Chapter 2: Literature Review

2.1 Introduction

This chapter is structured into 10 main sections. The next section, Section 2.2, reviews the

previous studies on the typeface designs, while sectionSection 2.3 discusses the different

elements of the typefaces and their influence on advertising branding. Section 2.4 highlights the

influence of the visual appearance on advertising. Section 2.5 reviews the literature on

advertising and typefaces and the main role of the typefaces in the advertisement.advertisements,

and Section 2.6 highlights the prior studies on the impact of the typefaces on consumers’

perceptions of branding and advertisement. Section 2.7 focuses on the impact of the handwritten

typefacetypefaces and itstheir importance onin advertisements., and Section 2.8 reviewreviews

the literature on the preference offor handwritten fontfonts over other non-handwritten fonts.,

while Section 2.9 discusses the various types and categories associated with handwritten

typefaces. Finally, Section 2.10 presents the conclusion of this chapter.

2.2 Visuals in Advertising

According to Niu (2016), advertisers value the visual appearance of an advertisement more

compared tothan the content because, as it glues peopleis what attracts people’s attention and

causes them to read the content. Without a good impressionappearance, people would not take

their time or notice the existence of an advertisement or take the time to read it. Print advertising,

therefore, employs as many detailed visuals as possible to persuade the audience to read the

content as well as liketo react positively to the product and the/or company. Font formatting is

thea key element of an effective content. The main reason for it is that in this regard, as it

determines how the audience will consider the presented information.

According to (Niu, (2016), the inclusion of visuals in an advertisement, such as typography

make the consumer enjoy the attraction., makes it attractive to consumers. The excitement they

elicit in attracting the consumers more increaseincreases the time they spend in reading it looking

at the advertisement, and therefore they consume the written content in addition to the visuals.

The, where visual attraction makescauses the consumers to read the advertisements unwillingly

without knowing. advertisement unknowingly, with consciously deciding to. An effective and

properly designed font is consequentlythus functions like a magnet that attracts the readers and

holds them their attention so that they can getreceive instructions or be persuaded by the content

to do what the advertisement requiresrequests. Large decorateddecorative typefaces, for

example, create a unique and attractive environment,visual that is new to the consumer and

therefore gluesholds their mindattention. The visual decorations resonate with the

consumer'sconsumer’s perception about anything they like and, thus, they will favour the

advertisement and the product.

Fonts help in describingto convey the unique features of an advertisement as well as the service

or product of being advertised. People do not expect such attractive and unique appearances on

the billboards and screens,screens; this is a situation which surprises them, whereso they take

more time to admire the appearance. The fontsFonts are made with designed based on the

assumption that people will tend to ignore ordinary‘ordinary’ items and pay attention to what

they are not used to in advertisements. Uniqueunfamiliar with; unique fonts make advertisements

attractive when they do not appearless familiar and thus more attractive to people. (Durdyyeva,

(2014) Observedobserved that the visuals such as fonts have an impact on how people perceive

the advertised products. ApartAside from their attractive natureattractiveness leading to

enjoyment, they makeencourage the consumer read the content or interpret the product being

advertised as being good and/or attractive. Fonts, therefore, gluetrigger people to read the

content, and impact positive responses aboutto respond positively to the advertised product as

well asand the associated company.

2.3 Importance of Typefaces in Advertising

The efficiencyusefulness of developed typefaces in advertising gave sans serifSans Serif a

stronger effect. As a form of a handwritten font, it is flexible and creative (Dodd, 2006). The

features it offers convey a stylistic interpretation to audiences, and this provided

advertisementswhich provides advertisers with a unique mode of communicating majorkey

information with targetedto target audiences about thea specific product (Morris, Aquilante,

Yager, and Bigelow, et al., 2002). For example, Microsoft uses a Sans-serif Serif font that

transmitsconveys modernity and security, while Google uses a Serif thatfont, which suggests

stability and reliability. Coca-Cola and Instagram use fonts of the Manuscript or Script type that

we associate, which is associated with creativity, elegance, and affection (Van Rompay et al..,

2012). As a form of a handwritten font, it is flexible and creative (Sausset et al., 2013).

There are many different types of fonts; the most common are: Serif, Sans Serif,

Handwritten, Decorativehandwritten, decorative, and Symbols. Thesymbols. Through variation

in the anatomy of the source and design of the body, its size, thickness, and the relationship

between characters, youdifferent fonts can usebe used to generate multiple effects in the text. In

a magazine or newspaper, for example, the typeface used for a headline is typically different

from that ofused in the body text body (Schroll et al.., 2018). A source can get establish the

values, which allowmake a company to be identifiedidentifiable and differentiatedifferentiates it

from its rivals. Depending on the type of letters used in the communication, a specific sensation

is conveyed, and the structural composition of a typographic family can offer thecreate a

perception of elegance, joy, informality, sobriety, and more. By adding and explaining the

different levels of handwritten typefaces, the generic level for the specific content (Zhang et al..,

2017). Its features offered a stylistic interpretation to audiences, and thisaudiences, which has

provided advertisementsadvertisers with a unique mode of communicating major information.

SuchIn particular, Serif fonts like serif fonts actually giveconvey and promote the feelings of

trust and respectability, because of their classical nature.

The element of the handwritten typeface personality in handwritten typefaces points to the

physical features that make advertisements more relatable (Hartley, 2012). In common cases,

otherthe physical characteristics of the given typeface, such as serifs, readability, and colour, can

easily be interpreted or analyzedanalysed (Mackiewicz, 2004). The relatable typeface is

developed for the product whenever the characteristics are integrated for the sole purpose of

advertising it across thea specific area (Willen and& Strals, 2009). The typeface personality

element of a typeface relies on judgments that are more subjective judgements (Puškarević,

Nedeljković, and Pintjer, et al., 2013). According to Brumberger (2003), for the development of

a typeface personality, we is entirely dependdependent on the overall language of the given

typography. In his discussion, he mentions that, and the typography language always focuses on

the renewal of personality perception (. Further, Brumberger, (2003). Further, he added) adds

that the right typography could directly insert the message of the advertisement message ininto

the mind of the targeted audience. The; the main and implementable technique forused to create

a successful advertisement bythrough typography is by studyingto study the consumer.

In the case of handwritten typefaces, the memorability aspect highlights that studying aspect of

typefaces gives us a path and direction in whichcan provide an indication of how a given

typeface canis likely to be perceived most of the time (Shaikh, Chaparro, and Fox, et al., 2006).

According to Henderson, Giese, and Cote et al. (2004), the memorability aspect of typefaces

defines the set ofdetermines the period when the implemented typeface in advertising will mark

itself in the memory of consumer for a specific product. Memorability is further explained by

Donahue (2012) as it can also be taken as the direct relationship among the different stylestyles

of typefaces for ordinaries like Amatic SC. SoThus, in the given circumstances, a graphic

designer implementscan utilise a wide range of typefaces, which will actually provide greatwide

exposure to the public as well as to the targetedtarget audience (Childers and& Jass, 2002).

