Virginia Postrel talks with Gary Hustwit — director of Helvetica — about filmmaking, creativity, and the expressive implications of one of the world's most popular typefaces

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In 1995 Microsoft released the font Comic Sans originally designed for comic book style talk bubbles containing informational help text. Since that time the typeface has been used in countless contexts from restaurant signage to college exams to medical information. These widespread abuses of printed type threaten to erode the very foundations upon which centuries of typographic history are built.

While we recognize the font may be appropriate in a few specific instances, our position is that the only effective means of ending this epidemic of abuse is to completely ban Comic Sans.

Typography is not simply a frou-frou debate over aesthetics orchestrated by a hidden coterie of graphic-design nerds. You need only imagine a STOP sign that utilizes the heavy-metal typefaces favoured by bands Dokken or Krokus to realize that clear, clean and direct typography can save lives, or at the very least prevent drivers from prolonged bouts of confused squinting.

Why should you care?

Because everything you read, every sign, book and logo, is in a font.

And don't forget:

The reality is that, despite fears that our children are "pumped full of chemicals," everything is made of chemicals, including Helvetica, and even Comic Sans.

Most of the blame for the obesity epidemic in America rests squarely on the fat font face of Comic Sans.