Short examination of Vox - classification

by Martin Franz

Martin Franz (126742) Internation Art & Technology 4th year - Indepth 5 February, 2012

Table of contents
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Introduction Vox - ATypI - classification Humanist Didones Mcanes Linares Geraldes Rales Manuaires Scriptes Incises Blackletter Non-Latin Modern Western References

Introduction
Typography is among other Looking back into the history of advertising the typography made an enormous step forward in the matter of importance, although it is basically just the order of presenting and styling written information. Nowadays typograWhat is typography? Typography is the arrangement and design of letterforms and of them in two-dimensional space (for print media) , three-dimensional for art and in space and time (for digital media). For all art, print and digital media, visual communication professionals must consider the fundamental issues of form and structure, design, message
(1)

different graphical elements one of the key factors in advertising. In terms of graphic design it means to choose the right typeface fitting into the mood of the artwork.

phy is all around us. Whether it is in newspapers, websites, and advertising packaging supermarket transferring or of even goods at in the the is just

typography than

everywhere. It is a stylistic device more information. Choosing the right type can transfer a mood, an idea a way of living and often leads the costumer to identify with a product or company. `Good typography is invisible / Bad typography is everywhere`

or

content,

and expression.

1 - Typography

VOX ATypI classification

The VOX classification shows a possibility to classify typefaces in eleven general classes. Maximilian Vox, the inventor of this in 1954 devised system revised his original proposal just a couple of month later and created a more compact nine-part scheme. The `Association Typographique Internationale` (ATypI) adopted his arrangement in 1962. A couple of years later in 1967 the `British Standards Classification of Typefaces` set up their more basic interpretation onto Vox classification. Of course this classification is not static and will be amended within the next years. In 2010 the `AtypI` decided to add `Gaelic` to the calligraphic group. The intention is to of the classifi-

cation

group

typefaces

according to their characteristics. Decision criteria were the century they were developed in, downstroke and upstroke, forms of serif, stroke axis, height and many more. Not only the massive amount of typefaces also the diversity of them makes it hard to put every type into the right segment. That being the case typefaces can due to their attributes also be part of more than one group.

2 - VOX - classification

Humanist (Humanes)
- CLASSIQUES - ASHLEY / DE ROSS - HUMANES

The

Humanistic

typefaces

were

This small height often leads to feeling of a dark colour type, because the spacing in between lines is often small. One uniqueness created the term `Humanist axis`, describing humanist fonts (serif or sans) have an axis resulting from the angle of the pen nib when producing calligraphy. This axis is between 25 and 45. They tend to look more like they are done by humans instead of machines. This is one of the main reasons why they seem so comfortable.(2) The Humanist typefaces are a bit out-dated these days. The last revival has been with the beginning of the early twentieth century. In a sense it can be said that this typography is the forefather of lots of typefaces we are seeing right now. Due to the fact that this typeface was developed shortly after Gutenberg letterpress invention it is secure that this was one of the first ever. Examples: Jenson, Centaur, Verona, Lutetia, Jersey, Lynton, Perpetua

1543 Humane Jenson Bold

Sloping crossbar

1470 Jenson Semi Bold

created by Venetian printers and appeared during the 1460s and 1470s. At this time the Renaissance characterized Europe. The Humanist types were at the same time the first Roman, which were developed by Italian writer, like Nicolas Jenson has been one. In his first work he developed the roman lowercase letter by imitating handwriting to the style that has remained in use throughout subsequent centuries of printing.

Lynton

Lynton
`Humanist - axis` Upper-right stress

This type should be a contrast to the prevalent dark gothic scripts. It should display more open and lighter forms. These typefaces are mainly inspired by the Carolingian minuscule. Taking a closer look at the characteristics the sloping crossbar on the lowercase `e` is obvious. Next to a variation in stroke width, which is visible in the low contrast between thick and thin strokes also the x-height of the fonts is relatively low.

