Berthold is still a good typeface, but even Berthold has some less than attractive features, and then I just cut them off because I didn't like them.
The most popular typefaces are the easiest to read; their popularity has made them disappear from conscious cognition. It becomes impossible to tell if they are easy to read because they are commonly used, or if they are commonly used because they are easy to read.
Typographical design should perform optically what the speaker creates through voice and gesture of his thoughts.
Certain kinds of typeface design and typographic design are designed to persuade: we can make this company look modern if we use a crisp sans serif typeface, or we can make this restaurant look like its been around forever if we use typefaces and layout styles that have been around forever too. But there are other categories, and ballot design is one of them, where the goal should be to be purely functional. There have been notable failures in this category.
Each typeface is a piece of history, like a chip in a mosaic that depicts the development of human communication. Each typeface is also a visual record of the person who created it - his skill as a designer, his philosophy as an artist, his feeling for... the details of each letter and the resulting impressions of an alphabet or a text line.
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.
All typefaces are historical.
I don't think that type should be expressive at all. I can write the word 'dog' with any typeface and it doesn't have to look like a dog. But there are people that [think that] when they write 'dog' it should bark.
Type design moves at the pace of the most conservative reader. The good type-designer therefore realizes that, for a new font to be successful, it has to be so good that only very few recognize its novelty.
Type is saying things to us all the time. Typefaces express a mood, an atmosphere. They give words a certain coloring.
The seventies were my fattest decade. Overall I think the seventies were distinctly bulbous. People looked chunky, typefaces were rounded, writing implements penile.
Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface.
The meaning is in the content of the text and not in the typeface, and that is why we loved Helvetica very much.
When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. [] Thus I also grasped that the empty spaces are the most important aspect of a typeface.
Anyone who uses Helvetica knows nothing about typefaces.
You can do a good ad without good typography, but you can't do a great ad without good typography.
I am sure in some years from now you will see new posters with just white space and four lines in Garamond.
Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.
When a type design is good it is not because each individual letter of the alphabet is perfect in form, but because there is a feeling of harmony and unbroken rhythm that runs through the whole design, each letter kin to every other and to all.
I make solutions that nobody wants to problems that don't exist.
As the saying goes, type is a beautiful group of letters, not a group of beautiful letters.
I hate to see great works of literature ghettoized, whereas others that conform to the rules, conventions, and procedures of the genre we call literary fiction get accorded greater esteem and privilege. I also have a problem with how books are marketed, with certain cover designs and typefaces. They're often stamped with an identity that has nothing to do with their effect on the reader.
How can there be too many typefaces in the world? Are there too many songs, too many books, too many places to go?
I grew up in a Cleveland suburb called Parma, Ohio. Somewhere along the way I fell in love with a typeface called Bodoni. It turns out that Giambattista Bodoni had his foundry in Parma, Italy. So I pick Bodoni because us guys from Parma have to stick together.
At first, writing for The New Yorker was very scary to me. I couldn't imagine anything that I would write in that typeface.
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