Graphic designers and type consumers interact with typography in very different ways. Each is just as much of an expert in their own field of experience, but one interacts consciously and the other subconsciously.
Introducing your children to the fantastical world of fonts will give them a head start towards a future career in the creative industries.
My 11-year-old nephew Eddie was excited to see me last Christmas because he wanted to talk about fonts. He’d started to learn about the topic at school and had lots of brilliant questions like “why are there so many?” The two of us have been hatching plans to create a book together and I’ve also been asking lots of other children what they think. My initial proposal had been rejected by a number of mainstream children’s publishers—the main feedback is that “children aren’t interested in fonts”. I disagree with this because the children I’ve spoken to are very interested in the topic. In response, I’m publishing these books as part of the new Type Tasting Books venture. This is how I published my first book ‘The Type Taster’, which is now published by Penguin/Random House as the bestselling ‘Why Fonts Matter’.
When Design Week catches up with Sarah Hyndman, she’s just coming to the end of a week’s stint at this year’s Adobe Max in LA. There, she has designed a multisensory installation in which she asks participants to associate the smell, sound, taste and feel of five different typefaces.
A central intention of design today is to reduce cognitive load, the amount of effort the brain needs to understand something, so that communication and comprehension are quick and easy. So it was a bit surprising when a typeface specifically designed to be hard to read recently made headlines in the design world. Why would anyone purposefully make a font difficult to read, you might ask, when developments in printing technology and type design have strived for centuries to make words more, not less readable?
Can a typeface alter the taste of a jellybean?
We ran an exciting preview of the brand new Wine & Type Tasting event for 30 ambassadors from the Bankside Design District. We had a brilliant time and the evening was pronounced “a roaring success”. Favourite quotes included “so unexpected but in all the right ways!” and “lots of sublime and crazy tall tales from the past”.
What is a typographic intervention? What if it’s not what it says on the tin? Can typography alter your experiences, or nudge you to change your behaviour?
This year we are exploring the potential for creating typographic interventions that initiate positive behaviour change. You are invited to take part in typographic research. Some of the experiments you will take part in are in their early proof of concept stages, for others data is being gathered potentially to be published as a future collaborative study.