so this is Struthless

Added: 2026-06-04

[00:00:00]So, next up, we're'll be checking out Strthless's I Promise the story about fonts is interesting. I'm a geek who enjoys random [ __ ] storylines, so I'm probably going to like this by default. So, let's jump into it.

[00:00:14]Some of them are formal, others.

[00:00:16]>> Ah, Microsoft Word before the inshitification.

[00:00:20]This kind of hurts already.

[00:00:24]>> Playful. Some are scary, ironic, important, timeless, trends, weird, wonderful, and some of them should not be used as subtitles for >> they didn't.

[00:00:40]That's actually But they're so Why?

[00:00:46]Also, wow, Windows Media Player. That's been years since I've saw this design.

[00:00:51]Dude, this is nostalgic in the extreme.

[00:00:58]>> I was in a >> papyrus.

[00:01:01]Wait, what did that say? What is Papyrus? A problem has been detected.

[00:01:05]Windows shut down prevented damage computer. Technical stop. Ah, I'm sorry. I need to pull this up because this is something that I legitimately need to ask.

[00:01:18]Does anyone enjoy cheese in their cereal?

[00:01:24]Don't you mean your soup, good sir?

[00:01:27]Thank you.

[00:01:29]This is the story of Fox.

[00:01:32]>> Whoa. But it's also the story of civilization, creativity, innovation, power, obsession, war, love, and human connection. Okay, I can hear it in my voice. Getting a little too into it.

[00:01:43]It's a good thing I've never done that.

[00:01:45]And if right now you're thinking, "Dude, that sounds like way too much to derive from Jokerman." Don't worry.

[00:01:52]>> No, I mean, if you said something like wingings, maybe because before I made this doco, that's what I thought, too.

[00:01:58]Also, just want to say a big thanks to Shopify for sponsoring this video. More on them later, though. For now, let's get weird.

[00:02:07]>> Dude, I'm actually jealous. That's an amazing painting. Sorry, I like paintings. I got a few around me. Need to hang them up, though.

[00:02:21]>> I asked myself a pretty simple question.

[00:02:23]I was looking at the fonts on my computer and I just thought, where do all of these fonts come from? I thought the answer would be simple. I thought it was just people designing stuff for word processors. I pulled that thread and it was long before computers. So, I was thinking, >> but are they talking more about the fonts that came up over time? Because the Saraf Because the Sarah font was so that you could keep using it to string words together to make writing easier.

[00:02:47]Oh, and it was also No, I think that's cursive was made that way. Serif, I think, was so that it was easier to read on page in type face. Yeah, maybe it starts at the printing press. But then I was like, well, how do we have all those symbols? How do we know what to put in the printing press? So then I pulled that thread. Then I pulled another thread. Then I pulled another thread.

[00:03:08]You know what? Let's just say we have to go.

[00:03:10]>> I'm having room envy right now. I am legitimately having room envy. Hell, I can even do anything I want because I have a green screen behind me and I'm having room envy. Back. Like way back.

[00:03:21]Yeah. Ooh. Our story starts 10,000 years ago in ancient Mesopotamia.

[00:03:27]>> Hello, Gilgamesh.

[00:03:28]>> Yep. We're starting at the start.

[00:03:30]Basically, imagine you're a guy. You got some goats. They've got some chickens.

[00:03:36]Is this about to be a story of a guy who's storing his complaints because he keeps selling people defective or non-existing products? Like saying it's a bunch of gold, but it's actually just a bunch of metal.

[00:03:44]>> Really, what you want is oil. Because you can't make a trade immediately, you need something that represents chicken, goats, wheat, oil, all of the stuff that you would be trading. And so the ancient Mesopotamians made something called clay boule. Basically big clay symbols that would represent various things. They had them in about 16 categories. So, >> oh, they actually codified it. Oh, that's kind of fascinating.

[00:04:06]>> Imagine you've got a ghost stone or a grain stone or an oil stone. Now, the reason that this is important to Oh god.

[00:04:12]So, all of the various civilization building games that just have symbols instead of words are perfectly accurate to human representations, ironically.

[00:04:20]Sorry, unironically I'm just going to give him a like for that one alone.

[00:04:24]>> Story is because of the mechanic that is going on here. Things are being represented by the image of pictoraphics. Instead of chickens, you have a clay rock that says chickens. And this idea of representing things with symbols would go on to form the basis of ununiform.

[00:04:39]This is an actual fish. Did ununiform come before or after pictograms?

[00:04:45]I don't actually know because I have no idea when pictograms started.

[00:04:49]Also, cutting cart. Did I hear the good word of Spirit Airlines demise? They were still around willingly. Is it less that they uh were put out of business or more that people realize what they are?

[00:05:01]>> This is a pictogram of a fish. This is that pictogram sideways. Here's it abstracted. And this right here is ununiform for fish. Graphic symbols depicting things. Ununiform is some of the earliest forms we have of a formal written language. In terms of font properties, one thing that we can note here is that ununiform was often read left to right. And the leading the is that more people were right-handed, so they wouldn't smudge the clay that they were carving in as they wrote. It's kind of cool. But which is also why there's still a lot of people who have trouble writing with their left hand because when they're writing left to right, they have to make sure to pick their hand up instead of putting it directly on the paper. So yeah, it kind of makes sense.

[00:05:35]It's also very cool. Also implies that people are mostly right-handed even back then.

[00:05:40]I have no idea if that was always a thing or not, but this has time to imply it always was that way.

[00:05:45]>> Is that ununiform would eventually become one of the most famous ancient alphabets, the hieroglyphics of ancient Egypt. Oh, so it led into hieroglyphics.

[00:05:54]Oh, well there that's my question answered. Huh.

[00:05:58]>> So, at this point in the video, you might be thinking, "Cool, man. But what does this all have to do with the fonts of my computer?"

[00:06:03]>> I mean, you got to get them from somewhere.

[00:06:04]>> Well, let me get there. So, time ticks on, various civilizations rise and fall, and we got all of these cool little examples of alpha. Actually the for example one of the ways of notation taking in America uh specifically South America at the same time period that we're looking at right here was ties in knots like there's actually sorry not ties and knots knots tied into strings that were a way to account for various amounts and information that would be passed on. So yeah, I think this is the not Mesoamerican but South American specifically what is now Peru and that is what they found like some of the civilizations there. written system as far as we know did involve you have a string the not placement on it is how you transferred information somehow don't know how to read it but I know that's what they're thinking it means >> that's popping up in various >> for across the globe but our next stop in this history tour comes in ancient Greece >> ah yes >> what the phoenetians did is they took a good look at the hieroglyphics and they were like yeah love that but what if we made the symbols even more abstract and what if we atomized their value so that they can form larger to words as opposed to just being symbols. These 22 letters, these symbols carved into stone.

