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Logograms pose a more difficult question. An increasing number of persons and institutions, from archy and mehitabel to PostScript and TrueType, come to the the typographer in search of special treatment. In earlier days it was kings and deities whose agents demanded that their names be written in a larger size or set in a specially ornate typeface; now it is business firms and mass-market products demanding an extra helping of capitals, or a proprietary face, and poets pleading, by contrast, to be left entirely in the vernacular lower case. But type is visible speech, in which gods and men, saints and sinners, poets and business executives are treated fundamentally alike. Typographers, in keeping with the virtue of their trade, honor the stewardship of texts and implicitly oppose private ownership of words. ... Logotypes and logograms push typography in the direction of hieroglyphics, which tend to be looked at rather than read. They also push it toward the realm of candy and drugs, which tend to provoke dependent responses, and away from the realm of food, which tends to promote autonomous being. Good typography is like bread: ready to be admired, appraised, and dissected before it is consumed.
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Robert Bringhurst |