Lynton Light

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Centaur Regular
3 - Humanist

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Didones (Moderns)
- MODERNS - CENTURY / BELL - DIDONES

Didot LT Std Roman

Didot LT Std Headline

Didones is next to the mechanistic and linear categories part of the `Moderns`. `Didones` and `Moderns` are synonymously used in terms of typography . The Frenchman and typefounder Firmin Didot was the first publishing a Modern typeface. Shortly after having printed the first pages with this new typeface an Italian very punch well cutter and type printer called

thick and thin strokes. The influence of Baskerville and Romains du Roi got visible by a high contrast and unbracketed hairline serifs. In addition the verticality and the small aperture obvious within while the examining `e is these

Didot LT Std Bold

Unbracketed, hairline serifs Vertical stem Vertical axis

Didot LT Std Italic

Didones typefaces. Allowing the moderns enough space and place to breath they can evolve their elegant shape, which leads us controlled and calm from line to line. Nowadays the Didones types are regularly visible in connection to fashion. One of the biggest and most famous fashion magazines - VOGUE - is using it for their logo and headline, as well as the jewellery label Cartier. The choice of these high quality labels, underlines again the elegance of the type. Examples: ITC Bodoni, Didot

invented a new and up to now

Full stroke Small aperture

known

`Bodoni`. Giambattista Bodoni (17401813) combined the influence of Romains du Roi and John BaskerConnecting stroke

ville coining the `Moderns` with some of their typical characteristics. These types, dating from the end of the 18th century up to the first quarter of the 19th century are known for a very strong contrast between

Bodoni XT Regular
4 - Didones

Mcanes (Egyptian, Slab Serif, Antique)

- MODERNS - CENTURY / CITY - MCANES

Clarendon LT Std Light

The Mcanes have their foundations in the early 19th century. In coincidence with the Industrial Revolution and the development of the steam press (1814) the birthplace of this new typeface was Britain. Due to the mechanisation (mechanic French: mcanicien) printers and advertiser had the sense to make a difference to the fonts mainly focussed on longer texts or books. Their intention was to create something outstanding, eye-catching and simply noticeable mainly for short

The Mcanes category includes both, bracketed (iconis, clarendon) and unbracketed serifs like the Egyptians. The Slab Serifs were the foundation for further groups of this typographic style, namely the Fat Face, which was designed by Robert Thorne (1800) and in the mid 1800s `Clarendon`. Like with every other advancement there were made some amends. The x-height was set up for a better legibility and the contrast was reduced. Today we find Slab Serifs in TV series like Lost and Hollywood movies (American Beauty). Also in one of the most popular advertising campaigns - I NY - Milton Glaser took with ITC American Typewriter a modern Mcanes font. Examples: Archer, Clarendon, Ionic, Rockwell, Corporate ASE, Joanna

Clarendon LT STD Roman Clarendon LT STD Bold

Rockwell Std Light

Rockwell Std Italic Rockwell Std BOLD

Similar bracketed serifs

Differences in stroke

100%

143%

amount of copy. Putting the focus on the characteristics we will find rectangular slab serifs combined with a very low contrast. The upper and lower serifs are identic. Comparing that to the `Didones` font, Mcanes gives the impression of being copied with a more extended difference between thick and thin strokes.

Clarendon

Rockwell

Identic unbracketed, hairline serifs

ITC American Typewriter LT Medium

5 - Mcanes

Linaires (Linales, Sans-Serif, Antique, Grotesk)

- MODERNS - PARIS / CITY - LINALES

The linear typeface has its source

demand of striking advertising fonts. Especially in England Grotesquefonts got famous for eye-catching notifications and advertising. At this time the typeface was only published in a strong manner; nowadays we have the additional choice of `Ultra-Light` or `Italic`. The popularity came with the invention of the Internet. Sans-Serif-types are very often used for website occurring in a vast amount of different types. Linales, referring to the characteristics, differ from other typefaces by the absence of serifs and by their roundarched and geometrical (circles, rectangles) outlook. Taking a first look the reader gets the feeling that all strokes are of the same thickness, but this is not true. There are slight changes integrated giving the feeling of uniformity, which is visible at the transitions of the roundings. Examples: Gill Sans, Akzidenz-Grotest, Helvetica, Arial, Futura, Frutiger

