Typographic Brochure

Typography

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is Dead

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Post Typography Manifesto

by Nolen Strals and Bruce Willen

The Crystal Goblet Sixteen Essays on Typography

by Beatrice Warde

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1980s

The digital revolution

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The 1980s saw the beginnings of a digital revolution. Visual literacy developed with the introduction of personal computers, music videos and computer games.

Laser printers were invented, meaning that expensive photosensitive paper was gradually no longer needed. Almost all ‘cutting and pasting’ was eliminated, and there was more room for experimentation.

Digital foundries continued to develop, although type designers were no longer tied to a particular foundry, as had been the case earlier in the century.

Types could be designed and trialled quickly and easily, without the great expense and commitment of hot metal type.

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Jan Tschichold

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(1902–1974, Austria)

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Tschichold wrote ‘Die Neue Typographie’

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Neville Brody

(1957– , UK) Brody is a graphic designer who brought an anti-traditional attitude into the mainstream that revolutionised magazine design. He challenged the notion of legibility with his work for the Face (1981–1986) and Arena (1987–1990).

• Insignia (1989) • Arcadia (1990) • Typeface 7 (1991)) • FF Blur (1992) • FF Harlem (1993) Brody began using Apple Macintosh computers to provide other companies with templates to use for themselves. He founded FontShop in Berlin with Erik Spiekermann.

In 1991, Brody and Jon Wozencroft set up Fuse, a font foundry and publisher of design collections that explore the boundary between experimental typography and graphic design.

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(The New Typography) in 1928, which brought together many ideas of the time. He emphasised: simplicity, clarity, functionality, sans serif, elimination of upper-case letters, and asymmetry.

As with the Bauhaus, he had an ideological source – to make economical use of materials would result in a fairer world. Using lower case eliminated the production of a whole upper-case alphabet of typefaces. Tschichold brought these ideas to the ordinary printer.

Tschichold was arrested by the Nazis in 1933, and moved to Switzerland, where he later retracted some of his earlier ideas, feeling they were too prescriptive, and therefore too much like the thought-control of Nazism and Stalinism.

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“We step on your crystal goblet of typography at the marriage of liberty and design.”

will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain.

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ou have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you

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