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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