The relationship between people and typefaces has always fascinated me. How can what we consider “readable”, change so visually - from the extravagance and exclusiveness of Blackletter to instead having an approach of universality for Ubuntu. My book aims to visually represent this history, including Transitional, Humanist, Grotesque, and Neo grotesque typefaces, since they develop what I feel is a nice narrative of how we interact with typefaces in the real world. The result is that we can see various designer’s approaches throughout drastically different time periods to essentially try to accomplish the same thing, be read, and then to provide something back to that person. Throughout this timeline of typefaces, the reader can see what elements designer felt necessary to include or exclude from the ones before it. The selection of typefaces I chose had their own separate history of human interaction - with use in guiding people physically ( Johnston sans for example being internationally associated with London’s underground), guiding people intellectually (Times New Roman and Black letter for example), or guiding people throughout tricky and always technologically challenging times (eg. Bell Centennial creating a typeface centred around helping people use telephones which has ultimately changed the world and eventually in turn, how we interact with typefaces into the future.) I found that by having too many colours in the imagery, particularly for the typefaces that I have chosen that are nor particularly striking or necessarily emotive, the letterforms would often get lost in our connotations with these already historic typefaces. By simplifying the images to one primary colour consistent throughout the book, the letter forms become independent and are freed for these connotations. The viewer is then able to compare each typeface with one another, while also the images providing real world examples of the typeface in use.