[00:07:18]>> Oh, is this what ancient Greece writing looks like? Because the Greek letters and the language itself are almost completely unchanged for the very long time. Yeah. And still in use.

[00:07:29]>> Called Greek lapidary letters. It's an amazing innovation because you could write so many things. And these stone carvings right here are among the first formal use of Western letter forms. Now, there were a couple of problems with this early alphabet from the Greeks.

[00:07:41]They only had uppercase. And while it was written in rows, the way that you would read it would change. Sometimes you'd read left to right, other times right to left. This is a format known as bstrephodon, or as the Greeks called it, as the ox plows. One second this way, one second that way. You just wait till they hear about palenromes. Do not. So, it was literally going actually that this is going to sound weird, but I could see that actually being very beneficial because it's one continuous string as opposed to read a line, going back, finding a line, read a line, going back, finding a line.

[00:08:14]Because I know some people, one of the big things is their eyes just glaze over when they have to find the right line every time, which is why they highlight things. But if you're always just going to the next line under, you can continuously read and you actually lose less time. And if you're not used to the process, that would be a way to make it entirely much easier. You just have to be able to write that way, which would be harder. So, it's more reading oriented as opposed to writing oriented.

[00:08:37]And if you're not used to reading regardless, right to left verse, left to right wouldn't matter. I men interpret and I men I nod.

[00:08:45]>> Holy [ __ ] >> But yeah, basically there's a couple of kinks to be ironed out. Enter the Romans. Yeah.

[00:08:51]>> Welcome to Rome. Ancient Rome took those Greek lapidary letters and they turned them into their own alphabet. The Roman alphabet. The Latin alphabet. The one that we still kind of use today.

[00:08:59]>> Oh [ __ ] that's where it came from. I'll be honest. I didn't actually know that part. Yeah, I know. English major here.

[00:09:05]I'm literally supposed to be for all this [ __ ] I didn't know it was Roman. I know it's Arabic numerals. Did not know it was Roman letters. That's um that's on me. Okay. Now, at this point in the story, I've mostly been talking about alphabets, but the Romans also did something in terms of font. When they had their characters written out, they gave them little hats and little feet.

[00:09:24]>> These hats and feet are what we call serifs.

[00:09:27]>> Wait, that's where serif came from? I thought that actually came from the printing press. Well, [ __ ] Also, people are pointing out that it was you have to learn backwards reading as well. Yeah, but if you're coming from a time period where you have to learn how to read to start with, it would probably be easier to read both ways than one or the other.

[00:09:47]Because right now it's hard because there is only one way, you know. But if you're used to going both ways, you're used to going both ways.

[00:09:56]Everything I just said will probably come back to bite me in the ass.

[00:10:01]I'm aware of that.

[00:10:05]Huh.

[00:10:08]It makes the letters flow more.

[00:10:09]>> For now, let's talk about mass production.

[00:10:14]>> China.

[00:10:14]>> Like with so many inventions, as the old phrase goes, there's always something pretty cool going on in donastic China.

[00:10:19]What you're looking at right here is a movable type system. It was invented in the 11th century in the Song Dynasty in China by Vichiang. It was a typing machine that was made from ceramics that allowed the user to reprint words onto clay. It saved them time and massproduce messaging. Over the next four centuries, there were certain innovations made to this, mostly using materials. The earliest metal ones that we've seen are from Korea in 430. But the machine that really got things going, as you guessed it, was the press. The year is 1440, and a goldsmith named Johannes Goodenberg invented >> Oh, he was a goldsmith.

[00:10:50]>> I don't know why. I never knew that, but I I didn't actually know what he did at all prior to this. Huh.

[00:10:55]>> This contraption right here, this printing press was a machine that could massproduce lettering. The way it worked was you'd have these letters that you'd put into a machine and it would almost act like a stamp on the paper.

[00:11:05]>> Yep. It's still such a cool technology when you look at it and surprisingly close to what a lot of printers still are. So, it kind of makes sense. I'm just going to pull this up because I think this is kind of insane.

[00:11:17]Girls Front Line 2 are making a Hell Divers 2 clone.

[00:11:21]There are so many things about that entire sentence, man. Times New Roman.

[00:11:28]You know what? cutting cards. Um, in hindsight, it literally was slapping me in the face the entire time. Good point.

[00:11:35]>> And then that paper could go off and form books. But books were around before 1440, I hear you say. Yeah, it's true.

[00:11:41]But those books just weren't printed.

[00:11:42]They were actually by hand. Imagine writing a Bible by hand. In fact, >> that's what the monks did. Like, if you were a monk, you were just rewriting the Bible.

[00:11:52]>> And every Bible was handwritten. It's also why some of it was so beautifully done because I honestly swear it was literally just them having to break up the monotony of everything they did because what else are you going to do?

[00:12:02]>> This is a task that was done by monks.

[00:12:04]And when they did write those Bibles by hand, they would use a calligraphy style which we now know as black letter. And because that was Gutenberg's reference for books, his printing press's first ever font was a black letter font. The grandchild of this might be like the old English font. You know, the one that people get like their birth years tattooed on them with that.

[00:12:23]people do that?

[00:12:26]Why?

[00:12:28]Maybe maybe I'm the weird one, but I I just I don't see the appeal of that.

[00:12:33]It's probably just me. In any case, what you are looking at right here is the first ever printed book, the Gutenberg Bible, with the first ever printed Roman type face.

[00:12:43]>> Black letter.

[00:12:44]So, we've got the printing press going on, and it has its one type face. But 30 years later, we get a new innovation. a fellow called Nicholas Jensen comes along and he's like, "Man, I don't reckon that black letter stuff I I just don't think it's that legible. What if we changed it?" He was inspired by some of the cleaner letters, the serap letters from the ancient Romans. And so, he created what he called a Roman type face. This lessed, more legible style was naturally an immediate hit. In fact, it's still kind of a hit today. Open up a random book in your bookshelf and you'll probably see a Roman type font.

[00:13:14]Now, as you can imagine, you know, there is a book I could pull up to actually demonstrate this, but that would actually pain me more because I know what book it is. So, I'm going to look at a random thing.

[00:13:32]Yep, Roman type face. They're good.

[00:13:39]And yes, I do have a random stack of Magic the Gathering cards right next to me. I'm not going to explain that.

[00:13:43]Imagine once this new font drops all of these other designers and innovators, they also want to put their mark on history. They want to contribute. And what we start to see is a rise in foundaries all over Europe.

[00:13:53]>> Okay, so these are actually individually controlled fonts. You could tell where something was initially printed early on based on the font they used.

