Typographical Quotes

Life is like a typographical error: we're constantly writing and rewriting things over each other.

A point of view can be a dangerous luxury when substituted for insight and understanding.

You have with you the book you were reading in the cafe, which you are eager to continue, so that you can then hand it on to her, to communicate again with her through the channel dug by others' words, which, as they are uttered by an alien voice, by the voice of that silent nobody made of ink and typographical spacing, can become yours and hers, a language, a code between the two of you, a means to exchange signals and recognize each other.

Poetry is rather an approach to things, to life, than it is typographical production.

Typography is the craft of endowing human language with a durable visual form.

By all means break the rules, and break them beautifully, deliberately and well.

It would seem that for my master a book is not a thing to be read, but a device to bring on slumber: a typographical sleeping-pill, a paginated security blanket.

Sticklers never read a book without a pencil at hand, to correct the typographical errors. In short, we are unattractive know-all obsessives who get things out of proportion and are in continual peril of being disowned by our exasperated families.

Typographical laziness was slowly destroying our culture, according to Lexa and her pals. Inexactitude was death.

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.

The wand waved; the Adam's Apple leapt, and they were off. What followed cannot be indicated typographically. But if a cat were a sawmill, and a dog were a gigantic cart full of tin cans bouncing through a stone paved street, and that dog and that cat hated each other and were telling each other so, it would sound much like it.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

There was something demoniacal and insuperable about typographical errors, as if they were part of the natural evil that permeated man's existence, as if they had a life of their own and were determined to manifest themselves no matter what, as surely as weeds in the best-tended gardens.

Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.

The American punctuation rule sticks in the craw of every computer scientist, logician, and linguist, because any ordering of typographical delimiters that fails to reflect the logical nesting of the content makes a shambles of their work.

Typographic style is founded not on any one technology of typesetting or printing, but on the primitive yet subtle craft of writing.

You fasten your seatbelt. The plane is landing. To fly is the opposite of traveling: you cross a gap in space, you vanish into the void, you accept not being in any place for a duration that is itself a kind of void in time; then you reappear, in a place and in a moment with no relation to the where and the when in which you vanished. Meanwhile, what do you do? How do you occupy this absence of yourself from the world and of the world from you?" You read; you do not raise your eyes from the book between one airport and the other, because beyond the page there is the void, the anonymity of stopovers, of the metallic uterus that contains you and nourishes you, of the passing crowd always different and always the same. You might as well stick with this other abstraction of travel, accomplished by the anonymous uniformity of typographical characters: here, too, it is the evocative power of the names that persuades you that you are flying over something and not nothingness. You realize that it takes considerable heedlessness to entrust yourself to unsure instruments, handled with approximation; or perhaps this demonstrates and invincible tendency to passivity, to regression, to infantile dependence. (But are you reflecting on the air journey or on reading?)

Think of Richard Nixon or Jimmy Carter or Billy Graham, or even Albert Einstein, and what will come to your mind is an image, a picture of face, (in Einstein's case, a photograph of a face). Of words, nothing will come to mind. This is the difference between thinking in a word-centered culture and thinking in an image-centered culture.

The symbol “&” was a logogram—literally a picture representing a word. While many people assumed the symbol derived from the English word “and,” it actually derived from the Latin word et. The ampersand’s unusual design “&” was a typographical fusion of the letters E and T—the ligature still visible today in computer fonts like Trebuchet, whose ampersand “” clearly echoed its Latin origin.

I have little interest in illustration, which lacks a kind of transcendental quality. It is too literal. I find typography more straightforward, conceptual, and appealing, with its strict geometric vocabulary. There is a bridge between typographic design and fine art, especially since typography possesses a complex subtlety. The idea, the method, and the honesty in expression are central to a designer who works with type.

Typography is to literature as musical performance is to composition: an essential act of interpretation, full of endless opportunities for insight or obtuseness.

