![]() ![]() And while some temporary fonts such as Minion Pro are less than 40 years old, they are nevertheless firmly anchored to this tradition of fonts and can be classified as transitional (or baroque) fonts.įor fonts with a definite contemporary vibe, Modern serif fonts come into play. Examples of these are Times New Roman, Baskerville and Georgia. They’re generally well-balanced, easy to print, and also easy to use in small point sizes on computer screens. Transitional fonts are those you’ll mostly find in modern books. Their most dominant characteristic is that the differences between thick and thin lines are more pronounced (especially when compared to old-style but less so when compared to modern fonts). They’re also referred to as baroque typefaces, as they became common around the mid-18th century until the start of the nineteenth century. Next are fonts that belong to the “transitional” period. Old Serif fonts can also be sub-categorized into Humanist and Aldine typefaces, but we won’t go into this, because this distinction is somehow controversial as some historians believe it’s an excessively abstract distinction and not based on specific formal or stylistic differences. Some of the most widely used typefaces today (such as Adobe Jenson, Centaur, and Goudy Old Style) belong to this group and are widely used in book layouts. Thankfully, these typefaces have aged gracefully. century are the most classical and traditional fonts you can find in today’s modern desktop publishing environment. Old Style serif typefaces, which go back all the way to the 15. Serif fonts are generally divided into three or four categories, based on their chronological development. And depending on your book genre, there are numerous things to consider before settling on a typeface. Serif typefaces tend to look a lot more traditional or conservative, compared to sans-serifs which are generally accepted to be modern and informal. Serif letters have been the choice for books, newspapers, and magazines for centuries, due to both historical precedent and perceived readability. More distinctive letters are easier for the eye to recognize quickly. They also help the eye travel across a line. Numerous readability studies have come to the conclusion that serif typefaces are easier to read because the added strokes along the central beams and the top bars make each character more distinctive. While a sans-serif will look good on large-sized short texts (such as traffic signs, brochures, posters, or shop signs), for a continuous and uninterrupted reading experience a serif font will almost always be the better choice. Serifs are considered to be decorative first and foremost, but their appearance may well serve a higher purpose. If the letter possesses this decorative stroke, it’s called a serif font if not, a sans-serif ( sans meaning without).īook layouts are by far and large almost always put together with serif fonts. ![]() A serif is a decorative stroke that finishes off the end of a letter’s stem (which is also called the “feet” of a letter). In the most general and historical sense, typefaces can be classified into two groups: serifs and sans-serifs. ![]()
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