[00:14:01]That's a cool way to change it up. I wonder if someone would actually rob them for their type face.

[00:14:07]>> Whose job it was to make type faces? The humanist spirit that was driving the Italian Renaissance also came with it style of writing. Cursor humanistica, the thing that paved the way for italics.

[00:14:19]>> Huh. So technically basic Roman printing came before cursive. I mean not cursive but like all the other stuff. Huh.

[00:14:31]>> So meanwhile right in mid-century 16 France there's this other fellow this designer called Claude Garamond who kept writing like this. This elegant style was so revolutionary that we still actually use his font to this day.

[00:14:42]Garamond.

[00:14:43]>> Great work, Clode.

[00:14:44]>> So over the next few centuries, we see designers like Flechman, Baskerville, Bedoni. But all of these Baskville sounds familiar. Oh, because I'm thinking Hound of the Baskerville.

[00:14:54]That's completely different.

[00:14:54]>> Designers had one thing in common. While their fonts were amazing and brilliant, they were still riffing on a familiar theme.

[00:15:01]>> Legible words. Also to cut or to quote cutting cards in the chat, who made Wingdings? Someone with a concussion probably. Oh god. And BC mentioned there's a video on Wingdings on History Channel. Oh, on this channel. Oh, might need to check that out later. Seraps.

[00:15:20]It's a variation on the same font that the Romans were using almost two millennia prior.

[00:15:23]>> And then there's Sans Serif, which is without.

[00:15:25]>> What about something simpler?

[00:15:28]>> Sans without serif. Serif. They didn't have serifs. Also known as grotesque.

[00:15:33]Now, sans serif was actually used, but >> no, I I'll be honest. I have never heard it called grotesque. That is a completely new one to me.

[00:15:40]>> Didn't enter the printing game until 1816. And this is partially just cuz people didn't see it as formal enough to warrant its own type face in a printing press until this guy enters. William Kelson IV.

[00:15:50]>> What you're looking at here is Kelson Egyptian, the first known sans serif type face.

[00:15:56]>> I actually really like it. So, 12 years later, right, this other dude, Vincent, >> it feels like flyer print, but like high-end flyer. Viggins. He makes the second ever sans serif type face. And as you can see, they are completely different. The first obvious difference is the line weight. The Figgins font is huge, which means Oh, yeah. Man's attention. So, in the 1800s, we're starting to see the rise of advertisements and posters. And for these people, >> because they're thicker, so they immediately draw the attention. But also, I wonder if the actual ink used would be more of an issue.

[00:16:23]>> Making this type of communication, this sans sah font was a godsend. It commanded attention. It dictated page hierarchy. And of course, it was legible at a decent distance. So all of these practical uses, plus the fact that the aesthetic just said new, it made sans serif get pretty popular pretty damn quick. We all know Muka the artist, but let's talk about Muka the typographer.

[00:16:42]This is from an I >> I don't know Muka the artist. In fact, that's all brand new to me. I would love to know more because I just like art in general.

[00:16:48]>> Error known as art navo, which translates in French to literally new art. Stylistically, it had a lot of organic elements and lots of plants in nature which would contrast with big >> That's why this seems familiar to me.

[00:17:00]I'm used to this start style coinciding with the 20s and just the grandeur style. That's not the actual term, but it's how I honestly think of it being the best. What is the way to put it?

[00:17:13]Like not just the 20s, but like I'm going to say something incredibly geeky and be judged by it. The new Capenna from MTG style because I'm absolutely pulling a blank on what it would be.

[00:17:27]Yeah, that's going to bother me now. But like this looks like something you'd see at a world's fair at something where Thomas Edison would announce his brand new invention, the telephone. Like you would have people speak in that voice.

[00:17:39]It looks like that style of art. Turn of the century revolutionary events like Victorian becoming modern like that time period. Harsh lines and all of the type faces that came along with it naturally followed suit. The mix of ornate gooey lines with straight harsh lines was just perfect for the Latin alphabet. And as for the impact of art navo, it sent a message to designers all around the world. You can morph the letters more than you think and they will still be legible. After years and years of focusing so heavily on the function of typography, we now put form in the spotlight.

[00:18:10]>> Yeah.

[00:18:10]>> And naturally, some people used form as a weapon.

[00:18:14]>> Comic sands, those monsters.

[00:18:20]>> Q Marinetti and his futuristic criticism of English traditions. of course written in chunky sand serif type. This designer Marinetti in this letter he calls out basically all of the old British stuff and he calls it the cream of snobbish earth. Typographically that snobbery could be seen in a new font that had just hit the streets. In 1931 in Britain there was this paper the times that commissioned a guy called Stanley Morrison to create their new body copy type face. And he was like well I guess I'll base it on maybe like those old Roman letters that clarity and it's for the times. You know what I'm going to call it? Times New Roman. Oh yeah.

[00:18:52]Little did he know.

[00:18:54]>> So it's New Roman because it's the New Roman things for the Times, they put the name of the magazine into the actual type face's entire name of it that he was going to create one of the most popular fonts of all time. Bonkers.

[00:19:14]>> Now back to Marinetti in that letter.

[00:19:16]Right. So this all comes at the dawn of the first world war which as you can imagine plays a major role in our >> 20s >> no world war would be prior to that actually >> story you've got all these futurists and artists and creative people who all need a safe haven and quite a lot of them end up fleeing to Zurich. Now in Zurich you've got all these diverse backgrounds various influences you've got all these bright people but you've also got this backdrop of chaos. The world around them is falling to pieces. So now >> it's a good thing that never happened again.

[00:19:46]Can you imagine that? People needing to flee because the world's insane and everything's on fire.

[00:19:55]What a funny historical oddity.

[00:19:59]This existential horror brought to you by me not being sober enough for this.

[00:20:02]>> Naturally, this movement >> daism.

[00:20:07]This is a data typographic poster by Ilia Zadanovich. Notice the combination of seraps, sand seraps, and dingbats.

[00:20:13]What are dingbats? Wait, ding bats already exist.

[00:20:15]>> Do you remember the whole printing press thing? Basically, when they would make pages, they might put these like ornate symbols and stuff at the top and the bottom and they were their own stamps.

[00:20:22]Dingbats. So, if that's the great grandfather, the great >> So, ding bats were actually just placeholders that looked pretty.

[00:20:28]>> Huh. Also, BC just going time is a flat circle. Time is a flat circle because the spring was compressed and somehow got tangled up and is now stuck to the beginning.

[00:20:37]>> Grandchild is winging, but we'll get there later. And now for the dest. Why symbols? There's a pretty good Marcel Duchamp quote that kind of sums it up.

