Stefan Cammeraat

About

Courier New New, 2017

"Courier is a font which has been of great importance in the recent history of typography, due to it's first inclination as a monospaced slab serif typeface designed to resemble the output from a strike-on typewriter. The typeface was designed by Howard "Bud" Kettler in 1955, and it was later redrawn by Adrian Frutiger for the IBM Selectric Composer series of electric typewriters. After the rise of the personal computer, Monotype revived the now dated Courier by digitizing it, creating Courier New- a standard font for email message services. Many digital applications still use it. The process of digitizing the font directly resulted in some very thin outlines, because the typewriter's ball was designed deliberately thinner than the intended character stroke width since these expand as ink soaks into the paper. Courier New features higher line space than Courier. Punctuation marks are reworked to make the dots and commas heavier.

Because IBM deliberately chose not to seek any copyright, trademark, or design patent protection, the Courier typeface cannot be trademarked or copyrighted and is completely royalty free."
from wikipedia

Courier New New is an editted version of Courier New, made as part of the 'Exercises in dischronology' project. Partially as a critique on the common and almost exclusive use of sans-serif fonts in recent times, the serifs of the original Courier New are extended to form timeline-like structures, commenting on print as a medium which greatly improved our means of documenting and spreading historical information.

Exercises in dischronology, 2017

Funnily enough the digital age lacks a very specific element to historical appreciation: tangible relics. By reitterating the Courier New font, a font which marked the transition from strike-on to digital typewriters, as an analogue typeface it joins forces with the likes of the Gutenberg press, a paragon of both the scientific and industrial revolutions.

Because no known images exist of the original press used by Gutenberg- the first image of such a press being shown in Matthias Huss' Danse Macabre from 1499, over 50 years after its first invention- the danger of falling into oblivion is very comparable to that of the digital revolution. Both exemplars of media distribution, they paradoxically run the risk of themselves being forgotten once an apt substitute is found.

Excersises in dischronology provides the digital revolution with the relics it needs in order for it to not be forgotten. Combining the modularity of the Gutenberg system with display techniques used in historical museums, it regards Gutenbergs system as a starting point for modern historiography.



From top to bottom:
Courier New new
Exercises in dischronology (1455) & Exercises in dischronology (1525)
Exercises in dischronology (Dürer's Unterweysung der Messung)
Exercises in dischronology (Dürer stacks)