Robert Bringhurst Quotes

There are people who specialise in lettering, and I've had my hand lettering made into a digital font. I picked up a copy of the 'Dandy' the other week, and I was amazed to see that it was completely lettered in my hand-lettering font. It was quite a thrill, really, having been a 'Dandy' reader years and years ago.

For designers, the rigidity of an alphabet presents a never-ending artistic challenge: How do you do something new and still preserve the letters' essential forms?

Unlike painting, sculpture, or music, typefaces must be useful to someone. Fortunately for designers, the digital age has produced new problems to solve - developing typefaces that work on mobile phones, for one - and enabled better solutions to old problems.

We have thought carefully about how our use of typography, colour, and images can support and enhance 'Guardian' journalism. We have introduced a font called Guardian Headline that is simple, confident, and impactful.

Looking at font serifs is fun.

I can’t go to a restaurant and order food because I keep looking at the fonts on the menu.

You shall see them on a beautiful quarto page where a neat rivulet of text shall meander through a meadow of margin.

Typography exists to honor content.

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.

In the printed page the only real things are the paper and the ink; the white spaces play the same part in aiding the eye to take in the meaning of the print as do the black letters.

Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy - the dance, on a tiny stage, of the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.

A good legible label is usually worth, for information, a ton of significant attitude and expression in a historical picture.

The shapes arranged themselves into words, and the words spelled out a delicious and wonderful phrase: Once upon a time.

I never really got over the fun of making letters.

The other big factor in building trust quickly is site design quality. Mint.com has one of the best graphic designers ever (Jason Putorti) - he cares about every pixel, all the fonts, all the transparencies and effects. And that shows instantly. People do make judgments of trust on appearance - in the real world and online.

Problems with visual design can turn users off so quickly that they never discover all the smart choices you made with navigation or interaction design.

Reed College at that time offered perhaps the best calligraphy instruction in the country.... I decided to take a calligraphy class to learn how to do this.... It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating. None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me.

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.

I have never consciously exploited the fact that I am a woman. I wouldn't dare try that even if I knew how to. I have too much respect for my male colleagues to think they would be particualrly impressed.

The shapes of letters do not derive their beauty from any sensual or sentimental reminiscences. No one can say that the O’s roundness appeals to us only because it is like that of an apple or of a girl’s breast or of the full moon. Letters are things, not pictures of things.

Women, when they have made a sheep of a man, always tell him that he is a lion with a will of iron.

Writers take words seriously-perha ps the last professional class that does-and they struggle to steer their own through the crosswinds of meddling editors and careless typesetters and obtuse and malevolent reviewers into the lap of the ideal reader.

Each letter has a shape, she told them, one shape in the world and no other, and it is your responsibility to make it perfect.

Lower case Ss are notoriously difficult to get right. But in Helvetica it's not straight - you want to go in there and tighten it up. And the 'a' looks so woolly and ill-conceived, it really winds me up.

In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.