Type Associations
- Practical (readability)
- Personal/cultural
- Historical
Renaissance: Garamond
- Snug typeface allows closer wordspacing
- Moderate contrast
- Long extenders
- Appropriate for "historical" feel
18th Century: Baskerville
- Neo-classic
- Associated with colonial America (Constitution, etc.)
- Good for classic, conservative feel
18th Century Transitional: Bodoni
- "Modern" style
- Generous use of space, light strokes in letters
- Serifs hairlines, forming right angles
- Smaller x-height
- Longer extenders
19th Century: Art Nouveau
- Organic, "plantlike" line
- First phase of modernism
- International style 1890-1920
- Collaboration of artists and writers
20th Century Modernist: Antiqua
- Designer: Peter Behrens
- Meant to emphasize horizontals and verticals
- Associations with early 20th century
20th Century Bauhaus: Futura
- Paul Renner, 1924
- "Geometric Modernist"
- No serif or transitions
- Related to pure mathemtical forms rather than writing
20th Century Renaissance Revival: Palatino
- Herman Zapf, 1948
- Derived from Renaissance fonts
- Balanced, graceful
- Used for text and display
- More character than Times
20th Century: Tekton
- Designer: David Siegel
- Like architect's printing
- "Bead" serifs, unmodulated stroke
- Use for casual but readable style
Type Fonts: Gothic
- "Black letter" or "Gothic" font
- Derived from fonts used by Gutenberg
- Narrow, squarish letters
- Use (sparingly) for "medieval" subtext
Type Fonts: Uncial
- Derived from medieval calligraphy
- Use for display
- Has "medieval" or "Celtic" subtext
- Check for readability
Type Fonts: "Grunge"
- Challenges rectilinear lines of modernism
- Challenges balance and proportion of classic style
- Acknowledges randomness
- Postmodern fonts
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