Better think about what mood a font creates and for what sort of text it fits best.įind your own language, and take the attributes I connect with these categories with a grain of salt. Things are not linear and a rigid categorization will not work (if it ever has). In today’s digital world, type designers mix and blend influences from all over the place. Sans-serif fonts (left) appear simple and have a monoline structure, serif fonts (center) have decorative tails or taper (aka serifs) and contrasting strokes, slab serif fonts (right) have thick, striking serifs.ĭon’t waste time overthinking if a font belongs to this or that category. While the first three (sans-serif, serif, and slab serif) are pretty straight forward, easier to distinguish, and might be suitable for all kinds of text, the latter three (script, handwritten, and display fonts) get fuzzy and should only be applied for display text. This categorization is an orientation point. With some adoptions MyFonts, Adobe Fonts, or Google Fonts divide their fonts in the following categories (click on them, to jump to the section directly): To make this as related to practice as possible, I oriented on a very rough classification that popular font catalogs use as well. Knowing what broad categories of typefaces exist and what feelings they evoke, can be a handy tool to dig through the tons of available fonts out there. Eventually you have to find your own typographic vocabulary. Script, handwritten and display fonts mostly work for short and large applications, and are more striking and thematic. Sans is perceived more modern, serif more traditional, slab serif can be both. Sans-serif, serif and slab serif typeface can work for all sorts of text. Dalton Maag’s Objektiv font family, a typeface that offers a new look at geometry.TL DR: Categorizing type is hard and only helpful to a certain degree. 20,000+ Best Fonts Download Objektiv Font Family is characterised by a lot of details, which gives it a strong character. The Objektiv font family has been published in the second half of 2015. Its designer, Bruno Mello, followed the principles of mathematical structures but didn’t forget that this is a typeface intended to be used by humans. Objektiv was designed by Bruno Mello and published by Dalton Maag. With Objektiv, Brazilian type designer Bruno Mello has created a typeface based on mathematical principles and with an eye for harmonious proportions. Objektiv contains 42 styles and family package options. The font is currently 45 in Best Sellers. Ever since calligraphic letterforms evolved into type, people have tried to rationalize the lines and curves of letter shapes into geometric forms. Like no other, this sans serif typeface combines accurate design with a humanist touch. Objektiv takes a new look at geometry it follows mathematical principles but remembers that it is a design to be used by humans. All proportions and characters have been designed based on a well balanced harmony with one another. The Objektiv font family is equipped with three style variants (Mk1, Mk2, Mk3). Objektiv is one of the most popular font families in our library. With classically geometric and unforgiving shapes, Mk1 has been created for display purposes, while Mk2 and Mk3 were designed for texts of any point size and any length. Its clean sans serif design, its human appeal, and its new look at geometry have captured the imaginations of designers and brands since its release in 2015. Objektiv’s shapes might initially appear to be perfect circles, but have in fact been carefully crafted to. All three versions ensure great legibility. The family can be used for a variaty of applications including print and web. That’s why you can get this straight geometric sans serif as both webfont and desktop font. For additional information on Dalton Maag’s Objektiv font family, feel free and follow the link below. You can get this beautiful sans serif with all its styles on MyFonts. The Objektiv font family offers a new look at geometry.
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