They were beautiful books, sometimes very thick, sometimes very thin, always typographically exhilarating, with their welter of title pages, subheads, epigraphs, emphatic italics, italicized catchwords taken from German philosophy and too subtle for translation, translator's prefaces and footnotes, and Kierkegaard's own endless footnotes, blanketing pages at a time as, crippled, agonized by distinctions, he scribbled on and on, heaping irony on irony, curse on curse, gnashing, sneering, praising Jehovah in the privacy of his empty home in Copenhagen.

Aesthetics, he said, should be left to the so-called artists, to the writers and readers of fiction. There is no need to fret about writing, about our choice of words in the New South Africa; rather, we will have to make do with mixtures of meaning, will have to rely on typographic devices like the slash for many more years, he predicted.

his beard is about thirty centimeters long, grizzled and salted and bifurcated. It has so much character that it’s probably being hunted by a posse of typographers.

To distort the letters of the alphabet in “the style of” Chinese calligraphy (sometimes referred to as chop suey lettering), because the subject happens to deal with the Orient is to create the typographic equivalent of a corny illustration. To mimic a woodcut style of type to “go with” a woodcut; to use bold type to “harmonize with” heavy machinery, etc., is cliché-thinking. The designer is unaware of the exciting possibilities inherent in the contrast of picture and type matter. Thus, instead of combining a woodcut with a “woodcut style” of type (Neuland), a happier choice would be a more classical design (Caslon, Bodoni, or Helvetica) to achieve the element of surprise and to accentuate by contrast the form and character of both text and picture.

We are the Western World. We read, see, think. Left. To. Right. We can't help it. ..The problem with Top to Bottom is that it's unAmerican. We want to begin in the depths and climb our way upward. But our typographic system argues against this and wins, and images follow suit. ..What you have to be careful to remember about Big and Small, is that they can extend to infinity in either direction. Consider: Big can always be bigger and Small smaller. The atom is the Universe and vice versa. And they're both identical. ..Left to Right, Top to Bottom, Big and Small; on a two-dimensional plane, all of these tools rely on a relative truth. Now we come to In Front Of and In Back of, which for us are big, fat lies. Very useful though, and the first of many at your disposal.

But so much writing is just ambient word static, typographic white noise. Picture your sentence up in lights, a stack of words staring straight back at you, demanding thought, and it focuses the mind.

You must look beyond the page. ... To the men and women who worked so seamlessly together. Not only the author who wrote it, but the typographer who meticulously assembled it, to the person manning the complexities of the printing machines, to the courier who delivered it, and the citizen who smuggled it from French soil to end up here in Portugal.

I am closest to Amy Lowell, in actuality, I think. I love the lyrics clarity and purity of Elinor Wylie, the whimsical, lyrical, typographically eccentric verse of e e cummings, and yearn towards T.S. Eliot, Archibald Macleish, Conrad Aiken...

The origin of the ampersand was always one of the first things Langdon taught his symbology classes. The symbol “&” was a logogram—literally a picture representing a word. While many people assumed the symbol derived from the English word “and,” it actually derived from the Latin word et. The ampersand’s unusual design “&” was a typographical fusion of the letters E and T—the ligature still visible today in computer fonts like Trebuchet, whose ampersand “” clearly echoed its Latin origin.

As much as it was like anything, magic was like a language. And like a language, textbooks and teachers treated it as an orderly system for the purposes of teaching it, but in reality it was complex and chaotic and organic. It obeyed rules only to the extent that it felt like it, and there were almost as many special cases and one-time variations as there were rules. These Exceptions were indicated by rows of asterisks and daggers and other more obscure typographical fauna which invited the reader to peruse the many footnotes that cluttered up the margins of magical reference books like Talmudic commentary.

...the book typographer's job was building a window between the reader inside a room and that landscape which is the author's words. He may put up a stained glass window of marvelous beauty, but a failure as a window; that is he may use some rich superb type like text gothic that is something to be look at, not through.

Facebook didn’t even exist yet, Twitter was still a sound, the cloud was still in the sky, 4G was a parking space, “applications” were what you sent to college, LinkedIn was barely known and most people thought it was a prison, Big Data was a good name for a rap star, and Skype, for most people, was a typographical error.

