Working within the constraints of a problem is part of the fun and challenge of design.

Letters do love one another. However, due to their anatomical differences, some letters have a hard time achieving intimacy.

Typography is what language looks like.

Design is an art of situations. Designers respond to a need, a problem, a circumstance, that arises in the world. The best work is produced in relation to interesting situations - an open-minded client, a good cause, or great content.

Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.

Readers usually ignore the typographic interface, gliding comfortably along literacy's habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place or product.

Designers provide ways into—and out of—the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. (...) Although many books define the purpose of typography as enhancing the readability of the written word, one of design’s most humane functions is, in actuality, to help readers avoid reading.