- All typography consists of letters.
- TIPOGRAFIA – Criação de caracteres.• Arte de compor e imprimir, reproduzindo o texto por meio de caracteres.
- Good typography begins, and this is no minor matter, with the typesetting of a single line of text in a book or a newspaper.
- It is a condition of good typographic work that each single part be formally dependent upon every other part.
- Leading, letterspacing and wordspacing must be faultless.
- Perfect typography depends on perfect harmony between all of its elements.
(Harmony – determined by relationships and proportions)
- For perfect typography, a working knowledge of caligraphy is absolutely necessary.
Typography, even when poorly executed (…) it is never accidental.
- Really good typography should be legible after ten, fifty, even a hundred years, and should never rebuff the reader.
Confortable legibility is the absolute bench mark for all typography.
(Legibility – Quality of what you can easily read)
- We cannot alter the essencial shape of a single letter without, at the same time, destroying the familiar printed face of our language.
Perfect typography is largely a matter of choice among different and already existing possibilities.
- Personal typography is defective typography. Only begginers and fools will insist on using it.
- Good typography can never be humurous.
Symmetrical & Asymmetrical Typography
- Originally, the word meant balance in general.
- In itself, a symmetrical arrangement is neither the mark of a particular style nor the expression of society, but rather a shape that grew almost naturally, a form that has been around at all times and in the most diverse societies.
- Strictly symmetrical things do not necessarily have to be ugly, but they are rarely beautiful.
- Anything not quite symmetrical is considerably more beautiful than faultless symmetry.
- Asymmetry has de advantage that its complete appearence is far more optically effective than symmetry.
- ASSIMETRIA – Falta de simetria; tipograficamente é o arranjo de linhas e blocos de composição fora do eixo ou centro da página que caracteriza grande número de arranjos gráficos modernos exigindo, porém, um perfeito equilíbrio entre as diversas partes do impresso.
- It is the rhythmic expression of functional design.
FARIA, Maria Isabel; PERICÃO, Maria Graça. Dicionário do Livro: da Escrita ao Livro Eletrónico. Coimbra: Edições Almedina, 2008
TSCHICHOLD, Jan. The Form of the Book: Essays on the Morality of Good Design. London: Lund Humphries. 1991
TSCHICHOLD, Jan. The Principles of the New Typography. Berkeley: University of California Press, 2006