Wim Crouwel's 'New Alphabet' from 1967. Timeless and lean in it's form I think because the process was determined by constraint. Namely, at that time, embracing low-resolution-screen-limitation of typography. It was a theoretical exercise, as he says below. We are still talking today, though, about the inclination of type-design towards print rather than screen. His underscored m's and w's and single case character set still feel like a better substitute for the incumbents.

Mr. Crouwel is a young old man. I saw him talk a year or two ago and it was clear that he has always used a total grid in one way or another but in order to free himself compositionally. Something within which to improvise. Never heard anyone before or since make a search for Neutrality sound soulful.

1 comment:

Bryony Quinn said...

not completely related but like Crouwel's new alphabet, i see offensively bad design all over the place that makes me want to write 'strong letters of complaint' to the designers that be and tell them " yes i will put my feet on the seats, yes i will tell pregnant women/little old ladies to get out of MY seat and yes - yes i will not say excuse me when i get on before they've gotten off" because that is the most heinous use of illustration that ever got credited our taxes and i won't do what it tells me to. or maybe i'll just draw some new ones and send them in with a self-addressed envelope for their apology.

designers have got responsibilities and if they dont acknowledge them in their outcomes for the public, they shouldn't be allowed pens. like drunks aren't allowed a driving license.