Rarely used for lengthy blocks of text, decorative typefaces are popular for signage, headlines and similar situations were a strong typographic statement is desired. Many times they appear to have been drawn with a brush. These typefaces are designed to suggest informality, as if they were written quickly. These typefaces are patterned on manuscript lettering prior to the invention of movable type. Many appear to have been written with a flat-tipped writing instrument. They can be connecting or non-connecting in design. These scripts mimic calligraphic writing. Many characters have strokes that join them to other letters. These typefaces are derived from 17th century formal writing styles. Serif fonts have “feet”, sans serif means “without feet.”
These are the most legible and easily read of the sans serif typefaces. These are based on the proportions of Roman inscriptional letters. Geometric sans tend to be less readable than grotesques. Simple geometric shapes influence the construction of these typefaces. These designs are generally based on grotesque character traits and proportions, but have a definite and, in some instances, dramatic squaring of normally curved strokes. Contrast in stroke weight is most apparent in these styles, there is a slight “squared” quality to many of the curves. These are the first commercially popular sans serif typefaces. The distinguishing feature of these typefaces is the triangular-shaped serif design. Typefaces in this category emulate inscriptions rather than pen-drawn text. RockwellĬlarendons were designed as bold faces to accompany text composition. These typefaces have very heavy serifs with minimal or no bracketing. Slab serif typefaces became popular in the 19th century for advertising display. However, it became apparent to printers that these were not updated versions of classic type styles, but altogether new designs. When first released, these typefaces were called “classical” designs. These typefaces represent the transition between old style and neoclassical designs, and incorporate some characteristics of each.
This category includes the first Roman types, originally created between the late-15th and mid-18th centuries. According to, there are four distinct classifications (Serif, Sans Serif, Script, and Decorative) with 15 unique styles. It’s a lot easier to find the perfect typeface if you have a working knowledge of the basic categories being used in design today. So…how do you find the RIGHT font/typeface in an endless sea of options? Some basic guidelines might help. Typography experts estimate that there are over 30,000 font families to choose from.
Font management can help ensure you get the right fonts in the right projects, every time.Choosing the right font style can be a time-consuming and difficult challenge. And when unmanaged, fonts can cause problems such as workstation slowdowns, over-spending, and even misuse. Knowing where the fonts you need are, and being able to access and use them seamlessly, becomes challenging when you have so many fonts at your fingertips. On average, creative designers may collect as much as 4,500 fonts, and our customers have discovered the power of a font manager to improve their workflow and spark their creativity. At Extensis, we’ve lived and breathe fonts for decades and we’ve had the privilege of helping thousands of innovative companies like M&C Saatchi, The Onion, and more than 100,000 creative professionals globally, manage their fonts.Īccruing an extensive font collection is common for many creatives and organizations.
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