experimental typography pdf

The Visible Word

Experimental typography and modern art, 1909-1923.

Johanna Drucker

306 pages | 41 halftones | 6 x 9 | © 1996

Art: Art--General Studies

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• DOI: 10.2307/777470
• Corpus ID: 191491524

The Visible Word: Experimental Typography and Modern Art, 1909-1923

• Published 22 January 1995

106 Citations

More than words: text art since conceptualism, the problematic status of the literary work of art in contemporary aesthetics, between image and text : tensions in the art of hans haacke and, kneaded language: concrete poetry and new media in the swedish 1960s, print is flat, code is deep: the importance of media-specific analysis, the encyclopedist and the peruvian princess: the poetics of illegibility in french enlightenment book culture, on the visuality and materiality of illustrated film magazines exemplified by neue filmwelt (1947–1953), the materiality of the intangible: literary metaphor in multimodal texts.

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The Graphics of Verse: Experimental Typography in Twentieth-Century Poetry

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Why did poetry become a visual art? Why did verse begin to appeal to the eye rather than the ear? Why do the pages of Victorian poetry look so different from those of twentieth-century verse? Exploiting the expressive possibilities of print—from spacing and indentation to alignment and typeface—is one of the defining ways in which poetry was modernized in the twentieth century. While the experimental mise-en-page of European poets, from the French writers Stéphane Mallarmé and Guillaume Apollinaire to Filippo Marinetti and the Italian Futurists, has been well documented, the no-less-important typographical explorations of poets writing in English have been largely neglected. This monograph confronts a major unanswered question in modernist, postwar, and contemporary literature: namely, why did British and American poets, from as early as 1910 right up to the present day, choose to experiment with the design and layout of the printed page? My work aims to provide the first detailed account of this lineage of literary style, investigating how typography was conceived as a form of musical notation, a means of realizing new rhythmical possibilities, and as a way of critiquing the new media languages of film and advertising. It surveys the work of canonical poets across the twentieth century such as Ezra Pound, T. S. Eliot, Hope Mirlees, William Carlos Williams, E. E. Cummings, Marianne Moore, David Jones, Denise Levertov, Charles Olson, and J. H. Prynne. I consider whether in the wake of free verse typography emerged as a method of preserving the poet’s voice in the uncertain soundscape of verse that had dispensed with traditional metres. Typography was often utilised as a tabula rasa of style, to bring about drastic reworkings of how poetry communicated. Chief amongst these reworkings is the resilient belief that the printed page could function like a musical score and notate how a poem was to sound: every pitch, pause, and accent. Research into the neumes of medieval monks, for example, spurs and grounds Pound’s experiments with line breaking and unorthodox spacing in his lyrics. This notational theory, I claim, is turbocharged by a technological poetics, furnished with models from acoustics and linguistics, which impels poets to believe typography can be systematized in such a manner that it inerrantly transmits the poet’s voice. Print, it was hoped, could work like the stylus of a gramophone or the spool of a tape recorder. Typography was entrusted with bringing dead voices to life. Cribbing eccentrically from the languages of ophthalmology and optics, poets began to elaborate the idea of a kinetics of the reading eye whose tempo and trajectory the poet could determine through print. I argue that it is through appropriating and transforming the typography of their verse that modernist poets articulate their sense of disenfranchisement within and opposition to mainstream print and graphical cultures. Through analysing unpublished essays and private correspondence, I claim that modernist poets believed mass print culture encoded uniform reading habits in the very motions of the eye. Co-opting and revolutionizing typography was understood as a means of rupturing entrenched habits of thought. Letters to typesetters and printers, as well as marginalia in drafts and proofs gleaned from my archival work, show that the publishing process was envisaged as a political battleground. Realizing their typographical idiosyncrasies down to the smallest point and hair-line space was seen to reclaim a province of material culture, such that scrutinizing copy with microscopic intensity was conceived of as a civic responsibility. To regulate typography was to watch over the public sphere and control the shape of ideas. Through archival research into the genesis of typography as well as the relationships these poets had with their typesetters and publishers, I assess how the materiality of composition and publication impinged upon poetic style. Experimenting with typography changed the way poets sketched and produced their verse. The typewriter was adopted by poets for the first time in the early part of the century, and I show how it was used as a tool to mechanize the design of verse. By tracing the evolution of autograph manuscripts, typescripts, and proofs, I have uncovered idiosyncratic notations and forms of mensuration whereby poets tried to engineer the layout of their work with quasi-mathematical exactitude. Numbers, arrows, and lines appear so that the poet’s notebook starts to look like an engineer’s blueprint. Through examinations of unpublished papers, my research shows that poets formulated new methods of drafting to formulate their byzantine typographical designs as well as typesetting rubrics to communicate their graphical schemes. The gestation of poetry embroiled these writers in pitched battles with publishers and implicated them in the nuts and bolts of the printing press. Poets of the last century, I argue, rewrote their job description and became composite figures, annexing the roles of the typesetter and designer.