Helvetica Light Helvetica Regular Helvetica Bold

Helvetica Light Oblique Helvetica Oblique Helvetica Bold Oblique

Geometric shapes - rectangle

in the

19th

century. In the modern

typography the `Linales` are often called `Geometric` counting to the round-arched serifs of roman origin. With the beginning of the 19th century young scientists influenced the WestEuropean culture with new historical insights, which directly got mirrored in the design of typefaces. Starting in the 1780s under the

Differences in stroke

100%

influence of the Classicism and Rationalism architects and engineers used sans-serif, linear majuscule script for their sketches and plans. Due to the matter-of-fact way and their simple

150%

Geometric shapes - circle

typometry

this

type

has

often

Arial - Pack my box with five dozen liquor jugs Futura - Pack my box with five dozen liquor jugs
Frutiger - Pack my box with
Akzidenz Grotesk - Pack my box with five dozen liquor jugs

been used to engrave and press in an industrial relationship. Shortly after it got used for house numbering and as a font for signs in the early 19th century in London. `Grotesque` or in German `Grotesk` arose like the Egyptian (Mcanes) typeface according to the increasing

Gill Sans - Pack my box with five dozen liquor jugs

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6 - Linaires

Garaldes (Garald, Aldine, Old Style)

- CLASSIQUES - DE ROSS / GRANDJEAN - GARALDES

`Garaldes` has its origins in the

Another specialty we already found at the group of the `Humanist` the `Humanist Axis` is coming around in the `Geraldes` again, especially visible at the `o`, which has an upper-right stress. As we already examined before the Humanist typefaces are part of the Calligraphic. The `Geraldes` are often ranged in the same classification, although they show a higher sophistication, which can be seen as a result of the increasing skills of punchers. Another very important development has been made 1501, right in the time of `Garaldes` (Old Style). The very first italic type has been design, especially for small formats and pocket books. Today `BP` and `Shell`, the two biggest oil companies are using a kind of Garamond for their corporate identity. Also `Apple` took a alternated version of if for branding years ago. Examples: Garamond, Bembo, Goudy Old Style, Palatino

Stempel Garamond Roman

Wedged - shaped serifs Horizontal cross bar

Bembo Italic Bembo Extrabold Italic Bembo Semibold Bembo Bold Italic

Renaissance Humanism. The name of this classification is a mix of the two designers, who are mainly responsible for it. On the one hand we have Claude Garamond (ca. 14901561) a French putter and on the other side Aldus Manutius (1447-1515), a Venetian typographer. The `Monotype Bembo` has been the first font ranged in the `Old Style` around 1495 in Italy, followed by the `Stempel Garamond` around 1540, which got published in France.

Upright stress

Perpetua - Pack my box with five dozen liquor jugs

Generally the `Geraldes` is considered as a warm and friendly typestyle, having finer proportion than the Humanists and a conspicuous stronger contrast between down- and upstroke. Influenced by a certain handwriting style the serifs are mostly bracketed, cove or wedgeshaped and the typeface in general shows a low contrast.

Perpetua - Pack my box with five dozen liquor jugs Palatino - Pack my box with five dozen liquor jugs Palatino - Pack my box with five dozen liquor jugs
Goudy Old Style - Pack my box with five dozen liquor jugs Goudy Old Style - Pack my box with five dozen liquor jugs

7 - Garaldes

Rales (Realist, Transitional, Neoclassical)

