Grafički dizajn posljednjeg desetljeća 20. stoljeća značajno je odredila tema tipografije, koja je prelaskom iz ruku slovoslagara
u ruke dizajnera – ali i nebrojenih drugih korisnika osobnih računala – doživjela ozbiljnu devalvaciju preddigitalnih standarda.
"Umijeće koje daje trajni likovni oblik jeziku", kako je tipografiju definirao Robert Bringhurst, jedan od najvažnijih suvremenih teoretičara na tom području, pretvorilo se 1990-ih godina u poprište formalnog eksperimenta mahom usmjerenog na istraživanje granica čitljivosti. Pojavom programa koji su olakšali postupak izrade novih i obrade postojećih pisama dokidajući potrebu za mukotrpnim satima crtanja i rezanja metalnih matrica, tipografija je pretvorena u neku vrstu dizajnerskog hobija kojim se "pomalo" bavio svatko.
(...)

Typography defined graphic design in the last two decades of the 20th century, a period during which it changed hands from typesetters to designers – and also to numerous other personal computer users – and underwent a serious devaluation of its pre-digital standards. "The craft of endowing the human language with a durable visual form," as typography was defined by Robert Bringhurst, one of the most important contemporary theorists in the field, was transformed in the 1990s into a scene of formal experiment mainly oriented to seeking out the limits of readability. With the emergence of programs which facilitated the creation of new and the treatment of existing types, eliminating the need for painstaking hours of drawing and cutting of metal sorts, typography had been transformed into a kind of a hobby that just about every designer "dabbled" in.
(...)