#garalde

Humanist

(ex. Verona, Centaur, Kennerley)

Typefaces in which the cross stroke of the lower case e is oblique; the axis of the curves is inclined to the left; there is no great contrast between thin and thick strokes; the serifs are brackets; the serifs of the ascenders in the lower case are oblique. (Note: formerly known as 'Venetian', having been derived from the 15th century minuscule written with a varying stroke thickness by means of an obliquely-held broad pen.) 

Garalde 

(ex. Bembo, Garamond, Caslon, Vendome)

Typefaces in which the axis of the curves is inclined to the left; there is generally a greater contrast in the relative thickness of the strokes than in Humanist designs; the serifs are bracketed; the bar of the lower case e is horizontal; the serifs of the ascenders in the lower case are oblique. (Note: These are types in the Aldine and Garamond tradition and were formerly called 'Old Face' and 'Old Style'.

Transitional 

(ex. Fournier, Baskerville, Bell, Caledonia)

Typefaces in which the axis of the curves is vertical or inclined slightly to the left; the serifs are bracketed, and those of the ascenders in the lower case are oblique. (Note: This typeface is influenced by the letterforms of the copperplate engraver. It may be regarded as a transition from Garalde to Didone, and incorporates som characteristics of each.)

Didone

(ex. Bodoni, Modern Extended)

Typefaces having an abrupt contrast between thin and thick strokes; the axis of the curves is vertical; the serifs of the ascenders of the lower case are horizontal; there are often no brackets to the serifs. (Note: These are typefaces as developed by Didot and Bodoni. Formerly called 'Modern'. 

Slab-serif

(ex. Rockwell, Clarendon, Playbill)

Typefaces with heavy, square-ended serifs, with or without brackets.

Lineale

Typefaces without serifs. (Note: Formerly called 'Sans-serif'.)

a. Grotesque

Lineale typefaces with 19th century origins. There is some contrast in thickness of strokes. They have squareness of curve, and curling slose-set jaws. The R usually has a curled leg and the G is spurred. The ends of the curved strokes are usually horizontal. 

b. Neo-grotesque

Lineale typefaces derived from the grotesque. They have less stroke contrast and are more regular in design. The jaws are more open than in the true grotesque and the g is often open-tailed. The ends of the curved strokes are usually oblique. 

c. Geometric

Lineale typefaces constructed on simple geometric shapes, circle or rectangle. Usually monoline, and often with single-storey a.

d. Humanist

Lineale typefaces based on the proportions of inscriptional Roman capitals and Humanist or Garalde lower-case, rather than on early grotesques. They have some stroke contrast, with two-storey a and g. 

Glyphic

(ex. Albertus)

Typefaces which are chiselled rather than calligraphic in form. 

Script 

(Palace Script, Mistral)

Typefaces that imitate cursive writing.

Graphic

(ex. Libra, Old English (Monotype))

Typefaces whose characters suggest that they have been drawn rather than written.