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The typography of our time: chaotic and eclectic

Typography
30 Jun, 2019

Typography can often be seen as a direct reflection of the times we live in. In fact, every cultural progress and political trend is linked to a specific typeface in human history. From the gothic letter of Gutenberg, to the industrial minimalism of the Sanserif, to the essence of geometry linked to technology.

For that same reason, it is no coincidence that a chaotic and eclectic typeface is monopolizing much of the attention today. What could be more appropriate for nowadays, right? If 2020 has made something clear to us, it is that we are in a fickle time, of constant change and this is reflected in the fonts that we are seeing the most lately.

What font type defines this year?

Lack of text alignment, mix in the order of types, distortion in the forms ... It seems that 2021 is going to be an equally diverse year for trends in fonts and their versatility, with peculiarity and originality as the main characteristics. Kinetic typefaces and distorted or experimental fonts (like the one created by Tommi Shapr – from potatoes! Don’t miss the process) are emerging trends that we will continue to see.

The Kinetic Typography has undergone an incredible evolution in recent years. It is defined as the art of creating moving typography in order to convey a concept through text animation. Its usual means are: the credits of feature films, TV commercials, music or commercial videos, animation productions, among others. It’s getting more and more present and in action, as well as more integrated into its environment.

However, much of its current success is due to the fact that many brands have developed their visual identity based on a kinetic, flexible and adaptive system, taking movement as the corporate protagonist. Logos are no longer seen only in two dimensions, but visual identities are in motion, they are changing and three-dimensional, giving rise to distorted fonts that make them unique.

Three-dimensional typography

The creative Zach Lieberman, in collaboration with Design Indaba and Molmol Kuo, is responsible for this new concept of mobile application. In addition, the app allows you to superimpose images, change the shape or size of the font, and even physically walk through it while we are creating it. In the words of its own creator, “space is an important variable for designers, especially as we move towards AR and VR systems; however, we are used to designing types on 2D and Cartesian grids. Instead, 3D space and movement offer interesting challenges. Therefore, this application provides an intuitive interface to play with the guy in space.”

Another good example of taking moving typography to another dimension is this Augmented Reality campaign carried out by the London design agency OMSE. The graphic identity is based on the old European printing presses where the typeface is distorted to resemble the cylinders used in traditional printing presses.

The interesting thing is that the user can move around and experience the campaign in a three-dimensional space, thus providing an immersive experience. When the images are viewed through the campaign app using the phone’s camera, the cylindrical figures start to rotate! In addition to the wow effect, this technology is also used to display additional campaign details, such as event information or artist names.

We are in a unique moment of transformation in history, with great changes in our society, so typography will be no exception! A non-conformist and visual evolution that continues to shape our messages with more and more creativity and dynamism.

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