From ASCII Art to Comic Sans: Typography and popular culture in the digital age
Karin Wagner’s From ASCII Art to Comic Sans: Typography and Popular Culture in the Digital Age presents a fascinating exploration of how typography has been shaped and reshaped by socio-cultural and historical influences. Focusing on four distinct phenomena within the practice of typography, Wagner traces their unexpected ‘usage, design, printing as well as dispersion’ (p. 23) in human society that deviates from their original creation goals. Wagner emphasises that her approach to these four phenomena is mainly archaeological due to their fragmented presence within contemporary settings; thus, her essential goal for this work also centres on piecing together an otherwise marginalised section of typography development, since these neglected pieces ‘might appear quaint but have the potential of providing a different perspective on mainstream history’ (p. 5).
Wagner contextualises her work against seminal studies in typography and graphic design, such as Steven Heller’s POP: How Graphic Design Shapes Popular Culture and Philip B. Meggs’ Meggs’ History of Graphic Design. These foundational texts highlight the evolution of design alongside technological advancements, yet often overlook the specific niche phenomena Wagner addresses, such as ASCII art and dot matrix printers. By drawing on Paul McNeil’s The Visual History of Type, Wagner also explores lesser-known typefaces like Comic Sans, emphasising their cultural implications. Through this contextualisation, Wagner not only highlights gaps in traditional typographic historiography but also underscores the cultural significance of her chosen phenomena.
In the first four chapters, Wagner reveals the nuanced interplay between technological tools and cultural practices, reflecting on how typographic technologies can influence and be influenced by the societies that utilise them, thus playing a pivotal role in shaping cultural identity and historical memory. Chapter 2, for instance, traces the origins and evolution of ASCII art as well as its application across various domains. According to Wagner, ASCII art showcases the artistic creativity that flourishes under technical limitations, evolving from simple character arrangements into complex visual art pieces that resonate within digital culture. Similarly, the machine-readable typefaces like OCR and MICR explored in chapter 3 were initially developed for more professional applications such as speeding up administrative tasks and improving banking processes, but have unexpectedly permeated popular culture. For instance, the example of Ed Ruscha’s 1984 (1967) series used by Wagner in chapter 3 evokes the themes of George Orwell’s seminal work 1984, which underscores the association between technological advancement and the ominous potential for their intruding role in daily life. The typefaces used in this artwork thus later come to symbolise both the futuristic aspirations as well as the somewhat dystopian fears associated with increasing anxiety surrounding automation and surveillance of modern society. Furthermore, the discussion of dot matrix printers in chapter 4 brings a dimension of nostalgia and sensory engagement to the narrative, emphasising the unique auditory and tactile qualities of this older technology that evoke memories of early digital experiences. Despite being largely obsolete today, dot matrix printers continue to be celebrated in specific niches for their distinctive uses, such as performing as being repurposed as musical instruments which can never be replicated by modern silent printers (p. 142). This enduring appreciation underscores a cultural longing for the tangible and familiar in the rapidly evolving digital landscape.
Wagner consistently emphasises the material aspects of typographic expressions and practices. She highlights in the introduction that the materiality of typography, often neglected due to the predominant view of typography as mere vehicles for information, holds significant value for research. Through detailed case studies, Wagner reveals the often-overlooked physical dimensions of printed typography, ranging from the performative ASCII art of Edith to the nuanced examination of anti-fraud measures in checks, as depicted in the movie Catch Me If You Can. The example of Edith, described by Wagner as ‘a risqué computer program’ (p. 66), is particularly illustrative. This interactive ASCII art program transforms an IBM 1401 mainframe printer into a performative device. Users flip switches to reveal more of a gradually undressing woman in ASCII characters, emphasising physical engagement and turning the printer into a medium for artistic expression. The tactile elements of fanfold paper, sprocket holes, and perforated edges enhance the unique sensory experience of this performance. And similarly, the anti-fraud measures depicted in Catch Me If You Can highlight the physical attributes of printed checks, such as perforated edges and the texture of MICR (Magnetic Ink Character Recognition) numbers, designed to prevent tampering and forgery.
