As a visual thinker, I used to design while writing, unable to separate form from content. But I’ve learned to let go of layout and focus on structure within the text itself.

Do you need to practice calligraphy to become a (good) typographer? Not really. But it’s worth getting your hands dirty at least once. Preferably under the guidance of Edward Johnston.

In this post, I meet Eva van Bemmelen. Someone who uses typography as an artistic tool in her art practice. It’s both intriguing and far outside my comfort zone. And that’s a good thing.

Where do you get typefaces? Why are some free and others expensive? Can you tell the difference? And do you need an expensive one to make good typography?

An ode to the work of type designers. They operate in the shadows, designing the building blocks of written language. Yet few people ever wonder where letters come from, who designs them, or what that process involves.

Graphic designers and typographers share the same field, but play different games. Graphic designers see it as image, part of a larger whole, while typographers focus on serving the reader. Both are just fine.

Jan Tschichold taught me typography. But I’m no longer his obedient student. I challenged him, and our dialogue turned into a heated discussion.

Rules tell you what to do on a technical level. Conventions suggest how on a visual level. Tradition explains why on a conceptual level.

Talking about typography, it feels like you can’t avoid the rules. But what rules, exactly? Aren’t we really just talking about conventions?