Type was moulded from metals, before becoming immaterial. This chapter acknowledges this mediating transformation toward digital modulation, whilst holding on to the persistent sense of type having a face, an aesthetic form whose organizing affects permeate human understanding. The chapter isolates indicative typefaces—Doves Press, Baskerville, Universalschrift—showing how their design harboured expectations about how to organize meaning, expectations that were themselves already organized. The chapter ends with those who cast themselves in critique of these organized conditions—Mallarmé and Schwitters.