How Fonts Are Fueling the Culture Wars (backchannel.com)
Reader mirandakatz writes: Typography is having a bit of a moment: Suddenly, tons of people who don't work in design have all sorts of opinions about it, and are taking every opportunity to point out poor font choices and smaller design elements. But they're missing the bigger picture. As Medium designer Ben Hersh writes at Backchannel, typography isn't just catchy visuals: It can also be dangerous. As Hersh writes, 'Typography can silently influence: It can signify dangerous ideas, normalize dictatorships, and sever broken nations. In some cases it may be a matter of life and death. And it can do this as powerfully as the words it depicts.' Don't believe him? He's got ample visual examples to prove it.
Make everything Comic Sans, problem solved!
Fully licensed blockchain psychiatrist
I thought the article was going to be about how a capital "I" and a lowercase "L" look the same in some fonts and really messes up your code. I've had it happen before... Il
One of our competitors trademarked the term "hypothesis". From now on, we will call them "boneheaded ideas".
Hillary Clinton ran for president with a slick logo befitting a Fortune 100 company. It had detractors, but I think we’ll remember it fondly as a symbol of what could have been—clarity, professionalism, and restraint.
Donald Trump countered with a garish baseball cap that looked like it had been designed in a Google Doc by the man himself. This proved to be an effective way of selling Trump’s unique brand.
Political Hackery.
5 out of 6 people enjoy Russian Roulette & 6 out of 7 Dwarfs are not Happy
Use the SJW-approved typefaces or your Hitler.
Oh, and since Fraktur was both enforced by the Nazis and banned by the Nazis, you are an evil part the patriarchy that needs to be purged in the name of enlightened SJW "inclusion" if you use it or if you don't use it.
AntiFA: An abbreviation for Anti First Amendment.
There is nothing overblown or dramatized about this article, nothing at all. I mean it's vaguely interesting but seems to miss the forest for the trees and blathering about colonialism isn't doing it any favors either.
On the Oregon Cost born and raised, On the beach is where I spent most of my days
Force OCR-A on everyone now; this'll make it easier for our new robotic overlords to interpret our welcomings...
There is no XUL, only WebExtensions...
"Suddenly, tons of people who don't work in design..." Huh? People have always had different, and often strong, opinions about typography. It simply boils down to most people knowing that something either looks good to them or it doesn't. As for the rest of the story - what a load of bullshit. Words can certainly have a life or death result but not so for typography. No matter what font you choose, it just isn't going to hurt anyone beyond possibly offending them. Nor is a font ever going to save a life.
... Font Nazi...
If you want news from today, you have to come back tomorrow.
What nonsense will Medium come up next? I can hardly wait!
Why is this news for nerds? That's just some social "justIce" rag blabbering poliltical ideology.
This article is just trashy, nothing to see here. So, everything with an old English/German font means "Nazi" now, does it? It couldn't possibly just reflect medieval culture, or Frankenstein, or Dracula, or harken back to any number of other things more mundane in the past several hundred years. Nope, it's Hitler. I guess, if you're really that shallow.
But nothing is more telling of the actual SJ undercurrent and intent of this article than these last few paragraphs, strangely comparing Clinton's and Trump's campaign logos:
I guess even fonts offend these people now. They're losing their minds.
Look back up at my post, now look back down, you're on the Internet. Now look back up. I'm a signature.
... a long time ago.
I have a 'wooden eye', you can have five different fonts on a page and I wont notice it, unless it is wingdings...
love is just extroverted narcissism
it's the patriarchy.
this reeks of someone exploring a new avenue of grievance. not everything needs to be interpreted in power hierarchies. and he's overreaching with some of his examples. yes, western powers decided that they'd preclude the arabs from finding peace by making it harder for them to text. well played. it couldn't be that the communications technologies were developed in the western world because western values allowed for scientific inquiry. nope... oppression.
yes, how it's presented can alter slightly a message. but the map is not the territory. neither the typeface, nor the words themselves are as dangerous or powerful as the thoughts behind them.
Where does this "microaggression" bullshit stop? Somehow we've gotten to the point that we're told by self-appointed unquestionable moral authorities no one asked for or wanted that our FONT CHOICES cause genocide or something equally insane.
Let's acknowledge this for what it really is: more Poe's Law grade hyped-up tempest in a teapot crap for virtue-signaling authoritarians to broadcast their virtue and brilliance to other people while telling those people what to do because they're so full of themselves that they think they're the arbiters of morality for all.
