The 14 types of letters (typefaces) and their uses

Probably most of us have had to write some type of work, evaluable activity, report, letter or document on a computer at some time. And most likely we have also had to choose from among a large number of fonts the type of letter most depending on the situation or even the meta aesthetic preference: Arial, Times New Roman, Calibri, Cambria…

And it is that throughout history and since the invention of writing and the first spellings generated to represent our ideas have emerged a large number of typefaces or typefaces, even within the same language. There are so many options that various classification attempts have been made, of which in this article we are going to see two specific examples.

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Types of letters: elements to take into account

When making a classification about typefaces, it is important to take into account that there are many factors that their authors can look at: the stroke, the thinness of the lines, the presence or absence of finials, the shape

(more rounded or more square), the direction of its axis, the maintenance or variability in thickness.

Likewise, it must also be taken into account that writing, like oral language, is also evolving and changing over time, generating new types of spelling and uses for it. In general, in addition, it must be appreciated that the different types of letters can be more or less appropriate in different contexts, although this would refer more to its use than to the type of graph itself.

Next we will see two of the most common classifications, although There are a multitude of ways to classify them.. We will focus on the Latin alphabet.

1. Thibaudeau classification

It is considered that the pioneer in trying to classify types or fonts was with a unified criterion was Francis Thibaudeau, who classified the typefaces in two groups clearly depending on whether or not it presents serifs or serifs. Subsequently, it would include a third group as a mixed bag for those that could not be considered within the previous two.

1.1. serifs

We understand serifs to be all fonts and typefaces that have small ornamental finials, generally at their ends. This is a typeface that generally offers a more elegant appearance than without serifs (or serifs), giving a more professional appearance. One of the most widely used examples of this font is Times New Roman..

Likewise, it is possible to subdivide serifs into three groups: ancient roman (little difference between thick and thin strokes, concave and triangular serifs), modern roman (perceptible differences between thick and thin strokes but more stylized than the previous ones) and Egyptian (machine-like, with strokes of the same thickness and serifs rectangular).

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1.2. sans serif

This group is characterized by not having a serif, its characters being rounded and without any type of ornamentation at their ends. Is about a simple, easy-to-read font, with a cleaner and more informal appearance than those with serifs. Also called dry stick. One of the best-known examples of this typeface is the one that appears in the Arial font.

1.3. other

This group includes mainly handwritten and decorative letters, which either do not have an always stable and maintained pattern or their main function is not so much to express at the written level but rather at the image level.

2. Vox-ATypI classification

One of the best known classifications is the one proposed by Maximilien Vox, typographer, historian, journalist and graphic illustrator. This man advocated the elaboration of a classification in different typologies of letters, creating the typographic classification of Vox in France during the year 1954. For this, it was based on the classification made by Thibaudeau.

In fact, this classification system is one of the most widely used in all areas and is accepted as a standard by the International Typographic Association. Over time it has been receiving revisions, the last being the one carried out by the aforementioned association: the Vox-ATypI. In this latest revision, the fonts are classified into the following groups.

2.1. human

They receive the name of human, humanistic or Venetian to a type of letter similar to that of the manuscripts in the fifteenth century, in Renaissance Venice. They have small auctions, with little difference and contrast between strokes (there is no great difference between a broad stroke and a fine stroke) and with a wide separation between letters. Some fonts that use these typefaces are Centaur and Jenson.

2.2. Garaldas

The garaldas, also called aldinas, are a type of font characterized by a more marked contrast between thin and thick strokes, although their proportions are no thinner and more stylized. They owe their name to Claude Garamond and Aldo Manucio, typographers of the 16th century. Another of the names given to this type of letters is Antiguas. Examples of this are the Garaldus and Palatino fountains..

23. real

Initially born within the Royal Printing, the typefaces known as real or transitional are characterized by being practically completely vertical (the previous ones the axis of part of the letters is more oblique) and have a difference between thick and thin strokes more marked than in the previous ones. It gathers characteristics of both classic and modern fonts, although it identifies with the first group. The well-known Times New Roman is part of this group, as are many others such as the Baskerville or the Century Schoolbook.

2.4. Didonas

The didonas owe their name to the French typographer Didot, although his style was later perfected by Bodoni. They appeared around the eighteenth century to differentiate themselves from the typefaces of the old regimes, at the time of the French Revolution. in this font the difference between strokes is very marked and there is little separation between each letter. Century and Madison are examples of this type of letters, also called Modern Romans.

2.5. mechanical

Also called Egyptian, they are typical of the Industrial Revolution and slightly emulate the technological aspect of the time. They have a lack of difference between thin and thick strokes (all strokes look pretty much the same thick) and rectangular serifs of the same stroke size as the rest of the letter, something that projects a certain image of strength. Rockwell, Memphis or Clarendon are examples.

2.6. linear

The group of the linear ones includes in a great set the types of letters without serifs or auctions. They are cleaner and more informal, and were introduced for commercial and advertising use. Within them we can find four large groups:

• grotesque: Similar to the mechanical ones but without finials, they have a somewhat square appearance and with some contrast between strokes. An example would be the Franklin Gothic.

• neogrotesque: Like the previous ones but with less contrast and more styling. One of the best known today is Helvetica.

• geometric: These letters attract attention due to their monolinear or clearly geometric appearance. There is little difference between the different letters of the alphabet, having very similar shapes. The Bauhaus letter is one of them, as well as the Futura.

• humanists: Partial recovery of Renaissance styles and with a certain similarity with the classic human and garaldas (although they are different from these, in addition to not having auctions). An example: the Gill Sans font.

2.7. Incised

This style tends to seek to imitate the letters used in engravings in different materials, being capital letters are especially important (not existing in some types, in fact, the lower case). They seem carved, with a similar great amplitude in all its letters or with small and compact sarifas. An example of this is the letter Trajan or Perpetua.

2.8. written

Imitation of the letter that arises when using writing instruments such as a pen or brush when writing. They are usually in italics and there may even be no separation between letters when they are joined. One source of this type is the Hyperion.

2.9. manuals

Similar to the previous ones, but made with more separation and in an apparently more calligraphic way. More advertising and used to highlight and make what is written more visual. The Klang or Cartoon font type are some of the types that are included in this group.

2.10. fractured

Group that brings together the letters of the Gothic type, they are very ornamental and usually have pointed shapes. Fraktur is an example. In the original Vox classification they are included in the previous ones, but the International Typography Association decided to separate them.

2.11. foreign

This last group would include all types of spelling not corresponding to the Latin alphabet. Thus alphabets such as Greek, Arabic, Chinese or Hebrew would enter this classification.