For my sans-serif font, I chose Helevetica-Neue. It appears to be a more condensed version of Helvetica, as the weight of the stroke is much thinner. The shape of the letters is very geometric and have shorter descenders and ascenders. To me, the stress seems right-angled, though as it is so much more condensed, it is more difficult to tell. All of the individual letters are very proportionate and do not particularly have awkward spacial relationships to the one adjacent to it. This font particularly reminds me of the following: ultra-modern and minimalist CD/album cover designs, fashion magazine editorials (particularly magazines with more alternative clothing, like Nylon), as well as Chrysler car company, because they use very sleek and understated methods of advertising. This font is very eye-catching to me, while remaining readable and professional.
For my serif font, I chose Modern No. 20. It reminds me of a more condensed, vertical version of Baskerville, and is similar to Bodoni. A, E, G, O, and W, all share a stroke that unifies the font as a whole. The lowercase b, d, p, and q also share the same extreme contrast in their descenders and ascenders, while the thinner curves and strokes resemble hairlines. It is interesting that letters like M and N are pressed more tightly, while P and T, for example, umbrella out/widen a bit more at their tops. The stress here is definitely vertical, and all the letters have a high contrast. This font reminds me of vintage advertisements for women's apparel or household items, a more updated version of a typewriter font, classical music, and fine dining (like traditional Italian restaurant menus).
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