[font face="Chalkboard"] Fuck off. Everyone hates you. You are the friend in every friend group that nobody likes.[/font]
http://archive.is/9UTpW
My favorite font: Hack
Don't believe him? He's got ample visual examples to prove it.
I went against /. tradition and RTFA, and I still didn't understand it. But you, you made me understand.
K e m i n g. I have to assume that was on purpose. Well trolled sir.
I thought the world was moving to the use of emojis for all communication.
Anyone who has read any historical Nazi-era documents will tell you that Fraktur, the Nazi's favorite Blackletter (gothic) typeface, is headache-inducing. Fraktur is ugly. All of those embellishments make it a struggle to differentiate between letters – kind of the opposite of what written text is supposed to do.
Oh, and Arial is a terrible font.
It's not always the font - it's frequently the historical baggage that goes with it, as demonstrated by his early examples of typography associated with Nazi Germany.
Sometimes it is the font. "Sharp, pointy" fonts like some of the Nazi-era examples he used may convey sharpness, strong boundaries, or even authority in many readers. A simple font that looks like a child's less-than-perfect crayon manuscript will likely remind people of children and all of the emotions that come with that.
It's not just fonts either. Pictures that remind people of a time and place that the racist wants to glorify can have the same effect. Hitler at the Berlin Olympics, famous Nazi scientists being given world-class awards, etc. do the trick.
Knowledge is how to play a game, intelligence is how to win, wisdom is knowing what game to play.
Had to read the article to find out HOW a typeface could be a matter of 'life & death'...and as I suspected this is just MORE SJW bullshit. Confusing the typeface/format of the message with the message itself.
IF a typeface/glyph doesn't allow for an expression of a language in written form that is readable by someone who has knowledge of the language then it's not a good typeface. The article uses Arabic as a written language that uses 'artistic glyphs' that can change to provide who changes in meaning...this is apparently some kind of 'revelation'...we've been dealing with this in Chinese (simplified vs tradtional) for YEARS. This is not new & it's not about 'Anglophone privilege' for crying out loud! And just because the Nazi's took 'Blackletter' as their font doesn't mean the font itself is somehow 'tainted'.
The guy gives his own point of view away when he refers to Trump's hat as 'garish'...it's a ball-cap for crying out loud! This guys own 'elitism' is showing, including attempting to equate a LOGO with a 'typeface'...that Clinton assumed that her appeal was to 'smart, intelligent' people was HER mistake in assuming that people who disagree with her were 'unintelligent deplorables'...it is HER elitism, the elitism of her supporters and the writer of this article showing not whether or not the people who disagree with her were 'booger eating morons'!
In fact, this whole article can be boiled down to 'There is a war going on between people who think the presentation of a message matters versus those who believe the message matters'...the former are 'elitists' for whom actually having values & a message is hard, they have no substance it's all just 'show', which is why it appeals to Hollywood & New York types who think that it is better to 'virtue signal' then it is to actually HAVE the virtues they are signaling at the core of their beliefs. They don't actually believe the shit they say they say it only to avoid being labeled 'racist', 'sexist' or some other 'ist'...
It was interesting to learn about the existence of Mirsaal and Balkan Sans, but I'd rather have read about them in an article titled "Two attempts by font designers to help bridge cultural division." However, in both cases, I think there's more that the article didn't mention. The article talks about the difficulty of typing in Arabic, but when I think about computers and representing Arabic, I think of the kind of automatic transliteration that, for example, the Katib text editor does. It says Mirsaal looks for the right balance between Western and Arabic conventions, but doesn't describe any typographic specifics of what is being balanced, so you can't tell what is the nature of the compromise that it asserts is being achieved. Also, when I think of using the same glyphs to represent equivalent letters in the Latin and Cyrillic alphabets, I notice that Noto Sans also does that, but no alternatives are mentioned by the article. The rest of the article also seemed to be at a "fluff" level of depth about subtopics that were less interesting.
Chiropractors think all your ails are due to spinal problems, journalists think everyone uses Apple products, and graphic designers think which font used is very important.
Going by Hillary's logo, they still do. Same ideas, same ideology, same visual language.
