Over time, many of the functors of page layout have become formalized within the concept of typeface as morphic categories, categories being the semantic building blocks of perception at the level of both individual physiology and social production. First case, then skew, weight, horizontal scale and serifization have evolved as the axes about which type families may be configured. To these Nick Shinn has added a cultural axis, with modern (minimalist) and old style (humanist) as the poles of the sans serif genre.
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