Typography Today

Over recent decades, type has been recontextualised. It is no longer at home in static, monotone print. It now belongs in the domain of the image. Type is integrated into image as if it is as 'real' and tangible as any other subject or object. It is treated as having physical presence with weight an [...]
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Over recent decades, type has been recontextualised. It is no longer at home in static, monotone print. It now belongs in the domain of the image. Type is integrated into image as if it is as 'real' and tangible as any other subject or object. It is treated as having physical presence with weight and depth. The distinction between type and image has become more difficult to gauge. There has been a technology driven revolution in typography. The blurring of the divide between type and image has occured partly due to the new digital tools that are available to the typographer. Graphics software allows type to be subjected to the same effects, filters and distortions as are applied to images. A letter may be sliced, stretched and skewed as readily as a pictorial form or photograph. This contradicts the perception of type as something which must be treated in fundamentally different ways to images. This book specialises in contemporary typography design. It is a collection of works from some of the world's leading designers and design teams, from all over the globe - the UK, Korea, Germany, the Netherlands, South Africa, Columbia, Chile, Italy, Hungary, and many more.