Quotes About Typography

The quick brown fox jumps over the lazy dog. Every letter in the alphabet in that sentence.

The last time it switched the font to Comic Sans, and if that sticks I'm killing myself right here, right now.

Graphic Design, which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups, is not good design if it is irrelevant.

I have a private press. I'm a book artist. I publish books of other authors and artists. I do the illustrating. I set the type. I print it myself on my press. I do everything but bind it.

In France, we leave a single space before and after most punctuation marks. In England, there are generally no spaces before punctuation, and one inserts a double space between sentences.

Men who would letterspace lower case would shag sheep.

What are letters?" "Kinda like mediaglyphics except they're all black, and they're tiny, they don't move, they're old and boring and really hard to read. But you can use 'em to make short words for long words.

Nerd truth. Comic Sans absolutely messes up everything it touches.

I'm silently judging your font choice.

Nothing says high school English paper quite like Times New Roman.

Comic Sans — ruining PowerPoint presentations since 1994.

Arial — Helvetica's weird, ugly cousin.

Typography is what communication looks like. There is beauty in the language and beauty in the way it is presented.

Typography is the use of type to advocate, communicate, celebrate, edu- cate, elaborate, illuminate, and disseminate. Along the way, the words and pages become art.

Type and typography—what you do and how you do it—are both science and art.

E-readers are uninspired. They're slabs of plastic with fiddly controls and display a badly-formatted, typographically impoverished rendering of a paper book. That's not the electronic book I want. I want a gorgeous physical object, with paper pages, that can transform into any story I choose, perfectly presented on the page.

Among them was a calligraphy class that appealed to him after he saw posters on campus that were beautifully drawn. "I learned about serif and sans serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can't capture, and I found it fascinating.

Markkula and some others could never quite appreciate Jobs's obsession with typography.

Manuscripts were not easy to read, by later typographic standards, and what readers found in manuscripts they tended to commit at least somewhat to memory. Relocating material in a manuscript was not always easy.

The aim of every typographic work - the delivery of a message in the shortest, most efficient manner.

When I work I have a sculptor's sense of the shape of the words I'm making. I use a machine with larger than average letters: the bigger the better.

The symbol "&" was a logogram—literally a picture representing a word. While many people assumed the symbol derived from the English word "and," it actually derived from the Latin word et. The ampersand's unusual design "&" was a typographical fusion of the letters E and T—the ligature still visible today in computer fonts like Trebuchet, whose ampersand "" clearly echoed its Latin origin.

Apparently, using two spaces after a period has become anachronistic. But tell that to my right thumb. —

Penguin Classic, with the orange bands at the top and bottom; and the Gill Sans thirty-sixpoint title, all caps, centered and medium weight, in black on the white band in the middle. One of the designer Tschichold's prouder moments, when he finally woke the hell up and joined the twentieth century.