ThisIn a number of ways, this study builds on previous research conducted on the same topic in

the following ways; first, it provides an exclusive discussion of the handwritten typeface, which

is changing advertisements in the current digital world (Guthrie, 2009). Advertisements are being

developed using fonts that resemble elements of nature, giving itthem a unique appearance

(Donahue, 2014). TheThis research illustrateshighlights the uniqueness of the handwritten

typeface in providing advertisements with a new type of image. Subsequently, the research, and

then outlines onthe unique elements of these typefaces, such as their memorability and

personality of the typefaces, unlike , in comparison to the normal descriptionsmore ‘normal’

features of the common fonts (Krueger et al.., 2016). OtherwiseFurthermore, an illustration of

how these elements add favour to benefit advertisements forms a partone of the research

objectives.

Typography can express the personality of a brand. In the shapes of the letters, the values or the

pillars of the brand are implicit and, therefore, choosing a typeface is crucial to not distort the

message or convey a wrong feeling. Unconsciously, we all people look closely at typography as

it is the vehicle that allows usthem to read and understand the message; the text contains; it

invites usthe audience to inquire about the brand and its meaning. The first selection ofimportant

typography that we should give importance toselection is that of the logo, to ensure that it

communicates the brand pillars. In the second instance, a different typeface should be selected

for all brand communications and messages. BothThough different, the two typefaces must

complement each other to convey the brand'sbrand’s strategy. The use of typography must be

consistent,; that is, itthe same typography must be used in all communications: brochures,

posters, stationery, and any other graphic application that carriesincludes text. In this way, by

combining messages, images, and typography, brand communication will have the right impact.

2.4 Advertising and Typefaces

Typefaces are a part of visuals, which means that they are partone of the elements which

attractsattract audiences to an advertisement. Decoration in typography is a very significant part

forcomponent of an advertisement, as it attracts the viewers. The main role of a typeface in an

advertisement is to attract an audience and inform them of the market what is being talked about

subject of the advertisement (Song & Luximon, 2019). A

new style of advertising that is being presented around

the worldseen globally is through the game with

typography words. This means that such styles cannotnot

only can be read but can also giveprovide an

understanding of what the advertisement is about. For

example, Netflix takes advantage of typefaces by

associating their showsdifferent programmes with a

particular tone. Fig.Figure 1 illustrates the different

categorizescategories of fonts used to express ifindicate

whether a Netflix showprogramme is fun, personal,

dramatic, or forward -thinking. TheFor example, the

Netflix show ‘The Crown’, uses Serif, to Figure 1. Netflix Font Psychology. From https://www.mentalfloss.com/article/538750/how-netflix-taps-font-psychology-tell-story-and-find-its-audience

translatecommunicate the seriousness, traditional approach, and respectable show it

is.respectability of the programme. This differs to an animated showprogramme, such as ‘Big

Mouth’ which uses, where handwritten typography is used to illustrate the playfulness of the

showprogramme.

There are different types of typefaces here, some are simple without decoration and others

complex with decorationsdecoration. According to Candello (2017), typefaces impactsimpact

people’s perception of the packages packaging or the advertisement. For example,

eachadvertisements; typography provokes an emotionemotions, shares storystories, and

influences the behaviour of the human being.behaviours. All the sources have morphological

features and an identifying design that allows them to be classified in different families,

thatwhich is why each of them transmitsprovokes certain sensations and communicates certain

concepts and ideas. It means thatFor this reason, advertisers are secretive on about the kindkinds

of fonts they use, to ensure that it communicatesthey communicate the intended message about

the company or the product (Bartal, 2013). The typefaces alter the actual meaning of words to

either emphasizeemphasise or contradict it depending on how people perceive the fonts. For

example, the fonts Avant-Garde, to come, Bickham Script, Bodoni, Clarendon, Franklin Gothic,

Future, and Garamond. All these fonts are used in typography for advertisement.advertisements.

Candello (2017),) notes that each font hasconveys a different meaning,; for example, the

onesthose with round end ends communicate warmth and excitement, while the onethose with

sharp ends like times new roman communicates, such as Times New Roman, give the message

an official tone towards the message. The reason and mechanism behind this is that typography

has an important value within a graphic design as such, because just; simply changing the font

type “letter” we can giveadd another context to the message we want to give a different meaning

and meaning if our typography is the complement of an image inside of a design, for. For this

reason, it is very important to know how to choose the ideal type of source for each of the

different projects that area designer might be presented as a designer.with. A rounded font which

is round conveys warmth, and a sharp font conveys an official tone in typeface because usually

the, as an official or formal tone typically requires blunt and straightforward replies, so; in order

to achieve such outline these aims, round andor sharp fonts are used as appropriate (Amar,

Droulers, & Legohérel, et al., 2017). In a study done by graphic designing experts, four fonts

were applied on a banking website and the visitors were asked about their perception.

In a study carried out by graphic design experts, four fonts were used on a banking website and

the visitors were asked about their perceptions:

The results of the study are summarised in the image below:

The results in the image above show how muchthe difference there can bein perception

when it comes to applying a different fontfonts are used on different types of websites.

2.5 Typeface Designs

Typography is widely used in all elements of marketing communications and is a critical design

tool utilizedutilised across advertising campaigns such asincluding television campaigns,

brochures, promotional displays, banners, and coupons. Therefore, it is essential to ensure that

when designing a promotional campaign, the marketers consider the typefaces used, to enable

customers to relate to athe brand (Pérez-Vega et al., 2018). Typography helps to ensure proper

persuasion of the audience. Persuasion; persuasion is key in any type of marketing

communication, where an audience needs to be convinced to use a specific brand or product

simply by the way it is communicated or displayed to them. The particular use of a typeface, as

with brand identity also “, ‘speaks for”for’ a brand and helps to position and differentiate a

brandit and its products from its competitors, affecting theirconsumers’ decision-making

processesprocess and preferences (Candello, 2017).

Typeface design is seen as being able to negatively or positively influence a

consumer'sconsumer’s perception of thea brand, how they feel about it, and the readability and

familiarity of its advertisements (Childers & Jass, 2002; McCarthy & Mothersbaugh, 2002). The

choice of typeface, in relation to specific brand identity, is therefore critical to how well this

translates in a specific market. AlsoIn addition, typefaces play a significant role in theinforming

consumers’ perception that consumers have towardof the brand (Thangaraj, 2004).

The choice of typeface is not only one of the most recognisedrecognisable elements of a brand,

but also essentially contributes to enhancingdetermining what a brand means to a consumer and,

ultimately, a brand’s value. This is relates to value in both economic valuesterms as well as the

value derivedattributed in the mindminds of consumers as a result. Handwritten typefaces, also

referred to as script typefaces, are essentially a more personal, more modern take on a typeface.

