Clarendon Serifs This category includes the typefaces patterned after the Clarendon type styles first released in the mid 19th century. Clarendons were designed as bold faces to accompany text composition. Their stroke contrast is slight, and serifs tend to be short to medium length.
Slab Serifs Slab serif typefaces became popular in the 19th century for advertising display. These typefaces have very heavy serifs with minimal or no bracketing. Generally, changes in stroke weight are imperceptible. To many readers, slab serif type styles look like sans serif designs with the simple addition of heavy (stroke weight) serifs.
The grotesque font style has seen an uptick in popularity over the past few years and designers are coming up with new ways of interpreting this older sans serif style. Brandon Grotesque is a good example of a font style that is more grotesque than neo-grotesque.
Neoclassicism (from Greek νέος nèos, "new" and Latin classicus, "of the highest rank") is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of classical antiquity.
The Stempel Schneidler® typeface family is a reworking of Schneidler Old Style, designed in 1936 by F. H. Ernst Schneidler, based on the typefaces of Venetian Renaissance printers. Stempel Schneidler possesses the grace, beauty, and classical proportions of that time period.
Here is a survey of seven of the most useful and well-designed slab serifs. Egyptian Slate The Egyptian Slate™ typeface family is a recent addition to the Slate family, both designed by Rod McDonald. This smart, sturdy design includes six weights with complementary italics, as well as both lining and old style figures.
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.