Classifications
7 Serif
While serifs are a piece of typographic anatomy, they are also a classification that includes any typefaces that use serifs. Below you will find the five main sub-classifications
Humanist, also called humanes (1470’s – 1490’s)
Based on calligraphic writing with flat brush or broad nib pen. Feels a bit like it was made by hand. Characterized by small x-height, low contrast, angled serifs, a strong axis, an angled cross stroke on the e, and generous serif brackets.
Garalde, also called Aldine (1400’s – 1700’s)
Technical improvements allowed for the punching of more refined and developed typefaces. Characterized by moderate x-height, moderate contrast, angled serifs (less angled than Humanist serifs), moderate axis, horizontal cross stroke on the e, and gentle serif brackets.
Transitional, also called realist, or réales (mid 1700’s)
Transitional designs between Garalde and Didone. Advances in paper technology means paper can hold ink better, allowing for finer characters. Characterized by high contrast, flat serifs (flatter than Humanist and Garalde), an almost vertical axis, and gentle serif brackets.
Didone (late 1700’s – early 1800’s)
Technology enables typographers to push the limits of typeface refinement. The name is an amalgamation of the surnames of the typefounders Firmin Didot and Giambattista Bodoni. Characterized by extreme contrast, thin serifs, vertical axis, and no serif brackets.
Slab, also called mechanistic, mechanical, or mécanes (1800’s)
A diverse classification with numerous sub-categories, all of which include thick or bold serifs. They were originally designed for use at large sizes in advertising.
Egyptian, also called Antique
Characterized by low contrast, thick serifs (approximately same thickness as vertical strokes), and ball terminals. A reflection of the industrial period they came from though they were seen as quite ugly when initially released.
Clarendon
Characterized by an extremely tall x-height, thick serifs, little contrast, vertical axis, and tight serif brackets.
Italienne, also called French Clarendon
Characterized by reverse contrast (horizontal stroke is thicker than vertical) and a distinctly western or circus vibe.
Typewriter
Initially used with typewriters, these typefaces are sometimes monospace in reference to the limitations of mechanical typewriters. These are typically informal with many being distressed to mimic the irregularity of a typewriter.
Geometric
Characterized by an extremely tall x-height, thick serifs, geometric shapes, almost no contrast, and an absence of serif brackets.
Comparisons
The measurement of the distance between the baseline and the mean line. This measurement is based on the height of a lowercase x, hence the name. It does not include ascenders or descenders. See anatomy.
The difference in weight between the thickest and thinnest strokes in a typeface. Related to axis and stress. See anatomy.
An imaginary line that bisects the upper and lower strokes. Displays the angle of stress. See anatomy.
A horizontal stroke that intersects a stem. Typically seen on a lowercase e, t or f. See anatomy.
A curved transition found on some serifs. Serifs without curved transitions are referred to as unbracketed. See anatomy.
Also called humanes. Earliest serif typeface classification, it was based on calligraphic writing with flat brush or broad nib pen. Developed between the 1470’s – 1490’s. Characterized by small x-height, low contrast, angled serifs, a strong axis, an angled cross stroke on the e, and generous serif brackets. See the serif classification.
Also called Aldine. Developed between the 1400’s – 1700’s, Garalde typefaces are a more refined typeface than the previous Humanist serifs. Characterized by moderate x-height, moderate contrast, angled serifs (less angled than Humanist serifs), moderate axis, horizontal cross stroke on the e, and gentle serif brackets. See the serif classification.
Developed in the late 1700’s – early 1800’s, technology advanced enabled typographers to push the limits of typeface refinement. Characterized by extreme contrast, thin serifs, vertical axis, and no serif brackets. See the serif classification.
The unserifed end of a stroke on a serifed font that has a circular shape.
A typeface where each letter takes up the same amount of horizontal space. These were typically used in typewriters or early computer terminals. This is in contrast to variable-width typefaces, which is what you're probably used to.
