Are we stuck in the typographic principles of the 20th century? Matter Of's new anti-design manual investigates. The German design studio Matter Of is asking this very question in its latest design book, New New Typography, published by Sorry Press. The title is a direct reference to Jan Tschichold's original "new typography" proclaimed in Central Europe a century ago. Now, Matter Of and designer Wiegand von Hartmann are at the forefront of a newer, even more revolutionary approach: the "new new."
This book is an exploration of the limits of established typographic principles, a challenge to the status quo, and an attempt to expand the typographic vocabulary. It's a playful and ironic take on the evolution of type design, questioning what makes a typeface new or different. The book is designed using six different sans-serif typefaces that alternate across chapters, raising questions about the nature of innovation in typography.
The contributors to this book are diverse, with nearly 100 collaborators, including Adel Faure, Bye Bye Binary, Dinamo, Farah Fayyad, Man Ray, Source Type, TienMin Liao, and Words of Type. The work ranges from illustrated typefaces dating back to 1602 to type design created through models that scan the shape of the body and turn it into text. The book also delves into Renaissance-era design ideals and quotes László Moholy-Nagy, emphasizing the importance of clarity in modern writing.
What makes New New Typography unique is its anti-manual approach. It presents an overview of the impossibility of an overview on typography, blending high design theory with modern irony and cheekiness. The book challenges the idea of the modern typographer as just a typographer, suggesting they are active negotiators of political systems. It's a speculative and adventurous work, daring to imagine the future of typography.
In my opinion, this book is a thought-provoking read for anyone interested in the evolution of type design. It raises important questions about the nature of innovation, the role of the typographer, and the future of typography. What makes it particularly fascinating is its ability to blend historical and modern design theories, creating a unique and engaging perspective on a seemingly traditional art form. It's a must-read for designers, typographers, and anyone curious about the potential for change in the world of typography.
