriptionals
2.0
3.2.3 Sans 2.1
Serif, Engraved
Solid 3.2.4
2.1.1
Sans Serif
2.1.2
Serif
Serif, Engraved
3.3 Hybrid Style
2.2
3.3.1
Sans Serif
3.3.2
Serif
Inline
2.2.1
Sans Serif
2.2.2
Serif
3.3.3 Sans
3.3.4
Serif, Engraved
Serif, Engraved
3.4 Informal
2.3 Outline
2.3.1
Sans Serif
2.3.2
Serif
3.4.1
Sans Serif
3.4.2
Serif
37
Serifs
4-o
Old Style
4.1
Legibility
4.5
4.1.1
Venetian
4.5.1
Rounded traditional]
4.1.2
Garalde
4.5.2
Super-elliptical [square
4.1.3 Dutch/English
4.5.3 Typewriter
4.1.4 Typewriter 4.6
4.2
Transitional
Square Serif
4.6.1
Monotone
Clarendon
4.2.1
Direct Line
4.6.2
4.2.2
Modified
4.6.3 French Clarendon
4.2.3 Typewriter
4.6.4 Short
[stub]
serifs
4.6.5 Typewriter
4.3 Modern 4.3.1
Continental
4.7 Latin
4.3.2 Fat Face
4.7.1
4.3.3 Typewriter
4.7.2
Solid Inline
4.7.3 Typewriter
4.4
Contemporary
4.4.1
Eclectic
4.8
Engraving
4.4.2
Fine Serif
4.8.1
Barbed
4.4.3
Lettering
4.8.2
Straight
4.4.4 Typewriter
serif
serif
4.8.3 Typewriter
4.9 Free Form 4.9.1
Solid
38
Sans Serifs
5.0
4-9-2
Outline
4.9.3 Typewriter
4.10
Computer
4.10.1
OCR
4.10.2
Digital
4.10.3 Typewriter
4.11
Inline
4.11.1
Inline
4.11.2
Typewriter
5.1
Gothic
5.1.1
Grotesque
5.1.2
Neo-Grotesque
5.1.3 Typewriter
5.2
Humanist
5.2.1
Classical
5.2.2
Non-classical
5.2.3 Typewriter
5.3 Stress Variation
5.3.1
Broad
5.3.2
Casual
pen
5.3.3 Typewriter
5.4 Art Deco
5.4.1
Standard
5.4.2
Modified
5.4.3 Thin Line 5.4.4 Typewriter
5.5 Geometric 5.5.1
Round, flat
5.5.2
Round,
stem ends
rounded ends
39
6.0 Scripts
5-5-3 Super
elliptical
6.1 Joined
5.5.4 Stylized
6.1.1 Formal
5.5.5 Typewriter
6.1.2 Informal
5.5.5 Dot Matrix
6.1.3 Monotone
5.5.13 Miscellaneous
6.1.4 Miscellaneous 6.1.5 Backslant
5.6
Computer
5.6.1
OCR
5.6.2
Digital
6.1.6 Inline
6.1.7 Outline
6.2 Unjoined
5.7 Free Form
6.2.1 Formal
5.7.1
Solid
6.2.2 Informal
5.7.2
Outline
6.2.3 Monotone 6.2.4 Brush
5.8
Miscellaneous
5.8.0
Miscellaneous
6.2.5 Cursive 6.2.6 Calligraphic
6.2.7 Ronde 6.2.8 Miscellaneous
6.2.9 Backslant 6.3.0 Outline
6.3.1 Inline
40
Ornamentals
7-0
7.0
Blackletter
7.3 Patterned
7.0.1
Sans Serif, Solid
7.3.1
Sans Serif
7.0.2
Serif, Solid
7.3.2
Serif
7.0.3 Sans
7.0.4
Serif, Outline
7.0.5 Sans 7.0.6
7.3 Fine Serif 7.3.1
Serif
Serif, Shaded
Serif, Shaded
7.0.7 Sans
7.0.8
Serif, Outline
Serif, Inline
Serif, Inline
7.4 Three Dimensional
7.4.1
Sans Serif
7.4.2
Serif
7.4 Banner
7.1
7.4.3 Sans Serif
Inline
7.1.1
7.1
7.4.4 Serif
Sans Serif
7.4 Monotone
Serif
7.4.6
7.2
7.4.7 Serif
Outline
7.2.1
Sans Serif
7.2.2
Serif
7.5 Latin 7.5.4 Solid 7.5.5 Patterned
Backslant
7.5 Solid
7.2.3 Sans Serif
7.5.6
7.2.4 Serif 7.2.5 Sans
7.2.5
Serif,
Sans Serif
Serif,
patterned
Sans Serif
7.5.7 Serif
patterned
41
8.0 Ornaments
Stencil
7.6
7.6.1
Sans Serif
7.6.2
Serif
9.0 Miscellaneous
7.7 Reversed
7.7.1
Sans Serif
7.7.2
Serif
7.8
Engraved
7.8.1
Sans Serif
7.8.2
Serif
7-9 Miscellaneous
7.9.1
Sans Serif
7.9.2
Serif
Optic
7.9.6
Sans Serif
7.9.7 Serif
7.9.8
Sans Serif, Shaded
7.9.9
Serif, Shaded
42
AGFA
Antiques, Art
Nouveau & Art Deco
Decorative
Images & Symbols