[00:20:46]The only thing worse than a serap type face is a sans serif type face. This was the attitude and it led to quite a lot of people doing things like using punctuation instead of letters as well as other people just generally criticizing the limitations of the Roman alphabet. Now, meanwhile, a couple of borders east, right, we got some pretty cool stuff going on. We have the Russian typographic revolution. Artists like Vavar stepping over ushering constructivist designs. This meant big harsh geometry, quite a lot of symmetry, and harsh blocky fonts that would conform to both it as well as the page comp.

[00:21:13]>> I know it's supposed to be Russian, but all I can think right now with this style is all of the Polish poster videos I saw from the 70s and 80s.

[00:21:23]There was a ton of videos I did on those and yeah, the influence is there.

[00:21:27]>> Manning stepping over was Alexander Rodchenko. His ability to blend graphics and shapes and text, it was just honestly flawless. While I know the roots of modern graphic design are debatable, I always feel like Rochenko and Stephanova should get just a little bit more credit. Just a little bit. I gotta say, graphic design is my passion.

[00:21:45]Said no one who could ever actually say that bit more, you know.

[00:21:50]>> So, with all of these different aesthetics going on, was there a golden standard? Was there a unified way where everybody agreed that this was the way that we should write a letter?

[00:22:00]>> I'm going to be honest. And if the answer is yes, I'm going to be very surprised.

[00:22:04]>> Well, those were the questions that were asked by pioneers of the bow house movement. They sought to create a uniform, which of course came with a uniform perfect type face.

[00:22:14]>> Cue this guy, >> Herbert Bayer.

[00:22:17]>> I don't even know know what time frame this is in, but I want to say 50s.

[00:22:23]That looks like 50s style, but I could be wrong.

[00:22:30]Maybe 40s, but later 40s, it's hard to say.

[00:22:33]>> In 1925, he set out >> no 25. Wow, I was really off.

[00:22:38]>> Create the universal type face, a geometric alphabet based only on bars and circles. So, this Herbit guy, he's got this idea, which was basically as we progress into a society that uses more and more technology, we would need a universally acceptable.

[00:22:52]>> Why do I feel like I know this type face? I just can't seem to remember it.

[00:22:55]>> Way to communicate letters in the most efficient manner. The great grandchild of Baya's dream font can still be found today on computers everywhere and it's simply called Bow House. What I love about this, I'm going to be honest, I have seen this and all I think is this is the font you use if you're going to sell very expensive clothing. Look at this right here and tell me if this was slapped on a pair of shoes, you would be like, "Yeah, that makes sense. It probably cost like $80."

[00:23:26]Sorry, I just remembered that $80 is now an average price for a pair of shoes.

[00:23:28]And I hate everything I just said.

[00:23:33]I'm an old man apparently. Don't mind me. I'm just going to go old in the corner.

[00:23:40]What I love about this movement is that within it is a genuine hope for utopia.

[00:23:44]But sadly, utopia didn't happen. World War II did. After the Second World War, thanks to constructivism and bow house, we start to get a rise of a new style.

[00:23:52]this sort of Swiss modernism. The key feature of modernism is that it is without >> that that looks like a very common format I've seen. I just don't know where or what it's called.

[00:24:01]>> Ornament, no frrills. You can see it best in a font like Helvetica. Now, because this Swiss style was just embracing modernism, what >> of course Helvetica Swiss that almost sounds like an aggressively Swiss word >> meant is that there were no ties to the old world, which also meant that there were no ties to that huge tragedy that just happened, the Second World War. But it was actually quite well understood.

[00:24:22]across the globe. Because of this, the Swiss style is also sometimes known as the international typographic style.

[00:24:27]>> Really, >> for a minute, there was this glimmer of hope that this international Swiss style would unite people into that utopia that Bow House had dreamed of. But, ironically, one of the biggest adopters of the international style was the American Corporation. TV shows, record companies, and advertisers all that looks about right. That's why it looks so familiar because it's everywhere. embraced it wholeheartedly and you can see it so much in the pop culture from that era. This isn't to say it was bad. It was amazing. From the ' 50s and the '60s, we get these cool grotesque letters, mid-century letters, the droopy kind of hippie font that sort of looks a bit art navo. This art, I'll be honest, the drippy font I can never get into just because it's harder to read. And also, a lot of it uses pastel color, like just color choices in general. And um this is just me. I don't like pastel. I I just can't get into it.

[00:25:19]revival, western slab serif, even cool sci-fi stuff. It was a cool time for graphic design. Interesting art, which means it's probably about the time that we bring up Paul Rand, >> who it is quite hard to properly articulate.

[00:25:32]I don't even know who this guy is, but just based on that little drop right there, I'm thinking, and we have found the villain, the one who is going to destroy words and letters because that's what it feels like we're leading into right now, right? just how influential Paul Rand is on the world of graphic design. So, I'm just going to use a Steve Jobs quote. Steve Jobs called Paul Rand the greatest living graphic designer. Obviously, when he was alive, rest in peace. And looking at his work is, >> you know, they're both there at this point, so it doesn't matter which one's talking about that.

[00:26:01]>> It's not hard to say why. Paul Rand's theory was that graphic design had this amazing ability to be a universal language based on simplicity and geometry. He just loved it. In fact, he loved it so much that he even changed his name. It's a sad reason why he did.

[00:26:13]He had a Jewish name, Perez Rosenbomb, and he anglicized it to be a little bit more Madison Avenue friendly. But when he did pick this name, he thought, "Four letters, four letters. That'll make a great graphic symbol." He even put graphic design.

[00:26:25]>> Ah, hell, he did. Yeah.

[00:26:28]>> In his freaking name, man. Wow. So, that's a very brief overview of the international style and the gigantic design boom that it created. But, as you can imagine, not everybody was on board with this futuristic dream, and they really, really wanted you to know it.

[00:26:43]The Font Rebels are back.

[00:26:46]>> Fontre rebels.

[00:26:53]I'm just going to be upfront about this.

[00:26:55]Calling yourself a font rebel like someone's like, "Yeah, I'm fighting as the man by writing my letter slightly differently."

[00:27:04]It feels like someone bragging about how I'm a horrible monster you should be afraid of. Your parents warned you about me. I lower the depth of how tight the knot in my suit pocket is.

[00:27:22]I don't wear ties because every time I did it, I nearly shrank myself. But like, yeah, I loosen it exactly two centimeters more than everyone else. I'm a rebel.

[00:27:34]It It feels like hyper selective, nerdy discussions about incredibly niche topics. I'm describing the entire internet, aren't I?

[00:27:44]Oh god, we have found Redditors.

[00:27:49]Well, had to happen sometime.

