OCR Output (chars: 1360) 

Typography continues to be an innately conservative
medium, resisting anything that challenges the
familiarity of its ‘classical’ past; whilst there is no
doubt that this past has provided a wealth of Practical
alphabets that highlight a fine balance between form
and function, typography is not immune to change.

In Britain, the power and restrictive practices of the
Graphic Arts’ Trade Union, the N.G.A., have been cast
aside by new technology and anti-Union legislation,
yet other areas such as the archaic copyright laws
that apply to type design remain inadequate — as a
number of post-war typographers, especially Hermann
Zapf, have found to their cost. Digital technology
throws this problem into sharp focus. It is as problem-
atic to prevent the piracy of digitised typefaces as itis
to prevent home taping of LPs and CDs — but this has
done nothing to stem the tide of type.

The best way to encourage a new generation of type
designers is to break open typography’s closed circle,
to question its traditions and to support risk-taking.
The function of typography has changed — the power
of television has long since broken its monopoly as
ameans of distributing information. Legibility is
as important as ever, but it must also be linked to
broader considerations of perc ption and recog- ©

ti ith over 4000 typeface /availab

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