Initials
Geometric Sans Serif
Grotesque Sans Serif
Square Sans Serif
Humanistic Sans Serif
Slab Serif
Clarendon Serif
Glyphic Serif
Transistional Serif
Neoclassical & Didone Serif
Old Style Serif
Casual Script
Calligraphic Script
Blackletter & Lombardic Script
Formal Script
43
BITSTREAM
Circus
Old Style Venetian
Latin
Old Style Aldine
Flareserif
Old Style Dutch
Freeform
Old Style Revival
Gothic Sans Serif
Old Style Calligraphic
Humanist Sans
Old Style Inscriptional
Geometric
Old Style Kuenstler
Swiss Sans
Transitional
Square Sans
Modern
Incised Sans
Modern Industrial
Pendrawn Sans
Modern Elliptical
Informal Sans
Modern Deco
Engravers Oldstyle
Clarendon
Engravers Modern
Century
Clarendon
Copperplate
News Clarendon
Stencil
Stubserif Clarendon
Monospace Typewriter
Egyptian Slabserif
Proportional Typewriter
Humanist Slabserif
OCR Computer
Geometric Slabserif
Decorated
Swiss Slabserif
Blackletter
Square Slabserif
Uncial
44
Chancery English 111,
Shelley
French Script
Formal Script
Demi-Formal Script
Ribbon Script
Monoline Script
Freehand Script
Brush Script
Staccato Script
Exotic
Pi Fonts
45
MONOTYPE
Blackletter
Old Style
Transitional
Modern
Slab Serif
Sans Serif
Script
Display Pi & Art Fonts
4b
Appendix B Classification System Not Used
4_
Appendix B
TYPORAMA Developed A
method
every
B.
by J. that
has gradually
conceivable
mary divisions
hundred
Liebermann, USA.
face
with
evolved over a number
the inevitable
and nine main
categories,
result.
of years. It
A very
further
attempts to
classify
complex system with two pri
subdivided
into thirty
classes and a
or more styles.
1 Small Serifs
Typefaces
directly developed
for
use
in
text.
2 Book Faces
Venetian, Old Style, Transitional, Personal Style, French Modern, English Modern, New Style. 3
Clarity
Faces
Readability Faces, Legibility 4
Strong
Faces.
Serifs
Versions
of the serifed typefaces of the 19th century.
5 Bracketed Faces
Antique, Clarendon, New Clarendon, Utility Faces. 6 Unbracketed Faces
Egyptian, Slab Serif. 7 Sans Serifs
Typefaces
display
with no serifs which originated
in
the 19th century from
faces.
48
8 Grotesque English Grotesque. 9 Modern Sans Serifs
Geometric Sans, Styles Sans. 10 Romanticized
Stressed
Sans, Softened Sans.
11 Residual Faces
Hand
lettering
styles of
the pre-printing
era.
12 Roman Capitals
Square Capitals, Rustic Capitals. 13 Cursives
Latine Cursives, Secretary, Non-Italian Cursives. 14 Italics Unrelated Italics, Related Italics, Matched Italics.
15 Uncials Calligraphic Uncials, Sans Serif Uncials. 16 Spire Gothics
Textura, Fraktur, Rotunda,
Schwabacher.
17 National Hands
Lombardic, Irish, Spanish, Latin Half Gothic. 18 New Forms Letters intended
new
devices
as experiments
for
improving legibility
or
meeting
needs of
such as computer scanners.
19 Experimental
Mono
alphabets,
Universal Phonetic, Universal
Teaching
Alphabets.
49
20 Non Optic
Magnetic Scanning. 21 Mannered Faces
Types based to
on
Standard Faces, but
them more effective
make
given a special additional characteristic
for display.
