Yi Ding on the Roles of Type

Yi Ding, It’s My Type, (p.14):

People love seeing beautiful things, because it’s a spiritual enjoyment. There’s no right or wrong, pretty or ugly typeface. Typefaces themselves are like costumes, which are made for different roles and different sets. It is best only when it fits.

Panos Vassilious on Typefaces that Communicate Better

Panos Vassilious, It’s My Type, (p.12):

Good type design is an attempt to achieve the perfect balance between geometric perfection and optical perfection, a balance between our rational mind and our free-spirited artistic nature. It is exactly this attempt to achieve a visual balance using the rational modular shapes of the alphabet that drives me and excites me during the designing process.

We don’t just need good typefaces; we need typefaces that communicate better, typefaces that offer real market solutions, typefaces that sell products, typefaces that reflect local market trends and culture. There are already too many commercial fonts in the market. It is time for companies to seek bespoke solutions if they want to differentiate themselves from competitors.

Valery Golyzhenkov on More Good Typefaces

Valery Golyzhenkov, It’s My Type, (p.10):

We need more good typefaces. Because they help the communication; that’s the most important part. A good typeface, along with good typography can deliver more than just information.

Patrick Griffin on Type & Respect

Patrick Griffin, It’s My Type, (p.8):

Typeface is the medium in which the content is delivered, so there’s a direct correlation there: If you don’t use an appropriate face for your content, you are indicating that you have little respect for your message—and that lack of respect makes its way to the reader.

Paul D. Hunt on Good Typefaces

Paul D. Hunt, It’s My Type, (p.8):

We need good typefaces for the same reason as we need anything that is well-designed—to inject more beauty into our life. Reading is a big part of interfacing with ideas and concepts and that process should be as comfortable and enjoyable as possible. Pleasing typefaces allow us to focus more intently on the content of a message and less on the form.

Orphans & Widows

Robert Bringhurst, The Elements of Typographic Style, (p.43–44):

The typographic terminology is telling. Isolated lines created when paragraphs begin on the last line of a page are known as orphans. They have no past, but they do have a future, and they need not trouble the typographer. The stub-ends left when paragraphs end on the first line of a page are called widows. They have a past but not a future, and they look foreshortened and forlorn. It is the custom — in most, if not all, the world’s typographic cultures — to give them one additional line for company.

Principles of the New Web Typography

In his excellent essay, “The New Web Typography,” Robin Rendle defines three principles of web typography:

  1. We must prioritise the text over the font, or semantics over style.
  2. We ought to use and/or make tools that reveal the consequences of typographic decisions.
  3. We should acknowledge that web typography is only as strong as its weakest point.

Must-read for designers.

Blakeman on White Space

Robyn Blakeman, The Bare Bones of Advertising Print Design, (p.44):

Effective use of white space is the key to an organized design that enhances readability and legibility. Readability is achieved when a viewer can read an ad at a glance. Legibility refers to whether, in that short look, they understood the message.

Frutiger on Legibility

Adrian Frutiger, Adrian Frutiger Typefaces: The Complete Work, (p.65):

I must stress, however, that most harmonious line is not automatically the most legible one. Only the diversity of individual letters with ascenders and descenders, with straight or diagonal strokes or curves guarantees the best legibility.

Spiekermann On Screen Type

Erik Spiekermann, Stop Stealing Sheep & Find Out How Type Works, Third Edition, (p.179):

[W]hen you pick a typeface for text in small sizes that is meant to be read on screen, remember Garamond. Don’t sacrifice esthetics for practicality. Pick a typeface that has character and strength. Basically, the models which survived 500 years will look good on screens today.