I’m not interested in whether Clinton or Trump had good logos. I’m interested in the different values they reveal. Clinton’s typography embodies the spirit of modernism and enlightenment values. It was designed to appeal to smart, progressive people who like visual puns. They appreciate the serendipity of an arrow that completes a lettermark while also symbolizing progress. In other words, coastal elites who like “design.” Trump’s typography speaks with a more primal, and seemingly earnest voice Clinton's typography "emodies the spirit of modernism and enlightenment values"!? You got all that from typeface?! It was an utterly uninspiring (if not stupid) logo that seemingly appears "progressive" because it has an arrow pointing to the right? (Which is a delicious schadeunfraude methodology of showing forward progression! ) Likewise Trump's typeface is "primal"?! If anything I think this article is demonstrative of the hubris that has befallen the world. We don't actually care about the words or their meaning anymore but what they LOOK like on the screen or page. A facebook-ized culture that is obsessed with style over substance, appearance over action and motivations over meaning. It will lead to nowhere good.
Normally I wouldn't post such a vague sentiment, but with everyone trashing it, I feel I should add a positive post. Granted, the whole "life and death" is overblown, and the decline of Blacktype is probably a little more complicated than that. I certainly saw it a lot when I visited Cologne; and it wasn't popular outside Germanic countries before the Second World War, or even the first.
Still, the stuff about the different styles of the Clinton and Trump campaigns was interesting. Blacktype does give an imperialistic Germanic feel, which makes it great for being scary, imperialistic, or German. And while designers put a lot of effort into kerning tables, fonts don't support joining between arabic letters. Perhaps they should.
Anglophone privilege? Seriously? Fuck off
Oh woe and alas, Arabic isn't particularly well suited to being written with a keyboard..... If only there was some sort of font format that supported dynamically switching out graphemes and inserting ligatures in response to certain combinations of letters, if only it was called opentype and had been widely supported for years.
I see no mention of Chinese, Japanese etc, who I guess aren't en vogue as victims of vicious western imperialist keyboards, and seem to have coped just fine when it comes to inventive ways to accommodate languages with several thousand glyphs a piece.
An author with a serious interest in typography would of course have known this, but that would have spoiled one of their 2 examples, reducing their argument to "blackletter is literally Hitler"
Disappointing to see an article on fonts talk about bad keMing instead of bad keRNing (see the link to XKCD). It might actually have been funny if they'd spelt it correctly and used a font that exhibited the issue.
Honestly, in a time when UI "designers" insist that text be just a shade or two grayer than a light gray background, you're lucky to make it out at all.
Use a proper coding standard:
"Rule 2-13-4 (Required) Literal suffixes shall be upper case." (C) MISRA C++: 2008
Using AdBlock I (try to) block all the fonts (*.woff) — except "awesome" and similar "fonts", which are, in fact, icons... The browser falls back to some local substitute or another, which is just fine with me — and makes the world a slightly better place by reducing the network traffic and memory usage on my desktop.
Maybe, more people should do the same — thus hinting to the webmasters to concentrate on content more than the presentation...
In Soviet Washington the swamp drains you.
http://www.hometown-pages.com/...
Brick Heck, the youngest child on ABC’s “The Middle,” isn’t someone most kids would want to emulate. He’s socially inept, has several odd behavioral traits and makes the library his favorite destination.
Since I’m far removed from childhood — gaining a little wisdom along the way — and past the social anxiety of trying to fit in, I’m rooting for him. I realize he is just a fictional character, but popular culture does influence our society.
The appeal of Brick isn’t just because his favorite activity is reading, a necessary skill for our audience in the newspaper business. I also admire his infatuation with fonts.
Discussion on fonts has slipped into several episodes of the television series. In a very early show, he had a plan — that involved fonts, of all things — for winning over a girl. When, to everyone’s surprise, she showed up at his door, he chimed “Would you like to come in and I’ll show you my favorite fonts?”
Another time, he discovers that the rides at Disney World are “way more fun than I thought” because they have signs, and the words on them are in different fonts.
During the Super Bowl, he surprises his father by telling him a newspaper story on a star football running back is fascinating. The excitement of his son finally appreciating football turned to disappointment when Mike Heck discovered the fascination for Brick wasn’t with the content of the story, but the Copperplate Gothic font used in the story.
Is this article perhaps an accidental repost from 1986? Doomers have been writing this sort of nonsense article for decades.
"The next generation of fascists will not love geometric sans serifs as much as Mussolini did. They won’t be threatening journalists in blackletter."
No, they'll be telling us all what fonts to use lest we be considered racist.
How much money does it cost to hire a consultant to review your message and select the best way to communicate (colors, size, font, etc.)?
