![]() ![]() An example of a blackletter typeface (Goudy Text MT Std), similar to the one Gutenberg would have used to print his 42-line Bible. While perfectly legible to Gutenberg’s 15th-century German audience, this same type would appear gothic and unfamiliar to present-day readers (see Figure 1).įigure 1. This typeface was explicitly used by Gutenberg in his 42-line Bible to “ the feel of a handwritten book as closely as possible” so that the few people who could read at the time would be able to recognize the printed text (Seddon, 2015, p. The type used by Gutenberg was a blackletter face reminiscent of the handwritten style of script that was dominant at the time. Typography, as it is known today, developed alongside Gutenberg’s moveable type press in the 1440s. The results of this survey suggested that geometric sans serif typefaces are not only thought to have more modern personas than serif typefaces or sans serif typefaces from alternative classifications, but that young adults born around the turn of the 21st century tend to prefer these typefaces. Analysis of the responses from participants born between 19 indicated some correlation between the perceived modernity of a typeface and viewers’ preference for it. ![]() Participants were asked to respond to two sets of questions: background questions regarding their age, gender, place of birth, and prior typographic knowledge, and questions pertaining to their perceived modernity and preference of ten (10) typeface samples. To examine the potential correlation between perceived typeface modernity and preference, an online survey based upon a review of the literature on typographic expression and emotional resonance was conducted. In the context of this study, typeface modernity was defined as having a current or contemporary appearance or visual aesthetic, rather than referring to the Modern type classification. Specifically, it looked to determine whether those born around the turn of the 21st century, between 19, prefer typefaces that are contemporaneous to their lifetimes or those which were popular in a time predating them. Given these typographic abilities, this study aimed to examine how the perceived modernity (or lack thereof) connoted by a typeface affects the viewers’ preference for it. Scholarship on the subject has established that typography can be both connotative and evocative, capable of resonating emotionally with its viewers. Typography as a means of visual communication has evolved significantly since it was first developed in the mid 15th century.
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