- CLASSIQUES - BELL / GRANDJEAN - RALES

For examining the `Rales` or `Transi-

relationship with the `Transitional` typefaces John Baskerville. By focussing more on the spacing in-between letters Baskerville earned a huge popularity already within his lifetime. After a meeting Benjamin Franklin he took Baskervilles type back to the US, where it got used for the federal government publishing. Working out the `Transitional` typefaces in comparison to the `Garaldes` an even greater contrast between strokes is recognisable. Furthermore it can be noticed that the wedgedshaped serifs are getting more horizontal and the upper right stress is gone by finding vertical stems now. Nowadays `Transitional` types are often used for newspapers (The Times) and became noticed due to the fact that Apple and Microsoft have some of them (Times) integrated as a standard font. Examples: Baskerville, ICT New Baskerville, Prospect, Times Roman

Baskerville Italic
Baskerville Semibold

Baskerville Regular
Baskerville Semibold Italic

tional` we have to go back to the age of enlightenment in the 18th century. A time, which has been determined by the French and American Revolution. One of the most influential examples is Philippe Grandjeans Romain du Roi (Kings Roman) for the French Crown, in person Louis XIV around 1702. As the name already says the `Transitional should be an intermediate between the modern and the old style types. So this one should detach from the `Garaldes` (Old Style) and all the traditions connected to it. Jacques Jaugeon, at this time member of the `French Academy of Science` developed fonts at the basis of a 48x48 grid, outlining a very scientific approach to remove the handwritten influences. Before taking a closer look at the characteristics another very important name has to be mentioned in

Baskerville Bold Baskerville Bold Italic

Nearly vertical, but still wedged-shaped serif

Vertical stem - no stress

Comparison of old Romain du Roi and modern Baskerville font

M
High difference between strokes

8 - Rales

Manuaires (Manual, Graphic)

- ASHLEY / BALZAC - MANUAIRES

The `Manuaires` are based on handdrawn originals the early monks created, where every letter is separated from the other. Usually these types were written with a brush or bold pen at the highest accurate level. Due to that this typeface is mainly used for headlines and display instead for body text. In Maximilian Voxs more compact nine-part scheme he originally included `Blackletter` and `Unicial faces` into this category. Having a closer look at the characteristics of this typeface a standoff regarding to the `Scriptes` is noticeable. In contrast to the right slanted letters we will find here vertical fonts with handwritten directions characteristics. having their Different

Using a broad tongue is showing a well-kept word design whereas the Redis-tongue and different brushes are often used for heavy designs, underlining the origin and authenticity of the font designer. Probably the most popular font in this classification is `Fraktur`. This is a further development of the `Schwabacher` font combined with the skinniness of the Gothic era. Especially at the capital letters the sparkling forms are eye-catching. Examples: Fraktur (different variations, Bolide, Banco

origins in the straight Antique and Italic, which are counteracting the static by giving the fonts a certain movement.

9 - Manuaires

Scriptes (Script)
- BALZAC / MERCURIUS - SCRIPTES

Zapfino Regular

The beginning of the `Scriptes` is

As a platform the italic type can be mentioned, seeing the `Scriptes` as a more distinct form of them. Today most of the time this typeface is used for a minimal amount of text, due to the fact that is hard to read a whole text in this handwritten form. Moreover a vertical stress is obvious. In contrast to the `Rales` the transition between the strokes is minimal. Furthermore lots of typefaces related to the `Scriptes` show at lowercase letters and thick serifs. The general outlook can be described as elegant and decorative, giving a personal touch to the copy, whether in advertising or for personal use. Thats why you can often see them on Valentines Day cards or wedding invitations. Examples: Mistral, Shelley, Zapfino, Lucida Handwriting, Knstler Script, Calflisch Script, Dalliance, Czanne

Zapno Extra LT Pro Regular

Upper-right-stress
Mistral

Zapno Extra LT One

dated back to the old times of the Romans, where it was used for contracts of purchase. Within the 16th century the handwriting of the `Humanists` lead to the `Cancelleresca corrente` the cursive script of the Antiqua. especially In the following centuries in European grapho-

masters and engravers refined this typeface to perfection. To this date the English and Italian scripts are unique with its exact, fine brushes created namely by writing-masters like Geor-

Dalliance

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Dalliance Medium
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Knstler Script

