A printed work, which cannot be read, becomes a product without purpose.
Good things come to those who wait.
There's a simplicity in typography that demands absolute accuracy... the only way you can experience it is by doing it, and you can't do it on a screen because a screen never gives you the entire picture.
Men who would letterspace lower case would shag sheep.
Writing is not a series of strokes, but space, divided into characteristic shapes by strokes.
Architecture is art. I don't think you should say that too much, but it is art. I mean, architecture is many, many things. Architecture is science, is technology, is geography, is typography, is anthropology, is sociology, is art, is history. You know all this comes together. Architecture is a kind of bouillabaisse, an incredible bouillabaisse. And, by the way, architecture is also a very polluted art in the sense that it's polluted by life, and by the complexity of things.
The material of typography is the black, and it is the designer’s task with the help of this black to capture space, to create harmonious whites inside the letters as well as between them.
Designers provide ways into—and out of—the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. (...) Although many books define the purpose of typography as enhancing the readability of the written word, one of design’s most humane functions is, in actuality, to help readers avoid reading.
In the eighties, I was fortunate to be one of the young art directors that Jerry Roach, creative director at JWT New York, took under his wing. He taught me how to use typography more visually, to push against design norms and not to rely on preconceived notions of what something should look like. I learned that nuance is everything and to agonize over the details. I have Jerry to thank for driving plenty of people crazy over the years!
I remember a time at Yale when my work was being critiqued by Paul Rand. Mr. Rand told me only to use Helvetica as a display face never in text, then he squinted, leaned in, and whispered in my ear, "because Helvetica looks like dogshit in text".
All typefaces are historical.
As we say in Berlin, there are many ways to bake a parrot.
There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself, you will be able to capture beauty as the wise men capture happiness by aiming at something else.
If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it's likely that no personal computer would have them. If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do. Of course it was impossible to connect the dots looking forward when I was in college. But it was very, very clear looking backward 10 years later.
The better people communicate, the greater will be the need for better typography-expressive typography.
Typography is a minor technicality of civilized life.
Typography can be as exciting as illustration and photography.
Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas.
Space in typography is like time in music. It is infinitely divisible, but a few proportional intervals can be much more useful than a limitless choice of arbitrary quantities.
People who love ideas must have a love of words. They will take a vivid interest in the clothes that words wear.
Of all the achievements of the human mind, the birth of the alphabet is the most momentous.
Legibility, in practice, amounts simply to what one is accustomed to.
We use the word typography to describe two different things: the design of letterforms, and the layout of typeset passages on a page. Both of those experiences are really important to communicating information, especially when that information involves complex ideas.
This project started nearly twenty years ago as an assignment in my typography class at art school. Students were encouraged to see letters beyond their dull, practical functionality. We played with their unique shapes and tinkered with their infinite possibilities. The challenge was hard, so the reward of “cracking” a word felt great. This became a lifelong project for me.
I was never really satisfied with writing only text or with the way my texts looked when they were published. Most online journals have a pretty lame sense of typography - bad font, counter-intuitive margins and line spacing - that it makes me sour on my writing.
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