When I grew up, I associated Fraktur with old books, with no fuhr.. I mean further value connotations. For instance, my grandma has an ancient bible printed in Fraktur. It is only in the past few years that I have started seeing Fraktur in the Nazi light in the general media and entertainment. Likewise, terms such as "grammar nazi" are relatively recent. I have been called a "nazi" because I like to keep things in order. I'm not even going to start on the millennia-long history of the swastika. I guess fonts are one of the many tools people can use in their culture wars, but it's sad to see good things become unusable because of arbitrary associations.
Escher was the first MC and Giger invented the HR department.
"As Hersh writes, 'Typography can silently influence: It can signify dangerous ideas, normalize dictatorships, and sever broken nations. In some cases it may be a matter of life and death. And it can do this as powerfully as the words it depicts.' Don't believe him? He's got ample visual examples to prove it."
His ample visual samples are blackletter, Arabic, and Cyrillic, and 2 of those aren't fonts, they're alphabets. And Hillary's logo vs. Donald's hat. I know people who spend hours agonizing over choosing just the right font. I still think they're idiots.
Never let a lack of data get in the way of a good rant.
A good looking mermaid!
Years ago I wasted many dozens of hours trying to figure out why Grub (legacy) couldn't find the configuration file, which I had naively named "menu.1st" (as in the number 1 followed by st) rather than "menu.lst" (as in lower-case L followed by st). It made perfect sense to me since it was the first stage menu file loaded upon boot, so it never even occurred to me (nor was it at all clear from the vast majority of fonts) that I had been looking at lst the whole time instead. It also doesn't help that Google happily returns hits on the incorrect spelling without any warning or notice that it's effectively changed the search for you, and is highlighting the correct file names in the results.
That was a truly frustrating experience that made me very sensitive to such font problems.
I always use Tahoma on my computers.
"I believe in Karma. That means I can do bad things to people all day long and I assume they deserve it." : Dogbert
#allFontsMatter
What's with the fontism against comic sans?
Handwriting? What's that?
BTW, SIL (an international missionary organization that does Bible translation) has produced many free fonts (you may even have heard of the "SIL Font License", which some other free fonts use). Because Bible translation is usually done for pre-literate or newly literate cultures, the Andika font (https://www.sil-lead.org/blog/2013/8/18/andika). I don't know how it compares with Comic Sans in your list of desiderata, though.
For the record, SIL produces a wide variety of other fonts, including Cyrillic, Greek and fonts for other non-Roman scripts (http://scripts.sil.org/cms/scripts/page.php). They're Beta testing a Nasta'liq font--if you know anything about Nasta'liq, you probably know that it's one of the hardest styles in the world to typeset. SIL (through a former member, Jonathan Kew) is also the creator of XeTeX (now maintained by others).
I regret giving this shit article my click. It's reading too much into nothing and giving people plenty of room for trolls to bait suckers into overreacting to nothing.
You see a lot of Blackletter neo-Gothic ... in Gang Tattoos. Most people associate the Blackletter fonts (though they don't know the name) with Latino Gangs like MS-13, Mexican Mafia, and the like from the pictures of tattooed criminal defendants in the media or the various gang members it is simply impossible not to meet in daily life in Southern California with heavy, heavy Blackletter tats.
Indeed Blackletter tats like the ones pictured here:'
http://latinoprisongangs.blogspot.com/2010/04/mexicanhispanic-gang-tattoos.html
Are found with non-gang meanings often among Working Class Latinos. Most of whom have barely heard of Hitler and certainly are neither neo-Nazis or remotely White (instead being very Indio/Mestizo).
So the article is full of garbage. There is a growing interest in abandoned, and revived, "heritage" fonts from Poland, England, France, etc. as people get tired of Diversidystopia Globalism and want to celebrate their distinctiveness and rebel against international corporate sameness. Hillary's soul-less corporate logo was arguably worse and more muddled than Trump's short and direct message. Hillary's design had all the passion of a corporate mission statement and all the romance and intrigue of HR Mandatory Diversity Workshop.
Most fonts today coming from the corporate sphere are fairly totalitarian, it was no accident that the Village in "the Prisoner" used a derivative of Albertus to show the soft face of a Western tyranny as oppressive as the Eastern one. The endless droning of the Corporate Managerial class and their constant virtue signaling is tiresome.
