typography

Typefaces are pervasive everywhere, but we aren’t consciously aware of how they affect the way we view the world, and how we are ultimately defined by them.

Until the 1950’s, typography involved a great deal of cutting and engraving letters fashioned out of steel that was used for making stamps. Typography encompasses both the typeface and the negative (white) spaces in between the black outlines. Together these elements convey certain subtleties within the typeface arrangements and communicate the underlying intentions of the designer. A good typographer is sensitive about the distance between the characters of the letter matrix.

The post-war period was an interesting period in the development of graphic design because European designers felt there was a “need to re-build, re-construct, to make things more open, run more smoothly and be more democratic” with the emergence of international typographic styles.

Since the rise of typeface digitization, new typefaces were efficiently reproduced with distinct variants, codified and rationalized with the emergence of graphic design. Typographic design is a significant communication platform through which messages are interpreted. The current state of the world and what people should aspire to be, are common messages which are often embedded in the design characteristics of a typography. Designers therefore, have an enormous responsibility because they have to “fight against the ugliness”. Just like a doctor that fights against disease.

The reluctance of designers to use eccentric and cursive styles in old brochures and magazines of the 50s and 60’s resulted in a shift towards a more modern style typeface, specifically Helvetica. Typeface is a critical tool for commercial marketing and advertising because it expresses sign systems and the corporate entity.

Since its emergence in 1957, Helvetica is the most well known typeface in the world due to its legibility. Helvetica does not hold any meaning in and of itself, but rather facilitates the reading process and communicates context more explicitly and directly. Some designers argue that Helvetica is difficult to improve because of its general appeal. It’s characterized by a horizontal and vertical slicing of the terminal endings. The American Airlines logo is a prime example of Helvetica’s appeal and utility as a corporate marketing tool. American Airlines has not changed their logographic identity in the last 50 years because of its impeccable aesthetic quality.

There is a very thin line between a design that is simple, clean, and a design that is powerful, simple, clean, and boring. It’s up to us to interpret typefaces as either a powerful one that speaks to us, or as one that has no effect.