So far eight groups of book faces and sixteen groups of display faces have been described. These represent a very large proportion of the types extant today. If to these are added the bold or semi-bold versions of many of our book faces, for example Baskerville, Bembo, Ehrhardt, 'Garamond'. Imprint, Perpetua and Romulus, and the bolds of jobbing faces like Plantin Series 110 and Times (which though born as jobbing faces are nevertheless used as book faces) &, further, if we remind readers of the enormous number of poorly designed faces mentioned in the introduction to this book it would seem that all type designs must surely have been accounted for. But that is far from being the case.
There are many interesting display types which cannot be placed simply in one or other of the groups described in this Introduction. Some are hybrids, a mixture say of a sans serif and a three dimensional face: others are types which have been modified in some way.
It will be agreed that Gill can be considered as a perfect example of a sans serif type. But what of Bifur and Neuland and Koloss? These can be called sans serifs only if we accept seriflessness as the sole criterion of sans serif types. But of course it is not. Bodoni divested of its serifs does not look like anything we have been taught to recognize as a sans serif type! Koloss is of course a hybrid. It has been described as an extra bold sans serif which suggests a fat face. Neuland has been described as a bold sans serif with modifications. Bifur is one of those types which