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Remarkable experimental typefaces and how to use them

Far from your everyday geometric sans-serif, this collection of edgy and intriguing display typefaces will inspire you.

Typeface design by Studio Triple.

Carrie Cousins

Typography is at the core of the personality and style of a design project.

A type choice can blend into the background with subtlety that helps clearly communicate messaging or serve as a dominant visual force that pushes the design forward. Either way, typeface design is an important element in any project.

Experimental typefaces can help add a powerful edge or the right feeling to a design. They often serve as artistic and typographic elements concurrently. But experimental typefaces aren’t always bold and bizarre; this type style encompasses anything new and interesting that pushes type norms just a little outside of the usual comfort zone.

Here’s a guide to everything you need to know about experimental typefaces with a selection of some great examples to try in your projects.

What are experimental typefaces?

Experimental typefaces are generally of the display family, and have an unexpected look or interaction, such as animation, different x-heights, or a general disregard of the rules of letterform shape and spacing.

These text styles include quirky lines, colors, and letterforms. They have flair and plenty of personality.

But that’s not always the case.

“I think there might be a misunderstanding about this term of ‘experimental.’ We tend to use it to describe display typefaces that look either new or weird or disturbing,” says Jérémy Landes, Art Director & Type Designer at Studio Triple .

“The question of the design process behind the creation of these typefaces, and the question of the experimentation in the design process, is not really the point. Anyway, it seems to me that this term tries to convey the idea of a certain novelty, an avant-garde in the display genre,” he notes.

The definition of an experimental font may not be truly solidified, but you can think of it like this: An experimental font is anything that bucks the rules of traditional type design.

What might be most important when designing or using experimental or expressive typefaces is the push and pull between uniqueness and readability.

When working with this kind of type element, there’s a delicate balance between typography as art and typography to convey a message.

According to Jérémy Landes, while experimental typefaces stand out for their innovation, the main criteria to examine them is audiences’ reactions. “They feel new, but the question behind a successful experimental typeface is more one of the Zeitgeist. Will people relate to it? Will people be intrigued by this novelty, more than repelled? The question of why a creation, and a typeface, is successful at one point in time is for me the most intriguing one.”

Before conducting any type of design experiment, it is important to think about how it will resonate with your core audience and overall messaging.

Related: What a queerer design industry might look like: more expressive, collective and subversive

“The question behind a successful experimental typeface is more one of the Zeitgeist. Will people relate to it? Will people be intrigued by this novelty, more than repelled?"

Types of experimental typefaces

Experimental typefaces can have a variety of purposes–purely aesthetic, commercial display, or to promote a specific goal, such as social or promotional engagement.

Visually, these typefaces come in a lot of forms:

Color fonts

Variable fonts

Handwritten fonts

Custom novelty

Illustrated or artistic lettering

Three-dimensional

10 remarkable experimental typefaces

1. solide mirage.

