Humanistic Sans Serif
These are based on the proportions of Roman inscriptional letters. Frequently, contrast in stroke weight is readily apparent. Typographic experts claim that these are the most legible and most easily read of the sans serif typefaces. Humanistic sans serif typefaces also closely match the design characteristics and proportions of serif types, often with a strong calligraphic influence.
Transitional Serifs
English printer and typographer John Baskerville established this style in the mid 18th century. These typefaces represent the transition between old style and neoclassical designs, and incorporate some characteristics of each. Baskerville’s work with calendered paper and improved printing methods (both developed by him) allowed much finer character strokes to be reproduced and subtler character shapes to be maintained. While the axis of curve strokes can be inclined in transitional designs, the strokes normally have a vertical stress. Weight contrast is more pronounced than in old style designs. Serifs are still bracketed and head serifs are oblique.
Neoclassical & Didone Serifs
These are typefaces created within the late 18th century, or their direct descendants. The work of Giambattista Bodoni epitomizes this style of type. When first released, these typefaces were called “classical” designs. Early on, however, it became apparent to printers that these were not updated versions of classic type styles, but altogether new designs. As a result their classification name was changed to “modern.” Since the mid 20th century, they have also been classified as neoclassical or didone. Contrast between thick and thin strokes is abrupt and dramatic. The axis of curved strokes is vertical, with little or no bracketing. In many cases, stroke terminals are “ball” shapes rather than an evocation of a broad pen effect. These tend to be highly mannered designs, with clearly constructed letters.
Geometric Sans Serif
Simple geometric shapes influence the construction of these typefaces. Strokes have the appearance of being strict monolines and character shapes are made up of geometric forms. Geometric sans tend to be less readable than grotesques