기웃거려본들, 여기가 현대다. 참다운 속세다 진달래 도큐먼트 03: sketch...
TRANSCRIPT
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03: Sketch Book
Designer’s File 4
Here is the Modern World, Jump Here!JIN-DAL-RAE Document 03: Sketch Book Text by Kim Hyung-jin, graphic designer
VII.
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2010
2011 2021
CSS
VII. The future of typography
The future is going to be very different, as people like to say. Popular mid-twentieth-century fi ction assured its readers that by 2010 we’d all have fl ying cars, engage in regular travel to the moon, and have gadgets like jetpacks at our disposal. Obviously the “future” did not turn out like that. How differ-ent is the typography of tomorrow going to be? Let us look at some of the details. Can switching the font that a website displays its text in from a default selection to something else really be considered
“change”? How different will a website become if the Verdana font is simply replaced by Gotham? Typography is more than typeface selection; it’s systems design. How exactly will more fonts on the Internet make my online experience any different? Will I react to tweets differently if each one of them is set in a different typeface? Is that what social networking is all about?
On the other hand, every designer’s portfolio page can now be set in a unique font. This freedom could be put to either positive or negative effect. Web and print typography will be able to further converge, meaning that as our online world becomes more like our printed one, the design of printed materials is likely to change as well. Companies will be able to put a more consistent brand image forward to their customers. If I had to make just one prediction, it would be that tomorrow’s branding will be stronger than today’s. Quite simply, it will be deeper, but it will also be more pervasive.
How is web design going to look in 2011, or in 2021 for that matter? Will websites be designed by graphic and web designers, the text areas on the individual pages specifi ed by typographers, and the fonts called for in the site’s CSS fi le created by type designers? While this last one is highly likely, it is simply a minor detail. The key is the presen-tation of the text itself. We need more typographers online. At the very least, we will need graphic and web designers to think typographically.
BFA
Certifi cate of Excel-
lence in Type Design
2009 ED 2010
Dan Reynolds
Dan Reynolds was born in Baltimore, Maryland. Before moving to Europe, he received a BFA in graphic design at the Rhode Island School of Design (RISD). Reynolds studied at the HfG Offenbach for a few years before receiving an MA in typeface design from the University of Reading (U.K.). Living in Berlin, Germany, he currently works for Linotype GmbH and teaches typeface design at the Hochschule Darmstadt. His most recent typeface, Malabar, received a Certifi cate of Excellence in Type Design from the New York Type Directors Club, a silver medal at the ED-Awards 2009, and a gold medal from the 2010 Design Award of the Federal Republic of Germany competition.
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