Its rare but when issues of typography appear in the New York Times, it is always insightful.
Mr. Simonson, who sells original fonts on his Web site, is the author of an online article called "The Scourge of Arial."
Arial, he explains, is a bad imitation of Helvetica. "At a glance, it looks like Helvetica, but up close it's different in dozens of seemingly arbitrary ways." What's odd, he writes, is that an exact copy of that typeface could have been made with no legal consequences because only the names of fonts are really protected.
Where have fonts been? How have they been used? How has a fonts history informed our conception of how it is used? These questions are cornerstones of typography, and (sometimes) typography is the bastard, red-headed stepchild of design.
The best work [a recent graphic design graduate] showed [Michael Bierut, a partner at the graphic design firm Pentagram] was her design for an imaginary CD package. "All of it was Futura Bold Italic, knocked out in white in bright red bands, set on top of black and white halftones," he said. "Naturally, it looked great. Naturally, I asked, 'So, why were you going for a Barbara Kruger kind of thing here?' "
She said, "Who's Barbara Kruger?" He said, "Um, Barbara Kruger is an artist who is, um, pretty well known for doing work that, well, looks exactly like this." She said, "Really? I've never heard of her."
While typography rarely makes waves in popular culture in the same way that Goudy or the Caslons once did, I still think type is one of those things that are surpassingly important because we are constantly interacting with it but rarely acknowledge. Some fonts are so subtle that we take them for granted. Others are...well..."so frilly that you want to stick your dick in them, " as a designer once said.
*PS Title comes from a direct quote in the linked story.
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