YVONNE

. type classifications in modern web branding

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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