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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

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button below:

Summary

Characteristics

,,

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HOW TO?

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Font Names

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PRINT

History

Foundries

Designers

^#/

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p

ISO 9541 'jwrfjWjfftJVMJwrjrr,

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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

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to

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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