An ampersand is an invitation to imagine what will come next. It is a continuation of a conversation or story, but without the context of knowing what went before you can choose where you would like it to go. When the symbol stands alone it is still communicating a huge amount of information from its form and its shapes; is it hand-written, is it old-fashioned and traditional, is it minimalist and modern? Every typeface tells a story independently of the words it spells out.
The ampersand is sometimes considered to be the 27th letter of the Latin alphabet. It comes from the letters ‘et’, Latin for ‘and’. It’s a character that there is wide affection for and it gives a glimpse of the personality of a typeface without committing to be a particular letter. The ampersand takes a wide range of shapes and forms, and it is the skill of the human brain that enables us to recognise that each of these still says ‘and’.
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.
With the release of her two new books, Design Week speaks to the graphic designer about our annotated world, crossing over into science and why she wants everyone to have the confidence to talk about type.
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.
The psychology of deliberately making a font hard to read
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?
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.
“Surprising and very interesting” Richard, “Fascinating” Cherry, “Illuminating” Piers, “Intriguing” Clare, “Very different but rewarding” Lee, “Fun and informative” Sara, “Really interesting! Surprisingly scientific” Rachael, “It was fabulous, surprising and delicious!” Syd.
“More than an excuse for weeknight drinking, wine was a clever example of the influence of typeface … don’t worry; you don’t need to be a typography nerd” Digital Arts
“It was certainly an eye-opener to realise that so much of what we taste is influenced by our other senses” SEEN London
The World’s Most Expensive-looking Font Might Surprise You By Madeleine Morley for AIGA
When you hear the word “luxury,” it’s easy to conjure up the colors gold, silver, and velvety purple; yet when it comes to typography, what we associate with wealth is less clear-cut. For the ancient Greeks, rare and precious purple ink came from sea snails found deep in the ocean, a dye so difficult to obtain it was reserved for kings. We don’t mine the sea for letters of the alphabet though, so what’s the typeface equivalent of purple ink, the fanciest looking font?