This particular form of typeface derives its name from the visual aspect, as it resembles a

handwritten script (Peate, 2018). This typeface is best suitedSuch typefaces are particularly

suitable for advertising purposes because it the visual aspect helps in appealing to emotions, and

feelings because of the visual aspect and is a greatis an effective way of conveying the creativity

of a brand to its consumers (Peate, 2018).

One

Typefaces play one of the most vital roles in visual identity and brand design is played by

typefaces, due to the impact they have on a brand persona's the different features of a brand’s

persona, including brand gender inclination and insights. Typefaces considerablyhave a

considerable impact on consumer appreciation and their viewpoints ofon conviction and

aesthetics. When it comesIn regard to font formatting, the design influences the consumers’

perceived perception of the brand’s skill, generosity, security, and honesty. The style of typeface,

for instance, sans-serif Sans Serif or serifSerif, contrast and thickness-, affects how

classy‘classy’ consumers identify a brand to be (Schorn et al., 2014). As a consumer of items, it

is fascinating to comprehend about how every aspect of a typeface works together and develops

a resilientbuilds to have an impact over a wide range of brand personality characteristics- – the

brand’s maleness andor femaleness, their temperamentits personality attributes, and theirits price

range opinion. For instance, consumers react optimistically to items with a vague typeface and

name, as they expect advertising messages to transmit useful knowledge. If the promotional data

offered is unhelpful, consumers will endeavour to completefill in the gaps by looking for

clarification.

Design

To summarise, the design and visual aspectaspects of suchhandwritten typefaces have an impact

on the way people react to brand advertisements. This is mainly because handwritten typefaces

possessconvey a personal touch, which plays a huge role in consumer gravitatingconvincing

consumers to gravitate towards thata particular brand. Taking the example of other typeface

designs, consumers’ perceptions are extremely malleable and can be shaped according to what

appeals to them first-handpersonally. Handwritten fonts are extremelyparticularly suitable for

advertisement purposes because, although it isthey are modern and fancy, it still allows

consumers to seerecognise the personal and creative touch of the brand (Peate, 2018).

2.5.1 Serif typefaces

The serifSerif typeface is one of the most common typefaces in the field of typography.

According to Edward Catich (1991) in his book The Origin of the Serif, the serifSerif first

emerged as a handwritten typeface on stone carvings, where it was created as an outline for stone

carvers. Today, the serifSerif typefaces has gone a long wayhave developed significantly and

hasthere are now numerous styles, which can be broken downcategorised into four subgroups.

These are the following as follows: Old Style, Transitional., Didone, and Slab Serif (Figma,

n.d.).

The Old Style Serif Typefacetypeface was first introduced in the 1400s which were,

inspired by calligraphy strokes and is characterizedcharacterised by thick and thin lines as well

asand rounded strokes. This subgroup is an easy-to-read typeface which remains in use until

today, and is often used by publishers in the print industry. Examples of Old Style Serifs are

Times, Garamond, Palatino, and Goudy (Figma, n.d).

The Transitional Serif Typefacetypeface was created by John Baskerville in around the

mid -1700s. It is a modification of the Old Style Serif and a mix of futuristic fonts. It is

characterized, characterised by having a vertical stress in the bowls of the lowercase letters as

well as thin and thick strokes. An example of a font under this subgroup is Baskerville

(Lumières, 2015).

The Didone Serif Typefacetypeface, which is also called the Neoclassical or Modern

Serif Typefacetypeface, emerged in the late 1700s and is characterizedcharacterised by very thin

strokes and heavy vertical lines. The fonts in this subgroup are often used in the fashion industry,

such as in fashion magazines and other related editorials. Examples of fonts under this type are

Adobe New Caledonia, Kepler, ITC Fenice, Didot, Arepo, and ITC Bodoni, among others

(Strizver, n.d).

The last subgroup in the Serif Typefacetypeface family is Slab Serif, which was

introduced in the 1800s. It is characterizedcharacterised by thick lines and angular or block edges

which gives them, giving it a harsh and sturdy appearance. Fonts underwithin this subgroup are

GoraincludeGora, Mighty Slab, Modern Outdoor, Aster Slab, and Sentinel (Schenker, 2017).

2.5.2 Sans Serif Typefaces

The sans serifSans Serif font was developed in the 19th century and, while a range of typefaces

were developed shortly after, sans serifSans Serif gained popularity in the following century

(Bezemer and& Kress, 2009). Serif typefaces are associated with a classic, formal, and elegant

style. It provides a calming effect of that implies authority, knowledge, and firmness (Chio,

2013). They are veryparticularly readable sincebecause the eye adapts to itsthe linear endings.

Linear or Sans Serif typefaces convey modernity, dynamism, topicality, cleanliness, and

minimalism. Its vertices are straight, and its strokes are uniform. TheyThese fonts are used

mostly for headlines or short text masses since their main powerbenefit is their impact and

readability. Finally, calligraphic typefaces have a unique style, referring to hand-drawn

typefaces. They communicate delicacy, personality, spontaneity, and originality. It is

knownThese fonts are often described as a manuscript‘manuscript’, as they resemble calligraphic

texts or handwritten texts that suggest signatures. They providehave a personal character and go

towork well with short texts or brief details, to avoid the bad readability issues they can cause.

There is abe associated with. A range of these kinds of fonts that can be used, from traditional

and elegant to those that are more modern and fresherfresh. One or several support fonts can be

chosen, ifwhere each one fulfilscan fulfil a specific function within the communication.

This is a composition of one or more fonts that are composed of a series of glyphs with standard

features linked to their design. Each typeface has a variancevaries in the weight, style, design,

and ornamentation (Candello et al., 2017). They are exceedingly useful toin print marketing

promotions where the appearance of a brand is more critical to theits attractiveness ofto

consumers that moves and influences the market value of a brand. The design of typeface used

significantly influences peoples thinking about a specific has a significant effect on consumers’

perception of the brand that uses thethat typeface.

Arial typeface

This font typeface was created for IBM, before Microsoft incorporated it into the office suite. Its

useOffice Suite. It is used every day in advertisements, book designs, and office

communications. Also, it is used for , and information materials (Candello et al., 2017).

