In a world where design often feels like it's stuck in a time loop, the German studio Matter Of dares to ask: Are we still living in the shadow of 20th-century typographic principles? Their new book, 'New New Typography,' is a bold attempt to shake things up and challenge the status quo.
This isn't just a book; it's a manifesto, a call to action for designers to break free from the established norms. With a playful yet provocative tone, Matter Of and designer Wiegand von Hartmann lead a typographic revolution, questioning what it means for a typeface to be 'new' or 'different.'
A Visual Feast
The book's minimalist aesthetic is a statement in itself. Black and white pages are interrupted by bold cerulean squiggles and blocks of highlighted text, creating a unique and disruptive visual experience. It's like a textbook that's been given a modern, rebellious makeover.
Collaborating for Innovation
Matter Of has assembled an impressive roster of nearly 100 collaborators, each bringing their unique perspective to the table. From Adel Faure to Workbyworks, the book showcases a diverse range of talents, including illustrated typefaces from as early as 1602 and cutting-edge designs created using body-scanning models.
Old vs. New: A Timeless Debate
The book delves into the evolution of typography, taking us back to the Renaissance and the early 20th century. It highlights the shift from ancient pictographic forms, where beauty was prioritized, to modern writing, where legibility took center stage. But what does 'new' writing mean today? Is it about adaptability or style? These are the questions that Matter Of's book provokes.
An Anti-Manual for a New Era
Described as an anti-manual, 'New New Typography' presents a speculative and adventurous take on typography. With 243 figures and six theoretical proposals, it explores the idea that the modern typographer is not just a designer but a political negotiator. It's a book that dares to imagine a future where the rules are constantly being rewritten.
A Deeper Reflection
What makes this book particularly fascinating is its ability to spark a deeper conversation about design and its role in society. It challenges us to think beyond aesthetics and consider the political and cultural implications of our choices. In my opinion, this is where the true value of 'New New Typography' lies - in its ability to inspire critical thinking and push the boundaries of what we consider 'new.'
As we navigate the ever-evolving landscape of design, books like this are a breath of fresh air, reminding us that innovation often comes from questioning the established order. So, are we ready to embrace the 'new new'? I, for one, am excited to see where this typographic revolution takes us next.
