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149) If you need to portray something as durable or immovable, a short font might work well.Likewise, tall fonts convey lightness and quickness.
The meaning can also extend to metaphorical associations of aspiration and ambition (Kang & Choi, 2013). Feel free to download the PDF so that you can reference it moving forward.
Other research has linked verticality with luxury (Van Rompay et al. If you need to portray a luxurious product, a tall font might be a good choice. Or if you need to choose a font quickly, then use the table below (which I adapted from Henderson, Giese, & Cote, 2004).
The collective meaning is a combination of semantic concepts (e.g., beauty) and emotional feelings (e.g., pleasantness).
Because of the concoction of meaning, you often can’t articulate it.
It doesn’t matter if people associate negative emotions with it. But I needed to verbalize that step because the underlying mechanism is important. Why does appropriateness lead to a positive or negative evaluation? We evaluate fonts —positively or negatively — through . That exposure will activate beauty-related concepts in your network (due to the perceptual and direct associations). The font will “feel right.” Now, in that example, you processed the font and THEN the context. If you’re watching a documentary on World War II, Nazi-related concepts are activated in your network. Other research suggests that serif fonts seem more elegant and beautiful (Tantillo, Lorenzo-Aiss, & Mathisen, 1995).
Those negative emotions won’t tarnish their evaluation, as long as the font is appropriate for the context. You’ll then compare that collective meaning to the context. If you THEN see the font Fraktur, you’ll process the font more easily because of the overlapping connections. Conversely, people perceive sans-serif fonts to be more informal and innovative (Tantillo, Lorenzo-Aiss, & Mathisen, 1995). Luckiesh and Moss (1940) researched the optimal weight for readability. It may be made to mean ‘domineering’, ‘overbearing’.” (Van Leeuwen, 2006, pp. (2015) also explain a connection between heavy typefaces and masculinity.
148)“The meaning potential of horizontality and verticality is ultimately based on our experience of gravity, and of walking upright.
Horizontal orientation, for instance, could suggest ‘heaviness’, ‘solidity’, but also ‘inertia’, ‘self-satisfaction’” (Kang & Choi, 2013, pp.
She also found that thin lowercase letters are congruent with “creator” brands that emphasize innovation.
Oosterhout (2013) also found that uppercase letters are effective for “hero” brands that convey qualities related to energy, courageousness, and focus: “[connectivity] has its own metaphoric potential.