Examples of Arial typefaces. include:

Arial normal

Arial bold

Helvetica typeface

This is a sans serifSans Serif grotesque typeface that has characters with strokes terminated

vertically or horizontally. This typeface has , and a monotone stroke weight. ExampleSee an

example of the Helvetica typeface: in the image

below:

2.5.3 Handwritten TypefaceTypefaces

Handwritten typefaces have influenced mass media and theirthe use of advertisements

(Janoschka, 2004). TypefacesThe effectiveness of typefaces in the process of advertising is

relatablerelated to other aspects of an advertisements apart fromadvertisement beyond the text,

such as the placement, shape, colour, and size of the objects placed in the advertisement (Pieters,

Wedel, and Batra, et al., 2010). Handwritten typefaces are being considered as the primary

medium being adopted by businesses to convey thea message to the targetedtarget audience

(Thangaraj, 2004). One cannot assume that the advertising information about the product has

been broadcastedbroadcast to the targeted user, so, for this purpose, the adoptionuse of text is an

important and influential aspect of typography (Goddard, 2002). In this case, thecontext,

handwritten typefaces, which plays play a major role in making an advertisement appear

attractive forto the target audience (Najafian and& Dabaghi A, 2011). Its effectiveness is well-

realized wheneverbest realised when other elements, such as design, colour, and location are also

considered (Bertrand, Karlan, Mullainathan, Shafir, and Zinman, et al., 2010). UsingBy using

handwritten typefaces, brands and the advertising sector can beare able to create a sense of

connection between the consumer and the products mainly, through a process called

humanizationhumanisation. Using handwritten typefacesthis approach, a kind of façade can be

created, which givesgiving consumers a sense of human presence and connection. This; this

ultimately results in consumers reacting more positively towards products, thus resulting in

greater profits (Schroll et al., 2018).

According to McDonough and Egolf (2015), its relationship with an advertisement is

definiteclear. Advertising media, such as posters, newspapers, magazines, and billboards explain

the combination of different kindkinds of handwritten typefaces in any situation of advertisement

(Clow, James, Kranenburg and Berry, et al., 2006). In a brief review of the advertisements, the

main message is given more attentionemphasis by making it appearsappear in bold, coloured,

enlarged font and even highlighted atin places to ensure that that the target audience does not

miss the business entitykey information, as the bolded letters getattract more attention that’s; this

is how it is these fonts are different from non-handwritten fonts (Katz, 2006). In this context, the

content will appear more attractive, and, more importantly, appealing to the target market , who

will be drawn to the advertisement’s visual aspectaspects (Iveson, 2012). An important and

There is an undeniable and important relationship exists between the two main important

elements typography and advertisement. The font used in the logos for an advertisement for any

company should be analysed in detail, as it affects the advertisement process and, furthermore,

plays a major role in making an advertisement appear attractive forto the target audience (Lin

and H., 2015). Its effectiveness is well-realized whenever other elements such as design, colour,

and location are considered.

When designing a logo, the first step is to consider what is intended to be conveyed. This; this

information must be made very clear to the audience. Once this is defined, the colours and fonts

that will be used in the logo must be selected. This is where, as with colours, the psychology of

typography comes into play, since simply looking at a type of letter will involuntarily feeltrigger

an emotion (Fenko et al.., 2015). Knowing what is communicated by each typographic family

transmits can be of great help to marketers, since this knowledge can allow effective

transmission of the intended message (Li et al.., 2016). On the contraryBy contrast, a bad choice

of the typography used in a logo or adadvertisement can reduce its effectiveness, or even

transmit an entirely different message to what was initially intended. For example, imagine the

Microsoft logo with the Coca-Cola typeface, or the Google logo with the Instagram logo.

Examples of Handwritten typefaces are also referred to as script typefaces and are intrinsically

more personal and have more modern takes on any typeface typefaces (Candello et al., 2017).

Their resemblance to handwritten scripts is greatly unmatched, and they are bestmost suitable for

advertisements as they help in the physical appeal ofto emotions and feelings. To date. Currently,

they are considered as a primary medium adopted by business premises in conveyingbusinesses

to convey messages to the targeteda target audience. Also, they. They also make advertisements

appear more attractive to the target audience. They retain; they provide a personal touch, which

helps in attracting a purchaser attraction towards a specific brand in a business (Li and& James,

2016). The design of a handwritten typeface can positively or negatively impact thea consumer’s

perception of a consumer towards any brand.

They are possessing Typefaces have a visual and emotional meaning, as the choice of the

typeface contributes to the enhancementcommunication of the essence and value of a brand to

the customers and the value of the brand (Li and& James, 2016). This means much toaffects the

economic value and value derivation fromattributed in the consumers' mindsetconsumers’ mind.

The modern handwritten typefaces much resemble handwritten typographies. The only

difference is that most handwritten typefaces are directly applied to a business brand rather than

the typefaces that are obtained and used toby the brand (Kumar, 2016).

Some examples of handwritten typefaces include the onesare provided below:

These typefaces possess the appealare appealing to the eyes of the consumer, thus increasing the

brandbrand’s value to the associated business (Schroll et al., 2018). Their appearance impacts the

success of the brand, as consumers are likely to translateunderstand what the brand is selling.

The type of font may come acrossgo unnoticed but if the brand matches the typeface, the

unnoticed choice of font illustratesdemonstrates its success. For example, as mentionedshown in

Fig.Figure 1, animated series on Netflix have a there is a preference offor using handwritten text.

Consumers for animated series on Netflix; consumers who are searching for an animated show

will most likely be more drawn to “Big Mouth” compared to “13 Reasons Why”, due to the

choice of the font. Therefore,This demonstrates how typeface is a crucial element in the design

and marketing to establish brand success for a brand.

Author, 01/03/-1,

This image has not been introduced, numbered, or labelled

2.3. Elements of Typefaces and its Influence

Typefaces can be intimidating to most individuals with aspects such as leading, tail, baseline,

kerning as well as, and ascender, among others. However, on a positive note, there There are

eight mainsmain universally accepted typographical design elements in a typeface. These

include: typeface, hierarchy, size, white space, contrast, colour, alignment, and consistency

(Martin, L., 2017). Even an elementary perception of every oneeach of these elements holds the

potential to revolutionizerevolutionise any design project. The principles of typefaces are not

merely arbitrary aesthetic theories but are rather methods that are helpful for any individual

seeking to present their ideas to viewers and get the most out of every word.achieve maximum

impact. The factors that tackle every oneall of these elements revolve around a single central

idea: good communication. InBased on this case, a goodunderstanding, an appropriate typeface

is imperative to any scenario where one wants to transmit an idea to another person through text

(Velasco, et al.., 2016).

The visual representations of words can affect the processing of the message itself inby the

audience. The indicates that how itthe message is understood as well asand interpreted, and the

nuances of certain words would, will be affected by the illustrations or the context of athe

typeface used (Farias & Cunha, 2016). The basis for the position above is based on the

imperative that satisfactory typography is imperativecritical to any scenario where one seeks to

transmit a concept to another individual through text.

In the realm of typefaces and typography, the font serifSerif is defined as a small line or regular

stroke that is attached towards the end of a more pronounced stroke within a letter or symbol

within a specific font or family of typefaces.