Thick serifs

ge Bickham, George Shelley and George Snell. A huge amount of gentle, but also powerful scripts made century. Characterising this typeface we can see letters often connected to each other. Nearly all of them are written with a quill having a strong slope imitating the copperplate script. with divers feathers and brushes were originated in the 20th

Mistral - Pack my box with five dozen liquor jugs

10 - Scriptes

Incises (Glyphic, Incise)

- PARIS / MERCURIUS - INCISES

The `Incises` typeface finds its place

Michael Harvey, who both stated the post 1945 book jackets and got highly influenced by the German designer Helmut Salden. Looking for differences to the serif based typefaces the `Incises` have a flared stroke. Quite often the letters are tapered in the middle and altogether these changes can be referred back to the `Verjngung` (German, `Verjonging Dutch) or literally known as the rejuvenation. The proportions are close to the one `Humanist` typefaces have. Recognizable are `Incises` fonts by their minimum contrast in stroke weight and their triangular-shaped serifs. The most known fonts in relation the `Glyphic` are Optima from Hermann Zapf and Albertus from Berthold Wolpe. Example: Albertus, Optima, Quorum, Cartier Book

Optima Regular

Optima Extra Black

Minimum contrast in stroke weight

Optima Bold Italic

Optima Italic

between the serif Renaissance and the sans serif faces. Comparing them to other classifications the `Glyphic` are most of the time exclusively used at printing types and often underrepresented, whether in the modern typography nor in the past. The name arose from their reference of letters being carved into stone. In the mid 20th century they had their revival, due to many individualistic alphabets created for book covers

95 %

100 %

and posters. These by calligraphic letterforms inspired designers were mainly based in Germany, Netherlands, Austria and Britain. The tradition of Dutch and English

triangular - shaped serifs

mainly straight and angular letters got loosened up with the input of the German-speaking countries. Three important names in connection to this typeface are the Dutchman Boudewijn Ietswaart, the British

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11 - Incises

Albertus Medium

Blackletter
- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME

As seen in the `Vox-classification`

to print. Only Germany and the German speaking countries stuck to this typeface at this time. Mentionable as characteristics are the dramatic contrast between thin and thick strokes. Letters are modelled on late medieval handwritings with a broad-nibbled pen, showing pointed and angular forms. Lower case letters often show a thin diagonal serif. Nowadays this type can be found at various platforms. As mentioned before and regarding to its hard legibility it can usually be found at posters, headlines and signs. One of the biggest newspapers of the world, `The New York Times` is using `Blackletter` as well as `Corona`, `Disneyland` or the famous heavy metal band `Motrhead. Even rapper like Snoop Dogg used it on the cover of his `Rhythm and Gangsta` album. Examples: Cloister Black, Deutsche Zierschrift, Germanica, Old English

Plain Germanica Regular

Shadowed Germanica Regular Embossed Germanica Regular

page the original arrangement of Vox contained 9 groups. The ATypI added two more classifications, the `Blackletters` and the `Non-Latins`, which you will find at the following page. In the earlier nine-part scheme `Blackletters` were included in the `Manuaires` (Graphics). The history of this font family is stated back to the Western Europe in the mid 12th century and is based on early manuscript lettering. Furthermore the `Blackletter` typeface was used in one of the first books ever produced in Europe the Gutenberg Bible. Thats why it is often called `the oldest of fonts` and intro-

Fluted Germanica Regular

Contrast thin and thick strokes

Pointed and angular forms

thin diagonal serifs

duced a new era in typefaces for printing. With the start of the 15th century `Blackletter` lost its popularity in a broad area due to the fact that it is hard to read as body text and other typefaces (Roman, Italic) were easier