[00:27:51]>> Critics of the international style, they felt like all this clean, flawless modernity. It was trying to say that life was perfect and life just wasn't.

[00:27:58]Enter the pop artist of the 1960s, most notably Andy Warhol. People who were on a mission to saterize modernism in >> No, no, no, no, no, no, no, no, no, no, no, no. Warhol did that. But that wasn't his mission. His mission was to make as much money as he could any way possible.

[00:28:16]Like that's why he did screen printing because he could make one and then make a bunch of them really fast. The guy was a capitalist before anything else and then this worked for him because it made him money. If something else made him money, he'd be all for that. And honestly, he was very upfront about that. It wasn't actually a hidden secret in the slightest. If you paid him enough, he would do what you want. You just had to pay him enough. And by the time people wanted that, he could charge really high prices.

[00:28:42]>> All of its icon heavy glory. Now, it's one thing to satarize a movement, but in the 1970s, there emerged a group of people who wanted to just rebel against it all together. I see his puppy. Oh my god, this guy has like the perfect office.

[00:28:56]It's like art everywhere, plants and puppy. Like, this is just amazing. I I'm just jealous of this man. Punks.

[00:29:03]Remember that guy Marinetti who called the old English stuff snobbish? Punks were feeling the same about modernism.

[00:29:08]They felt like it just, I don't know, lacked humanity. It lacked realness.

[00:29:12]There were no mistakes. What's up with that? So, the punks rebelled. And typographically, we can see it really clearly through things like Zes and album covers. These zenes were full of handwriting, typographic errors, and let transfers that broke all the rules. And while we're on the topic, but oddly enough became consistent enough that you could recognize the style, >> let's talk about Jamie Reed. He quite literally tore apart designs to make new ones. And in doing so, he sent a very powerful message. Mainstream culture sucks. And we're here.

[00:29:38]>> I want to point out though, with some of the media depiction rules, I I'm wondering if this image alone would be considered controversial. I'm not British, obviously. I mean, with an accent like this, can you imagine me being allowed anywhere else?

[00:29:53]Unironically, but I do know that depictions of the royalty is something that has rules with it in Britain. So, I'm wondering just them with what looks like blood coming out of the mouth might be an issue.

[00:30:05]Unless they're Irish, in which case you just expect they'll be shot anyways because I think this time period was standard Irish British relations message. Mainstream culture sucks and we're here to destroy it. God save the queen.

[00:30:21]All right, quick little break to talk about this.

[00:30:23]>> Better yet, God get her to maybe not have Andrew. That would have been a nice change >> shirt. So, the first thing you might notice is, wow, what a silly and fun font. If I need to explain that, uh, just look up some random business guy in Florida who did nothing else according to YouTube.

[00:30:39]>> How whimsical. Second thing you might notice is it says Struless. That's my freaking channel name cuz that's >> Oh, I actually was saying his name right. [ __ ] Sorry. I'm not used to saying channel names right the first time I say like say or read them. So, this is actually unironically weird for me.

[00:30:52]>> Freaking shirt, baby. Definitely cool.

[00:30:56]What this is all the tool shop.

[00:30:59]>> There we go.

[00:31:01]Welcome to the 1980s. There was new wave, radical modernism, 8bit, and things that were being inspired not by what technology could do, but by the constraints that they put on the designers. And of course, the rise of the graphic designer getting taken seriously as an artist. And were they though? Like I've had family members who were in graphic design and uh taken seriously is not one of the things they've said. They've said a lot of other things of like, "Oh, dear God, I can't believe they asked me to do this.

[00:31:30]Oh god, why?" But my boss thinks I'm actually good at my job and I deserve the pay I get is uh well, maybe that's different from being taken seriously.

[00:31:41]I think the person who probably best embodied this era of graphic design and typography was Tibo Carman. Carlman had this strong belief that design was a path to ethical justice. He was the editor of Colors magazine, which was a magazine dedicated to uniting the world and promoting social good and making actual change. He would vocally oppose working with unethical companies, and he would go as far as to call out designers who would. He was a provocator.

[00:32:02]>> I'm assuming that this was later bought and then immediately just became something of a rag because that seems to be this entire fashion of everything >> and a bad boy, but ultimately he was also a strong moral compass in the design landscape. I think his legacy lies not as much in his work as in who he was. Sure, he was a typographer.

[00:32:23]Sure, he was a designer. But because he was so outspoken with his beliefs, he made the job of graphic design not only known, but really, really cool. And this Oh, so it's not that people then respected graphic design. It's that he became known himself and he happened to be a graphic designer, which had the knock-on effect of contamination. Except in this case it was, okay, he did this thing, he's wellknown, so you do this thing the same as this guy who's wellknown, so maybe we should look at what you're doing.

[00:32:54]I know I use the word contagion, and that's technically how it works.

[00:32:56]Usually, it's used in a bad sense and because it has incredibly negative connotations. It just happens to be working out well here.

[00:33:04]Also, seriously, his rooms have the coolest style. Steer god, man.

[00:33:08]>> This is basically around the time that Hollywood and TV get on board. Let's say you got a quirky character, but you also want to give him a professional streak.

[00:33:14]What do you do?

[00:33:15]>> I'm a graphic designer.

[00:33:16]>> I'm a graphic designer.

[00:33:18]>> Graphic designer.

[00:33:18]>> Graphic design.

[00:33:20]>> Graphic design.

[00:33:21]>> You're a >> Were there actually this many people who said they were graphic designers?

[00:33:26]Oh. Because they want to be professional, but also quirky. It's It's literally the absolute most middle of the road thing Hollywood could do to say that they are not right or leftrain.

[00:33:38]They're right down the middle.

[00:33:44]This actually annoys me because this is basically the equivalent of saying I don't want to give my character a personality of saying they're very straightforward and straight laced, but they're also quirky and they will think outside the box. How do you do both corporate and creative at the same time?

[00:33:59]I hate this. I hate this so much.

[00:34:01]>> Graphic designer, you must be really artistic.

[00:34:03]>> And with great graphic design comes great typography. Uncle Ben Sans, sorry.

[00:34:09]I I just maybe I'm being a little too pessimistic, but that definitely feels like the case.

[00:34:13]>> So, you got all this graphic design ground swell and people are getting more curious about the profession. But the thing that made it really take off was a certain guy >> who >> in a certain turtleneck.

[00:34:22]>> What?

[00:34:23]>> Really?

[00:34:24]>> Steve Jobs.

[00:34:27]>> Oh, yeah. The guy who took everything good from Wnjak.

[00:34:30]>> Guy who founded Apple. The guy who thought Paul Ram was so brilliant. And the guy who inspired my 2015 Halloween costume. Sexy Steve Jobs. And he was also the guy I'm going to be honest on this one.

