We don’t need new fonts…
Is there any reason to make new fonts when there are so many already available for downloading? It's time to reflect on motivation to draw new type. While there is no reason to make uninspired new fonts, still, there are typefaces which haven’t been made yet and which we do need.
It seems to be a golden age of type design—not only are there more type foundries now than ever before, not only is distribution easier and more direct, not only is type a hot topic for numerous specialised blogs and magazines, but even the general interest media are in on the conversation, (if only occasionally). New type design courses are opening regularly, churning out legions of type designers. And there are now over 150,000 fonts available for direct download.
In spite of all the attention to type and the unprecedented conditions for type designers, the vast majority of new fonts desperately lack originality. Just as in the music industry, where cover versions and remixes are often more popular than new music, font designers seemingly prefer to exploit successful models from the past rather than strive for new solutions. Scant decades ago, new typefaces underwent a rigorous review procedure to ensure that they met the publisher’s artistic and technical criteria. Today, self-publishing has eliminated such processes, and there is little critical review, little effort to add something new to the evolution of the profession. Mediocrity abounds as quality control dwindles. Dozens of blogs (as well as the print media) simply republish press releases without distinguishing between marketing and independent reviews, praising uninspired fonts and institutionalising the average. Many design awards do the same, perpetuating a false idea of what constitutes superior quality. We don’t need new fonts like this.
In my decade of experience teaching at Type & Media I have seen many students enter the course with no previous experience in type design. Over the eight months of the course they learn the structure of letterforms and the principles of construction that allow them to create well-designed typefaces, (not always terribly original, but convincing executions without obvious mistakes). Having mastered the formal execution of type, they can then move on to think about how to apply their skills. Obviously, creating type that is too closely related to existing models doesn’t justify the effort involved. Or as my Type & Media colleague Erik van Blokland says: “If an existing typeface does the job, there is no reason to make a new one.”
Many people drawing type today have solid drawing skills, but no desire to advance the field (let alone rebel against it) by creating original solutions. Can we call them type designers? I think not, at least not any more than we can call every fast, accurate typist a writer. Content is at least as important as form, the ideas we express as important as how we express them.
Still, there are typefaces which haven’t been made yet and which we need. Type that reacts to our present reality rather than being constrained by past conventions; type for non-Latin scripts that gives its users more choices; type that brings readers from previous media to new ones. It is time to think about why we design type, not just how we design it.
Other Articles By Peter Biľak
- Why Not Associates?2
- The Book of Probes
- Restart: New Systems in Graphic Design
- Contemporary Dutch graphic design: an insider/outsiders view
- Dutch type design
- Martin Majoor, type designer
- Irma Boom, book designer
- Designing Type Systems
- Karel Martens, graphic designer
- Letterror, designers and programmers
- Max Kisman, graphic designer
- In search of a comprehensive type design theory
- Experimental typography. Whatever that means.
- Martin Majoor feature
- History of a new font (notes on designing Fedra Serif)
- Sandberg, Designer and Director of Stedelijk
- En busca de una teoría completa del diseño tipográfico
- Historia de una fuente nueva
- Acerca de Fedra
- Falta de diseño, exceso de diseño y volver a diseñar
- Tipografía de los noventa. La demistificación y re-mistificación
- Designing Type — book review
- Graphic Design in the White Cube
- Kyoorius DesignYatra 2006, review of a design conference
- Ways of Seeing, book review
- À la recherche d’une théorie générale du dessin de caractères
- 화이트큐브의 그래픽디자인 / Graphic Design in the White Cube
- What is Typography?
- Family planning, or how type families work
- A View of Latin Typography in Relationship to the World
- Jan van Toorn, Critical Practice
- In the Name Of the Father (or the troubles with L-caron)
- The history of History
- Methods of Distribution: Digital Fonts and the Global Market
- Méthodes de distribution : les caractères numériques sur le marché mondial
- Font hinting
- Beauty and Ugliness in Type design
- Conceptual Type?
- Julien — the making of
- Type design competitions
- Una mirada a la relación de la tipografía de origen latino con el mundo
- Métodos de distribución: Tipos digitales en el mercado global
- Irma Boom interview
- Lava — Voice of a Magazine
- Caratteri concettuali?
- About Uni Grotesk, a Central European geometric Sans
- Related Type Families
- Verwandte Schriftfamilien
- Designing Hebrew Type
- Notes on Designing and Producing the Typeface Wind
- A Brief History of Sans Serif typefaces
- Brief History of Webfonts
- The Importance of Play
- About Nothing, really
- Size-Specific Spacing of Fonts
- Reclusive Designers — Redefining Success in the Internet Era
- Theory of Type Design, a book review
- Designers Reclusos – Redefinindo o Sucesso na Era da Internet
- Planejamento familiar, ou como as famílias tipográficas funcionam