“What is original and dynamic today, will be yesterday’s design tomorrow. New and innovative typography does not necessarily replace existing forms of typographic expression, but supplements them and thereby enriches the world of typography. Learn to appreciate all forms of typography, determining for yourself what is appropriate for specific projects.”

—James Craig, Designing with Type

“If there is an essential truism in typesetting, it is that a page contains no voids, only spaces between printed elements. The essence of typesetting is regulating the size of those spaces to control the balance and rhythm between black and white. This is the key to a graphically harmonious page—one with good type color—as well as to text that is pleasing and easy to read.”

—James Felici, The  Complete Manual of Typography

“Beautiful type comes from attention to myriad tiny details. It’s built up a fraction of an em at a time, through hundreds of decisions whose geometry belies their gravity. It requires, as a colleague once wrote, a heart hardened against accusations of being too fussy.”

— James Felici, The Complete Manual of Typography

 “In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It’s other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.”

—Robert Bringhurst, The Elements of Typographic Style

“When I put my pen to a blank sheet, black isn’t added but rather the white sheet is deprived of light. […] Thus I also grasped that the empty spaces are the most important aspect of a typeface.”

— Adrien Frutiger