These intricate details underscore the importance of materiality in printed documents, enhancing our understanding of typography beyond visual representation. Whether in artistic performances or practical applications, the physicality of printed typography plays a crucial role in our interaction with and perception of printed materials. Therefore, Wagner’s exploration emphasises these physical dimensions, encouraging a deeper appreciation of the material aspects of print often overlooked in favour of digital interpretations. These examples not only support Wagner’s thesis that typographic practices can transcend their original utilitarian purposes but also underline the vital role physicality of typography can contribute to the enhancement of user experience and cultural significance of printed materials. Furthermore, this emphasis on materiality may also raise crucial issues surrounding the preservation of these print ephemera. Wagner does touch on this when discussing the contemporary conditions of these prints in limited numbers of museums and among individual collectors on eBay, but she does not seem to delve deeply into the issue of their physical conservation. The material nature of these works poses unique challenges: How can their tactile and sensory qualities be preserved, and in what form? If digitised into online archives, how can the essence of their materiality be maintained when reduced to digital images and catalogue lists? Addressing these questions would not only enrich our understanding of the material aspects of typographic artefacts but also ensure their preservation for future study and appreciation.
Towards the end of the book, Wagner takes on a somewhat novel angle. Chapter 5 analyses the cultural impact and discourse surrounding the Comic Sans typeface, situating it within the broader context of typography’s evolution into the digital age. It explores how Comic Sans, originally designed to be informal and accessible for a children’s software interface, became a symbol of bad design taste among typography professionals and non-professionals across different platforms. However, despite its controversial nature, Wagner acknowledges that Comic Sans has ‘become one of the most used typefaces in the world’ due to its ‘approachable, modest, and truthful impression’ (p. 164). Through detailed analysis, including discourse analysis and rhetorical strategies, Wagner examines the historical hate towards the typefaces and utilises case studies such as the ‘Ban Comic Sans’ campaign and its usage in various inappropriate contexts to highlight the actual complex dynamics of design criticism, cultural capital, and the democratisation of computer design tools. In all, this chapter argues that the discourse around Comic Sans reflects broader societal debates about aesthetics, professionalism, and the impact of technology on cultural production.
When discussing the ‘type-hate’ associated with Comic Sans, Wagner chooses to focus on the influence of social media on shaping public perceptions. She employs José van Dijck’s concept of ‘techno-cultural constructs’, which encompasses technology, users, and content, to demonstrate how narratives form and evolve on social platforms. Wagner looks explicitly at the technological aspects – data, algorithms, and user interfaces that guide yet, at the same time, may confine the development of these narratives through algorithmic filters and platform structures. Thus, her in-depth investigation into the widespread negativity surrounding Comic Sans on social media platforms may overemphasise these discussions’ adverse aspects. This skew could stem from social media algorithms that typically filter and present content aligning with users’ pre-existing preferences, effectively creating echo chambers within online settings. Such created chambers often amplify similar viewpoints and exclude divergent ones, as Keith Sustein elaborates in his book Infotopia: How Many Minds Produce Knowledge. These echo chambers, or information cocoons, can reinforce existing opinions and limit exposure to varied perspectives, potentially skewing the narrative and professional analysis.
Furthermore, and as she acknowledges in her concluding remarks, Wagner’s research is mainly centred on Western perspectives, and the phenomena mentioned in her primary texts, or other similar phenomena, ‘could open up for research involving other parts of the world’ (p. 207). The case of the discourse around Comic Sans, specifically, which is largely derived from Western social media commentary, might not accurately reflect a more global attitude towards the typeface. Examining its perception and use in non-Western cultures might uncover positive aspects and unique uses overlooked by Western criticism that could challenge the prevailing negative bias and provide a comprehensive picture of the typeface’s global reception.
In conclusion, Wagner’s From ASCII Art to Comic Sans: Typography and Popular Culture in the Digital Age emerges as a landmark study that scrutinises the evolution of typography in the digital and post-digital era. Merging media archaeology with visual and cultural studies, Wagner’s book stands as a pivotal resource for scholars, designers, and anyone fascinated by the confluence of technology, culture, and design. Furthermore, through meticulous case studies and penetrating analysis, she not only maps the trajectory of digital typography but also underscores its cultural and aesthetic significance. Wagner’s work invites readers to rethink the place of typography within digital culture, proposing it as a vital, evolving component of modern communication and design, thereby enriching our understanding of its multifaceted role in replenishing contemporary narratives and practices.
Siheng Zhu (University of Rochester)
References
Heller, S. Pop: How graphic design shapes popular culture. Allworth Press, an Imprint of Allworth Communications, 2010.
Mcneil, P. and King, L. The visual history of type. London: Laurence King Publishing, 2017.
Meggs, P. Meggs’ history of graphic design. Wiley, 2016.
Sunstein, C. Infotopia: How many minds produce knowledge. Oxford: Oxford University Press, 2006.