For instance, using a platform of a website, magazine, advertisement, billboard or newsletter, in

other words, it can be said that words, depending on athe typeface design or style, are essentially

‘“wrapped in different costumes of text styles.’ On this note, three”. Three elementary forms of

typeface exist, and these are namely serifSerif, decorative, and sans-serif. It is also worthy to

note that theSans Serif. The minimal embellishments after the serifSerif font line are known as

serifs, which is the basis for the naming of thethat font category (Candello, et al.., 2017).

The typeface design has an impact on the literal appeal of text beyond just the actual letters used

and plays an important role in communicating specific information about a brand and what it

stands for. Even the most amateur understanding of every oneeach of these elements could bring

about a transformation of any design project (Praphruetdee, 2016).

Typefaces are important in that they assist readers in understanding information from the

presented text. The correct selection of colour, font, and text size could provideprove to be of

importance in the attraction of the target audience. As such, it is easy; typefaces can be used to

attract users with the use of typefaces an audience as they can help to hold their attention, in

which case typefaces need increased creativity.

Handwritten typefaces have been noted to have the allure of increasingability to increase sales in

indulgent products. According to research, they endow products with a sense of the ‘human

touch through touch’, of warmth and sensitivity, and have an influence typeface on actual

purchasing behaviour. DirectingFocusing more emphasis on the emotional engagement with a

product demands that one understands how the impact of typeface changes depending on the

regard of the consumerconsumer’s perception towards the brand. In this case, it can be

hypothesizedhypothesised that those who already feel an emotional attachment withto a brand

would not be impacted by a well-established brand and one that is fictitious.

Other characteristics, such as the font size, font height, width or, breadth, and the legibility of the

typeface or style, contribute to affecting how audiences perceive the meaning or delivery of the

marketing message. As such, it is worthy to note that typographical principles are not merely

arbitrary aesthetic philosophies of certain unreal designs. Instead, they exist as methods that are

helpful to any practitioner who seeks to present their ideas to final readers or viewers to attain

more from everyeach word (Pušnik, et al. ., 2016).

A researchstudy conducted by (Shan, (2016) on the influence of advertising elements on the

memory of consumers, linked this to "the “associative network model perspective,"”, which

confirmedasserts the correlation between typeface and other brand elements, memory retention,

and brand recall (Velasco, et al.., 2016). Proximity is one example, since objects which are

placed in proximity to each other are understood to be a group. On the other hand, when these

objects are placed far apart, they are viewed as being distinct. In this case, proximity manifests

when objects are near each other in comparison to any other object. Furthermore, it is worthy to

note that the highestother objects. The greatest proximity association happensoccurs when there

is overlapping of the object happensobjects, which leaves no doubt ofthat the objects

belongingbelong together.

Based onIn the research conducted by (Farias &and Cunha, (2016), most people judged what

they perceived through the shape and other physical properties. For example, decorative fonts

exist in such a way that they do not bear a strict fittingstrictly fit in either of the following

categories and as such, they are normally elaborate in nature with an emphasis on creative fonts

utilizedto be utilised in titles. As such, the concepts that tackle every oneunderlie each of these

elements of typefaces are based on one core idea: proper communication (Candello, et al..,

2017).

Bold type fonts can be described as fonts which emphasizeemphasise the directness of the

message, or a sense of urgency, while the opposite can be used to describe is true of a non-bold

typeface. On the other handSimilarly, certain colours representedrepresent a particular meaning,

such as red that, which is used as a means of caution whereby if a bold font is used with a red

colour, it emphasizesthis communicates caution or urgency (Praphruetdee, 2016).

On the other handFurthermore, the influence of fonts on how graphical media is presented to the

public in the fieldfields such as marketing determines a consumer'sconsumer’s perception

towardsof the message being projected. For example, using calligraphy-basedstyle fonts refers

tosuggests the message beingis classical or exquisite , while bold fonts such as comic sansComic

Sans or courierCourier are used when presenting a message of boldness or thethere is a need to

make a standingstrong statement (Pušnik, et al.., 2016).

The choice of the typeface used also influences a consumer'sconsumer preference, as illustrated

by the study conducted by (Shan, (2016). For example, sans, on the other hand, is defined as

"without," which is the reasoning‘sans’ means ‘without’, which is why entiregroups fonts absent

ofwithout serifs are known as sans serifSans Serif. In this study, two different fonts were used for

the same chocolate product, with one of them being a favourable and more appealing typeface,

while the other was a less appropriate font for a chocolate brand.

It was revealedfound that the more appealing font, for instance, one – whose characters were

more rounded – was more attractive to the end consumer compared to the product with

moresharper edged font characters, which was less appealing as it resonatesand created a less

attractive representation. This indeedThe findings of this study proved that using the most

appropriate typeface or font within a specific context and with a particular market has a

definiteclear impact on a consumer'sconsumer’s view of a product as well as their

preferencepreferences. The chocolate with the more positive and favourable presentation and the

typeface were more likely to garner a positive response from the respondents involved in

comparison to the other, less appealing and less relevant option (Velasco, et al. ., 2016).

It can, therefore, be confirmedconcluded that ‘“more simplistic and harmonious designs are

better liked than more complex, haphazard, or disharmonious designs’designs” (Candello, et al..,

2017). It). This is also reiterated by various ‘perception-based theories’ (including Gestalt

psychology). As such, it is advisable to apply a fullestmaximum of three fonts in a specific

design project, as it sustainsthis creates a design that is uncluttered and simplified. Further

research related to the logo design confirmed a ‘“linear positive relationship between a

harmonious design’design” and a positive consumer response (Praphruetdee, 2016). This was

also found to be very similartrue for more natural designs. Typography is defined as the art of

passing information along vividly along withthrough the use of thea typeface (Pušnik, et al..,

2016). Typography does playplays a critical role in any institution whenever the action of

advertising is executed.

2.7. Typefaces Affecting Consumer Perception of AdvertisementAdvertisements

Consumers are affected by the typeface companies’companies use in their branding. TheThe

typeface they choose to use is a crucial part of the visual identity of a brand is the type of

typeface they choose to use. In other words, the typefaces reflect, as it reflects the personality of

the brand. There are severalSeveral studies which showhave shown how the typeface used in

branding affect consumer perception (Magnini & Kim, 2016; Ren, Xia, & Du, et al., 2018;

Hagtvedt, 2011; Jiang, Gorn, Galli, & Chattopadhyay, et al., 2016; Childers & Jass, 2002).

Research carried out by typographer and writer Sarah Hyndman on “Perception of Sans Serif vs.

Serif typefaces,” she wanted” sought to find outexamine the relationship between the perceived

product cost and the typography (Fu, 2017). Hyndman wantedaimed to investigate ifwhether the

specific font used in branding couldwould appear to the general public moreas expensive or

cheap. TheA survey was conducted that involved more than three hundred300 individuals who,

and revealed that typefaces which are bolded with rounder terminals seemed to be were

perceived as suggesting a more affordable product, while high contrastscontrast and lighter

weight serifs were mostly associated with luxury (Fu, 2017).