Typographers are designers; designers are my people.

It has so much character that it’s probably being hunted by a posse of typographers.

Helvetica is good for typographers who do not know what to say.

An ancient metaphor: thought is a thread, and the raconteur is a spinner of yarns - but the true storyteller, the poet, is a weaver.

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.

Soon I was incorporating :( and ;) and ;( too and after that the live emoticons, and now, without any intention of ever reducing the enormity of my human emotions to these shallow shortcuts, to this typographical juvenilia, I went around all day reducing them and reducing them, endowing emotions with, and requiring them to carry the subtle quivering burdens of my inner life.

MVB Verdigris is a direct response to these shortcomings. A distinguished Garalde inspired by 16th-century punchcutters, MVB Verdigris comes in a sturdy, functional version for text and a handsome, high-contrast version for titling. Typographic niceties abound, including a set of useful “mid caps” sized between full and small caps. This is truly a text serif for the digital age.

A good story was a form of communication, mind to mind, spirit to spirit. It sent life sparking from stranger to stranger, across space, decades and centuries. Human sympathy -- human attention -- had magic in it. Any real story fizzed with sympathy -- the writer's and reader's -- across time, over rows of typographical marks; those low boundary fences of the imagination, hurdled.

... [In 'Pride and Prejudice'] Mr Collins's repulsiveness in his letter [about Lydia's elopement] does not exist only at the level of the sentence: it permeates all aspects of his rhetoric. Austen's point is that the well-formed sentence belongs to a self-enclosed mind, incapable of sympathetic connections with others and eager to inflict as much pain as is compatible with a thin veneer of politeness. Whereas Blair judged the Addisonian sentence as a completely autonomous unit, Austen judges the sentence as the product of a pre-existing moral agent. What counts is the sentence's ability to reveal that agent, not to enshrine a free-standing morsel of truth. Mr Darcy's letter to Elizabeth, in contrast, features a quite different practice of the sentence, including an odd form of punctation ... The dashes in Mr Darcy's letter transform the typographical sentence by physically making each sentence continuous with the next one. ... The dashes insist that each sentence is not self-sufficient but belongs to a larger macrostructure. Most of Mr Darcy's justification consists not of organised arguments like those of Mr Collins but of narrative. ... The letter's totality exists not in the typographical sentence but in the described event.

Simplicity, clarity, complexity, and ambiguity are not mutually exclusive states in language; the sensitive typographer is one who can manifest these states in the right mix by controlling the elements at his or her disposal.

The more dutifully scholars acknowledge that the concept of race belongs in the same category as geocentrism or witchcraft, the more blithely they invoke it as though it were both a coherent analytical category and a valid empirical datum. In place of Jefferson’s moment of impassioned truth-telling, his successors fall back on italics or quotation marks, typographical abbreviations for the trite formula, ‘race is a social construction.’ The formula is meant to spare those who invoke race in historical explanation the raised eyebrows that would greet someone who, studying a crop failure, proposed witchcraft as an independent variable. But identifying race as a social construction does nothing to solidify the intellectual ground on which it totters. The London Underground and the United States of America are social constructions; so are the evil eye and the calling of spirits from the vasty deep; and so are murder and genocide. All derive from the thoughts, plans, and actions of human beings living in human societies. Scholars who intone ‘social construction’ as a spell for the purification of race do not make clear—perhaps because they do not themselves realize—that race and racism belong to different families of social construction, and that neither belongs to the same family as the United States of America or the London Underground. Race belongs to the same family as the evil eye. Racism belongs to the same family as murder and genocide. Which is to say that racism, unlike race, is not a fiction, an illusion, a superstition, or a hoax. It is a crime against humanity.

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There is a novella inside every anus; there is a broken heart inside every mind; there is a bisected hug inside every arm; there is a pun inside every belly. "The Great American Novel," thinks the typographer, who at this point is severely constipated. He tries to squeeze out an 'o' but can't. "The Great American Navel," he says, then waits for a laugh.

