What makes the difference between experimental typography and any other type of advanced typography? Much so-called experi- mental is just another form exercise within frame-work a certain modern trend only some these experiments are funda- create basic discussion on typography. For sake well understanding it should be wise to draw dividing lines. The real in started at beginning this century they came with futurism dadaism constructivism. At time idea integration context was expressed very clear way. It when writers poets tried ‘shape’ their texts order express themselves more clearly. Among earliest (already around 1897) Stephane Mallarme his book ‘Un coup de des’ break up regular typographical sentences shorter groups words bring space into page. new typographic movement did not start its own 1910 whole cultural scene changed through series important moments field arts. Typography printed word one most functional vehicles for ideas therefore always reflection general pattern. Before century however never became an independent art itself we may possibly say that what call ‘experimental typography’ without primary function making text readable. Experimental are point opponents each other. reflecting pattern but gives primarily self-reflection. As soon as carry out improve solution means do research cannot speak typography results solution problem. Thus good understanding have divide from research first leads way completely uncontrollable unknown results second carried achieve better given Therefore true carrier written ideas original meaning word typogra- phy art pure expression. closely related now ‘concrete poetry’. If look work painters designers period great revolutions 1910-1920 can clearly experiments. example works Apollinaire Marinetti Tzara Schwitters Van Doesburg mainly futurists dadaists belong interpretation El Lissitzky Rodchenko later Piet Zwart Jan Tschichold Herbert Bayer interpretation. These two basically different directions exist until today. A major part concrete poetry still typography example ‘Experimenta Typographica’ Wil Sandberg visual John Cage Dieter Rot and extent also ‘scripts’ Hannah Darboven. On hand much larger group solutions. Most striking been Karl Gerstner who introduced anamorphose wrote elementary literature Brian Coe eliminated parts letters arrive view legibility problems den Bergh ‘capital-twin-typography’ help coloured spectacles save paper. Possibly alphabet Epps Evans machine recognition my own experiment CRT reproduction noted. More recent Wolfgang Weingart editor issue Helmut Schmid both almost two interpretations. Their partly problem-solving close self-expression. Of course sometimes difficult distinguish experiments quite normal because nature field. There natural vice-versa influence visualized discovered. We discover something individual expression while fundamental could lead unex- pected grade even same active both sides line. point I would like attention fact seldom or never aware findings research. By sheer intuition often reach conclusions valid types scientific hand designer awareness appreciation contemporary atmosphere inclined use overstatement emphasize findings. In opinion case many influential pieces design. Often design aiming improving comprehensibility overshadowed by expressive overstatement. But if element exaggeration had existed piece drawn so fulfilled pioneering role. vicious circle. Anyhow there need overstatement self-expression needs future development. However clarity optimal think must try expression