According to a study, information that was portrayed through clean and precise font types was

preferred, as they allowed consumers to gain and retain the knowledge more easily (Motyka et

al., 2015). According to a this same study, fluent and precise typefaces played an active role in

creating a positive illusion in the eyes of the consumers, where ease within the whole advertising

process was linked with greater satisfaction (Motyka et al., 2015).

Similarly, another correlation was developed by a group of researchers revolving aroundbetween

font size and consumer confidence was identified by researchers (Tsai & McGill, 2011).

According to this research, information that is depicted using a small and blurry font tends to

havelead to reduced consumer confidence in the product that is being branded (Tsai & McGill,

2011). In addition, the size and spacing between these typefaces also seemed to have an impact

on how people perceived the product (Fu, 2017). Where, where it was easier to grasp information

about the product as was in the case where the font was bigger, cleaner and more precise, people

perceived the product as better and were persuaded into buying it (Fu, 2017).

“The game of fonts” research, however, contradicts this notion. According to it, this research,

fonts that are smaller in size or are disfluent in nature when it comes to the information, such as

the Bradley font, require consumers to spend more time and energy in trying to read and process

what is written (Gianakaris, 2017). This results in is a positive recollection, and thus, a

perception of being a higher-valued brand is madeformed in the minds of the consumers

(Gianakaris, 2016). In addition to this, if a marketer wants to get acrosscommunicate value using

lower pricing, the likelihoodit is much more likely that a disfluent font will getachieve this done

effectively is much higher in comparison to a simpler typeface (Gianakaris, 2017).

Similarly,These typefaces are said to influence not only affecting the information those

consumers receive via advertisements, but it is also to be highly interactive in nature (Michael et

al., 2002).

A relationship can be seen where the typefaces used for branding information to the consumers

hashave an impact on them and thus shapes their ideas about the brand and whether they

consider it isto be high-end or cheap. Several studies have backedsupported this notion and, thus,

focus needs to be given to the typeface, especially when marketing a product with itsdetailed

information and details (Motyka et al., 2015). The brand’s integrity and identity can now be

determined by the typeface that they use for their branding, and this comes to say a lotwhich

reveals much about how people make decisions and haveform certain perceptions based off ofon

what they visually see (Fu, 2017).

2.9 Anthropomorphic Characteristics of Brands

Like human beings, organizationalorganisational brands breathe, age, feed, and vanish in thin

airdisappear if they are not adequately taken care of. It is essential to know what makes the brand

breathe or feed (Lee & Oh, 2019). OrganizationalOrganisational customers play the role of

feeding the brand and ensuring that the brandit flourishes. This; this can be made betterimproved

by understanding the way the consumers perceive and connect with the

organizationalorganisational brand (Lee & Oh, 2019). Therefore, corporate marketers haveplay a

direct role in dictatingdetermining how the customers perceive a brand through how the brand is

represented to the customers.

According to MacInnis &and Folkes (2017), the process of humanization of the

humanising a brand is a sectionpart of what can be labeledlabelled as

anthropomorphism‘anthropomorphism’ of a brand. It involves thea procedure of makinggiving

the brand have a face, connectconnecting it to different stories, and link withappealing to

customers who have congruent attributes like the brand..

In the contemporary marketing field, organizations are employingorganisations employ

different techniques to ensure that brands have direct interaction with humans. The best

marketing campaign can be given to thatcampaigns are those which adequately have better

communication with the humans or the, their customers (Chen, Wan, & Levy, et al., 2017).

Therefore, it is essential to ensure that when designing a promotional campaign, the marketers

consider thetheir use of typefaces to enable customers to relate to a brand (Pérez-Vega et al.,

2018).

According to Triantos et al. (2016), in most of the contemporary promotional campaigns,

organizationsorganisations have considered the use of fresh graphics and appealing images to the

clients to enhance the level of interaction between the brand and its customers.

The human features of a brand connectare easily with theconveyed through handwritten

typefaces, an effect which is better further enhanced by a more reliablestronger connection

between the clients and the brand (Harris & Ambrose & Harris, 2017). When using the

handwritten typefaces, the customers always feel they have a unique and personal relationship

with the brand, resulting in the effectiveness of the promotional campaign (Harris & Ambrose &

Harris, 2017). Therefore, the anthropomorphic features of a brand require protection and

nourishment for effective results.

2.10. Advertising and Handwritten Typefaces

The font resemblesHandwritten fonts resemble actual writing on paper using a pen, but is

optimizedare optimised for a computerdigital use. Handwritten fonts seem to attract people when

they are uniquely used in advertisements. Several studies have been carried out to identify why

most advertisers prefer the handwritten fontfonts and why they appeal to people more compared

to other fonts. These will be discussed in the following section. In addition to this, brandsBrands

and advertising agencies wantseek to target their audiences through the appeal of pathos, which

refers to emotions. Handwritten typefaces are usually perceived as more feminine; hence ,

feelings of affection can be fostered easily amongst the hearts of consumers who perceive this as

a heartfelt effort (Liu et al,., 2019). In this way, typeface design has a significant influence on the

way a certain brand using suchuses handwritten typefaces within their advertisements and

branding (Gendelman, 2015).

According to Schroll et al. (2018), fonts impact on the message and product consumer’s

behaviours. The research. Their study revealed that leading marketers inventapply various

waysmethods of humanizinghumanising their products. Many firms utilize sans serifutilise Sans

Serif typefaces, such as Futura, Gill Sans, and Helvetica, on their websites, advertising, and

packaging. Recent examples include product packaging for Lindt Chocolatechocolate and

Evolution Fresh, Dreyer'sthe Dreyer and Danone'sDanone websites, and print advertising for

Marlboro, Whole Foods, Oreo, and McDonald'sMcDonald’s (Schroll et al., 2018).

HandwrittenIn particular, handwritten typefaces have become quite popular, especially within

the advertising sector (Fu, 2017).

TheHandwritten fonts are very close to human, and so people tend to establish connections when

they come acrossencounter them. They yieldThis attractiveness can provide a competitive

advantage since they are attractive.. Moreover, they are considered more personalized and

friendlier and more personalised, and less professional than machine-written typefaces. Because

they invoke specific reactions, they assist in enhancing the desired effect on different market

segments or clientele. In that respect, personalized, and personalised messages play a role in

product positioning and targeting (Schroll, Schnurr, & Grewal, et al., 2018). Companies have

found that people connect with their way of life, and interactions with other people isare a basic

need. Individuals will always like or getbe attracted to what relates to them. The more; the closer

an item or object is closer perceived to be to a person, the more people likethey will favour it.

Schroll et al. (2018) observe that handwritten typefaces represent the conventional way of

writing and create a sense that they are thus connect with people’s waysway of life. The In this

way, the handwritten fonts used in packaging materials to humanizehumanise the products which

make, encouraging people to favour them during evaluation. Peoplein their evaluations.