22 Special Form Faces
Squares Chamferred, Altered Extenders, Non Aligned, Concave, Convex. Slanted Variants, Over Condensed, Over Expanded, Foreign Face,
Bifoms, Interlocking. 23 Special
Ending
Faces
Swashed, Flanged, Copperplate Gothic, French
Antique.
24 Special Weight Faces
Blacks, Thins, Treated Line, Varied Line, Graced, Antiqued, Rugged. 25 Adapteds
Typeface
form
of
Purposely
made
decorative
or changed
from the ordinary
type.
26 Decorative Faces
Ornamented, Embellished, Tuscan, Floriated, Filigreed. 27 Decorative Initials 28 Decorative-Lined
Inline, Outline, Hand Tooled, Open, Shaded, Contour. 29 Decorative-Pictorial
Motive, Material. 30
Decorative-Sensory Textured, Tones, Actioned, Reversed.
?o
31
3-Dimensional
Shadowed, Drop Shadow, Outerlined, Raised, Projected, Beveled,
Epigraphic, Ribboned. 32 Reshaped
Curved, Perspectived, Distorted, Constructs. 33 Simulates
Simulating
or
imitating
non-type
handwriting, typewriting
lettering
such as
freehand, lettering,
and stencilling.
34 Calligraphic
Small Serif, Sans Serif. 35 Hand Letters
Formal Pen, Informal Pen, Formal Brush, Informal Brush, Freehand Brush, Roundball. 36 Scripts Engravers Script, Ronde, Commercial Script, Social Script, Informal Pen, Freehand Pen, Informal Brush, Freestyle Brush, Roundball. 37 Imitatives
Stencil, Woodcut, Typewriter, Engraving, Lithographic. 38 Non-Latin
Faces intended to
serve
languages
not
using the Latin
alphabet.
39 Foreign Scripts
40 Finger Touch 41 Braille
51
Illustrations
52
~|
|3PIASH
Rwwjrds:
Tony
146
Di Pietro
Typology
1999
ifmiimuifittiiffisti
M
TYPOLOGY
M
|
PRINT tr7T7TTrTTT7TTT7T7)
OTWWwrwwWWWW
Records
:
by
Joel Kadin
and
Tony Stan far
Classification
ISO 9541
Systemt
^
A Iso known a* Keyboard
Font Name: American Typewriter Designed in 1974
w
JL
M,
from Softkey
Key Font*
United states
ITC
The office typewriter began as an offshoot ofthe its original concept u ututzingprinting typecase, actually in it's
Classification Systems
146
ISO 9541
types placed upon keybars.
4.8.3 Typewriter ATYH
AGFA
British Industrial Standard
Monotype Modern
None
Bit stream
0IHH51I
Modern
None
Bringhurst
Thibaudeau
None
None
typewriter.
The design appears exactly as its
name
impUes-a
typewriterface. It has concave serifs that are rounded
Subgroup
Lawson
Johnson Class
None
None
De Vinne
VOX
and thick.
None
None This font is
Within afew years ofthe typewriters facepaon into the typefbundrtes were producing hot metal qfsquare serif design representative ofthe office as a standard tool,
None
Olyphlo Serif
an
Instance 1 typeface.
Frowsy things
plumb vex'd
Jack
Quadrat! The
The capitals all appear to be the
NJ
The tailsofthe cap Q andR curve up.
ear ofthe
lowercase g
curves downwards, and the
same width.
QR
g
hnk isfar to the leiL The earfrom the lowercase rcurves
back in towards
the steTn.
53
rout name
J Reoordf : 146
inxtance
Deiigner
T>r of Design
Antique Olive
Instance 2
Roger Excoffon
1932
foundry
Country of Origin
Attentate hum
Alternate
Olive
France
Incised 901
Bitstream
The French typographer Roger Excojfon is probably best know as the creator of that script type to end all script types, Mistral Aside from mat
however he is
responsible for a number
of
other thoughtfully produced typejacesjbr the Marseilles foundry of Olive. What is ofcourse questionable about me name Olive Antique is the
fact that while in European typographic terminology the word antique means roman, this design happens to be what American printers to as gothic, a term erroneously applied to the early 19th century sans ser^fdesigns.
refer
Olive Antique
represent gothic
group types in the
Helvetica, a broadfamily are related. They were drawing board rather than
pattern ofUnwers and
ofvariants, created at added
all
the
of which
same
disparately to a typographic
series
drawn
(Typology) Foundry
ISO 9541
5'1-1 Grotesque AGfA
Grotesque Sans Serif
Lineale Brttixb tnrfuxtrUl standard
Monotype
Sans Serif
Line ale DID
Bhitream
ifS
Free Roman
Gothic Sans Serif
TtribsMideui subgroup
Hngburxt
L'
Realist
Antique
lohmon Cln
Lawxon
Sans Serif
Early Advertising
De vinne
VOI
Gothic
Lineales
by various hands.
