Bruno Maag Quotes

I write everything in Courier 12 because I write for publication, not pleasure.

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.

Courier 12 is the Type-O blood of fonts - works just as good for a 'N.Y. Times' op-ed as a screenplay or a short story.

I don't even use italics or boldface; that's clutter, not clarity. Fancy fonts are fine for blogs, just as calligraphy is fine for diaries. But when you're writing for anyone other than yourself, you want to get as universal as possible.

Format is just the language. Content is the only thing that is important. Form is like handwriting. Whether you write in a scribble or clean handwriting or type it, the content remains the same. You want to write in clean hand, in a kind of a clear format only because it is aesthetically pleasing. I can scribble, that's also fine.

Legibility, in practice, amounts simply to what one is accustomed to.

Legibility, in practice, amounts simply to what one is accustomed to. But this is not to say that because we have got used to something demonstrably less legible than something else would be if we could get used to it, we should make no effort to scrap the existing thing. This was done by the Florentines and Romans of the fifteenth century; it requires simply good sense in the originators & good will in the rest of us.

Lettering should be invisible. You shouldn't notice it, unless it is a determined piece of storytelling in graphic design. Whether handmade or digital, the lettering should be easy on the eye and well placed. It should help tell the story and do nothing to get in the way of it.

Good writing is like a windowpane.

We printed all the words out because otherwise nobody would be able to understand them.

My first job in Brazil was actually to develop a way to improve the readability of billboards, and based on speed, angle of approach and actually blocks of text. It was very - actually, it was a very good study, and got me a job in an ad agency. And they also decided that I had to - to give me a very ugly Plexiglas trophy for it.

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.

I do believe that organizations can certainly improve lives by specifying better fonts, which of course has an effect on how you read your e-mail.

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.

I had to fight for wingdings. Batman needs to curse sometimes!

You get used to the exact amount of space between lines. You write a word and then you write an alternate word over it. You want enough room so you can read it, so the lines can't be too close.

Of all the needs a book has the chief need is that it be readable.

In general, what is written must be easy to read and easy to speak; which is the same.

Dont confuse legibility with communication. Just because something is legible doesnt mean it communicates and, more importantly, doesnt mean it communicates the right thing.

I cross out words so you will see them more; the fact that they are obscured makes you want to read them.

Fairly large print is a real antidote to stiff reading.

An animator is an actor with a pencil.

As far as ideas about book design: I have plenty. But I also try and let people do their jobs.

Videogames need more women and are too reliant on male, stubble-covered heroes.

I saw that bad handwriting should be regarded as a sign of an imperfect education.