Consumers feel connected withto the product as and create a thoughtfeel that it is part ofwill fit

in to their life whichas something they should have (Schroll et al., 2018). Therefore, an

organization utilizingorganisation utilising such typefaces can achieve product differentiation

even in markets where products and services are similar. Just by looking at product labels,

packaging, and website content, a potential consumer can note the difference. The aspect

instrumentallydifferences; this differentiation helps in improving competitiveness when items are

sold alongside those from competitors. People that lovewho are attracted to uniqueness finds it

easy identifyingto identify with products or services from organizationsorganisations embracing

thethis concept. In two separate experiments, Schroll et al. (2018) discovered that handwritten

typefaces profoundly improved the perception of a human presence. Consequently, they, which

in turn contributed to a favourable product evaluation because they augmentedas consumers’

emotional attachment was enhanced. Typeface elements are understood to influence the way

people perceive signs, screens, packages, and books. Since typefaces represent postmodern

thinking, they easily attract the attention of target consumers. Everyone can note the

differencesIn the process of observing the difference in product labelling. In the process, they,

consumers are lured into reading and internalizinginternalising promotional messages. The study

thus showsdemonstrated that people getconsumers are attracted to advertisements with

handwritten typefaces because of the humanizinghumanising effect they create.

According to Chemin (2014), handwritinghandwritten fonts creates create a sense of intimacy

with the person who wrote the words, as well as the object on which the words are scribed. The

written. These fonts moveencourage people more to admire the work compared tomore than

other styles. Individual handwriting develops a narcissistic relationship which makes people

value their work. Chemin (2014)), therefore argue, argued that people will tend to concentrate

more withon an advert that employs handwritten font because they will admire the style of

writing that looksappears closer to theirstheir own. Attracting and sustaining a potential

consumer'sconsumer’s attention couldcan be enhanced by employing beautifulattractive

typefaces. Notably,; some typefaces are rare and beautifulparticularly attractive, leading to

admiration. TheThese fonts present a perfect form of actualhuman handwriting that makes

people encourages viewers to analyse and admire thereby creatingit, meaning they spend more

time to looklooking at the advertisement. The fonts make the advert to appear live‘alive’, similar

to the way a person would talk to another through athe mail or by word of mouth (Kar et al.,

2019; Liu et al., 2019). People perceive themthe advertisement to be the actual voicesvoice from

the advertiser and therefore , which attracts them to know what the person is communicating.

ItThis results in a situation where the audience becomebecomes glued to the content to create,

which creates a memory. The study thus showsThus, studies have shown that handwritten fonts

generate the notion of a live conversation that gets people fixedfixes people’s attention, and

thuscauses them to favour the advertisements that use them.

Candello et al. (2017) compared the perception betweenof handwritten typefaces and other types

of typefaces where theyand found that the two categories influence people differently. People;

specifically, viewers perceive the othernon-handwritten fonts to be machine-generated and,

therefore, they do not create connections. They assume that thea computer, being a non-social

object, did not aim at communicating to communicate with them. However, the directly, whereas

text in a handwritten font is perceived to be a direct communication from a person. People see

itthis kind of text as a representation of another person who is talkingspeaking directly to them

(Candello et al., 2017). They, therefore, extend beyond the text itself to try and understand what

thethat person who wrote wanted to communicate. The fonts, hence to them. Thus, when these

fonts are used in advertising attracts people, they attract people’s to pay attention due to the

emotional connection they establish with the person who wrote themthe advertisement.

Audiences of service firms perceive handwriting fonts used in service firms as warm. Ren et al.

(2013), while researching onin a study of how people perceive handwritten fonts in service firms,

found that thethese fonts makemade people feel connected to the firm itself. The audiences

formformed the notion that the firms have an aim ofaimed at creating a relationship with them by

using more natural and styles which are closer to them (Ren et al., 2013). TheThese fonts create

a memory onof how individuals wrotehave written different items like texts, such as recipes and

letters, and how connected they were, creating a warm experience. In turn, the clients to the

services firmof service firms tend to feel connected and appreciated. It becomes like fun to

remind them about their past and how they could write down their mind. In the

advertisementadvertisements, the same experience occurs, where people perceive the companies

that ownmake the advertisement asadvertisements to be warm and caringto care about their skills

(Nazarkevych et al., 2017).

Typefaces Handwritten typefaces are warm because they give a personal touch an impression of

a person’s character. Handwritten typefaces; they communicate bettermore effectively by

creating an impression that itthe text was written personally written. They are also pleasing to the

eye. Handwritten typefaces stand out in comparison the normalto other fonts, which can

attractencourage skimmers to readingactually read the text. The uniqueness of handwritten

typefaces is unquestionable. With; with each character being individually designed specially,

these typefaces can be used to communicate various emotions and different messages.

ReadabilityThe readability of the text is increased with the use of handwritten typefaces.

Typefaces bringalso trigger memories through thetheir personal touch they create.

Seeing– seeing what is perceived to a person’s handwriting can makecause one to reminisce

about happy moments shared togethermoments.

3.9 HANDWRITTEN TYPEFACES AND EMOTIONS IN ADVERTISING AND THEIR

IMPACT

Visual advertising is significant in effectively attracting consumers towardsto particular

products and brands. This literature review succinctly elaborates on the repercussions impacts of

using the handwritten typefacestypeface fonts and the various emotions they elicit in visual

advertising. Both factors have an impact on an advertising campaign and both send a message to

the consumer about the features of the product. A good andAn attractive advertisement

appearance of an advertisement impacts positively and attracts customers in which, and both

typography and emotional factors play a vital role to createin creating triggers in the consumer’s

mind to purchase a product that, which is what makes a brand successful. Handwritten typeface

fonts help an advertisement to be noticed by the customers (the business fairyThe Business

Fairy, 2020; Vetacos, 2020). MostlyThe most used handwritten typefaces are Watcher, Deepo,

Summer, and Cest LavieC’est La Vie fonts. Watcher font is a strong sans serif Sans Serif

handwritten font mostly used for labels and captions. Its strong; its clear, decipherable, semi-

distressed style makes it diverseunique and also perfectideal for flyers, posters, and large texts

(ifonts.xyz, 2020). Deepo font is a hand-drawn font with unique letterforms, used for deep and

meaningful statements that mostly representtake the form of headings in different logos and

advertising campaigns. It’s a; its decorative display style and strong touch makes it different

from other fonts and givesprovides added value to adsadvertisements (Vilaks, 2020). Summer

typeface is a handwritten sans serifSans Serif font drawn in shaky lines. It is suitable for bigger

text blocks, short descriptions, and headlines due to its strong readable featureapperance. Its

unique, playful look with decorative design makes it different from other typefaces

(wildpicksWildpicks.design , 2020). Cest Lavie fontC’est La Vie is thea mixture of ‘solemn and

relishes’ created from its meaning of a life that is full of both joy and sorrow. It is thea

handwritten font with thea combination of serifSerif and signature style font. Its casual writing

style with its feature ofand the perfect combination of handcraft and pixel craft in multiple

languages makes it unique from other typefaces. It is perfect formost suited to product

packaging, signature logos, printed quotes, and many more (creativemarketapplications

(Creativemarket.com, 2020). TheseAll of these handwritten typefaces evoke specific feelings

ofin the ad viewer of the advertisement, due to itstheir modern, informal style, and grab the

attention of the consumer to the advertisements while, whereas other font styles cannotfail evoke

viewers’ moodsfeelings due to their more traditional and formal lookappearance (Keung, 2020). 