Monospace | Free, open source

Design: Velvetyne Fonts

Solide Mirage was originally designed as a custom typeface for French-British music band, Frànçois and the Atlas Mountains . The band and designer decided to release the font as free and open source, to be used by fans as well as anyone else who appreciates its experimental aesthetic.

This unicase display typeface combines upper and lowercase characters together, resulting in a somewhat haphazard look. It was inspired by the Didone genre, while putting a new spin on the classic style with compressed shapes and long, elaborate serifs, especially on letters with ascenders or descenders. The typeface supports the Latin and Greek writing systems, and has ornamental alternates for some of the letters, shaped as squiggly zig-zags.

Consider using this font for branding. Note that while it is highly readable with some character combinations, others can be more difficult.

2. UltraSolar Normal

Sans serif novelty | Paid

Design: Adrien Midzic for Pizza Typefaces

This experimental typeface is highly readable and includes quirky details such as cutouts and missing curves. These details are inspired by traditional ink traps in typography, only that in this case, the missing details are stylistic interpretations and aren’t meant to be filled with ink in the printing process.

Best use cases would include titles and headers, or a short word or phrase in a display space.

3. Grind Grotesque

Sans serif | Free, open source

Design: Mickaël Emile

This open source font boasts an extremely wide stance, and is adequately named after the sliding stunt performed in extreme sports. In that vein, it’s best used with extreme design intent. The letterforms are sharp and compressed, with long straight lines and very little curves.

4. Euphoria

Novelty typeface | Paid

Design: Janik Sandbothe for Typelab

With hairline-thin strokes and pronounced, bubble-like terminals, this typeface turns to an Art Nouveau magazine cover illustrated by Ludwig von Zumbusch for inspiration. This expressive all-caps font features a single stroke design, as if scribbled lavishly in one go.

Its play on stroke width contrasts and free-flowing curves provide a lot of visual interest for display usage.

5. Digestive

Novelty | Paid

Design: Studio Triple

This font takes inspiration from Gothic architecture, Art Nouveau, seaweeds and human anatomy. The type design strikes a balance between attraction and repulsion, mixing tall proportions with loose, fluid shapes.

Digestive is a type family of seven fonts, ranging from super compressed to wide. This experimental typeface is best used for large text, and adding generous letter-spacing can help improve its legibility.

6. Cascadeur

Modular and variable font | Paid

Design: Peter Bushuev for Naum Type Foundry

This experimental typeface is a modernist homage to space-age typography. Its design is based on a four-lines grid, and together with it’s very tight kerning it creates a sense of filling up the space. The Cascadeur type family is made up of 12 styles and a variable font, supporting a variety of languages. Most letters come with two to four alternates.

This typeface is perfect for a design featuring oversized headlines or type for digital display or print. It would also work well as a primary artistic element.

7. Russibani

Novelty typeface

Design: Sveinn Þorri Davíðsson and Siggi Eggertsson

Aptly named Russibani, meaning roller coaster in Icelandic, this experimental typeface takes inspiration from roller coaster rails, using a single, continuous line for each letterform. The result is a pixelated-like appearance that gives off a mechanical feel.

Best uses may include branding projects or as the type treatment for a main headline or other large lettering.

Animated sans-serif | Paid

Design: James van den Elshout and Hans Renzler for Animography

This highly readable typeface includes 64 adjustable controllers, with each letter composed of six modifiable strokes. You can tweak this font’s motion speed, color, stroke width, and many other features, allowing for versatile uses of the same design.

Lovelo, which offers uppercase letters and extended Latin glyphs, can be downloaded either as a JSX file or an After Effects project. This typeface works best on a solid background as a decorative text element.

9. Singdings

Dingbat-based display | Paid

Design: Fable Type Foundry

With illustrative touches and a hint of whimsy, this experimental font features architectural landmarks and other objects from Singapore in honor of the country’s 55th birthday. The all-caps typeface offers 130 glyphs, with two to three alternates for each letter. These different versions allow designers to blend clean, geometric letters with unique dingbat-style ones, adding flexibility of use.

