The latest edition of Print magazine is a special one. Zachary Petit says it best in his letter from the editor: “There is a strong undercurrent to this issue, a theme pulsing just beneath the typographic waves, and it is this: illegibility.” Shepard Fairey shares his take on the topic with a strikingly beautiful cover design. Steven Heller revisits the “Legibility Wars” of the ’80s and ’90s, while contemporary legend David Carson reflects on the current state of type in design. Plus, we gathered the best typeface of 2016. All of this and more inside!
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Features
DRIVEN TO DISTRACTION Sometimes typography really is a matter of life and death. Are automakers keeping us safe now and in the future? By Angela Riechers
DATA HUMANISM We’ve reached peak infographics. Are you ready for what comes next? Written & Designed by Giorgia Lupi
THE BEST NEW TYPEFACES OF 2016 by Jason Tselentis
ONLINE EXCLUSIVES:
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If you enjoyed Jason Tselentis’ selection for the best typefaces of the year, be sure to check out 7 honorable mentions here.
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Hoefler & Co.’s Operator family was selected by a panel of experts as part of the Best New Typefaces of 2016 in the Fall issue of PRINT. Not only did its breadth and utility earn it compliments, but its promotional video adds to its allure. As promised in the magazine, watch the video here.
Up Front
GRIDS+GUIDES Sarah Hyndman explores Why Fonts Matter. Herb Lubalin’s type genius sparkles. Chimamanda Ngozi Adichie’s book covers achieve patterned perfection.
HISTORIOGRAPHY Once discarded as rubbish, today “type bibles” are treated with more holy reverence than ever.
EVOLUTION The fascinating roots of the humble letterhead, revealed.
STEREOTYPE Print reviews Robert Bringhurst’s massive undertaking Palatino: The Natural History of a Typeface.
INTO THE ARCHIVES Jan Tschichold looks back on what he got wrong about his most famous work, Die neue Typographie.
In Back
OBSERVER Is Michael Bierut “geeking out” on the AIGA’s blog a sign of the times?
LOVE LETTERS Jonathan Hoefler reflects on the work and words of his friend Marian Bantjes.
THE LAST WORD Cecil Rhodes conquers one final frontier.
For more great recent type coverage on printmag.com
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If you had to live with one—and only one typeface for the rest of your life, which would it be?
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New Wave typography: A blend of Swiss Modernism, Postmodern contrasts and harmonies and lots of geometric shapes and isometric patterns