However, across the country, we witnessed a “power grab” from the minority desperate to hold on to power. The examples of this abound: Native Americans living on reservations in North Dakota were told that in order to vote, they had to have street addresses—where none existed. In Mississippi, impoverished elderly folks who needed an absentee ballot had to pay for a notary public to submit the ballot—resulting in a new-fashioned poll tax. In Georgia, tens of thousands of people of color had their applications for registration held up because of typographical errors in government databases and a failed system called “exact match.” Of the 53,000 applications blocked by this process, 80 percent were from people of color. Voter

Mimicry within mimicry, imperfectly understood idea within imperfectly understood idea: the second-year girl student in the printing department, not understanding the typographical exercise she had been set, and playing with type like a child with a typewriter, avoiding, in the name of design, anything like symmetry, clarity, or logic; the third-year girl student showing a talentless drawing and saying, in an unacknowledged paraphrase of Klee, that she had described the 'the adventures of a line'; and that fourth-year man playing with tools for the peasants. There are times when the intellectual confusion of India seems complete and it seems impossible to get back to clarifying first principles. Which must have been one of the aims of an institute of design: to make people look afresh at the everyday.

It’s clear that writing is a useful skill for any designer. Yet apart from a final-year dissertation or research paper, graphic designers are not encouraged to write at design school. This is odd, since words are the designer’s raw materials, much as coal is the raw material of the coal miner. Designers often say they can’t write. This is also odd, since many designers have a verbal facility for sharp phrases and economical expression. Most designers are better with words than they realize. This shyness with written language is partly caused by designers believing that they need to do everything visually. There’s a fear that they are betraying their design skills if they exhibit language skills. Yet the ability to handle text is a priceless attribute. Just think how often we struggle to make coherent typographic statements when forced to work with clumsy language: think of all those tortuous line breaks and bad configurations of type that could be eliminated with a few text edits. The ability to suggest and make text changes can often rescue work from second-rate status.

Let’s assume for a moment that we are starting to write a novel using Fred’s goal of wanting desperately to be first to climb the mountain. The reader now forms his story question. But the story has to start someplace, and it has to show dynamic forward movement. Let’s further assume, then, that Fred comes up with a game plan for his quest. He decides that his first step must be to borrow sufficient money to equip his expedition. So he walks into the Ninth District Bank of Cincinnati, sits down with Mr. Greenback, the loan officer, and boldly states his goal, thus: “Mr. Greenback, I want to be first to climb the mountain. But I must have capital to fund my expedition. Therefore I am here to convince you that you should lend me $75,000.” At this point, the reader sees clearly that this short-term goal relates importantly to the long-term story goal and the story question. So just as he formed a story question, the reader now forms a scene question, which again is a rewording of the goal statement: “Will Fred get the loan?” Here is a note so important that I want to set it off typographically: The scene question cannot be some vague, philosophical one such as, “Are bankers nice?” or “What motivates people like Fred?” The question is specific, relates to a definite, immediate goal, and can be answered with a simple yes or no.

Boswell, like Lecky (to get back to the point of this footnote), and Gibbon before him, loved footnotes. They knew that the outer surface of truth is not smooth, welling and gathering from paragraph to shapely paragraph, but is encrusted with a rough protective bark of citations, quotations marks, italics, and foreign languages, a whole variorum crust of "ibid.'s" and "compare's" and "see's" that are the shield for the pure flow of argument as it lives for a moment in one mind. They knew the anticipatory pleasure of sensing with peripheral vision, as they turned the page, gray silt of further example and qualification waiting in tiny type at the bottom. (They were aware, more generally, of the usefulness of tiny type in enhancing the glee of reading works of obscure scholarship: typographical density forces you to crouch like Robert Hooke or Henry Gray over the busyness and intricacy of recorded truth.) They liked deciding as they read whether they would bother to consult a certain footnote or not, and whether they would read it in context, or read it before the text it hung from, as an hors d'oeuvre. The muscles of the eye, they knew, want vertical itineraries; the rectus externus and internus grow dazed waggling back and forth in the Zs taught in grade school: the footnote functions as a switch, offering the model-railroader's satisfaction of catching the march of thought with a superscripted "1" and routing it, sometimes at length, through abandoned stations and submerged, leaching tunnels. Digression—a movement away from the gradus, or upward escalation, of the argument—is sometimes the only way to be thorough, and footnotes are the only form of graphic digression sanctioned by centuries of typesetters. And yet the MLA Style Sheet I owned in college warned against lengthy, "essay-like" footnotes. Were they nuts? Where is scholarship going?