On the other hand, despiteRegardless of the actual content of an advertisement, an

emotional response produceshas a great influence on the targetintention of the consumer to buy

anypurchase a product. The most usedappealed to emotions in the advertisementadvertisements

are joy, sadness, anger, fear, and trust. Joy is the most influential emotion, mostly used in video

advertisementadvertisements, and the first weaponchoice of any advertiser because they can

influence the overall success of an adadvertisement by engagingencouraging consumers to keep

watching the ad withby showing highly memorable positive moments ofin life involved in that

ad, resulting in the viewer having a positive response of the viewer to thatthe brand. For

example, an advertisement showing a mother seeing her baby walk for the first walk of her baby

in the advertisementtime is unforgettable for any viewer that arouses the, who will find it

enchanting attitude of the viewer.. This delightfuljoyful emotion then gives upsurge

to interest and likeability for to the product. The viewer gives their full devotionattention to that

ad with interestthe advertisement, and likeability is automatically likeability to associated with

that product rises which increases, contributing to the product purchase decision of the consumer

(Panda et al.., 2013). Only joy, likeability, and interest are considered emotional responses in

advertising and not others , because all of these emotions help create a positive trigger in the

customer’s mind to attract himencourage them to purchase anya product and; others could

notcannot do thatthis (Rucker, 2017).

2.10. Other Typeface Characteristics in Advertising

Typefaces have many categories and styles. This includes, including handwritten

typefacetypefaces, “decorative typeface, and artistic graphic typeface” (Chuang et al., 2010). As

generations pass, so tooOver time, consumers have become more and moreincreasingly

immersed in variousnew technologies and technological advancements. This has, which have

influenced the way in which wepeople think, speak, and write, all three methods nowof which

are becoming more connected to modern, digital technologies versusin comparison to the more

traditional approaches. For example, the hand-writtenhandwritten element or typeface uses

traditional typeface styles, and handwritten typefaceswhich will most likely resonate as a more

“classical and romantic way of relaying the verbal message” particularly when it comes to the

visual elements of an advertisement (Chuang et al., 2010). This willThey also involve a human

element, denoting an attachment or sense of connection, compared to the more artificial methods

that come with a digital or technological evolution (Nørgaard, 2009; Schroll, Schnurr, & Grewal,

et al., 2018).

While there are multiplevarious research studies availablehave been published on the topic and

pertaining to the usage of typefaces and their influence on marketing communications, both from

the past and more recent papers, there are still yet various aspects that are yetstill need to be

investigated and confirmed. As technology continues to progress, marketing strategies also

evolve over time, as does the use and relevance of typefaces. However, as indicated in the

discussion above, there is still a place in the media and marketing landscape for the use of

traditional elements such as handwritten typefacetypefaces amidst the proliferation of digital

media and marketing.

Typefaces serveplay a critical role as executional cues in visual-oriented communication.

Researchers believe that typefaces have introduced new complexities that can increase the

effectiveness of advertisements through its harmonizationharmonisation with other advertising

elements (Chuang et al., 2010).

The impact of typefaces on individual behaviour has been studied by various authors such as

(Choi and Kang, 2013). According; according to the authorssome, the word and image of a

message offer a parallel route that achievesto communicating content meaning (Choi and&

Kang, 2013; Hagtvedt, 2011). In their study, Choi &and Kang (2013) gaveprovided an

instanceexample of the association of a tortoise with the word ‘slow’. The, where the individual

reaction was much quicker when compared to the association of the same image with the word

‘fast’ (Choi & Kang, 2013).. These reactions surmount toare the fact thatresult of stimuli

createcreating congruency, resulting in processing fluency. The notion of processing fluency

revolves around , which refers to the processing of the message being communicated.

Interestingly, Hagtvedt (2011) states that typefaces tend to spark interest with visual

interestingnessthrough being visually appealing, which in turn encourages creativity. Typefaces

couldcan take the form of perceptual ambiguity, which exploits graphical similarities between

distinct image forms. This is when, where characters change their physical form across contexts.

They become ambiguous because similar forms may signal different characters in varying

contexts (Chuang et al., 2010). In such cases of ambiguity, the reader is forced to rely heavily on

a kind top-–down approach to processing.

The typeface hasTypefaces have been known as representingused to represent different personas

and/or characteristics, varying with itsin style, categories, and other factors. Each feature

represents and evokes a different emotional connection or response for an audience. For

example, a change in font style could translate into "“a variety of different typographic personas

such as ‘elegant,' ‘direct,' and ‘friendly',"friendly',” to be associated with being more masculine

or skewed towards being slightly more feminine (Brumberger, 2003; Rowe, 1982). Other

characteristics, such as font size, font height, width or breadth or legibility of the typeface or

style all contribute to affecting how an audience perceives the meaning or delivery of the

marketing message (Poulton, 1967;1972; Poulton, 1967).

Aside from a typeface’s corresponding personality, other characteristics can also influence the

emotional response of an audience. ColoursFor example, colours impact or emphasizeemphasise

varying mood, understandingmoods, understandings, and interpretations of words used, and

itsthe intended role in successfully persuading an audience (Schiller, 1935). These characteristics

influence not only the psychological workingsresponses of an audience, but also the

physiological, therefore affecting awareness levels, recognition, and unpacking or deriving

meaning (McCarthy & Mothersbaugh, 2002).

2.11 Conclusion

Effective marketing and brand communications are required in order to boost thea company’s

sales volumes of a company, resulting in business growth and improved profits. This is

doneachieved primarily through the effective persuasion of consumers to take uppurchase and

use products and services. Thus, through the correct and most relevant selection of typefaces, as

well as other elements inof branding and advertising, businesses can succeed in positively

influencing consumer behaviour, brand perceptions, and brand equity. Branding is an essential

marketing practisepractice where an organizationorganisation creates a unique name, design or

symbol that identifies it in the market. The unique identity plays a fundamental role in increasing

the visibility of a product or a service and distinguishing it from competitive products and

services. Thus, the essence of branding lies in the fact that it not only creates a memorable

impression on the minds of consumers, but it all allowsalso informs them of the critical aspects

of the organizationorganisation and what they can expect from it.

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