. .

IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN

Alessandro Segalini, Dept . of Visual Communication Design: alessandro.segalini @ ieu.edu.tr — ht tp://tr.im/asegalini

TYPOGRAPHIC DESIGN
CL ASSIFICATIONS Typeface Anatomy
 . .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN
Alessandro Segalini, Dept . of Visual Communication Design: alessandro.segalini @ ieu.edu.tr — ht tp://tr.im/asegalini

TYPOGRAPHIC DESIGN
CL ASSIFICATIONS Maximilien Vox’s Typeface Classification, 1953

Typeface example English French Description

Pastonchi Humanistic Humanes First roman characters.

"Garamond + Aldus"
Garamond Garaldic Garaldes
16–17th century origins
Better thick/thin contrast.

Baskerville Transitional Réales Bridge between Garaldic and

Didones. More upright,
delineated contrast.

Bodoni Didonic Didones "Didot + Bodoni"

High contrast between thick
and thin lines.

Giza Mechanistic Mécanes Geometric and Industrial from

the 19th century.
Egyptian-type faces.

Gill Sans Lineal Linéales Sans serif with uniform lines of

varying thicknesses:
Ultra thin to bold weights.

Trajan Incised Incises Resembles a Latin inscription.

Titling fonts, devoid of
lowercase.

Script Scriptes Imitates cursive writing.

Shelley Andante Letters may or may not
conjoin.

Evocative of hand-rendered
Bolide Manual Manuaires
letters.

Black Letter "Gothic" or "Fraktur" faces.

Vadstenakursive Fractures
Used particularly in Germany.

¤Бксцч (Tatlin Cyrillic) Non-Latins Non-Latines Typeface that uses a non-Latin

alphabet.

Times Greek (Times Greek)

 . .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN
Alessandro Segalini, Dept . of Visual Communication Design: alessandro.segalini @ ieu.edu.tr — ht tp://tr.im/asegalini

TYPOGRAPHIC DESIGN
CL ASSIFICATIONS Aldo Novarese’s Typeface Classification, 1957
 . .
IZMIR UNIVERSITY OF ECONOMICS FACULTY OF FINE ARTS AND DESIGN
Alessandro Segalini, Dept . of Visual Communication Design: alessandro.segalini @ ieu.edu.tr — ht tp://tr.im/asegalini

TYPOGRAPHIC DESIGN
CL ASSIFICATIONS Robert Bringhurst’s Typeface Historical Synopsis, 1997

Renaissance Baroque
14-16 centuries 17-18 centuries

Neoclassic Romantic
mid 18 century late 18 century

Realist Modernist, Geometric

late 19 century beginning 20 century

Modernist, Lyric Postmodern

20 century mid 20 century
T Y P Ogr aphy ,
T Y P OgrI Zaphy M I R U N,I V E R S I T Y O F E C O N O M I C S F A C U L T Y O F F I N E A R T S A N D D E S I G N
M A X I M I L I E N V. O X C. L A S S I F I C A T I O N

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C L A S S I F,I Segalini,
XAlessandro
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C A T I O N Dept . of Visual Communication Design: alessandro.segalini @ ieu.edu.tr — ht tp://tr.im/asegalini

MAXIMILIEN VOX CLASSIFICATION

T YHumanistic
P Ogr aphy ,
MAXIMILIEN VOX CLASSIFICATION
Antique Roman Transitional
M ATYPOGRAPHIC
X I M I L I E N V O XDESIGN
CLHumanistic
ASSIFICATIONS
CLASSIFICATION
Vox ı3 Typeface
Antique RomanClassification & Historical Synopsis
Transitional

Humanistic Antique Roman Transitional

Humanistic Antique Roman Transitional

Humanistic Antique Roman Transitional

Egyptian Modern Roman New Transitional

Egyptian Modern Roman New Transitional

Egyptian Modern Roman New Transitional

Egyptian Modern Roman New Transitional

Egyptian Modern Roman New Transitional

Linear Grotesque Linear Neogrotesque Linear Geometric

Linear Grotesque Linear Neogrotesque Linear Geometric

Linear Grotesque Linear Neogrotesque Linear Geometric

Linear Grotesque Linear Neogrotesque Linear Geometric

Linear Grotesque Linear Neogrotesque Linear Geometric

Linear Humanistic Stone Carved Calligraphic

Linear Humanistic Stone Carved Calligraphic

Linear Humanistic Stone Carved Calligraphic

Linear Humanistic Stone Carved Calligraphic

Linear Humanistic Stone Carved Calligraphic

Stylized

Stylized

Stylized
Stylized

Stylized