Imagine Web 3.0, the third generation of the World Wide Web and a more open and accessible version of the internet as we know it. Now apply this same idea to type. It’s efficient, engaging and hyper legible.
Here are 3 insights on Typography 3.0 from Phil Garnham and Emilios Theofanous, creative directors at Monotype, one of the world’s most famous type foundries who owns Helvetica and Futura. Pen’s at the ready people! 🙌
Love Ikea? Of course. Love Verdana? Probably not. Verdana was a typeface made with purpose. “What purpose?!”, we hear you say.. it was made to make our first readable web, for low resolution CRT screens and poor browser rasterisers. And it did it’s job well.
But Verdana, like many widely available free fonts was no match for all of the brand uses and touch points brands deliver today 🦾 In 2019 it was replaced with another web-perfect design, Noto.
Designers fight battles for type investment everyday because they know how impactful it is. With this said, they also have a responsibility to know why a typeface was designed.
Always choose type with purpose or at least knowing intent.
Enhancing certain characteristics and features of letters, making subtle unique moments in each shape, help make a noticeable difference to reader comfort and comprehension.
Typeface style can influence up to 12% distraction. A 12% increase in drive distance is huge at 50mph! Auto brands must take font selection seriously.
Accessible typography is a huge part of every big brand project today. It is not an afterthought, it’s the design process.
When things go Meta, they go mega. Yoon Park is continuing his research for Microsoft’s Hololens, a mixed reality device where type becomes interactive, a layer of useful information on top of a non-Hololens world. 🤯
Imagine training as a surgeon with virtual bodies or building complex components for airplanes…Or what a new book and brand experience might read like, a walking tour of typography and brand expression at your next concert, exhibition, video-game.