The Evolution of Typography: Daring to Challenge the Status Quo
The world of design is witnessing a fascinating revolution, as a bold new book dares to question the very foundations of 20th-century typographic principles. New New Typography, published by the German design studio Matter Of, is not just a book but a manifesto, a call to arms for designers to break free from the constraints of the past and embrace the 'new new' era of typography.
What makes this book particularly intriguing is its audacious approach. It's not a simple evolution of existing styles but a radical departure, a rebellion against the established norms. The title itself is a clever nod to history, referencing Jan Tschichold's 'new typography' movement from a century ago. But Matter Of and designer Wiegand von Hartmann are not content with merely paying homage; they are spearheading a typographic revolution, pushing the boundaries of what's possible and acceptable.
A Visual Feast
The book's aesthetic is an immediate attention-grabber. With its minimalist black-and-white print, it uses a striking cerulean blue to disrupt the page, creating a visual tension that is both captivating and thought-provoking. This is not a book that blends into the background; it demands to be noticed, much like the ideas it presents. The use of different sans-serif typefaces across chapters is a subtle yet powerful way of challenging the reader's perceptions. It raises questions about the very nature of typography, its evolution, and the criteria for what constitutes 'new' in this field.
A Collaborative Effort
One of the most impressive aspects of New New Typography is its collaborative nature. With nearly 100 contributors, including renowned names like Adel Faure, Bye Bye Binary, and Dinamo, the book brings together a diverse range of talents. This collaboration spans centuries, from illustrated typefaces dating back to 1602 to cutting-edge designs that use the human body as a source of inspiration. It's a testament to the enduring appeal and relevance of typography, showing how it has evolved and continues to do so.
Beyond Legibility
The book also delves into the philosophical aspects of typography. Quoting László Moholy-Nagy, it highlights the shift from the beauty of ancient pictographic forms to the legibility-focused designs of the past. This raises an interesting question: What is the essence of 'new' typography? Is it about malleability, style, or something else entirely? In my opinion, this is where the book truly shines, encouraging readers to think beyond the confines of traditional design principles.
Typography as a Political Act
What I find most fascinating is the book's suggestion that the role of the modern typographer is not just about creating beautiful or legible typefaces. It proposes that they are, in fact, negotiators of political systems, a bold and provocative idea. This is not a mere theoretical concept but a reflection of the power that typography holds in shaping our perception of the world. From advertising to political propaganda, typography is a tool that can influence and manipulate. Personally, I believe this is a crucial aspect often overlooked in discussions about design.
Embracing the Unknown
New New Typography is not a book that provides definitive answers. Instead, it presents a speculative, almost chaotic vision of the future of typography. It's a celebration of the unknown, a daring invitation to explore uncharted territories. In a world where we often seek certainty, this book encourages us to embrace ambiguity and the endless possibilities that come with it.
Final Thoughts
Matter Of's New New Typography is more than just a design book; it's a challenge to our preconceived notions of typography. It invites us to question, to explore, and to imagine a future where design is not bound by the past. In a world of ever-evolving technology and cultural shifts, this book is a timely reminder that creativity knows no limits. It's a must-read for anyone interested in the intersection of design, history, and the future of visual communication.