In both oral and typographic cultures, information derives its importance from the possibilities of action. Of course, in any communication environment, input (what one is informed about) always exceeds output (the possibilities of action based on information. But the situation created by telegraphy, and then exacerbated by later technologies, made the relationship between information and action both abstract and remote. For the first time in human history, people were faced with the problem of information glut, which means that simultaneously they were faced with the problem of a diminished social and political potency. You may get a sense of what this means by asking yourself another series of questions: What steps do you plan to take to reduce the conflict in the Middle East? Or the rates of inflation, crime and unemployment? What are your plans for preserving the environment or reducing the risk of nuclear war? What do you plan to do about NATO, OPEC, the CIA, affirmative action, and the monstrous treatment of the Baha'is in Iran? I shall take the liberty of answering for you: You plan to do nothing about them. You may, of course, cast a ballot for someone who claims to have some plans, as well as the power to act. But this you can do only once every two or four years by giving one hour of your time, hardly a satisfying means of expressing the broad range of opinions you hold. Voting, we might even say, is the next to last refuge of the politically impotent. The last refuge is, of course, giving your opinion to a pollster, who will get a version of it through a desiccated question, and then will submerge it in a Niagara of similar opinions, and convert them into--what else?--another piece of news. Thus, we have here a great loop of impotence: The news elicits from you a variety of opinions about which you can do nothing except to offer them as more news, about which you can do nothing.

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After all, what was equality other than a typographical error in the Constitution?

An ancient metaphor: thought is a thread, and the raconteur is a spinner of yarns - but the true storyteller, the poet, is a weaver. The scribes made this old and audible abstraction into a new and visible fact. After long practice, their work took on such an even, flexible texture that they called the written page a textus, which means cloth.

Allowing artist-illustrators to control... statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.

Unaware of our typographic cultural bias, our testers assume that uniform and continuous habits are a sign of intelligence, thus eliminating the ear man and the tactile man.

He imagines that it is the response of our opinions that is relevant to the effect of media and technology in society, a “point of view” that is plainly the result of the typographic spell. For the man in a literate and homogenized society ceases to be sensitive to the diverse and discontinuous life of forms. He acquires the illusion of the third dimension and the “private point of view” as part of his Narcissus fixation, and is quite shut off from Blake’s awareness or that of the Psalmist, that we become what we behold.

In Forster’s novel the moment of truth and dislocation from the typographic trance of the West comes in the Marabar Caves. Adela Quested’s reasoning powers cannot cope with the total inclusive field of resonance that is India. After the Caves: “Life went on as usual, but had no consequences, that is to say, sounds did not echo nor thought develop. Everything seemed cut off at its root and therefore infected with illusion.

Consider the phrase “It’s a man’s world.” As a quantitative observation endlessly repeated from within a homogenized culture, this phrase refers to the men in such a culture who have to be homogenized Dagwoods in order to belong at all. It is in our I.Q. testing that we have produced the greatest flood of misbegotten standards. Unaware of our typographic cultural bias, our testers assume that uniform and continuous habits are a sign of intelligence, thus eliminating the ear man and the tactile man.

His most famous and controversial work was a hand printed, limited edition of Plato’s dialogue, Phaedrus, separately described in his “A Search for the Typographic Form of Plato’s Phaedrus”.

