About two tweeks ago, a conversation between type.today and two Swiss typefaces’ designers popped up here. Ian and Emmanuel are pretty clear about the future of type design, as they say:

If you want to design anything for a document or whatever, there are already a lot of typefaces, so why design new ones? That is the question. And the answer is that you want to have the typeface of today, and that’s what we are designing.

And furthermore:

For me, there is no reason to build a new typeface based on old models, because there are already very good typefaces from the past and now we have to imagine the typefaces of tomorrow.

This is exactly the reason why I started CROWDFONT. Actually, there are perfect sans-serifs, perfect serifs and everything in between – of course it always depends on your field of application, but in fact there are millions of typefaces perfect for small and big sizes in various fonts and with tons of characters and alternates.

Another important point is that so far type designers created typefaces used by millions of people. But actually nobody asked those users how they want their typefaces to be. Of course, a type designer has far more knowledge when it comes to readability etc. – but in fact, aesthetics is a part of type design too (though you can argue now, that the mass has no sense for aesthetics). For some, Helvetica might be the perfect one, for some it’s Comic Sans (yes, right, Comic Sans – read more about that here). As Glyphs and other masterpieces of modern software made it relatively easy for graphic designers to dig into the field of type design, some interesting typefaces are slowly but surely coming up. You need some examples? Check Riesling Type, Heavyweight, Deepthroat, …

Sure, their typefaces are also based on common rules, but with a lot of twists, with a kind of new aesthetic – in the end they’re a reaction to the sleek, flat design that dominates the design world for years now (see the rebranding of Google, Microsoft, …). But thanks to the technological advance it’s no requirement anymore to use sans-serifs for a good legibility in digital applications and therefore designers again have the possibility to strive for more. Maybe, history repeats itself. Just think of Grunge Typography in the 90s (nice recap here) – though, thank God, the opposition’s results are visually more appealing now. And CROWDFONT might be a part of it.