Immaculate typography is certainly the most brittle of all the arts. To create a whole from many petrified, dis-connected and given parts, to make this whole appear alive and of a piece — only sculpture in stone approaches the unyielding stiffness of perfect typography. For most people, even impeccable typography does not hold any particular aesthetic appeal. In its inaccessibility, it resembles great music.

Tschichold, 1975 : 3

TIPOGRAFIA – Criação  de  caracteres  para uso  em  impressos • Arte  de  compor  e  imprimir,  reproduzindo  o  texto  por  meio  de caracteres; a designação primitiva da tipografia foi a expressão ars impressoria, também designada calcographia antes que, no final do século XV, passasse   a   ser   conhecida   como tipographia. Imprensa • Lugar onde se imprime. Gráfica. Estabelecimento tipográfico • Arranjo ou estilo do texto tipográfico.

Faria e Perdigão, 2008 : 1191

Type is about much more than questions of legibility or readability. Fashions and technological change are just part of the backdrop. What makes typography fascinating, and an essential enquiry for anybody involved in design, is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It is a celebration of humanity, and a vital and subtle indicator of values.


1. The words on the printed surface are taken in by seeing, not by hearing.

Lissitzky, 1923


The moment a text and a typeface are chosen, two streams of thought, two rhythmical systems, two sets oh habits, or if you like, two personalities, intersect.

Bringhurst, 1992 : 22

Older typefaces – Bembo, Garamond, Caslon, Baskerville and other distinguished creations – are, thankfully, still with us, in metal and digital revivals. Many new faces also perpetuate the spirit of these earlier designs. These faces are routinely supplied with the five basic ligatures beacause they require them.

Bringhurst, 1992 : 51

Typefaces can have many associations for a reader. There are typefaces we read as a child; those that recall a bygone era; those that feel traditional and others that feel modern; type that says, ‘This is news’; type that is romantic; faces that are quirky and others that are serious. The ‘personality’ of a typeface can be related to historical or emotional associations, or simply a reflection of our experience of type.

Whitbread, 2009 : 165



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