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, 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, 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, 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.

Celebrating 30 years of type design, the 752-page compilation of Emigre’s prolific work goes beyond the art of type specimen. The essays provide the designers’ approach and thinking process that go into their types. From Mrs Eaves to Tribute to Vista to Alda, you’ll appreciate the details of setting each of these exceptional typefaces.

A mundane conversation with our middle child.

Đán: May I play on the iPad?
Dad: No.
Đán: Fine, I don’t like you.
Dad: I know. I am a bad dad.
Đán: No, you are the worstest dad.
Dad: Am I that bad?
Đán: Yes.
Dad: OK, you can play on the iPad.
Đán: You are the bestest dad.

A big, beautiful coffee table book on typography begins with brief stories from ten type designers and ends with short articles and interviews. The huge chunk of this book showcases commercial typography. It’s nice to have for the office, but not required.

A gorgeous, historical collection of cover designs from Penguin Classics. Breathtaking illustration and expressive typography make it an inspiring reference for graphic designers.

A brief and practical introduction to create an effective brand. In addition to social media, branding and marketing strategist Karen Leland explains the important of developing a modern, marketing-oriented website:

In my experience, many business people (especially entrepreneurs and small-business owners) glossy underestimate the impact and importance of their websites. I can tell you with absolute certainty that the quality of your website is critical to your customers, potential customers, and even members of the media.

In other word, setting up your site on SquareSpace or Wix won’t help your brand. Take it from the branding expert and president of Sterling Marketing Group, not to be confused with Sterling Brands as I did.

The latest release of ON Designs is inspired by legendary designer Massimo Vignelli. After reading his book, A to Z, I decided to simplify my porfolio down to its core. The new design is as Swiss as it gets: black, white, and red. It is now only set in one sans serif typeface, which is Acumin Pro, designed by Robert Slimbach. I stripped out various background colors and made the wordmark a bit more prominent. Check out the new look.