[00:34:48]I was thinking more middle-aged Freddy Mercury. Maybe that's just me. Jobs. And he was also the guy who, yes, as the legend goes, took a calligraphy class in college and then a couple of years later decided, you know what? Computers should have all of those silly words on them, too. He brought fonts to the Apple computer. To do this, a designer/ art historian/allaround genius called Susan Car. She's responsible for a bunch of fonts named after a bunch of cities like Chicago, Geneva, Monaco, Los Angeles, and she's also the designer behind the Happy Mac symbol. What a resume. Steve, I'm assuming she got fired by Jobs or someone else.

[00:35:22]>> Jobs gets >> Nah, I'm being a little too harsh. This is before Apple went full evil.

[00:35:28]Or was it? I'm actually not sure when that happened.

[00:35:30]>> A lot of credit for this font revolution moment, but I feel like the designer should too. And Susan K was clearly one of the best. So, as you can imagine, fonts go onto computers and basically this is like a huge typographic explosion. Imagine it's the late '8s and you're just a casual user of your computer and then all of a sudden you're like, "Wo, dude, I can change the writing on this Word doc. That is wild."

[00:35:50]I know it sounds normal to us, but back No, no, not all people. If you're still on some programs, they charge you for that now. You know, I was going to make a joke about Windows. I'm not sure that's a joke. If it's not, I'm not sure Microsoft Word lets you still. So, uh, I'm so sorry for anyone who that actually might not be a joke for. I should probably not say things like that that are maybe true. Let's not do that.

[00:36:13]>> Then, it gave people a lot of agency when it came to designing stuff. It really put the power into their hands.

[00:36:19]Now, I have a bit of a confession. I have been using the words font and type face relatively interchangeably up until this point. And that's actually not technically correct. what we know as a font, like a computer font, that's actually just called a type face. And a font technically is the way that you alter that type face. So things like line weight, italics, boldness, even size. Technically, Aerial size 12 is a different font to aerial size 14. Now, the reason that these two words are confused in our modern day vocabulary is because of Steve Freaking Jobs. He when he put them onto his Apple computer, he was just like, you know what, let's call them fonts. And I don't know whether for him it was a genuine mistake or whether he just liked the word fonts and was just like >> considering his entire thing was streamlining.

[00:37:02]Probably because he didn't say he's like [ __ ] it. It's fonts. It's easier. Screw it. They're fonts now. See you. But in any case, Steve Jobs is why we call type faces fonts. But before we critique his mistake, we also must remember that putting fonts on personal computers was pretty much the biggest typographic shift since the printing press. So what do people do with all this power?

[00:37:20]>> Grunge. Oh. Stylistically, grunge was pretty much the polar opposite of the international style. This is David Carson. He was a surfer from California who sprung into the spotlight when he was made head.

[00:37:31]>> Yeah, that makes sense.

[00:37:33]>> Graphic designer for Ray Gun magazine.

[00:37:35]With this alternative publication, David Carson turned graphic design on its head. Carson saw type in pretty much like the least functional way possible.

[00:37:43]He saw text as like an image or a texture or a decoration. There's this one time, this is like one, >> you don't have to read the words, you just have to think how pretty they are.

[00:37:50]those graphic design legends that you always hear where basically Ray Gun magazine had this interview with Brian Ferry and Carson and the editors took one look and they're like, "Dude, this interview is super boring." So Carson's like, "I've got an idea. How about instead of printing this in a normal font, we print the entire interview in zap dingbats, basically windings symbols." He really didn't care if he could read it or not. Legibility was not at the forefront of his priorities.

[00:38:22]I mean, how boring does the interview have to be for you to go wingdings are an improvement unironically and then actually print it? Like, I'm actually wondering just how boring this person was or how bad of an interviewer you had to be for an interview that bad. Like, that's me level interview. There's a reason I don't do it. So, just like grunge music, Carson had his critics as well. They would say things like, "Ah, you're killing the legibility of typography. Ah, it sucks. Nobody likes this." But just like with grunge music, Carson doubled down. And yeah, it worked. This typography, this design aesthetic, it gets cool. And then all of a sudden, corporate America wants a slice. To appeal to the youth, all they had to do was use a Carson like aesthetic, right? How do you do, fellow kids? But Carson had a career to make, and he ended up working with a lot of these people. Here's a grunge piece. I'm sorry. Was that Nike and now Microsoft?

[00:39:16]Dude, do you remember when the Windows start symbol had color in it and was a symbol?

[00:39:21]Dude, that was literally made for Microsoft. How cool is that? And speaking of Microsoft, I think it's about time that we talk about it. The elephant in the room. Are you ready?

[00:39:31]>> One of the thing that happened in 1994.

[00:39:36]>> Some of you might feel a temptation to skip this section. Some of you might feel a temptation to call me out or drag me or try to cancel me for saying the >> So, this is going to be weird for me to say this. I was born during that decade.

[00:39:48]I remember this except not this part because my family computer up until like 2000 was uh let's put it this way. It didn't have graphics. It had text line prompts. I didn't use it for that reason.

[00:40:07]Yeah, we got a huge upgrade to I think it was Windows like I'm not even sure it had numbers yet. I don't even remember what the first one was. It's like express or something.

[00:40:21]Like when we jumped to Vista, it was a huge change and was late enough where it was already fixed and it felt stronger and faster and less crashy.

[00:40:31]Yeah, words that I'm about to say, but I promise you if you can stomach them, we will all be better because of it. In 1994, Microsoft came out with one of the most iconic fonts of all time. Comic Sands.

[00:40:44]>> Oh, no, no, no. He has terrible taste in fonts.

[00:40:47]>> Now, a lot of us today, we see Comic Sands as a meme. It's sort of I mean, it's great if you use in the right place. Specifically, something that's lighthearted on a screen, like, "Hey, here's a balloon with silly letters handed to a clown." That works. If you're writing a book in it, I will punch someone in the face. I mean, there's no one in reach and I'm really weak, so probably myself, but it technically counts. The font that it's fun to hate or the font that, you know, you might use if you're trying to convey irony. But in researching this, I found out that the impact of comic sands is like way bigger than I thought. So, this dude here, his name is Vincent Conair.

[00:41:20]He made fonts like Trebushche, Wildstyle, Magpie, Webdings. Actually, one of his dingbats from that font would eventually become this emoji. Side note, this is the greatest emoji of all time.

[00:41:30]And yes, this is a hill I will die on.

[00:41:31]And he also made, this is super random, but the Ministry of Sound logo. And yes, Vincent Conair also made Comic Sands.