From the chapter titled "R3curs1on" (Typographical irregularities are for effect and require context.) “Godnet removes the uncertainty. I miss the Bro o o o... Is there an official response from NEXSA at this stage?” “We’re assessing our options. I can’t tell you specifics at this...” “bots but I know they turned eeeeeeeeee turned eeeee turned tur ur ur ur ur” “...important thing is to ensure the safety of the Hotel occupants and escort them home.” “Sanija, what possibility is there of their protection, or indeed our own, when such advanced vehicles make their return trip? I mean, the threat’s...” “eeeevillll Mommy says my kids kids my kids are on it every day because we know your rights we know your rights and we made them disappear. We miss love love the Brobots better because we made them made them made them made them them them disa disa dis dis dis... A totally encryption constitution raaaaaaainbow cat now diiiiignity nooooiiise.

Logograms pose a more difficult question. An increasing number of persons and institutions, from archy and mehitabel to PostScript and TrueType, come to the typographer in search of special treatment.In earlier days it was kings and deities whose agents demanded that their names be written in a larger size or set in a specially ornate typeface; not it is business firms and mass-market products demanding an extra helping of capitals, or a proprietary face, and poets pleading, by contrast, to be left entirely in the vernacular lower case. But type is visible speech, in which gods and men, saints and sinners, poets and business executives are treated fundamentally alike . Typographers, in keeping with the virtue of their trade, honor the stewardship of texts and implicitly oppose private ownership of words.

Manuscripts were not easy to read, by later typographic standards, and what readers found in manuscripts they tended to commit at least somewhat to memory. Relocating material in a manuscript was not always easy.

ASCII text files, in other words, are telegrams, and as such they have no typographical frills. But for the same reason they are eternal, because the code never changes, and universal, because every text-editing and word-processing software ever written knows about this code.

A page of a book is like a human face. Look at a page by Hemingway and compare it with Sterne and Marcel Proust. They are different typographical beings. But force upon them those ragged edges, and the influence of the author’s style on the physical aspect of the page, their typographical physiognomy will disappear. No, unjustified setting is a sort of gleichschaltung [enforced conformity] through diversity, a very phoney diversity. Produced methodically by chance. For the comfort of the keyboard, and not for the comfort of the eye.

What this typographical distinction should make immediately apparent in the passage is the highly subsidiary role of narration in comparison to direct speech by the characters.

After the arrival of mass-produced books, we became “typographical man,” and our voices lost some power. We were encouraged by the technologies of writing and printing to take on some kinds of input and discouraged from taking on others. Today we privilege the information we take in through our eyes while reading and pay less heed to information that arrives via our other senses. In plainest terms, McLuhan delivers his famous line: “The medium is the message.” What you use to interact with the world changes the way you see the world. Every lens is a tinted lens.

We’re creating new rules for typographical tone of voice. Not the kind of rules that are imposed from on high, but the kind of rules that emerge from the collective practice of a couple billion social monkeys—rules that enliven our social interactions.

Because we are in the same business, he didn’t have to explain that “typo” is short for “typographical error.” If Helena had come out, we would have had to stop using our industry lingo so that she could understand us,

Gulliver’s Travels by Jonathan Swift Instead: The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne Why Swift's dreary satire is routinely inflicted on high school English classes is a mystery to me. Tristram Shandy at least has the virtue of occasionally being funny. It's also deeply weird: postmodern 200 years before postmodernism, with a deeply unreliable narrator, typographic trickery (a death early in the book is followed by a solid-black page), and a list of character names that would make Pynchon jealous (Dr. Slop, Billy Le Fever, and a certain Hafen Slawkenbergius). It is an important achievement in the history of the novel, a reminder that literature is an ongoing experiment—which means you should treat it like Don Quixote and read the first half before calling it a day. One can admire the pyramids without feeling the need to scale them.

