I don't think that success is the premise to what is good or bad.
The contributions that one makes in typography, design, and art in general cannot be, and must not be measured on how much money is involved. That would lead to total chaos. The word itself (contribution) is to give to a common purpose.
They should make new ways to better design buildings and books. The computer was the end of Swiss typography!
By the year 2000 every secretary will have a favorite typeface.
Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.
Typography is not only a technology but is in itself a natural resource or staple, like cotton or timber or radio; and, like any staple, it shapes not only private sense ratios but also patterns of communal interdependence.
Typography fostered the modern idea of individuality, but it destroyed the medieval sense of community and integration.
Set a page in Fournier against another in Caslon and another in Plantin and it is as if you heard three different people delivering the same discourse - each with impeccable pronunciation and clarity, yet each through the medium of a different personality.
I discovered that I never really used Helvetica but I like to look at it. I like the VW beetle, too, although I've never driven one.
Anyone who uses Helvetica knows nothing about typefaces.
I fought linotype and montype for some time because it would not justify as well as handset could be made to do; but at last, as always happens, the machine outdid the hand, and got all the best types on it.
Type production has gone mad, with its senseless outpouring of new types... only in degenerate times can personality (opposed to the nameless masses) become the aim of human development.
A type of revolutionary novelty may be extremely beautiful in itself; but, for the creatures of habit that we are, its very novelty tends to make it illegible, at any rate to begin with.
Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness.
In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.
You can do a good ad without good typography, but you can't do a great ad without good typography.
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