Deutsche Zierschrift Pack my box with five dozen liquor jugs

12 - Blackletter

Non - Latin
- ADDED BY ATYPI TO THE ORIGINAL NINE-PART-SCHEME

This

classification

summarizes

all

The Hebrew script (Jewish script, Square script, Block script) is making a huge difference to others by reading and writing it from the right to the left. With its 22 letters the `Square script originally contained only consonants. Later vowels were indicated with separate vowel points and got nowadays fully integrated in the modern usage. The Arabic script (Arabic abjad) is as the name already tells designed for writing the Arabic language. Like the Hebrew script it is written from right to left, often in a cursive style. The alphabet includes 28 letters all standing for consonants, which is called `abjad. Chinese typefaces are logograms and the oldest continuously used system of writing in the world. The ten thousand characters comprehensive framework provides mainly morphosyllabic letters with an unambiguous meaning. Over the years next to the traditional Chinese a simplified Chinese developed making it easier to learn.

writing systems not based on the Latin alphabet, like Greek, Cyrillic, Hebrew, Arabic, Chinese and many more. Within this text I just want to give an overview about the different historical backgrounds these typefaces have. The Greek script has been used since the 8th century BC and is consisting 24 letters instead of the in Western and Middle Europe common 26 letters. Next to that the Greek letters are very often used in terms of

Cyrillic

Arabic -

military (alpha, beta, omega, ) it has been the first alphabet providing a written symbol per sound, whether for vowels or consonants.

Hebrew script

The development of Cyrillic typography has its origins in the medieval stage up to the late Baroque. These Cyrillic letters are mainly with strokes often close or connected to the following letters.

Chinese

13 - Non - Latin

Modern Western
This text shall describe some of the latest changes of the modern typography. The technical revolution of personal computers made it possible to design your own, stylish typefaces. Font designer are no longer limited to the metal types by using vector or 3D programs like Illustrator or Cinema 4D. Nowadays we can find lots of new very attractive examples, whether used for the art, videos and logo or for a whole brand identity. One example of this is `Channel 4 in England. They have created a plain, but still 3D-looking logo and build up their whole brand experience around it. Especially in the advertising world this campaign or redesign proved popular. The basis for these 3D examples are usually noncalligraphically font, because their fine and sometimes squirreled brushes are too thin and too much for a nice 3Dvisualization. Platforms like dafont.com or myfonts. com provide space for amateur and professional designers to present their typographical ideas. More examples for new type-classifications are graffiti, theme-related fonts (fire / ice) and typefaces not only concentrating on the font itself, but also on the surrounding. As usual you will find some examples at the right side underlining what I thought about. The huge amount of already existing fonts and the possibility to create them way easier than it was in the past will give us nearly uncountable opportunities in future. This of course will make it more difficult for companies, but also for designers, to find or create something unique making a difference to other companies and typefaces.

14 - Modern Western

Sources
This report was written in
Books Surhone, L.M., Tennoe, M.T., Henssonow, S.F. (2010), VOX - ATypI classification Betascript Publishing Websites http://www.atypi.org/ http://ilovetypography.com/2007/11/21/type-terminology-old-style/ http://www.graphic-design.com/Type/bergsland/humanist.html http://www.paratype.com/help/term/terms.asp?code=147 http://www.letterfontain.nl http://retinart.net/typography/blackletter/ http://www.sitepoint.com/the-blackletter-typeface-a-long-and-colored-history/ http://dynamicgraphics.com/dgm/Article/28549/index.html http://www.plainlanguagenetwork.org/type/utbo130.htm http://issuu.com/randynarvaez/docs/vox http://vau-ef-be.beepworld.de/gebrochene.htm http://www.typografie.info/2/wiki.php?title=Hausschriften-Liste http://issuu.com/pbrenes/docs/librillo_tipografias_completo_sin_guias References (1) Robin Landa, Graphic Design Solutions book, p. 74 (2) http://www.graphic-design.com/Type/bergsland/humanist.html Graphics Page 04: http://www.fonts.com/NR/rdonlyres/C21D1D52-E711-48EDBDDC-F90C05E99E63/0/FYTI_Anatomy.pdf Page 05: http://rocbo.chez-alice.fr/typo/img/vox_roue.jpg Page 17: http://www.designboom.com/weblog/cat/8/view/18961/3dalphabet-shows-the-history-of-type.html

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15 - Sources