Patrona Grotesk (published by Czechoslovakia’s Slévarna Písem in 1931), and Fregio Mecano (published by Italy’s Nebiolo Foundry in 1934) were also based on the idea of a small set of geometrical forms that could be arranged and rearranged in many different ways. Printers had used modular graphic elements to construct custom lettering and illustrations before. Images above are from Novadam, Volume 4, Esteban Trochut Bachman, Barcelona 1952, kindly provided by Letterform Archive. In 2004, this modular system was revived by Andreu Balius and Àlex Trochut, the grandson of Joan. SuperTipo Veloz is the collection of typographic ornaments and modules created by Joan Trochut and produced at José Iranzo foundry in 1942, in Barcelona. In a time when money was scarce, Catalan printer and typographer Joan Trochut created SuperTipo Veloz, an ingenious modular system consisting not of letters, but rather of combinable geometric and alphabetic elements that gave printers an economical way to produce a nearly infinite array of letterforms, ornaments, borders and even illustrations. One playful idea was born out of the aftermath of the Spanish Civil War. Is there room for playfulness in this world driven by quantifiable data and the pursuit of market share? Is play only for children, and then only as a foundation for learning the skills they will need to perform effectively in the real world? Can a typeface be serious as well as playful? Fun as well as functional?
From that perspective, playful typefaces may amuse for a moment or grace the odd project, but can’t be said to advance the field or contribute to our understanding of the art. In type design, the terms playful or experimental are often used in contrast to useful and functional, a disclaimer of sorts that suggests that we not take the font too seriously, as serious typefaces are informed by history, built on precedent, designed to stand the test of time. Cars look more and more alike, phones look more and more alike, yes and even fonts look more and more alike as culture conforms to the pressure of ‘what works’ and design becomes an exercise in utility rather than originality, predictability rather than imagination or fun.
To ensure an intuitive user experience, most operating systems rely on familiar interface elements. To maximise efficiency and capacity, most cars conform to certain broadly accepted parameters. In today’s world, a great deal of design is increasingly driven by metrics and utility.
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