“[C]ertain qualities are inherent in all printed material. A sans serif seems cool, austere, objective, sober; . . . display sans serif is more natural and less rational, futura, on the other hand, intellectual and distinguished, Gill sans is harmonious in expression. . . . Bodoni is characterized by its classical harmony, Walbaum by a certain respectability and Didot by esprit. Jenson Roman was and is valued for its distinguished simplicity, noble proportions, readability and strength as one of the most beautiful faces of the Renaissance. Garamond by comparison is attractive through its elegance and lightness, which in Garamond italic is transformed into a delightful gracefulness. Caslon roman is self-assured, self-confident and full of Baroque independence; it is more original than Baskerville which is similar in spirit; Baskerville is however more concerned with beauty and harmony. It is not only the classical types which evoke emotions, modern typefaces can have this effect also.”

—Albert Kapr, The Art of Lettering; The History, Anatomy, and Aesthetics of the Roman Letter Forms, 1983.