Both articles highlight different approaches to where meaning in type is constructed, whether it is in the medium it's contained or created in (20-25), or the characteristics associated with the typeface/typography it is put forth in (54-57). I feel that one is born of the other. With the tool you're using to create a typeface, there are characteristics specific to that tool that will be transferred into a typeface. These 'trademarks' of the tool are specific to the medium you are working in. In type design, an element of dating occurs in the technology available.
I think that there is a specific mood or idea associated with different typefaces as well as how the type is arranged. For example, a sans serif typeface in a restrained grid arrangement would connote for many, if not all designers, Swiss design or industrialism, while a poster with cut and paste type or hand scrawled characters with little or no structure would connote an amount of punk aesthetic.
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