In the realm of design, where innovation often seems to be a distant memory, the German design studio Matter Of is daring to challenge the status quo with its bold new publication, 'New New Typography'. This thought-provoking book is not just a collection of typographic principles; it's a manifesto, a rebellion against the constraints of the past, and a call to arms for a new era of design. Personally, I think this project is a breath of fresh air, offering a much-needed perspective shift in an industry that often seems stuck in a time loop. What makes this particularly fascinating is the studio's audacious attempt to disrupt the very foundations of typography, a discipline that has traditionally been bound by the rules of the 20th century. In my opinion, this book is a testament to the power of questioning established norms and pushing the boundaries of what's considered 'new' in design.
Breaking Free from the 20th-Century Typographic Paradigm
The title itself, 'New New Typography', is a clever play on words, referencing Jan Tschichold's groundbreaking 'New Typography' from a century ago. But Matter Of is not content with merely revisiting the past; they are seeking to unsettle and expand upon these established principles. The book's minimalist aesthetic, characterized by black-and-white print with bold cerulean accents, is a deliberate choice to challenge the reader's perception of what a typographic manual should look like. This is not a traditional guide; it's an anti-manual, a messy and unstable exploration of the very idea of an overview on typography.
One of the key questions the book raises is: When is a typeface considered new or different? It playfully reflects on the evolution of iconic typefaces like Helvetica, Helvetica Neue, and Helvetica Now, questioning the very nature of innovation in typography. The book's design, which alternates between six different sans-serif typefaces, is a subtle yet powerful commentary on the diversity and complexity of contemporary type design. It's as if the book itself is a living, breathing example of the 'new new' typographic revolution.
A Smorgasbord of Collaborators and Perspectives
'New New Typography' is not just a solo effort; it's a collaborative endeavor involving nearly 100 contributors, each bringing their unique perspective to the table. From Adel Faure and Bye Bye Binary to Dinamo and TienMin Liao, the book is a diverse tapestry of voices and ideas. This smorgasbord of collaborators is a testament to the studio's belief in the power of collective creativity. The book includes work dating back to illustrated typefaces from 1602, showcasing the evolution of type design and the enduring relevance of Renaissance-era design ideals.
A detail that I find especially interesting is the book's emphasis on the relationship between typefaces and their dependencies. By sketching these engagements, the book challenges the reader to think about the broader context in which type design exists. It's a reminder that typography is not an isolated art form but a reflection of cultural, political, and social systems. This raises a deeper question: What if the modern typographer is not just a designer but an active negotiator of these systems?
Speculative and Irreverent
'New New Typography' is not a book that seeks to deliver definitive answers. Instead, it embraces a speculative and irreverent approach, blending high design theory with modern irony and cheekiness. The book's theoretical proposals are adventurous, pushing the boundaries of what's possible and challenging the reader to think beyond the confines of traditional design thinking. This is not a manual for the faint-hearted; it's a call to action for those who dare to imagine the future of design.
In conclusion, 'New New Typography' is a bold and refreshing take on typography, offering a much-needed perspective shift in an industry that often seems stuck in the past. It's a reminder that design is not just about aesthetics but about challenging norms, pushing boundaries, and embracing the speculative. From my perspective, this book is a must-read for anyone interested in the future of design, and it's a testament to the power of questioning established principles. So, are we stuck in the typographic principles of the 20th century? Not if we dare to imagine the 'new new' and beyond.
