They require expert knowledge of type history, form, and letter-making techniques. While complex classification systems are great for the true typophile, and allow type designers to discuss subtle differences in serifs, terminals, and stroke weight, they aren’t easy to use. Robert Bringhurst, author of The Elements of Typographic Style, developed a thirteen-class system aligned with shifts in Western Art history starting with the early Renaissance. One such system is the Vox-ATypI system (en./wiki/VOX-ATypI_classification), which makes it possible to classify typefaces into eleven general groups. Many classification systems have been developed over the years. It also helps us choose fonts appropriate for the medium (screen) and content. Classification helps us picture what a font might look like-even if we’ve never seen it. It’s like classifying cars: hatchback, sedan, wagon, SUV-classification allows us to create general mental models and helps us talk about fonts. Typographers classify fonts-grouping them together based on form.
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It helps to know three things when building a font library: classification (based on the history of type), how to identify a good font, and how to access good fonts. Thus, you need to carefully build a “library” of fonts: a list of quality fonts you can count on when setting typographic web pages. But having a variety of web fonts to work with opens up a world of possibilities: new forms and subtle layers of meaning influence how readers experience the text. A good web typographer can create countless lovely, readable web pages armed with nothing but Verdana and Georgia.
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