Frowzy things plumb vex'd Jack Frowzy things plumb vex'd
Quadrat!
lark Duarirati C^k
I J
All the
Large X-height
caps are
approximately the
same
width.
Tall
ascender on
The O.G.C look
the Q.
CAT
hxj
with
short ascenders and
descenders.
this
Stress le vertical. Roman stvle t.
ISO 9541
Classification
m
ABOUT
^rrrr7r7rfrrrwrrrr7TT77TT7r.
How TO
.
the user to Navigate throughout the Hefy Pages of the Typology Database. or Click on a button below to learn more about how to perform a fimction of the database, Database. click on a button above to Navigate back to the Typology
This page aRows
Terminology
Start 0er
54
UddAtXA*44/4jU4AW" M*&UXMd*dgMe*
I Report
|
TYPOLOGY
%
To
generate a
Report,
click on a
J
PRINT )?/,.
ISO 9541
Alternate Names
Font Samples
TYPOLOGY
tf,,*M**if**A
////JJ//iniiwi>lll
button below:
Summary
Characteristics
,,
|P
HOW TO?
ryyy9>fi*rfw>ttrwtrjrrrrrr. *M.
Font Names
I
f**m
PRINT
History
Foundries
Designers
^#/
yrm*rMWTrrrrr*r>t>*>tJ>*.
p
ISO 9541 'jwrfjWjfftJVMJwrjrr,
I^
Classification Systems
|
ABOUT
%
Pont Sample
Mr,
>,,,,,,,.
H-W To Start
a
Search, choose
your needs. Reoords :
146
a
layout that is
The tabs below
were
most appropriate
designed to find
to
specific
information contained within the TYPOLOGY Database quickly and easily. Do you want to search by foundry, or font name? By you will be taken to that clicking the appropriate button below, specific layout. Once there, pressing X F will bring you to the "Find"
under,
dialog,
where you can select
and enter
the information
the
field
you wish
to
you wish
search
to search
for.
WJJWJ r,r,fJ,*j+*,,**r****JJf*s*
Summary $>r
vnrirrrrtwrrrt rrrTttrr.
I
Font Names
|
Alt. Names >,>.,>>ut,>t'>>>>>>>>*>>>>
Characteristics 6ft,>,,,>,,,,
55
Typology
Classification Systems
5.0 Sans Serif
Class
eu
Find
Group [5.1 Gothic Sub Group [5.1.3 Typewriter Sample
GMORTY Spabef g Sample Name
#
Sub Group Characteristics
Group Characteristics
'^~~~jj
Class Characteristics
]
LETTERGOTHIC
Typefaces in this group monospaced
This
designs
subclass contains
earliest of the
based on the for typewriters.
are
used
designs based
Latin-alphabet
on
the
sans serif printing
typefaces (circa l8lS).
Typefaces in this class have plain
stem
endings,
in tawrtjttoaaU, "J or Ornamentals Blackletters, *?d "e
classes.
i 'J
Post Roman
,')l^XMHi.iUA"^~
^ I- I; If (f 5 2 ji 3 iti i i
in
tu'lOu
ami,
'.'
3.2.1 Sans Serif
Frowzy things plumb vex'd Jack Quadrat) Frowzy things plumb vex'd Jack Quadrat!
59
6o
Tony Di Pietro Typology Typology
1999 Anthony C. Kile Di Pietro
Font Classification Cross-Reference Database
Historical Data
and
1998 Anthony C. Kile Di Pietro
Characteristics:
1983 Alexander Lawson
and
Archie D. Provan
1962 W, Turner, A.F. Johnson, and W.P, Jaspert 1991 The Monotype Corporation 1997 Adobe
1998 Linotype-Hell Instance
1997 Archie D. Provan
Alternate Names
1998
PhllUp Parr
whoami
t h
( h
r
t >*
8
Records 146 Sorted
:
Tony Di Pietro created the TYPOLOGY Database over the course of two years or graduate research at the The research Rochester Institute or Technology. was done in collaboration with Professor Archie Provan. Copyright information can be found in the "ABOUT" Layout, and any requests for usage or duplication should be directed to one or both parties below. Di Pietro SEAS Computer Networking Group HPH 417, PO Box 0126 Rochester, NY 14*27-0126 716-275-0870
Tony
Professor Archie Provan School of Printing Management and Sciences
69 Lomb Memorial Drive
Rochester, NY 14623-5603 716-475-2052
61