Digital typography is relatively new, coming in 1966 with the invention of the “Digiset” by Dr. Rudolf Hell. The Digiset was the first typesetting machine that worked with pixels or bitmap. However, despite its seemingly recent addition to the typography world, it has created a huge impact. With applications and tools like scanning, computers, glyphs, Adobe Illustrator and such, new typefaces are created daily. In 2006 alone, there were 1,800 commercial typefaces released into the market. (Coles, 2007) In the early days of digital type, there were only around 10 fonts that graphic designers could readily use and a few 50 more main fonts that were easily identifiable outside of the digital world. Each of these fonts was distinct and individual, easily identifiable and linked to critically acclaimed and admired typographers. Now it seems that the invention of aid for the creation of typefaces has lead to the creation of types from those who did not have foundational education in typography. So in a day and age that typefaces are seemingly multiplying in the thousands yearly, how is it that typefaces can remain distinct and individual? How can typographers create original typefaces?
Paul Rand, a popular, American, graphic designer, and art director in the 20th century, has strong opinions on the quality and originality of typefaces being created in the digital age. He mentions in an interview that typographers are basically “extinct” and that of the few left, because they are paid, feel that they need to create something “new.” He states that this isn’t the case, and notes that there is “nothing wrong with new” but it first and foremost must be “good.” Rand puts in beautifully, stating that a typographer does not have to “try to be original,” but simply should try to be “good.” Therefore, by being good, namely to be simple, clear, and understood will create types that as a result are original. The “sum of all of those characteristics is what leads to originality.” Rand states. This is what is wrong with many of the typefaces that are being released on the web now. They do not match the higher standard that older typefaces were required to reach and have overall lowered the quality of typefaces everywhere.
Many typographers worry about the quality of type and are striving hard to preserve it. Some websites such as Typographica scour the internet every year in an effort to select a few new fonts every year that are truly extraordinary and of high quality. Stephan Coles, one of the bloggers of the website explains this process, “If we take this fresh meat and trim the inevitable 90% that is unusable fat, we are still left with hundreds of quality new typefaces, most of which will never get ink from a design magazine or a blurb on a blog.” He highlights how difficult it is to narrow all the new fonts released in a year to a select few. As more and more people gain awareness of the importance of typography, there may be a new wave of enthusiasts looking to preserve the beauty in type.
Bibliography:
Coles, Stephan. “Our Favorite Typefaces of 2006.” Typographica, 2007, typographica.org/features/our-favorite-typefaces-of-2006/.
DesignHistory.org. “The Birth of Digital Type.” Early Technologies of Digital Type, 2011, www.designhistory.org/Digital_Revolution_pages/EarlyDigType.html.
FamousGraphicDesigners.org. “Paul Rand | Biography, Designs and Facts.” Famous Graphic Designers, 2018, www.famousgraphicdesigners.org/paul-rand.
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