In the realm of design, where innovation often seems to lag behind, the question of whether we are stuck in the typographic principles of the 20th century is a compelling one. German design studio Matter Of, with its new anti-design manual, "New New Typography," is daring to challenge the status quo and push the boundaries of what we consider "new" in typography. This book is not just a collection of typefaces; it's a bold statement, a manifesto, and a call to action for designers to break free from the constraints of the past.
Personally, I find the title, "New New Typography," particularly intriguing. It's a playful nod to Jan Tschichold's "New Typography" from a century ago, but with a twist. The "new new" suggests a progression, an evolution, and a desire to move beyond the established norms. In my opinion, this is exactly what the design world needs - a fresh perspective that challenges the very definition of what is "new" in typography.
The book's minimalist aesthetic is a powerful statement in itself. Black-and-white print with a bold cerulean accent creates a striking contrast, almost like a rebellious act against the traditional use of color in design. This deliberate choice of style is a commentary on the excesses of the past and a celebration of simplicity. What makes this particularly fascinating is how it reflects the book's content - a critique of the established typographic principles.
One of the key questions the book raises is, "When is a typeface considered new or different?" It explores the evolution of Helvetica and its variants, Helvetica Neue and Helvetica Now, and questions the very nature of innovation in type design. In my view, this is a crucial inquiry, as it challenges the notion that new typefaces are always groundbreaking. Instead, it suggests that innovation can be found in the subtle changes, the refinements, and the reinterpretations of existing principles.
The book's collaboration with nearly 100 designers, from Adel Faure to TienMin Liao, showcases the diversity of thought and the richness of typographic expression. It takes us on a journey through time, from illustrated typefaces of 1602 to type design created through body-scanning models. This historical perspective is crucial, as it highlights the evolution of design ideals and the enduring principles that have shaped typography.
However, what many people don't realize is that "New New Typography" is not just about the past or the present. It's a speculative venture into the future, a daring imagination of what could be. The book's theoretical proposals and speculative nature challenge the notion that design is a fixed discipline. Instead, it suggests that design is a dynamic, ever-evolving process, and that the role of the modern typographer is to be an active negotiator of political systems and cultural norms.
In my opinion, this book is a powerful statement on the state of design today. It's a call to action for designers to embrace the unknown, to challenge conventions, and to push the boundaries of what is possible. It's a reminder that innovation often comes from the unexpected, from the fusion of high design theory and modern irony. So, are we stuck in the typographic principles of the 20th century? From my perspective, this book is a resounding "no." It's a testament to the power of imagination and a celebration of the endless possibilities that lie ahead in the world of design.
