Most typefaces are classified into groups based on specific elements or styles.

A classification system can be useful in identifying, combining and understanding typefaces. the first published classification was the Vox system in the late 1940s, (and still being edited until the mid 1960s) that is still regarded as the norm today. The most common way of classifying typefaces, comes from a collaboration between ATypl (Association Typographique Internationale), founded by Charles Peginot, and Vox himself. This system is a completed development of Vox’s 1954 version of the same system and was later (by 1967) modified and put into use by the British Standards Classification of Typefaces.

Maximilien Vox, a French critic, art theorist and historian of French typography, devised a basic system for classifying typefaces. in order to classify typefaces and divide them into groups, he used formal criteria such as serifs, stroke axis, x-height, down stroke, etc. This system is made up of groups and sub-groups as some typefaces will have characteristics of more than one definitive category.

Classical

This group of typefaces had similarities such as triangular serifs and a low stroke contrast and can be divided into 

Humanist – These typefaces are designed based on Roman inscription typefaces. Within these typefaces, a contrast in stroke weight is clear and they are considered the most legible and easiest to read, of the sans serif types. These possess similar proportions of serif styles and are sometimes influenced by calligraphic script typefaces.

Garalde (also known as Old Style) – this term is the combination of Claude Garamond (a 16th century type designer and publisher)and Aldus Manutius (a 15th century Venetian printer and publisher). These typefaces are not true to handwriting, but are designed on geometric principles. They are characterised by their low contrast in stroke, weight and angled serifs: In these designs, the angle of the serif usually leans to the left. In old style designs, the serifs are almost always bracketed and sometimes with angled head serifs.

Transitional –  In the 18^th century, John Baskerville, an English printer and typographer, established the first transitional typeface. This was a typeface designed to bridge a gap between old style and neoclassical typeface designs, whilst including characteristics of both. Baskerville worked with new methods of making paper and worked towards improving the then-current printing methods. This meant that finer character strokes and more precise character details could be reproduced as these transitional designs comprised of a higher weight contrast. However, serifs were still bracketed and head serifs were still inclined following old style letterforms. 

Moderns

This group of typefaces served a functional, over decorative, purpose during the industrial period. 

Didone –  Italians, Didot and Bodoni developed their typefaces that was originally classified with a ‘classical design’, but were later renamed ‘modern’ as printers realised these designs did not fit into the category of classic type styles, as they were not updated versions of previous old style typefaces. These typefaces were reclassified in the 20^th century as neoclassical. There is dramatic contrast between thick and thin strokes, vertical curved stokes axis with no bracketed serifs and ball terminals at the end of the letter’s arm; these modern designs are clearly built letterforms. 

Mechanistic (slab serifs) –  Slab serifs, designed by Vincent Figgins, became perfect for advertising display in the 19^th century, with heavy square serifs and no bracketing between the stem and serif. There is a usually a very subtle contrast in stroke weight and are often compared to similar sans serif typeface with added serifs. Clarendon serifs were named after Oxford’s Clarendon Press and was one of the latest developments for 19^th century typography and many styles were available in larger point sizes as display fonts. The character stroke contrast is slight and the earlier styles have short to medium length serifs, whilst newer versions developed longer serifs. Clarendon is one of the first typefaces used in bold to put emphasis on certain words within a block of text, this style of typeface became popular with more common ‘WANTED’ posters of the old west. 

Lineal – This category is made up of a combination of sans serif typefaces. Grotesque, Neo-grotesque, Geometric and Humanist. 

Calligraphics

These typefaces share the ‘hand-crafted’ characteristics.

Glyphic –  Glyphic serifs are the name given to letterforms with triangular serif designs, often flares to finish strokes, with minimum stroke weight contrast and vertical curved axis. Some type classifications place this category into two separate groups, ‘Glyphic’ and ‘Latin’. These type styles are derived from the lettering carved into stones rather than hand-drawn typography. 

Script –  Casual fonts fall under the script classification and refer to typefaces that have an informal aesthetic and flow more easily that other typeface categories. They often have a hand drawn appeal ( inspired by cursive handwriting and brush strokes) and can sometimes connect one letter to the next, giving the appearance of being quick to write with.

Graphic – Decorative fonts are not used for body copy, but used for signs, headlines and are mainly used to make and engaging statement or grab attention. Grunge, with a deep and bold emphasis, and psychedelic, inspired by 1960s pop culture, are type styles that follow a specific theme. This is an example of the purpose a display font has to make a reader feel something when looking at a page, in order to grasp onto attention, as sometimes these typefaces use unorthodox and unconventional designs and proportions. However, when these decorative display typefaces were first introduced, their main goal was to highlight and convey important messages, and stand out under the appropriate circumstances. 

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