Now, the print-only option may have been a typographical error, but I suspect that the clever people at the Economist’s London offices (and they are clever—and quite mischievous in a British sort of way)

If a man walk in the woods for love of them half of each day, he is in danger of being regarded as a loafer; but if he spends his whole day as a speculator, shearing off those woods and making earth bald before her time, he is esteemed an industrious and enterprising citizen.

The newer arrangement requires less jumping back and forth from row to row; with the QWERTY keyboard, a good typists’ fingertips travel more than twelve miles a day, jumping from row to row. These unnecessary intricate movements cause mental tension, typist fatigue, and lead to more typographical errors.

If there were an unusual number of 'typos' (typographical errors) in their work--well, the lurking fear of a Winchester slug in the back might account for many mistakes.

Gere Donovan Press is committed to delivering e-books of the highest quality. If you encountered any typographical or formatting errors in this text, we would appreciate your bringing them to our attention, so that the next edition may be improved for future readers.

Rumors of the footnote’s demise have been greatly exaggerated.

Both marks were formed by single pen-strokes named virgulae, the diminutive of the Latin virga for "rod" or "staff", or even, in medieval slang, "penis".

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one another, find themselves washed by various different currents, and see their straight lines change into the flat trajectories of bullets, their curves into skids, their closed lines into the flights of boomerangs out and back or the paths of circuits, this is the fault of the spectator alone—craving metaphorical equivalences, or perhaps just learning to read—who projects onto the printed characters a flood of forces that is his alone but is nevertheless enough to give life to these depthless signs locked in a two-dimensional typographical world. On the one hand,

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Anatomy of Typos (Sonnet) It took me a 100 books to realize this, typos are not a stain upon literature, typos are ornament of literature, sweet reminders of human endeavor. It's great to have literature without typos, like it's great to have a life without regrets. But in actuality, only the dead have no regrets, only the uncreative make no typographical mistakes. There are typos that are grievous, hence, need correcting, but most typos are harmless. Repulsed by typos means repulsed by literature, repulsed by regrets means repulsed by existence. Typos are the ornament of literature, regrets are the ornament of life. To make peace with regrets is the beginning of life, to make peace with typos is to empower literary light.

Typographers are designers; designers are my people; I am committed to supporting them.

Type designers are, at their best, the Stradivarii of literature: not merely makers of salable products, but artists who design and make the instruments that other artists use.

Actually, typefaces and racing bikes are very much alike. Both are ideas as well as machines, and neither should be burdened with excess drag or baggage. Pictures of pumping feet will not make the type go faster, any more than smoke trails, pictures of rocket ships or imitation lightning bolts tied to the frame will improve the speed of the bike.

Logograms pose a more difficult question. An increasing number of persons and institutions, from archy and mehitabel to PostScript and TrueType, come to the the typographer in search of special treatment. In earlier days it was kings and deities whose agents demanded that their names be written in a larger size or set in a specially ornate typeface; now it is business firms and mass-market products demanding an extra helping of capitals, or a proprietary face, and poets pleading, by contrast, to be left entirely in the vernacular lower case. But type is visible speech, in which gods and men, saints and sinners, poets and business executives are treated fundamentally alike. Typographers, in keeping with the virtue of their trade, honor the stewardship of texts and implicitly oppose private ownership of words. … Logotypes and logograms push typography in the direction of hieroglyphics, which tend to be looked at rather than read. They also push it toward the realm of candy and drugs, which tend to provoke dependent responses, and away from the realm of food, which tends to promote autonomous being. Good typography is like bread: ready to be admired, appraised, and dissected before it is consumed.

The number of diagnoses of autism spectrum disorder almost certainly went up dramatically for another reason, one that hasn’t gotten as much attention as it should: a typographical error. Shocking but true. In the DSM-IV, the description of pervasive developmental disorder not otherwise specified that was supposed to appear in print was “a severe and pervasive impairment in social interaction and in verbal or nonverbal communication skills” (emphasis added). What actually appeared, however, was “a severe and pervasive impairment of reciprocal social interaction or verbal and nonverbal communication skills” (emphasis added). Instead of needing to meet both criteria to merit the diagnosis of PDD-NOS, a patient needed to meet either.

