I learned about the Basque people who live in southern France and northern Spain while studying French in college. (I majored in French  to ensure that I would not be burdened by some cumbersome “job” or “career” when my studies were over.) The Basque community exists within the political boundaries of France and Spain, but it is culturally distinct and its members speak a unique language unlike any other European language (much like Yankees fans within the rest of the United States).

When I visited the Basque region in 2007, I was struck that whenever the unique Basque language was represented visually, from the names of restaurants painted on windows to official parking signs, the same typeface was used, even when it was drawn by hand. This is an instance where a specific typeface is used not to evoke a certain emotive effect or even accentuate legibility, but rather as a signal that the text is meant for a certain audience. In an environment where multiple languages are present, readers of the Basque language know immediately when information is directed toward them.

I found this to be an effective way to use a distinctive typeface.

Even if we do not incorporate multiple languages at interpretive sites, we can still draw from this example when choosing typefaces. For instance, type related to wayfinding might be set in a certain color or style while interpretive text on panels or in exhibits might be treated differently. Some sites may choose to treat type related to natural heritage differently than that related to cultural heritage. Or type for sophisticated, educated audiences might be set in a classic serif typeface, while type for Yankees fans might be set in Comic Sans.

Whatever the distinction, detailed guidelines and consistent typographic treatment can serve as visual signals for visitors looking for specific kinds of information.