The concept of “green” typography may seem ridiculous to non-type-nerds and, yes OK, perhaps typography can’t conquer climate change, but it can certainly help communicate it! With these thoughts in mind, I thought it would be interesting to share some recent examples I’ve found of contemporary typography that truly redefine those terrifying visions of green (and tree-shaped) logos!
The above posters, by Marian Bantjes, Christoph Niemann and Paula Scher, were commissioned by Winterhouse Studios for the Stora Enso sustainability initiative, and have since been accepted into the permanent collection at the Cooper-Hewitt National Design Museum. Fabulous!
The graphic design team at Thomas Matthews are so immersed in this field that everything they do with type could be considered ‘sustainable’. However, the logo for sustainability company ‘Beyond Green’ is a personal favourite; a simple, but effective play on colour association.
When it comes to intelligent logos, Al Gore’s latest WE campaign for The Alliance for Climate Protection has a great logo (yes, I know it’s green), designed by New Yorker Brian Collins.
It would seem there is a recurring trend regarding contemporary eco-typography. For example, picking up on the Sagmeister-esque hand-made typography, The New York Times Magazine is using the work of sculptural designer Gyongy Laky, for last week’s Green Issue!
Although not directly intended for sustainability, the hand-drawn ‘Customised Fruit’ by designer Sarah King, certainly made me look twice! Imagine these as printed adverts for organic food!
There are plenty more examples of GOOD sustainable typography, so keep your eyes peeled and I’ll post any updates next month!
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Awesome work
Simple, professional and amazing!!!
Looks absolutely cool!!
Sustainable typography?
Although the idea of advancing the awareness of ‘sustainability’ is one that probably needs every designer’s attention, calling typography sustainable in such a superficial way I don’t believe helps.
One of the issues with ‘sustainability’, ‘eco-this’ or ‘eco-that’ is that the concepts are often perceived as fad tags, not as what they should really be understood as, concepts, perspectives, philosophies.
I (humbly) offer that calling typography ‘sustainable’ without going deeper into what the author intends by attaching such an adjective to it does a disservice to the notion of sustainability.
Webster defines sustainable as: a). conserving an ecological balance by avoiding depletion of natural resources. b). able to be upheld or defended. c). able to be maintained at a certain rate or level.
How is Bodoni, Garamond, Univers or Helvetica not sustainable? What are the criteria the author is using to designate the above work samples as ‘sustainable typography’?
Don’t get me wrong. The work above is interesting and stimulating. The We campaign logo is smart and effective. My point is that if designers are to contribute effectively to making more people aware of the need to change our perspectives, to change the way we think of the context we are all in, if designers are to make a difference in the way we relate to our environment, we need to start thinking and acting more thoroughly about the topic.
cheers,
Vladimir.
Vladimir –
Thank you for your comments. I appreciate your concerns that the use of the word ‘sustainable’ here has been used loosely and a clearer validation should have been provided. The intention for this feature was to showcase a few examples of contemporary graphic design that communicate a sustainable message/intention/project/initiative; as you said – raising awareness.
By no means is this intended to undermine the true meaning of sustainability or of ecologically conscious design. The intention is to illustrate that when a sustainable project has been fully established the use of typography/graphic design can be powerful in communicating the message more effectively than alternative visual stereotypes often associated with this topic. When aiming for any sustainable design there are countless things to consider and appreciate, and if we were really to delve into the thought of typography being sustainable, one would certainly need to think more thoroughly. For example, if graphic work is printed, what paper should be used, what inks / print process and energy is to be used/wasted, and so on.
I believe a less ‘serious’ look at the ability of Graphic Design, and in this context Typography, to communicate social/ecological issues has its own sustainable merits. I personally feel that to promote sustainable thinking, especially to younger graphic designers, through showcasing such examples of contemporary practice can only lead to positive thinking and motivation to implement this serious subject in the manner it demands.
Challenging any design discipline to become sustainable will prompt much debate, so thank you for raising these points. Perhaps, a more suitable title for this feature would have been “Typography ‘for’ Sustainability”.
Kate.
The journey of a thousand miles begins with a broken fan belt and a flat tire. :)