My four childhood ambitions are: Police, Fashion Designer, Chef and Zookeeper

Here are some keywords I could come up with when I think about these jobs.

Police: gun, blue, handcuffs, police cap, order, authority, law, strong, protection, always on guard, sirens, police car

Zookeeper: animals, nature, earth, boots, poop, warmth, rugged, a humble job, loving, care,

Fashion Designer: fabric, body, mannequin, model, runway, extravagant outfits, sewing, needles, thread, stylish, different, daring, beauty, elegance, bold statement

Chef: food, warmth, comfort food, knives, meat, vegetables, steam, oven, pans, spoons, dessert, ice cream, delicious

I then proceeded to attempt to start my sketches but felt handicapped. Then I realised I should do some research on typography.

RESEARCH

One of the easiest ways to affect the design of a web page is with the fonts that you use. But many beginning web designersoften go crazy changing fonts every couple words and experimenting with fonts that are virtually unreadable, just because they are “cool.” This article will help you find the font family that works best for your situation.

Some Rules-of-Thumb

1. Don’t use more than 3–four fonts on any one page.
2. Don’t change the font in mid sentence unless you have a very good reason.
3. Use sans serif fonts for online body text and serif fonts for headlines and print.
4. Use monospace fonts for typewriter text and code blocks.
5. Use script and fantasy fonts for accents.

Remember that these are all suggestions, not hard and fast rules. But if you’re going to do something different then you should do it with intention, not by accident. For example, it’s fine to use a serif font as your body text (as many sites do) as long as you’re aware of the possible legibility problems.

http://webdesign.about.com/od/fonts/a/aa080204.htm

Types of Typefaces

SERIF

Serif typefaces are defined by their “feet,” which are yes, technically called feet. They’re the little lines that poke out at the edges of letters.

Serifs are super easy to read because those little feet create a subtle visual connection between the letters. This readability makes them great for paragraphs of text – you’ll see them on everything from blogs to newspapers to ebooks.

Slab serif typefaces, which have thick blocky serifs, are super popular right now.

SANS SERIF

Sans Serif typefaces are like Serif typefaces minus the feet (sans means without).

Sans Serifs are usually clean and geometric, which makes them easiest to read when they are either really LARGE or really small. You will see sans serifs often used for headlines, captions, and short descriptive texts.

DISPLAY

Display typefaces have A LOT of personality.

We are talking about the kind of typeface that is always dressed up in western gear or techy robot suits. Display typefaces are best used when you need a little bit of flair in your design.

You wouldn’t want to read a paragraph set in a Wild West typeface, but they’re great as attention-getter headlines.

SCRIPT

When you are looking for a fancy font with a lot of style a Script typeface is your lady.

These typefaces have lots of swoops and curls and sometimes even look handwritten. Script typefaces look awesome for logos, large headlines, and for little details to give something a nice handmade touch.

SYMBOLS & DINGBATS

Sometimes a picture can say a thousand words. That’s when you cue up a Symbol or Dingbat typeface.

Who wants to write out love when a ♥ says it all?

https://skillcrush.com/2012/04/13/types-of-typefaces/

A more detailed classification: https://www.fonts.com/content/learning/fontology/level-1/type-anatomy/type-classifications

In the above link, they further classify the typefaces into:

The “voice” in Typefaces

I found the bottom link to be quite cool as the voice of a typeface is subconsciously influencing us to link them to a certain meaning or personality of a word. 

https://speakerdeck.com/player/04ca22e090f60131a0563ef48a8c875d#

Tip #1: Think in adjectives rather than in typographic terms

In Gary Huswit’s film Helvetica Jonathan Hoefler talks about this issue. He says “There is no way to describe the qualitative aspect of a typeface without resorting to things that are fully outside it.” When thinking about a typeface’s voice, its categorization/classification is not important. Instead, we need to know if the type is cheerful or dour. Is it relaxed or in a hurry? Is the type serious or frivolous? Luxurious or downmarket? Young or old? Fragile or robust?

If a type seems cotton-y, serpentine or fruity to you, that’s all okay. In a recent design crit of the US FDA’s nutrition label redesign, Tobias Frere-Jones described Helvetica as “[tasting] like authority, like confirmed fact.” All kinds of characteristics may suggest themselves to you. Go with it.

Tip #2: Use familiarity strategically

Familiar forms are usually easier to read. However familiarity isn’t merely functional. It’s a spectrum that can also impart a feeling.

A type design that is slightly unfamiliar looking can feel more fresh, interesting, or playful. A face that’s less familiar may surprise or challenge or create tension in a reader. Even less familiar and it may eventually become unpleasant.

On the other end of the spectrum, a familiar looking typeface can feel comfortable or reliable. But further up the scale, a typeface that is extremely familiar can seem boring in some contexts. It’s worth asking yourself what degree of familiarity will give the feeling you want. Do you want to surprise or reassure? Stand out or blend in? What is most appropriate and beneficial to your use of the type?

http://typecast.com/blog/the-voices-of-type

Recognising fonts and their personality:

https://speakerdeck.com/player/c2944350927b01312a453e6f65fbe210#