At the turn of the 20th century monolinear alphabets were often despised for their dullness. Typographers, therefore, took great pains to breathe some kind of individuality into the monotonous sans-serif scheme. They started with subtle differentiation in the thickness of vertical and horizontal strokes and finished by improving details. By this they arrived at a more decorative appearance of the type face which thus became more regardful of the eye of the bourgeoisie. Ideal Gothic is no exception. It is characterized by a correct stiffness which will improve the morals of every idea printed by this type face. The awkward curves of the italics are a little suggestive of late 19th century cast-iron garden furniture. The so-called “hidden” and, furthermore, curved serifs complete the inconspicuous charm of this type face. All its above-mentioned features, however, suddenly turn into advantages when we need to design a brochure, calendar or an annual report, or whenever illustrations dominate. It is not by accident that the basic design of Ideal Gothic has such a light tonal value – it competes neither with fine pencil sketches, nor with sentimental landscapes. It is also very suitable for maps, pub inscriptions, magazines and corporate identity.

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