This video wasn't long enough, so we made it double-spaced.
"Mailbox!! Mailbox!! Mailbox!!" From the archive: These widespread abuses of printed type threaten to erode the very foundations upon which centuries of typographic history are built.
WE LOVE COMIC SANS ... and we'll kill animals to prove it
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.
Because everything you read, every sign, book and logo, is in a font. Fonts are like the air: you don't notice them when they are fine, only when they are mucked up or obscure.
The reality is that, despite fears that our children are "pumped full of chemicals" everything is made of chemicals.
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
Helvetica essentially takes any word or phrase and pressure-washes it into sterility. I love it.
It sort of reeks of old thrift-shop, Danish furniture, and not in a good way.
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