Another of the characters who must now come into our story is the theologian Johannes Eck, whom Luther considered a friend until the unfortunate months of early 1518. The two had been introduced by the leading Humanist Christopher Scheurl when Scheurl was the rector at Wittenberg, but when Eck read Luther’s theses that January, he promptly let it be known that he desperately wished to debate Luther. In fact, he said he would gladly walk ten miles to do so. Eck then wrote and published a rebuttal of Luther’s theses, titled Obelisks. The typographic term “obelisk”—which referred to the four-sided monolithic stone monuments that taper upward and date back to ancient Egypt—denoted the small daggers that were even then used in the margins of manuscripts, indicating that the text nearby was perhaps of spurious origin. So Eck’s title must have seemed to Luther like the very thing itself, a poniard in the back of a friend. That a friend Luther considered a reasonable and educated man would attack him like this was certainly deeply hurtful. Nor was the attack measured, but vicious. In it Eck hurled boulders of invective Lutherward, calling him simpleminded, impudent, and Bohemian (which is to say, a heretic deserving of death, like the Bohemian Jan Hus) and a despiser of the pope, among other things. To Luther, it was a cruel betrayal. What might have sparked Eck’s emotion is hard to say, but surely part of it had to do with the fact that Luther was accusing the indulgence sellers of being greedy, and thereby somehow undermining the authority of the church itself. Even if there was truth to this, or if there was error to be reported, it seems Eck took greatest offense at Luther’s naked appeal to the anticlericalism so rampant at that time, which served only to make matters worse by undermining the church’s authority. In any case, Luther was wounded and disinclined to reply, but his friends insisted that he must. So he wrote Asterisks. Thus touché. The word “asterisk” is from the Greek for “little star,” and so asterisks were those marks in the margins of manuscripts that were the precise opposite of the pejorative downward-facing daggers.10 Asterisks were put next to text that was considered particularly valuable. So only six decades after the invention of movable type, Luther and Eck treated the world to its first typographic battle, waged with pre-Zapf dingbats.

This is the breezy parlance of the anesthesia dude. He stands in the door with clip-on sunglasses flipped up from his specs. He’s clearly on his way out. Whaddayou mean, I roar at him, whaddayou MEAN it didn’t take! I’m incapable of speaking without exclamation points and italics and any available typographical inflation.

Butch finished processing Billy Riddle around six A.M. The guy was offended by the class of drug dealers and thugs he’d been put into the holding cell with, so Butch was careful to make as many typographical errors as possible on his reports. And what would you know, Central Processing kept getting confused about exactly which forms needed to be filled out. And then the printers had gone on the fritz. All twenty-three of them.

Students of the Windows 2000 source found more than four thousand references to “hacks.” In one explosion of typographical attention-getting, a programmer inserted this warning into the code: *!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *IF YOU CHANGE TABS TO SPACES, YOU WILL BE KILLED!! *!!!!DOING SO FUCKS THE BUILD PROCESS!!!!!!!!!!!!!! *!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! *!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Advertising was, as Stephen Douglas said in another context, intended to appeal to understanding, not to passions. This is not to say that during the period of typographic display, the claims that were put forward were true. Words cannot guarantee their truth content. Rather, they assemble a context in which the question, Is this true or false? is relevant. In the 1890’s that context was shattered, first by the massive intrusion of illustrations and photographs, then by the nonpropositional use of language.

Typography like other arts, from cooking to choreography, involves a balance between the familiar and the unfamiliar, the dependably consistent and the unforeseen. Typographers generally take pleasure in the unpredictable length of the paragraph while accepting the simple and reassuring consistency of the paragraph indent. The prose paragraph and its verse counterpart, the stanza, are basic units of linguistic thought and literary style. The typographer must articulate them enough to make them clear, yet not so strongly that the form instead of the content steals the show. If the units of thought, or the boundaries between thoughts, look more important than the thoughts themselves, the typographer has failed.