Nash, John. “In Defence of the Roman Letter”(PDF). 《Journal of the Edward Johnston Foundation》. 2017년 8월 9일에 원본 문서(PDF)에서 보존된 문서. 2016년 10월 13일에 확인함.
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Baines, Phil; Haslam, Andrew (2005), 《Type and Typography》, Laurence King Publishing, 51쪽, ISBN9781856694377, 2014년 5월 23일에 확인함 영국 표준 서체 분류법 (BS 2961:1967)에서는 다음과 같이 분류하고 있다. Grotesque: Lineale typefaces with 19th-century origins. There is some contrast in thickness of strokes. They have squareness of curve, and curling close-set jaws. The R usually has a curled leg and the G is spurred. The ends of the curved strokes are usually oblique. Examples include the Stephenson Blake Grotesques, Condensed Sans No. 7, Monotype Headline Bold.
Neo-grotesque: Lineale typefaces derived from the grotesque. They have less stroke contrast and are more regular in design. The jaws are more open than in the true grotesque and the g is often open-tailed. The ends of the curved strokes are usually horizontal. Examples include Edel/Wotan, Univers, Helvetica.
Humanist: Lineale typefaces based on the proportions of inscriptional Roman capitals and Humanist or Garalde lower-case, rather than on early grotesques. They have some stroke contrast, with two-storey a and g. Examples include Optima, Gill Sans, Pascal.
Geometric: Lineale typefaces constructed on simple geometric shapes, circle or rectangle. Usually monoline, and often with single-storey a. Examples include Futura, Erbar, Eurostile.
Lagerkvist, Love. “American Football”. 《Fonts In Use》. 2017년 6월 18일에 확인함. Imago [is] a relatively obscure neo-grotesk released by Berthold in the early ’80s.
