Thesis Logo Introduction | History | Technology | Theory | Legibility | Graphic Design | Conclusion

Endnotes | Bibliography


Gerard Unger
Hermann Zapf contributed this explanation for the need to expand the perimeters of typographic form in 1959: “As there are many splendid types of earlier centuries that we still gladly use in printing, it may perhaps be asked why new types are designed. Our time, however, sets the designer other tasks than did the past. A new type must, along with beauty and legibility, be adapted to the technical requirements of today, ... Just as musicians and artists seek to create some new expression of our time and link it to a rich past, so too must the work of type designers and type founders remain bound to the great tradition of the alphabet”. 13 Interestingly, Zapf looks outside of graphic design to explain the inner workings of typography indicating the interconnectedness of design, technology, fine art and music. Similarly, Matthew Carter likens the proliferation of typography to the fashion industry in that it is not necessarily a question of need but want for new typographic forms and their expressive qualities.14 The Dutch graphic designer Gerard Unger views the need for the expanding typographic choices as a way to excite readers, rather than designers, stating that, “One of the reasons why there is a constant demand for new typefaces is the fact that we get used to the peculiarities of older typefaces. What you see too often doesn't work anymore”.15 Fuse Poster-P. Baines

Phil Baines,
Promotional poster,
Fuse Magazine, 1991.


Emigre 
           Poster
Fonts Poster
Skolos, Wedell, and Raynor,
Poster,
Fonts Type Company, 1988.
  Rudy VanderLans,
Promotional poster,
Emigre Magazine, 1989.
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