Bruno Maag Quotes

It's a great idea: to feel the rhythm of something by seeing how it flows on a page.

Records were replaced by CDs, and lead type died in favor of computerized fonts. However, each had a 100-year ride of popularity, so you can't feel too bad for them.

It doesn't matter if you don't have a complete set of anything because repetition creates pattern, repetition creates pattern, repetition creates pattern.

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.

So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design.

Everything must work in concert. Composition is important, but so are many other things, from content to the way colours work with or against each other.

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.

Anyone with a computer and a design program can create a page layout. But unless you're trained in design, it won't look very good and it won't communicate very well.

Simultaneity in light is harmony, the rhythm of colors which creates the Vision of Man.

Proportion is that agreeable harmony between the several parts of a building, which is the result of a just and regular agreement of them with each other; the height to the width, this to the length, and each of these to the whole.

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

I made three or four different fonts during 'Short Term 12' -' it was how I'd calm my mind between scenes. I have graph paper and gel pens, and I would do the alphabet: just do 'a' over and over again until I got it perfect and then go to 'b' and then 'c'.

Anything written or printed under a print or picture takes the attention from it and, if it is very black or white in any marked degree, will utterly destroy its beauty.

I love the idea of thinking of cinema as not that far from music. A lot of my favourite movie makers, the way they move their cameras or the way they cut just feel very musical - even if the movies have no music in them at all.

I'm trying to make paintings like giant musical chords, with a polyphony of colours that is nuts but works.

Why do only the Latin script when Nokia has a billion consumers? Typography is the bedrock of communication; it can really connect people.

After I work with my editor to get the manuscript in good shape, I sketch and lay out a whole book loosely, usually in black and white. You learn things about your text when you have to think about pacing and page-turns.

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.

If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They are mirror forms of one another. That feature is emphasized in a font like Arial, where the shapes are literally mirror forms.

The Cyrillic and Greek scripts in particular have an alien beauty in their unfamiliar letterforms. Five weights of stroke thickness create subtle variations in light and dark that reflect the emerging and fading of the stars.

When writing for the page, the focus is on the design - how the words appear on the page. I try to make it as direct and simple as possible.

Looking at font serifs is fun.

But every page having an ample marge, And every marge enclosing in the midst A square of text that looks a little blot.

The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural... Whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.