[00:41:38]The story of how it came to be was basically it was a solution to a problem that I guess a designer would probably notice before many other people. There was this dog called Rover who when you would start up a Microsoft computer the dog's job was to guide you through how to use the computer. Bucko and basically the ah yes prelippy back when Microsoft did things to help people the good old days. Granted, they also pulled plenty of [ __ ] this time period, but let's ignore that.

[00:42:06]>> Dog had these speech bubbles, but Vincent Canire was like, "Man, sort of not that appropriate for this dog to be talking in this harsh Times New Roman.

[00:42:15]You know, it's a bit formal for a dog."

[00:42:16]Woof woof, sir. So, he was like, "Well, >> good."

[00:42:20]>> And he was a fan of comic books like DC, Watchmen. And he's like, >> "Wait, watchman was DC?

[00:42:34]I was unaware of that. Like literally, I've seen the movie. I couldn't bring myself to read the comic because it's way more dystopian horror than I'm okay with. And dystopian in the sense that it's very, very believable. And I wish it was less believable. I did not realize it was DC. God damn. Maybe I can make a font sort of based on comic books. Comic Sands blew up immediately.

[00:42:59]It was just an instant hit. And the reason is, well, let's say you are making a birthday invite for a four-year-old. Hello, children. Nah, we're not going to use the Times New Roman. It just doesn't work. We need something that tonally suits playful or cheerful or whimsical. You got How come when I'm looking at this, I just assume it's followed by, and this is where everyone burned church flyers, school certificates, friendly emails, birthday cards. There were so many pieces of writing all around the world that just didn't warrant formality and comic sands was the missing puzzle piece. But of course, with popularity comes haters. Maybe you were one of them. There's lots and lots of examples of people inappropriately using Comic Sands, which is such a strange sentence, but I'll just give you one which I think illustrates it best.

[00:43:43]In 2012, please don't tell me this is a funeral.

[00:43:48]Please don't tell me this is like a headstone or something. Oh god. There was this Dutch World War II memorial that was set up, right? And you know what font they chose? Comic sands. Now eventually they would scrap it and the people who >> Okay, that's not the worst thing. But yeah, for something highly serious >> it said it was for legibility, but >> no, it's not. Why?

[00:44:09]>> But even in that act is such a strange graphic design question. How is the way that you write a letter somehow inappropriate? It's weird right now comic. But it does convey a sense of non-s seriousness that is legible.

[00:44:25]>> On the more positive end of the spect, >> you could even say it would inspire a skeleton draft of what would go on. A maybe Sans skeleton, a sans the skeleton. Even actually has a couple of really cool features that make it quite practical. For example, it doesn't really use mirrored glyphs. So a glyph might be like a B, which when mirrored might look like a lowercase D. Comics didn't do that. They had two individual letters. And because of this, Comic Sands is really good for people with dyslexia. And also, Comic Sands really opened the floodgates for all of the fun '9s text moments. You know, Comic Sands walked so that word art could fly so that all of the crazy fun ' 90s stuff could sore. Thanks, Comic Sands. Now, of course, this Sorry, just remembering so many old websites were just like random text.

[00:45:09]I don't miss that. I really don't miss that. Mostly because it took like an hour to load and just the memory of it alone is terrifying. This is probably the time to mention that it is not the only controversial font. Let's have a little moment for the rest of them.

[00:45:22]>> Memorial.

[00:45:22]>> Papyrus by Chris Costello. Trayon.

[00:45:25]>> I mean, Papyrus looks cool, but it looks way too extra. Unless you're actually writing off Papyrus >> by Carol Twambble, aka the movie poster font. Jok.

[00:45:36]>> I'm sorry.

[00:45:39]Oh [ __ ] It was literally everywhere.

[00:45:42]Thor, Gladiator, Titanic, Minority Reports, episode three, Pelican Brief.

[00:45:48]Dear God, never even seen Hotel Rwanda, Beautiful Mind, Legend. Oh, these are historic now.

[00:45:55]Oh god, I feel the air is just weighing on me. Oh god. Oh.

[00:46:05]>> Jokerman by Andrew K. Smith.

[00:46:07]>> That's real.

[00:46:07]>> And Curls MT by Kyle Crossgrove and Steve Madison. Just taking a moment.

[00:46:13]Just a little moment for them.

[00:46:14]>> No.

[00:46:15]>> Now to sum up this section on comic sands, I think I'm just going to go ahead and quote Vincent Conair himself.

[00:46:20]If you love comic sands, you don't know much about typography. But if you hate comic sands, you really don't know much about typography either. A man. Oh jeez.

[00:46:29]The 2000s. We're to now in our typographic journey. You know, we got Yeah, I remember this. Oh god. I think I would be like in middle school at this time. Oh, dear God. I was a kid. Still >> fonts on computers. Comics starting to get a little couple of haters. We got the Y2K aesthetic. There's a bit going on. Mostly the thing that >> No, the Y2K aesthetic. Everything about this aesthetic was literally this this like just curved shapes with blue and like aqua tones with a little bit of or say orange well purples and pinks. This is Y2K. When you think late 90s, early 2000s, this entire color base is that it's just that if you just put these colors up on something and say, "Hey, what year is this?" They will say 95 to 2003, and they will always understand exactly what it is. Also, if you put it on a cup, no one will doubt what it is.

[00:47:22]It's like, "Oh, we're going to a movie theater. Got it." Mostly the thing that defines this era is technology. Digital design was getting easier. You companies like Adobe pumping money into these products that were just facilitating more complex designs. And >> ah yes, can you imagine Adobe pumping money into a product instead of anything else?

[00:47:41]>> From that we got more complex typography. The 2000s saw a lot of 3D lettering skumorphism and maximalism. On top of this, there were far more articulated trend cycles. If one tech company had a cool 3D logo, then all of a sudden all the tech companies had a cool 3D logo. Or if a rapper was like, "You know what? I'm going to make all my slab Sarah font have this gold stroke and be encrusted with diamonds. Yeah, a bunch of other rappers followed suit.

[00:48:03]Oh wow.

[00:48:06]So if that's the 2000s, we >> Everyone's just following trends.

[00:48:12]It's so relatable. Nothing's changed.

[00:48:14]>> We all know what happens next, right?

[00:48:16]Right.

[00:48:16]>> Trying hipsters, memes, and the internet. Wait, hipsters started this time period? Oh, >> we're back here now.

[00:48:25]>> Also, I need to ask why do they just have a random picture of Lionus Tech Tips car.

[00:48:30]>> We're back here now. Neat. So, the internet starts to hit critical mass and maturity. So, between that, all these font sharing websites, indie foundaries popping up, memes, and of course, Photoshop piracy.

[00:48:40]>> OMG, it's 2012 11. Happy New Year.

