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Introduction.
1000 Type Treatments
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1000
TYPE Treatment
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004/005
Designers who push the
boundaries of type are not a new
phenomena. El Lissitzky, Moholy-
Nagy, Futurism, Dadaism, de Stijl,
and members of the Bauhaus all
helped to kick-start typographic
experimentation and develop
the foundation of typographic
refinement. Every decade has
given us a new approach, as well
as a new appreciation of how to
handle type. Not unlike what is
done in the music industry, it is
easy for us to be retrospective,
labeling eras by their associ-
ated trends. It is much harder,
however, to be introspective,
and determine what defines
typography today. To find out,
we need to stand back and take
a snapshot of how designers and
typographers across the world
are tackling type. Each designer
has his or her personal influences
and inspirations; each pushes his
or her work, clients, and peers;
and each designer influences
the ways in which type is treated
today, and how it will be treated
in the future.
Art and popular culture have
led us through an era of post-
modernism and, more recently,
“shockism.” This movement
has subsequently influenced
design, resulting in typographic
experimentation and an age of
calligraphic freedom—
a backlash to the digital design
age. Typographers are once
more enjoying a freedom to
explore that technology has
spent so long hindering. That
said, clarity, structure, and
information handling still, and
will always, have their place in
today’s eclectic design mix, prov-
ing there is still plenty of room for
subtlety, beauty, and refinement.
Typography is a niche, it is a
passion, and it’s often a field for
huge debate and banter amongst
those who care about it. But type
is essential: it directs us, it clari-
fies information, and it coerces
us to buy products—impressive
accolades for an area of design
so often overlooked by
the public.
Unsurprisingly, the layman would
find the idea of 1,000 different
type treatments an incompre-
hensible, peculiar notion that, at
the end of the day, is of little or
no interest. To those of us in the
design community with an eye for
typographic excellence, the idea
of a tome dedicated entirely to
capturing the world’s most
exquisite typographic detail is
nothing short of tantalizing.
Nondesigners have little idea
how much typography affects
their daily lives—which is not
really a bad thing, as it means
we’re doing our jobs well. But
to the designers who spend
their lives making type work for
the rest to ignore, this book is
for you—I hope it inspires. For
everyone else, I hope it sparks an
appreciation, an understanding,
and above all, a passion for type.
Paul Burgess
WilsonHarvey/Loewy
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