I probably 'sense' the same trend you are talking about, though I am wary that I am simply looking for evidence of it because that is what interests me - finding this thread for example. I also agree with his idea that if you are interested in a specific genre, you become very attuned to it's presence which might alter your perception of it's popularity. I think Nick is correct in saying that there has been a steady development of the grotesque, almost by the decade.
This is a good thread, this typeface seems quite rare so I am pleased to see high quality images/work here. Of course, this varies by market, but in as much as the commissioned market in newspaper and magazine types requires all genres (but few scripts), so does the retail font market (but heavy on the scripts). Every foundry a department store, not a boutique! In the digital era, now that so many independent foundries are established, most type designers have "their" old-style serif face, their didone, their geometric sans, their grotesque, their script. My preconception is that genre specialists (like Ale Paul) are the minority in the type design business. In other words, if you are interested in modernist design and the grotesque, you will see it everywhere. If you want to prove this is a significant phenomenon, you will need statistics to convince me, because otherwise, the field is so large that's it's very easy to pick and choose examples to corroborate one's subjective preconceptions about what's fashionable-which are always subject to recency. Have the type designers responsible for recent grotesques also reworked old serif types? I would think so, I know I have. Recently the genres of geometric and humanist sans have also been well populated-more so, I would say, than the grotesque, where the old staples seem most entrenched. The grotesque genre has been constantly available since the 1830s, with old staples being refitted, and new additions. While it's true that there have been many typefaces in the grotesque genre designed recently (a sans-centric era), I don't think this is historically significant.
Specifically, typographers continue to use them.Īlso, there is technological change, a constant in the graphics industry.Īdapting older forms to new media presents creative challenges and opportunities. Why do you think a lot of typographers are re-designing old sanserif typefaces?įor the same reasons that we (type designers) are always re-hashing every cliché in the book. Why do you think a lot of typographers are re-designing The designer Daniella Spinat creates Mercator Roman.įinally, I would like to know your opinion about the revivals in Process that has followed in the revival of Mercator. Send me information (images, texts, sketches, typespecimen…) on the Mercator, and it surprised me a lot to find a digital version. Unfortunatelly there is not much information available on the original Mid-Century, inspired several revivals as well as your Mercator. Like Recta by Aldo Novarese and Mercator by Dooijes created in the
In other cases the alternatives to Helvetica and Univers I found several typefaces in the lastĭecade like Akkurat by Laurenz Brunner, FF Bau and Graphik byĬhristian Swchartz inspired by revivals of German typefaces in theġ9th century. I am researching the revival of neo-grotesque My name is Marcos, I am a professor of graphicĭesign in the University of Vigo in Spain, and I am working on myĭoctoral thesis.
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