Design Elements, 2nd Edition

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choosing and using type

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ISSUES RELATED TO STYLE

Style Classifications Classifying type

helps a designer grasp the subtle differ-

ences among styles, organizing them in a

general way and further helping to select

an appropriate typeface for a particular

project; sometimes, the historical or cul-

tural context of a particular style will add

relevant communication to a typographic

design. Classification is by no means easy,

however, especially as our typographic

tradition becomes increasingly self-

referential and incorporates historical for-

mal ideas into modern ones. The typeface

Meta, for example, drawn in 1994 by the

German designer Erik Spiekermann, is a

modern sans-serif face sharing character-

istics associated with oldstyle serif types:

contrast in the stroke weights, modulation

of weight within major strokes, an oblique

axis, and a bowl-formed lowercase g. A

number of systems for classifying type

have been developed during the past

several decades. Today, as then, these

classifications often change—but a few

basic categories remain constant.

Oldstyle Characterized by

organic contrast of weight in

the strokes—from brush or pen

drawing; an angled, or oblique,

axis in the curved forms; and

a notably small x-height defining

the lowercase letters. The termi-

nals are pear-shaped and the

apertures in the lowercase

letters are small.

Transitional

These types show

an evolution in structure. Stroke

contrast is greatly increased and

more rationally applied—its

rhythm is greatly pronounced.

The x-height of the lowercase is

larger; the axis is more upright;

and the serifs are sharper and

more defined, their brackets

curving quickly into the stems.

Modern

Stroke contrast is

extreme—the thin strokes

are reduced to hairlines, and

the thick strokes made bolder.

The axis of the curved forms

is completely upright, and the

brackets connecting the serifs to

the stems have been removed,

creating a stark and elegant

juncture. The serifs in a number

of the lowercase characters have

become completely rounded,

reflecting the logic of contrast

and circularity.

Sans Serif

These typefaces

are an outgrowth of “display

types” of the nineteenth century,

designed to be bold and stripped

of nonessential details. They are

defined by a lack of serifs; the

terminals end sharply without

adornment. Their stroke weight

is uniform, and their axis is

completely upright. Sans-serif

types set tighter in text and are

legible at small sizes; during the

past fifty years, they have become

acceptable for extended reading.

Slab Serif

Another outgrowth

of display types, slab serif faces

hybridize the bold presentation

of a sans serif and the horizontal

stress of a serif face, character-

ized by an overall consistency in

stroke weight. The serifs are the

same weight as the stems, hence,

“slabs;” the body of the slab

serif is often wider than what

is considered normal.

Serif details

>>

Leg and joint shapes

Terminals

Curve axis

X-Heights

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design elements

139

The iconic bird drawing,

which refers to a specific time

and place, has its very own

language of line and mass. The

inline capitals used for the page

title echo these linear qualities,

but they also are classical capi-

tals with their own history. The

supporting text is a sans serif

with similar width proportions

as the capitals, but it contrasts

their thins and thicks with a

uniform weight that is clearly

modern.

VOICE AUSTRALIA

A combination of Victorian wood types emphasizes the

visual contrasts of weight, width, mass, and line.

LOUISE FILI LTD. UNITED STATES

Stylistic differences in a selection of typefaces give

voice to the varied writing styles of Irish authors in

this festival program.

STUDIO AAD IRELAND

Graphic These typefaces are the

experimental, decorative children

of the display types. Their visual

qualities are expressive but not

conducive to reading in a long

text. This category includes

specimens such as script faces,

fancy and complex faces inspired

by handwriting, and idiosyn-

cratic faces that are illustrative

or conceptual.

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