typography and type : Classification of types VI–XI tourplease scroll top tour top tour top tour top

VI. Serifless linear roman
Distinguishing marks:
no serifs
vertical axis of curves
upper lengths often equal capital letter height
thickness of lines nearly equal (optically linear)

Arised in the first half of the 19th century
Old name: Gothic

Well-known representatives:
Akzidenz-Grotesk, Avant Garde Gothic, Berthold Imago, Erbar, Franklin Gothic, Frutiger, Futura, Folio, Gill Sans, Helvetica, Kabel, Lightline Gothic, Neuzeit-Grotesk, Univers

VII. Roman variants
Mambo Bold

To this group belong all roman types which inferring from their distinguishing marks, cannot be put into the groups I to VI.

Arnold Böcklin, Blur, Exocet, Mambo Bold, Moonbase Alpha, Oriente

VIII. Scripts
Distinguishing marks:
They look as if they were written with quill or brush
often with alternating stroke, depending on position and writing tool.
often sweeping first letters (Capital letters)
the small letters often have linking strokes

Types that arised from the so-called »latin« school and chamber scripts from individual scripts and from artistic type blueprints.
Original writing tools: pointed quill, broad quill, round quill, brush or chalk.

Ariston, Ballantines, Berthold-Script, Commercial Script, Diskus, Englische Schreibschrift, Künstlerschreibschrift, Lithographia, Mistral, Slogan

IX. Hand-written roman
Dom Casual
Distinguishing marks:
Elements of groups I-VI
changed by hand-written quill-flow

Roman types that are changed in a personal way and hand-written by a type-artist. They don't show any strictly stylistic systematics like all other roman types, but emphasized hand-written originality.

Arkona, Delphin, Dom Casual, Express, Impuls, Poppl-College, Post-Antiqua, Vivaldi

X. Broken types
(german and gothical types)
Fette Fraktur
Goudy Text
Distinguishing marks:
all curves are broken
The types look as if they were written with a broad quill
partly high contrast bold/fine
partly fine beginning and ending dashes
oblique dash within »e«
More infos about black letters:
new link www.cooper.edu/art/
lubalin/bletter.html english

Sampler-group for all broken types. Nowadays they are only rarely used (mainly as headlines).
According to their distinguishing marks you divide up in:
a) Gothical
all curved elements of the small letters are broken. The letters show a change between bold and fine lines.
Caslon-Gothic, Black gothic, Manuscript-gothic, Wilhelm-Klingspor-Gothic

b) Round gothical
The round gothical bases on the Rotunda of the early times of printing. Arising and development of round gothical above all in Italy.
Tannenberg, Wallau, Weiß-Rundgotisch
c) Schwabacher
Handwriting and printing type of the 15th century, came up in southern Germany. Broad and sweeping effect of the letters, more round and open as the gothical.
Alte Schwabacher, Renata

d) Fraktur
Arised in the 16th century
Slim and elegant type coming from the cultural circle of emperor (Kaiser) Maximilian
Black Fraktur, Cabinet-Fraktur, New Fraktur, Unger-Fraktur, Walbaum-Fraktur, Zentenar-Fraktur
e) Fraktur-variants
Here you find all broken types that differ after their flow from the groups Xa to Xd.
Breda-gothical, Broad Chambers, Rhapsodie

XI. Foreign types
foreign type
foreign type

All non-latin types (like greek, hebraic, kyrillian, arabic, japanese or also picture-types) are classified here.