![]() They’re also known to be easy to read quickly. Serifs are a great way to provide the eye something to hang onto when printing at smaller sizes. There are practical graphic design reasons to choose a serif font or a sans-serif font for your typography application, typically surround the medium through which your reader will interact with your text. “There are practical graphic design reasons to choose a serif font or a sans-serif font for your typography application, typically surround the medium through which your reader will interact with your text.” Is your reader seeing your text in an ad for a luxury item placed in a high-end lifestyle magazine? Are they reading a long form expose on an online newsfeed? Are they young? Older? These differences aren’t necessarily codified-it’s more of a gut feeling. Clarity and mood can come together to help inform audience-based font choices. This is a rather subjective measure of typefaces, but the prevailing cliché is that serif fonts are classic, classy, and trustworthy, while sans-serif fonts are modern, clean, and clear. Different applications require different levels of readability from text, from differences in size to print versus digital. If your text is hard to read, it’s pretty useless. But if we consider our feelings or impressions alongside the facts, the differences extend beyond feet, swoops, and flourishes. Obviously, the primary difference between serif and sans-serif fonts is the serif itself. Inspired by serif glyphs and hand-written forms but with more stroke variation than Grotesque fonts, these fonts are often found to be the easiest on the eyes-likely why the long-time default Microsoft font was the Humanist Calibri.ĭifferences Between Serif & Sans-Serif Fonts Look for an “O” that’s a near-perfect circle and an “a” that’s a simple circle-plus-stroke combo. Just like the name suggests, these sans-serif fonts are modeled closely on standard geometric shapes. Some find them uniform others feel they’re too plain when compared to Grotesque fonts. Iterating upon early sans-serif fonts, this category features more refinement in shape and size compared to their Grotesque cousins. You won’t find a lot of variation in stroke width, either. The glyphs of these typefaces look a lot like serif fonts, just without the serifs. Not an ideal way to enter the world of design. The earliest sans-serif fonts were dubbed Grotesque because that’s how they were viewed-misshapen, incomplete, ugly. Like serif fonts, sans-serif fonts can be categorized into subtypes: As sans-serif typefaces became more common, the ebb and flow of style trends and social movements took hold, creating competing schools of thought surrounding the virtues of these modern typefaces versus the tried-and-true serif typeface. While one could find examples of writing without serifs before the discovery of the Rosetta Stone, that’s when sans-serif fonts rocketed into the public’s and printers’ consciousness. Serifs that are as thick (or almost as thick) as the glyph’s primary strokes are slab serifs-think about the typefaces you might find on early 20th-century typewriters. Bye, stroke contrast, hello standardized widths. Modern serif fonts have the largest differences between stroke widths-a striking look but taxing to read for too long and non-ideal for print applications. ![]() Possibly the most common kind of serif font, you’ll recognize it’s very pervasive member, Times New Roman. This transitional phase of serif typefaces features more size contrast between thick and thin strokes and are less evocative of handwritten text. These fonts have their thinnest portions on the part of the glyphs that would be a diagonal stroke. These fonts are exactly what they sound like: Exemplary of the earliest attempts at standardized typefaces, specifically designed to mimic handwritten text. ![]() Serif fonts can be organized into subtypes: And that’s how typefaces stayed for quite a while. To endear the new technology to the masses, typefaces were designed with serifs. Their size and shape were largely dependent on where the letter was in a word and their writing momentum.įast forward to Guttenberg’s printing press. When early (early, early, early) writing was done with angled or other sharp-tipped implements, small marks-almost like feet-were left behind be the writer. Powerpoint empowers you to develop well-designed content across all your devices Learn More Tell your story with captivating presentations
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