The specificity of the typeface dictates use somewhat, making it best fitted for projects related to its namesake, or in any design that calls for a palm tree as a capital T, a shrimp for a G and more.

10. David Milan : Hand lettering

Custom created lettering

Design: David Milan

While not an actual typeface, experimental typography can also take on the form of hand lettering. These unique renders of letterforms can add a bespoke touch to a design.

Based in Madrid, David Milan creates his lettering pieces either digitally or with markers and brush pens. His style ranges from hyper-realistic 3D designs, to looser strokes that highlight the human hind behind them. The typography itself also varies, going from handwritten script to cleaner capital letters.

When it comes to custom lettering and phrase design by a lettering artist, use and application is almost unlimited and can accommodate a wide range of design projects.

How do you use experimental typefaces?

Once you become enamored with the idea behind experimental typefaces, it is hard not to dive in. But you want to ensure that you’re using experimental typefaces the right way.

It’s important to consider whether these styles are appropriate for your audience or publication, the value of readability versus artistic value, and the overall relationship to your brand as a whole.

Here’s how you can make experimental typefaces work for your projects:

Use a typeface that feels like it goes with your brand. Experimental typefaces are funky by nature, so choosing an appropriate way to display them is important.

Mix it up. Using experimental typefaces can mean that you have to switch typefaces frequently for some text elements. Is that acceptable within your brand’s style?

Create a messaging match. A color font typically feels fun and light. Does that go with your content and tone? The same is true of any experimental typeface. Type in the words in the font you plan to use. What emotions or meaning come to you when you see it for the first time? Does that fit the goal of your messaging?

Build brand value. For startups or rebrands, an experimental typeface choice spark for a logotype or text element that becomes part of your brand’s visual story.

Think of typography as art. Not all typography is designed to read like a novel. For short words or phrases where the letters meld together in just the right way, type can be used as an artistic element. This concept can be a solid option if you find yourself in a project without a lot of other imagery.

That last point brings about a good question: How do you weigh readability versus the artistic value of an experimental typeface?

There’s no perfect answer. It really depends on your brand voice and tone in relationship to the font and aesthetic. But there are a few things you can do:

Test fonts, pay attention to analytics, and poll your audience. Do they understand what you are trying to communicate? Watch for red flags in your analytics such as drops in traffic, reduced time on site/page, and unclicked calls-to-action.

Pair an experimental typeface with a simpler, more legible font that reiterates key messaging.

Only use an experimental typeface with the finalized version of your UX copy. Don’t use placeholder text or elements that will auto populate, such as a header tag for webpages or a blog. These typefaces require attention and care that only comes with manual typesetting.

Experimental typography is one of those design tools that people tend to either love or hate. (I’m in the former category.) These typefaces are expressive, creative, and special.

They give type designers a chance to stretch with concepts, letterforms, and artistic vision.

The key thing when looking at typefaces in this category is toggling between readability and artistic value (more traditional fonts for websites here). Not all type styles have both, and it can be a determining factor when it comes to using an experimental typeface or not.

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Usage of experimental typography of book cover design in digital age

Hamish Muir says that, " Every type job is experiment" (P,Bil'ak, www.typotheque.com). Designers are using experimental approaches to book covers which is one of the many graphic design areas where we encounter with fonts and they are trying to keep their designs alive and different via innovative solutions. Typographic approaches are changing with today's technological developments and experimental researches affects book covers too. Developments in software regarding design enable using many applications simultaneously. Experimental researches, discoveries and interpretation of typography and images in an unexpected way empower communication. Different is always appealing. Therefore designers choose to do attractive and marketable designs and lay the foundation of new on this path which started as experimental. Definition of typography, common application areas and book covers which is one of these areas will be examined within this study and analyzes about usage of experimental typography will be conducted. Experimental approach process, its result and affects will be investigated and findings about necessity of experimental typography will be tried to find.

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