I never expected to seriously be writing about Comic Sans. The occasional reference for humor is a low hanging fruit to any typography writer but here we go. In all seriousness, let’s talk about the world’s most hated typeface because designer Craig Rozynski challenged himself to redesign it.
First, let’s look at the history of Comic Sans via Just My Type by Simon Garfield, because I believe that the world is too harsh on Vincent Connare. You might say he’s the person you curse under your breath when you see that passive aggressive note about cleaning the microwave at the office — but really he’s only partially to blame.
Everyone can picture a classic No. 2. Usually yellow, metal end capped with soft, pink rubber. It is a versatile symbol of creativity, art, potential, academics, anxiety and seemingly endless rounds of bubbling in tiny circles for answers A, B, C or D. The pencil is incredibly recognizable but I can barely drum up the name of a brand, let alone imagine the packaging from which the pencil came in — fresh and waiting to be sharpened.
Despite there being an infinite abundance of type out there, I always feel like fall back on a certain few typefaces. I go through phases, it’s not always the same handful, but even when I go to look around for something new, I find myself going back to the same fairly popular foundries for that something new. It’s a comfort thing, I’m sure, and I am definitely a creature of habit, but it’s time to break myself (and you) of my go-to foundries. Not completely, of course, but I hardly think they’d be jealous if we shopped around a little. I did some searching and, with the help of some of you on Twitter, compiled a list of five foundries I think are worth giving a try and keeping an eye on in the future.
Inline typefaces have been fairly trendy over the last few years. That added pop in the middle of each character makes for simple but catchy display type so I’m not surprised. The League of Moveable Type’s Ostrich has always been a particular favorite of mine. But Michael Leithner‘s Luminat Sans shows a fresh take on the trend.
The name of this typography display says it all. Uselessness is Gorgeous, or at the very least, what appears to be uselessness is. The 72 by 10 foot tall mural made of cigarette papers, glue and little wind power should really be viewed live but for those of you can’t make it to La Gaîté Lyrique in Paris anytime soon, here’s a small clip.