Through the early twentieth century, an increase in popularity of sans-serif fonts took place as more artistic and complex designs were created. As Updike's comments suggest, the more constructed humanist and geometric sans-serif designs were viewed as increasingly respectable, and were shrewdly marketed in Europe and America as embodying classic proportions (with influences of Roman capitals) while presenting a spare, modern image.      While he disliked sans-serif fonts in general, the American printer Frazier wrote of Copperplate Gothic in 1925 that "a certain dignity of effect accompanies...due to the absence of anything in the way of frills," making it a popular choice for the stationery of professionals such as lawyers and doctors. 
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