[00:48:45]M yeah, typography starts to have a big moment.

[00:48:53]One interesting font to mention here is one that had a revival. It was created in the 1960s by Jeffrey Lee, but it found a new home online. Impact or I should say it's the type face Impact and the font was white stylized with that black stroke. Impact font. It was the >> Yeah, it works. Hell, it's still useful now.

[00:49:09]>> Font for memes. That's huge. That's like getting your dream job as a font. the but it's always something underneath it in a lower text that is well I mean here I'll just pull it up this impact lower line just times new ro below it one grabs your attention the other one keeps you there for a little bit more of a joke >> is a font the other very important macroeconomic force to mention is hipsters yeah hipsters brought two main movements into the spotlight the first was the revival of the signwriting aesthetic multiple clashing fonts designed to look good and complement each other in one Okay, I'll be honest.

[00:49:43]I was not expecting hipsters and incorporation of multiple styles of artistic type fonts.

[00:49:50]Maybe I'm just doing different hipsters than this guy was. Don't do hipsters, kids. N out of 10 hipsters don't like being done.

[00:49:58]Apparently, when you roll them up and start smoking them, it doesn't always work out well because their beards catch. Don't do that. Big sign. The fonts that defined this error weren't the ones that came standard with your computer. They were the ones that you downloaded from the internet. It was fonts like Babis New by Rayuchi Tsukinawa or Lobster by Pablo Impilari.

[00:50:14]Every burger shop font ever. And the smooth and chunky.

[00:50:17]>> Oh god. That is actually what Oh wow.

[00:50:27]He's right. He's perfectly right.

[00:50:31]Like that is just says, "Hey, welcome to Red Robin or any burger joint that isn't fast food." like think I I don't even think Five Guys has this, but it looks like if this just said Five Guys, you would think nothing of it. Also, I've never even been to that restaurant. I know there's one near me. I just have never gone to any of them. But this is Have you ever had someone say something so blatantly obvious that you didn't even realize you knew, but after having said it out loud, it's like, "Yeah, oh god, you're right." It's this moment.

[00:50:59]This I It is It's like if you have food and it's a burger or sandwich based, you need this. In fact, it would look weird if you didn't. And I didn't even realize there was a standard for that. But now that I see it, it's just perfectly obvious.

[00:51:15]How did I never realize this when it's literally staring me in the face and feels perfectly accurate and understandable? I need to move on because I'm just thinking about this too much, but it makes sense ever. And the smooth and chunky glorious Cubano by Charles Vander. So, if that's the first movement, what was the second? Sleek minimalism. That international style is back. Let's go Switzerland. Like I said before, no font epitomized this movement better than Helvetica. Helvetica was created in 1957 by the Hype Foundry as part of that international typographic style. And true to its name, it is very much international. We've since seen Helvetica in multiple different alphabets. While I know that this video is mostly about the Roman alphabet, Helvetica is one of those ones that transcends. But the real question is why did this font from the ' 50s suddenly get a breath of new life in the 2010s?

[00:52:00]The >> I'm assuming he's still hipsters.

[00:52:01]>> Answer is once again >> save freaking jobs.

[00:52:06]>> Yep.

[00:52:06]>> Was this the base font he used for the iPhone?

[00:52:09]>> Helvetica was the main choice of the Apple iOS pretty much up until >> iOS. Not even iPhone. Okay.

[00:52:15]>> Which of course gave it a huge cult following, a documentary, and visibility in so many other corporate identities.

[00:52:20]Helvetica was used as a corporate word for the following companies.

[00:52:27]Yahoo. Oh yeah, they're still around. I forgot about that. Sears, Funimation, Kawasaki. Oh, >> but of this international age.

[00:52:38]>> Does the adult swim next to Skype? Oh, yeah. Skype's a company still, isn't it?

[00:52:42]>> The most important thing was just how accessible type face creation became.

[00:52:46]Technology just got real good and anybody could make a font in the same way anyone can now just make a YouTube video. It's really, really cool.

[00:52:51]>> Yep. Cambrian explosion of fonts. There are indie designers making fonts upon fonts upon fonts. And it is amazing. And honestly, it's kind of beautiful because I feel like that is the whole aim of typography. It's sharing, it's communicating, and it's collaborating.

[00:53:05]And it's also probably I think how we should sum this all up.

[00:53:09]>> What?

[00:53:10]>> From clay carvings and ununiform to comic sands and cubano.

[00:53:13]>> Oh, he actually intentionally reduced the quality to make it a little more scratchy. Interesting choice. I feel like the aim of typography has always sat alongside with the aim of the idealist. Symbols were originally made to facilitate trade and a better life, and they ushered in civilization. Fonts are one of those things that honestly before starting this, I sort of overlooked as just a nice quirky feature of design. And I realize now that's because they're meant to be overlooked.

[00:53:37]When they're at their best, they are facilitating information. Half the time fonts are working without anybody even knowing them.

[00:53:44]>> Oh, that is trippy.

[00:53:48]Like look at this entire section. Just tell me that's not hard to watch.

[00:53:52]>> They are facilitating information. Half the time fonts are working without >> the type face isn't changing, but the font is because he's changing the distance, the spacing, and the how thick the letters are.

[00:54:04]>> Anybody even knowing that they're working?

[00:54:06]>> No, I have no idea what that feels like.

[00:54:07]That is completely foreign to me.

[00:54:09]>> Just uh I don't know, man.

[00:54:13]stare a little longer at something that you've overlooked. Because that desire to connect and the depth of that desire, you can see it in everything, fonts and all.

[00:54:29]Dude, I wasn't expecting a video about fonts to be just so damn inspiring and awesome. Like it's history all the same and I love this stuff, but I wasn't expecting it to go full on. Here's just an inspirational journey about humanity and how it just persists and changes and it works with everyone else. And I just kind of love this. I've never seen anything from Strthus before, but I'm going to subscribe right now just for that video alone because I want those little notifications pop. Oh, wait.

[00:55:00]Yeah, YouTube doesn't notify you for your subscription list anymore.

[00:55:04]Damn. Still, that's That was good, man.

[00:55:08]I've never seen his stuff, but I would like to watch more. Whether I'll do it on my own time or stream, I don't know, but I will probably give in and do it on my own time well before we have more time to stream his stuff because I want to check this out. I like his style. I like how he's getting into it and he pulls it all together. He's basically doing an amazing documentary on something that he got hyperfixated on and I love where he went with this.

[00:55:28]Basically, what I'm saying is if you haven't already, there's a link below to the original video. Hit it up. They did a great job and you should check it out if you haven't already. I'll see you guys in the next one. Adios.

[00:55:59]Heat. Heat.