By Sarah Hyndman
I chatted to Louis Bradley of Dazed and Confused Magazine about typographic rebellion and how the ultimate way to rebel against the increasing ubiquity of the sans serif might be to use fonts that provoke a reaction like Comic Sans or Papyrus.
“How to start a revolution with Comic Sans. Could something as simple as font have been the catalyst for the spread of punk or behind Donald Trump’s win? We explore the hidden power of typeface”
The idea that something as simple as typeface can be an integral part of a protest movement might sound a bit far-fetched. But the role of fonts is just as important as actual words in communicating a message to the masses. It’s why you don’t ever stray too far away from Arial or Times New Roman on your CV – you don’t want to come across as too much of an avant-garde loose canon by opting for Lucida Handwriting or Bradley Hand. Or why you don’t commonly use curly script-like letters for your uni essays.
Sarah Hyndman creates workshops and events designed to teach the art of typography and deconstruct the power of design. The ‘Never Mind The Typography’ exhibition outlines how the angst and rebellion of punk was expressed in every fibre of the counterculture, even right down to the lettering. “When punk (and its typeface) arrived in the mid-70s, the design at that point in time was very traditional and old-fashioned, kind of nostalgic and backwards looking,” she explains. It was this reaction to the rigid restrictions of modernism that gave birth to a whole new movement in innovative design. Cast your mind back to the creator of the ransom note style and the Sex Pistols logo Jamie Reid, and the slick layered graphics on British Independent album sleeves created by Barney Bubbles, who also designed the logo for NME magazine. “With all of this comes the layering of meanings, layering of images, often lots of references and subtexts that were put in so you had to be in the know to understand the references. You know from that type style that the album is going to be in a certain rebellious underground – it’s going to have swearing in it, basically.”
Read the full article in Dazed…
Punk was the anti-Helvetica Design Week interview
2016 is the new 1976 Sarah Hyndman
How Punk changed Graphic Design Sarah Hyndman
Designer and type fanatic Sarah Hyndman shares her most-cherished books with It’s Nice That.
By Rebecca Fulleylove
Sarah Hyndman is a graphic designer, author, researcher and the founder of Type Tasting, an experimental type studio delivering talks, workshops and events. Sarah researches and teaches about the psychology of type and how to use it to communicate more effectively. She runs workshops, gives talks and creates events such as Wine and Type Tastings, which pose the question: “Do you judge a wine by its label?” Sarah is also the author of Why Fonts Matter, which we published an extract from earlier this year that discussed the effects of typography on our emotions. She is just on the cusp of publishing a second book, How to Draw Type and Influence People, which will be published by Laurence King in spring 2017.
The designer’s inspiration comes from outside the design world, taking ideas from different genres and exploring them through the lens of typography. With this abundance of influences we wanted to find out what sits atop Sarah’s bookshelf and lucky for us it’s a diverse mix of books on packaging design, typography and food.
Vetements, Brioni and Kanye Agree: It’s Gothic Time
New York Times, August 9th
By Max Berlinger
“It’s been used for some of the most sacred texts in the Western world,” said Michael Bierut, a partner at the design firm Pentagram and a senior critic at the Yale School of Art. “At the same time, it’s used by biker gangs, street gangs, heavy-metal groups and death-metal groups. It seems like Satan has come to own it more than God.”
Thanks to its longevity, the typeface has accrued a wide range of cultural associations and the versatility to convey both a sense of reverential authority and rebellion. “I think there’s always that double edge, a duality that goes on in everything,” said Sarah Hyndman, the author of “Why Fonts Matter.”
Read the full article.
Typography is exciting because it plays an integral role in almost everything we do. However these are not just the serious and the intellectual things in our lives, they are also the everyday things we take for granted or the fun activities that entertain us. Here are some of the recent topics I’ve written about including the personalities of ampersands, the voices of street signs, the taste of sensory type & the surprise of influence.
“With ample survey research, Sarah Hyndman proves that typefaces influence us in surprising ways.” Just Your Type by Sarah Hyndman for Communication Arts magazine March/April 2016
“Lettering and typefaces combine to give a street its own individual dialect.” Sarah Hyndman on How to love fonts in The Big Issue, 25th January
“An ampersand is an invitation to imagine what will come next. It is a continuation of a conversation or story.” Sarah Hyndman takes a closer look at the ampersand in all its shapes and sizes and how each character embodies the personality of its typeface in a single glyph. Magpie magazine May 2016.
In a world that’s becoming increasingly visually dominant, Sarah Hyndman suggests that it’s more important than ever before to consider design as an immersive, fully multisensory discipline. Computer Arts, March 2016 (20th anniversary edition)
I was delighted to be invited to speak at It’s Nice That’s Nicer Tuesdays this week alongside very inspiring fellow speakers. However what really made the evening was you—the audience—who joined in so wholeheartedly with my games and absolutely stole the show. Thank you.
“Eschewing the usual talk format, Sarah Hyndman’s closing number about why fonts matter was very much about audience participation, inviting the room to join in with a two-team typographic karaoke challenge. There was no I Will Survive here though: it was all about shouting “hello” in a way that each team felt was befitting of the typography the word was written in. A simple, but very effective demonstration of how type design affects the way we read, the way we respond to commands and even our moods. Challenging how typography can be believable, cheeky and funny through online surveys and years spent workshopping and researching, her presentation was a fun, insightful and participatory round-off to the evening.”
Read the full review article…