Here’s the news from typography, for the world: little things can count for a lot.
In the logo and fashion design commentariat, much press has been devoted to the recent and clear trend of established, iconic fashion companies rebranding themselves with plain, sans-serif lettering, moving away from the classic forms of Roman, serif letters. A defection to an enemy country!
Draw a flower, carefully unfurling its petals. Follow the line of its sinuous stem, adding tendrils to its flow, extending and multiplying their curves, sprouting a bud here and a leaf exactly there. Repeat, with loose wrist and elegant variation, and an ornament is born. Surely making and looking at them an innocent even natural, pleasure?
A human being, wrote sci-fi writer Robert Heinlein, should be able to fight, write poetry and die gallantly, among 18 more things. Specialisation, he famously said, is for insects.
You see it everywhere, absolutely everywhere: rough-and-ready brush lettering or something like it. It’s proudly imperfect and knowingly naive. It’s bold and inkily raw; its voice can be raucous and assertive or tremulous and quivering. It’s on posters, packaging, banners and trademarks of food brands and political movements; on literary book covers, at conferences, and perhaps most of all as messages on social media.
