. type classifications in modern web branding
Publication Š 2020 ECUAD All rights reserved. No part of this book may be reproduced, stored in a
retrieval system or transmitted in any form or by any means without prior
written permission of the publisher. Editing and Design by Yvonne Zhao Printed in Canada
02 05 06 calligraphic
slab
grotesque
07 08 11 neo-grotesque
humanist
geometric
c
1800s
0 .calligraphic 2 Divided into formal and casual
Introducing the mark of the
styles, Calligraphic type was
human hand into the age of
ďŹ rst introduced with foundries
type created by machines
competing in the commercial
brings an artiďŹ cial nostalgia
print industry. This digital
and comfort of past printing
rendition of the traditional
techniques. Due to its varied
handwritten style gives an
and personalized features,
organic quality, presenting
it’s effective for social
a divergence from repetitive,
medias that encourage self-
stiff modern screen typefaces.
expression and individualism.
[unnamed custom lettering]
ccc handwritten appearance
varied weights
high stroke modulation typically oblique axis
single-storey a single-storey g
prominent serifs
low stroke modulation
vertical axis
double-storey a single-storey g sloped roman
0 5
1810s
.slab Originally created solely
Some evolved into logos
for display purposes, Slab
and headlines, and others
serifs started out in the
grew subdued in appearance
poster business after the
to increase legibility at
popularization of print
a smaller scale, such as
advertisements, due to their
monospace typefaces. Heavy
unique and imposing nature.
weights are successful for
Later they branched into
branding as they carry over
different categories for the
the bold and conspicuous
screen amidst competition
presence they were ďŹ rst
with emerging sans-serifs.
designed with.
bookman old style bold [modiďŹ ed to slab]
n g
.grotesque
sans-serif
low stroke modulation
As the earliest popularized sans-
1810s
serifs to use lowercase letters, Grotesques are the first stride towards modern design while still retaining influence from its serif predecessors, such as Didone. The name comes from the resistance they faced when first distributed due to being seen as less ornate and beautiful in comparison to older styles. The reduction to simplicity while containing individualism shows catering to both corporate and consumer audiences.
trade gothic bold condensed [modified]
vertical axis
spurred capital g and r
double-storey a
single/double-storey g
sloped roman
sans-serif
low stroke modulation vertical axis
double-storey a single-storey g sloped roman
Stemming from later Grotesque
1950s
n g
univers extended [modiďŹ ed]
typefaces with further evolution towards simpliďŹ ed, geometric design, Neo-Grotesques adopt a more reďŹ ned and proportionate appearance, losing a lot of the idiosyncrasies of their predecessors. As one of the most common categories in the modern world both on the screen and in print, Neo-Grotesques represent standardization and globalization.
.neo grotesque
1910s
0 8
.humanist As Neo-Grotesque typefaces
Humanist sans-serifs have
developed, some typographers
prominent inuence from
diverged from the pursuit
the hand, integrated into
of increasingly simplistic
a merging point between
designs to retain elements
the organic human mark and
from early serif typefaces.
machine production. This
Humanists were a reaction
typeface is able to convey
against the sudden explosion
professionalism along with
of standardized Neo-Grotesque
personability in logos and
typefaces, as well as for
corporate brand designs.
better scalability.
myriad pro bold [modiďŹ ed]
sans-serif
moderate stroke modulation
vertical axis
double-storey a
single/double-storey g sloped roman/italic
sans-serif
unmodulated stroke circular bowls no axis
single-storey a single-storey g sloped roman
.geometric Geometrics are effective for
step towards simplicity and
branding due to their sleek
proportion compared to Neo-
design, but a poor choice for
Grotesque typefaces. Inuenced
long form text due to their
by the use of regular polygons,
tall x-height and unmodulated
they are popular in modern web
stroke. In the mid to late
logos due to their minimalism
2010s, it became common for
and modernity, as a display of
companies to redesign from
professionalism, efďŹ ciency,
calligraphic or serif logos to
and the removal of unnecessary
Geometric sans-serif to avoid
hindrances in function.
an outdated appearance, as
1920s
Geometric sans-serifs are a
seen in the 2015 Google logo.
product sans [custom]
1 1
instagram tumblr
youtube ebay
linkedin google
helvetica neue courier new
cream cake rockwell
trade gothic helvetica
myriad pro futura