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Type Classification by Jacob Cass

Type Classification by Jacob Cass

This ebook has been made to help you learn the 10 broad classifications of type. I won’t go into why you need to know them, but just face the fact... you do. This ebook was specifically made for printing and web viewing.

Below is a brief description of what is inside the book and how it is layed out which will help you get more out of the book.

Similar to the script classification however it has a more natural and handwritten approach. The typeface is usually based on different styles of cursive or current handwriting and usually has a flowing look to it.. Letters of this form are usually highly rounded, and either connect from letter to letter or have a tail on the letters which leads to the next. Handwritten scripts are usually informal and are characterised by the looser, less restrained formation of characters. The letters appear to have been casually drawn by either a pen or brush or other material. Because these types imitate handwriting, two of the main essentials when using manual typefaces are not to have too much space between the words and to take additional care when considering leading.

Humanist (Venetian) faces are like a handwritten italic form - named after the first roman type faces that appeared in Venice in 1470. Humanist type faces were initially designed to imitate the handwriting of Italian Renaissance scholars. These types are characterised by their strong, bracketed serifs. The letters are in general wide and heavy in colour. Other characteristic letters are the wide lower case with a diagonal bar to the eye. A noticeable feature of true Humanist types is the square full point. These types have a small x-height, moderate contrast between strokes, and an acute `angle of stress' and do not lend themselves to modern design treatments of type such as reverse or stipple. The style prints best on a unsized stock in black or brown ink.

Transitional faces reflect the fact that the eighteenth century was a time of transition. During this period, type designers were more likely than their predecessors to rely on mathematical or scientific principles to create new letter forms.

Containing elements of both Garalde and Didone styles, these faces have rounded serifs which are less formal than Didone, but more formal than Garalde and therefore reflect the transition from Garalde and Didone. Curved letters are more balanced than Garalde and the 'angle of stress' is near vertical to the Didone due to their mechanical-like structure.

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