Local Arab leaders like Nasser modernized Arabic fonts for printing half a century ago -- and Muslims rebelled. Ataturk modernized the Turkish fonts for Western printing and reading nearly a century ago -- and Muslim Turks rebelled. Heck Muslim mobs in Cairo, Alexandria, and Istanbul were smashing up printing presses and burning books and newspapers in the 1830s. Muslim just HATE literacy, freedom of expression, pretty much anything that is rooted in modernity and would rather live in filth and retain their Sixth Century tribal values than give some of it up to live prosperity. The Japanese and Chinese writing system is far more complex and demanding than Arabic and they managed just fine with first print and then computers. More managerial class virtue signaling -- Muslims are backward and violent because they embrace a total way of life they like -- they want to live like a character in Game of Thrones and are unhappy when people try to move them into an Episode of Friends. Fonts have nothing to do with it save Virtue Signaling.
This is the type of crap article we get when the MSM goes into lockdown waiting for the party line from the DNC. Now that it looks like there are ties from the DNC to the Seth Rich murder, and that the info to wipe out the CIA agents in China may have come from Hillary's security breach, we don't have to see the clickbait political articles here on slashdot. But don't get used to it. Podesta will be issuing a statement any time now since Comey won't be able to give him immunity.
or
So the Nazis banned their official typeface? No wonder they lost the war....
If you haven't read the TFA: These two statements aren't even a paragraph apart!
bickerdyke
Has society jumped the shark here?
If you ban words, surely the ideas associated with it will disappear right?
Good thing there's a push for emojis, I can't wait for hieroglyphs 2.0, the last one was so outdated and unmaintained.
Comic Sans is wonderful. Three reasons.
First, as to its general appearance, it's fun and playful, and (duh) highly reminiscent of comics, which can truly be an art form. This would be enough, but also:
Second, the letters are highly distinct from one another, so it's quick to comprehend. That actually makes it a good idea to use.
Third, it annoys the heck out of fashionistas, and that just makes me smile. Nothing makes the self-important highlight their phony-balony more than a completely unimportant issue where they've stupidly jumped on the bandwagon and now don't know how to get off.
To try and justify their position, they make up utter nonsense like "Typography can silently influence: It can signify dangerous ideas, normalize dictatorships, and sever broken nations. In some cases it may be a matter of life and death." That's not an analysis; that's pompous, hyperventilating argle-blargle.
The danger is in the ideas expressed. The ideas are carried by recognition: Not which recognizable symbols, just the recognition of an association between the symbol and the idea. It doesn't matter if the symbol is a swastika, Ye Olde Englife Font, or a happy puppy. If the idea is "let's gas anyone we don't like", there is your problem. Not the stupid font.
The "blame the font" stupidity is the same kind of thinking that says "guns are the problem." No, guns aren't the problem. The problem is that society is sick, specifically because education has failed to socialize the population well enough, and if you take away guns (or fonts, etc.) you will not have solved the problem, you're just moving the goalposts. In a circle.
To solve a problem you have to address it at its source. Fonts (guns, drugs, sex, etc.) are not the source. That should be obvious if you just rub a couple of wet brain cells together for a second or two. If you attack the symptoms, you're just engaging in a round of whack-a-mole. The moles are still there. Your satisfaction that your latest particular mole is down is not in any way indicative that a solution has been found. You want to solve the mole problem, you need to blow up the machine that's popping them up.
To belabor the point even further, if all text was written in a nice, safe font with round edges and well-behaved descenders, these ideas would still exist, still flourish, and would still be communicated just as well. Ergo: fonts are not where a smart person would look for problems. Because they aren't the problem.
I've fallen off your lawn, and I can't get up.
The article followed current fashion: Grey-on-white type. Easier-to-read black-on-white is soooo boring.
Follows this line.
Can't see it so easily? That's because I'm using WhiteSpace Font. Heck,if it's good enough for programmers...
https://app.box.com/WitthoftResume Code: https://github.com/cellocgw
Late eighties was the last time there was an explosion of fonts. I have a friend who, I understand, back then bragged he had 700 fonts.
Now let's consider: overwhelmingly, they fit into one of two categories: first, try to notice the differences between, say, Times New Roman and whatever, or Courier/Ariel and whatever.
And the other category, which is "no wonder it was used in one book, and no one ever wanted to struggle with reading that font again".
Saying that Croatian and Serbian are similar is like saying Australian and British are similar.
In what way is this sudden? People have been fighting over the rhetorical effect of fonts in soft-copy documents pretty much as long as we've had raster displays, and the serious academic study of the visual-rhetorical effects of typography in digital texts goes back at least to the early '90s. (The earliest essay on the subject in Handa's Visual Rhetoric in a Digital World collection is from '93, for example.)
Fucking kids. This thing that you think is new is not new.
Medium should start with removing header images which are larger than the text. This is absolutely the worst thing.