The measure is the design
Sixty-six characters is not a superstition. It is the width at which the eye stops losing its place.
A type scale you can defend
Every size on the page comes from a role, so one setting changes the page rather than one heading.
Dấu phụ tiếng Việt và chiều cao chữ hoa
Chữ Quốc ngữ chồng hai dấu lên một nguyên âm. Đó là bài kiểm tra khắc nghiệt nhất cho khoảng cách dòng.
Die Kunst der Kapitälchen
Echte Kapitälchen sind gezeichnet. Alles andere ist verkleinerte Versalschrift und sieht auch so aus.
La chasse, l’approche et le gris typographique
Trois mots français pour trois choses que l’anglais confond sous le mot spacing.
The broad-edged pen, and what it still teaches
Nearly every serif on your screen is a frozen record of a flat nib held at an angle.
Chancery italic in ninety minutes
The Renaissance hand that became our italic, reduced to four shapes and one angle.
Thư pháp và nhịp thở
Nét chữ đẹp không đến từ cổ tay. Nó đến từ chỗ người viết quyết định dừng lại.
Notes on reading, on paper and on glass
A measure, a leading and a typeface walk into a column. Only one of them is usually blamed.
Imposition: why page 1 sits beside page 8
Fold a sheet three times and the page order stops being obvious. Printers solved this before 1500.
A signature, a gathering, a quire
Three words for nearly the same thing, and the small differences that still matter at the bindery.
Registration, and the millimetre that ruins a spread
Four inks, four passes, and one of them a hair out of place. Everything you know about print colour follows from this.
Ink, paper, and the colour between them
A palette is two decisions: what the ink is, and what it sits on. Everything else is adjustment.
Kerning is not tracking, and neither is spacing
Three controls, three different jobs, and a great deal of type ruined by reaching for the wrong one.